Black Sabbath/Austria 1989 Upgrade

The Cozy Powell era was the most magnificent and majestic in the history of heavyweight BLACK SABBATH. What is included in the ultimate masterpiece is “Vienna performance on September 24, 1989”. It is the super best stereo sound board recording. Yes, many of you have probably already noticed. This work is the definitive edition of “HEADLESS IN VIENNA”. There was nothing more worthy of calling it a legend than this soundboard. It was excavated at the beginning of the 21st century. At that time, speaking of audience recordings from the Cozy era, there were only a few of Hong’s. When it came to soundboards, partial soundboards from Osaka and Manchester performances were prized, and it was a time when people were just grateful to be able to listen. “HEADLESS IN VIENNA”, which appeared without any warning, was a transcendent recording that hit the heads of maniacs all over the world. I was shocked just because it was the first complete recording sound board, but what was really amazing was the sound itself. The quality directly connected to the sound board table is truly the ultimate. It goes without saying that the lines are close together, but if the mix is ​​perfect, each instrument is separated and the vivid stereo feeling is superb. What was even more surprising was the strangely shiny metallic luster. Although there is no sound pressure gain, the cymbal sound is sharp, and although the guitar is heavy, it is beautiful as if metal powder is flying from the edges. During the Cozy era, only two official live songs were included in the single “Feels Good To Me”, but this metallic shine is a beauty that cannot be tasted even in the quiet official take. Moreover, this transcendental sound continues to be the highest peak even today. Currently, another official soundboard “MANCHESTER 1989: PRE-FM MASTER” is also loved, but the sound directly connected to the desk of this work surpasses even PRE-FM. It’s full of reality, as if Iommi, Martin, and Cozy are on the other side of the speaker, and its freshness exceeds FM and official music. In fact, we tried the latest and meticulous mastering for this reprint, but there was nothing we could do. Even when Hong tries to mess with him a little, it seems like he’s missing some soul. Therefore, this time as well, we have reproduced the sound that the original master absorbed at the scene as it is (this recording has a noisy feel to the middle three songs “When Death Calls”, “War Pigs”, and “The Shining”). However, that could not be improved either). However, this work is not exactly the same as the previous release. It’s the beginning of the show. It starts with “Ave Satani/The Gates Of Hell” just like the show scene. This was also the biggest mystery of “HEADLESS IN VIENNA”. For some reason, “Supertzar” was recorded as the opening BGM, and at the time people were talking about, “Did they use Supertzar just on this day?” After that, an audience recording of the same Vienna performance was discovered, and it turned out to be “Ave Satani/The Gates Of Hell” at the scene. It is now said that the staff who leaked this soundboard or the person who received the tape may have dubbed “Supertzar” as a hobby. In this work, “Supertzar” has been replaced with “Ave Satani/The Gates Of Hell” with the best audience recording. However, the audience at the Vienna performance on the day had a quality problem, polluting the super-superb sound board. Therefore, we used the famous recording of “September 23rd Neumarkt Performance”, the day before the Vienna performance. This audience is a top class “A+” recording even in the masterpiece “HEADLESS CROSS TOUR”. It colors the opening part vividly and clearly. The superb sound board that was revived in this way is so wonderful that you will be moved to tears. The dramatic number of “HEADLESS CROSS” is made even more mellow by the master Neil Murray, but even more so are the numbers from the Ozzy and Ronnie eras. Dramatic anyway! Although Ronnie’s era was originally dramatic, it was completely different with Cozy’s hard sound and wankery excitement. It has a sense of construction that is completely different from the driving feeling of Geezer, and it feels like a ruin from the Roman era. And during the Ozzy era, things changed even more. Although people tend to talk only about their heaviness, their riffs are full of profound feeling, and the layered feel of the song structure is the core of Sabbath’s uniqueness. Iommi has always said that he has “pursued the thickness of the sound,” but the true value hidden behind the weight is now completely exposed. Commercially, the Cozy era was not as successful as the Ozzy era/Ronnie era. However, its brilliance was comparable to both eras, and it was a sound that was more special to them than anyone else. This is clear from the fact that they reunited in 1995 (by the way, BLACK SABBATH was also the only band that Koji returned to in his lifetime). This work is a rare masterpiece that conveys the true value of such special SABBATH with an ultra-high quality stereo sound board. It is a super masterpiece that is on par with “HEADLESS CROSS” and “TYR”… no, it is even better than that. This is the only one that returns the opening, which was different from the historical fact, to the original “Ave Satani/The Gates Of Hell”. Live at Summer Arena, Vienna, Austria 24th September 1989 STEREO SBD(from Original Masters)*UPGRADE Disc 1 (49:36) 1. Supertzer/The Gates Of Hell★ 2. Headless Cross 3. Neon Knights 4. Children OF The Sea 5. Die Young 6. When Death Calls 7. War Pigs 8. The Shining Disc 2 (40:32) 1. Mob Rules 2. Black Sabbath 3. Iron Man 4. Children Of The Grave 5. Heaven And Hell 6. Paranoid /Heaven And Hell(Reprise) STEREO SOUNDBOARD RECORDING Tony Iommi – Guitar Tony Martin – Vocal Cozy Powell – Drums Neil Murray – Bass Geoff Nicholls – Keyboards