Black Sabbath/Italy 1973 Upgrade

This is a great achievement in the history of Sabbath sound sources! From “VOL.4 TOUR”, which has continued to be an endangered area for top quality recordings, the first super high level audience recording is born. Introducing a super masterpiece that could be the best masterpiece in the entire history of Sabbath!! [“VOL.4 TOUR”, which was a critical area for great recordings] I apologize for getting so excited all of a sudden. However, this time I can’t contain my excitement. After all, it is the best recording of that “VOL.4 TOUR”. Every time a new master was discovered, I thought, “Well, it’s not that bad,” or “Yeah, maybe this time it’s better…” etc. After touring this unexplored region, I finally felt like my hands were gone! A live album that makes you feel sad has been born… This feeling may require some explanation. As a matter of fact, there are big waves in the quality of Sabbath audience recordings in the 1970s. Of course, there are differences between pins and kire in each era, but the height of the “pin” differs greatly. Let’s sort things out a bit.・Precious very early period (1969 to 1971) ・Mid period of stagnation (1972 to 1975) ・Golden period (1976 to 1978) This is what it looks like. “Very early” is the vintage recording era, and it is packed with masterpieces and masterpieces of the best sound, but it is “best” in the sense of “not only valuable / for the early 70s”. That’s still enough, but the problem is in the “medium term.” This is the period that corresponds to studio works such as “VOL.4”, “Bloody Sabbath”, and “Sabotage”. For some reason, the number of recordings and the average sound quality began to decline around 1972, and the “best” recordings became extinct. And, the situation suddenly turns upside down in the “later period (after “TECHNICAL ECSTASY TOUR” in 1976). Transcendental recordings will appear due to the cultivation of recording know-how, the improvement of equipment, or perhaps both. Super masterpieces such as “SABBATH IN FRESNO”, “KILLING YOURSELF TO DIE: THE LEGENDARY MASTER”, and “SABBATH IN NASHVILLE 1978” (unlike the very early days) are “excellent without any questions and answers” that do not require the idioms of the era. That is a transcendental recording that makes even the distinction between “sound board or audience” meaningless. However, the problem here is that while the recording of the “later period” is amazing, the band’s condition can never be said to be good. I want to experience the “middle period”, which is the band’s peak period both in name and reality, with the best audience recording… This was also the earnest desire of Sabbath collectors. This work is a historic, superb live album that will make that wish come true! [Finally, a super famous recording that will last forever! ] The prelude has become too long, but what is engraved in this work is “February 21, 1973 Brescia performance”. This is the best audience recording. I think some people may be wondering, but the recording on this day has been known for a long time, and it has been loved as part of “ITALIAN TRILOGY ’73”. This work is a brush-up of that. . . . Well, no. A new master that was recently released. It is a top-of-the-line product that has been digitized directly from the recording artist’s original cassette. The sound is completely different!! The characteristic screams of the audience at the beginning of the performance are recorded, so you can tell that it is the same recording, but the quality is different. If you remember the previous releases, you may remember the extremely thick core and clear air, but at the same time, the midrange was light and the overall feel was stiff. However, with this work, that harsh feeling is quickly wiped away, and the midrange is rich and the bass is also strong. It’s about 3 ranks different…or should I say, it’s a super upgrade that you wouldn’t think it was the same recording if it weren’t for the screaming at the beginning. That is the quality that is comparable to the “late” transcendental recording group. I never imagined that the day would come when I would be able to experience “VOL.4 TOUR” with such great sound… If I were to describe the real thrill of this experience, I would say it’s a “LIVE AT LAST on-site experience.” Yes, that traditional edition is also “VOL.4 TOUR”. Let’s also check the show position from the schedule at that time. 1972《Completion of “VOL.4” in May》・June 19th-September 15th: North America (28 performances)《“VOL.4” released on September 25th》1973・January 5th-19th : Oceania (7 performances) ・February 15th – March 3rd: Europe (15 performances) ←★Here★ ・March 9th – 18th: UK (10 performances) ← *”LIVE AT LAST” ・August 2nd: LONDON MUSIC FESTIVAL ’73 [September production of “SABBATH BLOODY SABBATH”] This is BLACK SABBATH from the “VOL.4” era. “LIVE AT LAST” was a compilation made from the Manchester performance and London performance of the home tour, but the Brescia performance of this work was about three weeks before that. This is the 7th performance of the “Europe” tour. Although the sets and performances are similar because they are so close, the sense of realism of the unedited all-at-once recording is tremendous. Even the intervals between songs flow in real time, giving you the sense of reality that “BLACK SABBATH in full glory is right in front of you,” and the feeling of being surrounded by an audience rejoicing at the best heavy music of our time is also unparalleled. Normally, I would add a “sense of the times” here, but the sound of this work does not allow that. Rather than the vintage feel of the 1970s, you can experience “1973” with a “vivid and beautiful” sound like modern digital recording. (This is a complete aside, but the photo used for the artwork of this work is said to be the original of the “VOL.4″ jacket.The left and right are reversed from the official version, but it is reflected in the back As you can see, this version is more accurate. Why did the designer at the time reverse the photo? Maybe it was because of the design, or maybe they thought I was right-handed…) The appearance of “BLACK SABBATH” will change the standard of the act of “listening to audience recordings of BLACK SABBATH”. In other words, it’s a dimension that says, “If you haven’t heard this, you can’t talk about it.” It is a symbolic record that can be called BLACK SABBATH’s “LISTEN TO THIS EDDIE”. There are countless masterpiece audience recordings in the 50-year history of Sabbath, but the only ones that are at this height are this work and Dan Lampinski’s masterpiece “DEFINITIVE PROVIDENCE 1975”. These two works are the best masterpieces of the 70’s audience… In other words, they are the two great peaks that stand alongside the peak of the entire history of Sabbath. Palazzo E.I.B., Brescia, Italy 21st February 1973 TRULY PERFECT SOUND(HUGE UPGRADE) (52:52) 1. Intro 2. Tomorrow’s Dream 3. Sweet Leaf 4. War Pigs 5. Snowblind 6. Killing Yourself to Live 7. Wicked World 8 . Guitar Solo incl.Orchid 9. Instrumental Jam 10. Wicked World (reprise) 11. Embryo/Children of the Grave 12. Paranoid