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│ METAL CLASSICS ARCHIVE │
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│ P R E S E N T S │
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│ + Black Sabbath - 13 (Deluxe Ed.) + │
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│╔═════════════════════╗ │
│║ Release Information ║ │
│╠═════════════════════╩══════════════════════════════════════════╗ │
│║ ║ │
│║ Release Date.Jun-09-2013 Encoder......L3.97 -V2 --vbr-new ║ │
│║ Genre........Metal Graber.......EAC ║ │
│║ Year.........2013 Khz/Bitrate..44,1/ Br ║ │
│║ ║ │
│║ Ripper.......anthem Songs........cd1: 8 cd2: 3 ║ │
│║ Covers.......Yes Url... www.blacksabbath.com ║ │
│║ ║ │
│╚════════════════════════════════════════════════════════════════╝ │
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│╔═════════════════════╗ │
│║ Release Notes ║ │
│╠═════════════════════╩══════════════════════════════════════════╗ │
│║ ║ │
│║ Artist : Black Sabbath Rating : You Decide! ║ │
│║ Album : 13 (Deluxe Ed.) Label : Vertigo ║ │
│║ ║ │
│║ ║ │
│╠════════════════════════════════════════════════════════════════╣ │
│║ ║ │
│║ Description : ║ │
│║ ║ │
│║ "Rewind the future to the past," sings Ozzy ║ │
│║ Osbourne on the opening track of 13. It's a neat ║ │
│║ summation of what the first Black Sabbath album ║ │
│║ to feature Osbourne for 35 years attempts to do. ║ │
│║ Indeed, it's a neat summation of what every ║ │
│║ legendary band who've not just reformed, but ║ │
│║ also re-entered the studio over the last decade ║ │
│║ or so, have attempted to do. It's just that most ║ │
│║ of them haven't been as open about it as ║ │
│║ Sabbath, tending to couch their new material in ║ │
│║ talk about progression and suggesting they are ║ │
│║ moving forward into hitherto-uncharted musical ║ │
│║ territories. In fairness, producer Rick Rubin ║ │
│║ made a game attempt to suggest that the ║ │
│║ intentions behind 13 were "not retro", alas a ║ │
│║ little undermined by the fact that the next ║ │
│║ thing he said was: "If this had come out in ║ │
│║ 1972, I think people would have loved it." ║ │
│║ Nonplussed, bassist and lyricist Geezer Butler ║ │
│║ revealed that, in the studio, Rubin had played ║ │
│║ their eponymous 1970 debut and announced that ║ │
│║ the band should "unlearn everything" from the ║ │
│║ subsequent 43 years: "That was his thing. ║ │
│║ Pretend this is your second album." ║ │
│║ ║ │
│║ But in Black Sabbath's case, rewinding to the ║ │
│║ past is a big ask. Aside from Tony Iommi's ║ │
│║ downtuned guitar and the malevolence of Butler's ║ │
│║ lyrics, the thing that set them apart from such ║ │
│║ peers as they had in the early 70s was the ║ │
│║ almost tangible sense of desperation that hung ║ │
│║ over their music. You didn't have to have read ║ │
│║ Osbourne's dismal pre-Sabbath CV of petty theft ║ │
│║ and dead-end jobs to know that he wasn't a man ║ │
│║ overburdened with options: you could tell by the ║ │
│║ way he sang, that desolate wail. The rest of ║ │
│║ Black Sabbath matched him: on their debut album ║ │
│║ and 1970's Paranoid, they sounded, to borrow ║ │
│║ Tony Wilson's famous line about Joy Division, ║ │
│║ like people who were in a band because they had ║ │
│║ no choice. Even at the height of their success, ║ │
│║ something of the underdog clung to them. That ║ │
│║ was partly because of the sheer critical ║ │
│║ opprobrium they faced. "Any third-rate support ║ │
│║ act has a better chance of getting an album ║ │
│║ track played on Sounds of the Seventies or ║ │
│║ Whistle Test, or even a moderately sympathetic ║ │
│║ write-up in the music weeklies," noted one ║ │
│║ critic in 1973. But it was also because, like Dr ║ │
│║ Feelgood's Lee Brilleaux, Black Sabbath seemed ║ │
│║ to believe that rock'n'roll was fundamentally ║ │
│║ "music about bad luck", a conviction they clung ║ │
│║ to in the teeth of vast commercial success. ║ │
│║ Indeed, if you'd only paid attention to their ║ │
│║ lyrics and not the enthusiasm with which the ║ │
│║ band's members availed themselves of fame's ║ │
│║ spoils, you would have thought vast commercial ║ │
│║ success brought Black Sabbath nothing but ║ │
│║ alienation, despair and joyless nihilism: it's ║ │
│║ never mentioned in the same breath, but 1975's ║ │
│║ Sabotage paints a picture of drugged-out ║ │
│║ superstardom every bit as grim as Nirvana's In ║ │
│║ Utero. ║ │
│║ ║ │
│║ But it's hard to view Black Sabbath as underdogs ║ │
│║ today. With the band unimpeachably revered, the ║ │
│║ circumstances that birthed those albums are ║ │
│║ impossible to recreate, no matter how many ║ │
│║ signifiers of the classic Sabbath sound you ║ │
│║ gather together û and 13 pretty much collects ║ │
│║ the set, from tolling bells and thunder to ║ │
│║ Zeitgeist's fantastic, Planet Caravan-ish ║ │
│║ shimmer of acoustic guitar, bongos and effects- ║ │
│║ heavy vocal. The only thing conspicuous by its ║ │
│║ absence is Bill Ward's drumming. Drafted in ║ │
│║ after Ward quit over contractual disputes, Rage ║ │
│║ Against the Machine's Brad Wilks is no bad ║ │
│║ drummer, but he can't match the weird, jazz- ║ │
│║ inspired swing Ward brought to even the most ║ │
│║ dirge-paced tracks; possibly no one can. ║ │
│║ ║ │
│║ At its least appealing, as on God Is Dead?, 13 ║ │
│║ sounds like a band struggling to locate their ║ │
│║ old sense of menace. The scenery's very ║ │
│║ realistic, but you're always acutely aware ║ │
│║ you're in the presence of people putting on an ║ │
│║ act: close, but no metaphorical descent into the ║ │
│║ bowels of Hades fuelled by crushing existential ║ │
│║ despair. It's perhaps compounded by Rubin's ║ │
│║ production. At a time when artists seem to be ║ │
│║ increasingly leaning towards an old-fashioned, ║ │
│║ analogue approach, Osbourne has praised Rubin's ║ │
│║ use of Pro-Tools as a signifier of 13's ║ │
│║ modernity. Whether that's the reason or not, the ║ │
│║ sound lacks some of the primitive, brutal edge ║ │
│║ of Sabbath's early-70s recordings. End of the ║ │
│║ Beginning's journey from oozing sludge to a ║ │
│║ crashing, epic, surprisingly melodic finale û ║ │
│║ Osbourne's voice battling for space with Iommi's ║ │
│║ wailing guitar solo û would be fantastic if it ║ │
│║ didn't feel too brightly, glossily rendered. ║ │
│║ ║ │
│║ At other moments, however, you're glad of ║ │
│║ Rubin's presence. For all Butler's confusion at ║ │
│║ his "unlearn everything" approach, on the ║ │
│║ fantastic Damaged Soul, the producer seems to ║ │
│║ have succeeded in his aim. It sees past the ║ │
│║ Godfathers of Metal tag, returning them to their ║ │
│║ roots, in a thrillingly grim area between the ║ │
│║ late-60s blues revival and the last bitter dregs ║ │
│║ of psychedelia: a kind of curdled Cream. ║ │
│║ Moreover, somewhere on the way back, they seem ║ │
│║ to have recovered the urgency and edge that ║ │
│║ originally drove them. ║ │
│║ ║ │
│║ You can hear the same urgency and drive ║ │
│║ elsewhere. If it isn't down to Rubin's methods, ║ │
│║ then perhaps the misery visited on the band ║ │
│║ during the writing and recording sessions û ║ │
│║ Iommi's announcement that he had been diagnosed ║ │
│║ with lymphoma, Ward's departure, the Osbourne ║ │
│║ family's health issues and the singer's 18-month ║ │
│║ relapse into alcoholism and drug use û had ║ │
│║ something to do with it. "I always knew that ║ │
│║ there'd be trouble," sings Osbourne, glumly, on ║ │
│║ Age of Reason, before Iommi breaks into a ║ │
│║ lengthy, anguished-sounding solo. Dear Father ║ │
│║ finds a focus for Sabbath's patent would-you- ║ │
│║ like-to-see-the-Pope-on-the-end-of-a-rope ║ │
│║ religion-baiting in the Catholic church's child ║ │
│║ abuse scandal: there's something chilling about ║ │
│║ Osbourne's numb delivery and something very ║ │
│║ potent about the moment when the music gathers ║ │
│║ pace and his voice cracks into a anguished rasp. ║ │
│║ ║ │
│║ It ends with the aforementioned thunderstorm and ║ │
│║ tolling bell: the way their debut album began, ║ │
│║ giving 13 a sense of finality. In contrast to ║ │
│║ the usual reformed legends' bluster about their ║ │
│║ new work being the best of their career, ║ │
│║ Osbourne has talked, a little more ║ │
│║ realistically, about wanting to end his ║ │
│║ recording career with Black Sabbath "the right ║ │
│║ way", as opposed to with 1978's Never Say Die, ║ │
│║ an album he was too incapacitated even to ║ │
│║ finish. For all 13's flaws, it would be churlish ║ │
│║ to suggest they haven't succeeded in that aim. ║ │
│║ ║ │
│║ ║ │
│║ ║ │
│╚════════════════════════════════════════════════════════════════╝ │
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│╔═════════════════════╗ │
│║ Release Tracklist ║ │
│╚═════════════════════╩══════════════════════════════════════════ │
│ │
│ - CD 1 [ ] │
│ - [ ] │
│ 01 - End Of The Beginning [08:06] │
│ 02 - God Is Dead? [08:52] │
│ 03 - Loner [05:00] │
│ 04 - Zeitgeist [04:38] │
│ 05 - Age Of Reason [07:01] │
│ 06 - Live Forever [04:47] │
│ 07 - Damaged Soul [07:52] │
│ 08 - Dear Father [07:20] │
│ - [ ] │
│ - CD 2 [ ] │
│ - [ ] │
│ 01 - Methademic (Bonus Track) [05:58] │
│ 02 - Peace Of Mind (Bonus Track) [03:41] │
│ 03 - Pariah (Bonus Track) [05:35] │
│ │
│ Total Length : [68:50 minn │
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│ ╔═════════════════════╗ │
│ ║ Greetings To: ║ │
│ ╚═════════════════════╝ │
│ │
│ Too all people who contributes to make this │
│ archive of good music in a exceptional conditions │
│ │
│ │
│ │
│■ ■│
└───────────────────────────────────────────────────────────────────┘