Jethro Tull/London,UK 1990 Upgrade

A significantly upgraded master of the finest stereo soundboard that represented JETHRO TULL in the 90s has been newly discovered. A shocking sound is now available. The shocking sound depicts “September 1, 1990 London Performance”. This is a superb stereo soundboard recording of the show at “Wembley Stadium”. Speaking of “Wembley Stadium”, it is a glorious venue where only the biggest names can hold concerts, but they have only stood on the stage once. It was around the time when they were attracting attention after unexpectedly winning a Grammy Award, and it was a festival-style show held with FLEETWOOD MAC, Hall & Oates, and RIVER CITY PEOPLE (they were the second performer after FLEETWOOD MAC). . Also, JETHRO TULL at that time was in the “ROCK ISLAND” era. First, let’s look back at the show’s position from the schedule at that time. ●1989《“ROCK ISLAND” released on August 21st》・September 18th – October 16th: Europe #1 (22 performances)・October 23rd – December 10th: North America (38 performances) ●1990 May 4-28: UK (19 performances) August 25-September 2: Europe #2 (5 performances) ←★Coco★ September 8-15: Brazil (6 performances) )・September 22: Milton Keynes performance This is JETHRO TULL in 1989/1990. The main part of the world tour accompanying “ROCK ISLAND” will end in May. After that, we participated in huge events such as summer festivals in Europe and South America. The Wembley performance of this work was the fourth concert of “Europe #2”. Such a show has long been known for its superb soundboard, and has been known as the pinnacle of the 90s, along with the official editions “IN CONCERT” and “A LITTLE LIGHT MUSIC.” Of course, this work is also a sound board recording, but its significance is completely different. It is a leaked master that was released very recently. Moreover, the person who released it was the same person who released U.K.’s “WILMINGTON 2012,” which caused a shock when it was released. This time as well, just like in the U.K., it is being woken up from a DAT clone recorded directly from the mix desk. If you’ve experienced the U.K., I’m sure you’ve already made up your mind, but this is a photo that will hit you again with that shock. The first thing that surprises me is its length. The previous soundboard was recorded for about an hour up to “Aqualung”, but this time’s master includes the subsequent encores “Locomotive Breath”, “Seal Driver / Third Hooray Theme” and “Cheerio”, and is 70 minutes long. Exceed. Although it was still a short festival-style set, it turned out that the show, which had been thought to have no encore, was actually much longer. The impact that exceeds that length is the sound. This is so intense. I can hardly feel the presence of the large audience that fills Wembley because it is directly connected to the table, but the performance sound that makes it better is amazing. It is natural that it is in close contact because it is a sound board, but the details are abnormal. The direct feel of the guitar, as if a plug was inserted into your brain, the vividness of the completely separate drums, and the beauty of the keyboard, where even the subtle vibrations of the vibe are pleasant. Each one is amazing, but the bass is especially overwhelming. The toughness of the attack is impressive, and the sound that comes from it is rich, with plenty of dark, shiny grooves. In the case of a sound board that is directly connected to a desk, it may sometimes result in a rough mix, but this work does not even have that worry. In fact, at the time of its release, it had undergone careful mastering, including adjusting the muddy bass, adjusting the balance between the mids and highs, and enhancing the stereo feel. His sense is so outstanding that you wonder if he is a professional official engineer, and each instrument is so clear in all ranges that it seems like they are competing for clarity, but they never mix together. I would like to call it “completely official grade” in terms of sound quality and mix, but it is actually more than that. It is a vividness that can only be achieved by direct connection to the desk. This also applies to all instruments, but Ian Anderson’s vocals and flute are the ones that make you feel the most. The reality is overwhelming, as you can even feel the flow of breath blowing through the brass of the flute and the wire mesh of the microphone. What’s more, not only is the core exposed, but the effects (at a level that matches the on-site PA) are exquisitely applied, and the very slight echo creates a balance with the ensemble, giving it the dignity of a musical piece. . It’s easy to say, “I can officially release it as is,” but it’s a supreme sound world that I don’t want to dismiss with that. The show that unfolds with such a transcendental sound is also wonderful. The set is wide enough to summarize the glorious history. A selection of famous songs from each era, from his debut work “Serenade To A Cuckoo” to the title number of his latest work “ROCK ISLAND”. Although only “AQUALUNG” and “THE BROADSWORD AND THE BEAST” are thick, they are still limited to only three songs and cover the entire career evenly. Also, as mentioned above, there are two official live works “IN CONCERT” and “A LITTLE LIGHT MUSIC” left by the members at this time, but there is little overlap with them. The former is only “Thick As A Brick”, and the latter is about 4 songs. This work is the best musical work that allows you to enjoy a monumental concert at a large venue, but it is also a super masterpiece that can be combined with “IN CONCERT” and “A LITTLE LIGHT MUSIC” as a “90’s trilogy”. is. Anyway, this is JETHRO TULL’s first and ultimate stereo sound board album in a while. I thought that since there was a previous release, I wouldn’t be as surprised as I was in the U.K. where the sound board wasn’t completely complete, but I still can’t stay calm in front of this quality. I can’t stop bootlegging because I suddenly come across such a sound source. Live at Wembley Stadium, London, UK 1st September 1990 STEREO SBD(UPGRADE & LONGER) (71:20) 1. Intro Carmina Burana 2. Thick As A Brick 3. Living In The Past 4. Steel Monkey 5. Serenade To A Cuckoo 6. Rock Island 7. Pussy Willow / Pibroch (inst.) 8. My God 9. Bouree 10. My God (reprise) 11. Fat Man 12. Too Old To Rock ‘N’ Roll, Too Young to Die 13. Aqualung 14. Locomotive Breath 15. Seal Driver / Third Hooray Theme 16. Cherrio Ian Anderson – vocals, flute, guitar Martin Barre – guitars, mandolin Doane Perry – drums, percussions Dave Pegg – bass, vocals Martin Allcock – keyboards, acoustic guitar