Whitesnake / Nagoya 1981 / 2CD

Whitesnake / Nagoya 1981 / 2CD / Zodiac
Translated Text:
Live at Nagoya-shi Kokaido, Nagoya, Japan 27th June 1981


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For us Japanese …. No, “1981 Japan in Japan” for manians all over the world who love “Classic SNAKE”. It is a reprint of super-name recording reigning on that throne.
Anyway, this work is special. It is too special one. Its identity is the finest audience album “June 27, 1981: Nagoya City Auditorium” performance. Recording, also known as the famous board “COME AN ‘GET THEM”, which once dominated the world by Langley label. It is a live album that has become a legend among maniacs all over the world. Why is this work, and “Japan in 1981” is special? In explaining it, I will begin a detour a little … ….

【Tour with no sound board even though it is the apex】
Originally “COME AN ‘GET IT TOUR” was special. It is the last tour of so-called “Classic SNAKE”, a tour where albums were brought up by superimposing one album and sent the Daimyo board to the second place in Britain. It was exactly the polar of British Blues Rock. However, despite such success stages, neither soundboard nor pro shot are present. Actually, in addition to the official board, there are plenty of exquisite stereo sound board albums of each tour. Since it is a good opportunity, let’s organize a bit.

● COME AN ‘GET IT TOUR: None at all! ← ★ Coco ★
(※ note: only representative sound board only)

In this way, there are official-class sound boards on all tours, but the only exception is “COME AN ‘GET IT TOUR”. Because such an air pocket tour is such an enthusiast of the world is craving. It is a long history that “substitute for sound board” has been sought after. Its dryness is an epitome of talking about “sound board!” Every time a powerful audience recording appears. In the history of such “COME AN ‘GET IT TOUR” exploration, Japan was the richest harvest in Japan. Not only was the recording mass-produced within a short schedule, but its level is unusually high. Most of the recordings in which maniacs were “noisy!” Were Japanese masters. This is the meaning of “” Japan in 1981 is special. ”

【The best live album which is also the top of the world】
In our shop, we have pressed and altered the three tops among them from the original · master. Let’s confirm the three on the schedule here.

· June 22: Asakusa International Theater “ASAKUSA ROCK!”
· June 23: Asakusa International Theater
· June 25: Nakano Sanguraza “DRAGONSNAKE”
· June 26th: Nakano Sanguraza
· June 27: Nagoya City Auditorium 【this work】
· June 29th: Osaka Festival Hall
· June 30th: Osaka Festival Hall

Three of the above. “Calm & Storm label” ASAKUSA ROCK! “, Shades label” DRAGONSNAKE “, and this work. These are three. At our shop, we introduced both as “audience recording”, but foreigners who can not read the Japanese info every time they appear is “a sound board!” And a big fuss. It was also incomprehensible, just super clear and direct recording like sound board. Appeared first in such three, continuing to reign in the highest sound quality as “the throne” is the famous board “Nagoya performances” Daimyo board “COME AN ‘GET THEM”, this work.
In fact, the quality of this work is the ultimate. Although all of the above three are clear sound recordings like sound boards, the direct feeling of extraordinary that the extremely thick “core” roaring from this work, even the recording position is unknown is out of the group. Of course, the top of “Japan in 1981” is the top of the world. It is also “tour No.1” which suppressed a lot of name recordings which had been called “soundboard” so far. Even now even ten years have passed since its appearance, I have never given that “throne” even once. As a matter of fact, this time we re – digitized from the Omoto master, but it did not go beyond the original board quality. Of course it is easy to make it a slightly modified version even with equalization, but the superb sound did not allow that. So in this work, I finely reprinted the ultimate sound that I could not go beyond even with modern technology.
It is not only the sound that such a work is extremely popular. The essential live itself is also suitable for calling it the top of “Classic SNAKE”. The best songs from “SNAKEBITE” to “COME AN ‘GET IT” line up smoothly, and the performance is also extremely mature. Especially, I am happy that the song “Classic SNAKE” was a song that was never left on the soundboard. Still, “Do not Break My Heart Again” “Wine, Women An ‘Song” was played in the Cozy era, but until “Till The Day I Die” and “Would I Lie To You” None. Regardless of members, the line recording is zero, and it is no doubt that this work is the best sound & best version.

If you love only “Metal SNAKE” after “SERPENS ALBUS”, this work is unnecessary. But if you love “Classic SNAKE”, this is the No.1. There is no WHITESNAKE of rich, thick, superb sound above this work. Early FLEETWOOD MAC like a glossy slide, beautiful twin like WISHBONE ASH, and deep singing voice like FREE and the DEEP PUURPLE itself’s organ and drum … Utilizing the strengths of the later “British blues rock” “Classic SNAKE” fascinated by condensing the taste of. It is one that will be the vertex.
Speaking of the real intention, I would like you to realize how truly “Japan in 1981” was a trilogy with “ASAKUSA ROCK! (Calm & Storm 021)” and “DRAGONSNAKE (Shades 460)”. But first, from one. This work is suitable for that “top”. There is nothing beyond the time of selling out even beyond the ten years, a legendary masterpiece. An eternal live album is a majestic revival here.
私たち日本人にとって……いえ、“Classic SNAKE”を愛する世界中のマニアにとって特別な「1981年の日本」。その王座に君臨する超・名録音の復刻です。
とにかく、本作は特別。あまりにも特別な1本です。その正体は「1981年6月27日:名古屋市公会堂」公演の極上オーディエンス・アルバム。かつてLangleyレーベルで一世を風靡した大名盤『COME AN’ GET THEM』でも知られる録音。世界中のマニア間で伝説と化しているライヴアルバムなのです。なぜ本作は、そして「1981年の日本」が特別なのか。それをご説明するにあたり、少々回り道から始めさせていただきます……。

そもそも“COME AN’ GET IT TOUR”が特別。いわゆる“Classic SNAKE”最後のツアーであり、アルバム1枚1枚を重ねて滋味を錬成していった彼らが大名盤を全英2位に送り込んだツアー。まさに英国ブルース・ロックの極地でした。ところが、そんな成功期にも関わらず、サウンドボードもプロショットも一切ないのです。実際、オフィシャル盤以外にも各ツアーの極上ステレオサウンドボード・アルバムが盛りだくさん。良い機会ですので、ちょっと整理しておきましょう。

●COME AN’ GET IT TOUR:一切なし! ←★ココ★

このように、すべてのツアーで公式級サウンドボードが存在するわけですが、唯一の例外が“COME AN’ GET IT TOUR”。そんなエアポケット・ツアーですから世界中のマニアが渇望。長い歴史で「サウンドボード代わり」が求められ続けてきたわけです。その乾きは、強力なオーディエンス録音が登場する度に「サウンドボードだ!」と話題になる始末なのです。そんな“COME AN’ GET IT TOUR”探求の歴史で、もっとも豊作だったのが日本。短い日程の中で録音が量産されただけでなく、そのレベルが異様に高い。マニアが「サウンドボードだ!」と騒いだ録音も、ほとんどが日本マスターだった。これこそ「“1981年の日本”は特別」の意味なのです。


・6月22日:浅草国際劇場 『ASAKUSA ROCK!』
・6月27日:名古屋市公会堂 【本作】

以上の3本。Calm & Stormレーベルの『ASAKUSA ROCK!』、Shadesレーベルの『DRAGONSNAKE』、そして本作。この3本なのです。当店では、いずれも「オーディエンス録音」としてご紹介してきましたが、日本語インフォメーションを読めない外人マニアは登場の度に「サウンドボードだ!」と大騒ぎ。それも致し方ないほど、サウンドボード的な超クリア&ダイレクト録音ばかりでもあったのです。そんな3本の中でも一番最初に登場し、最高音質で“王座”に君臨し続けているのが名古屋公演の大名盤『COME AN’ GET THEM』であり、本作なのです。
そんな本作が極めているのは、サウンドだけではありません。肝心要のライヴそのものがまた、“Classic SNAKE”の頂点と呼ぶに相応しい。『SNAKEBITE』から『COME AN’ GET IT』までのベスト選曲がズラッと並び、演奏も円熟の極み。特に嬉しいのは“Classic SNAKE”がサウンドボードで残すことのなかった当時の新曲。それでも「Don’t Break My Heart Again」「Wine, Women An’ Song」はコージー時代に演奏されましたが、「Till The Day I Die」「Would I Lie To You」に至っては後のツアーでも一切なし。メンバーによらずライン録音ゼロであり、本作こそがベスト・サウンド&ベスト・バージョンなのは間違いないのです。

もし、あなたが『SERPENS ALBUS』以降の“Metal SNAKE”だけを愛するのなら本作は不要です。しかし“Classic SNAKE”を愛するのなら、これこそがNo.1。本作以上に芳醇で、濃厚で、極上サウンドのWHITESNAKEはいないのです。初期FLEETWOOD MACのように艶やかなスライド、WISHBONE ASHのように美しいツイン、そしてFREEのように深い歌声とDEEP PUURPLEそのもののオルガンとドラム………後発の強みを活かして“英国流ブルース・ロック”の旨みを凝縮して魅せた“Classic SNAKE”。その頂点となる1本です。
本音を言えば、『ASAKUSA ROCK!(Calm & Storm 021)』『DRAGONSNAKE(Shades 460)』との三部作で“1981年の日本”がいかに凄かったのか実感していただきたいところ。しかし、まずは1本から。本作はそれに相応しい“てっぺん”なのです。完売から十素年の時を超えても超えるもののない、伝説の名盤。永遠のライヴアルバムがここに堂々の復活です。

Disc 1(68:47)
1. Intro. 2. Walking In The Shadow Of The Blues 3. Sweet Talker 4. Ready An’ Willing
5. Don’t Break My Heart Again 6. Till The Day I Die 7. Lovehunter
8. Micky Moody Guitar Solo / Lovehunter(Reprise) 9. Mistreated incl. Soldier Of Fortune
10. Jon Lord Keyboard Solo 11. Belgian Tom’s Hat Trick 12. Ian Paice Drum Solo

Disc 2(41:00)
1. Ain’t No Love In The Heart Of The City 2. Would I Lie To You 3. Fool For Your Loving
4. Come On 5. Thank You 6. Wine, Women An’ Song 7. Member Introduction
8. Gimme Some Lovin’/Wine, Women An’ Song(Reprise) 9. We Wish You Well

David Coverdale – Vocals Bernie Marsden – Guitar Micky Moody – Guitar Neil Murray – Bass
Jon Lord – Keyboards Ian Paice – Drums


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