Prog Rock So White, So What?

me_josh_ian_procol_harumThe cultural apparatchiks can’t figure out if it’s worse for white people to “culturally appropriate” the styles, customs, and musics from various racial and ethnic groups or to avoid them. If you do the former, you’re diluting them with your lack of understanding and context, and thus you’re racist. If you do the latter, you’re showing in-group preference, and thus you’re racist.

So, when the very Anglo Saxon sounding James Parker writes for The Atlantic that “prog rock is the whitest music ever”, what is his point, other than he doesn’t like progressive rock very much? He begins by talking about a prog rock themed cruise that’s taking off from the port of Miami.

“We are the most uncool people in Miami.” So begins, promisingly enough, David Weigel’s The Show That Never Ends: The Rise and Fall of Prog Rock. Weigel, along with 3,000 fellow Yes-heads, Rush-oids, Tull freaks, and votaries of King Crimson—cultural underdogs all, twitching and grimacing with revenge-of-the-nerds excitement—is at the port of Miami, about to embark on a five-day progressive-rock-themed cruise: a floating orgy of some of the most despised music ever produced by long-haired white men.

Despised by who exactly? He goes on:

Do you like prog rock, the extravagantly conceptual and wildly technical post-psychedelic subgenre that ruled the world for about 30 seconds in the early 1970s before being torn to pieces by the starving street dogs of punk rock?

Absolutely. Blame Hawkwind, Can, and Van der Graaf Generator for that. I suppose you could also blame Alice Cooper and Black Sabbath if you think they scrape against the progressive rock genre; Sabbath DID hire Rick Wakeman to play keyboards on Sabbath, Bloody Sabbath, and the album has the weird sounding, Moog filled “Who Are You?” on it, while Alice Cooper blatantly said that he and his early band wrote the eight minute, multi-part epic “Halo of Flies” to impress the prog crowd. But you know who you should REALLY blame? Johnny Rotten. That’s right, the former Sex Pistol, who reverted back to John Lydon when he launched Public Image Ltd. in 1978, talked about how his favorite pre-1975 bands were all of the above mentioned. Hawkwind, the band Lemmy was in before he started Motörhead, was my gateway drug into all things nerdy and progressive. Their songs are long and jammy like progressive rock, but driving and aggressive like punk rock or metal; check out “Brainstorm” if you wanna hear thirteen straight minutes of spacey, Stooges-style, proto-punk aggression.

As anyone with a cursory knowledge of rock history knows, John Lydon was spotted in the Summer of 1975 walking down a London street wearing an “I Hate Pink Floyd” t-shirt, which lead to his landing the Pistols gig. But, if he HATED Pink Floyd (in actuality, he doesn’t), and Hawkwind COVERED Pink Floyd – “Cymbaline” – then that’s a bloody contradiction, innit? On top of THAT, Lydon openly and often talks about how he loves the very progressive Van der Graaf Generator. Listen to Peter Hamill’s singing, such as in the song “Killer”, and you know where post-Pistols John Lydon got his caterwauling vocal style from.

And so, I realized it wasn’t 1977 anymore, and my punk/prog tribalism was torpedoed FOREVER!!! There isn’t THAT big of a leap from Sabbath to the King Crimson track “21st Century Schizoid Man”, with its heavy metal riff and bonkers jam out section. And, although Crimson use a saxophone in “Schizoid Man”, Hawkwind, X-Ray Spex, and the Butthole Surfers incorporate saxophone into their sound as well. Pretty soon, I was aurally scarfing down the music of Yes, Genesis, Jethro Tull, Emerson, Lake and Palmer, Gentle Giant, Gong, Nektar, Arthur Brown’s Kingdom Come, Greenslade, Egg, Kayak, Fuzzy Duck, and Atomic Rooster, along with German progressive rock acts like Eloy and Birth Control – which shouldn’t be mistaken for kraut rock bands like Can, Kraftwerk, Neu!, Faust, Amon Duul 2, Cosmic Jokers and Tangerine Dream – Italian bands like Goblin, Banco Del Mutuo Soccorso, New Trolls, Area, Maxophone, and Premiata Forneria Marconi, and of course the extremely weird French band Magma. I also really dig the fantasy art of Roger Dean, which decorates the album sleeves of Yes, Uriah Heep, Budgie, and Osibisa. That’s right, James Parker, I listen to Osibisa, an all black group of African expatriates! How’s THAT for virtue signalling?!

So, to answer your original question, yes, I like prog rock. But go on…

Do you like the proggers, with their terrible pampered proficiency, their priestly robes, and their air—once they get behind their instruments—of an inverted, almost abscessed Englishness? I don’t.

You don’t say…

At least, I think I don’t. I like Queen’s “Bohemian Rhapsody,” which is a kind of wonderful satirical compression of prog rock, a fast-forward operetta with goofy existentialist trappings and a heavy-metal blowout in the middle; I like the bit of Mike Oldfield’s Tubular Bells that became the theme music for The Exorcist.

Actually, Mr. Parker, the Jethro Tull album Thick as a Brick is a spoof of self-important progressive rock conceits; that’s the album with the newspaper sleeve, which features a phony story about a nine year old boy, who wrote a poem that the Jethro Tull members thought was so brilliant, they used it as the lyrics for their album. In case you couldn’t guess, that was a joke. But you ARE right; “Bohemian Rhapsody” is a very good song, if a bit overplayed, and I like Tubular Bells as well.

Hated, dated, sonically superannuated … One could enjoy prog ironically, I suppose—listen to it with a drooping and decadent ear, getting off on the fabulous obsolescence, etc.

“Hated, dated, sonically superannuated”? What, are you Bob Dylan now?

Prog as a wild chamber of experimentation, a sci-fi trespass across the limits of popular music, driving clear of fashion and orbiting the Earth forever. Awesome. The problem comes, for me, when I actually listen to the stuff. Is it not a form of aesthetic dissipation to praise something for its ambition and its bold idiosyncrasy when that something is, objectively speaking, crap?

Okay, so you don’t like it. Nobody’s forcing you to listen to it, but when exactly did musical taste become “objective”?

Gentle Giant, in 1972, took a poem from Knots, a book by the great heretic psychiatrist R. D. Laing, and turned it into an intricate, multivoice chant: It hurts him to think that she is / hurting her by him being hurt to think / that she thinks he is hurt by making her / feel guilty at hurting him by her thinking / she wants him to want her. The idea is great on paper. But listen to the song, to its scurrying, fidgety instrumentation, its fussy avoidance of anything like a melody. It is not enjoyable. At all. Magma, the French prog band, invented not only its own L. Ron Hubbard–style cosmic origin story but its own language (Kobaïan, which reads like a sequence of Gothic expletives: Nebëhr gudahttKöhntarkösz). Again, very creative. But run, oh run, from the music.

Blah, blah, blah… Gentle Giant is actually VERY enjoyable. In fact Sherman Hemsley LOVES ’em, and you’re not going to argue with George Jefferson, are you?! More on point; Magma IS a very weird band. But their weirdness is fun, jackass. I remember driving around with my friend in our little burg near Detroit, blasting Mëkanïk Dëstruktïẁ Kömmandöh just to annoy people.

Eventually James “so Anglo Saxon it hurts” Parker attempts at cycling the piece away from his personal bias and back to what is allegedly the point of the article.

“We’re a European group,” declared the lead singer of proto-proggers The Nice in 1969, “so we’re improvising on European structures … We’re not American Negros, so we can’t really improvise and feel the way they can.” Indeed. Thus did prog divorce itself from the blues, take flight into the neoclassical, and become the whitest music ever.

Well, ACTUALLY, that’s not entirely true, and even if it was, who cares? Soft Machine (why didn’t I mention them above?) incorporated jazz into their sound, and if Jethro Tull, King Crimson, and Uriah Heep were as metal as they were progressive, then there’s no way in hell they abandoned blues. On top of that, Deep Purple, who I guess also straddles the fence between early heavy metal and progressive rock, started playing goddamn soul music on albums like Burn and Stormbringer. In fact, this musical change annoyed original Deep Purple guitarist Ritchie Blackmore so much, he quit the band because of it and started Rainbow. Oh, and you have heard “Money” by Pink Floyd, haven’t you?

Parker goes on to complain about Procol Harum incorporating elements of Bach into “A Whiter Shade of Pale” and then spends the rest of the paragraph bitching about Keith Emerson making cool sounds with his Hammond organ before replacing it with the Moog synthesizer, as if that violates some sort of anti-Hammond/anti-Moog code of honor. To be fair, Keith Emerson’s playing in ELP gets a little dense, leaving little space in the music for my taste, and it turns out Vincent Crane, former keyboardist for the Crazy World of Arthur Brown and band leader for the criminally underrated Atomic Rooster (how underrated, you ask? Check out the groovy ass “Break the Ice”, and see for yourself!), agreed. So, Parker, there IS a system of checks and balances in prog. On top of that, I don’t like how Emerson, Lake and Palmer couldn’t think of a better name for their band than just their last names separated by a comma and an “and”, but hey! At least H.R. Giger did the artwork for Brain Salad Surgery. And no, “brain salad surgery” isn’t an ethereal and philosophical concept; it’s slang for a blowjob.

Fiending for technology, vivid with turbulence, he went from the Hammond organ to the freshly developed Moog synthesizer. (The proper pronunciation of Moog, I recently discovered, is “Mogue,” like “vogue.” Perhaps prog should be pronounced “progue.”)

QUIT YOUR DAY JOB RIGHT NOW AND GET ONTO A COMEDY STAGE, YOU COMEDIC GENIUS!!!

Money rained down upon the proggers.

Horrible!

Bands went on tour with orchestras in tow; Emerson, Lake & Palmer’s Greg Lake stood onstage on his own private patch of Persian rug. But prog’s doom was built in. It had to die. As a breed, the proggers were hook-averse, earworm-allergic; they disdained the tune, which is the infinitely precious sound of the universe rhyming with one’s own brain. What’s more, they showed no reverence before the sacred mystery of repetition, before its power as what the music critic Ben Ratliff called “the expansion of an idea.” Instead, like mad professors, they threw everything in there: the ideas, the complexity, the guitars with two necks, the groove-bedeviling tempo shifts. To all this, the relative crudity of punk rock was simply a biological corrective—a healing, if you like.

Bitch, bitch, bitch… I’m guessing Parker hasn’t heard “Roundabout” by Yes. It’s got plenty of that “sacred repetition”, which makes a song hooky, enjoyable, and memorable. On top of that, I wonder if Parker has heard prog/punk hybrid groups like Nomeansno or the Jesus Lizard, who combined “the groove-bedeviling tempo shifts” with “the relative crudity of punk rock.” Though, he’s got a point; neither of those bands ever used dual neck guitars.

Also, economics intervened. In 1979, as Weigel explains, record sales declined 20 percent in Britain and 11 percent in the United States, and there was a corresponding crash in the inclination of labels to indulge their progged-out artistes. No more disappearing into the countryside for two years to make an album. Now you had to compete in the singles market.

So, music has to sell a lot of records for you to like it? But, punk rock records NEVER sold as much as progressive rock albums… unless we’re talking about Nirvana, the Offspring, and Green Day, and I know we’re not, so what’s your point?

Some startling adaptations did occur. King Crimson’s Robert Fripp achieved a furious pop relevance by, as he described it, “spraying burning guitar all over David Bowie’s album”—the album in question being 1980’s Scary Monsters (And Super Creeps).

Okay first all, Fripp had already played some fuzzed out licks on the Brian Eno album Here Come the Warm Jets, which, like a Bowie album, is full of succinct and catchy pop rock tunes, only better (yeah, Eno is better than Bowie, blow me.). But, if Parker wants to talk about “adaptations”, then he fails to mention the 1981 King Crimson album Discipline, in which Fripp and his group absorbed the neurotic, jittery, and deliberately stilted new wave influence of David Byrne, along with the Talking Heads’ synthetic businessman attire. Check out their Fridays performance of “Elephant Talk” if you don’t believe me! It’s AWESOME. Now, I’m no Fripp apologist; King Crimson have done their share of unlistenable, pretentious crap (Lizard, Islands), but when they nail it, hoo boy, do they nail it (In the Court of the Crimson King, Red, Larks’ Tongues in AspicDiscipline, The ConstruKtion of Light, The Power to Believe).

Yes hit big in 1983 with the genderless cocaine-frost of “Owner of a Lonely Heart.” And Genesis, having lost ultra-arty front man Peter Gabriel, turned out to have been incubating behind the drum kit an enormous pop star: the keening everyman Phil Collins.

Okay, yeah, “Owner of a Lonely Heart” IS a pretty catchy song, but is Parker actually praising the artless, easily listening muzak of Phil Collins OVER the weird and experimental Peter Gabriel?! Dude, if you want to LARP the 80s, coke-snorting yuppie lifestyle, there is FAR better music to do it to; for instance, Avalon by Roxy Music.

These, though, were the exceptions. The labels wanted punk, or punky pop, or new wave—anything but prog.

Except that, with the exception of a few noteworthy new wave or crossover acts like Devo, Blondie, Patti Smith, Talking Heads, the Stranglers, or the Police, punk rock never sold any records, and labels stopped wanting it after three years of watching it fail commercially. Sire only kept the Ramones on as a tax write-off.

“None of those genres,” grumbled Greg Lake, retrospectively, “had any musical or cultural or intellectual foundation … They were invented by music magazines and record companies talking together.” Fake news!

Parker can’t resist taking a swipe at Trump supporters with his “fake news” quip, as if Greg Lake said something that’s SO preposterous. EVERY genre or sub-genre is invented by the journalists and record labels, who group bands together into made-up tribes. For the journalists, it creates a sense of cultural or, I guess, sub-cultural cohesion, and for the labels, it helps sell records.

But the change was irreversible: The proggers were, at a stroke, outmoded. Which is how, to a remarkable degree, their music still sounds—noodling and time-bound, a failed mutation, an evolutionary red herring. (Bebop doesn’t sound like that. Speed metal doesn’t sound like that.)

Damn, dude… did you catch your girlfriend cheating on you while Close to the Edge was playing in the background? Speaking of Close to the Edge, have you heard the nutty first two minutes of “Close to the Edge”? If you don’t like THAT, then you know where you can stuff your “red herring.” By the way, if you’re using speed metal (or its close cousin thrash metal) as some sort of barometer with which to measure musical “evolution” by, then I’m guessing you’re not aware that most thrash kinda sounds the same. And this is coming from a fan of Motörhead, Venom, Metallica, Megadeth, Slayer, Voivod, Exciter, Exodus, Overkill, Sodom, Kreator, Destruction, Sepultura, Onslaught, Possessed, Celtic Frost, Suicidal Tendencies, Corrosion of Conformity, and S.O.D. (but NOT Anthrax, sorry).

I feel you out there, prog-lovers, burning at my glibness. And who knows? If the great texts of prog had inscribed themselves, like The Lord of the Rings, upon my frontal lobes when they were teenage and putty-soft, I might be writing a different column altogether. But they didn’t, and I’m not. The proggers got away with murder, artistically speaking. And then, like justice, came the Ramones.

You do realize that the music of the Ramones is AS white, if not whiter, than virtually any prog band? According to Johnny Ramone’s obituary in the New York Times:

Mr. Ramone once described his guitar style as “pure, white rock ‘n’ roll, with no blues influence.”

Gimme Sabbath – With or Without Ozzy

black_sabbath_mattersAs one of the three people that defend’s Black Sabbath’s Forbidden album, their unfairly maligned 1995 release that was produced by Ernie C of Body Count and features guest vocals from Ice T on the opening track “Illusion of Power”, you could fairly assume that I’m more than a casual classic rock fan who was out to see Black Sabbath play all of the tried and tested FM staples, along with a few well known deep cuts, on their final tour.  But the final tour it is, and Sabbath know what the people want; and what the people want, the people get… sorta.

I was at their Chicago gig on September 4th at an outdoor amphitheater, standing on the lawn, watching a bunch of ants onstage, and while it wasn’t bad, I think the audience made up for Ozzy’s lack of energy.  For the Sabbath neophyte, since its inception in 1968, Black Sabbath pretty much defaulted to the leadership of guitarist Toni Iommi, who is the driving force behind every lineup of the band.  While the majority of rock fans consider the group’s original lineup – Ozzy Osbourne, guitarist Toni Iommi, bassist Geezer Butler and drummer Bill Ward – to be the only lineup that matters, Iommi considers long time side man and keyboardist Geoff Nichols, former drummer Cozy Powell and former singer Toni Martin, to be as integral to the band’s career as the other four gentlemen; at least that’s the way it seemed in his autobiography, Iron Man.

And I’m not going to make the absurd claim that Toni Martin sung albums The Eternal Idol, Headless Cross, TYR, Cross Purposes or the aforementioned Forbidden are anywhere near as classic, good and important as the first six Sabbath records; neither will I say the Dio albums Heaven and Hell, Mob Rules or Dehumanizer are as good as those either, nor the same about the Ian Gillan album Born Again or the Glenn Hughes album Seventh Star.  I’m with the majority on this one, but I will say that, as a longtime fan, I realized that 3/4 of the original lineup was going to primarily stick with material that most people would be familiar with.

With that said, I think it’s absolutely pathetic that Ozzy just stood there saying the same two lines over and over again; “can I see your hands?!” and “I can’t hear you!” Okay, to be fair, he occasionally said, “can I see your FUCKING hands?!” and “I STILL can’t hear you!”, but, if THAT was going to be the performance I got from Ozzy, they might as well have had Ian Gillan, Glenn Hughes or Toni Martin; hell, I’d much rather Iommi and Butler be joined by Rob Halford of Judas Priest, like they were in 1992.

So, for the longtime fan, it was the Iommi/Butler Black Sabbath review, featuring latest drummer Tommy Clufetos, a journeyman musician who has previously played with Alice Cooper, Ted Nugent, Rob Zombie, John 5 and Ozzy himself (there are others on the wiki page if you’re THAT curious).  I would have loved for Bill Ward to be there, but I would love lots of things, and, at least, Clufetos has lots of tattoos and a beard and was never in Rage Against the Machine.

As for the set itself, the exact count goes like this; three from Black Sabbath, six from Paranoid (that is if you include the opening bars of “Rat Salad”, which segues into a drum solo), three from Master of Reality, one from Vol. 4 and one from Technical Ecstasy.  That means they played NOTHING from Sabbath, Bloody Sabbath and Sabotage.  That also means they played nothing from their completely forgettable reunion album 13 or the passable The End, so that’s a plus. If we want to get REALLY technical, Geezer played “Basically”, the minute long bass intro to “NIB”, so feel free to count that as four songs from Black Sabbath.

While “Snowblind”, the group’s coke anthem from Vol. 4 is probably my favorite Sabbath tune – in spite Ozzy ruining any subtlety in the song by shouting “COCAINE!” at the end of every line – I would have loved to hear “Sabbath, Bloody Sabbath”, “A National Acrobat”, “Killing Yourself to Live”, “Hole in the Sky”, “Symptom of the Universe”, “Am I Going Insane? (Radio)” or basically all of Vol. 4; I especially wanted to hear “Supernaut.”  I was also kind of surprised they didn’t play “Sweet Leaf”, but that they did play “Dirty Women”, from the Technical Ecstasy album, which would have been the worst album by the original lineup had 13 not come out.  On the other hand, their 1978 album Never Say Die! is remarkably underrated, so there ya go.

Unsurprisingly Sabbath played the customary hits “War Pigs”, “Iron Man” and “Paranoid”, and I wonder how they don’t get sick of playing that last one, since, like, come on… that’s the first song I ever learned to play on guitar.  At least when they played “Black Sabbath”, the tri-tone, three chord, plodder that opens their first album and scared the bejeezus out of the kids of a much more innocent America of 1970, Iommi added a few extra bars of soloing during the headbanging part, and I thought it was neat how they began with the first few bars of the instrumental “Rat Salad” before segueing into Clufetos’ drum solo, even it went on a bit too long.

I would mention something about opening band Rival Sons, but we arrived too late in their set to hear much.  From what I did hear, they’re a 70s rock revival band; not bad, but nothing essential.

As for Sabbath, while I will always enjoy Toni Iommi’s and Geezer Butler’s guitar/bass interplay and think that Clufetos did a fine job on drums, I think the performance was little more than a revival show for the old timers.  As a fan of Deep Purple, Uriah Heep, Hawkwind and UFO, old bands who still put out new and interesting records – Now What?!, Outsider, The Machine Stops and A Conspiracy of Stars, if you were wondering – I think it’s sad that the band that takes the lion’s share of credit for this here heavy rock/heavy metal/hard rock/even heavy prog genre that we all love so much practically cashed in their chips onstage.  I know someone will yell at me for not mentioning the latest Nazareth record Rock ‘n’ Roll Telephone, but that one does suck.

On the other hand, nothing is stopping Iommi and Butler from rocking out with other musicians and creating new and interesting records, which I believe they are already doing…

Black Sabbath – 13

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If any of my loyal readers were wondering why I dropped off the blogosphere, I spent the weekend in Grand Rapids, acting drunk and stupid while attending the performances of Kylesa, Torche and Baroness, who just happened to all be in town on three successive nights.  Now I’m back and have the next week off work so expect to see lots of new posts; band profiles and reviews, reviews, reviews!!!  Old, shitty movies, new lousy records – although I’m being facetious on both fronts let me tell you about the mediocre new Black Sabbath album.

But before I get to that let me tell you about Blood Ceremony, who opened for Kylesa.  They sounded like Sabbath but with a flute playing front-woman who dressed in typical, Satanic cult garb.  It seemed like the only things she sang about were Satanism and witchcraft.  Which, leads me to my next point.  Where does Sabbath stand in 2013 among all of these stoner, doom and sludge metal bands?

Look, it doesn’t take a rockologist to know that these reunions are a pile of bullshit.  The first Black Sabbath album was released in 1970.  The world was a different place; nobody had heard anything quite like that first album.  In fact I was chatting with the gentleman at the Corner Record Shop and he told me that it really stood apart from Iron Butterfly, Blue Cheer and Led Zeppelin.  People really believed that Ozzy Osbourne, Toni Iommi, Geezer Butler and Bill Ward were card carrying occultists who drank goat blood and worshiped at the altar.  Or maybe that’s how they were perceived in conservative old Grand Rapids.

But back to this reunion thing.  Bands have a right to make money off their legacy however they should limit it to a tour and then kill it.  Why try to recreate the past?  And, for that matter, it’s not even a full reunion!  I was disappointed when I read that Ward wouldn’t be participating.  He plays in an atypical jazzy style where he struggles to stay in standard 4/4 time.  Brad Wilk, on the other hand, is just a rock drummer.  They could have gotten anybody and it wouldn’t have mattered.

But the bottom line is that Black Sabbath attempt to recreate the sound and vibe of their first four albums to a fault.  It seems as though the group surveyed their early catalog and found specific songs to replicate.  While most don’t go exactly by the numbers, opening track “The End of the Beginning” and third song “Loner” are musical sequels to “Black Sabbath” and “Planet Caravan.”  The former follows the structure of “Black Sabbath” to a t.  It starts with slow, doomy, heavy chords.  Then said melody is played on the root notes.  Then the song builds up and the headbanging part comes in with the only departure being that the song doesn’t end but detours into another part.  But it also starts the album with a question.  The opening line in “Black Sabbath” is “what is this that stands before me?”  The opening line in “The End of the Beginning” is “is this the end or the beginning?”  Yeah.

“Loner”, on the other hand, is “Planet Caravan” style acoustic, hippie, bongo drum music and attempts to combine the lyrical themes of both “Planet Caravan” and another Sabbath softy called “Solitude.”  Ozzy even sings through that weird, quivering bong water effect from the original “Caravan.”  Yikes.

But elsewhere you’ve just got a lot of slow, heavy, down-tuned songs, the very type you’ve heard countless times on Sabbath albums and by countless other bands.  Yes, Ozzy has a unique voice, Iommi plays occasionally solid riffs and Butler moves his fingers all over the neck of his bass to created that whirling sound.  So I’ll give them that.  There are parts of 13 which are solid and heavy.  But so what?  A few of these songs are just way too long!  Why does “God Is Dead?” have to go on for nine minutes when all they do is repeat the same parts over and over?  Also, two songs – forgot which – have stupid “funky” parts, sorta like you’d find on a Rage Against The Machine record, in other words, not good!  Furthermore Ozzy really hams it up and, sadly, sounds a little stupid when he’s deliberately singing every song very slowly decades after performing on the much more uptempo material of his solo career.

But one thing that hasn’t changed is that the lyrics are really dumb, combining a melodramatic delivery, stupid cliches and bad rhyme schemes often at the same time!  The most egregious example I can think of at the top of my head is this line from “God Is Dead?”, which goes “Out of the gloom I rise up from my tomb into impending doom.”  That’s pretty terrible, isn’t it?  They’re mostly like that!  And this is 2013!  We forgave Sabbath for the clunky lyrics and overly earnest approach on songs like “War Pigs”, “Iron Man”, “Electric Funeral” and “Sweet Leaf” because they were young guys thinking that they were making serious statements!  But now that younger bands like Electric Wizard and Uncle Acid And The Deadbeats are singing cult, Satanic and witchcraft themed songs in a fun way, Sabbath’s philosophical musings on God, Satan, death and the apocalypse make them seem like old, out of touch, buffoons.