Black Sabbath/RI, USA 1975 Upgrade

The legendary recording has been upgraded to its ultimate form! The strongest audience album of the 70’s (=BLACK SABBATH’s strongest) is born. [The ultimate evolution of the legendary Lampinski recording] The strongest version records the “Providence performance on August 3, 1975″…Yes, the super best made by the legendary master “Dan Lampinski” This is an audience recording. Speaking of Lampinski, he is an absolute master who left a large amount of transcendental recordings in Boston and Providence in the late 1970s. The mere mention of his work makes a difference in the eyes of collectors around the world, and even bands that are not very popular attract large crowds. The Lumpinski Collection has already been declared discontinued, and among them was the record of our own BLACK SABBATH. He has 4 SABBATH recordings. Of these, two have been made public, and the one from 1975 was the one with the best sound. It was a Providence recording of “SABOTAGE TOUR”. Of course, it was introduced as “MEGALOMANIA” from the beginning of the excavation. The sound quality is one of the best among all audience recordings in the 1970s, and it has become very popular. However, while “MEGALOMANIA” (or rather, Lampinski Master itself) was one of the best of the 70s, it was not the pinnacle. Even though the basic sound was so amazing, there was a flaw that was difficult to deal with. It was a poor contact between the equipment. During the five songs from “Supertzar” that announces the start of the performance to “Symptom Of The Universe”, the right channel was experiencing a drop in sound due to an extremely momentary contact failure. Of course, the left channel remains ultra-excellent and seamless, and “MEGALOMANIA” also supports monaural drop-off parts. Although I enjoyed the show itself, I had a hard time concentrating as the show switched from stereo to monaural at more than 35 places over the course of 5 songs, including details as small as zero tenths of a second or less. This work is a brush-up of such “too much missed! Great recording” and finished it as a full live album with no discomfort. Its level of perfection is truly ironclad. We carefully inspected and repaired contact defects in over 35 locations one by one. Most of it is pseudo-stereo processing, but it eliminates abnormal sounds and makes each range seamless… Even at the moment of switching, it doesn’t feel strange, and it achieves a sound so natural that you can’t tell where there was a poor contact. [SABBATH’s strongest audience album] The ultimate form that was achieved is not the pinnacle of Providence recording, but also the pinnacle of SABBATH. In order to convey its greatness, I would like to digress a little. In the first place, there are three major eras in the audience recording of BLACK SABBATH in the 1970s. – Precious early period (1969 to 1971) – Middle period of stagnation (1972 to 1975) – Late golden period (1976 to 1978) This is not the state of the band, but the history of audience recording. “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.” For some reason, the number of recordings and the average sound quality declined from around 1972, and the “superlative” recordings became extinct. The situation suddenly turns upside down in the “later period (after “TECHNICAL ECSTASY TOUR” in 1976). Transcendental recordings will appear through the cultivation of recording know-how, improved 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. It is a transcendental recording that makes even the distinction between “sound board or audience” meaningless. However, there was one problem. Generally, BLACK SABBATH is in limbo after “TECHNICAL ECSTASY”. Although the quality of the work was high, there was a lack of direction and sales were sluggish. Relationships within the band were also poor, leading to Ozzy Osbourne leaving the group twice. Even though the recording situation had improved dramatically, there was a lack of “their true nature”. Yes, this work is one that will change the recording history of SABBATH. It is “SABOTAGE TOUR” that mastered heaviness, darkness, and aggression, and is a unique “excellent recording” that transcends time. “SABOTAGE” numbers such as “Hole In The Sky”, “Symptom Of The Universe”, and “Megalomania”, a long and flexible jam section with the theme of “Sabbra Cadabra”, were made possible only because keyboardist: Gerald Woodruff accompanied them. “Spiral Architect” and so on… These virtues could also be enjoyed in the ultimate soundboard album “LIVE LONGEST… DIE AT LAST”, but this work is the audience version. This is the meaning of “the strongest audience album of the 70s” mentioned at the beginning. The one and only transcendental audience album that records the golden age of SABBATH. This is a super masterpiece that maximizes the potential of the treasure left behind by the historical and world-renowned master “Dan Lampinski.” Just as “LIVE LONGEST… DIE AT LAST” was the top work on the sound board, listening to this work is the top experience for the BLACK SABBATH audience. Live at Civic Center, Providence, RI, USA 3rd August 1975 TRULY PERFECT SOUND(UPGRADE) Disc 1 (42:56) 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 2 (56:20) 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 11. Paranoid Ozzy Osbourne – Vocals Tony Iommi – Guitar Geezer Butler – Bass Bill Ward – Drums