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You took notice, to quote Bernard Stollman, "you never heard such sounds in your life" Nothing proceeds this, but then: Even my mom had a 45 single of Paranoid she bought back in 1970!

Eugene Ormandy/The Philadelphia Orchestra - The Columbia Legacy, disc 11.

Air Dance on Never Say Die ventures into jazzy territory. I know TE and NSD don’t get much love, but I still find a lot to like on both albums. I think that the first two albums packed as powerful a punch as any first two albums. They said “sit up, take notice and listen.”

Correction, think Clark Griswald said he doesn't care who is whistling "Dixie" out their asshole, not "Yankee Doodle Dandee"🤔

If Dave Holland comes to town, I'm going. Period.

WOW!!!

Yep. Warner Bro's jacked Black Sabbath, and they were 200k in debt by the time they recorded Sabbath Bloody Sabbath, so Black Sabbath named Sabotage to revenge WB after they jacked them. IMO right behind Master of Reality, Sabotage is my favorite record by them. The band kinda had a f*&k it attitude and put out their best record. Interesting how the quality dropped after that, their first real clinker, right after Sabotage in 1976: Never Say Die was a little better, but nothing like the first six records

Disc 2 - Roussel: Syms. Nos. 2 & 3

Charles Mingus: Mingus In Europe. Enja Records ENJA CD 3077 [Germany 1988] Personnel: Clifford Jordan (ts), Eric Dolphy (as, fl, b-cl), Jaki Byard (p), Charles Mingus (b), Dannie Richmond (dr) Recorded live in Germany at Wuppertal Townhall April 26, 1964

Apologies. I jumped in mid-thread. I suppose that we are guilty of painting with broad brushes of our own choosing. And while we agree as to the merit and substance of Tony's playing, and others don't, an undeniable fact is that yes, they were pioneers in creating the heavy metal genre. They found/created an audience and ultimately reaped the incredible riches that go with the "product" that they made (management and record labels actually stole most of their money for years). Having worked in retail, music is viewed as product. Give the people what they want. Iommi/Winter is an apple/orange comparison of sorts, but I was speaking to artists who tend to work within the 'simplistic" pentatonic scale. The vast majority of iconic classic rock solos are firmly rooted in the pentatonic scale (Free Bird!). I suppose my issue was what I read as a broad dismissal of guitarists who tend to rely on the pentatonic scale. I would say that they Tony and Johnny both have considerable chops- in their own different way. Then again, take BB King, perhaps the most economic soloist who famously "says more in one note than other guitarists say in a thousand." I wouldn't say that BB has "chops" in the way that the word is typically used, but what he did use he was a master at it. His five-note box blended major and minor pentatonic scales, but he often worked with a five-note framework. It's not the size of the scale- it's how you use it.😉

More Brahms: One of my desert-island discs.

Riccardo Muti - The Complete Warner Symphonic Recordings, disc 87. Works by Johann Strauss II and Eduard Strauss.

Rhoads is more like the electric guitar virtuosity I used to admire listening to the radio in the 80's. Yes it's licks and tricks but it's damn fooking impressive nonetheless.

Back to Ozzy, I am going to talk about Randy Rhodes. I believe that Ozzy got a windfall with Randy, that dude is/was one of the best things to happen to Ozzy, when he started his solo career. I don't know how anybody can argue that Randy Rhodes wasn't a guitar genius. When he died, ironically, not a rock 'n 'roll death, a plane crash, Ozzy was devastated, and he could never really recoup after he died. I credit Randy as much as Ozzy for Blizzard and Diary of a Madman's success (not the genuis lyrics Geezer penned for Black Sabbath) but the musicianship, wow! and Ozzy was on his game, and that has to be credited to Randy Rhodes. Randy gave him a new life, a breath of fresh air; that's when Ozzy became Ozzy.

@greggery peccary I agree, you seem to have replied in a way that has made it look like I said what another poster actually said and therefore misattributed @Stompin at the Savoy views to me. I see that they responded to your points anyway. I was professing support for Iommi's playing and skills.

Okay, agree to disagree. Kinda glad Randy Rhodes hasn't creeped into the conversation yet 😁

So, are you impressed by this? He says it's a "jazzy solo" but it's a memorized passage and you can go to a guitar store and hear people playing as well or better every day. Okay this is probably not leading to edification so I will shut up.

Saw him live once in the mid-70's with his quartet/quintet (forget which) and Esther Satterfield at one of the venues in Fairmount Park. Really good show from what I remember.

Tony Iommi unplugged:

Thanks for sharing, good article!