Defenders Of The Faith, le forum Metal

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Et pis pendant que j'y suis j'aime bien aussi Born Again, même si la gentillesse de Gillan colle pas trop avec le heavy du Sabb... c'est ce qui rend ce disque si original et attachant à la fois

Ad Metal Eternam a écrit :Par contre, je ne trouve pas Gillan si "gentil" que ça. Sa performance vocale sur Deep Purple in Rock est assez terrifiante, quand même

Brother of Steel a écrit :D'ailleurs c'est rigolo de regarder les photos du livret, il y a celle où il est avec sa veste en jean alors que les autres sont en cuir, et celle du bar où il a son bandeau dans les cheveux limite hippie...

Ad Metal Eternam a écrit :Je ne sais pas, cette photo ne figure pas dans le livret du remaster mais les vêtements ont l'air de coller avec ceux qu'ils portent pour la plupart, sur les photos monochromées au dos de l'album.

Et puis, Ian Paice ne semblait pas encore peser 250 kilos sur cette photo, donc je pense que tu as raison

Perfect Strangers est un de mes préférés de Deep Purple. Hormis "Hungry Daze" qui me saoule un brin, il n'y a vraiment que des bonnes chansons sur cet album

Fangface a écrit :Pour l'anecdote (et l'info), il existe un fanzine français dédié à Black Sabbath, dispo à cette adresse : Thierry Bauwens, 5 rue Fernel, 80500 Montdidier

norde a écrit :

Fangface a écrit :Pour l'anecdote (et l'info), il existe un fanzine français dédié à Black Sabbath, dispo à cette adresse : Thierry Bauwens, 5 rue Fernel, 80500 Montdidier

Salut Fang, tu en sais un peu plus sur ce fanzine ? Parutions ? Ce qu'il contient ?

This edition is expanded with the single edit of 'Master Of Insanity', an alternate version of 'Letters From Earth' that originally appeared as the b-side to the 'TV Crimes' single, and a version of 'Time Machine' originally recorded for the soundtrack to the movie Wayne's World. In addition, the set also includes five rare live tracks from Florida's Sundome recorded at the beginning of the Dehumanizer tour in July 1992, including a previously unreleased live version of 'Master Of Insanity'.

The set includes liner notes from Metal Hammer's Dom Lawson, based on new interviews with Tony Iommi.

At Cross Purposes
Black Sabbath Songs That Sound Like
Other Black Sabbath Songs

Really, after so many years, albums and incarnations, when you've come to be a writer who starts with a riff first and then works his way up to song, as Tony has become and as many metal bands are (notably Metallica), you're bound to write something with strong whiffs of reminiscence of earlier glories. Here are a few of those pairings of new with old, although to Iommi's credit, he manages to not repeat himself very often. I suppose if I started comparing all the slow doomy things to one another and, God forbid, leaping over to the man's solo material, I would find more, but my eyes glaze over at such a task. By the way, one would think The Devil You Know would be rife and riddled with revisitations but that's inspiringly not the case.

The earliest that I'm really feeling this idea is actually commendably well into the catalogue, namely the Born Again album, with the song "Trashed." Popped in pole position, fast, rollicking, and hummable, this one bears many similarities to "Neon Knights" and, to a lesser extent, "The Mob Rules." Both "Trashed" and "Neon Knights" are built on aggressive chugs sweetened or lightened by a melodic lick, a release valve to the heads-down nature of the chug. Same album, "Stonehenge" bears much resemblance to "E5150," the similarity underscored given that the latter came one record before the former. In any event, both make use of modern keyboard gizmo technology, as opposed to other soft instrumental bits from Sabbath, which more often than not play up Tony's less heralded acoustic guitar skills.

Move forward to The Eternal Idol, and the title track's verse meanders and creaks very much like that of the dirgy parts in "Megalomania." With "Glory Ride," the opening riff is a nice reminder of the rootsy rock 'n' roll melody of the "Shock Wave" riff. On Headless Cross, "Black Moon" has got a hooky riff rife with pregnant pauses set over a gallop, the structure reminding one of "Evil Woman" and, even more so, Deep Purple's "Black Night," ironically enough! As well, the moment I heard this album's title track, I was annoyed at how the structure unimaginatively mimicked the structure of "The Shining," first track on the album one record back, namely come verse time, big Geronimo chords giving way to gothic keyboards over a pert drum beat, Tony Martin throwing cliché Ronnie vocal melodies o'er top.

Look deep into the Tyr album and hints of repetition rattle around "Anno Mundi" and "The Law Maker." On the former, the opening mellow electric picking rides the same mournful melody as the intro to "Children of the Sea." Come "The Law Maker," this energetic, quickpaced rock 'n' rollsy number sounds an awful lot like "Turn to Stone" from Seventh Star. As well, one might put forth the argument that "Feels Good to Me" feels like a makeover of "No Stranger to Love."

Up into Ronnie James Dio's return to the band, "Master of Insanity" isn't so much a nick from older Sabbath, evoking more so Led Zeppelin's "The Wanton Song," and, with more of a connection, "Lady of the Lake" from Ronnie's last album with Rainbow.

With Tony Martin's return, Tony Iommi finds himself treading old ground once again. As with "Anno Mundi," Cross Purposes' "Cross of Thorns" starts dark and mellow and then Tony strikes a "progressing" or "advancing" chord structure that sounds quite similar to that of the former. Into the Forbidden album, "Can't Get Close Enough" hangs its hat on a stiff, lethargic version of the triumphant and swinging verse riff of "Megalomania" all those light-years ago, and "Guilty as Hell" recalls "Voodoo." The circular riff of "Get a Grip" seems to be a borrowed bit from the more repetitive and hypnotic "Zero the Hero," which Tracii Guns has also told me was the inspiration for the riff on Guns N' Roses' "Paradise City." Additionally, "Sick and Tired" lives and dies on the same big, bluesy stripper-pole metal beat as "Heart Like a Wheel," both tracks examples of Sabbath doing anything remotely close to anything in the blues or boogie realm. Finally there's "Shaking Off the Chains," this clumsy, geometric rocker echoing the same three-legged feel of "Psychophobia," disconcertingly only one record ago.

norde a écrit :Merci.
Dommage qu'il n'y ait pas d'adresse mail pour le contacter. D'après ce que dit
le site, il a à l'air caller en la matière. Le numéro qui est présenté à l'air de dater.
Faut que je me renseigne...

XXI - November 14 & 15, 1992

Rob Halford - Vocals
Tony Iommi - Guitar
Geezer Butler - Bass
Vinny Appice - Drums
Geoff Nicholls - Keyboards

These two dates were at the end of the Dehumanizer tour. Ozzy was saying that his 1992 tour was to be his last, and he wanted to play with Black Sabbath to "end his career". Ronnie James Dio stated that he didn't think Black Sabbath should have to open for anyone, not the least of which was their own former lead singer, Ozzy. Dio refuses to do these shows, so Rob Halford (Judas Priest, Fight), a friend of the band steps in for these two dates. Tony Martin was to perform at these two shows, but he was in Europe at the time, and could not get a work visa to come to the states and sing for Sabbath. The band (with Halford) does a Rockline interview on November 16, 1992, so Halford hung around for a bit more than just the two dates, but it was never intended to continue on with Halford as lead vocalist beyond these dates.

Backpage Magazine recently spoke to BLACK SABBATH drummer Bill Ward about the infamous "Black Zeppelin" jam session rumored to have happened between SABBATH and LED ZEPPELIN during the 1970s.

"It only happened on one occasion that ZEPPELIN and SABBATH were in the studio at one time, and I think it was in the mid-'70s," said Ward. "We were in sessions — I don't remember what album we were working on — but it all started when Bonzo [LED ZEPPELIN drummer John Bonham] comes into the studio and sits down at my drum kit and starts playing 'Supernaut'. That was one of our songs that he really liked. It escalated to a pretty crazy situation within about 30 minutes, because not only was Bonzo there, but Robert Plant and John Paul Jones were there as well. Jimmy [Page] wasn't there, but I wish he had been. And Bonzo was kickin' the crap out of my drum kit!" Ward laughed. "I can still hear him playing that intro on the hat, over and over.

"Bonham's bass drum work, of course, was incredible," recalled Ward. "I played two bass drums, and they only let him play one in LED ZEPPELIN, so there he was playing two bass drums. 'Supernaut', I tell you, sounded like something from the hardcore bands of today, where they play two bass drums with such incredible speed. And you know, Bonzo was doing that easily. He was having a good time, playing two bass drums, and he was playing all the down beats and some quiet treble with all the high hats. So, he was playing 'Supernaut' with a whole different feel, all the while yelling 'Supernaut!' for pretty much the whole time. It was crazy, man."

Wizard a écrit :

norde a écrit :Merci.
Dommage qu'il n'y ait pas d'adresse mail pour le contacter. D'après ce que dit
le site, il a à l'air caller en la matière. Le numéro qui est présenté à l'air de dater.
Faut que je me renseigne...

Salut Norde,
lecteur du fanzine,
il y a eu 12 numéros de 1992 à 2000, d'abord sous le nom thanks god it's sabbath ! puis sabbath stone à partir du N°8.
pas mal d'infos, dates tournée, bootleg, discographie......
Le fanzine abordait toutes les époques, en donnant la part belle à Martin, cela changeait du tout Ozzy

Dark Schneider a écrit :A part l'album Tyr (sympa sans être génial) et quelques autre morceaux, je trouve très peu d'intérêt à la période Martin. Ils auraient pu splitter en 1984, que ça n'aurait pas changer grand chose.