Whitesnake/RI, USA 1988

WHITESNAKE in 1988 was excited by the unprecedented success of “SERPENS ALBUS”. The best live album that allows you to witness the glorious scene is now available. What is engraved in this work is “January 26, 1988 Providence Performance”. This is the newly discovered audience recording. “SERPENS ALBUS” is undoubtedly Shiroja’s biggest hit, but that tour was not all glory from the beginning. He started off as the opening act for his junior, MOTLEY CRUE, and was later promoted to the headliner position after the sales of his album increased. First of all, let’s look back at the progress of such a leap and check the position of the show. ●1987《April 7th release of “SERPENS ALBUS》》・June 20th to October 27th: North America #1a (81 performances)《Promoted to headliner》・October 30th to December 3rd: North America #1b (26 performances) – December 10th – 23rd: Europe (10 performances) – December 29th – 31st: UK #1 (3 performances) – 1988 – January 2nd – 8th: UK #2 (6 performances) ・January 22nd – April 7th: North America #2 (49 performances) ←★Here★ ・June 11th – 22nd: Japan (8 performances) ・June 25th – August 15th : North America #3 (34 performances) This is WHITESNAKE’s peak world tour. It was literally the heyday of the White Snake, one of the longest and largest in its long history. After completing “North America #1” for about 4 months, he was promoted to headliner, and after that he toured the world including Japan, England, and West Germany. However, most of them are still in North America. The legs were divided into three, and the Providence performance of this work was the 11th performance of “North America #2”. This work is a new excavation master who vacuum-packed such a heyday night. It is a show that was not known for recording until now, but it has only recently appeared. It is arousing enthusiasts all over the world. Of course, if it just came out, it wouldn’t be talked about. Its true value lies in its excellent quality. In fact, the sound flowing from this work is really clear and the powerful core reaches straight, and the details are clear. Although the sound of the snare sounds (slightly) like an audience, it doesn’t give a sense of distance, and the vocals and guitar are outside the norm for guest records. Every single note played by the gorgeous members comes right in front of your eyes. It is not mistaken for a sound board because it absorbs the enthusiasm of the heyday, but in terms of clarity and ease of listening, it is comparable to FM broadcasting. Also, what’s a little interesting is that the taper himself records his own name. During the pauses between songs and the closing scene where “We Wish You Well” is played, he calls out “Steve Rasta Cahill Concert Network!” This looks like a radio DJ or a news reporter, and at first you might think, “Is this a radio recording?” That said, this taper also joins in the chorus and chants “One fuckin’ more!!” It seems like it’s a fun and playful idea. What is depicted with such a sound is a glorious show from the heyday. The set is based on the official Yoyogi Olympic pool, but it is narrowed down to the GEFFEN era only in North America. This is a good opportunity, so let’s organize it. ●SLIDE IT IN (4 songs)・Slide It In, Slow An’ Easy, Guilty Of Love, Love Ain’t No Stranger ●SERPENS ALBUS (6 songs + α)・Bad Boys incl. Children Of The Night, Here I Again, Is This Love, Crying In The Rain, Still Of The Night, Give Me All Your Love ●Others・Tush (ZZ TOP parody cover)…and so on. “Ain’t No Love in the Heart of the City”, which is not familiar in North America, was cut, and it was just a rush of “SLIDE IT IN” and “SERPENS ALBUS”. “Guilty Of Love”, which will be sealed for a while after that, is also delicious, but the arrangement / performance that runs through the whole song is wonderful. Particularly exquisite is the European duo: Adrian Vandenberg and Vivian Campbell. When he plays a riff, he gets sharp, and when he plays a solo, he uses his own unique phrases, making it flashy but still flowing and melodious. Later, Adrian’s partner was replaced with an American guitarist, but Vivienne was the best partner because of the compatibility with which they competed with each other in melodies. Another characteristic of this period is that he is not very conscious of John Sykes. For them, all of their songs are covers, so it doesn’t matter whether it’s Sykes or Mel Galley playing the original. Moreover, since it is at its peak, “SERPENS ALBUS” has not yet become an “insurmountable wall”. At 21st century shows, you can’t help but wonder how much Sykes-like it is, but that’s not the case with this work. If I were to compare this to Ozzy, it would be Jake E. Lee. Guitarists after Zakk Wylde have been striving to be perfect copies of Randy, as if to say, “Randy is God,” but since Jake was the successor of the same generation, he ruthlessly changed the colors to his own (this is why Ozzy during Jake’s era) is great). Adrian and Vivian in this work also have a number of bold arrangements and unique phrases that are typical of their contemporaries and generations, and are even refreshing. WHITESNAKE in 1988 was the darling of the times. This is a new excavation live album that allows you to experience the scene 100% with the best sound. A treasure like this suddenly appears after 31 years, so bootlegs can’t be underestimated. I can’t stop it. A masterpiece with glorious wind blowing out of the speakers. Live at Civic Center, Providence, RI, USA 26th January 1988 PERFECT SOUND *New Source!! Disc 1(43:27) 1. Intro 2. Bad Boys incl. Children Of The Night 3. Slide It In 4. Slow An’ Easy 5. Here I Again 6. Guilty Of Love 7. Is This Love 8. Love Ain’t No Stranger Disc 2(49:50) 1. Introduction of Adrian & Vivian 2. Guitar Solos 3. Crying In The Rain 4. Drum Solo 5. Crying In The Rain 6. Still Of The Night 7. Give Me All Your Love 8. Tush 9. We Wish You Well David Coverdale – vocals Adrian Vandenberg – guitar, backing vocals Vivian Campbell – guitar, backing vocals Rudy Sarzo – bass Tommy Aldridge – drums