0:00:22 > 0:00:27THIS PROGRAMME CONTAINS SOME STRONG LANGUAGE
0:00:27 > 0:00:30The first record to turn me on was She Loves You,
0:00:30 > 0:00:32and I then I wanted to be a Beatle,
0:00:32 > 0:00:35but I ended up being in Black Sabbath.
0:00:35 > 0:00:36# Finished with my woman
0:00:36 > 0:00:40# Cos she could not help me with my mind
0:00:40 > 0:00:45# People think I'm insane because I am frowning all the time... #
0:00:45 > 0:00:50The music is very honest, and what you see is what you get,
0:00:50 > 0:00:53with our music, and it was a very basic,
0:00:53 > 0:00:54hard-hitting sound.
0:00:54 > 0:00:58# Politicians hide themselves away
0:00:59 > 0:01:02# They only started the war... #
0:01:03 > 0:01:06'The stuff that we were writing was valid,
0:01:06 > 0:01:08'and was in the right direction.'
0:01:08 > 0:01:12Because it was done live without any trendy effects or anything,
0:01:12 > 0:01:17and there wasn't any back then, it still stands up, because it's like listening to a live band.
0:01:17 > 0:01:20It was just like, put it down there, play your hearts out,
0:01:20 > 0:01:23play everything you've got and put it onto a piece of tape.
0:01:23 > 0:01:26# Having a good time, baby
0:01:26 > 0:01:28# But that won't last
0:01:29 > 0:01:33# Your mind's all full of things... #
0:01:33 > 0:01:39It's this tough resilient music and you can dip it underwater and, like an AK-47, it still works.
0:01:39 > 0:01:43They are one of the original great British bands.
0:01:43 > 0:01:48You know, the Beatles, the Stones, the Who, Sabbath and Led Zeppelin.
0:01:48 > 0:01:51Five bands that totally shape
0:01:51 > 0:01:54British rock and roll in America.
0:01:54 > 0:01:58You have songs like Paranoid and War Pigs and Iron Man,
0:01:58 > 0:02:04these songs, if you look back, this was like the blueprint for what this band was and what they would be.
0:02:04 > 0:02:08# Has he lost his mind?
0:02:08 > 0:02:11# Can he see or is he blind?
0:02:11 > 0:02:14# Is he alive or dead?
0:02:14 > 0:02:17# Has he thoughts within his head? #
0:02:18 > 0:02:22The fans turn up in their tens of thousands to see metal still,
0:02:22 > 0:02:26and Paranoid is an album that doesn't date.
0:02:26 > 0:02:31Paranoid is a defining moment in metal and rock.
0:02:32 > 0:02:35The first song we ever played with the four of us,
0:02:35 > 0:02:39I can't remember, it must have been Henry's Blues House,
0:02:39 > 0:02:43which was run by our manager at the time, Jim Simpson.
0:02:43 > 0:02:44We had all this energy banging around.
0:02:44 > 0:02:47We had this band that all five of us believed in.
0:02:47 > 0:02:50We knew it was a good band, we knew it was better than most,
0:02:50 > 0:02:53we knew we had something special, but we hadn't got a direction.
0:02:53 > 0:02:57It was all 12 bar blues. Every Tuesday night we'd go to this place
0:02:57 > 0:03:00and just dry our hair on
0:03:00 > 0:03:06and have a couple of pints and just to do 12 bar blues, you know?
0:03:06 > 0:03:08So every song was either...
0:03:09 > 0:03:10or...
0:03:12 > 0:03:14so they were all fairly straightforward.
0:03:14 > 0:03:19The first time I came across them, they were a band called Earth
0:03:19 > 0:03:24and it was just booked in...
0:03:24 > 0:03:29into the studio as a demo session and they came in
0:03:29 > 0:03:31in their sort of scruffy way.
0:03:31 > 0:03:34And Ozzy didn't have any shoes.
0:03:34 > 0:03:36And we'd show up for a gig, and most of the time people
0:03:36 > 0:03:38would turn us away because they wouldn't let us in the door.
0:03:38 > 0:03:42I've got no shoes on my feet, my arse is hanging out my pants,
0:03:42 > 0:03:44and I'm pissed and smoking Woodbines, you know?
0:03:44 > 0:03:50We'd been worrying, pontificating, draining our brains for weeks trying to get a new name.
0:03:50 > 0:03:52We knew Earth wasn't right, and we had to get a new name, and we
0:03:52 > 0:03:55always found a good reason for not accepting any of the proposed names.
0:03:55 > 0:04:00At the time I was heavily into the occult, and stuff.
0:04:00 > 0:04:03Not Satan or anything, just
0:04:03 > 0:04:07learning about astral planing and all that cobblers.
0:04:07 > 0:04:11I suggested, among other things, Black Sabbath, and everyone went, "Good name."
0:04:11 > 0:04:15Suddenly when the Black Sabbath name came and the songs that backed up
0:04:15 > 0:04:18the Black Sabbath name, we suddenly had a package that made sense.
0:04:18 > 0:04:22The first song we wrote was actually Wicked World,
0:04:22 > 0:04:24and then the second song was Black Sabbath.
0:04:24 > 0:04:26All the songs were written the same.
0:04:26 > 0:04:32We are going to a rehearsal room with nothing, and then just start jamming about,
0:04:32 > 0:04:36and it's peculiar how it happened, because they came up one after another
0:04:36 > 0:04:39without having the "I don't know, I can't think of anything."
0:04:39 > 0:04:43They were just coming out and it was almost like a magical force
0:04:43 > 0:04:46pushing these things out that we didn't understand.
0:04:46 > 0:04:53I was a medium-sized fan of Holst's Planets Suite, particularly Mars
0:04:53 > 0:04:57in those days, and one of the days we were rehearsing
0:04:57 > 0:04:59and I was going...
0:05:01 > 0:05:07trying to play Mars, and then the next day, Tony went in and went...
0:05:10 > 0:05:14And that's how Black Sabbath came about.
0:05:14 > 0:05:19It was so different to anything else we'd heard, and we just knew it was something.
0:05:19 > 0:05:23It was one of those when I started playing it, the hairs on your arms stand up.
0:05:23 > 0:05:27It was really different, and everybody said, that's really different.
0:05:41 > 0:05:46And then when the other guys started playing, it made it into what is.
0:05:46 > 0:05:51When Oz sang "What is this that stands before me?", it became completely different.
0:05:54 > 0:06:01# What is this that stands before me? #
0:06:02 > 0:06:05Because it hadn't been quite said like that
0:06:05 > 0:06:09and this was a different lyric now, this was a different feel.
0:06:09 > 0:06:11'I was playing drums to the words.'
0:06:11 > 0:06:14# Figure in black
0:06:15 > 0:06:19# Which points at me... #
0:06:20 > 0:06:22And we were wondering what to call it, because it
0:06:22 > 0:06:25doesn't actually say the lyrics, Black Sabbath, in the song.
0:06:25 > 0:06:29We said the band was called Black Sabbath, just call it Black Sabbath.
0:06:29 > 0:06:32- That was it.- It almost defines heavy metal, doesn't it?
0:06:32 > 0:06:35How many people have used that kind of...
0:06:37 > 0:06:41that kind of tonality within other songs?
0:06:41 > 0:06:44Sabbath did an awful lot of road work in the early days,
0:06:44 > 0:06:46when they weren't playing up north they went across
0:06:46 > 0:06:50to Hamburg and played the Star Club, and like a lot of British bands from
0:06:50 > 0:06:56the generation that really was the place where they got their chops down and really developed
0:06:56 > 0:06:59- a way of kind of playing together. - The Star Club was
0:06:59 > 0:07:03famous because of the Beatles, so when we got the opportunity
0:07:03 > 0:07:07to play at the Star Club, we were like, yeah, Star Club, fantastic!
0:07:07 > 0:07:10Of course, the reality was a lot different.
0:07:10 > 0:07:14We got there and there was only about three people in the audience.
0:07:14 > 0:07:18One of them being a nutcase, and one a prostitute,
0:07:18 > 0:07:21and we started at 2 o'clock in the afternoon.
0:07:21 > 0:07:27There were eight different 45-minute sets, and we only had
0:07:27 > 0:07:32eight songs at the time, so we would stretch each song out for 45 minutes
0:07:32 > 0:07:35and because we were jamming so much that is where we wrote
0:07:35 > 0:07:39practically all the first album and some of the second album.
0:07:39 > 0:07:40# Oh, yeah!
0:07:44 > 0:07:49# Some people say my love cannot be true... #
0:07:49 > 0:07:53I think you can hear a lot of the blues, which was typical of the day,
0:07:53 > 0:07:59especially with some of the drumming, and the way that Terry's playing some of his bass notes,
0:07:59 > 0:08:03but Tone's off the hook. Tone is just like...
0:08:03 > 0:08:06He's already off the edge of the world somewhere.
0:08:17 > 0:08:21When you play like that, rigorously, you know, all the time it is going
0:08:21 > 0:08:23to get tighter and tighter and tighter.
0:08:23 > 0:08:28And Jim Simpson eventually got them a deal with Vertigo records,
0:08:28 > 0:08:31and an album produced by Rodger Bain.
0:08:31 > 0:08:35There is this kind of received myth that they turn up,
0:08:35 > 0:08:39make their first album and it's a 12-hour session
0:08:39 > 0:08:44for 800 quid, but by then they were a really well-drilled machine.
0:08:44 > 0:08:48We drove down to get on the ferry, and the manager said,
0:08:48 > 0:08:53go and record those songs you've been messing around with, because I've got you a deal on Vertigo.
0:08:53 > 0:08:56And just to have a deal was like, wow!
0:08:56 > 0:08:58They booked
0:08:58 > 0:09:02two days, 10am until 10pm
0:09:02 > 0:09:06for recording, and two days, 10 till 6 for mixing.
0:09:06 > 0:09:08It was literally live in the studio.
0:09:08 > 0:09:09Rodger Bain,
0:09:09 > 0:09:15I think he's a genius the way he captured the band in such a short time.
0:09:15 > 0:09:18He was very easy-going, but he knew exactly what he wanted to do,
0:09:18 > 0:09:22because he'd seen them live. He wanted it to sound like that.
0:09:22 > 0:09:24We weren't really involved in it.
0:09:24 > 0:09:27All we did was go in and play it, because we didn't know anything.
0:09:27 > 0:09:30We didn't know what was what in the studio at all.
0:09:30 > 0:09:33We didn't know what mixing was, so we weren't allowed on the mix anyway.
0:09:33 > 0:09:37It was left all up to him and Tom Allen.
0:09:37 > 0:09:39And we literally just went in,
0:09:39 > 0:09:43played live, Tony did a couple of overdubs, guitar overdubs.
0:09:43 > 0:09:49We had to do it quick anyway, because not only from their point of view, but we'd got a gig in Germany,
0:09:49 > 0:09:54so we had to get on the boat and all that rubbish straight after the recording session.
0:09:54 > 0:09:58We didn't really think anything of it once we'd recorded it.
0:09:58 > 0:10:02To us, that was it, that was as far as we wanted to go.
0:10:02 > 0:10:06None of us had any idea what was laying before us.
0:10:06 > 0:10:09Because everybody told us that we'd never do anything and we
0:10:09 > 0:10:11were wasting our time and we should get a proper job.
0:10:11 > 0:10:14All we wanted was to have this record that we could go,
0:10:14 > 0:10:17"There you go, Mum and Dad, we've done it, we made an album."
0:10:17 > 0:10:22It wasn't until we got back from Europe that we realised the album was in the charts.
0:10:22 > 0:10:25Listening to the countdown, and the guy said, Black Sabbath!
0:10:25 > 0:10:27I went, what?
0:10:27 > 0:10:31We thought, is there two Black Sabbaths or something?
0:10:31 > 0:10:35I got my first royalty advance of 105 quid
0:10:35 > 0:10:39and I thought I would never see that in my life.
0:10:39 > 0:10:41I was like, what?
0:10:41 > 0:10:45I gave my mum a fiver, and got pissed on the rest.
0:10:45 > 0:10:51I bought a pair of shoes and some Brut smelly stuff which I hated, I thought it stank.
0:10:51 > 0:10:56We had slogged and slogged away and got nowhere, and suddenly the world had taken notice.
0:10:56 > 0:10:58And here they were wanting another album.
0:10:58 > 0:11:01What we were doing was writing and doing them live.
0:11:01 > 0:11:04We would put a new song in on the road.
0:11:04 > 0:11:07We had road-tested them and stage tested them,
0:11:07 > 0:11:09although we were singing different lyrics, probably.
0:11:09 > 0:11:12Paranoid was developed on the road.
0:11:12 > 0:11:15Rehearsals before gigs, sound checks.
0:11:15 > 0:11:19We used to write songs in the van, going to the gig, get to the gig
0:11:19 > 0:11:23and I would sing any old shit as long as there was a melody with it.
0:11:23 > 0:11:27Whatever Sabbath did, I think it was 99 per cent from the gut.
0:11:27 > 0:11:30And maybe some one per cent was thought about,
0:11:30 > 0:11:34but not for long.
0:11:34 > 0:11:39My ideas would just seem to come out the blue.
0:11:39 > 0:11:42It would be like, we could
0:11:42 > 0:11:47make this a medium tempo song and I would come up with a riff for that.
0:11:47 > 0:11:50He had the guitar, and an incredible knack
0:11:50 > 0:11:54of just coming out with riff after riff after riff.
0:11:54 > 0:11:59I don't know why, but that was the magic of the band.
0:11:59 > 0:12:04He would come out with a riff, and we would play the same thing at
0:12:04 > 0:12:09the same time together as if we all knew exactly what was coming next.
0:12:09 > 0:12:12There's something about it, you know. It's a chemistry.
0:12:12 > 0:12:18Everybody would wait until I'd start coming up with something, or Bill might start something, or Geezer,
0:12:18 > 0:12:22and whoever started something that we thought, that's good.
0:12:22 > 0:12:24It was still jamming,
0:12:24 > 0:12:27but it was becoming more
0:12:27 > 0:12:30as a team writing.
0:12:30 > 0:12:37And then Ozzy would start singing something about his aunt or whatever it might be, just a load of anything,
0:12:37 > 0:12:42just making words up to get some kind of melody line.
0:12:42 > 0:12:44And then once that was sorted,
0:12:44 > 0:12:48Geezer would write all the lyrics, generally.
0:12:48 > 0:12:51He'd add some of Ozzy's lyrics, sometimes, depending on what they were.
0:12:51 > 0:12:55And without any one of us it wouldn't have been the same, so we all
0:12:57 > 0:12:59got credits for it.
0:12:59 > 0:13:02It was more like writing
0:13:02 > 0:13:06heavy rock musical pieces.
0:13:06 > 0:13:08War Pigs, in fact, came from
0:13:08 > 0:13:11one of those jams in one the clubs.
0:13:11 > 0:13:14During the song, Warning,
0:13:14 > 0:13:19we used to jam that out
0:13:19 > 0:13:22and that particular night, we were jamming it out and Tony just went DA-DAM!
0:13:22 > 0:13:24And we were, "That's good."
0:13:24 > 0:13:28Originally, that was going to be called War Piggies.
0:13:28 > 0:13:34Somebody said it would be black magic because we all started reading Dennis Wheatley books.
0:13:34 > 0:13:38# Generals gathered in their masses
0:13:39 > 0:13:44# Just like witches at black masses
0:13:45 > 0:13:49# Evil minds that plot destruction
0:13:50 > 0:13:54# Sorcerer of death's construction
0:13:55 > 0:13:59# In the fields are bodies burning
0:14:01 > 0:14:04# As the war machine keeps turning
0:14:06 > 0:14:11# Death and hatred to mankind
0:14:11 > 0:14:16# Poisoning their brainwashed minds, Oh, Lord, yeah! #
0:14:22 > 0:14:27Basically, War Pigs is a Hieronymus Bosch painting
0:14:27 > 0:14:28brought to life.
0:14:28 > 0:14:32It's significant that in America there was
0:14:32 > 0:14:36a very, very political label called Broadside Records.
0:14:36 > 0:14:39This is where Dylan tested his lyrics out under another name.
0:14:39 > 0:14:42This is where the great civil rights protesters like Joan Baez,
0:14:42 > 0:14:48Tom Paxton, Phil Ochs all cut their teeth and issued recordings on Broadside.
0:14:48 > 0:14:56They were very, very sniffy about when American bands started to talk protest about war.
0:14:56 > 0:15:00Very, very sniffy. What's the one song that they rate? War Pigs.
0:15:00 > 0:15:04Lester Bangs was absolutely on the money when he called them
0:15:04 > 0:15:06the Milton of rock and roll.
0:15:06 > 0:15:12Milton was this hyper moralist also, and concerned with good and evil.
0:15:12 > 0:15:16# Politicians hide themselves away
0:15:17 > 0:15:20# They only started the war
0:15:21 > 0:15:25# Why should they go out to fight
0:15:26 > 0:15:29# They leave that role to the poor... #
0:15:29 > 0:15:31I wanted to write a song called War Piggies, the satanic version
0:15:31 > 0:15:36of Christmas, write it about the Satanism and spiritual thing.
0:15:36 > 0:15:42It's warmongers, that's who the real Satanists are, all these people who are running the banks and the
0:15:42 > 0:15:46world and trying to get the working class to fight the wars for them.
0:15:46 > 0:15:48We sent it off to the record company.
0:15:48 > 0:15:52"No, we're not going to call it that. Too satanic."
0:15:52 > 0:15:54So I changed it to War Pigs.
0:15:54 > 0:15:57# Wait till their judgement day comes
0:15:57 > 0:16:02No one has ever
0:16:02 > 0:16:06been able to really duplicate that organic thing that they did.
0:16:06 > 0:16:10The way that Tony would approach a solo...
0:16:10 > 0:16:14When it gets to the solo, I tried to always keep the bottom, like as
0:16:14 > 0:16:18the beginning, keep the bottom string ringing so it fills it out.
0:16:43 > 0:16:45And in the final
0:16:45 > 0:16:48mix we added a second guitar, which you'll hear now.
0:16:51 > 0:16:54Geezer is really thundering away underneath. Listen.
0:16:54 > 0:16:57GEEZER PLAYS HEAVY BASS
0:17:04 > 0:17:07Geezer's great.
0:17:07 > 0:17:13Again, bass players don't seem to exist like that, that actually play instead of playing one note.
0:17:13 > 0:17:20He'd be playing all over the place, bending the strings, and that's what we got into.
0:17:20 > 0:17:25On the riffs and stuff, I'd play and bend the string, and Geezer would bend the string, so we'd play that
0:17:25 > 0:17:27to make it bigger, to make it a wider sound.
0:17:28 > 0:17:33# Now in darkness, world stops turning
0:17:33 > 0:17:38# Ashes where the bodies burning
0:17:38 > 0:17:43# No more war pigs have the power
0:17:43 > 0:17:49# Hand of God has struck the hour
0:17:49 > 0:17:54# Day of judgment, God is calling
0:17:54 > 0:18:00# Underneath, the war pigs crawling
0:18:00 > 0:18:04# Begging mercies for their sins
0:18:06 > 0:18:09# Satan, laughing, spreads his wings
0:18:09 > 0:18:11# Oh, Lord, yeah! #
0:18:17 > 0:18:24Tony's riffs were so, so much feeling in those riffs, and so much menace and everything else.
0:18:24 > 0:18:30He wanted to capture what he was doing musically, lyrically.
0:18:30 > 0:18:35There's this thing in what he does that's really - it's not just him, it's the band as
0:18:35 > 0:18:41a whole, the dynamic in the band - but the riffs that drive it are just like no other guitar player.
0:18:41 > 0:18:43Iron Man, you know...
0:18:45 > 0:18:48It's just, the guitar isn't trying to do anything tasteful.
0:18:48 > 0:18:53He's using it because he can bend it, because he can effect feedback
0:18:53 > 0:18:56and make this droning sound which is a killer hook.
0:18:56 > 0:19:00What started the whole thing off with that was I'd done
0:19:01 > 0:19:06something that's like a monster, real plodding and real evil,
0:19:06 > 0:19:10and I came up with this by hitting the two strings...
0:19:14 > 0:19:17And that causes the vibing.
0:19:27 > 0:19:29And I wanted a riff to go with that.
0:19:36 > 0:19:40'I remember me and Ozzy were walking down the road one day.'
0:19:40 > 0:19:44Tony had just come up with the Iron Man riff, and Ozzy was going,
0:19:44 > 0:19:51"What am I going to call it?" And I think he just came out with like, "Sounds like a big iron bloke
0:19:51 > 0:19:53"walking about".
0:19:55 > 0:19:58And I just said, "Oh, yeah, that's a good title - Iron Bloke",
0:19:58 > 0:20:04- which developed into Iron Man. - # I am Iron Man...
0:20:04 > 0:20:05I say "I am Iron Man"
0:20:05 > 0:20:07but that's about as far as I did.
0:20:07 > 0:20:10What I'd do, if I couldn't come up with a melody
0:20:10 > 0:20:15over the top of what Tony was doing, riff wise, I'd sing the riff.
0:20:15 > 0:20:18# Has he lost his mind
0:20:18 > 0:20:21# Can he see or is he blind?
0:20:21 > 0:20:24# Is he alive or dead
0:20:24 > 0:20:28# Has he thoughts in his head? #
0:20:36 > 0:20:38Geezer wrote it about a guy that travels through time,
0:20:38 > 0:20:42and he sees what's going to happen in the future. He's like, "Oh, it's sci-fi".
0:20:42 > 0:20:46Geezer was always into that sci-fi shit. I didn't even know what the word meant.
0:20:46 > 0:20:49It was all about the future of the world.
0:20:49 > 0:20:53I was really into pollution and all that
0:20:53 > 0:20:56cobblers back then. Hippy.
0:20:59 > 0:21:03You could just see there were a lot of things going wrong in the world,
0:21:03 > 0:21:05and nobody was saying anything about it.
0:21:05 > 0:21:11Bob Dylan had long since faded from the present memory
0:21:12 > 0:21:16and there was nobody talking about the stuff that I wanted to talk about.
0:21:16 > 0:21:19Political stuff, that's what inspired me.
0:21:19 > 0:21:21Iron Man is a great story.
0:21:21 > 0:21:25You know, revenge. And when I heard that story, I'm like, "Yeah.
0:21:25 > 0:21:31"Those jocks... Boy, if I came back as Iron Man, they'd respect me then.
0:21:31 > 0:21:35"I've got to find a magnetic field."
0:21:35 > 0:21:39# Now the time is here
0:21:39 > 0:21:42# For Iron Man to spread fear
0:21:42 > 0:21:44# Vengeance from the grave
0:21:44 > 0:21:48# Kill the people he once saved... #
0:21:48 > 0:21:52I think there were only two days in Regent doing the basic tracks.
0:21:52 > 0:21:56They'd got all the material written except I don't think they'd
0:21:56 > 0:21:59really written all the melodies and the lyrics.
0:21:59 > 0:22:01It was just come in, probably another two sessions,
0:22:01 > 0:22:0610 till 10, and out we came with the basic tracks for the album.
0:22:06 > 0:22:11We didn't bother to do any overdubs because we knew we were taking them to Island Studios
0:22:11 > 0:22:15where they had a brand spanking new 16-track machine.
0:22:15 > 0:22:19Got the solo coming up here, with the nice speed change.
0:22:22 > 0:22:25Let's listen to a bit of Tony on his own.
0:22:29 > 0:22:31Geezer in here.
0:22:35 > 0:22:37And Bill.
0:22:39 > 0:22:41That rhythm section...
0:22:41 > 0:22:47I can't over emphasise how important that rhythm section is to the music and to the way those albums sounded.
0:22:47 > 0:22:50If you listen to Paranoid the first time if you're
0:22:50 > 0:22:56not an experienced listener, not a musician, whatever, it's all about that guitar and that crazy singer.
0:22:56 > 0:23:00But you don't have any foundation to build upon for
0:23:00 > 0:23:05a guitar player or anything unless you've got this rhythm section that can really hold that pocket.
0:23:05 > 0:23:09There's a great moment on Iron Man,
0:23:09 > 0:23:15they do this descending bridge that shifts into an ascending bridge
0:23:15 > 0:23:16on a dime.
0:23:20 > 0:23:23Listen to that one over and over again and then go in the band room
0:23:23 > 0:23:27and try and do that yourself and you'll sprain your mind.
0:23:42 > 0:23:45That is a great rhythm section that can just turn that time around.
0:23:45 > 0:23:49I've played that moment many times over, going, "Man, what a band."
0:23:49 > 0:23:53Everybody thinks to be a heavy rock band you've got to have a loud guitar.
0:23:53 > 0:23:54That's not the case.
0:23:54 > 0:23:56It's the rhythm section.
0:23:56 > 0:24:00You've got to have a good drummer and a good bass player working together.
0:24:00 > 0:24:03It gives the other band members room to move.
0:24:03 > 0:24:09And then how they repeat the riff, the intro riff, as the band is galloping...
0:24:13 > 0:24:19It changes the context of the riff, so they actually reinvent the riff on the way out.
0:24:19 > 0:24:20That's really cool songwriting.
0:24:20 > 0:24:25That's doing a lot with a little, because it's a fairly simple song.
0:24:42 > 0:24:43We always liked variation.
0:24:43 > 0:24:46I think that's another Beatles influence, if you like,
0:24:46 > 0:24:52because every album the Beatles did, none of the songs were the same.
0:24:52 > 0:24:56They're all different feels to each song.
0:24:56 > 0:24:58We always tried to get that.
0:24:58 > 0:25:04We didn't do a heavy metal album from track one to track 10 or whatever.
0:25:04 > 0:25:07Planet Caravan was very different to anything
0:25:07 > 0:25:10we'd done before,
0:25:10 > 0:25:13and it was almost one of those, "Hm, should we do this?"
0:25:13 > 0:25:17I must admit, when I first bought Paranoid, I was
0:25:17 > 0:25:21really disappointed that it had this mellow track three tracks in.
0:25:21 > 0:25:23I just wanted a bit more intense heavy metal.
0:25:23 > 0:25:28I just started playing this riff, and then we thought it was so quiet,
0:25:28 > 0:25:34and Bill liked it, everybody liked it, and so Bill just started joining in on the little congas he had.
0:25:34 > 0:25:36So I just play...
0:25:58 > 0:26:01And that was basically the main part of the song, and we just
0:26:01 > 0:26:05played it through with Bill playing congas on and Ozzy singing.
0:26:05 > 0:26:11We liked that, it was nice and relaxing, good to get stoned to, so that's where it came in.
0:26:11 > 0:26:15We've got a guide vocal from...
0:26:15 > 0:26:21from Ozzy, which is again pretty much the final melody but totally different lyrics.
0:26:22 > 0:26:26# The sky
0:26:26 > 0:26:30# Was clear that night
0:26:32 > 0:26:35# We were alone
0:26:37 > 0:26:41# And so much in love... #
0:26:42 > 0:26:48We'd literally be jamming away and he'd be jamming as well, singing along to everything,
0:26:48 > 0:26:52and I don't think he gets enough credit for
0:26:52 > 0:26:59what a talent he had for just coming out with this incredible vocal lines just out of the air.
0:27:01 > 0:27:06It was almost always what he first came up with, that's what we'd go with.
0:27:06 > 0:27:16# The moon like a big red bun
0:27:16 > 0:27:21# Stood in the sky
0:27:21 > 0:27:26# And I wondered why... #
0:27:26 > 0:27:28He was quite good at coming up with melodies, and I found
0:27:28 > 0:27:33certainly with him he was good at coming up with ballads as well.
0:27:33 > 0:27:35A good melody for a ballad.
0:27:35 > 0:27:39A lot of the times he'd come out with like one word and I'd go, "yeah, that's good",
0:27:39 > 0:27:41and write the rest of the song around it.
0:27:41 > 0:27:51# We sailed through endless skies
0:27:51 > 0:27:57# Stars shine like eyes
0:27:57 > 0:28:03# The black night sighs... #
0:28:03 > 0:28:07We just came up with that in the studio, and it was really laid-back,
0:28:07 > 0:28:12so I didn't want to come out with the usual love crap,
0:28:12 > 0:28:17so it was about floating through the universe with your loved one,
0:28:17 > 0:28:21instead of "let's go down the pub and have some chips" or whatever.
0:28:21 > 0:28:25That's what it was about, just taking a spaceship out into the stars
0:28:25 > 0:28:28and having the ultimate romantic weekend.
0:28:28 > 0:28:36# The earth, a purple blaze
0:28:36 > 0:28:41# Of sapphire haze
0:28:41 > 0:28:46# In orbital ways... #
0:28:46 > 0:28:51Tony used to love Django Reinhardt and Joe Pass,
0:28:51 > 0:28:53and he used to play that a lot,
0:28:53 > 0:28:57which didn't really fit in with the heavier stuff,
0:28:57 > 0:29:02but it gave him a chance to show what his roots were.
0:29:02 > 0:29:05We just went into like a little jazzy solo at the end...
0:29:30 > 0:29:32Whatever it was.
0:29:47 > 0:29:50When he first left school, he had a job in a factory, and he...
0:29:50 > 0:29:53He's left-handed so....
0:29:53 > 0:29:57He cut the ends of his fingers off on a metal shearing machine.
0:29:57 > 0:30:00The manager of the factory came to see me
0:30:00 > 0:30:04and he brought me an EP at that time and he said,
0:30:04 > 0:30:09"Play this." I said, "I don't want to listen to anything, no, I'm not interested".
0:30:09 > 0:30:11He said, "No, just put it on, play it".
0:30:11 > 0:30:15And so I did, and it was Django Reinhart.
0:30:15 > 0:30:18I didn't know, I'd never heard of him at that point.
0:30:18 > 0:30:21I thought his playing was great, and then this guy said,
0:30:21 > 0:30:26"oh, he's had an accident in another form and lost two fingers."
0:30:29 > 0:30:33And it really got me going then. It really started me off.
0:30:33 > 0:30:39Wow, you know, somebody has done this and managed to work with it.
0:30:39 > 0:30:42Planet Caravan is not a riff-driven track, but that showcases
0:30:42 > 0:30:46his dexterity and his versatility, as far as I'm concerned.
0:30:46 > 0:30:48It's got this ambient quality,
0:30:48 > 0:30:51which often does get overlooked in what Sabbath do,
0:30:51 > 0:30:57because everyone remembers all those huge riffs and those are the characteristic tracks.
0:30:57 > 0:31:00But there's a lot of subtlety in what he does.
0:31:00 > 0:31:03These guys were still incredibly young kids trying to
0:31:03 > 0:31:06find their way in the music scene,
0:31:06 > 0:31:10trying to refine their approach.
0:31:10 > 0:31:11I think we all felt the anger.
0:31:11 > 0:31:17There was riots going off everywhere, Paris and America.
0:31:17 > 0:31:20There were students being shot in America,
0:31:20 > 0:31:25We all realised in '67 and '68,
0:31:25 > 0:31:27revolution was never going to happen.
0:31:27 > 0:31:30It was just like a dream,
0:31:30 > 0:31:34and it was like back to reality time.
0:31:34 > 0:31:38Electric Funeral is a track that really has that sense of
0:31:38 > 0:31:42an apocalyptic view of the world, if you will.
0:31:42 > 0:31:48I think that aspect stems from the fact that Sabbath were aware of the world around them.
0:31:48 > 0:31:54In the 1950s and '60s there was paranoia about being nuked,
0:31:54 > 0:32:01and you would see propaganda films about what to do,
0:32:01 > 0:32:03particularly from America.
0:32:03 > 0:32:07First, you duck, and then you cover.
0:32:07 > 0:32:10Here they are on the way to school on a beautiful spring day,
0:32:10 > 0:32:13but no matter where they go or what they do,
0:32:13 > 0:32:17they always try to remember what to do if the atom bomb explodes right then.
0:32:19 > 0:32:21It's a bomb! Duck and cover!
0:32:35 > 0:32:40# Reflex in the sky
0:32:40 > 0:32:44# Warn you you're gonna die
0:32:44 > 0:32:48# Storm coming, you better hide
0:32:48 > 0:32:49# From the atomic tide
0:32:51 > 0:32:55# Flashes in the sky
0:32:55 > 0:33:00# Turns houses into sties
0:33:00 > 0:33:03# Turns people into clay
0:33:03 > 0:33:07# Radiation minds decay... #
0:33:07 > 0:33:10Ozzy was always great at interpreting...
0:33:10 > 0:33:14If he wrote them or I wrote the lyrics, it always
0:33:14 > 0:33:18sounded like it was coming from deep down in the Ozzy's soul.
0:33:18 > 0:33:23He's just got such a great voice for putting over stuff like that, you know, menacing stuff.
0:33:23 > 0:33:26# Robot minds of robot slaves... #
0:33:26 > 0:33:29Here's a good example of the vocal and the guitar and the bass
0:33:29 > 0:33:31all basically doing the same melody
0:33:31 > 0:33:35and riffing together, which is to great effect.
0:33:35 > 0:33:40# Maybe moon falls upon dying world... #
0:33:40 > 0:33:42All the verses are like this.
0:33:42 > 0:33:45None of the Sabbath songs off of Paranoid
0:33:45 > 0:33:49really followed a traditional songwriting format.
0:33:49 > 0:33:52There was never a verse, chorus, verse, bridge, solo, out.
0:33:52 > 0:33:54They never did that.
0:33:54 > 0:33:59The other thing that they did was jump into these tempo changes.
0:33:59 > 0:34:04I think the tempo changes came from, as we were progressing on a song,
0:34:04 > 0:34:09sometimes we'd come up with a riff and wouldn't know where to take it afterwards
0:34:09 > 0:34:12so we'd go away and think about it and we might come up
0:34:12 > 0:34:15and write a completely different song in the meantime
0:34:15 > 0:34:18and then go back to that particular song,
0:34:18 > 0:34:21and just keep working and working and working on it
0:34:21 > 0:34:25until we were all satisfied with where the main riff should go next.
0:34:25 > 0:34:28Some days we would come out with loads of ideas
0:34:28 > 0:34:30so we'd try and tack everything on,
0:34:30 > 0:34:33and whatever worked, that's what we'd keep.
0:34:33 > 0:34:36That's what would end up as the final song.
0:34:36 > 0:34:39Now we go into a completely different track, basically.
0:34:42 > 0:34:44Let's check out what Bill's doing here on his own.
0:34:49 > 0:34:52And Geezer...
0:34:52 > 0:34:54And the riff.
0:35:02 > 0:35:08LYRICS INDECIPHERABLE
0:35:17 > 0:35:22The sound was very rooted in where we came from, like an industrial town.
0:35:23 > 0:35:28And I think it had a lot to do with the actual creation of the things
0:35:28 > 0:35:31that we were seeing, being involved with.
0:35:31 > 0:35:35There was a lot of gangs around where we lived
0:35:35 > 0:35:39and we didn't want to be a part of that, we wanted to be...
0:35:39 > 0:35:40into the music,
0:35:40 > 0:35:45but I think it all slips in when you write, it's all part of this,
0:35:45 > 0:35:51subconsciously there when you create songs and riffs.
0:35:51 > 0:35:55It's that industrial down-ness of the rock, if you like.
0:35:55 > 0:35:59The press's attitude to Black Sabbath was almost uniformly negative.
0:35:59 > 0:36:03I don't think anybody really understood at that particular time
0:36:03 > 0:36:07what the band were creating, this kind of dark force of metal.
0:36:07 > 0:36:09They described them on one occasion as
0:36:09 > 0:36:13"spending a day on the end of runway number one at Heathrow."
0:36:13 > 0:36:16"Four brickies on acid inviting you to eat rat salads."
0:36:16 > 0:36:19I suppose when you stack them up against their peers,
0:36:19 > 0:36:23such as Zeppelin or Deep Purple, Sabbath were the ugly sisters.
0:36:23 > 0:36:29they were some sort of bastard children from deepest Aston in Birmingham.
0:36:29 > 0:36:33Nobody ever gave us a good review, nobody ever gave the album a good review.
0:36:33 > 0:36:36We liked it that way, because the more they hated us, the more the kids liked us.
0:36:36 > 0:36:42They all slagged us to death and they're the ones that looked silly when the album sold so many,
0:36:42 > 0:36:47because they looked totally out of tune with everything, with what the kids wanted.
0:36:47 > 0:36:50So it made them look really stupid.
0:36:50 > 0:36:55And a lot of them didn't ever forgive us for that.
0:36:55 > 0:36:58You just had to ignore that, you know, because they just panned it.
0:36:58 > 0:37:01Because it was something they didn't understand, what we were doing.
0:37:01 > 0:37:03Critics like hope.
0:37:03 > 0:37:10The critics tend to be upper-middle-class kids who are...
0:37:10 > 0:37:14liberals, for want of a nastier term, and they want hope,
0:37:14 > 0:37:17and Sabbath was not giving them hope.
0:37:17 > 0:37:22# What you gonna do?
0:37:22 > 0:37:25# Time's caught up with you... #
0:37:25 > 0:37:29I always remember we did these two American army bases,
0:37:29 > 0:37:32and it was where all the guys, once they'd finished their tour of Vietnam,
0:37:32 > 0:37:37instead of going straight back to America, they'd have to have like a halfway house.
0:37:37 > 0:37:39There was one in Germany and one in England.
0:37:39 > 0:37:43# Take your empty rules... #
0:37:44 > 0:37:49We got talking to the soldiers and everything, and they were in terrible states
0:37:49 > 0:37:52and telling me that there were a lot of them doing heroin.
0:37:52 > 0:37:56Nothing on the news about this, there was no programmes telling you
0:37:56 > 0:37:59that the US troops in Vietnam, to get through that horrible war,
0:37:59 > 0:38:02were fixing up and all this kind of thing.
0:38:02 > 0:38:06It just stuck in my head and when we did Hand Of Doom, that's what I wrote it about.
0:38:06 > 0:38:12# Vietnam napalm
0:38:12 > 0:38:17# Disillusioning
0:38:17 > 0:38:23# You push the needle in
0:38:23 > 0:38:27# From life you escape
0:38:28 > 0:38:33# Reality's that way... #
0:38:33 > 0:38:36On the Paranoid record, there's some real downer themes,
0:38:36 > 0:38:38but find the part of it that's not true.
0:38:38 > 0:38:43It was an awful war, and these young men did come home awfully twisted,
0:38:43 > 0:38:49and heroin use and drug abuse and alcoholism
0:38:49 > 0:38:52ran rampant with these young men who came home having seen stuff
0:38:52 > 0:38:56that no person should see or do. And Sabbath addressed it.
0:38:56 > 0:38:59# You're having a good time, baby
0:38:59 > 0:39:02# But that won't last
0:39:02 > 0:39:06# Your mind's all full of things
0:39:06 > 0:39:08# You're living too fast
0:39:08 > 0:39:11# Go out, enjoy yourself
0:39:11 > 0:39:15# Don't go in dead
0:39:15 > 0:39:18# You need someone to help you
0:39:18 > 0:39:21# Stick the needle in, yeah... #
0:39:24 > 0:39:29Sabbath are not ones to preach. They're ones to maybe observe,
0:39:29 > 0:39:34and they will say, you know, on a song like Hand Of Doom they can allude to the fact
0:39:34 > 0:39:38that if you go down a certain path, drug-wise, you will lose yourself.
0:39:38 > 0:39:44But they also know that they are in grave danger of doing that at any given moment.
0:39:44 > 0:39:49Hand Of Doom is one of my favourite songs to go with Terry's bass-playing.
0:39:49 > 0:39:51I'm just playing rim shots...
0:39:53 > 0:39:57And it literally is something like out of how we played when we were kids.
0:39:57 > 0:40:01And I like the way that again with the lyrics
0:40:01 > 0:40:03we are supporting it lyrically.
0:40:03 > 0:40:09# Now you know the scene
0:40:09 > 0:40:14# Your skin starts turning green... #
0:40:14 > 0:40:15It's about listening,
0:40:15 > 0:40:19it's about listening to each other, not just ploughing through.
0:40:19 > 0:40:23# Life's reality
0:40:25 > 0:40:29# Push the needle in
0:40:31 > 0:40:34# Face the sickly grin... #
0:40:34 > 0:40:37The vocal on the Hand Of Doom for me is really classic Ozzy.
0:40:37 > 0:40:40It's really well delivered, it's got the menace in it,
0:40:40 > 0:40:45it's brilliantly phrased and it just sounds spot-on to me.
0:40:45 > 0:40:50Hand of Doom, he just got it, he captured that one particularly well, I think. I like it, a classy vocal.
0:40:50 > 0:40:54He has his own sound, and there isn't anybody in the fucking world that sounds anything like him.
0:40:54 > 0:40:58I don't think he was conscious of his vocal style at that point,
0:40:58 > 0:41:01he was kind of fitting into the rhythms,
0:41:01 > 0:41:05fitting into the way Geezer wrote the lyrics.
0:41:05 > 0:41:09It was very unconventional, I think, but ultimately very successful.
0:41:09 > 0:41:13But I think it was a formula he stumbled upon in typical Ozzy style
0:41:13 > 0:41:16rather than finessed over the years.
0:41:16 > 0:41:20I mean, I can't hardly read English, never mind music.
0:41:20 > 0:41:24I don't know what key I sing in, I don't know...
0:41:24 > 0:41:27I've said to people, "I must learn to play an instrument"
0:41:27 > 0:41:30and people have gone to me, "You know what, you'd be probably making the biggest mistake...
0:41:30 > 0:41:34"If you learned what it was all about, you'd probably lose what you already have."
0:41:45 > 0:41:50It was like a long instrumental part at the beginning, we sort of got carried away with it, you know?
0:41:50 > 0:41:54But we liked it. I mean, it doesn't sort of happen so much these days,
0:41:54 > 0:41:58when people do, like, long intros, but that was what we tended to do on the songs.
0:42:14 > 0:42:17I think Tony Iommi, by the second album,
0:42:17 > 0:42:20has really developed this thing that is completely unique.
0:42:20 > 0:42:23And to this day, no-one sounds like Tony Iommi.
0:42:24 > 0:42:27Another key for the solo.
0:42:34 > 0:42:37Have a little bit of Bill on his own, I think, yeah.
0:42:37 > 0:42:39Here he goes.
0:42:39 > 0:42:41DRUMMING ONLY
0:42:45 > 0:42:49Nice triplets, but keeping the beat going.
0:42:54 > 0:42:57Changing the time there.
0:43:00 > 0:43:01SWITCHES ON OTHER INSTRUMENTS
0:43:01 > 0:43:03Nice change.
0:43:04 > 0:43:07Geezer Butler and Bill Ward swing.
0:43:07 > 0:43:11They really are incredible.
0:43:11 > 0:43:15The more you listen to the Paranoid album, the more music comes out of it.
0:43:15 > 0:43:20# Goin' home late last night
0:43:23 > 0:43:27# Yeah, all of a sudden I got a fright
0:43:29 > 0:43:33# Yeah, I looked through a window and surprised what I saw
0:43:36 > 0:43:40# A fairy with boots dancin' with a dwarf... #
0:43:43 > 0:43:47Fairies Wear Boots, it wasn't really about those creatures
0:43:47 > 0:43:50at the end of Ozzy's garden that he kind of keeps out one way.
0:43:50 > 0:43:55It was a result of an encounter with a skinhead gang.
0:43:55 > 0:44:01# Yeah, fairies wear boots and you've got to believe me
0:44:03 > 0:44:09# Yeah, I saw it, I saw it I tell you no lies
0:44:10 > 0:44:15# Yeah, fairies wear boots and you gotta believe me... #
0:44:17 > 0:44:21So Ozzy wrote the song Fairies Wear Boots about these skinheads,
0:44:21 > 0:44:25calling them fairies because they had the big Doc Marten boots on
0:44:25 > 0:44:30they were kicking all of us with, and that's where it came from.
0:44:30 > 0:44:34Just a silly little lyric, you know?
0:44:34 > 0:44:36It's fun, you know?
0:44:36 > 0:44:38That's what Ozzy's lyrics were, though.
0:44:38 > 0:44:41He'd think of a thing and then one would say something about
0:44:41 > 0:44:45skinheads are like fairies in boots,
0:44:45 > 0:44:48and then, like, "How else am I going to finish it?"
0:44:48 > 0:44:53So it goes off on a totally different tangent about being stoned or something.
0:44:53 > 0:44:56It's about LSD, I think.
0:44:56 > 0:44:59Because we started messing around with that kind of stuff.
0:44:59 > 0:45:05# So I went to the doctor See what he could give me, yeah
0:45:07 > 0:45:12# He said, "Son, son You've gone too far
0:45:13 > 0:45:18# "Cos smokin' and trippin' is all that you do,"
0:45:22 > 0:45:26# Yeah. #
0:45:26 > 0:45:31In some sense, what they did was brought the hippy culture to the working class.
0:45:31 > 0:45:34Things like smoking dope
0:45:34 > 0:45:36became really widespread.
0:45:36 > 0:45:39If you drove up to a house party on a winter night
0:45:39 > 0:45:41when it's too cold to stand outside,
0:45:41 > 0:45:46they are the four guys standing outside the house on the front porch
0:45:46 > 0:45:49drinking cold beer, cos either they can't get into the party
0:45:49 > 0:45:52or they don't wanna be inside the party.
0:45:52 > 0:45:56Those are your Black Sabbath fans, the lonely stoners,
0:45:56 > 0:46:01the ones who congregate and party in the woods, not at the dance.
0:46:01 > 0:46:03That's a Black Sabbath fan.
0:46:03 > 0:46:05Cos lyrically it's...
0:46:05 > 0:46:08potentially some down-and-out stuff,
0:46:08 > 0:46:12not, "Hey, let's all get together and dance to this!" Nah.
0:46:12 > 0:46:15We sort of covered the side that nobody else was...
0:46:15 > 0:46:19it was all love and peace when we started, you know?
0:46:19 > 0:46:23All the hippy stuff and flower power and whatnot, and we'd just
0:46:23 > 0:46:26come out with something that was really happening, you know?
0:46:26 > 0:46:31The Vietnam war and all the side of life that no-one was sort of mentioning.
0:46:31 > 0:46:32The rest of Warner Brothers
0:46:32 > 0:46:35didn't want to have anything to do with them.
0:46:35 > 0:46:38"Hey, what kind of music are we putting out here?
0:46:38 > 0:46:42"We're James Taylor, that's where we're going."
0:46:42 > 0:46:44So Black Sabbath was my band.
0:46:44 > 0:46:48Paranoid album was going to be called War Pigs, and...
0:46:48 > 0:46:51so we had this cover done of a guy
0:46:51 > 0:46:55with a shield and a sword to go with War Pigs,
0:46:55 > 0:46:58and they wouldn't let us use it, it was banned, they banned it.
0:46:58 > 0:47:00I think they were offended by War Pigs, you know?
0:47:00 > 0:47:05And in America at the time it's no wonder they were offended by it.
0:47:05 > 0:47:11We did not want to do it. We were in the midst of a war ourselves in this country
0:47:11 > 0:47:15and what their reasoning was was not that important to me,
0:47:15 > 0:47:17I knew we weren't going to call it War Pigs.
0:47:17 > 0:47:23We didn't have any say whatsoever in album stuff.
0:47:23 > 0:47:26It was on an acetate, and I remember playing it
0:47:26 > 0:47:31and turning the sound way up and shaking the whole building,
0:47:31 > 0:47:34and people in our building came and said, "What's that? What's that?"
0:47:34 > 0:47:36And I said, "I think that's the breakthrough album."
0:47:36 > 0:47:39I don't understand it, but that Paranoid sounds like
0:47:39 > 0:47:42a great title for an album and a great title for a single.
0:47:42 > 0:47:45The one thing that stands out in my mind
0:47:47 > 0:47:51with that was Rodger Bain saying to us, "Look, we need four and a half minutes,
0:47:51 > 0:47:53"four, five minutes, just go and jam something."
0:47:53 > 0:47:56We knew we had to fill three or four minutes, and that was all we were concerned...
0:47:56 > 0:47:59We didn't go, "Oh, we've got to have a single."
0:47:59 > 0:48:01It was an afterthought, Paranoid.
0:48:01 > 0:48:04So they just wanted a short song, and we'd never done short songs.
0:48:04 > 0:48:07It was always long, you know? So I thought, "Oh, God."
0:48:07 > 0:48:11So we came back from the pub and we came back into the Regent Sound Studio
0:48:11 > 0:48:16and Tony straps his guitar on and starts playing the opening to what is now Paranoid.
0:48:16 > 0:48:22We were all looking around and everybody's like scrambling, I'm looking for my sticks...
0:48:46 > 0:48:48I think it was about 20 minutes,
0:48:48 > 0:48:5120 minutes to cook it up and basically have it ready.
0:48:51 > 0:48:52We laid the track,
0:48:52 > 0:48:55Oz already had some ideas going on with melodies.
0:48:55 > 0:48:59Ozzy's singing the final melody, but you'll hear the lyrics
0:48:59 > 0:49:03have actually got nothing to do with Paranoid at all.
0:49:03 > 0:49:05# People say my mind's all things
0:49:05 > 0:49:08# With things that you can't see me now
0:49:08 > 0:49:12# Why are you on my mind all day long
0:49:12 > 0:49:14# I can't think straight no more... #
0:49:14 > 0:49:17Pretty obviously he's just riffing it,
0:49:17 > 0:49:20just to get an idea for the melody in his head.
0:49:22 > 0:49:24I don't think he's even singing off a lyric sheet,
0:49:24 > 0:49:26I think he's just making them up as he goes along.
0:49:26 > 0:49:29# Everyone is sayin' I'm mad
0:49:29 > 0:49:32# Because you're the only girl that I've ever had
0:49:32 > 0:49:35# I love you but you don't wanna know me
0:49:35 > 0:49:38# But I think you're great and I wanna see
0:49:39 > 0:49:42# I wanna see you
0:49:42 > 0:49:45# Smile into my face
0:49:45 > 0:49:48# Oh, yeah... #
0:49:51 > 0:49:55Even though Paranoid is a fairly pop-orientated song, it's still a really heavy song.
0:49:55 > 0:49:57The subject matter's heavy, you know?
0:49:57 > 0:50:00The notion of paranoia that afflicts this guy.
0:50:00 > 0:50:03I used to go through a lot of depression when I was a teenager,
0:50:03 > 0:50:07so that's where the lyrics from Paranoid came from.
0:50:07 > 0:50:11Cos I couldn't relate to anybody when I was getting in my depressions.
0:50:11 > 0:50:14# Finished with my woman cos
0:50:14 > 0:50:17# She couldn't help me with my mind
0:50:17 > 0:50:20# People think I'm insane because
0:50:20 > 0:50:23# I am frowning all the time... #
0:50:25 > 0:50:29The song Paranoid, when it was released as a single,
0:50:29 > 0:50:31it went flying up the charts.
0:50:31 > 0:50:33It was on every jukebox, it was like...
0:50:33 > 0:50:35We're on Top of the Pops, you know?
0:50:35 > 0:50:38The album Paranoid went to number one when it was released.
0:50:38 > 0:50:40Took us to America and opened up...
0:50:40 > 0:50:46Just fulfilled everything we'd ever dreamt of and all our ambitions.
0:50:48 > 0:50:51# Can you help me
0:50:51 > 0:50:54# Occupy my brain?
0:50:54 > 0:50:58# Oh, yeah... #
0:50:58 > 0:51:03They are completely the antithesis to, you know, the mainstream.
0:51:04 > 0:51:07Simon and Garfunkel are number one.
0:51:07 > 0:51:10Paranoid comes out, displaces Simon and Garfunkel.
0:51:10 > 0:51:12I mean, that really is like chalk and cheese.
0:51:12 > 0:51:15GUITAR SOLO
0:51:25 > 0:51:28They came to the States. Immediately the word started to spread,
0:51:28 > 0:51:32as they were playing in New York and some other places
0:51:32 > 0:51:34back there in the eastern part,
0:51:34 > 0:51:37and then they came out here and they were an instant success.
0:51:37 > 0:51:41This just went off, and it never stopped.
0:51:41 > 0:51:44# Make a joke and I will sigh
0:51:44 > 0:51:46# And you will laugh and I will cry
0:51:46 > 0:51:52# Happiness I cannot feel and love to me is so unreal... #
0:51:55 > 0:51:57Come on!
0:52:02 > 0:52:06They achieved something that was their own,
0:52:06 > 0:52:11and I think in 1969 through to 1978,
0:52:11 > 0:52:15they forged a career that is utterly unique.
0:52:15 > 0:52:20History is always written by the winners, and Sabbath won.
0:52:20 > 0:52:23They created a genre.
0:52:23 > 0:52:26We love you all!
0:52:27 > 0:52:31And a genre is never created at the time,
0:52:31 > 0:52:34it's only created when people follow you.
0:52:34 > 0:52:39Any heavy rock band that I worked with after Sabbath
0:52:39 > 0:52:41all were influenced by them.
0:52:41 > 0:52:46It's timeless, you can put it on now and go, "Wow, War Pigs, sure makes a lot of sense.
0:52:46 > 0:52:50"When did they write that?! Oh! Huh! Still works."
0:52:50 > 0:52:54If you knew the key to the success of Paranoid and its longevity,
0:52:54 > 0:52:58I think we'd all have our Rolls-Royces parked outside.
0:52:58 > 0:53:04There's some fifth element in there, something that just hooks you in.
0:53:04 > 0:53:07It's real. And I think anything from the heart,
0:53:07 > 0:53:10if anybody tells you the truth or if anything comes from the heart
0:53:10 > 0:53:12and you know it's heartfelt, it's real.
0:53:12 > 0:53:17It's a very basic, honest album, you know?
0:53:17 > 0:53:21It's how we felt and people can relate to it.
0:53:21 > 0:53:23Since that album came out,
0:53:23 > 0:53:28metal has just outlasted everything else, it seems to be.
0:53:28 > 0:53:31And a lot of new bands always refer back to that album.
0:53:31 > 0:53:37We're just a lucky bunch of guys who got together and something magical happened. Which is...
0:53:37 > 0:53:41There's no mystique about it, we didn't all get round our fiery cauldron
0:53:41 > 0:53:44and throw dead mice in a pot, you know?
0:53:44 > 0:53:46We did try it, but it didn't work.
0:53:47 > 0:53:52# Generals gathered in their masses
0:53:52 > 0:53:57# Just like witches at black masses
0:53:57 > 0:54:03# Evil minds that plot destruction
0:54:03 > 0:54:08# Sorcerer of death's construction
0:54:08 > 0:54:14# In the fields the bodies burning
0:54:14 > 0:54:19# As the war machine keeps turning
0:54:19 > 0:54:24# Death and hatred to mankind
0:54:24 > 0:54:28# Poisoning their brainwashed minds
0:54:28 > 0:54:30# Oh, Lord, yeah... #