Black Sabbath / The Eternal Idol Instrumental Demos / 1CD+1Bonus CDR

Black Sabbath / The Eternal Idol Instrumental Demos / 1CD+1Bonus CDR / Zodiac

Translated text:
Unreleaesd instrumental demos For “The Eternal Idol” album plus Bonus CDR “RAY OF THE BLACK LIGHT”

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Completely unpublished · The world’s first published superb studio album is a miracle discovery. It is a demonstration album of “THE ETERNAL IDOL” that that Bob Daysley was treasured!
Originally “THE ETERNAL IDOL” that no one had heard was flowing out of the “Cozy Tape” nesting “Daisies Tape”. This album includes officialized Ray · Guillain version, the trilogy of the prestigious BONDAGE label “THE RAY GILLEN YEARS” “COMPLETE RAY GILLEN YEARS” “MAXIMUM RAY GILLEN YEARS” and our “THE ETERNAL IDOL WORKING TRACKS (Zodiac 073) “and many other demonstrations have flowed out. However, this work is an initial install version which does not even appear as Ray. First of all, let’s organize the demo according to the process of “THE ETERNAL IDOL”.

● A: initial installation / demo

● B: Initial temporary song demo
“WORKING TRACKS” (most part)

● C: With song / without guitar solo Demo

● D: Demo with song / guitar solo
Official “THE ETERNAL IDOL: Deluxe Edition”

And, it is like this. Demo tape sometimes does not make a conclusion because there are times when the recordings of different periods are mixed in the vacant part, but it seems that the flow is roughly like this. This work is the earliest even until now.
And, quality preeminent. Although Iomi and Bob are the two who played the core of “THE ETERNAL IDOL” production, this work is what Bob is supposed to treasure. As a result, neither dubbing traces nor aged deterioration are seen, ultra superb stereo sound board. Of course, not a regular track but a rough mix, but the performance itself is screwed from the ear to the brain. If it is about omake of the box set, it is the sound quality that can be officially commercialized as it is.
The original “THE ETERNAL IDOL” drawn with such a sound is amazing. The tape is divided into three sections, so let’s introduce each.

【World’s First Instrument Version (3 Songs)】
Take the impact from the beginning. “The Shining” “Lost Forever” “Nightmare” is a complete instrument version. In the demonstrations so far, all three songs only entered. It is a hidden treasure in a treasure that nobody has heard in the world other than just the members of those days.
However, here is the mystery “The Shining”. Actually, even with the above “C demo”, “D demo” close to the finished form, this song was “without songs + no guitar solos”. On the contrary, this work is true / reverse “without songs + solo”. There is also a base solo different from “B demo”, which may not be the order of production as above.

【Instruction Demo of Take Difference (2 Songs)】
The next two songs “Born To Lose” and “Ancient Warrior” had instrumental versions recorded in “THE ETERNAL IDOL WORKING TRACKS”, but this work is another take. Both songs were light and somewhat fancy performances at “WORKING TRACKS”, but this is also a serious condition for heavy use. Especially “Ancient Warrior” is completely different guitar solo and bass track.
While talking about such a detailed story, the taste is superb because it is simply an instrument. Guitar, bass, drums turned out to be exciting, fine ricks hiding in song melodies were round naked. I can see well that I was playing a very stiff backing. Bob’s base line is especially masterpiece. Writing singing melodies and lyrics was widely known, but his singing base is perfectly equivalent to Iomi, digging deep into the song and building up a skeleton with a guitar riff. Not only is it melodic, but the base that digs into the formation of songs is probably the first since Giza Butler.

【Freshness upgrade upgrade · take (4 songs)】
Four songs that were in the rest of the tape are “Black Moon” which is rewritten with “Glory Ride”, “Some Kind Of Woman”, “Black Moon”, “Eternal Idol.” HEADLESS CROSS “and VAN HALEN like” Some Kind Of Woman “was the B side of the single” The Shining “.
These four tracks (perhaps) played the same as “WORKING TRACKS”. I just could not find a difference in performance, so it may be a different take, but …. However, even though the performance is very similar, the sound is different. The freshness of the tape is completely different upgrade version. One step Genes sounds young to each, but the biggest difference is “Black Moon”. The sound of the snare that disappeared in “WORKING TRACKS” is also beautiful, different from mastering. Even though there are parts of a momentary spot in both parts, their positions are also different. Either way, the sound quality is higher for this work, and there is no doubt that this work is the highest peak master even if it was the same performance.

Fourth, the first “THE ETERNAL IDOL” demo. Tony Martin, Ray Guillain or earlier original instrument version. A studio album that shows how Bob Daysley was an excellent musician. It is a treasure in the treasure that reprinted it from our “Daysie Tape”. It is the world’s first public release with a press CD that leaves cultural heritage permanently!

完全未発表・世界初公開の極上スタジオ・アルバムが奇跡の発掘です。なんと、あのボブ・デイズリーが秘蔵していたという『THE ETERNAL IDOL』のデモ・アルバムです!
“コージー・テープ”ならぬ“デイズリー・テープ”から流れ出たのは、誰も聴いたことのなかった原初の『THE ETERNAL IDOL』。このアルバムは公式化されたレイ・ギラン・バージョンも含め、名門BONDAGEレーベルの3部作『THE RAY GILLEN YEARS』『COMPLETE RAY GILLEN YEARS』『MAXIMUM RAY GILLEN YEARS』や当店の『THE ETERNAL IDOL WORKING TRACKS(Zodiac 073)』等々、数々のデモが流出してきました。しかし、本作はレイさえも登場しない初期インスト・バージョン。まずは、『THE ETERNAL IDOL』制作過程に沿ってデモを整理してみましょう。




公式『THE ETERNAL IDOL: Deluxe Edition』

そして、クオリティのバツグン。『THE ETERNAL IDOL』制作の中核を担ったのはアイオミとボブの2人ですが、本作はそのボブが秘蔵していたとされるもの。それだけにダビング痕も経年劣化も見られず、超極上のステレオ・サウンドボード。もちろん、正規トラックではなくミックスも荒いのですが、演奏そのものが耳から脳へとねじ込まれる。ボックスセットのオマケ程度であれば、そのまま公式商品化できるサウンド・クオリティです。
そんなサウンドで描かれる原初の『THE ETERNAL IDOL』こそが凄い。テープはおおよそ3つのセクションに分かれておりますので、それぞれご紹介していきましょう。

冒頭から衝撃のテイク。「The Shining」「Lost Forever」「Nightmare」の完全インスト・バージョンです。これまでのデモでは、いずれも歌入りしかなかった3曲。まさしく当時のメンバー以外、世界で誰も聴いたことのない秘宝中の秘宝です。
ただし、ここで謎なのは「The Shining」。実は、上記の「Cデモ」はおろか完成形に近い「Dデモ」でも、この曲は「歌入り+ギターソロなし」でした。それに対し、本作は真逆の「歌なし+ソロ入り」。「Bデモ」とは異なるベースソロもあり、上記通りの制作順ではないのかも知れません。

続く2曲「Born To Lose」「Ancient Warrior」は、『THE ETERNAL IDOL WORKING TRACKS』にもインスト・バージョンが収録されていましたが、本作は別テイク。両曲とも『WORKING TRACKS』では軽快でやや淡泊な演奏でしたが、こちらはヘヴィで緩急も利いている。特に「Ancient Warrior」はギターソロやベース・トラックがまったく別です。

テープの残りに入っていた4曲は「Glory Ride」「Some Kind Of Woman」「Black Moon」「Eternal Idol。『HEADLESS CROSS』で再録される「Black Moon」やVAN HALEN的な「Some Kind Of Woman」はシングル『The Shining』のB面曲でした。
この4トラックは(恐らく)『WORKING TRACKS』と同演奏。演奏の違いを発見できなかっただけですので、本当は別テイクかも知れませんが……。しかし、演奏は酷似していてもサウンドは異なる。テープ鮮度がまるで違うアップグレード版なのです。それぞれに1段階ジェネが若いように聞こえますが、特に差が大きいのは「Black Moon」。『WORKING TRACKS』では消えていたスネアの鳴りも美しく、マスタリングからして異なる。どちらにも部分的に一瞬のヨレ箇所があるものの、その位置も異なっています。いずれにせよ、サウンド・クオリティは本作の方が上であり、同じ演奏だったにしても本作こそが最高峰マスターなのは間違いありません。

4つめにして最初期の『THE ETERNAL IDOL』デモ。トニー・マーティンか、レイ・ギランか以前の原初インスト・バージョンです。いかにボブ・デイズリーが優れた音楽家であったかを如実に示してくれるスタジオ・アルバム。それを当の“デイズリー・テープ”から復刻した秘宝中の秘宝。文化遺産を永久に残すプレスCDで世界初公開決定です!


1. The Shining (Backing Track & Solo)
2. Lost Forever (Backing Track)
3. Nightmare (Backing Track)
4. Born To Lose (Alternate Backing Track)
5. Ancient Warrior (Alternate Backing Track & Solo)
6. Glory Ride (Backing Track)
7. Some Kind Of Woman (Backing Track & Solo)
8. Black Moon (Backing Track)
9. Eternal Idol (Backing Track)

Zodiac 309


Black Sabbath / Ray Of The Black Light /1Single CDR / Non label

Translated text:

Live at Convention Center Arena, San Antonio, Texas, USA 18th April 1986 STEREO SBD

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The main press CD is a superb studio album that will be the first figure of the famous “THE ETERNAL IDOL”. However, it is somewhat maniac, no matter how superb and interesting it is. So we prepared a super best stereo sound board and live that anyone can enjoy at its best.
Such a work is Zubari, Ray · Guillain SABBATH highest · strongest live album. It is a super best FM sound source of “18th April 1986: San Antonio Performance”. That quality is something that can be called “completely official” dignifiedly as usual. This “usual” point. Actually, official Deluxe Edition of “SEVENTH STAR” includes bonus soundboard sound source of Hammersmith performance. That is, there really is an official board, but the quality of this work is far above the official board! In other words, it is “sound off the official” sound board.
Besides, this work is also the best and longest in San Antonio Soundboard. Actually, there are two kinds of this FM broadcast. One is the famous program “IN CONCERT” broadcast version of the WESTWOOD ONE series, and the other is the “HIGH VOLTAGE” broadcast version. Not only are the scales different for these two programs, the songs are also different. What was known for a long time was the seven song version of long length “IN CONCERT” broadcast. However, although “HIGH VOLTAGE” broadcasting was short, “The Mob Rules” not on “IN CONCERT” was being broadcast. It is this work that appears there. Based on the long master “IN CONCERT” Best Master, added “The Mob Rules” that leaked there. It is 1 piece finished to the maximum 8 song version.
I pay close attention to its editing. For example, although there is a similar episode edited, it has been truncated about 5 seconds from the ending of “The Mob Rules” to the MC of Ray Guillain at the beginning of the next song “Danger Zone” than between actual songs It was. However, this work includes everything without losing this about 5 seconds. Even if it is total, it is about 10 seconds longer than that of the same type as before. Of course, the sound quality is also Master · Direct’s strength, there are almost no kinds of petit noise and scratch noise, and the difference in texture between the masters who was concerned with the previous generation is also minimal. You can listen to it as if it is really natural.
That’s a wonderful thing about the finest Rei era’s most powerful live board! “SEVENTH STAR” numbers such as “Danger Zone” and “Heart Like A Wheel” are originally Glenn Hughes, but the singing voice of Ray is just fit. Rather, it seems to be more harmful than Glenn, it seems that Rei is the original. Meanwhile, the repertoire of the Ronie era such as “The Mob Rules” “Neon Knights” is also brilliant. Even Glenn and Ian Gillan could not sing, but Ray accomplishes without difficulty, even highlights note even a metallic attraction.
And Ray is terrible because it will not fit up to the famous song group of the Ozzy era. While singing songs such as “War Pigs”, “Medley of Symptom Of The Universe”, “Sweet Leaf”, and “Black Sabbath”, Ronnie and Tony Martin were changing to different things at Kobushi, Along the original. On top of that, the high tone that stretches anywhere is far more clever than Ozzy. Slightly, because there is American lightness, “Ray is the best!” Although it can not be said, it is a superb vocalization that sings more sophisticatedly without breaking the image of the song.

This work is one piece full of the charm of Ray Guillan, as a name singer, against the main press press CD that will taste the taste of the instrument thoroughly. Why did not you use this work for the “SEVENTH STAR” Deluxe Edition? A superb superb soundboard album that is so wonderful that it gets so cunning. Please enjoy it plentifully together with the world’s first appearance press CD!

本編プレスCDは、名盤『THE ETERNAL IDOL』原初の姿となる極上のスタジオ・アルバムです。しかし、いかに極上で面白くとも、インスト・アルバムというのはややマニアック。そこで、どなたでも最高に楽しめる超極上のステレオサウンドボード・ライヴをご用意しました。
そんな本作はズバリ、レイ・ギランSABBATH最高・最強のライヴアルバム。「1986年4月18日:サンアントニオ公演」の超極上FM音源です。そのクオリティは、いつもなら堂々と「完全オフィシャル級」と呼べるもの。この「いつもなら」がポイント。実は『SEVENTH STAR』の公式デラックス・エディションにはハマースミス公演のサウンドボード音源がボーナス収録されている。つまり、本当に公式盤が存在するわけですが、本作のクオリティは、そのオフィシャル盤より遙かに、遙かに上! つまり「オフィシャル超え」のサウンドボードなのです。
しかも、本作はそのサンアントニオ・サウンドボードでも最良・最長盤。実は、このFM放送は2種類ある。1つはWESTWOOD ONE系列の名物番組“IN CONCERT”放送版で、もう1つは“HIGH VOLTAGE”放送バージョン。この2番組は尺が異なるだけでなく、曲目も違う。古くから知られていたのは長尺の“IN CONCERT”放送の7曲バージョンでした。しかし、“HIGH VOLTAGE”放送は短いながらも“IN CONCERT”にはない「The Mob Rules」が放送されていたのです。そこで登場するのが本作。長尺“IN CONCERT”放送のベスト・マスターをベースにしつつ、そこに漏れていた「The Mob Rules」を追加。最長8曲バージョンに仕上げた1枚なのです。
その編集にも細心の注意を払っている。例えば、同様の編集を行った既発もありますが、「The Mob Rules」のエンディングから次曲「Danger Zone」冒頭におけるレイ・ギランのMCまで、実際の曲間よりも5秒ほど切り詰められていました。しかし、本作は、この約5秒も失う事無く、すべてを収録。トータルでも、同種の既発と較べ10秒ほど長いのです。もちろん音質もマスター・ダイレクトの強みで、プチノイズやスクラッチノイズの類もほとんどなく、既発で気になったマスター間の質感の違いも最小限。実にナチュラルで流れるように聴くことができます。
そうして完成したレイ時代最強のライヴ盤の素晴らしい事! 「Danger Zone」や「Heart Like A Wheel」といった『SEVENTH STAR』ナンバーはグレン・ヒューズがオリジナルなわけですが、レイの歌声もジャスト・フィット。むしろグレンよりもハマッているほどで、まるでレイこそがオリジナルかのようです。その一方、「The Mob Rules」「Neon Knights」といったロニー時代のレパートリーも見事。グレンやイアン・ギランでさえ歌いこなせなかったわけですが、レイは難なくこなし、ハイノートでメタリックな魅力さえも引き出しています。
そして、オジー時代の名曲群までハメてしまうからレイは凄い。「War Pigs」や「Symptom Of The Universe」「Sweet Leaf」のメドレー、「Black Sabbath」といった曲を歌っていますが、ロニーやトニー・マーティンがコブシで別物に変えていたのに対し、レイはハイトーンでオリジナルに沿っている。その上で、どこまでも伸びるハイトーンはオジーよりも遙かに巧い。若干、アメリカンな軽さもあるので「レイこそがベスト!」とは言えないわけですが、曲のイメージを崩さず、より一層巧みに歌いこなす見事なヴォーカリゼーションなのです。

インストの旨みをじっくりと味わわせてくれる本編プレスCDに対し、本作は名シンガー:レイ・ギランの魅力に充ち満ちた1枚です。なぜ『SEVENTH STAR』のデラックス・エディションに本作を使わなかったのか。今さらな口惜しさまで沸いてくるほど素晴らしい超極上のサウンドボード・アルバム。ぜひ、世界初登場の本編プレスCDと併せてたっぷりとお楽しみください!

1. The Mob Rules 2. Danger Zone 3. War Pigs 4. Heart Like A Wheel 5. Symptom Of The Universe
6. Sweet Leaf 7. Black Sabbath 8. Neon Knights

Tony Iommi – Guitars Ray Gillen – Vocals Dave Spitz – Bass Eric Singer – Drums
Geoff Nicholls – Keyboards


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