Ian Gillan + BLACK SABBATH is a phantom unit that left a strange charm in rock history but ended in a bubble. Two new titles that convey the scene have been decided to be released at the same time! This is the first of two consecutive works. It is a clear audience recording of the "September 18, 1983 Offenbach performance". The once unexplored "BORN AGAIN Tour" has now been researched, and has been considerably elucidated, starting with our three major sound boards "READING ROCK '83", "DEFINITIVE PARIS 1983" and "CAPTURED LIVE 1983". What is the position of this work in such a situation? Let's look back on the outline of the activities at that time while organizing our collection. 1983 {August 7th "BORN AGAIN" released} August 18th-28th: Europe #1 (7 performances) ←※ READING ROCK '83 September 13th-October 3rd: Europe #2 (15 performances) ←★ Here ★ October 17th-November 30th: North America #1 (32 performances) ←※ CAPTURED LIVE 1983 1984 January 25th-March 4th: North America #2 (25 performances) {April 27th: DEEP PURPLE reunited} This is the whole picture of the Ian Gillan era. There are many famous recordings from all over the country, but both of these two consecutive works this week are records of "Europe #2". This place has produced many famous recordings compared to the number of performances. Let's focus on the dates further. Europe #2 Details・September 13th: Barcelona performance *September 14th "GILLAN IS A ROCK 'N' ROLL DOCTOR (Madrid)"・September 15th-15th (3 performances) *September 18th: Offenbach performance ←★This work★・September 19th-25th (5 performances) *September 27th "GERMANY 1983 (Neunkirchen)" *September 28th "GERMANY 1983 (Böblingen)" *September 30th "DEFINITIVE PARIS 1983 (SBD)"・October 1st: Brussels performance *October 2nd "ZWOLLE 1983"・October 3rd: Nijmegen performance The Offenbach performance of this work is the 6th performance. Speaking of Germany, the masterpiece "GERMANY 1983: THE LAST 2 DAYS (Shades 1803)" is still fresh in my memory, but this work was released about 10 days before that. This show has been known for its recording since ancient times, and the ancient bootleg "FEIGN DEATH SABBATH" was famous. This work is also a traditional recording, but it is a young gene master that was excavated in recent years. It was digitized from the 2nd generation DAT owned by a person called "Holy84". However, this "Holy84" has a habit of notation, and digital clones are also counted as generations (clones that do not usually suffer from dubbing deterioration are not counted). Therefore, it is actually thought to be a "1st generation" or "original master" that is younger than the 2nd generation. In fact, the sound is very fresh. Although it is a type that seems to be an audience that has also absorbed raw enthusiasm, the atmosphere is transparent and the details are clear. Although it is not a close contact, the subtleties of the riffs and even one word of the lyrics are clearly transmitted. It's as vivid as a laser beam without any distortion or roughness caused by dubbing. Moreover, this work is also a complete version. This recording has a tape change cut between "Disturbing The Priest / Iron Man", but this work compensates with a separate recording. The full show of about 88 minutes is seamlessly recorded. So, let's organize the full set here. Devil's Child (5 songs) Hot Line / Born Again (★★) / Disturbing The Priest / Zero The Hero (★) / Digital Bitch Classics (8 songs) Ozzy era: Children Of The Grave / War Pigs / Supernaut / Rock 'n' Roll Doctor / Iron Man / Black Sabbath / Paranoid DEEP PURPLE: Smoke On The Water *Note: The "★" mark is a song that could not be heard on the soundboard album "DEFINITIVE PARIS 1983". In particular, the "★★" mark is a song that does not have a soundboard. ... and it is like this. The key point is "Born Again". It is a rare song without a sound board, but it is also the key to the set that changes depending on the time. This "Europe # 2" is known as the turning point when "Born Again" falls and is replaced by "Heaven And Hell", and "Born Again" is still played in this work. After this, both are played in "GERMANY 1983", and only "Heaven And Hell" is played in "ZWOLLE 1983 (Shades 2006)" released at the same time. This work itself is also an excellent live album, but by combining it with the surrounding works, you can also enjoy the transition of the Gillan era. Also, on this day, the mood of the venue where enthusiastic cheers fly and applause spreads is very good. It is very popular throughout the whole work, but in the highlight "Paranoid", Gillan's scream and the audience's "Oh Year!" overlap, making it a no-no. This is a new masterpiece that has been significantly upgraded by the young generation master of traditional famous recordings. The Gillan era BLACK SABBATH was a miraculous collaboration, but it disappeared after only one album and one tour. That's why I'm curious about the evolution in that short journey. This work is a masterpiece that further enriches the "Europe #2" collection, which is also the key. An excellent audience recording of the "September 18, 1983 Offenbach performance". A young generation (1st generation or Omoto) master unearthed in recent years, the air is clear and the details are clear. With a vividness like a laser beam without distortion or roughness due to dubbing, the subtleties of the riff and even the words of the lyrics are clearly conveyed. The complete version of "Disturbing The Priest / Iron Man" that was missing due to the tape change is also supplemented with a separate recording, and you can enjoy a delicious full show of the rare song "Born Again" that does not have an SBD.
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