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Between 1970 and 1975 Black Sabbath released six great albums that today are classics, in every sense of this overused word. Afterwards the things went very badly indeed. The uncommonly dull ''Technical Ecstasy'' (1976), as thoroughly un-Sabbath as its futuristic cover, and the simply dismal ''Never Say Die'' (1978), which sounds pretty much like cheap copy of the Beatles on steroids, marked the sad end of a great era in the history of rock music. But every band deserves to be judged - if at all - by their best. If we concede that ''Black Sabbath'' (1970) and ''Sabotage'' (1975), the debut and the beginning of the end respectively, fine albums as they may be, do not quite match Sabbath's own extraordinarily high standards, we are left with the four albums in the middle: ''Paranoid'' (1970), ''Master of Reality'' (1971), ''Vol. 4'' (1972) and ''Sabbath Bloody Sabbath'' (1973).
To put the matter bluntly, I personally wouldn't want to be without any of these six albums and would give them all five full stars, despite some mild reservations I may occasionally have. They are utterly different and every one of them has its own unique character. But if I am forced to choose but one Sabbath album from the Ozzy years, I would most probably go with ''Sabbath Bloody Sabbath''.
Whether ''Sabbath Bloody Sabbath'' is your favourite album or not, like virtually everything else, is purely a matter of taste. But it is beyond dispute that this is their most sophisticated, varied and musically mature album. It was inevitable, perhaps, that it should turn to be the pinnacle of their discography from the 1970s. Indeed, nothing like it can be found among the greatest rock music of the time, with the possible exception of Led Zeppelin's Fourth album and ''Physical Graffiti''. There are but eight songs in ''Sabbath Bloody Sabbath'', but all deserve a few words of their own.
''Sabbath Bloody Sabbath'' opens the album with one of Tony's most unforgettable riffs. Curiously, the song has never become a concert favourite, even though it would certainly make a fine opportunity for terrific headbanging. The second part of the song, in particular, is one of the slowest and heaviest things ever recorded by Sabbath. The first part, on the other hand, can boast a marvellous lyrical passage.
''A National Acrobat'' is an entirely different affair, as often happens in this album. It's a complex three-part composition with some of Tony's most whimsical guitar work, especially the obsessive riff-solo towards the end. The intense middle part is in somewhat stark contrast with the buoyant outer ones. It includes most of the text which, mostly, matches the quality of the music, even if after-life speculations are not your cup of tea:
Just remember love is life
And hate is living death
Treat your life for what it's worth
And live for every breath
Looking back I've lived and learned
But now I'm wondering
Here I wait and only guess
What this next life will bring
''Fluff'' is no mere fluff, as some superficial fellows seem to think. It's a most beautiful instrumental in which at least three different guitars, all played by Tony of course, are ingeniously combined; there is only bass and a hint of keyboards to keep them company. The piece has serenity and tranquility that are not often associated with Black Sabbath. Yet ''Fluff'' has a distinguished pedigree: ''Orchid'' from ''Master of Reality'' and ''Laguna Sunrise'' from ''Vol. 4''. Like the album on the whole, this perfectly delightful instrumental is the pinnacle in its category.
''Sabbra Cadabra'' is the kind of stuff that's so uniquely Sabbath that it can hardly bear any other treatment. It was a great mistake on Metallica's side to try it, and even guitar magician such as Kirk Hammett couldn't pull off convincingly the wacky major riff. The lyrics are some of the most outrageously flippant in whole album, recounting Ozzy's sexual escapades, but with such stupendous music who cares? This is also the song with most prominent keyboards in the whole album, and it is here that Rick Wakeman himself makes a memorable appearance.
''Killing Yourself to Live'' is one of the more straightforward tracks, pretty heavy but with a great variety of quite outstanding guitar riffs and solos. Indeed, this is perhaps the most complex composition in the whole album, having at least three clearly defined sections none of which, except the first, includes any repetition. In earlier times, Sabbath might have made at least two songs of this material.
''Who Are You?'' could not have been more different than its predecessor. It's a somber and restrained song full of bizarre sounds and virtually without any guitar riffs or solos. The text is one of the most serious and shattering in the whole album. It takes some time to realize that this is actually Ozzy's conversation with God himself. I guess He won't be amused:
Yes I know the secret
That's within your mind
You think all the people
Who worship you are blind
You're just like Big Brother
Giving us your trust
And when you have played enough
You'll just cast our souls
Into the dust
Into the dust
You thought that it would be easy
From the very start
Now I've found you out
I don't think you're so smart
I only have one more question
Before my time is through
Please I beg you tell me
In the name of hell
Who are you?
Who are you?
''Looking For Today'' is a most welcome relief: cheerful stuff with one of Tony's most ebullient riffs. There is more in it, though. ''Looking for Today'' shares with the title song the highly effective idea of introducing a beautiful and tranquil passage, entirely different mood, in the middle of the guitar maelstrom. The contrast, as in the other case, works wonderfully.
''Spiral Architect'' is a most fitting conclusion for it is the craziest song here. Especially the lyrics are quite a mish-mash of science fiction, fantasy and pure nonsense. I and a friend of mine used to joke that these ''silver ships on plasmic oceans'' were inspired by fag ends floating in beer. You know, there is a great story - apocryphal or not - how this text was written. Apparently, Ozzy was out of inspiration and called Geezer. The bassist told him to call back in half an hour. He did and was told the complete text. Ozzy loved it so much that he couldn't but ask: ''What did you smoke, man?!'', to which Geezer replied innocently ''Ah, nothing, I wrote it on the grass outside.'' ''Do you happen to sell this grass? Can I buy it'', Ozzy immediately inquired. No matter how strange the text, the music is definitely of the same stupendous quality as the rest of the album.
My only qualm with ''Sabbath Bloody Sabbath'' is actually the usual one I have with all of Sabbath's early albums: a little too much guitar dubbing, particularly of solos. A very minor point of course. The album is very well recorded sonically, indeed better than any Sabbath album before (or since indeed, with the possible exception of ''Heaven and Hell'', but that's quite another story).
Musically and artistically, ''Sabbath Bloody Sabbath'' is an essential listening for anybody interested in rock music from those heady times - the 1970s - which will never again occur. You have to listen to it at least once, even if it's only to know that it's not your cup of tea.
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Reviews with images
Simplemente Ozzy y compañía
Genial como todo álbum de Black Sabbath, la edición del CD ofrece mucho por apenas $5
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