As
there were a few younger, long-haired posties (like me), it got a few
airings. But by a further divine error, the jukie also contained the
“B” side. Which was “The
Wizard.” It began
innocuously with some mournful tootings on a harmonica, and for a few
brief seconds, the hubbub, nay uproar in the “caff” continued
unabated. Then the thunderous power cords of Messrs Ward, Butler and
Iommi kicked in, and shortly afterwards, Ozzie would begin his nasal
caterwaulings.
I've
always been a Rock and Metal fan. Black Parrot Seaside began life as
a rock band, with the stacks, columns,hair and all. At that time, if
I was feeling occasionally homesick for the Industrial Midlands, a
little blast (literally) of Sabbath often did the trick. Plus, “
The Wizard” also visibly annoyed a roomful of old bastards
instantly. This tickled me immensely, as “Paranoid” never
seemed to have the same effect on them.
Initially, the culture shock in the
dining area was palpable. And then the rage was, too. After the
first dozen or so complaints, the proprietors cleverly learned to
recognise that distinctive intro to “The Wizard,” and they turned
it down a little each time. So as to protect the delicate senses of
the fag-smoking, tea-swilling, sausage-munching hordes. But they
couldn't undo the multi plays I had inserted before leaving, and they
could not ask for the disc to be removed from the playlist until the
next time the Rep. turned up to service it. (I was an awkward young
sod like that!).
This
reaction endeared me even further to Sabbath. I had first heard them
performing their eponymous second album on an aged green Dansette
record player, bequeathed to me for solace whilst I was in exile.
This was the album with a spooky cover and with the opening track
beginning with a thunderstorm and a tolling bell. It still sounds
pretty good on Volume control 11 pumped out through four speakers and
a specialised amp. at home. Better than on the Dansette, in fact.
Even though it does shake the windows. (Detached house-neighbours
can't hear it). On the strength of hearing that album I bought the
first Sabbath Album, secondhand from the brother of a College friend.
It contained the wondrous “War Pigs” and “ Iron Man.”
I wasn't lonely, depressed or devil-worshipping. I just liked
enormous, Gothic power chords. And I thought Tony Iommi was a
cracking guitarist. (Still do!) I went on to purchase several other
Sabbath albums. One of my favourites remains a 12-inch Limited Edition E.P. called "Feels Good To me." One of the tracks is a
towering live version of “Heaven and Hell. “ It was recorded
live in Moscow, in 1989. The band was falling apart, and
Iommi was the only original Sabbath member featured on the recording.
Vocalist Tony Martin introduces each member of the band including
the late Cosy Powell on drums, as they all bash out a little solo in turn. “
And the man who needs no introduction,” he growls, ” the one man
who keeps the Black Sabbath legend alive-Tony Iommi!” Moscow then goes
mad as Iommi rips into a gargantuan solo. I often wonder what Putin would have made of all that
degeneracy. Shot them, I suppose?
Better times today of course, for
Sabbath, with most of them cleaned-up and even recording together.
Their downloads and albums remain popular and their trail-blazing
contribution to the genre of music now known as Heavy Metal is
fully acknowledged by old and young rock fans alike. T.V. Programmes
on worthy Culture Channels have analysed their songs and proved that
some are actually well-written. Few if any endorse the dark arts, and
a couple are actually credible political statements. (I told you War
Pigs meant something).
