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My list of albums to listen to is already long enough. The only albums from Sabbath I'm remotely interested in hearing at this very moment are the really deep ones without Ozzy and Dio.....

You shouldn't really say that if you haven't listened to them all. I agree that the post Ozzy/Dio stuff deserves more attention, especially Seventh Star, Eternal Idol and Headless Cross, but just discarding the 'classics' because they're not deep enough or whatever doesn't do them justice. There is a reason why they're so popular and highly rated, and that's because they are so good. Vol. 4 is probably my favourite purebred metal album from the 70's, or at least one of them, on par with the first two Rainbow albums. Heaven and Hell virtually defined what metal was about in the 80's.

I'm all for giving the deep cuts love and shed light on lost gems, but in order to fully appreciate them, you still need to do your homework and familiarise yourself with the classics. Otherwise, you're just as narrow-minded as the all-about-Ozzy crowd.
 
Even if you take the view that Dio Sabbath was too heavily tinted by Ronnie, I'd argue the incredible talents of Iommi and Butler allowed the band to execute the whole quasi-NWOBHM, proto-power metal thing far more effectively than Rainbow or solo Dio.

That might be true. And if your thing is "quasi-NWOBHM, proto-power metal," I certainly can see you appreciating that. But my first album with Dio was the Rainbow's debut and I haven't managed to find its equal. There is only one Man on the Silver Mountain. Maybe I lean closer to older hard rock in general (though I'm not sure if that's the case, because then I'd surely have to love the first two Maiden albums and I certainly don't).

Even then, you say it kinda improves upon the formula, which is good but not as good as inventing the formula altogether. And besides, those first records have something almost nothing else has. After spending a lot of time with various death, deathrash, deathgrind, black etc bands, I can proudly (and trollishly) say that I don't think I have heard something that would match the utmost brutality of the intro of Into the Void. :D

But IMO Dio Sabbath is still Sabbath, just with the inevitable shift in style brought on by employing a very different singer

Not sure about that. I don't hear the change in Maiden being this huge and regarding Sabbath, I can't help but feel they somewhat lost their original personality a bit in the process. Sorry for speaking ill of the dead, but while I always loved the guy, Ronnie couldn't have not been a bit of an egomaniac. Otherwise I'd have a hard time explaining how three bands he was in sounded all more or less "Ronnie". I'd say it goes beyond "different singer" here.
And I specifically said "personality", because Ozzy-era Sabbath are much more personal in their approach and lyrics than any of the latter era incarnations. You are in the void, you do feel betrayed and rejected by the outside world (without being emo, though), you are a complex character. Dio-era lyrics are often either completely detached or… yeah, you guessed it, nonsensical.

I'm sorry, I know some (like Loosey) want to think that Heaven and Hell (the song) describes some kind of philosophy or criticism of religion and it sounds cool and sometimes even profound, but it makes just as much sense as Starblind (which, well, he also compared it with), with weird grammar and intentional hogwash like "you got to bleed for the dancer". Now, I'm certainly not the most well-read of men (and certainly not the wisest or most intelligent), yet after reading at least some real theology and philosophy (and even atheist philosophy at that) I can't but help finding those really silly… and annoying, considering the applause it gets. But again, that's my pet peeve, just as Ozzy's voice is someone else's.

Once again I admit the lyrics sound great, Dio was an amazing singer (and composer, in many ways) and overall that version of Sabbath is definitely the "easiest on the listener" (and I'm not in any way denigrating, there's more "aural hostilities" etc in the Ozzy version, true, and I don't consider myself a hipster), so I understand the fandom. It'd be silly seriously putting down HAH or Mob Rules (I don't know whether Dehumanizer gets the same endless love, I found it a bit lacking myself, but to each his own, I guess).

That doesn't take away from the "personality" aspect I mentioned above, now does it?
 
Even then, you say it kinda improves upon the formula, which is good but not as good as inventing the formula altogether.

Fair point, however it would've been nigh impossible for Sabbath to totally re-imagine a formula they themselves developed

Ronnie couldn't have not been a bit of an egomaniac.

Hmm . . . no arguments from me there

And I specifically said "personality", because Ozzy-era Sabbath are much more personal in their approach and lyrics than any of the latter era incarnations. You are in the void, you do feel betrayed and rejected by the outside world (without being emo, though), you are a complex character. Dio-era lyrics are often either completely detached or… yeah, you guessed it, nonsensical.

Never really noticed that tbh (probably has something to do with having a prog-head for a father and thus being acclimatised to nonsensical lyrics from an early age)
 
I'm sorry, I know some (like Loosey) want to think that Heaven and Hell (the song) describes some kind of philosophy or criticism of religion and it sounds cool and sometimes even profound, but it makes just as much sense as Starblind (which, well, he also compared it with), with weird grammar and intentional hogwash like "you got to bleed for the dancer". Now, I'm certainly not the most well-read of men (and certainly not the wisest or most intelligent), yet after reading at least some real theology and philosophy (and even atheist philosophy at that) I can't but help finding those really silly… and annoying, considering the applause it gets.
Almost like some sort of group or movement was carefully watching metal releases waiting for an excuse to scream "Satanism!!!!!", so they had to hide it a bit. Or maybe it's just really good lyrical construction that can be taken to mean many things by many people. Though, really, the title of the track kinda points you in the right starting direction.
 
but it makes just as much sense as Starblind (which, well, he also compared it with), with weird grammar and intentional hogwash like "you got to bleed for the dancer".

This is a song you're talking about, not a dissertation. "Weird grammar" and "intentional hogwash" is an element of poetry. Do you like your poetry reading the same way as a work of prose?

I don't have a strong opinion regarding the lyrics to H&H, but Starblind is full of great analogies and imagery. "Walk away from comfort offered by your citizens of death", for example. Pretty much telling you not to get too comfortable with your life thinking you'll carry on to another dimension anyway. Or "Leaving damocles still hanging over all their promised trust".
 
Speaking of Heaven and Hell, I passed by a door in a neighbouring institute the other day which had a photo on it of a graffito on a wall, which said, "The world is full of kings and queens who blind your eyes and steal your dreams."

As someone who had quoted another line from the song in his BA thesis, I liked that.
 
This is a song you're talking about, not a dissertation. "Weird grammar" and "intentional hogwash" is an element of poetry. Do you like your poetry reading the same way as a work of prose?

Well, I sure as heck don't want to hear things like "the less that you give, you're a taker" or "the ending is just a beginner" or that bleeding for the dancer, whether in my poetry or in my philosophy dissertation.

But okay, let's play along, try to take everything as a poetic expression and dig out the most out of these songs.

The problem is, you are right about the fact it's song lyrics and thus a poetry of sorts. But that's where I go straight up against both Brucie and Ronnie - these songs are not asking or wondering, or even putting forth a proposition… the lyrics undoubtedly give off the feeling the authors know how the world is and they're going to tell you and enlighten you regarding all those kings and queens and carbon spiders web and that great conspiracy, social or religious or whatever, which is trying to turn you away from true enlightenment (which, for Ronnie is something between modern-day emotivism and Kierkegaard's early sort-of-voluntarism (Enten-Eller) and for Bruce it's… the fact we will be hopping on various other planets after death, apparently, which is so close to popular misconception of Mormonism it's kinda hilarious in itself). And if they're going to assume that position, I'm going to hold their work to a much closer scrutiny, because they more or less asked for it.

(Also, it doesn't mean you can't be philosophical and poetic when done right, for example Wordsworth here:
"The World is too much with us us; late and soon,
Getting and spending, we lay waste our powers;
Little we see in Nature that is ours;
We have given our hearts away, a sordid boon!
This sea that bares her bosom to the moon;
The winds that will be howling at all hours,
And are up-gathered now like sleeping flowers;
For this, for everything, we are out of tune…")



Poetry or not, these songs are lyrics-wise so pompous they impose the ideology of their creators upon you… and I have a huge problem with that, because the ideology is pulled out of ass and absolutely unfounded. So Bruce took an interest in Medieval alchemy or that Crowley shit. Good for him, but to quote Janick "What did you bring to the table?" Say what you will about Christianity or Islam or even Buddhism (the real one), but at least those are coherent systems, where thousands of people actually gave it a thought, channelled their experiences and did everything they could to get as close to truth as possible and to find answers. Answers they sometimes didn't even like, but felt to be so close to truth so as to make these people be wary in their denial.
But for a song with such a pompous lyrics (of cosmic importance, so to say), what did Starblind actually tell you?

"Because afterlife must be more unimaginable than I'd ever believe, everybody else must be wrong, yet lying through their teeth to manipulate you."

The whole song seems like a very vague attack at anyone who might seem wiser than the singer. And don't try to tell me it's that whole "I know that I know nothing", because it doesn't sound that way at all. There is not a shred of humility or self-awareness that would go with the "IKTIKN" approach.

And to me, that's malignant. To me that's much worse than any kind of Satanism, fascism or simplistic stupidity you could add to a song to make it offensive.
In a way, this is a somewhat more understated version of someone doing a song about the most out there conspiracy theories - the same root (I feel smarter than hundreds of generations before me), the same logical basis (none), the same effect (it just helps spread the shit and helps other people being immune to any counterarguments) and the same intention (to shamelessly promote the writer's ideology). And yeah, songs like that really do exist - this one managed to get in everything, the Flat Earth, the Illuminati, the Jews, the lizard people, NASA, weed, whatever.

Bruce, I respect you as a singer, (mostly) as a frontman, as a businessman, as a fencer, as a pilot... But I have no reason to listen to your pseudo-philosophy, based on the fact you never even knew what religion is really about, because you weren't even willing to find out. Yet so full of opinions...

Ronnie was definitely right in one thing - the Devil is never a maker. He can only corrupt. Of course I'm not saying Bruce is the Devil ( :D ), but he's not really that constructive here, now is he?

And whatever, if you want to be poetic and name our mortal coils "carbon spider's web" (and isn't that a rather convoluted way to put it?), at least remember it's definitely not the oxygen that traps us within. Unless you want to take the whole Gnostic route and possibly promote suicide as a means of "liberation", in which case I'm going to ignore you until you decide to actually lead the way.
Also, it was Damocles' sword what was hanging, not Damocles himself. And I really don't like the line, because "the elders" promise us trust. Whose trust? Ours? Theirs? God's? And the (sword of) Damocles is hanging above it? Which means we will break the trust because we're afraid? They put the (sword) there (like Dionysius did) to make us wary of the trust? Wary of losing it?
I guess you could take it that the (sword) is put there in order for us to agree with "the trust" (ours, I guess), but 1.) that's not how the reference is usually used, 2.) again, I can't help but think there must be a less convoluted way to put it. This way it feels like a "huge literary reference" which was used just for the sake of putting it there. But others might feel different.

And yes, that quote

"The world is full of kings and queens who blind your eyes and steal your dreams."

and some others really do say something… and I guess it's up to the listener as to how profound he really finds it or if it's more or less stating the obvious. But no arguments there.


Anyway… please, let's leave it, fellas. I'm not going to make many friends here with my attitude and opinions and I already offended your favourite pieces of art enough.
I'm sorry for that and let's go back to making fun of all the "best song apart from" threads :cheers: :)
 
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