Tracks: 1. Tomorrow's Dream 3. Changes 4. Supernaut 6. Snowblind 7. Cornucopia 8. Laguna Sunrise 9. Vitus' Dance And it isn't just in the lyrics, most of which are about the blurry line between reality and illusion.
As a result, there are some puzzling choices made here not least of which is the inclusion of "FX" , and the album often contradicts itself. Ozzy Osbourne's wail is becoming more powerful here, taking greater independence from Tony Iommi's guitar riffs, yet his vocals are processed into a nearly textural element on much of side two.
Parts of Vol. Vitus Dance song meanings. Add your thoughts 13 Comments. General Comment Pretty straightforward, about a relationship breaking up because the guy thought the girl was just after his money, but it was true love and it breaks his heart. No Replies Log in to reply. There was an error. General Comment Yeah, the meaning is pretty straightforward, but I can't figure out how the title relates at all. If anyone can explain the relation between the title and the meaning of the song or the lyrics, I would be grateful.
Flag calflames11 on June 11, General Comment This song is really underrated, nobody ever mentions it, but it's the best song from Vol. General Comment This doesn't sound like Sabbath, but almost my favorite song from "Vol. General Comment I think that, "St. Now, his self-control was clearly slipping. The Bel Air mansion the band was renting belonged to John du Pont and the band found several spray cans of gold DuPont paint in a room of the house; finding Ward naked and unconscious after drinking heavily, they proceeded to cover the drummer in gold paint from head to toe.
The Vol. We went out to L. Half the budget went on the coke and the other half went to seeing how long we could stay in the studio 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. There's something about their music that's so painful and yet so powerful. Geezer and Bill are still a powerful rhythm section. Now let's get to the songs. There are some more upbeat songs too. Such as "Tomorrow's Dream", my personal favorite "Supernaut", and "St.
Vitus' Dance". Another very catchy song in the slower range is "Snowblind", and it is indeed about cocaine. There are also a few misfit songs on here as well. The melodic instrumental known as "Laguna Sunrise" is Tony Iommi showcasing his guitar skills with a harp in the back round. And last but not least there is "FX", which every Black Sabbath fan except me hates. It is really just a bunch of beeps and noises, I actually like it a lot.
The name "FX" really says it all for this one. This album is essential to every collection of metal albums. As are the other early Black Sabbath albums. You can easily find this album online. So put down that Slayer, Venom, Bathory, or whatever evil metal you're listening too, and check out the band that started it all. You will not be disappointed. Now, Black Sabbath has a knack for this, writing masterpieces within a year or a little more between each other.
The album art is iconic, featuring a colorized picture of Ozzy Osbourne at a concert, and has been copied by many other bands. Like a little bipolar kid on cocaine, the mood on this album fluctuates from sad and depressing to happy and jovial.
Volume 4 has a more polished sound and feel than its three predecessors, and it features some of their best songwriting. The second part starts at around , and The Straightener at around Indeed- the quality remains excellent, with a few shifts both good and bad. However, everything else on this album features quality songwriting, even the somewhat cheesy Changes, which understandably some people detest.
Laguna Sunrise is another beautiful soft song on this album, with some nice acoustic work. The best track on this album is a fan favorite that focuses on cocaine. It is a very depressing classic with great melody. It opens in a very melodic tone, sending chills down your spine.
It even features an orchestra, hinting at what will follow in Sabbath Bloody Sabbath. When the track begins to fade, it leaves you wanting more. The rest the songs are as heavy as they can come. Supernaut is a great jamming piece and showcases the happy and carefree side of Black Sabbath. The beginning riff is just plain wacky and so damn good. The drumwork on this song is maybe the most memorable on the album, especially at arount , where there is a crazy drum solo by Ward.
The beginning of Cornucopia is one of the heaviest moments on this album and is somewhat reminiscent of the beginning of Electric Funeral, on Paranoid. And St.
Vitus Dance begins with an almost country-like riff. The opening riff of Under the Sun is so heavy and crushing that it can kill anyone with a heart condition.
The riffs are just great here, sometimes doomy, sometimes technical. The last part is an excellent ending to this album, filled with what can only be called doom. The main riff is repeated and it gradually slows until it ends in a subtle note.
If you find it anywhere, buy it. Do not download it, do not borrow it- buy it. This is a must-have for any fans of metal. The result is a very very heavy album at least as heavy as its predecessor, that's for sure , but featuring clear and innovative progressive elements, since the songs are all very varied, following distinct structures.
If you look to the song lenghts you may conclude that the songs CAN'T be that complex, but the truth is that they are short but pretty complex, you see? This is a reason why so many people claim this album to be one of the doomier Sabbath efforts, and I can't help but agree with that. Not only all the tracks are, as I've already said, pretty slow, but also the atmosphere that surrounds you when listening this record is absolutely EVIL.
Indeed, Sabbath always produced very obscure music and this opus follows the same path. Geezer's bass is unfortunately a bit low in the mix and Ozzy's performance is pretty competent, all in all. Unfortunately, and despite carrying a otherwise strong chorus, the track is very repetitive when I say repetitive, I really mean repetitive One of the highlights of the album, no doubts about it. The two songs are also two of the most complex tracks of the album, and you can easily recognize that, since both are divided in separate movements.
All the movements are very different, but the transitions are excellent, mind you. It begins with a very bluesy and emotional solo, then going through varied heavy sections, and ending with a marvelous outro, filled with excellent guitar solos, all of them extremely melodic.
The best part of it is, again, the last part, with that beautiful riff, God, Tony Iommi is amazing at creating riffs. Its middle section is pretty good too, with those strange guitar, piano?
Absolutely worthless indeed. So, another Sabbath classic, even though it's a tad weaker than its three predecessors. This album is much more of a hard rock album, with many influences of psychedelia, which may explain the experimental nature of this album. This is Sabbath taking 5 steps back after making steps forward.
Another sign of decline is the lack of utterly memorable riffs. Bassist Geezer Butler again provides the steady performance which he has always given, and while nothing special, is another rock solid effort under his belt. Bill Ward, reverts to his jam style once again, which on this album, works to a fairly good effect. So while maybe time was catching up with Sabbath this manages to still be very worthy of its namesake. We have now come to the fourth studio effort of the Black Sabbath journey and things pretty much are going as they have gone.
However, the experimental aspect of the band is still going full steam ahead as we have some new ground broken in a few of the tracks. We also have a rather exceptional collection of straight-forward rockers on here that have the same heaviness to them. The subject matter of the lyrics deal primarily with cocaine addiction, which was probably the only major drug that they have yet to cover in their songs. The other problem is that the song is far too repetitive and also lacks any solos or contrasting sections.
Ultimately you have 2 different piano lines, both of which are extremely simple, and you have the occasional entry of some background strings. The two instrumentals on here are essentially night and day. To sum it all up, we have 8 rather excellent songs and 2 that are pretty much throwaways. Although this album comes highly recommended, I think the audience for people who would have an interest in this particular album for historical value would be limited to the heavier genres of doom and thrash, as this album is built more upon riffs than melody.
Nevertheless, when this album is good, it really rocks. Life is one big overdose. Changes 4. Supernaut 6. Snowblind 7. Cornucopia 8. Laguna Sunrise 9. The first note is abruptly loud and clear, but sadly acts as a perfect demonstration of the weak production sound. Depending on my mood, this song could be much, much, much longer.
Considering the pressure put on the band to remove most of the more oblique references, this really stands out as an effective mockery of Warner records. Laugh in their hypocritical snow-covered corporate faces. Following the instrumental is another below-average-length song, but this time Ozzy contributes some vocals. These things work very strangely. The final song is something of a caged beast, again restricted by weak production from being the Sabbath classic it perhaps deserves to be.
The album ends in excellent fashion, with overlapping melodic guitars soloing their way into the fade in a way Iommi would unfortunately never be able to play live, having only two hands. The final crushing note ends as abruptly as the wail that opened the first track forty-four minutes earlier.
The production is obviously a bit more expensive than before, which is a trend the band would continue to follow into next few years. Nothing has really changed about the way Black Sabbath plays, but it still sounds so fucking good. It is also commendable that they start the album off with an epic 8-minute masterpiece, which is definitely not radio-friendly. Sucks for those losers. But regardless, this song is a brilliantly constructed metal symphony that continues where the band left off with Master of Reality, still pushing those boundaries of heavy metal.
This song is most representative of the creative advancement in this album, I think. And while this song is maybe not quite as good as Paranoid, it comes damn close. Starting out with a bold, mid-paced, stooooned riff, the song simply rides along, fueled by the immense talent of the band members. It is a piano-based ballad with mellotron and bass, but no guitar or drums.
The album loses points for this one. The verse riff is very creative, using a seventh chord and a lot of sliding around on that sixth string which is dropped to D flat. The middle section is mostly percussion, along with some acoustic guitar, and it just ROCKS the hell out of you. Why am I not surprised?
Bill Ward stands out on this track actually, with his light strokes and rolls that carry the song along in a very stable groove. Also notable is the oddly syncopated fast part in the middle, with a rhythm that would be directly imitated by many future metal bands.
Everything about it is good, however, and it does well as a hard rocking album track. It is a tad repetitive, but that is a small complaint — this really is a good song, and a surprising one too. It is notable for having a significant part in a major key, which is unheard of in Black Sabbath country.
As a whole, the song is not the best in the world, but it still works as a near-the-end-of-the-album song. However, it suffers from the same difficulty as the rest of the songs on the second side of this album: it just sounds the same.
Taken on its own though, it is a very good song, in the same vein as much of their previous work. The album could have used some work, some of the songs toward the end sound uninspired or under-rehearsed, but at least half the album is pure classic Sabbath material. This is some of the best heavy metal ever made, so sacrifice a goat to this album! As essential as this album is in the history of things, I cannot wholeheartedly endorse it, because some of the songs on here are complete crap.
It's hard to say exactly why this happened This just seems to be a concerted effort to not make any sense. When this album is on, it is dead on - unfortunately when it is off, it is pretty much unlistenable. This stands in stark contrast to an album like Sabotage, which is brilliant all around, including in the interludes Here, the off-kilter stuff comes in when you least want it, and just ruins the continuity of the album. This is probably the first of the later-Ozzy era epic style numbers see: Megalomania, for the quintessential example , in that it's more complicated than an earlier number like Hand of Doom or Black Sabbath.
Both of those songs go through their mood changes as well, but Wheels of Confusion completely takes this to a new level - starting slow, then speeding up Iron Man, Black Sabbath, etc and then slowing down again Hand of Doom, Into the Fucking Void , and then throwing in the outro piece, which is far more complex than anything that came before it I'm pretty sure The Straightener comes in when you'd expect it it's one track, so I'm not sure exactly where the break is, but I have a good idea , when you get another really cute acid-rock Ten Years After style riff, and then a lot of midpaced soloing and heavy riffage over it.
Imagine the closer of "Layla" Eric Clapton gone horribly, horribly wrong.Jan 14, · Vol. 4 comes after the heavy, cosmic rock of Masters Of Reality and before (arguably) their flawless masterpiece Sabbath Bloody Sabbath. It contains some monster tracks in Wheels of Confusion, Supernaut and Snowblind and beautiful quieter moments like Changes and Laguna Sunrise.