News | Tony Iommi Fan-tastic

Birmingham Councillor Ian Ward deals to give Black Sabbath a well deserved acknowledgement

Music map and mobile app lets fans follow in footsteps of Duran Duran, Black Sabbath, UB40 and Slade. A special map and mobile phone app will transport people to the lives of Duran Duran, Black Sabbath, UB40 and other Birmingham music greats.

The music map is the latest idea to come from the council’s Destination Birmingham: A Music City report into making the most of the city’s music industry and heritage.

Although plans for a special Black Sabbath Day, first mooted last year have been delayed, the city’s billboards and highways may be used to honour the rockers when they play at the LG Arena and NIA in December.

The council has also joined forces with exhibition firm Capsule on a £20,000 feasibility study to see if a permanent location can be found for the Home of Metal exhibition which proved a major success when staged at the Birmingham Museum and Art Gallery in 2011 and led directly to the inquiry in to the city’s music economy.

Meanwhile, it emerged that Capsule are in talks with the O2 Arena in London about staging the exhibition there.

Birmingham’s economy and jobs scrutiny committee had previously voiced their disappointment at the lack of progress on delivering on the aims of the report.

But following a presentation by council deputy leader Ian Ward and the council’s part-time music officer James Burkmar, the committee members were satisfied that the city could soon cash on its rich music heritage – not only heavy metal, but also British Reggae, Bhangra and other music genres.

Coun Ward said: “This has moved on a bit, we’ve been talking to Marketing Birmingham about a map and an app taking visitors around the heritage sites in Birmingham.”

He added that in December Birmingham would ‘flag up’ the fact Black Sabbath are playing their home city with some appropriate ‘dressing’ on billboards and public areas, and added that there could be further talks with the band’s management about further celebration.

12 October 2013
Photo Vertigo

Birmingham City council makes a proposal to honour Black Sabbath

City council insists talks with band about tourism-boosting plans are continuing. Plans for an official celebration of the music of Brummie heavy metal legends Black Sabbath are still on the agenda according to the city council.

Council deputy leader Ian Ward says that talks with the band are continuing, 20 months after an proposal for a Black Sabbath day was first agreed.

The day was part of a package of measures to cash in on Birmingham’s rock and pop heritage and attract music tourism outlined in a council strategy called Destination Birmingham – A Music City.

It followed the highly successful Birmingham Home of Metal exhibition in 2011 and a realisation that cities like Liverpool and Manchester make far more of their music heritage than Birmingham. But in a report to today’s economy, jobs and skills committee it is revealed that many of the proposals, including Black Sabbath celebrations, have yet to be acted on.

Coun Ward (Lab, Shard End) said: “Initial inquiries into celebrating the reunion of Black Sabbath in the summer of 2012 could not be brought to fruition but discussion is on-going with representatives of the band members to explore possible future opportunities for recognising the significance of the band, and of heavy metal music, to Birmingham.”

Other proposals to have stalled include attracting a major music award show to the city, rejected because it would cost more than the benefit to the local economy. And there is still no permanent place for the Home of Metal exhibition or any other exhibition of Birmingham’s music heritage, although talks are continuing with the NEC Group over a location.

In his report Coun Ward added that the Creative City Partnership, which includes many involved in the music and arts sector have come forward with some suggestions around ‘music, music tourism and the economic impact of music events’. He added that the Library Of Birmingham is also involved in projects to store and archive historic music material.

Neil Elkes for Birmingham Post, 9 October 2013

Photo by Vertigo Records

Tony's Chilean adventure!

Tony posted a status on his Official website Iommi.com on 4th October 2013:

"Arrived in Santiago, Chile, about to start our South American tour. Should be good, another part of the world where we never came with Ozzy so we're all looking forward to the shows.
We've Megadeth with us so the crowd will get a great night of music, quite cool at night down here and the shows are outdoors so we'll do our best to warm you up!"

Read on Tony's official Iommi.com

Sabbath performance in Santiago, Chile, Estadio Monumental; tracklist:

War Pigs
Into the Void
Under the Sun/Every Day Comes and Goes
Snowblind
Age of Reason
Black Sabbath
Behind the Wall of Sleep
N.I.B.
End of the Beginning
Fairies Wear Boots
Rat Salad
Iron Man
God Is Dead?
Dirty Women
Children of the Grave
Encore: Paranoid

Iommi.com, 7 October 2013

Black Sabbath: "Live...Gathered In Their Masses" Live album to be released soon

Iommi / Sabbath fans, get ready to a new surprise from our guys! "Live...Gathered In Their Masses" - live in Melbourne. The new DVD will include exclusive bonus tracks from the "13" recording session, such as unreleased songs as well as other goodies. The set will be out on November 22. Watch the long teaser from Universal Music Brazil below.

"Black Sabbath: Live…Gathered in Their Masses" track listings:

Blu-ray and DVD track listing is as follows:

01. War Pigs
02. Into The Void
03. Loner
04. Snowblind
05. Black Sabbath
06. Behind The Wall Of Sleep
07. N.I.B.
08. Methademic
09. Fairies Wear Boots
10. Symptom Of The Universe
11. Iron Man
12. End Of The Beginning
13. Children Of The Grave
14. God Is Dead?
15. Sabbath Bloody Sabbath (Intro) / Paranoid

CD track listing is as follows:

01. War Pigs
02. Loner
03. Black Sabbath
04. Methademic
05. N.I.B.
06. Iron Man
07. End Of The Beginning
08. Fairies Wear Boots
09. God Is Dead?
10. Sabbath Bloody Sabbath (Intro) / Paranoid

Due out November 22, "Black Sabbath: Live…Gathered in Their Masses" will be available via a variety of formats. Options include:

* DVD standalone
* Blu-ray standalone
* Blu-ray/CD combo pack with a CD featuring live audio from the show, all packaged in a Blu-ray case
* DVD/CD combo pack with a CD featuring live audio from the show, all packaged in an Amaray box
* Deluxe box with a Blu-ray disc of live show with exclusive bonus visual extras/two DVD discs/a CD featuring live audio from the show/poster/signed set list/photo booklet/guitar picks/official show "ticket"

"Black Sabbath: Live…Gathered in Their Masses" was recorded April 29 and May 1, 2013 in Melbourne.

Black Sabbath release Halloween Horror video

Black Sabbath has released a new video - 3D maze of horror at Universal Studios this Halloween.

The theme park’s annual Halloween Horror Nights event, which opened to the public 20 September, boasts a new attraction that draws inspiration from Sabbath’s darkest lyrics and music, incorporating classic tracks into “a nightmarish landscape of doom” featuring “horrifying graveyards, disturbing madhouses and bone-chilling battlefields", all the elements “inspired by” the band’s recent reunion album "13".

The new video doesn’t reveal much of the maze, but it does show plenty of clips of people having their Geezer Butlers scared off by its many fiendish thrills, which reportedly include “a heart-stopping Lucifer and his bride, blood-soaked dead bodies and bubbling pools of ‘radioactive water.’” The whole thing looks and sounds like a perfect night out for Sabbath fans.

The new teaser adds a second promotional clip to the band’s publicity efforts on behalf of the maze; earlier this month, they posted a video taking fans behind the scenes of the attraction and showing Butler, Ozzy Osbourne and Tony Iommi reacting to Universal Studios creative director John Murdy’s plans for attendees. ‘Halloween Horror Nights’ is scheduled to run through 2 November.

Jeff Goles for Ultimate Classic Rock, 26 September 2013

Photo by Vertigo Records

Tony Iommi is heavier than hell, says Guitar Player

The last number of Guitar Player magazine published really an amazing interview with our Tony. It's a long time, we haven't read great interviews like this. Thanks to Guitar Player for the questions that excite every die hard's heart, and obviously thanks to our Lord and Master Tony for the courtesy and gentleness to put some light on the issues, we've waited to know with anxiety.

By Matt Blackett for Guitar Player, 5 September 2013

IT’S AN AMAZING ACHIEVEMENT TO BE RESPECTED IN YOUR CHOSEN STYLE. IT’S MORE AMAZING STILL TO BE SO RESPECTED THAT YOU’RE CONSIDERED INFLUENTIAL. IF IT CAN BE SAID THAT YOU DEFINE YOUR PARTICULAR STYLE, WELL THAT’S JUST PLAIN INCREDIBLE AND RARE. BUT WHAT IF YOU INVENTED A STYLE? THAT SIMPLY DOESN’T HAPPEN, DOES IT? IT DOES, MAYBE ONCE OR TWICE IN A LIFETIME, WHEN PLANETARY ALIGNMENTS, HARMONIC CONVERGENCES, AND TECTONIC SHIFTS GIVE US THE BEETHOVENS, BEATLES, AND HENDRIXES OF THE WORLD. THE PLURAL IS USED, BUT WE ALL KNOW DAMN WELL THERE’S ONLY ONE OF EACH OF THEM. THE VERY SAME THING IS TRUE WITH BLACK Sabbath guitarist Tony Iommi. With one sinister riff in a tune named for his band (which was itself named after a similarly sinister Boris Karloff horror movie), Iommi changed everything back in 1970. Sure, there was heavy music before Sabbath, but no one put it all together like Iommi and his mates—Geezer Butler, Bill Ward, and one John Michael Osbourne—put it together. The bass and drums were crushing, wild, and crazy, and Ozzy was then, as he remains today, a force of nature. But when people sing heavy metal music, it’s Iommi’s monstrous guitar riffs that they sing. His guitar is the voice of doom, and even when no one knew anything about him, they knew they had never heard anything like this. They were terrified by it but inexorably drawn to it.

When people did get to know Iommi, they learned what has now become the stuff of legend. They found him to be a survivor of the highest order—a guy who played groundbreaking music only after a horrifying accident deprived him of two fretting-hand fingertips and very nearly deprived him of his will to ever pick up a guitar again. Inspiration from another odds-beating hand-injury hero, Django Reinhardt, convinced Iommi to persevere and redefine his relationship with the guitar, steadfast in his commitment to somehow create the sound he heard in his head.

And he did. He devised prosthetic fingertips with leather-covered “thimbles,” strung his guitars with extra-light strings to accommodate his new technique, and set about transforming the music world, even though in his mind he was simply “getting on with the work.” He proceeded to crank out riff after classic riff, each one heavier than the last, and then blazed explosive, cinematic solos over those progressions. Along the way he influenced damn near every guitarist who has ever used distortion, played power chords, or landed on a b5. Yeah, he is that guy.

Over the years, Sabbath has seen more ups and downs than Spinal Tap, yet another band that they have influenced (Stonehenge monument—Google it). Despite all of that, in the year of our lord 2013, a much-anticipated Sabbath reunion record seems like a natural. With the career-reviving Rick Rubin at the helm, 13 [Vertigo/ Universal] represents a return to form for Sabbath. It’s got the crushing riffs, the cool dynamics, the awesome tempo and groove shifts, and the refreshingly in-your-face production that made their early albums classics. But it couldn’t happen without Iommi displaying his survivor street cred one more time, by battling—and beating— cancer. How heavy is that? He answered questions from his home in Birmingham, where he was recovering from another bout of treatment before going back on tour with Sabbath. And, in the process, the heaviest guitarist of all time became a strong contender for the nicest and most polite interview subject in the history of Guitar Player.

How are you feeling, both today and in general?

Oh lord, yeah!
I go up and down. Some days I feel not quite so good and other days I feel okay.
Today I don’t feel too bad.

You guys have never worked with Rick Rubin before. How was the overall vibe?

It was fine once we got used to him. We didn’t know how he was going to work, because through the writing period, we didn’t see a lot of him. He’d say, “Phone me up when you’ve got an idea and I’ll come down.” So we’d have a track together and phone him up or email him, and then he’d come down and say, “Yeah, I like this part, but I don’t like that part” or “I like everything,” whatever it may be and then he’d go. He was only there perhaps ten or 15 minutes at the most. We didn’t know how he was going to approach recording. It was all a bit of a mystery to us.

How did things change once you got into the studio?

When we got into the studio, he started saying things like, “Let’s do this slower” or “Extend this part.” We thought, “Why didn’t he say that when we were in pre-production?” But, of course, he didn’t. He decided to save it until we got in the studio—which was fine because it kept us on edge. I think it worked well in the end, although at first it seemed odd.

This record does have an immediacy and an honesty to it, and it seems like a lot of his productions do. Maybe that’s part of what he brings.

Yeah. It’s sort of left to the last minute, and then he throws it at you. He just pushes that much more, and that’s difficult for a band like us. We’ve been around so long, it’s hard to accept criticism from somebody we’ve never worked with. But we did, and it was good. It was really good. We might be working on a track, and he’d go, “Oh no, it doesn’t feel right. Try it again and try extending that part.” So we’d do it and then we’d be thinking to ourselves that it may be too long, but we’d do it anyway. And then he’d go, “That doesn’t feel right. Let’s try another one.” And then he’d say, “Okay I think we’ve got it, but do you want to just try another one?” So we would try another one, and he’d say, “Okay, let’s leave it now.” So we never knew exactly which one he was going to pick.

How else would he push you?

Rick kept going on about us doing a blues jam just to warm up when we started. His idea was to just have a blues jam for five minutes to get us into the vibe. We said, “What’s the point of that?” “Let’s just do one,” he said. “Well, we haven’t got one.” So, basically, I worked out just the main riff, and then we went from there and just jammed it—sort of making it up as we went on, really. And then it was on the album [laughs]. That became the tune “Damaged Soul.”

Is what we hear on the album the first take?

No, we actually did a few different versions of it. It was good fun doing it.

I know you don’t really plan out solos, but the solo in that song sounds particularly off the cuff.

Definitely off the cuff [laughs]. That was one of the things that Rick wanted to do with this album—to have me play the solos live. At first I objected. I said, “Well, I don’t really like to do that. I like to play the chords and everybody else can follow that, and then I’ll play the solo.” But he went, “Well, just try the solo anyway, and we can always redo it.” Of course, we never did—we kept them. I must say, I enjoyed doing it that way. It had been a long time since I’d done solos there and then.

What was your rig for that tune?

I was using a Jaydee, which is a company here in the Midlands. The guy [John Diggins] made a lot of guitars for me. In fact, he used to work for me many years ago, and then he opened a guitar company.

Were you playing the original one that he made for you? That’s a pretty famous guitar.

It was one of the newer ones. He made the original at home on his kitchen table, and, yeah, that is a real classic. But he has made me some others now in the factory— not on his table—and I used one of those. It has my pickups—which are sold by Gibson— but we still tinker around with them. We’ll try to maybe get a bit more treble from them or whatever it needs.

So even if you’re sticking with similar body woods and the exact same body style, there’s enough variance that you still need to tweak the pickups a bit?

I’m constantly fiddling around. It’s the same with my new amp [the Laney TI100 Tony Iommi Signature Model]. The more you work with a new amp, the closer you listen to the guitar and the pickups. It’s an ongoing thing, really.

And your new Laney signature amp is what you used on this record?

I used one of those, and I used an old Laney Klipp. We had it split. Rick wanted to do that. To me, my one amp was doing the job, but he wanted to have a slightly different sound. But I think we probably went with my own amp for a lot of it.

Let’s move on to the tune “Dear Father.” That chord progression is harmonically very rich. How was that song written?

It’s like all the stuff I do. I had already done a rough idea of it at my home studio, but it was different. One day we were at Ozzy’s house, and I started playing it and Ozzy sang a melody. Once he started singing the top line, I changed a couple of little parts in it. I just embellished on that, really. I worked around what he was singing.

On the recording, did you get those cleaner tones by switching channels, or just by turning the volume on your guitar down?

Well, both actually. I do most of it from the guitar where I just turn the volume down, but, occasionally, I will switch to the cleaner channel. Live, I just use the volume knob. I tend to not fiddle too much. I’m not one of those types who stands on pedals every two seconds. I’m still from the old school where you turn it down and play quietly, as opposed to switching lots of things.

Even with your huge, distorted, heavy sound, there is enough dynamic range that turning down gives you that big variety of tones?

Yes. That’s another thing with my pickups. We designed these pickups ages ago so that when you turn down, you don’t lose that bite. With some pickups, you turn down and lose the top end, but not these. When I turn down, I still get the brightness, and it goes cleaner.

What wah pedal did you use for the “End of the Beginning” solo?

It’s a Parapedal.

The Tycobrahe? That’s pretty much been your go-to wah over the years.

Well, I used Tycobrahe for many years, and then this company came out that sort of reproduced them so that’s what I use now—a Chicago Iron Parachute Wah.

In your January 2010 cover story, you said that you wanted to find the ultimate wah pedal for you. Is that search over now?

It’s never, ever over for me. If something comes up, I’ll try it, but I never really had much success with other wah pedals to be honest. I don’t know what it is, but I always seem to go back to the Tycobrahe.

Is there a tremolo or some kind of modulation effect on your guitar in “Age of Reason”?

No, I never used a tremolo effect. Rick may have put something on, but when I recorded it, it was just dry. And that was another thing for me. Normally, when I’ve done recordings, I’ll have a bit of delay on, but not for this record. It was totally back to just a dry sound—get on with it and do it live. That’s how we worked in the early days, and that’s sort of what we’ve done on this album. There wasn’t a lot of gadgetry.

The solo in “Age of Reason” is bone dry. Does that change your approach at all, as opposed to having some reverb or delay?

Well, it did seem weird at first. In fact, I had my engineer that I use here at my house put some delay on the solo and I liked it. But, of course, we didn’t end up using it, because it seemed like it was cheating in a way in comparison to all the other stuff. After putting a bit of delay on here and a bit there for so many years, you get into a little routine of doing that, and you don’t even realize it. I’m glad Rick pushed me to keep it really natural.

Did he give you as much input about your guitar parts?

He generally liked most of the stuff the way it was. His main thing was to not overdrive it too much—to pull it back and get more of a sound like in the early days. I’ve been used to using a little bit more sustain on the later stuff, but I did pull the gain back for these sessions. So he had an impact that way, but as far as changing riffs—not as much.

You show your jazzy side on “Zeitgeist.” How did you get that tone?

I used a Gibson ES-175 that they made for me—which was fantastic. It is such a great guitar. I used that to track the end solo, plugged into a little Vox amp.

Did you string the 175 differently than your SGs?

Yes. They were a bit heavier gauge— more of a jazz style. Not quite as heavy as probably the jazz players would use, but they were heavier strings.

What string gauges are you using on your SG-style guitars these days?

I have no idea because we’ve tried so many different things lately. I still use the .008s as the first string on the main guitars, but then on other ones, I think I use a .009. I’ve got three or four different stringings now—depending on what songs we’re going to end up doing.

You used to use an .008 for both your high E and your B string.

That’s true, I used to use two .008s, and then an .011 for the G, I think. You name it, I’ve tried it. But I had to because of my finger accident. If I have them too heavy, I can’t bend them because it will rip the stuff off my [finger] caps. But again, when you use them that light, you have to get used to playing them like that. It’s not that easy to walk in and play a light guitar when you’re used to heavy strings.

A super-light G string like that would be very easy to squeeze out of tune. Do you use really low frets?

They’re low frets, yeah. And when I tune down, I use a heavier gauge.

How many gigs will you get out of a set of thimbles? How long before the leather gets worn out?

I usually have to change them a couple of times during a tour. Because it’s old leather and it’s hard, they tend to last a bit longer. I’ve tried modern stuff, and newer leather just doesn’t last. That’s another part of the reason that I use light strings. If I used heavy strings—bending them and whatnot—the leather would just rip through. It was a lot of hard work going through the procedure trying to find the right thing and the right balance of strings so I could bend the strings without damaging the leather, and without damaging my fingers. It was that happy medium that I had to achieve. But, at first, it was bloody hard work trying different stuff. I had to change everything because before the accident I used to use heavy strings like everybody else, and I’d play acoustics and all that. But once I had the accident my whole thing changed. I had to come up with a totally new way of playing. Nobody would think about using thimbles or designing something with leather on it. But that was the only way that I could play.

I read an interview where you said that after the accident either you thought about playing right-handed, or maybe you should have thought about it. I have to say, I think it would have changed the entire music business had you flipped your guitar over and played righty.

I think you’re probably right, because that accident made me develop a style—one that I could play—and by doing that, it created a different sort of sound. I had to make the sound bigger and work on it a bit. I couldn’t just pick up anybody’s guitar and play. I mean, the whole thing really was against me. But that sort of thing makes you work. It makes you develop something, because I really wanted to play, and I wanted to make the sound big. I had to come up with a new way of playing to make it big.

You guys have always had tempo and groove changes in your tunes, and “God Is Dead?” is a great example of that tradition. What is it that you like about doing that?

I just think it gets to a point in the song where it needs something—either picking the tempo up or slowing it down. If it’s a fast song, maybe a bit that slows down in it, like we did with Ronnie on “Die Young.” It was an up-tempo thing, but then we used a quiet part in it to come down. Again, it’s just down to creating some kind of different mood in the song, and I’ve always liked that.

Why do you think more bands don’t do that, because it’s very rare?

Maybe they don’t like it [laughs]. I don’t know. But it’s just been the way we work, and I tend to write stuff like that—the light and shade and tempo changes.

Because you guys do that so well, and it’s such a trademark for you, maybe other bands are afraid that if they try it people will say, “They’re just ripping off Black Sabbath.”

Well, I suppose that’s what tends to happen. We are probably accused of ripping off ourselves. Some people say that about this record. But it’s always that way. People go, “Oh, it doesn’t sound like the old stuff.” And then when you do something that sounds like the old stuff, those same people say, “That sounds like the old stuff. You’ve done that before.” What do you want? What are you expecting?

Brad Wilk plays drums on this record. Is your rhythm playing and your soloing different with him, as opposed to playing with Bill Ward, Cozy Powell, Vinny Appice, or any other drummers that you’ve worked with?

Well, I play what I play. And certainly with Brad, he picked up on that. He knew to listen up a little bit to follow, and when you listen to the record, you can hear these little things he put in. It was very subtle— much like what Bill would have done, really. Bill would listen to little accents that I’d do, and a lot of drummers don’t. They don’t hear it. They just hear the immediate riff or chord or whatever. But with Brad, he was picking up little accents like Bill did, and it was good. And he was thrown right in the deep end, poor old Brad, because he didn’t have much time to work on these songs. That was probably another good thing from Rick’s point of view. I think he wanted to have this element of jamming where you’re on edge all the time. Every time we’d track a song, when we’d do it again, Brad would play something different, because he was obviously feeling stuff out. So it was really good. He was doing stuff off the cuff. I thought he was excellent.

You’re famous for your minor key riffing and your tritone chord progressions. But in the Dio years, it seemed that you wrote more major-key, comparatively happy-sounding progressions. I’m thinking specifically about tunes like “Walk Away” and “Neon Nights.” Can you talk a little bit about that difference.

Certainly when Ronnie came into the band, we did write differently. There was a distinct difference in the way we were doing stuff because of the way Ronnie sang. Where Ozzy would sing over riffs and things, Ronnie didn’t particularly want to do that. A lot of the songs were more open, like “Heaven and Hell.” It would be a riff and then it would be just the bass and he’d sing over that. It was just a different way of writing. When Ronnie came in, it really went more chordal, as opposed to riffing.

A really cool sound that you got early on was layering two different solos on a tune, like you did on “War Pigs.” It seems to me like you kind of stopped doing that. Why is that?

I don’t really know why. In fact, I actually thought we were going to maybe do that on this album, but we didn’t. We just ended up keeping the original solos. It’s funny how it sort of fizzles out without you really realizing it, to be honest, until somebody points it out. It was all innocent when we did it back then. But I don’t know why we didn’t do it this time.

It has been said that any guitarist who bashes a power chord should pay Pete Townshend a royalty. I think they should probably split that payment between Pete and you. How do you view the impact that your playing has had on rock music?

It’s hard to talk about yourself that way and say, “Oh yeah, we did this and we did that,” because you’re just doing it for you at the time and hoping people like it. But it’s been proven over the years with people coming up saying we’ve changed their life with our playing, and we helped other bands develop something. I think it’s made a big impact on music. I don’t think the music would be like it is today without us—without bragging about that.

It doesn’t sound like bragging at all. All you have to do is look at all those greatest riffs lists. Invariably “Paranoid” and “Iron Man” are not just on those lists, but quite often they’re right at the top. Can you describe what that’s like to have a riff that you wrote and played be deemed “The Greatest Riff of All Time”?

It’s hard to believe it happened, because you never think of that. You’re just playing something that you like. You certainly don’t think, “Oh, this is going to last forever, and this is going to be voted the best riff of all time.” But to see it now and to hear it—it’s fantastic. What better thing could be said about your music than that?

You are widely credited with inventing heavy metal. What influenced you and drove you to create that sound?

I think it was the dramatics of it all. I used to listen to the old classical stuff with the dynamics in the music, and I wanted that sort of dynamics in what we were doing—something that was really dramatic and big. And that’s what I tried to achieve guitar-wise. I wanted to make this big, powerful thing come over you—like what happens when you go and see a horror film. I wanted to create a huge sound that was really horrific in some ways, if you know what I mean.

Being so closely associated with heavy metal has pigeonholed you to a certain extent. People don’t always remember tunes where you branched out, like “Laguna Sunrise,” or the fact that you’re into jazz or classical music. Do you think you’d ever do a jazz album and show that side of your personality?

Possibly. Geez has mentioned it to me a couple of times, too. We used to do a lot of that sort of stuff. We started off playing bluesy jazz, and we used to enjoy that. I’ve gotten out of the genre a bit now, because we don’t play it so much, but in the early days, it would be half a minute of vocals and five minutes of guitar solo. It allowed me to experiment and try things, but I’ve probably forgotten a lot of that now. We still jam around in that style at rehearsal and I like it. We’ll see how it goes this year, and if health-wise I’m okay, I’d like to do that, because I do like playing bluesy jazz stuff.

Given all the ups and downs that you and your band have been through, could you ever have guessed, say, back in the 1990s, that you’d be talking about a vibrant new Black Sabbath album and a new tour in 2013?

Really, I never thought about whether ten years down the line I would still be in the press, or still famous, or this or that. My thought has always been you get on with it, and do stuff you enjoy, and when you don’t enjoy it, stop. But I’ve enjoyed doing what we did, and I always had this thing in me to push on—to forge on. Still, I remember in the ’70s doing an interview with somebody and they said, “Don’t you think it’s time to retire now?” I said, “Today?” This was in the ’70s! God knows what they’re saying now [laughs].

WALKING IN YOUR FOOTSTEPS -- CURRENT OZZY GUNSLINGER GUS G EXPOUNDS ON HIS HERO “I COULD PROBABLY TALK ABOUT TONY IOMMI OR BLACK SABBATH all day long,” says Gus. “I still remember the day in school when my classmate handed me a tape of Master of Reality. At that point I was listening to stuff like Metallica and GNR, but when ‘Sweet Leaf’ came on, I was in shock. It’s such a simple—yet heavy—dark, and groovy riff. That song and ‘Paranoid’ were the first of many I would learn to play. It’s always been a debate in my mind whether ‘Sweet Leaf’ or ‘Into the Void’ would get the award of ‘Heaviest Riff Ever.’ It doesn’t matter. They’re both awesome and faves of mine. “The biggest shock for me was probably the first time I saw Black Sabbath live back in 2005. I couldn’t believe the tone that came out of his guitar. It sounded like there were ten guitar players up there. What a massive wall of sound!

“Tony Iommi is the master of riffs, no doubt about it. He makes you want to pick up the guitar and learn those progressions yourself, whether you play or not. When it comes to his solos, I’ve always loved how he mixed fast pentatonic licks with tasteful blues phrasing. And he always ends his solos on the right note. Sometimes it’s hard to tell if his fast licks are thought out or if he’s making it up as he goes along, as it all sounds so free form. But then you see him live and he nails it note for note. For a blues or heavy rock player, he has all these hidden details in his solos. You can play them, but you really have to dig deep in his playing to find all the little things he does. “Another thing I love about Mr. Iommi is just how evil his riffs sound. It’s not only about that b5 note that invented a whole genre on ‘Black Sabbath,’ but it’s also his rhythms and grooves. Listen to the middle of ‘Children of the Grave.’ You can almost envision thousands of people in cloaks gathering for a huge mass. Then there’s the middle part of ‘Sabbath Bloody Sabbath.’ It’s like the man can afford to use one of the best riffs ever as a small middle section in a song. If anybody else came up with that riff, it would be his magnum opus, his greatest achievement. But not Tony Iommi. He’s got thousands of those riffs. He’s not just an innovator. He’s inspirational.”

Matt Blackett for Guitar Player, 21 September 2013

Photo Vertigo Records

Guitar Player magazine teaches how to play like Tony Iommi!

The last number of Guitar Player dedicated a huge space to our Tony. Let's see what the magazine says about Great Lefty:

When Eddie Van Halen called Tony Iommi the master of riffs, he wasn’t just whistling “Dixie.” Master riffmeister Iommi’s back story, rise to legendary status, and his influence on the New Wave of Heavy Metal have been well documented in the annals of modern guitar lore, but everything might have turned out differently if Iommi had not been so driven to play.

After losing the tips of his right-hand middle and ring fingers in a metal shop accident at 17, which was especially devastating considering it was his fretting hand, Iommi’s strong will and devotion to his craft led him to develop the thimble-like prosthetics he still wears today. Philosophically inspired to continue playing by Django Reinhardt, and musically smitten by Blues Breakers-era Eric Clapton, Iommi recontextualized the same blues-based licks and riffs everyone else was playing at the time into a much darker and heavier oeuvre that soon became Sabbath’s calling card. Like a keeper of the flame, Iommi has defined the heart and soul of the band, from the original ’70s Ozzy Osbourne-fronted lineup, to its later reincarnations with the late, great Ronnie James Dio as both Black Sabbath and Heaven and Hell (as well as honorable mentions for Ian Gillan and Glenn Hughes), with killer riffs and a larger-thanlife sound. Essential listening includes at least the first five Sabbath albums (Black Sabbath and Paranoid [both 1970], Master of Reality [1971], Black Sabbath Vol. 4 [1972], and Sabbath Bloody Sabbath [1973]), a selection of ’80s and ’90s sides, including Heaven and Hell (1980) and Black Sabbath: The Dio Years (1998), Iommi’s two solo albums (Iommi [2000] and Fused [2005]), and of course Heaven and Hell’s most recent release The Devil You Know (2009).

Want to follow in the fretprints of the Godfather of Heavy Metal? First, you’ve gotta...

1. BE A MAVERICK & BREAK AWAY FROM THE PACK While many of his early contemporaries routinely plugged their Stratocasters and Les Pauls into Marshall stacks and Fender combos, Tony Iommi has always been somewhat of a renegade when it comes to gear. (Of course, as a left-handed player, Iommi’s guitar options were understandably fewer.)

He entered Black Sabbath with a good- Strat-gone bad, prompting a switch to a now iconic 1965 Gibson SG Special just in time to record the band’s entire first album, except for “Wicked World,” which features the Strat. With few exceptions, this guitar paired with a Laney 100-watt stack (chosen for the company’s affiliation with Iommi’s home town of Birmingham), was the main instrumental voice of early Sabbath, bolstered only by two equally off-the-beaten-path outboard effects: a Dallas Range Master Treble Booster and a Tycobrahe Parapedal wah. (Fact: Iommi’s oldest go-to acoustic was a Gibson J-45.) In 1975, Iommi added the guitar with which he has become most associated to his arsenal. Custom- built by John Diggens and affectionately known as “Jaydee,” “Number 1,” and “The Old Boy,” this battle scarred SG-style ax sports a mahogany body and 24-fret neck (plus a zero fret), cross fret markers, a Jaydee special bridge pickup, and a John Birch-style Magnum XP pickup (also made by Diggens) in the neck position, and encapsulated everything Iommi was looking for in a guitar.

Similar features eventually appeared on Iommi’s signature instruments, beginning in 1997 with Gibson’s limited edition Tony Iommi Special SG (Fact: Iommi still plays the first two prototypes.), and continuing in 2002 to the present with both Epiphone and Gibson Tony Iommi Signature SGs. The Epi model sports Gibson P94 pickups, while the Gibsons are fitted with Tony Iommi Signature Humbuckers. In 2009 with Heaven and Hell, Iommi used an Engl Powerball head in addition to his GH 100 TI Laney Tony Iommi Signature amp along with both amps’ respective 4x12 cabs (loaded with Celestion Vintage 30 speakers), replaced his Tycobrahe Parapedal with a Chicago Iron Parachute wah, and experimented with several additional effects, including an Ibanez Tube Screamer and a Boss OC-3 Super Octave. (See GP 1/10 for the full lowdown on Iommi’s H & H stage rig.) Through the years, Iommi has always favored light-gauge strings—.008- .032 for half-step dropped tuning, and .009-.042 for tunings below that—and black Dunlop picks of unspecified thickness. Hey, you’ve gotta keep some secrets!

2. MAKE SINISTER SOUNDS Arguably the first band to embrace los diablos en musica, or the dreaded, churchbanned b5 interval (It’s just three whole-steps and the center point of the 12-tone chromatic scale, folks. Honest.), Black Sabbath wasted no time putting this dissonant “devil’s interval” to work. “Black Sabbath,” the opening cut from the band’s 1970 self-titled debut commences with a thunderstorm that lulls us into the ultimate b5 riff gloriously notated in Ex. 1a. Follow the G5 power chords with an octave G, and then add the trill between the b5 (enharmonically notated as C#) and the 5 (D) for the bulk of bar 2. Substitute a lone, vibrated C# for the trill during every other repeat and you’ve got most of the song under your fingers. Ex. 1b, a b5-based riff similar to one found in “Electric Funeral” (Paranoid), features a root-5-b5-4-b3 motif—essentially a descending E blues scale minus its b7—laced with Iommi’s signature vibrato. For total authenticity, play the first beat as four palm-muted sixteenth-notes and change the rhythm on beat four to a sixteenth and dotted-eighth pairing. Iommi can sound equally scary without the b5. The ominous riff in Ex. 1c (also redolent of “E.F.”) relies only on notes derived from the E minor (Aeolian) scale. Add wah articulations to each note, play beat one as two eighth-notes, move beat three ahead to its upbeat eighth-note, and you’re in like Flint. (Tip: Try applying bends and releases to beats two and four.)

3. GET (A LITTLE) JAZZY The first time I heard Sabbath’s music was when a local band called Rockhouse covered “Wicked World” (from Black Sabbath) ca. 1970-71, leading me to believe that Black Sabbath was more of a bluesy British jazz-rock outfit in the vein of John Mayall’s Blues Breakers, Blodwyn Pig, and the Keef Hartley Band rather than the forefathers of heavy metal! “Wicked World” opens with a Buddy Rich-style hi-hat intro (the third to hit Ten Things this year!), followed by Ex. 2a’s swinging call-and-response riff in the key of E. Iommi’s signature trills occur between the b3 (G) and the 3 (G#), a common blues move that’s often applied to shuffle rhythms and packs extra weight in this context. Ex. 2b depicts Iommi’s IVchord figure, which utilizes an A blues scale line for another round of melodic Q & A. Play the example twice as written, add three rounds of A5-C5-D5 power chords using the first three hits of Ex. 2c’s rhythm, break on a seventh-position E5, and you’re ready to pair the full rhythm shown in Ex. 2c with the descending E blues scale in Ex. 2d to complete the song’s next riff on your own. (Tip: Play it three times and land on an open E5.) You’ll find this lick transposed first up a whole step to F#, and then another whole step to G# later in the song.

4. GET (A LITTLE) MELLOW Many Sabbath tunes, including “Sleeping Village” and “Spiral Architect” are prefaced with Iommi’s moody acoustic intros. Learn the arpeggiated Em picking pattern shown in Ex. 3a, and then shift your fretting hand to the Emadd9 voicing diagramed in Ex. 3b to approximate the former. And do the same with the Dm chord and Dmadd9, Em/D, Dm7, Aadd9, and G/A grids in Examples 3c and 3d to simulate the latter. (Tip: Play Dmadd9, Em/D, and Dm7 for a full measure each, and then shift the picking pattern to the next lowest string set and alternate one beat each of Aadd9, and G/A over the course of two bars. Rinse and repeat!)

5. FLOAT LIKE A BUTTERFLY & STING LIKE A BEE Renowned for his lightning fast single-note soloing, Iommi often accomplishes the deed with a slew of strategically placed hammer-ons and pulloffs. Let’s examine four typical phrases built from a 12th-position E pentatonic minor scale and extrapolate a variation from each one. Bar 1 of Ex. 4a shows a cool run with one pulloff per beat, while bar 2 cuts off the last note in each beat, turning it into one of Iommi’s signature start-and-stop staccato motifs. Similarly, bar 2 of Ex. 4b transforms the run in bar 1 into a stuttering staccato lick by cramming the first three notes into a hammered-and pulled sixteenth-note triplet. In bar 1 of Ex. 4c, we add another sixteenth-note to the previous lick, and then displace and double-time the triplet in bar 2. Finally, Ex. 4d makes the important distinction between six-note-perbeat groupings. In bar 1, we have two accented triplets per beat (3x2), while in bar 2 we find each beat divided into sextuplets (2x3) with accents on the first and third notes. Try reversing the rhythms in bars 1 and 2 while keeping the notes the same. (Tip: Mix-’n’-match ’em as you please!)

6. REPEAT YOURSELF You’ll find a blizzard of ostinatos, or repetitive, single-note lines played in unison with or counterpoint to the rhythm section, evident throughout both the Sabbath and Heaven and Hell catalogs. Ex. 5a takes us back to “Black Sabbath,” where Iommi breaks out of Ex. 1a’s b5 riff with this palm-muted, low-register ostinato, first over a pedal G, and then over a descending G-F-E-Eb bass line. Iommi turned the common suspended D lick in Ex. 5b into a blazing interlude during “Sweet Leaf” (Master of Reality) by starting it on beat four. (Savvy readers will recognize the notated rhythm motif as half-time version of bar 2 in Ex. 4c.) Sometimes simple is best, as in Ex. 5c’s Em-based sequence of descending thirds. (Tip: Try it over other chords from the key of E minor, especially D and C.) Ex. 5d falls more into the category of hemiola (repetitive 3-against-4 rhythmic patterns) than ostinato, and incorporates three important Iommi trademarks: 3-against-4 rhythmic phrasing, a whole-step bend and release from the root (E) to the 2/9 (F#), and rapid trilling. (Tip: Check out “War Pigs” [Paranoid] for some similar action.)

7. DOUBLE (OR TRIPLE) YOUR PLEASURE Speaking of “War Pigs,” Iommi often created double- tracking effects in the studio using tape delay, but this solo was triple-tracked, sometimes in unison and sometimes not, much in the spirit of Clapton’s “Politician” solo (the studio version from Wheels of Fire) and most of Jeff Beck’s Beck-ola. Inspired by this threeguitar solo, Ex. 6 simulates how Iommi unleashes a controlled chaos of pre-Cream Clapton-isms first with two guitars in unison (Gtrs. 1 and 2, bar 1), and then by adding a third in bar 2, where each guitar does its own thing for the remaining three measures. Considering how all three guitars are playing in the same twelfth-position E pentatonic blues box, the result is pretty remarkable.

8. MAKE IT BIGGER Though he began tuning down a whole-step much earlier for Sabbath’s live shows (their first two albums are in standard tuning), Iommi later dropped his tuning an additional half-step beginning on Master of Reality. With this C#, F#, B, E, G#, C# configuration, songs like “Into the Void” reached new depths of heaviness, inspiring the likes of Edward Van Halen. Ex. 7a presents the song’s main riff in all its glory. (Extra Credit: Can you spot the hemiola in bar 2?) For whatever reason, by the time Sabbath recorded Heaven and Hell with the late Ronnie James Dio, Iommi and company were back to tuning down only a half-step, but with heavy-ashell riffs like the one in Ex. 7b, culled from the album’s title track, who even noticed?

9. BECOME ONE WITH YOUR BASS PLAYER One of the keys to Iommi’s heaviosity is his tightness with bassist Geezer Butler. While many shy away from unison bass-and-guitar figures for fear of redundancy, both Sabbath and Heaven and Hell embraced the concept in dozens of songs. The intros to Heaven and Hell’s “Atom and Evil” (Ex. 8a) and “Fear” ((Ex. 8b), both from The Devil You Know, are prime examples of the power of octave reinforcement. Both riffs create a sinister vibe via the inclusion of the “other devil’s interval” (I just made that up), the b2/ b9 located a half step, or minor second, above the root, with the former utilizing root+5 power-chord diads, and the latter relying on single notes. (Tip: Repeat Ex. 8a as written, but on the second round substitute Db5 for C5, C5 for B5, G5 for F#5, F#5 for F5, and F5 for the single-note Gto create the full, four-bar rhythm figure.) Ex. 8c takes us back to where we left off in Ex. 2d. Preface this riff, which is played twice in the lower octave (downstems) and twice in the upper octave (upstems), with the descending Eblues lick you built by merging Examples 2c and 2d. For total authenticity, swap rhythms on the first and third beats, and for extra credit segue to the F# and G# transpositions discussed back in Examples 2c and 2d.

10. DO IT WITH DIADS Perhaps the most important factor in Iommi’s massive sound is his use of two-note diads in the form of root+5 power chords, and his insistence on playing them on the bottom two strings whenever possible for maximum girth. Let’s wrap it up with a couple of must-know Sabbath classics to illustrate the point. The title track from Paranoid begins with a trio of grace-hammered double stops applied to a traditional clave/rock-and-roll, three-plusthree- plus-two rhythm motif followed by two beats of hammered E pentatonic minor sixteenth- notes exactly as notated in Ex. 9a. (Tip: Feel it in double time.) Precede the bVII-bIII-bVII-I figure shown in Ex. 9b with a bar of palmmuted E5 sixteenths to construct the first half of the verse rhythm figure, follow up with E5 held for two beats, C5 and D5 for one beat each, and another measure of E5 sixteenths, and you’ve pretty much nailed the whole tune. Hot on the trail of his apocalyptic, whole-step, behind-the-nut bend and gradual release of the low open E string and Ozzy’s Godzilla roar, Iommi’s main rhythm figure from “Iron Man” rides the sixth and fifth strings exclusively with root+5 power diads. Ex. 9c reveals some minute and often overlooked details in Iommi’s secondary intro, including sixteenth-note ghost slides (bar 1/beats one and four, and bar 2/beat two) that allow smooth position shifts, and a strategically placed moment of silence. (Yes, that’s a rest!) During the song’s verses, Iommi plays a single-note version of this figure by omitting the top note of each diad, changing the second sixteenth-note of bar 2/beat two to another F#, and most likely incorporating both the sixth and fifth strings. So, does playing every power chord on the bottom two strings really make a difference? Check it out and you’ll have to agree that this guy has definitely been on to something for the past 40 years.

Jesse Gress for Guitar Player, 1 October 2010

Armenian music school is opened! News from Tony and Ian Gillan

Tony Iommi just posted a message on his official website:

"Great news, the school in Armenia was officially opened today. I wasn't able to go but Ian did the honours, thanks mate. Tim from Millbank Music also went which was really good as he could see the instruments he sent over being used. I'm hoping to visit next year when things have slowed down a bit."

Go to Iommi.com to see the photograph of the new Gyumri N6 music school. Ian Gillan and Tony Iommi's co-founded WhoCares supergroup released a single and later an album "Out Of My Mind" raising funds for the construction of this school.

Armenian Mediamax.am posted a statement about Ian Gillan revealing his projects:

"Ian Gillan said this in Mediamax's office during a press conference today. Speaking on his further plans, the rock musician said that 'should have a bit of rest from Deep Purple projects and he now talks about the possibility of start of the new album together with Tony Iommi".

Iommi.com and Mediamax.am, 20 September 2013

Black Sabbath nominated for MTV Europe Music Award

Tony's Black Sabbath has been nominated for an MTV Europe Music Award in the "Best Rock" category. The MTV Europe Music Awards (EMA) take place on November 10 at Ziggo Dome in Amsterdam, The Netherlands.

The program will be hosted by Will Ferrell in character as "Anchorman" star Ron Burgundy and will be broadcast live on the night.

The band will release a new DVD, "Live... Gathered In Their Masses", on November 26 via Vertigo/Republic. The set will contain footage of the band's April 29 and May 1, 2013 concerts in Melbourne, Australia in support of Sabbath's long-awaited reunion album, "13".

Read more on Blabbermouth.net.

Blabbermouth.net, 18 September 2013

Photo by Vertigo Records

Black Sabbath will release a "Gathered In Their Masses" live in Australia DVD

Black Sabbath have just announced the release of the upcoming DVD "Gathered in Their Masses". The new DVD will feature professionally shot live footage from the legendary heavy metal act’s April 29 and May 1, 2013 shows held in Melbourne, Australia.

Tony and guys ventured to Australia a year-and-a-half after the group’s November 2011 reunion announcement. It was a long time coming, but Black Sabbath tore up venues across the continent before coming to North American from July to September, leaving fans fulfilled after each performance.

Now that the guys are resting up before invading South America and Europe, it’s the perfect time to tease a new release from the group. Earlier today (Friday the 13th), Black Sabbath posted the "Gathered in Their Masses" trailer, which is a lyrical reference to the Sabbath masterpiece "War Pigs".

The teaser ends with the words, "DVD Coming Soon", but we’ve learned that "Gathered in Their Masses" will see a November 26 release date. Check out the DVD trailer for "Gathered in Their Masses" below!