Zakk Wylde, Ozzy's right-hand man. With five studio albums, three live albums and a tour, he is second only to Tony Iommi in the number of hits and representative songs, and second only to Randy Rhoads. It is no exaggeration to say that he is one of the three greatest guitarists in Ozzy's life. This is the rarest live performance in Japan in the history of Ozzy & Zak. The rarest period is 1998. Ozzy announced his retirement in 1992, but returned to active duty with "OZZMOSIS". This is a recording of a performance in Japan after the release of the best album "THE OZZMAN COMETH". Some of you may be wondering, "Wasn't it Joe Holmes at that time? I saw it." In fact, the period from "OZZMOSIS" to "DOWN TO EARTH" was quite chaotic. This is a good opportunity to organize it once. OZZMOSIS completed -> Zack left the band Audition for Alex Skolnick June 9, 1995: Nottingham performance Joe Holmes joined August-November 1995: North America #1 + South America (21 performances) November-December 1995: Europe (26 performances) December 1995-February 1996: North America #2 (30 performances) March 1996: Japan #1 (3 performances) April-October 1996: North America #3 + MOR (83 performances) Zack's temporary return February 1998: Oceania (5 performances) February-March 1998: Japan #2 (6 performances) ←★Here★ Joe Holmes took over again・July-August 1998: North America #4 (18 shows) ・July-September 2000: North America #5 (29 shows) 《Zack's official return → DOWN TO EARTH production》 The above is the five years from Zack's departure to his official return. In addition to this, it was a messy period with changes in the rhythm section and the reunion of BLACK SABBATH, but for now, I have summarized only the guitarists of solo bands for the sake of clarity. Most of the shows were Joe Holmes and Joe was also in "Japan #1" in 1996, but "Japan #2" in 1998 was Zack, who had temporarily returned. This work is an audience album of "February 28, 1998: Osaka Welfare Pension Hall" from the 1998 Japan tour. This work contains the "Zack temporary return" tour, which was only 11 shows in the world, but its greatest appeal is not its rarity. The ultimate sound quality is amazing. That's because the person who recorded this work was one of the best known masters in Osaka in the 1990s. He is famous for David Bowie and Prince, but he is also good at heavy metal. Our shop converts the master's collection from the original cassette/DAT to CD, and to list them briefly...MEGADETH's "OSAKA 2001", KANSAS' "OSAKA 2001", RAINBOW's "OSAKA 1995 1ST NIGHT", AC/DC's "OSAKA 2001", etc. Most recently, IRON MAIDEN's "DEFINITIVE OSAKA 2004" was a super recording that was highly praised as "No. 1 in the world". This work is not only the latest in the series, but also a super-excellent sound that shines exceptionally in the master's collection. In fact, the sound of this work is of an extraordinary dimension of super quality. There is no doubt that this is an audience recording that erupts with the enthusiasm of the audience as soon as it is played, but the moment that riff of "Bark At The Moon" pops out, I forget "is it a soundboard or an audience?" If the fine playful picking, Zack's business card harmonics and screaming are super-delicate, the vocals of Ozzy, who comes in with the scream of "Come on!", are also completely line-class. In terms of the nuance of the sound, there is no blandness of a soundboard, but it is a customer record to the last. While maintaining that flavor, it pursues a thick, close, and transparent sound to the utmost limit... That kind of sound. ... It's no good. This kind of nonsense does not convey the greatness of this work at all. It's like "the same as always". This work, the sound of this work, is not of that dimension. All I can say is "the ideal of audience recording" or "I can't compete with a soundboard!" If it's something like this, I should have prepared some special words... The situation has become like Dragon Ball, where the strength of the enemy is unknown due to the inflation of the enemy, but even if the poor vocabulary is ridiculed, I want you to believe in "unusual high-quality sound". It is a sound that makes you think. The rare live performance depicted with such a superb and special sound is also the best. It is not only Zack who returned at this time, but also Mike Inez, who was already employed by ALICE IN CHAINS at the time, and the rhythm section of Randy Castillo, and even John Sinclair on the keyboard, gathered. The wonderful lineup of "NO MORE TEARS" and "LIVE & LOUD" was reunited. That's why the combination was perfect even though it was hastily made. Ozzy was also in top form, and it was a concert that could be said to be "100% of the real thing LIVE & LOUD". However, even though the members are the same as "LIVE & LOUD", it is not exactly the same show. The best-of tours have the same great hits, but they also performed "I Just Want You" from "OZZMOSIS". Joe Holmes also played this song, but Zack is different. The way he spins delicate melodies with his thick guitar is truly what you would expect from the original recorder. Ozzy Osbourne is currently running towards the final performance of BLACK SABBATH. After SABBATH disbands, he has announced that he will resume his solo activities, and Steve Stevens is considered the most likely guitarist. His new collaboration is also exciting, but when you listen to this album, you still think, "It's Zack after all." I want to see Ozzy & Zack again, and I want everyone to be bathed in their sound again. This is a masterpiece of a live album in which that wish has been transformed into a super-exquisite sound. Live at Koseinenkin Kaikan, Osaka, Japan 28th February 1998 TRULY PERFECT/ULTIMATE SOUND(from Original Masters) Disc 1(52:10) 1. Carl Orff "Carmina Burana" 2. Bark At The Moon 3. Desire 4. Flying High Again 5. I Just Want You 6. I Don't Want To Change The World 7. War Pigs 8. No More Tears 9. To Romance 10. Suicide Solution Disc 2(33:10) 1. Mr. Crowley 2. Road To Nowhere 3. Crazy Train 4. Paranoid 5. Mama, I'm Coming Home 6. I Don't Know Ozzy Osbourne - Vocals Zakk Wylde - Guitar Mike Inez - Bass Randy Castillo - Drums, Percussion John Sinclair – Keyboards
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