TECHNICAL ECSTASY

Around 1976 Black Sabbath were once again trying to reinvent themselves, yet on their seventh studio album all their problems had caught up with them, and as many have correctly observed, 'Technical Ecstasy' does indeed mark "the beginning of the end" of the band's classic era. With the rise of punk, art pop and electronic music, the dark and doomy metal explorations of the band's legendary early recordings had become an anachronism, and the Birmingham-founded quartet had been looking for an updated musical direction, something more in line with current trends - surprisingly enough, bands that had initially been influenced by Sabbath were now influencing them, with Tony Iommi being rather preoccupied with the idea that sounding like Queen or Foreigner might put his band back on the map. So internal problems and an overall artistic misdirection had guided one of the confusing and less consistent Ozzy-era Sabbath releases - 'Technical Ecstasy'.

The band resorts to the extensive use of pianos, synths as well as orchestral parts, which really brings a somewhat pastoral, almost flowery tone to the record, definitely an unusual charm on a Black Sabbath release. This album also lacks the big riffs and instead explores more memorable melodies and hooks, as it can be heard on the opening track 'Back Street Kids', quite a digestible hard-rocking number with a semi-banal chorus. 'You Won't Change Me' might misguide you with its doomy opening, which then gives way to a mellower, moody verse replete with lush synths, as we have a more theatrical art rock presentation, while Iommi's shredding adds a rockier flair to the song. 'It's Alright' is a straightforward pop number that works well but sits strangely on a Sabbath album (with Bill Ward handling the vocal duties), while 'Gypsy' is a cool song with subtle flowery tones and FM rock leanings (think of Supertramp or Foreigner). On side two 'All Moving Parts (Stand Still)' gives us the first big riff on the album, leading quite the danceable rock tune here, something unthinkable for earlier Sabbath, while 'Rock 'n' Roll Doctor' is silly and boring. 'She's Gone' is an orchestral, acoustic ballad, and the closing track 'Dirty Women', with its proggy undertones, is the most interesting song off the album. And again, 'Technical Ecstasy' is confusing and inconsistent when compared to the first six albums by the band, many of them masterpieces of the genre - still, it is an artsy rock record that has some strengths as well as several really decent moments.

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