Black Sabbath - Vol. 4 - VINYL LP

Limited 180 gram black vinyl LP pressing. Digitally remastered edition. Master of Reality is the third studio album by Black Sabbath. Released in July 1971, it is widely regarded as the foundation of doom metal, stoner rock, and sludge metal. It was certified double platinum after having sold over 2 million copies. Master of Reality was Black Sabbath's first and only top 10 album in the US until 13 forty-two years later. Black Sabbath was formed in Birmingham in 1968 by guitarist and main songwriter Tony Iommi, bassist and main lyricist Geezer Butler, singer Ozzy Osbourne, and drummer Bill Ward. Black Sabbath is often cited as pioneers of heavy metal music. The band helped define the genre with a clutch of groundbreaking albums in the '70s. They have sold over 70 million records worldwide. Black Sabbath were inducted into the UK Music Hall of Fame in 2005 and the Rock and Roll Hall of Fame in 2006.

Six albums by ADRIANO CELENTANO available again on 180gm InchGREENYLInch, newly remastered from the original tapes edited by Pino InchPinaxaInch Pischetola. THE BOY FROM GLUCK STREET (1966), AZZURRO (1968), THE STUFF THAT ADRIANO SAID (1969), THE EVILS OF THE CENTURY (1972), YUPPI DU (1975), SVALUTATION (1976). The six albums, musically innovative and imaginative, are even more enhanced by the new remastering, with a sound that always remains current and faithful to it's modernity and originality (InchThe Boy From Via GluckInch and InchAzzurroInch are re-proposed with the original mixing MONO). In line with the topics of Adriano Celentano's songs, always oriented towards social and environmental issues, all copies are made of InchGreenylInch, a 100% ecological and sustainable vinyl, without PVC and with 80% of energy coming from panels solar panels and made of 99% certified recycled plastic.

2015 Sanctuary Records UK repress180g Vinyl LP?Vol. 4 is the point in Black Sabbath's career where the band's legendary drug consumption really starts to make itself felt. And it isn't just in the lyrics, most of which are about the blurry line between reality and illusion. Vol. 4 has all the messiness of a heavy metal Exile on Main St., and if it lacks that album's overall diversity, it does find Sabbath at their most musically varied, pushing to experiment amidst the drug-addled murk. As a result, there are some puzzling choices made here (not least of which is the inclusion of InchFXInch), and the album often contradicts itself. Ozzy Osbourne's wail is becoming more powerful here, taking greater independence from Tony Iommi's guitar riffs, yet his vocals are processed into a nearly textural element on much of side two. Parts of Vol. 4 are as ultra-heavy as Master of Reality, yet the band also takes it's most blatant shots at accessibility to date - and then undercuts that very intent. The effectively concise InchTomorrow's DreamInch has a chorus that could almost be called radio-ready, were it not for the fact that it only appears once in the entire song. InchSt. Vitus DanceInch is surprisingly upbeat, yet the distant-sounding vocals don't really register. The notorious piano-and-Mellotron ballad InchChangesInch ultimately fails not because of it's change-of-pace mood, but more for a raft of the most horrendously clich?d rhymes this side of Inchmoon-June.InchEven the crushing InchSupernautInch - perhaps the heaviest single track in the Sabbath catalog - sticks a funky, almost danceable acoustic breakdown smack in the middle. Besides InchSupernaut,Inch the core of Vol. 4 lies in the midtempo cocaine ode InchSnowblind,Inch which was originally slated to be the album's title track until the record company got cold feet, and the multi-sectioned prog-leaning opener, Inc