Recording
Following the 1972–1973 world tour in support of their Volume 4 album, Black Sabbath again returned to Los Angeles, California to begin work on its successor. Pleased with Volume 4, the band sought to recreate the recording atmosphere, and returned to the Record Plant Studios with new producer and engineer Tom Allom. Although the album credits the band's manager Patrick Meehan as producer, guitarist Tony Iommi said "Meehan's ego got involved, and he stuck his name down as producer". With musical innovations of the era, the band were surprised to find the room they had used previously at the Record Plant was replaced by a "giant synthesizer". The band rented a house in Bel Air and began writing in the summer of 1973, but due in part to substance abuse and fatigue, were unable to complete any songs. "Ideas weren't coming out the way they were on Volume 4 and we really got discontent" Iommi said. "Everybody was sitting there waiting for me to come up with something. I just couldn't think of anything. And if I didn't come up with anything, nobody would do anything."
After a month in Los Angeles with no results, the band opted to return to the UK, where they rented Clearwell Castle in The Forest of Dean, Gloucestershire, England. "We rehearsed in the dungeons and it was really creepy but it had some atmosphere, it conjured up things, and stuff started coming out again". While working in the dungeon, Iommi stumbled onto the main riff of "Sabbath Bloody Sabbath", which set the tone for the new material.
Recording was completed at Morgan Studios in Willesden, North London in 1973. Keyboardist Rick Wakeman of the band Yes (who was recording Tales from Topographic Oceans with Yes in the next studio) was brought in as a session player, appearing on "Sabbra Cadabra". Coincidentally Rick Wakeman's son Adam Wakeman has played keyboards for Ozzy Osbourne's solo band since 2004.
Read more about this topic: Sabbath Bloody Sabbath
Famous quotes containing the word recording:
“Write while the heat is in you.... The writer who postpones the recording of his thoughts uses an iron which has cooled to burn a hole with. He cannot inflame the minds of his audience.”
—Henry David Thoreau (1817–1862)
“I didn’t have to think up so much as a comma or a semicolon; it was all given, straight from the celestial recording room. Weary, I would beg for a break, an intermission, time enough, let’s say, to go to the toilet or take a breath of fresh air on the balcony. Nothing doing!”
—Henry Miller (1891–1980)
“He shall not die, by G—, cried my uncle Toby.
MThe ACCUSING SPIRIT which flew up to heaven’s chancery with the oath, blush’d as he gave it in;—and the RECORDING ANGEL as he wrote it down, dropp’d a tear upon the word, and blotted it out for ever.”
—Laurence Sterne (1713–1768)