Author: Peter Podbrežnik
Artist: Black Sabbath
Label: Vertigo Records
Released: 1976
Runtime: 40:35
Rating: 4.5/5
In the second half of the seventies, after the masterful »Sabotage« (1975), Black Sabbath slowly but inexorably slid into commercial decline. Musical trends were shifting fast, and the outlook wasn’t exactly rosy for heavy rock and prog rock: punk had already started raising its dirty face, while most of the youth, especially the middle-class kids, would rather hit the disco dance floors than heavy metal gigs. All four of them had their problems with intoxicating substances, white powder first and foremost, but Ozzy naturally led the pack. His alcohol-fueled meltdowns made him more and more of a handful for everyone around him, even though, surprisingly, he somehow still kept just enough composure in the studio and on stage for the band to make another excellent album with him in the lineup. At the same time, this was also the period when they decided to take their fate fully into their own hands, in songwriting as well as production, so nobody could lecture them on ‘which direction would make the most sense right now’.
A bit tired of the ‘doom & gloom’ concept that had won them worldwide fame as the fathers of heavy metal in the first half of the seventies, they decided on »Technical Ecstasy« to offer their loyal followers something new, yet still recognizable at its core. That meant the door was still wide open for interesting sonic experiments, but they kept all the trademark Black Sabbath finesse, led by Ozzy’s one-of-a-kind ‘wailing’, Iommi’s brilliantly inventive guitar phrases, Geezer’s melodic bass lines and Ward’s massive drum fills. The break with occult themes and gloominess, which gave way to social issues in the lyrics, is made plain enough by the ironic, comical cover art alone, with a male and a female robot having sex on an escalator.
Despite the many headaches that dogged the Birmingham legends off the studio floor and the stage, there was no shortage of brilliant songwriting ideas, as the opening banger »Back Street Kids« shows right away: it’s a proper charge through thick and thin, with Ozzy ruling the roost with his unmistakable vocal outbursts of a raving fanatic in the middle of withdrawal, while the galloping Butler-Ward rhythm duo and Iommi’s barbed guitar phrases keep him company. Keyboard inserts from guest keyboardist Gerald Woodruffe add to the massive sound. The lyrics’ central message is that, despite all the material comfort and abundance commercial success brought them, all four original Black Sabbath members are still just ordinary boys from the gray streets of working-class Birmingham deep down. The dark love confession »You Won’t Change Me« is yet another completely unique achievement of their career, with a heavy Iommi riff, a temperamental Geezer bass line and a thoroughly ‘broken’ Ozzy creating a first-rate apocalyptic atmosphere, in sharp contrast with the melodic but still fatalistic chorus. Woodruffe’s schizophrenic-sounding keyboard textures add a whiff of dark futurism too.
The nicest surprise on the whole album, though, is the beautiful, uplifting-yet-nostalgic ballad »It’s Alright«, one of Black Sabbath’s most unusual experiments of the 70s, where drummer Bill Ward takes over the lead vocals. He was reportedly pretty shy before the recording, but Ozzy eventually managed to coax him up to the microphone, and the result was truly fascinating, surprising even Ward himself. Ward’s voice is completely different from that of his singing bandmate, slathered in all manner of street smarts and existential fears; it has an uncommon warmth that fits the rousing chorus and pleasant melody perfectly. You can’t help thinking what a damn shame it is that Ward didn’t sing more songs in their story, because technically he outclasses the ‘claustrophobic’ Ozzy across the board, but the legendary drummer just sounded too little ‘evil’ for the usual Sabbath needs. »Gypsy« is a genuine Sabbath classic with a rolling opening rhythm, where the excellent vocal harmonies, drum fills and piano intervals are what really impress. The mood is once again distinctly dark, with a conspiratorial guitar riff, and it’s the only song on the album with traces of occultism, telling the story of a mysterious Romani fortune teller allegedly in the ‘devil’s service’, which is more or less just another metaphor for a failed love affair.
»All Moving Parts (Stand Still)«, whose lyrics depict the blatant, sky-high corruption of politicians of every stripe, is one of the most unusual and fun creations in the Birmingham legends’ whole career. Odd rhythmic shifts alternate beautifully with vocal harmonies and ruffled guitar passages, while the composition still keeps its melodic sense and has real shape to it. The lyrics for the bouncy, mid-tempo heavy rocker »Rock’n’Roll Doctor«, where their blues roots come through loud and clear, were inspired by a real person, the late Dr. Max, Elvis Presley’s notorious former dentist, who regularly kept the band supplied with intoxicating substances. »She’s Gone« is a heart-wrenching love ballad with an inconsolable Ozzy, a touching guitar melody and a subtle rhythmic backdrop, blessed with a gorgeous orchestral arrangement by Mike Lewis.
The fatalistic classic »Dirty Women« is the longest, most complex and also best-known piece on the album, and the only song from it that was played live when the original lineup reunited in 1998. Ozzy’s vocals are here in their most wicked possible state, while the central structure is held together by dynamic rhythmic finesse and Iommi’s melodic passages, which are once again finger-licking good. Above all, the final transition feels great: from a hard-hitting motif with raging vocals into a subtle, hypnotic section with repeating vocal harmonies, gourmet guitar soloing and a build-up of wild drum fills all the way to the song’s close. The lyrics, as the title says, deal with the hedonistic appetites of the dark foursome led by Ozzy, who could barely wait to indulge in every excess involving one kind of ‘lady of the night’ or another.
»Technical Ecstasy« may not be a classic ‘doom & gloom’ Black Sabbath album by most fans’ standards. Even so, it’s one of their sonically deepest records, one where the creative chemistry between the four original members burned one last time with the magnificent flames of unbridled musical adventure and turned up some truly interesting results for connoisseurs. Despite all their troubles, they still had enough studio energy, mutual solidarity and inventive ideas to make the best unconventional Black Sabbath album. That »Technical Ecstasy« is cherished by music gourmets of a very special kind is also shown by a fun fact: one of the levels in the popular 1995 video game ‘Rise Of the Triads’ carried the title of this album, while »Dirty Women« is still a must in the original lineup’s live repertoire.
Lineup
Ozzy Osbourne – vocals
Tony Iommi – guitar
Geezer Butler – bass guitar
Bill Ward – drums, lead vocals on “It’s Alright”
GUEST MUSICIAN:
Gerald Woodruffe – keyboards
Production
Black Sabbath
Tracklist
1. Back Street Kids
2. You Won’t Change Me
3. It’s All Right
4. Gyspy
5. All Moving Parts (Stand Still)
6. Rock ‘n’ Roll Doctor
7. She’s Gone
8. Dirty Women
