ZZ Top/London,UK 1983

ZZ TOP rose to popularity in 1983 with the astronomical hit of “ELIMINATOR”. A super original recording that conveys the scene is now available. What is inscribed in this work is “October 16, 1983 London Performance”. This is a transcendental audience recording recorded at the legendary “Marquee Club”. Although it was in the midst of great success at the time, the venue for this production was a “marquee” that could be filled with 200 people. In order to explain the circumstances around that, let’s take a look at the schedule at the time. 1983・January 1st-9th: North America #1 (6 performances) [“ELIMINATOR” released on March 23rd]・May 6th-August 13th: North America #2 (61 performances)・August 18th Sunday + 20th: UK (2 performances) ・September 1st – October 9th: North America #3 (26 performances) ・October 16th – November 30th: Europe (31 performances) ←★Here★ 1984・January 12th – February 12th: North America #4 (23 performances) This is ZZ TOP in 1983/1984. After the release of “ELIMINATOR”, they toured North America three times, their main battlefield, but in between they also performed at MONSTERS OF ROCK (August 20th) and held a large-scale European tour. The marquee performance of this work is a warm-up gig that was held prior to such a “European” tour, and it is a stage that is not even listed on the official tour date. You can enjoy the world’s biggest names in a small club… This work was recorded in such a dream-like setting, and is a masterpiece with the “super” rating. It’s so great that I want to list them all in rows as “super super…”. That’s no wonder, this work was recorded by a super famous taper that is said to have no collector in the UK who doesn’t know about it. This is a person who became a hot topic in Tom Petty’s masterpiece “BRIGHTON 1982 MASTER” that was released the other day, and it is a masterpiece of the ultimate gene that was made into a CD directly from the original cassette. In fact, what is emitted from the speakers is the tremendous sense of reality that can only be achieved by audience recording, and the close-knit closed room feeling that can only be found in a club. There was no sense of distance, it was like there were three people right in front of me…or rather, there were three people inside the speaker. Of course, if you play it loud, the whole room will turn into a “Marquee Club”, and if you listen to it with headphones, you’ll have a legendary club in your head. You can call it “like a sound board” or “completely official grade”, but if you say it so easily, it would be disrespectful to the sound source. Rather, it is a legendary live album that I would like to call “official surpassing audience” with the utmost respect. Of course, it’s not just the sound that’s amazing. A full show that explodes with the potential of a band that has taken over the world is overwhelming. Let’s organize the set here. 70’s (9 songs) – Rio Grande Mad: Francine – Torres Hombres: Waitin’ for the Bus / Jesus Just Left Chicago / Beer Drinkers & Hell Raisers / La Grange – Fandango! :Thunderbird/Heard It on the X/Tush・Tejas: Arrested for Driving While Blind・Others: I Love the Woman (Freddie King)/Jailhouse Rock (Elvis Presley) Warner Era (6 songs)・El Loco: Pearl Necklace/Party on the Patio/Tube Snake Boogie ・Eliminator: Got Me Under Pressure/I Got the Six/Sharp Dressed Man…and so on. While keeping the number of new songs to three, there is also plenty of repertoire from the 70’s LONDON RECORDS era. In addition to the killer classics, they also perform delicious songs such as “Francine,” “Thunderbird,” and “I Got the Six” at key points. And above all, the performance itself is extremely hot. The energy at its peak, with the whole world in its hands, is condensed in a narrow club space. The dense rock feel makes your flesh and blood dance, the shakubetsu groove shakes your spine, and the sense of reality of being in a secret space makes your skin crawl. It’s a tremendous music album that brings out the real pleasure of a live album at an extremely high level (and continuously). It is a fascinating live album that recreates a miraculous space not because it is an audience recording, but because it is a guest recording. Rather, I think that an unusual culture of audience recording has been developed to create this work…This is a piece of cultural heritage that even makes you think of such a misguided idea. Superb audience recording of “October 16, 1983 Marquee Club Performance”. This work, recorded at a warm-up gig that is not even listed on the tour date, is the best sound with “super”. The original cassette sound provided by the recording person himself has a close feeling as if there are three people inside the speaker, and the feeling of being in a closed room unique to a club is amazing. The reality is that when you play loud, the whole room becomes a “marquee club”, concentrating the potential of a band at its peak that has conquered the whole world in a small club space. This is a legendary live album that I would like to call “the official audience” with the utmost respect. Live at Marquee Club, London, UK 16th October 1983 ULTIMATE SOUND(from Original Masters) (68:11) 1. Intro 2. Thunderbird 3. Got Me Under Pressure 4. I Got the Six 5. Waitin’ for the Bus 6. Jesus Just Left Chicago 7. Francine 8. Sharp Dressed Man 9. Heard It on the X 10. I Love the Woman (Freddie King cover) 11. Pearl Necklace 12. Beer Drinkers & Hell Raisers 13. Arrested for Driving While Blind 14. Party on the Patio 15. Tube Snake Boogie 16. Jailhouse Rock 17. La Grange (with Sloppy Drunk Jam) 18. Tush Billy Gibbons – Guitar & Vocal Dusty Hill – Bass & Vocal Frank Beard – Drums