┌───────────────────────────────────────────────────────────────────┐ │■ ■│ │ .-/ .-. │ │ _.-~ / ___ | ~-._ │ │ \:/ -~| / __/| .\:/ │ │ / || (:/:| \ │ │ / /\/| |:\___\| |\ \ │ │ / /:::|.::/:::/:.|:\ \ │ │ / /:::/ \\/:::/::/:::\ \ │ │ / .::\ \-~~~~-/\/:.. \ │ │ /..:::::\ /:::::..\ │ │ /::::::::- -::::::::\ │ │ \:::::-~ ~-:::::/ │ │ \:-~ ~-:/ │ │ METAL CLASSICS ARCHIVE │ │ │ │ │ │ │ │ P R E S E N T S │ │ │ │ │ │ + Black Sabbath - The Eternal Idol (Deluxe Ed.) + │ │ │ │ │ │╔═════════════════════╗ │ │║ Release Information ║ │ │╠═════════════════════╩══════════════════════════════════════════╗ │ │║ ║ │ │║ Release Date.Jan-01-2014 Encoder......L3.97 -V2 --vbr-new ║ │ │║ Genre........Heavy Metal Graber.......EAC ║ │ │║ Year.........2010 Khz/Bitrate..44,1/ Br ║ │ │║ ║ │ │║ Ripper.......anthem Songs........cd1: 11 cd2: 8 ║ │ │║ Covers.......Yes Url... www.blacksabbath.com ║ │ │║ ║ │ │╚════════════════════════════════════════════════════════════════╝ │ │ │ │ │ │ │ │╔═════════════════════╗ │ │║ Release Notes ║ │ │╠═════════════════════╩══════════════════════════════════════════╗ │ │║ ║ │ │║ Artist : Black Sabbath Rating : You Decide! ║ │ │║ Album : The Eternal Idol (Deluxe Ed.)Label : Universal ║ │ │║ ║ │ │║ ║ │ │╠════════════════════════════════════════════════════════════════╣ │ │║ ║ │ │║ Description : ║ │ │║ ║ │ │║ Warner Bros. Records released it on 8/11/87 for ║ │ │║ the American market. ║ │ │║ ║ │ │║ The most problematic album recording in the ║ │ │║ history of Black Sabbath. Production started in ║ │ │║ Montserrat, with Jeff Glixman producing, and a ║ │ │║ line-up of Iommi, Gillen, Nichols, Singer and ║ │ │║ Spitz, and ended in London, with Chris ║ │ │║ Tsangarides producing, and a line-up of Iommi, ║ │ │║ Nichols, Martin and Daisley guesting on bass. ║ │ │║ Band manager Patrick Meehan was also fired ║ │ │║ during recording. ║ │ │║ ║ │ │║ A video was shot for "The Shining", with a ║ │ │║ stand-in bass player and Terry Chimes (of punk ║ │ │║ band The Clash) on drums. ║ │ │║ ║ │ │║ "Nightmare" was originally intended for ║ │ │║ inclusion in the soundtrack of "Nightmare on Elm ║ │ │║ Street" (hence the title). ║ │ │║ ║ │ │║ The cover depicts real people covered in bronze ║ │ │║ paint, to recreate an Auguste Rodin sculpture ║ │ │║ titled "Eternal". ║ │ │║ ║ │ │║ An alternate title to the album was "Blood God". ║ │ │║ ║ │ │║ "The Eternal Idol" was originally recorded with ║ │ │║ Ray Gillen but was redone with Tony Martin after ║ │ │║ Ray left the group. The only surviving part of ║ │ │║ Ray's voice on the released Eternal Idol album ║ │ │║ is some laughing on the track "Nightmare" ║ │ │║ ║ │ │║ Although Dave Spitz receives credit in the liner ║ │ │║ notes for playing bass on the album, the bass ║ │ │║ sections were actually played by Bob Daisley. ║ │ │║ ║ │ │║ Reissued on October 25th, 2010 in the UK as a ║ │ │║ Deluxe Expanded Edition with 2 bonus tracks: ║ │ │║ 10. Black Moon (3:39) ║ │ │║ 11. Some Kind of Woman (3:16) ║ │ │║ and a second CD, featuring the Ray Gillen ║ │ │║ sessions for the same album: ║ │ │║ 1. Glory Ride (5:21) ║ │ │║ 2. Born to Lose (3:41) ║ │ │║ 3. Lost Forever (4:17) ║ │ │║ 4. Eternal Idol (6:48) ║ │ │║ 5. The Shining (6:30) ║ │ │║ 6. Hard Life to Love (5:20) ║ │ │║ 7. Nightmare (4:49) ║ │ │║ 8. Ancient Warrior (4:54) ║ │ │║ ║ │ │║ ║ │ │║ ------------------------------------------------ ║ │ │║ ║ │ │║ I'm something of a latecomer to Black Sabbath. ║ │ │║ To be sure, I 'grew up' on heavy metal, but ║ │ │║ Sabbath were never one of the bands that I took ║ │ │║ a liking to; my tastes inclined more towards ║ │ │║ Uriah Heep and Blue ╓yster Cult. This isn't to ║ │ │║ say that I rejected them, but rather I felt that ║ │ │║ perhaps early Sabbath were too much akin to Led ║ │ │║ Zeppelin - a band for which I have very little ║ │ │║ love - for my liking. ║ │ │║ ║ │ │║ My thinking in this area has changed in recent ║ │ │║ years, owing mostly to my exposure to the later ║ │ │║ entries in the Sabbath category. As a rule I ║ │ │║ prefer those records which tend towards the more ║ │ │║ experimental end of the metal spectrum from this ║ │ │║ band; for example, I prefer Sabbath Bloody ║ │ │║ Sabbath and Sabotage to their 'classic ║ │ │║ quadrilogy' of the eponymous debut, Paranoid, ║ │ │║ Master of Reality and Volume 4. Again, this ║ │ │║ isn't to say that I dislike those early entries, ║ │ │║ but rather that there is little in the music I ║ │ │║ can readily identify with. ║ │ │║ ║ │ │║ Not so with this album. As I mentioned above, I ║ │ │║ wasn't reared on Sabbath, and so I don't have a ║ │ │║ particular dog in the fight between various ║ │ │║ line-ups and manifestations of this band. For ║ │ │║ what it's worth, however, I prefer Dio to Ozzy ║ │ │║ and Gillian, and Tony Martin to all of them, as ║ │ │║ heretical as that may be. And it is this album ║ │ │║ with Martin which marks one of the high-water ║ │ │║ points of Sabbath's career, a plateau mached ║ │ │║ only by the aforementioned progressive metal ║ │ │║ epics and the later Dehumanizer. ║ │ │║ ║ │ │║ ║ │ │║ Things kick off in a big way with the mystic ║ │ │║ opening riff of "The Shining", and at once it's ║ │ │║ apparent that Iommi is continuing to refine the ║ │ │║ melodic techniques he began on Seventh Star. ║ │ │║ Unlike that album, however, this record refuses ║ │ │║ to denigrate into pop-metal fare, and instead ║ │ │║ seems to synthesize the harmonic strains of the ║ │ │║ preceding record with the more standard doomish ║ │ │║ Sabbath material of years before. This is most ║ │ │║ apparent in the incredibly riffy second cut, ║ │ │║ "Ancient Warrior", which possesses the same ║ │ │║ tonal qualities as the material from Mob Rules ║ │ │║ but with a far superior production. The blues ║ │ │║ influence made famous in the band's early days ║ │ │║ returns on "Hard Life To Love", and it is with ║ │ │║ this track that Martin proves himself every bit ║ │ │║ a match for Dio, transitioning from melodic ║ │ │║ wails to a soulful croon with ease. "Glory Ride" ║ │ │║ features a powerful galloping bassline and more ║ │ │║ and evocative vocals by Martin, as well as a ║ │ │║ stomping mid-eighties break halfway through the ║ │ │║ song, but might be too 'happy' for the 'serious' ║ │ │║ metalhead. The following track, "Born To Lose", ║ │ │║ is probably the fastest on the record, but ║ │ │║ nothing ever seems to go beyond a comfortable ║ │ │║ and fairly atmospheric mid-pace. This track also ║ │ │║ features one of the best vocal lines ever ║ │ │║ written by this band, and includes some ║ │ │║ excellent bluesy riffage that hearkens back to ║ │ │║ the earlier years of the band. ║ │ │║ ║ │ │║ Lyrically, the band seem a bit more mature here ║ │ │║ than elsewhere, and this seems to be a trend ║ │ │║ that would continue throughout the Martin years ║ │ │║ until Forbidden. While there's still the typical ║ │ │║ quasi-Satanic lyrical themes, they're handled ║ │ │║ with a bit more panache here than in several of ║ │ │║ the previous releases, and Martin helps to carry ║ │ │║ them to a level which might otherwise not be ║ │ │║ achieved. The rest of the band is as on top of ║ │ │║ their game as ever, and Iommi seems to have ║ │ │║ gotten somewhat more comfortable in his role as ║ │ │║ de facto leader of the band. One slight issue I ║ │ │║ had with the record was the drumming; Eric ║ │ │║ Singer has never been great, and occasionally it ║ │ │║ seems that he cannot keep the pace with Iommi. ║ │ │║ ║ │ │║ The rest of the album follows suit, and, while ║ │ │║ there's not a great deal of diversity here, ║ │ │║ that's not really what one expects from Black ║ │ │║ Sabbath. While this isn't the best album by this ║ │ │║ line-up - that would be the following record, ║ │ │║ Headless Cross, one of the finest examples of ║ │ │║ melodic doom metal ever recorded - it's ║ │ │║ nevertheless one of the best ever laid down by ║ │ │║ this band, and, fanboy purism aside, is almost ║ │ │║ better than most of the material they recorded ║ │ │║ with Ozzy. It's unfortunate that this same ║ │ │║ line-up would go on to record the awful ║ │ │║ Forbidden, but that, as one says, is the way the ║ │ │║ Sabbath crumbled. Recommended, especially for ║ │ │║ fans of early power metal. ║ │ │║ ║ │ │║ Standout tracks: "The Shining", "Ancient ║ │ │║ Warrior", "Born To Lose", "Lost Forever" ║ │ │║ ║ │ │║ ║ │ │║ ║ │ │╚════════════════════════════════════════════════════════════════╝ │ │ │ │ │ │ │ │╔═════════════════════╗ │ │║ Release Tracklist ║ │ │╚═════════════════════╩══════════════════════════════════════════ │ │ │ │ - CD1 [ ] │ │ - [ ] │ │ 01 - The Shining [06:00] │ │ 02 - Ancient Warrior [05:34] │ │ 03 - Hard Life To Love [05:00] │ │ 04 - Glory Ride [04:50] │ │ 05 - Born To Lose [03:44] │ │ 06 - Nightmare [05:22] │ │ 07 - Scarlet Pimpernel [02:08] │ │ 08 - Lost Forever [04:06] │ │ 09 - Eternal Idol [06:37] │ │ 10 - Black Moon ((Single B-Side) (Bonus Track) [03:39] │ │ 11 - Some Kind Of Woman (Single B-Side) (Bonus [03:16] │ │ - [ ] │ │ - CD2 [ ] │ │ - [ ] │ │ 01 - Glory Ride (Ray Guillen Session) [05:21] │ │ 02 - Born To Lose (Ray Guillen Session) [03:41] │ │ 03 - Lost Forever (Ray Guillen Session) [04:18] │ │ 04 - Eternal Idol (Ray Guillen Session) [06:48] │ │ 05 - The Shining (Ray Guillen Session) [06:30] │ │ 06 - Hard Life To Love (Ray Guillen Session) [05:20] │ │ 07 - Nightmare (Ray Guillen Session) [04:49] │ │ 08 - Ancient Warrior (Ray Guillen Session) [04:54] │ │ │ │ Total Length : [91:57 minn │ │ │ │ │ │ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄ │ │ │ │ │ │ │ │ ╔═════════════════════╗ │ │ ║ Greetings To: ║ │ │ ╚═════════════════════╝ │ │ │ │ Too all people who contributes to make this │ │ archive of good music in a exceptional conditions │ │ │ │ │ │ │ │■ ■│ └───────────────────────────────────────────────────────────────────┘