BLACK SABBATH’s triumphant 2013 tour – which kicked off earlier this year in Australia – can now be seen by fans around the world via the forthcoming Black Sabbath: Live… Gathered In Their Masses (Vertigo/Republic).
Pre-orders for Black Sabbath: Live… Gathered In Their Masses are available now at BlackSabbath.com.
Black Sabbath: Live… Gathered In Their Masses tracklistings:
DVD / Blu-Ray:
‘War Pigs’
‘Into The Void’
‘Loner’
‘Snowblind’
‘Black Sabbath’
‘Behind The Wall Of Sleep’
‘N.I.B.’
‘Methademic’
‘Fairies Wear Boots’
‘Symptom Of The Universe’
‘Iron Man’
‘End Of The Beginning’
‘Children Of The Grave’
‘God Is Dead?’
‘Sabbath Bloody Sabbath’ (Intro)/’Paranoid’
CD:
‘War Pigs’
‘Loner’
‘Black Sabbath’
‘Methademic’
‘N.I.B’
‘Iron Man’
‘End Of The Beginning’
‘Fairies Wear Boots’
‘God Is Dead?’
‘Sabbath Bloody Sabbath’ (Intro)/’Paranoid’
Due out November 26th, 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 29th and May 1st, 2013 in Melbourne, Australia when the band kicked off their world tour in support of their 13 album, which entered the charts at #1 in 13 countries (including their first #1 in the US). Meanwhile, Black Sabbath will head to South America and Mexico in October for a headlining stadium tour (where they’re expected to play to more than 300,000 fans) and then onto Europe in November and December.
According to The Pulse Of Radio, an excerpt from Sharon Osbourne‘s new memoir that was published by U.K. tabloid The Sun over the weekend reveals just how ugly it got between her and Ozzy earlier this year when Sharon found out that her husband of 30 years had relapsed into drug and alcohol abuse.
Sharon writes that she found out about the BLACK SABBATH singer’s drug abuse on their 30th wedding anniversary when she saw texts on Ozzy‘s phone asking people to supply him with drugs and and saying, “Don’t tell the old girl.” Sharon confronted Ozzy and he promised to go to rehab, but ended up fleeing to the U.K. instead.
Sharon retaliated by selling off all of Ozzy‘s prized cars, recalling. “There was no way I was going to risk him getting in one of them while he was drunk and hurting someone . . . Ozzy says now that it proved to be the most expensive drink he’s ever had.”
When the couple reunited in Los Angeles a few weeks later, Ozzy was so “cocky and arrogant” that Sharon says she “snapped,” demanding a divorce and asking for 100,000 British pounds — around $162,000 — a month in spousal support.
Sharon writes that when Ozzy replied, “Over my dead body,” she threw a cup of coffee at his head, adding, “Then I grabbed him and pulled at his precious hair with one hand, while trying to yank off his jewelry with the other. He went for me, trying to grab me in a headlock.”
Ozzy told The Pulse Of Radio a while back that despite critics always saying that Sharon controlled his career and life, the truth was in fact the opposite: “My wife does not get involved with telling me about working. I tried retirement, it sucked. If I don’t want to do anything, my wife can’t make me do anything I don’t want to do.”
The estranged couple met up again in May after Ozzy had finally gone to rehab and was sober for two months. Sharon writes, “It seemed like forever since I’d looked into my husband’s eyes, but now I was looking into sober eyes. The man I loved was present. I could tell he was relieved to be sitting next to me. I put my hand on his, took him in my arms and we cried.”
The couple moved back in together in June.
Sharon‘s book, called “Unbreakable”, is due out this month.
According to Bravewords.com, On Tuesday, October 1st, The Gathering Storm – The Album Art Of Storm Thorgerson will be released by StormStudios and De Milo.
Storm Thorgerson wrote and compiled this book over the last year of his life, and it covers his entire career in album cover design from the 1960s and his days with Hipgnosis through to StormStudios, and includes his artwork for PINK FLOYD, LED ZEPPELIN, BLACK SABBATH, PETER GABRIEL, 10CC, AUDIOSLAVE, GENESIS, RAINBOW, STEVE MILLER and MUSE amongst others.
The Gathering Storm – The Album Art Of Storm Thorgerson features 256 pages and according to Pink Floyd, “Storm managed to see, and approve, a finished copy a few days before he died – working right until his untimely and sad passing.”
According to Bravewords.com, BLACK SABBATH was immortalized in an all-original, terrifying 3D maze, Black Sabbath: 13 3D at Universal Studios Hollywood’s premier Halloween Horror Nights event, which began September 20th. Check out a teaser video featuring the band members below:
Check out back-stage footage from the upcoming event below:
BLACK SABBATH guitar legend Tony Iommi is featured in a new interview with Matt Blackett at Guitar Player magazine. An excerpt is available below:
GW: 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.
Iommi: “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.”
GW: 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?
Iommi: “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.”
Black Sabbath fans who didn’t see the band live on their recent tour will now have the chance to experience them via a new DVD, Black Sabbath: Live…Gathered In Their Masses (Vertigo/Republic).
Due out November 26th, the DVD was recorded in April 29th and May 1st, 2013 in Melbourne, Australia (additional details TBA), when the band – OZZY OSBOURNE (vocals), TONY IOMMI (guitar) and GEEZER BUTLER (bass) – kicked off their world tour in support of their 13 album, which entered the charts at #1 in 13 countries (including their first #1 in the US).
Check out a teaser video below:
Meanwhile, Black Sabbath will head to South America and Mexico in October for a headlining stadium tour (where they’re expected to play to more than 300,000 fans) and then onto Europe in November and December.
Find Black Sabbath’s live itinerary at this location.
The clip below features fan-filmed video of Black Sabbath’s entire August 28th show in Irvine, CA at the Verizon Wireless Amphitheatre:
The band’s setlist on the night was as follows:
‘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’
‘Methademic’
‘Symptom of the Universe’
‘Rat Salad’
‘Iron Man’
‘God Is Dead?’
‘Children of the Grave’
Black Sabbath will be immortalized in an all-original, terrifying 3D maze, Black Sabbath: 13 3D at Universal Studios Hollywood’s premier Halloween Horror Nights event, beginning September 20th. Check out newly-released back-stage footage from the upcoming event below:
The new maze, based on the darkest lyrics from Black Sabbath’s biggest hit songs and the only attraction at the horror event to incorporate 3D video, will also include scenes inspired by the legendary band’s recently released Billboard #1 album, 13. A nightmarish landscape of doom will engulf guests as they enter Black Sabbath: 13 3D and traverse through horrifying graveyards, disturbing madhouses and bone-chilling battlefields.
“We were all really excited when Universal Studios Hollywood approached us about doing a 3D ‘Halloween Horror Nights’ maze based on our music,” said Black Sabbath’s OZZY OSBOURNE. “I’ve seen the drawings of what it will look like when it’s finished and it looks amazing. I can’t wait to walk through it on opening night in September.”
Guests will come face to face with a heart-stopping Lucifer and his bride, blood-soaked dead bodies and bubbling pools of “radioactive water” while song’s inspired by ‘Luke’s Wall’, ‘Iron Man’, ‘Paranoid’, ‘War Pigs’, ‘Electric Funeral’ and – of course – ‘Black Sabbath’ violently penetrate the confines of the maze at high volume.
“Very few bands can claim to have defined a genre of music but Black Sabbaths’ remarkable influence in the evolution of heavy metal will go down in history,” said John Murdy, Creative Director for Universal Studios Hollywood. “Tony Iommi’s dark, iconic riffs, Ozzy Osbourne’s haunting vocals and Geezer Butler’s foreboding lyrics provide the perfect soundtrack for ‘Halloween Horror Nights’ and endless inspiration for our new haunted attraction Black Sabbath 13 3D.”
Halloween Horror Nights 2013 at Universal Studios Hollywood brings together the sickest minds in horror to immerse guests in the living, breathing, three-dimensional world of the most notorious and terrifying creatures and features a slate of unrivaled film production quality mazes, terror-filled Scare Zones and a fully re-imagined Terror Tram experience, uniquely themed to today’s most definitive horror properties. This year’s haunted attractions will include The Walking Dead: No Safe Haven, based on AMC’s Golden Globe-nominated, Emmy Award-winning show, and Evil Dead: Book of the Dead, inspired by Sony Pictures Home Entertainment’s chilling remake of the cult classic.
David E. Gehlke of DeadRhetoric.com recently conducted an interview with Canadian multi-instrumentalist/producer Devin Townsend. A few excerpts from the chat follow below.
DeadRhetoric.com: I saw a quote from you in regard to “The Retinal Circus”: “It’s a clusterfuck on stage.” Can you elaborate?
Townsend: I probably just like swearing — it makes me feel good. [laughs] In my head, everything I do that has a concept, which is 80%, appears a lot more streamlined in my mind’s eye than when we try to articulate it on stage when we have no money and no time. So, “The Retinal Circus” is yet another example of me being overambitious and underfunded, as someone close to me commented on the state of my career. Once you’ve spent some time with the show — if you choose to do so, or you turn it off, it makes a great deal of sense. Ultimately, by the end of the end of the show, it has a point that it makes, that the clusterfuck nature is essential. It has to be there. But really at first look, I had a bunch of friends – I spent a lot of time on the video and the audio — I brought the DVD on the tour bus I was on at the time and I played for a band we were out with at the time and a bunch of guys that were involved with it, I put it on and cranked it up, and looked around the front lounge and everybody’s face was like, “What the fuck is this?” I remember thinking at that point, “If you’re not deeply invested in the creative elements of it and why it is the way it is, I can totally see why people would view it as chaos.” When I had described it as being a clusterfuck on stage, it was more of me buffering people that until you do choose get that deep into it, it’s pretty over the top.
DeadRhetoric.com: Jed [Simon] joined you for “Love” and “Detox”. As you said, there’s always the cloud of STRAPPING YOUNG LAD hanging over you, but you confronted it by having Jed onstage with you. How cool was that?
Townsend: First off, thank you for recognizing that, because that’s exactly what it is. Ultimately, I’m going to do what I want to do, and that’s the bottom line. The more that people demand I do something, the less I want to do what they demand me to do. When I was a kid or first in a relationship with my wife, she would comment, “Whatever it is I want you to do, I make sure I don’t tell you to do it.” I’m aware of it, which is a good first step. It’s the truth — I hate being told what to do and I won’t be told what to do. So the more people go on with these self-serving demands about STRAPPING YOUNG LAD, I’m like, “Look, NO!” Not now, more than ever before, because I keep being bugged about it. For me, having Jed there and playing STRAPPING was important because I didn’t have the opportunity to really — other than being “Fuck you, quit talking to me about STRAPPING” — I’ve not had the ability as a musician or as a person to reflect on, “How do you feel about STRAPPING?” Regardless of what anybody feels or their misinterpretation of it, how do you feel about it? And how do I feel about it? I’m totally proud of it; it’s a huge part of my life. It’s something I have an immense emotional connection to, and respect for, but in the same way that what I’m doing right now, which is “Ziltoid” or “Casualties”, STRAPPING is what I was doing then. I find that I can totally sympathize why people would want it back, but my frustrations lay with any band, GUNS N’ ROSES, GODFLESH with “Streetcleaner”, anything, I don’t understand the process people go through in terms of assuming that if the band was still active right now, they’d be like the period that was of emotional significance to them. I don’t understand and I’ll say that straight-up. But the more I look into it, I realize that it’s everywhere. I read something about Ihsahn and about EMPEROR getting back together, and in the interview, he gave a very explicit and perfectly logical explanation as to why EMPEROR wouldn’t be the same now as it was then. I thought, “Okay, that makes perfect sense.” But the comments are unequivocally, “No, I don’t agree — you’re wrong. EMPEROR would be perfect if they came out again.” My reaction is just confusion. That being said, because it’s a reality and you can’t escape it, I have no problem explaining myself.
DeadRhetoric.com: To back that up, you played a STRAPPING song in Chile and posted a message on Twitter after the show essentially apologizing for it. What happened there?
Townsend: The crowd loved it, but for me, I don’t know how I feel about it. And STRAPPING YOUNG LAD, as much as I wrote 80% of the music, it wasn’t just me. It was Gene [Hoglan], Jed, and Byron [Stroud]. For example, I bought the new BLACK SABBATH record and I can’t listen to it because the drums are distracting.
DeadRhetoric.com: Because it’s not Bill Ward playing.
Townsend: It’s not Bill Ward. It has nothing to do with the drums being not-BLACK SABBATH or poor performance or poorly recorded, or anything — it’s just that I can’t shake it’s not Bill Ward, so it’s not BLACK SABBATH to me. I know that it’s a naïve way of looking at it, but I feel the same way about anything I do. Unless it’s completely me, I don’t want to be that guy, I don’t want to be that guy that goes up and plays STRAPPING YOUNG LAD songs. I wrote most of the stuff, but I didn’t feel comfortable. In fact, I felt that until I worked on my relationship with those guys — and not that my relationship is bad, it’s healthy — but until I come to terms with it and until people stop bugging me, I’m not going to have any perspective on the band other than frustration, other than odd memories. I just felt that it’s not what I wanted to be doing right now.
Kimmo Kuusniemi’s ASA unveil the long-overdue release of "Collective Failure" + first music video for title-track! Check it out and stay tuned for more news! Click image to watch the video
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