![]() ![]() Lawyers have just stopped playing albums backwards to look for blame. Obviously, it wasn’t the first time rock music has been blamed for acts of senseless violence and destruction, and it won’t be the last. It’s something that you can spot in early Sabbath, Deep Purple and Metallica a progressive rock approach to heavy metal.Ī year after this album’s release, when the band were still only 16 years old, one of their songs, the album’s opener Israel’s Son, was used as the scapegoat defence by the lawyer of two American teenagers found guilty of shooting one of their sets of parents and a younger brother. Okay, you think, they’ll just stay on this jam until the end of the song. You can listen to a song like Faultline and think you understand where it’s going, but then a different section starts at 2:50. Their songs have multiple sections where new riffs and grooves are introduced out of the blue. One of the songwriting strengths of frontman Daniel John and drummer Ben Gillies is they don’t fall back on a great riff and stretch it out to a verse-verse-chorus-verse-chorus formula. Produced by Kevin Shirley, who would go on to record much bigger things (one of his next jobs was co-producing Aerosmith’s Nine Lives), it’s twelve songs of teen-angst doom rock, put through a grunge filter. It’s even more incredible to find out that this record was recorded in 9 days. ![]() Here were three 15-year old Australians, touring the world as a rock band, albeit chaperoned by their parents. I was 17 when I saw Silverchair on this tour at Manchester University’s Student’s Union. Hidden Gem: Symptom Of The Universe – Sepulturaĭefinitely an album from my youth. Originally given a vinyl release back in the day, this has finally been reissued as part of this year’s Record Store Day campaign (from the September ‘drop’), on ‘clear with heavy black swirl’ vinyl, limited to 3,000 copies. On Sepultura’s track, Symptom Of The Universe, they burn through the song from 1975’s Sabotage as you would expect, before breaking down into a funky jam that you totally wouldn’t expect from Max Cavalera and crew. There’s plenty to like across this album, and plenty to surprise: two other Sabbath members – Bill Ward and Geezer Butler – form a supergroup called Bullring Brummies, with Judas Priest’s Rob Halford on vocals, to play a super-heavy cover of The Wizard from Sabbath’s 1970 debut.īut it’s one of the established bands that surprises the most. ![]() My favourite track though, and probably the one I originally bought it for, is a cover of Iron Man by the classic line-up of Therapy? (Andy Cairns, Michael McKeegan and Fyfe Ewing), but with Ozzy Osbourne on vocals. Megadeth, Biohazard, White Zombie, Corrosion Of Conformity, Sepultura, Ugly Kid Joe, Faith No More, Type O Negative, it’s really a who’s-who of ‘90s metal. Unfortunately the rest of the album fails to come close to the bangers that appeared on PARANOID, although there’s still lots of doom-laden gold to be mined here. It’s a song that seemingly has power chords thrown around for fun and, despite its title, always feels like a really positive, upbeat song. I really like Children Of The Grave, particularly its second lease of life as a metal anthem throughout Ozzy’s solo career ( the version on the RANDY RHOADS TRIBUTE live album is a particular favourite). Even looking back now, it’s a hard task to stand up to the strength of PARANOID a year before, and the vastly superior Vol. MASTER OF REALITY has since been reappraised as a heavy metal classic, but I don’t blame critics for being initially disappointed in the album. This time, they were given more time to record than their first two records combined, and maybe that’s why it doesn’t sound as urgent or hungry as its predecessors. Album number three from Black Sabbath finds Ozzy, Tony, Geezer and Bill attempting to follow up their second LP PARANOID.
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