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Himself Vinny Appice Himself Black Sabbath Themselves archive footage Geezer Butler Himself Dio Themselves archive footage Ronnie James Dio Himself Ian Gillan Himself Tony Iommi Himself Ozzy Osbourne Himself Cozy Powell Himself Rainbow Themselves archive footage Bill Ward Add the first question.

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This is a requirement of our licensing agreement with music Gracenote. You see right through distorted eyes, you know you have to learn The execution of your mind, you really have to turn The race is run, the book is read, the end begins to show The truth is out, the lies are old but you don't want to know Nobody will ever let you know When you ask the reasons why They just tell you that you're on your own Fill your head all full of lies The people who have crippled you, you want to see them burn The gates of life have closed on you and there's just no return You're wishing that the hands of doom could take your mind away And you don't care if you don't see again the light of day Nobody will ever let you know When you ask the reasons why They just tell you that you're on your own Fill your head all full of lies You bastards Where can you run to?

Maniac Monday - Sabbath Bloody Sabbath

What more can you do? And I am the guy who likes to tune out the vocals because they are getting in the way of my enjoyment of the bass, bear in mind. Ozzy pulls another rabbit out of a hat during Sabbra Cadabra. Singing how he don't wanna leave you anymore, sure, he is cheating a little by putting his voice through a couple of channels at times, but you will never get a clearer demonstration of why Tony, Geezer, and Bill stuck with Ozzy throughout eight albums, corresponding tours, and all of them getting so shitfaced at times that it is a wonder they are still alive.

Yes, Ozzy is a very lucky shower singer, but he is a good very lucky shower singer, as Sabbra Cadabra proves. Getting back to Geezer, it was decades later when a man made a video about how to be a good bassist, and cited Geezer as an example. The responsibility the bassist takes on is enormous, as their level of professionalism and musicianship tends to reflect throughout the entire band. Throughout SBS, whilst Tony does give great guitar riff and Bill great pounding drums, the thing that makes the come-back-in from Tony's solo on Sabbath Bloody Sabbath or the whopping sense of not being in Kansas anymore during the intro of A National Acrobat is Geezer's bass.

Without that low, rolling, slimy presence in the tubs of your speakers, many of the riffs and thumps on SBS would just plain not work. It also helps that Geezer writes the vast majority of what comes out of Ozzy's mouth, so he knows exactly what kind of mood he wants the record to have when all the pieces are put together. Tony might have been the one in charge, but Geezer was the one who made all those trains run on time. It shows in songs like Sabbra Cadabra.

Yes, the quick-strike guitar riff grabs your attention, but it is Geezer's low, rhythmic anchor of same, and his change into a rolling elevation, that keeps you listen after you start to twig to how simplistic Tony's guitar riffs still are after five albums. There are a small few not-so-wonderful moments tucked away here and there on SBS, sure. Listening to Ozzy sing the phrase "looking for today" or rather, "looking for todaaaaaaaaaay-hey! Only mildly so, but enough to make this little black duck want to scream at him to shut up for a couple of seconds. Fortunately, given that the rest of the song is well-composed and even has a good use of the flute at times, and that the song is immediately followed by closer Spiral Architect, you can forgive this little slip-up.

If every song that I composed whilst I was in a rented house, trying to come up with material to finish album, were as good as Looking For Today, I could retire. As I indicated earlier, Side B is definitely the weaker half of SBS, and at times noticeably so, but there are numerous bands out there claiming to have followed on from Sabbath who would give their left nut to be able to make albums that are half as good as SBS' Side B. Given that this is quite probably the only qualifying thing I can say to temper my praise of SBS, that alone should tell you what a treat you are in for here.

Even the slightly too-lengthy instrumental, Fluff, is awesome because it lulls you into a false sense of ease and relaxation before Sabbath slam you in the head with one of the most aggressively-introduced love songs in history. People have told me when I was a younger person, that I got off to a great start if my story about SBS and especially its opening song being the first music I ever heard is true. That it is is irrelevant. What you should be taking from this little tale is that what you put into your child's mind from day one will be reflected back at you when they are old enough to have children of their own.

The rest of what certain individuals put in there is horrible, awful, not worthy of being put there. But as long as I am alive, I will be thankful that four drugged-out, fatigued men made yet another blueprint for billions of facsimiles most of them inferior , and largely by accident, I got to partake at a time when everything I heard and saw would be reflected in the man I am today.

The people who have crippled you Damn right, Ozzy and Geezer. Damn right.

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Okay, I'm not sure I know exactly what 'bog blast' is, but I'm pretty sure this album just bog blasted the fuck out of me. For anyone who's confused as to what I'm talking about, join the club. It happens to be a lyrics Ozzy Osbourne sings aloud in the title track opener of the album "God knows as your dog nose, bog blasts all of you!

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From that line alone we can pretty well agree on one thing: Black Sabbath are still in that cocaine fueled stoner rock era of their discography that they established back on Vol. So lets get the bad tracks out of the way with first. The aforementioned instrumental is "Fluff". It musically tiptoes and frolics around like a little pansy through a field of All I can say about this song is that it's excruciatingly difficult to have throw this album on in the background of a social situation involving friends and "Fluff" comes on on the third track. If this is your album of choice to partake in illicit activities, "Fluff" is going to come on down the line three tracks in and make everyone in the room feel like a bunch of sissy boys when the couple of tracks before that were Black Sabbath absolutely tearing it up in ways we've never seen before.

The majority of this album finds Black Sabbath honing their skills to both write more intricate, and at the same time more complex pieces than before all while utilizing more different types of instrumentation. Just look at the credits in the booklet and take a gander at all the instruments everyone is playing, especially Tony Iommi. You've got your standard instrumentation, but so much more than one would expect; organs, synthesizer, piano, even fucking bagpipes.

Love you some Jethro Tull? The album even has some flute on it.

Sabbath Bloody Sabbath: The Story Behind The Artwork

Anyways, I think "Fluff" is a good display of variety, but I think Sabbath, Bloody Sabbath would have been much better off omitting it entirely. I would say that it could be used to finish the album off, but "Spiral Architect" already does that job better than anything else ever could. The only other track besides "Fluff" that I really don't care for is "Who are You? It's slow, not very well done space rock in which Iommi's guitar playing is absent. Instead Ozzy plays a synthesizer riff and Iommi plays piano. I find the synthesizer riff annoying and I always skip this track.

That synthesizer riff is so bad it almost sounds like it's mocking me for listening to it. Think that childish "nana nana boo boo" chant put into musical form, fuck this song. There's few redeeming qualities to it, so I won't say it's a total waste. It's cool to see them try to be this adventurous, but it's a good example of why innovation isn't always a good thing. I found that "Fluff" wasn't as bad as most people tend to make it out to be. At least I find myself not being quick to press the skip button, as I think it's actually an impressive instrumental in some ways.

I can't say the same for "Who are You? I skip it every. Now, I've bitten into those couple of tracks enough, the rest of the album; in my opinion, is entirely flawless, and though six really good tracks is a little too short, at least they're all pretty beefy songs spanning minutes respectively.

What transpires in these songs is reason enough to consider this Black Sabbath's best album. I'm hesitant to call it their best, I'm sure many would, but I can't justifiably say that it's better than some of the albums they would do with Dio and Tony Martin. As far as Ozzy Osbourne releases go though, you can't get much better with only Paranoid competing with it.

The rest of this album is simply classic. It fuses the stoner rock of the previous album with a progressive rock mentality.

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The title track opens up to a ferocious Black Sabbath, with Ozzy's vocals sounding more fierce than ever before. The song weaves back and forth between stoner rock and light lounge jazz of all things. The final part of the song is comprised of a guitar riff that one can only describe as "bludgeoning".

It's the kind of thing one would expect from a 90's death metal band, but definitely not Black Sabbath, not in I'd say that the opening track is really the only one that's ahead of its time. Everything else here oozes 70's progressive rock and is firmly rooted in its own decade, just a little heavier than any other acts around the time. But hey, at least Black Sabbath could perform their songs live without sucking ass from a straw.

Sabbath Bloody Sabbath ( Remaster) by Black Sabbath on Spotify

It's mildly psychedelic and doesn't have the extra bells and whistles all the other songs on the album have. The band tacks on a simple instrumental segment towards the end of the song full of transitions and solos. It's hard to believe they were able to fit all of this into a succinct minute and thirty seconds, unabashedly challenging conventional songwriting and keeping things interesting. I'm sad to say it, but i think Metallica's cover may have been my introduction to this album.

The original here makes Metallica out to be nothing more than a bunch of posers. Halfway through it delivers some more blues rock badassery.