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