Because none of us were brilliant musicians but as a band it worked. I think we brought out the best in each other. “Geezer would come up with a melodic part and he was the ideal bass player for us. Having the bass down here and just hitting one note. I got a bit annoyed, certainly through the 80s period, that it became more about the posse of bands coming out. Those kind of players don’t exist so much. I never had any doubt at all that Geezer would play the right thing. very important, because he would follow me and know what I was going to play. None of us were brilliant musicians but as a band it worked. Everyone said, ‘You’re heavy metal.’ ‘Okay, we’re heavy metal, call us what you want.’ It was always heavy rock to me.” “I never ever classed us as heavy metal in the early days. And from that it went into what we are playing now. We wanted this more raw, basic sound, so I got into playing blues and jazz. Bill and myself, when we got together we were playing Shadows songs in the early band we were in, with Cliff Richard stuff and rock ’n’ roll. “So I really tried to get that and I did to a point. I really liked what they were doing and they had a nice guitar sound for what they did. There was rock ’n’ roll but I liked the idea of an instrumental band and they had a real sort of demonic sound in some ways - Frightened City and stuff like that had an eerie feeling to it. “The Shadows were the only band that really appealed to me. We might have Marvin and the Shads to thank for the evolution of heavy music!īill and myself, when we got together we were playing Shadows songs in the early band we were in Not the new ones - I wish I’d had those then.” Never say die
#Black sabbath changes acoustic chords how to#
Why were you calling someone else about how to get my sound?’ In the end I used my own amp that I designed.
He even phoned this bloke up who he said knew how to get my sound. “So we had this little thing about what we should sound like. I said to Rick, ‘Just because they’re vintage amps, it doesn’t mean they sound good.’ So I got in there and said, ‘I don’t need these.’ But he said Rick’s ordered them, so at least give them a try. “He said, ‘Rick ordered them.’ ‘Why?’ All these old vintage Marshalls and about three Laney Klipp amps, which I had never used but he assumed I had.
#Black sabbath changes acoustic chords full#
“With our last album Rick Rubin wanted it to sound like the early days and he said, ‘Can you get any of your original amps?’ It was 50 years ago - where are we going to store amps for 50 years? We arrive in the studio and they’ve got a rack full of amps in there and I said to the engineer, ‘What’s all this?’ Now you just have to press a couple of buttons.
The thing with analogue was if you wanted to cut a bit out you’d have to splice the tape and then put bits in. And they’ve tried to do it with the digital stuff and even now they can do it in analogue and convert it to digital. The right tone is about more than just old gear I didn’t want all these graphic here and there. For this one it was different, it was straight on like it used to be.
The pedalboard had to be different to drive those amps because I drove two different amps at the same time. Pete Cornish built me a new pedalboard to work with these amps because the last system I had was another Iommi version of an amp. They put a lot of effort into it to build them how I wanted. So they had to be shown how to build each part. They had a group of people to build these amps but they’d never seen, they were too young. “I didn’t realise it was going to be as involved as it was. Laney put a lot of effort into it to build the amps how I wanted. They thought about it but they had only made a limited amount because they were expensive. I went to Laney and asked them if they would build a better (more reliable) version of the original amps I had years ago in the early days. “I had a totally different rig altogether for the last tour. How Iommi went back to his roots for his final tour rig
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