Check out the Proto-Metal madness of Geoff Krozier’s Indian Medicine Magik Show (and, yep, it’s a magic(k) show), from 1970!

Awesome heavy sounds from Australian magikal madman, Geoff Krozier and band. Imagine Arthur Brown (not only flaming head, but fire eating, as well) performing Heavy Metal Magik, while a band bash away in full on Sabbath freakout mode (complete with Gibson SG and a fucking digeridoo, coz Australia, motherfuckers!). Fire, a live chicken, smoke machines, face paint, shit this show sets the stage for a generation of acts to follow, not the least of which would be the theatrics of Alice Cooper, Kiss, Motley Crue and WASP, and this is on an Australian national television performance! I can barely express how glad I am to have discovered this.

Krozier would later perform with Von Lmo’s groundbreaking No Wave act, Kongress, and record a series of synthesizer based music, some of which is to be released on Finders Keepers Records, as Krozier & The Generator.

And here’s some footage of Krozier with Kongress…


And a couple of solo Magik Art performance clips, in the first of which, he greatly resembles Lo Pan from Big Trouble In Little China, which would not be released until five years after his death. Maybe John Carpenter saw a Krozier gig ( I can dream, at least).

Remember that hot second when Ian Gillan sang for Black Sabbath?

It was 1983-84 and resulted in only one album, Born Again, and tour, and was a period apparently filled with pranks and hijinks, which provided the source of Spinal Tap’s, Stonehenge gag. According to bassist Geezer Butler: “We had Sharon Osbourne’s dad, Don Arden, managing us. He came up with the idea of having the stage set be Stonehenge. He wrote the dimensions down and gave it to our tour manager. He wrote it down in metres but he meant to write it down in feet. The people who made it saw fifteen metres instead of fifteen feet. It was 45 feet high and it wouldn’t fit on any stage anywhere so we just had to leave it in the storage area. It cost a fortune to make but there was not a building on earth that you could fit it into.” Watch the interviews for Ian Gillan’s version of the above, and Tony Iommi’s tale of almost blowing up Gillan up, while in a tent.

Born Again is definitely not the powerhouse album that one would have hoped for from the world’s heaviest band, paired with one of Rock’s greatest singers (I’ll leave the same discussion of the Dio Years for later). My god, Ian Gillan has an amazing set of pipes. In the above interview, Gillan discusses lyrical issues with the material that clearly contributed to the general¬†confusion of the album. That being said, the album has some exemplary cuts, and I wish that they’d given it a second go, to improve upon the concept. Apparently the project was not originally intended to be a Black Sabbath release, but record company interference forced it to be released as such. Deep Sabbath? Black Purple? Deep Black? Purple Sabbath?

The album single, and standout track, Trashed, received a fair amount of video play, in it’s time.

And demos for those interested…

Happy Birthday To The King Of Sustain, Tony Iommi

His tone SET the tone for all future Heavy metal. A guitar god!
Okay, so vh1 won’t let this video embed but click the link and watch their animation for Tony explaining the origins of his style
http://www.vh1.com/music/tuner/2015-02-19/black-sabbath-complete-history-of-heavy-metal/?utm=share_twitter

These, in the studio clips, are amazing!

Happy Birthday, Beth Gibbons

In the mid-nineties, during the nascent stage of Trip-Hop, two bands emerged within the genre as innovators: Massive Attack and Portishead, and neither band were strictly beholden to what would become the genre’s tropes. Portishead’s wide array of influences created a band unable to be defined by any one style, yet their atomspherics proved immediately unique and identifiable. Melody Maker referred to their music as “musique noire for a movie not yet made” and that is an entirely apt description of their dark, smokey sound. Their first two albums, released in 1994 and 1997, are utter classics, albums that can be returned to again and again that never sound dated or tired. Beth Gibbons voice, alternately dreamy and menacing, crept from breathy, hushed tones to frighteningly strong and direct admonitions, as though playing both victim and villain, and often within the same song. Let Portishead be your soundtrack.




The short film To Kill A Dead Man

An amazing set, with Portishead augmented by a large string section




Beth fronting stoner band Gonga on a cover of the titular Sabbath classic

OZZY!

It’s Ozzy’s 66th birthday. Time for some Sabbath and Randy Rhoads era solo shit.


There are criminally few clips of Randy Rhoads era Ozzy, so this awesome set from After Hours TV is a blessing.




My favorite Ozzy solo cut… actually, one of my favorites, period.

ozzy 2