Whitesnake/UK 4.4.1984 Upgrade

WHITESNAKE in early 1984, which welcomed John Sykes and also had the thickness of a twin guitar. The masterpiece by the six members of that “SLIDE IT IN (US Mix)” has been upgraded. The masterpiece is engraved with “April 4, 1984 Nottingham Performance”. It is a transcendental audience recording recorded on the day of “4.4.4”. If you have paid attention to this article, you probably know that the “SLIDE IT IN Tour” is also famous for the fact that the number of members decreased from “6 people → 5 people → 4 people” during the tour. Therefore, the timing is of the utmost importance, so let’s start by reviewing the basics… (If you remember, please skip this). [Precious “Six-piece group including Sykes”] WHITESNAKE, who added Sykes and Neil Murray and solidified their new lineup in December 1983, released “SLIDE IT IN (UK MIX)” by the old members in January 1984. ” released. At the same time, Sykes & Murray was sent to the United States to produce “SLIDE IT IN (US REMIX)”. Due to the rush schedule of only 10 days (!) and the sudden illness of Keith Olsen, who was in charge of the remix, a complete replacement of Sykes was not possible. The other members remained in the UK, and when they wanted the same sound as the drums and keyboards, they used a synthesizer (some say Bill Cuomo) instead. After the remix work, the tour started in mid-February. Although the “SLIDE IT IN Tour” is one world tour, there are three lineups in the itinerary as follows. Lineup A: Mel Galley joins (6-piece lineup) February 17th – April 5th, 1984 (28 performances) ←★Here★ Lineup B: Galley drops out due to injury (5-piece lineup) April 1984 8th – 16th (6 performances) Lineup C: John Lord also leaves (4-piece formation) June 30, 1984 – January 19, 1985 (74 performances) [Latest transfer of legendary super recordings] This is a rough outline of “SLIDE IT IN Tour”. As you can see from the number of performances, the main one is “C: 4-person formation”, and there are plenty of soundboards / pro shots such as Japan’s SUPER ROCK ’84, ROCK IN RIO ’85, and Spokane performances. On the other hand, the rare ones are “A: 6-person formation” and “B: 5-person formation.” This work is a live album that is the best masterpiece of the “A: 6-person formation” era, which included Mel Galley. As some of you may have already noticed, this work is the highest version of the traditional recording that has been known for a long time. It is a brush-up version of the super famous recording that was once loved as “SHERWOOD LEGEND”. This recording is truly a “masterpiece.” After all, the three elements of “sound quality, complete recording, and performance content” were aligned at an unparalleled level. First of all, “sound quality”. In fact, this super famous recording was made by the world-renowned master “Crazy S.”. It is a masterpiece that has been re-digitized from the original cassette. Moreover, even the master collection is of exceptionally high quality. The direct feeling of the core with no distance, the vividness of the detailed details down to the minute contours, the beautiful sense of separation that does not mix even when the six members put their best effort into layering the sounds… Even with the previous version, it was like “It’s like a sound board”, “White snake full” It has been acclaimed as “the No. 1 recording in history,” but this work has been re-translated using the latest equipment, and the details have been further improved. [Complete recording and famous performances that surpass the official one] Currently, the highest peak of “A: 6-person formation” is said to be the Glasgow performance sound board that was made official with the Ultimate Edition of “SLIDE IT IN”, Despite this work being an audience recording, it has not yielded even a half step. No, this work is much more glossy than the official sound board, which was a little noisy, and has a natural feeling that does not increase sound pressure. “Complete recording” and “master performance” are bolder than such a sound and go beyond the official format. The official Glasgow soundboard was also made considerably longer, but Cozy’s drum solo was still cut out entirely (maybe to fit it on one CD). Of course, in this work, you can perfectly enjoy the dramatic solo that hits while playing “Mars”. And the best part is the great performance. In order to explain the circumstances around this, let’s zoom in on the detailed schedule of the 6-person group. [“SLIDE IT IN (UK Mix)” released on January 30th] ・February 17th – March 20th: Europe #1 (24 performances) ← *Official [March 21st: Coverdale’s throat is unwell]・April 1st-5th: Europe #2 (4 performances)　←★Here★《April 7th: Mel Galley injured》This is a total of 28 performances by “A: 6-person formation”. It is generally thought that it is one continuous line, but if you look closely, it is divided into two parts. The tour started normally, but after about a month something was wrong with Coverdale’s throat. It didn’t seem to be that serious, but I took precautions and rested for about 10 days before resuming “Europe #2.” The official Glasgow performance was the 11th performance in the early stages of “Europe #1”, but “Europe #2” was highly rated. Having performed over 20 performances, the new lineup’s ensemble has become more comfortable, and the unintentional vacation has left them in excellent condition. Coverdale’s throat, which was a concern, has recovered perfectly, and Enzuen can hear the joy turned into excitement. As mentioned above, there are only four performances “from restarting to Mel leaving”, but the Nottingham performance of this work is the third performance. A miraculous recording was realized in a truly miraculous show. The Nottingham recording seemed to have been dethroned with the appearance of the Glasgow performance soundboard, which was made longer by the official. However, in reality, it was only proven that the Nottingham recording was at a height that even the official version could not reach. This legendary masterpiece has been carefully re-digitized using modern technology. Not limited to 6-person formations, there will be no audience recording in the Sykes era that sounds better than this work. One that stands at such a high level. A masterpiece from the Sykes & Galley era. This is a superb audience recording of “April 4, 1984 Nottingham Performance”. A legendary recording by world-renowned master Crazy S., transferred from Omoto cassette using the latest technology. The direct feeling of the core with no distance, the vividness of the detailed details down to the minute contours, the beautiful sense of separation that does not mix even when the six members put their best effort into layering the sounds… Even with the previous version, it was like “It’s like a sound board”, “White snake full” It has been praised as “No. 1 recording in history”, but the details have been further improved. Cozy’s drum solo, which was also cut on the official soundboard of the Glasgow performance, is also included, allowing you to experience the precious Sykes & Galley era at its best and completely. Royal Centre, Nottingham, UK 4th April 1984 TRULY PERFECT/ULTIMATE SOUND(from Original Masters)*Upgrade Disc 1 (45:51) 1. Intro. 2. Gambler 3. Guilty Of Love 4. Ready An’ Willing 5. Love Ain ‘t No Stranger 6. Here I Go Again 7. Slow An’ Easy 8. Crying In The Rain 9. Blindman / Soldier Of Fortune Disc 2 (44:59) 1. Member Introduction 2. Keyboard Solo 3. Drum Solo feat. Mars 4. Ain’t No Love In The Heart Of The City 5. Fool For Your Loving 6. Need Your Love So Bad/Thank You 7. Slide It In 8. Don’t Break My Heart Again 9. We Wish You Well David Coverdale – Vocal John Sykes – Guitar Mel Galley – Guitar Jon Lord – Keyboards Neil Murray – Bass Cozy Powell – Drums