ZZ TOP during the LONDON Records era was a standard-bearer of core southern rock. A live album that can be called the final result is now available. What is infused into this work is “March 16, 1977 Boston performance”. This is a powerful audience recording. The biggest point of this work is the sound that is hard to believe as a guest record, but the live period is also too delicious. In order to explain its meaning, let's start with an overview of the "WORLDWIDE TEXAS Tour", which was the last of the LONDON Records era. 1976 January 9-20: North America #1 (5 performances) February 23: Ashwaubenon performance “WORLDWIDE TEXAS Tour” May 29-August 14: North America #2 (34 performances) )・September 9th – November 28th: North America #3 (30 performances)《“THE BEST OF ZZ TOP” released on November 26th / “TEJAS” released on the 29th 1977・February 10th – July 9th : North America #4 (40 performances) ←★Coco★・December 28th-31st: North America #5 (4 performances) [Suspended activities] This is ZZ TOP in 1976/1977. Their career can be roughly divided into three parts: ``Early period = LONDON record era (1971-1977)'', ``Big hit period = Warner era (1979-1992)'', and ``Later = RCA/AMERICAN period (after 1993). )”. When transferring from LONDON Records to Warner Brothers, there was a hiatus for about two years, but the “WORLDWIDE TEXAS Tour” was the final tour held just before that. "Worldwide" was only in name and only in North America, but it wasn't until the 1980s that they began to expand into the rest of the world. During the London Records era, they only played a couple of showcase gigs in West Germany (1975), and were an inland rock band limited to North America. In any case, even in such “WORLDWIDE TEXAS Tour”, the Boston performance of this work is in the latter half. This was the 11th concert of "North America #4" after the release of LONDON Records final album "TEJAS". This work recorded at such a show is extremely thick and close. It is the newly discovered 1st Gene Master released by the prestigious Krw_co, so it has a long history, and the applause between songs is lively. However, the important sound of the performance is far away from the audience, the vocals are clear even when intertwined with the chorus, and the bass has a crisp attack sound and a roaring groove. A pre-feeling. It may be a simple trio ensemble, but every detail is so clear that I can't help but wonder, "Is this really Odins?" What is depicted with such ultra-clear and direct sound is the summary of the LONDON record era, which is very different from the 1980s. Let's organize the set here so that you can feel the culmination of it. Tres Hombres (6 songs) ・Precious and Grace／Waitin' for the Bus／Jesus Just Left Chicago／Move Me on Down the Line／Beer Drinkers & Hell Raisers／La Grange Fandango! (8 songs + α)・Thunderbird/Heard It on the X/Balinese/Nasty Dogs and Funky Kings/Blue Jean Blues/Mexican Blackbird/Tush/Backdoor Love Affair/Mellow Down Easy Tejas (7 songs)・Enjoy And Get It On/ Pan Am Highway Blues/It's Only Love/Ten Dollar Man/Arrested for Driving While Blind/She's A Heartbreaker/El Diablo Others (2 songs)・Rio Grande Mad: Chevrolet・Others: Rattlesnake Shake (FLEETWOOD MA cover)... And it looks like this. More than half of the songs from ``TRES HOMBRES'' and ``TEJAS'' were played on a large scale, and many tour-only songs such as ``Enjoy And Get It On,'' ``Pan Am Highway Blues,'' ``Ten Dollar Man,'' and ``She's A Heartbreaker'' were performed. Even “Move Me on Down the Line” is a unique number at the time, with almost no records since the transfer to Warner. And "FANDANGO!" goes even further. Although it is not strict as there is a medley, all songs except "Jailhouse Rock" are played. And the performance that plays out a huge number of rare songs in rapid succession is extremely exciting. Although the sense of scale does not match that of the later blockbuster era, he was still in his 20s and was able to boogie with great vigor and make the crowd roar. It's such a scorching live that you can feel the sweat and spittle flying around. The Warner Brothers era, which introduced synths and established a new era of boogie, is wonderful, but when it comes to the true essence of southern rock, the LONDON Records era is the one that brings out the soul of the South. This work is a new excavation live album that allows you to experience the best of “WORLDWIDE TEXAS Tour” which is the culmination of that work. This is a book packed with great performances from the early ZZ TOP, who had not yet set their sights on the world, which is why they were the core of ZZ TOP. Powerful audience recording of “March 16, 1977 Boston Performance”. This is the 1st Gene Master newly discovered by the prestigious "Krw_co", and it is extremely thick and close. It's a super clear and direct sound that makes you wonder, "Is this really Odins?" More than half of the songs from ``TRES HOMBRES'' and ``TEJAS'' were played at large scale, and all songs from ``FANDANGO!'' were performed except for ``Jailhouse Rock.'' This is an absolute album full of delicious repertoire that can't be expected after moving to Warner such as "Enjoy And Get It On", "Pan Am Highway Blues", "Ten Dollar Man", "She's A Heartbreaker", and "Move Me on Down the Line". Boston Garden, Boston, MA, USA 16th March 1977 TRULY PERFECT SOUND Disc 1 (38:43) 1. Intro 2. Thunderbird 3. Chevrolet 4. Precious And Grace 5. Waitin' For The Bus 6. Jesus Just Left Chicago 7. Enjoy And Get It On 8. Pan Am Highway Blues 9. Movin' On Down The Line 10. It's Only Love 11. Ten Dollar Man 12. Heard It On The X 13. Arrested While Driving Blind Disc 2(52:25) 1 Balinese 2. Funky Kings And Nasty Dogs 3. She's A Heartbreaker 4. Beer Drinkers & Hellraisers 5. Blue Jean Blues 6. Rattlesnake Shake 7. La Grange/Sloppy Drunk/Bar-B-Q 8. Mexican Blackbyrd 9. El Diablo 10. Tush 11. Backdoor Love Affair 12. Mellow Down Easy/Boogie Chillin' 13. Outro Billy Gibbons - guitar, vocals Dusty Hill - bass, vocals Frank Beard - drums, backing vocals
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