“RECYCLER Tour 1990-1991” concluded the golden Warner Brothers era. A super original recording that conveys the highlight performance is now available. What is infused into this work is the best audience recording of “July 6, 1991 Milton Keynes Performance”. This is a treasured original master that was given to us by the recording artist himself in response to the news of Dusty Hill's death, saying, ``I want as many people as possible to hear it.'' The biggest point of this work is the unusually high sound quality, but the show is also special. In order to explain its meaning, let's look back at the overall picture of the world tour, which was a turning point in his career. 1990, October 2nd - 13th: North America #1a (7 performances) [Recycler released on October 16th], October 18th - December 17th: North America #1b (38 performances) 1991, 1st May 4th - May 3rd: North America #2 (77 performances) May 31st - July 6th: Europe (21 performances) ←★Here★ August 1st - September 27th: North America #3 (33 performances) This is ZZ TOP in 1990/1991. As usual, the focus will be on North America, but a European leg will also be held in the second half. The Milton Keynes performance of this work was a concert on the final day. Also, this day was the only UK performance of the “RECYCLER Tour”, an outdoor festival-style performance with THUNDER, LITTLE ANGELS, THE LAW, and Bryan Adams. It was a huge event, as if “MONSTERS OF ROCK ’85” had come back to life. This work, which vacuum-packs the scene of such a highlight performance, has the best sound with "super". What came out from the original master was a super direct sound that roared at zero distance. Judging from the sound, they must have been recording toward the outdoor venue's PA tower. Since it is outdoors, there is no echo component at all, and a thick, boney core is thrust right in front of you, absorbing a huge amount of enthusiasm, but it's like ripples writhing far beyond the performance sounds and vocals. This truly brings out the flavor of the outdoors to its fullest. Even more impressive is the sense of stability. Despite the shockingly powerful recording, it doesn't freak out at all. Normally, if it's this big and direct, it wouldn't be surprising if the deep bass would crack, but that doesn't happen. I don't know if the opening act bands were also recording, but they probably prepared carefully. The entire piece is filled with a superb feeling that would be impossible if you didn't know the characteristics of the sound from the beginning. The timbre has a slight audience-like feel, but the quality is at the level of a complete soundboard...I would say that this show has (partial) professional shots of the TV broadcast, but that soundboard is... This work is far more wonderful than the audio. What is depicted with such transcendental direct sound is a full show that ideally summarizes the early classics and the golden Warner era. Let's organize the set here and experience its richness. London Records era (7 songs) Rio Grande Mad: Just Got Paid Tres Hombres: Waitin' for the Bus/Jesus Just Left Chicago/La Grange Fandango!: Heard It on the X/Blue Jean Blues / Tush Warner Brothers era (14 songs) - Elegy for Massacre: Manic Mechanic - El Loco: Ten Foot Pole / Tube Snake Boogie - Eliminator: Gimme All Your Lovin' / Got Me Under Pressure / Sharp Dressed Man / Legs - Afterburner :Sleeping Bag ・Recycler: Tell It/Concrete and Steel/My Head's in Mississippi/2,000 Blues/Lovething/Give it Up...and so on. What I'm really happy about is the group of new songs from "RECYCLER," and while the signature song "My Head's in Mississippi" is still played today, the rest are unique to the 90s. In particular, “Lovething” is a limited song that has only been played on the “RECYCLER Tour” before and after. Also, this tour was the last time ``Sleeping Bag'' and ``Ten Foot Pole'' were played as 80's songs. This is a delicious selection of masterpieces that is perfect for the moment when times change. Although it is an original recording that can only be heard in this work, the quality easily surpasses that of broadcast soundboards. It is a masterpiece that allows you to fully experience the highlight performance with such transcendent sound. It came out to the public because of the news of Dusty's death, but I can understand both the desire to keep it a secret and the desire to share it widely now. A live album that feels like a special feeling transformed into sound. The best audience recording of "July 6, 1991 Milton Keynes performance". This is the original master of this work that was given to us by the recording artist himself, and it is a super direct sound that roars at zero distance. Since it is outdoors, there is no echo component at all, and a thick, boney core is thrust right in front of you, absorbing the huge enthusiasm, but it's like a ripple that writhes far beyond the performance sound and vocals. It's much better than the sound board audio of TV broadcast pro shots. This is a masterpiece of a live album that ideally summarizes the early classics and the golden Warner era, as well as a live album where you can fully experience the passionate performances that can be expected from highlight performances at large venues. Milton Keynes National Bowl, Milton Keynes, UK 6th July 1991 TRULY PERFECT SOUND(from Original Masters) Disc 1(62:26) 1. Planet of Women 2. Sleeping Bag 3. Tell It 4. Waitin' for the Bus 5. Jesus Just Left Chicago 6. Ten Foot Pole 7. Gimme All Your Lovin' 8. Concrete and Steel 9. My Head's in Mississippi 10. Manic Mechanic 11. Heard It on the X 12. 2000 Blues 13. Blue Jean Blues 14. Just Got Paid 15. Lovething Disc 2(33:43) 1. Got Me Under Pressure 2. Sharp Dressed Man 3. Give It Up 4. Legs 5. Tube Snake Boogie 6. La Grange (with Sloppy Drunk Jam) 7. Tush Billy Gibbons - Guitar, Vocal Dusty Hill - Bass, Vocal (R.I.P) Frank Beard - Drums
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