The 1983 transcendent stereo soundboard that was recorded on the legendary Cozy cassette. The ultimate version is here. The Cozy cassette contained the performance "February 22, 1983: Nippon Budokan". This is the direct-to-table soundboard album. WHITESNAKE was a big name from his first visit to Japan, but in 1983, his third visit, he became extremely popular after welcoming 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 at that time.・February 7th + 8th: Hokkaido Welfare Pension Hall・February 10th: Fukushima Cultural Center・February 12th: Utsunomiya City Cultural Hall・February 14th + 15th: Osaka Festival Hall・February 16th: Kyoto Hall・February 18th: Osaka Welfare Pension Hall・February 21st: Aichi Prefectural Gymnasium・February 22nd: Nippon Budokan [This work]・February 23rd: Nippon Budokan A total of 11 performances. Not only did the number of performances increase dramatically, but there were also many famous venues in various locations. It was the largest Japan tour in the history of White Snake, on par with the 1997 Farewell Tour. Among them, this work was a highlight performance. It was also WHITESNAKE's first Nippon Budokan. The Nippon Budokan soundboard is a legendary sound source. It was created from a cassette tape treasured by Cozy and appeared as "1983 BUDOKAN MONITOR MIX". The fact that the sound board existed was a shock, but the contents were also super intense. The main feature of the table-connected sound board is the feeling of being close to the ears, but this Cozy tape was out of the ordinary. For example, even a single drum has a close contact feeling as if your ears are attached to the skin, and the stereo feeling is also panned left and right with an incredible width. That's the very feeling of synchronization as if your head itself becomes a drum kit and the sticks are flying from right to left. Of course, the same goes for guitar, bass, and vocals. You can see the vibration of the strings in front of you, and David Coverdale's deep voice is poured into your eardrums. Even more powerful than that is the super-raw sound mix. This is also as brutal as it gets. During this period, there is the official video "MONSTERS OF ROCK '83" and the best TV broadcast in West Germany, but such sound boards are a neat and orderly mix, but this work is completely different. When the guitar goes to the backing, it goes down so much that it almost disappears, and when it becomes a solo, it pushes everything aside and comes forward. Vocal effects also suddenly pop out and fly away, disappearing without any lingering sound. If we compare it to something more recent, it sounds like IEMs with extremely good reception. [The ultimate evolution of the super stereo soundboard] This work digitizes such a super soundboard from the original Cozy tape. It is the ultimate board that aims to be the best in history with the latest high-end equipment. In fact, the sound is completely different. In the original board, the high notes were limited when the tape was transcribed, narrowing the range and spoiling the low notes. There was even a part where John Lord's organ dropped in high. However, this time these shortcomings have been completely eliminated. The original master recorded a high range that was rare for cassettes (for example, the crisp feel of the cymbals), but all of these were able to be completely digitized, including the original sound that the tape itself had absorbed. It is exactly the best sound in history, but the shortcomings of the recording itself could not be eliminated by digitization alone. That is, the recording was missed. At the start of the show, the tape was not running, and the opening part of the first song, "Walking In The Shadow Of The Blues", was not recorded. Furthermore, in the middle of the show, the second half of the solo of "Crying In The Rain" and part of "Soldier Of Fortune" were cut off. Therefore, this work was supplemented with an audience recording. Of course, the supplementary material also aimed for the ultimate, and the best of the day, Miracle Man's recording "PYTHON MAGNUM", was used, and the sound was corrected with all its might and connected seamlessly. As expected, it is not indistinguishable from a transcendent sound board, but the Miracle Man recording also has an unusually on sound that is far from the audience, so you can enjoy the full show with almost no sense of incongruity. [1983 only super individualistic WHITESNAKE] The show that was revived with such ultimate specifications is wonderful. Anyway, the overwhelming thing is the ensemble because it is 1983. Anyway, the most striking thing is the beat by the new members Cozy & Colin Hodgkinson, and Hodgkinson's bass is especially amazing. Usually, Cozy's big and powerful drumming would eat up the bass in any band, but Hodgkinson takes it head on. He provides a black, bouncy beat just like the famous jazz rock band BACK DOOR, and if the attack is intense, the sound is also lustrous. He refuses to be Cozy's assistant, and it's a beat battle between two powerful people with sparks flying. This attitude is the exact opposite of Neil Murray, who is his partner. In Cozy's career, the only people who have clashed so violently are Denny Ball (BEDLAM) and Jack Bruce (OVER THE TOP). And it's not just intense. In the Sykes era, he was a bit rushed with metallic sounds, but here it's blues rock. Hodgkinson is not only into jazz rock, but he is also well-versed in blues, and his specialty is covering Robert Johnson's songs with his guitar. Even in up-tempo, he sticks to the walking bass sense inherited from Robert Johnson, making it really bluesy. Cozy himself seems to have preferred a bassist who would do as he pleased, but the powerful groove that comes from a serious battle is delicious. Mel Galley, Mickey Moody, and Jon Lord, who ride on such a rhythm section, are also truly wonderful. Mel's cutting, which pursued funk rock in TRAPEZE, and Mickey's slide, who loves Elmore James, both show a sincere admiration for black music, but their characters are strikingly different. Jon Lord also declared that it was the best performance in Japan so far, and he let us listen to infinite improvisations with a sense of excitement. Of course, the essential MR. Deep Voice also roars with a manly roar that is completely different from the later screams. All of this is poured directly into your brain with a transcendent soundboard. WHITESNAKE has actually changed its expression widely, from blues rock to metal and AOR. This is a superb soundboard that synchronizes with the 1983 White Snake, a unique group that was unprecedented in its history. The Cozy Tape and Miracle Man Tape, which absorbed the same show, have both been digitized with modern technology to create the full show, making this the highest quality album ever made. A masterpiece of a live album that depicts the 1983 Nippon Budokan with the ultimate quality. Live at Budokan, Tokyo, Japan 22nd February 1983 STEREO SBD (from Original Masters) 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 - Compensation until the end 2. Soldier Of Fortune ★0:00 - 1:59 Filling ★2:36 - 2:52 Complex filling in alternating sbd/aud 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
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