Disco de Black Sabbath: “Sabbath, Bloody Sabbath”

If one were to ask what Black Sabbath's golden era was, most ivory-tower music historians and co-called "experts" would probably say it was the band's first four albums. If you were to ask anyone (critic, or fan) what was Sabbath's best offering, "Paranoid," (1970) or perhaps the self-titled debut, (1970) or even "Master of Reality" (1971) would be your answer. For this fan, however, I'm going to have to go with the band's fifth album "Sabbath Bloody Sabbath" (1974) as being my personal favorite album by the legendary British metal band.

In terms of creativity, musicianship, and songwriting, the iron was still hot by the time Sabbath recorded "Sabbath Bloody Sabbath." Key elements that so defined the band's first four albums are still in place; blues-based, sluggish riffs, a gloomy outlook, and gothic trappings abound, but this time the band try to expand their sound by introducing synthesizers and orchestration into their formula (courtesy of Rick Wakeman of YES). Like any of the band's first six albums, Sabbath is as focused and tight as ever.

In all honesty, the first six albums are all classics, all flawless; you could really argue any of the first six releases as being the band's best album. I tend to give the nod to "Sabbath Bloody Sabbath" because I think it showcases Iommi's best riffs and the added synths work really well encompassed into the band's bluesy/sluggish signature sound.

On "Sabbath Bloody Sabbath," like any classic Sabbath or early Ozzy solo work, we see Ozzy in his prime. Long before Ozzy Osbourne became a parody of himself, being known to most as an oafish buffoon on a reality show as opposed to an icon, he really was genuinely chilling. Geezer Butler (bass) and Bill Ward's (drums) bone-crunching rhythm section are as intimidating and intense as ever.

The opening title track "Sabbath Bloody Sabbath" stands as one of the band's greatest songs. From the second the needle hits the groove of the record, or you press play on your CD player, your senses are almost overwhelmed by a riff that is simultaneously intense, gripping and infectious. As the song grinds along, it goes from angry, lean and mean, to a melodic, almost bittersweet, to a full-throttle attack. After the overwhelming "Sabbath Bloody Sabbath," the listener is offered a reprieve with the laid-back yet fully captivating "A National Acrobat." The beautiful melancholy acoustic "Fluff" is perhaps Iommi's all-time greatest instrumental and serves as a sharp contrast to the rest of the album. The band's experimentation makes itself known with the hard-hitting "Sabbra Cadabra," as synthesizers and piano come out of left-field, throwing the listener a welcome curveball. One of the band's bleakest songs, "Killing Yourself" is kind of like a heavy-metal version of John Lennon's "Working Class Hero." The gloomy-as-could-be synth-heavy "Who are you" enters prog-rock country. The album offers another surprise with the pop-savvy "Looking for Today," and the epic closing "Spiral Architect," the latter adding orchestration. The orchestration works well in combination with Iommi's killer solos.

When a band tries to expand their sound with experimentation it doesn't always work. This isn't the case at all, however, with "Sabbath Bloody Sabbath." This album is the perfect example of a band experimenting, growing, and maturing, without loosing its teeth or letting its ambitions run wild. "Sabbath Bloody Sabbath" stands as not only one of the band's best albums (or best) but is also one of the best rock albums from the 1970s.

My title isn't meant to be a knock on their previous 4 albums, but Sabbath Bloody Sabbath is, well...different, but different in a good way.

You have your heavy stuff, like the title track and "A National Acrobat". And then comes along "Fluff", a great acoustic intrumental that shows a softer side of Sabbath. Tony Iommi's guitar work is great on that track. "Sabbra Cadabra" blends the trademark Sabbath sound with some psychedelic elements. The second half of the album has a more experimental sound to it, with "Killing Yourself To Live" and "Spiral Architect" being the best tracks in the second half.

This is also a great re-master - nothing is mixed too loud, and you won't hear clipping like you do on other re-mastered CDs. Highly recommended

Get this version. It is the best, and is better than the Castle remaster. I have both, and I know.

Sabbath Bloody Sabbath has been a point of contention for fans of the heavy metal veterans. The production is rich and polished, while the songs are, God forbid, precariously close to commercial. It also ushers in a greater reliance on keyboards and minor notes, the latter often lending a Far East flavor to the material. Even the cover caused an uproar with critics, who claimed it was an idea taken to excess. Other than Paranoid, which has found acceptance with those who buy only what they hear on the radio, this is the most palatable CD for the uninitiated.

The song Sabbath Bloody Sabbath opens the disc. Many will wonder what all the fuss is about, for it is loud and nasty. Osbourne strains on the high notes, while Iommi somehow makes simple, repetitive chord progressions a work of art. The song borrows a bit from King Crimson's 21st Century Schizoid Man for its conclusion.

A National Acrobat is lush, dark and most true to the established Sabbath sound. Notice, though, how a seasoned Osbourne will at times break the melody away from the guitar riff rather than shadowing it as he had done on early albums. Iommi has a little fun as he closes the song with a melodic, almost bouncy series of runs.

Fluff may have don irreparable damage to the band's reputation. It is an acoustic piece that could have been penned for a child's music box. Most listeners seem to miss the sardonic message of the ditty that clearly was poking fun at the band's image and their aged, lost-in-the-sixties, bubble gum-loving critics. THE SONG IS CALLED FLUFF! That alone should have given the joke away. But the harder and faster crowd, who had pigeonholed the band, took it as an insult to their loyalty and saw it as the beginning of the end.

Sabbra Cadabra is another departure. The upbeat roller features tremelo guitar, ala Ritchie Blackmore, and even piano filler. While structurally the song resembles a Deep Purple composition, it is the sinister quality of Tony's guitar and distinctive vocals of Ozzy that distinguish the song from comparable pieces. The final moment of the tune has Ward dropping his sticks on the drums, possibly a comment on the casual attitude they had toward creating the main stream rocker -- as if to say

Killing Yourself To Live, too, leans toward more traditional rock and roll, though Sabbath never did anything that was just rock and roll -- at least not yet.

On Who Are You, the guitar is replaced by a synthesizer, one more first for the band. Though I am often too impatient to sit through the plodding electrical drone, the song has an enigmatic quality that can be hypnotic if in the right mood. It's a stoner's delight.

Looking For Today is a great riff-driven pop tune that had a short stint on FM radio. This is a lost jewel. I'd like to grab the collective collar of hard core fans who dismiss it as whimsical and shake some sense into them. The band seems capable of doing anything at this point, but Sabbath pioneers want more of the same, while the hit parade bunch fear that buying a Sabbath album just might be a sin.

Spiral Arhictect is light and more sophisticated than anything Sabbath had done previously -- considered sacrilege by many as orchestral strings are evident. It has a more complex melody than you will normally hear coming out of a metal band. Iommi and Osbourne prove to be very underrated songwriters. Ward and Butler have risen from a serviceable rhythm section to one of the most interesting and innovative.

On to Sabotage, the last of the near-perfect six...

The fact that this album has not received mass radio airplay speaks volumes about the sad state of that medium. One of the most influential and enduring bands in rock and roll is virtually nonexistent in the stale, repetitive environment of classic rock radio. How 'bout another helping of Baba O'Riley? Yeah, another deep cut!...or is it a lost track?

If any album is going to come across to you who Black Sabbath is then this album wold have to be it. While it was a tad more keyboard thanks to Rick Wakeman it has it's heavy monments. This by the way was my first Black Sabbath album I bought. It was enough for me to go buy the next 2 or 3. This is the album for a beginner of Black Sabbah and thats why I give it 5 stars. Now lets review each track:1. Sabbath, Bloody Sabbath -Is the most heavy song on here. 90%2. A National Acrobat -Very different and powerful stuff. 95%3. Fluff -a soft instrumental. 70%4. Sabbra Cadabra -A love song. Tho Sabbath isn't really a hippy band as many fans of Black Sabbath would say this song will prov that Ozzy probly could have been in a hippy band if it wasn't for the GEEZER! 85%5. Killing Yourself To Live- Heavy song. Not easy to forget! 90%6. Who Are You?- MY fav. song on this album. Nothing like the normal Black Sabbath song! Very evil sounding track that sort of sounds like a techno meets heavy metal. It's really a good track even tho many reviewing this album said different. 100% 7. Looking For Today -My copy had this song last cause it was the (...) version of the album. (Theres 3 versions of this album including a remastered on by Castle, a Warner brothers version, and a (...) version made by "Dorchester Holding?") Do not by the (...) one cause sound wise it's off. and it has no art or nothing except a front cover. The song here is a ok song thats good morning music. 75%8. Spiral Architect- A super track! Sad and powerful. Ver much a Sabbath song! 95% If you like this album please try the following albums: Paranoid (Black Sabbath), Sabatage (Black Sabbath), Never Say Die(Black Sabbath),and Blizzard of Ozz(Ozzy Osbourne).