Welcome to our “Psychedelic Lunch” series where we find out how deep the rabbit hole really goes and explore psychedelic tunes from the 60’s to today. Weekdays At Noon EST. Enjoy the trip!

Black Sabbath, Shes Gone. Album: Technical Exstacy (1976)

Technical Ecstasy is the seventh studio album by English rock band Black Sabbath, produced by guitarist Tony Iommi and released in September 1976. The album was certified Gold on 19 June 1997 and peaked at number 51 on the Billboard 200 Album chart. “Shes Gone,” has a psychedelic rock sound.

Black Sabbath has been one of my favorite bands all through the seventy’s. This album would rate in my top five. The song She’s Gone is/was one of my favorites.

Psychedelic Lunch

Written By Braddon S. Williams

Black Sabbath: Heaven And Hell

Following the firing of Ozzy Osbourne, Black Sabbath enlisted the vocal talents of one Ronnie James Dio to produce the outstanding Heaven And Hell in 1980.

Sabbath had been in a bit of a rut with their previous couple of albums (Technical Ecstasy and Never Say Die!), so the lineup change presumably stirred their creativity. Dio had just recently parted ways with Rainbow, so the change was probably good for him, as well.

Heaven And Hell is full of amazing songwriting and performances, from the majestic title track, to scorchers like Lady Evil, Neon Knights, and Walk Away, plus more layered tracks like Children Of The Sea and Lonely Is The Word.

The production was top of the line for the time it was recorded.

I admit it is a little hard for me to accept any singer but Ozzy in front of Sabbath, the Dio era did produce amazing music (and it also allowed Ozzy’s own stellar solo career to blossom).

In that regard, change can definitely be good.

Heaven And Hell is a fantastic album from the originators of so many heavy metal moments and genres.

Influences And Recollections of a Musical Mind

Written By Braddon S. Williams

Black Sabbath: Sabbath Bloody Sabbath

Black Sabbath’s first 6 albums are absolutely essential listening for anyone with even a passing interest in heavy music.

I have gone on record proclaiming my love for Sabotage, but 1973’s Sabbath Bloody Sabbath is a close second for me.

The band were initially faced with writer’s block due to excessive touring and even more excessive drug & alcohol intake, but Tony Iommi came up with the crushing riff for the title song, and the Birmingham bashers were back in the saddle once again.

The whole album is so well balanced, with plenty of the molten lava sludge doom metal that they have exclusive ownership of, but fleshed out with some delicate passages of beauty and melodic depth that came from growing up as a band.

Songs like Spiral Architect and A National Acrobat allowed the record to breathe a little in anticipation of the hammer blows of Killing Yourself To Live and Sabbra Cadabra.

Of course, the title track is one of the absolute killer songs of Sabbath’s entire discography, with Ozzy Osbourne in prime vocal form, raging like a pissed off banshee. Sabbath Bloody Sabbath is the sound of a legendary band at the top of their game, creating genres of metal as they go along.

Sabbath’s influence is everywhere and will likely continue as long as discontented youth find their way to electric guitars, basses, and drums.

Influences And Recollections of a Musical Mind

Black Sabbath basically invented the genre of heavy metal with their 1969 debut, but with 1975’s Sabotage, they refined it to an art form and came up with the blueprint for thrash metal in the process. The crushing riff and breakneck tempo of Symptom Of The Universe influenced everyone who followed in their wake…the Big 4 should forever pay Sabbath royalties for inventing that signature style. Other amazing tracks on Sabotage included Megalomania and The Writ, both long, complex compositions with intense lyrics and featuring that molten lava density in sound that was unmistakably Black Sabbath’s sonic domain. Ozzy Osbourne’s vocals on this album were savage, in my humble opinion probably the best of his entire career. I also love the fact that there isn’t a single song on this album that was ever overplayed on the radio. To this day the music and songs on this album sound fresh and timeless to my ears, a true accomplishment from one of the most innovative metal bands of all time.

Written By Braddon S. Williams

“Influences And Recollections of a Musical Mind”



The Battle of Heaven and Hell, Where the Mob Rules, and the Dehumanizer is the Devil You Know

The Neon Knights and the Children of the Sea met Lady Evil in the battle of Heaven and Hell. Or so they thought. They met at the Wishing Well, there to see who would Die Young and who would Walk Away. Win or lose, all combatants knew that in battle, Lonely Is the Word.


And the two sides did Turn up the Night. Voodoo flourished even in the very Sign of the Southern Cross, neither side knowing that E5150 was the code of their demise. First the Mob Rules, then the embittered County Girl retaliates as souls are Slipping Away, Falling off the Edge of the World Over and Over.

As the battle raged, the Computer God tallied the lost, for After All (The Dead) alone continue beyond the computer-generated TV Crimes, to send Letters from Earth to the Master of Insanity, hoping he will use his Time Machine to erase the Sins of the Father before it is Too Late, before each I is Buried Alive.

And The Devil Cried as the Shadow of the Wind shrieked against the Ear in the Wall.


Ultimately, Atom and Evil unleashed Fear once kept inside the Bible Black, to Double the Pain beyond the ministrations of even a Rock and Roll Angel. The Turn of the Screw proved so painful that it led to even the most sane and compassionate toward Eating the Cannibals, to Follow the Tears to Neverwhere, losing the last vestige of hope for Breaking into Heaven.

Black Sabbath – Heaven And Hell (Live In N.Y 1980)


Written By Dr. Metal  <Martin Jacobsen>

The Battle of Heaven and Hell

imagesOn this date in history, 6/29/1999, I witnessed my second Ozzfest in the friendly confines of Deer Creek in Noblesville, IN. This one was one of the best lineups they ever had, in my humble opinion, featuring Black Sabbath, Rob Zombie, Deftones, Slayer, Primus, Godsmack, System Of A Down, Apartment 26, all on the main stage, with Fear Factory, Static-X, Puya, Slipknot, Hed (Pe), Flashpoint, Pushmonkey, and Drain S.T.H. on the second stage. 88a04e3ef23045e4c5f262e8039b09df

For some unknown reason even to myself, I didn’t see any of the second stage bands that year, but I have heard from many sources that the first Indiana appearance of Slipknot was legendary. I know that Static-X and Fear Factory likely delivered crushing sets as well.

This was a concert of firsts for me. I saw System Of A Down, Godsmack, Slayer, and the mighty Black Sabbath for the first time at this show. I had seen Rob Zombie with White Zombie, but this was also the first time I saw him solo.

System Of A Down were up there doing what they do, and I was having a hard time wrapping my ears around it, having never properly heard them yet, but I started watching this guy who knew every word to every song and through his enthusiasm I caught their passion and became a fan instantly.

I went out and bought their debut cd the following day. Primus provided another first as they brought out Buckethead for an utterly mind blowing guitar solo segment during their performance. They also delighted the crowd by performing their self-penned theme song from the South Park tv show, creating a frenzied mosh pit that would have made Eric Cartman proud.

Speaking of frenzied mosh pits, Slayer came next and incinerated the playing field with their Slaytanic assault, melting faces and unleashing their legendary fury. I felt a little sorry for Deftones, who had to follow the blitzkrieg, but they are an amazing band in their own right, and they played great, as usual.

Rob Zombie put on a stunning visual overload type of show that he has made his career on, and proving beyond a doubt that he is one of the best metal headliners around. During “Thunder Kiss ’65”, Kerry King from Slayer joined Zombie on stage to deliver a ghoulish masterpiece.

imagesWhen Black Sabbath finally took the stage they opened with “War Pigs” and all the hair on my neck and arms literally stood up. I can’t begin to describe the glorious totality of that SOUND…Sabbath is like the slow moving lava cruising down the side of Mt. Doom, crushing all in its path in this infinitely compelling darkness. Without them, metal would have still been born one way or the other, but thankfully it WAS born with them, and this Ozzfest will always hold a special place in my heart. Sabbath and Slayer for the first time at the same concert? Yeah, that pretty much ruled!

Written By Braddon S. Williams aka The Concert Critic


On This Date in History

The Story of the Black Sabbath That Made All Citizens Paranoid Because the Master of Reality Opened Volume Four of the Sabbath Bloody Sabbath in Order to Sabotage the World Via Technical Ecstasy until the Citizens Said Never Say Die!

At a Black Sabbath I met The Wizard Behind the Wall of Sleep, where N.I.B. created a Wicked World from a Sleeping Village, which did not heed the Warning.  

The War Pigs made all citizens Paranoid. They fled on a Planet Caravan to find the Iron Man at his Electric Funeral. A Hand of Doom served Rat Salad, and the citizens knew they were in a land where Fairies Wear Boots.

And in this land, a Sweet Leaf grew until After Forever. As Embryo after embryo grew into the Children of the Grave, an Orchid bloomed, heralding the Lord of this World, who dragged the citizens toward the Solitude possible only after falling Into the Void.

And the Wheels of Confusion clouded Tomorrow’s Dream, and any Changes or FX that followed only made it easier for the Supernaut to make the citizens Snowblind, assuming a Cornucopia existed at every Laguna Sunrise, inciting a St. Vitus’ Dance Under the Sun as Every Day Comes & Goes.

But it was not really so, and the Sabbath Bloody Sabbath presided over by A National Acrobat dispelled the Fluff with one utterance of “Sabbra Cadabra.” Then the citizens said to their culture, you are Killing Yourself to Live. They then asked themselves Who are You? Are you Looking for Today? Do you expect to be saved by a Spiral Architect?

And then opened Hole in the Sky, and the citizens said to themselves “Don’t Start (Too Late), or you’ll fail to see the Symptom of the Universe, the Megalomania disguised as The Thrill of it All. Beware the Supertzar, and always ask Am I Going Insane? They did not know about The Writ, where the answers lay.

And the citizens became dehumanized, acting either as Back Street Kids shouting You Won’t Change Me or descending into denial saying “It’s Alright, the Gypsy will see to it that All Moving Parts (Stand Still), and the Rock ‘N’ Roll Doctor will say “She’s Gone” to all Dirty Women.

But hope again emerged among the citizens, who shouted “Never Say Die”! Johnny Blade was stopped from gouging out Junior’s Eyes, and even though A Hard Road had been created by the Shock Wave, the citizens were able to unite in an Air Dance, hoisting a banner of cooperation reading “Over To You” and marshalling their forces to Breakout by Swinging the Chain that had heretofore bound them to their own darkness.
Written By Dr. Metal <Martin Jacobsen>

The Story of The Black Sabbath