Black Sabbath/UK 1989 Pre-FM Master

How can I put this joy into words! The best soundboard album ever of the beloved “HEADLESS CROSS TOUR 1989”. I never expected it to appear! “HEADLESS CROSS TOUR 1989” featuring Cozy Powell has been ignored by the official despite being a tremendous live performance. However, it is also a tour that has turned many maniacs into collectors because of its awesomeness, and it can be said that its thirst and passion have led to the discovery of the Japanese performance soundboard “STILL HEADLESS” and the professional shot “HEADLESS RUSSIA”. Those masterpieces are wonderful, needless to say now, and have healed the thirst of maniacs, but this work is of higher quality than any of them. The masterpieces that I had thought of as “official substitutes” were not of the official quality after all. This is a piece that makes you realize that. Yes, it’s a super definitive album with a sound that rivals, if not surpasses, that super masterpiece “HEADLESS IN VIENNA”!! I’ve made it all too sudden, but let me explain step by step. This work is recorded at the “September 8, 1989 Manchester” performance. Pin if you are an avid collector! I think it will come, but it is a super upper version of the traditional masterpiece “DEATH CALLS ‘89”. At the time, in the early 90’s, the masterpiece “DEATH CALLS ’89” was all the rage as the first soundboard for “HEADLESS CROSS TOUR 1989”. However, this is just an air check, and distortion and noise are present throughout the entire recording. However, this work is a “pre-broadcast version”. The dream of an “official job for Cozy Sabbath” has finally taken shape! In fact, the “pre-broadcast master” of the same live performance as this work is currently a hot topic on the internet. It’s become so popular that a remastered version is already being released. In fact, I was working on making a press of that master, but at that moment, a master titled “Noiseless version” was brought in from an original route. Even the sound sources that are being talked about on the internet were of a quality that made you wonder, “Where is the noise?” But when I compared them, it was certainly different. Most of the noise was barely noticeable by comparing the waveforms of the audio data, and the level of noise was such that it made you wonder if the human ear could hear it, but the easiest to understand was at 4:34 in “War Pigs.” There is no noise in this work that was heard only for a moment. From the moment you press the play button until the CD stops, the sound continues to shine without a single cloud! What does it mean to be a master that surpasses the “pre-broadcast master” that is supposed to be the ultimate!?The awesomeness of “1989 BLACK SABBATH” that surprises you with its sound is truly amazing. In my opinion, Koji’s dramatic drumming has never stood out this much since RAINBOW. No, the combination of the building sense of riff after riff and the resolute coziness that resembles gothic architecture may be even better than RAINBOW in a sense. What’s more, Neil Murray’s bass is even better than any of the soundboards, pro shots, or any official works. Although the rhythm section is famous as “British hard rock’s best” due to their name value and track record, I think there are few people who truly realize their true potential. However, in this work, the bass is also mixed with a roaring sound, and while it is integrated with Koji’s drumming to the point that it is even said to be “part of the drum kit,” it also has a strong presence as a single instrument. In WHITESNAKE, they focused on being “powerful” and played the role of Koji’s assistant, but in BLACK SABBATH’s songs, which prioritize a sense of structure, the original strength of the rhythm section, which had not been conveyed yet, shines through. “Britain’s best” was true. The meaning is conveyed to you as if you could touch it! Tony Martin, who stands at the front, also fully demonstrates his singing voice, which Cozy says is “like a combination of Ronnie and Coverdale, with some personality added.” You can hear her career-high singing voice (which belies her later decline). Tony Iommi, who has obtained such a completely perfect and super fulfilling ensemble, is as if he is trembling with joy at the response for the first time in a while. In particular, the four songs from “HEAVEN AND HELL” revived by Cozy & Neil are the utopia of British hard rock. After all, these four people were truly amazing… This work seems to be perfect, but the only drawback is that it is short enough to fit into the broadcast time frame. It is not the complete version of the show. There is nothing that can be done about this, but there is nothing wrong with the editorial policy of the broadcasting station. The setlist, which has been narrowed down to only three great records from each era: “HEADLESS CROSS,” “HEAVEN AND HELL,” and “PARANOID,” has a sense of unity while concentrating the essence of Sabbath’s long history. The connection processing of the cut parts is also of an official style and quality (unusual for broadcasts at the time), and the entire 58 minutes is completely filled with the dignity of a “work”. Over the years, the two main factors that have driven many BLACK SABBATH enthusiasts to become collectors are “I want to hear Guillain Sabbath live” and “I want a Cozy Sabbath soundboard.” The thirst for “Gillain Sabbath” was satisfied with the officialization of the Reading Festival and “CAPTURED ALIVE DEFINITIVE EDITION” at the Worcester performance. This work is the one that settles the other “Cozy Sabbath”. A definitive masterpiece soundboard album. As one of the maniacs who went crazy with BLACK SABBATH, and as one who fell into the collector’s path. It is with great joy that we introduce this work to everyone! Live at Manchester Apollo, Manchester, UK 6th September 1989 STEREO SBD(HUGE UPGRADE) (58:05) 1. The Gates Of Hell 2. Headless Cross 3. Neon Knights 4. Children of the Sea 5. Die Young 6. Iron Man 7. When Death Calls 8. War Pigs 9. Heaven And Hell 10. Paranoid STEREO SOUNDBOARD RECORDING