|Black Sabbath — 13 [Deluxe Edition] (2013)|
Black Sabbath — 13 [Deluxe Edition]
“Basically, they sound like they used to with slightly slicker production”
Location: Aston, Birmingham, England, UK
Album release: June 10, 2013
Recorded: August 2012 – January 2013 at Shangri La Studios, Malibu, CA, and Tone Hall, Warwickshire, UK
Record Label: Vertigo Records
01. End Of The Beginning (8:06)
02. God Is Dead? (8:52)
03. Loner (5:00)
04. Zeitgeist (4:37)
05. Age Of Reason (7:01)
06. Live Forever (4:46)
07. Damaged Soul (7:51)
08. Dear Father (7:20)
01. Methademic (5:58)
02. Peace Of Mind (3:40)
03. Pariah (5:34)
Spotify bonus tracks:
09. "Methademic" 5:57
10. "Peace of Mind" 3:40
11. "Pariah" 5:34
12. "Dirty Women" (Live in Australia 2013) 7:21
Best Buy bonus disc:
01. "Methademic" 5:57
02. "Peace of Mind" 3:40
03. "Pariah" 5:34
04. "Naïveté in Black" 3:50
• Tony Iommi – guitar, acoustic guitar on "Zeitgeist" and "Methademic"
• Ozzy Osbourne – vocals, harmonica
• Geezer Butler – bass guitar
≡ All lyrics written by Geezer Butler, all music composed by Tony Iommi, Ozzy Osbourne and Butler.
• Tony Iommi – lead guitar (1968–present)
• Geezer Butler – bass guitar (1968–1979, 1980–1985, 1987, 1990–1994, 1997–present)
• Ozzy Osbourne – lead vocals (1968–1977, 1978–1979, 1985, 1997–present)
• Adam Wakeman – keyboards (2004–2006, 2012–present)
• Tommy Clufetos – drums (2012–present)
• Brad Wilk – drums on 13
¤ On 4 April 2013 Black Sabbath unveiled the cover artwork for 13. The artwork was created by Zip Design in London. Zip commissioned sculptor Spencer Jenkins to create an 8 foot tall "13" from wicker, which was then set on fire in the Buckinghamshire countryside. The flames were visible for miles. The image was shot by photographer Jonathan Knowles. A behind-the-scenes video, also shot by Jonathan Knowles's team, was released by Zip Design, showing the numbers' construction.
¤ 13 has received mostly positive reviews. Fred Thomas of AllMusic praised 13, calling it "unexpectedly brilliant, apocalyptic, and essential for any die-hard metal fan". Geoff Barton of Metal Hammer observed how the heavy metal genre had developed ever since the band originally started it, and concluded that the classic line-up of the band has proven their relevance in modern-day music.
Review by Fred Thomas (Editor rating: ****½)
¤ There's a lot of pressure involved with being the rulers of the underworld, and nobody knows it better than Black Sabbath in 2013. Inarguable legends and at least partially responsible for creating heavy metal as we know it with their classic '60s and '70s material, Sabbath have spawned generations of followers and become one of the final words of the genre. There have been countless reunions and mutations of the band following vocalist Ozzy Osbourne's first dismissal in 1978, and even 13 doesn't quite deliver on fans' decades-long desires to see all four original members back together. Original drummer Bill Ward sits the record out due to disputes over the recording contract, with Audioslave/Rage Against the Machine drummer Brad Wilk providing beats in his stead. Despite this considerable absence, 13 comes closest to recapturing the desperate feel, plodding grooves, and unparalleled metal magic of those first classic Sabbath records than anything the members of the band have done since, in any permutation or combination of members. Kicking off with two sludgy tracks, each over eight minutes long, the Rick Rubin-produced 13 takes a few moments to get its legs. Once warmed up, however, each element falls somewhere between studied re-creation of the past and logical progression, be it Tony Iommi's spooky guitar tone, Ozzy's nasal howl, or the panic attack dynamics and sense of nuclear dread that made the moods of Sabotage and Vol. 4 so thick. Sharp tempo changes and caustic drop-tuned blues metal riffs make up tracks like "God Is Dead?" and the doomy "Age of Reason." Many of the album's eight tracks stretch past the seven-minute mark, full of heavy compositional shifting. The mellower acoustic track "Zeitgeist" rewrites the spacy "Planet Caravan" from 1969's Paranoid, revisiting the same cosmic motif of that song, complete with Iommi's most Django Reinhardt-influenced soloing. The lyrics, all penned by bassist Geezer Butler, are focused on internal religious and mental conflicts, with final track "Dear Father" tackling living with memories of abuse. The album is heavier, more precise, and more interesting than the past several decades of output from the bandmembers would suggest. Without fully replicating the energy of their untouchable first six records, Sabbath have risen to the unique challenge of not becoming self-caricatures, turning in something new while still reactivating the strengths of their younger days. The backwards-looking tendencies of 13 are something the band is fully aware of, as signified by the reappearance of rain and church bells sound effects on the last track, the same sounds that opened their first album in 1969. The influence of early Sabbath has become so omnipresent that it's come back to influence its very creators 40 years later, but the results are unexpectedly brilliant, apocalyptic, and essential for any die-hard metal fan.
¤ Geezer Butler Bass, Composer, Group Member
¤ Ryan Castle Editing
¤ Mike Exeter Engineer
¤ John Fenton Band Photo
¤ Greg Fidelman Engineer
¤ Jason Gossman Editing
¤ Tony Iommi Composer, Group Member, Guitar
¤ Spencer Jenkins Sculpture
¤ Sara Lyn Killion Assistant
¤ Jonathan Knowles Cover Photo
¤ Stephen Marcussen Mastering
¤ Dana Nielsen Editing, Engineer
¤ Sean Oakley Assistant
¤ Ozzy Osbourne Composer, Group Member, Harmonica, Vocals
¤ Rick Rubin Producer
¤ Andrew Scheps Mixing
¤ Stewart Whitmore Mastering
¤ Brad Wilk Drums, Percussion
¤ Zip Art Direction, Design
By Jody Macgregor (Editor rating: 7/10)
¤ JODY MACGREGOR is happy to find that that the reanimated Black Sabbath sounds a lot like the old Black Sabbath.
¤ The opening songs of 13 set out to prove that Black Sabbath still have the stamina they had in the 1970s, when they were unravaged by time and drugs. Both songs go for over eight minutes and are full of rhythmic monster riffs, multiple solos and those moments where it all goes quiet before Ozzy starts intoning something that would make the Crypt-Keeper proud. His carefully enunciated doom-preaching and Tony Iommi’s well-spaced riffs both create the same sense of suspense, both leave you hanging just long enough before going crazy. It works. This feels like the real thing.
¤ ‘End of the Beginning’ sounds like it’s about the band’s reunion: “Reanimation of the sequence/rewinds the future to the past/to find the source of the solution/the system has to be re-cast.” Sabbath has been rewound to the 1970s, but it’s also been re-cast. As well as Ozzy and Iommi, original bassist Geezer Butler is back, his strings sounding loose and twangy, but drummer Bill Ward has been replaced by Brad Wilk from Rage Against the Machine. Maybe a bit intimidated by the guys he’s playing with, Wilk’s drumming sounds workmanlike – not too far from Ward’s but not a radical enough departure to re-energise their sound. Basically, they sound like they used to with slightly slicker production.
¤ Maybe “You don’t want to be a robot ghost/occupied inside a human host” isn’t their finest hour, lyrically speaking, but it’s made up for later, both in ‘God Is Dead?’ (which not only rhymes tomb, gloom and doom, but contains “The blood runs free, the rain turns red/give me the wine, you keep the bread”) and also ‘Loner’. ‘Loner’ is pure bedroom existentialism for alienated metalheads, which is Black Sabbath’s stock in trade: “Communication’s an impossibility/his own best friend but he’s his own worst enemy.”
¤ Calling a song where they rewrite ‘Planet Caravan’ complete with bongos and echoing vocals about sailing through space ‘Zeitgeist’ when it’s the very opposite might be a joke; it does begin with Ozzy’s evil laugh. They always combined their psychedelic tendencies – they were such hippies in all their old photos – with that gloomy “the ’60s are over and we lost” vibe, and they do exactly that with ‘Age of Reason’, a song about failed revolution and (perennial Sabbath theme) the end of the world. Wilk’s drumming here gets pretty frantic, hectic but also aimless. There’s a lot of it, but not for any particular reason.
¤ Thank our dark lord and master for ‘Damaged Soul’ then. Another doomsday tune, here’s where Satan gets his due. Ozzy plots out the end times and then, fuck me, harmonica. If you’ve been waiting for Sabbath to do metal harmonica again since their song ‘The Wizard’ blew your mind then here it is. Great as that is, it’s a small element of the song overall, which features multiple solos and some of Iommi’s most agile fingerwork, and everything comes together for the perfect breakdown at its end.
¤ 13 exists to give Black Sabbath an excuse to tour again and a couple of new songs to play each night for the sake of variety; it didn’t really need to be very good at all. But while it’s not their best – if this is your first exposure to Sabbath then go listen to Paranoid right now – it’s also far from their worst. There are a handful of great songs and none where you can hear them dribble, shit themselves and call for the nurse. If it’s the beginning of the end it’s a decent way to go out.
¤ In a January 2010 interview while promoting his biography I Am Ozzy, Osbourne stated that although he was not ruling out a reunion, he was doubtful there would be a reunion with all original members. Osbourne stated: "I'm not gonna say I've written [a reunion] out forever, but right now I don't think there is any chance. But who knows what the future holds for me? If it's my destiny, fine." Butler said that there would be no reunion in 2011 since Ozzy was going to tour with his band.
¤ On 11 November 2011, Iommi, Butler, Osbourne, and Ward announced that they were reuniting to record a new album and begin to tour in 2012. Tony Iommi was diagnosed with lymphoma on 9 January 2012, which obligated the band to cancel their entire European tour, except for three shows: in Birmingham, Download Festival, and Lollapalooza Festival. In February 2012, Bill Ward announced that he would not participate in the band's reunion unless he was offered a "signable contract".
¤ On 21 May 2012, at the O2 Academy in Birmingham, Black Sabbath played their first concert since 2005, with Tommy Clufetos playing the drums. In June, they performed at Download Festival, followed by the last concert of the short tour at Lollapalooza Festival in Chicago. Later that month, the band started recording the album.
¤ On 13 January 2013, the band announced that the album would be released in June under the title 13. Brad Wilk of Rage Against the Machine was chosen as the drummer, and Rick Rubin was chosen as the producer. Mixing of the album commenced in February. On 12 April 2013, the band released the album's track listing. The standard version of the album features eight new tracks, and the deluxe version features three bonus tracks.
¤ The band's first single from 13, "God Is Dead?", was released on 19 April 2013.
On 20 April 2013, Black Sabbath commenced their first Australia/New Zealand tour in 40 years, to be followed by a major U.S. tour in July and August 2013.
¤ The second single of the album, "End of the Beginning", debuted on 15 May in a CSI: Crime Scene Investigation episode, where all three members appeared.
In November, the band will start their European tour that will last until December.
• Black Sabbath (1970)
• Paranoid (1970)
• Master of Reality (1971)
• Black Sabbath Vol. 4 (1972)
• Sabbath Bloody Sabbath (1973)
• Sabotage (1975)
• Technical Ecstasy (1976)
• Never Say Die! (1978)
• Heaven and Hell (1980)
• Mob Rules (1981)
• Born Again (1983)
• Seventh Star (1986)
• The Eternal Idol (1987)
• Headless Cross (1989)
• TYR (1990)
• Dehumanizer (1992)
• Cross Purposes (1994)
• Forbidden (1995)
• 13 (2013)
|Black Sabbath — 13 [Deluxe Edition] (2013)|