It's unfitting and off-putting. This music is more Sabbathy than ever before, and damn its good. I wish you the best of luck with your dentistry degree and may your kisses be as sweet as your tooth! Gone are the aimless jams of their debut (unless you want to nitpick about Embryo and Orchid, acoustic guitar pieces which together come in at less than two minutes), also while just as riff driven as Paranoid, Master of Reality focuss on the rhythm to a much larger extent. See, here's the thing: a lot of songs on this album follow the same pattern. The songwriting is obviously top notch, Black Sabbath is one of the best bands out there in that field. There is a no holds barred feeling that comes across in every skull crushing moment that he plays . Once again, Black Sabbath have not failed to impress. during the wordless chorus, and the first appearance of synthesizer in a Black Sabbath song toward the middle (if you dont count the intro to After Forever). Theres something about this release that feels unique and fresh as it probably did back in the 70s. It is a little long, but ultimately worth it, and whilst I don't agree with the song's message, it's all about the music, man, so who cares? The genius of this record lies in its straight on, more focused bluntness and as it so happens, simplicity in structure. It always makes me feel like they had half an idea for two different songs, but couldn't think of what to do with them, so they just mashed them together. (This trick was still being copied 25 years later by every metal band looking to push the . So, Into the Void really is the heaviest song ever (I probably say that about three times a week about different songs, but this is always one of them). The lyrically melodies start off a little annoying, but irregardless this is a band operating on a higher level. It was certified double platinum after having sold over two million copies. midsection where Geezer's rumbling bass makes it presence really felt. Of course, not being familiar with After Forever yet I couldnt exclaim But wait, Gran! And so the album draws to a close with a great solo and an even better riff from Tony Iommi. His detuned bass (relatively matching Iommi's tuning) lends a heaviness to the album not seen in other bands around the time. This song is about Christianity, but it isnt really praising God as much as it is deriding those who dont praise God. cuts, and was an enduring instant classic on release. Master of Reality trudges out of the primordial ooze to remind them that they should be afraid. To say that the two albums which precede it were influential is such an understatement it's not even funny. Just look at this verse from the song for example: But the band ensure that this still isnt quite the Summer of Love as that riff is still rather colossal and one of Iommis most instantly recognisable moments. From the initial choking cough of "Sweet Leaf" through the final thump of "Into the Void" the album is crushing, Black Sabbath playing on a more acid rock or even blues metal vibe, those almost jazzy structures on some of the songs buried under the deafening cacophony of the trio of master players. When it's not about drugs, however, the lyrics can get spiritual. There's no excuse for you not to own this album. Ultimately, I think it really confused us. Barring that, "Lord of This World" and "Into The Void" harken back to Black Sabbath's traditional sound. This song is the apex of the record, the last song and what may as well be the last word in music in general. into the void master of reality 1971 if sabbath s rst two albums are a rough . The short but witch-y folk interlude of Embryo sounds arbitrary but its the type of bauble that gives Master of Reality its doom metal character. Here, Iommi showcases his flute and keyboard playing abilities, a far cry from the sludgy riffs he's best known for. Yes, it is, no doubts about it. No matter youre favorite genre of metal is, this one is for you, particularly anyone who has any interest in doom metal. But yes, here is the beginning of the detuned era for the Sabs, and I say era because it would not last throughout the rest of the band's career despite what unscrupulous critics would say (they would tune back up again around Technical Ecstasy). This was the first Black Sabbath sleeve on which the lyrics were reproduced on the back of the sleeve. There is even more debate as to which of their albums should be classified as the beginning of metal or even as to what albums were considered to be the first metal masterpieces . The eerie flutes, guitars and pianos creates an athmosphere uncompelled in any song I've ever heard. I have loved this album since I was seven years old in 1979 . But more importantly, the dark and heavy sound will smack you harder if you are a fan of rock music from the late 60s and early 70s. They should realize before they criticize So no, there is not a time for peace and it is too late. It isnt anything mind blowing or life changing, but then again if it was it would be separating the album down to its constituent parts, which are far less interesting as individual entities than they are as a collective whole. This song is downright happier than anything else they had recorded at the time, and Ozzy especially sounds more confident than ever as he shouts out his lyrics. This music on this release is very aggressive but at the same time it's very melodic there's a lot of great music encased within this release. Now while this album is arguably one of the heaviest albums of all time, the reason it works so well not just as a metal album, but as a piece of music in general, is that the five ultra heavy tracks are balanced out with three lighter ones that dont change the atmosphere. The timing of "Solitude" on these pressings is also incorrect, as it includes the first half of "Into the Void", whereas the timings of "Deathmask" and "Into the Void" from the original US pressing should have been grouped instead. It might due to the band knowing how boring the song was and had to wake their audience and themselves back up and let Ozzy go backstage and pray for a better effort. "Then it got to the point where we tuned even lower to make it easier vocal-wise. Overall, "Master of Reality" does not share the consistent string of 'essential' songs that "Paranoid" or even the self-titled did, but there is more than enough on Sabbath's third to give justice to their legacy as the godfathers of heavy metal. Overall, riffs are as strong as ever. It's also a pretty cool song, the outro slightly long of tooth (about four minutes counting the cool "Orchid" instrumental), but Ozzy in top form over another 'the world is going to shit' warning lyric. They did rip off a little bit of their own song because after the third verse it sounds a lot like Electric Funeral. The speed and chugginess of it right after a song like Solitude strengthens the overall heaviness of Master of Reality. All it takes is the opening seconds of Sweet Leaf's "ALL RIGHT NOW!" Speaking of that, check out Solitude. Seriously, lets take a look at even the more welcoming tunes before us. It is prominent in every second of every song and has paved the way for countless other bands to follow suit . Ozzy's voice is, for better or for worse, very recognizable, very memorable, and very imposing. Man distraught at the loss of his lover be it through death or more worldly reasons like his incessant flatulence in the bedroom, for the purposes of this narrative I shall assume the second is the case. This was the release that saw the band de-tune their stringed instruments, completing the intent first established the previous year. Album Description. Well, and the question is: is Master of Reality a good album? Black Sabbath's 'Master of Reality' AlbumReleased 1971Master of Reality was recorded at Island Studios, in London, during February and April 1971. So when I write listenable, mind you, it is only at the expense of being generous. Tony's rollicking down tempo aggressive riffs, Ozzy's wailing about nuclear uncertainty backed by his delirious pigeon claps make this one of Black Sabbath's most catchiest tunes. Although perhaps not as consistent as their seminal album "Paranoid", Black Sabbath took new steps forward with "Master of Reality". Just balls to the wall riffage that doesn't relent and keeps coming back for more and more. A short, interlude entitled Embryo segues nicely into the album's most famous song, Children of the Grave, with a speedy and shuffled groove established early on with Butler's bass pulsating with emerging drums. Groups like MC5 may have been rowdier and more aggressive, but this album still sounds like the goddamned apocalypse. Set aside all of the influence, the first aspect, and all that would unravel later on. Here Tony Iommi began to experiment with tuning his guitar down three half-steps to C#, producing a sound that was darker, deeper, and sludgier than anything they'd yet committed to record. Its so incredibly heavy and distinctive. In less than two whole years the band had already released three very impressive records that, despite not sitting well with music critics at the time, blew the fans of heavy music away. The song with the most evolution, the most passion and original idea was when they stepped into slight Barry Manilow territory. I hate to even think of placing them on a list, but if I have to, It'll be number three. No emotion. It has a great deal of excellent riffs, particularly the main one which is constantly reused in many variants by bands in both the thrash and power metal genres. For me what makes this Black Sabbaths best album is the overall consistency in the quality of the songwriting and musicianship, the excellent atmosphere, and the lack of sustained laughable moments that seem to dot some of their other releases. The sheer thick deep rich tone of the bass along with Tony Iommi's guitar sound gives this album it's true dripping with bottom-heaviness appeal . No but really, no joke, its freakin amazing. So there we have it, Master of Reality. This verse is about the person feeling empty, but now has something to look forward to thanks to the "sweet leaf". Ozzys voice is in top form as he expresses his undying love for marijuana, and the band sounds equally confident. "Lord of this World" and its intro "Orchid" are the true standouts on this record. Musically my only minor complaint with the album has to be Bill Wards drumming. In conclusion, Sabbaths Master of Reality sees the sound of metal continuing to blossom and branch out, now encompassing the heavy sound from which thrash and power metal take their cues. What I hope to avoid however are the standard conversation stoppers regularly employed by all Sabbath fans, first and foremost being the magnificent claim that it must be like for its historical importance.