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Well, Aretha Franklin is Aretha Franklin, and I don't fear contradiction on this, unless suddenly Giacobbo pops up to tell us that Aretha Franklin is actually Paul McCartney.

What an album, guys...

The beauty is for "stramadonnapronkoddio," which cost me a good half hour of laughter. :D

Beautiful "Don't bother me." But the entire initial triptych of the BMS is stunning for me.

Big calibers.

Oh yeah

For me, it's the most beautiful :D Degustibus, of course (they are always three great albums).

Yes, but it doesn't change anything, they're three equally excellent records, it's just nitpicking ahahah

Sensational.

I would say it represents the group as well as one could; and you’ve described them well in a few lines. Shadowy, decadent, gothic; unique. There’s just one thing I’d like to point out: it’s the first time I hear Ska associated with Bauhaus; it's not a criticism but honestly that genre reminds me of fun bands like Madness, Specials, Selecter, etc...etc... And of fun, as I’ve mentioned several times before, Peter Murphy and company have nothing, or almost nothing. Hey, young chap!!!

Yes, but they have definitely used those rhythms at times, or at least taken inspiration from them, just like from Dub to Whobble, and there’s little doubt about that DeMa; it's also why I like them.

Just the use of the adjective "decadent," then, DeM.

To clear my doubts, I'm now re-listening to the vinyl; and the B side, especially in the track "In Fear of Fear," features rhythms dictated by a limping bass and that syncopated sax sound that honestly reminds me of dub-funk sounds with a touch of ska. You see, it's nice to discuss Music with you because we do so without giving absolute certainties: everyone perceives what they want in a track. Of course, I would have been pissed off if you had defined their sound as similar to Grindcore. Anyway, and I'll conclude, it's an album released in 1981 that remains a masterpiece: and at least here we agree.

DeMa, if I had compared them to Grindcore, I would have been an idiot ahahahahaha :D We obviously agree this is a fantastic album that I enjoy more now than when I first listened to it. Now, let’s move on to "The Sky's Gone Out" and the live shows :)

Ahahahahha; indeed you're right this time too about the possibility of associating Grindcore with Bauhaus!!! Let's invade the site with their records!!!!

I just put BEL...A...ZZ...

Don't worry, it's not your fault; it's just that I don't like it when an idiot like that (someone who presented himself in a completely different light, so double the crap) comes to comment here with the sole intention of provoking. Honestly, it's starting to annoy me a bit.

Alright, here I am a fanboy ahahah. Great album. Even though I prefer "Burning From The Inside." And well, there's really no point in discussing "In The Flat Field"...

In fact, I completely agree. "Unfortunately," this album, because of "that" cover, has reignited my Enomania, Taking Tiger at full speed, and I think Here Come the Warm Jets is about to make a comeback as well...

We Cliiiimbed oh we cliiimbed... Nothing leaves my head, damn Eno.

One of the records I've worn out the most, "Here Come the Warm Jets"... oh my gosh...

With this little man, there's an embarrassment of choices, a unique touch to the acoustics.

Until 1980, the quality is embarrassingly high...

I've been listening to this album on repeat for months now...

But can you read, translate, and understand the texts too?

The lyrics of this album aren't anything too complicated; as I listen to the tracks, the lyrics flow automatically with ease. I’ve never really focused on reading them, except for Needle of Death – by now, I know the lyrics to that song by heart.

I listened to the first "Smokey River." Remarkable. By the way, the arpeggio is reminiscent of what we will hear a few years later in the first Cohen, that of "The Avalanche" and "Famous Blue Raincoat."

The first trial of a virtuoso of the acoustic guitar that will pave the way for other virtuosos of the instrument (Renbourn, Martyn, Drake, Harper, etc.) ... "Needle of Death" an unforgettable gem, where Jansch sings of the loss of a friend to overdose on the brink of tears...

The only one I know of them, untouchable. Planet Caravan is indeed quite different but it fits perfectly.

My dear, it seems only natural to recommend that you listen to the rest of their discography regarding the entire first half of the '70s.

One of the albums that at 14 years old wonderfully and destructively opened this life for me. "Epic" is used too carelessly... in this case, it’s perfect!

All I need to do, as hj has already said, is to quote the opening of the album!! Epochal, cornerstone, bible, etc... etc....

At your command, boss 😂

The Bignami of metal.

Heavy blues? I'm not a guitarist, but it seems to me that Tonino O'Iommy doesn't play his in that way... but I might (if ever) be wrong.

But "Heavy Blues" doesn't mean a damn thing, it's just me having fun creating genre definitions to literally understand the heavy, pachydermic way of playing Blues-Rock by the Sabbath. Ah, I almost forgot to mention the contribution to the band's sound from Ozzy's raspy voice, simultaneously terrible and perfect for the band's songs.

You are masterpieces, even Sabotage should be included.

I still like "Sabotage" a lot, and without many reservations, but it’s starting to take paths that I musically like less than the first five (with all the sound and stylistic evolutions that I greatly appreciate in "Volume IV" and "Sabbath Bloody Sabbath"). And no, I don't consider it a masterpiece even though, yes, it’s a great album, the last one that suits my taste (in the sense that, yes, "Heaven and Hell" is a masterpiece in its genre and an important album for the band, it gave them freshness and valid ideas, but it belongs to a genre and sound that I’m not very passionate about, alas).

Sabotage side A absolute masterpiece. Side B works for side A. Those who don't have the record won't understand immediately.

Heavy Blues is the exact definition, it's perfect. Sabotage a little less fur, but I agree with Spiritello.

Black Sabbath.....
I share your thoughts.
Ozzy has a supernatural voice; he's an extraterrestrial.

Don't mess with my Sabotage. Not a hair more or less. As long as Ozzy was around, it was love and black passion. I can agree that Technical Ecstasy is a bit lackluster, but up until Never Say Die, it's a blast!

For heaven's sake, it's always a matter of taste: I definitely won't touch "Sabotage" because it's a great album, even though I keep saying that for tracks and overall sound, it captivates me less than the two preceding albums (which, as you know, many tend to place on a lower level compared to the first three more "seminal" and "heavier" ones, and instead, believe it or not, my favorite is actually "Sabbath Bloody Sabbath"). "Never Say Die" isn't bad, of course, but from there on, their listening becomes dispensable for me. Unfortunately, for me, the "Ozzy period" drops quite abruptly after '75. After that, well, my issue becomes rather the change in sound, with Dio on vocals, etc. Ah, "Born Again," the album with Gillan on vocals, is an absurd caricature, but it makes me laugh a lot.

Until Sabotage super, I don't know the others and maybe that's for the best. Not even the one with RJ Dio. No Ozzy, no Sabbath as far as I'm concerned. I've always been fixated on the historical voices.

Oh, I almost forgot about the last two disasters with Ozzy, so I only know them through Ozzy, a character who, after seeing him in that kind of reality show, has lost some of his shine for me.

I, on the other hand, have always had a soft spot for Technical Ecstasy, definitely a distant relative of the early stuff, but it has always sounded good to my ears. I love Heaven & Hell and I enjoy The Mob Rules, but I am a follower of Dio, so that doesn't really count. The pinnacle of an entire career remains the first 5, precursors of an entire genre.

... Sabbath Bloody Sabbath my favorite of all anyway...

You see, there are already two of us. Anyway, I believe that appreciating more or less the albums from the RJD era onward also depends on how well one can handle "Heavy Metal" that's more "classic" or with "epic" tendencies. I handle it poorly, and the marked stylistic difference between their '70s and '80s, for example, inevitably marks a rift for my ears, even though I acknowledge that especially in "Heaven and Hell," it's objectively a valuable album.

For instance, the same Rainbow by Blackmore with Dio, I appreciate them, I've listened to them with pleasure, but they are not my "kind" in any case, great band but not very close to the things I appreciate most in "Rock and Metal and surroundings."

Never Say Die has great songs, first and foremost the titular track that gives the album its name. Clearly, one needs a bit of flexibility and shouldn't expect a 1969 album in 1978! The riffs are there, the vocals too, and "the other two" are a guarantee. These are albums (Technical Ecstasy and N.S.D.) that experiment with sounds and daring compositions for the genre at that time.

The discussion about "Technical Ecstasy" doesn’t add up to me: even "Volume IV" and "Sabbath Bloody Sabbath" weren’t albums from 1969 but rather from 1972-73, which means they were already expanding their range of sounds and experimenting with different solutions. I’m not saying they had stopped doing what they had in the first two years, but they had added other characteristics to their proposal. The problem with "Technical Ecstasy," as I see it, is simply that the songs are of lesser quality and inspiration, and I mean really much lesser. There’s also the fact that certain sounds might appeal to me less. Of course, it’s all very subjective, but it seems quite evident to me that "Technical Ecstasy" and "Never Say Die" (which is not a bad album, I reiterate) are overall less inspired and fresh, and have less beautiful tracks (along with the whole discussion about historical importance, innovation, etc.) compared to "Black Sabbath," "Volume IV," or even "Heaven and Hell," all beautifully different from one another. So, I wouldn’t speak of elasticity as an element to reassess especially the last work with Ozzy, nor do I think it’s a matter of expecting an album from '69 in 1978, absolutely (otherwise I would have to say that "Heaven and Hell" is a weak album, which would be foolish of me to say). Because, aside from a particular preference for a certain period of the band (which continues, indeed, throughout that first evolution from 1972 to 1975), there’s also the issue of the lesser quality of the songs themselves; you defined it quite blandly earlier, and that holds true.

Then you see, at hell's pleasure, it's normal for there to be numerous subjective variations and so on. The title track "Never Say Die" is symptomatic of my judgment on the album: I like it, I've listened to it with pleasure, I would never think of calling it "bad," but it's still quite far from the emotions and enjoyment I feel for the things they made before.

To each his own, dear brother. The 78 compared to the 69 suggests that we are inevitably inclined to make comparisons with the past. It also depends a great deal on when you listen to them. Trying to listen again after years can change your feelings.

This is true; with some albums/artists, I've found myself, as I think anyone else has, reassessing an album that I hadn't listened to in a long time, either positively or negatively. However, the issue of the inevitable comparison with the past is more complex. It’s very true that one risks falling into a banal mindset like "Oh, but the old ones were better because they were the ones before," but it’s also true that in certain cases, one might justify less successful works with the "excuse" of not making comparisons with the past. Then, if we add the subjectivity of individual tastes, the matter becomes incredibly intricate, and well. What I wanted to say, for instance, is that some already tend to make comparisons with the musical "past" of the Sabbath, to stay on them, when they listen to the fourth album compared to the three previous ones, in the sense that they perceive the band's musical evolution as something inferior to the "older stuff." For me, in this case, it’s not like that, and it’s not even the discriminating factor in my rather unenthusiastic judgment of "Technical Ecstasy," because I reiterate, if it were just about comparing with the past to judge the album, then I’d have to discard the even more different and recent "Heaven and Hell," which instead is a great album that has the sole, highly subjective, flaw of featuring sounds and musical ideas that don’t excite me. The problem with "Technical" is simply, my opinion clearly, that it’s a somewhat ugly album with somewhat lackluster songs beyond what came before and/or after. From here, the comparison with the band's past becomes like a stylistic exercise: "Oh, but the ones before were cooler, different. And thank you very much," also because, simply, I find them musically more solid and inspired there.

Ahahaha what a laugh these pretentious fools are, just to avoid saying heavy metal, they invent these ridiculous terms to show they are alternative, "heavy-blues," crazy stuff. Were you that disgusted to say heavy/doom metal?

I would tell you that you're lacking the basics, but I won't because the fake kids make me feel so sorry for them.

Bah... can you even compare to Queen?!

One, two, three... stunning. Beautiful songs and a real atmosphere of what will be called doom.

You are right. Win two to zero, clear cut.

Yeah. Then my favorite is the fifth one, with keyboards and nods to prog, what can you do :D

But what 2-0. I would say more like 7-1, there you go. :(

Song inspired by Bruno Maggio's little daughter, who is as cute and sweet as I know the Queen.

Now I'm putting on an earbud :D

But really, it's enough of this bullshit where the coach is always to blame when those idiots (I'm talking about my sadly disappointing Inter, but also Roma) go on the field without pride and dignity. But for fuck's sake, a little self-respect and the desire to give it all and not look like fools, right?! Mercenaries who take advantage because... the coach is the one who pays. Shitty football that I used to love.
Stop football, immense Sabbath!

Ahahahahahahahahahah

Right. But if an entire locker room revolts, the coach has some responsibility too, doesn’t he?

"But really, enough with this bullshit of always blaming the coach." And I agree, he certainly has his shortcomings too, but only a part of it; he's just the easiest target, obviously. Yes, yes, for heaven's sake, enough soccer, long live the Sabbath.

Anyway, football players are a bunch of spoiled kids. Many of them, not all.

I mean the riff, right? The opening riff. The one by the Sabs changes right away, but at the beginning it’s the same. Who cares, though, it makes me laugh.

Absolutely, the coach too, but for a long time I've seen too much fear with coaches. Nobody tells you to go in soft and take it in the ass, and even if you have a shitty coach, you go and eat dirt and ankles, then we’ll see. I don't care about the result, but about giving everything. I think today’s coaches are all very prepared. The difference is made by the feeling with the players and the environment... and a bit of luck. There's no coach who does well everywhere... look at Mouna in regards to players, sons of bitches. If you don’t want to give everything for the shirt, do it for the millions they give you because you were born with useless but highly paid talent, and remember the luck you have, you idiot player.

Mou... players

And on this, I totally agree with the Count. I quote everything.

No one is making this comparison between the two pieces? We need other ears to compare it. I'm going to burst this balloon.

Ahahahahahahahahah... they are very different as pieces but true, true...

After. I'm watching Inter amigo.

Yes, yes, very distant but precisely for that reason, it’s strange and cool also because I adore both, to hear such similar things in two bands so far apart. The idea that Iommi liked that Genesis track so much (because they all listened to/knew them in Vicenza) that he "stole" a piece of riff amuses me, in a positive way. Beautiful.

I barely remembered there was Inter Lazio ahahaha

It's a shame you don't write reviews because you would be up to the task. After all, these definitions are just nonsense.

of course the queen eats these 4 poor satanists and shits them out 1000 times

Ahahahahahaha come on Riba this joke is nice (not that much) as long as it’s short... because if you really say you're a clinical case, no one will care about you anymore, definitely ahahahahshsh

Well... Maybe I should try with the zot, who knows. I'm afraid I won't be able to keep them zot, though.

Of course I’m saying it, there’s really no contest, I’m not joking at all.
The Queen against the black shit, there’s really no match.
But tell me a bit... is it true that that idiot Ozzy Osbourne one day during a concert ate a rat or a bat and almost died?
AHAHAHAHAHAH!!!!!!!

I repeat hjhj for me you're good... if you want, write it and I'll publish it under my name so I can also come off as a prog expert XD

Sooner or later it will happen. When you least expect it.

They pulled him on stage and he thought it was a toy ahahahah... he was no longer in Sabbath...