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Post by TM on Sept 6, 2013 15:33:08 GMT -5
Not sure I've seen this posted here, although many of us know that Tony spent a short time with Tull I'm not sure I knew the extent of the relationship.
Tony discusses his time with Tull and interesting enough how he wrote the "riff" to Nothing's Easy. Further, Tony touches on the relationship between Ian and the other guys and in the end sensed it just wasn't right for him as tempting as it was - and lucky for Martin....
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Post by Geoff CB on Sept 6, 2013 17:13:38 GMT -5
Tony's book "Iron Man" is an interesting read!
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Deleted
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Post by Deleted on Sept 7, 2013 3:17:38 GMT -5
Great find TM, very interesting. I wonder what the "bit of riff" he wrote in Nothing is Easy was.
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Post by Morthoron on Sept 7, 2013 13:56:02 GMT -5
Great find TM, very interesting. I wonder what the "bit of riff" he wrote in Nothing is Easy was. Yes, that is an interesting dilemma. If you had asked me which song off the Stand Up album bears Tony Iommi's stamp, it would be more the beginning riff of "A New Day Yesterday". If anything sounds like Sabbath on that album, it's that intro. As far as "Nothing is Easy", it would sound to me like the heavy guitar and bass blues line after Ian sings "Nothing is Easy" at the end of each lyric stanza. Iommi's blues riffs are very chunky, so I don't think it's the more jazzier chords that back the vocals. |
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Deleted
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Post by Deleted on Sept 13, 2013 10:16:07 GMT -5
Great find TM, very interesting. I wonder what the "bit of riff" he wrote in Nothing is Easy was. Yes, that is an interesting dilemma. If you had asked me which song off the Stand Up album bears Tony Iommi's stamp, it would be more the beginning riff of "A New Day Yesterday". If anything sounds like Sabbath on that album, it's that intro. As far as "Nothing is Easy", it would sound to me like the heavy guitar and bass blues line after Ian sings "Nothing is Easy" at the end of each lyric stanza. Iommi's blues riffs are very chunky, so I don't think it's the more jazzier chords that back the vocals. Right. I'm thinking of everything that can be considered a riff in the song via guitar and bass, and most of it is fairly jazzy and unlike Iommi's usual style. I don't doubt that he would have been capable of creating those "riffs". Does anyone remember this being mentioned anywhere else? |
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Post by Willie on Sept 13, 2013 14:59:14 GMT -5
Well, here's some demo songs from 1969 before Sabbath had a record contract... the guitar sound is not that much of a stretch from the Nothing Is Easy guitar sound... particularly the 2nd and last songs.
Now here's Tull doing N I E the same year... with Martin Barre of course, but there's still a lot of overlap in riffage between 1969 Sabbath and 1969 Tull.
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Post by TM on Jan 24, 2015 17:11:11 GMT -5
Another interview with Tony where he discusses his time with Tull a bit further. The Tull topic begins at about 20 minutes in.
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Post by Michael Crowe on Jan 25, 2015 2:06:25 GMT -5
Another interview with Tony where he discusses his time with Tull a bit further. The Tull topic begins at about 20 minutes in. Iommi started out on the squeezy thing. Tony, say it ain't so!! |
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eepie
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Post by eepie on Feb 2, 2015 18:03:02 GMT -5
 this is great though. what i get out of this is that Tony's time with Tull is pretty much directly responsible for Sabbath's future success! just that little bit of time he spent working ( really working!) with the guys taught him what he needed to do and gave him the focus to do it. discipline and practice!! one more thing to be thankful to Ian and Tull for.
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Post by Michael Crowe on Feb 4, 2015 2:11:07 GMT -5
this is great though. what i get out of this is that Tony's time with Tull is pretty much directly responsible for Sabbath's future success! just that little bit of time he spent working ( really working!) with the guys taught him what he needed to do and gave him the focus to do it. discipline and practice!! one more thing to be thankful to Ian and Tull for. I suppose, to a degree, But I would say mostly: Having the will to keep playing after the industrial accident that nipped his fingers. The injury made it hard to play full chords so he used three note chords forming the heavy fifth and forth tones. Finding a killer drummer and bassist to play with ..... okay, and Ozzy. Talent and imagination out the yang, to create the greatest riffs in history. But most of all, for trashing that sqeezy thing and picking up that bloody axe. |
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eepie
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Post by eepie on Feb 11, 2015 19:54:53 GMT -5
I suppose, to a degree, But I would say mostly: Having the will to keep playing after the industrial accident that nipped his fingers. The injury made it hard to play full chords so he used three note chords forming the heavy fifth and forth tones. Finding a killer drummer and bassist to play with ..... okay, and Ozzy. Talent and imagination out the yang, to create the greatest riffs in history. But most of all, for trashing that sqeezy thing and picking up that bloody axe. haha, i don't know if Tony would have really kept on with the accordion -- it seems from what i have heard that it was pretty much the only instrument in the house when he was growing up, so if he wanted to play something, the accordion was the only choice! and yes, i absolutely agree with you in everything you've said above, he was so determined to keep playing in spite of his accident, his talent and the foundation of the group was definitely there, that is undisputed! but by example ian showed him how to bring it all together and get it done. squeezy squeezy squeezy |
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