“HEADLESS CROSS JAPAN TOU 1989” was the only performance of “BLACK SABBATH + Cozy Powell” in Japan. A new master piece that renews that peak is born! This work was recorded at the "October 21, 1989: Aichi Prefectural Labor Hall" performance. This Japanese performance was a hot topic due to the beautiful combination of Hero Cozy and BLACK SABBATH, so we have introduced many live albums at our store. First, let's organize it by tour schedule. ・October 14th: Club Citta Kawasaki “SABBAT” ・October 16th: Tokyo Welfare Pension Hall “POWER OF DARKNESS” ・October 17th: Tokyo Welfare Pension Hall “HEADLESS NIGHT” ・October 19th: Osaka Festival Hall 『STILL HEADLESS” October 21st: Aichi Labor Hall [This work] *Representative albums only on each day. [Excellent sound that updates the best performance in Japan] In this way, the Nagoya performance of this work is the last day of the Japan performance. With this work, the entire schedule is finally completed. The super beautiful sound blows away the collection value. Until now, the best tour performance in Japan has been “SABBAT”, but the quality of this work is so amazing that it easily takes away that throne! The best thing about it is the clarity. It has a quality that can be called ``just like a sound board'', and not only Tony Iommi's riffs, but also Cozy Powell and Neil Murray, who were called ``British HR's strongest rhythm section'', roar in delicate detail. The detailed recording position is not known, but I think it was recorded very close to the PA. Although there are loud choruses such as "Neon knights!!" and "Die young!!" and the "Ohhh, ohhhh" singalong of "War Pigs" and "The Shining", it feels like it is carried from the back. It doesn't come between the musical tone that has a lot of direct feeling. This recording was discovered recently, but the sound source currently on the market is unstable with slightly fluctuating sound pressure. This work is different from that, and the master has excellent sound pressure stability and the vocals are more vivid and roaring. It is the highest quality version that goes even further than the beautiful recordings that are exciting the world's enthusiasts. All the instruments are vivid down to the single note, but what makes me especially happy is Neil's bass that clearly dances. The first time he participated in an official work was ``TYR,'' but for some reason the mix there was a little subdued and didn't really feel great. However, in this work, you can fully enjoy the beautiful lines of early WHITESNAKE. As a true worker, he respects Geezer Butler's original work, but his partner Cozy puts in a lot of dramatic fills that are completely different from Bill Ward's, so he has no choice but to do his part as well. The bassline of “Children Of The Sea” is so amazing that you can sing it all the time. Throughout my career, I have been a little distanced from the style-oriented HR, but this route may actually be the one I'm best suited for. [The heroic and fantastical “top of the stylistic beauty of Sabbath”] Even though it is so clear and detailed, it is wonderful that it has a slight audience-like feel. The two major albums from the Cozy era, ``HEADLESS CROSS'' and ``TYR,'' had sounds with period effects that gave them a fantastic and indescribable atmosphere. In this work, the venue acoustics play this role. Of course, if the venue acoustics are thick, it will be blurry, but there is no need to worry about that with this work. While the strong and meaty musical tones themselves are roaring, the acoustics are crystal clear, perfectly reproducing the “somewhat cool sound world” of the studio album. The overwhelming world of “HEADLESS SABBATH” is depicted with that sound. BLACK SABBATH is remembered in history for its dark heaviness, but that is only one side of it, and Iommi says there is a "drama" in the riffs. Even in the history of Sabbath, where various heroes intertwine, there is no one that rivals ``HEADLESS SABBATH'' when it comes to ``epic drama.'' Cozy's solid sound greatly enhances the ``structure'' of the song, and the fillet, which he hits with a sense of love for classical music, adds ``heroism.'' Then, Neil's bass, who knows the world's best sense of cozy music, sings and dances to liven things up, and young Tony Martin sings bravely. The exquisite balance created by these four people is amazing. If Geezer was here, it would have been too evil, and if Ronnie was singing, it would have been too powerful. With "Iommi & Cozy" as the core, the ensemble is at full throttle, elevating the brave and splendid worldview of the two to the highest level. BLACK SABBATH's Ozzy and Ronnie eras are often in the spotlight, but their "Cozy era" was also the "Third Sabbath" that mastered the sound world that only they could achieve. Although these four people did not change the world, we Japanese people accurately understood their charm and continued to love them. The real life of “Cozy SABBATH” was witnessed by such Japanese people. Although it was short, it is a record that captures the most brilliant moment in the highest quality ever. Live at Aichi Kinro Kaikan, Nagoya, Japan 21st October 1989 TRULY PERFECT SOUND Disc 1 (48:52) 1. Ave Satani 2. The Gates Of Hell 3. Headless Cross 4. Neon Knights 5. Children Of The Sea 6. Die Young 7. When Death Calls 8. War Pigs 9. The Shining Disc 2 (44:12) 1. The Mob Rules 2. Black Sabbath 3. Iron Man 4. Children Of The Grave 5. Heaven And Hell 6. Paranoid/Heaven And Hell(reprise) Tony Iommi - Guitar Tony Martin - Vocal Neil Murray - Bass Cozy Powell – Drums Geoff Nicholls – Keyboards
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