<![CDATA[Ginger Nuts of Horror - SUMMER OF....]]>Fri, 17 Nov 2017 09:00:58 +0000Weebly<![CDATA[SUMMER OF SABBATH - 13]]>Wed, 15 Nov 2017 00:00:00 GMThttp://gingernutsofhorror.com/summer-of/summer-of-sabbath-13By Jim Goforth

After almost five decades of existence, nineteen studio albums, myriad line-up changes, hiatuses and reunions, the band that completely altered the face of music, inspired and influenced generations of others, and were instrumental in pioneering the heavy metal genre, finally called time on their celebrated career early in 2017.

Call them pioneers, call them forefathers, shit, call them the motherfucking godfathers of heavy metal, for that’s what they are, Black Sabbath raised the bar and set it ridiculously high with not just the likes of the classic Paranoid album but arguably all of their first five albums.

The spawning of the four-headed, heavy as fuck, dark, doomy entity calling itself Black Sabbath way back in 1968 spawned not just one of the most important bands in all of music history, but created a sound that pretty much any act playing any form of metal under the sun owes some debt to. They were groundbreakers, trailblazers, goddamn musical bulldozers, indelibly stamping their influence over generations, and unless you’ve been living under a rock, you know Black Sabbath. Don’t have to be a metal aficionado, shit, you don’t even have to like music at all, but you know Black Sabbath. The layperson on the street has some notion of who Black Sabbath are, and could potentially rattle off a handful of song titles for you, such is the great influence the band have had over music as a whole.

However, my purpose here isn’t just to wax lyrical about Sabbath and gibber on about what their existence achieved for music overall (pretty sure the first three paragraphs take care of that), but rather to focus solely on one album in particular. The one that turned out to be their swansong, 2013’s 13.

After inscribing themselves into metal history and legendary status with those aforementioned first five albums (Black Sabbath, Paranoid, Master of Reality, Vol. 4, Sabbath Bloody Sabbath) how do I feel about their final offering, some forty-odd years after those first couple of classics crawled up out of the earth in a massive bleak wall of crushing sound?

Short answer? Mixed feelings.

Long answer? Well, let’s venture into some explorations of that album.

I love Sabbath, fucking love ‘em. They were to me, like myriad other kids all over the globe, one of my main gateways into metal and helped me cultivate my lifelong infatuation with the genre (and its plethora of sub-genres). In my previous article revolving around Iron Maiden, I made mention of how I was raised in a musical household, so I won’t rehash that here, but I will make mention of the fact that Black Sabbath were a natural progression for me in my music appreciation education. Rock music was always my favourite as a young kid and it was the heavy guitars that most appealed to me, and love for The Kinks, The Animals, Zeppelin, and many others had me seeking out even heavier sounds.

Enter Black Sabbath.

Over the years, Sabbath never went out of favour, they were a frequent soundtrack to my life through all my school years and beyond. While countless other bands jostled for attention as well, and many managed to maintain it too, Sabbath albums remained high in rotation. Some band’s albums eventually wear out their welcome, and some you just never get sick of, and Sabbath have a firm handful which slot neatly into that latter category.

Unfortunately, they also do have a few that fit into that former bracket as well. And well, 13 is one of those.

Being a Sabbath fanatic, one might assume that I was looking forward to the release of 13 with great anticipation, given the classic line-up, sans Bill Ward, comprised the personnel, but the reality of it was, nah, not so much.

Sure, it was awesome to have a new Black Sabbath record emerge, but essentially, did we even need a new Black Sabbath album? Four decades down the track after irrefutably changing the landscape of music, was it necessary? Not really. Sabbath wrote themselves into the history books long ago, so any new music, no matter how good it might happen to be, isn’t really going to be a patch on the classics, and anybody who suggests otherwise would be having a big lend of themselves.

I didn’t rush out to buy 13, just like I didn’t rush out to buy any of their albums from the 80’s or 90’s, so I didn’t hear the album in its entirety for quite some time after its 2013 release. I heard lead single God is Dead? enough times to temper any real desire to delve into 13 in any great capacity, and while that particular track is a solid number, featuring some great riffs and Ozzy sounding in remarkable voice given the amount of fuckery he’s indulged in over the years, it isn’t going to hurl one back into the glory days of when Sabbath ruled the roost. It has all the requisite Sabbath elements in place (bar the drums of Bill Ward of course, replaced here by the somewhat odd choice of Rage Against The Machine sticksman Brad Wilk), but somehow it lacks the brooding darkness, and the malevolence of classic-era Sabbath. Of course, did any of us really expect it to sound anything like seminal Sabbath days? Well, yeah maybe a little, but certainly not a complete return to form. That incarnation of Sabbath is untouchable, for anybody, and that includes 2013’s manifestation of Sabbath.

The thing is, much of the material on 13 does really fucking sound like it’s been gleaned from the heydays, the pure Sabbath, the true Sabbath if you want to look at it that way. And that’s probably because, well, it has been gleaned from the heydays. Sabbath on 13 tread so close to their doomy original embodiment, that one couldn’t be blamed for thinking they’re hearing reworked riffs from classic numbers.

There’s heavy borrowing from N.I.B. in Loner, Sabbath, Bloody Sabbath lurks in the shadows of morose opener End of the Beginning, and elsewhere, Zeitgeist sounds like it wanted to be the inbred offspring of Solitude and Planet Caravan and came away with the most stunted aspects of both, but not so much of the great. There are a handful of riffs in other places that hark back to other tracks from the classic albums and so forth, maybe veering close to complete rehash territory, but then again, at this stage in the game, at this point in their career, what does it really matter? One sure as hell can’t be expecting them to reinvent the wheel, and there’s none of that going on here; there’s nothing that deviates from the primarily gloomy trudge.

Sabbath couldn’t ever be accused of being speed kings, after all, that ultra-malevolent dark brooding menace that Tommy Iommi brings to the table with his riffs makes them what they are, and that slow-march pace is pretty much the order of the day throughout 13, giving way only now and then for some marginally faster compositions to emerge.

By all accounts, producer Rick Rubin was seeking a sound akin to the classic albums, suggesting the band hark back to those days as if they were recording a follow-up album to those masterpieces, and yeah, there are plenty of moments where it does indeed work that way. I mentioned before about that deviating closely to riffery of yesteryear, but on their own merits, some of these tracks are quite solid numbers, and it’s probably a little too harsh to compare them to magic that is very difficult, if not impossible, to try and replicate.

While we’re on the subject of production, personally I feel 13’s production is far too clean, I suppose would be the right word, to suit a Black Sabbath album. I can probably count on one hand the amount of albums produced by Rubin that I genuinely have massive love for, and this one here isn’t about to add to that number. With Ozzy’s vocal’s too often at the forefront, and the guitars and drums left floundering in the background (or alternatively, vice versa), only Geezer Butler’s bass lines are given room to breathe without too much tinkering. The raw, sinister slog of sounds synonymous with Black Sabbath might be present in terms of some of the riffery, but the production far too frequently cruels any real attempt to evoke genuine menace or rawness.

Unlike those classic albums it is intended to mimic, the instrumentation is not allowed to coalesce together into a swampy quagmire of evil sound. It doesn’t sound organic, in fact, it sounds quite fucking sterile. A better production might have reaped better rewards-while it looks like Black Sabbath, sounds to an extent like classic Black Sabbath and has the ability to rock like Black Sabbath, the overall sensation is that it doesn’t exactly translate as a band, but more like four separate instruments.

These are, for the most part, fairly lengthy numbers too. Five of the eight tracks comprising the standard version of 13 span out longer than seven minutes with two of them, End of the Beginning and God is Dead? over eight minutes in duration. Clocking in a couple of seconds shy of nine minutes, the latter track would probably have benefitted from being cut in half completely.

Granted, Sabbath have taken us on some epic expeditions before with track length, but too often here, the songs wear out their welcome. Even the shortest track in residence here, the wandering acoustic guitar and bongo enhanced Zeitgeist carries on beyond four and a half minutes.

This particular song, as I made reference to earlier, is very much in the vein of Planet Caravan, and situated pretty much in the dead centre of the album, it serves as a space-travel intermission of sorts, a detour from the austere and riff-heavy doom stylings constituting the rest of the platter.

Following this, the bracket of songs that make up the second half of the album, are solid, if unremarkable, compositions. The fairly mid-paced Age of Reason and the more uptempo charge of Live Forever see the Sabbs taking it up a notch, albeit briefly. Ponderous power and crushing doom sensibilities return for the final two compositions, with Iommi getting to spread wings a little on the loose, raw, harmonica-tinged ‘Damaged Soul’, while things close off with the lyrically dark ‘Dear Father’, where an abusive priest finds himself hunted by a vengeful soul who was a target of his molestations.

Elsewhere, other lyrical explorations (with all lyric writing again handled by bassist Geezer Butler) tackle religious matters, death, black holes and astral wandering, and such cheerful fare. Nothing too extraordinary, nothing too astonishing, but a few interesting social commentaries and observations are in there, and they align with the bleak, ominous music quite nicely. For the most part, Butler’s lyrics are on par with the vast majority of his work over the years, though there are a couple of howlers amongst the more thought-provoking and intelligent lines. That’s been par for the course for the entirety of Black Sabbath’s career, so at least 13 maintains the consistency there.

All in all, you’d probably be drawing from this that I’m not a major fan of 13, and you’d be pretty close to the mark there. Is it a bad album? No, it isn’t. It just isn’t a great album. On the off-chance that you are one of those folks who just so happened to be living under the rocks I referred to earlier, and hadn’t ever heard jackshit by Black Sabbath before, and 13 was your very first experience with the band, well, hell, you couldn’t really be blamed for thinking it was a pretty good piece of work. Which, lyrically and musically (without measuring it against any of their previous output), it is.

In my case though, I grew up with those landmark Sabbath albums, so it’s inevitable comparisons get thrown, even if unintentionally. Sadly, this isn’t quite the swansong album an iconic outfit like Sabbath deserved, it’s more like Rick Rubin’s vision of Sabbath or even some Sabbath tribute band trying to recreate the inimitable sound of the first triumvirate or so records. A case of going out with a whimper instead of a bang.

I’ve no doubt the album has its fans out there, I’m sure it’s garnered an assortment of rave reviews somewhere, and by the same token I’ve a fair idea there are souls out there who take a dimmer view to it than I’ve done, or have far harsher things to say. Personally, I’m largely ambivalent about it, and ultimately, it was a record we didn’t even need.

Nonetheless, Black Sabbath still remain the godfathers of heavy metal, and nothing will ever alter that fact; one fairly vanilla album following a long illustrious career marked by some of the finest platters ever committed to record won’t put much of a dent in their legacy at all.

And if you just so happen to have a friend who doesn’t know the first thing about Black Sabbath, don’t be an asshole and recommend 13 to them as a starting point. A reasonable album it might be, but it is largely forgettable, and in no way is it truly representative of the massive power Black Sabbath were once capable of.

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<![CDATA[“THE DEVIL YOU KNOW” – HEAVEN AND HELL]]>Mon, 13 Nov 2017 00:00:00 GMThttp://gingernutsofhorror.com/summer-of/the-devil-you-know-heaven-and-hell
​BY ANDREW FREUDENBERG
To my mind there have only really been two proper Black Sabbath vocalists. Ian Gillan and Glenn Hughes are two of hard rock’s finest veteran voices; Ray Gillen’s short stint touring with the band was highly impressive; many fans have a soft spot for Tony Martin.  Despite their competence, and in some cases legendary status, these are not the real deal.

It goes without saying that the band made their reputation in the 70’s, with John ‘Ozzy’ Osbourne up front. These were the albums that established them as something different, the albums that arguably crossed the line from proto-metal to actual heavy metal. When Osbourne left in a flurry of acrimony, after two arguably disappointing records, it could so easily have been the end of them. Then came Ronnie James Dio.

After establishing himself with a run of albums with Ritchie Blackmore and Rainbow, the American powerhouse wasn’t an obvious choice to replace the nutter from Brum. Clearly Iommi knew what he was doing though, and the new line up recorded two corking albums back to back. ‘Heaven and Hell’ and ‘Mob Rules’ were clearly a sea change in the Sabbath sound, but carried enough of the old DNA to remain true to the original vision. They gave new life to an old dog, and without them I truly believe that would quite possibly have been the last we heard from Black Sabbath.

Unfortunately animosity set in and Dio left to forge a career on his own terms. On the plus side anybody who saw his solo shows in the 80’s were treated to sets heavy with Rainbow and Sabbath tracks, as well as his formidable early solo records. I was lucky enough to catch both the ‘Holy Diver’ and ‘Sacred Heart’ tours, as well as his two shows at the UK Monsters of Rock festival.

Mind you, having missed the boat with Dio’s original stint with Sabbath, and having missed Ian Gillan’s dates with the band, I finally caught up with Black Sabbath in 1986. Ray Gillen was the singer for these shows and a treat to watch. Sadly he didn’t hang around either and Sabbath’s seemingly eternal state of instability continued.

Dio was back in 1992 for one album, before he fell out with Iommi and Butler again, returning to his solo career. There must still have been something there though, because in 2006 he was back for more. By this point Osbourne had reunited from time to time with his old band mates and it was decided by Iommi, and quite possibly Osbourne’s lawyers, that they would perform and record under the name ‘Heaven and Hell’. Released in 2008, ‘The Devil You Know’ was the last full album to be recorded by that line up.

This is an album that, predictably, is somewhat reminiscent of their previous work. It doesn’t, in my opinion, ever reach the quality of songs that were on either ‘Heaven and Hell’ or ‘The Mob Rules’. It’s still good, its not a lazy album, its just that 28 years and countless hundreds of songs later, the inspiration was clearly not flowing quite so freely.

‘Atom and Evil’ is a solid and stately opening to the album, slightly surprising with its dual tracked vocals on the chorus. ‘Fear’ is almost a spiritual successor to Rainbow’s classic ‘Gates of Babylon’; it starts well but unfortunately loses its shine in the second half.

The album’s single, ‘Bible Black’, has a gentle acoustic beginning which slowly builds to a solid grinding riff. It’s quite enjoyable. It’s followed by the more than decent ‘Double the Pain’ which uses a phased bass line to bring in a traditional Iommi chug. Again, the song has a surprisingly melodic chorus.

The unpromisingly titled ‘Rock’n Roll Angel’ is a disappointment. With a chorus as bad as you might predict, its an insipid lyric and vocal melody stuck over a half baked idea by Iommi. I’m not sure what they were attempting here but it didn’t work.

‘Turn of the Screw’ is much better, tighter and more interesting. It’s with ‘Eating the Cannibals’ though that my ears finally pricked up. We’re back in ‘Neon Knights’ or ‘Turn up the Night’ territory. Admittedly its not as good as either of those songs but its at least in the ball park, with an increased tempo and epic wailing lead guitar from Iommi.

‘Neverwhere’ and ‘Breaking into Heaven’ finish off the album in perfectly serviceable fashion, neither setting any new standards or totally letting the side down. As a farewell it could have been better, but no one knew that’s what it was at the time.

On the 11th of November 2007 I saw Heaven and Hell play in Brighton, England. It wasn’t a fantastic show, nor was it a terrible one. It was good to see them but the energy wasn’t there, although that could be blamed on the venue or simply a bad day.

Two and a half years later I was watching Heaven and Hell play the High Voltage Festival in London’s Victoria Park. Dio was dead, struck down too early by aggressive stomach cancer. This was a tribute show with Glenn Hughes and Jørn Landers taking the great man’s place. Tellingly they only played ‘Bible Black’ from ‘The Devil You Know’, leaning heavily instead on the material recorded more than quarter of a century earlier. Although obviously emotional, it was actually a great show, with Hughes and Landers doing a fantastic job of performing Dio’s material. Of course he would have sung it better, that’s a given, but it was a great send off for a great talent.
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<![CDATA[SUMMER OF SABBATH:  Kevin Bufton IS FORBIDDEN]]>Wed, 08 Nov 2017 06:07:24 GMThttp://gingernutsofhorror.com/summer-of/summer-of-sabbath-kevin-bufton-is-forbidden
Okay, Sabbath fans, enough time has passed – over two decades, by my reckoning – and I think we can admit it now... we all thought this was the end.

Released in 1995, Forbidden was the last studio album from Black Sabbath for 18 years. If you flicked through your well-thumbed copy of The Great Rock Discography (one for the old school fans, there), this was the cut-off point.

It was not a good album to bow out on.

In many ways it is the most experimental album the band ever produced. In a post-grunge world, they try their best to sound contemporary, but they were never a group that thrived on reinvention. Line-ups might change, cultural tastes might evolve, but Sabbath have always sounded like... well... Sabbath.

Here we are treated, if that’s the word (SPOILER: it’s not) to bursts of Tony Martin doing what can only be described as rapping between the choruses of opening track ‘The Illusion of Power’. I say rapping is the only description, because ‘having a nervous breakdown’ is a bit harsh.

‘Get a Grip’ follows more familiar lines, sounding a lot like ‘Zero the Hero’ from the Born Again album, and featuring a blistering mini-solo from Iommi about halfway through.

‘Can’t Get Close Enough’ is a fine song, but like ‘The Illusion of Power’ it doesn’t sound like Sabbath.
This is the problem with the album as a whole. None of the songs are terrible – the band are too seasoned for that – but they suffer from a case of mistaken identity. They all contain traces of that classic Sabbath sound, be it a strident burst of vocals from Martin, a killer riff from Iommi, or a thunderous drum blast from Powell, but somewhere along the way they try to sound like something they’re not.

On one track they sound like Biohazard, on another we hear hints of Alice in Chains. We might get a snatch of Aerosmith-tinged blues rock here, a Maiden-inspired middle-eighth there. Fine bands all, but it leads to a very schizophrenic experience for the dedicated listener. Hell, during ‘Rusty Angels’ you could be forgiven for thinking you’d bought a Bon Jovi album.

Shudder.

Truly, it’s only on ‘Guilty As Hell’ and ‘Kiss of Death’ that they sound like the Sabbath of old. Both tracks are worthy successors to their forebears, neither are justification for sitting through the rest of the album.

So what lead to this sorry state of affairs?

It seems the blame can be laid at the feet of two men: Ernie C and Ozzy Osbourne.

Ernie C, erstwhile of rap-metal monsters Body Count, was the producer for the album, and his contract stated that he had complete control over recording, producing and mixing the album. Black Sabbath were a band infamously protective of their production, as we’ve already discussed during this Summer of Sabbath, so one can only assume that some record company pressure was judiciously applied for them to agree to such a state of affairs.

Doubtless the attempt at sounding contemporary was Ernie’s idea. Certainly it was the result of his work behind the mixing desk. Perhaps he thought he could achieve with Sabbath what Run-D.M.C. had achieved with Aerosmith a decade previous. Or maybe he just wanted to put his own stamp on a band he must have idolised given his performances in Body Count. Who knows?

Not that it would have mattered in the long run. Both Iommi and Martin have stated in interviews that Forbidden was a filler album, knocked out to fulfil contractual obligations for the singer (although Martin wasn’t aware of that at the time).

Yes, if Forbidden sounds like a rushed job, it’s because that’s exactly what it was. Iommi and Ozzy had already been in talks about getting the band back together and plans for a reunion tour were being hatched. For that to happen, they needed a Martin-free zone, and Forbidden was the unfortunate result.

The album was a disaster, both critically and commercially. It was the lowest-peaking album in Sabbath’s history, hitting a lamentable number 71 in the UK charts and not even making it onto the charts Stateside. No tracks were pulled as singles (indeed, one would be hard-pressed to think of a track that would be suitable) and the band that had once been so mighty limped away into the darkness.

Until Ozzy came back... but that’s another story.
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<![CDATA[Steven Shrewsbury IS AT CROSS PURPOSES]]>Thu, 02 Nov 2017 09:12:09 GMThttp://gingernutsofhorror.com/summer-of/steven-shrewsbury-is-at-cross-purposes
Whenever I think of ‘Cross Purposes’, I recall the drum kick off, immediate bass thud and Iommi riff that open the record with I WITNESS. Another from the Tony Martin era of Sabbath, returning after Ronnie Dio’s one off with DEHUMANIZER, CROSS PURPOSES also has Geezer Butler, hanging around to give the work flavor. Vinny Appice left with Ronnie and was replaced by former Rainbow drummer Bobby Rondinelli, who I think did a fair enough job on the skins.
 
Oddly enough, CP isn’t my fave of the Tony Martin era, (that would be HEADLESS CROSS), but it has its moments. I WITNESS is a good track, fast paced and shifting. CROSS OF THORNS is a tad synthetic, a weak stab at the darker side. Yes, the doom looms, but the tone is a bit more smooth than other works.

My personal favorite track is PSYCHOPHOBIA. The rainfall of words and verses, breaks and stomping riffs, are right up there. Is the line “It’s time to kiss the rainbow GOODBYE” a swipe at Dio? We will never know, but one usually has to eat such words in time. If one ever wants to see this song put to disturbing use, go on you tube and see a fan made vid…edited in with the planes crashing into the twin towers at all angles…over and over. I recall my buddies & I rocking to this tune when we went to see Ace Frehley in a tiny club. We all got drunk and pondered how great it would be if Sabbath and KISS reunited with their orginal line ups…but THAT sure would NEVER happen…

I always thought the next track VIRTUAL DEATH was a track that they were saving for Ozzy. Geezer drops a bass intro and the plodding way with the tune would fit. It’s an “okay” song, as are most on here. IMMACULATE DECEPTION changes stride a lot but isn’t as cool as the title suggests. DYING FOR LOVE is the power ballad of it all and typical of metal in early 90s. Again, it’s all right, but nada to write home about. BACK TO EDEN and HAND THAT ROCKS THE CRADLE have good riffs, (hey it IS Tony after all), yet seem to struggle to rise to any level of kick ass. Not bad tracks, just sort of throw aways, typical of many bands at the time…which is sad. CARDINAL SIN as well, and EVIL EYE, while holding a solo by Eddie Van Halen, really misses the mark in my opinion.

I really had higher hopes from such a line-up. It was bad fortunes for Sabbath in the 90s at times. Geezer would depart before the next record. Many thought Sabbath in a holding pattern as a rumored reunion with the original line ups flared. Martin is a great singer, despite the “Dio Lite” labels and Leif Masses production was fine, if muddy in spots.

So, a truly hit & miss affair, CP is worth a listen or two, and ok for hardcore fans. 
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<![CDATA[DEHUMANIZER : BY JASON ARNOPP]]>Sun, 08 Oct 2017 23:00:00 GMThttp://gingernutsofhorror.com/summer-of/dehumanizer-by-jason-arnoppBY JASON ARNOPP​

Depending on how you look at Heaven And Hell, it’s either an astonishing mini LP, or an album that ultimately runs out of steam

 
So, what in the name of Satan’s toast rack makes Dehumanizer my favourite Black Sabbath album?
First of all, I’ve always been much more of a Dio man than an Ozzy man. I appreciate the Double-O, obviously, and really like plenty of his Sabbath and solo career, but Ronnie James Dio always struck more chords with me, in pretty much every way. The first four Dio albums stole my soul, so it was a foregone conclusion that my favourite Sabbath album would be fronted by RTD.

Heaven And Hell, Ronnie’s 1980 debut with Sabbath, is Dehumanizer’s closest competition. And we’re admittedly talking very close. There’s much to commend the following year’s Mob Rules, but Heaven And Hell always had the edge. It packs four solid gold classics in Neon Knights, Children Of The Sea, the title-track and Die Young. The problem with Heaven And Hell, though, is consistency. In the valleys between those undeniably mountainous tunes, lurks the other half of the album: four pedestrian, forgettable or plain dull tracks. I mean, have you heard Walk Away lately? Sweet Jesus.

Depending on how you look at Heaven And Hell, it’s either an astonishing mini LP, or an album that ultimately runs out of steam. Dehumanizer has no such failings. It ends strong, in fact, with its two finest tracks: I and Buried Alive. Not only are these two of the most awesome Sabbath tracks in existence, but they’re two of the finest things Dio ever put his name to. I is a wonderfully malevolent steamroller, with a pleasingly direct chug from guitar lord Tony Iommi. Ronnie rants about being a one-man legion, yelling, “I’ll smash your face in”. Basically, he’s saying he’s the Devil and you’re fucked. You simply cannot get better than that.

Buried Alive must be one of the heaviest things Sabbath ever put their name to. The production is obviously an advantage here, because Iommi and Geezer Butler’s unholy fretboard union just sounds downright bigger and fatter in 1990 than it did in the 70s or 80s. But the riffing is gargantuan full-stop, and coupled with Vinny Appice’s dependably brutal drumming, the whole thing blends together so well. It’s rare to find a song whose verses, bridge and chorus are all superb, but Buried Alive belongs to that privileged club. Just amazing.

So what other delights does Dehumanizer have to offer? For a start, there’s the intensely Sabbathy dirge After All (The Dead). ‘What do you say to the dead?’ Ronnie intones, giving Ozzy a run for his money in the ominous tone stakes. The whole thing’s shot through with mausoleum darkness, which is patently for the good. It’s followed by another corker in the shape of TV Crimes, which showcases Sabbath at full throttle as they hurl sonic stones through the windows of every evangelist on the planet. I very much doubt I’ve heard a faster riff from Iommi, not to mention one which remains super heavy at such extreme velocity.

I’m still not entirely sure what Letters From Earth is about, but it’s an intriguing story and downright tremendous. The moment at the end of the middle-eighth when Ronnie sings, ‘The game is called the end’ is quite, quite wonderful. Master Of Insanity’s title may well have been drawn from a bag full of Stereotypical Sabbath Words, but it’s a spirited and riffy effort, if not one of the album’s strongest. Incidentally, you might notice I’ve skipped the opening Computer God, and that’s because I feel like it might be Dehumanizer’s least excellent thing. Which doesn’t mean it’s not excellent… just less so. I prefer to think of Computer God as a warm-up for the rest of the album.

Time Machine is one of the album’s catchier songs in the traditional sense, and probably also the lightest in tone, which no doubt explains why it was chosen for the Wayne’s World soundtrack. Sins Of The Father delivers further ominous Sabbathery-pokery, with some nice time changes. Lastly, there’s the album’s sole slow track, Too Late. Usually, slow tracks are my cue to hit Forward Skip, but I actually enjoy this one, because it seems to tell a compellingly creepy story about messing with the powers of darkness. As a result, Too Late is not so much up my street as sitting in my study, listening to itself.

The same goes for Dehumanizer as one whole, mighty beast. It’s an album of varied songs, united by their commitment to heaviness and nailing your ears to the wall behind you. An album entirely and rightly deaf to the fundamental changes which were afoot in the music world at the time. An album on which Ronnie James Dio and Black Sabbath are indistinguishable, working together like parts of the same glorious and thunderous machine. You owe it to yourself to get Dehumanized.

About Jason Arnopp 

Jason Arnopp is a novelist and scriptwriter, currently working on the screen adaptation of his novel The Last Days Of Jack Sparks for Ron Howard. His new non-fiction book From The Front Lines Of Rock gathers his favourite interviews he wrote for Kerrang! magazine as a rock journalist. Find him at Twitter (http://www.twitter.com/jasonarnopp) and his website (http://www.jasonarnopp.com)

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<![CDATA[SUMMER OF SABBATH: TYR BY KEVIN G. BUFTON]]>Wed, 04 Oct 2017 23:00:00 GMThttp://gingernutsofhorror.com/summer-of/summer-of-sabbath-tyr-by-kevin-g-buftonKEVIN G. BUFTON

No longer hamstrung by voice-matching another singer’s material, he takes to each song with impressive gusto.

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​Not just my favourite Black Sabbath album, but one of my favourite albums of all time, Tyr never felt like it really belonged in the Sabbath canon. Though hotly denied as such by bassist Neil Murray, it is the closest thing the band have ever released to a concept album. Aside from the commercial rock of ‘Feels Good to Me’, the other tracks share a religious theme which, whilst hardly new ground for Sabbath, had rarely been as cohesive as is here.

Moreover, a good number of the tracks – not to mention the title of the album – have a Nordic feel to them, either musically or lyrically. Make no mistake: this is the Ragnarok of Sabbath albums.

As a young teen with his own Scandinavian roots (not to mention certain theological obsessions that are bound to spring up when you’re raised by a Catholic and an atheist) this was terribly exciting for me. From the choral chanting that introduces the opener ‘Anno Mundi’ to the breakneck bombast of eye-gouging anthem ‘Heaven in Black’ this was the first album I had to replace because I wore the cassette out (sorry, Dad!).

As is standard for the period, it’s the two Tonys who anchor the album. Iommi’s riffs are tight, measured and heavier than a blue whale’s testicles (if you’re interested, that’s a good half-ton apiece... I looked it up). There’s little in the way of experimentation on this album from him, as the whole thing has a certain Wagnerian feel to it, but nowhere does it feel like he’s just running through the motions.

As for Tony Martin, this would have been the first time I’d heard him and, if you read my previous entry for this series, you already know about the platonic man-crush I have for him. The seeds of that were sown with this album. Every track gives him license to set his vocals soaring in a way that The Eternal Idol never did. No longer hamstrung by voice-matching another singer’s material, he takes to each song with impressive gusto.

Whether that’s the sinister ‘The Lawmaker’, the pumping ‘Jerusalem’, the sonorous ‘The Sabbath Stones’ or the melancholic ‘Odin’s Court’, he makes every track his own, and demonstrates his versatility as a frontman, even down to belting out the closest thing to a power ballad that Sabbath have knocked out.
Ah yes, ‘Feels Good to Me’.
 
 

This is a matter that very much divides the Black Sabbath fanbase. Is it a brave and daring change of musical direction from a band that had relied on a certain tone and style, or is it a cynical attempt to produce a potential chart-topper?

The answer, in the opinion of this particular scribe, is a little from Column A and a little from Column B.

There is no doubt that it’s a radio friendly tune. Likewise, one can’t deny that it sticks out like a sore thumb sandwiched between ‘Valhalla’ and ‘Heaven in Black’ but to decry it as selling-out seems a bit harsh for a band that redefined heavy music as we know it.

Personally, I think it’s a belter of a track, a soulful piece of balladry that’s right up there with ‘Love Walked In’, ‘Bringing on the Heartbreak’ and ‘Fucked with a Knife’.
But then, I’m just an old softy at heart.
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<![CDATA[​HEADLESS CROSS BY MARK CASSELL]]>Mon, 02 Oct 2017 23:00:00 GMThttp://gingernutsofhorror.com/summer-of/headless-cross-by-mark-cassellby Mark Cassell

Perhaps if I’d been a little older – not just a 12-year-old-developing-metalhead – I would’ve at least added one more ticket sale to a London show.

 
1989, a year to almost mark the 20th anniversary of Black Sabbath’s inception, and US label Warner Bros and UK label Vertigo dropped them. After recruiting vocalist Tony Martin for their previous release, The Eternal Idol, the band’s future was in serious question.
 
Tony Iommi himself elected to produce their fourteenth studio album, Headless Cross, and it hit the shelves to a frowning audience that was still plugged in to the Ozzy and Dio eras. Don’t get me wrong, with Ozzy there were many fine tunes – now classics, of course – and after that we had Dio who claimed some fine Sabbath territory. But with Martin, and I know some would hate me for saying this, his voice reflects Dio’s. Only cleaner, bringing the band into the 90’s where Grunge was about to leak from our speakers.
 
Among the fans’ lack of enthusiasm, worldwide distribution issues and below-par marketing added to a possible downward spiral. The Headless Cross tour, with supporters Kingdom Come and Silent Rage, was cancelled due to poor ticket sales… after only eight shows.
 
Perhaps if I’d been a little older – not just a 12-year-old-developing-metalhead – I would’ve at least added one more ticket sale to a London show.
 
                                                                      “I believe that Satan lives…” 

It wasn’t until several years later, probably the late-90’s, when I truly appreciated the power of Sabbath. And to this day, I constantly hit the play button for Headless Cross. Of all their albums, it is recognised this has the cheesiest lyrics with direct references to Satan. But it’s all harmless fun, right? After all, I’m a horror author and much of my work turns demonology on its head. To get me in that occult-groove, I’ll often tune in to Sabbath while I write. No matter which era.
 
With a duration of 40:24 Headless Cross contains eight tracks and, back when I nabbed a copy of my dad’s CD, the album fit on one side of a TDK D90. Incidentally, the other side consisted of Sabbath’s follow-up album Tyr (1990).
 
                                                            “Misguided mortals, you’ll burn with me.” 

The album opens with “The Gates of Hell”, a short intro with haunting atmospherics reminiscent of old-school Sabbath… then blasts straight into the title track “Headless Cross”. Newcomer-drummer-boy Cozy Powell stomps with us into a typical Iommi riff, all the while Martin’s vocals borderline power metal. Personally, this track is one of my favourite Sabbath tunes.
 
Next up, “Devil & Daughter” – renamed from “Devil’s Daughter” because a guy called Ozzy wrote a song with the same name. Here, Iommi stuns us with some excellent riffs and astounding soloing. After this, we have “When Death Calls”, one of those tunes with a steady-pace that comes at us in waves; melodic and ferocious, pounding with a superb chorus. Atop this, we have Queen’s Brian May to give us a sneaky solo. Talent all round.
 
“Kill in the Spirit World” takes us halfway through the album and with this track, you can’t help but nod your head. It also has some fine demonic riffage going on. Following this, “Call of the Wild” begins with one of those stuttering drum intros that I’m always fond of – I’ve no idea the technical term for it, but I think it’s cool. Again, this is another that had to be retitled (from “Hero”) because Ozzy already released a track with the same name.
 
To wrap up the album, there are another two great tracks, the kind that belong together; you know, those that somehow complement each other superbly. Both are a powerful finale to an already fantastic album. With “Black Moon”, the two Tonys, along with keyboardist Geoff Nicholls, bassist Laurence Cottle, and drummer Cozy Powell give us a pulsating melody straight out of an unashamed 80’s rock textbook. Finally to sign off, “Nightwing” proves a darker track, which again highlights all the musical talent laid down in a time when Sabbath was supposedly in trouble.
 
“Fear of the Devil.” 
In 2005, the album ranked number 403 in Rock Hard magazine’s book, The 500 Rock and Metal Albums of All Time. For me, it ranks high in my all-time favourite albums. While writing and revising this article for the Summer of Sabbath, I’ve listened to the album over and over and…
 
And, I’ll leave you with the closing verse from the track “Nightwing”:
 
So tell every creature of the night
The kill is around the bend
Listen my friend
Nightwing flies again
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Mark Cassell lives in a rural part of the UK where he often dreams of dystopian futures, peculiar creatures, and flitting shadows. Primarily a horror writer, his steampunk, dark fantasy, and SF stories have featured in numerous anthologies and ezines. His best-selling debut novel THE SHADOW FABRIC is closely followed by the popular short story collection SINISTER STITCHES and are both only a fraction of an expanding mythos of demons, devices, and deceit.
 
Mark’s 2017 release HELL CAT OF THE HOLT further explores the Shadow Fabric mythos with ghosts, a black cat legend, and a gruesome demon.
 
Stepping aside from the supernatural, his dystopian sci-fi collection CHAOS HALO 1.0: APLHA BETA GAMMA KILL is in association with Future Chronicles Photography where he works closely with their models and cosplayers.
 
His work has been compared with British horror authors such as James Herbert, Clive Barker, Dennis Wheatley, and Brian Lumley. Also, his influences spread over to the US where he admits to having been first inspired by Dean Koontz, Stephen King, Dan Simmons, and H P Lovecraft.
 
For more about Mark, visit www.theshadowfabric.co.uk
 
Or sign up for FREE STORIES at www.markcassell.com

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<![CDATA[​SUMMER OF SABBATH: THE ETERNAL IDOL BY KEVIN G. BUFTON]]>Wed, 27 Sep 2017 23:00:00 GMThttp://gingernutsofhorror.com/summer-of/summer-of-sabbath-the-eternal-idol-by-kevin-g-bufton KEVIN G. BUFTON

Ah, Tony Martin: the best singer Sabbath have ever had.
I'll wait for the laughter to subside, shall I?

Well, here we are kids.

After nineteen years, a dozen albums, and a career that scaled the heights and plumbed the depths of both critical and commercial success, we arrive at the thirteenth studio album in the Black Sabbath canon.

Unlucky for some? Perhaps. But for you, the dedicated listener, it’s luckier than a leprechaun wearing a horseshoe truss because finally, after the Ozzy Era, the Dio Era and the frankly confusing Guess Who? Era we get to bask in the radiant splendour of the Tony Martin era.

Ah, Tony Martin: the best singer Sabbath have ever had.

I'll wait for the laughter to subside, shall I?

Oh, sure, you’ve got the icon in Ozzy Osbourne, the horn-throwing legend in Ronnie James Dio and the rock veteran in Ian Gillan, but Martin is something else. He exudes a rightness for the band that is difficult to describe.

Granted, he’s not the showman that Ozzy is. As impressive a set of pipes as he has, he can’t match Dio for strident vocals. He was never going to be on any teenage metalhead’s bedroom wall. Hell, in the promo video for ‘The Shining’ (the first single off this album) he looks likes Robert Palmer auditioning to join The Damned, but his voice... dear Lord.
But I'm getting ahead of myself. There’s a reason Tony Martin joined the band in the first place, and it’s a tale worth telling. Gather around the campfire, kids, and let Uncle Kevin tell you a story...
 

 
When we last left the boys in black, they had just released Seventh Star under the moniker Black Sabbath featuring Tony Iommi. This iteration of the band was fronted by Glenn Hughes of Trapeze and Deep Purple fame.

Following injuries incurred in a fist-fight with the band's production manager, Hughes had to pull out of the resulting tour. This, at least, was Hughes's story at the time. In truth, his health had been deteriorating for a while due to his overindulging in--well--pretty much everything. Food, booze, drugs... you name it. Whilst his backstage injuries may have been the impetus to quit, the man was already in no condition to perform.

His replacement for the tour was Ray Gillen, who would reach semi-notoriety in bands such as Badlands and Raging Slab. He acquitted himself well at the live gigs and was offered the position as Hughes’s full-time replacement. He accepted, and the band entered the studio to record the album we're discussing today: The Eternal Idol.

But wait!

Behind the scenes, things were not going well. With the album recorded and in the bag, a combination of financial burdens, artistic differences, and the general mismanagement and miscommunication which had plagued Sabbath for much of the eighties, caused Gillen and drummer Eric Singer to quit out of sheer frustration.

It was an awkward state of affairs. The album had been recorded, and was waiting to be mixed, edited and produced to the band's satisfaction, only now there was no band. Gillen was gone. Singer was gone. Hughes was still recuperating and was involved in the Phenomena supergroup (for which Gillen also recorded tracks). Bassist Dave Spitz was being nudged out by Bob Daisley who was also writing some of the songs.

Into this tumultuous scene stepped the man of the hour... Tony Martin.

With neither the time nor the resources to re-record the entire album, Martin had a matter of weeks to reconstruct the vocal tracks, as laid down by Gillen. It is a testament both to him and producer Chris Tsangarides that they were able to meet this challenge.

Remember, the rest of the band's instruments had already been laid out: practised, rehearsed, timed and pitched to correspond with then-resident vocalist, Gillen. Now the new boy had to match that backing track exactly, filling the spot left by Gillen so that the scansion of each song worked with the backing track. All the while he was expected to add his unique spin to the material, making it his own.

Martin was a neophyte at this point: The Eternal Idol wasn’t just his first album with Sabbath, but his first album... ever. Think on that for a minute. This monstrous merging of the cover song and the karaoke session would be daunting to a seasoned veteran. Renowned substance-abuser Ozzy couldn't have done it. Pint-sized prima donna Dio wouldn't have done, and Deep Purple warbler Glenn Hughes was in no condition to do it, but this new guy?

Nailed it.

Granted, there are a couple of moments where you can tell something isn’t quite right: ‘Hard Life to Love’ seems to cry out for some of his trademark strident tonsil work, but it’s not to be. ‘Born to Lose’ is another track where he doesn’t sound comfortable with the restraints he’s been set. Then there’s ‘Lost Forever’ which, with the best will in the world, just isn’t a very good song.

The rest of the album is great. From ‘The Shining’ to ‘The Eternal Idol’ (or ‘Some Kind of Woman’ if you’re listening to the deluxe edition of the album), it’s a blast. Tracks like ‘Glory Ride’ and ‘Ancient Warrior’ showcase what Martin would be capable of once the leash was taken off, and if you’ve ever heard them performed live you’ll notice that extra potency in every line, as the band morph the music around Martin’s lead.

It’s fine stuff. Of course, not being an Ozzy or a Dio album, none of the songs ever make it onto any Greatest Hits albums, or career retrospectives, which is a shame. It also makes one wonder what might have been achieved if Martin had come in at the ground floor and been involved in the writing and the composition.

I guess we’ll never know.
 
And what of Ray Gillen’s efforts?

Well, the 2010 deluxe edition I mentioned above comes with the full sessions featuring Gillen on vocals. Naturally it’s a rougher mix, not having been through the spit-and-polish of the studio engineers, but it’s well worth a listen. Gillen’s voice suits the songs perfectly well, as you’d expect. Of course, being more familiar with the ‘official’ Martin recordings, they still sound like cover versions to this listener’s ears.

Who knows the direction the band might have taken with Gillen at the helm? He was by no means a bad singer, but would he have stayed the course like Martin did (at ten years, five studio albums and one official live album, he is the longest serving Sabbath vocalist apart from Ozzy himself)?

Who’s to say? All we know is that Tony Martin took the gig of a lifetime and made the role his own... for a little while.

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<![CDATA[SUMMER OF SABBATH: SEVENTH STAR ( NOT SO MUCH EVIL, YEAH?)]]>Sun, 24 Sep 2017 23:00:00 GMThttp://gingernutsofhorror.com/summer-of/summer-of-sabbath-seventh-star-not-so-much-evil-yeahBy John Boden 

"Don't misunderstand--I'm a metal head and a very open and forgiving one (except when it comes to Def Leppard--seriously guys, give it the fuck up already!?)"


By 1985, Black Sabbath had gone from that sleek black machine, the one that slowly cruised the neighborhoods with an engine rumble like a purring beast, swirled in hell smoke and dark promise--to your Mom's mini-van idling in the parking lot of the local supermarket.

They had circled us like blood-teased sharks for years and now their wear was showing. 

The previous album, Born Again, while a good album was the first in a long line of what many purists consider the downward spiral of this legendary band.  Gone were the signature vocals of Ronnie James Dio, who had himself done the near impossible by stepping in for the original signature vocalist, Ozzy Osbourne.   Seventh Star was about as far removed from classic Sabbath as one can get.  And while the fact it as not originally supposed to be a Black Sabbath album but a "super group."  With Tony Iommi being to sole remaining original member( Geezer and Ward jumped ship soon after Born Again)--(the rest were made up of longtime keyboardist, Geoff Nicholls (formerly of Quartz, great classic hard rock act), Eric Singer (who would eventually be part of the amazing Badlands and come to rest as the drummer of a band called Kiss.  Rounded out by Bassist Dave Spitz (Impelliterri, Great White, White Lion) and vocalist Glenn Hughes.   The finished material sounded so un-Sabbathy that the label basically forced the band to add the byline "Black Sabbath featuring Tony Iommi" so as to lure in long-time fans and smack their excited faces with this lukewarm platter of melodic metal/hard rock radio fodder.

Don't misunderstand--I'm a metal head and a very open and forgiving one (except when it comes to Def Leppard--seriously guys, give it the fuck up already!?)  and this album is great, when viewed as a not-Sabbath album.  I treat it the way I've treated the Ripper Owens-era Judas Priest material or Guns N' Roses "Chinese Democracy"  Great albums, not what is expected or promised.   Anyway...

The songwriting here while not drenched in the devil's rain, or shambling through foggy fields at night, dancing around pagan fires or embracing phantom figures--is solid. But we get songs about love, lost and true. We get power balladry.  We get everything we should want from a mid-80's hard rock record....but we get no real Sabbath. 

The disc opens with "In For The Kill" which flirts with a little sludge to the riffage but not before the smooth clean vocals and production wring any potential monstrosity from it.  Apparently eager to mop up the near spill of  signature style, that is followed by the big "hit" from the album, "No Stranger To Love" which is designed mainly for slow skating at the local rink--all feathered hair and tight Lee jeans.

I honestly, won't break down the rest of the album.  The nine songs present here, while solid melodic tracks with enough guitar meat to count them as metal in some way, are almost too anemic to really recall.  I've owned this disc for years and every time I dig it out I'm always "Oh, yeah, I forgot about this song."  It's good but not memorable.  It's rock but it doesn't really roll.  It says it's Sabbath but it  ain't that fucking Black.
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<![CDATA[SUMMER OF SABBATH: ANDREW Freudenberg GETS BORN AGAIN]]>Tue, 19 Sep 2017 23:00:00 GMThttp://gingernutsofhorror.com/summer-of/summer-of-sabbath-andrew-freudenberg-gets-born-againBY ANDREW FREUDENBERG


Around about 1980 a friend’s elder brother played me Deep Purple’s ‘Machine Head’ album. In the intervening years there have been faster, harder, and arguably better records made, but at that moment it was aural perfection. This was my gateway into a lifelong love of heavy rock’n roll.

I soon figured out that, incredibly, the singer could occasionally be seen on television, injecting some much needed energy into the charts of the time. Having devoured most of Deep Purple’s back catalog, I dived into Gillan’s solo releases. Somehow I even ended up buying the Jesus Christ Superstar soundtrack on which he played the lead role; clearly I was a man obsessed.

My first gig was Gillan’s final tour, promoting ‘Magic’, in 1982. It did not disappoint in any way. (Lead guitar role was taken by Janeck Gers, a name that may be familiar to some). Three years later I finally got to see Ian back where he was meant to be, fronting Deep Purple with a triumphant return performance at Knebworth Park. Again, it was as legendary show as a youthful Purple fan could ever hope for. Somewhere in between those two,(for me major), events, Ian Gillan joined Black Sabbath, recorded ‘Born Again’, and left again after one tour.

I’m not sure why this didn’t make more impact on me at the time. I think I was simply bemused by the whole thing. It seemed weird. Unlike some, I wasn’t appalled or even that surprised by it; after all, you can’t like Deep Purple without becoming used to rotating line ups. It wasn’t as if it was this was the first time Iommi had hired one of Ritchie Blackmore’s cast off vocalists either. It was just one of those things that seemed a little off and I didn’t pay it much attention. The line up only played one gig in the UK, (more on that later), which sadly I didn’t bother making any effort to attend. Some things just don’t click and it was a few years before I even bothered picking up the album.

‘Trashed’ is a more than decent opener, with a chug reminiscent of the Dio era and Gillan laying his stylistic cards on the table from the get go. Immediately though, its clear that there’s something wrong with the production. It lacks bite and punch.

‘Stonehenge’ is an amateurish soundscape unworthy of its own title. ‘Disturbing the Priest’ is an uncomfortable meld of Gillan’s story telling vocals, an 80’s electro-throb and some uninspired Iommi riffs. It’s a forgettable mess.

More over cooked reverb heralds the ‘atmospheric’ introduction to ‘Zero the Hero’, again undeservedly given its own title. Thankfully it’s not long before a fat riff kicks in and it sounds like we may be on to something here. Gillan and Iommi find common ground and this actually sounds like a new direction for Sabbath. Despite being hampered by the ongoing amateurish production, this really isn’t too bad. It’s not fantastic either though, and Iommi’s solo is too long and not that interesting.

A groovy riff fights against the compression squashing the life out of it to introduce ‘Digital Bitch’. The lyrics are hardly worth mentioning, clearly scribbled on the back of a beer mat somewhere, and the chorus fairly laughable in today’s context, but its at least got energy and a little fire.

‘Born Again’ is a slow cruncher in the vein of ‘Heaven and Hell’. Gillan pulls out all the stops and shows why, with the right material, he’s one of the best in the business. This is genuinely good material.

‘Hot Line’ kicks in with a riff that could have fallen off ZZ Top’s ‘Eliminator’. The similarity quickly fades as a clichéd set of riffs underline an appalling lyrical scribble. Dull.

Unfortunately ‘Keep it Warm’ features more dreadful lyrics and another lazy backing track. This just isn’t good or really worthy of listening to.

If there’s one thing I have no ambition to write, it’s a hatchet job on an album by arguably my favorite band, featuring one of my childhood heroes on vocals. This however, is really not worthy of the Black Sabbath name.

To quote Tony Iommi, "To be honest, I didn't like some of the songs on that album—and the production was awful.” Whether the production was due to poor work at the time, or as Mr Iommi claims, some mysterious event between mastering and pressing, its unacceptable. When accompanying some of the worst songs produced by the band, it’s a total non-starter. I think the deluxe CD editon makes some mild audio improvements to the original release, but its barely significant.

One can only guess at why it turned out this way. My guess is a mixture of things. We won’t get a decent explanation for the muddied production. It seems strange that it couldn’t be saved in the mix at a later date. Song writing wise, I just don’t think the rhythm of Gillan’s writing style gels with that of Iommi.

Once the recordings were done, Bill Ward headed back to rehab. Bev Bevan of ELO fame stepped in for a short lived tour, after which Geezer quit the band and Gillan answered the call that neither he nor his bank manager could refuse. All in all, not the most salubrious of episodes in the band’s history. What about this line up as a live act though?

Helpfully the deluxe CD edition of ‘Born Again’ includes their Reading Festival Set, their only UK gig with this line up. The new songs regain some of the energy that the poor album production stole from them. Of course a bad song is a bad song, but these versions are a definite improvement. Gillan does a truly great job with the classics, delivering them with every ounce of his not inconsiderable power. The encore of ‘Smoke on the Water’ Sabbath Style along with ‘Paranoid’ Gillan style is… something else… arguably worth the price of admission alone!

So… come for the album… stay for the bonus disc!
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