Ozzy Osbourne / Ultimate Barks Tokyo 1984 / 2CD

Ozzy Osbourne / Ultimate Barks Tokyo 1984 / 2CD / ZODIAC

Koseinenkin Kaikan, Tokyo, Japan 29th June 1984 ,Nakano Sunplaza, Tokyo, Japan 6th July 1984 STEREO SBD(UPGRADE)

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Jake E. Lee’s first visit to Japan was Ozzy Osbourne in 1984. The leaked stereo soundboard recording has been upgraded to the ultimate form!
の There are two performances engraved on this work. “June 29, 1984: Tokyo Health and Welfare Pension Hall” performance and “July 6: Nakano Sun Plaza” performance. Yes, it is a vertex set that has been refined with the latest mastering of the transcendent sound board of that daimyo board “DEFINITIVE BARKS” “BARK AT THE TOKYO”! Suddenly, it was called “that daimyo board” “transcendence sound board”, but if you do not know “DEFINITIVE BARKS” “BARK AT THE TOKYO”, it may not come in pin (conversely those who have experienced Has already determined your mind.) Ichi will explain. There were some minor incidents when I came to Japan in 1984, so let’s look back at the show position from the schedule at that time.

・ June 28: Nakano Sun Plaza
・ June 29: Shinjuku Health and Welfare Pension Hall ← ★ DISC 1 ★
<< June 29: Return to Don Ailey >>
・ June 30: Nagoya City Public Hall
・ July 2: Osaka Festival Hall
・ July 3: Fukuoka Sun Palace Hall
・ July 5: Nakano Sun Plaza
・ July 6: Nakano Sun Plaza ← ★ DISC 2 ★
・ July 7: Shibuya Public Hall

More than 8 performances. The two performances of this work were in the same Tokyo but the dates were far apart, and were the second and seventh performances. What is important is “June 29”. In fact, Don’s mother died on that day, and immediately after the show, she returned home urgently. (Before the performance, she had an interview with Music Life, and she was still confused by Ozzy.) The remaining six performances were performed in a four-player organization without keyboard. In other words, Disc 1 is a show on the day of returning to Don, and Disc 2 is a precious four-person show. It’s such a ridiculous sound board album.

[DISC 1: Full sound board beyond the official] First of all, the sound board recording on the day of Don’s return home. This is a leaked sound board that has been known for a long time on famous boards such as “BEAST IN THE DARKNESS” and “DRUNKEN SHOW”, but this work is a refinement of the master “DEFINITIVE BARKS” that was the highest peak. I think that there are many people who know only the famous, but the quality is the highest peak of the direct connection sound board. The mix and close contact are overwhelming, and the rawness of the unprocessed material is enormous. Speaking of “BARK AT THE MOON TOUR”, the official video of the Salt Lake City performance has become a symbol, but that was replaced only by the official and it was Miemier, and the deliberate loud cheers and overdubs were also white was. However, this work can enjoy a full show with perfect original sound.
And this work is a further brush-up of such a highest master. At the time of “DEFINITIVE BARKS”, it was of a quality that would have already beat the departure, but this work was finely adjusted and finely adjusted. For example, the left and right band balance and subtly shifted phases are also corrected. Rather than simply making the power sound a gain in the sound pressure of the original sound, it took full advantage of the original sound and “the sound of the band itself”. It may not be easy to tell what you are working on, but the resulting sound is more dynamic than the original sound. Each sound is transmitted vividly, and it is the highest updated sound that can be immersed in the three-dimensional effect that is drawn as a result.

[DISC 2: Super valuable quartet sound board] The next one to appear is the only “four-person sound board” in the world. It was a leaked sound board that shocked the world in “BARK AT THE TOKYO” in 2014, but in this work it was digitized again from the Omoto cassette. This is also transcendence, and the feeling of direct connection and the freshness are equivalent to Disk 1. However, the nuances of this work are quite different due to re-digitization. The point this time is a sense of naturalness and unity. The first appearance of “BARK AT THE TOKYO” must have been transcendent, but this time, the faithful reproduction of the analog feeling of the tape and the resolution of the subtleties have been further improved. The clearness has been drawn just by the vividness of the fine parts. And a sense of unity is compatibility with the disc 1. It achieves a unified feeling without discomfort even if it is set with Disc 1 which exceeds the official.
本 This work drawn with such a sound is a shocking “four-member ogee”. Actually, not only the ensemble but also the set is different.

● Common to both discs (9 songs)
・ PARANOID: Iron Man
・ BLIZZARD OF OZZ: I Don’t Know / Mr. Crowley / Revelation (Mother Earth) / Steal Away (The Night) / Suicide Solution
・ DIARY OF A MADMAN: Flying High Again
・ BARK AT THE MOON: Rock ‘n’ Roll Rebel / Bark At The Moon
● Disc 1 only (3 songs)
・ PARANOID: Paranoid
・ BLIZZARD OF OZZ: Crazy Train
・ BARK AT THE MOON : Centre Of Eternity
● Disc 2 only (one song)
・ DIARY OF A MADMAN: Over The Mountain

… and it looks like this. Roughly speaking, Disc 1 is the same as the official video (Salt Lake City performance), but Disc 2 is a bit short, and the encore has not been recorded. That’s a shame, but instead we’re playing “Over The Mountain,” which we can’t even hear on the official footage. I heard this song in the shocking work “US FESTIVAL ’83: THE COMPLETE SOUNDBOARD (Zodiac 350)”, so it wasn’t “one and only”, but it was just “two.” Even in the Jake era, it has been featured in only a very limited number of live shows, and you can enjoy precious performances on a transcendental sound board.
And what is more than a set is a “four-person ensemble without a keyboard”. 1982’s “SPEAK OF THE DEVIL” was also keyboard-less, but for that, it was a rough technique with all songs BLACK SABBATH numbers. However, at this time an emergency situation where no preparations can be made. He plays a number of solo numbers as a guitar band. All songs are fresh, but the biggest listening point is “Mr. Crowley”. The arrangement that the guitar arpeggio invites instead of that solemn synth intro is “emotional” rather than “dramatic”. It’s a version with a warm personality. It is not that there is no keyboard player, but that the master Don Ailee is absent. Nonetheless, Jake is a true genius, pulling out another charm from the song while filling the hole brilliantly.
来 A performance in Japan of “Howling at the Moon” where the incident occurred. It is the highest peak set of transcendence and outflow sound board recording born from the scene. Nakano Sun Plaza, a super valuable four-member pension, where you can enjoy an ensemble of more than the official students. Please enjoy it with the permanent preservation press 2CD.

★ Both performances are recorded with official stereo sound board recordings! !

そんな本作に刻まれているのは2公演。「1984年6月29日:東京厚生年金会館」公演と「同7月6日:中野サンプラザ」公演。そう、あの大名盤『DEFINITIVE BARKS』『BARK AT THE TOKYO』の超絶サウンドボードを最新マスタリングで磨き上げた頂点セットです! いきなり「あの大名盤」「超絶サウンドボード」とまくし立ててしまいましたが、『DEFINITIVE BARKS』『BARK AT THE TOKYO』をご存じない方にはピンと来ないかも知れません(逆にご体験済みの方はすでに心を決められていることでしょう)。イチがご説明して参ります。1984年の来日ではちょっとした事件もありましたので、それも含めて当時のスケジュールからショウのポジションを振り返ってみましょう。

・6月29日:新宿厚生年金会館 ←★DISC 1★
・7月6日:中野サンプラザ ←★DISC 2★


【DISC 1:オフィシャル超えのフル・サウンドボード】
まず登場するのは、ドン帰国当日のサウンドボード録音。これは『BEAST IN THE DARKNESS』『DRUNKEN SHOW』等の名盤で古くから知られている流出サウンドボードですが、本作はその最高峰だった『DEFINITIVE BARKS』マスターを磨き込んだものです。有名だけにご存じの方も多いとは思いますが、そのクオリティは卓直結サウンドボードの最高峰となるもの。ミックスもド密着感も圧倒的で、無加工ならではの生々しさも絶大。“BARK AT THE MOON TOUR”と言えば、ソルトレイク・シティ公演のオフィシャル映像が象徴となっておりますが、あれは公式だけに差し替えもミエミエでしたし、わざとらしい大歓声もオーバーダブも白々しいものでした。しかし、本作は完全本生サウンドでフルショウを楽しめるのです。
そして、本作はそんな最高峰マスターをさらにブラッシュ・アップしたもの。『DEFINITIVE BARKS』の時点で既発を一蹴するクオリティではあったのですが、本作は微に入り細に入って調整。例えば、左右の帯域バランスや微妙にズレていた位相も修正。単に原音の音圧稼ぎのパワー・サウンドにするのではなく、原音を大切にしつつ「バンドの出音そのもの」を最大限に引き出したのです。作業内容を言葉で書いても伝わりづらいかもしれませんが、その結果生まれたサウンドは原音よりも整っていながら一層ダイナミック。1音1音が鮮やかに伝わり、その結果として描かれる立体感にも没入できる最高峰更新サウンドなのです。

【DISC 2:超貴重なカルテット編成サウンドボード】
続いて登場するのが世界でただ1本だけの「4人編成サウンドボード」。2014年の『BARK AT THE TOKYO』で世界に衝撃を振りまいた流出サウンドボードなのですが、本作ではその大元カセットから改めてデジタル化したものです。これがまた超絶でして、ド直結感も生々しさもディスク1と同等なのです。ただし、本作は再デジタル化とあってサウンドのニュアンスは結構異なる。今回のポイントは、ナチュラル感と統一感。初登場だった『BARK AT THE TOKYO』も超絶には違いなかったのですが、今回はテープのアナログ感まで忠実に再現しつつ、機微の解像度は更にアップ。微細部の鮮やかさだけでクリアさも描ききっている。そして、統一感とはディスク1との相性。オフィシャル超えのディスク1とセットにしても違和感がない統一感を実現しているのです。

・BLIZZARD OF OZZ:I Don’t Know/Mr. Crowley/Revelation (Mother Earth)/Steal Away (The Night)/Suicide Solution
・DIARY OF A MADMAN:Flying High Again
・BARK AT THE MOON:Rock ‘n’ Roll Rebel/Bark At The Moon
・BARK AT THE MOON:Centre Of Eternity
・DIARY OF A MADMAN:Over The Mountain

……と、このようになっています。ざっくばらんに言ってディスク1はオフィシャル映像(ソルトレイク・シティ公演)と同じなのですが、ディスク2はちょっと短く、アンコールは未収録。その点は残念ではあるものの、代わりに公式映像でも聴けない「Over The Mountain」を演奏しているのです。この曲は衝撃作『US FESTIVAL ’83: THE COMPLETE SOUNDBOARD(Zodiac 350)』でも聴けたので「唯一無二」とは言えないものの、それは「2本ある」というだけ。ジェイク時代でも非常に限られたライヴでしか取り上げられておらず、超貴重な演奏を超絶サウンドボードで楽しめるのです。
そして、セット以上なのが「キーボード抜きの4人アンサンブル」。1982年の『SPEAK OF THE DEVIL』も鍵盤レスでしたが、そのために全曲BLACK SABBATHナンバーという荒技でもありました。しかし、この時は一切の準備ができない緊急事態。ソロナンバーの数々をギター・バンドとして演奏しているのです。全曲が新鮮だったりするのですが、最大の聴きどころはやはり「Mr. Crowley」でしょう。あの荘厳なシンセ・イントロの代わりにギター・アルペジオが誘うアレンジは「ドラマティック」というより「エモーショナル」。暖かい人間味があふれ出してくるバージョンなのです。単に鍵盤奏者がいないというのではなく、不在なのはあの名手ドン・エイリー。それにも関わらず見事に穴を埋めながら楽曲から別の魅力を引き出してしまう……やはりジェイクは真の天才です。


Disc 1(79:07)
Live at Koseinenkin Kaikan, Tokyo, Japan 29th June 1984


01. Carmina Burana
02. I Don’t Know
03. Mr.Crowley
04. Rock And Roll Rebel
05. Bark At The Moon
06. Revelation
07. Steal Away (The Night)
08. Member Introduction
09. Suicide Solution
10. Keyboard Solo
11. Centre Of Eternity
12. Drum Solo
13. Flying High Again
14. Iron Man
15. Crazy Train
16. Paranoid

Ozzy Osbourne – Vocal Jake E. Lee – Guitar Bob Daisley – Bass Tommy Aldridge – Drums Don Airey – Keyboards

Disc 2(51:37)
Live at Nakano Sunplaza, Tokyo, Japan 6th July 1984


01. I Don’t Know
02. Mr. Crowley
03. Over The Mountain
04. Rock ‘n’ Roll Rebel
05. Bark At The Moon
06. Revelation (Mother Earth)
07. Steal Away (The Night)
08. Band Introductions
09. Suicide Solution incl. Guitar Solo
10. Flying High Again
11. Iron Man *カットアウト但し4秒ほど既発より長い

Ozzy Osbourne – Vocal Jake E. Lee – Guitar Bob Daisley – Bass Tommy Aldridge – Drums



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