The drummer later claimed that he sat out the recording and touring sessions because of unfair contractual terms, although the members of SABBATH have hinted in other interviews that he wasn’t physically up to the task.Īll four original members of SABBATH were present when the band announced its reunion in late 2011. I’m very open-minded about doing something like that.”īill was on board for the SABBATH reunion when it was first announced 10 years ago, but backed out soon after. I can lay track at my studio in Los Angeles. Which I can do safely, even with COVID around. I haven’t spoken to the guys about it, but I have talked to a couple of people in management about the possibility of making a recording. The way I play the drums, it’s becoming tougher as I get older. “Nothing live necessarily, because I’m looking at what I can realistically do. “My biggest contention has been, ‘Let’s make another album,'” the 73-year-old added.
I’m writing like a demon, I’m living life. They’re my brothers and I love them.”Īs for the possibility of him reuniting with SABBATH again at some point in the near future, Ward said: “As far as I’m concerned, the book’s never closed with SABBATH. I’ve been working with Tony ( Iommi, SABBATH guitarist) since 1964 when I was 16 years old. “A lot of things have crossed between us and there’s new boundaries that I’ve had to build, but I don’t think any less of them. “I talked to Ozzy ( Osbourne, SABBATH singer) two nights ago,” he said. Whether it be melodic, thrash, or gothic in how it unfurls, the future of mankind awaits within Paranoid’s deep grooves.Original BLACK SABBATH drummer Bill Ward has told U.K.’s Metro in a new interview that he is “in contact” with the other members of the band, nearly five years after they completed their final tour without him. Regardless of any of these picked nits, the fact remains: Paranoid is a stone-cold rock-era classic, and a prototype for the ensuing decades of metal riffage that followed. Anyone for a duly updated 55th anniversary box in 2025?
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At the very least, imagine “Planet Caravan” taking to the height channels, or getting the full range of the ebb and flow of volume and power in both “Iron Man” and “Hand of Doom.” The best bet would be to have the original quad restored plus new 5.1 and Atmos mixes housed together in one release. As a consummate surround advocate, I’d rather hear things go the other way into 5.1 or even Dolby Atmos territory, if only to remedy the 2009 quad DVD snafu. Sometimes, it’s just too quiet, especially when it comes to some of Ozzy’s vocals. That said, there’s also a downmixed stereo version of 1974’s quad mix on CD2 (and LP2). Note that a 2019 50th Anniversary Super Deluxe Edition 5LP box set from Warner Records/Rhino is a digital transfer of the CD box’s contents, so be forewarned if that’s a deal-breaker. In fact, if you listen closely, you’ll find Ozzy’s vocal approach to the verses on “Paranoid” is a direct descendent of the way Paul McCartney attacks the verses on The Beatles’ “Get Back.” (Help me with my mind, Loretta.)Ģ019 Warner Records/Rhino 50th Anniversary Super Deluxe Edition 5LP set.Ī 2016 4CD box set from Warner Bros./Rhino in a 6x8-inch rectangular format more common to European boxes contains fine upgrades of a pair of well-bootlegged 1970 live gigs from Montreux and Brussels, showing how the performance bond between Ozzy, guitarist Tony Iommi, bassist Geezer Butler, and drummer Bill Ward was only getting stronger.
My other thing is, if a song still sounds as good now as it did when you first heard it, it’s gotta be good.” If that’s the case, then Paranoid is quite bloody good indeed. The Beatles did give me the gift of melody, you know. “They had great harmonies and great melodies, and I always got a great feeling listening to them. “I wanted to be in The Beatles,” Sabbath vocalist Ozzy Osbourne told me during our in-person interview a decade ago. And where might that come from, you ask? Two words - The Beatles. Actually, the secret sauce can be found via something you may not have even considered - Black Sabbath’s inherent sense of melody.
The key to the enduring appeal of Black Sabbath’s career-making second album, September 1970’s Paranoid, doesn’t only reside within its fist-pumping, headbanging, metal-genre-establishing bonafides.
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