Black Sabah – Ten Year War (8 LP + 2*7” + crucistick box via BMG
On the eve of their farewell, we get this box set covering Sabbath’s first 8 albums (aka the original Ozzy years) in heavy vinyl and MQA digital.
And this set fulfils the two current trends; vinyl and sound quality. And every rock / metal fan needs Sabbath; while the roots of metal (blues and classical music aside) embrace rock’n’roll (Elvis), the British Invasion (the Kinks) and US West Coast rock (as developed by Steppenwolf), Black Sabbath are widely regarded as the first heavy metal band. With their eponymous considered one of the scariest moments in music, the band had immense success during this period, and even the surprise hit of Paranoid. Don’t tell me you don’t know that one.
Do we need another Sabbath remaster? I know this material has been released numerous times before and it’s all already in your collection (or it bloody should be), but herein lies the issue;
If anyone has ever heard those original Black Sabbath CDs (taken from the Nems label vinyl reissues), the sound was truly horrible. The first decent remasters (through Essential / Castle, a company that later became the Sanctuary that was subsequently absorbed by Universal) are more than adequate for most purposes. But to compound the problem, all subsequent reissues remastered previous remasters.
At the launch for this event the remastering for this release was explained, and if you’ve ever watched Fake Or Fortune on TV you’ll understand the work involved with tracing the masters back to the original recordings (or as close to as possible, and I’m not sure how helpful Sharon Osborne was). That was a job in itself, and listening to the music here, it was well worth it.
The first part of this box is the vinyl; from the 1970 eponymous debut through to 1978’s Never Say Die; each one on heavy weight coloured vinyl, all replicating the original release right down to the gatefold sleeves, custom inners and Vertigo swirl labels. It’s looking, feeling and even smelling good before we get to the music. In addition, two replica 7” singles, the Japanese Evil Woman / Black Sabbath and the Chilean radio promo of Paranoid / The Wizard (only 100 copies of the original were pressed – rare as rocking horse droppings). A 12” by 12” book with lots of rare photos and quotes from other musicians (Sabbath, across their styles, have influenced more than most), a replica concert poster, a booklet and replica 1978 tour programme.
Then a crucifix shaped memory stick featuring high definition audio digital files which are, to be honest, ground breaking.
Again the technology behind this digital compression was explained at the album launch; this MQA technology is a new dimension in file compression. As any audiophile will appreciate, sound is an analogue format, a continuous wave, and any digitisation relies on sampling chunks to express in binary. This, by definition, loses the continuous wave, and the sound quality dependent on the sampling rate (the higher the rate of sampling, the closer the approximation to the analogue curve). Low sampling rates lose more quality, and gives small file sizes, higher sampling rates improve the sound quality immensely but the file sizes of the best quality files are unwieldy.
Until now. These files improve the sound quality to the best digital, and at sensible file sizes.
The files come with a pdf of further information and installation, and let’s face it, I was blown away by the definition and clarity. The files are playable direct with or without installing the software but it’s really worth it if you do.
The 1970 debut was, as has been much documented, recorded quickly, double tracked on two 4 track tape recorders and done overnight while the band were en-route to a gig in Europe. Because that’s how they thought things were done. The band were already well rehearsed as much of the material was already in the live set, some of it even demoed while the band were still called Earth in late 1969 (and before that they were a 6 piece called The Polka Tulk Blues Band). This was all confirmed (and more) by then engineer Tom Allom at the launch event for this set; he has since gone on to become a renowned produced and confirmed that he is currently working with fellow Birmingham head bangers Judas Priest on their new album. The album, with some of the band’s blues roots still just noticeable, set the template for heavy metal, even more so the doom and black side of things (three years later Judas Priest would help define the straight heavy metal template). The title track, with opening chimes and rain, and the most evil and memorable of guitar lines, is spine tingling.
N.I.B. is a wonderful track, and to clarify, it is just Nib, as in pen nib, after the shape of a band member’s goatee beard.
Recorded and released the same year, by all accounts Paranoid was recorded nearly as quickly, and with the title track written and recorded quickly as a filler as the band didn’t have enough material. War Pigs and Iron Man are bona fide classics, metal or otherwise.
1971’s Master Of Reality is the template for doom and stoner / sludge metal, with guitarist Tony Iommi down tuning his guitar to augment the sound. After the experience of the first two albums, the band had become both confused (length of recording) and too comfortable with the set up and sound. The original UK release’s card envelope sleeve and insert poster, now work over £100, is reproduced here.
Self produced, 1972’s Volume 4 is another widely hailed classic. A turning point for music, and a turning point for the band, where recording stopped being fun (certainly no longer spontaneous) due to drink and drugs). Either way, essential listening. Tracks from this album have been covered by the likes of Overkill, Cathedral, System Of A Down, Zakk Wylde and Sepultura. Rapper Eminem has also sampled the album.
Sabbath Bloody Sabbath (1973) built on the sound, and the band expanded their sound with strings and keyboards. The title track (also covered by Anthrax) is a standout, and Killing Yourself To Live has a fine groove.
The album also saw the start of troubles, that overspilled into 1975’s Sabotage, issues involving litigation with record label and manager. Hence the album title, and it’s heavier and angrier sound. It was the first album not to go platinum in the US.
1976’s Technical Ecstasy saw the drink and drugs start to affect the band and Ozzy was nearly out, the band on the bounceback of the legal issues, and there’s the change in style (it’s more accessible to the point of being commercial) and that lost the band a lot of fans, and sales. Personally I love this album, even It’s Alright sung by Bill Ward.
Never Say Die (1978) saw that change continue, in a direction some called unbalanced. The title track and also Hard Road were wonderful tracks I still play regularly to this day.
From riff to solo and riff again, the Black Sabbath legacy is wonderful, even beyond the original Ozzy years.
Between the LPs, the LP sleeves and individual packaging, the book and other inserts, and the crucifix shamed memory stick with the digital music with new technology applied, the package is quite literally heavy weight, on every level.
The sound quality is also at the best you will ever hear, outside of the original LPs in mint condition played on the best equipment. Even at the most basic level, the files played on your laptop with no external speakers, the sound is bloody good, and you’ll discover more and more when you crank it up.
But to really appreciate the sound, like playing a blu-ray on a regular set up, you won’t be able to unless you have the equipment, the set up.
The only downside is that the music isn’t quite complete, a b-side or so, and late 1969 demos. The plethora of alternate versions of some of the remasters are largely irrelevant (some labels had a record of creating bonus tracks when none existed).
If your pockets are as deep as your passion for audiophile Sabbath, and for vinyl, you will love this. A genuine vinyl tribute to the ultimate metal legacy.
Full marks, the only mark off for, if you’re going to do the replica vinyl bit, not including the original Fontana single with its non album b-side. 9/10
Joe Geesin
Ozzy Osbourne – vocals
Tony Iommi – guitars, piano, mellotron
Geezer Butler – bass guitar, mellotron
Bill Ward – drums, percussion
Rick Wakeman – keyboards (Sabbath Bloody Sabbath)
Will Malone – conductor / arranger
Gerald “Jezz” Woodroffe – keyboards (Technical Ecstasy)
Don Airey – keyboards (Never Say Die)
Albums
Black Sabbath
Paranoid
Masters Of Reality
Volume 4