|Released|| September 18, 1970 (UK)|
January 7, 1971 (US)
|Label|| Vertigo (UK)|
Warner Bros. (US)
It is often regarded as one of the most influential albums in heavy metal history alongside their self-titled album and "Master of Reality".
In an effort to capitalise on the recent UK chart success of their eponymous debut album, Black Sabbath
returned to the studio with producer Rodger Bain in June 1970, just four months after the album was released. Paranoid was recorded at Regent Sound Studios and Island Studios in London, England. Ironically, the album's title track was written as an afterthought. As drummer Bill Ward explains: "We didn't have enough songs for the album, and Tony (Iommi) just played the guitar lick and that was it. It took twenty, twenty-five minutes from top to bottom." In the liner notes to the 1998 live album Reunion, bassist Geezer Butler recounts to Phil Alexander that they wrote the song "in five minutes, then I sat down and wrote the lyrics as quickly as I could. It was all done in about two hours." According to Alexander, "Paranoid" "crystallized the band's writing process, with Iommi initiating the ideas with his charred riffs, Ozzy (Osbourne) working on a melody, Geezer providing drive and the majority of the lyrics, and Bill Ward locking into a set of often pounding rhythms beneath Butler's bass rumble." The single was released in September 1970 and reached number four on the UK charts, remaining Black Sabbath's only top ten hit.
Most of the songs on Paranoid evolved during onstage improvisational jams. In the Classic Albums documentary on the making of Paranoid, guitarist Tony Iommi declares that "War Pigs" came from "one of the clubs" with Butler adding, "During the song "Warning" we used to jam that out and that particular night when were jamming it out Tony just went da-dum!" In the same documentary, Iommi demonstrates his approach to the guitar solo in the song, explaining that "I always tried to keep the bottom string ringing so it fills it out nicely." On "Planet Caravan", Osbourne sings through a Leslie speaker, with the singer telling Mojo in 2010, "Then Roger Bain used an oscillator on it – whatever that is. It looks like a fridge with a knob on."
The album's opening track "War Pigs" was originally intended to be called "Walpurgis". It was then shortened to "War Pigs", which the band intended to name the album until it was changed to Paranoid after the record company became convinced that the song of the same name had potential as a single. Butler explained his intentions to Classic Albums: "I wanted to write a song called 'Walpurgis' – you know, the Satanic version of Christmas – write it about that Satan isn't a spiritual thing, it's warmongers. That's who the real Satanists are, all these people who are running the banks and the world and trying to get the working class to fight the wars for them. We sent it off to the record company and they said, 'No, we're not going to call it that. Too Satanic!' So I changed it to 'War Pigs'." In his autobiography I Am Ozzy, vocalist Ozzy Osbourne recalls, "It was originally going to be called 'Walpurgis' ... which was a term for a black magic wedding or something. Then we changed it to 'War Pigs', and Geezer came up with these heavy duty lyrics about death and destruction. No wonder we never got any chicks at our gigs. Geezer just wasn't interested in your average 'I love you' pop song ... Geezer also liked to put a lot of topical stuff, like Vietnam references, into our songs. He had his ear to the ground, Geezer did."
The song "Iron Man" was originally entitled "Iron Bloke"; upon hearing the main guitar riff for the first time, Osbourne remarked that it sounded "like a big iron bloke walking around". The title was later changed to "Iron Man" as bassist and lyricist Geezer Butler composed the lyrics. The riff to "Iron Man" is iconic among heavy metal guitarists, with Osbourne declaring in his memoir that "...Tony Iommi turned out to be one of the greatest heavy rock riff-makers of all time. Whenever we went into the studio we'd challenge him to beat his last riff – and he'd come up with something like 'Iron Man' and blow everyone away." Butler wrote the lyrics as the story of a man who time travels into the future and sees the apocalypse. In the process of returning to the present, he is turned into steel by a magnetic field. He is rendered mute, unable verbally to warn people of his time of the impending destruction. His attempts to communicate are ignored and mocked. This causes Iron Man to become angry and have his revenge on mankind, causing the destruction seen in his vision. "Electric Funeral" also contains apocalyptic imagery dealing with nuclear warfare. In The Last Supper concert film, Iommi remembers that at the time with most bands "it was all the 'flowers in your hair' and we wanted to sing and play about the other side of life." In the 1992 documentary Don't Blame Me Osbourne concurs: "It was me and five kids living in a two bedroom house. My father worked nights, my mother worked days, we had no money, we never had a car, we very rarely went on holiday ... And suddenly, you know, we hear about 'If you're going to San Francisco be sure to wear a flower in your hair'. And we're thinking, (contemptuously) 'What the fuck is San Francisco? Where is this? What's all this flower shit? I've got no shoes on my feet.'" "You could just see that a lot of things were going wrong in the world," Butler recalled to Classic Albums in 2010, "and no one was saying anything about it. Bob Dylan had long since faded from the present memory and there was nobody talkin' about the things that I wanted to talk about – political stuff – so that's what inspired me."
In 2013, Butler told Mojo magazine that the song "Paranoid" was "about depression, because I didn't really know the difference between depression and paranoia. It's a drug thing; when you're smoking a joint you get totally paranoid about people, you can't relate to people. There's that crossover between the paranoia you get when you're smoking dope and the depression afterwards." In 2015 Butler elaborated further to Dave Everly of Classic Rock: "I used to be a cutter. I'd cut my arms, stick pins through my fingers, that kind of thing. I used to get really depressed and it was the only thing that could bring me out of it. If Sabbath hadn't made it, I'd have been long dead. I'd have killed myself." According to Mick Wall's book Black Sabbath: Symptom of the Universe, Butler was dead set against the song because he thought it too closely resembled Led Zeppelin's "Communication Breakdown", with the bassist admitting, "I thought it was so much like that we couldn't possibly get away with it ... They were our favorite band by that time." "Planet Caravan" was an unusually quiet song which showcased that the band was capable of more than bone crushing guitar riffs. Iommi admitted that the band had doubts about the mellow number, telling Classic Albums, "It was almost one of those 'Should we do this?'" with Butler adding, "We just came up with that in the studio and it was really laid back so and we didn't want to come out with the usual love crap. So it was about floating through the universe with your love one, instead of 'Let's go down to the pub and have some chips', or whatever ... Just taking a spaceship out into the stars and having the ultimate romantic weekend." Django Reinhardt's jazz influence is apparent on Iommi's guitar playing. "Hand of Doom" dealt with the problem of soldiers returning from the Vietnam War strung out on heroin, which the band witnessed first hand when they played two American Army bases but, as Butler observed to Matthew Longfellow in 2010, there was "nothing on the news about this. There was no programs telling you that the US troops in Vietnam, to get through that horrible war, were like fixing up and all this kinda thing. It just stuck in me head and when we got to "Hand of Doom", that's what I wrote it about."
According to Butler, Ward's drum solo "Rat Salad" resulted from the band having to play eight and three quarter hour spots a night in Europe early in their career. "Bill used to fill out a whole 45 minutes doing a drum solo just to get rid of that 45 minutes," he revealed to Classic Albums. "I have no idea where the title came from, though." In 2013, Sabbath biographer Mick Wall described the closing track on the album, "Fairies Wear Boots", as a "hard-driving riff sweetened by a beautifully baleful melody" with a lyric written by Osbourne about a nasty encounter with a group of skinheads.
Title and Artwork
Paranoid was originally titled War Pigs, but the record company allegedly changed it out of fear of a backlash from supporters of the ongoing Vietnam War. Additionally, the band's label felt the title track was more marketable as a single. Ozzy Osbourne states in I Am Ozzy that the name change had nothing to do with the Vietnam War, and was entirely due to the record company deciding the album would be easier to sell if it was named after the single, which had already had significant success by the time the album was released, reaching number 4 on the UK Singles Chart. It was too late, however, to alter the artwork. Joe Smith, who was executive vice-president at Warner Bros. from 1970 to 1972, told Classic Albums that the rest of Warner Bros. didn't want anything to do with them: "We were in the midst of the war ourselves in this country and what their reasoning was not that important to me. I knew we weren't going to call it 'War Pigs'." Regarding the song "Paranoid", Smith recalls, "It was on an acetate. I remember playing it and turning the sound way up and shaking the whole building ... I said 'I think that's the breakthrough album. I don't understand it but that 'Paranoid' sounds like a great title for an album and a great title for a single.'" "That album title had nothing to do with the sleeve," Osbourne explained to Phil Alexander in 1998. "What the fuck does a bloke dressed as a pig with a sword in his hand got to do with being paranoid, I don't know, but they decided to change the album title without changing the artwork."
The original UK vinyl release was in a gatefold sleeve featuring a black-and-white photo of the band, posed outdoors on a grassy hill, and was their first appearance on album artwork. To spread the original picture over the gatefold, Ozzy Osbourne was separated from the other members of the band and a section of the grass was copied and dropped into the gap.
In the early 1970s, an American nurse committed suicide and the Paranoid album was found on her turntable. The album's possible influence in her decision to commit suicide was mentioned in the inquest, but ultimately it was decided that Black Sabbath were not to blame for her death. "A lot of the words in the songs – a lot of the moods of the songs – are aggressive," Iommi acknowledged. "Especially in the early days – Satanic, if you like ... That was the way it felt, so that was the way we played. But it got out of hand. With Paranoid in England, for instance. There was a girl found dead – a nurse she was: dead in her room with our album on the turntable going round. And it was taken to court saying that it was because of the album that she was depressed and killed herself, which was totally ridiculous, I think."
In a 1982 interview with The New Music Butler claimed, "If the moral majority don't understand it they'll try to put it down, or get other people to read all sorts of things into it ... The moral majority sort of people picked up on the Satanic part of it. I mean, most of it was about stopping wars and that side of it, and some science fiction stuff. There wasn't that much Satanic stuff, and what there was it wasn't exactly for the devil or anything like that; it was just around at the time and we just brought it to people's attention." In the documentary The Black Sabbath Story, Vol. 1, Butler expresses his frustration at how fans misinterpreted the band's lyrics, stating that "for instance, on 'Hand of Doom' they'll pick up one sentence out of that and blow it up into this big thing, like as if we're telling everyone to go and shoot smack. The whole song is against drugs."
Several of the songs on Paranoid would go on to become standards for hard rock and heavy metal bands and, even after the original band broke up in 1979, both Sabbath and Osbourne included songs from the album in their live sets. The 1994 tribute album Nativity in Black features three selections, including "Iron Man" (performed by Therapy? with Osbourne on vocals), "Paranoid" (covered by Megadeth) and a live version of "War Pigs" by Faith No More (a studio version appeared on the band's 1989 release The Real Thing). A sequel titled Nativity in Black II was released in 2000 and includes a version of "Hand of Doom" by Slayer and Pantera's rendition of "Electric Funeral".
2009 Deluxe Edition, disc two
This is the quadramorphic version of the album from 1974.
- War Pigs
- Planet Caravan
- Iron Man
- Electrict Funeral
- Hand of Doom
- Rat Salad
- Fairies Wear Boots
2009 Deluxe Edition, disc three
Disc three contains original, alternate and instrumental versions of the tracks recorded at Regent Sound Studios.
- War Pigs (Instrumental)
- Paranoid (alternate lyrics)
- Planet Caravan (alternate lyrics)
- Iron Man (Instrumental)
- Electrict Funeral (Instrumental)
- Hand of Doom (Instrumental)
- Rat Salad (alternate mix)
- Fairies Wear Boots (Instrumental)
United States Edition
NOTE: This release of the album has a name for the outro of "War Pigs" entitled "Luke's Wall" and the opening to "Fairies Wear Boots" is entitled "Jack The Stripper".
- War Pigs/Luke's Wall
- Planet Caravan
- Iron Man
- Electrict Funeral
- Hand of Doom
- Rat Salad
- Jack The Stripper/Fairies Wear Boots
- Black Sabbath
- Tom Allom – engineering, piano on "Planet Caravan"
- Rodger Bain – production
- Brian Humphries – engineering
- Marcus Keef – graphic design, photography