After releasing the album "MAIN OFFENDER", Keith went on tour from 1992 to 1993. Although this tour was short, there were very few audience recording items because there were professional shots at key points, and for Europe & UK in 1992, "MARQUEE 1992" contained club gigs at Marquee in London. It is still fresh in my memory that it was released a few years ago and is still a bestseller. When this became the 1993 American tour, there was an absolute presence of Boston radio and television broadcasting, so there were no audience recording items from that time. However, this July, the sound source of the "MAIN OFFENDER" American tour unexpectedly appeared on the Internet, surprising enthusiasts all over the world. Not only was the sound source of the 1993 tour discovered for the first time in a while, but the big thing was that it was recorded by legendary taper Mike Millard. What's more, this recording covers many topics. First of all, as you can see from the year, this is Millard's last sound source. Previously, there was a rumor that Millard had destroyed his own master that he owned in 1990, but in the ongoing excavation work of the Millard Master by the JEMS team, It turns out that he passed away in 1994, and that he continued recording concerts until 1992. However, this time Keith was recorded in 1993, and it was a shocking discovery that turned the conventional wisdom upside down. In that case, not only is this sound source Millard's last recording, but JEMS has even concluded that this is likely his last recording. Indeed, the existence of a recording of his 1993 concert has never been confirmed, and that alone is worthy of being called a shocking discovery. What is even more surprising is that Millard used DAT when recording this performance. Of course, during his lifetime he used a Nakamichi 550 cassette recorder for recording. However, after nearly 20 years of use, it began to have trouble recording, and in 1993, it was sent in for repair. In that case, the reason he "stopped recording in 1992" may have something to do with not only his health problems, but also the fact that Nakamichi had reached the end of his lifespan. Even under such circumstances, he heard that the members of the Rolling Stones, whom Millard loved, were going to perform a gig in LA, and he may have had the desire to record for the first time in a while. Therefore, Millard borrowed a portable DAT deck from a friend and decided to do this, and this is the source of this sound. If that's the case, I guess it was his first DAT audience recording, but it was mirrored, and although the texture was different from the usual cassette recording, he recorded it with a close sound image that was as active as ever. It's great to have you there. However, this recording was met with an unexpected incident. Unlike the main Stones, the 1993 tour was one in which Keith led Expensive Wines and visited only concert hall-level venues. Even in 1988, we held a concert at an arena on the last day of the tour, but in 1993, it was a tour limited to small venues such as hall classes and theaters in some places. As a result, on this day at the Universal Amphitheater (the venue itself is a venue Millard has been familiar with since the 1970s), there were several scenes where the audience around Millard became restless from around ``999'', and he was also distracted by this. Perhaps because of this, one channel turned off in the middle of "Will But You Won't." Therefore, for this release, the JEMS team barely managed to convert one of the surviving channels into mono and restore the recording. This state continues until the ending of “Happy”, which means that there are many monaural parts in the second half of the gig. Naturally, the range is narrower than the first half, which was recorded in stereo, but the fact that it was a small venue worked as a plus, and I was able to hear it well enough, which was a blessing in disguise. Naturally, we have been able to quickly respond by supplying another sound source online, and it is also possible to replace it with another sound source. However, this is the final stage of Millard's recording career, and may even be his last recording during his lifetime. In that case, it is more important to faithfully contain the sound source, and it is uncool to replace it with a sound source recorded by another person. And since it is a tour where only Boston broadcasts (recently even gray zone items have appeared) were rampant, the experience of listening to this tour with audience recording will feel really fresh. ``MAIN OFFENDER'', which did not have a very good reputation at the time, is now being reevaluated as an album with a different appeal from ``TALK IS CHEAP'', which has a strong Keith's loose rock and R&B flavor. Since it's the second album he released with Wynose, the album has a cohesive feel to it, and I think the overall feel of MAIN OFFENDER is familiar and the songs themselves are cohesive. And this June, the 1992 live single of "Wicked As It Seems" was released for Record Store Day, which seems to be a sign of reappraisal. In addition, the set list that was created in conjunction with the previous work was very fulfilling, and in 1993, the opening began with a cover of Eddie Cochran's "Something Else", a unique pattern. Still, even at the end, "I Could Have Stood You Up" is played from "TALK IS ~", and the pattern of rock'n' roll at the beginning and end of the set list is good because it's typical of Keith. The live performances of ``MAIN OFFENDER'', such as the regular reggae ``Words Of Wonder'' and ``Bodytalks'' with its impressive pop riff, are also wonderful. The 1993 audience album, recorded by Mike Millard on a phantom DAT, is released, a companion to the previous year's masterpiece audience "MARQUEE 1992"! Universal Amphitheater, Los Angeles, CA, USA 23rd January 1993 TRULY PERFECT SOUND Disc 1 (50:37) 1. Somethin' Else (Eddie Cochran cover) 2. How I Wish 3. Wicked As It Seems 4. Gimme Shelter 5. 999 6. Runnin' Too Deep 7. Locked Away 8. Time Is On My Side 9. Will But You Won't Disc 2 (58:00) 1. Words Of Wonder 2. Hate It When You Leave 3. Before They Make Me Run 4. Eileen 5. Bodytalks 6. Band Introductions 7. Whip It Up 8. I Could Have Stood You Up 9. Happy 10. Take It So Hard Keith Richards - Guitar, Vocals Waddy Wachtel - Guitar, Backing Vocals Ivan Neville - Keyboards , Guitar, Backing Vocals Jerome Smith - Bass, Backing Vocals Steve Jordan - Drums, Bass, Backing Vocals Bobby Keys - Saxophone, Percussion Sarah Dash - Vocals Babi Floyd - Backing Vocals
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