"Smoke it! Get high!" They really pick up the pace at the end of this one! This one's already pretty solid, and then they drop that awesome random tempo change on you. They weren't always doing spooky, gloomy, doomy metal these guys had range! Killing Yourself To Live also tends to switch between fun blues inspired stuff, crunchy heaviness, and synthesized stuff that's a bit more abstract. This shows a side of Black Sabbath that I feel goes unappreciated. Eventually the guitars fade out as the piano becomes more prominent. After the atmospheric sections is some fun jamming featuring a simultaneously fun and crunching riff from Iommi. By the way, this song features Rick Wakeman of Yes as a guest musician. "Someone to live for/Love me 'til the end of tiiiiiime!" A far cry from tales of nuclear winter, huh? Especially when they launch into section heavy with synthesizers and pianos, with heavy filtering on Ozzy's voice and atmospheric guitar work. Not necessarily "heavy", but rockin' nonetheless. For me, Fluff just serves as an intro to Sabbra Cadabra, a more blues-inspired number. I personally liked Laguna Sunrise better. Most post-pubescent males more than likely can't imitate his vocal lines during the ultra heavy section of the opening title track without utilizing falsetto.īill, Geezer, and Ozzy all take a backseat to experimentation and Iommi's acoustic guitar wizardry in Fluff, which is this album's light and pretty instrumental interlude. There's a lot of emotion and grit in his performances, and he also hits some really, really high notes. Ozzy is particularly impressive this time around. Bill Ward still rules, but his talents really shine here with the album's tendency towards progressive songwriting. Geezer's driving bass, even if it is a bit low in the mix, still often helps compliment the songs instead of just doubling Iommi. Iommi's riffage is still fantastic, and the acoustic sections on this album really show his skills. They suddenly pick up speed towards the end, and it's just great.īy the way, each member's performance here is top notch. Like the previous song, there's an awesomely heavy moment midway through. A National Acrobat is also a dominantly heavy number built on an awesome riff. "WHEEEREEEVER CAN YOU RUN TO? WHAT MORE CAN YOU DO? NOOOOOO MOOORE TOMORROW! LIFE IS KILLING YOU!" And then they do it again! And that eaking hell, this song is perfect. Ozzy's angry, high pitched wailing only serves to compliment the pummeling attack. The bongos and other percussion in the background do not hamper the heaviness in these few orgasmic seconds of heavy metal mayhem. Let the word be known, let it be shouted from the highest rooftops, the tallest mountains Hell, let the message be broadcast through space that the breakdown riff (for lack of a better term) after about three minutes from Black Sabbath's 1973 track "Sabbath Bloody Sabbath" is one of the most effectively heavy things recorded. After a second acoustic interlude comes a great lead from Iommi, followed by the heaviest moment on the album and one of the heaviest in Sabbath's career. Then they soften up for a second, hinting at the direction taken with this album, in a brief but brilliant and ultra memorable acoustic interlude that reoccurs throughout the song. Opening with a monster riff, compounded yet again with Tony's thick, downtuned guitar sound, Sabbath Bloody Sabbath begins as an angry rant against manipulation. You sure wouldn't guess it from the opening title track, though. In fact, Tony had even fiddled with the idea of incorporating bagpipes and sitars! They were really going for less of a "scary", harder approach, and Tony would later remark that Sabbath Bloody Sabbath "wasn't a rock album, really" in comparison to the album that followed it, Sabotage. Many a song here incorporates strings, synthesizers, alternative percussion, and miscellaneous experimentation. This is probably their least heavy album at the time, even moreso than Volume 4.
Although it's my personal least favorite of their classic first six albums, the Sabs still deliver some great songs here.ĭon't be fooled by the demonic cover (Which actually says "666" on it!) or the album's murky dungeon origins, though. But after rehearsing in the dungeons of a creepy old castle in England, they'd finally found some inspiration and Sabbath Bloody Sabbath was born. Spending a month, they couldn't even complete any songs thanks to writer's block and drugs. Putting out three albums in four years had left them out of ideas after their failed attempt at returning to Record Plant Studios in LA, where they'd recorded Volume 4. A lesser out of their legendary first six, but still great.īy 1973, Black Sabbath were in a creative rut. Review Summary: Black Sabbath builds on Volume 4's approach towards a more progressive sound, with probably a million different overdubs here for guitars and synths.
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