Black Sabbath/UK 1986 Upgrade

BLACK SABBATH from the Ray Gillan era had a bubbly yet unique charm. The legendary original recording that is a symbol of this has achieved an unexpected upgrade. What was blown into the legendary recording was “Nottingham performance on June 4, 1986”. Yes, this is a brush-up version of the famous audience recording “LAST GIG WITH RAY” recorded at the final performance of the “SEVENTH STAR Tour” (= Ray’s final performance). Ray Gillan joined Sabbath as a replacement for Glenn Hughes, who dropped out of the “SEVENTH STAR Tour”. Let’s look back at the schedule at that time to understand the circumstances around that. [“SEVENTH STAR” released on January 28th]・March 14th: Rehearsal・March 21st-26th: North America #1 (5 performances) “Glenn fired: Ray Gillan joins”・March 29th-4th May 19th: North America #2 (14 performances) May 21st-June 4th: UK (12 performances) ←★Coco★《Production of “THE ETERNAL IDOL” started in October》 This is BLACK SABBATH in 1986. Glenn, who had various troubles such as drug addiction and injuries from fights, was fired after just five performances. Ray performed the remaining 26 performances. After that, the production of “THE ETERNAL IDOL” began with Ray as the official singer, but due to continuous disagreements with management, Ray, who was concerned about the future of the band, left the band just before its completion. He will be replaced by Tony Martin. In any case, Ray did not go on tour as a member of Sabbath again, and the Nottingham performance, which was the last day of the “SEVENTH STAR Tour”, became Ray SABBATH’s last gig. [Upgrading legendary recordings to an impossible level] This show is famous for having recorded masterpieces that have long been representative of tours, but the person who made those recordings is the master master “Crazy”. Mr. S.” In 2010, we were provided with the original master by Mr. “Crazy S.” himself, and we released it to the world as the ultimate gene treasure “LAST GIG WITH RAY”. It received great acclaim for its wonderful sound, and was quickly sold out and out of print. It has been difficult to obtain for a long time. This work is a top-of-the-line updated version of the original sound “LAST GIG WITH RAY” that has been refined with meticulous mastering and brings out the full potential of the original sound. In fact, the sound of this work is completely “reincarnation” level. The truth is, digital mastering isn’t a magic trick that will make any recording better, and much depends on the recording itself. There are some recordings that can be improved with just a little tweaking, and there are also recordings that become unnatural the more you mess with them. This does not depend on the quality of the original recording, but on the individuality of the original recording.Sometimes the best recordings are even better, while others remain unsatisfactory and cannot be improved. In the case of this work, it is an ideal case of “it was already great, but with just a few tweaks it turned into something great.” If you are familiar with the conventional version, you might think, “Is there room for improvement?” due to the sound board-like core and fine details, but the unexpected was realized. Even though the edges are sharp and vivid, the naturalness remains unwavering, and the high notes of the vocals are beautifully extended, while the deep bass bass has a harsh feel. And above all, the pitch black of the silent parts. The contours are more detailed because the gaps between instruments and the gaps between each note can be felt deeply. It can only be called an “official class audience”… No, it is a “completely official quality” that does not even come close to the actual official Hammersmith performance sound board. However, here it seems that there will be a scolding saying “The official sound board is only Shoboi!”, but in that case, the super best FM sound board “RAY OF THE BLACK LIGHT” of the San Antonio performance is fine. Even in the face of that official masterpiece-class sound, he won’t give up a single step… No, he’s manifesting a miracle that even surpasses it. [The final destination of Ray Gillan who continued to grow until the end] The content depicted in such official transcendental sound also completely exceeds the official one. No matter how good it is, the most famous live show from the Ray era is the Hammersmith performance that was made official with the deluxe edition of “SEVENTH STAR”. Here, let’s organize the sets while comparing them: Ozzy era (4 songs), Black Sabbath/N.I.B., Paranoid: War Pigs/Paranoid, Ronnie era (5 songs), Heaven & Hell: Children Of The Sea ( ★) / Die Young / Neon Knights / Heaven And Hell (★)・The Mob Rules Others (3 songs + α)・Seventh Star: Danger Zone (★) / Heart Like A Wheel (★) / Turn To Stone (★)・Medley: Symptom Of The Universe (★) / Sweet Leaf (★) / Zero The Hero (★) / Sphinx (The Guardian) (★) / Seventh Star *Note: “★” mark is “SEVENTH STAR” A song that cannot be heard on the deluxe edition of “. …and it looks like this. The dimension is different from the official sound board which was based on a short radio broadcast, and this work is a full show. In particular, the three songs “Children Of The Sea”, “Turn To Stone”, “Heaven And Hell” and the medley “Zero The Hero” and “Sphinx (The Guardian)” are on the FM soundboard of the San Antonio performance mentioned above. But I can’t listen. The Ray era itself is rare, but you can enjoy the extremely rare repertoire with official-quality sound. Moreover, it is also good that it is the final performance. Since Ray was hired on short notice during the tour, he remained in a developmental stage until the very end. In other words, the more he played, the more he improved, and he got used to the SABBATH style without getting tired (a good contrast to Glenn, who was at his best on the first day and gradually got worse). What’s more, on the final day, he was filled with confidence that he had overcome the tour, and exuded a sense of boldness that meant he didn’t have to worry about how he would do the next day. What emerges from this work is not a “final performance” as a symbol of history, but also a masterpiece of a musical “final point.” And, at the very end, Iommi’s greeting conveys the emotion of the final day. I express my gratitude to the audience and tour staff, but normally Iommi would not do this even on the last day. It’s a famous scene that shows the sense of relief that comes after completing a trouble-filled tour (although the hardships still continue: bitter smile). This work ends with an extremely high-quality sound that ends with “Laguna Sunrise,” which announces the end of the performance. When Tony Iommi released the deluxe edition of SEVENTH STAR, he said, “With this, we were able to retain Ray’s contribution,” but its true value is still unknown. This work is the true charm of Ray Gillan SABBATH (there is no way to know it from the official work). This is a live album that is an unexpected upgrade from a legendary recording. The pinnacle of an era that shone with special brilliance even in the history of Sabbath, which is packed with heroes. Super best audience recording of “Nottingham performance on June 4, 1986”. This is a brush-up of the legendary recording by “Crazy S.”, and the sound, which was originally one of the best on the tour, has been greatly upgraded. It has been reborn as a transcendental sound that surpasses not only the official Hammersmith performance SBD but also the top San Antonio FM sound source. This is a miraculous live album where you can fully experience Ray Gillan’s last SABBATH show in super quality. Live at Royal Centre, Nottingham, UK 4th June 1986 TRULY PERFECT SOUND(from Original Masters)*UPGRADE Disc 1 (57:03) 1. Supertzer 2. The Mob Rules 3. Children Of The Sea 4. Danger Zone 5. War Pigs 6. Heart Like A Wheel 7. Symptom Of The Universe 8. Sweet Leaf 9. Zero The Hero 10. Sphinx (The Guardian) 11. Seventh Star 12. Member Introduction 13. Turn To Stone 14. Drum Solo 15. Die Young Disc 2 (45:01) 1. Black Sabbath 2. Bass Solo 3. N.I.B. 4. Neon Knights 5. Heaven And Hell 6. Paranoid 7. Tony Iommi says “Thank you” Tony Iommi – Guitars Ray Gillen – Vocals Dave Spitz – Bass Eric Singer – Drums Geoff Nicholls – Keyboards