Black Sabbath / Live Longest Die At Last 2020 Remaster / 2CD+1Bonus CDR+1Bonus DVDR

Black Sabbath / Live Longest Die At Last 2020 Remaster / 2CD+1Bonus CDR+1Bonus DVDR / Zodiac

Asbury Park Convention Hall, Asbury Park, New Jersey, USA 5th August 1975 plus Bonus DVDR “D.K.R.C. 1975: UPGRADE MASTER” plus Ltd Bonus CDR “SABOTAGE: US ORIGINAL LP”


Play sample :

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The legendary live album “LIVE LONGEST … DIE AT LAST”, which is a masterpiece that transcends both formal and informal, and was also wanted by Tony Iommi and Ozzy Osbourne. The latest and highest peak board to commemorate the 50th anniversary of debut is now available on the permanent preservation press 2CD!

[50th Anniversary Edition of the highest peak master who still has nothing to exceed] “LIVE LONGEST … DIE AT LAST” …… It can be said that this is the supreme brand that promises the highest peak. Its true identity is the transcendental stereo sound board recording of “August 5, 1975 Asbury Park Performance”. Many live albums have been born in the history of Sabas over 50 years, but there is no more. It is a top sound board in the top.
In the first place, the 1975 Asbury Park performance has been known for FM broadcasting for a long time, and part of it has been adopted for the official edition “PAST LIVES”. It’s the best soundboard recording of the 70’s, and it’s a big classic. However, it is also a big pitfall because it is so standard. The full version of this soundboard first appeared in the early 2000s, but the impact was so great that subsequent upgrades became less known. In fact, various titles are outbreaks regardless of press / CDR and domestic / overseas. Even if you look at the track list, you can only tell that it is a complete version, and you can not tell until you ask whether it is a vertex master or an old model master. Nowadays, even though the general distribution board disguised as an official has appeared, many people may have complained in the end with a copy of the old boot, “Don’t use such an old-fashioned master by now.”
When asked “Which is the best master?”, The answer is “LIVE LONGEST … DIE AT LAST”. It was an upgrade master excavated in 2012, and the freshness was completely different from before. Obviously, it has been digitized from Omoto, and there are no noises, twists, or dubbing marks, and the localization that was crazy in all the existing groups is normal. Already, from corner to corner, “completely official class” … No, the real “PAST LIVES” was so ridiculous that I couldn’t listen to it. The rumor has crossed the sea and sought even Iommi and Ozzy (successfully obtained, according to people familiar with the matter).
Naturally, after that, it was thought that the copy board of “LIVE LONGEST … DIE AT LAST” would dominate the market … but that was not the case (maybe there is no vendor familiar with Sabas). No, but if this were LED ZEPPELIN or DEEP PURPLE, it would have been widespread long ago. Anyway, strangely, the name of “LIVE LONGEST … DIE AT LAST” became the proof of the highest peak master. After that, every time a later version such as repress or “DEFINITIVE EDITION” appeared, it was sold out and out of print with great popularity. This work is the latest version in 2020, in commemoration of the 50th anniversary of the debut of the heavyweight BLACK SABBATH, and the refinement of its highest peak master.

[Latest remastered sound that allows you to experience the microcosm] The sound is just supreme. This time, it’s not a remaster of the remastered version, but a remaster after returning to the original. Of course, the direct feeling and vividness are the highest ever, but the original sound does not greatly exceed “DEFINITIVE EDITION” only for the original sound (on the contrary, distortion will occur if it exceeds it). Rather, the point is a stereo feeling. In the midrange of the original sound, there was a habit of pulling the high and low frequencies, but when I looked down on the whole, it became a lumpy feeling. This is not a drawback either, but this time I put a scalpel here and made fine adjustments. You can now enjoy a more vivid sense of separation.
Please enjoy this upgrade with headphones. Up until now, there was a feeling of immersion and synchronization as if Sabas was in my head, but this work has a wide world. If the brain is the stage, the full show will be pierced with a feeling of a microcosm that seems to be spread out with the force of the skull.

[“SABOTAGE TOUR”, which was at its peak even in the 70’s] Undoubtedly, “Sabas’s masterpiece” is drawn with such a sound. If you are familiar with the conventional version, you will be satisfied, but let’s review the points for those who are new to this. First of all, the ensemble is amazing. The performances of the four people are still in their heyday, and even if they are ripe, they have not started to rot. Iommi’s guitar now has a metallic edge in addition to its weight, and Ozzy’s voice grows comfortably. Later, it was said to be synonymous with bad horses, but at this time, he was a high-tone singer.
Secondly, it is also big that support keyboardist Gerald Woodruff is accompanied. Until then, Sabas wrote songs that required keyboards, but the tour was limited to four people. However, it is now possible to freely play songs that could not be done even if I wanted to, such as incorporating the previous work “Spiral Architect”. In the 70’s, there are keyboards in “SABOTAGE TOUR” and “TECHNICAL ECSTASY TOUR”, and considering the tension of the performance, “SABOTAGE TOUR” is the climax.
Third, a long full set. “SABOTAGE TOUR” is also known for the lengthening of the show at once. Until then, most of the shows were about 70 minutes, and sometimes even when it exceeded 80 minutes, it was a style of stretching with jam. However, “SABOTAGE TOUR” was built from the beginning as a 100-minute class set. It’s a good opportunity, so let’s organize the contents here.

・ Black Sabbath: Black Sabbath
・ Paranoid: War Pigs / Iron Man / Paranoid
・ Master of Reality: Orchid / Embryo / Children Of The Grave
・ Black Sabbath 4: Snowblind / Supernaut
・ Bloody Sabbath: Killing Yourself To Live / Sabbra Cadabra / Spiral Architect
・ Sabotage: Hole In The Sky / Symptom Of The Universe / Megalomania

… And it looks like this. Moreover, the number of songs is not simply large, but the flow has evolved. The contrast between the first half of folding the famous songs and the second half of incorporating various songs in the jam was also vivid, and the show was extremely complete.
A full live performance with the potential of the heyday of a set composed by free song selection because it is on the keyboard. It is a masterpiece that you can enjoy the climax of the moment with a transcendent sound board. All of BLACK SABBATH’s live albums … No, it’s a super-masterpiece that doesn’t exceed even if you include the studio masterpiece. The highest peak. Please experience it with the permanent storage press 2CD!

★ Superb stereo sound board of “August 5, 1975 Asbury Park Performance”. It is a large standard sound board that has been partially adopted in the official board “PAST LIVES”, but it is the ultimate quality board in its full length version. The legendary masterpiece “LIVE LONGEST … DIE AT LAST” that even Iommi and Ozzy himself wanted has been further brushed up. Glittering guitar, thick undulating bass, drums that even the structure of the kit comes to mind, vocals that are directly connected to the ears. Everything is superb, and there is no noise that was found even in the official board “PAST LIVES”. It is the ultimate superb sound board album that is overwhelmingly beyond the official level, not at the level of “a little good”.

公式/非公式の別を超えた最高傑作であり、トニー・アイオミやオジー・オズボーンも欲しがった伝説のライヴアルバム『LIVE LONGEST… DIE AT LAST』。デビュー50周年を記念する最新・最高峰盤が永久保存プレス2CDで登場です!

『LIVE LONGEST… DIE AT LAST』……これはもう、最高峰を確約する至上のブランドと言っても良いでしょう。その正体は「1975年8月5日アズベリーパーク公演」の超絶級ステレオ・サウンドボード録音。50年に及ぶサバス史で幾多のライヴアルバムが誕生してきましたが、これ以上はない。まさに頂点中の頂点サウンドボードです。
そもそも1975年アズベリーパーク公演は古くからFM放送が知られ、公式盤『PAST LIVES』にも一部が採用。まさに70年代最高のサウンドボード録音であり、定番中の大定番です。しかし、あまりにも定番だからこそ、大きな落とし穴にもなっている。このサウンドボードの完全版が登場したのは2000年代の初頭だったのですが、その衝撃が大きすぎ、その後のアップグレードが知られづらくなったのです。実際プレス/CDR、国内/海外を問わず、さまざまなタイトルの盤が乱発。トラックリストを見ても完全版であることしか分からず、頂点マスターなのか、古い型落ちマスターなのか聴いてみるまで分からない。現在では公式を装った一般流通盤まで登場しつつ、結局は古いブートのコピーで「今ごろ、こんな古臭いマスターを使うなよ」と愚痴った方も多いのではないでしょうか。
「じゃあ、ベスト・マスターはどれ?」となった時、その答えとなるのが『LIVE LONGEST… DIE AT LAST』。2012年に発掘されたアップグレード・マスターで、それまでとは鮮度がまるで違った。明らかに大元からデジタル化されており、ノイズもヨレもダビング痕もまるでなく、あらゆる既発群では狂っていた定位も正常。もう、隅から隅まで「完全オフィシャル級」……いえ、現実の『PAST LIVES』なんぞバカバカしくて聴いてられなくなるケタ違いの超極上品だったのです。その噂は海を越え、アイオミやオジーでさえ探し求めた(関係者によると無事入手された)そうです。
当然の事ながら、それ以降は『LIVE LONGEST… DIE AT LAST』のコピー盤が市場を席巻……するかと思われましたが、そうはならなかった(サバスに詳しい業者がいないのかも知れませんが、これがLED ZEPPELINやDEEP PURPLEであったらとっくの昔に広まっていたでしょう。情けない)。ともあれ、奇しくも『LIVE LONGEST… DIE AT LAST』の名が最高峰マスターの証となったわけです。その後も再プレスや『DEFINITIVE EDITION』といった後発バージョンも登場するたびに大人気のうちに完売・廃盤。本作は、重鎮BLACK SABBATHのデビュー50周年を記念し、その最高峰マスターを磨き直した2020年最新版なのです。

そのサウンドは、まさに至高。今回はリマスター盤のリマスターではなく、一度大元に戻ってからの磨き直し。ダイレクト感や鮮やかさはもちろん過去最高ですが、原音が原音だけに『DEFINITIVE EDITION』を大きく超えるものではない(逆に超えたら歪みが発生してしまいます)。むしろ、ポイントはステレオ感。原音の中音域には、高域や低域を引っぱるようなクセがあったのですが、それが全体を俯瞰すると塊感にもなっていました。これも欠点と言うほどではないのですが、今回はここにメスを入れて微調整。さらにあざやかな分離感が楽しめるようになりました。

【70年代でも絶頂を究めていた“SABOTAGE TOUR”】
第2に、サポート・キーボーディストのジェラルド・ウッドルフが同行しているのも大きい。それまでのサバスはキーボードの必要な曲を書きつつ、ツアーは4人だけでした。しかし、ここでは前作の「Spiral Architect」を盛り込むなど、やりたくてもできなかった曲も自由に演奏できるようになった。70年代でキーボードがいるのは“SABOTAGE TOUR”と“TECHNICAL ECSTASY TOUR”でもあり、演奏のテンションも考え合わせれば、“SABOTAGE TOUR”こそが絶頂なのです。
第3に、長大なフルセット。“SABOTAGE TOUR”は、一気にショウが長くなった事でも知られています。それまでは70分ほどのショウがほとんどで、たまに80分を超える時にもジャムで引き延ばすスタイルでした。しかし、“SABOTAGE TOUR”は最初から100分クラスのセットを構築されたのです。良い機会ですので、ここでその内容も整理しておきましょう。

・黒い安息日:Black Sabbath
・パラノイド:War Pigs/Iron Man/Paranoid
・マスター・オブ・リアリティ:Orchid/Embryo/Children Of The Grave
・血まみれの安息日:Killing Yourself To Live/Sabbra Cadabra/Spiral Architect
・サボタージュ:Hole In The Sky/Symptom Of The Universe/Megalomania

鍵盤入りだからこその自由な選曲で組まれたセットを全盛期のポテンシャルで貫くフルライヴ。まさに絶頂の刹那を超絶サウンドボードで楽しめる最高傑作です。BLACK SABBATHのあらゆるライヴアルバム……いえ、スタジオ名盤を含めても超える物のない超名盤。その最高峰。どうぞ、永久保存プレス2CDで存分にご体験ください!

★「1975年8月5日アズベリーパーク公演」の超極上ステレオ・サウンドボード。オフィシャル盤『PAST LIVES』にも一部採用されたほどの大定番サウンドボードですが、その全長版にして究極クオリティ盤です。アイオミやオジー本人さえもが欲しがった伝説の名盤『LIVE LONGEST… DIE AT LAST』をさらにブラッシュ・アップ。ギラギラと輝くようなギター、太くうねるベース、キットの構造まで目に浮かぶドラム、耳元直結なヴォーカル。すべてが超極上であり、オフィシャル盤『PAST LIVES』でさえ所々あったノイズも皆無。“ちょっと良い”どころのレベルではなく、圧倒的にオフィシャル超えした究極の超極上サウンドボード・アルバムです。


Disc 1(41:13)
1. Supertzar
2. Killing Yourself To Live
3. Hole In The Sky
4. Snowblind
5. Symptom Of The Universe
6. War Pigs
7. Megalomania

Disc 2(58:51)
1. Sabbra Cadabra
2. Band Jam
3. Guitar Solo #1
4. Sometimes I’m Happy
5. Drums Solo
6. Supernaut
7. Iron Man
8. Orchid – Guitar Solo #2
9. Rock ‘N’ Roll Doctor
10. Guitar Solo #3 – Don’t Start (Too Late)
11. Black Sabbath
12. Spiral Architect
13. Embryo – Children Of The Grave
14. Ozzy’s MC
15. Paranoid


Ozzy Osbourne – Vocals
Tony Iommi – Guitar
Geezer Butler – Bass
Bill Ward – Drums
Jezz Woodroffe – Keyboards



Black Sabbath / D.K.R.C. 1975 Upgrade Master / 1DVDR / Non label
Don Kershner Rock Concerts 1975 , Santa Monica Civic Auditorium, Santa Monica, CA. USA 4th September 1975

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The main press 2CD is the ultimate work that updates the top of the large classic stereo sound board. It’s a superb live album that deserves to be called a masterpiece. For that bonus, we have also prepared a large standard pro shot of “SABOTAGE TOUR”. This is also an upgraded version that breaks the world record.
“September 4, 1975 Santa Monica performance” is included in this work. This is a multi-camera pro shot when he appeared in the famous program “DON KERSHNER ROCK CONCERTS (commonly known as D.K.R.C.)”. First of all, let’s confirm the position of the show from the whole picture of “SABOTAGE TOUR” which is called the best tour ever from enthusiasts.

● 1975
・ July 14-27: North America # 1a (9 performances)
“Released” SABOTAGE “on July 28”
・ August 1st-September 14th: North America # 1b (27 performances) ← ★ Coco ★
・ October 9th-November 4th: Europe (18 performances)
・ November 21st + 22nd: UK # 1 (2 performances)
・ December 2-13: North America # 2 (8 performances)
● 1976
・ January 8-13: UK # 2 (5 performances)

This is the whole picture of “SABOTAGE TOUR 1975-1976”. This work corresponds to “North America # 1b” immediately after the release of “SABOTAGE”, but this is also the most important leg in the history of Sabotage for 50 years. After all, not only the masterpiece press 2CD, but also the masterpieces of audience recording such as Mike Millard’s “LONG BEACH ARENA 1975 (Zodiac 401)” and Dan Lampinsky’s “DEFINITIVE PROVIDENCE 1975 (Zodiac 344)” are crowded together. There is. A month that can be called a miracle in a miracle. This is a good opportunity, so let’s take a closer look at its concentration.

・ August 1st + 2nd (2 performances)
・ August 4: New York City performance
・ August 5: Asbury Park performance ← * Main press 2CD
・ August 6th-September 3rd (13 performances)
・ September 4: Santa Monica performance ← ★ This work ★
・ September 5th + 6th (2 performances)
・ September 7: “LONG BEACH ARENA 1975”
・ September 8-14 (5 performances)

In this way, the main press 2CD was 2 days after “DEFINITIVE PROVIDENCE 1975”, and this work was 3 days before “LONG BEACH ARENA 1975”, and it was full of super important concerts. This work is not only a professional shot of “SABOTAGE TOUR”, but also a video version that lets you see the “other side” of the top three works in Sabotage history.
The professional shot containing such a show is familiar to fans for many years. Along with the legendary “Karijam 74”, it has been a representative image of the mid-1970s. For that reason, I have been upgrading many times since the VHS era, but this work is the highest version. A new master discovered in recent years, even more beautiful than the version recorded in “THE OZZY OSBOURNE YEARS ULTIMATE EDITION”, which was said to be the best so far!
The most wonderful thing is the master freshness. “THE OZZY OSBOURNE YEARS ULTIMATE EDITION” was also an image beauty that was incomparable to the VHS era, but the screen still has rough deterioration over time, so if you add the “70’s” makurakotoba, you can call it “excellent” It was a level that was not lost. However, this work is extremely glossy without even a slight roughness. The fringes of Ozzy Osbourne are vivid to the shaking of each one, and Tony Iommi’s cross is also dazzling. A drum set that imitates a shellfish and even one grain of snowstorm that falls down with “Snow blind” are super clear. If it is a bonus of a box, it is a quality that can be formulated as it is.
The splendor of the show drawn in such an upgrade video is incredible. There is no change in the scale of 5 songs only for the broadcast master, but the contents are Tokuno. The best of all is the first three songs “Killing Yourself To Live”, “Hole In The Sky” and “Snow blind”! The flow of concentrating the mid-70s trilogy “VOL.4”, “SABBATH BLOODY SABBATH” and “SABOTAGE” with highlights one by one is too great. The mid-term fragrance, which is different from 1970 immediately after debut and 1978 just before dismantling, is perfect. “Killing Yourself To Live”, which was a few times in the reunion era, is also valuable, but more than that is “Hole In The Sky”. Even in a long history, it has been performed only in “SABOTAGE TOUR”, and of course the video is only this work. It’s nothing more than bliss to witness it with an official quality multi-camera pro shot.
Of course, the remaining two major classics “War Pigs” and “Paranoid” also exploded in 1975’s potential when the fat was exhausted. It is a performance that overflows with the true character of the golden age, unlike Brussels 70 (formerly known as Paris 70) and “NEVER SAY DIE”, which is on the verge of collapse.

The miracle “1975 US Tour” was the pinnacle of the legendary 70’s. It is the highest peak update set of the large classic sound board and professional shot. Not only does it make you imagine the “other side” of the main press 2CD that has crossed the top, but this work alone is one of the treasures. Please enjoy it together.

本編プレス2CDは、大定番ステレオ・サウンドボードの頂点を更新する究極作。まさに最高傑作と呼ぶに相応しい超極上のライヴアルバムです。そのボーナスには、同じく“SABOTAGE TOUR”大定番のプロショットをご用意しました。こちらも世界記録を更新するアップグレード版です。
そんな本作に収められているのは「1975年9月4日サンタモニカ公演」。名物番組“DON KERSHNER ROCK CONCERTS(通称D.K.R.C.)”に出演した際のマルチカメラ・プロショットです。まずはマニア筋から史上最高のツアーと呼ばれる“SABOTAGE TOUR”の全体像からショウのポジションを確認してみましょう。


これが“SABOTAGE TOUR 1975-1976”の全体像。本作は『SABOTAGE』リリース直後の「北米#1b」にあたるわけですが、ここは50年に及ぶサバス史でも最重要なレッグでもある。何しろ、最高傑作たる本編プレス2CDだけでなく、マイクミラードの『LONG BEACH ARENA 1975(Zodiac 401)』やダン・ランピンスキーの『DEFINITIVE PROVIDENCE 1975(Zodiac 344)』など、オーディエンス録音の最高傑作もひしめき合っているのです。まさに奇跡の中の奇跡とも言うべき1ヶ月間。良い機会ですので、その濃度も詳しく見てましょう。

・8月5日:アズベリーパーク公演 ←※本編プレス2CD
・9月4日:サンタモニカ公演 ←★本作★
・9月7日:『LONG BEACH ARENA 1975』

このように本編プレス2CDは『DEFINITIVE PROVIDENCE 1975』の2日後であり、本作は『LONG BEACH ARENA 1975』の3日前と、超重要コンサートだらけでした。本作は単に“SABOTAGE TOUR”のプロショットというだけでなく、サバス史上の頂点3作の“向こう側”を覗かせてくれる映像編でもあるのです。
そんなショウを収めたプロショットは、長年のファンにはお馴染み中のお馴染み。伝説的な“カリジャム74”と並び、70年代中期の代表映像であり続けてきました。それだけにVHS時代から幾度となくアップグレードを繰り返してきましたが、本作はその最高峰版。近年になって発掘された新マスターで、これまでベストと言われていた『THE OZZY OSBOURNE YEARS ULTIMATE EDITION』収録バージョンよりも更に美しい!
何よりも素晴らしいのはマスター鮮度。『THE OZZY OSBOURNE YEARS ULTIMATE EDITION』もVHS時代とは比較にならない映像美でしたが、それでも画面には経年劣化の荒れがあり、「70年代にしては」の枕詞を付ければ「極上」と呼べなくもないというレベルでした。ところが、本作にはささやかな荒れさえもなく極めて艶やか。オジー・オズボーンのフリンジは1本1本の揺れまで鮮やかで、トニー・アイオミの十字架もギラギラと眩しい。貝を模したドラムセットや「Snowblind」で降りしきる吹雪の1粒まで超クッキリ。ボックスのオマケ程度であれば、そっくりそのまま公式化できるクオリティなのです。
そんなアップグレード映像で描かれるショウの素晴らしさは感無量。放送マスターだけに5曲という尺は変わりようがありませんが、その中身は特濃。何と言っても最高なのは冒頭3曲「Killing Yourself To Live」「Hole In The Sky」「Snowblind」! 70年代の中期3部作『VOL.4』『SABBATH BLOODY SABBATH』『SABOTAGE』を1曲ずつのハイライトで濃縮した流れが最高すぎる。デビュー直後の1970年とも解体間際の1978年とも違う中期の薫りが満点。再結成時代にはホンの数回だった「Killing Yourself To Live」も貴重ですが、それ以上なのは「Hole In The Sky」。長い歴史でも“SABOTAGE TOUR”でしか演奏されておらず、映像はもちろん本作だけ。それをオフィシャル・クオリティのマルチカメラ・プロショットで目撃できるのは至福以外の何物でもありません。
もちろん、残り2曲の大定番「War Pigs」「Paranoid」も脂の乗りきった1975年のポテンシャルが爆発。初々しさの残るブリュッセル70(かつてパリ70とされていた映像)や崩壊間際の『NEVER SAY DIE』とは違う、黄金時代の本領に溢れ返ったパフォーマンスです。


1. Killing Yourself To Live
2. Hole In The Sky
3. Snowblind
4. War Pigs
5. Paranoid



Black Sabbath / Sabotage US Original LP / 1CDR / Non label
Taken from the original US LP (Warner Bros. Records, BS 2822)

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The main press 2CD is the masterpiece of the original BLACK SABBATH that transcends the distinction between official and informal. The sound and the content of the show are the ultimate ones that can never be more. What’s more, “North America in 1975”, which produced the super-famous board, is a miracle that left Mike Millard’s “LONG BEACH ARENA 1975 (Zodiac 401)” and Dan Lampinsky’s “DEFINITIVE PROVIDENCE 1975 (Zodiac 344)”. A miracle inside. It was the most important tour for SABBATH enthusiasts. This work is a super-special bonus that allows you to enjoy such a special “North America in 1975” even more deeply.

The identity of this work is not a live version of that. The essential studio masterpiece “SABOTAGE”. It is a piece that has been precisely digitized from the North American original LP and drawn with the sound as it was born. In the case of other albums, the VERTIGO version tends to attract attention when it comes to the original LP, but in fact, the North American version is also very popular for “SABOTAGE”. The reason is the release status at that time. The album of the 70’s is basically “North America = WARNER / Europe = VERTIGO (WWA)”, but only “SABOTAGE” has business troubles, and “North America = WARNER / Europe = VERTIGO / UK = NEMS” did. We also have a gift release of the West German version of “VERTIGO Original”, but in fact the VERTIGO version does not have the secret track “Blow On A Jug” and the sound is different.
In fact, the sound of the North American Warner board of this work is smooth and noiseless. There is no scratch noise that would normally be the fate of analog wake-up, and it’s as glossy and seamless as a CD. Of course, the smoothness is CD grade, but the sound itself is completely different. Compared to the VERTIGO original West German edition, it is as natural and deep as possible. The more you listen to the riff’s vibe and the sound of the cymbals, the more beautiful and clear the details are left. Therefore, even with a slash-like riff rush like “Symptom Of The Universe”, it does not become a sound barrier, and a three-dimensional wavy attack with a lively gap is comfortable.
And, is it “Am I Going Insane (Radio)” or “The Writ” in the final stage that the descriptive power of the details exerts tremendous power? Guitars and vocals that you don’t know how much you put on a synth that is as dynamic as symphonic prog rock. The “world” that creates the thick and precise sound is directly linked to the richer expressive power as the details are finer. The master sound of this work is exactly what Iommi envisioned and conveys the “world” created in the studio.

The only thing that flows out of this work is “SABOTAGE”, which is only for “North America in 1975”. Because it is the 1st press, it boasts a freshness that is thin on the master tape, and because it is a physical groove, it is a miracle sound that has escaped deterioration over time. And above all, “LIVE LONGEST … DIE AT LAST” was born in the country where this sound flows, and Mike Millard and Dan Lampinsky who listened to the same sound as this work created a historic super-name recording. .. A masterpiece of the highest quality that lets you taste such a historical spectacle. Please take this opportunity to enjoy it to your heart’s content.


本編プレス2CDは、公式/非公式の区別を超えたオリジナルBLACK SABBATHの最高傑作。サウンドも、ショウの内容も、これ以上はあり得ない究極の1本です。しかも、その超名盤を生んだ「1975年の北米」はマイク・ミラードの『LONG BEACH ARENA 1975(Zodiac 401)』やダン・ランピンスキーの『DEFINITIVE PROVIDENCE 1975(Zodiac 344)』まで残した奇跡の中の奇跡。SABBATHマニアにとって最重要のツアーでした。本作は、そんな特別すぎる「1975年の北米」をさらに深く味わっていただく超・特別ボーナスなのです。

そんな本作の正体は、そんじょそこらのライヴ盤ではありません。肝心要のスタジオ大名盤『SABOTAGE』。その北米オリジナルLPから精緻にデジタル化し、生まれたままのサウンドで描き出した1枚なのです。他のアルバムの場合、オリジナルLPというとVERTIGO盤が注目されがちなのですが、実は『SABOTAGE』に関しては北米盤も人気が高い。その理由は当時のリリース状況にあります。70年代のアルバムは基本的に「北米=WARNER/欧州=VERTIGO(WWA)」なのですが、『SABOTAGE』だけはビジネス上のトラブルがあり、「北米=WARNER/欧州=VERTIGO/英国=NEMS」でした。当店では「VERTIGOオリジナル」の西ドイツ盤もギフト・リリースしておりますが、実はVERTIGO盤にはシークレット・トラックの「Blow On A Jug」がなく、サウンドも異なっているのです。
実際、本作の北米ワーナー盤のサウンドは、とにかく滑らかでノイズレス。通常ならアナログ起こしの宿命であるはずのスクラッチ・ノイズがまったくなく、まるでCDのように艶やかシームレスなのです。もちろん、滑らかさはCD級でもサウンド自体はまったく違う。VERTIGOオリジナルの西ドイツ盤と比べても、限りなくナチュラルで鳴りが深い。リフのヴァイヴやシンバルの鳴りなど、聴けば聴くほど微細部が美しく克明に残されている。そのため、「Symptom Of The Universe」のようにスラッシュ的なリフの猛ラッシュでも音の壁にならず、スキマも活きた3次元感覚の波状攻撃が心地よいのです。
そして、そのディテールの描写力が絶大な威力を発揮するのが終盤の「Am I Going Insane (Radio)」「The Writ」でしょうか。シンフォニック・プログレばりに豪快なシンセに、いくら重ねているか分からないギターやヴォーカル。そのぶ厚くも緻密な音づくり描き出す「世界」は、ディテールが細かければ細かいほど豊かな表現力に直結する。本作のマスター・サウンドは、まさにアイオミが思い描き、スタジオで創り上げた「世界」をそっくりそのまま伝えてくれるのです。

本作から流れ出るのは、まさに「1975年の北米」だけの『SABOTAGE』。1stプレスだからこそマスター・テープに肉薄する鮮度を誇り、物理的な溝だからこそ経年劣化を免れてきた奇跡のサウンドなのです。そして何より、この音が流れる国で『LIVE LONGEST… DIE AT LAST』が誕生し、本作と同じサウンドを聴いていたマイク・ミラードやダン・ランピンスキーが歴史的な超名録音を生み出した。そんな歴史スペクタクルまで味わわせてくれる最高峰クオリティの大名盤。どうぞ、この機会に心ゆくまでご賞味ください。

1. Hole In The Sky
2. Don’t Start (Too Late)
3. Symptom Of The Universe
4. Megalomania
5. Thrill Of It All
6. Supertzar
7. Am I Going Insane (Radio)
8. The Writ
9. Blow On A Jug

Ozzy Osbourne – Lead Vocals
Tony Iommi – Guitars, Piano, Synthesizer, Organ, Harp
Geezer Butler – Bass Guitar
Bill Ward – Drums, Percussion, Piano & Lead Vocals On “Blow On A Jug”

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