Black Sabbath / Long Beach Arena 1975 Mike Millard Master Cassette / 2CD

Black Sabbath / Long Beach Arena 1975 Mike Millard Master Cassette / 2CD / Zodiac

Long Beach Arena, Long Beach , CA, USA 7th September 1975

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The feat of Sabas sound source, again. Moreover, this time, the biggest and best masterpiece in the history of 50 years has been born. What a sabbath recording of that legendary taper “Mike Millard” was unearthed. It will be a permanent preservation decision that will be the first appearance and will reign at the top of all Sabbath’s audience recordings!

[The Sabbath collection is finally born from the Millard Legend! ] Sabas recording by that mirrored. .. .. Now, this alone will fill my chest. Needless to mention LED ZEPPELIN and PINK FLOYD, Millard is a legendary recorder who has recorded enormous rock heroes with miraculous sounds. Each one of the methods such as wheelchairs and equipment is told as anecdotes, and the work goes beyond official and informal, and even becomes a symbol of the culture of audience recording. However, BLACK SABBATH did not come out of the collection. I want to hear Savas with that miracle sound. I’m recording. Why not come out. Has it been lost… The dryness of many years has changed to give up, and it has become common sense someday. But the time has come to change that history. Finally, finally, the Mirrored Master was excavated!
This is a dream crystal that surpasses the long-awaited expectation. It is a super-class audience recording of “September 7, 1975 Long Beach Performance”. “SABOTAGE TOUR” is said to be the best in history by enthusiasts even though it’s just a mirrored Sabbath recording. What’s more, it’s a completely new (!!!) show that has never been known. Let’s check the show position from the schedule at the time while suppressing the rising heart rate.

・July 14-27: North America #1a (9 performances)
<< July 28, “SABOTAGE” release >>
・August 1-September 14: North America #1b (27 performances) ←★here★
・October 9-October 22: UK #1 (10 performances)
・October 26-November 22: Europe (10 performances)
・December 3-13: North America #2 (9 performances)
● 1976
・January 8-13: UK #2 (5 performances)

This is the whole picture of “SABOTAGE TOUR”. Around the release of the album, I started a US tour, but the long beach performance of this work is the early stage. It was the 22nd performance of “North America #1b”. From this tour, the best-known titles “DEFINITIVE PROVIDENCE 1975 (Zodiac 344)” and “LIVE LONGEST… DIE AT LAST: DEFINITIVE EDITION (Zodiac 305)”, which are top-class in the entire history of Sabbath, are left, but they are the same. “North America #1b”. While those two were at the beginning of August, this work will be one month later.
This work recording such a show is a miracle live album. After all, it’s more amazing than that of Dan Lampinski’s “DEFINITIVE PROVIDENCE 1975”. With a direct feeling that is incomparable, it approaches with a good feeling, and even the vibe of the clear undulating base is super clear. Those of you who have experienced that super-master board will understand, but “DEFINITIVE PROVIDENCE 1975” is the best masterpiece of all Sabbath history. It was a transcendental record that even said, “There is nothing more than Sabbath’s customer record.” It would be easy to update the highest point…
If you compare this feeling to a movie, Rampinsky recording is like watching a DVD at home, whereas this work is like experiencing in a theater. It’s a feeling that the whole body is wrapped in a minute vibe while the thick core pours down and does not vibrate at all. In order to reproduce this work, you have to rely on a home system, but for some reason that feeling is reproduced. This is a dimension that cannot be expected in “DEFINITIVE PROVIDENCE 1975”, and more specifically, it exceeds “LIVE LONGEST… DIE AT LAST”, which is famous as the masterpiece sound board that exceeds the official. It’s a miracle sound because it’s just a mirror.
Actually, it seems that Millard himself did not like this recording because he felt it was “too close”, but (although there are many fears such as arguing against great people) Sabas fans say “It’s good”. It seems that he wasn’t a Sabbath fan in the first place, and felt that the direct sound of the guitar sound from which the PA was emitted was too intense. However, even though it is too close by the mirrored standard, it is sure that it is a beautiful recording that does not vibrate even finely, and this straight feeling feels like the sound of the band.

[1975, when Sabbath and Millard entered the golden age] And, as described above, “SABOTAGE TOUR” which is said by Sabbath maniac to be “the best tour of the 70s” is drawn with that sound. After all, this tour is Sabbath’s first full-scale show. If you’re a collector, you probably haven’t noticed it, but actually, Sabbath started doing shows for more than 80 minutes in the mid 70’s. Until then, there was only one CD, but the two-disc set began to appear around the previous “SABBATH BLOODY SABBATH TOUR”. Moreover, “SOBOTAGE TOUR” is the first thing that is planned in full scale from the beginning of the tour. It seems that the 5th tour was adjusting the time depending on the length of the jam time, depending on the holding time, but this tour built a set for 100 minutes from the beginning. In addition to incorporating new songs, we started with “Killing Yourself To Live” and revived “Black Sabbath” to create a gorgeous gorgeous set.
Furthermore, Gerald Woodruff is a big support keyboardist. Keyboard parts that couldn’t be reproduced before are now played, and “Spiral Architect” is also possible. And if Ozzy singing the set is in great shape (probably career high), the metallic luster of the guitar sound is also glaring. It’s a “climax full show” that has reached all peaks but has not yet fallen.
Moreover, it was the same with Millard that entered the golden age. It is a famous story for fans, but speaking of Millard, we made a number of famous recordings with the set of “AKG microphone + Nakamichi 550”. It was in 1975 that he acquired the winning equipment, and at the same time he started using wheelchairs. In JETHRO TULL recording “L.A. FORUM 1975 4TH NIGHT (Uxbridge 1262)” recorded in February 1975, neither Nakamichi nor wheelchair was used, but this work in September is perfect. The two golden rules, which are the signs of Millard, have just begun to show great power.

“Mirrored Sabbath” finally saw the light of day. It was the ultimate masterpiece that vacuum-packed the peak of the moment with the highest sound ever. Sabbath has established his own full show style, and Millard has arrived at the golden rule of “Nakamichi + wheelchair.” It’s a miracle live album that was born because both of them were at the peak of the moment.
The “DEFINITIVE BRESCIA 1973 (Zodiac 398)” I introduced the other day was definitely a remarkable achievement, and Lampinski’s “DEFINITIVE PROVIDENCE 1975” is definitely a super-master board. However, it still does not match this work. A miracle of miracle, a miracle of a master board. This is a press 2CD for permanent preservation that you want to face up with your whole body.

★ A masterpiece title that shines brightly. No incidents in the past. Still, the best sound quality of the tour best. This is a miracle mirrored master! ! !


あのミラードによるサバス録音。。。もう、これだけで胸がいっぱいになります。LED ZEPPELINやPINK FLOYDを挙げるまでもなく、ミラードは膨大なロックの英雄たちを奇跡のサウンドで記録してきた伝説の録音家。車椅子や機材など、手法の1つひとつが逸話として語られ、その作品は公式/非公式の別さえも超え、オーディエンス録音という文化の象徴とさえなっています。しかしながら、そのコレクションからBLACK SABBATHが出てこなかった。あの奇跡サウンドでサバスを聴きたい。録音はしているはず。なぜ出てこない。失われてしまったのか……長い年月の乾きがあきらめに変わり、いつしか常識とさえなってきました。しかし、そんな歴史が変わるときが来た。遂に、遂に、ミラード・マスターが発掘されたのです!
そんな待望を超えた夢の結晶が本作。「1975年9月7日ロングビーチ公演」の超絶級オーディエンス録音です。ミラードのサバス録音というだけでも感無量なのに、マニア筋から史上最高と言われる“SABOTAGE TOUR”。しかも、今まで一切知られてこなかった完全初登場(!!!)のショウとは……。高まる心拍数を抑えつつ、まずは当時のスケジュールからショウのポジションを確かめてみましょう。


これが“SABOTAGE TOUR”の全体像。アルバム発売と前後して全米ツアーを開始したわけですが、本作のロングビーチ公演はその序盤。「北米#1b」の22公演目にあたるコンサートでした。このツアーからはサバス全史でも頂点級の超名盤『DEFINITIVE PROVIDENCE 1975(Zodiac 344)』『LIVE LONGEST… DIE AT LAST: DEFINITIVE EDITION(Zodiac 305)』が残されていますが、それらも同じ「北米#1b」。あの2本が8月頭だったのに対し、本作はその1ヶ月後となります。
そんなショウを記録した本作は、まさに奇跡のライヴアルバム。何しろ、あのダン・ランピンスキーの『DEFINITIVE PROVIDENCE 1975』より凄い……。比較にならない程のダイレクト感でグイグイと迫り、クリアにうねるベースのヴァイヴまで超克明なのです。あの超名盤を体験された方ならご理解いただけると思いますが、『DEFINITIVE PROVIDENCE 1975』はサバス全史の最高傑作。「サバスの客録でこれ以上のものはない」とまで言われた超絶盤でした。その最高点をあっさり更新してしまうとは……。
この感覚を映画に喩えてみますと、ランピンスキー録音は自宅でDVDを鑑賞している感じなのに対し、本作は劇場で体験している感覚。極太の芯が降り注ぎながら一切ビビらず、微細なヴァイヴに全身が包まれるあの感覚です。本作も再生するには家庭用システムに頼らなくてはならないわけですが、なぜかあの感覚が再現されている。これは『DEFINITIVE PROVIDENCE 1975』には望めない次元であり、もっと言ってしまえば、オフィシャル超えの最高傑作サウンドボードとして有名な『LIVE LONGEST… DIE AT LAST』さえ超えている。まさにミラードだからこその奇跡サウンドなのです。

そして、そのサウンドで描かれるのは、先述したようにサバス・マニアから「70年代最高のツアー」と言われる“SABOTAGE TOUR”。何しろ、このツアーはサバス初となるフルスケール・ショウなのです。コレクターの方なら薄々気づいていると思いますが、実はサバスが80分以上のショウを行うようになったのは70年代中期になってから。それまではCD1枚物ばかりなのに、1つ前の“SABBATH BLOODY SABBATH TOUR(の途中)”辺りから2枚組が出始めるのです。しかも、ツアーの冒頭からちゃんとフルスケールで構想されているのは“SOBOTAGE TOUR”こそが初。5thツアーでは持ち時間がバラバラなのか、ジャムタイムの長さで時間調整をしていたようですが、このツアーでは最初から100分用のセットを構築。新曲も盛り込むだけでなく、「Killing Yourself To Live」からスタートしたり、「Black Sabbath」を復活させたりと、大変革の豪華絢爛セットを組んでいるのです。
さらに言えば、サポート・キーボーディストにジェラルド・ウッドルフの起用も大きい。それまで再現できなかったキーボード・パートが演奏されるようになり、「Spiral Architect」も可能になった。そして、そのセットを歌うオジーも絶好調(恐らくキャリア・ハイでしょう)なら、ギターサウンドの金属光沢もギラッギラ。すべてにおいて頂点に達しつつ、まだ堕ちてはいない“絶頂のフルショウ”なのです。
しかも、黄金時代に突入したのはミラードも同じでした。ファンには有名な話ですが、ミラードと言えば「AKGマイク+Nakamichi 550」のセットで数々の名録音をモノにしていきました。彼がその必勝機材を手に入れたのが1975年のことであり、車椅子を使い始めたのも同時期。1975年2月のJETHRO TULL録音『L.A. FORUM 1975 4TH NIGHT(Uxbridge 1262)』ではNakamichiも車椅子も使っていませんでしたが、9月の本作ではバッチリ。ミラードの看板である2つの黄金律が絶大な威力を見せつけ始めたばかりの作品なのです。

先日ご紹介した『DEFINITIVE BRESCIA 1973(Zodiac 398)』は間違いなく快挙でしたし、ランピンスキーの『DEFINITIVE PROVIDENCE 1975』も確実に超名盤。しかし、それでも本作には敵わない。名盤の中の名盤、奇跡の中の奇跡。全身全霊で正対して頂きたい永久保存のプレス2CDです。


Disc 1 (44:10)
1. Intro
2. Supertzar
3. Killing Yourself To Live
4. Hole In The Sky
5. Snowblind
6. Symptom Of The Universe
7. War Pigs
8. Megalomania

Disc 2 (61:09)
1. MC
2. Sabbra Cadabra
3. Jam/Guitar Solo
4. Sometimes I’m Happy Jam
5. Drum Solo
6. Supernaut
7. Iron Man
8. Orchid
9. Rock ‘N’ Roll Doctor Jam
10. Black Sabbath
11. Spiral Architect
12. Embryo / Children Of The Grave
13. Paranoid

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

Zodiac 401

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