No Filler Music Podcast - Ep 17: Black Sabbath

Episode Date: July 30, 2018

In this episode we explore Black Sabbath's first three albums, and briefly touch on one of rock's most pivotal years, 1969. And much like our very first episode on Alice in Chains, we get to the bottom of Quentin's dislike for metal. For more info, check out our show notes: https://www.nofillerpodcast.com/episode/music-review-black-sabbath Learn more about your ad choices. Visit megaphone.fm/adchoices

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Explore the new Peloton Cross-training Treadplus at OnePeloton.ca. At the time, I was heavily into the occult and stuff. Not Satan or anything like, just learning about astral plan and all that, cobbler's. I suggested, among other things, Black Sabbath and everyone went, oh, yeah, that's a good name. Suddenly, when the Black Sabbath name came and the songs that backed up the Black Sabbath name came, suddenly we had a package which made sense. All the songs were written basically the same.

We're going to a rehearsal room with nothing and then just start jamming about and come up. And it's peculiar how it all happened because they sort of came one after another. And I'm just sitting there going, oh, I don't know, I can't think of anything. They were just coming out and it was almost like a magical force

pushing these things out that we didn't understand. And you're listening to No Filler. The music podcast dedicated to sharing the often overlooked hidden gems that fill the space between the singles on our favorite records. My name is Travis B. With me as always is my brother Quentin. And we are diving into metal once again. Q, are you excited? I'm pretty pumped, man. But now everyone knows our last name.

Thanks for that. You know what, dude? It's called we can bleep it out. My name is Travis Blip. So I'm excited, man, only because as any dear listener would know by now, I think we have at least a handful of dear listeners at this point. Q. Every listener is a dear listener, okay? Okay, what I meant to say is a follower of our podcast, someone who presses play every time they get a little,

notification that we have a new episode out. Yeah. So what you were saying was you're, you're, you're not a, you're not a fan of metal. I don't seek out metal. You know,

I don't listen to metal. That's it. Right. Um, I just don't. Uh, I know of Black Sabbath, you know,

and I appreciate them. So cute. Okay. Let's just, let's just do this right. Real quick. Okay. What,

what song, what songs come to mind when you when you when you think of black Sabbath dude the only song that I know of theirs as far as like I could tell you the name of the song right is Iron Man okay and that's I mean I feel like that's probably one of their more mainstream sounding songs right well it's definitely much more to Black Sabbath than than the sound of Iron Man I mean yeah Iron Man is like one of their signature tracks you know And plus, you know, the movie Ironman probably made it popular again, right? I didn't even know that was in that.

Dude, come on. It was all over the trailers, dude. Man, I can't remember the last time I saw that one, that movie, dude. All right. Well, you know, that was the movie that launched the superhero comic book craze that we're in right now, right? So anyway. Yeah. Dude, and the guitar riff in Iron Man is just iconic, right?

Yeah. Oh, yeah. Absolutely. So we're going to get into all that, my friend, because we're going to, today we're going to do something a little bit different. We're going to cover three albums in one episode. Basically, we're going to do a track from each of their first three albums. That's a good idea, do you? Yeah, I mean, this is, you know, at one point probably wanted to do each of these as a separate episode. but I think we can do it all in one.

And plus I think it's going to be a lot more fun to do it all in one, dude, for sure. Especially since I'm getting to show somebody who probably hasn't heard any of these songs. I have heard the first track on their debut. Well, we're going to play that, Q. It's dark as fun. We're going to play that. Cool. Before we get into the What You Heard's, I just want to give a little bit of,

a context for the clip that we played at the beginning. That was an interview from VH1 did this series called Classic Albums and they covered Paranoid as one of the episodes, which is their second album. And that was

Geezer Butler, the bass player. What a name. I know, right? Jim Spencer, the manager, and Tony Iommi, the guitar player, talking about like how they came up with the name. Basically, Gieser Butler was like sort of like flirting with the occult you know what I mean like as far as like he had an interest in that stuff and so he came up with Black Sabbath which was actually the name

of a film that came out called Black Sabbath starring Boris Karloff who played Dracula right oh yeah anyway so basically and then we'll get into this a little bit more but essentially the name came and then And once they had that name and like the imagery that comes along with that, everything else just kind of flowed from there naturally. So anyway, we'll get into that more. Let's do our watch your herds because this is going to be a lengthy episode. So we're going to dive right in. Q, what have you been listening to lately?

Well, I feel like the gods of heavy metal were shining down on me this week, knowing that we were going to be doing an episode on Black Sabbath. I was shopping around for, oh, we were looking for like a TV or some shit. We wanted to get a TV for our bedroom. So we went to Goodwill. And if I'm a Goodwill, I'm going to mose you on over to the records, dude. Because why not? Most of the time, it's going to be a shitload of Rod Stewart and Barbara Streisand albums. Yep.

And nothing worth even, even 99 cents, which most records there are. and sitting right in the front of the stack of records it was King Crimson's debut album called In the Court of the Crimson King and I guess we'll throw up an image of the album cover in our show notes because it's unmistakable you can't yeah you can see that from a mile away and go holy shit King Crimson

so I went over there and picked it up up grabbed it for 99 cents it's pretty good condition um put the record on as soon as i got home and uh my watcher heard is going to be the first track on that album it's called 21st century schizoid man all you need to know about this band uh they formed in the late 60s this debut album came out in of 1969, and they are a Prague rock band from London. And they were kind of like one of the first, like, pioneering Prague rock bands at that time. The other one, of course, is yes. And if you give this album a listen, and if you listen to the kind of stuff that yes does,

really a Prague rock band is the kind of band that, you know, they stick to those rock roots. but they add in orchestral instruments and, you know, tinges of jazz and stuff like that in each track. Really interesting stuff. It's a great album. So again, this is track one off of King Crimson's debut album in the court of the Crimson King. It's called 21st Century Schizoid Man.

Yeah, that's a great song for our Sabbath episode, dude. Yeah, man, like I said, the gods of heavy metal. were shining down on me that day. So what's interesting to me about those vocals is that it sounds a lot like Ozzy's vocals in Iron Man, dude. Yeah, dude, I knew you were going to say that. But here's the thing, man. His voice in Iron Man only sounds like that when he's saying, I am Iron Man at the beginning

of the song, right? The rest of the song, he doesn't sing like that. Well, that's what I'm talking about. I'm just talking about that particular part of the song. Yeah. But anyway, it's interesting that this came. out in October of 69, that is when Black Sabbath were recording their first album. And that month?

Yeah, in that month, they were recording in that month, yeah. Cool. Yeah, so I'll say real quick, if you liked this song and you want to listen to the album, from track to track, the sounds and the styles kind of changed. Like, I want to say, like, the next two or three tracks following that one is a lot more, tame. It's a lot prettier. Bands like yes come to mind, you know, when you hear this, this kind of music where like, like, especially their album, Fragile, which I think was like, I think that was their third album.

You know, they'll have an entire track on the album that's just them covering like a Beethoven symphony, you know, or like a Bach or whatever. I don't remember who they covered on that album. but, you know, where they just, they pull in a bunch of orchestral instruments and stuff like that. So, so there's the two sides of, you know, the heavier side of rock and roll during that time. Of course, you've got Zeppelin as well. Yeah. You've got King Crimson doing this kind of thing. And then you've got Black Sabbath who just went all out, like dark, satanic metal kind of stuff.

Yeah, so I actually have some notes on that. as far as like what what was going on with rock music particularly in 69 right yes zepplin's first two albums came out in January and October of 69 it's crazy how fast they spit this I know dude I know crazy same with Sabbath basically rock was starting to get uh harder hard rock right and there are hints of metal in some of Zeppelin stuff and this song, you know, the one you just played. You know, basically that is that is when we shifted into hard rock and Sabbath certainly was doing hard rock but they did stuff with their with the guitar, the toning, tuning the guitars down and stuff like that, the lyrics, the imagery, everything and you know, that shifted

them toward metal. So hey, dude, real quick, man, I just, I just looked this up. In episode six, we covered Crosby Stills and Nash's self-titled. That also came out in 69. That came out in May of 69. Yeah. So there you go. Like, you know, and before Crosby Stills and Nash, early in mid-60s, it was all about that, you know, the kind of folk rock, like ballad kind of, you know, like Bob Dylan and, yeah. And all those, you know, it was all about, basically. basically preaching about our disposition to like the Vietnam War and stuff like that. Well, it's funny you should say that, Q. We'll get in this later.

But Sabbath wrote some politically charged songs about Vietnam also. So we'll get in that later. But, you know. But yeah. No, you're right, though. Let me ask you this real quick, bro. Yeah. So you said that Zeppelin's first two albums.

were the same year, 69? Yeah, basically the beginning and the end of 69. Good Lord. Can you imagine being at the right age during... I know, man. In 69, have all of this at your disposal. You could grab King Crimson. You could grab Zeppelin 1 and 2, and then a couple months later, you could grab Black Sabbath the first album.

I mean, it's unreal. It's unreal. You know what, man? And so our dad was born in 56, so he was 13 years old in 69. I wonder if he was into this stuff. I know he got into Zeppelin, but I'm wondering, like, I'm curious when it was that he got into them. I want to say, probably not, but we'll have to ask him, dude. 13 is young.

Dude, 13 is one of those, you know, you may have, you may not have, you know what I mean? You know, I have a feeling our grandparents wouldn't be cool with him bring it home a Zeppelin album. No, dude. Just a thought and a hunch. They were so conservative, man. Anyway, so let's get into Sabbath. We're not going to do what you heard for me because I've been listening to Sabbath all week.

And I wanted to have more time for an extra clip. Cool. And it's the first track off of their first album. This is, to me, one of the best, debuts, if you will, of a band. It sets the tone for them perfectly. The name of the band, Black Sabbath. The name of the album, Black Sabbath. It's self-titled. The name of the song,

Black Sabbath. They're basically saying, hey, this is us. This is what we're doing. So, I'm going to play a clip from the same interview, that classic albums interview, where they talk about kind of coming up with this riff and then we'll play the song. So let me play this. This is again, this is Geezer Butler and Tony Iommi

talking about basically how they came up with this riff. So here we go. I was a medium-sized fan of Holtz, the Planet Suite, particularly Mars in those days. And one of the days I was in the, we were rehearsing and I was going, trying to play Mars, And then the next day, Tony went in and went, and that's how Black Sabbath came about.

Which was so different to anything else with Erd. And I just knew it was something. You know, it was one of those when I started playing it. Your hair's on your arm stand up. And I thought, well, this is really different. And everybody said, oh, God, that's really different. Okay, so basically we have Geezer Butler talking about how he was heavily into Gustav Holtz.

the planets. I think our dad has played those for us. Yeah, he did. Yeah, he did. I feel like on one of our vacations, like we drove out kind of past the city limits in like Nevada or something where you could see the stars and he played that city for us. Yeah. So anyway, John William has borrowed a lot from this for the Star Wars music.

And so anyway, Keatser Butler was just kind of messing around. on his bass, like when they were in the rehearsal space, and he started playing Mars, the bringer of war, which is one of the Holst songs. And then Iommi basically took that melody and just kind of tweaked it just a little bit and kind of did like a shift in the tone slightly, and it kind of had this creepy vibe to it, right? And then that was it. That was the birth of that song. So anyway, now let's play the song. Cool.

Kia, I got a favor to ask. Could you turn your lights off for me? My lights are off, dude, and I've got a fucking window with blinds on it that I can really. I'm sorry, man. I'm in the wrong room for this, dude. I'd have to go grab like a thick blanket and pin it up over the window for it to be dark in this room. I'll wait. Really?

No. How about you just go to blanket over yourself? I don't know. I'm just trying to set the ambience, dude. At least just pretend

like you're in the dark, dude, just for me. You know what, dude, now I wish I was, man. Well?

Whatever. I'll wait, bro. Look, dude, I could wait until it's dark but up here in Washington during the summer, sun's not going to set

until 9.30. Maybe even 10. Well, no, it'll be 930. So that'll be 1130 your time. So if you want to wait

another two and a half hours, dude, I'll call you back. No, no, you killed it. But here's the thing. If you're listening and you're able to do so,

turn the lights off. Okay. Now, Q, you know, do whatever you want to do. But pull up, I send it to you in Skype, pull up the album cover. Okay. Okay. Yeah, dude, I got you.

All right. Creepy as fuck. Yeah, I'll just say that. And dude, how is that not Ozzy Osbourne in the cover? It ain't. It's not, dude. You sure? I'm positive.

All right. So, so let's look at this album cover. It looks like a creepy-ass zombie Mona Lisa. Hey man, it is, it is whatever you want it to be. So let's just,

you know, if you're at home and you can pull up the album cover, go ahead and do it, okay? I'm trying to set the tone here. Okay. All right, here we go.

Again, this is track one of Black Sabbath's first album that's called Black Sabbath. and this is basically is going to set the tone for everything else. So here we go. Do you have chills?

There's the hair standing up on your neck. If I was in a pitch black room with like maybe one candlestick lit in like the corner of the room, maybe. Unfortunately it's still pretty goddamn bright in this room. Okay. Well, let me just tell you, dude. first time I heard this song

I was probably I don't know you know I was 16 at least maybe a little bit younger but anyway first time I heard this yeah I remember I was just like

I was just totally captivated by it because I'd never heard anything like it Sabbath took the idea of like the occult and just ran with it you know what I mean they put this freaky lady on their album cover

her name is Louise by the way that's all we know about about her. She's like, she basically showed up backstage at one of their shows and, you know,

they were, they needed somebody for the cover. So they, they asked her if she wanted to pose in front of this old cottage. And that's basically it, dude. Wow.

It looks like a, like a witch or something. You know what I mean? Yeah. Yeah. It's creepy as fuck. So anyway, there's not much going on in that song

as far as, you know, it's slow. It's, you know, the guitar is not, is not all that complicated. His vocals are,

kind of like, you know, haunting almost. Like, he's got, the thing about Ozzy is, he's got, it's not a conventional

singing voice, right? Right. But it's perfect for what they're doing, especially when he screams, you know, at the end of that verse.

So, let me just read these lyrics to you. And for the most part, all of the lyrics are written by the bass player, Giger Butler. He's a guy who, as he said in that clip in the very beginning, he was kind of going into, looking into, he was interested in the occult and whatnot. So here's the lyrics. What is this that stands before me? Figure in black, which points at me. Turn around quick and start to run.

Find out I'm the chosen one. Those are some kick-ass lyrics, dude. Okay? Sure. Are you not impressed? I don't know, man. This is the difference between you and I. I can't get past the gimmickiness of it, man.

All right. All right. Well, let me do it. Look, if I owned one of those like Halloween year-round stores, I'd be into it. Dude, okay. Let me tell you this. I'd play it.

through the speaks all right listen listen to this okay this is Butler talking all right

um I don't know I don't know the context of this where this was pulled from but he said that he was raised Catholic so he totally believed

in the devil he says there was a weekly magazine called man myth and magic that I started reading which was all about Satan and stuff

I'd moved into this flat I'd painted black with inverted crosses everywhere. Ozzie gave me this 16th century book about magic that he'd stolen from somewhere. He said, he put it in this cupboard, and he was going to read it later, something like that. Later that night, he says,

I woke up and saw this black shadow at the end of the bed. It was a horrible presence that frightened the life out of me. He ran out into the room to grab the book and throw it out, but the book wasn't there anymore. after that I gave up all that stuff it scared me shitless so there you go Q that's what that's what kind of

inspired this song right so he actually did see this figure in black at night it was probably like sleep paralysis or something right I'm you know what I'm wondering if he was on drugs well we'll get into that later

dude because odds are he was so anyway so you're not you're not impressed. That's fine. Dude, okay. Here, I'll say it again, and I've said it before, I'm sure about me. All right.

I appreciate it, and I'm glad that it's, I'm glad that it exists. Okay. Well, here we go, dude. Let's just move on from that song, okay? Because I'll give it to you. It's pretty on the nose, right? As far as the imagery, the lyrics. And hey, dude, it's a great track, like, opening track for, for the, like, introduction

to Black Sabbath, here you go. It's a perfect track one for their debut album. Okay, well, we're going to move on to track two, the very next track. Okay. Now, odds are you haven't heard this song, right? Maybe. Maybe. It might sound familiar.

Okay. We'll see. So here's what I like about this song. Ozzy Osbourne plays a harmonica in this song. This is, to me, my favorite use of a harmonica in a rock song. again the lyrics are kick-ass I'm just going to play it so here's track two

off their first record it's called the wizard now that's what I'm talking about man okay thank you yeah dude I think track one was just a little bit too track one it was too simple and it was

it was just too like you said right over now I only played you two you know two minutes from that song the song goes on for quite a bit there's a guitar solo there's a change in it

But basically, dude, like I said, track one is their intro to the world, basically, right? It's them. Right, right, right. It's them sort of just setting the stage. And then they go right into this song. And that harmonica, dude, it's just nothing but the harmonica, the reverb that is caught probably from the room that they were recorded in when he just holds that note. It's just awesome, man. The way his vocals come in, it's just great, dude.

And the lyrics. Let me read the lyrics to you. It's about a wizard, obviously. The lyrics are, Misty morning, clouds in the sky, without warning, a wizard walks by, casting his shadow, weaving his spell, flowing clothes, tinkling bell,

never talking, just keeps walking, spreading his magic. Now, that's what I showed you. There's more to that song, obviously. But, you know, if you're into something like Dungeons and Dragons, dude, this song is for you. or Lord of the Rings, which is Geezer Butler, again, wrote the lyrics.

He said that the song was influenced by Gandalf from Lord of the Rings. Well, I know Robert Plant was a huge nerd for Lord of the Rings, too. Yeah, see, that's what I'm saying. Quite a few Zeppelin songs that are straight up stories in the, you know, Lord of the Rings world. Yeah, so obviously, you know, that book was a huge influence on these nerds that were writing rock music. you know. So anyway, I love that song, you know.

There's just something about it. The harmonica is a great addition to that. I love that Ozzy is the one who plays the harmonica. I don't know why. I just like that. And again, those lyrics, it's actually,

so basically it's this wizard that's passing through this town and all the people in the town are kind of like holding their breath, basically, because they know that this wizard could fucking, you know, either do some bad or do some good. You know what I mean?

Yeah. And then he basically passes through and they kind of, you know, they got off easy. Actually, it says that, you know, he turned tears into joy and everyone's happy when the wizard walks by. That's why people are saying that, you know, are they singing about their drug dealer maybe? But anyway, so let's give some context again before we go into Paranoid. That's their next album. It came out in September of 1970. So their first album came out in February of 1970.

this one came out in September. So just like Zeppelin, they came out with two albums in one year. So, you know, I feel like kind of in the same way that we talked about grunge music in the 90s where all of these bands were kind of writing a similar style of music, you know what I mean? It just seems like it was all happening at the same time. Yeah, it just happened. That sounds like what was going on, maybe in, you know, especially in London. Both Zeppelin and Sabbath recorded these albums in London.

It just seems like that that is a shift that was happening in rock music, more towards hard rock. And Paranoid has all of the signature songs that you might think of with Black Sabbath. It has Iron Man, it has Paranoid, the title track, and it has War Pigs. War Pigs is probably my favorite Sabbath song, one of my favorite Sabbath songs. We're not going to play it today, but, you know, let's talk about it just a little bit. So I mentioned earlier that Butler was writing some politically charged lyrics, right, about Vietnam. And War Pigs is that song, basically. It's about, in his words, it's basically about who the real Satanists are,

which to him is people who are running the banks and the world and trying to get the working class to fight the wars for them. So there you go, right? Go listen to it. But, you know, that's one of those, again, that's one of those signature iconic tracks. So I have a feeling a lot of people have, I've heard Warpigs. So I wanted to play something that perhaps people haven't heard before. But yeah, here's some lyrics from Warpigs just to kind of give you a flavor. Politicians hide themselves away. They only started the war. Why should they go out to fight? They leave that all to the poor. So there you go, dude. Yeah. That's the, that's the kind of stuff that, like we had talked about, people from

Greenwich Village and, and, and, and, and, and, and, and, and, and, and, and, and, and, and, Cresidence, Clearwater comes to mind, dude. Uh, you know, we, we, we talked about them on one of our side tracks, like, like, their song, fortunate song, uh, like their song fortunate son, that's exactly what it's about, you know, they're just, let's, let's, let's make the poor people get drafted and let's send them overseas. It's exactly the same thing. That's, I think, what people were in most, you know, you know, they were raging about most was that fact. Yeah, and, you know, to me, what's interesting is,

I feel like that is a theme that comes back over and over again in metal, like war. You know, Metallica, Master of Puppets, a lot of that album is about war, you know, disposable heroes. That's one of the tracks on there, damage incorporated. Oh, dude. All right, it's Greenwich. Greenwich Village, okay, fine. Greenwich Village.

That's fine. So, you know, like I said, you know, you talk about, you remember, you remember system of a down, the lyrics that they were writing? Oh, yeah. Oh, yeah. Metal has kind of been a platform for protest songs as well, you know what I mean? Yeah, for sure. Sabbath was doing it back in the 70s. And anyway, so, again, Iron Man is also on this album, which is about a time traveler who,

sees into the future that, you know, the apocalypse is coming, basically. So he's going back in time to warn people that it's coming. And in the process, he has turned into steel by a magnetic field. Wow. And then he has rendered a mute, unable to warn people of the impending destruction. And his attempts to communicate or are ignored and mocked, which causes the Iron Man to become angry and have his revenge on mankind, causing the destruction seen in his vision.

So he was the one who brought the apocalypse. I want to see that movie. You want to see that movie? Yeah. That would be a kick-ass movie actually. You can have to come up with a different name though. Otherwise, I'd have Stan Lee's knocking on their door. All right.

So I just wanted to talk about two of the mega huge songs that were on that album. Just because we're not doing a full episode on the album, but I just wanted to touch on some of that stuff. the track that we're covering from Paranoid is the very last track and it's called fairies wear boots also there's also a instrumental part at the very beginning that's called jack the stripper so the full name of the track is jack the stripper fairies wear boots interesting yeah so one thing that I haven't really touched on is Tony Iommi as a guitar player because it didn't really shine through in the clips that I've played so far.

This track is pretty much going to showcase Tony as a guitar player. I've got two separate clips. And, you know, I haven't even mentioned the drummer yet, but the drummer's name is Tony Ward. One of the things to me that makes Sabbath so enjoyable to listen to is the instruments. Tony Iommi on guitar, Geyser Butler, like I've said, on bass, and Tony Ward on drums. They are like a phenomenally,

they are a phenomenal, tight trio. You know what I mean? And then you throw Ozzy's voice on top of it and it's just perfect, right? Well, dude, it's like how when John Bonham died, Led Zeppelin died with him, you know?

Yeah, sure, sure. But yeah, a lot of their songs, it's dominated by those through music. positions, you know? Yeah, and, you know, there's a verse here and there, but a lot of times, especially on paranoid, War Pigs is, you know, mostly instrument, or mostly instrumental. Same with this track here. So anyway, this is the beginning of the track, and I guess this song is called Jack the Stripper. It's, it's the beginning of this track, but here we go.

Bless my soul, dude. Bless my soul. Yeah, that's a great, that's a killer guitar riff, man. Killer, dude. Okay, so people, we don't play our discussions during the song on the episode. But you were telling me, hey, this is great, man, but I'd never seek it out and listen to it on my own. Yeah. Explain yourself. I don't know, man.

I'm just never in the mood to listen to this stuff. Do you ever listen to Zeppelin? Yeah. So you seek out and listen to Zeppelin. Yeah, dude. But you won't seek out Sabbath. I don't know, man. That's odd to me, dude.

You know what, dude? I think it's... So, you know, on our Interpol episode, we said that you either love him or you hate him, and it always comes down to his voice, right? Okay. I think I can't get into Ozzy Osbourne, man. He kills it for me.

Okay. I think that's it, dude, because I love, I love the instrument. I love the instrumentation. Like, you know, I love the melodies. I love. So you won't, so you, you won't listen to it because of Ozzy? I think so, man. And what was the name of, what's the name of Interpol singer, dude?

It escapes mine at the moment. Paul Banks. Paul Banks, yeah. Yeah, dude. I think that's it, man. All right, so let me play, let me play the second clip from Ferry's Warboots really quickly. So there you go, dude. Tony Naomi, shredding it.

Shredding it. And I love how they bring it right back to the intro of the song, dude. Yeah, that's cool. That was cool. Dude, that was all the drummer that kind of changed it up to lead them back into that transition. Yeah, and I feel like the tempo is just a little bit quicker than it is in the beginning of the song. It's awesome, dude. Could be, man.

Yeah, because, and the way I see it, dude, I feel like my favorite, albums are usually ones where it's recorded quote unquote live. I don't know if they did it this way, but you know, where you've got every single band member in the room playing the song and that's how they record it, not having each individual member be in an isolated room recording, you know, each part with like a click track, you know, like rules by Why Dispoil Live? And I think Kings of Leone's Youth and Young Manhood was also recorded that way to where yeah they could speed it up but not necessarily intentionally you know like if they don't have a metronome click you know it's it's the imperfected albums that I like the most of that makes sense yeah I hear you all right I've got

one more track for you now this album came out in 1971 it's their third album it's called master of reality. So let me, you know, kind of... Is that the one with like the dude dressed up in like an evil-cone-looking shirt and there's like

the red and blue trails behind him? No, that's paranoid. The one we just did. Okay. A master of reality is like the cool font. It's like purple, gray, and whatever. Yep.

Now this album remains to this day to be a huge influence on, on plenty of bands. including, you know, like I think I've mentioned this before, doom metal, desert rock, all that good stuff. So I've got this little list here of some bands

that kind of mentioned Master of Reality as an influence. So here we go. Billy Corgan of Smashing Pumpkins considered Master of Reality the album that spawned grunge, which is interesting, right? Black Sabbath and especially Master of Reality was a huge influence like I just said, Stoner Rock, Desert Rock,

so bands like Caius Monster Magnet Sleep, which we'll talk about later, and Orange Goblin have said that Sabbath and especially the album Master of Reality was a defining album for that genre. Cool. And I think on the very first episode,

the outro track that we played was into the void, which is the last track on this album. Yeah, because we recorded that like a week before Halloween or something, and you were just in that headspace. Yeah, exactly. So,

anyway, huge influence. And especially that track, Into the Void. What's funny is there's a lot of bands that are so, they're so influenced by this album that they named their band after

you know either the song a song off of here or the album itself there's actually a band called Masters of Reality that came out in the 90s there's band

there's metal bands called After Forever an Orchid or Orchid Hatt Orchid And these aren't Sabbath cover bands These are just metal bands

No no no They're just metal bands But I'm saying The album had such an influence That you know These bands are naming themselves either after the album itself or after songs from the album. So, you know, hugely defining or genre-defining album, right?

So, you know, I was hopeful that I'd get you to turn cue. So for my last track, I want to play your song that I know you're going to like, okay? All right, dude. It's called Sweetleaf. Can you guess what it's about? If that wasn't a bong rip cough, bongs don't exist. Thank you. Is that the official state song of Washington?

I don't know, man. I couldn't. I wasn't paying attention to what he was saying. Well, let me read the lyrics to you. When I first met you, I didn't realize. I can't forget you or your surprise. You introduced me to my mind. and left me wanting you and your kind.

My life was empty, forever on a down, until you took me, showed me around. My life is free now. My life is clear. I love you, Sweet Leaf, though you can't hear. What do you think of those lyrics, do? Oh, okay. You're trying to say because marijuana is legal up here?

Yeah. You know, we're not the only state that's legal, my friend. I know that. I'm just, you know. Yeah, dude, we love our wheat up here. Yeah, this is kind of funny. This is kind of funny. The last part, straight people don't know what you're about.

They put you down and shut you out. You gave to me a new belief, and soon the world will love you sweet leaf. Hey, man, he might have been hung to something. Yeah, too bad it took another 50 years to get anywhere near. You know, it's starting to sway in our favor. Yeah, man, I thought it was funny, too, that that was, without a doubt, a bong rip cough at the beginning of the song. Right, Trevor, you know what I'm talking about, right? Yeah, yeah, of course.

But, yeah, so, you know, I mean, is that, is that straight, straight up the reason why this is this album is considered an influence on stoner rock? No, dude, you know what? I think, listening to the guitar riff in that song. That has to grunge vibes, man. Yeah, well, sure, yeah. Grunge, but also doom metal, which I think I've said before, Doom Metal basically is like slower metal. And if you listen to Into the Void,

which is the last track on this album, it's definitely slower, you know? The very first track that we played, Black Sabbath's first song on their first record, it's slow. Very slow. You know what I mean? Metal can be super fast, right?

If you think like thrash metal, Yeah, where the drummer might as well be a fucking machine. Yeah, double bass. Which is double bass. Yeah, dude, it slows my mind. Yeah. So, you know, Doom metal is, you know, the more kind of slow melodic metal. And, you know, Sabbath was certainly, certainly that, you know.

Now, I mean, Tony would, you know, shred it like a nice and fast on the guitar every once in a while. But the main riffs were, were slow. You know what I mean? And I feel like that was just kind of the nature of rock back then. But since Sabbath was a little bit more, was heavier, you know, that's kind of why they, why they're considered the grandfathers of doom, sludge metal, you know, stoner metal, all that good stuff. Yep.

Anyway. So, so that's it, man. I feel like I didn't do it justice, dude. Or you're just so unimpressive with it that I can't tell what's going on. I'm sorry, man. I appreciate it. That's what I say. Every time you share metal with me.

But hey, that's fine, dude. At least we got differing opinions for once. Yeah. It's pretty rare on this podcast. One of these days, maybe soon, we need to do an episode where you're showing me something, you know? Let's do it, man. Let's do Al J's first album, an awesome wave.

All right. I'm down. Fuck yeah, dude. I would love to actually be playing these, playing songs from that album and then immediately getting your reaction from it. Because all I've ever gotten from you is like, yeah, fuck those guys. I don't, I can't get into it. Well, here's the thing, dude. Just like you, you just told me, you can't get into Ozzy or Sabbath because of Ozzy and you can't get into Interpol because of Paul Banks.

I feel like one of the reasons. Hang on. Whoa. Whoa. Whoa. Dude, I love Interpol. I'm not one of those people. Oh, oh, wow. Come on now.

Say that again, bro. All right, right. Okay, never mind. You said that you can't get into Ozzy because of shit. You can't get into Sabbath because of Ozzy. And some people can't get into Interpol because of Paul Banks. Right. I think I have a hard time getting past his voice, the Alt J-Sigger.

That's cool, man. Maybe I'll, maybe I'll explore that. Convinge you otherwise, man. Dude, you know what? You're probably with me on this, man. I can't get into ACDC because of that fuckhead's voice. Yeah, I don't like ACDC. I'm about to get some hate mail.

No, no, no, no. I think a lot of people feel the same way. Yeah, but that's the thing. People that love ACDC, I mean, I don't know if it's, I don't know if his voice is the reason they love ACDC, but if you're an ACDC fan, that annoying-ass voice doesn't annoy you. I can't.

I can't see the appeal. I really can. Dude, that was pretty good, dude. Thanks, man. I hope I didn't just deafen our listeners with that one. Good luck. Good luck editing that one. Man, you might have to turn the volume a little bit lower on that.

Do you own like a schoolboy outfit? No, but I'll get one of you think I could just go around. That's what I'm saying. You could be in a cover band. Dude. But that's the only part you could do. That's probably the only one. The only lyric you know.

That's fun, man. It's pretty fun. Not going to lie. Yeah. Well, there you go. Well, cute. I had... Dude.

What? I'm trying to close out the episode here, bro. You don't have to leave all that end, dude. I had a second clip for Sweet Leaf, but... Fuck it. I think we got enough of the idea. I feel like I've brought shame to... to myself and to metalheads.

Hey, don't let my opinions bring you down, brother. I feel like you've skewed the whole episode. I'm sorry, man. Hey, look, dude, I... Look, dude, this is exactly how the Allison Chains episode ended, right? I was trying to justify that they are an important band and that I appreciate them. But I'm just not into this kind of stuff, man. It's fine.

great picks for songs brother great picks well somebody out there like that somebody somebody out there enjoyed the hell out of this episode oh I'm more than a handful my friend all right hey if we had listeners that gave a shit oh hang on hang on

if we had listeners that were involved I'd probably get so many emails tell me why I'm a dumb ass for not liking this stuff right or they would say yeah you're right Fuck Ozzy. Hey, let me say this, dude. With the exception of a couple of songs here and there,

after this album, I kind of lose interest with Sabbath. Okay. There's a song that came out on the album, Sabotage, which is fucking killer. It's called Symptoms of the Universe. Now that song, dude. Woo, buddy. Symptom of the universe.

Dude, I'm going to play it for you, right? Let's do it. Let's do it. Yeah, dude, I was about to say, let's give it a listen. Listen to his fucking voice and tell me that you, that you're not fucking ready to fucking give it up. You know, here we go. God damn it, dude. I have to excuse myself, I got to go wipe this diary out of my ear. It's running out.

It's running out my ears. What does that mean, dude? Does that mean you liked it or you didn't like it? No, dude. Like, it was so good that you shit yourself? shit, my years? No, man, I was trying to say it was shit. Dude. I don't know, man. I can't get into his voice, dude.

Okay. Okay, look. Let me just say this again, man, because this drives the point home. You know how much we love Paul Banks and Interpol? Yeah. You know how much we love Interpol? I know, most people that I know, they don't use the word hate, but they strongly dislike Interpol because of Paul Banks.

So there you go, man. You can have two people listen to the same song, and one person just loves the shit out of it and everything about it. The other person, you know, there's some things about it that they don't like. And unfortunately, for me, I cannot get into Ozzy Osbourne. I can't get into it, man. I can't get into his voice. Everything else about it, I love.

And look, man, I wasn't trying to shit on your episode, dude. You know, it's very similar vibes to, to, episode one for us, man. If you go back and listen to our Allison Chains episode. Yeah, but you didn't have, you didn't have diarrhea coming out of your ears when you were listening to Alice. Well, I haven't had a chance to go wipe it, dude.

So it's starting to run down. Now it's on my shoulder. All right. And it's pretty stinky. Let me tell you, okay, we've heard you crap all over it. Let me tell you why it's awesome, his voice. Okay.

Okay. Dude, the intensity of his voice when it comes into that song. He is yelling almost at the top of his fucking, his vulalering. That's the same. And the fucking, dude, the lyrics, man.

But that's the same kind of thing that we would say to someone who cannot get into Interpol. We'd say this. We would defend Paul Banks in the same way, right? Okay, all right. Do you pay attention to lyrics or no?

Yeah, I don't remember. I don't remember them after one listen. That's what I love about this song too, man. Okay. Take me through the centuries to supersonic years. Electrifying enemies drowning in his tears. All I have to give you is a love that never dies, the symptom of the universe is written in your eyes.

Great, dude, but who wrote those lyrics? Not Ozzy Oswald. Who cares, man? That's my point, dude. Dude, Frank Sinatra didn't write half the songs that he fucking sang. Frank Sinatra can go suck a dick. Oh, what? Frank Sinatra can go suck it.

No, not that either. Frank Sinatra can go find a hole. You're going to have to own up to all that right there, dude. Because if you're going to shit on Frank Sinatra... I'm shitting on Frank Sinatra as a huge. human being. He was a womanizing piece of shit. Oh, come on, man. Hey, man. I don't listen to Louis C.K.

anymore because of the revelations that we've all discovered about the fucking. Okay. You know? Well, that doesn't mean he didn't have a great voice and that doesn't mean that Louis C.K. isn't fucking funny, dude. Yeah, you're right. Louis C.K. is still one of the best comedians of our generation.

All right. And if you're going to dump on Frank Sinatra's vocals, dude? No, I never. All right. That guy knew how to sing. And he knew that. I'm just saying he didn't write, he didn't write most of those with his voice. He didn't write most of those standards, you know? Right. So there you go.

All right. So you, you don't like really awesome lyrics and awesome voices. So that's what we determined. No, dude, I didn't say anything about the lyrics, man. But that's the thing. Ozzy Asborn didn't write the lyrics. So I can,

I can safely dislike Ozzie and there's no redeeming qualities. Except you know what, dude? He plays a mean harmonious. I'll give him that. Yeah, he does, doesn't he? I'll give him that. Man, this is when you wish that you had, like, Mitchell to chime in and tell me, tell me how wrong.

I know, dude. You're right. You're right. Or our brother Spencer would have probably loved to have chimed in on this combo. Yeah. Hey, Spencer or Mitchell, if you guys listen to this, why don't you shoot us an email? We'll read it on the next episode. Dude, no, leave us a comment on the SoundCloud.

Yeah. page for this track. We'll read it on our side track next week and you guys can just take me to school. Come on now. Bring it. Or hey, anyone else who's listening? Lay it on me, friends. I want to know why can't I get past Ozzy Aswan's Force.

All right. I mean, look, it's fine. I get it, dude. So, interestingly enough, the main riff from the song is considered the sort of the predecessor for Thrasher. metal, boom, which is why I just talked about earlier. Thrash metal is the faster side of metal.

So there you go. In 1975, this album came out, and Tony Naomi basically threw this riff out there and was an influence on thrash metal. So they influenced Stoner Doom metal, slow, and then they influenced thrash metal fast. These guys are, you know, major influences. Essentially the the founding fathers of metal. You know what I mean? Yeah. So here we go. All right.

I thought they were the godfathers. They're everything, dude. Whatever you want to call them. All right. So that's it, man. That's a wrap. So my sidetrack for next week is going to be a sleep track. I talked about sleep.

They're one of the, they're probably one of the, they're an iconic, Doom Metal band, legendary. And they came out with a new album a few months ago, the first album in like, I don't know, over a decade, and it's fucking killer. Anyway, it's going to make a lot of sense when I play the track. It's going to tie

directly into this episode, but we'll save that for later. For the closing track, I guess we should mention the website. No-filterpodcast.com. You can go there to hear all of our episodes. We mentioned the Allison Chains episode quite a bit in this

album, in this episode, because it was the only other metal band, you know, heavy, heavy hard rock band that we've covered. So if you want to go back and listen to that, that's episode one. If you liked this episode, you'll probably like that episode because it's got the same kind of back and forth with Q&I over Q's

confusing hatred for mental something I don't and the sidetrack that's tied to that that episode we get into Green River which are considered the first true grunge band so got a couple good tracks a couple good episodes for you

yeah to go back and listen to so there you go find us on SoundCloud iTunes most other players podcast players so for the for the outro song I'm going to send you another picture

in Skype. I want you to look at this, and we'll put this on the website as well. I want you to look at this picture, Q. Okay. I got you. Whoa. Damn.

Are you looking at that? Now that, I'm sure there was an orgy involving every member of that band right after that photo shoot. Dude. Probably. Dude, the guy in the back,

right in the middle? That's Brian, dude. That's... Whoops, I left his, I put his last name in there. That's Brian, man. Do you want to know who that really is? Robert Plant. That's Tony Iommi, dude.

Okay. So this was, uh, yeah. So Tony Iommi was in a band called, I know, dude, I know. We got to put it up in the show notes for sure, man. Oh, I know, I know. So he was in a band called Velvet Fog for like a hot minute. And then he went to watch out of it.

And that's Fog with two T's and Fog with Two G's. Geez, just throwing that out there. That's right. So this album cover obviously had some controversy behind it. This came out in 69, which is weird. They must have recorded it in 68 because it came on January of 69, which is basically when, basically, Iommi left right after this album came out and joined Sabbath. But if you're not looking at the album cover, basically it's the band.

members in body paint and costumes with some nude young women wearing nothing but body paint as well posing with them. And it's fucking ridiculous. It's ridiculous. Tony Iommi, I mean, dude, he looks like he's like, what the fuck am I doing here? No, dude, he just looks, he looks like he's been smoking that sweet leaf. Yeah, they've all been... Yeah, that's true. But anyway,

this song is actually not bad. I just thought it'd be kind of funny to play this track. And it's called Yellow Cave Woman. So again, this is a band that Tony Iommi was in and probably wants everybody to forget about because of this album cover. But this is right before we joined Sabbath. Again, this band is called Velvet Fog.

and the song is called Yellow Cave Woman. And that'll do it for us today. Q, do we have any idea. I guess we're going to do AllJ, right? We'll do AllJ after... No, man. Look, the original plan was to do helplessness blues by Fleet Foxes.

And I'm sticking to it, man. Yeah, it's time. I've been really into Fleet Foxes lately, dude. I want to get into it. But hey, let's do Fleet Foxes. and then our next full-length episode after that, we'll do Alt J's an awesome wave. Okay.

All right. So after our sidetrack next week, we're going to do another 180 and we're going to cover Fleet Fox's second studio album, Helplessness Blues. Now that is a killer album. Dude, I can't wait to talk about that.

It's so good, man. It is so good. Yeah. Now that's a vocal. that's a vocalist. Oh my God, man. I can't wait. There's so many good songs on there that aren't singles, man.

It's going to be hard to choose. Yeah. Yeah, you're right, dude. All right. All right. Once again, Velvet Fog, yellow cavewoman. And that'll do it. And we'll see you next week.

Later.