GiGinJapan Artwork of Japanese CDs (mostly) Black Sabbath / Chicago 1983 Definitive Edition / 2CD+1Bonus DVDR / Zodiac
U.I.C. Pavilion, Chicago, IL, USA 18th November 1983 Plus Bonus DVDR’ Montreal 1983′
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The legendary recording that has been acclaimed as “the pinnacle full live album of the Ian Gillan era” has updated the highest peak. A press CD that permanently preserves the Omoto master sound refined by detailed mastering by “GRAF ZEPPELIN” will be released.
The legendary recording was born “November 18, 1983 Chicago performance”. It is the best audience recording. Some may think, “Is the audience the highest peak even though there is an official SBD?” “The peak is CAPTURED LIVE 1983, isn’t it?” The point here is “full”. The decisive boards such as the official Dela Eddie Reading Festival and our “CAPTURED LIVE 1983: PRE-FM MASTER (Zodiac 489)” were not full recordings of the show, even though they were super masterpieces. Even in the present age, 40 years after the scene, “Full experience of Giran Sabas” can only be recorded by the audience, and this work is the pinnacle, symbol, and highest peak.
Then, what kind of position was the show engraved in this work? First, let’s unravel the schedule at that time.
● 1983
“August 7th,” BORN AGAIN “will be released”
・ August 18-28: Europe # 1 (7 performances) ← * Official Reading
・ September 13-October 3: Europe # 2 (15 performances) ← * EUROLINES
・ October 17th-November 30th: North America # 1 (32 performances) ← ★ Coco ★
● 1984
・ January 25-March 4: North America # 2 (25 performances)
《April 27: DEEP PURPLE reunion》
This is the whole picture of the “Giran era”, which is a singular point in the history of Sabas. The Chicago performance of this work is the 24th performance of “North America # 1”. The Worcester performance of “CAPTURED LIVE 1983” was also “North America # 1”, and this work was just two weeks after that.
Audience recording with such a show vacuum packed is a traditional masterpiece recording that has been loved by collectors all over the world as “the highest peak of” BORN AGAIN Tour “”. The most intense thing is the fiercely on and thick core. The feeling of squishyness peculiar to the audience is not completely, but a feeling of complete zero distance. Along with that, the details are also strangely vivid, and it’s like going “soundboard” on the ground … It’s a famous recording that was actually traded as a soundboard.
It was in 2013 that the traditional recording achieved a revolutionary upgrade. The original tape master was unearthed, and the original sound was finally released all over the world. It was made into a press as part of the “The Legendary Mater” series at our shop, but it was a big hit with its overwhelming sound. It is currently sold out and out of print. In this work, “GRAF ZEPPELIN” brushes up such a legendary Omoto master. It was a re-appearance with the highest peak updated.
Recently, “GRAF ZEPPELIN” has started to work on HR / HM, but its mastering method is “fine work system / ultra-natural group”. Pitch and phase shifts are not allowed for 1/1000 second, and band analysis and DC offset elimination are indispensable. Even though it’s so thorough, it doesn’t earn a lot of sound pressure. The sound that the tape is sucking in is not spoiled at all, and the noise processing is just before the subtleties of the playing sound are spoiled. It faithfully reproduces the “sound of the scene” rather than deceiving the flashy tricks. Therefore, depending on the item, it may be large, and depending on the recording, the up width may be small. Actually, in the case of this work, it may be small, but the accuracy is definitely the highest ever, and it is one of the detailed work refined with the spirit of “If dust accumulates, it will be a mountain”. The best sound that one is alive is realized.
The highest peak update sound is drawn in the “Full Show of the Giran Era”, which is the most singular point in the history of Sabas. Here, let’s organize it while comparing it with the sound board “CAPTURED LIVE 1983: PRE-FM MASTER” of the king who reigns at the top most recently.
● Born Again (3 songs)
・ Hot Line / Disturbing The Priest (★) / Zero The Hero
● 70’s Classics (7 songs)
・ Paranoids: War Pigs / Iron Man / Paranoid
・ Others: Black Sabbath / Children Of The Grave / Supernaut (★) / Rock’N’Roll Doctor (★)
● Others (2 songs)
・ Heaven And Hell / Smoke On The Water
* Note: The “★” mark is a song that cannot be heard on the symbolic soundboard album “CAPTURED LIVE 1983: PRE-FM MASTER (Zodiac 489)”.
…… And it looks like this. In addition to this, instrumental SE such as “Stonehenge” is used for the intro of “Iron Man” and “The Dark” is used before “Zero The Hero”. The three soundboard takes that cannot be heard in “CAPTURED LIVE 1983” can be heard in “EUROLINES”, but the quality is higher in this work. And above all, the “experience” of enjoying the full show including those three songs in a consistent flow is overwhelming.
And, in fact, the opening is super valuable. The familiar opening theme “Supertzar” is covered with crying reminiscent of the baby of “BORN AGAIN”, but this is extremely rare. It was a production that was devised after the tour started, and then Iommi said that it was a “too bad taste” and stopped immediately. There are only two types left in the audience recording, let alone the sound board, and the total length is only the Chicago performance of this work. I don’t argue with Iommi, but I think it suits you best, but this is the only soundboard-class superb sound you can enjoy.
In the entire history of Sabas … No, “Ian Gillan + BLACK SABBATH” has a unique dignity as a singular point in the history of British rock. This work is the highest peak update version of the top live album where you can enjoy the whole view of the show. Now that the sound board has become easier to listen to, the weight of the “full live album top work” is increasing. Please fully enjoy it with the preservation press 2CD that does not lose its brilliance.
★ It is the best audience recording of “November 18, 1983 Chicago performance”, the pinnacle of the full live album of the Ian Gillan era. It is fiercely on and roars with a thick core zero distance feeling, and there is no feeling of squishy. The details are also strangely vivid, and it is a legendary masterpiece recording that goes “as if it were a sound board” on the ground, and it is the highest peak update board that refined the original master version by the detailed mastering of “GRAF ZEPPELIN”. It is an absolute work that you can fully experience the full show of the Giran era including “Disturbing The Priest”, “Supernaut” and “Rock’N’Roll Doctor” that you could not hear even on the symbolic sound board “CAPTURED LIVE 1983”.
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(Remaster memo) REMSATERED BY GRAF ZEPPELIN
★ The sound is originally well-balanced and thick, and the sound quality is so good that you don’t have to forcibly add new processing, so it’s only slightly boosted in the mid-high range.
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「イアン・ギラン時代の頂点フル・ライヴアルバム」と絶賛を集めてきた伝説録音が最高峰を更新。「GRAF ZEPPELIN」による細密マスタリングで磨き込まれた大元マスター・サウンドを永久保存するプレスCDがリリース決定です。
その伝説録音が誕生したのは「1983年11月18日シカゴ公演」。その極上オーディエンス録音です。「公式SBDもあるのにオーディエンスが最高峰？」「頂点はCAPTURED LIVE 1983でしょ？」と思われる方もいらっしゃるかも知れません。ここでポイントなのは「フル」というところ。公式デラエディのレディング・フェスや当店の『CAPTURED LIVE 1983: PRE-FM MASTER（Zodiac 489）』といった決定盤たちは、超名作ではあってもショウのフル収録ではありませんでした。現場から40年が経ようとしている現代でも「ギラン・サバスのフル体験」はオーディエンス録音しかあり得ず、本作こそがその頂点・象徴・最高峰なのです。
では、そんな本作に刻まれたショウはどんなポジションだったのか。まずは、当時のスケジュールから紐解いてみましょう。
●1983年
《８月７日『BORN AGAIN』発売》
・８月18日ー28日：欧州#1（７公演）←※公式レディング
・９月13日ー10月３日：欧州#2（15公演）←※EUROLINES
・10月17日ー11月30日：北米#1（32公演）←★ココ★
●1984年
・１月25日ー３月４日：北米#2（25公演）
《４月27日：DEEP PURPLE再結成》
これがサバス史の特異点である「ギラン時代」の全貌。本作のシカゴ公演は、「北米#1」の24公演目。『CAPTURED LIVE 1983』のウースター公演も「北米#1」で、本作はそのちょうど２週間後でもありました。
そんなショウを真空パックしたオーディエンス録音は、世界中のコレクターから「“BORN AGAIN Tour”の最高峰」として愛されてきた伝統の名録音。何よりも強烈なのは、猛烈にオンで極太な芯。オーディエンス特有のスカスカ感がまるでなく、完全ゼロ距離感。それに伴ってディテールも異様に鮮やかで、「まるでサウンドボード」を地で行く……と言いますか、実際にサウンドボードとして取引もされていた名録音なのです。
その伝統録音が革命的なアップグレードを果たしたのが2013年のこと。オリジナルのテープ・マスターが発掘され、遂に大元サウンドが世界中に公開された。当店でも『The Legendary Mater』シリーズの一環としてプレス化されたわけですが、その圧倒的なサウンドに大ヒット。現在では完売・廃盤となっております。本作は、そんな伝説の大元マスターを「GRAF ZEPPELIN」がブラッシュ・アップ。最高峰を更新しての再登場となったのです。
最近ではHR/HM系も手掛けるようになった「GRAF ZEPPELIN」ですが、そのマスタリング手法は「細密作業系・超ナチュラル派」。ピッチや位相のズレは1/1000秒も許さず、帯域分析やDCオフセットの解消も抜かりない。それだけ徹底していながらも、無闇矢鱈な音圧稼ぎはしない。あくまでもテープが吸い込んでいるサウンドを一切損なわず、ノイズ処理も演奏音の機微は損なう寸前の寸止め。派手な小手先の誤魔化しではなく、「現場の音」を忠実に再現するのです。そのためモノによっては大化けしますし、録音によってはアップ幅は小幅。実のところ、本作の場合は小幅だったりもするのですが、それでもなお精度は間違いなく過去最高であり、「塵も積もれば山となる」精神で磨き込まれた細かな作業の１つひとつが生きたベスト・サウンドが実現しているのです。
そんな最高峰更新サウンドで描かれるのは、サバス史随一の特異点である「ギラン時代のフルショウ」。ここでは直近にして頂点に君臨する王者のサウンドボード『CAPTURED LIVE 1983: PRE-FM MASTER』と比較してながら整理しておきましょう。
●ボーン・アゲイン（３曲）
・Hot Line／Disturbing The Priest（★）／Zero The Hero
●70年代クラシックス（７曲）
・パラノイド：War Pigs／Iron Man／Paranoid
・その他：Black Sabbath／Children Of The Grave／Supernaut（★）／Rock ‘N’ Roll Doctor（★）
●その他（２曲）
・Heaven And Hell／Smoke On The Water
※注：「★」印は象徴サウンドボード・アルバム『CAPTURED LIVE 1983: PRE-FM MASTER（Zodiac 489）』で聴けない曲。
……と、このようになっています。これ以外にも「Iron Man」のイントロに「Stonehenge」、「Zero The Hero」の前に「The Dark」といったインストSEを使用。『CAPTURED LIVE 1983』で聴けない３曲のサウンドボード・テイクは『EUROLINES』で聴けなくはないものの、クオリティは本作の方が上。そして何より、その３曲も含むフルショウを一貫した流れで味わう「体験感」が圧倒的なのです。
そして、実は超貴重なのがオープニング。お馴染みの開演テーマ「Supertzar」に『BORN AGAIN』の赤ん坊を思わせる泣き声が被さるのですが、これが激レア。ツアーが始まってから考案された演出であり、その後アイオミが「あまりに悪趣味だ」と言ってすぐに止めてしまった演出なのです。サウンドボードではおろかオーディエンス録音でも２種しか残っておらず、しかも全長は本作のシカゴ公演のみ。アイオミに反論するわけではないものの、思いっきり似合うと思うのですが、それをサウンドボード級の超極上サウンドで味わえるのは本作だけなのです。
サバス全史でも……いや、英国ロック史でも特異点として独特の威風を放っている「イアン・ギラン＋BLACK SABBATH」。本作は、そのショウ全景を楽しめる頂点ライヴアルバムの最高峰更新盤です。サウンドボードが手軽に聴けるようになった現在だからこそ、一層重みが増している「フル・ライヴアルバムの頂上作」。輝きを失わない保存プレス２CDで存分に味わい尽くしてください。
★イアン・ギラン時代フル・ライヴアルバムの頂点「1983年11月18日シカゴ公演」の極上オーディエンス録音です。猛烈にオンで極太な芯ゼロ距離感で轟き、スカスカ感もまるでなし。ディテールも異様に鮮やかで「まるでサウンドボード」を地で行く伝説の名録音で、その大元マスター版を「GRAF ZEPPELIN」の細密マスタリングで磨き上げた最高峰更新盤です。象徴サウンドボード『CAPTURED LIVE 1983』でも聴けなかった「Disturbing The Priest」「Supernaut」「Rock ‘N’ Roll Doctor」も含むギラン時代のフルショウを完全体験できる絶対作です。
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（リマスター・メモ）REMSATERED BY GRAF ZEPPELIN
★元々バランスもよく厚みのあるサウンドで､ 無理に新たな処理を加える必要もないくらい音質も良好なため､若干中高域ブーストしたのみです｡
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Disc 1(47:03)
1. Supertzar
2. Children Of The Grave
3. Hot Line
4. War Pigs
5. Disturbing The Priest
6. Supernaut
7. Drum Solo
8. Rock ‘N’ Roll Doctor
9. Stonehenge
10. Iron Man
Disc 2(38:40)
1. The Dark
2. Zero The Hero
3. Heaven And Hell
4. Guitar Solo
5. Black Sabbath
6. Smoke On The Water
7. Paranoid/Heaven And Hell(reprise)
Ian Gillan – Vocals
Tony Iommi – Guitar
Geezer Butler – Bass
Bev Bevan – Drums
Geoff Nicholls – Keyboards
ZODIAC 517
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Black Sabbath / Montreal 1983 / 1DVDR / Non Label
The main press 2CD is a live album that you can experience through the “Full Show of the Giran Era” that you could not taste on the sound board. This is an upgraded album that “GRAF ZEPPELIN” has refined the prestigious recording of the masterpiece. For the bonus of the decisive board, we have prepared the best work of the video edition. Two audience shots are recorded in this work. This is a coupling of the long video (about 90 minutes) of “October 21, 1983 Montreal performance” and the partial video (about 13 minutes) of “August 21 Helsinki performance”.
Why is this work “extremely”? It is nothing but because it covers “live images of the existing Giran era”. At this point, some people may think, “Sure, there are also professional shots, right?” Certainly, it is popular as “PRO-SHOT COLLECTION with GILLAN” in our shop, but all the pro shots of the Giran era are mime. The only real live is the audience shot. It is only two kinds contained in this work.
And this work has been made into a DVD from the best master in terms of quality. Of course, there are some videos that some fans have highlighted themselves, but we haven’t found anything that surpasses this work in the visual beauty backed by Gene’s youth. In other words, this one piece completes the “live video of the Giran era”. It is a unique work that cannot be collected anywhere else.
In fact, its quality is the highest ever. Speaking of 1983, home video cameras were in widespread use, and the dawn of audience shots. It is undeniable that it is a little dark by modern standards, but the master freshness is tremendous. Since it is not a digitally processed vivid feeling, the fine parts are not crushed, and the field of view at that time is revived realistically.
And what is surprising is the shooting technique. Both of the two images were shot looking down from the second floor seats, but they are superb views with no obstructions. Moreover, despite the bold zoom, there is almost no camera shake, and you can look at it stably even for a long time. Even though it was as early as 1983, it still has the know-how that can be used today … I think it was a skill to concentrate on shooting the concert.
What is drawn with such visual beauty is the extremely precious “site of the Giran era”. Here, let’s organize the repertoire that can be seen in the two types of video.
● Born Again (5 songs, 6 takes)
・ Hot Line (2 takes) / Zero The Hero / Disturbing The Priest / Digital Bitch (★) / Born Again (★: Helsinki video only)
● 70’s Classics (7 songs, 9 takes)
・ Paranoid: War Pigs (2 takes) / Iron Man / Paranoid
・ Others: Black Sabbath / Children Of The Grave (2 takes) / Supernaut / Rock’N’Roll Doctor
● Others (2 songs)
・ Heaven And Hell / Smoke On The Water
* Note: The “★” mark is a song that could not be heard on the main press 2CD.
…… And it looks like this. The Montreal video is not exactly a complete video because the opening part is missing, but it is almost a full video. You can also enjoy “Digital Bitch” which was not played for some reason at the Chicago performance of the main press 2CD. The additional Helsinki video is a digest of all the songs on top of the four songs, but the existence of “Born Again” is left over after subtracting it. It is a limited song only at the beginning of the tour, and it is a rare song that was not played in the Chicago performance of the main press or the main Montreal performance of this work. Even if there is a cut, it is a unique image that cannot be replaced.
And the “moving Giran Sabas” that spells such a set is a masterpiece. Iommi / Geezer / Giran are moving side by side, and it’s incredible. The evil lighting effect that makes the contrast between light and dark stand out, and the Druid-like character Stonehenge that appears at the beginning of “Iron Man”. The scene of the legendary “BORN AGAIN Tour” such as the imitated stage set spreads in front of you. When I think so, like DEEP PURPLE, Iommi’s guitar solo shows Giran slamming a conga. Furthermore, if you say the excitement of the venue that boils with the highlights from “Smoke On The Water” to “Paranoid” … Although it is the “Giran era” that is sometimes talked about in black history, the audience at the scene is told by the heroes in line that they were innocent and enthusiastic.
The main press 2CD is the “masterpiece of the full live album” of the Giran era, and this work is the “complete collection of live images”. Both are the highest peaks of “First” and the final decision to return. “No more” is the strongest set of the Giran era audience. Please enjoy it together!
