Black Sabbath/London,UK 1975-1976

Hammersmith Odeon is the famous venue where BLACK SABBATH has held the most performances in its 50-year history. Introducing an audience set that completes the 70’s record. Two titles will be released. This work summarizes the Hammersmith performance of “SABOTAGE TOUR” and “HAMMERSMITH STORY 1977-1978” of “TECHNICAL ECSTAY TOUR”/“NEVER SAY DIE TOUR”. With these two pieces, you can complete the Hammersmith record left in the 70’s. First, let’s organize all Hammersmith performances and the composition of the series. ●“SABBATH BLOODY SABBATH TOUR”・May 21, 1974 ●“SABOTAGE TOUR”・October 22, 1975 [This work: DISC 1-2]・January 13, 1976 [This work: DISC 3-4 ]●“TECHNICAL ECSTAY TOUR”・March 12, 1977・March 13, 1977 [2nd edition: DISC 1-2]・March 14, 1977・March 15, 1977 ●“NEVER SAY DIE TOUR”・June 1, 1978・June 10, 1978 [2nd edition: DISC 3]・June 19, 1978 [2nd edition: DISC 4-5] This is Hammersmith in the 70s・Of the 10 Odeon performances, audience recordings remain for 5 of them. This work is a 4-disc set that includes two performances realized on the “SABOTAGE TOUR”. Now, let’s introduce each of them in detail. [October 22, 1975, when a power outage commotion occurred] The first thing that appears is a classic recording. This is a full recording made on October 22, 1975, two months after the UK release of “SABOTAGE”. It has long been known as one of the best recordings of 1975, but this work is its highest peak. This upgrade master is much clearer than the previous version, and has become popular as “SUPERSONIC YEARS” at our store. As a matter of fact, this master was missing the beginning of “Supertzar” and the first song “Killing Yourself To Live” (about 1 minute and 40 seconds in total), but that was supplemented with the conventional master. You will be able to feel the upgrade as you will notice that the sound improves significantly in this area. It is one of the few full recordings of “SABOTAGE TOUR”, and it is also the longest audience recording after Soundboard’s super masterpiece “LIVE LONGEST… DIE AT LAST”. And the upgraded quality is exquisite. The atmosphere is strangely transparent, the wonderfully on core dives straight into it, and the details are clear. Although it is clear enough to be said to be outside the common sense of the 70’s audience, it also captures the vivid feeling of the scene that can only be achieved with a guest record. The sound quality for the first minute and 40 seconds is not good enough. You can experience the famous “SABOTAGE TOUR” with that sound, but there is also a special only for this show. It’s a power outage problem. After “War Pigs” ends, the next big song is “Megalomania”… but the song doesn’t start. Actually, the lights at the venue went out at this time. Although I don’t really care about the dark seats in the audience, the four people on stage were checking to make sure the amplifiers were working (it seemed like only the lights were working), and I couldn’t start a jam because I thought they were going to start. The lighting problem was resolved in about two and a half minutes. In the end, “Megalomania” was not played, and the band entered the huge jam section “Sabbra Cadabra”. The feeling of “what’s wrong” during that time, and the feeling of the venue witnessing such members, are also realistically recorded. [SABOTAGE TOUR’s best recording January 13, 1976] Next is the audience recording of “January 13, 1976” which returned to Hammersmith three months later. When you think of 1976, you have an image of “TECHNICAL ECSTAY”, but that was from October onwards. This day was the last day of the “SABOTAGE TOUR”, a rescheduling of the canceled performance in November. This is also one of the best and highly praised traditional recordings of “SABOTAGE TOUR”, and some traders say it is “better than Hammersmith 75 (Disc 1-2)”. Although it’s just a matter of preference, the clarity is even more striking than in 1975. The reason for this is the extension of the treble. Iommi’s heavy riff and Geezer’s undulating base run are also clear, but Ozzy’s shout that penetrates from there is super clear. Speaking of the “SABOTAGE” era, it was the heyday of vocalist Ozzy Osbourne, and his voice is much more pleasant than in his later years. You can fully enjoy the true value of Ozzy, who was a high-tone singer with more than 100%. What is depicted with that sound is the true essence of “SABOTAGE TOUR”, where “Megalomania” is also touched with no trouble. First of all, the set is so delicious. In the early days, BLACK SABBATH was a band that didn’t change their sets much even when they went on different tours, and instead changed by accumulating minor changes during the tour. However, this “SABOTAGE TOUR” is special. If it is different from the previous “SABBATH BLOODY SABBATH TOUR”, there is no continuity with the subsequent “TECHNICAL ECSTAY TOUR”. The opening with “Killing Yourself To Live”, which will no longer be played after this, is also unique, as is “Spiral Architect”, which was made possible by bringing in keyboardist Gerald Woodruff, and the super famous “Hole In The Sky” from “SABOTAGE”. ” and “Megalomania”, there are plenty of numbers exclusive to this tour. “Children Of The Grave” also includes “Embryo” which will be omitted after this. Furthermore, the jam section “Sabbra Cadabra” in the middle is also excellent. A 37-minute long medley that includes guitar/bass/drum solos, jams, and “Sometimes I’m Happy,” as well as boldly incorporating “Supernaut” and “Iron Man.” Unlike “SABBATH BLOODY SABBATH TOUR”, the keyboard by Woodruff is also added and it is vivid, and the coda is not a reprise of “Sabbra Cadabra” but the extremely profound “Black Sabbath” explodes. After “TECHNICAL ECSTAY TOUR”, we will try different styles, but “SABOTAGE TOUR” is the best, with good dramaticism and good flexibility. It is the ultimate medley that was mastered throughout the 1970s, and this work is the last one. You can enjoy it with the best sound. The 1976 edition is not a complete record because the recording ends in the middle of “Children Of The Grave”, but there are no other shortcomings. This is a superb live set where you can enjoy two performances in the home country of “SABOTAGE TOUR”, which core enthusiasts say is “the best tour in Sabbath history”, with the best sound. Although it is the first installment of the traditional venue “Hammersmith Odeon” collection series, this 4-disc set is even more extreme than that. Even if you are not interested in the complete recording collection, this is an absolutely inevitable masterpiece. Hammersmith Odeon, London, UK 22nd October 1975 & 13th January 1976 TRULY AMAZING/PERFECT SOUND Hammersmith Odeon, London, UK 22nd October 1975 Disc 1(47:57) 1. Supertzar 2. Killing Yourself To Live 3. Hole In The Sky 4 . Snowblind 5. Symptom Of The Universe 6. War Pigs 7. Light Goes Off 8. Sabbra Cadabra 9. Jam Disc 2(50:36) 1. Guitar Solo 2. Sometimes I’m Happy 3. Drum Solo 4. Supernaut 5 . Iron Man 6. Guitar Solo 7. Black Sabbath 8. Spiral Architect 9. Embryo/Children Of The Grave 10. Paranoid Hammersmith Odeon, London, UK 13th January 1976 Disc 3(41:00) 1. Supertzar 2. Killing Yourself To Live 3. Hole In The Sky 4. Snowblind 5. Symptom Of The Universe 6. War Pigs 7. Megalomania Disc 4(46:03) 1. Sabbra Cadabra 2. Jam 3. Sometimes I’m Happy 4. Drum Solo 5. Supernaut 6. Iron Man 7. Guitar Solo 8. Black Sabbath 9. Spiral Architect 10. Embryo/Children Of The Grave Ozzy Osbourne – Vocals Tony Iommi – Guitar Geezer Butler – Bass Bill Ward – Drums Gerald Woodroffe – Keyboards