Black SabbathLive Evil 40th Anniversary Super Deluxe Edition [BMG/Rhino Entertainment]A new era of Black Sabbath began in 1979 when singer Ronnie James Dio joined founding members Tony Iommi, Geezer Butler, and Bill Ward to launch a fresh incarnation of the iconic heavy metal band. And when Live Evil arrived in 1983, after two successful studio albums, the two-disc set was a commercial and critical triumph, reaching #13 in the U.K. and #37 on theBillboard Top 200. Reviews were overwhelmingly positive, including one from influential heavy metal magazine Kerrang! that hailed it as “one of the greatest live albums of all time.” Now, Live Evil (Black Sabbath’s first official live album, incidentally) celebrates its 40th anniversary this year with a Live Evil 40th Anniversary Super Deluxe Edition that introduces newly remixed and remastered versions of the acclaimed record. Released on May 19 as a four-CD or four-LP set, the collection features two versions of the legendary album: the original, newly remastered by Andy Pearce, and a new mix created from the analog multi-tracks by longtime band associate Wyn Davis. The physical versions also come with illustrated hardback books that include new liner notes and replicas of the concert book.   Recorded on the Mob Rules tour in 1982, the live recordings capture the ferocious chemistry and dark magic that defined this incarnation of Black Sabbath, with thrilling versions of Dio-era classics like “Neon Knights,” “The Sign of the Southern Cross,” “Voodoo,” and “Children of the Sea.” The album also honors the band’s legacy with Dio-led versions of Sabbath staples like “Paranoid,” “War Pigs,” “Iron Man,” and “N.I.B.” Butler wielded a B.C. Rich Eagle during this era of Black Sabbath, and his tone on Live Evil is a testament to the craftsmanship in those instruments. Whether it’s a Dio-era song like “Children of the Sea,” or something older like “War Pigs,” Butler’s playing is articulate and forceful, undergirding Tony Iommi’s mammoth guitar sound every lick of the way. Another noteworthy stylistic change is that drummer Vinny Appice doesn’t exude the swing that was inherent in Bill Ward’s drumming style, making this version of Black Sabbath much more of a metal band for the modern era than it was previously. Butler’s tone, perhaps due to the active circuitry in the Eagle, proves its mettle in this heavier iteration, as well. As a side note, if you want to hear what Butler is up to on some of the older Sabbath material, Live Evil provides some insight, thanks to the clarity of the recordings and his performance. Of the many highlights on Live Evil is the band’s tendency to break into seemingly impromptu jams, inspired perhaps by Dio’s Rainbow years, and when Butler gets a little funky in the breakdown on “Voodoo,” you can’t help imbibing in the good time these guys seem to be h