GiGinJapan Artwork of Japanese CDs (mostly) Kinks / Bethlehem 1983 / 2CDR / Uxbridge
Stabler Arena, Bethlehem, PA, USA 20th May 1983
Play sample :
The Kinks in 1983 who wanted fame as a stadium band in the United States. As if to show the peak of its popularity, we have introduced the best audience albums such as “MILWAUKEE 1983” or “L.A. FORUM 1983: MIKE MILLARD FIRST GENERATION TAPES” recorded by Mike Millard.
In particular, “MILWAUKEE 1983” is still a hidden bestseller as a masterpiece captured with a powerful sound pressure that makes maniacs say “no sound board needed”.
In the first place, the 1983 tour started without waiting for the release of the album “STATE OF CONFUSION”, and was rather a tour that was pushed forward by the big hit of “Come Dancing” released at the end of the previous year.
With the success in the United States since “LOW BUDGET”, this tour also has a dignified schedule of visiting only large venues over the course of three months. Among them, the masterpieces produced from the beginning of the tour in April were the “MILWAUKEE 1983” and “L.A. FORUM 1983”, but this time, one month has passed since those sound sources. And vacuum packed excitement.
Such an excellent audience was made public via Krw_co by a taper called “A luvsufo Analog Master”.
He recorded the stages of various artists in the 80’s and 90’s, and his skills are certainly excellent.
Although it is not as good as the “Soundboard Beyond” sound image of “MILWAUKEE 1983”, it is still a very on sound image. In addition, it has an exquisite sense of realism that is rich but never stresses listening. The sound source of this time is also a wonderful quality of the press level with plenty of room.
And most of all, more than a month has passed since the start of the tour, and the performance that has reached the next level splendidly from the two April stage albums mentioned above is a masterpiece.
For example, the high tension of “Superman”, which is led by the theme of “Batman”, is more intense than “MILWAUKEE 1983”. On top of that, he showed me the margin to medley to “Shaken ‘All Over” on the way.
“Don’t Forget to Dance”, which perfectly pairs with these intense performances, is still unreleased at this point, but its refreshing and pop performance is already outstanding on stage.
The opening of the B-side of “STATE OF CONFUSION”, which will be released after this, was an extremely impressive number, but from the reaction of the audience that was so excited that day, I had a feeling that it would turn into a masterpiece.
In this way, the 83-year tour has been released to the finest audiences, but a new piece that captures the evolved high-tension stage with perfect sound quality will be released this week. It is a wonderful quality suitable for calling the third masterpiece of the tour.
Uxbridge 1886
