BLACK SABBATH- BLACK SABBATH - VERTIGO SWIRLY ITALY VO.6 1970 EX+
£
22
$
29
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Description
BLACK SABBATH - BLACK SABBATH TYPE SINGLE LP - STEREO LABEL/PRESSING INFO
VERTIGO "SWIRLY" with MADE IN ITALY printed on the B side label.
CATALOGUE NUMBER VO 6 /847 903 VTY YEAR OF RELEASE 1970 COUNTRY OF RELEASE U.K. (SLEEVE) RECORD (ITALY) SLEEVE TYPE GATEFOLD- BLACK INNER "OSSIE" MISPRINT & "WARNING BY DUNBAR" INSERTS/EXTRASNONE
GRADING/CONDITION DISC(s) EXCELLENT+ NICCE AND CLEAN with VERY LIGHT playwear and VERY LIGHT overall storage and handling wear/marking.PLAYS REALLY WELL WITH A GREAT STEREO REPRODUCTION- CRISP AND CLEAR AS IT DRIPS LIKE OIL OUT OF THE SPEAKERS. LABELS EXCELLENT(CLEAN LABELS with NO Writing rips tears stickers with LIGHT spindleusage and LIGHT overall handling storage and ageing marks, with a bit of watermarking and foxing
SLEEVE Front board/Inner gatefold EX-CLEAN SLEEVE with NO writing rips or tears stickers.. FRONT board is unworn with no ringmarking, and just a small surface scuff upper left side. INNER GATEFOLD is clean with light overall ageing handling and storage with small amount of tape residue bottom far left
Rear Board EX Rear board is clean with LIGHT storage wear Flipbacks N/A N/A Spine EX Spine is complete and uncrushed with light storage wear Top & bottom edges EX- Top edge has minor wear, bottom has quite a bit of storage rubbing with card along its length Opening EX Openings have LIGHT usage and LIGHT wear Corners EX- Corners have LIGHTISH wear INNER /EXTRASN/A
DETAILSBlack Sabbath's debut album is the birth of heavy metal as we now know it. Compatriots like Blue Cheer, Led Zeppelin, and Deep Purple were already setting new standards for volume and heaviness in the realms of psychedelia, blues-rock, and prog rock. Yet of these metal pioneers, Sabbath are the only one whose sound today remains instantly recognizable as heavy metal, even after decades of evolution in the genre. Circumstance certainly played some role in the birth of this musical revolution -- the sonic ugliness reflecting the bleak industrial nightmare of Birmingham; guitarist Tony Iommi's loss of two fingertips, which required him to play slower and to slacken the strings by tuning his guitar down, thus creating Sabbath's signature style.
These qualities set the band apart, but they weren't wholly why this debut album transcends its clear roots in blues-rock and psychedelia to become something more. Sabbath's genius was finding the hidden malevolence in the blues, and then bludgeoning the listener over the head with it. Take the legendary album-opening title cut. The standard pentatonic blues scale always added the tritone, or flatted fifth, as the so-called "blues note"; Sabbath simply extracted it and came up with one of the simplest yet most definitive heavy metal riffs of all time.
Thematically, most of heavy metal's great lyrical obsessions are not only here, they're all crammed onto side one. "Black Sabbath," "The Wizard," "Behind the Wall of Sleep," and "N.I.B." evoke visions of evil, paganism, and the occult as filtered through horror films and the writings of J.R.R. Tolkien, H.P. Lovecraft, and Dennis Wheatley. Even if the album ended here, it would still be essential listening. Unfortunately, much of side two is given over to loose blues-rock jamming learned through Cream, which plays squarely into the band's limitations. For all his stylistic innovations and strengths as a composer, Iommi isn't a hugely accomplished soloist.
But even if the seams are still showing on this quickly recorded document, Black Sabbath is nonetheless a revolutionary debut whose distinctive ideas merely await a bit more focus and development. Henceforth Black Sabbath would forge ahead with a vision that was wholly theirs.
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