Black Sabbath / Definitive Brescia 1973 / 1CD+1Bonus CDR

Black Sabbath / Definitive Brescia 1973 / 1CD+1Bonus CDR / Zodiac

Palazzo E.I.B., Brescia, Italy 21st February 1973 Plus Ltd Bonus CDR “Vol 4: UK Original LP”

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This is a remarkable achievement in the history of Sabbath music! The first super-superior-level audience recording was born from “VOL.4 TOUR,” which has been in the endangered zone of superlative recording. A super masterpiece that can be the masterpiece of all Sabbath history is now on permanent preservation press CD!!

[“VOL.4 TOUR”, which was the dead zone of the famous recording] I’m sorry that my tension suddenly went up. But this time, I can’t control my excitement. After all, the finest recording of that “VOL.4 TOUR”. Every time a new master is unearthed, “I’m not so bad”, “Yeah, this time it’s okay…”, and so on, but from my unexplored tour, I finally had both hands goo! That’s why a live album was born that hurt…
The emotion around here may need some explanation. In fact, there’s a big wave of quality in the audience recordings of the 70s Sabbath. Of course, there are differences from pin to pin in every era, but the height of the “pin” is very different. Let’s sort out a little.
・Precious early days (1969 to 1971)
・Medium-term stagnation (1972 to 1975)
・Late Golden (1976-1978)
Like this. “The very early” is a vintage recording era, and it is full of masterpieces and masterpieces of superb sound, but it is “superb” in the sense that “it is not only / valuable in the early 70’s”. That’s fine, but the problem is “mid-term.” It is the time to hit “VOL.4”, “Bloody Sabbath”, and “Sabotage” in the studio work. Somehow from around 1972, the number of recordings and the averaging of the sound quality dropped, and the “best” recordings became extinct.
And, it is the latter half (after “TECHNICAL ECSTASY TOUR” of 1976) that the situation is overturned all at once. Transcendental recording will appear due to the development of recording know-how, the improvement of equipment, and perhaps both. The super masterpieces such as “SABBATH IN FRESNO”, “KILLING YOURSELF TO DIE: THE LEGENDARY MASTER”, and “SABBATH IN NASHVILLE 1978” that have been pressed are different from those in the very early years (unlike the very early days) “. That is the transcendental recording that makes even the distinction of “sound board or audience” meaningless.
However, the problem here is that the recording is terrible in the “late period”, but the state of the band is never good. Both in name and reality, I want to experience the peak of the band’s “medium period” with the finest audience recording … This was also the long-cherished desire of the Sabbath collector. This is a historic live album that fulfills such a wish!

[Permanent preservation class super name recording that was finally born! ] The front swing has become very long, but what is carved in this work is “February 21, 1973 performance in Brescia”. It is the finest audience recording. I think that some people can come with a pin, but the recording has been known for a long time on this day, and it has been loved both in our shop and as a part of “ITALIAN TRILOGY ’73 (Shades 896)”. This work is a brush up. .. .. .. Then there is not. A new master that was only recently released. It is the ultimate product of Ultimate Gene, which was directly digitized from the recorder’s own original cassette.
The sound is a completely different thing!!  The characteristic screaming of the audience was recorded at the start, so you can see that it is the same recording, but the quality is different. If you remember the past, you may remember the thick core and clear air feeling, but at the same time the midrange was light and it was also a stiff feeling overall. However, in this work, the rugged feeling is wiped off quickly, and if the midrange is rich, the deep bass is also hard. It’s about three ranks different…Isn’t it the same recording without the screams at the beginning? That is the quality that can be defeated by the “late” transcendental recording group. No way, no doubt, the day will come when you can experience “VOL.4 TOUR” on-site with such a sound.
Paraphrasing this real pleasure is “LIVE AT LAST on-site experience”. Yes, that traditional edition is also “VOL.4 TOUR”. Check the show position from the schedule at that time.

● 1972
<<May “VOL.4” completion>>
・June 19-September 15: North America (28 performances)
<<September 25 “VOL.4″ release>>
● 1973
・January 5th-19th: Oceania (7 performances)
・February 15th-March 3rd: Europe (15 performances) ←★here★
・March 9-18: UK (10 performances) ← *”LIVE AT LAST”
<<September “SABBATH BLOODY SABBATH” production>>

This is BLACK SAB BATH in the “VOL.4” era. “LIVE AT LAST” was an edited work that consisted of the Manchester tour and London performance of the home tour, but the Brescia performance of this work was about 3 weeks before that. This is the 7th performance of the “Europe” tour. Although the sets and performances are similar because they are so close, the unedited one-shot recording has a great sense of presence. There is a real sense that even between songs flows in real time, “there is BLACK SABBATH in its prime,” and there is no sense of being surrounded by spectators who are delighted with heavy music for the time being. Normally, I would like to add “sense of time” here, but the sound of this work does not allow it. Rather than the vintage feel of the 70’s, you can experience “1973” with a “vivid & beautiful” sound like a modern digital recording.
(This is a complete digression, but the photo used in the artwork for this work is said to be the origin of the “VOL.4” jacket. The left and right sides are reversed from the official version, but it is reflected in the back. However, as you can see from Iomi, this work is more accurate.Why was the designer flipping the photo at the time, maybe because of the design, or was this Iomi different from right-handed?…)

The appearance of this work changes the standard of the act of “listening to the audience recording of BLACK SABBATH”. In other words, the dimension that “you cannot talk unless you listen to this.” It is a symbolic board that can be said as BLACK SABBATH’s “LISTEN TO THIS EDDIE”.
There are countless masterpiece audience recordings in 50 years of Sabbath history, but this height is probably about this work and Dan Lampinski’s masterpiece “DEFINITIVE PROVIDENCE 1975 (Zodiac 344)” .. These two works are the masterpieces of the 70’s audience… In other words, they are the two major peaks of the entire history of Sabbath. Please experience this shock as much as you want with this work of permanent preservation press CD.

サバス音源史上の快挙です! 極上録音の絶滅危惧地帯であり続けてきた“VOL.4 TOUR”からは初となる超極上レベルのオーディエンス録音が誕生。サバス全史の最高傑作となり得る超名盤が永久保存プレスCDで登場です!!

【名録音の絶命地帯だった“VOL.4 TOUR”】
いきなりテンションが上がってしまい、申し訳ありません。しかし、今回ばかりはちょっと興奮が抑えられないのです。何しろ、あの“VOL.4 TOUR”の極上録音。新マスターが発掘される度に「まぁ悪くないけどね」「うん、今回はマシかな……」等と今ひとつ歯切れの良くない思いしかしてこなかった秘境のツアーから、遂に、遂に、両手がグー!になって痛くなるライヴ・アルバムが誕生してしまったのですから……。
そして、そんな状況が一気にひっくり返るのが「後期(1976年の“TECHNICAL ECSTASY TOUR”以降)」。録音ノウハウの醸成か、機材の向上か、恐らくはその両方によって超絶級の録音が登場してくる。プレス化も果たした『SABBATH IN FRESNO』『KILLING YOURSELF TO DIE: THE LEGENDARY MASTER』『SABBATH IN NASHVILLE 1978』といった超傑作群は(極初期とは異なり)時代の枕詞を必要としない「問答無用の極上」。それこそ「サウンドボードか、オーディエンスか」の区別さえ無意味になる超絶録音なのです。

前振りがやたらと長くなってしまいましたが、そんな本作に刻まれているのは「1973年2月21日ブレシア公演」。その極上オーディエンス録音です。ピンと来られる方もいらっしゃると思いますが、この日は従来から録音が知られ、当店でも『ITALIAN TRILOGY ’73(Shades 896)』の一部としても愛されてきました。本作は、そのブラッシュ・アップ。。。。では、ありません。ごく最近になって公開された新マスター。録音者自身の大元カセットからダイレクトにデジタル化された究極ジェネの極上品なのです。
そのサウンドたるや、まったくの別物!! 開演時に特徴的な観客の絶叫が記録されているので同じ録音だと分かりますが、クオリティは段違い。既発をご記憶の方なら極太な芯とクリアな空気感をご記憶かも知れませんが、同時に中音域が軽く、全体的にゴワゴワした感触でもありました。ところが、本作はそのゴワゴワ感がサッと拭われ、中音域もリッチなら重低音もぶっとい。3ランクくらい違う……と言いますか、冒頭の絶叫がなかったら同じ録音とは思えないほどの超アップグレード。それこそ、「後期」の超絶録音群にも負けないクオリティなのです。まさか、まさか、これほどのサウンドで“VOL.4 TOUR”を現場体験できる日が来ようとは……。
この醍醐味を言い換えるなら「LIVE AT LASTの現場体験」でしょうか。そう、あの伝統盤も“VOL.4 TOUR”。ここで当時のスケジュールからショウのポジションも確認しておきましょう。

・3月9日-18日:英国(10公演)←※『LIVE AT LAST』

これが『VOL.4』時代のBLACK SABBATH。『LIVE AT LAST』は本国ツアーのマンチェスター公演&ロンドン公演から組まれた編集作でしたが、本作のブレシア公演はその約3週間前。「欧州」ツアーの7公演目にあたります。それだけ近いだけにセットやパフォーマンスは似ているものの、やはり無編集な一気録音の臨場感は絶大。曲間までもがリアルタイムに流れ、「目の前に大全盛のBLACK SABBATHがいる」という現実感があり、当代きってのヘヴィ・ミュージックに歓喜する観客に囲まれる現場感もハンパない。普通ならここで「時代感」も付け加えるところですが、それを許さないのが本作のサウンド。70年代のヴィンテージ感と言うより、むしろ現代のデジタル録音のような“ビビッド&美しい”サウンドで、「1973年」が体験できてしまうのです。

本作の登場は「BLACK SABBATHのオーディエンス録音を聴く」という行為の基準を変えるものです。つまり、「これを聴いていないと話にならない」という次元。BLACK SABBATHの『LISTEN TO THIS EDDIE』とでも言えるような、象徴盤なのです。
50年に及ぶサバス史には数限りない名作オーディエンス録音が存在しますが、この高みにあるのは本作とダン・ランピンスキーの超傑作『DEFINITIVE PROVIDENCE 1975(Zodiac 344)』くらいのものでしょう。この2作こそ、70年代オーディエンスの最高傑作……つまり、サバス全史の頂点に並び立つ2大頂点です。この衝撃、ぜひ永久保存プレスCDの本作で思う存分ご体験ください。

1. Intro
2. Tomorrow’s Dream
3. Sweet Leaf
4. War Pigs
5. Snowblind
6. Killing Yourself to Live
7. Wicked World
8. Guitar Solo incl.Orchid
9. Instrumental Jam
10. Wicked World (reprise)
11. Embryo/Children of the Grave
12. Paranoid



Blck Sabbth / Vol 4: UK Original LP / 1Single  CDR / Non Label
Taken from the UK original LP (Vertigo 6360 071)

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The main press CD is no longer an ordinary live album. It is the only superlative board that allows you to fully experience the scene of the heyday, and it is also a masterpiece that will be the masterpiece of the audience in all the history of Sabbath. To celebrate the birth of such an underground apex work, audience recording around there is only a hindrance. So we prepared an official daimyo board. Yes, this is “VOL.4” of the UK original LP reproduction series!

-This work is a supreme board that the digital release board “6360 071” of Vertigo in the UK has been digitized precisely by an overseas audiophile. Carefully selected those in mint condition and transferred the first playback that dropped the needle first in the high-end environment specialized for raising analog to digital. Despite the fact that no changes have been made after the digitization, it has achieved a superb sound that does not have a single needle crack and does not cause uneven rotation.
At our shop, we have provided this British original edition in series, but I am even more happy when this is “VOL.4”. The point that the reprints up to now are more natural than the latest remaster board, but this product is full of its taste, and it has a vivid three-dimensional effect comparable to the latest remaster board. I’m staying. Of course, the stereoscopic effect is not a sound pressure earning like a remaster board, but rather a natural and beautiful mountain. Also, there are some stereo orientations that are reversed, such as the VICTOR paper jacket, but of course this work is the correct localization as the original.
This vividness is probably due to the variety of “VOL.4”. It’s been said for a long time that the sound is uneven due to walking across many studios, but on the other hand, the detailed overlapping is unmatched. I want to express the details of the fiercely layered guitar and Mellotron in detail and let them listen. Iomi’s will is clearly transmitted from the British first sound. Even the mysterious sound of “FX” is completely different in depth and reality.
In the first place, there is no suitable album to call it a British masterpiece like “VOL.4”. Their debut work, the masterpiece “PARANOID”, the doom’s sacred board “MASTER OF REALITY”, and so on. However, they are the masterpieces of Sabbath, the ancestor of heavy music. On the other hand, “VOL.4” is an album that embodies the brilliance of “British rock” itself and radiates the rich scent of the times. Despite being based on the heavy sound that was established by “MASTER OF REALITY”, Tony Iomi’s experimental spirit exploded by self-production (Although manager Patrick Meehan was credited, he was a no-touch. Is testified by the members themselves). Introducing a keyboard and a Mellotron boldly, “Changes” challenged the piano ballad, and “Wheels Of Confusion” recorded multiple different guitar tracks. The dazzling feeling of “FX” is not an extension of “Solitude” and “Planet Caravan”, but it has a blast of experimental spirit that abandons even the appearance as a song. It was the first album that was aimed solely at “music work”, because I didn’t have any idea to reproduce it live (there were no keyboard players on this tour). And it is this work that revives the “work” that they aimed for.

BLACK SABBATH introduced various musical instruments that could not be reproduced on stage and began to immerse themselves in “work making”. What they produced was not just heavy and fierce metal, but British rock that was rich in lyricism and experimentation and was progressive. This work is the real thing of the masterpiece “VOL.4” which is also the symbol. This work is a piece that conveys the aesthetics and art works aimed at Iomi who was 24 years old. Please enjoy it together with “DEFINITIVE BRESCIA 1973” which is the treasure trove of audience recording.


本作は、英国Vertigoのオリジナル・リリース盤「6360 071」を海外のオーディオ・マニアが精緻にデジタル化した至高盤。ミント・コンディションのものを厳選し、アナログ起こしに特化したハイエンド環境で最初に針を落とした初回再生をデジタルにトランスファー。デジタル化後に一切の手が加えられていないにも関わらず、針パチ1つなく、回転ムラさえ感じさせない極上のサウンドが実現しているのです。
そもそも『VOL.4』ほど英国の名盤と呼ぶに相応しいアルバムはありません。原点のデビュー作、大代表作の『PARANOID』、ドゥームの聖盤『MASTER OF REALITY』……と、彼らの初期はいずれ劣らぬ名盤揃い。しかし、それらはサバスの名盤であり、ヘヴィ・ミュージックの祖。それに対して“英国ロック”そのものの輝きを体現し、濃厚な時代の薫りを発散しているアルバムこそ『VOL.4』。『MASTER OF REALITY』までに確立させたヘヴィ・サウンドを土台にしながらも、セルフプロデュースによってトニー・アイオミの実験精神が一気に爆発(マネージャーのパトリック・ミーハンもクレジットされていますが、彼がノータッチだったのはメンバー自身が証言しています)。キーボードやメロトロンを大胆に導入、「Changes」ではピアノバラードに挑戦し、「Wheels Of Confusion」では以前とはケタ違いのギター・トラックを多重録音。「FX」の眩惑感は「Solitude」「Planet Caravan」の延長と言えなくはないものの、もはや曲としての体裁さえも放棄するほどぶっ飛んだ実験精神を放っています。ライヴで再現することなど眼中になく(この時期のツアーには鍵盤奏者はいませんでした)、ただひたすら「音楽作品」を目指した最初のアルバムでした。そして、そんな彼らが目指した「作品」を正鵠に甦らせたのが本作なのです。

ステージで再現できないほど様々な楽器を導入し、「作品づくり」に没頭し始めたBLACK SABBATH。彼らが生み出したのは、単に重く激しいメタルなどではなく、豊かな叙情や実験を取り込み、プログレッシヴでさえあった英国ロックの粋でした。本作は、その象徴でもある名作『VOL.4』の本物。本作は24歳だったアイオミが目指した美学、アート作品を正鵠に伝えてくれる1枚です。どうぞ、オーディエンス録音の至宝たる『DEFINITIVE BRESCIA 1973』と併せ、どうぞ思う存分ご堪能ください。

1. Wheels Of Confusion
2. Tomorrow’s Dream
3. Changes
4. FX
5. Supernaut
6. Snowblind
7. Cornucopia
8. Laguna Sunrise
9. St. Vitus Dance
10. Under The Sun

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