paranoid

REVIEW: Black Sabbath – Live…Gathered In Their Masses (CD/DVD/Blu-ray box set)

NEW RELEASE

BLACK SABBATH – Live…Gathered In Their Masses (2013 CD/DVD/Blu-ray box set)

Any time a classic rock band releases new music and goes back on tour, there has to be a live album to go with it these days.  Actually, to be more accurate in the current age it’s more likely to be some kind of CD/DVD combo pack.  This deluxe of Live…Gathered In Their Masses contains 1 CD, 1 Blu-ray, and 2 DVDs.

The visual program opens with a collage of pre-gig ritiual.  The band arrive, and get ready in their own dressing rooms, the cameras offering a brief intimate glimpse.  Before too long, the air raid sirens of “War Pigs” brings us to the stage.  The Blu-ray looks absolutely gorgeous.  Every line on every face is visible, every grain on Tony’s Gibson SG, and the stage is gorgeously lit.  It’s a beautiful disc to watch in 1080p.  I couldn’t help myself; I sat there playing air drums, and putting my hands in the air when Ozzy commanded.  It was fun!

Ozzy hops about, but most exciting visually is unofficial member Tommy Clufetos.  I wonder if it’s intentional, but he definitely resembles a young Bill Ward circa 1976 (as long as he keeps his shirt on).  And Tony?  He smiles, a lot.  You would too if you’ve been through what he has I imagine!  Ozzy’s already dumped a bucket of water over his head before they get to the second song, a sludgy “Into the Void”.  I think the temptation is often to play this song a little faster live, but this version is very much in pace with the deliberately slow original.

My cell phone ring tone these days is that riff from “Loner”, one of the best songs from 13.  Unfortunately, the fact that this is a new song means Ozzy’s rivited to one place on stage, concentrating on the words, glancing at the floor.  Even so, Ozzy remains a mesmerizing presence.  Another bucket of water, and Ozzy’s the cheeleading frontman again.  The bonus interview on the disc, by the way, reveals why Ozzy really douses himself in water!  (You probably don’t want to know.)  “Snowblind” then erupts, Ozzy hitting the high notes with cracking but real voice!  (That’s the part that counts.)  Tony’s extended guitar solo is a stunner in itself.

The rain and tolling bells of “Black Sabbath” sound great on blu-ray, though I was hoping to hear more stuff going on behind me in the 5.1 mix.  “Black Sabbath” is the standard workout, no surprises here.  Likewise, “N.I.B.” is very much the traditional Sabbath version, even down to each note of Tony’s solo.  Ozzy somehow manages to still be menacing behind the mic.  “Methademic” is one of the new songs again, but oddly it’s a only bonus track on the deluxe versions of 13.  This is a song that resembles Dio-era Sabbath and would have sounded at home on Dehumanizer or The Devil You Know.  With Ozzy behind the mic, it’s still classic Sabbath.  I think it’s a great number, only weakened live by Ozzy struggling through the wordy lyrics.

Oz doesn’t seem to have trouble with the old favourite “Fairies Wear Boots”.  His wail of “Allllllright now!” looms, and out comes the water again!  “Symptom Of the Universe” then stomps on the stage.  This is the song that Clufetos can really sink his chops in.  He’s obviously not Bill Ward, but I like his interpretation of Bill’s parts.  They’re as close to the mark as any other Sabbath drummer’s parts, if not more.  Tommy gets an extended drum solo too, during “Symptom”, not bad for an unofficial member!  Mrs. LeBrain called the solo “Sweet!”

GATHERED IN THEIR MASSES_0004A drum solo naturally suits “Iron Man” to segue into.  “Iron Man” is wooden, Clufetos unable to cop Bill Ward’s loose feel.  It’s still “Iron Man”, a song Black Sabbath have probably played live at every show since ’72, but it’s not definitive.  Only when the song gets up to speed does it become the beast it should be.  Another new song, the deliberately vintage sounding “End of the Beginning” takes over, but it’s not the song I would have chosen to play at this point of the set.  Not only is it too similar to “Black Sabbath” but it slows the set down too much so close to the end.  It does pick up, but I feel it would have worked better closer to the start of the show.

Ozzy then teases out that they will only play one more song, unless the crowd goes “extra crazy”.  This “final” song is the storming “Children of the Grave.”  The audience bounces like a wave in sync with the classic tune, led by an energized Ozzy.  I detected some clever editing here to make it appear that Ozzy is jumping around more than he actually is, but that’s video.  One pretty thing about this song is the appearance of Tony’s old cream Gibson SG, paint cracked and chipping.  Blu-ray allows you to see every scratch in the paint.

The crowd goes “extra crazy” and then Ozzy says they’ll play one more song.  It’s “God Is Dead?”, the excellent first single from 13.  Clufetos nails the stuttering drum roll, but Ozzy’s back to reading lyrics off the floor, which is distracting.  But does anyone actually believe it is the last song; that they won’t play “Paranoid”?  Of course they play it, and the riff from “Sabbath Bloody Sabbath” too.  It’s the quintessential closer, ending the concert as a party, not a session of pure doom!  Clufetos and Ozzy are quite animated on “Paranoid”, and of course Ozzy reminds the crowd that they are “number one”!  I just wish Tommy would pull up his pants.  Fuck, I wish I could fit into that size!

The DVD and Blu-ray versions contain three bonus tracks.  “Under the Sun” is a nice one to pull out of the hat.  Ozzy handles the difficult vocals without issue.  How does he do it?  You can hear his voice cracking from time to time; it sounds live.  “Dirty Women” is a personal favourite of mine.  This is an interesting version.  It’s the one that Spotify have as their own exclusive bonus track to 13.  I already had an audio copy of this bonus track, but Blu-ray is cool, too.  It’s a damn great rendition of a lost classic from Technical Ecstasy.  “Electric Funeral” is the big surprise, a song I don’t think I’ve ever heard played live.  Ozzy really struggles with the words on “Electric Funeral” but it’s a treat.

Elsewhere on the disc, there are more bonus features.  I have to say the Blu-ray menu is an annoying, repeating tolling bell.  Leaving the menu running unattended for more than 60 seconds is an excersize in testing your patience.  In the bonus features, the Sabbath interview is typically low key.  You know what to expect:  a difficult to understand Ozzy, and a soft spoken Tony, with occasional comments from Geezer.  There’s not too much here in the way of revelations.  Vegetable juice and food have replaced vodka and a line before the show, although Geezer still drinks wine.  How scandalous!  I don’t know who the interviewer is, but he’s very good at getting the band involved and in good humour.

Lastly there’s a feature called “Show Day”.  This is a behind the scenes look at the goings-on in the 24 hours before the show in Melbourne.  I love it!

Ozzy:  “You know what I was looking at, the old re-runs of the Twilight Zone.”

Geezer:  “You told me that about 40 times.”

Ozzy:  “Sorry.  Trying to make conversation.”

Tony:  (Laughs.)

Even Joe Perry and Steven Tyler show up backstage.  I enjoy watching Joe and Tony chatting…what a meeting of guitar greats in one room.

The packaging for this box set is loaded with goodies.  I always enjoy some complimentary guitar picks.  There’s one here from Tony, and one from Geezer.  There’s also a replica concert ticket, setlist, and a small poster.  Nothing to get too excited about, but when you buy an expensive box set it’s nice to get these added touches as a bonus.  There’s also two DVDs included with the same content as Blu-ray.  That’s extraneous to me, I may never play them, so they’re sealed.  I don’t have a problem with that, but I do wish they didn’t edit the CD version of the concert down to fit on one CD.  I’m pleased that the CD version contains all the new songs, but for the price of this set relative to the cheap cost of a CD, I don’t know why they couldn’t just make it a 2 CD set.  That part is disappointing.  When I buy a deluxe edition, I want the whole thing on CD.

That niggle aside, Black Sabbath Live…Gathered In Their Masses is worth:

4.5/5 stars

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Blu-ray REVIEW: Classic Albums – Black Sabbath – Paranoid

More BLACK SABBATH at mikeladano.com:

SABBATH DELUXE EDITIONS:  Black Sabbath Paranoid Master of Reality Heaven and Hell Mob Rules Born Again Seventh Star The Eternal Idol Dehumanizer

Other SABBATH reviews:  13 (new album) Headless Cross Forbidden Bootleg CD: Forbidden Rough Mix  Concert review: Forbidden tour July 22 1995 Kitchener Ontario HEAVEN & HELL: Neon Nights: 30 Years of Heaven & Hell – Live in Europe  BILL WARD: Ward One: Along The Way BILL WARD: “Straws” / “The Dark Half Hour” singles

CLASSIC PARANOID_0001CLASSIC ALBUMS:  Paranoid – BLACK SABBATH (2010 Eagle Vision Blu-ray)

Those familiar with Black Sabbath know that Tony and Geezer don’t necessarily make the best interviewees. Their answers are often monotone, bland, and only vaguely remembered. Maybe somebody gave them some coffee before this video.  Geezer in particular seems more animated, but they both appear actually alive! Bill Ward is Bill Ward, of course.  Ozzy can barely get his voice above a croaking whisper. None of that matters though, because this Blu-ray disc is not about the present, it’s about the distant past, 40+ years distant in fact: the landmark metal album of metal albums, Paranoid.

Everybody reading this knows Paranoid from front to back (I hope so, anyway) and has probably bought it more than once. If you don’t know Paranoid, get the album!  Go!  Listen to it, come back, and finish reading this review later.

Like all Classic Albums discs, this deconstructs classic tunes to the individual layers.  You are invited to hear the basic tracks for songs such as “Iron Man”, “Fairies Wear Boots”, “Planet Caravan”, “Black Sabbath”, and more. Engineer Tom Allom (perhaps best known for his production work with Judas Priest) is your tour guide. Stripped of vocals and guitar, you can hear the rhythm section clearly.  Hearing Bill and Geezer playing together without adornment is a revelation. If anyone comes out looking very underrated in the Sabbath saga, it is Bill Ward and Geezer Butler, who are psychically locked-in and loose.

Meanwhile, in new footage from the here and now, Iommi demonstrates some of the most famous riffs and solos in Sabbath history.  Meanwhile Ozzy explains how he wrote melodies. This story is unfolded within the context of the late 60’s and early 70’s, and what Sabbath stood for in those tumultuous times.

Bonus features are generous, like all Classic Albums discs. About 45 minutes of additional footage is available, discussing songs and topics that didn’t make the cut of the main Blu-ray feature itself. None of it is filler, all of it is worth watching and probably would have made a completely un-boring extended feature anyway, had it been left in.

My only complaint is the resolution of this disc is only 1080i. Minor complaint at that.

As a companion piece, I highly recommend getting Paranoid in its 3 disc expanded edition. The reason being is, on this Blu-ray you will hear demo versions of songs with alternate lyrics. If you want all of these demos complete and uncut, you have to get the 3 disc version of Paranoid which includes them all (as well as the album’s original Quad mix).

Oh, and one last thing:  Henry Rollins.

4/5 stars

WTF Search Terms: Rock and Roll edition

ELVIS UH

WTF Search Terms VI:  Rock and Roll edition

Welcome back to WTF!  Click here if you missed the last one.  This edition collects some musical Google searches that somehow led people here to this blog.  Enjoy these head-scratchers and WTFs!

This first guy’s obviously an idiot.

10.  steve morse sucks

9. is paul stanley loosoing his voice?

8.  i wouldl like to hear mob rules (why, how polite!)

7. life+it+up+kiss

6.   black sabbath paranoid deluxe edition where is the 3 disc (right there.)

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5.  phrase from what tv show – it’s the final countdown!! (Arrested Development.)

4. puff daddy’s embarring habit

3. new kids on the block poster greatest hits

2. real elvis videos tumblr hornny holes

And this week’s winner:

1. marilyn manson with butt plug

Like the WTF’s?  Then come back soon, or better yet, subscribe!

REVIEW: Ozzy Osbourne – Speak of the Devil / Talk of the Devil (1983)

 

OZZY OSBOURNE – Speak of the Devil (1983 Epic)

After Randy Rhoads died, Ozzy really seemed to have gone into a tailspin. He just seems to have been completely miserable at the time and he really tries to bury the albums he made in this period. Speak Of The Devil, a live album featuring Brad Gillis (Night Ranger) on guitar, was not even included on Ozzy’s 2002 reissue program and went out of print.

Ozzy owed his label a live album, and had actually recorded one too (Randy Rhoads Tribute).  With fresh wounds from the loss of Randy, Ozzy didn’t want to do a live album at all.    So a compromise instead; Speak of the Devil (Talk of the Devil overseas) consisted entirely of Black Sabbath songs.  At the same time, Sabbath was releasing their own double live album, Live Evil.  This direct competition poured fuel over an already volatile feud.

SPEAK OF THE DEVIL_0003I always hate to compare Ozzy’s versions of Sabbath songs with the originals. Ozzy’s have always sounded different because of the guitar players he’s chosen to use over the years. These Gillis versions are about as authentic as Ozzy’s been, until the fortuitous discovery of Zakk Wylde five years later.  Gillis is a flashier player than Iommi, but without Randy’s intricate classical bent.

You absolutely cannot argue with the track list (from the Ritz, in New York). This is Sabbath boiled down to its black core. These are the desert island songs, and I love that “Never Say Die” and “Symptom of the Universe” were included.  Through the classics, Ozzy sounds tremendously drunk.  Colossally smashed, not quite completely out of his fucking head yet, but close.  Still lucid, not yet totally annihilated.  His voice takes on an angry shade when he starts reminiscing about the the groupies at the old Fillmore East (“The Wizard”).  (Sounds like a naughty word was awkwardly edited of out this ramble, too.)

I do love a moment when, just before breaking into the aforementioned “Wizard”, Ozzy says to somebody (a roadie?) “Hey, what’s happenin’ man?”

The vocals sound like they’ve been sweetened in the studio.  They’ve been double tracked, or manipulated to have that effect.  I’m normally not a fan of that kind of thing, but it’s still a great listen.  There’s some annoying feedback at points…it doesn’t bother me too much, hell, when I first heard this album (on cassette) in 1991, I couldn’t even hear the feedback, for the shitty fidelity of cassette tape.  I’m sure Ozzy considers the album to be sonically embarrassing, that seems to be his modus operandi.

Of note, “Sweet Leaf” did not manage to make the original CD release, but has been restored to this version, its CD debut.  It was on the original cassette version, a cassette-and-LP-only “bonus track” at the time.  (Aaron, that means you gotta buy remastered or LP.)

Band lineup: Osbourne/Gillis/Sarzo/Aldridge/Airey.

4.5/5 stars

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REVIEW: sHEAVY – The Electric Sleep (1998)

sHEAVY – The Electric Sleep (1998 Rise Against Records)

Last time, we talked about the “moment of epiphany” when I first heard this band.  This is my favourite album by Sheavy, choice band from St. John’s, Newfoundland and Labrador.  The Electric Sleep is an intense listen, throbbing and bottom-heavy, but it’s especially striking for its similarity to early Black Sabbath.  My buddy Tom often said that this seemed like it should have been the next Sabbath album, as if Ozzy never left in 1979.  I disagreed, as I found it to be more the mold of earlier period Sabbath.  It doesn’t matter; if hearing a band that sounds pretty much exactly like the original Black Sabbath offends you in any way, then don’t listen to Sheavy.

The album opens with “Virtual Machine”, and Steve Hennessey’s distorted computerized yowl is mesmerizing.  The riff detonates, it’s a keeper, and Sheavy have kicked me in the buttocks with the first track.  “Velvet” abruptly changes the landscape to something more acoustic, atmospheric.  A Sabbath analog would be a song like “Solitude”, for example.  But then “Destiny’s Rainbow” arrives to kick your posterior again once you’re getting too comfortable.

“Electric Sleep”, the title track, recalls “Hand of Doom” from Paranoid.  “Born In A Daze” has a groovier feel.  You know how Sabbath kind of got a bit groovier on Never Say Die?  Songs like “Junior’s Eyes”?  Maybe Tom’s right, and maybe this album does sound like a followup to Never Say Die at times.

My favourite song is the stormy “Automaton”.  This one actually reminds me of early Queensryche lyrically, when they were still singing about computers and robots and other cool stuff:

If all the secrets they’ve been hoping to find,
Unlock the programs buried deep in my mind,
And am I human or just a robot slave?
They sent me here so their world I could save, yeah-ahh!

Musically, “Automaton” is also the least Sabbath-like.   The riff is swift, stout and precise, but not very Iommi, which is fine.  And there’s a cool slide guitar hook that recurs in the song which helps give it a unique sound.  This one’s a winner:  my favourite Sheavy song, period.

That’s a hard act to follow, but Sheavy do so with the mournful “Savannah…Flights of Ecstasy”.  In his best vintage Ozzy delivery, Hennessey laments the loss of someone close:

She forgot to breathe,
She forgot it was make believe,
Can’t avoid her eyes,
Never cared for long goodbyes.

If I had to compare this to a Black Sabbath song, it would actually be “Lonely Is the Word”, from Heaven and Hell.  Hennessey’s Ozzy stylings aside, musically this has the same kind of vibe…until it gets heavy and riffy close to the end.  Then suddenly it’s Vol. 4.  

“Saving Me” gets the heads banging, but “Oracle” is something else.  Beginning with a didgeridoo (an instrument that Black Sabbath definitely never used), it’s obvious that this song is a carbon copy of “Black Sabbath” itself.  The riff is the same “devil’s triad”.  Throw in some cool Jimmy Page “Dazed and Confused” wah-wah guitar licks on top and you have an idea of what this mash-up sounds like.

The album closes with “Stardust” and “Last Parade”, a duo of heaviness 15 minutes in length total.  “Stardust” itself is loaded with guitars, no less than eight players are credited on it!

I think if this album wasn’t so derivative of the original Black Sabbath, it would be worth 4.5 stars due to the sheer quality.  However, I think I have to knock off half a point simply because you can play “name that Sabbath song” for several tracks.  Although Uncle Meat says the same is true for moments of Black Sabbath’s new album 13, I’m going to give Sheavy…

4/5 stars

REVIEW: Black Sabbath – Paranoid (deluxe edition with Quad mix)

I’m addicted to buying these deluxe editions.  And I have more Sabbath coming soon, too! Check out more of my Sabbath deluxe reviews by clicking here!

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BLACK SABBATH – Paranoid (2009 deluxe edition, 3 discs)

Wow, how many times have I bought Paranoid now? I would guess that this might be my sixth purchase of this album.  I mean…it’s Paranoid.

And what is Paranoid?  Only one of the most important rock albums of all time.  Regardless of the genre it helped spawn, this album is more important than just being a heavy metal album.  This is an important rock album.  I highly doubt any died-in-the-wool metal fan has not heard this album, but in case you’re young/been living on the moon, I’m happy to discuss these incredible tracks.

First up to bat is the unmistakable sludge of “War Pigs”.  “Generals gathered in their masses…just like witches at black masses…”  Bonus point to lyricist Geezer Butler for rhyming “masses” with “masses”! Joking aside, this is simply an incredible song, one which history has proven (as great as Dio was) that only Ozzy Osbourne can sing correctly.  Then, the brief punk rock explosion of “Paranoid”.  This was the first and only song I learned to play on guitar, simple are the chords.  But it is no less powerful for its simplicity!

The haunting “Planet Caravan” is a perfect example of Sabbath at their softest and darkest.  Ozzy’s distorted vocals send chills up the spine, while Geezer’s bass carries the melodic side.  I didn’t like this song as a kid (I hated the soft ones) but I sure grew to appreciate it since.  Iommi’s jazzy solo proves what an incredible player the man was and is.  In case you were falling asleep, Black Sabbath wake you up with the next track, “Iron Man”.  Everyone knows “Iron Man”, a monolithic slab of prototypical heavy metal!

“Electric Funeral” opens with Iommi’s Gibson puking wah-wah and distortion from the speakers, but like many Sabbath songs of the period, the track takes a careening turn into a fast section, before returning to its sludgy roots.  Bill Ward, one of the most underrated drummers ever, plays creatively throughout, his use of cymbals and fills endlessly interesting.

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“Hand Of Doom” is another one with different sections and tempos, and more of Ward’s jaw-dropping creativity on the tubs.  Ozzy howls like a banshee, the band behind him providing a heavy, frightening backdrop.

“Rat Salad” is a personal favourite, the album instrumental, and really a Bill Ward showcase.  You want to hear what Bill Ward could do?  This is the track to listen to, although Iommi is not to be underestimated.  His howling Gibson sends shivers up the spine.

“Fairies Wear Boots” closes the CD, the perfect mixture of riffage and melody.  All the while, Geezer and Ward continue to provide a rhythm section as interesting as the guitars and vocals.  Once again, Sabbath show their compositional prowess by creating a catchy, riffy heavy metal song with interesting sections and changes.  It is another perfect track, on an album of nothing but.

Liner notes and photos: A+. Awesome job. Lots of cool photos, facts, and figures that I was not previously aware of.

Packaging: C-. I have a 2CD/1DVD Clash set from this series where all three discs are packaged with a plastic tray to hold them in. Not so with Paranoid! Cost cutting may be the reason, but disc 3 slides into a cardboard sleeve while the other two discs have plastic trays.

Remastering: A+. My understanding is that this is a brand new remastering. That would be remastering #3 for Paranoid. (1996 Castle remasters, Black Box remasters.) Like the Black Box version, this sounds great, very clear, very powerful, very authentic. Can you tell the difference between this version and the Black Box version? Not really!

Bonus material: B+. Maybe it’s not anybody’s fault, but the bonus material is somewhat disappointing  Most are alternate takes with different lyrics or no lyrics at all. I guess that’s all that was available. Still, it’s not something I will listen to often. Including the DVD, keep in mind you’re going to be hearing these songs three times each! The alternate lyrics are interesting to say the least, but when you’re so used to hearing these songs a certain way, it is a little jarring.

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The DVD is an A. On this DVD, you get the original 1974 quad mix. Collectors rejoice, and people who are hoping for a 5.1 remix are going to have to keep waiting. I love the fact that we’re finally getting reissues of classic 1970’s quad mixes. Deep Purple have been releasing some as well. Personally I hope to hear some of the old Alice Cooper quad mixes some day, too.

Not a perfect reissue, but it is what it is. The packaging is the one thing that could have been improved easily. The extra material, well, if this is all Sabbath have in the vaults, then so be it!

(Note:  For completists, there’s still an early version of “War Pigs”,  ( then titled “Walpurgis”) with different lyrics, from BBC Radio 1, 4/26/70, but you can get it on Ozzy’s The Ozzman Cometh  CD.)

5/5 stars.