12/28/2023 0 Comments Cover of black sabbath changesThat’s how we ended up doing songs like ‘Changes,’ which didn’t sound like anything we’d ever done before. If other people happened to like what we were doing, that was just a bonus. “We wanted to impress ourselves before we impressed anyone else. In his 2010 autobiography I Am Ozzy, Osbourne explained how a guy who later became known for biting the heads off of flying animals came up with a heartfelt song like this one. Appropriately credited to all four Black Sabbath members – vocalist Ozzy Osbourne, guitarist Tony Iommi, bassist Geezer Butler and drummer Bill Ward – the song dealt with emotional changes, not the hormonal ones that Big Mouth centers around. It’s likely that most younger viewers, while they may think the melody sounds familiar, don’t realize that this song was originally a slow, piano-based piece about the pain of marital breakup. Here's a raw acoustic cover of CHANGES by Black Sabbath.Aside from my mom requesting me to sing this for forever, it's appropriate to what I'm going thru rig. Junior’s Eyes is a particularly neat and less obvious choice, its tender melancholy benefitting from the solemn and sparse re-imagining.For several years, the chorus from “Changes,” performed by the late soul artist Charles Bradley, has been the intro music to the Netflix animated comedy Big Mouth, about a group of tweens dealing with puberty. Familiar melodies are stripped down and warped into weird ancient shapes, against a backdrop of hurdy-gurdy, lute, fiddle and harp. This Estonian early music ensemble quietly slipped out an album of Black Sabbath covers in 2003, arranged from the perspective that four lads in Birmingham found these songs as medieval sheet music. The song continues to be pulled apart at the seams, riffs dismembered and stitched back together with a length of hallucinogenic acid fuzz, Wyndorf continuing to rant and gibber eerie stream-of-consciousness nonsense over alien sounds and frequencies. Taking the title and concept literally, the New Jersey space lords cut up and reassemble this mega-riffed cosmic metal epic, shooting it into orbit even before the riffs start, as Dave Wyndorf yells “There’s dinosaurs in Vietnam!” over the strange and ominous false start. Among worthy choice cuts by Converge, Eyehategod, Brutal Truth, Anal Cunt and Neurosis, the highlight of the project was arguably this dreamy, dissonant lollop through a truncated NIB by the Massachusetts post-hardcore alt-prog quartet, with added guitar skronk and playful choral harmonies. Hydra Head Records assembled several excellent bands and covers for their six-part Sabbath tribute series of split seven inches, In These Black Days (although sadly, the promised CD compilation never appeared). By the time it appeared on The Least Worst Of Type O Negative in 2000, Steele had pushed the reinvention even further, with arch new lyrics empathising with the seductive “big black shape” of Sabbath’s original. Step forward New York City’s much-missed sardonic goth kings, with the dark, orgiastic highlight of 1994 tribute album Nativity In Black. It takes a band with a special kind of audacity and imagination to reinvent the most iconic foundational cornerstone of heavy metal. Type O Negative – Black Sabbath (From The Satanic Perspective) With their feverish take on Motorhead’s Orgasmatron and their sludgy stomp through Celtic Frost’s Procreation Of The Wicked, the young Brazilians seemed to make a habit of totally nailing well-chosen covers. The Seps were an unstoppable force in the prime of their lives when they cranked out their definitive blunt thrash take on this machine-gun-riffed classic, a deeply satisfying showcase for the tom-roll capabilities of Igor Cavalera. Their vicious jam of War Pigs zeroes into the song’s dark heart, and the singer’s chanting of the outro riff later become an audience participation staple wherever the song is played. South African proto-punk headbangers Suck only existed for eight months, but they managed to bang out one wild and raw LP of well-chosen heavy rock covers. Recorded in 1970, this is the first cover of the Sabs’ protest classic later tackled by Faith No More, Sacred Reich, Foo Fighters, Bathory, The Acacia Strain and Flaming Lips.
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