Tony Martin

Some people are having a hard time with your voice.

And I, you know, I've been talking to people and reading things that a lot of people are now pining for Tony Martin.

Would they wish Tony Martin had come back? And I'll talk about that in a little bit, but I think that this is a really, this is a really monumental album.

for Tony Iommi because I think what it does is it encapsulates everything that represents Tony Iommi as the master of the riff the godfather of metal and in turn new metal this is an album that has really no what I would consider to be commercial value there's not going to be any I mean they'll probably play world alone or something on the radio but I mean it is from it's almost conceptual musically lyrically it isn't but musically it's conceptual it's what I would consider to be doom metal and when I say that I'm comparing it to epic doom band like Candlemas I'm hearing some Candlemas vibes from it you know this is the guy that influenced those bands and he's doing it and he's doing it

brilliantly

It's a new era.

Let's move on, you know? I mean, we've had other singers.

We've had Tony Martin.

Um, but yeah, we've got a good one for you.

Uh, black, what could be more Husey and scary and spooky this time of year than a nice blend of Glenn Hughes and the dark riff Lord himself, Tony Iommi.

Um, But before we get into that...

I submit nothing.

So it sounds like we're not going to be hearing any of his original stuff on this.

On keyboards, we have Don Airy, Jeff Nichols, and Mike Exeter, who had worked with, he had worked a little with Ian Gillen later on.

He worked on Gillen's Inn and did some other stuff, but obviously Jeff Nichols, longtime Tony Iommi counterpart, and Don Airy needs no introduction.

Then, of course, on vocals and bass, Glenn Hughes, and on guitar, someone by the name of Tony Iommi.

And I loved the two Glenn Hughes albums, you know.

And I'm not a big Tony Martin fan, but I love Eternal Idol.

I'll still play Eternal Idol.

I bet Bob Davis got paid more for Eternal Idol than he did by

And it really...

I'm a huge fan of... like Tony Martin era Sabbath.

And that album just sits quite nicely in that template.

So for me, it's a no brainer.

And on the next one, the two new guys, you know, they really come to the fore.

Black Sabbath, Headless Cross, Tony Martin.

It feels more of a Tony Martin era album.

It's a little spookier, a little more dealish.

Uh, then the eternal idol and Tony is doing much more work on this one.

There's all kinds of players all over the place.

Bob Daisley's involved in lyrics as well.

Um, so, uh, so headless cross is the second one after the big change to the Tony Martin era.

as mentioned, was Black Sabbath's seventh studio album.

It was produced by guitarist Tony Iommi and recorded at Criteria Studios in Miami, Florida.

Not the ideal setting to capture the doom and darkness that characterized the band's sound, and particularly not while its members were prioritizing sunbathing and snorting copious amounts of cocaine.

During the sessions, EZ Rock legends The Eagles were also recording at Christehuria Studios in the, in fact, in the studio right next door to where Sabbath was making Technical Ecstasy.

So the song will start off awesome, and then it'll break down awful, and then it'll come back a little bit, and then it'll go back to this motif I didn't like, or there's a guitar effect that undermines the heaviness of the guitar, and the effect is too bright and shiny.

But if I listen to it Just the guitar riff, it's heavy and it's good.

It's Tony Iommi.

But the effects...

Just a conversation.

We went through all the eras, like Ozzy and Dio, and Gillen, and Tony Martin, and Dio, and Tony Martin, and Ozzy.

So, uh, we, you know, it was a good loose conversation.

We talked about all the eras.

And you know, I hadn't really listened to much of Black Sabbath outside of Ozzy's and Dio's versions of the band.

Mm.

So this was the first time I listened to the Tony Martin stuff front to back.

I was pleasantly surprised.