Running head: LUCKY NUMBER 13

Lucky Number 13 Alexander Van Dyke Salt Lake Community College ENG 2010-002

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In recent times, there seems to be an increasing trend of retired musicians getting the idea that they still have the creative juices to record new material after an extended hiatus. More often than not, these artists meet with disaster when releasing new albums. Groups like The Who, Van Halen, Billy Idol, and Guns N Roses unmistakably fall into this category. In 1968, guitarist Tony Iommi, bassist Geezer Butler, drummer Bill Ward, and vocalist John Ozzy Osbourne formed Black Sabbath, which was preliminarily a jazz band. Over the following decade they fused jazz, blues, and hard rock together. Ultimately, this spawned the genre of heavy metal. By 1978, substance abuse and other internal issues caused the group to dismiss Osbourne. Many Sabbath fans, including myself, believe that Black Sabbath ceased to exist after his expulsion. As Ozzy embarked on his solo career, Black Sabbaths albums only seemed to get worse as time passed. The group announced the reunion of the original lineup to record a new album in the fall of 2011, and on June 13th of this year they released an album of original material for the first time in decades. After listening to Black Sabbaths 13, it is evident that it is a worthwhile purchase for any Ozzy era Black Sabbath fanatic; this is due to a lack of departure in musical style, a vast improvement in recording quality, and overall production value. What should comfort Black Sabbath fans most about this album is a prominent lack of departure in musical style in comparison to previous recordings. Black Sabbath is renowned for their foreboding, heavy, yet jazz-like style. The nature of their lyrics revolves around the occult, spirituality, impending doom, and a disdain for the status quo. From the crushing drums in the first songs introduction to the sounds of a church bell ringing during a rainstorm as the album concludes, the album does not diverge from the established path. The only slight deviation occurred as a result of the original drummer, Bill Ward, declining to participate in recording after

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being on board with the idea earlier in its production. However, the recruitment of Rage Against the Machine drummer Brad Wilk to fill in as a session musician has not affected the quality or style of the drumming. Skeptics need only listen to the seventh track, Damaged Soul, in order to be hushed. The fusion of jazz beats into the rhythm section makes it undeniably the best tune on the album. While a stylistically historic band should not abruptly transform their musical approach, other forms of change can naturally occur as time passes. The most noticeable difference present in this album is its exceptional recording quality. In the 35 years that followed 1978s Never Say Die! (their latest album before 13), both amplification and recording technology has advanced significantly. Analog technology has been replaced by digital alternatives which are less expensive and achieve a crisper sound. This is most notable in the fact that you can actually hear the bass guitar while other instruments are being played. Had the bass guitar at 6:27 of the single God is Dead not been audible, the songs dynamic would have been tarnished severely. More nostalgic fans may lament at the fact that this album does not sound as raw due to the fact that it was not recorded with (now vintage) Orange brand tube-driven amplifiers. This could likewise be appreciated by audiophiles who have always wanted to hear the range of Black Sabbaths sound. Updated technology offers these listeners the opportunity to hear the artists definitive vision of their sound. Although sound quality is vital in creating an album, it is meaningless without production value. Another notable aspect of this album which is gratifying to Black Sabbath fans is its impressive production quality. The person Black Sabbath hired to produce this album was Rick Rubin. He has produced albums for some of the most prominent artists in recent history. These artists include AC/DC, Metallica, Johnny Cash, Red Hot Chili Peppers, and even Kanye West. Past Black Sabbath albums were peppered with unhurried, eccentric instrumentals placed

LUCKY NUMBER 13 between tracks which were more upbeat and catchy. They often detracted from the flow of the album and left the listener wanting for the next song to begin. Fortunately, it seems that Rubin

agreed and advised the group not to carry on adding these pieces to the track list. Older listeners, however, may not appreciate these songs being missing. The early Black Sabbath albums were made at a time when records were meant to be listened to from front to back with the only interruption coming from flipping the vinyl record over. More nostalgic fans may prefer to hear the distinct transitions that interludes such as Sabbath Bloody Sabbaths Fluff or Master of Realitys Orchid provide. What is also impressive is the method in which Rubin handled the recording schedule. Between guitarist Tony Iommis ongoing battle with lymphoma and Ozzy Osbournes latest substance abuse relapse, it is safe to assume that keeping the recording on schedule was an arduous feat. By scheduling recording sessions between chemotherapy treatments and apparently keeping Osbourne on task, Rubin was able to preserve the recording timeline. If one enjoys listening to any of 13s predecessors, it would be foolish of them to hesitate in purchasing this groups latest masterpiece. Black Sabbath fans need not worry that this album would fail to meet any of their grand expectations. Its trademark style, impressive sound quality, and impeccable production makes this album indubitably worth their fifteen dollars. In no way does 13 damage the groups formidable legacy. This album helps music aficionados forget the insulting failures which other retirees have released in the past.

LUCKY NUMBER 13 Works Cited Black Sabbath (2013). 13 [Audio CD]. Malibu, California: Republic Records (2012).