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I’ve read this book 2 times, and, as of last week, the first addition to my new “Kindle” device.
Not recommended, unless, well, you know.
In general we don’t talk about this stuff, but, every once in a while I feel as though there might be some “interest”
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92 and a new Metal EP out today!
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Q: So what’s this a picture of?
A: That was an act called “Ghost”. The were, or rather, are some sort of Swedish act that plays glam-doom-metal. They opened for OPETH a few years ago.
Q: Ah yes, here are few pictures of that OPETH concert:
A: Yes, I’ve seen OPETH over 10 times. Most shows with Cousin Brian. All of them excellent.
Q: How did OPETH come to thy ears?
A: During the Circle Game. Back in Spring of 2002. A friend from the Blaine! days played me this track:
After that, particularly its coda, I knew I was hooked. In fact, all you readers have the opportunity to join in the next international adventure! This time to see OPETH in Amsterdam on my birthday in November.
Q: Wow! That sounds great! Count me in! So, what ever became of Brett?
A: Between 2002-2005 we had regular Circle Games. He helped with the move to TNGHbtS. Then he moved to California to become rich and famous, or something like that. He has visited a few times and I still have some communication with him. He is a real Seeker. Here is from the last time I saw him in the Summer of 2010, we walked Deer Island:
Q: The alarm just went off.
A: Ah yes, the laundry is done. Perhaps more words later.
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Good Times indeed.
Here was the play list:
a vegetarian feast followed:
…and then the good time tax:
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Q: Incomplete?
A: Yes, I hope to ad to this post later, but if I don’t, at least there will be this.
Q: ah, good point. So, uh, May 14th?
A: People often ask about May 14th and its significance. It does date back to the days of The Horror Vignettes. May 14th seemed to me the most arbitrary date I could think of at the time. Just another date on the calendar, devoid of any known holiday or celebration. Thats all different now. The idea of an arbitrary date in the year intrigues me also from the point of view that on one of these days in the calendar year I am to be “called”. Be it a return to glory or the escalator of Ascension … remains to be experienced. J’espere. But for Now, Now Today … we live as fully as possible.
Q: I’ve read that before!
A: Yes, but it’s been a while …
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Q: This just in, this post is now complete!
A: So it is! Here’s a short “Celebration” film:
(you may need to “crank it up”)
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Q: DIO: Diver Down.
A: Like a Rainbow in the Dark. Even then(1983?), this track stood out. To my ears it exceeds all other post-Ozzy Sabbath tracks. The album, “Diver Down”, the first under the DIO namesake is a decent collection of tracks. Ronnie is free. The exec’s seem less involved, if at all. A lot of good metal reminds me of Skynyrd. Maybe Molly Hatchet more. But, whatever it is, it’s good hard rock. It stirs. It moves. Not sure if it is a brilliant work, but it’s a contender for admission into the permanent collection.
Q: Will you revisit “Heaven and Hell”?
A: I may. “Neon Knights” has a hook. Shit, now that it’s on, it sounds pretty good … I guess we’re all lost children of the sea …
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Q: How go the Reflections?
A: Well, to sum up, “Heaven and Hell” and “Mob Rules” saw the loss of Bill Ward and Geezer Butler, either in studio or on tour. Alcohol, no Ozzy, and Ronnie seem to be the factors. The music I found holy unremarkable. Geezer would return for a bit then Dio would leave. ad nauseum etc …
Q: And then?
A: The band was fractionalizing and reforming like crazy, and this is still early post-Ozzy days. For the 3rd album “Born Again”, not only was Geezer back, but so was Bill Ward! Deep Purple’s Ian Gillan was recruited. The band fell apart during the tour. Not only just because Ian rejoined Purple. But I will say this, of all the post Ozzy “Sabbath” albums, this one has the most for my ears. I may even obtain a copy.
Q: Wow!
A: Wow is right. Then came …. the rest. “Seventh Star” featured Glenn Hughes on vocals. This “in between” album of all stars is loud and well-less remarkable than the Dio albums. Then came the next three albums … the “Tony Martin” era. With the sound of “Seventh Star” and a powerful metal-style vocalist this album still sounds a lot like “Seventh Star”. “The Eternal Idol”, “Headless Cross” and “Tyr” take “Sabbath” from mid 80’s to early 90’s. I hear the devil referred to every once and a while. On “Tyr” there is an apparent Norse myth thing going on. These albums also feature some muted double bass drum beats.
Q: Someone must like these albums.
A: I suppose. But it seems less and less with each album. It’s like the metal music you would hear in the background of a Lifetime movie.
Q: What’s left?
A: I think there’s another Dio album and 2 more Tony Martin albums to come.
Q: Isn’t the final album, “Forbidden” the rap-Sabbath album.
A: Oh god, no comment.
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Q: So, “Dehumanizer” is on.
A: Yes, and the return of Dio for his third swing at bat. The production is crisper than the last four albums and clearly its the age of the CD now. This bomb comes in at nearly 62 minutes. Already though, one song in, things sound better than they had been. There’s even a discernible hook to be heard!
Q: Hmmm … and now?
A: A couple of potentially menacing sounding bits here and there, the weight of it is still nonsense. It’s like alternative Judas Priest or Iron Maiden. Sabbath shouldn’t be doing that! “Sabbath” does do that. I guess in the end, this “metal” style is still not for me. It lacks an authenticity of something real or with meaning. Yes, these are now folks just trying to keep their jobs.
Q: There were some reunions right?
A: Yes, most notably the Live Aid Gig in 1985 and Ozzy’s “retirement” “No More Tours” Tour. On the latter he asked the band to open for him in LA. This was too much for DIO who left again.
Q: What about “Psycho Man”?
A: Oh yea, that was a result of the 1997 reunion and collection of shows where a live album was released with two “new” songs. Bill Ward left during the tour due to heart problems, but returned later.
A: Still, “Dehumanizer” remains on.
Q: It’s a looooong album. And for no good reason. Lots of dumbs lyrics and sounds we’ve heard a million times over. I appreciate DIO’s enthusiastic attack on the mic, but, still not my cup.
A: Is that “Cross Purposes” on now on?
Q: Yes, I needed to look, or rather “hear” ahead. It starts out in a refreshing matter. Tony Martin is back “breaking the news”. The production is cleaner than on his other albums and at first, I repeat, at first, I like his vocals. But after the first stanza or two of restrained singing, near baritone even, that dumb pop-metal whine starts up. Oh well. But at least the album is a reasonable length of time.
A: As I hear this stuff I’m also reminded of White Snake.
Q: Yes, a poor man’s White Snake. That’s gonna be Sabbath’s legacy?
A: Maybe we should skip ahead to “Forbidden”?
Q: Yes!
A: Hmmm, now that it’s on, This may rival “Born Again” in a way. The opening track, “Illusion of Power” features Ice T of Body Count. The album is produced by Body Count guitarist Ernie C. Like “Born Again” this album sticks out amongst the dross, mediocrity, and hopelessness of the other works.
Q: So, I see a possible distillation here. There are 10 post OZZY “Sabbath” albums. You’re stating “Born Again” is the best, followed by “Forbidden”?
A: Mostly because they stick out from the rest. If I were to reckon the DIO stuff, I think I’d go with the epic “Dehumanizer”. Sadly that album fails due to it’s content and length. What’s remarkable about “Forbidden” is how novel it starts and sounds, at least for a bit. It’s so stupid sounding. In these half developed riffs one hears Iommi trying to play some Sabbath. In the end, like most of the post OZZY ouevre, it’s just these weak-melodied power-metal vocal stylings that remind one of shit taking.
Q: Well, you’ve made it. Next up the return of Ozzy and “13”. How did you do it? How did you make it through all this?
A: “It’s really just a matter of commitment” ~ G
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Q: We ran out of time the other day. What were you saying?
A: Mostly about post-Ozzy Sabbath. You know, on the first album, “Heaven and Hell”, they claim some was composed even during Ozzy’s time and 3 of the original members are on board. I don’t hear it all. I’m surprised. “They” diss on “Technical Ecstasy” and “Never Say DIe”, but those albums are awesome! There are fresh sounds happening, you hear the start of the “80’s” metal-to-come, heck, even of a something beyond that would never happen, but, most importantly: they sound like Black Sabbath. They sound like Black Sabbath because they are Black Sabbath.
Q: Should they have been renamed?
A: Absolutely, positively. In these documentaries I’ve watched, Tony Iommi states on several occasions that was his wish (certainly by “Born Again”) but the execs said NO.
Q: How are you liking “Heaven and Hell”.
A: It’s better than I thought it would be, but it’s holy unremarkable. If anything I hear more Molly Hatchet than Black Sabbath.
Q: Back to your formative rock years. Tell us more about your first impressions of Ozzy and Sabbath and when did you “get it”?
A: Well, many car rides with family, friends and a general exposure to FM rock informed me of at least “Paranoid” in my youth. I always liked the track and admired the strange vocal quality. When the world expanded (junior high) “Crazy Train” was the rage. I liked the song well enough, but I didn’t make the connection for a couple years. The “Ozzy” T shirts, and his comic-book stylings and antics were a turn off. Eating bats and doves seemed pointless and stupid. And he always looked special needs to me. But all his solo singles and the other tracks I heard were all ear-worms. Even post-Randy, Ozzy had a way of making melody happen.
Q: And Black Sabbath?
A: Well, I remember these live performances of Ozzy on MTV that caught my attention. Here was that clowning “Crazy Train” guy performing “Paranoid”. He was bloated and paced from stage right to stage left “breaking the news”, as it were. I think he had red or orange hair at the time. I then made the connection.
Q: But?
A: At the time there was so much dross happening. “This” is modern music? A litany of through-away metal acts filled the air. I admired some of the guitar slinging going on, but none of it was stirring. Not to me anyway. I went deep into The Pink Floyd and Syd Barrett, thinking I was unlocking cosmic and sacred mysteries. When that tide ebbed, it was Robert Fripp and King Crimson. There was little sonic room for anything else when that happened.
Q: That’s still the case.
A: In a way. But other things have happened. John Coltrane, Indian raga’s, Persian Classical, Wagner, and of course, OPETH.
Q: Let’s return to the Black Sabbath question.
A: Yes. It wasn’t until Autumn 1987 I made my first purchase in this domain. It was at a used CD/record store in Quincy. It was “Tribute”. The live Ozzy album with Randy. I thought it was “complete” my music collection. You know, it had all the hits on it, including “Paranoid”. Then about a year later, I was at Mystery Train Records (the one on Newbury) and I first spied one of the greatest album covers of all time: Black Sabbath Black Sabbath. Wow. I never knew. Funny how their first album cover would be their best. Anyway, I then discovered a perfect album from beginning to end.
Q: Tell us about “Extensions” and Black Sabbath.
A: The early Extensions films had mostly new wave rock in the back ground. For “Extensions VI: The Wake” we filmed perhaps the greatest Extensions scene of all time.
Q: Ah yes, I remember this now. At the comedy club in Boston. The Storyteller is doing experimental art theatre.
A: Yes, he’s delivering a Greek Classical Monologue to a character “dying wife”, whilst “Death” is playing the riff to “Symptom of The Universe”. It’s really a fantastic bit, also featuring “Joe” the director. “G” plays “Death” playing Black Sabbath. So, meta. So excellent. So right.
Q: Then the Black Sabbath legacy continues …
A: Yes, for the problematic and brilliant “Extensions VII: The Film”, much of the ambient soundtrack is Black Sabbath on record. The opening monologue set to “Black Sabbath” is considered one of the best scenes in Extensions History as well. There is also a great scene preface monologue set to “Meglomania”, just fantastic.
Q: So “MOB Rules” is on now.
A: Yes. Not terrible. But even less remarkable that “Heaven and Hell”.
Q: Shall we stop there?
A: Let’s pick it up later on.
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Q: You know VH, I have no memories of you as a lad digging metal and Sabbath. Now, you’re always going on about OPETH and Black Sabbath. Are you some sort of latter day poser?
A: Good question. I’m glad this has come up. I will confess, that during my formative period of rock I was not into metal. In fact, I still remain not ‘into metal’. I do rock. I admire a good rock act. But, most of all, I dig a stirring tune.
Q; These days are loaded with Black Sabbath this and Black Sabbath that but weren’t you more of a Pink Floyd, or Zeppelin sort of chap when it came to English music of the times?
A: Guilty. Well, at least at the time. As you know, I’ve just hosted Black Sabbath Monday XIV. Fourteen years of a day dedicated to one act. That’s saying something, and, even then yes: late to the party.
Q: So, you are a poser?
A: That’s not for me to decide. Here are the facts. But I’m only going to concentrate on the facts that make sense in this forum. Like this, my latest revelation.
Q: You have a latter-day revelation?!
A: Yes, and I hope always. But let’s get to it. Let’s return to Black Sabbath.
Q: By all means.
A: They recorded eight fantastic albums in the 1970’s. When my own ears started to turn on I was 11 or 12. I grew up in a rather rockin’ environment, mostly of The Beatles and The Stones. In junior high, when the world greatly expands, I saw these young thugs, my fellow academics, wearing cheap knock off rock band shirts. Van Halen and Black Sabbath T-shirts come to mind. Stupid images of “Heaven and Hell” and “Mob Rules” were my first knowledge of Black Sabbath. Of course, I knew the track “Paranoid” but I didn’t know its origin. Then MTV started to happen, and my world of metal expanded. But not in a good way. The metal of the early 80’s was and is like indigestable flavorless stale bread. Why would I get into that when there was classic Zeppelin, The Doors, Lynyrd Skynyrd, and of course, Pink Floyd?
I’m low on time now, but I do wish to introduce two themes. Out of curiosity, I’ve begun to explore the post-Ozzy Sabbath world. My initial response is back to my 12 or 13 year old judgemental self. To he, and me, this is unlistenable music. This is not Black Sabbath.
But there may be something.
Something possibly worth exhuming.
I’ve been moved by some of these documentaries about latter day Sabbath. I like the vibe and attitude of local-ish hero Ronnie James Dio. Come on, “Rainbow in the Dark” is a great sounding track. That said, I may consider an informal study of the post-Ozzy collection. My first impression is that the dreaded “Born Again” with Ian Gillan may have something to it.
Q: We’ll continue this later.
A: I do hope so.
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You’ll note a new page has been added. It provides a link to a downloadable excel file of the ongoing documentation of the history, chronology, persons concerned, etc, of Black Sabbath Monday.
Please report any difficulties.
Everybody Stand up!
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May 14th 