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Posts tagged Bill Ward
Iommi – Iommi (2000) (@256)
08 Oct 2008
(Review from amazon)
A diverse cast of characters helped create this impressive, four-years-in-the-works solo album from legendary Black Sabbath guitarist Tony Iommi.
The vintage ultra-heavy Sabbath musicality gives the album cohesiveness despite the variety of voices and lyrics penned by 10 different singers. Skin (of Skunk Anansie) has a lovely, precise delivery that contrasts with the dirge-like feel of “Meat”, while Foo Fighters frontman Dave Grohl turns in a performance that mixes the Foos, Nine Inch Nails and Sabbath on “Goodbye Lament”. Ian Astbury’s dramatic vocals on “Flame On” are especially suited to the material, which in this case sounds like a Danzig tune. Also perfect for the portentous vibe is Billy Idol, whose sensual snarl and trademark “yow!” on “Into the Night” is a highlight.
This album is a showcase for Iommi’s many talents, including his unquestionable songwriting abilities, as well as his ability to work in guitar solos that add to the song rather than overpower it. He does an excellent job of playing to each guest vocalist’s stregnths, complimenting their talents rather than overshadowing them.
Iommi’s stellar strategic solos (at times they achieve a Jimmy Page-like mysticism) and retro Sabbath stylings make Iommi a great listen for old-school metal-mongers.
Line-up:
- Tony Iommi / Guitar
with
- Ace (Martin Kent) / Additional Guitar (2)
- Phil Anselmo / Vocals (4)
- Kenny Aronoff / Drums (2)
- Ian Astbury / Vocals (7)
- Matt Cameron / Drums (4,7,8,10)
- Jimmy Copley / Drums (1,5)
- Billy Corgan / Bass (6), Vocals (6), Additional Guitar (6)
- Laurence Cottle / Bass (3,4,5,7,8,9)
- Dave Grohl / Drums (3), Vocals (3)
- Billy Idol / Vocals (10)
- Bob Marlette / Bass (2)
- Ozzy Osbourne / Vocals (9)
- Terry Phillips / Bass (1)
- Henry Rollins / Vocals (1)
- Ben Shepherd / Bass (10)
- Skin / Vocals (2)
- Pete Steele / Bass (8)
- Serj Tankian / Vocals (5)
- John Tempesta / Drums (2)
- Bill Ward / Drums (9)
Track List:
01. Laughing Man (In The Devil Mask) – 3:39
02. Meat – 4:53
03. Goodbye Lament – 4:50
04. Time is Mine – 4:55
05. Patterns – 4:20
06. Black Oblivion – 8:20
07. Flame On – 4:29
08. Just Say No To Love – 4:27
09. Who’s Fooling Who – 6:09
10. Into The Night – 5:01
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Bill Ward – Ward One: Along the Way (1990) (@256)
07 Oct 2008
(Review from amazon)
Just in case you never heard of him, Bill Ward is the original drummer for Black Sabbath. He originally left Sabbath after 1980′s Heaven and Hell album, but came back (very briefly) for the 1983 album ” Born Again “. After he left and rejoined and left Sabbath a few more times, nothing was heard from Ward again until this album came out at the beginning of 1990.
For his first solo album, Ward surrounded himself with a (mostly) all star cast. “Ward One” is a unique combination of Black Sabbath during their experimental “Sabotage” years, 80s heavy metal, Peter Gabriel and Pink Floyd. There are plenty of loud, jamming guitars and loud, pounding drums but also a great deal of sound effects and special effects voices and keyboards and synthesizers.
Ward himself takes lead vocal duties on most of the songs, and shares drumming duties with Eric Singer. His singing isn’t too bad either, though he uses a great deal of effects on his voice, either to add to the overall weirdness of the album or maybe because he wasn’t too confident in his own singing ability. Ozzy takes lead vocal duties on “Bombers Can Open Bomb Bays” and on “Jack’s Land”, while Jack Bruce sings (and co-writes) the very soothing, melodic and peaceful “Light Up The Candles”.
The album ends on an unintentionally funny note with Bill Ward whistling and the saying “Goodbye! “. A very strange ending for a very unique album.
Line-up:
- Bill Ward / drums, vocals, keyboards
with
- Jack Bruce / bass, vocals
- Ozzy Osbourne / vocals (3,7)
- Lorraine Perry / vocals
- Eric Singer / drums
- Leonice / drums
- Marco Mendoza / bass
- Gordon Copley / bass
- Bob Daisley / bass
- Lee Faulkner / bass
- Rue Phillips / guitar
- Keith Lynch / guitar
- Zakk Wylde / guitar
- Malcolm Bruce / guitar, keyboards
- Lanny Cordola / guitar
- Richard Ward / guitar
- Jimmy Yeager / keyboards
- Mike Rodgers / keyboards
Track List:
01. Shooting Gallery (Mobile)
02. Short Stories
03. Bombers (Can Open Bomb Bays)
04. Pink Clouds an Island
05. Light up the Candles (Let There Be Peace Tonight)
06. Snakes and Ladders
07. Jack’s Land
08. Living Naked
09. Music for a Raw Nerve Ending
10. Tall Stories
11. Sweep
12. Along the Way
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Black Sabbath – Reunion (Live 1998) (@256)
03 Oct 2008
(Review from progarchives.com)
In late 1997, the original line-up of the band reunited. The recordings of the first two shows of the reunion tour at the Birmingham NEC, were released as this double live album “Reunion”. Along with live versions of tracks such as “Paranoid”, “N.I.B.”, “Black Sabbath” and “Iron Man”, it also features two new studio tracks – “Selling My Soul” and “Psycho Man”.
The band seem to be quite in a good shape for this reunion. The crowd is totally united with the band. Enthusisast and wild. Ozzy is very good in his leading role, exhorting the crowd with his typical coarse language throughout the set.
The impressive thing about this live release is not only the setlist, which is probably the best an early Sabbath fan could dream of but also the rendition of all these numbers. The feeling is really superb and obviously the band has a great pleasure to be on stage again in their original line-up and probably perform their repertoire like never before. In a completely different style and to releate this live album with one most of you know, it’s spirit can be compared to “Keys To Ascension” from “Yes”.
Naturally most of this double live album is made of songs from their first three albums. And that’s what the audience was exactly expecting. Four songs from their debut album : “Black Sabbath”, “The Wizzard”, “Behind the Wall of Sleep” and “N.I.B.”. The bulk of songs comes from “Paranoďd” of course. No less than five songs. The title track as encore as well as two of the best heavy metal songs ever written : “War Pigs” and “Iron Man”. Super mighty versions of these two incredible songs. But let’s not forget “Electric Funeral” and “Fairies”.
From “Master Of Reality” five songs as well of which the delicate “Orchid”. Completely lost into this ocean of pure, super heavy metal. But one of the many great versions here is a completely demential version of “Spiral Architect”. Phenomenally heavy although the original studio version was even featuring some strings. Nothing as such here, just a wild interpretation. Only “Snowblind” from “Volume Four” sits on this live album.
For the tracklist. For the atmosphere. For the renditions. For the nostalgia. Don’t miss it.
Line-up:
- Ozzy Osbourne / Vocals
- Tony Iommi / Guitar
- Geezer Butler / Bass
- Bill Ward / Drums
Track List:
CD1
01. War Pigs – 8:27
02. Behind the Wall of Sleep – 4:06
03. N.I.B – 6:44
04. Fairies Wear Boots – 6:19
05. Electric Funeral – 5:01
06. Sweet Leaf – 5:07
07. Spiral Architect – 5:40
08. Into the Void – 6:31
09. Snowblind – 6:07
CD2
01. Sabbath Bloody Sabbath – 4:36
02. Orchid – Lord of this World – 7:06
03. Dirty Women – 6:29
04. Black Sabbath – 7:29
05. Iron Man – 8:20
06. Children of the Grave – 6:30
07. Paranoid – 4:29
08. Psycho Man – 5:19
09. Selling My Soul – 3:09
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Black Sabbath – Born Again (1983) (@256)
24 Sep 2008
(Review from wikipedia, amazon)
Left with just two original members, Tony Iommi and Geezer Butler began auditioning new singers for the band’s next release. After failed attempts with the likes of Whitesnake’s David Coverdale, Samson’s Nicky Moore, and Lone Star’s John Sloman, the band settled on former Deep Purple vocalist Ian Gillan. While the project was not initially set to be called Black Sabbath, the record label strongarmed the band to retain the name. A newly-sober Bill Ward returned on drums entering the studio.
The third incarnation of Sabbath is not a radical departure from the sound of the Ozzy or Dio years. With Tony Iommi’s heavy, gloomy riffs and bluesy solos over Ward and Butler’s solid rhythm section, “Born Again” certainly sounds like a Black Sabbath album. Gillian, however, definitely adds his signature to the band. While Ozzy and Dio certainly have different styles, both singers have a straight-forward delivery and their lyrics deal with similar themes; God, the occult, afterlife, etc. Gillian’s satanic screams and more down-to-earth lyrics concerning hangovers (“Trashed”) and misogyny (“Digital Bitch”) offered a change of pace to the band. Guest Keyboardist Geoff Nicolas peppers the album with synthesizers, giving an 80s touch to the sound of the album. While Nicolas had been present since “Heaven and Hell”, with “Born Again” his presence is more apparent.
“Born Again” opens strong with the thundering “Trashed”, which sounds like a cross between “Neon Knights” and “Paranoid.” The bizarre, eerie instrumental “Stonehenge” acts as a buffer to the sinister, off-beat, mid-tempo “Disturbing the Priest”. Butler’s pounding bass over Nicolas’ dark synthesizers works well here. With its obvious religious theme, “Disturbing the Priest” is probably the most typical Sabbath-like song on the album. “The Dark”, another off-beat eerie instrumental acts as the perfect lead-in to the highly underrated “Zero the Hero” which has the same riff as Guns ‘n’ Roses “Paradise City”. The almost-anthem-like “Digital Bitch” is no less catchy, with its infectious hook and sing-along-chorus. The album slows down considerably for the epic title track “Born Again” which is dark and harrowing and shows Tony Iommi at his bluesy best. “Hot Line” sounds a bit like Deep Purple’s “Smoke on the Water” and while not the album’s strongest cut, is still good. The melodic, hard-rocking “Keep it Warm” is effective and makes for a good closer.
After the album, Ian Gillan left for the reunion of Deep Purple. Disillusioned with the band’s revolving lineup, bassist Geezer Butler quit the band. Following Butler’s exit, sole remaining original member Tony Iommi put Black Sabbath on hiatus.
Line-up:
- Tony Iommi / Lead Guitar & Flute
- Geezer Butler / Bass
- Ian Gillan / Vocals
- Bill Ward / Drums
- Geoff Nicholls / Keyboards
Track List:
01. Trashed – 4:15
02. Stonehenge – 1:58
03. Disturbing The Priest – 5:47
04. The Dark – 0:45
05. Zero The Hero – 7:33
06. Digital Bitch – 3:37
07. Born Again – 6:32
08. Hot Line – 4:51
09. Keep It Warm – 5:36
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Black Sabbath – Heaven And Hell (1980) (@256)
22 Sep 2008
(Review from progarchives.com, allmusic, wikipedia)
Many had left Black Sabbath for dead at the dawn of the ’80s, and with good reason — the band’s last few albums were not even close to their early classics, and original singer Ozzy Osbourne had just split from the band.
Sharon Arden, (later Sharon Osbourne) daughter of Black Sabbath’s manager suggested former Rainbow vocalist Ronnie James Dio to replace Ozzy Osbourne in 1979. Dio officially joined in June and the band began writing their next album. With a notably different vocal style from Osbourne’s, Dio’s addition to the band marked a change in Black Sabbath’s sound. Dio came in with a different attitude, a different voice and a different musical approach, as far as vocals — Dio would sing across the riff, whereas Ozzy would follow the riff. This gave the band another angle on writing.
Produced by Martin Birch (but not wearing the usual Birch Purple-sound), Black Sabbath’s comeback album is one of the most impressive and influential albums of the 80s, as the group headed a heavy metal revival, with Judas Priest (British Steel) and Motorhead’s ascension to fame as well (Ace Of Spades), just in front of a wave of new groups that will be called New Wave Of British Heavy Metal. Having secured Dio on vocals (and bass), the group started rehearsing, with Geoff Nichols on bass (as well), because Geezer Butler was busy in his divorce case. Once the original bassist returned, Geoff Nichols remained with the group but concentrated on whatever keyboards sounds were needed. Dio’s new ideas mixed with Iommi’s writings created the new fresh approach on the album, and the album’s general ambiance is a huge part of its success.
Starting on the hit single Neon Knights (one of Sabbath’s most up-tempoed tracks ever), the group charged heavily on the dramatics, developing to goosebump levels on the longer “Children Of The Sea”, the “Heaven & Hell” title track and “Lonely Is the Word” tracks. With another two shorter tracks like the anthem “Die Young” and the abrupt “Wishing Well”, Heaven & Hell is a stunning metal album. Butler’s usual superb bass playing is still a very important feature.
“Heaven & Hell” certainly became an emblem of a new era for metal music.
Line-up:
- Tony Iommi / Lead Guitar
- Geezer Butler / Bass
- Ronnie James Dio / Vocals
- Bill Ward / Drums
- Geoff Nicholls / Keyboards
Track List:
01. Neon Knights – 3:53
02. Children Of The Sea – 5:34
03. Lady Evil – 4:22
04. Heaven And Hell – 6:55
05. Wishing Well – 4:07
06. Die Young – 4:45
07. Walk Away – 4:25
08. Lonely Is The Word – 5:46
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Black Sabbath – Never Say Die (1978) (@256)
21 Sep 2008
(Review from wikipedia, progarchives.com)
After the tour for “Technical Ecstasy” Ozzy quit the band. Former Fleetwood Mac and Savoy Brown vocalist Dave Walker was brought into rehearsals in October 1977 and the band began working on new songs.
Three days before the band were due to go into the studio, Ozzy wanted to come back to the band. He wouldn’t sing any of the stuff the band had written with the other guy, so it made it very difficult. Black Sabbath went into the studio with basically no songs. They’d write in the morning so they could rehearse and record at night. It was so difficult, like a conveyor belt, because the band couldn’t get time to reflect on stuff. It was very difficult for Iommi to come up with the ideas and putting them together that quick.
The band’s last album of the 70s, “Never Say Die” has it’s own qualities and distinct sound which sets it apart from all previous Black Sabbath albums. Perhaps the most glaring example of this is the instrumental “Breakout” which sounds more like the Stan Kenton Orchestra than the kings of metal. “Air Dance” touches on other jazzy progressions which had lalways been subetly present on even ther heaviest of Sabbath numbers.
The rhythmical “Hard Road” features vocal harmonies by Butler and Iommi for the first time while “Johnny Bade” gets as dark as the band ever were. “Shock Wave” is a straight rocker with some cool wah wahed out guitar.
Don Airey shines with his Hammond organ in “Over to You”. Just like in their previous album, Bill Ward takes over vocals on a single track, “Swinging The Chain”. The pop metal title track “Never Say Die” put the band on the charts for the first time since 1970′s Paranoid.
However tongue-in-cheek “Never Say Die” might be, it is an interesting record which should be taken on it’s own rather than compared to Black Sabbath’s earlier material including the previous “Technical Ecstacy”.
Following the tour of the album, Black Sabbath spent nearly a year working on material for the next album. With pressure from the record label, and frustrations with Osbourne’s lack of ideas coming to a head, Iommi made the decision to fire Ozzy Osbourne in 1979.
Line-up:
- Tony Iommi / Lead Guitar
- Geezer Butler / Bass
- Ozzy Osbourne / Vocals
- Bill Ward / Drums, Vocals (9)
- Don Airey / Keyboards
- John Elstar / Harmonica
- Will Malone / Brass arrangements
Track List:
01. Never Say Die – 3:49
02. Johnny Blade – 6:28
03. Junior’s Eyes – 6:43
04. A Hard Road – 6:06
05. Shock Wave – 5:16
06. Air Dance – 5:18
07. Over To You – 5:24
08. Breakout – 2:35
09. Swinging The Chain – 4:05
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Black Sabbath – Technical Ecstasy (1976) (@256)
19 Sep 2008
(Review from progarchives.com, wikipedia)
“Technical Ecstasy” continues the band’s separation from its signature doom and darkness that had been such a trademark of the band’s early career. While the album’s lyrics deal with topics such as drug dealers, prostitution, and transvestites, the music itself is seldom dark and some tracks are very different from Black Sabbath’s earlier recordings.
Omnipresent keyboard textures definitely give the band a new dimension here and is used to great effect, particularily on on “Rock N`Roll Doctor” where the piano adds to the song’s traditional rock ‘n’ roll feel contrasting with Iommi’s heavy guitar riffing.
If the plodding “All Moving Parts (Stand Still)” which seems to be about corrupt, cross dressing, alcoholic politicians who are into sado masochism appeared on any earlier Sabbath album it would have been received with accolades just the same way the “Hole In The Sky” or “War Pigs” were. The lyrics remind one of subject material Alice Cooper would prefer but it still has dark conotations of earlier Sabbath compositions.
At the same time “Back Street Kids” sounds like an attempt at creating some sort of anthem for kids to identify with much the same way they did with songs from the first two Black Sabbath albums and if listened to carefully one may discover where Heart might have got the main riff for their hit Barracuda off their 1977 Little Queen album.
The catchiest track on the album, “Gypsy”, continues on with traditional Sabbath doom & gloom doctrine with references to a bleak future and features some real headbanging riffing from Iommi and some nice orchestrations and has to be one of the most overlooked Sabbath songs ever.
“Dirty Women” sums up the sentiments within the band using the metaphor of ladies of the night to reflect their need for unconditional escapes from the demands and rigours of their chosen proffession as rock ‘n’ roll stars. It contains all the heaviness Sabbath was all about.
By far not Black Sabbath at the top of their game but “Technical Ecstasy” must be approached cautiously, bearing in mind that this was a band at a stage where fame and fortune and changing trends were having effects on them. The album, without a doubt, contains some very memorable Sabbath material and the imperfections which occur can be easily overlooked.
Line-up:
- Tony Iommi / Lead Guitar
- Geezer Butler / Bass
- Ozzy Osbourne / Vocals
- Bill Ward / Drums
- Gerald Woodruffe / Keyboards
Track List:
01. Back Street Kids – 3:47
02. You Won’t Change Me – 6:42
03. It’s Allright – 4:04
04. Gypsy – 5:14
05. All Moving Parts (Stand Still) – 5:07
06. Rock ‘n’ Roll Doctor – 3:30
07. She’s Gone – 4:58
08. Dirty Women – 7:13
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Black Sabbath – Past Lives (Live 1970-75) (@256)
18 Sep 2008
(Review from allmusic, amazon)
It’s hard to believe the Black Sabbath of the 70s never officially released a live album at the peak of their initial arena-packing success. There was an unofficial album named “Live at Last” released in 1980, suffering from flat sound and an abrupt ending.
This 18-track double-CD fills the gap, includes all the tracks in “Live at Last” with an additional nine more early, previously unreleased live Sabbath tracks. It has been remastered and remixed to give it the spacy vibe and airy sound it needs.
Recorded at several different points in their career, this live album is a psychedelic journey into the primal sludge of early heavy metal, warts and all. Wrong notes, tempo mistakes, meandering jams, and a stoned Ozzy Osbourne (he proudly admits this fact) may seem like detriments but when paired with music it gives it an endearing urgency that keeps the album interesting.
Black Sabbath plows through these songs like a tank, offering up a wall of grunge that has more in common with the Stooges than the technical hard rock being offered up by the band’s contemporaries at the time. Tony Iommi is the star here, delivering blistering guitar work that is drenched in fuzz and sharp as a sword. Osbourne’s performance is also quite respectable, channeling a venomous stream of angst and rage that seems uncharacteristic when compared to his solo career. But his attitude is a key element, pushing him to steer his voice way out of his given range out of sheer passion during several key moments.
This is an inspired performance that shows what the first half of the 70s Sabbath was at the time — constantly growing and shaping itself through the years.
Line-up:
- Ozzy Osbourne – vocals
- Tony Iommi – guitar
- Geezer Butler – bass
- Bill Ward – drums
Track List:
CD1
01. Tomorrow’s Dream (3:03)
02. Sweet Leaf (5:26)
03. Killing Yourself to Live (5:29)
04. Cornucopia (3:57)
05. Snowblind (4:46)
06. Children of the Grave (4:33)
07. War Pigs (7:36)
08. Wicked World (18:55)
09. Paranoid (3:14)
CD2
01. Hand of Doom (8:25)
02. Hole in the Sky (4:46)
03. Symptom of the Universe (4:52)
04. Megalomania (9:53)
05. Iron Man (6:25)
06. Black Sabbath (8:23)
07. N.I.B. (5:31)
08. Behind the Wall of Sleep (5:03)
09. Fairies Wear Boots (6:39)
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Black Sabbath – Sabotage (1975) (@256)
17 Sep 2008
(Review from progarchives.com)
Black Sabbath’s sixth studio album relies heavily on keyboards, including synthesisers, played by Gerald Woodruffe. Also present are the English Chamber Choir!
Two epic tracks attract immediate attention. “Megalomania” is a superbly crafted 10 minute piece which focuses on the main theme (or concept) of the album, insanity and mental illness. The track starts as a slow, menacing nightmare with lyrics. About midway, the pace is increased and track transforms into a magnificently pompous orchestrated cacophony. Ozzy sounds positively insane as he vividly describes his nightmares, the stereo effects enhancing the experience.
At over 8 minutes, “The Writ” also has plenty of space for symphonic orchestration and a fine arrangement. The track, which is reportedly aimed at a previous band manager, is full of acidic lyrics such as. The final section includes some excellent soft verses which are counterbalanced by the louder “everything is gonna work out fine” choruses.
These two tracks, which represent just under half the album, are enough reason alone to make “Sabotage” a good album. In fact though, they are supported by a further six fine songs. Like “Megalomania”, “Thrill of it all” sets out as a slow, heavy dirge, but is transformed midway into an upbeat thriller with soaring synths and multi-tracked vocals.
While there are no obvious hit singles, the most commercial track is “Am I Going Insane (Radio)”, which features an irritatingly catchy chorus. The “radio” word in the title does not mean it is a radio edit, there are no other versions. The word apparently is cockney rhyming slang for “mental”, coming from the long gone company Radio Rental.
The oddest track is “Supertzar”, which is nominally an instrumental, but features a choral interlude.
This is a truly superb album which belies any notion that Black Sabbath did not work hard on their releases. There is a level of attention to detail here is combined with some top class song writing. “Sabotage” took considerably longer to record and produce then previous Black Sabbath albums. Over the years, Ozzy Osbourne has often complained in interviews that this album marked the beginning of what he described as Tony Iommi’s studio production obsession.
Line-up:
- Tony Iommi / Lead Guitar
- Geezer Butler / Bass
- Ozzy Osbourne / Vocals
- Bill Ward / Drums
- Gerald Woodruffe / Keyboards
Track List:
01. Hole In The Sky – 3:59
02. Don’t Start (Too Late) – 0:49
03. Symptom Of The Universe – 6:29
04. Megalomania – 9:46
05. The Thrill Of It All – 5:56
06. Supertzar – 3:44
07. Am I Going Insane (Radio) – 4:16
08. The Writ – 8:45
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Black Sabbath – Sabbath Bloody Sabbath (1973) (@256)
16 Sep 2008
(Review from allmusic, wikipedia)
With 1973′s Sabbath Bloody Sabbath (their fifth masterpiece in four years), Black Sabbath made a concerted effort to raise their creative stakes and dispensed unprecedented attention to the album’s production, arrangements, and even the cover artwork.
While faithful to the band’s signature compositional style and sound, brilliant songs such as the title track, “A National Acrobat,” and “Killing Yourself to Live” also displayed a newfound sense of finesse and maturity. The introduction of keyboards and synthesizers, on the other hand, meets with mixed results. Erstwhile Yes keyboard wizard Rick Wakeman makes a positive contribution to “Sabbra Cadabra”. “Spiral Architect” benefits from its tasteful background orchestration, and the gentle “Fluff” is a truly memorable solo instrumental from guitarist Tony Iommi.
With “Sabbath Bloody Sabbath”, for the first time in their career, the band began to receive favourable reviews in the mainstream press.
Line-up:
- Ozzy Osbourne / vocals
- Tony Iommi / guitar
- Geezer Butler / bass
- Bill Ward / drums
with
- Rick Wakeman / Keyboards (4,6)
Track List:
01. Sabbath Bloody Sabbath – 5:45
02. A National Acrobat – 6:16
03. Fluff – 4:11
04. Sabbra Cadabra – 5:59
05. Killing Yourself To Live – 5:40
06. Who Are You – 4:11
07. Looking For Today – 5:06
08. Spiral Architect – 5:29
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Black Sabbath – Vol 4 (1972) (@256)
15 Sep 2008
(Review from progarchives.com)
In June 1972, the band reconvened to record what would become their fourth studio album. It was originally titled “Snowblind” after the song of the same name, which deals with cocaine abuse. The record company changed the title at the last minute to Black Sabbath, Vol 4. Nonetheless, controversy wasn`t entirely averted as the band somehow manage to thank the COKE-cola company on the credits inside the gatefold cover on early vinyl editions. Ozzy also manages to whisper the word cocaine at the end of each verse of Snowblind as well.
The opener, ‘Wheels of Confusion’ has a complex and progressive structure, moving from part to part, and with a marvellous outro (‘The Straightener’). It’s an eight minute mini-epic, and signals a much broader (and generally less heavy) sound than the blues previously employed on ‘Paranoid’ and ‘Masters of Reality’. Piano, mellotron and orchestra signalled an intention to widen their music.
“Tomorrow’s Dream” is another stirling classic track but often overlooked on this album but beautifully connected to the whole album’s delivery. It is memorable thanks to its simple structure and progression.
One of Black Sabbath’s spinal tap moments (actually almost 5 minutes of it ) occurs on the ballad “Changes” which, astonishingly, is one of their best known songs that was originally supposedly about drummer Bill Ward’s breakup with his wife. Accompanied by a sombre grand piano and a weeping mellotron Ozzy sounds so down in the dumps that you can almost envisage the tears of wax melting down the base of the candle-abra. At least it’s played in the slack key of C without any black keys to worry about through all the grieving. It makes one wonder how they found time to get so glum amidst all the groupies, endless narcotic supply and nonstop partying. In any case, hardcore Sabbath fans either love it or hate it and it did break some groud showing that tripped out rock stars have feelings as well. Other heavier bands and artists would follow suit, including token ballads on their albums.
‘FX’ is created from echoplexed guitar picking, ‘Supernaut’ has one of the most endearing riffs you’ll hear on this album, ‘Snowblind’ is a pure classic, ‘Laguna Sunrise’ is an almost symphonic piece with Iommi on classical guitar backed with a wistful string arrangement, ‘St. Vitus Dance’ is has an unusual rhythm, and ‘Under The Sun’ is full-on Sabbath at their heaviest – absolutely phenomenal track.
Line-up:
* Ozzy Osbourne – vocals
* Tony Iommi – guitar, keyboards
* Geezer Butler – bass
* Bill Ward – drums
Track List:
01. Wheels Of Confusion – 8:01
02. Tomorrows Dream – 3:11
03. Changes – 4:44
04. FX – 1:43
05. Supernaut – 4:49
06. Snowblind – 5:33
07. Cornucopia – 3:54
08. Laguna Sunrise – 2:55
09. ST.Vitus Dance – 2:29
10. Under The Sun – 5:52
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Black Sabbath – Master of Reality (1971) (@256)
15 Sep 2008
(Review from wikipedia, progarchives.com, allmusic)
In February 1971, Black Sabbath returned to the studio to begin work on their third album. Following the chart success of Paranoid, the band were afforded more studio time and along with lots of money. The band drowned itself with drugs. It got to the stage where they came up with ideas and forgot them, because they were just so out of it.
For the recording of this album, Tony Iommi decided to de-tune his guitar down three semi-tones (or one and a half steps to C-sharp). This reduced string tension on his injured fingers, thus making the guitar easier for him to play. Geezer Butler also de-tuned his bass guitar to match Iommi. The result was a noticeably “darker” or “sludgier” sound.
Walls of riffs, religious premonitions and the band’s name inscribed in a purple hue forming a flapping banner through an invisible wind against a black backdrop of nothingness came “Master of Reality” in July 1971, just six months after the release of “Paranoid”.
A hacking cough introduces the opening track, Sweet Leaf, an ode to marajuana amidst searing guitar chords as if a soothing narcotic head experience is the only thing on Earth left worth loving. From the onset the heaviness of Master Of Reality cannot be uderstated. Tony Iommi`s slagging, sludging riffs, Geezer Butlers throbbing bass, Bill Ward bashing and thrashing his kit and Ozzy`s flat-line omnicient high pitched cat-strangling moans, combined with stark religious messages set the ambience over this deafening 34 minute excursion into the outer reaches of the twighlight zone.
The religious overtones on “After Forever” and “Lord of This World”‘s heavy and direct manner of their execution leave them open for misinterpretation by armchair satanists. “Children Of The Grave” is a call to arms to fight the evil designs of the powers that be and oddly enough, the scariest track on the album has nothing to do with religion, drugs or Satan at all.
“Into the Void” explores something that was real and pertinent in 1971 : the possibility of an all out nuclear war. And dark celestial images of ICBMs arcing through nocturnal skies towards their helpless ground zero grids hammer forth potential horrors of such an event without leaving much to the immagination.
Amidst all the cacophony and doubt “Master Of Reality” conjures, there emerges a macabre balllad appropriately entitled “Solitude” which contains Iommi’s haunting flute accompanying Ozzy’s mourneful woes. It`s meditative meloncholy is fitting and offers a contrast to the relentless riffing.
Following the “Master of Reality” world tour in 1972, Black Sabbath started to become very fatigued and very tired. They’d been on the road non-stop, year in and year out, constantly touring and recording. “Master of Reality” was kind of like the end of an era and the band decided to take their time with the next album.
Line-up:
* Tony Iommi – Lead Guitar & Keyboards
* Geezer Butler – Bass
* Ozzy Osbourne – Vocals
* Bill Ward – Drums
Track List:
01. Sweet Leaf – 5:05
02. After Forever – 5:27
03. Embryo – 5:00
04. Children of the Grave – 0:45
05. Orchid – 1:30
06. Lord of this World – 5:26
07. Solitude – 5:02
08. Into the Void – 6:12
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Black Sabbath – Black Sabbath (1970) (@256)
13 Sep 2008
(Review from wikipedia, progarchives.com)
The historic four members of Black Sabbath went to the same Birmingham secondary school but played in two separate groups.
Tony Iommi initially played guitar left-handed. He lost two fingertips of his fretting hand in an industrial work-related accident at the age of 17. This almost convinced him to stop music but his foreman offered him a Django Reinhardt album (who also had limited use of his fretting hand) and this helped Iommi overcoming his handicap. After attempting to learn to play right-handed, Iommi strung his guitars with extra-light strings (using banjo strings, which were a lighter gauge than even the lightest guitar-strings of the time) and wore plastic covers over the two damaged fingers. He fashioned the latter himself, by melting plastic liquid-soap bottles into a ball and then using a soldering iron to make holes into this ball, putting his fingers in while the plastic was still soft enough to be shaped. He then trimmed and sanded away the excess plastic to leave himself with two thimbles, which he then covered with leather, to provide better grip on the strings.
Following the breakup of their previous band in 1968, guitarist Tony Iommi and drummer Bill Ward sought to form a heavy blues band. They enlisted bassist Geezer Butler, and vocalist Ozzy Osbourne. The new group also featured slide guitarist Jimmy Phillips and saxophonist Alan “Aker” Clarke but after two gigs these two were dismissed and the band continued as a four-piece with the name “Earth”.
“Earth” played club shows in England, Denmark, and Germany, with sets consisting of cover songs by Jimi Hendrix, Blue Cheer, and Cream; as well as lengthy improvised blues jams. In December 1968. While playing shows in England in 1969, the band discovered they were being mistaken for another English group named “Earth”, and decided to again change their name.
A movie theater across the street from the band’s rehearsal room was showing the 1963 Boris Karloff horror film Black Sabbath. While watching people line up to see the film, bassist Geezer Butler noted that it was “strange that people spend so much money to see scary movies”. Butler wrote a song titled “Black Sabbath” after reading a book by occult writer Dennis Wheatley, and seeing a black-hooded figure standing at the foot of his bed. Making use of the musical tritone, also known as “The Devil’s Interval”, the song’s ominous sound and dark lyrics pushed the band in a darker direction, a stark contrast to the popular music of the late 1960s, which was dominated by flower power, folk music, and hippie culture. Inspired by the new sound, the band changed their name to Black Sabbath in August 1969, and made the decision to focus writing similar material, in an attempt to create the musical equivalent of horror films.
It is difficult to find a more influential album in the heavy metal genre than Black Sabbath’s debut album. Graced with a gloomy old mill filtered photo with a so-called witch, the Brummie quartet went straight for the dark side of rock and their sinister looks sporting large crosses were certainly enhancing intently this image. Recorded and produced (almost inexistently by Rodger Bain) in just two days, this might seem today a real botch job in the light of modern technology, but it is precisely this rough, raw finish that gave this album its aura.
If anything must represent heavy metal, than the eponymous album opener is it: from its thunderstorm and bell intro, to the sinister slow descending riff (based on Gustav Holtz’s Mars piece from The Planets Suite) and Geezer Butler-inspired depressive lyrics, the group cannot help but launch a chain of reaction in everyone.
The following gloomy “Wizard” track is a blues-derived riff-laden song with an unusual pace and the dreamy, almost ambient by their standard, “Wall Of Sleep” with its great slower mid-section are not as much attention-grabbing, but remain quite solid tracks that make this album an all-time classic.
Closing the first side is an epic love song (NIB is not Nativity In Black), starting on a pulsating bass solo, than Iommi’s solid guitar riff takes over accompanying an average Osbourne vocal line, but for some reasons, the whole thing works quite fine and this track remains a classic to this day. Ward’s jazzy drumming throughout the album brings a bit of lightness to his three mate’s overpowering heaviness. Butler’s style is also bringing much air, as he generally shadows Iommi’s riffs (instead of countering or underlining them) and plays much like his inspiration, Cream’s Jack Bruce.
The flipside starts on a rare cover, the groovy bass-ed up Evil woman, which was originally intended as the single. “Sleeping Village” seems like a collage of three pieces, but comes off well in its second half, and might be as close as the band gets to an instrumental on this album. As this track ends in a feedback, the most impressive almost 11-min “Warning” (an Ainsley Dunbar Retaliation cover) starts exactly on that same feedback, and although it might appear as completely indulgent nowadays, it is one of the most Sabbath tune ever. Indeed the track is full of “solo” playing that seem to drag on a bit, especially Iommi’s guitar twangs in the middle section, but it got most future metalheads understanding what Iommi’s modified sound was all about. The closing “Wicked World” is another great Black Sabbath track, getting lost in the shuffle of their first two albums’ abundance of good ideas.
Line-up:
* Tony Iommi – Lead Guitar & Keyboards
* Geezer Butler – Bass
* Ozzy Osbourne – Vocals
* Bill Ward – Drums
Track List:
01. Black Sabbath – 6:21
02. The Wizard – 4:24
03. Behind The Wall Of Sleep – 3:37
04. N.I.B. – 6:08
05. Evil Woman – 3:24
06. Sleeping Village – 10:44
07. Warning – 3:31
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Black Sabbath – Paranoid (1970) (@256)
04 Apr 2007
(Review from allmusic.com)
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.
Paranoid was not only Black Sabbath’s most popular record, it also stands as one of the greatest and most influential heavy metal albums of all time. Paranoid refined Black Sabbath’s signature sound — crushingly loud, minor-key dirges loosely based on heavy blues-rock — and applied it to a newly consistent set of songs with utterly memorable riffs, most of which now rank as all-time metal classics. Where the extended, multi-sectioned songs on the debut sometimes felt like aimless jams, their counterparts on Paranoid have been given focus and direction, lending an epic drama to now-standards like “War Pigs” and “Iron Man” (which sports one of the most immediately identifiable riffs in metal history). The subject matter is unrelentingly, obsessively dark, covering both supernatural/sci-fi horrors and the real-life traumas of death, war, nuclear annihilation, mental illness, drug hallucinations, and narcotic abuse. Yet Sabbath makes it totally convincing, thanks to the crawling, muddled bleakness and bad-trip depression evoked so frighteningly well by their music. Even the qualities that made critics deplore the album (and the group) for years increase the overall effect — the technical simplicity of Ozzy Osbourne’s vocals and Tony Iommi’s lead guitar vocabulary; the spots when the lyrics sink into melodrama or awkwardness; the lack of subtlety and the infrequent dynamic contrast. Everything adds up to more than the sum of its parts, as though the anxieties behind the music simply demanded that the band achieve catharsis by steamrolling everything in its path, including its own limitations. Monolithic and primally powerful, Paranoid defined the sound and style of heavy metal more than any other record in rock history.
Line-up:
* Ozzy Osbourne – vocals
* Tony Iommi – guitar
* Geezer Butler – bass guitar
* Bill Ward – drums
Track List:
01. War Pigs/Luke’s Wall – 7:57
02. Paranoid – 2:50
03. Planet Caravan – 4:35
04. Iron Man – 5:57
05. Electric Funeral – 4:52
06. Hand of Doom – 7:09
07. Rat Salad – 2:30
08. Jack the Stripper/Fairies Wear Boots – 6:16
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