![]() Then they gathered for the fast-and-furious six days at Regent Sound Studio in London that produced Paranoid. The ideas and themes presented on the band's self-titled debut merely hinted at a different kind of rock musica foreshadowing. Singer Ozzy Osbourne located the narrow range in which his voice best worked its fury. Bassist Geezer Butler and drummer Bill Ward provided a solid foundation, simple and rhythmic but with a hint of free jazz. Instead, he tuned down the guitar for a uniquely dark tone and mastered building power chords into catchy tunes. The slabs were cut by Barry Grint at Alchemy Mastering at Air Studios in the UK.ĭuring the band's formative days in the grim industrial city of Birmingham, England, guitarist Tony Iommi damaged his fingertips in a metal pressso no more Page/Hendrix pyrotechnics on the frets. Except for the original album, all these recordings are new to vinyl. Included in the set is Andy Pearce and Matt Wortham's 2012 remaster of the original album, a 2016 remix to 2-channel stereo of the 4-channel quadraphonic master, and three LPs of 1970 live shows mastered in 2016 by Pearce and Wortham: three sides from Montreux, Switzerland, in stereo and three sides from Brussels, Belgium, in mono. So, to mark the album's 50th anniversary, Rhino Records collected a batch of recent digital remasters, cut them to five 200gm vinyl platters, and packaged them with a hardcover book full of liner notes, full-size photos, and other early-Sabbath memorabilia, including a reproduction 1970 tour book and a poster of the band posing grimly in front of a churchthe sort of thing that would hang on the bedroom wall of a teenaged me. By 1970, the world had darkened, and Black Sabbath's visiontales of paranoia, giant metal men dispensing vengeance on mankind, and drug-addled delusions of booted fairieswas suddenly relevant.Ī half-century later, what could be more heavy metal than a global plague? But heavy metal as we know it started 50 years ago with Black Sabbath's Paranoid.Ī mere three years after the Summer of Love, in less than 42 minutes, Black Sabbath's second album presented a new kind of rock music, a divergence, a world full of possibilities for those who never bought into peace, love, or anything else hippie except long hair and a sense of rebellion. The idea of power chords and music centered on ominous, mythological, and vaguely threatening lyrics goes back centuries consider the use of European church music in various eras to literally scare the hell out of believers. The reviewer venturing to identify the birth bed of heavy metal music risks wrath. ![]()
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