The Dio Years was released on 3 Aprilreaching No. Ward was to participate, but dropped out before the tour began due to musical differences with "a couple of the band members" as well as a "contractual dispute". After their only studio album The Devil You Know inDio died after a battle against stomach cancer on 16 May Hosted by former Black Flag vocalist Henry Rollinsthe event featured all four original Sabbath band members.
The reunion was said to feature an appearance at the Download Festivaland a newly recorded studio album by Rubin expected to be released in late We get along great. Everything's really good. I mean, 45 years down the road and we've got a really great album to put out. On 9 Januaryit was announced Iommi had been diagnosed with the early stages of lymphoma which was not expected to impede the group's activity. Because of his cancer diagnosis, work sessions for 13which were supposed to take place in Los AngelesCaliforniawere moved to Iommi's home in England.
Instead of Black Sabbath, the tour would feature Osbourne and a revolving line-up of guest musicians, billed as "Ozzy and Friends. Farrell said this would be Black Sabbath's only American concert in On 15 MayWard posted on his website that "after a final effort to participate in the upcoming Sabbath shows a failure to agree has continued" and that he would not be participating in the reunion shows, but would "remain with an open mind and a position of willingness to negotiate 'signable' terms with Sabbath's representatives in the future.
He further unveiled that drummer Tommy Clufetos was rehearsing with them in England. It was also announced that drummer Brad Wilk of Rage Against the Machine and Audioslave joined in during the recording sessions to complete the drum tracks for the album. In a January interview at NAMMwhich took place at the Anaheim Convention Center in Anaheim, CaliforniaButler stated that 13 was not the final title of the album and it would possibly be changed; however, this turned out not to be the case.
In it, the group stated that they felt excited to work with producer Rubin and emphasized their desire for a "raw" sound. On 4 AprilBlack Sabbath unveiled the cover artwork for Zip commissioned sculptor Spencer Jenkins to create an 8-foot-tall "13" from wicker, which was then set on fire in the Buckinghamshire countryside. The flames were visible for miles. The image was shot by photographer Jonathan Knowles. A behind-the-scenes video, also shot by Jonathan Knowles's team, was released by Zip Design, showing the numbers' construction.
Prior to the album's release, Black Sabbath embarked on their first tour of Australia initially kicking off in New Zealand since in April and May The first single, " God Is Dead? On Metacriticit has a score of 72 out ofbased on 32 reviews.
However, 13 has been criticised for having compromised sound quality, due to an overly compressed dynamic rangeduring a process called peak limiting, which leads to audible distortion.
Jon Hadusek of Consequence of Sound said of the production, "Rubin Otherwise well-recorded songs are blemished, an affliction all too pervasive in the modern music industry". Iommi's guitar tone planes outward, leaving very little space, and the drums stay high and present in the mix. Your ears aren't given room to breathe". The album's lead single " God Is Dead? It reached No. It is the band's first album to top the UK chart since Paranoid With a gap of nearly 43 years, it beat the previous record held by Bob Dylanwho released his first chart topping album, Together Through Lifesince New Morning Osbourne was said to be "in shock" at the album's success, remarking that the band has "never had a record climb the charts so fast" before.
Osbourne said, "There have been so many amazing highlights in our long career. To finally have our first 1 album in the U. In its second week of release, the album fell to No. Aforementioned lead single "God Is Dead? For example, the track hit the 26 spot on the Billboard top rock songs chart.
From Wikipedia, the free encyclopedia. Black Sabbath. Heavy metal doom metal. Retrieved 19 May Retrieved 28 October Retrieved 17 April Guitar World. Archived from the original on 15 March Retrieved 13 March Retrieved 12 January Lanham, MD: Rowman and Littlefield. Rovi Corporation. Retrieved 13 January Rolling Stone. Wenner Media. This line-up also toured Australian and New Zealand pubs and clubs for more than three months in and for a similar period again in Singer Paul Mario Day ended up marrying the band's Australian tour guide and relocating downunder.
He continued with Sweet commuting back and forth to Europe for the group's tours until this proved to be too cumbersome. He departed in late As McNulty moved into the front man spot, Jeff Brown came in to take over bass early in Lanzon too went back and forth between Sweet and Uriah Heep during before Heep's schedule grew too busy.
Tucker departed after a show in LochauAustriaon 5 May He later was diagnosed with a rare form of leukaemia. They recorded an album during this period, simply titled A. Before the band embarked on the supporting tour for A inBodo left and Bisland returned as permanent percussionist. Scott changed the band's name to 'Andy Scott's Sweet' after Tucker's departure but truncated it to simply 'The Sweet' once again after Tucker's death in Mal McNultynow lead vocalist, departed inthough he would return briefly that year to fill in for Jeff Brown on bass as he would again in as lead singer for a few dates while Rocky Newton subbed on bass.
Sweet's former keyboard men Gary Moberley and Ian Gibbons also did fill-in jaunts with the group that year, as did Chris Goulstone. Chad Brown ex- Lionheart ; no relation to Jeff was the new front man. Glitz Blitz and Hitza new studio album of re-recorded Sweet hits, was released during this period. In Mann left to take a job in television and Gibbons came back for a short time before Steve Grant ex- The Animals became the permanent keyboardist. When Chad Brown quit in after developing a throat infection, Jeff Brown assumed lead vocals and bass duties.
After this, the band was stable again for the next five years. The mids would bring further confusing shake-ups and rotations. Ian Gibbons came back for a third stint as fill-in keyboardist in June for a gig in the Faroe Islands. O'Hora decided to split to take a teaching job in late Tony Mills ex- Shy was slated to be Sweet's new singer in early but failed to work out and left after six shows in Denmark. The line-up then consisted of Scott, Bisland, Grant and Lincoln.
March saw the U. In the group played in Germany, Belgium, Austria and Italy. The tour was called the 'Sweet Fanny Adams Tour'. In March and AprilScott was absent from a couple of gigs due to ill health and Martin Mickels stood in. Scott revealed later that he had been diagnosed with prostate cancer and was treated at the Bristol Royal Infirmary.
After a course of treatment and rest, he was back to full touring fitness. In the band played at venues in Europe and back at Bilston in October. Also inTony O'Hora came back to the group, this time as keyboardist, after Grant departed.
In March the band released a new album New York Connection. Recorded in England, it comprised 11 cover versions, including the single "Join Together" and one revamped original recording; the B-side "New York Connection".
Shows in PerthAdelaideHobartGeelongMelbourne and Sydney featured tracks from the new album for the first time. In June it was revealed that the band were going on an extensive tour of the UK in late and that this tour would probably be their last.
For the summer tour dates, Paul Manzi returned to sub for Peter Lincoln who left this online message to the fans: "There have been a few rumours going around this weekend, so.
The short explanation for my absence is that I need to rest my voice for a few weeks. I look forward to being back on stage very soon. Pete Lincoln duly resumed his role in the band and they continued with extensive live dates, known as the "Finale" tour in Germany.
In Brian Connolly formed a new version of the Sweet without any of the other original members. His most successful concerts were in West Germany, before and after reunification.
DuringConnolly met up again with Frank Torpey. Torpey later explained in interviews Connolly was trying to get a German recording deal. The two got on very well and Torpey subsequently invited Connolly to go into the recording studio with him, as an informal project.
After much trepidation, Connolly turned up and the track "Sharontina" was recorded. This recording would not be released untilappearing on Frank Torpey's album Sweeter. By Julyplans were made for Connolly and his band to tour Australia in November. During the long flight to Australia, Connolly's health had suffered and he was hospitalised in Adelaide Hospital, allegedly for dehydration and related problems.
The rest of the band played a show in Adelaide without him. After being released from the hospital, Connolly joined the other band members in Melbourne for a gig at the Pier Hotel, in Frankston. After several other shows, including one at the Dingley Powerhouse, Connolly and his band played a final date at Melbourne's Greek Theatre.
It was felt Connolly's health was sufficient reason for the tour not to be extended, and some of the planned dates were abandoned. During the early s, Connolly played the European "oldies" circuit and occasional outdoor festivals in Europe with his band.
On 22 Marcha heavy duty tape recorder was stolen from the band's van whilst at a gig in the Bristol Hippodrome with Mud. It contained demos of four new songs, totalling about 20 mixes. Legal problems were going on in the background over the use of the Sweet name between Connolly and Andy Scott. Both parties agreed to distinguish their group's names to help promoters and fans. InConnolly and his band played in Dubai.
He appeared at the Galleria Theatre, Hyatt Regency. He also performed in Bahrain. By this time Connolly had healed the differences with Steve Priest and Mick Tucker, and was invited to the wedding of Priest's eldest daughter, Lisa. At the private function, for which Priest specially flew back to England, Priest and Connolly performed together.
InConnolly released a new album entitled Let's Go. His partner Jean, whom he had met a few years earlier, gave birth to a son. Connolly also performed in Switzerland that year. On 2 November British TV Network Channel 4 aired a programme Don't Leave Me This Waywhich examined Connolly's time as a pop star with the Sweet, the subsequent decline in the band's popularity, and its impact on Connolly and the other band members.
The show revealed Connolly's ill health but also that he was continuing with his concert dates at Butlins. Connolly and his band had appeared at Butlins a number of times on tour during the early s. He enlisted a guitarist Stuart Smith and L. Front-man and vocalist Joe Retta was brought in to round out the line-up.
After an initial appearance on L. The band spent the next several months playing festivals and gigs throughout the U. In Januarythe Sweet presented at the concert industry's Pollstar Awards, and also played a short set at the Nokia Theatre where the event was held, marking the first time in the ceremony's history that a band performed at the show. In addition to local gigs at the House of Blues on L. The CD, which was first sold at shows and via the band's on-line store, was released worldwide in an exclusive deal with Amazon.
On 11 Novemberit was announced that in May "Steve Priest's Sweet" had been booked to perform at a handful of European dates, but the gigs ultimately had to be cancelled in late January after it was learned that one of the promoters was a suspected swindler wanted by British law enforcement officials.
As of Februaryfans who purchased pre-sale tickets were still in the process of working through the administrative channels with PayPal and various banks and credit card issuers in order to try to reclaim their funds. The band toured South America along with Journey during March The band and their European fans then also got re-united quicker than thought, when the band got booked by a befriended female Belgian promoter.
After more than 30 years, Steve Priest got a warm welcome back in Album). Tour dates played in summer included Riverfest in Watertown, Wisconsinthe St. The band made some rare appearances on the U. Singer Joe Retta was unavailable for these dates due to a scheduling conflict, so Tribe of Gypsies frontman Chas West, who has played with Jason Bonham 's band and has experience subbing in such well-known bands as ForeignerLynch Mob and Diamond Headstepped in to man the microphone for a series of shows in New York, New Jersey and Maryland.
On 27 AugustSteve Priest announced on the band's Facebook page that guitarist Mitch Perry had been tapped for the guitar slot. Recently known as the host for local show "Ultimate Jam Night. Steve Priest was asked to join Tucker and Scott for the Australian tour, but declined at the last moment. As he remembers: "I met them at the airport and Andy and Mick came off the plane. I said, 'Where's Brian?
Then this little old man hobbled towards us. He was shaking, Album), and had a ghostly white face. I thought, 'Oh, Jesus Christ. Consequently, the reunion attempt was aborted. In this line-up was again reunited for the promotion of a music documentary entitled Sweet's Ballroom Blitz. This UK video release, which contained UK television performances from the s and current-day interviews, was released at Tower Records, London.
I actually quite like the chorus, though. Both Iommi's riff underneath it, and Ozzy's desperate calling get stuck in my head when I listen, so they certainly accomplished that mission.
But nine minutes long, guys? Come on. Have mercy. The quicker riff at the end of the song is very, very typical, basic Sabbath. Nothing about "God is Dead? It should have been 5 minutes tops. As decent as I think a lot of sections of it are, there is just no way it can hold my interest and attention for 9 minutes. The closer "Dear Father" is very much similar to everything that's wrong with "God is Dead? Another inflated 7 minute song that can't justify that kind of length.
Iommi's riffs on this track are far, far from anything special from him. Ozzy's vocals are whiny; especially on the chorus. A positive for this song is that Geezer is really showing off his chops when the song speeds up.
In general, the quicker paced segment of the song in the middle tries REALLY hard to pick the energy up, and it comes close to working, but just misses the mark. Once again, it's a good enough section to make you want to listen to other Ozzy era material, but not good enough to stand alone. It doesn't last very long either, before returning to the same monotonous verse parts it started with.
It's as dull and bland as Sabbath gets. The track before, "Damaged Soul," is definitely the worst the album has to offer for me. Once again, this is an attempt by the band to be super bluesy. The main riff and melodies definitely have a swing to them, so it's better in that respect than "Sick and Tired" off "Forbidden" was, but yet again, it has nowhere to go with an eight minute inflated run time.
They even try to add a harmonica section as if to try and call back to "The Wizard. You hear the first minute, you've Sweet Thirteen - Lead Into Gold - Age Of Reason (CD the entire eight minutes minus some very noodling and uninspired solos.
This one is just such a waste of time baring Geezer, who once again is the only saving grace for the song. There are a few tracks on the record I enjoy very much, though. It has a powerful riff coming from Iommi that Geezer matches nicely. Ozzy is actually really getting into this song, and he's able to dial back and push forward variations of energy and emotion exactly as they're needed. The whole song does that very well to match, too.
The transitions to the clean segments from Iommi give the song breathing room and thinking time that's needed to let the theme of the song sink in, Sweet Thirteen - Lead Into Gold - Age Of Reason (CD.
I also quite like "Zeitgeist" a good bit. Despite the fact that it's mimicking "Planet Caravan" quite clearly, I actually like "Zeitgeist" a lot more than the song it copies. Iommi's acoustic part sets a really nice stage, and I actually think Ozzy brings out nice and extremely fitting vocal melodies for the parts, which I don't think "Planet Caravan" had.
Geezer is giving periodic but spectacular bass work to give the tune some depth and life. Iommi's closing solo is also a very beautiful one. All in all, "Zeitgeist" is the track that I feel is undeservingly passed over the most from " It's very easy to tell there were a lot of people in the kitchen cooking this record up besides the three members of Black Sabbath. There are absolutely elements of the record to enjoy here, but those elements are bogged down by an aged Ozzy, bloated songwriting, and rehashed material.
I think there's enough here for Sabbath fans to give this album a listen and maybe cherry pick a song or two, but it's a real shame that Black Sabbath's legendary book closes with such a soulless cash grab of an album.
Who wouldn't have seen it coming? Black Sabbath was a thing of the past, as most of their best albums were concentrated heavily in the early-to-mid s, with a few gems sprinkled sparsely throughout the remainder of their career.
Yet after eighteen years without releasing an album, Tony Iommi reunited with Geezer Butler and Ozzy for one last hurrah. The year wasand the album was titled Could not the forefathers of all metal be slightly more creative? Apparently not. The first problem with this album is the band's inability to change. Yes, they are most respected for their earlier sound; but Ozzy Osbourne had departed as vocalist in and the following series of albums wildly branched off from what seemed to be the group's original intent.
In terms of what metal had to offer in the late '70s and early '80s, Osbourne's solo project was nearly on the total opposite side of the spectrum from his first few albums with Black Sabbath.
So the fact that they would reunite only to record what sounds like a bad attempt at a second Master of Reality is disappointing at best. Were Iommi and Butler the chief songwriters of the band unaware that an immeasurable quantity of bands had already mimicked, and occasionally even improved upon, their sound? It appears they were completely oblivious to the further development and progression of the doom metal genre after they exited its spotlight.
Many of the riffs here are not really ripped straight from their own early discography but were undoubtedly used countless times by other, more recent bands. Next issue: The overall sound of the album. The guitars sound fake, for starters. I don't know if Iommi was playing through a simulated amp or not, but it sure sounds like it.
They have an unusually twangy sound, with an annoying emphasis on the high end. And Ozzy I think he's auto-tuned, to tell the truth. He's way too on-key and precise for someone that can't maintain his voice for an entire concert. The vocals all over 13 have this odd robotic effect, giving the whole thing away.
The riffs are boring and uncreative, and each one is repeated far too many times. Trying harder than ever to maintain a slow tempo and a doomy atmosphere, Black Sabbath created an album of eight songs with virtually none that really are distinguishable from the others; the exception would be the quiet and solemn yet still not fantastic "Zeitgeist," which seems to be an homage to earlier works like "Planet Caravan.
I would not call 13 a good album, nor would I recommend it for nearly any reason. In fact, I think Black Sabbath's legacy would have done just as well without such an album.
The riffs come off as pretentious and contrived after so long, and the digital enhancement does no favors to the legendary band's sound. Overall, it's a throwaway with only a few worthwhile moments, and not even one fully great song.
It is completely unpleasant to me writing this review. First of all, because I made a strong statement myself: Never to review Black Sabbath before reviewing at least albums.
I don't know why I took that stand, but anyway. As I went to the record-store, I found this thing and the poor impression it left me forced to break that status quo. This line-up features three of our all-time favourite guys doing their metal thing: Uncle Ozzy, that non-gifted singer but with such charm and gusto for the stoner stuff.
Tony Iommi, the man himself of metal and Geezer the Beer Wizard Butler, an underated bassist, as heavy as your sexy sister listening to Coldplay while having sex with that nasty boyfriend of hers. Yeah, a total badass Mr. Butler is: a genius. But among those three major names, a dude was added to parasite the sacred cow from inside out and weakening the whole digestive system of the organism: Brad Wilk.
Hey, don't you lie on us, we all know that this guy is actually Angelo Sasso, that nice friend of our Rock and Rolf uncle, the mythic drummer made of transistors and energized by electromagnetic impulses. Now, you may believe that he was a real human being, with flesh, bones and blood. I can say to you "that's ok, if you think someone with flesh and bones can be so DEAD while playing the drums in Black Sabbath".
God bless Vinny Appice and Bill Ward, to say the least, we are terribly sorry for this. First of all, I think there is a strong agreement that Dio was far better in the vocals than Ozzy.
Yes, right. But we all missed the classical growling style of uncle Oz doing his stuff a-la-early doom. Sabbath Bloody Sabbath comes strong in our minds, we fall into that and we play joyful stuff on and on. Lots of black magic here, there, everywhere. The guys from Birmingham were just simply more than what we could believe. Now, we fall into this trap named "13" -add the albums made by Ozzy with those by Dio, including "The Devil You Know" and you get a number- and our face plunges down to the floor.
What is it? Was it this for real, or just a crazy dream? That sameDeep Purple, the other band that created heavy metal, released its album "Now What?! Despite of that, the guys led by Morse yeah, Steve Morse, because he was the lead in that album, finally they forgot about Blackmore manage to create an album which chooses to be within the first category.
Reinvention, with a feeling of deep respect with the ancent and forgone glory days. But something of its own, with a pure essence and magic. With an own personality. Somehow, a great album of "the other band that created metal" went completely unnoticed by the metal audience. Only my review there, after several weeks of release.
Black Sabbath has chosen the second way of "harvesting from the past". The coward way. And I really hate to say that, since Tony Iommi is a god for me, I have a picture of him, in the 80's, with his guitar, sticked to the main wall of my bedroom, alongside my poster of Ritchie Blackmore. But yes, they chose the "coward" way, the second.
With Ozzy, completely out of shape for singing he isn't precisely the most gifted vocal performer but at least, in his glory days, could manage to be in tone, in the line and Angelo Sasso playing the drums here I refuse to believe there was a human drumming here, it was a machine or they borrowed from the nether-realm Running Wild's legendary boythere was not much to expect.
Only Iommi could have saved this, but get this: instead of punching us in the face with his riffs, he keeps on looting and faking everything he could from his albums in the 70's. Yeah, you can say "well, many people does that kind of things, even Iommi can Iommi, the metal god himself, doing self plagiarism!
I thought I would have died before seeing -or listening, Album) matter fact- that. One can think about many theories here. Maybe Dio put a spell on Iommi before his death, maybe Tony is just trying to pull our strings as much as possible to see how loyal we are to his music.
Maybe being close to someone who was so close to Lars Ulrich can infect you with laxness of creativity, maybe Rubin itself injected into Iommi's blood while he was sleeping some scar tissues of Hammett, making our favourite guitar-riffer losing his power.
Maybe this is a conspiracy led by that zionist Digital Bitch that turned Ozzy into her drone But I think about this possibility and in my humble opinion, is the most logical one: maybe they just went into the studio for the total sake of money-making and with no clue, not even a hint on how to do a new album.
Therefore, they did the basic: they went the coward way, imitating what they have done before, doing it intentionally kinda-atmospheric dark and throwing it to the sales market to get the fresh coins over the table. Yeah, that's it. They just entered the studio, they just copied a couple of things from a long time ago and there you go: RIAA Platinum.
To talk about the songs is to inflict ourselves more pain than what is needed. But we should? Anyway, let's just start From the very first second, when I heard the single "God is Dead", I detected some evil -and I'm not talking about Lucifer, that's our friend- lurking into the magic realms of the Black Sabbath.
Something was just so tame, so squared and fitted to sound this way. Too flat and simple. Of course, those chords at the beginning are so doooooooooom, so daaaaaaaark, so mooooooooody. Yes, pal. And so boring. So "I've heard this thing before but way more gutsy". Then, the blast: OMG Yeah, that's what I thought. Are we listening something from BS? Well, this single almost blew my mind away, in a bad way. Ozzy singing this, with no passion, no magic After that impression, I cherished myself with a thought: "no, it's just an illusion, like everything in human reality.
Tony is playing tricks with our minds, as usual". Well, it wasn't an ilussion: the album just gets worst by every listen you give to it. In every aspect, yeah, every one. It has nothing new, it has nothing mystic nor esoteric there. It's plain plagiarism but with 40 years of decadence.
And no magic moment from Iommi, only Geezer being solid from behind. And Angelo Sasso, of course, pure magic this guy! I closed my eyes and my ears for a moment. But I was starting to listen "Loner" and some hope slided in my mind. Maybe if we can forget Ozzy and his miserable non-singing here and maybe if Angelo Sasso was more erratic, more human, this piece could have evolved in something respectable.
But no. The self-plagiarism is way too obvious here and Iommi just can't excite us enough with a timid solo, that's pretty much of it. And, get this, I'm saying that this song is one of the good ones of the album!
So, this album is crap, no doubt about it. We all heard about "Planet Caravan", about "Stonehenge" and some other pieces like "Zeitgeist" before, in BS's large catalog. Well, this song is not entirely wrong in the strict sense of "reaching your head". It does, it goes well.
But lacks the feeling, the thing goes way too one-sided, linear, single-functional. The song is enjoyable, of course, if we forget that it was written by Iommi and friends.
You can even play this in a night at a beach in Santa Monica or Biarritz, if you are in Europe. Or in Copacabana. Light a fire, get your guitar, sing along some pretty ladies and they will admire your talent, they'll say to you "oh, that's such a lovely song, is it from Bruno Mars?
You loser, Sabbath has balls, this thing is from Bruno Mars". Sasso tries to turn himself into a real entient for a moment, when "Age of Reason" starts. Geezer Butler does the magic later, the thing climbs some hills and this song actually rocks. But, hey, when you take a deeper listen here, you figure out that our drummer keeps on doing the same thing for about seven minutes, excluding the necessary shifting moments in the bridges and in the solo, if we can call that a solo, coming from Iommi.
In the slow moment of the song, Metallica's shadow appears again But suddenly, the thing shifts a little bit and returns to the Sasso pattern.
Iommi tries to save what was a promising song in his last solo, he achieves some points, but everything goes hollow again, there is no magic here. I'm not listening to Iommi and that's painful. There are lots of good ideas in the mood of classic doom. But just without balls, without the courage needed to explore them all and getting an answer. And Ozzy gets more and more annoying as the song goes by.
Iommi tries hard to be Iommi, but he can't. Or he just don't want to? Oh, please, ged rid of Ozzy NOW. And of Angelo Sasso. Have you heard about this song of Metallica: "2x4" in the Load album? Take a listen and compare it with some parts of "Live Forever". In the former, Ozzy also does better, at least he sticks into the tone and drives the lyrics to a respectable end, while surrounded by Iommi's solo, by far the finest here -without being impressive.
That harmonica also brings to us, at least once in this crap of an album, some fond and magic memories The guitar solo tries hard and for a moment, you say loud and clear "hey, this is Iommi". The doomy atmosphere is strong and sounds natural, not "forced", comes along the beat.
Does just great, good. Regular, acceptable. And being "regular and acceptable" is unacceptable in Black Sabbath. In the latter, Sabbath finally reminds how to full-throttle the thing. It is not close of being a masterpiece, but gets somehow close. After a long torture, this couple of songs gives to us some final and little rejoice. And a rainy environment I just can't say anymore. That's enough for me writing about the songs in this album.
The only player up to his responsablity here was Geezer. Ozzy just Can't be fixed. Iommi wasn't Iommi and Angelo Sasso is a legend as this Sabbath drummer will become one, believe me. But Mr. Butler stood tall, doing some nasty things with his bass. Listen to "Loner" for instance. It may trick on you with that bluesy rythm, but Geezer is going way beyond there.
Take a deep listen to "Age of Reason" and "Dear Father" and you will find a glorious Geezer doin' his thing and doing it right. As it should, in a BS album. Geezer Butler, such a good chap. Oh god, even the quality sound production just makes this thing worst. And remember, ladies, Rick Rubin was a good pal of those guys in Metallica, so nothing good can be taken from his influence. Enough said. Anyway, for finishing this painful review: if you like and appreciate the ballsy way of looking through the past but with a macho attitude, go and get the nice album released by Deep Purple this same year have you heard of it?
Maybe not that metal, but much more brave than this coward and inspiration-less thing, created for the pure sake of sacking and plundering our precious bodily fluids and money. And if this is the end of Black Sabbath, what a sad finish I hope they'll vindicate themselves.
After 18 years — most of it out of the spotlight — Black Sabbath was reunited again! The metal community was anxiously waiting for a new Sabbath album, specially after their last effort with Forbiddenundoubtedly the worst album of any incarnation of the band.
But the first disappointment came with the news of the exclusion of Bill Ward, the original drummer of the group. The fact is Bill was out, and Sabbath needed a drummer to do the work. The line-up for 13 was complete. Anyone that listens to the album, will be sure of one thing: this is Black Sabbath. Iommi's slow and heavy riffs are there, Geezer's lyrics and bass are there, Ozzy's surprisingly good voice is there.
But something is missing. The album sounds. Listening to the first songs will make any fan realize that a lot of them are identical to songs the band released in the 70's. Most of the songs on 13 have riffs or guitar parts that reminds you, or are even identical to parts of songs like Black SabbathN. BPlanet CaravanCornucopiaand others. The main riff on Loner is practically identical to N.
All the classical moments of Iommi's guitar playing are there, but it just sounds like a repetition of what the band did in the past. It's too simple for the evolution of Tony's guitar playing over the years. As said before, Ozzy's voice is particularly good on this album. The vocalist had struggled with drug problems and eventually voice problems over his solo career, but at this venture he surely made a better job than usual. The drums, on the other hand, sound too bland for a record from a band like Sabbath.
There's not a single highlight from Mr. Wilk's work. Bill Ward surely is missing on this album. The excellent point on this album are the lyrics though. The apocalyptic atmosphere is particularly exciting, and the inspiration from Nietzsche on God is Dead has brought some attention Sweet Thirteen - Lead Into Gold - Age Of Reason (CD the complexity of Butler's writing, as other songs are very exciting as well: most of the lyrical content in the album has philosophical questions about the future or the end of the human race, the robotization and sadness of post-modern life, and of course.
But all this financial recognition didn't make it better for the listener. The band embarked on a world tour to promote the record, the last on their career, but fans are undoubtedly wishing for more. This is not the way we want to remember the last Sabbath. Feelings of nostalgia are normal for most people, its the consequence of having a functional memory and remembering happier times.
Its no small coincidence then that bands sometimes aim to return to the past, either in an attempt to reconnect with themselves or perhaps a fanbase they've seemingly drifted away from. While sometimes looked upon with negative connotations, sentimentality tied to the past is a fairly normal thing that pretty much every person does in some form or fashion.
This all said, is it any real surprise that 13 turned out like it did? While some of us were hoping for a triumphant return to the grandoise works of very early 70's Sabbath, it's not the least bit shocking that a reformed Ozzy led Sabbath took the route they did. With the unfortunate passing of Ronnie James Dio and subsequent end to the Heaven and Hell outfit, eyes were turned to Osbourne to lead the Birmingham foursome once again.
While Bill Ward would be sitting out this go around, Ozzy would be returning to the studio with Sabbath thirty-five years after his goodbye in Never Say Die. Geezer Butler would also be tagging along, his first appearance since Cross Purposes way back in This out of the way, 13 is really nothing more than a tribute to the past that edges dangerously close to self-plagiarism.
Once again, this is hardly surprising considering how long its been since a Sabbath studio effort, let alone one to feature its most iconic frontman. As you might expect, 13 charges back to the first two Sabbath records in the self-titled and Paranoid.
It borrows that free flowing, wandering character that the self-titled had while maintaining a certain murky edge associated with that album. It's probably no small coincidence that Loner sounds shockingly similar to N. Damaged Soul could have easily fit on the self-titled album minus the huge differences in sound quality, though that same descriptor could fit most any song here.
To an extent, this is more than expected and even satisfactory. Despite his age and tendency to bungle on his own studio efforts, Ozzy Osbourne sounds pretty decent here, even strong at times. Tony Iommi is not himself with his riffs and solos when compared to his more glorious days in the 's to early 's, but still very impressive here. Geezer Butler also shines, perhaps more so than anyone else, with some memorable bass work. Brad Wilk from Rage Against The Machine is mostly forgettable, but considering he was hired as a stand-in for Bill Ward, I suppose that is to be expected.
I could go on to bring up the obligatory complaining that the production sucks, effectively neutering any punch this album could have had, but I'll decline. Considering Rick Rubin was involved, its slightly better than I had imagined. At least the drums are less obnoxious than they were on Death Magnetic, so we count our blessings where we can and oddly enough the mix does not really sound that bad when I take the time to really think about it.
Its not hard to listen to this album and feel a tad disappointed. Even with their age in mind, Black Sabbath had always been an evolutionary group never sticking in one place for too long.
To hear them revert back to their roots seems jarring in a way, almost as if the band themselves have zero idea what to do except do whatever people expect them to. That's definitely not a good sign, as even the band's lesser efforts of the past like Born Again and Forbidden weren't deliberately trying to ape the past. This album is basically trying to remind the world of what Sabbath once was, way back before anyone really knew what metal music even was supposed to be.
This makes 13 a decent but ultimately unnecessary record. I guess this album surpassed my expectations. Grant it, I didn't expect very much from this release. I was prepped for a great, big heaping of uninspired heavy metal laced with Ozzy's signature nasal cavity delivery. But could you blame me for thinking that? They've been using the last 20 years to play reunion concerts with a senile-looking frontman.
The band didn't seem interested in writing new music. I didn't think they had it in them anymore. Tony, Geezer, and Ozzy are 3 arthritic old men who've been worn out by years of touring, drug abuse, and bathing in money. What a fool I was to think that. Not only did this album surpass my expectations, but it turned out to be excellent. Hell, I'd go ahead and consider it one of the best heavy metal albums of To be fair, it didn't have much competition.
I approached the first track like Lila Crane at the end of Psycho; Dreading with uncertainty. However, the song erupted with a dark, sense of doom accompanying the instrumentation.
Iommi works his cunning guitar wizardry to create an exceptionally plodding, heavy riff. A sense of relief came over me before the instrumentation cut out and left the verses bare prepared for Ozzy to surely ruin this song. I anticipated for the worst, but found my entangled pessimism unraveled as Ozzy delivers a surprisingly great vocal performance.
Okay, he's no Rob Halford, but he's not doing his typical delivery where he over pronounces each individual word Well, at least he cleared his congestion. To be honest, his delivery adds a chilling element to the song. It emphasizes the down-tempo pace to build the overall atmosphere. Despite that, it doesn't make the song feel like a tortuous crawl which is remarkable considering the length. It's eight minutes yet it only feels like four. Not only that, but his vocals also places importance to the lyrics.
The song details how mankind is just made up of mechanical beings devoid of any emotion trapped inside human bodies. The only way one can escape this fate is to begin a new life to lead and not be bogged down by one's past identity. Not the most original message, but certainly serviceable. Although, the lyrics can use some improvement. There's a bit too many "yeah" and "okay" towards the end of the song for my liking.
Besides that, I'd consider this to be the best track of the album. It's certainly not downhill from there, though. The lead single of the album, "God is Dead? As the protagonist probably Satan witnesses the evil that plagues earth, he begs to question of there being a God to stop this wickedness. Instead of forcing a narrative down the listener's throat, it ends on an ambivalent note. I honestly appreciate that. The whole album isn't entirely slow, doom metal tracks. Songs like "Live Forever" and "Loner" pick up the tempo and allows Iommi's abilities to shine.
He manages to arrange some jaw-dropping solos on both of those tracks. The best part is that those songs are not entirely dedicated to the art of shredding. You know, I haven't mentioned the new drummer yet. That's because he isn't really worth mentioning. Brad Wilk ruins the classic lineup for his inclusion as the drummer. He's component on the entire album, but you won't leave this going, "Wow, those drum fills were absolutely wonderful.
That definitely doesn't help on songs like "Age of Reason" which makes the drums sound almost time-aligned. He does display his talents on songs like "Dear Father", so you can't claim that he's a complete hack. Still, you can't help but wish for Bill Ward to have played on this instead Overall, I strongly recommend this album. It's dark, heavy tone and masterful songwriting makes this album a standout amongst Black Sabbath's discography. It's a long album yet it keeps you interested, so it feels like the appropriate length.
There are several small issues with this album, though. I can't say Rick Rubin did a spectacular job producing the album. While I don't mind the loudness of it, I take issue with the use of certain vocal effects on songs like "God is Dead? However, those are honestly nitpicky. The album deserves to be heralded as the great comeback that it really is. I still have one question, though. With the general assumption being that this is the last Black Sabbath record, Is this really the high note the band wants to end on?
Bonus: The deluxe edition came with 3 additional tracks with 2 of them being great. As soon as you processed that, the track immediately goes all guns blazing and takes you along with it. The main riff of this songs reminds of Sabbath around the Sabotage era with its bombast and mellow verses while keeping a fast, steady tempo. The main riff will drive you insane with how catchy it is. It sticks in your head and makes sure you won't forget it.
The other half of the song goes transitions a somewhat, unexpected calming passage for Iommi's glorious solo before going full throttle again. The mediocre track is "Peace of Mind" which is surprisingly average. Not even a good average. There's just not that much to it. I appreciate giving Geezer some spotlight, but that really doesn't do much.
If you're going to buy the album, then I'd recommend getting the deluxe edition for "Methademic" and "Pariah". They're definitely worth your while. I'm going to take on a difficult point of view and say this - Black Sabbath's "13" is, unquestionably, not only the worst 'Sabbath with Ozzy' album, but it's also the worst album they've ever made with any lineup.
By the time I had gotten through to the end of the second track "God is Dead? Tony Iommi and Geezer Butler were capable of writing better than this. In attempting to make a throwback album "In the Style of Black Sabbath circa early 's" which is apparently what producer Rick Rubin wantedwhat's come across is that Tony Iommi and Geezer Butler sound like they've dumbed down their musicianship.
At first one might suspect that they dumbed down the material to be able to adhere to what Ozzy was capable of anymore, but even Ozzy's solo material has more complicated music. Why then are these songs so sterile?
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