Anyways, there are some low points, like the title track, which, however being very influential, is a rather forgettable song, almost a filler. Plus, this isn't a record that I can listen to everyday, I have to be with the right mood but hey, this is a groundbreaking piece and essential to every one, especially to fans of metal in general. One of my favourites albums ever, probably the most consistent Sabbath record I have ever heard, too.
Even more awe-inspiring than the sheer brilliance of the music, is how quickly they did it, taking less than a year after their debut. Well, while no individual reason can be pointed out, a combination of many may have contributed. The improved songwriting skills of the band are the most apparent feature of this album.
Not only is there more focus, the aimless jams of their debut are shortened and feel as though they have much more direction than simply being there, but there is more skill.
Another improvement of the band is their respective instrumental proficiency; each man has bettered himself on this album. This is still technically simple material, but in many ways it adds to the overall mood of the album.
Maybe because this was actually hardships that these men went through, they could deliver these lyrics in a convincing fashion.
When someone brings up Black Sabbath those three songs are what more than likely come to mind, and to think that they came from one half of one album, let alone a career. Something about the urgency and simplicity that the message is delivered adds to the effect and makes for an honestly brutal listen, in a good way of course. With "Paranoid", Black Sabbath defined heavy metal as a musical genre. Sabbath took it that one step further with this their second album, pushing the boundaries of heaviness farther than anyone could have imagined.
That these songs still stand the test of time almost 40 years later is a testament to the greatness that is Black Sabbath. The only reason I rate it is because I can't rate it ! Who doesn't know these songs? The fact is that Iommi is the ultimate metal guitarist: kids still cut their teeth learnihg to play the guitar riffs to these songs. This album is heavier than the debut, stepping away from the blues jams that had defined the band's style as Earth an earlier name of the band and focusing on tighter song arrangements.
Lyrically, these songs take the listener into a nightmarish world of nuclear war, mental illness and drug addiction. These themes would become commonplace in metal music, thanks to Sabbath's influence. The band's musical ability grew somewhat from the first album. Tony Iommi further defined his lead playing style, recording some classic guitar solos in "War Pigs" and "Iron Man.
Everything else is simply imitation. And title track "Paranoid," which the band thought to be a throwaway number, became the band's biggest and only hit. Geezer Butler and Bill Ward proved themselves to be the best rhythm section in heavy music: listen to Ward's inimitable beats on "Hand of Doom. Always a bit manaical in his personal life, Ozzy was the perfect voice for Sabbath's tales of madness and despair.
What else can be said? This is the album that defines heavy metal. This is the album that broke Sabbath to a worldwide audience. Their career took off from here, and there was much more metal madness to follow. After creating the genre of Heavy Metal with their first album, Black Sabbath decided to move away from the quite noticeable blues and jazz elements of the first album and focus on the heavier side of things.
The result was another masterpiece of heavy music, and whilst they had previously released their debut the same year there is such a noticeable leap between styles in the two albums that it is hard to believe that they were released in such short periods of time.
There are still blues and jazz elements to be found littered throughout the album but for the most part they have been stripped away. The real progression found here though is how much heavier and improvised it is than it's predecessor, from the solos to the slow, heavy riffs which would later go on to form Doom Metal.
The album kicks off with War Pigs, one of Sabbath's longest songs which begins with a slow, bass driven intro with sirens in the background and suddenly stops. Ozzy Osbourne comes in with the best performance of his career and some awesome riffing starts after the first verse. Iommi shows off his soloing skills to a great extent in this song towards the end of the song.
One of the finer songs of Sabbath's career. Next up is Paranoid, which sort of reminds me of Highway Star, although slowed down a bit. Although I do agree it is overplayed I still find myself enjoying this song whenever I pop the Paranoid disc in. There's a nice effect with the vocals going on, which sound like they're ecohing. Although I didn't like it at first, after repeated listens I rather enjoy 'Planet Caravan', for its atmosphere and lengthy jazz influenced solo.
The trippy effects which are present add to the atmosphere, and although the bass is a little low in the mix it is a rather enjoyable, relaxing song. I suppose it would be good to listen to while under the influence as some other reviewers said but I haven't tried that as of yet.
Iron Man wakes you up from the trance which Planet Caravan put you in with some guitar noises and that famous scream of Iron Man. Despite having a killer main riff though, the song doesn't hold my attention as much as it used to, probably due to over saturation and me listening to it too many times. The solo in the middle and the end keeps me listening though, and still makes me worship at the altar of Iommi.
It is also one of the more catchy songs on the album, I remember when I first heard it I could remember it until I obtained a copy for myself.
Electric Funeral has a somewhat depressing main riff which suits the lyrical themes of nuclear war. Although Ozzy's voice can get a little annoying at times, his performance is still fairly good. At around it speeds up into a faster riff with high pitched vocals from Ozzy only to return to the previous part. Probably one of the weaker songs on the album, but then again that could be the case of listening to it too many times again.
Hand of Doom is one of the highlights of this album, and listening to it makes you realise how it created and inspired Doom Metal. It goes from a bass driven riff to a heavy chorus which then returns to the verse.
It then proceeds to speed up a little into a more upbeat riff which leads into an awesome heavy part, and then into another great solo, after which it returns to the bass driven verse. The lyrical themes are about someone who died of an overdose due to not being able to control his habit. The riffs pummel you into the ground with their heaviness and the vocals go from quiet to loud perfectly.
Rat Salad is another song I initially didn't like at first, but then got to love it. Basically consisting of a riff and solo at the start it then has a long drum solo in the middle. Although I usually don't enjoy drum solos that much, this one kept my attention due to not being overlong which to me is usually the death of drum solos. This album, although containing some ridiculously overplayed songs, stands the test of time and I still find myself listening to it every week or two.
I wouldn't say this is overrated in any way, and even today it remains a masterpiece of Metal. It advanced the Metal genre by a large extent, and for that reason alone it is a must have, but what really makes it stand head and shoulders about the crowd is the riffs and soloing present, as well as excellent drumming and great vocals. The fact that it was released in only further adds to the greatness of it.
One need only take a look at the time span between this album and the last to understand how driven this band was. Being able to compose and record this much groundbreaking music within the span of a single year is something that few bands are known for. However, it is important to understand that although we do have some changes, for the most part the approach to non-conventional musical structure and dark imagery is still heavily present.
We see references the devil within the context of punishment being delivered towards evil war mongering politicians and the metaphorical application of hell to the state of drug addiction, but nothing that presents the same context that the spooky title track of the last album gave us. We see a more intelligent approach to socio-political issues, as this album is pretty much devoid of the flower power scene, and is closer to the rational criticisms that exposed the philosophical bankruptcy of the time.
As stated before, we still have the same non-conventional approach to songwriting that was present in the previous album. If any of you fans of live drum solos wish to get a good studio version of what you like, this is the place to go. The former has a very evil sounding main riff, in addition to a rather abrupt tempo change in the middle. The lyrics are horrific in their description of the aftermath of a nuclear bomb exploding. Although the guitar tone is not as heavy as what would qualify as doom today, the riff itself transfers quite well into the genre today if put through the right kind of distorted amp setting.
The lyrics are a rather graphic description of what drugs do to a human being, and indirectly is a condemnation of the glorification of drug use that was rampant in the 60s counter-culture. Ladies and Gentlemen, I can say affirmatively and completely that Tony Iommi made this band as great as it was, not Ozzy. On a side note, it has been mentioned by many that a large collection of the songs on here have not aged well due to overplay, to this I would make the following suggestions to my friends.
Stop listening to the fucking radio, it is the musical manifestation of the tyranny of the majority, hoping that it will conform to what heavy metal is will do nothing but frustrate you. Take all the money that you break your back to procure and buy the songs on CD, and take control of your musical consumption.
Copies of albums were built for one purpose, to realize the personal property aspect of music, which is a personal connection between the artist and the individual listener.
In conclusion, this is another early draft in the history of heavy metal, one that would see a bit more polish and intrigue. Like the first release, it is essential for all fans of metal to own it as it provides important historical perspective to where our music comes from.
In my youth when classic radio stations played the band at all, it was invariably material from this album, and then only two of its well-worn cuts. And I was listening in a major market: NYC! And all we get is two measly cuts?
But enough media bashing. The slightly tentative tone of their debut behind them, our heroes began to truly forge a sound all their own here. The RIFF is still king, as it was before, but these riffs are better by a good margin. The second classic by Black Sabbath is just as required as the first album. The first track proves the different approach that Black Sabbath took on this album. More riffs and melody are how this album differs from the first one. The song is perhaps one of the most memorable songs in Metal and therefore has a very high replay value.
It is very difficult to describe this song, even though I have heard it countless amounts of times. It is pretty useless as well, as pretty much every Metal fan has heard this song as well. I unfold my Indian rug and rest it on the rough soil below me. The moon is over me as I lay back and gaze upon the infinite stars that populate the night sky.
A coyote howls in the distance as I roast a rabbit above the open fire. I place Paranoid into my Cd-payer, fast forward to the third track and fall asleep to the knowledge that I am living in never-ending bliss. Oh the Atmosphere that this album incites is indescribable.
This is what makes this album such a great listen. Nothing else matter when I listen to this album. The world might be coming to an end, yet I will have this in my stereo till Judgment day. The concluding track is a very fine selection. No big deal, as it is a grand track for a classic album. Great lyrics and riffs, but most of all great drum work by Bill Ward.
Tony Iommi and Bill Ward create a perfect melody that is very adequate to the overall impression that the album portrays. This is the album that has introduced me to Heavy Metal music. Righteously so it was one of the greatest albums that I have heard. For every fan of Metal, this is the album for you.
Your Metal journey will not be complete without this marvel of an album in your collection. My first metal album, without question my favorite, and unarguably one of the best ever recorded. This is the album that broke heavy metal through to a wider audience, and proved that it actually had something to say as a musical genre.
In 8 songs, Black Sabbath told the story of heavy metal from beginning to end, and it is a story that will never be forgotten. Musicians far outside of metal have covered this song, including Phish. Come again? Yeah you heard me the first time. During its verse, the song employs the hands-down-simplest guitar riff ever but it works so good!
And god damn, the droning, almost psychedelic guitar segment that dominates the last half of the song is just… jaw dropping. For me, this song works perfectly as a concise pop song and a metal anthem.
Which would be awesome, actually. But this song is perfect as it is, 3 minutes of pure metal goodness. And vocals of course, which are processed through some sort of modifier.
The lyrics in this song are awesomely trippy, and they totally make the song. The atmosphere of the instrumentation is incredible. This song is a particular standout for Iommi actually. The extended solo section at the end is some of his best work ever. Listening to this song makes you imagine this big iron dude.
Waa-waa-wa-wa-waaaoohhh — This song has wah pedal in it. The main guitar riff is very evil, probably the most evil sounding song on the album. This is the traditional slow crawling Black Sabbath riff, that they tried endlessly to recreate, but never could. Some cool tom drumming from Bill Ward here. The song picks up in the middle, and gets real fast and cool.
Electric fun-ral! And I always thought the ending fadeout sounds especially evil and restrained. The quiet part has an awesome drum beat. The middle fast part has one of the best guitar riffs on the album, I think. Well it is an instrumental which starts out with some sick riffs is this surprising anymore? Sorry, Bill. This song still rocks my socks though.
Some cool drumming from Ward as usual leads into yet another sick mid-paced solo by Iommi. The lyrics in this song are incredibly strange. In the story, Ozzy is tripping on acid so hard that he sees dancing fairies wearing boots, along with some other strange sights. This song is absolutely perfect. Because Paranoid is the greatest heavy metal record of all time, the only metal album that REALLY matters in the grand scheme of things. It's not without weakness, hence the 88 it's not even close to their BEST album , but it's their greatest.
After this, they could've just sat back and ended their career, two pieces of revolutionary noise beyond all criticism under their belts.
Instead, they made a good fifty more classics songs not albums, although it seems that way sometimes that your life would not be complete without. Thank them. Get down on your knees and worship these fumbling stoned gods of metal. Now, onto the actual content. The band has advanced a frightening degree from record one, eschewing the outdated and awkward suite-based songs of the debut for tight, focused genius, riffs, leads, fills, and lyrics that will be burned into your brain for eternity.
In all the came before, there was nothing to account for "Iron Man", that opening sledge, a non-musical scream of agony and rage that spiritually fathered extreme metal. Can you imagine listening to those first thirty seconds in , with only a few noisy Cream concerts and insufferably dull Zeppelin plodders to prepare you?
And after that, what a song! Black Sabbath gives us TWO monstrous riffs that every aspiring guitarist must learn, and a fearsome break, lessened only by the fact that it is somewhat similar to that of "Black Sabbath" and "War Pigs". Speaking of "War Pigs", it's got a great bid for greatest heavy metal song ever. It's epic, almost progressive in scope, those wide-yawning spaces filled only by an impassioned Ozzy giving us the first metal protest song, oh lord yeah!
Brilliant jammy break too, Iommi soloing like mad while that perfect rhythm section scowls and lopes along underneath. Plus, it's Side 1, Track 1 of metal's crowning album, making it quite the standard bearer through the accumulating ages of rust and disgust. That starting gun of a riff, fading into the maddeningly sing-songy melody is the stuff of metal legend.
It's burned into my brain. Gotta love that bubbly bass tone and behaved drumming, plus one of Iommi's more fun lead breaks. Illegible singing by Ozzy, subterranean drumming and guitar, this song is all about bass. Good, unique, track, and perhaps an indicator of Sabbath's future experimentation on later songs like "Spiral Architect" and the Technical Ecstasy record. Alas, "Electric Funeral" is just weaksauce, a plodding and limp-wristed metaphor for nuclear war.
Still, an able update of the doomy power demonstrated on "Black Sabbath". Ozzy's voice is much too faded out and electronic though. Tony is of course Tony, but he's actually made somewhat peripheral here by the power of the rest of this band. The lyrics are hilarious, either as a 'harrowing' tale of the stoner who cried wolf or fairy in this case , or as a biting send-up of the English skinhead movement.
Either way, chunky riffery and a nice almost staccato rhythm, particularly when it starts picking up towards the end. This is one of those tracks that makes you appreciate the Ozzy years.
I mean, can you imagine Ronnie James Dio singing this? It's another big piece of the metal puzzle, but if lacks the depth of the other crunchy classics on here in some way, really a bit too loose and ill-constructed. Black Sabbath were on a roll after their debut hit in early They had enjoyed the success of a number 8 record in the UK and some success in Europe, reaching number 23 in Europe.
However, success in the US had eluded them thusfar. The band then returned to the studio to record their followup, this time recorded in three days as opposed to the one day effort of the debut.
Stand By Me. Live at the Carousel Ballroom 2-CD. Save for Later. Back Door Man 2. Walkin Blues 6. The Jam. Band Intro 2. Mona 3. Smokestack Lightning 5. Dandelion 6. Codeine 7. Runaway 8. Shady Grove 2. Flute Song 3. Three or Four Feet From Home 4. Too Far 5. Holy Moly 6. Joseph's Coat 7. Flashing Lonesome 8. Words Can't Say 9. Gypsy Lights 2. Heebie Jeebies 3. Cowboy on the Run 4. I Heard You Singing 5. Worryin' Shoes 6.
Letter 7. They Don't Know 8. Flames 9. Wiches' Moon Bittersweet Love. You Don't Love Me 2. All Night Worker 3. Gold and Silver 4. Hey Mama 5. Year of the Outrage 7. I Hear You Knocking 8. A Fool For You 9. I Can't Believe It Look Around [Excerpt] Tracks of Disc 2 1. Walkin Blues 3. Babe I'm Gonna Leave You 4. Hoochie Coochie Man 5.
Stand By Me 6. Duncan And Brandy 8. Pride Of Man 9. Reunion 2-CD. Vera Cruz 2. Edward 3. Pride of Man 5. Steve McQueen 6.
I Don't Want to Live in Fear 8. Bubba Jeans 9. Dino's Song Tracks of Disc 2 1. Edward the Mad Shirt Grinder 2. Vera Cruz 3. Gypsy Lights 4. Holiday 5. Who Do You Love 6. Harp Tree Lament 7. Killing Floor 8. Close Enough for Jazz 9. Smokestack Lightning. Walkin' Blues 6. A Fool for You 9. I Can't Believe It. Quicksilver Messenger Service also appears in this compilation Dirty Linen : "[T]his is a wonderful tutorial for those who missed the golden age of Bay Area rock, and a memory-filled souvenir for folks who were there.
Let's Get Together 2. You Were On My Mind 4. Number One 5. Can't Come Down 6. Don't Talk To Strangers 7. Anything 8. It's No Secret 9. My Profile. Advanced Search.
Track Listing. Night Out. Fine With Me. Doug Forman. Don't Tell Me. Sold Out. Label is blue with silver printing and was available on red vinyl. LP - Rockin' The Boogie - Amos Milburn  There are two covers for this album, the first was brown and white and the second was blue and white, artwork was the same and both covers are matte finish.
Released using the inch series numbers, but actually a inch record. All later inch LPs were released as 's. Second pressing had dark red label with silver printing. Second press had dark red label with silver printing. LP - Illinois Jacquet and His Tenor Sax - Illinois Jacquet  First pressing probably had blue label with silver print, second pressing was dark red label with silver print.
Cassette, Album. Agosto En Tucuman - Mercedes Sosa -? Sera Posible El Sur? Bambino - Dalida - Dalida CD. Blanket Drill Doll. Canto Al Trabajo. Captain - 6 Track Sampler CDr. Cleopatra - 30 B. C - The Fables 2 - Cleopatra - 30 B. C Vinyl. Crazy House - Burning Rain Vinyl. David Jahson - Yaga Yaga Vinyl. Dejame Que Llore. Destruction - D.
CD, Album. Didem Yuzune Naz? Do Zobaczenia. Doctor Moonshine. Donovan - The Collection CD. Eating Mess.
With God On Our Side - Manfred Mann - The Best Of Manfred Mann (Vinyl, LP), Preludium - Banasik & Zubek - Slawische Konzert Hits (Vinyl, LP), Rizraklaru - Ralph McTell - Streets Of London (CD), Junto A Ti - Manolo García - Los Días Intactos (CD, Album), In The Sea - Marshmallow Coast - Marshmallow Coasting (CD), Just Us - What A Night (CD), Where Do You Work-a John? - Milton Delugg And His Happy Music - Roll Out The Barrel The Gangs All He, You Keep Me Hanginon - Various - The Ultimate Soul Collection (CD), No Lo Se - Hombres G - 30 Años Y Un Día (CD), Ananda Shankar - Ananda Shankar (Vinyl, LP, Album), Stimulation - Stimulation (Vinyl), Existence - Violent Headache - The Singles Collection (CD) Walking On Thin Ice (Danny Tenaglia Walked Across The Lake Mix) - Ono* - Walking On Thin Ice (Vinyl)