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I don’t think there was ‘one’ ‘typical’ ‘mould’ of Sabbath lyrics, at all..Ozzy, during his tenure, wailed and emoted his own distinct and varied lyrical palette; Dio’s arrival to the band meant that his assorted pet themes came along too (with Dehumanizer being a marked exception to his tradmark lyrical template)…and gosh, Martin, that era had some of the most mediocre, almost comically phoney and/or drab lyrics ever penned in the band’s studios. a gas station The only thing that really stood out on BA, though, was not the stupid Sabbath instrumentals, the yucky cover, the sub-par production, the very ordinary playing, overall, but it was Gillan’s voice, the goodness, goofiness and sheer out-of-place pretentiousness of it all…As for Harris, Dio and Geezer, I have to totally disagree with the first two of that trio, being somehow regarded as some of "the better lyricists in the genre"…I have known Maiden fans that might swear by Harris’s bass playing but wouldn’t remotely cheer him for a lot of the pedestrian, dumb lyrics he ever penned for the band. Dio?..Too much of a bona fide serial fantasy junkie to be considered even a "good", let alone ‘great’, writer by too many of his own biggest fans..As for Geezer, that man seemed to have got plain lazy, smug or just his formerly snazzy lyrical instincts badly deserted him within the latter incarnations of a much-changed band, a band he had helped once make mightily memorable, with the power of his penned lyrics alone, not to speak of his bewitching bass playing..

I’m sure there was plenty of comparisons drawn between PS and BA after PS came out. BA was sketchy, suffered from sound and mastering problems and the tour ended disastrously and prematurely whereas PS was a solid reunion effort for Deep Purple (and yes, it’s one of the better albums produced since the reunion though I wouldn’t say it’s really THE best – we have slightly different opinions on that :D)

Oh yeah, I would bet that there were comparisons galore between the two albums obviously AFTER Gillan had gone back to reunite with his old pals and one feuding nemesis a.k.a Blackmore to record and release such a rollickingly superb disc that is Perfect Strangers..I’d imagine a lot of fans and critics would have felt that was the greatest thing to have happened since BA was mostly rated an overall failure and Gillan was deemed a definite misfit with Sabbath, so his going back to DP must have looked like an ideal turn of events..especially with an album of PS’s quality being doubly fabulous after the all-round dud that was BA…I say PS is, for me, the "best" DP record since ’84-to date, because I still have a very lowly regard for the subsequent discs with Gillan; House of Blue Light, the utterly shitty TBRO and need I even go near the abominable S&M with a wussy clown on mics, and my stated opinions, in the past in these forums, of the entire Morse-era wares??

I don’t understand that. A singer is just that, a singer. gas stoichiometry practice sheet He/she can never trump the entire band’s performance and unless the two bands try to sound distinctly similar, he/she can’t turn one band’s sound into another. After all, the music is first, and the vocals are just an icing on the cake. gas emoji meaning They can be good or bad, but of course the icing can be either made of candy or of shit. :haha:

Yeah, I’d agree with that to a large extent, except that, Rover, some rock singers have often managed to pull off, intentionally or inadvertently, the feat of making their new band somehow sound like their ex-band, in certain ways…Guys like Gillan are basically such charismatic personalities as rock frontmen with mighty popularity and stature among rock fans, that their presence on a studio album with a new, different band than their mainstay band, invariably, on at least a subliminal, subconscious level, colours the new album with new band with the new singer’s vocal, lyrical and other stylistic handprints. I don’t think BA sounded like a Gillan-fronted DP album at all, but there was something about Gillan’s unmistakably over-the-top efforts at wanting to ‘fit into’ the ‘Sabbath image’ and scheme of things, his screaming and crooning all those juvenile, cartoonish lyrics, and other Gillan mannerisms made BA, from moment to moment, sound almost like Ian Gillan fronting a solo one-off stunt of his own with a bunch of heavy-sounding session musicians…

The only thing that really stood out on BA, though, was not the stupid Sabbath instrumentals, the yucky cover, the sub-par production, the very ordinary playing, overall, but it was Gillan’s voice, the goodness, goofiness and sheer out-of-place pretentiousness of it all…As for Harris, Dio and Geezer, I have to totally disagree with the first two of that trio, being somehow regarded as some of "the better lyricists in the genre"…I have known Maiden fans that might swear by Harris’s bass playing but wouldn’t remotely cheer him for a lot of the pedestrian, dumb lyrics he ever penned for the band.

I know you hate Iron Maiden with a passion for some reason but you can’t deny the lyrical quality to most of that band’s output. electricity worksheets ks1 While not being socially acute, Iron Maiden (where the lyrical duties are divided between Bruce Dickinson and Steve Harris) has always made interesting, witty and deep lyrics about war, religion, history and life. None of the ubiquitous cock rock tripe, none of the juvenile satanistic drivel, none of the idiotic, childish "gore" crap. gas yourself in car And, more remarkably, no nonsensical lyrics. q gastrobar leblon It’s also funny that while listening to Iron Maiden, I hear many words not often used in (metal) lyrics. At least one band doesn’t fall to lyrical banality these days.

Guys like Gillan are basically such charismatic personalities as rock frontmen with mighty popularity and stature among rock fans, that their presence on a studio album with a new, different band than their mainstay band, invariably, on at least a subliminal, subconscious level, colours the new album with new band with the new singer’s vocal, lyrical and other stylistic handprints. electricity vampires I don’t think BA sounded like a Gillan-fronted DP album at all, but there was something about Gillan’s unmistakably over-the-top efforts at wanting to ‘fit into’ the ‘Sabbath image’ and scheme of things, his screaming and crooning all those juvenile, cartoonish lyrics, and other Gillan mannerisms made BA, from moment to moment, sound almost like Ian Gillan fronting a solo one-off stunt of his own with a bunch of heavy-sounding session musicians…

Oh no, God, not that! The music was distinctly Sabbath, and the only Deep Purple reminiscences I hear are musical – such as The Digital Bitch "sharing" the same rhythm as Highway Star (I think). Nor does BA sound in the least like Gillan’s solo band which was some Prog Fusion in the mid 70s and then straightforward Rock’n’Roll in the very early 80s. You can’t convince me in that.

Oh, I was being prankish with tongue mostly in cheek, with that one.. Of course, H&H is certainly no Rainbow-like album, no question…Though, the ONLY thing common between them is not merely the ‘singer’, but I’d happily break it to you, that same singer’s similar lovely "lyrical" children that he takes with him everywhere he goes… Also, I consider both Rainbow’s Rising and LLRR to be somewhat superior records to the elf’s debut with an ultimately far bigger, better band that he had inherited upon his arrival at the turn of the decade..Besides, we have already had our firefights over H&H..

Even Rising had a fair share of filler, let alone the other two Dio-fronted albums with Rainbow. Now, Dio/Rainbow and Dio/Sabbath have both produced some timeless rock/metal anthems in their time (and I hope that Dio/Sabbath keeps the banner high) so it really boils down to personal taste. Have to admit, I much prefer Iommi to Blackmore not only as a guitar player (me being more into Sabbath/Metal than into Purple/Hard Rock), but as a person as well. electrical supply company near me At least Tony was never randomly behaving like an asshole. Or worked with Joe Lynn Turner.