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Black Sabbath - Black Sabbath [CD]

Condition:
Brand New
3 available / 12 sold
Price:
AU $19.43
ApproximatelyPHP 745.14
Postage:
AU $7.00 (approx PHP 268.45) International Economy : untracked (11 to 35 business days). See detailsfor shipping
Located in: Banbury OX16 2RT, United Kingdom
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eBay item number:275318691497
Last updated on May 15, 2024 20:50:44 PHTView all revisionsView all revisions

Item specifics

Condition
Brand New: An item that has never been opened or removed from the manufacturer’s sealing. Item is in ...
UPC
5050749203120
EAN
5050749203120
Artist
Black Sabbath
Format
CD
Record Label
Sanctuary Group
Producer
Rodger Bain
Release Year
1970
Release Title
Black Sabbath [Bonus Track]
Style
Hard Rock
Genre
Rock
Run Time
42 Mins 55 Seconds

About this product

Product Identifiers

Producer
Rodger Bain
Record Label
Sanctuary Group
UPC
5050749203120
eBay Product ID (ePID)
21050184631

Product Key Features

Artist
Black Sabbath
Format
CD
Release Year
1970
Style
Hard Rock
Release Title
Black Sabbath [Bonus Track]
Genre
Rock
Run Time
42 Mins 55 Seconds

Additional Product Features

Distribution
MSI Music Distribution
Number of Discs
1
Additional information
CD contains 1 bonus track. Personnel: Ozzy Osbourne (vocals, harmonica); Tony Iommi (guitar); Geezer Butler (bass guitar); Bill Ward (drums). Audio Remasterer: Ray Staff. Liner Note Author: Hugh Gilmour. Photographers: Ross Halfin; Keef . Black Sabbath's debut album is the birth of heavy metal as we now know it. Compatriots like Blue Cheer, Led Zeppelin, and Deep Purple were already setting new standards for volume and heaviness in the realms of psychedelia, blues-rock, and prog rock. Yet of these metal pioneers, Sabbath are the only one whose sound today remains instantly recognizable as heavy metal, even after decades of evolution in the genre. Circumstance certainly played some role in the birth of this musical revolution -- the sonic ugliness reflecting the bleak industrial nightmare of Birmingham; guitarist Tony Iommi's loss of two fingertips, which required him to play slower and to slacken the strings by tuning his guitar down, thus creating Sabbath's signature style. These qualities set the band apart, but they weren't wholly why this debut album transcends its clear roots in blues-rock and psychedelia to become something more. Sabbath's genius was finding the hidden malevolence in the blues, and then bludgeoning the listener over the head with it. Take the legendary album-opening title cut. The standard pentatonic blues scale always added the tritone, or flatted fifth, as the so-called "blues note"; Sabbath simply extracted it and came up with one of the simplest yet most definitive heavy metal riffs of all time. Thematically, most of heavy metal's great lyrical obsessions are not only here, they're all crammed onto side one. "Black Sabbath," "The Wizard," "Behind the Wall of Sleep," and "N.I.B." evoke visions of evil, paganism, and the occult as filtered through horror films and the writings of J.R.R. Tolkien, H.P. Lovecraft, and Dennis Wheatley. Even if the album ended here, it would still be essential listening. Unfortunately, much of side two is given over to loose blues-rock jamming learned through Cream, which plays squarely into the band's limitations. For all his stylistic innovations and strengths as a composer, Iommi isn't a hugely accomplished soloist. By the end of the murky, meandering, ten-minute cover of the Aynsley Dunbar Retaliation's "Warning," you can already hear him recycling some of the same simple blues licks he used on side one (plus, the word "warn" never even appears in the song, because Ozzy Osbourne misheard the original lyrics). (The British release included another cover, a version of Crow's "Evil Woman" that doesn't quite pack the muscle of the band's originals; the American version substituted "Wicked World," which is much preferred by fans.) But even if the seams are still showing on this quickly recorded document, Black Sabbath is nonetheless a revolutionary debut whose distinctive ideas merely await a bit more focus and development. Henceforth Black Sabbath would forge ahead with a vision that was wholl
Reviews
Rolling Stone - "Its 'mankind is evil and must repent for its wicked ways' thesis would influence almost all the future bards of the metallic arts." Q (8/00, p.126) - Included in Q's "Best Metal Albums Of All Time" - "...[This] was to prove so influential it remains a template for metal bands 3 decades on. The band's signature song remains the scariest of all heavy metal songs..."
Engineer
Tom Allom; Barry Sheffield
Number of Audio Channels
Stereo

Item description from the seller

Business seller information

Value Added Tax Number:
  • GB 815623634
Chalkys_OZ

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