Black Sabbath - Technical Ecstasy (Technical Ecstasy - Black Sabbath)

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Product:	Technical Ecstasy - Black Sabbath
Date:	06/10/00 (17 review reads)
Rating:

Advantages: Heavy

Disadvantages: not heavy enough

I'll be merciful with 'Technical Ecstasy'. Black Sabbath, having well and truly established themselves by 1976, had to be allowed some space to toy with. It's true that 'Sabbath, Bloody Sabbath' was also used as an exploration module by the group, but there were other factors at play for them three years on.

One star has to go because of 'Gypsy' and, to a lesser degree, the backfiring anti-hit 'Rock and Roll Doctor'. A further star really needs to be taken off to reflect how unmetallic Sabbath's substance had become by this point even though there were mitigating circumstances at hand. Perhaps it was their drugs or the wives, perhaps the friction between Osbourne and Iommi or maybe the group felt trapped and didn't know where else to go. Whatever the explanation, 'Technical Ecstasy' comprises a diversity of sounds and styles. 'Back Street Kids' is an excellent 'kick-off' track and, despite its synth saturated texture, it can keep you replaying it so many times that it may take a week or two before you can bear to part with it and check out the rest of the album. 'You Won't Change Me': a long, soul-searching power ballad that's arguably the finest written entry on here. It's sensitive, powerful and eerie and could easily be the reason for purchasing the album. 'It's Alright' - a straightly played ballad with Bill Ward on vocals. It's poignant, nicely done and memorable, however its inclusion on the album and not as a 'B' side on a single is questionable. 'Gypsy' - mediocre and dogged with structural ineffectiveness. It sounds like Iommi is completely at a loss for where to go from bar to bar. The change in tempo and silly piano bit is particularly counterproductive. 'All Moving Parts (Stand Still)' is a better work than 'Gypsy' thanks to a stronger chorus section but it still creates the impression of an overambitious T
ony Iommi trying to convince the other Sabs to play along with the charade. 'Rock And Roll Doctor' - Black Sabbath try to get back to basic rock and roll and screw up. Too repetitive, too banal, this track (oddly a band favourite) is wholly classifiable as filler because it sounds that way. 'She's Gone' - Ozzy does a duet with a violin. Boo Hoo..... Yes, this track is very sad and Ozzy puts his all into it but it goes about two steps above 1972's 'Changes' in ickiness. Also, seeing as 'Technical Ecstasy' already had 'It's Alright' to soften it up, why ever did they want to put more souffle into the vinyl? 'Dirty Women': 'Technical Ecstasy's hard rock salvation piece. A seven minute smoulderer, this song proves that somebody was home with the lights on during the album's recording session

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