THE FANSITE FOR TONY IOMMI FANS CELEBRATING HIS BRILLIANT 50 YEARS OF DEDICATION AND SERVICE TO MUSIC
British Honour to Tony Iommi

1996 DEP Sessions with Glenn Hughes, 2004 Sanctuary Records

"It is a precious witness of a bluesy, melodic vein in Iommi’s creativity, which is rooted in his past – the another side of Tony Iommi." (Rosie "Iommifan" Piergiorgi)

 

 There can be few Iommi fans who have not heard of the Dep sessions but for those who are not entirely sure of what Dep means let's start by explaining that it's a recording studio in Nelson Street, Birmingham UK and one used by Tony Iommi.

As the date suggests, material for The 1996 DEP Sessions was originally recorded in 1996 and whilst it was not released, it escaped and circulated among fans as a much loved and sought after bootleg named Eighth Star. The original drum tracks were the work of ex-Judas Priest drummer Dave Holland, who several years later was convicted of attempted rape. Some time following this, Tony decided to officially release the album but he had all drum tracks re-recorded by Jimmy Copley (Manfred Mann) - not wanting the album to be associated with a sex offender.

That the album went from bootleg to official release is claimed to be the responsibility of Tony's “guitar tech” Mike Clement who gave him the idea of an official release and creating another gem in the Iommi discography.

The album opens with an aggressive guitar riff of “Gone” where Iommi’s heavy style enters into dialogue with the powerful bluesy vocals of Glenn Hughes. Tony’s half-step detuned guitar leads confidently through this rock anthem into a melodic solo on dorian scale.

“From Another World” starts with the melancholy notes of an arpeggio, to follow a refined acoustic section as only Iommi can do (remember Fluff, or Laguna Sunrise), and a typical Iommi style melodic solo in C sharp minor. An epic ballad reveals the great versatility and composing talent of the legendary guitarist and another side of Iommi, often hidden from many Sabbath fans.

Energetic track in standard tuning, “Don’t You Tell Me” boasts a persistent rhythmic heavy riff and gracefully performed solo with extensive use of bending and artificial harmonics.

“Don’t Drag The River” demonstrates another time the stylistic multiplicity and the vast horizons of Iommi’s musical vision. There’s nothing from Sabbath’ usual doom tones, so dear to the fans of Great Lefty. The half-step detuned guitar’s sound is strong and virile, and Tony’s strumming gives an unusual shade to this rock ballad. As always, Tony has spared no ideas for a beautiful solo in E flat minor on pentatonic scale. The composition has series of chords out of schemes, which produce an effect of unusual intervals of sharp second and flat five.

In “Fine” Iommi guitar’s hundred voices sound like an entire symphonic orchestra, complex constructed on modal scales composition represents one of the highest points of Iommi / Hughes collaboration. Glenn’s celestial vocals intertwined with Iommi’s bright expressive sound.

The crashing “Time Is The Healer” is a heaviest track of the album. Brutal sounding riffs bombard with raw power, recalling the best Sabbath atmospheres. The inevitable example of Iommi’s trademark wall of sound.

“I’m Not The Same Man”, fast and rhythmic track in standard tuning in B minor, provides an excellent screaming wah solo.

The final touch – mighty “It Falls Through Me” – maybe Iommi’s best moment in the album. Starting with melodic arpeggios in minor natural scale, the song explodes in a passionate culmination. The electric / acoustic sounding mix, choirs in a typical metal tradition and really sick lead guitar makes this track an outstanding piece of music. Undoubtedly one of the nicest Iommi’s solos, elegantly ends with a beautiful artificial harmonics. The touch of class.

DEP Sessions is an album in a best modern rock / metal genre with some grunge influence, pretty innovative for it’s time, with much space for improvisation, and interesting approaches to composing work. On another hand it shows to be, to some extent, the work is not quite finished. And probably it’s the reason why it was locked away for long eight years. This album is most likely the result of the collaboration of two good old friends, doing what they really like, having fun, and aren’t required to prove anything -- as the true kings. And certainly, it is a precious witness of a bluesy, melodic vein in Iommi’s creativity, which is rooted in his past – the another side of Tony Iommi.

Not exactly essential listening for the Sabbath fan, but for those who know there are many sides to Tony Iommi and wish to explore them, this very listenable album will allow them to do just that.

 


 Rosie "Iommifan" Piergiorgi.