Sabotage: Black Sabbath's Last Hurrah

“I’m really digging schizophrenia the best of the earth;

I’ve seized my soul in the fires of Hell.

Peace of mind eluded me, but now its all mine;

I simply try, but he wants me to fail.

Feel it slipping away, slipping in tomorrow…

Now I’ve found my happiness, providence of sorrow.”

--Black Sabbath from the song “Megalomania” from the album Sabotage, 1975.



I have two favorite Black Sabbath albums. One is the one I mentioned last year, Sabbath, Bloody Sabbath. The other is Sabotage. Sabotage contains three of my favorite Sabbath songs: Megalomania, Symptom of the Universe, and Thrill Of It All. The last one many may not recognize, but I think it is one of their best.

The album also contains Hole In The Sky, Don’t Start (Too Late), the eerie Supertzar, the ‘pseudo-hit’ Am I Going Insane (Radio), and concludes with the powerful The Writ.

This is Ozzy’s last hurrah with the band, even though he recorded two forgettable albums with the Sabbath line up of Tony Iomini, Geezer Butler, and Bill Ward. On this one, Ozzy’s voice is incredible and the band plays their brand of thunderous metal.

To be frank, Megalomania has a special place in my heart as among the quintessential songs that represent Heavy Metal: great lyrics, a powerful guitar, a strong voice, and a thudding bass and drum.

Something was lost by Black Sabbath after this album. I am not sure if the formula ran dry, the drugs ran too rapid, of the moment was simply lost, but the band fell on the weight of their own legacy for a few years. Perhaps the Ronnie James Dio years were a necessary break for the band, as Heaven and Hell and Mob Rules were so much better than Never Say Die and Technical Ecstasy.

This is not their heaviest album, but Sabotage is certainly their most melodic. Added to the musical accomplishments, they seem to really define the genre of Heavy Metal and the changes that were starting to ensue in the Hard Rock legacy that they set forth. Certainly by this point, the band understood their contributions and made this one their swansong.

Like Led Zeppelin’s Achilles Last Stand, Megalomania stood out as the moment that harkens back to their past while The Writ showed what the future could have been.

The latter two Ozzy albums either were misguided attempts to gain an audience that was not interested in Sabbath or they were poorly suggested ideas from management. It matters not, as Sabbath muddled through a few years of sad remnants of their past.

I always felt each Sabbath album moved forward for the band as they evolved. Sabotage was the final step in the evolution of metal and set the precedent of what could be described as the greatness of the level of musical accomplishment.

Iron Maiden Rocks The BBC

“Somebody please tell me that I’m dreaming,

Its not so easy to stop from screaming.

But words escape me when I try to speak,

Tears they flow but why am I crying.

After all I am not afraid of dying,

Don’t believe that there is never an end.

As the guards march me out to the courtyard,

Someone calls from a cell, ‘God be with you…’

If there’s a God, then why has he let me die?”

--Steve Harris of Iron Maiden from the song “Hallowed Be Thy Name” from the album The Number of the Beast 1982.



Well it has been a while.

Workloads, other hang-ups, lifestyle changes with women (yeah—all those women—right), and the hustle and bustle of the real world (and road rules and other insipid shows) have slowed me down.

But summer’s here and the time is right for rockin’ in the heat.

I plan on updating my CD list in the near future in case we have any traders out there. I plan on reviewing the latest and greatest Ye Olde Metal book by Martin Popoff and I will be adding a slight criticism of my Metal friend (uh-oh!) but it is an honest trifle to be honest. Martin has thick skin.

Over the last six weeks or so, I have rediscovered my enjoyment of the Kings of the New Wave of British Heavy Metal (NWOBHM) Iron Maiden.

Via the joys of Amazon, I snagged what I consider one of the best live albums and certainly my favorite live album of Iron Maiden: The BBC Archives. Originally this was part of the Eddie Archives along with the B-Sides and Live From Hammersmith. Each was a two disk set; and I own all six now. Lots of researching and scouring for these as the Eddie Archives is a long out of print collection.

The first disk contains four tracks from the Paul Di’Anno years from the BBC Radio 1 Friday Rock Show from November 14, 1979. I like Di’Anno’s voice quite a bit. His versions of Phantom of the Opera (not on this disk) are nothing short of incredible. Running Free kicks from the set.

The rest of the disk contains the BBC production of the reading Festival from August 28, 1982 featuring Bruce Dickinson on vocals. This was from the Number of the Beast Tour. This is the BEST live set and best versions of Dickinson’s live repertoire ever recorded. Amazingly he treats the form Di’Anno songs (The Prisoner, Wrathchild) with as much care as he does the then-new material of Hallowed Be Thy Name (their greatest song) and Number of the Beast. The Maiden classic album is well-represented as Children of the Damned (humorous intro by Dickinson), 22 Acacia Avenue and Run To The Hills are played with a new-found pulse and glory.

Disk two features an earlier version of the Reading Festival from August 24, 1980 with Di’Anno shredding through such Maiden classics as Remember Tomorrow, Iron Maiden, and Prowler (and again oddly no Phantom of the Opera even though Dickinson owns the song on the previous disk).

Disk two closes with the highlights from the Donington Monster of Rock Festival from August 20, 1988. Highlights include The Trooper, Seventh Son of a Seventh Son, and Iron Maiden.

Since Maiden has been one of the rare bands that can transfer their complex studio moments so passionately on stage in the live forum, one cannot but be amazed at their ability to play as a band. Clever lyrics, a nod and a wink to the culture of metal, and incredible musicianship make them an unstoppable unit.

This one simply kicks their careers into another gear, for any who may have doubted their ability.

Kamelot's Ghost Opera: Second Coming: It is Brilliant!

“Sometimes I tremble…

Like a little child,

That faces morning,

With a broken smile.

Sometimes I crumble…

When the shades unfurl,

Sometimes I feel that

I could rule the world…”
--Youngblood and Khan—“Rule The World” from the LP Ghost Opera, 2007.

Kamelot - Rule The World from Kamelot Official Vimeo on Vimeo.

Brilliant is the best word that comes to mind as I listen to the incredible second disc of Kamelot’s Ghost Opera: the Second Coming. The mix of new Ghost Opera (what—no Rule the World) with the Black Halo Live CD is incredible. This band deserves much more exposure.

They sound so powerful live and with such clarity and depth.

They have grown to be my favorite band—as perhaps the endless reviews of their material will attest.

My CD came today as I ordered it three weeks ago from Amazon.

The studio songs of include Seasons’ End (also available on The Myth and Legend of Kamelot), Pendulous Fall (found on the first edition of Ghost Opera and The Myth and Legend of Kamelot), Epilogue (also available on the Myth and Legend of Kamelot), and the Rule The World (remix) are the typical fair from Kamelot.

The Live portion includes: Solitaire; Ghost Opera; The Human Stain (is this not the greatest Kamelot song or what???); Mourning Star; When The Lights Are Down; Abandoned (awesome—especially live); The Haunting (With Simone Simon—Love her); Momento Mori; Epilogue (as good as this song is in the studio—it is brilliant live and bridges the gap between the Black Halo and Ghost Opera material); and March of Mephisto.

Kamelot continues to find ways to reinvent themselves.

After playing Disc #2, I was overwhelmed.

The first disco includes all of Ghost Opera (a staple in the car and on the IPOD) and adds a few videos: Momento Mori (Live) and The Human Stain. The Ghost Opera video is on the first edition of Ghost Opera and the Rule The World Video is on the Kamelot Website or YouTube—whichever is your pleasure.

Regular readers will note that I unashamedly endorse Kamelot; and usually I shy away from reissues of previously released material; but this band is the exception because they add unreleased material that contains the rich textures of the band’s complex style in the studio tracks. Added to that, the beautiful arrangement of the LIVE material is so fantastic.

Buy the reissue CD of the Ghost Opera: The Second Coming and enjoy the bonus CD as Kamelot’s gift to you.

God of Thunder

And Rock and Roll...

ALL HAIL THOR: THE TRUE THUNDER GOD!

Thanks to my friend John for sharing the following YouTube:

The New Judas Priest Book: Marin Popoff Writes Another Classic

“Hey listen don't you let them get your mind;

Fill your brain with orders and that's not right.

They're playing at a game that draws you closer;

Till you're living in a world that's ruled by fear.

Always takin' baby out that's o.k.;

What they're givin' maybe it's out of phase with me.

Told you one you're never gonna win the race;

Same old no tomorrow kicked in the face.

We are screaming, screaming for vengeance--

The world is a manacled place.”

--Rob Halford, “Screaming For Vengeance, 1982.



You must forgive my neglect on this review, as I meant to do it months ago. Martin Popoff has written another fantastic book on Heavy Metal that must be read by the masses. His latest book Judas Priest: Heavy Metal Painkillers is a fantastic look at the true pioneers of metal and hard rock. Whereas most comments about Judas Priest pretty much follow the band’s most successful albums like British Steel and Screaming for Vengeance, Popoff devotes equal time to all of the Priest moments: harkening back to their early days and following the prolific mid 1970s periods, which includes my favorites of the band: Sad Wings of Destiny, Sin After Sin, Hellbent For Leather, and Stained Glass.

Popoff delivers in a style familiar with his regular readers of dividing the history of the band by albums and reviewing each record while sprinkling interesting band history information, concert information, tour stories and the like as each album acts as a milestone of sorts.

Since the awesome Black Sabbath book of Popoff’s, his oversized books also capture memorabilia of the time and fantastic band pictures with high gloss paper and beautifully coloring and graphics.

Martin personalized mine as a tribute to me on my 44th birthday. Good guy, that Martin is, of course.

Here is my recommendation to add to the pleasure. As I read each chapter of his book, I play the album associated with it. It helps develop a feel for the pacing and the emphasis Martin Popoff offers. This was a bit tough to do with Rock and Rolla, through no fault of Popoff--it is just a really wretched album.

Aside from the familiar albums and stories some fans of Priest may already know, the Angel of Retribution chapter was excellent as Priest explains how they re-meshed, how they decided to endure, and what the future may hold. The Epilogue was equally interesting.

Closing the book is a nice discography. Also included in the book was Halford’s solo material. All in all a very complete and complex history of Judas Priest, with 378 pages of beautiful text, pictures, and wonder. How Martin Popoff is able to have the band open up and tell stories otherwise long forgotten is perhaps Popoff’s greatest strength as a writer and Metal historian. There is a skill to good interviewing techniques and Popoff has it perfected.

And if you do not think Judas Priest is the most metal of the Heavy Metal bands, seriously, read the book to find out why you are wrong.

Regular Sweetwood Metal Moments readers know how I will shamelessly hawk Martin’s books for him. In the third of the Ye Olde Metal Series, Martin sent me an email describing what to expect for Ye Olde Metal 1976:
“The chapters this time (less of them but they are quite a bit longer)

Max Webster – Max Webster: my fave Canadian band of all time. Amazing album – I got Kim in here, Pye, Terry

Scorpions – Virgin Killer: I talked to Klaus, Rudy and Uli about this record, the blasphemous German cover art etc., the concept of a “virgin killer”

Point Blank – Point Blank: Rusty, John and Philip talk about being Bill Ham’s second banana ZZ Top

Angel – Helluva Band: one of the greatest albums of all time; amazing stories about the business muscle behind the signing of the band. Frank and Mickie dish the goods.

Rex – Rex: OK, Rex is one of the most entertaining guys I’ve ever talked to. His stories about the mob and singing on the lunch room tables… funniest thing I’ve heard in years. A lot of Leber and Krebs in here too.

Moxy – II: Buddy and Earl on struggling in Canada and then saying, screw it, and playing heavy next time.

Teaze – Teaze: heaviest Canadian album of the ‘70s – bloody ‘ell, you should know about it.

Lone Star – Lone Star: What happens when your whole band becomes scientologists? Plus you’ll love Kenny’s Peter Grant/Led Zeppelin story.

Starz – Starz: OK, Rex is the best, but his brother Michael Lee is pretty funny too. Cool Kiss/Sean Delaney crossover stuff here.

Ted Nugent – Free For All: OK, the best story in here, bar none. I talk to the whole band on one of the most cherished albums of my youth. I’m jaded, so it doesn’t matter, but I hope this 16,000 word expose doesn’t destroy your faith in the Tedinator.

Boston – Boston: I had the privilege of talking to Brad Delp at length about this album before his shocking suicide. Tom provides some great stuff as well. As tribute, Brad is on the cover of the book.

Foghat – Nightshift: bloody LOVE this album, and Roger and Craig do it justice.

Kansas – Leftoverture: talked to Steve, Kerry, Phil and Robbie here. Good overview of what Kansas was getting at, and Steve let’s us get a good look at his state of mind.”

Visit Martin’s site and buy them personally from the man, and I promise that he will sign it for you and write a unique personal message. His books are also a great gift for friends as well as owning them for yourself. Do not wait; go here to order your books now: http://www.martinpopoff.com/html/bookslist.html

And in also ran news, I was sent this very kind email from a former student of mine:

Hey there Mr. Sweetwood. I don't know if you really remember me or not, but this is C. (editorial note 1: uh, nope no real names for former students on this site) I was in a few of your classes two years ago and I now am at (editorial note 2: an Illinois College and I will not list it either for the privacy of my great kids). I was randomly searching the net and I stumbled upon "Sweetwood's Metal Moments". I thought, this can't be him. But it was! Anyways, kudos on the cool website and I hope all is well.

Always a pleasure to hear from the kids—I only have the best ones and C was a great student who will be a great success in life. I only share his email because he was probably privately shocked that his former History/Psychology/Sociology teacher was a closet “Metalhead.” You just never know.

Kamelot Fourth Legacy

“Settle for the journey…
Sail across the seven seas…
Carried by the spirit of the brave…
Join the New Allegiance now,
And pledge your sacred heart…
A history that no one can forsake”

--Youngblood of Kamelot, Fourth Legacy from the album Fourth Legacy.

Kamelot’s Fourth Legacy is a fantastic album that I have recently decided to replay and replay and replay again.

The true gems include the cryptic Fourth Legacy, Silent Goddess and Desert Reign/Nights of Arabia. These are the songs that set the stage for their further epics found on Karma, Epica, and Black Halo.

I also believe this was the album that set them up as the true kings of Power/Melodic/Speed Metal.

The obvious Middle Eastern Musical influences are here as well as the “epic” quality of such classics as Fourth Legacy and Alexandria.

Thematically, this is their album of searching and yearning, whether it be about a singular soul or the band searching for their identity. I think they found it.

Easily their most accessible of the “early” Kamelot albums, this is a proud step forward for the band and one that few have dared to take. The quality of the performance of Fourth Legacy and Nights of Arabia cannot be underscored.

Glad I took the time to rediscover this one.

Kamelot’s Fourth Legacy:
New Allegiance
The Fourth Legacy
Silent Goddess
Desert Reign
Nights Of Arabia >mp3
The Shadow Of Uther
A Sailorman's Hymn
Alexandria
The Inquisitor
Glory
Until Kingdom Come
Lunar Sanctum

Sonata Arctica's Debut: Ecliptica: A Lesson For All Other Power Metal Bands

"What the hell am I waiting here for,
Expecting you to come and give away your life…

Just for a moment of my time,
Have a hole where I should have a heart,
I'm made of wood,
I'm falling apart,
I would give a kingdom for one more day."

Tony Kakko of Sonata Arctica from the song "Kingdom For a Heart" from the album Ecliptica, 1999.

The debut of Sonata Arctica’s first album, Ecliptica, is a lesson for every Power Metal performer.

A smashing package with a handful of “singles” that are catchy and fast. The lyrics are entertaining to a degree, but the playing is fast, furious, and articulate. I fully understand how “articulate” sounds, but these guys are technically masters of their instruments.

Blank File opens the album with the traditional Arctica high vocals and quick paced guitars.

My Land slows it down a bit to capture the heavy metal bass riffs and thundering drums with the guitars filling the air with their cutting jabs.

The next four songs capture the essence of the band and have become concert standards.

8th Commandment, the first “hit” is a song of angst that ties the band together perfectly. The bold vocals, the dicey guitar solos that soar, the keyboard solos that add a touch of flair against the background of the steady rhythm section of drums and bass are the components of a strong song. The song is about the angst of having a partner that lies and the revenge that will ensue. The opening riff sets the standard for all Power Metal that remains today.

Replica (the second hit) slows it down but the lyrics of mankind’s angst reign on this quasi-ballad.

Kingdom For a Heart (the third hit) is, in my most humbled opinion, is the best song on the album. So catchy, so reminiscent of the past; and yet so fresh. The lyrics, the changing tempos, and the music blend so perfectly in this one song.

Full Moon (the fourth hit) is another amazing moment that calls back to the realm of folklore as it is a song about a man turning into a wolf—the wolf being a later signature image of the band.

Letter To Dana is one of the weaker moments of the album. With the opening flute, it almost sounds Jethro Tull-like.

Unopened (the fifth hit) stands as one of the greatest songs in the Power Metal genre. Honestly, it is amazing that this band has so many signature tunes on one album. This one is so catchy it is unreal. The only knock is perhaps for the overuse of “tickling” keyboards. You would understand that last line if you heard the bridge of the song. It is simply about unopened letters and unrequited love.

Picturing the Past and Destruction Preventer are standard fill-in material; but no less fascinating for a band of such amazing talent.

This is an excellent debut album by a band of such promise as Sonata Arctica—and they have never failed to deliver.