SABBATH BLOODY SABBATH

Much has been written here about the appearance of Rick Wakeman on this album, and how it signals a turn to prog by thease early metal monsters. But really, Wakeman's appearance is minimal. He plays on one track, Sabbra Cadabra, begins playing about a third of the way through the song, and only adds two simple synth flourishes and some nondescript piano jamming. It's as if Sabbath had been in the studio, and noticed Wakeman walk by with his synths and grand piano under his arms, and asked him to sit in. His piano on Cat Stevens' Morning Has Broken sounds more prog than this.

Despite that, by the end of the album, well, really the final track, Spiral Architect, the band actually does play some true seventies prog. It's good, but it's nothing revelatory.

Some moments sound derivative. The title track, Sabbath Bloody Sabbath, has a verse section that sounds like Hocus Pocus played on a very slow turn table, and A National Acrobat bears a strong resemblance to 25 or 6 to 4.

It's not a bad album, but I'm not sure if prog is what we really wanted from this band at that time.