LATEST NEWSGEEZER BUTLER On RICK RUBIN’s Work On BLACK SABBATH’s Final Album: “He Certainly Wouldn’t Work With Me Or TONY Ever Again”
“Tony was incredibly disappointed with him. In fact, Tony took some of the master tapes and redid them.””Tony was incredibly disappointed with him. In fact, Tony took some of the master tapes and redid them.

Black Sabbath‘s 2013 album, 13, marked the band’s last studio work, featuring Ozzy Osbourne on vocals for the first time since 1978’s Never Say Die! Despite the excitement surrounding this reunion, bassist Geezer Butler has (once again) expressed his dissatisfaction with producer Rick Rubin.

Reflecting on the production process in a conversation with BraveWords, Geezer lamented the drawn-out nature of creating 13. He highlighted the loss of spontaneity and authentic feel, comparing it unfavorably to the band’s earlier work.

“I always think you just lose the spontaneity and the feel of stuff. But when we did the 13 album, that took forever. And some of it was great doing it, and some of it not so good,” he remarked (as transcribed by Ultimate Guitar).

Geezer went on to explain that the lengthy production time ultimately made the music feel forced, lacking the rawness that characterized their ’70s albums and even the Heaven and Hell album, which he thoroughly enjoyed creating.

“It just didn’t have the same feeling like the old ’70s album or even Heaven and Hell album. I loved doing Heaven and Hell. But yeah, I think the longer you take over something, it becomes forced in the end, and you sort of lose the initial rawness and the feeling of the music.”

When asked about the possibility of working with Rick Rubin again, Geezer’s response was unequivocal: “Nope. He certainly wouldn’t work with me ever again. Or Tony. Tony was incredibly disappointed with him. In fact, Tony took some of the master tapes and redid them.”

Geezer also shared his fondness for Black Sabbath’s earlier albums, which were produced by the relatively obscure Rodger Bain. He appreciated the simplicity and live feel of those records, free from excessive overdubs: “I always liked the first three albums because it’s so basic and you can’t really go wrong with it. We played them as a live gig in the studio kind of thing. So there was no ridiculous overdubs and all that kind of stuff.”

While Rick Rubin’s production style has led to numerous successful albums, it clearly didn’t resonate with the members of Black Sabbath during the making of

What does heavy metal smell like? It smells like 100,000 people crammed into a stadium designed for 50,000 and the lingering smell of pyrotechnics in the air. Or, apparently, it smells like saffron, cinnamon, and rose. I like my version better.

Black Sabbath guitarist Tony Iommi launched his second cologne with Italian fragrance company Xerjoff, a company whose name happens to be an anagram of Jerxoff. It feels like cheating to write this article, because I don’t need to write any jokes when I can just show you the hilariously over-the-top description of this perfume on the Jerxoff website:

“Step into a parallel universe where mystery possesses the mind in a dark and decadent experience that casts subliminal shadows on the wearer.

“The second chapter of the almighty collaboration between the greatest riff master of all time, Black Sabbath’s legendary guitarist and rock composer, Tony Iommi and Xerjoff’s esteemed founder, Sergio Momo.

“A combination of forces that play on the palindromic nature of sound, scent and sensorial sequences, Tony Iommi Deified parfum is the new Xerjoff Blends venture that presents Deified perfume with a soon to come soundtrack and music video.

“Created on a duality of leather and spice, Deified plays in a loop with no beginning and no end, accompanying the wearer with its omnipresent aura. Authentic and warm accents of saffron meet powdery and leathery facets that dance with the delicate touch of gourmand freshness. Cinnamon exalts spicier notes, complemented by gentle rose at the heart.

“The woody base of papyrus and patchouli leaves the senses longing for more in a rhythmic exchange of back and forth.