Anyway, a few days later, the people who own the castle came to see if we were OK, and we said, вЂWeвЂ™ve seen a few strange things happening hereвЂ™, and we told them. 'And there was no way out or anything вЂ“ no other door. This figure turned left into this room, which was the armoury room, where they had all the weapons. вЂњWe were walking along the hallway, and saw this figure coming towards us. вЂњI recall walking from the dungeons one day, I think with Geezer, Bill, or somebody,вЂќ Tony reveals.

odd occurrences outside of the bandвЂ™s circle that happened during the recording. We didnвЂ™t have all the problems we had with some of the others.вЂќДЄnd yet, there were a fewвЂ¦. вЂњEverything seemed to go all right on that album, I think. вЂњWe had done what we always do: we go to a studio, lock ourselves in, and record the album,вЂќ he states. If MaloneвЂ™s name sounds familiar to astute readers, itвЂ™s with good reason вЂ“ he would go on to produce Iron MaidenвЂ™s classic self-titled debut, in 1980 (allegedly, he was hired by Steve Harris and company due to his association with Sabbath, and in particular, this recording).ДЄlthough the band would begin to fracture soon afterwards due to drug abuse and burnout, Tony recalls that they were all getting along quite well on both a musical and personal level around the time of the recording of the title track from Sabbath Bloody Sabbath. The second side kicks off with the incredibly titled Killing Yourself To Live, which leads to the spooky synth slither of Who Are You? and the straight-ahead headbanger Looking For Today, before wrapping things up with an epic, Spiral Architect, which contains input by a conductor and arranger, a chap named Will Malone. They said, 'Oh God, that's the castle ghost Tony IommiД¬losing out the first side is another grinder that Metallica would later cover (on their 1998 covers compilation, Garage Inc.), Sabbra Cadabra, which also features none other than YesвЂ™s Rick Wakeman tinkering away on the piano and Minimoog. After the album-opening title track, one of IommiвЂ™s most underrated guitar riffs is showcased on the mid-paced behemoth, A National Acrobat, before an instrumental ballad, Fluff, serves as a momentary palate cleanser. While the title track remains the best-known off the album, there is no filler contained within the rest of the recordвЂ™s eight tracks. Musically, the song is comparable to past Sabbath classics, with its mammoth Iommi riff, and includes a musical trademark long associated with the band вЂ“ merging a heavy section ( вЂYouвЂ™ve seen life through distorted lies/You know you had to learnвЂ™) withДЄ lighter one ( вЂNobody will ever let you know/When you ask the reasons whyвЂ™) вЂ“ to create light-and-shade contrast.ДЄnd, harking back to such past compositions as Black Sabbath and Children Of The Grave, the song concludes with a long, instrumental jam section. It was a backs-to-the-wall rant at everyone.вЂќ вЂBog blast all of youвЂ™ was directed at the critics, the record business in general, the lawyers, the accountants, management, and everyone who was trying to cash in on us. In the same Black Box essay, he explains: вЂњThe lyrics to Sabbath Bloody Sabbath were about the Sabbath experience, the ups and downs, the good times and the bad times, the rip- offs, the business side of it all. It meant the band had a present вЂ“ and a future вЂ“ again.вЂќДЄs with the majority of SabbathвЂ™s early material, Butler was the songвЂ™s lyricist. It was the end of our musical drought, the beginning of our new direction, an affirmation of life. вЂњWhen Tony came up with the riff to Sabbath Bloody Sabbath, it was almost like seeing your first child being born. In the Brian Ives-penned essay A Hard Road 1973-1978, from SabbathвЂ™s 2004 Black Box multi-disc set, bassist Geezer Butler recalls how he and the band felt when Iommi presented the Sabbath Bloody Sabbath riff to them: And then that was it вЂ“ we came up with Sabbath Bloody Sabbath, and the rest came fairly shortly afterwards. What we did was set up the equipment in the dungeons of the castle to try and get some vibe going. вЂњWe rented an old castle in the Forest Of Dean ,вЂќ says Tony. But rather than rent an ordinary house to write and record, they had something else in mind. Instead of jumping right back into the songwriting, the band вЂ“ which, in addition to Iommi, still featured singer Ozzy Osbourne, bassist Geezer Butler, and drummer Bill Ward at that point вЂ“ took a little time off to recharge their batteries before getting back to work.

So we cancelled the whole thing, came back to England.вЂќ 'I really panicked: вЂOh my God, I canвЂ™t seem to think of anything that we like!вЂ™ I could play stuff, but it just wasnвЂ™t sinking in I didnвЂ™t like it. We had the studio booked, same everything booked.

'We went back to the house again, to do Sabbath Bloody Sabbath, and I got writerвЂ™s block. That song meant we had a future again Geezer Butler

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