Black Sabbath/Osaka,Japan 1989 Soundboard Upgrade

BLACK SABBATH was revived in 1989 with a lineup that is said to be the “strongest in British rock”, featuring the heroes Cozy Powell and Neil Murray. Introducing the upgrade master of the best sound board born from that performance in Japan. [Sound board with Koji born from the legendary return to Japan] What is engraved in this work is the “October 19, 1989: Osaka Festival Hall” performance. This is the FM sound board recording. BLACK SABBATH, which was revived with the addition of Cozy Powell, has entered an era that can be called a “hidden golden age.” Although they did not become a big hit due to their musical style being largely out of step with the trends of the times, the songs they produced, the sounds they played, and the high-class ensembles were comparable to the Ozzy/Ronnie eras. I won’t go into detail about the greatness of the music because it’s endless, but if you’ve read this article, there’s one more thing you’ll remember: “strong professional records were mass-produced.” Although it was a bad period commercially, the world tour that bet on revival had the highest number of performances since “BORN AGAIN TOUR”, and many soundboards/pro shots were also born, probably because it was for marketing purposes. Here, in order to visualize the situation, let’s take a look at the entire tour and organize various sound boards / professional shot collections. [“HEADLESS CROSS” released on April 24th]・May 31st – June 14th: North America (11 performances)・August 31st – September 11th: UK (10 performances) “MANCHESTER 1989 PRE-FM MASTER” ”・September 14th – October 2nd: Europe (14 performances) “DEFINITIVE VIENNA 1989”・October 14th – 21st: Japan (5 performances) ←★This work★ ・November 19th – December 8th Japan: Russia (20 performances) “HEADLESS IN RUSSIA (2 performances)” [Long and overwhelmingly natural upgrade master] This is BLACK SABBATH’s 1989. The itinerary can be broadly classified into five categories, and a total of four professional records (five performances) were left from each leg outside North America. This work is a soundboard album that was born from the Japanese performance. This recording has been known for a long time, and has been loved at our store as the out-of-print title “STILL HEADLESS (part of)”. This work is the equalizing recurrence. . . . . Well, no. It is an upgrade master that was directly digitized from the Air Check Master at that time. The difference is obvious immediately after playback. It is the same as the previous edition that it is edited according to the broadcast frame, but whereas the previous version started with “Headless Cross”, this new master starts with the BGM “Ave Satani” before the performance begins. start. “The Gates Of Hell” is also firmly recorded, and the total is more than two and a half minutes long. This alone makes the mood completely different, but even more than that is the sound that runs through the whole story. This is completely different from the conventional version and is extremely natural. As I discovered with this new master, the previously released group had been significantly processed to give it a 90’s feel. The original FM broadcast was a fairly monaural mix, but we forced it to be widened with pseudo-stereo, and conversely processed it into a tight sound that narrowed down the resonance and emphasized the core. I understand the intention, but combined with the poor environment and technology of the 1990s, an indescribable feeling of discomfort has been created, and the light, thin and cheap style has become a “degraded sound board”. However, this work is completely different. Carefully treats only slight noise without touching the center-centered stereo balance or master freshness. Because it is unprocessed, it does not have the taut feeling that the conventional version had due to failed cosmetic surgery, and the sound is natural and wide. This is more important than words can express. If you love Cozy Sabbath, you probably know that during the “HEADLESS CROSS” and “TYR” eras, they aimed for a sound world with an echoey feel, and even in their live performances they tried to create a sound that was similar to that (although not as much as in their studio work). It was being built. However, when mastering is done by someone who does not understand this aesthetic sense, they end up changing things like “reducing the echo” or “putting the core in front!” in order to emphasize the difference from the audience recording. With the conventional version, which had a strangely tight and unnatural sound, it was thought that the broadcast staff were idiots, but in fact, the big problem was the processing after the broadcast. This work is also a beautiful piece of “1989 sound” that reveals the truth of such broadcasts. The sound depicted is a dramatic and profound Sabbath that has been brought to the extreme by Cozy. I have introduced in various places that his side is different from anyone in history, so I will omit it, but it is nothing but bliss to be able to enjoy it with the sound that hits the brain directly on the sound board. Moreover, Live in Japan. From their first visit to Japan, the supreme FM soundboard album “EVILMANIA” was also born, but this work is the cozy version of that. BLACK SABBATH from the Cozy era showed us the height of beautiful dramatic HR. The world was too cold for that rich music. When it comes to live performances, which are supposed to be their main focus, there continues to be a tragedy where even the official audience misses them. This is the best edition in history of a masterpiece broadcast that completes the soundboard collection of that era and brings back the unforgettable scene of the Japanese performance. Live at Festival Hall, Osaka, Japan 19th October 1989 SBD (UPGRADE & LONGER!!!) (53:56) 01. Ave Satani ★Already outstanding 02. The Gates Of Hell 03. Headless Cross 04. Neon Knights 05. The Mob Rules 06. Guitar Intro. 07. Black Sabbath 08. Iron Man 09. Children Of The Grave 10. Heaven And Hell 11. Paranoid / Heaven And Hell(reprise) Tony Iommi – Guitar Tony Martin – Vocals Neil Murray – Bass Cozy Powell – Drums Geoff Nicholls – Keyboards SOUNDBOARD RECORDING