This verse is about being open-minded about a god existing, which the band written to prove that they weren't Satanists. However, the subtlety is what makes this work extremely well, with the questions leading to multiple answers, and suggesting that it can be good or bad should there be a god or not. While the lyrics are simple on paper, their subtle tone enhances the themes, and they would be further executed by the instruments and vocals. Embryo” is kind of weird because it seems very unpracticed. It is a clean guitar solo piece written by Tony Iommi, but he messes up and stuff. But it’s only 28 seconds long, so I’ll give him a break. This music on this release is very aggressive but at the same time it's very melodic there's a lot of great music encased within this release. It is one where you see a lot of raw emotion but at the same time you also find a lot of real issues with the music from a lyrical persepctive. This is a release from a band that has already been able to observe some of the things going on around them on their first two records. It is the bookends that are really what's encouraging and also very spectacular.

Black Sabbath - Master of Reality (Full Album) [Official

The band also seemed to be tighter as a unit with a much more focused vision. The Sab Four always had fantastic chemistry but the structures on this album are more fully realized than anything that had come before. Nothing on Paranoid could’ve ever reached the speeds of the charging “Children of the Grave” and while the tempo shifts on songs like “Sweet Leaf” and “Into the Void” are nothing new, they were never this purposeful. The band was clearly done meandering around and not a single second is wasted, effectively bridging the gap from the psych blues jams of “Warning” and “N.I.B.” to the elaborate journeys of “Megalomania” and “Wheels of Confusion.” Well, and the question is: is “Master of Reality” a good album? Yes, it is, no doubts about it. It's incredible how a band could release three top notch albums in two mere years, but, I tell you, Sabbath did it. While not being a long record (“Master of Reality” contains six songs and two interludes, with the total playing time being, roughly, 35 minutes), it is a very cohesive and strong piece, all the songs flowing well together and sounding fresh. Sadly, “Master of Reality” is often despised by the majority of the people, who constantly say that “Paranoid” is the “be-all, end-all” of Sabbath's catalogue. How wrong they are, indeed... So, ‘Into the Void’ really is the heaviest song ever (I probably say that about three times a week about different songs, but this is always one of them). I actually rather imagine this as a continuation of the lyrical themes of ‘Solitude’ it makes for a rather amusing narrative: John "Ozzy" Osbourne (vocals) - Ozzy's voice is continually improving, gaining a little strength and some range. The change is evident on Sweet Leaf. Of particular not is the rather un-Ozzylike performance on Solitude, which has even real fans in disbelief that it's really him. Another key factor of “Master of Reality” is its lyrical theme and overall mood. Well, as usually for Sabbath, this preaches of struggle, drugs, and sci-fi. Also, while “Hand of Doom” may have given the genre of Doom Metal its title, “Master of Reality” contributes much more to the genres sound.Use italics (lyric) and bold (lyric) to distinguish between different vocalists in the same song part

Black Sabbath - Master of Reality Lyrics and Tracklist | Genius

It would have been the most stupid and self-destructive thing we could possibly have done": Why the man who signed Led Zeppelin and The Rolling Stones failed in his repeated bids to sign Fugazi, not even for 10 million dollars I love the rhythm of Children Of The Grave,” notes Geezer. “It was unique at the time, a menacing, marching vibe. The downtuning definitely summoned the advent of doom metal and heaviness in general. Too many bands to mention have told me they were inspired by it.” By this time in the album, you pretty much know what to expect, which is the only thing that hampers “Lord of This World.” It has a similar sound to the rest of the album, but it is still an amazing display of the talent that this band possessed. The lyrics are a little vague, and the main verse riff is a little same-y, but overall this is another great Sabbath classic. And it’s awesome when he says “The soul I took from you was not even missed!” The instrumental section of the song sounds particularly inspired, and there is some typically sweet guitar playing by Iommi. And the part where it goes “Duh-duh-duh-duh-duh! Lord of this world!...” etc. is really awesome. This song is often overlooked, but it really shouldn’t be. Come on, it has cowbell! No but really, no joke, it’s freakin’ amazing. Jaaroverzichten – Album 1971" (in Dutch). Hung Medien. Archived from the original on 12 November 2022 . Retrieved 26 July 2023.No band could maintain such appetites. Remarkably, Sabbath’s hot streak lasted until 1973’s Sabbath Bloody Sabbath (“It was downhill all the way after that,” says Ozzy). But a half-century later, Master Of Reality marks the final time that metal’s founding fathers functioned as a fist-tight unit. US-made compact disc pressings of Master of Reality continue to list the incorrect timings of the Revised US LP pressing on the CD booklet. [37] However, the songs are not indexed on the CD using those timings – the breaks between songs are correctly placed. Master Of Reality is where we found ourselves,” Bill told music journalist and Hammer legend Malcolm Dome. “I know people feel that Sabbath invented heavy metal with our debut album – and that is true to some extent. But I believe that it’s with Master Of Reality that we proved the potential and power of the music.” Grow, Kory (21 June 2017). "100 Greatest Metal Albums of All Time". Rolling Stone. Wenner Media LLC. Archived from the original on 10 August 2017 . Retrieved 21 June 2017. Bill Ward, Geezer Butler and Tony Iommi are more than competent, they have proven to be reliable on two previous albums. The three of them begin Lord Of this World with a bit of tense anticipation and the entire song can be pointed to for the claim that it redefined the word heavy, in a musical context. No one in 1971 sounded like this. But like all of the compositions here, it fails to have any imagination, the opening musical stanza is tense but plummets immediately. Returning to that snails pace and going absolutely nowhere musically, then Ozzy assaults your eardrums. This performance is one of the absolute worst in Ozzy’s career, which is saying something considering the majority of his solo output.