This is a transition album for Black Sabbath, between the brilliant album Sabotage and the more mainstream metal album Never Say Die (which is a great album too). Ozzy’s lyrics take negativity to a personal level more so in this album, and you sense that he was having major personal issues in 1976. There are some great songs on this album, but like I said, if you are a positive thinker you won’t appreciate this album. The funniest part about this album is the pairing up of two songs next to each other She’s Gone, and Dirty Women. As in…”my fiancee left me, so I’m gonna get a street girl tonight”. Funny!
Metal Album Reviews[RSS]
One of the most underrated Sabbath albums as the band moves more into blues. The Guitar Solo on “You cant change me” is Tony Iommi at his best. “Its alright” shows Bill Ward at vocals and makes you wonder why they didnt use him ounce Ozzy left the band. The album is weakened though by a few week songs such as “Rock n Roll doctor” and all moving part stand still.
This album is the recipient of many potshots by fans of the earlier records. I think many Sabbath fans who rough this record up are unfair to it. The “big” reason as I see it is:
Its a depature and an attempt to artistically branch out. Some Sabbath fans don’t like change. The lumbering doom laden chords are what many Sabbath fans want album upon album. For this record it changes. The darkness is replaced by more straight ahead classic rock attitudes (Rock N Roll Doctor, Back Street Kids). I for one, find this record probably thier best in terms of artist growth. I appreciate the older records, but this one sticks with me on some level.
I find “She’s Gone” to be probably Ozzy’s most brillant vocal performance of the 70s. I didn’t think he could sing like that. Conveying sadness, morose and lonliness isn’t Ozzy’s tradmark. Its great. Again, not usual Sabbath fodder, but great nonetheless.
Other greats here Back Street Kids, Dirty Women, All Moving Parts Stand Still and You Won’t Change Me.
Only the Bill Ward vocal on “It’s Alright” loses steam.
The album flows superbly and for what it is its fantastic. Black Sabbath branching out, trying new things while keeping the material top notch. It would’ve been interesting to see this direction maintained. Sadly, Never Say Die the MK I swansong suffers from mix problems and just isn’t on par with this record.
In the end, open minded Sabbath fans will find this one a departure. Not a bad departure, but a departure nonetheless. All artists have to expand and grow – This is Sabbath doing exactly that.
I simply cannot believe the negative reviews of this album by many of my fellow Sabbath “fans”… This album was a landmark in the way of production when it came out and it also blows away “Never Say Die”, which I also thought was an excellent album. “Dirty Women” was obviously the standout track…I mean just listen to the end of the song where the guys just ROCK OUT. It moves my soul. I remember going to this concert live and they played “She’s Gone” over the P.A. before and
after the concert. “I’ve been, a long long time…a waitin’ for you”. Makes my skin crawl even now. What an incredibly beautiful song. Ozzy never got closer to purity than on stuff like this. “Back Street Kids” is good too, but “All Moving Parts Stand Still” is a really good and well thought out track. Definitely not Paranoid or Master of Reality material, but the well-versed Sabbath fan pays homage.
After having reviewed Tyr (favorably), and SBS (not so favorably), I couldn’t resist bringing this hidden gem in the spotlight. TE is an excellent example of the Sabbath making music just for the sake of music. There is, of course, more here than just making music: Like in ‘Never Say Die’, the lyrics of TE reveal personal conflict and conviction, spiritual quest, social awareness and strong emotions, and these messages come straight from the heart. Unlike SBS, this project does not seek to impress anyone and it’s not pretentious. There are hardly any ‘hits’ here. Instead, there is a careful selection of quality compositions. This is Sabbath making art, not commercial music. True, TE is not as adventurous and thrilling as Sabotage, but Sabotage was such an extraordinary album, a singular supernova in Sabbath’s history that was never truly matched by any other Sabbath release of the Osbourne era. Still, TE compensates with layers of magnificently ambient keyboards, which, for the first time in Sabbath’s career, are present in virtually every song of the album. It is these keyboards together with Ozzy’s emotionally charged vocals that give this highly entertaining CD its unique atmosphere. I am not downplaying, of course Tony’s guitar, it is there as always, mature, poweful, making sure that, although this is a diferent album, it still sounds like Black Sabbath. A first listening reveals at least three outstanding cuts: Dirty Women, She’s Gone and You Won’t Change Me. It’s Alright, with Ward singing (and doing fine), and Gypsy are pleasant surprises, while the remaining tracks are standard Sabbath tunes, not as memorable, but certainly not bad songs. TE has stood the test of time. IMHO, no serious and devoted Sabath fan should be without this album.