Retro Reviews: Black Sabbath: Sabbath Bloody Sabbath

 

    I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. This is in tribute to John Michael Osbourne. Rest In Peace, sir. All the albums reviewed are indeed classic albums. 

Black Sabbath: Sabbath Bloody Sabbath (1973)

****

Producers: Black Sabbath, Patrick Meehan

Musicians: Ozzy Osbourne, Tony Iommi, Geezer Butler, Bill Ward, Rick Wakeman, The Phantom Fiddlers; arranged by Wil Malone

Songs and Music: Sabbath Bloody Sabbath, A National Acrobat, Fluff, Sabbra Cadabra, Killing Yourself to Live, Who Are You?, Looking For Today, Spiral Architect

Reviewed By Matthew Anthony Allair

    If ‘Vol 4’ showed development, this album is another demarcation with them taking further risks and showing that Sabbath’s not a one note band. Again, I don’t see why my peers are so dismissive of this band, Lyrically they focus on more than just the darkness, but a range of emotions.

    The opening title track begins with an incredibly strong riff and strong vocal melody before shifting to a jazz flavored verse. This feels like a clear statement of intent, which would make sense, and demonstrates that Sabbath isn’t lacking in substance – if you really listen. This closes with several interesting shifts. “A National Acrobat” opens with a nice harmonized riff, some great interplay between Bill and the band, and a very urban grove populates the second half where you can hear the Hendrix influence. The oddly titled ‘Fluff’ manages to be a better attempt at an acoustic instrumental than ‘Laguna Sunrise’, with several layered acoustic guitars, tasteful acoustic leads, Piano and Harpsicord from Rick Wakeman. Moody guitar opens this up-tempo rocker with ‘Sabbra Cababra’, a tempo shift brings in synths and other dynamic piano textures, and Wakeman manages to channel his inner Nicky Hopkins on the second half of the number. The interplay with Butler is quite note worthy as well on this.

    ‘Killing Yourself To Live’ nearly has a garage rock quality towards it with a dramatic second half that is about as inventive as some of Page’s work with Zeppelin. The opening moody synths in “Who Are You?’ are biggest surprise, nice harmonies from Osbourne, the heavy groove doesn’t really change though, an orchestra and piano section is an interesting orchestral shift, this is mostly an Osbourne composition, one of his few. The closer ‘Looking For Today’ brings a rousing shift with various sections, the orchestral accompaniment nearly hints at The Moody Blues but with a heavy accent, The closer, ‘Spiral Architect’ has more nice acoustic introduction, the driving main piece with Tympani drives home the symphonic element of the piece, and dire I say a progressive rock feel, why not? They are just as capable as any of their peers. The Orchestral build up brings this home. This album illustrates they are as important as anyone else in the current pantheon of rock.

    Too many focus on the surface of Sabbath, and while they might not for everyone, they have focused on the dark as well as the light, be it false religions, sadness, depression, war, or a celebration of life. What most critics miss is that they resonate with the public and for fans of the band, there’s a shared secret for people who feel they belong. To his credit Lester Bangs has changed his attitude about the band. The hippie movement focused for too long on a Pollyanna view of the world and it’s not realistic. One can recognize the dark without fully embracing it. In some respects the album cover taunts at the perceived image of the band. There’s more to the image than people assume, it’s truthful, recommended.