Description
The sound board sound source that brought a sensational topic to all RAINBOW / Ritchie Blackmore fans as soon as it appeared as the first release of a commemorative label, has now gained new life and is proudly released after 5 years. is back! RAINBOW’s Budokan performance on August 28th, the last day since their 1981 tour in Japan, was revealed in full in the recently released song “TOTAL SURRENDER,” and has already received great acclaim among fans. The scene of August 28th was revived in modern times with the appearance of the soundboard sound source as “SURRENDER DOCUMENT”, and it soon became widely known to fans as “the essential live to know about this performance in Japan”. became. This time, we have discovered a new master who is even more advanced than the tape that was used as the material for “SURRENDER DOCUMENT”, and by applying treatment work using the latest technology, we have created a masterpiece worthy of the name “Definitive”. It has been upgraded several levels along with its dignity. The old version “SURRENDER DOCUMENT” is still talked about among fans today not only for its impact, but also for its overwhelming high-quality sound where even Richie’s light fingerings were heard clearly and directly. For this reason, you may be suspicious and think, “The sound can’t get any better than that,” but if you listen to it and compare it to the main version released this time, the difference in sound is obvious, and the difference between the masters and the advanced remaster. The technology’s improvements in sound quality are especially evident in the reduction in hiss content on “Lazy” and “Catch The Rainbow.” This may seem like a very detailed and professional comparison, but if you carefully look back at the older albums after listening to this one, you’ll notice that the previous album, which was considered a masterpiece, had noise and noise. You will notice that the sound is surprisingly cloudy. The effect of the sound quality correction is also clear, with the bass that was previously flapping becoming a tighter, heavier sound, and the treble, which was originally clear, even the edges of the sound have been sharpened, giving it the colorful and transparent feel of this era. The sound image has been refined to bring out the unique musical tones. This work captures this special night with its outstanding ultra-high sound quality, so much so that the expression “official quality” seems trite even if you take a single tone. If RAINBOW fans don’t listen to this work, what on earth are they supposed to listen to? ? Richie’s guitar captivates everyone who listens to it, and there is no need to mention it again, but Bobby Rondinelli’s drums, which were a little off on “Spotlight Kid” and “Love’s No Friend” on the older albums, also have his unique play and presence. The drum solo in the second half is so powerful that it seems like it will change your perspective on him. Joe’s fresh singing voice makes you feel a more supple and youthful charm in “I Surrender”, “Man On The Silver Mountain”, and “Lost In Hollywood”, which was the last song for RAINBOW. Also, Roger Glover’s bass note, which was somewhat difficult to hear in “TOTAL SURRENDER”, is also vividly depicted in “Catch The Rainbow” and “Can’t Happen Here”. Don Airey’s keyboard, whose performance in Japan was effectively the last major work for RAINBOW, sounds even more colorful when you listen to the sound quality of this work, and the fantastic world of “Catch The Rainbow” It can be said with certainty that the magnitude of his contribution to RAINBOW, such as the creation of a spacey sound space before and after “Lost In Hollywood,” is comparable to that of past singers. In particular, the keyboard handling on “Difficult To Cure” is nothing short of exquisite, and the brilliant tone and technical sophistication backed up by his long career make us wonder once again, “Don Airey is the only keyboard suitable for RAINBOW!” Probably. As with the master excavated this time, the recording ended in the middle of “Long Live Rock ‘N’ Roll” like last time, so unfortunately I can’t help but think that the material after this has been lost. However, in the previous release, the last of “Long Live Rock’N’Roll” had faded out at the master stage, but this time the material was recorded continuously until the end of the tape. In this work, we respected that and recorded the material as it was without performing any fade processing when making it into a disc. You may be confused by the fact that the performance suddenly disappears in the middle of the song, but as a result, the recording time is slightly longer than last time. Speaking of RAINBOW’s Budokan performance sound board, it reminds me of the eternal masterpiece “WHEN EVENING FALLS” that contained the ’76 Ronnie era. Although this work has a different musical direction, it is one of the hues of the same “seven-colored rainbow” and radiates a brilliance and charm that rivals the masterpieces of the past! Also, if the high-quality audience recording “TOTAL SURRENDER” is the “audience edition” of the August 28, 1981 document, this work is positioned as the “stage edition” that is the opposite of that. It’s also fun to listen to the band’s passionate performance unfold before your eyes while imagining the screams and voices of the audience that you heard during “TOTAL SURRENDER.” Rather, by listening while comparing the two in this way, you will be able to gain a deeper understanding of this Budokan final day performance. I would like those who have not yet heard this Budokan sound board sound source, as well as those who have the old version, to come into contact with this work as if it were a completely new piece. Live at Budokan, Tokyo, Japan 28th August 1981 STEREO SBD(UPGRADE!!!)(from Original Masters) 1. Land Of Hope And Glory 2. Over The Rainbow 3. Spotlight Kid 4. Love’s No Friend 5. I Surrender 6. Lazy Intro 7. Man On The Silver Mountain 8. Catch The Rainbow 9. Can’t Happen Here 10. Keyboard Solo 11. Lost In Hollywood 12. Guitar Solo 13. Difficult To Cure 14. Jam/Drum Solo 15. Long Live Rock ‘n’ Roll Ritchie Blackmore – Guitar Joe Lynn Turner – Vocal Roger Glover – Bass Don Airey – Keyboards Bob Rondinelli – Drums STEREO SOUNDBOARD RECORDING
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