The Tapes Archive Osiris Media

You can watch the video version here. https://youtu.be/A6GTf6rOepQ
We take a look at Black Sabbath's masterful third album Master of Reality.
For more information including other credits, articles, and images, please go here. https://bit.ly/385aj2L
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Timestamps:
00:00 - Start
00:43 - Intro
01:19 - Evil Woman and Paranoid
02:29 - Changing Management
03:07 - Jim Simpson is fired
03:37 - Sabbath plays Top of the Pops
04:22 - Was Sabbath a bubblegum band?
05:13 - John Peel hates on Sabbath
06:04 - Sabbath’s Peel Sessions
06:35 - John Peel talks about Sabbath
07:05 - Sabbath’s ban on singles
07:41 - Sabbath and Satan
08:54 - First attempt going to the US
10:14 - Confusion with Black Widow
11:31 - Sabbath using Satan for their benefit
13:08 - Coming to America
13:55 - The trial of Charles Manson
14:35 - Arriving in the United States
15:01 - Sabbath’s first concert in the United States
16:20 - Blowing the Small Faces off the stage
16:43 - Playing the West Coast
17:02 - Smoking Angel Dust with Joe Walsh
17:55 - Was there a parade in Sabbath’s honor?
18:40 - Ending the year 1970
20:06 - First day in the studio
20:42 - Spanish Sid
21:14 - Weevil Women 71
21:30 - Paranoid comes out in the United States
21:52 - Myponga Festival
22:13 - Denied entry to Japan
22:44 - The Four Musketeers
23:10 - Touring the United States for Paranoid
23:50 - Playing Union Catholic High School
25:53 - Returning to England
26:31 - Ozzy and his first family
28:10 - Master of Reality will be heavy
29:05 - Tunning down
30:17 - Why they called the album Master of Reality
30:37 - Sweet Leaf
33:51 - Ghost Titles
34:28 - After Forever
34:49 - Geezer Butler as a priest
37:59 - Children of the Grave
39:15 - Mars Bringer of War
40:13 - The Haunting
41:04 - Orchid
42:07 - Lord of this World
44:14 - Solitude
45:52 - Tony Iommi in Jethro Tull
47:35 - Into the Void
49:09 - Soundgarden does their version of Into the Void
51:35 - Various versions of Master of Reality
53:25 - Master of Reality Radio promo
54:02 - Black Sabbath’s Golden Ticket
55:01 - Reception of Master of Reality
55:46 - Nobody but the public digs Sabbath
57:00 - Outro
57:36 - Credits


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Go here to watch the video version
https://youtu.be/CH8c4TKrIOo
Sabotage is the sixth studio album by metal pioneers Black Sabbath, released in 1975. It was recorded in the midst of litigation with their former manager Patrick Meehan. The stress that resulted from the band’s ongoing legal woes infiltrated the recording process, inspiring the album’s title.
This documentary looks at all the drama surrounding the band at the time and how shady managers took advantage of Sabbath’s kind nature. The video also examines every song on the album and offers up unearthed facts some fans may have never known.
– Intro
– Writing and Recording Sabotage
– The Tale of the Mangers
– Why Sabbath needed to break away from their first manager
– Don Arden’s thugs
– Jimmy Page gets Threatened
– Don Arden making moves
– The introduction to Patrick Meehan Jr.
– Jim Simpson sues the band
– Some Sabbath Success
– Sabbath starts to crack
– Tony Iommi collapses
– A religious freak tries to stab Tony
– Manipulation by Management
– California Jam Festival
– Quotes from Ozzy/Geezer/Tony on Meehan
– The dark reality of their finances
– The worst part
– Does Sabbath even need a manager?
– Don Arden comes back
– The shadow cast from Patrick Meehan
– Crap Compilations
– Meehan robbing Sabbath
– Sabbath is beginning to fracture
– Crank it up! “Hole in the Sky”
– “Don’t Start (Too Late)”
– Symptom of the Universe
– “Megalomania”
– “Thrill of It All”
– “Supertzar”
– “Am I Going Insane (Radio)”
– “The Writ”
– The band Queen diss track
– “Blow on the Jug”
– The Making of Sabotage’s Album cover
– Reception of Sabotage
– One more stick in the gut by Meehan
– Closing thoughts
– Who made this video?
Credits:
Editor/Writer/Voice/Producer: Alan Berry
Co-Writers:
Mark Enochs
Jason C, aka Godshifter
For all credits go here https://www.thetapesarchive.com/black-sabbath-sabotage-documentary/

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In this episode, we have the Ramones’ frontman, Joey Ramone. At the time of this interview in 1988, Ramone was 37 years old and was in Japan for a tour.
In the interview, Ramone talks about whether he considers The Ramones a punk band, the most exciting time in music history, how most bands lack originality, and whether rock and roll have paid him back for all of The Ramones' contributions. 
The interview is conducted by Steve Harris. To learn more about Steve, please check out our podcast-only interview with him, which is out now. You can find the podcast at thetapesarchive.com.
In the interview, Ramone talks about:
The distinctive sound of The RamonesHow most bands lack originalityThe most exciting period for musicHis admiration for David ByrneWhat The Ramones did with their influencesWhy he loved The New York DollsHis thoughts on David JohansenWhether he considers The Ramones a punk bandWhether he considers himself a punkHow the Ramones are commercial without trying to be commercialHow he feels about bands like Bon Jovi and PoisonWhether there is a flaw in the kids that likes that type of musicHow The Ramones are a multi-dimensional bandWhy they wrote "Bonzo Goes To Bitburg" and participated in “Sun City”Ramones AidWhether decades from now will he be still singing “Blitzkrieg Bop”Why the Rolling Stones can go on foreverHow The Ramones are always changingHis reaction to hearing that The Ramones are a big influence in JapanWhether he thinks rock and roll has sufficiently paid him back for all The Ramones’ contributions

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A never-before-published and first known interview with Boston's original singer Brad Delp.
At the time of this interview in 1978, Delp was 27 years old and was in the midst of recording Boston’s second record.
Two years earlier, Boston released what would become the best-selling debut album of all time until Guns ‘N Roses’ first album.
Full transcript The Tapes Archive
In the interview, Delp talks about how the second album is coming along, if the band Boston is a democracy, his feelings on a recent insult from Elvis Costello, and his self-doubt.
00:00 - Intro
01:04 - Where is the new album? (Start of interview)
01:42 - The flooding of Tom Scholz’s basement
02:59 - Whether the band has recorded any new songs
04:28 - What happens when Tom gets a song idea
05:22 - How the record company feels about a two-year delay between albums
06:51 - Whether he was surprised by the success of the first album
07:17 - His self-doubt
08:45 - The history of Boston and how he got involved in the band
10:40 - The cover songs they played
11:08 - His love for the Beatles
12:42 - How they got signed to Epic Records
14:59 - What type of record deal they got
16:14 - Their “horrendous” early concerts
17:16 - Playing with Black Sabbath
17:59 - What his thoughts on Elvis Costello saying about Boston, “They may sell 9 million records, but they’re about as exciting as a plate of tripe.”
19:21 - Looking up to Rick Derringer
20:40 - How many overdubs were made on the first album
22:03 - What kind of an audience Boston has
23:30 - How the Beatles got him into music
24:16 - Whether the band Boston is a democracy

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A never-before-published interview with Adrian Belew from 1981.
Full transcript The Tapes Archive
In this episode, we have a multi-instrumentalist and the secret weapon for so many bands, Adrian Belew. At the time of this interview in 1981, Belew was 31 years old and was promoting King Crimson’s album Discipline. In the interview, Belew talks about various aspects of playing with the Talking Heads, Frank Zappa, David Bowie, and King Crimson. He goes in-depth on King Crimson’s Discipline, he tells the story about when he got jumped by a gang and finishes the interview telling Marc about his deep love for his family.
In the interview, Belew talks about:
What brought him to King CrimsonWhere is currently with the Talking HeadsHow he expresses his own personality in the bandThe “D” section of Elephant Talk and the meaning behind itHis part in the writing of the albumHow he gets that elephant soundWhat the lyrics in the song Indiscipline representThe song Matte KudasaiWhat Frame by Frame is aboutHow his being in the band frees up Robert FrippHow well Fripp and drummer Bill Bruford get alongIf King Crimson as a band has malice and ill will as a constant part of its daily dietThe dynamics of King CrimsonHis own plans for solo workThe meaning of the song Thela Hun Ginjeet and how he was beaten up by a gangWhy they don’t play 21st Century Schizoid ManYounger audiencesWhat he thinks is attracting new fans to King CrimsonWhat his solo albums will be like and who’s playing with himHis fascination with rhinosWhere he grew upStarting with David BowieHis assessment of the King Crimson’s show at the MetroHow he looks like Mark KnopflerHow he was blasted the night Fripp called himHis surprise when Fripp wanted to call the lineup King CrimsonThe very beginnings of his careerHis first bandIf he is the most famous alumnus from his high schoolIf Frank Zappa was tough to work forHis Bob Dylan impersonationIf had any problems with Zappa’s lyricsWhy he left Zappa’s bandHis deep love for his family
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In this episode, we have a founding member of The Who, Pete Townshend. At the time of this interview in 1996, Townshend was 51 years old and was promoting his greatest hits record. In the interview, Townshend talks about his plan to no longer make records, the remixing process of Quadrophenia, what’s now important to him, and finding a Jimi Hendrix master in his warehouse. 
The interview is conducted by Steve Harris. To learn more about Steve please check out our podcast-only interview with him, which is out now.
Full transcript
00:00 - Intro
01:00 - Start of Pete Townshend interview
01:38 - His non-defined image of himself
04:19 - His ability to write story-oriented albums
05:41 - Why it’s very hard to write songs
06:51 - His plan to no longer make records
08:26 - Why he is releasing a compilation album
09:33 - The notion that he hates the Japanese
11:30 - Developing Quadrophenia for a concert theater piece
12:57 - Which album he thinks is The Who’s best
15:08 - The backstory of when The Who revived ‘Quadrophenia’ for Prince’s Trust Concert
18:58 - Remastering old Who albums
20:23 - Writing chamber plays
21:32 - The difficulty of working in movies
22:26 - His lack of enjoyment for music theater
23:28 - What connects music from the ’50s and animation
24:37 - What’s important to him now
26:12 - The remixing process of Quadrophenia
26:57 - The previous poor mastering process of Who records
28:36 - Finding a Jimi Hendrix master in his warehouse
29:38 - The unfinished rock opera “Lifehouse”
32:04 - The mods 30 years later
33:35 - What he found hypocritical playing Black music
37:39 - Chapter 25
39:01 - The songwriting that went into “My Generation”
41:32 - Kurt Cobain and the song “My Generation”
43:18 - Seeing Jimi Hendrix a couple of weeks before he died

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