![]() Now, they seemed to say, we’re fucking great, motherfuckers. But there’s also a shine to everything on Vol 4, an energy that makes Tomorrow’s Dream and Snowblind (the most obvious drug song, in which Ozzy whispers an unsubtle ‘ Cocaaaaaine’) arrive far more swaggering and confident than previously. Cornucopia and Under The Sun boasted trademark bottom-end Iommi riffs, but elsewhere there were more twitchy, upbeat moments like the groovy Supernaut, epic opener Wheels Of Confusion, and even a piano ballad in Changes. Thus, on Vol 4, there was a far wider scope to things than on the doomy Paranoid, or the bonged-out Master Of Reality. But these resources also meant that the band were able to exercise their creative muscles with far fewer limitations on them than had previously been the case. Flush with fame and money, the band managed to spend $75,000 – $15,000 more than the recording budget – on coke, which they took in such quantities that it would be delivered in soap powder boxes. Thus, when they set up camp at a mansion in Bel-Air to record their new opus, it would require much more songwriting time than previously. Having constructed much of the material for their first three records from ideas formed during lengthy jams at shows, especially during their tenure at Hamburg’s Star Club where The Beatles had also done time, their riff cupboard had become somewhat bare. This new, more glamorous variety of excess wasn’t the only way in which Sabbath’s fourth album marked the turning of a corner for the band. ![]()
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