Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
WEBVTT
Kind: captions
Language: en
00:00:00.268 --> 00:00:02.685
(rock music)
00:00:04.340 --> 00:00:07.380
- [Narrator] Most Black
Sabbath fans consider Sabotage
00:00:07.380 --> 00:00:11.073
as the last iconic record
of the classic era lineup.
00:00:12.250 --> 00:00:14.810
Though it contains many of
the progressive elements
00:00:14.810 --> 00:00:17.830
of their prior album
Sabbath Bloody Sabbath
00:00:17.830 --> 00:00:20.770
in terms of arrangement
and instrumentation,
00:00:20.770 --> 00:00:25.270
it is a decidedly heavier affair
than its 1973 predecessor.
00:00:25.270 --> 00:00:27.720
This time around the
band wanted to pare down
00:00:27.720 --> 00:00:30.380
the arrangements a bit
and go in more direct,
00:00:30.380 --> 00:00:33.630
heavier approach for what
would be their 6th album
00:00:33.630 --> 00:00:36.130
in exactly as many years.
00:00:36.130 --> 00:00:39.270
Sabotage will be recorded
at Morgan Studios
00:00:39.270 --> 00:00:43.600
in Willesden North London in
February and March of 1975
00:00:43.600 --> 00:00:46.610
and issued later that
year produced essentially
00:00:46.610 --> 00:00:50.762
by guitarist, Tony Iommi
and engineer Mike Butcher.
00:00:50.762 --> 00:00:53.179
(rock music)
00:00:55.000 --> 00:00:57.010
Before arriving at Morgan Studio,
00:00:57.010 --> 00:00:59.860
writing and rehearsal
took place at Field's Farm
00:00:59.860 --> 00:01:03.880
and at lead singer Ozzy Osbourne's house.
00:01:03.880 --> 00:01:05.460
Though hampered by legal battles,
00:01:05.460 --> 00:01:08.530
the band persevered and created arguably
00:01:08.530 --> 00:01:11.370
one of the best records
of their entire career
00:01:11.370 --> 00:01:14.253
and maybe the first
progressive metal album.
00:01:16.096 --> 00:01:19.429
♪ I wanna tell you yeah ♪
00:01:21.140 --> 00:01:24.360
Ironically, to tell Sabotage's tale,
00:01:24.360 --> 00:01:27.530
we have to first discuss
how the band themselves
00:01:27.530 --> 00:01:29.693
were sabotage by management.
00:01:30.690 --> 00:01:33.650
The main characters are Jim Simpson,
00:01:33.650 --> 00:01:36.720
a club promoter in Sabbath's
native Birmingham, England,
00:01:36.720 --> 00:01:39.080
and the band's first real manager.
00:01:39.080 --> 00:01:41.950
Patrick Meehan, an up and coming manager
00:01:41.950 --> 00:01:44.640
and the son of Patrick Meehan Sr.,
00:01:44.640 --> 00:01:46.640
who was a more established manager.
00:01:46.640 --> 00:01:51.530
Wilf Pine, a local henchman and
right-hand man to Don Arden.
00:01:51.530 --> 00:01:55.260
Don Arden, heavyweight manager,
connected to the mafia,
00:01:55.260 --> 00:01:56.830
current employer of Pine
00:01:56.830 --> 00:01:59.413
and former employer of Meehan's father.
00:02:01.540 --> 00:02:04.460
At June 1970, Sabbath's first album
00:02:04.460 --> 00:02:06.380
is on the British music charts
00:02:06.380 --> 00:02:07.700
and soon they'll be following it up
00:02:07.700 --> 00:02:09.560
with their second album, Paranoid.
00:02:09.560 --> 00:02:12.640
By most indicators,
Sabbath was on its way up
00:02:12.640 --> 00:02:15.370
but current manager, Jim Simpson
00:02:15.370 --> 00:02:18.810
wasn't getting them paid for
gigs like other similar bands.
00:02:18.810 --> 00:02:21.480
In particular, a band called Black Widow
00:02:21.480 --> 00:02:23.670
managed by Patrick Meehan Jr.
00:02:23.670 --> 00:02:25.970
was getting double what
Sabbath made for gigs,
00:02:25.970 --> 00:02:29.270
even though Widow was not
charting or selling records.
00:02:29.270 --> 00:02:31.950
Before Sabbath's debut album had exploded,
00:02:31.950 --> 00:02:34.650
Simpson had booked concerts
at a much lower rate
00:02:34.650 --> 00:02:37.450
and would not cancel or renegotiate
00:02:37.450 --> 00:02:41.450
the originally agreed upon price.
00:02:41.450 --> 00:02:43.700
Iommi said, "It was getting silly.
00:02:43.700 --> 00:02:46.850
Even the people who ran the
clubs we played were going,
00:02:46.850 --> 00:02:48.680
'You should be getting more than this.
00:02:48.680 --> 00:02:50.500
What are you doing playing here?'"
00:02:52.200 --> 00:02:54.950
Knowing of Sabbath's
potential financial success
00:02:54.950 --> 00:02:58.130
and their unhappiness with the
way they were being managed,
00:02:58.130 --> 00:03:01.920
Don Arden decided to make a
play to take them from Simpson.
00:03:01.920 --> 00:03:05.390
Known as the Godfather
of Rock and Mr. Big,
00:03:05.390 --> 00:03:07.620
Arden started out doing standup comedy
00:03:07.620 --> 00:03:10.620
and was particularly known for
his impressions of masters.
00:03:10.620 --> 00:03:14.480
In the 60s, he went on to
sign and manage Gene Vincent
00:03:14.480 --> 00:03:16.200
and later the Small Faces.
00:03:16.200 --> 00:03:19.040
Around this time, Arden
was also known to leverage
00:03:19.040 --> 00:03:22.840
a small group of well muscled
friends to intimidate others
00:03:22.840 --> 00:03:24.370
to see things his way.
00:03:24.370 --> 00:03:27.550
One example of his license to
threaten potential opponents
00:03:27.550 --> 00:03:30.840
took place back before
Led Zeppelin had formed,
00:03:30.840 --> 00:03:32.920
when Jimmy Page and Keith Moon
00:03:32.920 --> 00:03:34.430
were putting together a band.
00:03:34.430 --> 00:03:37.470
Page and Moon reached out
to Small Faces singer,
00:03:37.470 --> 00:03:40.760
Steve Marriott, to see if
he might want to join them.
00:03:40.760 --> 00:03:44.190
The minute Marriott's
manager, Don Arden found out,
00:03:44.190 --> 00:03:46.247
he sent Page a very clear message.
00:03:46.247 --> 00:03:49.250
"How would you like to play in
a band with broken fingers?"
00:03:49.250 --> 00:03:51.290
Marriott stayed with the Small Faces
00:03:51.290 --> 00:03:54.161
and Page went on with his fingers intact.
00:03:54.161 --> 00:03:55.770
♪ Smoke it ♪
00:03:55.770 --> 00:03:59.310
In 1970, Arden put his plan into motion
00:03:59.310 --> 00:04:02.210
and sent his right-hand man, Wilf Pine
00:04:02.210 --> 00:04:05.440
to pick up the band and bring
them back to his office.
00:04:05.440 --> 00:04:08.410
During the meeting, Arden
painted a great future,
00:04:08.410 --> 00:04:10.660
but came on too strong when he asked them
00:04:10.660 --> 00:04:14.530
to sign with his label
during their first meeting.
00:04:14.530 --> 00:04:16.047
Iommi said about the meeting,
00:04:16.047 --> 00:04:19.030
"We just couldn't do that.
It was all too bombarding.
00:04:19.030 --> 00:04:20.480
So we came away thinking,
00:04:20.480 --> 00:04:22.570
'Oh God, what are we gonna do now?
00:04:22.570 --> 00:04:24.640
He'll probably have us killed.'
00:04:24.640 --> 00:04:26.230
He kept getting in touch with us,
00:04:26.230 --> 00:04:28.120
arranging to take us out to dinner
00:04:28.120 --> 00:04:31.210
and all that sort of
business. He never let go."
00:04:31.210 --> 00:04:34.067
Then one day, Wilf got
in touch and he said,
00:04:34.067 --> 00:04:36.010
"I've got another guy
that wants to meet you."
00:04:36.010 --> 00:04:38.270
This other guy was Patrick Meehan, Jr.
00:04:38.270 --> 00:04:39.720
and after meeting with him,
00:04:39.720 --> 00:04:42.420
Tony said, "He seemed
a lot calmer than Arden
00:04:42.420 --> 00:04:44.160
and said things that we wanted to hear.
00:04:44.160 --> 00:04:47.130
He just had the right way
about it at the time."
00:04:47.130 --> 00:04:49.680
So they ended up signing
with Patrick Meehan
00:04:49.680 --> 00:04:52.620
and Wilf Pine and their
company, Worldwide Artist.
00:04:52.620 --> 00:04:54.910
A little over 13 months later,
00:04:54.910 --> 00:04:56.820
Pine would drop out of the partnership
00:04:56.820 --> 00:04:58.293
and move on to other things.
00:05:01.260 --> 00:05:03.880
It should be noted that
there is an alternate count
00:05:03.880 --> 00:05:07.120
of why Black Sabbath did not
sign to Arden at the time.
00:05:07.120 --> 00:05:08.770
In the book, "One of the Family,
00:05:08.770 --> 00:05:10.550
The Englishman and The Mafia",
00:05:10.550 --> 00:05:13.810
it states that Black Sabbath
was told Arden was making fun
00:05:13.810 --> 00:05:16.960
and taking a piss on Black
Sabbath at one of their shows.
00:05:16.960 --> 00:05:18.360
After the band heard this,
00:05:18.360 --> 00:05:20.770
they did not want
anything to do with Arden.
00:05:20.770 --> 00:05:23.330
According to Pine, it
was a misunderstanding
00:05:23.330 --> 00:05:25.913
and Arden did not make fun of the band.
00:05:27.106 --> 00:05:29.523
(rock music)
00:05:37.730 --> 00:05:40.470
Two weeks before their second
album was to be released,
00:05:40.470 --> 00:05:42.820
Jim Simpson received a lawyer's letter
00:05:42.820 --> 00:05:46.070
informing him that he no longer
represented Black Sabbath
00:05:46.070 --> 00:05:49.093
nor was he allowed to contact
them directly anymore.
00:05:50.010 --> 00:05:52.910
Jim wasn't the only one put
out by this latest development.
00:05:52.910 --> 00:05:55.810
When Don Arden, who was still
trying to make a backdoor move
00:05:55.810 --> 00:05:58.970
on the group found out it
was two of his own associates
00:05:58.970 --> 00:06:02.090
that have plotted behind his
back to snatch up Sabbath,
00:06:02.090 --> 00:06:03.550
he was furious.
00:06:03.550 --> 00:06:05.480
Issuing threats of retribution,
00:06:05.480 --> 00:06:08.520
he also offered financial
assistance to Simpson
00:06:08.520 --> 00:06:10.870
who he encouraged to sue for damages.
00:06:10.870 --> 00:06:14.790
Simpson did and was later
awarded 35,000 pounds
00:06:14.790 --> 00:06:18.190
breaking down to 7,500
pounds from the band
00:06:18.190 --> 00:06:21.363
and 27,500 pounds from Meehan.
00:06:25.320 --> 00:06:26.810
With Meehan at the helm,
00:06:26.810 --> 00:06:30.220
Black Sabbath became a
genuine international success.
00:06:30.220 --> 00:06:32.420
The three albums that followed Paranoid,
00:06:32.420 --> 00:06:37.340
Master of Reality in
1971, Volume 4 in 1972,
00:06:37.340 --> 00:06:40.170
and Sabbath Bloody Sabbath in 1973,
00:06:40.170 --> 00:06:43.773
all hit the UK top 10 and the US top 20.
00:06:45.400 --> 00:06:49.280
By 1974, the band had all
the trappings of success,
00:06:49.280 --> 00:06:51.760
the country houses, flashy cars,
00:06:51.760 --> 00:06:54.196
and unlimited amounts of drugs.
00:06:54.196 --> 00:06:56.980
(coughing noises)
00:06:56.980 --> 00:07:00.110
But after four years and at
continual cycle of touring
00:07:00.110 --> 00:07:02.670
and recording, the band
was running on empty
00:07:02.670 --> 00:07:05.150
and everything came to a head during a gig
00:07:05.150 --> 00:07:08.300
at the Hollywood Bowl
on the Volume 4 US tour
00:07:08.300 --> 00:07:10.040
where Tony Iommi collapsed.
00:07:10.040 --> 00:07:11.517
Ozzy said about the incident,
00:07:11.517 --> 00:07:15.070
"Tony had been doing coke
literally for days, we all had,
00:07:15.070 --> 00:07:17.090
but Tony had gone over the edge.
00:07:17.090 --> 00:07:19.360
He walked off the stage and collapsed."
00:07:19.360 --> 00:07:20.850
It was not Tony's day.
00:07:20.850 --> 00:07:23.390
Earlier that same day
during the soundcheck,
00:07:23.390 --> 00:07:26.200
a crazed man tried to
stab Tony with a dagger,
00:07:26.200 --> 00:07:28.570
the religious zealot
was stopped by the crew
00:07:28.570 --> 00:07:29.980
and Tony was not harmed.
00:07:29.980 --> 00:07:31.777
But as basist Geezer Butler says,
00:07:31.777 --> 00:07:34.230
"We wanted to take a break
after Tony collapsed."
00:07:34.230 --> 00:07:37.832
So the rest of the gigs for
that year were canceled.
00:07:37.832 --> 00:07:40.250
(rock music)
00:07:40.250 --> 00:07:42.850
The following year, 1973,
00:07:42.850 --> 00:07:45.890
the band embarked on a tour
for Sabbath Bloody Sabbath
00:07:45.890 --> 00:07:49.100
that would take them through February 1974
00:07:49.100 --> 00:07:50.890
for the US leg of the tour.
00:07:50.890 --> 00:07:53.500
Just when they thought they
could take a well-deserved rest
00:07:53.500 --> 00:07:56.320
before the UK and
Australian leg of the tour,
00:07:56.320 --> 00:07:58.990
management call to tell the
band that they had been asked
00:07:58.990 --> 00:08:02.340
to play at one of the largest
music festivals at the time,
00:08:02.340 --> 00:08:05.910
the California Jam,
attended by 400,000 fans.
00:08:05.910 --> 00:08:08.690
Geezer said, "We were in
England having just returned
00:08:08.690 --> 00:08:10.680
from the tour when our
management called us
00:08:10.680 --> 00:08:13.830
and said we had to go back
out and do the California Jam.
00:08:13.830 --> 00:08:16.640
We said no, but we were
eventually forced into doing."
00:08:16.640 --> 00:08:18.150
- [Emcee] This act is
pulled in from England
00:08:18.150 --> 00:08:19.579
just for this concert.
00:08:19.579 --> 00:08:23.189
A warm United States
welcome for Black Sabbath.
00:08:23.189 --> 00:08:24.880
(audience applause)
00:08:24.880 --> 00:08:26.250
- [Narrator] This was just one of the ways
00:08:26.250 --> 00:08:28.700
Sabbath was getting
manipulated by management.
00:08:28.700 --> 00:08:31.600
Also during this period and
unbeknownst to the band,
00:08:31.600 --> 00:08:34.070
Patrick Meehan had
filtered a large portion
00:08:34.070 --> 00:08:36.870
of the royalties to himself
instead of the band.
00:08:36.870 --> 00:08:38.190
Even though Black Sabbath played
00:08:38.190 --> 00:08:40.780
the 1974 California Jam festival
00:08:40.780 --> 00:08:42.990
and received a generous
quarter of a million dollars
00:08:42.990 --> 00:08:44.220
for the performance,
00:08:44.220 --> 00:08:47.500
the band members were paid
only a thousand dollars each
00:08:47.500 --> 00:08:49.501
for their efforts.
00:08:49.501 --> 00:08:51.355
- We love you all.
00:08:51.355 --> 00:08:54.800
(audience cheers)
00:08:54.800 --> 00:08:55.877
- [Narrator] Osbourne complained,
00:08:55.877 --> 00:08:58.440
"Patrick Meehan never
gave you a straight answer
00:08:58.440 --> 00:09:00.740
when you asked him how
much dough you were making.
00:09:00.740 --> 00:09:02.317
Butler said it more bluntly,
00:09:02.317 --> 00:09:04.290
"We felt we were being ripped off."
00:09:04.290 --> 00:09:06.720
For Iommi, the situation with Patrick
00:09:06.720 --> 00:09:09.940
had already become unworkable
even before the band
00:09:09.940 --> 00:09:11.967
began to question his business dealings.
00:09:11.967 --> 00:09:14.430
"We could never find him
when bills had to be paid."
00:09:14.430 --> 00:09:16.440
Iommi recalled, "It was a nightmare
00:09:16.440 --> 00:09:18.830
and eventually I was left with no option,
00:09:18.830 --> 00:09:21.835
but to walk away and try
to pick up the pieces."
00:09:21.835 --> 00:09:24.252
(rock music)
00:09:25.110 --> 00:09:28.010
The band had long suspected
things weren't above board,
00:09:28.010 --> 00:09:30.760
but they had been too
scared and inexperienced
00:09:30.760 --> 00:09:33.980
to directly question how their
affairs were being handled.
00:09:33.980 --> 00:09:35.990
Despite their aggressive music genre,
00:09:35.990 --> 00:09:39.793
these masters in reality
did not like confrontations.
00:09:40.920 --> 00:09:43.770
As it learned over the summer of 1974,
00:09:43.770 --> 00:09:47.270
the reality was that they
had no control whatsoever
00:09:47.270 --> 00:09:48.747
over what happened next.
00:09:48.747 --> 00:09:50.470
"It was like, the more you found out,
00:09:50.470 --> 00:09:52.570
the less you wanted to
know.", said Geezer.
00:09:52.570 --> 00:09:53.490
It was horrible.
00:09:53.490 --> 00:09:55.700
Sabbath had been snared the same way
00:09:55.700 --> 00:09:59.730
countless other acts had in
the music business in the 60s.
00:09:59.730 --> 00:10:01.960
The band spent a fortunate legal fees
00:10:01.960 --> 00:10:04.100
only to discover that in effect,
00:10:04.100 --> 00:10:05.980
they had no real money of their own,
00:10:05.980 --> 00:10:08.440
the cars they drove, the
houses they lived in,
00:10:08.440 --> 00:10:11.220
all were owned on paper by Patrick Meehan
00:10:11.220 --> 00:10:12.670
and their management company.
00:10:13.590 --> 00:10:17.240
Most excruciating of all and
potentially career damaging,
00:10:17.240 --> 00:10:19.527
they didn't even own their own music.
00:10:19.527 --> 00:10:21.810
"That's why we called the
next album Sabotage.",
00:10:21.810 --> 00:10:22.643
said Geezer.
00:10:22.643 --> 00:10:25.500
"We were a potless, absolutely broke.
00:10:25.500 --> 00:10:27.110
If the band had finished there,
00:10:27.110 --> 00:10:29.257
we would have been totally destitute."
00:10:29.257 --> 00:10:31.674
(rock music)
00:10:32.815 --> 00:10:34.550
So the band broke it off with Meehan
00:10:34.550 --> 00:10:37.430
and tried their hand at
running things themselves.
00:10:37.430 --> 00:10:40.410
Drummer Bill Ward stepped up
to fill the management void,
00:10:40.410 --> 00:10:43.940
but soon realized he didn't
have the proper skillset.
00:10:43.940 --> 00:10:46.140
His alcoholism didn't help.
00:10:46.140 --> 00:10:48.160
For a while, there was no manager,
00:10:48.160 --> 00:10:51.360
instead various close friends
and coworkers of the band
00:10:51.360 --> 00:10:54.390
worked together to take
care of different duties,
00:10:54.390 --> 00:10:56.400
but none had everything it took
00:10:56.400 --> 00:10:58.483
to be the actual manager of the band.
00:10:59.540 --> 00:11:01.490
Ironically, a couple of years later,
00:11:01.490 --> 00:11:03.580
there would be savior turned out to be
00:11:03.580 --> 00:11:07.350
one of the most infamous gangster
managers in the music biz,
00:11:07.350 --> 00:11:09.850
Don Arden, the guy who
tried to pressure them
00:11:09.850 --> 00:11:12.450
into signing with him in 1970,
00:11:12.450 --> 00:11:14.660
which by the way, Arden would eventually
00:11:14.660 --> 00:11:16.923
become Ozzy's future father-in-law.
00:11:19.050 --> 00:11:22.470
Even with the formidable figure
of Don Arden behind them,
00:11:22.470 --> 00:11:26.440
the fallout with Meehan will
continue to cast a deep shadow
00:11:26.440 --> 00:11:30.130
over Sabbath throughout the
70s and up until the 90s.
00:11:30.130 --> 00:11:33.490
For instance, Meehan and
company not only mismanaged
00:11:33.490 --> 00:11:36.130
their back catalog, but
they continued to profit
00:11:36.130 --> 00:11:38.290
from a string of compilation albums
00:11:38.290 --> 00:11:40.760
of Sabbath's most recognizable material.
00:11:40.760 --> 00:11:43.370
After years of litigation
between the two camps,
00:11:43.370 --> 00:11:45.410
the band was eventually forced to seek
00:11:45.410 --> 00:11:47.040
an out of court settlement.
00:11:47.040 --> 00:11:49.210
They agreed to pay an undisclosed amount
00:11:49.210 --> 00:11:51.237
for breaking their contracts with Meehan,
00:11:51.237 --> 00:11:55.340
but more costly, Sabbath also
agreed to give up the rights
00:11:55.340 --> 00:11:58.240
to the music released while
Patrick was their manager,
00:11:58.240 --> 00:12:01.563
most of the best work
they would ever produce.
00:12:04.470 --> 00:12:08.280
Meanwhile, due to personality
conflicts and health issues,
00:12:08.280 --> 00:12:10.170
the band was beginning to fracture.
00:12:10.170 --> 00:12:13.410
Already deep into alcoholism
and drug addiction,
00:12:13.410 --> 00:12:16.320
Bill Ward suffered
multiple health problems,
00:12:16.320 --> 00:12:20.040
a case of hepatitis and a
mild heart attack to name two.
00:12:20.040 --> 00:12:21.210
At the same time,
00:12:21.210 --> 00:12:23.950
Ozzy became increasingly
distant from the band
00:12:23.950 --> 00:12:26.630
due to musical differences
and family issues.
00:12:26.630 --> 00:12:29.750
As many times before, guitarist Tony Iommi
00:12:29.750 --> 00:12:32.743
took the lead in writing
the bulk of the material.
00:12:36.160 --> 00:12:39.420
Hole In The Sky, begins
with the hum of amplifiers
00:12:39.420 --> 00:12:42.650
set at a maximum volume and
someone's screaming attack.
00:12:42.650 --> 00:12:45.543
Some people believe the word
was chicken, but it wasn't.
00:12:52.289 --> 00:12:54.706
(rock music)
00:13:00.290 --> 00:13:02.360
This scream was an in-joke delivered
00:13:02.360 --> 00:13:04.620
by producer, Mike Butcher.
00:13:04.620 --> 00:13:07.130
Sabbath had a supporting
act who had a manager
00:13:07.130 --> 00:13:08.870
who would stand behind them on the stage,
00:13:08.870 --> 00:13:11.797
shouting, "Attack, attack" said Butcher,
00:13:11.797 --> 00:13:14.790
"So that's what I shouted
from the control room."
00:13:14.790 --> 00:13:18.320
Hole in the Sky is a dense,
purposeful doom classic,
00:13:18.320 --> 00:13:20.770
where you can hear how Tony's guitar tone
00:13:20.770 --> 00:13:23.750
had gotten even larger
than on previous albums
00:13:23.750 --> 00:13:27.160
as it loomed over the surging
swing of Geezer and Bill
00:13:27.160 --> 00:13:31.700
while Ozzy was forced into
another high and dramatic vocal.
00:13:31.700 --> 00:13:34.200
It begins to become clear that Sabotage
00:13:34.200 --> 00:13:38.320
would mark the finest vocal
performance of Ozzy's career.
00:13:38.320 --> 00:13:40.990
The sheer anger of the music is emphasized
00:13:40.990 --> 00:13:43.300
by its abrupt look twice ending,
00:13:43.300 --> 00:13:45.660
segwaying instantly into what appears
00:13:45.660 --> 00:13:49.283
to be one of Tony's
sultry acoustic rambles.
00:13:52.640 --> 00:13:54.280
Following Hole in the Sky
00:13:54.280 --> 00:13:56.980
is the 49-second acoustic instrumental,
00:13:56.980 --> 00:13:58.740
Don't Start Too Late,
00:13:58.740 --> 00:14:00.850
and was inspired by tape operator,
00:14:00.850 --> 00:14:03.860
David Harris's exasperations with the band
00:14:03.860 --> 00:14:05.470
plowing into their takes
00:14:05.470 --> 00:14:07.370
before he'd gotten himself prepared.
00:14:07.370 --> 00:14:09.550
So that's David's saying, "Don't start."
00:14:09.550 --> 00:14:11.607
And the band chuckling, "Too late."
00:14:12.550 --> 00:14:15.470
The piece is essentially
melodically complex,
00:14:15.470 --> 00:14:17.970
modern classical, but it's a good example
00:14:17.970 --> 00:14:21.280
of how Sabbath liked a little
light and airy interlude
00:14:21.280 --> 00:14:24.986
before the hulking monster
comes to wreck the village.
00:14:24.986 --> 00:14:27.403
(rock music)
00:14:31.960 --> 00:14:34.240
Wreck in the village is the supercharged
00:14:34.240 --> 00:14:35.700
Symptom of the Universe.
00:14:35.700 --> 00:14:39.290
From Iommi's (indistinct) riff
driving the monster forward
00:14:39.290 --> 00:14:41.490
towards craze drum fill,
00:14:41.490 --> 00:14:44.030
the entire band is on the attack.
00:14:44.030 --> 00:14:47.590
Not until Judas Priest Sin
After Sin two years later
00:14:47.590 --> 00:14:51.020
with a heavy metal sound
this intense and overdriven.
00:14:51.020 --> 00:14:53.780
And in retrospect, you
can practically envision
00:14:53.780 --> 00:14:57.683
the entire new wave of British
heavy metal coming to life.
00:15:00.520 --> 00:15:04.590
Closing out side one is
the nine minute 46 second,
00:15:04.590 --> 00:15:07.820
which is the longest self
penned Sabbath tune ever,
00:15:07.820 --> 00:15:10.940
Megalomania, which is a
much more involved piece
00:15:10.940 --> 00:15:13.470
structurally than anything else before.
00:15:13.470 --> 00:15:17.240
Highlights include Iommi's
snarling trilling riffs,
00:15:17.240 --> 00:15:21.230
Ozzy growling out "Sting
Me" and then later "Suck Me"
00:15:21.230 --> 00:15:24.630
and Bill Ward's brilliant
use of his cowbell
00:15:24.630 --> 00:15:26.923
to count off another rhythm change.
00:15:28.610 --> 00:15:32.220
The song is about suffering
from paranoia, depression,
00:15:32.220 --> 00:15:33.230
and delusions.
00:15:33.230 --> 00:15:36.760
It is in fact an actual
psychological disorder.
00:15:36.760 --> 00:15:40.160
A megalomaniac is a pathological egotist
00:15:40.160 --> 00:15:42.870
with symptoms like delusions of grandeur
00:15:42.870 --> 00:15:44.480
and an obsession with power.
00:15:44.480 --> 00:15:49.160
The song Megalomania is somewhat
disturbing, fascinating,
00:15:49.160 --> 00:15:51.780
and exhausting all at the same time,
00:15:51.780 --> 00:15:54.503
and definitely an ambitious piece of work.
00:15:57.640 --> 00:16:00.900
Leading off side two is
the Angus Young type riff
00:16:00.900 --> 00:16:04.240
and vastly underrated
rocker, The Thrill of it All.
00:16:04.240 --> 00:16:07.230
The song has a well-used handclap element
00:16:07.230 --> 00:16:10.313
years before John
Mellencamp's Jack and Diane.
00:16:15.930 --> 00:16:18.780
As well as some of Ozzy's most expressive,
00:16:18.780 --> 00:16:21.050
upbeat and heartfelt vocals.
00:16:21.050 --> 00:16:23.670
Lyrically, there are some
brilliant sentiments here,
00:16:23.670 --> 00:16:27.370
all couched in religion as
Geezer who wrote the words,
00:16:27.370 --> 00:16:30.550
wonders why the world
is in such a shambles.
00:16:30.550 --> 00:16:33.404
♪ Won't you help me Mr. Jesus ♪
00:16:33.404 --> 00:16:36.853
♪ Won't you tell me if you can ♪
00:16:36.853 --> 00:16:40.385
♪ When you see this world we live in ♪
00:16:40.385 --> 00:16:43.703
♪ Do you still believe in man ♪
00:16:43.703 --> 00:16:46.850
Geezer got the title of the
song from a book he was reading
00:16:46.850 --> 00:16:47.683
at the time.
00:16:47.683 --> 00:16:50.080
The Thrill of it All
also shows how the band
00:16:50.080 --> 00:16:52.750
was not sabotaged by management alone,
00:16:52.750 --> 00:16:56.090
tape operator, David
Harris had mistakenly wiped
00:16:56.090 --> 00:16:58.130
the original master of the song
00:16:58.130 --> 00:17:00.080
and the band had to rerecord it.
00:17:00.080 --> 00:17:01.970
Rather than get all upset about it,
00:17:01.970 --> 00:17:05.190
the guys credited him on
the album with tape operator
00:17:05.190 --> 00:17:07.720
and saboteur, David Harris.
00:17:07.720 --> 00:17:10.137
(rock music)
00:17:11.420 --> 00:17:13.860
The next song on the album, Supertzar,
00:17:13.860 --> 00:17:15.740
which initially had the working title
00:17:15.740 --> 00:17:18.310
of we sell the worst chips in the country
00:17:18.310 --> 00:17:21.150
would become the band's
intro music for concerts
00:17:21.150 --> 00:17:22.440
for years to come.
00:17:22.440 --> 00:17:24.830
Tony wrote it in the
confines of his living room
00:17:24.830 --> 00:17:27.360
with him playing guitar and his wife Sue
00:17:27.360 --> 00:17:28.760
on the orchestral harp,
00:17:28.760 --> 00:17:32.740
and then later created the
choir parts on his Mellotron.
00:17:32.740 --> 00:17:35.150
It's transformed on the album to a song
00:17:35.150 --> 00:17:38.290
vaguely reminiscent of the
classic Yardbirds song,
00:17:38.290 --> 00:17:39.620
Still I'm Sad.
00:17:39.620 --> 00:17:41.443
Take a listen and see if you agree.
00:17:52.930 --> 00:17:54.380
When it came time to record,
00:17:54.380 --> 00:17:57.000
Tony booked the English chamber choir.
00:17:57.000 --> 00:17:58.980
Not knowing anything about this,
00:17:58.980 --> 00:18:00.960
Ozzy walked into the studio,
00:18:00.960 --> 00:18:03.370
saw all these people and walked out again,
00:18:03.370 --> 00:18:05.533
thinking he'd gone into the wrong studio.
00:18:07.650 --> 00:18:09.900
Also during the songs creation,
00:18:09.900 --> 00:18:12.000
Bill Ward had a mild heart attack
00:18:12.000 --> 00:18:15.183
and needed to take a
30-day hiatus to recoup.
00:18:20.090 --> 00:18:23.220
The 7th track from Sabotage is the uneven
00:18:23.220 --> 00:18:26.730
and somewhat unpopular fan wise tune,
00:18:26.730 --> 00:18:28.830
Am I going Insane Radio.
00:18:28.830 --> 00:18:30.740
Ozzy originally constructed this song
00:18:30.740 --> 00:18:33.750
from a solo album he
planned during the downtime
00:18:33.750 --> 00:18:36.590
between Sabbath Bloody
Sabbath and Sabotage.
00:18:36.590 --> 00:18:37.930
When that idea was scrapped,
00:18:37.930 --> 00:18:40.700
he brought this tune into
the Sabotage sessions.
00:18:40.700 --> 00:18:43.330
Concerning his aborted
plans of going solo,
00:18:43.330 --> 00:18:46.300
Ozzy later confessed, "I
wasn't prepared to own up
00:18:46.300 --> 00:18:48.830
to the rest of the band
and I didn't wanna give up
00:18:48.830 --> 00:18:51.370
the success and recognition."
00:18:51.370 --> 00:18:53.930
Some people assume the radio notation
00:18:53.930 --> 00:18:57.090
is due to it being a
radio edit, but it's not.
00:18:57.090 --> 00:18:59.970
Radio in the title is Cockney slang
00:18:59.970 --> 00:19:03.380
referencing a Birmingham
business called Radio Rental.
00:19:03.380 --> 00:19:07.300
Instead of mental, a local
would be called Radio Rental,
00:19:07.300 --> 00:19:10.763
and eventually the phrase
would shorten to radio.
00:19:12.900 --> 00:19:15.510
The song ends with some
disturbing laughter
00:19:15.510 --> 00:19:17.290
voiced by a band friend
00:19:17.290 --> 00:19:19.850
and then some bizarre hysterical crying
00:19:19.850 --> 00:19:21.900
from what sounds like a mental patient.
00:19:21.900 --> 00:19:23.370
According to Bill Ward,
00:19:23.370 --> 00:19:27.580
the crying came from a tape
of Ozzy's daughter, Jessica
00:19:27.580 --> 00:19:29.030
played at half speed,
00:19:29.030 --> 00:19:31.830
but engineer Mike Butcher
said the crying came
00:19:31.830 --> 00:19:34.860
from an unidentified
tape found in the studio.
00:19:34.860 --> 00:19:36.023
No one knows for sure.
00:19:38.660 --> 00:19:41.210
The Writ is probably the most formidable
00:19:41.210 --> 00:19:44.280
and biting song of the classic lineup era.
00:19:44.280 --> 00:19:47.070
It's also Sabbath at
their most progressive.
00:19:47.070 --> 00:19:49.230
The lyrics were written mostly by Ozzy,
00:19:49.230 --> 00:19:52.050
as opposed to usually
be in handled by Butler
00:19:52.050 --> 00:19:55.010
and pertain to the lawsuit
with their former manager,
00:19:55.010 --> 00:19:57.520
Patrick Meehan, that was plaguing the band
00:19:57.520 --> 00:20:00.070
during the recording of Sabotage.
00:20:00.070 --> 00:20:03.376
♪ The way I feel is the way I am ♪
00:20:03.376 --> 00:20:06.105
♪ I wish I'd walked
before I started to run ♪
00:20:06.105 --> 00:20:07.313
♪ To you ♪
00:20:07.313 --> 00:20:11.580
Delivering the songs spitting
venom with manic savagery,
00:20:11.580 --> 00:20:14.630
Ozzy's sounds particularly
angry and scornful,
00:20:14.630 --> 00:20:16.920
especially in this section of the song
00:20:16.920 --> 00:20:19.070
where he starts off by taking shots
00:20:19.070 --> 00:20:22.178
at Patrick Meehan and his father.
00:20:22.178 --> 00:20:24.867
♪ A poisoned father who
has poisoned his son ♪
00:20:24.867 --> 00:20:27.386
♪ That's you ♪
00:20:27.386 --> 00:20:32.067
♪ Yeah that's you ♪
00:20:32.067 --> 00:20:35.417
♪ I beg you please don't
let it get any worse ♪
00:20:35.417 --> 00:20:38.206
♪ The anger I once had
has turned to a curse ♪
00:20:38.206 --> 00:20:40.667
♪ On you ♪
00:20:40.667 --> 00:20:45.349
♪ Yeah curse you ♪
00:20:45.349 --> 00:20:48.687
♪ All of the promises
that never came true ♪
00:20:48.687 --> 00:20:51.328
♪ You're gonna get what is coming to you ♪
00:20:51.328 --> 00:20:53.825
♪ That's true ♪
00:20:53.825 --> 00:20:58.825
♪ Ah that's true ♪
00:20:59.029 --> 00:21:00.656
♪ Are you Satan ♪
00:21:00.656 --> 00:21:02.189
♪ Are you man ♪
00:21:02.189 --> 00:21:05.740
♪ You've changed in life since it began ♪
00:21:05.740 --> 00:21:08.430
The title The Writ was
apparently suggested
00:21:08.430 --> 00:21:11.210
by engineer co-producer, Mike Butcher
00:21:11.210 --> 00:21:13.160
after one of the manager's lawyers
00:21:13.160 --> 00:21:17.100
had delivered a writ to the
studio during the recording.
00:21:17.100 --> 00:21:19.990
A writ is an order issued
by a legal authority
00:21:19.990 --> 00:21:23.893
with administrative or judicial
powers, typically a court.
00:21:25.440 --> 00:21:28.670
Ironically, the same year
Sabbath released Sabotage,
00:21:28.670 --> 00:21:32.390
fellow Brit band Queen
released a disk track as well
00:21:32.390 --> 00:21:34.090
about their former manager.
00:21:34.090 --> 00:21:36.490
You will find the same
level of seeding anger
00:21:36.490 --> 00:21:39.901
from Freddie Mercury on
the song Death On Two Legs.
00:21:39.901 --> 00:21:42.023
♪ You suck my blood like a leech ♪
00:21:42.023 --> 00:21:44.212
♪ You break the law and you breach ♪
00:21:44.212 --> 00:21:46.582
♪ Screw my brain till it hurts ♪
00:21:46.582 --> 00:21:50.582
♪ You've taken all my money ♪
00:21:50.582 --> 00:21:54.662
♪ And you want more ♪
00:21:54.662 --> 00:21:56.394
♪ Misguided old mule ♪
00:21:56.394 --> 00:21:58.480
♪ With your pigheaded rules ♪
00:21:58.480 --> 00:22:00.303
♪ With your narrow minded cronies ♪
00:22:00.303 --> 00:22:03.452
♪ Who are fools ♪
00:22:03.452 --> 00:22:06.462
♪ Of the first division ♪
00:22:06.462 --> 00:22:09.910
♪ Death on two legs ♪
00:22:09.910 --> 00:22:11.780
For all the vitriol and the writ,
00:22:11.780 --> 00:22:15.463
there was a note of hope and
defiance in his closing line.
00:22:16.507 --> 00:22:21.174
♪ But everything is gonna work out fine ♪
00:22:23.437 --> 00:22:27.120
And the short-term, at least
those words would ring true,
00:22:27.120 --> 00:22:30.633
Patrick Meehan would
not break Black Sabbath.
00:22:35.180 --> 00:22:37.600
In the spring of 1975,
00:22:37.600 --> 00:22:40.370
a month after recording
was finished in London,
00:22:40.370 --> 00:22:43.780
Mike Butcher flew to New
York to oversee the mixing
00:22:43.780 --> 00:22:45.860
and mastering of Sabotage.
00:22:45.860 --> 00:22:48.060
And it was there that the producer added
00:22:48.060 --> 00:22:52.360
at the end of The Writ a
31-second snippet of music
00:22:52.360 --> 00:22:54.937
he had recorded without
the band's knowledge.
00:22:54.937 --> 00:22:57.770
"Microphones were plugged
in all around the studio.",
00:22:57.770 --> 00:22:58.797
Butcher explain.
00:22:58.797 --> 00:23:00.750
"So one night when Ozzy and Bill
00:23:00.750 --> 00:23:03.917
were messing around the piano,
I pushed the record button."
00:23:05.336 --> 00:23:06.870
♪ Blow on a jug ♪
00:23:06.870 --> 00:23:08.763
♪ Everybody come on ♪
00:23:08.763 --> 00:23:09.700
♪ Blow on a jug ♪
00:23:09.700 --> 00:23:13.327
What he captured was a joke
song named Blow on a Jug.
00:23:13.327 --> 00:23:15.777
"This stupid fucking thing," said Ward,
00:23:15.777 --> 00:23:18.820
"A drunken song that Ozzy
and me would sing together
00:23:18.820 --> 00:23:20.480
in a van or on a plane.
00:23:20.480 --> 00:23:22.740
That's me on the piano and Ozzy blowing
00:23:22.740 --> 00:23:26.050
on one of those brown cider
jugs, playing it like a tuba."
00:23:26.050 --> 00:23:29.010
Ward insisted he had no
idea that Blow on the Jug
00:23:29.010 --> 00:23:30.350
would end up on the album.
00:23:30.350 --> 00:23:33.530
Originally, it only
appeared on early pressings.
00:23:33.530 --> 00:23:35.220
The rumor that the Nitty Gritty band
00:23:35.220 --> 00:23:38.570
originally played the song
Blow on the Jug is not true.
00:23:38.570 --> 00:23:41.190
The real story comes
from a Hollywood festival
00:23:41.190 --> 00:23:45.460
Sabbath played in 1970,
along with Mungo Jerry.
00:23:45.460 --> 00:23:49.040
At the time, Sabbath saw these
festivals as a competition
00:23:49.040 --> 00:23:50.750
and who would win over the crowd.
00:23:50.750 --> 00:23:54.750
During one performance, Mungo
Jerry busted out some jugs
00:23:54.750 --> 00:23:56.197
and the crowd went wild.
00:23:56.197 --> 00:23:57.800
"He was playing fucking jugs
00:23:57.800 --> 00:24:00.610
and he stole the day." Ozzy said.
00:24:00.610 --> 00:24:03.300
After Mungo Jerry, we didn't have a hope
00:24:03.300 --> 00:24:04.913
blowing on fucking jugs.
00:24:06.520 --> 00:24:09.470
Just as the Beatles followed
the melody on side two
00:24:09.470 --> 00:24:12.660
of Abbey Road, the lighthearted
and totally unnecessary,
00:24:12.660 --> 00:24:16.470
Her Majesty, so Sabbath
closed the monumental Sabotage
00:24:16.470 --> 00:24:17.660
with a similar tribute,
00:24:17.660 --> 00:24:19.613
only theirs is the Mungo Jerry.
00:24:26.935 --> 00:24:28.550
Now with all the music recorded,
00:24:28.550 --> 00:24:31.200
the band need to create an album cover.
00:24:31.200 --> 00:24:32.880
Sabotage was the first album
00:24:32.880 --> 00:24:35.200
to display the group on its front cover.
00:24:35.200 --> 00:24:37.620
The original idea for the records Artwork
00:24:37.620 --> 00:24:41.020
was based on a famous painting
by the surrealist artist,
00:24:41.020 --> 00:24:44.370
Rene Magritte, named Not to be Reproduced.
00:24:44.370 --> 00:24:47.440
A man in a dark suit is
standing facing the mirror.
00:24:47.440 --> 00:24:50.780
The reflection in the
mirror shows the man's back,
00:24:50.780 --> 00:24:51.750
not his front.
00:24:51.750 --> 00:24:54.580
In essence, his image has been sabotage.
00:24:54.580 --> 00:24:57.070
The concept was conceived by Bill Ward
00:24:57.070 --> 00:24:59.030
and his drum roadie Graham Wright,
00:24:59.030 --> 00:25:01.200
and executed and overseen
00:25:01.200 --> 00:25:04.050
by the Amsterdam design company, Cream
00:25:04.050 --> 00:25:06.871
also known as the Cream Group.
00:25:06.871 --> 00:25:09.288
(rock music)
00:25:10.890 --> 00:25:13.560
Originally, the idea
was to go for a corridor
00:25:13.560 --> 00:25:15.800
from a Dracula castle type thing.
00:25:15.800 --> 00:25:18.460
Sabbath was going to be
standing in black suits
00:25:18.460 --> 00:25:21.540
in front of full length
mirrors hanging from the wall,
00:25:21.540 --> 00:25:24.630
and the reflected image
was supposed to be reversed
00:25:24.630 --> 00:25:25.930
like Magritte's.
00:25:27.290 --> 00:25:29.500
The job of making all this happen,
00:25:29.500 --> 00:25:32.210
fell to the record company Vertigo,
00:25:32.210 --> 00:25:35.060
which announced the photo
shoot a couple of weeks later.
00:25:35.060 --> 00:25:36.410
Instead of an old castle,
00:25:36.410 --> 00:25:38.190
the photo session would take place
00:25:38.190 --> 00:25:41.020
in a small photography studio in Soho.
00:25:41.020 --> 00:25:43.230
The band showed up thinking
they were just meeting
00:25:43.230 --> 00:25:46.600
to talk about the album
cover, not to shoot it.
00:25:46.600 --> 00:25:51.130
In fact, Ozzy showed up in a
kimono, "A homo in a kimono,"
00:25:51.130 --> 00:25:53.390
as he would later describe his appearance.
00:25:53.390 --> 00:25:56.190
Bill wore his wife's revealing red tights,
00:25:56.190 --> 00:25:58.160
but he never wore underwear.
00:25:58.160 --> 00:26:01.070
Ward said at the shoot, "I
had this old pair of jeans
00:26:01.070 --> 00:26:03.810
that were really dirty, so
I borrowed my wife's tights.
00:26:03.810 --> 00:26:06.610
And so that my bollocks wouldn't
show up under the tights,
00:26:06.610 --> 00:26:10.270
I also borrowed Ozzy's
underpants because I had none."
00:26:10.270 --> 00:26:12.060
We think we found some proof
00:26:12.060 --> 00:26:14.080
that Mr. Ward is telling the truth.
00:26:14.080 --> 00:26:17.300
If you take a look at the back
of the Sabotage album cover,
00:26:17.300 --> 00:26:21.770
you can see Bill Ward's
underwear that he says is Ozzy's.
00:26:21.770 --> 00:26:25.010
Now look at this picture
of Ozzy wearing underwear,
00:26:25.010 --> 00:26:26.093
you'd be the judge.
00:26:27.220 --> 00:26:30.570
Thinking they would superimpose
the images at a later time,
00:26:30.570 --> 00:26:32.220
they rushed through the photo shoot,
00:26:32.220 --> 00:26:35.110
and the outcome was far from
what had been envisioned.
00:26:35.110 --> 00:26:36.960
Ironically, once again,
00:26:36.960 --> 00:26:39.530
the sleeve design was
intended to illustrate
00:26:39.530 --> 00:26:41.350
the idea of Sabotage,
00:26:41.350 --> 00:26:45.500
but had instead become a
victim of sabotage itself.
00:26:45.500 --> 00:26:47.920
By the time the band
had a chance to review,
00:26:47.920 --> 00:26:50.040
it was too late to change the cover.
00:26:50.040 --> 00:26:50.873
They hated it.
00:26:50.873 --> 00:26:53.550
What we are left with
is a cover that manages
00:26:53.550 --> 00:26:57.489
to be simultaneously embarrassing
and perversely endearing.
00:26:57.489 --> 00:26:59.906
(rock music)
00:27:02.750 --> 00:27:07.210
Upon release in late 1975,
Sabotage got a mixed reaction.
00:27:07.210 --> 00:27:09.970
You had fans and critics
raving about the album,
00:27:09.970 --> 00:27:12.860
including RollingStone
critic, Billy Altman,
00:27:12.860 --> 00:27:16.430
who wrote, "Sabotage is not
only Black Sabbath's best record
00:27:16.430 --> 00:27:19.310
since Paranoid, it might
be their best ever."
00:27:19.310 --> 00:27:22.060
But the sales of the album
painted a different picture.
00:27:22.060 --> 00:27:25.070
Sabotage was the first Black Sabbath album
00:27:25.070 --> 00:27:29.030
that did not achieve
platinum status in the US
00:27:29.030 --> 00:27:31.590
and though it reached
number seven in the UK,
00:27:31.590 --> 00:27:34.780
it completely fell off the
charts after a few weeks.
00:27:34.780 --> 00:27:38.440
To date, Sabotage is still
not platinum in the US
00:27:38.440 --> 00:27:41.520
having only sold 900,000 copies,
00:27:41.520 --> 00:27:46.250
but the album has sold over
2.5 million copies worldwide,
00:27:46.250 --> 00:27:49.705
ranking it the 7th
best-selling Sabbath album.
00:27:49.705 --> 00:27:51.239
- [Ozzy] The album's called Sabotage.
00:27:51.239 --> 00:27:55.221
And then it's titled
Symptom of the Universe.
00:27:55.221 --> 00:27:57.638
(rock music)
00:28:02.277 --> 00:28:04.960
- [Narrator] Behind the scenes,
things continue to unravel.
00:28:04.960 --> 00:28:08.400
Just as Sabbath felt they had
begun to get free of the mess
00:28:08.400 --> 00:28:12.038
they found themselves in after
breaking with Patrick Meehan,
00:28:12.038 --> 00:28:14.250
their former managers struck another blow,
00:28:14.250 --> 00:28:16.690
authorizing the release in December
00:28:16.690 --> 00:28:19.330
of a double album compilation entitled,
00:28:19.330 --> 00:28:21.480
We Sold Our Souls for Rock and Roll
00:28:21.480 --> 00:28:23.240
featuring all their biggest hitters
00:28:23.240 --> 00:28:24.830
from the first five albums.
00:28:24.830 --> 00:28:27.090
The double album was released to coincide
00:28:27.090 --> 00:28:29.150
with a Christmas present buying season
00:28:29.150 --> 00:28:32.420
and Sabbath didn't know
whether to be pleased or not.
00:28:32.420 --> 00:28:36.370
Worse, the band members
made no money whatsoever
00:28:36.370 --> 00:28:37.893
from this marketing scheme.
00:28:39.350 --> 00:28:42.060
In some respects, Sabotage
seems like an album
00:28:42.060 --> 00:28:45.130
with no real identity or a unifying theme,
00:28:45.130 --> 00:28:47.000
yet as good as the album is,
00:28:47.000 --> 00:28:49.330
it's also an album where
you can tell the wheels
00:28:49.330 --> 00:28:51.230
are starting to come off of this.
00:28:51.230 --> 00:28:52.830
This will become far more evident
00:28:52.830 --> 00:28:54.700
in Black Sabbath's next release
00:28:54.700 --> 00:28:56.910
where the band not only lost the wheels,
00:28:56.910 --> 00:28:58.930
but the whole car fell apart.
00:28:58.930 --> 00:29:00.997
That album, Bill Ward says,
00:29:00.997 --> 00:29:03.230
"It was so hard for us making it,
00:29:03.230 --> 00:29:05.540
but when I listened back to it now,
00:29:05.540 --> 00:29:06.947
God, it's incredible."
00:29:08.000 --> 00:29:10.410
- [Ozzy] We just had to
say on behalf of the guys
00:29:10.410 --> 00:29:12.347
and myself, you are a good bunch of people
00:29:12.347 --> 00:29:14.569
and we love each and every one of you.
00:29:14.569 --> 00:29:16.467
(audience cheers)
Good night, thank you.
00:29:20.071 --> 00:29:21.404
We love you all.
44195
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.