Posted by As the often misquoted Henry Rollins phrase goes, “You can only trust yourself and the first four Black Sabbath albums.” While the LPs following 1972’s ‘Vol. 4’ have their virtues; it’s hard to argue against the peerless quality of those first releases. In the space of just three years, the quartet laid the foundations for metal with the one-two knockout of their self-titled debut and ‘Paranoid,’ before quickly birthing the Stoner and Doom genres with 71’s ‘Masters Of Reality.’ While hardly popular with many critics at the time, Sabbath’s menacing world was a hit with the kids, soundtracking the death of the hippie dream and the arrival of a far less optimistic decade. Their tireless work ethic and endless touring had made them a hit stateside, and by the time it came to record their fourth album, gold record earning stars.
So far the band had recorded all their work with Rodger Bain, never having more than two weeks to experiment with their songs in a studio environment – or a chance to experiment at all. Sensing a clash egos brewing, and with money and success now on their side, the quartet was able to jet off to The Record Plant, Los Angeles and produce ‘Vol. 4’ themselves. The sessions were infamously drug-filled, the album’s original title being ‘Snowblind’ and its liner notes cheekily thanking ‘…the great COKE-Cola Company.’ As bassist Geezer Butler remembered in Mojo in 2013, “The album cost $65,000 to make, and we spent $75,000 on cocaine.” Despite the excess, the band utilized this illicit energy to explore their new state of the art surroundings and produce their most ambitious album to date.
Those worried that sunshine and stardom might have dulled Sabbath’s heavier tendencies needn’t have. Nearly fifty years on, the likes of ‘Supernaut’ still stands as one of metal’s most face-melting riffs. Butler’s lyrics continued to traverse the trippy and the bleak, while Ward’s drumming had never shone so bright. The album’s more aggressive cuts revealed a growing musical maturity, while the acoustically led ‘Laguna Sunrise’ had guitarist Iommi rejoicing in moments of calm amongst the madness. Artistically and commercially, Vol. 4’s most notable number is the ballad, ‘Changes.’ Swapping guitars for piano and mellotron, Sabbath revealed tenderness and confidence unseen before. No doubt a risky manoeuvre at release, the song has become a classic, soul cover versions now soundtracking hit Netflix shows.
Following on from last year’s Super Deluxe Edition of ‘Paranoid,’ this latest 4-CD/5-LP boxset is a treasure trove for both hardcore fans and music buffs in general. The first thing your hard-earned money gets you is a beautifully crisp 2021 remaster of the original album, every solo, and cymbal crash, never sounding so unspoiled. Being a deluxe album set, you’ve naturally got the kind of material that only a lunatic would revisit regularly. A selection of outtakes, new mixes, and false starts has commendably been collected and mixed by Steven Wilson. Do you need to hear five versions of ‘Wheels Of Confusion’? Probably not, but it’s always good to listen to Sabbath in their prime rip through, and figure out these classics.
Most excitingly is a previously unreleased live album, ‘Live in the UK 1973.’ Salvaged from an abandoned project from March of that year, the audio has been newly mixed by Richard Digby Smith using the original 16-track analog tapes from various dates. The result is the sound of a ferocious beast tearing through new material as well as fan favorites like ‘War Pigs’ and ‘Sweet Leaf’ at double speed. A hard-hitting reminder of what a shock to the system the band was upon arrival. Also included is an extensive booklet featuring liner notes, rare photos, and a full-sized poster with previously unpublished early artwork of the album using its original title. A real highlight is seeing the various album cover variants for different countries and tour posters of the era, which range from iconic to a graphic designer’s nightmare.
Nearly half a century later, Vol. 4 easily holds its own. It’s not only the sound of a band pushing its boundaries but also a holy text which decrees that metal doesn’t have to be crass and lack subtlety. Ballads can be made; arty intermission tracks can be included, and when people try to pigeonhole you, it’s always good to take the reins and show them what you’re made of.
9/10
Words: Sam Walker-Smart
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