But after all this Sab isn’t done blowing your fucking mind. Really, you’re like the opposite of a snake which is just upsetting. Seriously if you aren’t nodding along or straight up banging your head to this then you are a neckless wreck who has never known love nor the comfort of scarves. They'll fight the world until they've won Revolution in their minds the children start to marchĪgainst the world in which they have to live On top of this you have an excellent plaintive but pissed off vocal from Ozzy with some of Geezer Butler’s best and most anthemic lyrics: White Zombie would later cover this song and really expand on these drums aspects. The next thing you hear is a second drum rolling around beneath the main beat that opens the song up into some almost tribal texture. Could be perfectly perfunctory if they left it at that. So far we have an exceptionally catchy riff and a galloping sort of feel great start. It opens with a dark, muted and bubbling guitar that builds up and finally spills over until the gates are crashed and the whole band charges in behind it. What else could you want from a band let alone art?Įxample of when one of their songs opened up into something more and blew away what I was expecting their song “Children of the Grave.” They made moving, original and innovative work that was socially relevant and entertaining. Ones that I could never even dream of and that were better than what I previously imagined possible. They’ve made musical, artistic choices that I never even saw coming. And a lot of the time they did something even better then come though: they exceeded expectations. Say you’re watching a movie or reading a book, you’re enjoying it but then the work takes a wrong turn and you’re like, well shit, I wish they would have done (blank) instead.Īctually a lot of my ideas for stories come from just that: What if that story did this instead of that?īut back to Sab, the band seldom disappointed in this manner. I have a thing with art (We’re not exclusive, feel free to ask them for their number) where as I’m experiencing it and letting it unfold sometimes choices made by the work don’t agree with me or I feel like they could have been done better or differently. They could be sloppy, or tight as a pin, whatever the song wanted or needed. Each riff, each melody, each solo, bass line and drum fill landed just right. No, I’m talking about the first time I heard “Paranoid” or “N.I.B.” or “Children of the Grave” and how the song took me somewhere and each destination was exactly where I needed to go. And I’m not talking about my preconceived expectations of what their sound is after listening to them for years and years. They deliver exactly what I want from them and more. Black Sabbath to me is one of those perfect bands – which isn’t saying they haven’t made a bad song (they have) or a shitty record (oh lord yeah) but more often than not they work perfectly. Might be the reason why I’m generally more interested in Superman analogues than Supes himself.īut no matter how far off my characters might grow from their initial inspiration what remains unaltered in this project is the mood and the world that Black Sabbath at its best puts you in. You keep the best or core attributes of a thing and then go crazy with whatever else unburdened by what isn’t important to you. That’s the fun of analogues, they’re similar to their source material but only as much as you want them to be. Which is what happens whenever I write a composite or full on analogue type of character or entity. While Codger Burton and Frivolous Black (Friv to all the diehards) started out as stand-ins for Geezer and company they mutated into their own entities very soon into the writing process.
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