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V4 (Rm) Original recording remastered

4.6 out of 5 stars 119 customer reviews

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Product Details

  • Audio CD (Feb. 1 2010)
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: Sanctuary UK
  • Other Editions: Audio CD  |  Audio Cassette  |  LP Record
  • Average Customer Review: 4.6 out of 5 stars 119 customer reviews
  • Amazon Bestsellers Rank: #47,560 in Music (See Top 100 in Music)
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Product Description

Product Description

Digitally remastered edition of this 1972 album from the veteran Heavy Metal maniacs. By the time Black Sabbath began work on what was to be their fourth album in `72, they were very much in the ascendant. Musically, the band weren't prepared to superglue themselves back into a comfort zone and just do what was expected of them. They wanted to go beyond the darkness and gloom which seemed to surround so much of their music until that point. Here was an opportunity to open Sabbath out to unexplored worlds, to be the band who led, rather than one of the many who merely followed. And they succeeded, as there's an elegance about Volume 4 which underscores the way in which the band had matured and developed, both as songwriters and musicians. This remastered and sumptuous gatefold digipak edition of the album boasts comprehensive story of the album sleeve-notes by renowned Rock critic Malcolm Dome and a plethora of rare and previously unseen photographs and items of memorabilia. Sanctuary. 2009.


Vol 4 both consolidated Black Sabbath's massive transatlantic success and marked the beginning of the end. Thematically, the band continued to move away from cod-Satanism towards an apocalyptic Science Fiction based on the abandonment of a world turned irrevocably bad. Relationships were now explored, in "St. Vitus Dance" and the maudlin, piano-led "Changes", and drugs, which the band were now consuming with dangerous enthusiasm, remained a concern, "Snowblind" being a celebration to match 1971's "Sweet Leaf". But the increasingly complex and varied music--the sweet instrumental "Laguna Sunrise", the pure ambient percussion of "FX", and additional keyboards--caused vicious arguments that would eventually culminate in break-up. Hard to believe, as much of it was as crushingly heavy as ever, an obvious precursor of both industrial metal and grunge. In fact, Ministry's Al Jourgensen would later cover "Supernaut", and Seattle's Screaming Trees would cover "Tomorrow's Dream". --Dominic Wills --This text refers to an out of print or unavailable edition of this title.

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Format: Audio CD
On the aptly titled fourth album from the Heavy Metal Gods, they pretty much stick to the same doomy, sludgy, Down-esque sound that got them famous while experimenting with some new sounds. The album opens with the sonic blast of Wheels Of Confusion, which has been known to damage ears while played at a high volume (Only kiddin'). Then comes the heavy smasher Tomorrow's Dream, which is one of the band's signature songs. Then comes what is probably the worst song on the album: Changes. Don't get me wrong, it's OK, but it gets SO boring, just hearing the piano tinkle away while Ozzy keeps moaning. Calls for some high-velocity guitar. Then comes the bizzare 'song' FX, which is simply composed of little squeks and bangs. The first half closes with the spectacular Supernaut, an epic about space travel. The next song, Snowblind is probably the most famous song off this album. Great heaviness. Cornucopia, which comes next, is one of the album's best. It includes heavy music, great lyrics, and everything that makes a Sabbath song a Sabbath song. Laguna Sunrise is a Santana-sounding instrumental that shows Sabbath's lighter yet heavier sound. St Vitus' Dance is another hard-whacker, one of the album's heaviest. This song inspired the name of a later doom band, Saint Vitus. The album closes with the mighty and spectacular Under The Sun, which closes a classic album in full headbanger spirit. This is probably one of the most underrated albums from this band, because it is usually stands in the shadow of Master Of Reality and Paranoid, which are actually lesser albums. This is one of the most heavy albums of the 1970's. If ya don't own this album, you are not worthy of the title 'metalhead'.
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Format: Audio CD
After primarily concentrating on heavy metal with killer riffs on their first three albums, Volume 4 showed Black Sabbath adding new elements to their sound. Many times when bands do this they're usually unsuccessful and go back to their roots on their next album. But the diversity works well here and surprisingly it's the heavier stuff that doesn't work nearly as well on Volume 4.
Not that the heavier stuff isn't good. The tracks "Supernaut" and "Snowblind" are certainly two of the better heavy songs that they've recorded with the former featuring a killer riff from Tony Iommi and the latter describing the effects of cocaine. The epics "Wheels Of Confusion" and "Under The Sun" are both good tracks, but not as definitive as other long tracks they've recorded like "Iron Man" and "Children Of The Grave." However, this album is best known for the previously unchartered waters found in the piano ballad "Changes" and the strings and acoustic guitars of "Laguna Sunrise." While these songs are truly a change of pace for the band, both work surprisingly well, especially "Changes" which has albeit on a smaller scale become to the band what "Beth" has become to Kiss, one of their most popular tracks despite sounding totally different from the rest of their catalog. The tracks "Tomorrow's Dream", "Cornucopia", and "St Vitus' Dance" are also decent, if not among their best work. A strong album, albeit not on the same level as Paranoid and Master Of Reality.
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Format: Audio CD
Vol. 4 (1972.) Black Sabbath's fourth album.
By the time they reached 1972, Black Sabbath had already released three excellent albums - each one more excellent than the last (in my opinion anyway.) But, of course, the band was beginning to realize that they needed to broaden their horizons. And thus, Black Sabbath's experimental era began. Ozzy Osbourne, Tony Iommi, Geezer Butler, and Bill Ward all knew that their fans loved the sound they had used so far, but they knew they couldn't just keep doing the same things over and over again. The first album to emerge from their experimental era was their fourth studio album - Vol. 4. Read on for my review.
This is probably Black Sabbath's most uneven album with Ozzy at the helm, but it's a solid album nonetheless. Rockers and ballads alike can be found on this album. They kick things off with Wheels Of Confusion/The Straightener, an excellent hard rocking tune. This song will grab your attention and hold it - which is exactly what an album's opening track should do. Perhaps one of the best things about this album is that it gives us a chance to see Tony Iommi doing some acoustic guitar work - something we're not used to seeing him do. Tomorrow's Dream and Laguna Sunrise are softer, more melodic tunes that beautifully demonstrate that there is more to Mr. Iommi than a hard rocker. And, of course, we get Sabbath's classic ballad, Changes. This is a piano-heavy track that features some really cheesy and simplistic lyrics, but that doesn't mean it's a good song. And, of course, what would a Sabbath album be without some rockers? Snowblind, my favorite track on the album, is a straight-up classic metal-style rocker that will not fail to please if you like classic hard rock.
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Format: Audio CD
Black Sabbath. A bunch of un-educated blokes from an industrial wasteland who played simple, mindless music. Really now? You could have fooled me. I'm going to make another Black Sabbath/ Led Zeppelin comparison (Yes, I apoligize)But nor do I have any desire to put any of these bands down. If anything, it truly benifts both; as it lends a sense of understanding to both of these unique,highly influential, musically gifted bands: In their approach, and there aim. Listening to both bands, Black Sabbath, if anything, tends to be the more jazz-oriented band of the two. Whereas Led Zeppelin is truly more into the blues. Musically, timing and precision meant a great deal to Zeppelin. Black Sabbath on the other hand never really played "in time". If anything, they were more about the feel of things. And this most certainly determined the out come of a song. A greater comparison can be made ultimately when comparing both band's rythm sections. Sabbath's dummer Bill Ward was no John Bonham, in that he played on time (he didn't). Nor was his playing nowhere near as precise. It wasn't. Ward's playing, tended to be more over the map, more jazzy, in that he would time and time on add numerous, unique fills, that at times, wouldn't be needed. He was a very unothodox drummer. Just as Gezzer Butler was somewhat of an unorthodox bass player, in that he really didn't play a bass like a bass, but like a rythm guitarist (which he was before he learned to play the bass) unlike Zeppelin's John Paul Jones, who was by all means your standard bass player. Nothing wrong with this, as Jones was a superb bass player (Led Zeppelin II was clearly his album, and shining moment) Diversity is another issue: Which band played more diverse material? The answer: Both Bands.Read more ›
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