Ozzy Osbourne/Wi, USA 1982

The big decision sound source from the Randy Rhoads era is back with an unexpected upgrade! This work is an audience album containing the “Milwaukee performance on January 22, 1982” about two months before Randy’s death. It was such a classic that it was even traded as a soundboard in the old days, and it is a recording that shines in recording history as a famous sound source that conveys the end of the short Randy era with the best sound. As it has been known for a long time, there are several previous releases, and in 2010, the “Master Direct Version” was released as the CD “ANGEL & DEMON”. It received great acclaim, with people saying, “The quality can’t get any better than this.” Even when I listen to it now, the freshness of the master of “ANGEL & DEMON” can only be considered perfect, but what has appeared this time is a “remastered version” that has been elaborated by overseas core enthusiasts. They have surpassed “ANGEL & DEMON,” which was said to be “nothing better than this.” Before introducing the mastering done by enthusiasts, let’s talk about how important this sound source is for first-timers. During the Randy era, when he released two studio albums, “BLIZZARD OF OZZ” and “DIARY OF A MADMAN,” he only toured for about a year and a half. Here’s a quick summary, including members other than Ozzy and Randy… “BLIZZARD OF OZZ TOUR 1980-1981”・September 3, 1980 – November 1, 1980: UK tour (34 performances) (B Daisley, L Kerslake, L Bridgewater)・April 22, 1981 – September 13 Sun: North American tour #1 (92 performances) + 1 UK performance (R Thurzo, T Aldridge, L Bridgewater) “DIARY OF A MADMAN TOUR 1981-1982” November 5th – December 2nd, 1981: European tour (10 performances) (R Thurzo, T Aldridge, L Bridgewater) December 30, 1981 – March 18, 1982: North American Tour #2 (46 performances) (R Thurzo, T Aldridge, D Airey) That’s all in 183 performances. Of these, most of the representative sound sources from the Randy era include the Cleveland 81 and Montreal 81, which were the basis for “TRIBUTE,” and the New York 81 that was discovered in the deluxe edition of “DIARY OF A MADMAN.” ” is concentrated on. Even if the “UK/European Tour”, which has a limited number of performances, is unavoidable, I really want to listen to the “North American Tour #2”, which has become a perfect star group with the addition of Don Airey, in high quality… such a mania. It is this Milwaukee performance that has quenched our thirst and continued to collect compliments such as “This is the DIARY OF A MADMAN TOUR”, “The masterpiece of 1982”, and “The strongest audience recording of the Randy era”. And, this work has achieved “beyond the top” of such historical recordings. It is probably based on the same master as “ANGEL & DEMON”, but it has been remastered by overseas core enthusiasts with plenty of time, effort, and love. Even in “ANGEL & DEMON”, processing was applied to make the recording shine the best, such as perfect pitch and noise treatment, but in this work, even the shortcomings of the recording itself were repaired. Not overlooking millisecond flip gaps, we carefully corrected random volume variations, and if one channel was missing, we copied the other channel to correct it. It took a lot of effort to reach the top. The work is done throughout the whole story, but the one that feels most powerful is “Diary Of A Madman” at the beginning. When recording from the audience seats, it is difficult to read the sounds at the beginning of the show, and various problems tend to occur. Even with this recording, there was some unrelated music left on the tape, one channel dropped, and the volume fluctuated. In “ANGEL & DEMON”, we delivered the “truth of Omoto recording” including that, but this work has been completely revised. In particular, the stability of “Diary Of A Madman” flowing from the left channel, which had fallen boldly, allows you to naturally immerse yourself in the show without making you think, “Huh?”. If you listen to it with headphones, you may be able to tell when it changes from both channels being the same (monaural) to stereo, but it doesn’t feel strange at all. The representative sound source of “DIARY OF A MADMAN TOUR” revived with that sound is truly paradise. Not only does the opening feature songs like “Diary Of A Madman” and “Over The Mountain,” which are different from “TRIBUTE,” but the whole song is filled with ephemeral melodies that seem like they’ll break if Randy’s guitar touches them, and Don Airey is beautifully scattered. The vivid phrases add to the excitement. Not to mention the strong rhythm section of Rudy and Aldridge, it was a sparkling show that was made possible by the fact that “everyone was a star”. It is poured into the ears with a direct feeling that has been called “like a sound board”. The world of “DIARY OF A MADMAN TOUR” is out of reach even if you try to collect official sources and soundboards. Because it is the strongest recording, even enthusiasts aim for “further heights” without hesitation. It has been over 34 years since this live performance, and because of the history that has been accumulated during that time, it was selected from among the many recordings and polished. A vacuum-packed 100% recording of the scene where Randy Rhoads shined the brightest, a live album that shines with the love of a maniac who has never forgotten him for many years. If you still love Randy, you should be able to feel this dazzle. Live at Mecca Auditorium, Milwaukee, WI. USA 22nd January 1982 TRULY PERFECT SOUND(UPGRADE) (78:56) 1. Diary Of A Madman 2. Over The Mountain 3. Mr. Crowley 4. Crazy Train 5. Revelation 6. Steal Away (The Night) 7. Suicide Solution 8. Guitar Solo 9. Drum Solo 10. Goodbye To Romance 11. I Don’t Know 12. No Bone Movies 13. Believer 14. Flying High Again 15. Iron Man 16. Children Of The Grave 17. Paranoid Ozzy Osbourne – Vocal Randy Rhoads – Guitar Rudy Sarzo – Bass Tommy Aldridge – Drums Don Airey – Keyboards