For months, I’ve been kicking around the idea of starting a periodic feature highlighting the best and most influential albums in heavy rock, stoner rock, doom, whatever — a Canon of Heavy. All along I’ve known that, though I didn’t want it to be like a top-10 or to go by number or date or any other particular order, the first inductee into said canon would have to be Black Sabbath‘s 1971 masterpiece, Master of Reality. The rest of the time since has been trying to figure out what the hell to say about it.
Because while endless words have been written in its praise and its singular influence has bled into enough bands and records to make Helen of Troy’s thousand ships look paltry, the basic fact of the matter is that Master of Reality was and is perfect, and that’s all the explanation it really needs.
No doubt I could stop right there and an entire section of the population who might see this post could only nod in agreement — “Yup.” — but it would be half-assed, and frankly, it’ll be more fun this way. Here are just a few of my reasons why it had to be Geezer Butler , Tony Iommi, Bill Ward and Ozzy Osbourne, and why Master of Reality had to be the first Canon of Heavy inclusion.
Is it the Best Album Ever?
Yeah, pretty much. Opinions vary and we can go back and forth forever about this or that record, what’s better about what, but when it comes down to it, Master of Reality really is flawless. From the coughs that open “Sweet Leaf” to the last chord that closes “Into the Void,” there isn’t a moment misspent. Sure, you have interludes “Embryo” and “Orchid” and the whispered section after “Children of the Grave,” but even these are perfectly suited to their purpose, no longer than they need to be to bridge the gap to and from the song before into the next track while adding to the atmosphere.
And each of its main tracks was a defining moment. “Sweet Leaf,” “After Forever,” “Children of the Grave,” “Lord of this World,” “Solitude” and “Into the Void” — you could look at any one of those songs and mark out its influence, whether it’s “Sweet Leaf” codifying what decades later would in no small part define stoner rock or “After Forever” offering the earliest template for Christian metal — but more importantly to the idea of Master of Reality as a whole is how well they work with each other, driving you forward into the culmination of “Into the Void,” which comes as the final answer to successive exclamations of “this is the heaviest thing ever,” “no, this is the heaviest thing ever!” No matter how many times I hear Master of Reality, it never loses its power. One does not listen to it so much as one is brought into its countenance.
It was The Birth of The Heavy — and though it’s sold over two million copies since, it remains an underground treasure. You listen to Master of Reality and it’s not like putting on anything else, any other big release. The album connects on an individual level, and not just in a handshake-from-a-famous-person kind of way. Its thickened, sludgy lumber is the stuff of legend, but each legend is a personal, human story as well.
Third Time Around
We all know the cliche about thirds, so I’ll spare you that, but arriving in July 1971, Master of Reality came not even a full year after Black Sabbath‘s landmark second album, Paranoid and only 17 months after their self-titled debut, which is widely regarded as the moment that hard rock became heavy metal. Nonetheless, the growth the band underwent in that time — they toured as well, astoundingly — is stunning, and where Black Sabbath was formative and raw and Paranoid was chaotic and bitter, the third album refined all of Sabbath‘s ideas to that point into a drug-fueled lurch that they’d never again match. In their rush to get the next LP out and maintain their chart position, they wrote the single best collection of songs heavy music has ever known.
They were, by their own admission, drugged out of their minds at the time. And yet, their songwriting would never be in this space again. Black Sabbath and Paranoid are both truly great albums, and I don’t doubt that in time they’ll be included here as well, but the reason it’s Master of Reality first is because Master of Reality marks that crucial moment where “heavy” became more than just a mindset and truly manifested itself sonically in Iommi‘s guitar and Butler‘s bass, where the riffs came to ultimate prominence, and where the band hit the intersection of knowing what kind of music they wanted to be making without over-thinking their processes. The bassline of “After Forever,” the unmitigated stomp of “Lord of this World,” the percussive thrust of “Children of the Grave” — how much time did they actually spend on these songs? Hours?
With Master of Reality, Sabbath found the balance sound-wise they’d never be able to find in a real life filled with narcotic excess and personal drama. Further, it’s the most efficient album they ever made. By the time they’d record Vol. 4 in May 1972, that moment had simply passed, and while they were by no means done and there was still plenty more for them to say in their original incarnation, Master of Reality was as crucial as they ever got.
There’s ongoing debate about whether it’s even Osbourne singing or Ward, but what’s special about the penultimate cut on the album is that it’s no less heavy than anything around it for its lack of assault. Sure, “Black Sabbath” from the same album was a creeper and “Planet Caravan” is a better execution of psychedelia, but “Solitude” is among the purest executions of doom ever recorded. You’re not journeying through space so much as through the depths of your own wretchedness, and long gone are tales of mysterious demons at the foot of your bed. All that’s left is yourself and the miserable bastard you’ve become:
My name it means nothing, my fortune means less
My future is shrouded in dark wilderness
Sunshine is far away, clouds linger on
Everything I possessed, now they are gone
Even “Paranoid,” which one could argue covered some of the same depressive lyrical ground, didn’t dare unmask itself to such an extent, and when they tried again to cover similar ground on “Changes” from Vol. 4, the result was a laughable farce of emotionality. The minimalist blues of “Solitude” is unmatched in the Sabbath catalog, which even elsewhere offers righteous judgment (“Lord of this World”) and brazen defiance (“Children of the Grave”), but never again the same kind of peculiar ambience and first-person exploration of damaged psyche. It is beautiful and doomed in like measure, and the lead-in it provides the introductory and signature riff of “Into the Void” gives both songs a context emblematic of the strength of the album as a whole work.
Goes without saying, again. Go grab a CD or record off your shelf of any even moderately heavy variety, and there’s a good chance that whether or not the band knows it, there’s some aspect of Master of Reality to be found therein. The album is elemental in the actual, scientific sense — providing the pieces through which compounds can be made. A lot of Black Sabbath from this period is like that. With Master of Reality though, this was the record the first two were driving toward and the record that the remaining five released by the original lineup were coming from.
In terms of a Canon of Heavy, Blue Cheer and Hendrix were heavy before it, and others like Budgie, Atomic Rooster, Deep Purple and Led Zeppelin ran concurrent, but none could stand in line with its crushing weight or sheer sonic mass. And none have since, Sabbath included. One need only name a band from either the heavy rock, doom or sludge genres to find someone who’s tried, pivotal or obscure, but Master of Reality stands unto itself, carved in stone. Time has not diminished it, and I think if time tried, the record would simply kick its ass, which is the same treatment it has dealt out to everything else in its path for the last 41 years.
Like I said: perfect.Tags: Birmingham, Black Sabbath, Black Sabbath Master of Reality, Gods, UK