I was 16 and just got my car when vol. My first car and my first eight track. I would like to arrange my vol.
I had my original 8 track stolen and along with others when I got stuck in the mud in the country and had to walk for help. They stoled my 8 track player and my Stetson also-Bastards! Sabbath Rules! I agree to these terms. January 30, at am. FRANK says. April 27, at am. June 18, at pm. Ben Gonzales says. July 25, at am. Bryan the moped geek says. July 29, at pm. I had a cassette copy myself and the audio was virtually the same, if a tad compressed Anyhow, was a bit surprised to see no mention of it here.
Otherwise I enjoy the site layout. Khristofferson Silveira says. Molten rocks hurtling across space imitating the origin of the universe, you dig?
Ah, lay those chord slabs on my grave … whew. The gears and cogs of Sabbath churn ever slower and slower on this ear-splitting grind-out as Ozzy is singing lyrics liberated from reason, proclaiming innocence as illusion as the circular trudge does nothing but continue. Will it ever end? The opening, lonesome riff to Supernaut is a blood pumping delight as Ozzy shrieks about reaching out and touching the sky.
Philip Qvist: I borrowed this album from a schoolmate in the - and on first hearing I remember how heavy that album was. The highlight? Then you have the hard stuff like Snowblind and Supernaut, the absurd in FX and the lighter moments with Laguna Sunrise and Changes - neither which I mind, as it adds some balance to Vol 4. Do I have the album? Of course I do. In my opinion, the best Black Sabbath album recorded during the Ozzy era. First Sabbath LP I bought. The riffs are super-heavy, the other stuff adds texture - makes the heavy even heavier.
First and last on each side are as good as it gets. My old band used to play Under The Sun. Very very badly. Randy Banner: I don't even have to go back and listen to this to write my review of it. It's rare for me to rate anything over , but this album is so perfect that I'm breaking my rule.
John Edgar: Black Sabbath freakin' Vol. It was released in September of I was 12 years old and just going into the 7th grade, here in the United States. I was primarily a radio kid at that point, but I had some older friends that were into music, so I definitely had the Sabbath exposure. A friend's house had a pool table in a family room where the Junior High cretins gathered to shoot pool, smoke cigs and listen to the 8-track tapes that belonged to older siblings.
This is where Vol. We played it regularly, along with Paranoid and Master Of Reality. When I got my own stereo it was one of the first albums I bought. We rented a house in Bel Air and the debauchery up there was just unbelievable. The people who were involved with the record really didn't have a clue.
The experimental stage we began with Master of Reality continued with Vol. It really was a case of wine, women and song, and we were doing more drugs than ever before. In his autobiography I Am Ozzy , Osbourne speaks at length about the sessions: "In spite of all the arsing around, musically those few weeks in Bel Air were the strongest we'd ever been. One sniff, and you were king of the universe. I didn't realize how nuts things had gotten until I went home and the girl I was with didn't recognize me.
Despite their spiraling addictions, musically Vol. The band's heavy side remains intact on the likes of 'Tomorrow's Dream', 'Cornucopia' and the seismic 'Supernaut' a firm favorite of Frank Zappa , featuring Bill Ward's soul-inspired breakdown , but the guitar intro on 'St.
Vitus Dance' possesses a jaunty, Led Zeppelin -flavoured quality, while 'Laguna Sunrise' is an evocative neo-classical Iommi instrumental.
Snowblind was also the album's working title , but Vertigo Records executives were reluctant to release an album with such an obvious drug reference. We didn't argue. Although most of the album is in the band's trademark heavy style, some songs demonstrate a more sensitive approach. Iommi taught himself to play the piano after finding one in the ballroom of the Bel-Air mansion they were renting.
It was on this piano that "Changes" was composed. I thought that was brilliant from the moment we recorded it. After smoking hashish , the crucifix hanging from Iommi's neck accidentally struck the strings of his guitar and the band took an interest in the odd sound produced.
Iommi calls the song "a total joke". Of "Wheels of Confusion", Henry Rollins said: "It's about alienation and being lost in the wheels of confusion, which is the way I find myself a lot of the time. Sabbath could be my favourite band. It's the ultimate lonely man's rock. And the Spanish guitar instrumental Laguna Sunrise, pleasant though it is, sounds too distant from the album, like it was recorded by different people in a different decade in a different part of the world.
It's more bizarre than interesting, at least in the context of this album. But overall you need this album. That is only if you haven't heard it yet but how can that be possible over forty years later. This album needs to be heard and enjoyed. Long live metal. Many folks seem to think that heavy music, particularly heavy metal music, can only be successfully recorded under conditions of poverty, sorrow and misery to capture the "authentic" vibe of "real music. Granted, it's not the most consistent of Black Sabbath's early works, and that is saying something considering this is the band who thought Fluff, Solitude, and that super long guitar jam on Warning were good ideas to record for posterity.
The song that is practically universally despised is Changes, completely eschewing guitar for a piano approach to all things.
My take: it's not my favorite Sabbath tune or even my favorite Sabbath interlude song from this album that would be Laguna Sunrise , but it's really not that much of a betrayal of Black Sabbath's dismal spirit. Then there's FX, which is just goddamn awful. The record executives who were concerned the album's working title was a reference to cocaine should have been more concerned that there was a two minute waste of time consisting of lousy guitar effects as the fourth track of the album.
Nonetheless, people come to Black Sabbath for the heavy, and the riffs; and sweet creamy Jesus raping both Satan and Prophet Muhammed does this album have both of those in spades! Some of these tracks are some of the greatest creations that Black Sabbath came up with. Do not just listen to Snowblind when you get this album. Don't get me wrong, Snowblind fucking owns, but I'm not entirely sure why that was the only live staple to come from this album. Supernaut was hailed by Frank Zappa of all people as the greatest rock riff of all time.
It's up there that's for damn sure, one of Tony Iommi's finest fretted feats. Bill Ward is also praised for his drum soloing on this song, but I honestly don't hear it.
I do hear a damn fine, even funky beat around , but no soloing. But the real highlights of Volume 4 are the first and last tracks. These are doom metal epics of the highest, pure uncut Colombian caliber. I'm not really sure how this one got forgotten in the mists of time, but seminars could and should be run on this song alone. Wheels of Confusion starts off with a brief swinging blues shuffle before descending into a concrete brick factory at 20 seconds in.
Specifically a factory that drops concrete bricks on the heads of those who believe in false metal. You can practically see Ozzy Osbourne, adorned in white frills, raising both his arms in peace signs in time to the artillery fire rhythm, demanding the venue audience do the same, and will likely tell them to clap their hands not two seconds later.
You better clap those hands dammit, it's good arm training to help you lift, brah. The first sixth Black Sabbath albums are quintessential. As the title suggests, this is the fourth. Do the math. From the first note of 'Wheels of Confusion', one instantly knows that the groaning blast of 'Master of Reality' had been replaced by something very different, infinitely more sprawling and relaxed and optimistic, though distant and booming nonetheless.
The rest of that song at 8 minutes, it's a challenging choice for an opener does nothing to point back to the grim trudge that the band had already pioneered and, concrete-heavy guitar aside, sticks closer to the stereotypical spirit of the 70s than Sabbath ever would again. Although it's clear to see that all of Black Sabbath's early works shifted around from style to style and experiment to experiment, 'Vol.
Pleased with cocaine and dazzled by the sights and sounds of sunny America, the four Brits would seem to have lost some of the gritty determination captured from Birmingham's steel factories and replaced it with other ideas about being groovy, or soulful, or just blissing out in an instrumental haze.
There are a ton of ideas here, not least the fuzzy bounce of 'Tomorrow's Dream' and 'Supernaut', the folkily atmospheric 'St Vitus Dance' and blissed out 'Laguna Sunrise', or the jam freedom of the long opener. Then there are those other questionable ideas, like 'Changes' and 'FX', as well as the rather more familiar drudgery of 'Cornucopia' and 'Under the Sun', which would have fitted onto either of the two previous albums.
However well or poorly this range of styles accords with one's idea of Black Sabbath, it does cause the slight issue that 'Vol. The objective success and subjective legacy of these songs are rather difficult things to measure, though come down to the musicians responsible for their creation, and the balance or imbalance between them.
In the first place, Tony Iommi really drives this album with his guitar playing, throwing down the mood and content of most of these songs before his bandmates have their say.
Of course, Bill Ward also has his drum solo on 'Supernaut', though it's the exception that proves the rule, since the song breathes while the percussion rattles about, before Iommi picks up the riff again and the song lurches forward once more. Ward has the slight burden of soft bass drums to contend with, though for one shouldn't expect too much aggression to come from the kit: at this primitive stage of hard rock and metal, the drummer himself was the main source of energy, yet Ward is a little restrained on many of these songs, perhaps lending them their subtler edge compared to previous Sabbath efforts.
Geezer Butler gets his bass into the stomach chamber on many of the songs, really coming into his own on the slower, rumbling songs, but also complementing Iommi's double-tracked guitar on the more spacious 'Snowblind' and 'Wheels of Confusion'.
Ozzy Osbourne isn't nearly as revelatory as 'Paranoid' saw him, actually behaving far more conventionally than one would expect or desire: considering that his ability is far outweighed by his charisma, it's disappointing that he doesn't have much chance to sound like he's forecasting the end of the world, while he struggles to match the more free-spirited direction that his bandmates had set out on. What all this results in is a Black Sabbath less well-defined that they were prior to this album, which ultimately pointed the way forward for the rest of the decade.
Dipping into the warm textures of 'Laguna Beach' would have been unthinkable a year earlier - even naming a song 'Laguna Beach' would have been unthinkable - but 'Vol. In my view certainly not the best release from the band, this album seems more like a stepping stone from Sabbath's initial template of heavy metal to a different, if hardly less important, phase of their career - a necessary step towards growing up. Black Sabbath's fourth album 'Vol. Heavy fucking music in this case. On 'Vol.
Iommi's now very heavy guitar mixed with the fact that the band was recording this album in Los Angeles first time recording an album outside the UK, if I remember correctly , and were pretty much high on cocaine throughout the whole process, gave this album an atmosphere that was different from the one experienced on any of the three previous albums. The song progresses from a very emotional intro to a bad ass and memorable main-riff. Ozzy's voice is also getting stronger and is becoming a vital ingredient to the Sabbath sound.
The song then breaks into a faster section where Iommi is shredding a bit before returning to the main-riff again, and finally the second half of the song "The Straightener" kicks in. A long, awesome instrumental piece that showcases the amazing dexterity of Iommi's guitar-skills. This is the catchiest and most memorable bit of the whole album and definitely one of the stand-out moments in this great band's career, in my opinion. So awesome! Following the excellent album opener is the shorter, but almost as memorable rocker "Tomorrow's Dream".
The song also features a guitar solo that sounds so familiar. Probably because most metal bands in the world have borrowed it at some point take for instance Church of Misery's "Shotgun Boogie".
It sounds just like the solo bit in "Tomorrow's Dream". The rest of 'Vol. It's a beautiful song, but is unfortunately the weaker of the band's ballads at that point Planet Caravan and Solitude are definitely stronger. Vitus Dance" are fairly straight-forward, heavy rockers, but with a unique feel to each one of them to differentiate from one another. It's an instrumental that serves no real purpose other than freaking out a high person who's listening to this album.
It's a typical psychedelic drone of some sort, but to make it a track on its own was probably not necessary. Minor, minor complaint only, though. This album is a tad less consistent compared to 'Paranoid' and 'Master of Reality' on par with 'Black Sabbath' , but has its great moments.
The overall feel is gloomier than usual; perhaps and most likely an indicator of where the band was heading; though there would be a massive and awesome skipping stone of fantastic albums before the Ozzy-era's demise. The unknown area and the large amounts of drugs took a toll on the band, but they were still eager to continue their streak of great, heavy records and weren't afraid to experiment to achieve this.
The first four Black Sabbath albums are considered by most metalheads to be some of the best records ever recorded. Within metal fandom, either Paranoid or Master of Reality is the most beloved of Sabbath's, but for many critics myself included Black Sabbath Vol.
The 40th anniversary of its release is tomorrow, Sepember 1 . The rest of the band is also as brilliant as ever. Finally, Ozzy is at his best pre-solo career. So why is Vol. Paranoid and Master of Reality are flawless records. They grow on you. Black Sabbath Vol. Heavy metal pioneers Black Sabbath were well on the road to glory after releasing their previous album, Master of Reality, but it seems they have lost their footing a bit on there next release, Black Sabbath Vol.
Somewhat carrying the heavy guitars from the previous album and making them flatter and louder, while drowning out the bass that made Sabbath so great in the first place. This is not at all a bad album, but can take some getting used to and could turn off fans of the first 3 albums due to its production. First things first, the guitars. Iommi has somehow taken his monstrous tone from the previous album and made it thinner and louder, a lot louder.
This new direction for the guitar tone can take some getting used to, but I'll admit it does have a great middle and high section and even a great low on the intros to "Cornucopia" and "Under the Sun". The riffs on this record can seem kind of unmotivated at times but can be overlooked with great riffs like that on, "Supernaut", "Tomorrow's Dream" and "Under the Sun".
Iommi also shows his acoustic skill on the track "Laguna Sunrise" which is a decent track and definitely the weakest of his acoustic work. Some great solos are on this record including one of Iommi's best, "Wheels of Confusion". The biggest complaint about the guitars is they are too damn loud, but the riffs are good so its kind of a double edged sword. Along with the guitars, the vocals on this record are loud. Ozzy's voice seems slightly too loud as if he is competing with the guitar for decibels.
Ozzy's voice is rather good though, its full of energy and ready to play. The lyrics on this album are pretty good too. Speaking about drugs, depression, and religion in the typical Black Sabbath style. The legendary "Changes", which is a piano ballad piece, that is rather sappy with the lyrics but is a great tune in the end. Bill Wards drumming on this record is pretty solid. Giving some decent structure to the songs but seems to be unmotivated and just came along for the ride.
Ward's cymbals are also way too loud. Wednesday 12 February Thursday 13 February Friday 14 February Saturday 15 February Sunday 16 February Monday 17 February Tuesday 18 February Wednesday 19 February Thursday 20 February Friday 21 February Saturday 22 February Sunday 23 February Monday 24 February Tuesday 25 February Wednesday 26 February Thursday 27 February Friday 28 February Saturday 29 February Sunday 1 March Monday 2 March Tuesday 3 March Wednesday 4 March Thursday 5 March Friday 6 March Saturday 7 March Sunday 8 March Monday 9 March Tuesday 10 March Wednesday 11 March Thursday 12 March Friday 13 March Saturday 14 March Sunday 15 March Monday 16 March Tuesday 17 March Wednesday 18 March Thursday 19 March Friday 20 March Saturday 21 March Sunday 22 March Monday 23 March Tuesday 24 March Wednesday 25 March Thursday 26 March
The churning “Tomorrow’s Dream” didn’t chart as a single, but bands of Sabbath’s unusual heaviness were clearly album artists without pop-chart concerns. Other key tracks like “Supernaut,” “St. Vitus Dance," and “Under the Sun/Every Day Comes and Goes” further cemented their reputation as the band writing the rules of heavy.