What does it sound like?:
In 1972, Sabbath decamped to the sunny climes of LA to record their fourth album, a process that was to be hampered by major alcohol and drug abuse by the band members – indeed, the record’s original title was Snowblind, and it carried a thank you to the ‘great Coke-Cola Company of Los Angeles’ (see what they did there!). The album is now revisited in this hefty box set comprising a remastered version of the original long player (although sadly its gatefold sleeve has not been reproduced), a collection of alternate versions and outtakes mixed by Steven Wilson (who else!), and a live album, all accompanied by an excellent book. The original album hasn’t been remixed as its final tapes couldn’t be located, but it contains some classic Sabbath riffs on songs such as Wheels of Confusion, Supernaut and Snowblind, alongside more reflective pieces like Changes and Laguna Sunrise. It still sounds great almost fifty years later. The outtakes come from session tapes from the recordings, and these have then been used by Wilson to create a ‘definitive’ alternate version for most of the individual songs, although unfortunately no tapes could be found for three of them. As always seems to be the case, these things are interesting to listen to as historical curios, but they’re not the sort of thing that most listeners would repeatedly return to – unless five versions of Wheels of Confusion is something you’re desperately missing from your life! The live recordings were collated from various venues during their 1973 UK tour for a proposed live album that never materialised, although a couple of songs did appear on the unauthorised Live at Last set put out by their former manager. It’s been put together to represent a typical full show from that time, and does indeed capture the band in their pomp, showcasing the cream of their repertoire up to that point. All in all, this is a very well put together, if rather pricey, set commemorating a classic album, not just from the Sabbath back catalogue but from the metal genre as a whole.
What does it all *mean*?
I wonder why they jumped straight to this album after last year’s Paranoid box, completely missing out the seminal Master of Reality – maybe a lack of original tapes is again the culprit?
Goes well with…
Digging out that old tasselled jacket, and remembering what life was like in 1972 when this LP originally saw the light of day.
Release Date:
12 Feb
Might suit people who like…
Classic metal, skull crushing riffs.
My number 1 Sabs choice moves between this one, Masters Of Reality or Sabotage – depending on what month it is. This month is a Vol4 month and I may well be splashing some cash soon.
Vol 4 is the number one for me…riffs-a-plenty…might have to break into the piggy bank…
There’s a lot of competition, but I think Supernaut may be Tony Iommi’s greatest ever riff.
I’m a “symptom of the universe” man myself. Though really, the Sabs are masters of their art.
I interviewed Bill Ward a few years back and he told me that those were his wife’s red tights he was wearing as he’d turned up a bit scruffy for the photo shoot.
Who knew there were so many engineering apprentices from the midlands still buying boxed sets?
I love the Sabs, but the first two albums adequately set out their stall for me. I can’t listen to too much of their stuff without finding myself thinking, “Never mind the meat and potatoes drums and bass, and that guitar that’s all over the shop sometimes, I still find Ozzy’s odd warble somewhat endearing”.
They are the band that you can’t help liking, however rarely you bother your speakers with their racket!
I’m a Vol 4 all the way man meself, second place for me divided between Sabbath Bloody Sabbath and Masters…
Not sure I need a bunch of scrappy outtakes in my life though, the originals still work.
I wonder if the master tapes were lost in that huge warehouse fire a few years ago where untold thousands of original masters were destroyed?