W.O.C.K On Vinyl: Earth (Pre-Black Sabbath) - The Rebel & Other Rare Demo Tracks (1969)

 Before things get too serious here at Rock On Vinyl, I thought it might be fun to post a song / album at the end of each month, that could be categorized as being either Weird, Obscure, Crazy or just plain Korny.

"The Rebel" is without a doubt one of the most sought-after Black Sabbath songs ever recorded. Although a small fragment of this very un-Sabbath like song can be heard on 'The Black Sabbath Story Volume 1' video, most fans have never heard this still-unreleased 1969 demo, until now.

"Is it an Earth or Black Sabbath demo? One of the most frequently asked questions about "The Rebel" is whether the song could be considered as an Earth demo. Although the actual acetate credits the recording to Black Sabbath, the song was recorded during a transitional period. It has been alleged in several recent Black Sabbath biographies that the band decided upon changing their name from Earth to Black Sabbath while they were on route to The Star Club in Hamburg in early August 1969. To avoid the inevitable confusion arising from this sudden change, the band performed many prior bookings as Earth. In fact, their final gig as Earth was performed in Kilcaldy, Scotland just one day after recording "The Rebel".

Earth (Pre-Sabbath) 1968

"The recording session for "The Rebel" took place at Trident Studios in St. Anne’s Court in Soho, which was an 8-track facility at the time. Overseeing the session was Gus Dudgeon, who had also worked with the band Locomotive and would later produce albums for Elton John and David Bowie. The band was less than impressed with Gus, who kept using Locomotive as the benchmark for anything they did. It was than that engineer Rodger Bain was offered his first chance to produce a record…and of course the rest is history.

"The band had just returned from a German tour to begin rehearsing. Manager Jim Simpson suggested that they record "The Rebel", a song that was written by Norman Haines. Norman played keyboards in Jim's band Locomotive. Haines also took part in this session, playing organ and piano. Two months later, the band recorded yet another Haines composition called "When I Come Down", which was retitled "When I Came Down" for the Sabbath version. The band weren't pleased with either of these songs, but went along with the sessions so their manager would have something to shop to the record labels. Neither song represented the heavy rock direction they were already formulating or their Earth-y blues based roots."  

Early Sabbath - 1969

So, The Rebel itself provides yet another long missing puzzle piece to the early history of Black Sabbath.  “The Rebel” has remained shrouded in mystery simply because due to Sabbath’s reluctance to a share a moment in time that wasn’t up to their usual standards.  For them, it was simply an experiment, as well as an opportunity to record the band.  Yet the band wasn’t above playing ballads or experimenting on later records (“It’s Alright” or “Changes”, for instance), so “The Rebel” isn’t necessarily that much of a departure within that context.  It just didn’t impart the sort of direction or image the band desired for the launch of their recording career. [Review by Rob Dwyer, 25/11/2006]

Ozzy's voice is interesting on these tracks. His enunciation is pretty poor but there's still that certain plaintive, emotional Ozzy thing encoded into the vocals.

Tony & Geezer are much more subdued than usual on “The Rebel”, where they seem to be laying back and playing more of a supporting role.  On later recordings, their volume went UP and usually often dominated the proceedings – but not here.  Bill Ward isn’t quite as content to melt into the tapestry, adding some additional percussion during the bridge sections.  In addition, Norman Haines provides the piano introduction and additional playing throughout the song.  He isn’t very loud in the mix on the earlier takes, but does get turned up as the sessions progressed.  

When I Came Down" is actually a pretty good song - if they'd recorded it better it could have easily slotted in well on their first album.

Note: There are no COMPLETE versions of the Demo "When I came down" and the 2min version included here is actually a loop that has been spliced together by a fan at some stage. Listen closely. There are only :53 seconds of actual recorded "When I Came Down" material, the rest is just repetition with fade.

I also read somewhere that "Early one morning blues" is in fact a cover of Elmore James' song "Early One Morning" with slightly changed/butchered lyrics. The band playing it on this recording is Sabbath, but it isn't a demo. In fact, it was taped by Alex Wilson on their now-famous concert in Dumfries, Scotland, UK, on November 16th, 1969.

So folks, this month's W.O.C.K on Vinyl post certainly ticks the Obscure box, and what makes it even rarer is that the enclosed files are in lossless format.  So grab em' now, before the Osbournes try to take them down.

Track Listing

Earth (Pre - Black Sabbath)

01 The Rebel *

02 When I Came Down

03 Early One Morning

04 Blue Suede Shoes (Black Sabbath soundcheck

on 5/25/70 at Radio Bremen Studios)

Earth were:

Ozzy Osbourne - vocals

Tony Iommi - guitar

Geezer Butler - bass

Bill Ward - dfrums

Norman Haines – keyboards *

Earth (Pre-Sabbath) Link (70Mb)

Various Artists - The Vertigo Trip (1971)

 (U.K Artists 1970-1971)

A now ultra rare sampler issued by Vertigo during the early 'swirl' years, this features a fine selection of British underground acts. Included amongst the eclectic set-list are heavy rockers Black Sabbath circa the early years of their burgeoning career, Ian Carr's fusion greats Nucleus, who offer up the title track of their superb second album 'We'll Talk About It Later', and the country-inflected folk-rock whimsy of Daddy Longlegs and their infectious 'Gambling Man'. Its a highly enjoyable listen for those who appreciate the labels early-seventies output, though actual progressive rock is in short supply. Gentle Giant appear, well represented by their entrancing slow-burner 'Funny Ways', as do Gravy Train, Patto and The Keith Tippett Group, though special mention must be made of Catapilla, whose 'Promises' serves up a tantalising glimpse of their incendiary studio debut of a year earlier. 

However, the majority of 'The Vertigo Trip' highlights the growing diversity taking place at the label, and four sides of vinyl featuring a medley of sonic flavours ranging between folk, pop, country, prog, psychedelia and heavy rock. Despite Nirvana's 'Home' proving a little too stodgy, the the rest of this sample offers up yet more goodies, led the brazen proto-metal of Warhorse, who open the album with 'St Louis'. Aptly-named pub-rockers Legend lend the strut-blues of 'Hole In My Pocket', mystical folk legends Magna Carta appear with 'Time For Leaving' whilst there are some welcome nuggets from Graham Bond and Scottish symphonic-prog veterans Beggars Opera's (very) early days.

So, all very good then but the problem, of course, is actually finding the album in the first place. 'The Vertigo Trip' is seriously rare (not that many copies were produced), though thankfully virtually every single track on this item can be found on Repertoire Records excellent series of special edition Vertigo album reissues, which features many albums by the groups listed here. However, if you do come across a copy of 'The Vertigo Trip', you should try your very best to get hold of it. It's a smartly-chosen selection, and manages to showcase just how many great acts Vertigo were producing during this great musical period. And who knows? Maybe one day even 'The Vertigo Trip' may enjoy a deserved reissue.... [review by Stefan Turner at progarchives.com]

The Cover
Someone at the art-department must have gone ape over the ''Vertigo Trip 1970'' cover from Britain. The symbolism of horse and lady is adopted, but simultaneously stripped to the bare core. Now, it is a purely sexual symbiosis and this shows strongly on the photographs. The blonde lady on front is now stark naked and rocks her horse with a lewd grin. The horse's mane stands in for pubic hair, not very subtle, me thinks ;-)  On the inside, horse and lady are seen from below, as though from inside a water-well, even though its walls seem to belong to a church ruin. She holds the reins as if they would be involved in an erotic game with leather. The gigantic poster that was given away with this record (see left) shows another, this time dark-haired, lady on the horse. She is naked too and rejoices climactic feelings on the horse's back. Another shot is in black and white and shows her kissing the cheek of her mount. Furthermore there is a large advertising section with small pictures of ever so many Vertigo albums. Only Black Sabbath's Master of reality shows any difference to the British issue: the bottom lettering is outlined in white. 

I bought this double LP off my brother when I was a young impressionable teenager back in the early 70's, and needless to say the cover had a big part to play in my desire to own this now 'iconic' compilation of Vertigo artists. Mind you, another reason why I wanted it was because it featured one of my favourite Sabbath tracks at that time "After Forever", which still remains at the top of my most memorable songs. As for the remaining tracks, it wasn't until much later that I began to appreciate the diversity and obscurity of the music it contained. Maybe I was too mesmerised by the swirling Vertigo label to appreciate them at the time. 

This post consists of MP3 (320kps) ripped from vinyl and includes full album artwork and label scans.

I am sure that this is the only post available on the net at the moment for this rare double LP set but is selling on eBay for $300 for anyone interested in having their own copy. Hopefully, one day it might be re-released on CD.

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Songs / Tracks Listing
A1 Warhorse - St.Louis
A2 Legend - Hole in My Pocket
A3 Magna Carta - Time for the Leaving
A4 Nucleus - We'll Talk About It Later
B1 Ian Matthews - Reno, Nevada
B2 May Blitz - High Beech

B3 Clear Blue Sky - Bird Catcher
B4 Daddy Longlegs - Gambling Man
B5 Graham Bond - My Archangel Mikael
C1 Black Sabbath - After Forever
C2 Gravy Train - The New One
C3 Beggar's Opera - Memory
C4 Patto - Hold Me Back
D1 Gentle Giant - Funny Ways
D2 Catapilla - Promises
D3 Keith Tippett Group - This Is What Happens
D4 Nirvana - Home (Salutation) 6:03

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The Vertigo Trip Link (190Mb)

New Link 12/03/2024

Black Sabbath - Live In Australia, Brisbane (25-04-2013) Bootleg

(U.K 1968–2006, 2011–Present)
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Over the past four decades, there have been various Black Sabbath lineups, and Ozzy Osbourne has also had a successful solo career since the release of 1980's Blizzard of Ozz. There was an attempt in 2001 by the original members to record an album with producer Rick Rubin but it came to nothing. Now, sufficient water has passed under the bridge to make them (minus Ward due to contractual wrangles) eager to make it work. It still felt, Rubin has said, "like being in a cage with a lion, keeping them calm", but the results, they agree, were worth it. Their new album '13' sounds more like Black Sabbath than any album since 1973's 'Sabbath Bloody Sabbath' (and my personal favourite by far). Osbourne says 13 is the most important record of his career. 

It’s hard to imagine that nearly forty years have passed since the founders of heavy metal, Black Sabbath, graced our fine shores. Whilst Sabbath reunions themselves are somewhat of an event in themselves, the fact that they’ve finally made it Down Under this time around is nothing short of a miracle.
Sabbath have just completed multiple shows in all major cities around Australia during April and May and I have managed to source an A+ bootleg of the Brisbane Concert, held on the 25th April at the Brisbane Entertainment Centre.
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Gig Review 1
by Jody MacGregor

Jody MacGregor spends a night in the company of a cackling, cuckooing paranoid Ozzy Osbourne at Black Sabbath’s first Australian show since 1974.
I almost didn’t go to see Black Sabbath. What if Ozzy Osbourne is the same mumbling shambles on stage he was in The Osbournes? What if he’s back on the drugs and drifts through the night in a half-aware haze? What if my precious youthful memories of listening to Sabbath and being disaffected are tainted forever?
I shouldn’t have worried. From the opening of "War Pigs" on wards he sings exactly like you want him to. He cackles like a witch with a mouth full of baby fingers and he says “Oh Lord Yeah” like Ozzy Osbourne says “Oh Lord Yeah!”
The tightness of the rest of the band is less surprising, though still impressive. Tony Iommi and Geezer Butler have been doing this forever, and Tommy Clufetos has drummed for Ozzy’s solo tours enough to be down with all this stuff (he’s not the guy who drums on their new album though: that’s Brad Wilk from Rage Against the Machine).

  “Ozzy cackles like a witch with a mouth full of baby fingers.”

During "Into the Void" Ozzy dunks his entire head in a bucket of water, which he’ll later pour over the Songs from their first two albums get the most play, although they pull one or two from all over the place. "Snowblind" from Black Sabbath Vol. 4 (“Here’s a song about something we don’t do anymore because we’re too fucking old!”) gets an outing, and so do two new songs from 13. Both fit seamlessly alongside the classics, even though Ozzy briefly forgets the name of the second one.
"Fairies Wear Boots" sounds ridiculously heavy, everything crashing together like pealing church bells. Ozzy takes a deserved break after that for an instrumental version of "Symptom of the Universe". Nice as it would have been to have original drummer Bill Ward be part of this line-up, having a younger man on the team comes in handy when he plays a lengthy drum solo so the older men can finish off a cup of tea backstage. The crowd are into it, shouting every time Clufetos raises his sticks as if he’s finished before bringing them back down for another bash.

The full band return for "Iron Man", which is obviously loved, but so are lesser numbers like "Dirty Women". Somebody even throws a bra on stage during that one, which Ozzy gleefully puts on, first on his chest and then wrapped around his head like Princess Leia’s buns. When he says “I want to see ’em!” again I’m pretty sure he’s still talking about our hands in the air, but one lady in the crowd gets her breasts out anyway.

They save "Paranoid" for the encore because of course they bloody do, and it’s amazing because of course it bloody is. I’m ashamed to have doubted.

Gig Review 2
by Andrew McMillen

There are surprisingly few frills to tonight’s stage production. At the back, a giant video screen is intercut by what might be intended to be spiderwebs. A smaller video screen sits beneath the tall drum riser. There's coloured lights and strobes. No pyrotechnics. Two men perched up in the rafters ensure that twin spotlights remain on the singer at all times. A handful of cameramen track the players for the big screen, alongside occasional file footage of atom bombs exploding and some sort of cheesy-looking undead. There's no shortage of religious iconography: crosses etched into the guitarist’s fretboard, a big gold bastard hanging from his neck. One of his guitar straps bears his surname in bold font. As if everyone in this room doesn't already know it.

To think that an industrial accident nearly robbed us of one of the finest and most original guitarists of all time. Tony Iommi doesn't do much more on stage than eke out riff after evil riff, custom thimbles fitted snugly over the tips of his stumpy middle fingers, occasionally peering over his blue specs and throwing up the horns to his disciples in the front row. I'm seated on his side of the stage, so I've got nearly two hours to watch closely. He gives off an avuncular air of quiet confidence, and wears his smart leather jacket throughout. I've seen a few guitarists in my time, but this man is in a class of his own. The singer occasionally prostrates himself before Black Sabbath’s sole continual member; he refers to him as “the real ‘Iron Man’”, and waves his arms in that classic we-are-not-worthy pose.

Indeed Ozzy Osbourne is as enthusiastic as any 64 year-old on the planet. The close-up camera shots show him reading from a teleprompter, straining to recall which syllables to place the emphasis on. Who gives a good goddamn shit, though? That he's still living and breathing without the help of machines is commendable, especially since he was back on the sauce and blow as recently as last February. This crowd loves him for the caricature he has long been. How many musicians can throw their lives open to the fickle, vain world of reality television and still command respect like this man? Which other 64-year old singer’s rider includes a bucket of water – regularly used to dunk one’s head into, and/or throw onto the front rows – black nail polish, and waterproof eyeliner?

Geezer Butler is an unassuming bassist if ever there was one, yet he’s stacked every song so full of clever, tricky phrasing that he rarely has time to look up and acknowledge that he’s playing to a full room of 13,000. Tom Larkin – drummer of touring support act Shihad – was spot-on when he described Butler’s dextrous playing as “wrestling his bass like it’s a live eel”. (Worth noting: Shihad were strong earlier, their set a half-hour of power consisting of songs spanning 1993 –'Factory', 'Screwtop' – to 2002’s 'Comfort Me'.)

Behind the kit is not founding stickman Bill Ward but a skinny workhorse named Tommy Clufetos. He's a flashy player, too – arms raised high at every opportunity, emphasising each cymbal crash – probably owing more to the occasion of playing with these three legends than musical necessity. He's smooth, though, no doubt. His drum solo is backed by the most intense multi-colour strobe light display I've ever experienced. Epileptics beware.

The song selection and set structure is immaculate, though the two tracks from their forthcoming album 13 go down like the proverbial zeppelin. Hardcore fans will find it tough to bitch about the breadth of material covered, all performed with verve and precision. If a weak link must be nominated, it’s Osbourne's wavering octaves and drill-sergeant demeanor. Students of their 1998 live album Reunion have already heard every bit of stage banter in his repertoire. (The setlist isn’t dissimilar, either.) I would've thought that there’s only so many times a crowd could be asked to SHOW ME YOUR FUCKIN' HANDS! before the novelty wore off, but this lot are a dedicated and willing bunch. 39 years between Australian tours speaks for itself, I suppose. And if there's one man in metal worth showing your hands to, it's Mr Osbourne.
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This post consists of an MP3 rip (320kps) of a soundboard recording taken from their Brisbane show (sourced from Musictravellerstwo.blogspot with thanks) along with full album artwork (thanks to LiborioFriki).  Most of the concert photos depicted in this post were sourced from Charly Cameron with gratitude. The quality of this recording is outstanding and the band was certainly on fire this night. This is a 2CD set.

Remember Me !

Black Sabbath Brisbane set list
01 - War Pigs
02 - Into the Void
03 - Under the Sun
04 - Snowblind
05 - Electric Funeral
06 - Black Sabbath
07 - Behind the Wall of Sleep
08 - N.I.B.
09 - End of the Beginning
10 - Fairies Wear Boots
11 - Symptom of the Universe (Instrumental)
12 - Drum Solo
13 - Iron Man
14 - God Is Dead?
15 - Dirty Women
16 - Children of the Grave
Encore:
17 - Paranoid (with “Sabbath Bloody Sabbath” intro) 
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Black Sabbath Link (237Mb) New Link 17/12/2023

Black Sabbath - We Sold Our Soul for Rock 'N' Roll (1976)

(U.K 1968–2006, 2011–present)
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Black Sabbath started out in the late 60's as Earth, consisting of Ozzie Osbourne (vocals), Tony Iommi (Guitar), Geezer Butler (bass) and Bill Ward (drums).
Black Sabbath has been so influential in the development of heavy metal rock music as to be a defining force in the style. The group took the blues-rock sound of late '60s acts like Cream, Blue Cheer, and Vanilla Fudge to its logical conclusion, slowing the tempo, accentuating the bass, and emphasizing screaming guitar solos and howled vocals full of lyrics expressing mental anguish and macabre fantasies. If their predecessors clearly came out of an electrified blues tradition, Black Sabbath took that tradition in a new direction, and in so doing helped give birth to a musical style that continued to attract millions of fans decades later.

During December 1969, they went into the studios to record their first album entitled 'Black Sabbath'. It was at this point the band changed their name from Earth to Black Sabbath.
Their debut album sold and charted extremely well in countries such as France, Holland, Germany and Sweden. A few months later the album charted in the U.K and in June 1970, the album was released in the U.S and remained on the charts there for nearly 12 months.
It wasn't until their second album 'Paranoid' was released during 1970 that Black Sabbath charted in Australia with both the album and the single 'Paranoid'.
Five more albums, 'Masters of Reality', Black Sabbath Vol 4', Sabbath Bloody Sabbath', Sabotage' and 'Technical Ecstasy' were released with the original line up until the late 70's when Ozzie Osbourne decided to leave the band and pursue a solo career.
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When Black Sabbath signed with NEMS, the label which would release their 1975 album 'Sabotage' in the UK and Europe, NEMS acquired the band's back catalogue and wasted little time compiling this compilation release. Although the band had six studio albums to its name at this point, this compilation drew heavily on the first four albums: this would also be a feature of most of the Osbourne-era compilations later released.
'We Sold Our Soul for Rock 'n' Roll' was originally released on December 1, 1975 in the UK and then on February 3, 1976 in the U.S. (Warner Brothers Records 2BS 2923). Note that my Cassette Tape was released in 1980.
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The original UK gatefold album, with a matte finish, had centre pages featuring shots of the band but this was omitted on reissues, which came in a glossy-finish sleeve. Additionally, the original record retained Geezer Butler's bass solo before "N.I.B", but this would be edited from later issues. Some U.S. copies of the LP do not actually include "Wicked World" on the label or on the record itself, though it does appear on the cover. In the UK, "Wicked World" had been only a B-side and was relatively obscure.
Despite the album being an official release, Iommi has been quoted as saying that the first time the band knew of it was when asked to autograph copies which fans presented after concerts!
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Album Review
Now, this should have been the greatest Black Sabbath album ever. A double-album compilation of stuff from the first six albums? How could they possibly go wrong?
How indeed. Well, let me start by saying that what's here is great, no doubt about that. But the song choice is very, very bizarre.
Why does it contain 35 minutes from the first record, but only two tracks from 'Master Of Reality'? And more disappointingly, why does it only have one track a piece from 'Sabbath Bloody Sabbath' and 'Sabotage'? Where the hell is "Hole In The Sky"? And "Symptom Of The Universe," for Christ's sake? And how the hell could they have skipped over "Supernaut"? Can someone please explain what Warner Brothers was thinking!
Everybody already owns the debut album; so we don't need to hear it again here. My only guess is that maybe it was difficult to locate the first album in 1976, so they decided to give people a break by including most of it in this collection? One can only wonder but one thing is for sure - I wouldn't sell my soul for this compilation but I might be tempted to put a down-payment on it.
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My cassette tape actually has 3 extra tracks to what was released on the single CD version - "Warning", "Wicked World" and "Laguana Sunrise" (these tracks were omitted to keep the release to a single CD).
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One irregularity is that the back cover of the CD release only refers to 2 missing tracks (Warning and Laguana Sunrise), yet the double LP release also had Wicked World.
Nevertheless, I have been able to squeeze in an absolute must have track by Sabbath - "Supernaut" as a bonus track and I am also including "Wicked World" for those of you who may not have the studio track.
The CD release has come in many forms, with both a single and double CD releases, and there has also been a wide variety of front cover designs (see collage below)

This post consists of a 320kps rip taken from my cassette tape, but the track listing has been rearranged to follow the standard CD release. Artwork for all formats are included along with my bonus tracks "Supernaut" and "Wicked World", which were ripped from Vinyl.

.Track Listing
01. Black Sabbath
02. The Wizard
03. Paranoid
04. War Pigs
05. Iron Man
06. Tomorrow's Dream
07. Fairies Wear Boots
08. Changes
09. Sweet Leaf
10. Children Of The Grave
11. Sabbath Bloody Sabbath
12. Am I Going Insane (Radio)
13. Snowblind
14. N.I.B.
15. Supernaut (Bonus)
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Band Members:
Ozzy Osbourne (Vocals)
Tony Iommi (Lead Guitar)
Geezer Butler (Bass)
Bill Ward (Drums)
Guest Artists:
Gerald Woodruffe - Keyboards
Rick Wakeman - Keyboards on Track 11
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Black Sabbath Link (181Mb)  New Link 17/12/2023
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Black Sabbath - Burning the Cross (live in Sydney 1980) Ex SB

(U.K 1968–2006, 2011–present)
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Black Sabbath are a British rock band, formed in Birmingham in 1968 by Ozzy Osbourne (lead vocals), Tony Iommi (guitar), Geezer Butler (bass guitar), and Bill Ward (drums).
The band has since experienced multiple line-up changes, with Tony Iommi the only constant presence in the band through the years. As one of the first and most influential heavy metal bands of all time, Black Sabbath helped define the genre with releases such as quadruple-platinum Paranoid, released in 1970.
Vocalist Ozzy Osbourne's drinking led to his being fired from the band in June, 1979. He was replaced by former Rainbow vocalist Ronnie James Dio who fronted Sabbath on two albums, 'Heaven and Hell ' and 'Mob Rules'. Dio was best known for his soaring vocal prowess and a trademark dark stage persona, as well as for reportedly popularizing a "devil horn" hand gesture, one of metal's references to the dark side. Dio left Black Sabbath in November 1982 to start his own band, and took drummer Vinny Appice with him. Sadly, Dio passed away on 16 May 2010, at the age of 67.
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Burning The Cross is one of the best and most rare Black Sabbath bootleg CDs from the Dio era. Strictly limited to 500 copies and supposed to be made in Australia, this one has become a real collectors item. Besides that the CD includes great soundboard recordings from Black Sabbath's 1980 "Heaven And Hell" tour. The cover of the CD says that the recordings were from Newcastle Civic Theatre, NSW., Australia, 27th November 1980 while Black Sabbath actually played the Capitol Theatre in Sydney on that day. [www.black-sabbath.de/bootlegs]

.This is an excellent soundboard recording of Sabbath at the the height of their World 'Heaven and Hell' Tour. It is called "Burning The Cross" due to Ronnie James Dio's comments during the song "Heaven And Hell", where he makes reference to newspaper reports on Rev. Fred Nile who claimed that Black Sabbath burned crosses and killed babies. This without a doubt, has the best version of Heaven and Hell I have ever heard. The mix is crushing...every instrument can be heard clearly and the atmosphere created here cannot be matched. This is even more amazing considering Vinny Appice has been in the band about 3 months and Geezer is playing with a broken finger. This version is also famous in Sabbath-lore because during the middle of the song, Sabbath lights a cross on fire. It was a gimmick to mock Rev. Fred Nile, who demonized Sabbath in the press prior to their Australian Tour. Dio mentions him in the second part of the song.
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The rip was taken from a master tape at 320kps (sourced from the venue's soundboard) and I have also included various cover artwork for this concert. (Thanks to LiborioFriki at for this superior rip of the concert)
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Track Listing
01. Supertzar
02. War Pigs
03. Neon Knight
04. NIB
05. Children Of The Sea
06. Sweet Leaf & Drum Solo
07. Black Sabbath
08. Heaven & Hell
09. Iron Man
10. Die Young
11. Paranoid
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Band Members:
Tony Iommi (guitar)
Ronnie James Dio (vocals)
Geoff Nicholls (keyboards)
Geezer Butler (bass)
Vinny Appice (drums)
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Black Sabbath Link (169Mb) New Link 17/12/2023
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