Whitesnake/Studio Rehearsals 1982 Upgrade

WHITESNAKE in 1982, which was rebooted with the addition of Cozy Powell and Mel Galley. The soundboard album that conveys the rehearsals has been brushed up. It has been decided to release the ultimate sound CD with “2024 transfer + GRAF ZEPPELIN finish”. This work contains rehearsals for the “SAINTS & SINNERS Tour”. It is a stereo soundboard recording recorded on the cassette “TDK SA-C90” owned by the late Cozy Powell. The sound source was once released as the legendary board “PRODUCTION REHEARSALS”, but this work was re-transferred from the original cassette with the latest equipment. Furthermore, it is the highest peak updated version that has been polished with meticulous mastering by “GRAF ZEPPELIN”. Before the upgrade sound that you are interested in, let’s start with the importance of the sound source. Speaking of 1982, it was the biggest turning point when WHITESNAKE was reborn. Let’s look back on that journey.・January 29: Recording suspended/Moody leaves the band《April 7: Marsden fired》《June 16: Murray & Pace join with Gary Moore》《August 24: Cozy joins and Lord decides to stay》・September 24: Recording resumes《October: Moody returns/SAINTS & SINNERS complete》・November: Tour rehearsals ←★here★・December 10: “SAINTS & SINNERS Tour” beginsThis is WHITESNAKE in 1982. They started working on “SAINTS & SINNERS” in 1981, but Coverdale planned to change management in the middle of the process in order to invade the US. To terminate the contract, the band had to be broken up, so they went on hiatus. I will skip the twists and turns, but Coverdale teamed up with Cozy and launched the new WHITESNAKE with Mel Galley, who was once the first choice for a member, and Colin Hodgkinson, who had participated in Jon Lord’s solo tour. The new White Snake started rehearsing for the tour while finishing “SAINTS & SINNERS”. This work was recorded at the final stage of the run-through rehearsal. Sound from the latest transfer and detailed mastering Well, such a treasure sound board has been known as the best ever, but this work is the best of its kind. Anyway, the accuracy of the transfer and mastering is the highest ever, and if you are familiar with the conventional version, you will be surprised at the natural feeling. The density of each sound is much higher, and you can even feel the vibration of the instrument itself. In fact, it is finished with a more mature mastering than the conventional version, but it is still enough because the details are so detailed. However, even though it is “mature mastering”, the accuracy of this version is rather higher. Even the most minute noise is not overlooked, and the pitch/phase correction is precise enough to not tolerate even 1/1000th of a second of deviation (it is about 30 seconds shorter than the conventional version, but the reason for this is the cut of the silent part. The pitch is more precise in this work). The effect of phase correction is particularly wonderful this time. Even a slight phase shift will cause the localization to go wrong (it was slightly to the right in the conventional version), and the contours of the performance sound will also become blurred. This work is tightly tightened. This is more important than you might imagine. After all, this work is a transcendent sound board like the far north of the table direct connection system, so the highlight is the edge of the performance sound and the pan that blows away with the tremendous stereo width. This work naturally stands out in its flavor and awesomeness without forcing sound pressure. Another point is the processing of the bass. The balance is adjusted based on the band analysis, but the bass is stronger and the drive feeling is stronger than the original cassette sound. This is not just a low-frequency boost to make it more powerful, but a result of narrowing down the effective frequency range (sorry, but the specific numbers are a secret among secrets) to reproduce the original ensemble. The new WHITESNAKE has Colin Hodgkinson’s gorilla feeling as the key to the groove, which is already extremely pleasant. If you are someone who thinks that “SLIDE IT IN is limited to the original, not the American remix,” you will be grinning and saying, “This is it, this is it!”. A super serious rehearsal that can also be enjoyed as a re-recorded studio album. The super sound board, revived with such a top-of-the-line updated quality, is a “half-studio work” that is a little different from the actual concert. Coverdale’s on-site supervision, which gives instructions to the staff and members, is interesting, but the performance of the essential point is wonderful. Rehearsals are usually lukewarm performances, but this work is a rare exception. At the final run-through stage, the song has already soaked in, and everyone is in serious mode, probably because they have recorded it. Furthermore, the concentration of putting all of his energy into the performance without an audience is intense, and in a sense it is even more serious than the real thing. The performance is as serious as a studio work, and is a classic White Snake greatest hits + α. In other words, it is a “best album by the new WHITESNAKE”. And when viewed as a studio work, the drum solo is even more unmissable. It is the most magnificent studio recording of “633 Bomber Squadron & 1812” in Cozy’s history (!). Finally, let’s check out the contents of this best selection. Saints and Sinners (3 songs) Rough An’ Ready/Here I Go Again/Crying In The Rain Others (6 songs + α) Love Hunter: Walking In The Shadow Of The Blues/Love Hunter Fool For Your Loving: Ready An’ Willing/Fool For Your Loving (guitar & bass solo) Others: Don’t Break My Heart Again/Keyboard solo/Drum solo (633 Bomber Squadron & 1812)/Ain’t No Love In The Heart Of The City Mel Galley was the guitarist who was called before Bernie Marsden on the eve of the formation of White Snake in 1978, and Cozy was the drummer who was given higher priority than Ian Paice in 1979. The new WHITESNAKE in 1982 may actually be called the “original WHITESNAKE” that Coverdale & Moody originally conceived. This work is a rehearsal album that gives a valuable glimpse behind the scenes, but at the same time, it can be enjoyed as a re-recorded studio work by the new WHITESNAKE. This is the best soundboard album both as a first-class resource and as a pure music album. This is the highest peak update. This is a sister work of “SLIDE IT IN (original MIX)”. Super-excellent stereo soundboard recording recorded at the full rehearsal of the “SAINTS & SINNERS Tour”. This is the highest peak update, re-transferred from the original Cozy tape and finished with meticulous mastering by GRAF ZEPPELIN. It is more accurate than the previous version, and the natural feeling and density are increased. The balance, which was slightly to the right, has been adjusted, and Colin Hodgkinson’s gorilla feeling is also the best feeling. Not only can you experience a valuable rehearsal, but it is also an absolute masterpiece that can be enjoyed as a studio live work filled with serious mode performances. Newly digitized from cassette and newly mastered! ★ The low range has been reinforced somewhat, increasing the sense of drive. Phase correction. The positioning, which was slightly to the right in the previous version, has been largely corrected. The parts where the tape breaks have been appropriately edited so that it doesn’t sound out of place. Studio Rehearsals for Saints And Sinners Tour November 1982 STEREO SBD (from Original Masters) cl. Micky Moody Guitar Solo & Colin Hodgkinson Bass Solo 07. Crying In The Rain 08. Jon Lord Keyboard Solo #1 09. Jon Lord Keyboard Solo #2 10. Cozy Powell Drum Solo feat. 633 Squadron & 1812 Overture 11. Ain’t No Love In The Heart Of The City 12. Fool For Your Loving David Coverdale – Vocals Mel Galley – Guitar, Vocals Micky Moody – Guitar, Vocals Jon Lord – Keyboards Colin Hodgkinson – Bass Cozy Powell – Drums STEREO SOUNDBOARD RECORDING