Black Sabbath/CA,USA 1975 Mike Millard Master

A great achievement in the history of Sabbath music, once again. Moreover, this time, the biggest and best masterpiece in 50 years of history was born. Surprisingly, a Sabbath recording of the legendary taper “Mike Millard” was discovered. This is a complete first appearance and reigns as the pinnacle of Sabbath’s all-audience recordings! [The Sabbath collection is finally born from the Millard legend! ] That Sabbath recording by Millard. . . This alone makes my heart full. Not to mention LED ZEPPELIN and PINK FLOYD, Millard is a legendary recording artist who has recorded miraculous sounds from countless rock heroes. Each method, including wheelchairs and equipment, is told as an anecdote, and his work transcends the formal/unofficial distinction and has become a symbol of the culture of audience recording. However, BLACK SABBATH did not come out of that collection. I want to listen to Sabbath with that miraculous sound. It must have been recorded. why doesn’t it come out? Has it been lost? Years of desperation turned into resignation, and before we knew it, it had even become common sense. However, the time has come for that history to change. Finally, finally, the Mirrored Master has been discovered! This work is the fruit of a dream that exceeds such long-awaited expectations. This is a superb audience recording of “September 7, 1975 Long Beach Performance”. Even though I’m overwhelmed with excitement just because it’s a Millard Sabbath recording, “SABOTAGE TOUR” is said to be the best of all time by enthusiasts. Moreover, this is a complete first appearance (!!!) show that has never been known until now… While suppressing the increasing heart rate, let’s first check the show’s position from the schedule at that time. 1975, July 14th-27th: North America #1a (9 performances) [“SABOTAGE” released on July 28th], August 1st-September 14th: North America #1b (27 performances) ←★Here★・October 9th – October 22nd: UK #1 (10 performances) ・October 26th – November 22nd: Europe (10 performances) ・December 3rd – 13th: North America #2 (9 performances) January 8th-13th, 1976: UK #2 (5 performances) This is the overall picture of “SABOTAGE TOUR”. We started a US tour around the time of the album’s release, but the Long Beach performance of this work was at the beginning. This was the 22nd concert of “North America #1b”. From this tour, the top-class super masterpieces “DEFINITIVE PROVIDENCE 1975” and “LIVE LONGEST… DIE AT LAST: DEFINITIVE EDITION” in the entire history of Sabbath are left, but they are also the same “North America #1b”. While those two movies were released at the beginning of August, this one will be released one month later. This work, which records such a show, is truly a miraculous live album. After all, it’s better than Dan Lumpinski’s “DEFINITIVE PROVIDENCE 1975″… It approaches with an incomparably direct feeling, and even the clear undulating bass vibe is extremely detailed. As those who experienced that super masterpiece will understand, “DEFINITIVE PROVIDENCE 1975″ is the best masterpiece in the entire history of Sabbath. It was a transcendent album that was said to be “nothing better than this in Sabbath’s customer record.” To think that the highest score would be updated so easily… Comparing this feeling to a movie, the Lampinski recording feels like watching a DVD at home, whereas this work feels like experiencing it in a theater. It’s that feeling of being enveloped in a minute vibe, without being scared at all while the thick core is pouring down on you. You have to rely on a home system to play this work, but for some reason that feeling is recreated. This is a dimension that cannot be expected from “DEFINITIVE PROVIDENCE 1975”, and more specifically, it exceeds even “LIVE LONGEST… DIE AT LAST”, which is famous as a masterpiece soundboard that surpasses the official one. It is a miracle sound that can only be achieved by Mirrored. In fact, Millard himself didn’t seem to like this recording because he felt it was “too close,” but Sabbath fans say, “That’s why it’s so good.” It seems that he was not a fan of Sabbath in the first place, and felt that the direct feel of the guitar sound emitted by the PA was too strong. However, even though it is too close by Millard’s standards, it is definitely a beautiful recording that does not tremble in the slightest, and it is this straight-shooting feeling that suits the band’s sound. [1975, when both Sabbath and Millard entered their golden age] And, as mentioned above, the sound depicted is “SABOTAGE TOUR”, which is said to be “the best tour of the 70s” by Sabbath mania. After all, this tour is Sabbath’s first full-scale show. If you are a collector, you may be aware of this, but it wasn’t until the mid-1970s that Sabbath began performing shows longer than 80 minutes. Up until then, they had only been releasing single CDs, but around the time of the previous “SABBATH BLOODY SABBATH TOUR”, two-CD sets started to be released. Moreover, “SOBOTAGE TOUR” is the first time that the tour has been properly planned on a full scale from the beginning. On the 5th tour, it seems that the time was varied, or that the time was adjusted depending on the length of the jam time, but on this tour, a 100-minute set was constructed from the beginning. Not only does it include new songs, but it also starts with “Killing Yourself To Live” and revives “Black Sabbath”, creating a gorgeous set of major changes. Furthermore, the appointment of Gerald Woodruff as a support keyboardist is also significant. Keyboard parts that had previously been impossible to reproduce became possible, and “Spiral Architect” became possible. And if Ozzy who sings the set is in great condition (probably at a career high), the metallic luster of the guitar sound is also glaring. It is a “full show of climax” that has reached the peak in everything but has not fallen yet. Moreover, Millard also entered a golden age. It is a well-known story among fans that Millard made many famous recordings with the set of “AKG microphone + Nakamichi 550”. It was in 1975 that he acquired this winning equipment, and around the same time he started using a wheelchair. In the JETHRO TULL recording “L.A. FORUM 1975 4TH NIGHT” in February 1975, Nakamichi did not use a wheelchair, but in this work in September he was perfect. This is a work in which Millard’s signature two golden rules have just begun to demonstrate their tremendous power. “Mirror’s Sabbath” has finally seen the light of day. It was the ultimate masterpiece that vacuum-packed the moment of climax with the best sound ever. Sabbath has established their own full-show style, and Millard has arrived at the golden rule of “Nakamichi + wheelchair.” This is a miraculous live album that was created because both of them were present at the moment of their climax. The “DEFINITIVE BRESCIA 1973” that I introduced was definitely a great success, and Lampinski’s “DEFINITIVE PROVIDENCE 1975” is definitely a super masterpiece. However, it still can’t compete with this work. A masterpiece among masterpieces, a miracle among miracles. Long Beach Arena, Long Beach, CA, USA 7th September 1975 TRULY PERFECT SOUND 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