Monday, November 25, 2024 at 12:37PM
Black Sabbath Friday, July 26, 2024 at 11:37AM
Thursday, May 30, 2024 at 12:01AM Today's post is from our friend HIM.
If you missed the subtitle, let me assure you that I am not going to be chatting about the abomination of the automobile world (though those in the know can email me if they want to hear about my near fatal experience driving a Fiat Panda in Italy last summer).
No, this is about Tony Iommi and Black Sabbath’s legacy. The guitar god has been going on a bit of a media blitz these days, no doubt because they finally released the Anno Domini 1989-1995, the Tony Martin-era box set. Heck, he even extends the courtesy to sit down with Martin and do respectful interviews (though they don’t seem like they will be going on vacation together anytime soon), after slagging him up and down in his otherwise decent autobiography, Iron Man.
Ah, the Martin-era of Sabbath. It was obviously a tough time for the brand. And clearly a tough time for the one guy who stuck it out and tried to hold things together. Sure, there were some bright spots. Eternal Idol (1987) wasn’t bad and isn’t in the box set because of contractual issues. There were also some other bright spots here and there. I still contend that “Black Moon Rising” off of Headless Cross (1989) is a near-perfect song. But it gets harder and harder to pick out the good stuff during the Martin-era. Granted, the guy has got great pipes, seems well-grounded (not in terms of electricity), and falls all over himself to stress that, if not for Sabbath, he likely would not have the career he has had. But, again, the bright spots? Even Geezer and Ward couldn’t stick around. Sure, Iommi had Bevan and even the (while cashing a check) glory of Cozy. But really, this was the fallow times. Dropped by labels. Chasing a reunion with Dio that did happen, and then promptly fell apart, with only Martin to answer the call for vox (again). Forbidden (1995)? You can’t shine a turd. And that turd, polished or not, falls on Iommi, not on all the umbrage he takes with Ernie C. That is too convenient, Tony (the guitar, not the vocals, guys). You were running this ship. And you ran it into the ground . . . until fate intervened, and you got the old band back together (I still remember seeing the ‘Sab Four’ at Ozzfest and worrying that Ward was going to pass out at his kit given his absolutely monstrous playing on a very hot day in SoCal). And then you got the other old band back together under a new, Sharon-proof, moniker. And then you got the old band back together again, until all of that had to stop as the wheels of time took their toll.
But here’s the thing: why don’t you go back and finally polish the two albums that you did before the Martin-era? Recently, you are again talking about Born Again (1983). Yes, please. While it still feels like a drunk decision made at a bar (which it was), I think it retains a “that is so crazy it might work” feel to it. Gillan’s pipes were still in full view. “Zero the Hero” and “Disturbing the Priest” absolutely slay, even with the muddier than muddy production. Some of the instrumental stuff is engaging. “Digital Bitch” hasn’t aged well and “Trashed” is still a fun-if-sloppy take on a real-world experience that happened during production. I even find charm in the cringe-inducing cover (EVIL BABY!!!) and the set that inspired the great take-down in This is Spinal Tap. And when you are done there, attempt to tighten up the other album that you wanted to be a solo effort, Seventh Star (featuring Tony Iommi, 1986). I mean, come on: it featured Glenn-effing-Hughes, who could still sing like an angel no matter what intoxicants were flowing through his veins as he continued to grow in, well, ‘stature’. While the quality of these songs varies, there are some truly haunting moments on this album. Go back and listen to “Danger Zone,” a song sung by a man that was clearly aware of what those lyrics might portend. One piece of advice though: don’t include any of the scraps that featured Ray Gillen live. A talented and troubled singer that should, based on how he put a number of people at risk, be made into an asterisk or a footnote. I get that some of you love his bluesy swagger. But potentially infecting women just so you can live out your (short-lived) rock star dreams is not cool.
One final note: it is nice that Ozzy wants to do at least one more show with Ward. And it was equally nice that you thought it was ‘nice idea.’ But you should have considered that when the last reunion was happening. You shouldn’t have slagged Ward and made him look like a problem. At that point, Ward wasn’t the weak link in the cash cow that was your final tour. And both of you know that. You could have offered him something that was respectful of his deficits and allowed the band to go out, in some form, as a band of brothers. Retrospectively pining for the "good old days" might initially sound great. Thing is, you (Ozzy and Iommi and Butler) ultimately made the decision to air your laundry and disparage Ward in the press. It could have been different. Could it be now? Given where we are, not likely. So, the better thing to do is apologize. Because even that ‘huge risk’ who ‘doesn’t have the chops’ now admits, years later, that what you pinned on him then is now true: he can’t do it. Thing is, he likely could have done it when you made your Faustian bargain and treated him like he didn’t have a place at the table.
I still give you props though. Aside from a few stumbles, Iommi, you have been a rare instance of grace in an otherwise sullied world of musicians who let me down (not that they were working to prop me up). And you provided us with a window into your world while you courageously battled cancer and pushed it back, only to come back and keep offering us the gifts of your genius. Now do the fans one last favor. Give us some nice copies of the stuff pre-Martin, when you were already struggling to find a path forward and still hit on some unexpectedly great moments.
And don’t forget, readers: Bombers (Can Open Bomb Bays). Until they can’t.
Black Sabbath Saturday, March 18, 2023 at 12:35PM T-Pain, the rapper known for using auto-tune and making big hits, is back with a new kind of album. His new effort is called On Top of the Covers and features songs by Black Sabbath, Journey, Frank Sinatra and more.
T-Pain's version of "War Pigs" is downright amazing. I already knew T-Pain could sing. He even appeared on The Masked Singer and won his season. T-Pain became famous for tracks like "I'm 'n Luv (Wit a Stripper)" and "Low" (Flo Rida's debut). He made a lot of money with Jamie Foxx on the song "Blame It." That track won a Grammy and he has another one for the song "Good Life."
T-Pain's finest moment might be his cover of "War Pigs" by Black Sabbath. I'm serious here. It's so freaking good and pays mad tribute to the original. T-Pain has a truly beautiful voice. I hope Ozzy Osbourne and the gang get to listen to this one, too. Seriously - give it a chance!
His promos for the album are hilarious, too!
My cover album of songs inspired by white people “On Top Of The Covers” dropping tonight at Midnight!!!! Aged to perfection 🍷✨ pic.twitter.com/cywryne9n9
— T-Pain (@TPAIN) March 16, 2023
Black Sabbath, T-Pain Sunday, February 20, 2022 at 02:59PM Since nutbag Vladimir Putin seems hell bent on causing a war in Europe by invading Ukraine, I thought Sunday's Best this week should focus on conflict songs. You know, the best songs about war.
JUST IN: Lower-level Russian tactical commanders have been given orders consistent with orders to invade Ukraine, U.S. officials tell @ABC News.
— ABC News (@ABC) February 20, 2022
LIVE UPDATES: https://t.co/E4U08DZHy2
Some of my choices:
War Pigs - Black Sabbath
Fortunate Son - Creedence Clearwater Revival
Rooster - Alice In Chains
Us and Them - Pink Floyd
Civil War - Guns n' Roses
One - Metallica
Did I forget one of your favorite war-related songs? Let me know in the comments!