Introduction
The treatment of Sabbath’s archives has been less than linear, with various albums receiving super deluxe editions (Paranoid, Vol 4, Sabotage and Technical Ecstasy), while others received simpler editions or were ignored altogether. This pattern has continued into the Dio era, with both Mob Rules and Heaven and Hell receiving attractive two-disc releases, only for Live Evil to be granted a sumptuous box set.
A well-received album at the time, albeit controversial thanks to stories of in-studio mix fiddling, Live Evil captures a defiant Sabbath playing a ferocious mix of new material and well-established classics, and its status as the band’s first official live album (Live at Last was an unsanctioned cash grab), means that it has a special place in the Sabbath canon. On point of release, Kerrang named it one of the best live albums of all time and, listening at a remove of over forty years, it is hard to disagree with their judgement. It is, quite simply, an astonishing set, and a worthy reminder of the band’s instrumental prowess.
The Package
Following in the impressive footsteps of previous Sabbath super deluxe efforts, Live Evil is a lovingly crafted set. Packaged in a rigid, lift-top box, with Stan Watts’ brilliant artwork (featuring literal interpretations of the band’s songs), printed on the front, and an expanded seascape on the reverse, it looks stunning. There is also a track listing printed on a separate paper sheet, which fits neatly inside the box once removed.
Open the box and you’ll find both albums in gatefold sleeves, the remastered version with its original artwork recreated, and the remix with a newly designed cover. All four discs are securely stored in plain black, poly-lined inners. There’s also a 40-page hardback book, with typically insightful work from archivist Hugh Gilmour, a giant poster, and a replica tour programme. The book provides plenty of context for a live album that has a fascinating history, and it is packed with contemporary quotes, press cuttings and photography, along with Hugh’s well-researched commentary. The poster will likely remain with the box for most fans, but for those who do have wall space, it is of high quality; while the tour programme is interesting to dip into as you blast the album at full volume.
Audio Content
This being a live album, there really is no new content from which to choose. Arguably, the band could have opted to restore the complete concerts from which Live Evil was drawn but, given that the album represents the cream of those shows, the band opted for a remix of the original album instead, with both versions included in this special, four-disc set.
On discs 1 & 2, there is the 2022 remaster, overseen by Andy Pearce, and sounding better than ever. However, as with any remaster, the differences really are a matter of nuance and while it sounds fantastic, it is discs 3 & 4, that will prove most appealing to long-time fans of the band. Going back to the original analogue multi-tracks, Wyn has given the album a comprehensive sonic overhaul, addressing the band’s long-held concerns over the mix and even fleshing out some of Dio’s between-song banter. It is an impressive effort and, for all that the song structures remain fixed firmly in the mind, to hear this mix is to hear Live Evil for the first time all over again.
Live Evil Remastered (2022)
Named as one of the greatest live albums of all time, Live Evil captures Sabbath’s power and precision with remarkable clarity, giving substance to Kerrang’s euphoric claim. This version, remastered last year and pressed on gloriously crackle-free, heavyweight black vinyl, certainly makes a strong case for it, mixing classics from the Ozzy years and demonstrating the majestic strength of what was then new material. Dio might have been out of the door before the album was released, but he simply does not put a foot wrong, and his vocal performance spurs the band to greater instrumental heights, making for an immersive listen, the power of which the intervening years have done nothing to dim.
Side 1 opens with the eerie noise of E5150 before the band plunge into a rampant Neon Knights. It has been noted by the band that the audience sound is undersold on this recording, and this is something of an understatement for, so quiet is the applause, you’re unlikely to hear it unless you have the volume set to bowel-threatening levels. Of course, with Sabbath at their most bombastic, high volume is mandatory, and this explosive opener is certainly worth cranking the dial. The audience is rather more audible on N.I.B., but the sound takes a bit of a battering, with high levels of treble giving an otherwise powerful song a slightly washed-out feeling. The remaster is as good here as you suspect it could ever be, but there’s a slightly fragile quality to the sound that simply doesn’t do the band’s performance justice. Fortunately, the sound toughens up again for a bruising Children of The Sea, delivered here as a dynamic epic that makes fantastic use of Ronnie’s vocal range.
Side 2 is where the band engage with their legacy, bravely tackling three songs so inextricably linked with Ozzy that you wonder how they dared, at least until you hear Dio’s astonishingly authoritative performance. A consummate artist, Dio clearly respects the source material, but such is his presence that he instinctively bends the music to his will, and the results are breath-taking. Opening the side, Tony Iommi adds a neo-classical introduction to Black Sabbath, which only makes the doom-mongering riff seem more savage; while the band take the track at a leaden pace that surely had the likes of Candlemass taking extensive notes. Next, War Pigs sounds wonderfully menacing, Geezer’s bass prowling through the mix, while Dio barks and wails during the instrumental sections. A mini drum solo gives Vinny Appice the chance to show off his chops and, as it segues into a devastating take on Iron Man, the listener can only sit open mouthed at the power of the band’s performance.
Side 3 sees the band indulge two of their most powerful numbers – The Mob Rules and Heaven and Hell – the latter extending all the way into the heart of side 4. The short, sharp shock of The Mob Rules is only an entrée, the band smashing the track out with an intense, almost punk, fervour; while Heaven and Hell, as one of the greatest heavy metal songs ever written, justifiably dominates proceedings. Dio excels here, while the band match him every step of the way, especially on an instrumental mid-section that is as progressive as it is proto metal.
Side 4 continues Side 3’s masterclass in metal, opening with an almighty The Sign of the Southern Cross. Delivered with smouldering intensity, the band segue back into Heaven and Hell at the conclusion, giving this portion of the set an operatic feel that is Wagnerian in scope. Brilliantly performed, and with the mix capturing the band’s powerful dynamic, it is Sabbath at the peak of their not inconsiderable powers.
Having thus decimated the audience, all that is left is for the band to unleash a finale that takes in a none-darker Paranoid and a soul-crushing Children of the Grave, the latter a highlight of Master of Reality and seemingly tailor made for Dio’s theatrical approach. It is a fitting conclusion to a show that maintains its focus, and, with just a few short words, the band leave the stage to the melancholy Fluff, a poignant coda to an astonishing live set.
There is really nothing left to be said – Live Evil is a spectacular live album, representing Sabbath at the very best and Andy Pearce’s remaster serves up the original mix with as much sparkle and dynamic as is possible.
Live Evil Remixed
While the remixed version follows the same track listing exactly, the sound is a revelation. Where the remastered original sounds as good as you could possibly hope, Wyn Davis’ remix scrapes away the layers to reveal a tighter, harder mix.
Clearly aware of the band’s dissatisfaction with the original – which, to be fair, is somewhat harsh given just how good the remastered version sounds – the changes are respectful but serve to bring everything into sharp focus.
Working from the original tapes and using modern technology to effectively isolate the original tracks, Wyn has created far greater separation across the board, providing a mix with much greater depth than was possible at the time of release. Better still, while everything feels much tighter, he has sacrificed none of the dynamic that made the original so special. It is a hair louder, perhaps, but played side by side with the original, the volume is far less noticeable than the punch the audio has now gained, and it is like listening to the album for the first time.
As an additional bonus, Wyn has restored some of the original between-song banter (most noticeable at the start of The Mob Rules) – a small detail, maybe, but it is one that helps to push the listener even more to the heart of this astonishing performance. As with any such project, it’s the little details that matter and here, working with the band’s full approval, Wyn has managed to tick all the boxes.
While there will be those for whom the original can never be bettered (nostalgia is, after all, a powerful part of any album’s longevity), this remix is a rare example of a label getting everything right, and Wyn Davis deserves considerable credit for his sensitive sonic overhaul of a classic live album.
Final Thoughts
The approach to the Sabbath reissues has been somewhat ad hoc in its nature, with some releases featuring considerably more audio content than others. There will be those who decry the absence of extra tracks, but there is no doubting the love and care that has gone into Wyn Davis’ exceptional remix, making this a valuable addition to any fan’s collection.
Of course, any super deluxe set is as much a physical experience as it is sonic, and the various extras are worthy inclusions. Once again, Hugh Gilmour has risen to the challenge of providing considerable depth and period detail, shining a light on the in-studio issues that resulted in the band’s break up and providing a good deal of context around both the album, and the tour from which it was drawn.
In all honesty, you probably already know if this is for you. Super deluxe sets are inevitably for the long-term fan and, with Live Evil treated with care and attention to detail, this special, fortieth anniversary of a classic comes highly recommended. 9/10
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