Whitesnake / Definitive Budokan 1983 / 2CD

Whitesnake / Definitive Budokan 1983 / 2CD / Zodiac

Translated text:

Live at Budokan, Tokyo, Japan 22nd February 1983 Taken from the original cassette tape(TDK SA-X 90) belonged to Cozy Powell.


Click Image To Enlarge

The transcendental stereo sound board of 1983 which was blown into the legendary Koji cassette. The decision board that becomes the ultimate specification appears in permanent preservation press 2CD.
“February 22, 1983: Nippon Budokan” performance was held in the cozy cassette. It is a direct board sound board album of that table. WHITESNAKE was a big trip from the first visit to Japan, but in 1983, which was the third time, popularity exploded with RAINBOW / MSG hero Cozy Powell. It was a tremendous excitement. First of all, let’s look back on the position of this work from the schedule of the time.

· February 7th + 8th: Hokkaido Welfare Pension Center
· February 10: Fukushima Cultural Center
· February 12: Utsunomiya City Cultural Center
· February 14th + 15th: Osaka Festival Hall
· February 16: Kyoto Hall
· February 18: Osaka Health Pension Center
· February 21: Aichi Gymnasium
· February 22: Nippon Budokan 【this work】
· February 23: Nippon Budokan

Over all, 11 shows. Not only was the number of performances increased, but also the names of the various venues were slurry. It was the biggest Japan tour of the history of White Snake, lined up in the 1997 Farewell Tour. Even so, this work is a highlight performance. It was WHITESNAKE’s first Nippon Budokan.
Such Nippon Budokan soundboard is such a name sound source suitable for legend to call. Originated from the cassette tape of Cozy treasures, which appeared as “1983 BUDOKAN MONITOR MIX” from the early Langley label. The fact that the sound board existed was a shock itself, but the contents are also super strong. The direct sound board of the desk is an eyed feeling, but this cozy tape was mad mad. For example, one drum has a close contact feeling that the ear is attached to the skin, a stereo feeling also bread left and right with a great width. That is the head itself as a drum kit, a sense of sync with the sticks flying from the right to the left. Of course, both guitar, bass and vocals. The vibrations of the strings are visible in front of us and the deep voice of David Cavadair is poured into the eardrum.
More powerful is a super-vivid sound mix. This is terrible and ferocious again. At this time there is an official video “MONSTERS OF ROCK ’83” and the ultimate television broadcast of West Germany, but such a sound board is a neatly arranged mix, but this work is totally different. When the guitar turns to backing it falls to the point where its existence disappears and when it gets solo it pushes everything out and comes out before. The vocal effect also jumps out suddenly, it gets disarranged, it quickly disappears without a lingering finish. In recent years, the reception state is like a good IEMs sound for transcendence.

【Ultimate evolution form of transcendental stereo · sound board】
This work digitizes such transcendental sound board from the original cozy tape again. It is the ultimate board that aimed at the highest peak ever with the latest high-end equipment. Actually, that sound is quite different. In the original board, the range is narrowed or the bass is spoiled as the limiter is applied to the treble when raising the tape. There was even a part where John Road’s organ fell high. However, this time it completely resolves such disadvantages. The Omotama Master recorded up to the extraordinarily high note range (such as the feeling of cymbal cha-chi) in the cassette, but all of them also made it possible to fully digitize the original sound that the tape itself was sucking.
It is exactly the highest peak ever, but the shortcomings of the recording itself could not be solved with digitization alone. It is a missing recording. At the time of the show, the tape was not turning, the beginning of the first song “Walking In The Shadow Of The Blues” was unrecorded. In addition, in the mid stage of the show, the second half of “Crying In The Rain” solo and “Soldier Of Fortune” were parted out. Therefore, this work supplements with audiences recording. Of course, supplementary material also aimed at the ultimate, using Miracle Man’s recording “PYTHON MAGNUM” which is the best of the day, we corrected the sound with full power and seamlessly connected it. Although it is not sure that it can not be distinguished from the transcendental sound board in truly, since Miracle Man recording also has an oddly on sound which is separated from the audience, it is possible to enjoy a full show with little sense of incongruity.

【Ultra individuality group WHITESNAKE only in 1983】
The show which it revived with such ultimate specification is great. Anyway, the overwhelming thing is the ensemble because it’s 1983. Anyway, the brilliant beat by Cozy & Colin · Hodgkinson of new subscription, especially the base of Hodgkinson is amazing. Normally Cozy’s Baka deka & powerful drumming will eat bass in any band, but Hodgkinson is a straight-line game. Offering the famous band of jazz rock, BACK DOOR, the beat that hits black as it is, glaring the ringing if the attack is intense. It refuses to turn to the assistant of Kozie, it is a beat battle where the Australian arm sparks. This attitude is true opposite to Neil Murray who was a companion. Even in Koji’s career, it is not about Denny Ball (BEDLAM) or Jack Bruce (OVER THE TOP) that hit hard up to this point.
Moreover, it is not just intense. Although it was somewhat like a metallic rush in the Sixth era, here is a blues rock to the last. Hodgkinson is deeply acquainted with blues not only to jazz rock but also to cover the covering of Robert Johnson’s clarity. Even in the up tempo it penetrated the sense of the Woburn base conferred by Robert Jones, and indeed it is Bruzie. Cozy himself seemed to liked his bassist more more, but because the seriousness is a serious contest, the armor groove is delicious.
Mel Galley, Mickey Moody and John Road riding such rhythm corps are also wonderful. Mel’s cutting which pursued fan clock by TRAPEZE and Mickey’s slide lovingly El Mor James, both showed admiration for black music obediently but the character is vividly different. As John Rhodes asserted that “it is the best in the Japanese performance so far”, it will let you listen to infinite Improvisations with a whisper. Of course MR is essential, Deep Voice also makes a harrowy roar that is quite different from the scream afterwards. Everything is pushed directly into the brain by a transcendental sound board.

From blues rock to metal, to AOR neighbors WHITESNAKE has actually changed its facial expression widely. It is a super best sound board that synchronizes with the White Snake in 1983 which was a group of unique personality in its history. Cozy tape and Miracle Man tape sucking in the same show. It is the highest peak ever in history that digitized both of them using modern technology and finished in full show. 1983 · A masterpiece of a live album that draws Nippon Budokan at the ultimate quality. Please, enjoy it forever with the permanent preservation press 2CD.


・2月22日:日本武道館 【本作】

そんな日本武道館サウンドボードは、まさに伝説呼ぶに相応しい名音源。コージー秘蔵のカセット・テープから起こされ、初期Langleyレーベルから『1983 BUDOKAN MONITOR MIX』として登場したもの。サウンドボードが存在していた事実自体が衝撃でしたが、中身も超強烈。卓直結サウンドボードは耳元感が目玉ですが、このコージー・テープは常軌を逸していた。例えば、ドラム1つとっても皮に耳をくっつけているような密着感で、ステレオ感ももの凄い幅で左右にパン。それこそ頭自体がドラムキットになり、右から左からスティックが飛んでくるようなシンクロ感。もちろん、ギターもベースもヴォーカルも然り。弦の振動が目の前に見え、鼓膜に向かってデヴィッド・カヴァデールのディープ・ヴォイスが流し込まれるのです。
それ以上に強力なのが超生々しいサウンド・ミックス。これがまた思いっきり凶暴。この時期にはオフィシャル映像『MONSTERS OF ROCK ‘83』や西ドイツの極上テレビ放送も存在しますが、そうしたサウンドボードは作品然とした整然としたミックスなのですが、本作はまったく異なる。ギターがバッキングに回れば存在が消えかけるほど下がり、ソロになるとすべてを押しのけて前に出てくる。ヴォーカル・エフェクトも突如として飛び出しては乱れ飛び、余韻もなくサッと消える。近年で喩えるなら、受信状態が超絶に良いIEMsのようなサウンドなのです。

まさに史上最高峰サウンドなのですが、録音自体の欠点はデジタル化だけでは解消できなかった。それは録音漏れ。開演時にはテープが回っておらず、1曲目「Walking In The Shadow Of The Blues」の冒頭部分が未録音。さらにショウ中盤では「Crying In The Rain」のソロ後半や「Soldier Of Fortune」の一部が切れ切れになっていたのです。そこで、本作はオーディエンス録音で補完。もちろん、補完材料も究極を目指し、この日のベストであるMiracle Man録音の『PYTHON MAGNUM』を使用し、全力でサウンドを補正した上でシームレスに繋げました。さすがに超絶サウンドボードと区別が付かないということはありませんが、Miracle Man録音もオーディエンス離れした異様にオンなサウンドのため、違和感はほとんどなくフルショウを楽しめるのです。

そんな究極仕様で甦ったショウこそが素晴らしい。とにかく圧倒的なのは1983年だからこそのアンサンブル。とにかく鮮烈なのは新加入のコージー&コリン・ホジキンソンによるビートで、特にホジキンソンのベースが凄い。通常、コージーのバカデカ&パワフルなドラミングはどのバンドでもベースを食ってしまいますが、ホジキンソンは真っ向勝負。ジャズロックの名バンド、BACK DOORそのままの黒くハネるビートを提供し、アタックも強烈なら鳴りも艶やか。コージーの補佐に回ることを拒絶し、豪腕同士の火花散るビート合戦になっているのです。この姿勢は相棒然としたニール・マーレイとは真逆。コージーのキャリアでも、ここまで激しくぶつかったのはデニー・ボール(BEDLAM)かジャック・ブルース(OVER THE TOP)くらいではないでしょうか。

ブルースロックからメタル、AOR寄りまで実は幅広く表情を変えてきたWHITESNAKE。その歴史でも類を見ない個性派集団だった1983年白蛇とシンクロする超極上サウンドボードです。同じショウを吸い込んだコージー・テープとMiracle Manテープ。その双方を現代技術でデジタル化し直し、フルショウに仕上げた史上最高峰盤です。1983年・日本武道館を究極クオリティで描ききるライヴアルバムの大傑作。どうぞ、永久保存プレス2CDでいつまでもお楽しみください。


Disc 1 (41:37)
1. Intro. ★全部aud補填
2. Walking In The Shadow Of The Blues ★0:00 – 1:08 aud補填
3. Rough An’ Ready
4. Ready An’ Willing
5. Don’t Break My Heart Again
6. Here I Go Again
7. Lovehunter
8. Micky Moody Solo
9. Colin Hodgkinson Solo
10. Micky Moody Solo (reprise)
11. Lovehunter(reprise)

Disc 2 (56:55)
1. Crying In The Rain incl. Mel Galley Solo ★7:27 – 最後まで補填
2. Soldier Of Fortune ★0:00 – 1:59 補填 ★2:36 – 2:52 sbd/audを交互に複雑に補填
3. Jon Lord Solo
4. Cozy Powell Solo feat. 633 Squadron & 1812 Overture
5. (Ain’t No Love) In The Heart Of The City
6. Fool For Your Loving
7. Thank You
8. Wine, Women An’ Song
9. We Wish You Well

David Coverdale – Vocals Mel Galley – Guitar, Vocals Micky Moody – Guitar, Vocals
Jon Lord – Keyboards Colin Hodgkinson – Bass Cozy Powell – Drums


Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.