Whitesnake/Aichi,Japan 1981 Upgrade

What a live album, what a shock! I never expected that the best masterpiece would be updated every day like this… The pinnacle recording of the best blues rock tour in history “COME AN’ GET IT Tour” has been newly discovered. The live album released for the first time in the world is now available on 2CD!! [Amazing first appearance recording that easily updates the highest peak in history] What is permanently preserved in this work is “June 27, 1981: Nagoya City Public Hall ” Performance. It is a transcendental audience recording. If you have been paying attention to this article, you may have noticed that this work is from the same recording artist’s collection as the highly acclaimed double series “OSAKA 1981 1ST NIGHT” and “OSAKA 1981 2ND NIGHT.” It is a new recording that is completely different from the top work “NAGOYA 1981 (Zodiac 253)” that has reigned supreme so far. In order to familiarize yourself with this relationship, try organizing your collection by tour dates.・June 22nd “ASAKUSA ROCK!” ・June 23rd: Asakusa International Theater ・June 25th “DRAGONSNAKE” (Nakano: additional performance) ・June 26th: Nakano Sunplaza (additional performance) *June 27th : Nagoya City Public Hall　←★This work★ *June 29th “OSAKA 1981 1ST NIGHT” *June 30th “OSAKA 1981 2ND NIGHT” “*” marks are from the same recording artist’s collection. That’s all 7 performances. The Osaka sister double series mentioned above is the last two days, and the Nagoya performance of this work is one day before that. In other words, this trifecta is also the “Complete collection of the same recording artist of West Japan 3DAYS” (before that, all were in Tokyo). Although it is such a trifecta, it is also “three sisters of the highest level update” in terms of quality (although I don’t like to say it like Cat’s Eye). If you are a collector of classic white snakes, you will understand that this is outrageous. After all, “NAGOYA 1981” (hereinafter referred to as the previous work), which has been reporting on the Nagoya performance so far, is a masterpiece among masterpieces. It was the ultimate definitive album boasting a close feel that was said to be “the most sound board-like” among all the audience recordings of the classic white snake. It is a great masterpiece that even now I can’t shake my doubts as to whether it is possible to surpass that high “peak of masterpieces”. However, this work actually surpassed it. In fact, it does not exceed the previous work in terms of physical contact, but in terms of resolution, this work is overwhelming in terms of fine detail, sense of separation, and beauty. The difference is obvious from the first song “Walking In The Shadow Of The Blues”. The whole band ticks the rhythm, but in this work, the two guitars, bass, keyboard, and drums are all clearly separated. Although it was more vivid and delicate than usual in the previous work, the guitar and bass were harmoniously integrated. In other words, while the previous work had a “massive” feel to it, this work has a “multilayered feel” to it. The above is a comparison with the previous work of the same day, but this work wins even compared to the sister works “OSAKA 1981 1ST NIGHT” and “OSAKA 1981 2ND NIGHT” by the same recording artist. Of course, the sound characteristics are very similar due to the same recording artist and same equipment, but this work is overwhelmingly “close”. If you have the previous work “NAGOYA 1981”, please imagine a more delicate and beautiful sound, and if you have experienced the sister work “OSAKA 1981 1ST & 2ND NIGHT”, you can imagine a more dynamic and powerful sound. The sound of this work is about 1.2 times more transcendental than I imagined. [Three sisters who are the pinnacle of the music genre “blues rock”] What is depicted with such “direct beautiful sound” is a full show that is said to be the pinnacle of blues rock. If you know how great it is, I will repeat it again, so please skip the nonsense and place your order. Finally, for those who don’t know, let me explain why Japan in 1981 was special. “COME AN’ GET IT Tour” was special in the first place. This was the last tour of the so-called classic WHITESNAKE, and it was a tour in which they refined their taste with each album and sent their famous album to number 2 in the UK. It was truly the pinnacle of British blues rock. However, despite such a successful period, there are no sound boards or professional shots. In fact, in addition to the official edition, there are plenty of superb stereo soundboard albums from each tour. This is a good opportunity to organize things a bit. SNAKEBITE Tour: “VINTAGE COLLECTION 1978” TROUBLE Tour: “STEAL THE NIGHT” etc. LOVEHUNTER Tour: “DEFINITIVE NAGOYA 1980” “LINEHUNTER” etc. READY AN’ WILLING Tour: “LIVE…IN THE HEART OF THE CITY COMPLETE” etc. COME AN’ GET IT Tour: None! ← ★ Coco ★ (*Note: All are representative sound boards only) In this way, there is an official sound board for all tours, but the only exception is “COME AN’ GET IT Tour”. Since it is such an air pocket tour, enthusiasts all over the world are craving it. For a long time, there has been a demand for a “sound board replacement”. That dryness is the reason why every time a powerful audience recording appears, it becomes a hot topic, “It’s a sound board!” In the history of such “COME AN’ GET IT Tour” quest, Japan was the most fertile. Not only were the recordings mass-produced within a short period of time, but the level of the recordings was unusually high. Most of the recordings that enthusiasts were shouting, “It’s a soundboard!” were Japanese masters. This is the meaning of “Why is Japan in 1981 so special?” And, this work is a work that has updated the highest peak of such ultimate “Japan in 1981″. Up until now, I have introduced the Osaka double series as “either this new work or “NAGOYA 1981” is the pinnacle,” but this work has surpassed that “NAGOYA 1981.” It is the one and only peak. This is a super masterpiece that should be viewed not only as one of the three unparalleled sister works, but also as “the pinnacle of British blues rock.” Superb audience recording of the “June 27, 1981: Nagoya City Public Hall” performance. This is the first public recording by the same recording artist as the much-talked-about double series “OSAKA 1981 1ST NIGHT” and “OSAKA 1981 2ND NIGHT”, and the sound is at an all-time high. The Nagoya performance has been said to be the “best masterpiece of the COME AN’ GET IT Tour” from the previous recording, but this work has even more fine details, a vivid sense of separation, and a beautiful sound. The direct feeling is overwhelming compared to the sister work of the Osaka 2 performance, and it is a new masterpiece of the COME AN’ GET IT Tour that concentrates the masterpieces of the classic Shiroja. Live at Nagoya-shi Kokaido, Nagoya, Japan 27th June 1981 ULTIMATE SOUND(from Original Masters) Disc 1 (70:19) 1. Introduction 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 9. Lovehunter (reprise) 10. Mistreated 11. Soldier Of Fortune 12. Keyboard Solo 13. Belgian Tom’s Hat Trick 14. Drum Solo 15. Belgian Tom’s Hat Trick (reprise) Disc 2 (41:38) 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 Nagoya 6. Wine, Women an’ Song 7. Band Introductions incl. Lie Down, Gimme Some Lovin’ 8. 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