Introduction
Following on from the Sabotage box set, the latest Black Sabbath album to receive Super Deluxe treatment is 1976’s Technical Ecstasy. An album that has an uneasy place in Sabbath’s back catalogue, it sees the band continuing the experimentation of its predecessor, but with more of a focus on a commercial, rock direction that left many feeling somewhat uncomfortable.
With the benefit of hindsight, it’s hard to see a way out of the corner in which Sabbath found themselves in 1976. Following on from the various legal woes which beset the band during the recording of Sabotage, the band were further challenged by the arrival of punk, leading them to question their place in the industry. Self-producing and left to fend for themselves by manager Don Arden, whose attention was firmly elsewhere, Sabbath took the ill-fated decision to adopt a number of different influences, from the multi-tracked sonic explorations of Queen to Supertramp and the results, while nowhere nearly as disastrous as some would have you believe, are surely uneven. Nevertheless, as Iommi has argued, it was very much a case of “damned if you do, damned if you don’t” with regard evolution and, while few would argue that Technical Ecstasy is the finest moment in the band’s history, this sizeable collection suggests the album is ripe for re-evaluation by the band’s faithful followers.
The Package
Following in the footsteps of the highly regarded Vol. 4 & Sabotage sets, Technical Ecstasy comes housed in a rock solid 12×12 box with a lift-top lid. Standing out on the shelf, thanks to the band’s startling rejection of the none-more-black artwork that adorned their previous offerings in favour of a white-framed Hipgnosis piece, Technical Ecstasy looks fantastic (and even better on the gigantic poster found within the box). Alongside said poster, the box contains three single LPs (the 2021 remaster, a brand-new mix and an LP of outtakes) and one handsome gatefold, double LP (the live set). Each of the LPs has its own unique artwork, although only the 2021 remaster contains an insert with lyric sheet and technical details. There’s also a replica concert book from the 1976-77 world tour (with plenty of text and interesting period details, such as advertisements for hi-fi stores) and another of the fantastic hard-back books that graced previous sets. Compiled by Hugh Gilmour, the book is packed with archival images, interviews and reviews, and it makes for fascinating reading as you dip into this unusual entry in Sabbath’s canon.
Audio Content
While Sabotage boasted a fantastic remaster, there was nothing in the way of outtakes or rarities (save for a 7” with a radio version of Am I Going Insane), relying solely on a fantastic, triple-live album as additional content. Happily, Technical Ecstasy returns to the five-LP format of Vol. 4 and the set contains a veritable treasure trove of additional material. Heading up the set is the 2021 remaster of the album itself. Once again, it’s Andy Pearce and Matt Wortham at the helm and the results are deeply impressive. Next up and housed in packaging that recalls the negative-images used to frame the Led Zeppelin remasters, is a brand new mix of the album courtesy of Steven Wilson, which is arguably the best this record has ever sounded. Wilson also helms the third LP, which contains a selection of outtakes and alternative mixes to form an alternate-universe version of the record that is much bluesier than its final incarnation. Unlike Vol. 4, which was rather muddled, the selections are better ordered here, with a single LP housing the additional tracks. Finally, a ten-track double LP represents the 1976-77 world tour. With plenty of familiar tracks on offer, the real treats here are the three tracks taken from Technical Ecstasy– Gypsy, All Moving Parts (Stand Still) and Dirty Women. Although mixing information for the set is, once again, absent, this set does at least include information to show that it was mastered by Andy and Matt and, although very much of its time, the show does sound as good as you could possibly hope.
Technical Ecstasy Revisited
As noted above, Sabbath were in a difficult spot in 1976. If nothing else, one could argue that Technical Ecstasy was too much of a change delivered too quickly. While Sabotage offered a good deal of in-studio experimentation, there were enough heavy numbers to keep the album obviously in the metal camp. In contrast, Technical Ecstasy offers some classic riffs, not least on the opening pair of Back Street Kids and You Won’t Change Me. However, all too often, you can feel a mainstream rock current tugging at the band, and songs often change direction midway, while an awkward sequencing sees the album’s two slowest songs placed slap bang in the middle of each side. As such, it’s easy to see how fans at the time, already made wary by the disconcertingly different artwork, would find it just too far away from what they loved about the band.
The album kicks off decently enough, however, with Back Street Kids – a tough number with a solid riff and a galloping beat that suggests the nascent Iron Maiden (formed just a year previously) were taking notes. It’s a cracking start that cuts off without warning and edges into the reverb-drenched You Won’t Change Me – a characteristically defiant title that belies the fact that the band were, indeed, changing. Slow-paced and built around a solid doom riff, it shows that Sabbath weren’t entirely ready to trade in their heavy metal credentials, although the heavily phased verse and melodic chorus underscores the Queen influence, and you can almost feel the commercial forces nagging at the band’s collective sleeve as the track progresses. Indeed, split it at the halfway point, when the piano comes in, and you’d be forgiven for thinking you’d stumbled upon an unusually vigorous Supertramp song, although Iommi’s lead work remains blistering. Unfortunately, it’s followed by It’s Alright, one of the album’s weakest tracks by far and a dramatic tonal shift from what went before. Interestingly, when used by Guns ‘n’ Roses as a segue into November Rain during the mammoth Use Your Illusion tour, the track proved far more successful; but here, sung by drummer Bill Ward, it is far too slight and stalls the first side badly despite its brevity. The final track, Gypsy, is a far more energetic number, not least thanks to Bill Ward’s savage opening tattoo, but it’s another track that skews into Supertramp territory, a frustrating inconsistency that epitomises the internal conflict facing the band. Nevertheless, some versions of the album switched It’s Alright and Gypsy and you can’t help but wonder if the former may not have been better placed (and better appreciated) as the side closer.
Side B opens with the funky pop -rock of All Moving Parts (Stand Still) and it’s a decent track that effectively fuses Iommi’s instantly-recognisable riffing with a more stream-lined approach that proves surprisingly effective. Although some decried it as veering into Kiss territory, Rock ‘n’ Roll Doctor, with its rock ‘n’ roll piano and well-worn subject matter, is an album highlight and an underappreciated gem in Sabbath’s storied catalogue. It boasts a fantastic vocal from Ozzy, great piano from Gerald Woodruffe and a real groove that proves almost impossible to ignore. In contrast, the haunting strings and heartbreak of She’s Gone recall the psychedelic excursions of Sgt Pepper, an album casting a long shadow over the music world despite having been tracked nearly a decade previous. As with It’s Alright, it feels poorly placed, threatening to kill the vibe of its predecessor with its leaden pace and swirling orchestral sounds. The band pick themselves up for the mid-tempo Dirty Women. Initially underwhelming, the track is a slow burner rendered closer to Queen or Deep Purple by the production. Only in the second half does it take off, as Iommi unleashes a barrage of multi-tracked solos that seem to light a fire under the rest of the band, especially Ward, who suddenly kicks out a shuffling jazz beat, providing the album with an ambitious closing number.
Taken individually, the tracks on Technical Ecstasy are far better than the album’s reputation would suggest. There’s great musicianship to be found and, in this new remaster, the record sounds better than ever. With a more logical sequence and, perhaps, the omission of one of the two ballads present, the album as a whole would almost certainly have been better received. Hell, recorded by any other band, Technical Ecstasy might now be held up as a flawed classic but, with Sabbath’s catalogue casting too long a shadow, it remains something of a curiosity, well worth exploring, but not up to the standard of that which went before.
The Steven Wilson Mix (LP2)
Having been absent from Sabotage, Steven Wilson (who remixed parts of Vol. 4, alongside the outtakes) returns to the fold to offer up a complete remix of Technical Ecstasy. Those familiar with Wilson’s work will know that he is not interested in radical reinterpretations, preferring to scrape away the layers of classic works to present a clearer overall image, and this is very much the case with Technical Ecstasy.
Opening number Back Street Kids, for example, is deftly mixed to maintain the volume and power of the original, while allowing more space for the complex instrumentation of the second half to shine through. Similarly, the eerie intro to You Won’t Change Me is given greater prominence and, when Iommi’s riff kicks in, you can feel the weight. Interestingly, Wilson opts for the original mono single version of It’s Alright in favour of crafting a new mix. It’s a shame that he didn’t take advantage of the process to switch the track with Gypsy here, but the mono mix arguably offers more punch than the stereo version, and it does somehow feel more natural to the running order in this iteration. The new mix of Gypsy, however, absolutely shines, with Bill Ward’s insane barrage behind the kit emerging form the speakers with significant force. It’s still an oddity that performs an abrupt left-turn in the second half, but the clarity and power of the remix really brings out the power of Ozzy’s vocal performance.
Steven Wilson’s remix continues to highlight the album’s best features as side two kicks off with the funky strut of All Moving Parts (Stand Still) sounding positively revitalised here. Equally, Rock ‘N’ Roll Doctor explodes from the speakers and, if you weren’t previously convinced, this subtle but worthwhile remix should win you over. She’s Gone may still feel poorly placed in the album’s overall sequence, but its acoustic introduction sounds utterly gorgeous, and the overall mix just seems to breathe more effectively. It’s moments like this in which Steven Wilson truly excels, and this most elegant of Sabbath songs has never sounded better. It leaves album closer, Dirty Women to see things out. Wilson’s mix is rather closer to the original, feeling a touch tighter and cleaner overall, without any significant revelations.
Honestly, I can see this version of Technical Ecstasy becoming my go-to version of the album. While Steven Wilson is respectful enough of the source material to keep his revisions subtle, his restoration work brings new details to light in a way that really adds depth to the album overall. It does not fix the album as such, but it’s certainly the best version of the album you’re likely to hear.
Outtakes & Alternative Versions (LP3)
Rather more revisionist, the title Outtakes And Alternative Mixes is something of a misnomer as this is nowhere near the grab-bag of oddities found in the Vol. 4 boxset. Largely following the running order of the original LP, it only omits It’s Alright, allowing for two versions of She’s Gone (the latter an instrumental bonus track) and a much tighter first side. With blusier takes and the new running order in place, the third LP is very much the album that could have been, and it is a fascinating alternate reality with which Steven Wilson presents us.
It all kicks off with an energetic alternate mix of Back Street Kids that seems to mildly favour Iommi’s electrifying guitar work, underscoring the punk influence that had crept into the embattled band’s work. The sudden stop remains in situ, but a longer gap between the track’s conclusion and the eerie noise that opens You Won’t Change Me makes it feel more severe. In reducing the doomy vibes of that opening riff, this mix of You Won’t Change Me has a more overt classic rock vibe that further emphasises the Queen influences in the piece, all of which actually works in favour of the track’s overall flow. Sensibly dropping It’s Alright, the band power straight into Gypsy and it’s amazing how the removal of one track can so significantly change your impression of the record. Possibly the biggest mix revelation on the first side is All Moving Parts, which emerges with a bluesy shuffle more akin to Led Zeppelin’s funkier moments. It sits perfectly on the first side, and it makes for a much more coherent feel overall.
Opening with a snippet of Ozzy moaning about the volume in his cans, this alternate version of Rock ‘N’ Roll Doctor is certainly raw, but it lacks the power of the final version, once again pitching a Led Zeppelin vibe that only partially works. More studio chatter leads into a stripped-down version of She’s Gone (Outtake), now moved forward in the running order and all the more natural for being the album’s only ballad in this iteration. Arguably preferable thanks to its uncluttered production, it also benefits from the raw emotion shot through Ozzy’s performance. The album proper concludes with a suitably lecherous Dirty Women, which has a bar room brawl vibe to it that brings the album to a raucous close. There then follows a remarkable, instrumental take on She’s Gone, which allows the listener (possibly for the first time) to hear the subtle strings of the track. Beautifully understated and with a John Barry feel to it, it’s a wonderful bonus and an entirely unexpected curtain closer to this reimagined album.
Leaving aside the instrumental version of She’s Gone, LP3 is an alternate universe record which slightly reconfigures the order to frontload the heavier moments, while offering up mixes that emphasize hard rock and blues over metal. While it’s clear that the band were struggling a touch with their identity (hence the sturm und drang of You Won’t Change Me’s blistering opening riff on the original album), with a more coherent hard rock focus and a tighter sequence, the album feels altogether more natural, making you wonder if this is a mix up Steven Wilson has had in his head since first hearing the album all those years ago. At any event, while it does not replace the original, it is a fascinating companion piece that recasts the album in a Led Zeppelin light that was only partially obvious in its original incarnation. For my money, however, the Wilson mix on LP2 is the definitive take on Technical Ecstasy.
Live World Tour 1976-77
Amazingly, considering how close together these tours were, the live set manages to feature four tracks not found in the previous super-deluxe sets (three from Technical Ecstasy as well as Electric Funeral from Paranoid), and it’s interesting to see how the band had evolved as a live act in such a short period. The sound quality is generally good – get past the first few minutes of as-good-as-it-can-be bootleg quality and you find that there’s good separation between instruments. As such, despite the rather boxy drums (somewhat typical of the era), Iommi’s blazing solos are there for all to see. Similarly, Ozzy’s vocals, albeit a tiny bit distorted, are present and on point, and the overall quality is certainly on a par with the Past Lives set. In short, while not perfect, it is a powerful record of the band on stage at this time and it’s a better overall sound than the more compressed live set found in Sabotage.
A brief (and uncredited) pre-recorded snippet of Supertzar opens the set, but soon gives way to a blistering Symptom Of The Universe. As noted above, the sound quality is a touch rough in places, but it actually settles down by the time the band have locked into the track’s dark groove, and things only get better from there. A surprisingly vigorous War Pigs is up next and, given its reputation as a doom-metal behemoth, it’s always a surprise to hear the speed at which the band tore into it during this period. Great solos and Geezer’s thunderous bass make the track here and Ozzy is in fine form, geeing up the crowd without yelling too frequently over the instrumental parts. The final track on this side is Gypsy and it is something of a change of pace – the claustrophobic guitars of the previous two tracks pared back in favour of allowing more space for Ozzy’s echoing vocals. It does feel a touch abrupt and, although the band perform it well, you can almost feel the collective intake of breath as the band head into the track’s psychedelic mid-section.
Having stepped away from the norm, the band wisely head back onto firmer ground, at least for a while, with a super-slow Black Sabbath opening side eight. Darker and heavier, especially in contrast to Gypsy, it’s met with a degree of rapture and Ozzy’s performance is gloriously theatrical. Riding on the tide of good will, the band slip in the bluesy All Moving Parts (Stand Still), a funky strut that sounds surprisingly good after the band’s ferocious, eponymous anthem. Indeed, the band sound like they’re having fun and, while history may not have recorded this period too kindly, they certainly sound invested in the new material on these recordings, especially Iommi, whose solo here is a thing of multi-hued splendour.
As with the previous sets, the solos are largely kept to one side of vinyl. However, before we get to these, side nine sees the band continue to focus on Technical Ecstasy with a hefty take on album closer Dirty Women. It sits well in the live environment and, as with its recorded counterpart, it builds up a rather impressive head of steam as it progresses. The track segues neatly into the Drum Solo / Guitar Solo passages and these, kept far more svelte than on previous offerings, are hugely enjoyable, even removed from the volume overload of the live environment. Overall, this might be the best display of the band’s technical prowess from any of the super-deluxe box sets to date.
Bringing both the live set, and the box set, to a close, Sabbath have some real treats on the final side of vinyl. Opening with the haunting dirge of Electric Funeral you can almost hear the teenage members of Candlemass, Cathedral and their ilk scribbling down notes, and it’s an immense version. Next up, a crushing Snowblind (doing a fair job of describing the band’s alleged state at the time) is utterly devastating, Iommi’s arcing solo setting the world afire over a dense haze of Mellotron chords. It leaves Children Of The Grave to see the band off stage, and it’s a suitably apocalyptic finale to a seriously impressive live set.
Overall
In many ways this is the best of the three recent super deluxe Sabbath sets. Take a classic album, and you can only do so much, but take a controversial entry in a band’s canon and you have the opportunity to force its re-evaluation. The approach taken here is pitched just right: respectful of the sensibilities of those fans who already love the record and yet revisionist enough to allow its detractors to see it in a whole new light. As such, LP 3 is a gem that offers a tantalising look at how the LP might have sounded had the band not been suffering from terrible self-doubt. Better balanced, thanks to the absence of It’s Alright, it’s packed with alternate (bluesier) mixes and, while it lacks the random chatter of the Vol. 4 outtakes, it feels more carefully plotted for repeat listens. The remix on LP 2, however, is where this set truly shines, and Steven Wilson clearly balanced his inner fanboy with his studio sensibilities to bring out the best in the record, while staying true to its creators’ original intent.
The icing on the cake is a live set that features a number of cuts from the album, as well as a brutal Electric Funeral, none of which are found in the previous Super Deluxe Editions. Well recorded, it captures the band fighting their corner and delivering one hell of a performance in the process.
Overall, where the previous sets essentially reassert what fans already know, this massive box is the perfect opportunity to park your expectations at the door and experience a much-maligned album in a somewhat different light. Technical Ecstasy may not be a perfect album, but this cracking box really gets under the skin of a difficult period in the band’s turbulent history and proves hugely enjoyable in the process. 9/10
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