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On Saturday 30 August, 1969, as John Lennon, Keith Richards and Eric Clapton made their approach to Portsmouth to look at Bob Dylan play the Isle of Wight Pageant the next day, a brand new musical language was being cast 400 miles north in a dingy membership in small-town Cumbria – and there wasn’t an oz of peace and love about it.

Black Sabbath, 4 working class Birmingham misfits who’d shaped a band the earlier yr, had been taking part in their first gig underneath their new identify. Their loud, elemental and doom-laden music would virtually single-handedly invent heavy steel, one of many defining musical genres of the late 20th century. However as Ozzy Osbourne, Tony Iommi, Geezer Butler and Invoice Ward took to the stage in Workington, the cream of rock royalty heading south clearly didn’t get the memo. They arguably by no means would. Sabbath would stay musical outsiders virtually all their careers: unruly interlopers who had been loathed by their friends and the press and slowed down by accusations of Satanism and satan worship for years.

As Sabbath’s defining album Paranoid marks its 50th anniversary this week, how did 4 lads from Aston, Birmingham – “scum they usually knew it,” as author Mick Wall memorably known as them within the opening sentence of his band biography – handle to depart such a long-lasting legacy? And why did this band from the West Midlands, who performed their final present in 2017, strike the worry of God into mainstream society on either side of the Atlantic? 

Tom Allom, who was the sound engineer on Sabbath’s first three albums, tells me that the group’s music was not like the rest round on the time. “It was a large departure. After we did the primary album [Black Sabbath, recorded in October 1969] I had by no means heard that fashion of taking part in. I couldn’t actually fathom it. I didn’t actually get it. You by no means heard something like that on the radio,” says Allom, who went on to grow to be long-term producer for fellow Midlands metallers Judas Priest, together with on their seminal 1980 album British Metal.

Coming from the blackened coronary heart of business Britain, Sabbath merely couldn’t relate to the period’s prevailing hippy beliefs. As Osbourne put it in usually vibrant vogue in 2005: “Again within the day it was, ‘When you’re going to San Francisco make sure to put on some flowers in your hair.’ The place within the f___ was San Francisco? And the one flowers we ever noticed in Aston had been on a coffin going to a cemetery.”

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