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4.0 out of 5 stars
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4.0 out of 5 stars
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on 20 February 2016
I finally purchased a copy of this album to complete my Ozzy-era Sabbath collection (minus Never Say Die) despite the generally negative reviews. The album is often written off as the band were on the rocks at the time of recording and the wave of more trendy punk bands were coming on to the scene making bands like Sabbath look out of date. This album may not be as heavy as the first few releases but it is still a very, very good hard rock album and no less heavy than Sabbath Bloody Sabbath.
There are no weak tracks to be found amongst the eight on the record. "Gypsy" and "Dirty Women" are two of my all time favourite Sabbath tracks. The opener "Back Street Kids" and "Rock n Roll Doctor" are catchy tracks and it's refreshing to hear Bill Ward on vocals for "It's Alright". The criticism of this record is harsh. Even Mick Wall slates it in his Sabbath biography which is surprising. If you are put off by the reviews and have never listened to it then get yourself a copy. It's worth it for less than £6!
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on 16 June 2017
Loud
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on 28 August 2010
"Technical Ecstasy" differed even in the 1976 vinyl release in its production style from the previous albums. Then, too, the album had a compressed sound. So I would not judge the remastering as bad. All the Ozzy-years-albums are good albums. Certainly the last three albums with Ozzy are not the heavy metal monoliths like the first five. But 1976 was not 1970. The times had changed, the music had changed and the band had changed. But until the departure of Ozzy Osbourne everything Black Sabbath had published had its class, despite the stylistic changes.
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on 27 June 2010
Other reviewers are quite right when it comes to this album, Technical ecstacy is in it's own right one of if not the worst Black sabbath album alongside the well-known 1995 misfire "Forbidden" but it did actually contain a few gems like "Dirty women" which in my book was enough to bolster the album to be worthy of at least two stars. Here, is a classic and unfortunate case where we have a poor album-remastered poorly. The other reviewer here is indeed correct about the irritating bass, but the production also fails to reach the lofty standards demonstrated by the other 70's Sabbath remasters which were all excellent in my opinion, On the same hand clarity seems to have been forgotten about under the mirky mess.

As it is, i have gradually collected all of the new 2009 digipak releases and the earliest Quadaphonic mixes of the first three albums. This was the only one I felt necessary to sell, and that was exactly what I did, In any case I strongly advise a good thorough and detailed look into this product if you still feel compelled to buy it, ultimately there is just no getting away from the fact that this is a definative missed opportunity here on show, The album was released right the way back in '76 but the fact that it's not a great album anyway isn't really the problem. As a 2009 remaster fans I think had deserved a much better effort. So, being easily the worst remaster of all the 2009 Sabbath releases, customers and fans on here need to be warned about poor products, this is one of them.
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on 19 October 2014
I was very wary of buying 'Technical Ecstasy' because I thought it would shatter my perception of Black Sabbath. Indeed, until recently I had never heard it - even 38 years after it was originally released! Well, I took the plunge, and I'm glad that I did, because it didn't seem to me to be quite as different from the previous albums as had often been claimed.

It's interesting how just one or two tracks can change one's perception of a record. The two that stick out here are 'It's Alright' which sounds very different not least because of Bill Ward singing the vocals, and 'She's Gone' which is a nice song but a bit lightweight for me. Really though these are the only tracks that are that different from the previous Sabbath style.

The other six tracks this album, 'Back Street Kids', 'You Won't Change Me', 'Gypsy', 'All Moving Parts', 'Rock 'n' Roll Doctor' and 'Dirty Women' are all full-on with a great heavy guitar sound and actually sound like a natural follow-up to 'Sabotage' which itself was a substantial progression from say, 'Black Sabbath' or 'Paranoid'.

If you like the first six Sabbath albums then definitely don't be afraid to get this. You may like all eight songs on it, after all they are all good. But if you don't, do not let the one or two lighter ones put you off, just play the rest of it. It rocks!
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The seventh studio album from the classic Black Sabbath line up of Osbourne, Iommi, Ward and Butler is a bit of a departure from their signature sound and the last gasp from a band in decline.

With a somewhat less heavy sound than on previous albums, this is a more middle of the road rock and roll album, until you listen closely to the lyrics (which deal with drugs, streetwalkers, transvestites and other insalubrious topics). Lyrically it is a strong effort with some great song writing in evidence.

However, other aspects of the band were in fast decline. As with Sabotage there is a feeling of overproduction and a loss of spontaneity, and Osbourne seems more and more disinterested in the singing, to the extent that Bill Ward provides vocals for one track.

It's a decent record in most lights, but does not compare favourably with their earlier material. 3 stars.
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on 13 August 2010
It's funny isn't it sometimes how an album gets categorised as one thing or another. Appetite for destruction, brilliant -which frankly, isn't. Technical Ecstasy, poor to average -which it also isn't. Different to be sure, but a great album nonetheless. Some memorable riffs on very good and catchy songs and a lively performance from Ozzy -e.g. Rock 'n' Roll Doctor -and rather welcomingly, to my ears at least, from Bill Ward on 'It's Alright.'

This is to Sabbath's musical legacy what Robin Trower's 'Caravan to Midnight' is to his - an overlooked gem. Just as long as you take it out of context and enjoy it for what it is... a departure.

Hell, most of us like to travel don't we? Departures sure work for me. Set sail for a foreign land and enjoy this trip.

Ciao.
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on 24 February 2012
I couldn't resist throwing my opinion in.
As other people have already stated, gone is the dark feel of many previous albums, and yes it definitely has a slicker, very mastered sound.

However, I believe that the slating this album receives is just not justified. There are still some great tracks, and some great riffs. Yes, Sabbath were definitely reaching for a more middle of the road market, but I still really enjoy this album.

Give it a try!!
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on 20 December 2010
This is the album that everyone seems to agree marked a downturn in the Sabbath greatness. Technically (no pun intended) they are right. It has many failings and barely a whisper of the band of old remained. However they do deserve marks for trying to expand their sound, despite the fact that it didn't work particularly well. And without Technical Ecstacy there would have been no Never Say Die, which I see as the creative success that Technical... wasn't.

The overall feel of the album is very of it's time. It is akin to early Magnum material and can be seen as progressive in places, but at its heart beats a pure vein of hard rock and roll. 'Back Street Kids' is evidence of this rock and roll centre. It's a great opener with a catchy chorus and some driving guitars. 'You Won't Change Me' slows it down slightly and is reminiscent of the old doomster tracks they invented. But it is more subtle and definitely more slight than it should have been. The light and dark are not punctuated with any brilliance and the song ambles on. 'It's Alright' is another change of pace. Sung by the drummer, Bill Ward, it is a welcome breath of air. Musically it is very 70s California, insomuch as it does not feel like a Black Sabbath track. There are no foreboding riffs just non-threatening acoustic strumming. It is one of my favourite tracks. 'Gypsy' is another progressive number that doesn't work but is not a bad song. After a few listens, the twists and turns and story takes shape. It's a worthy track, just not a great one.

'All Moving Parts' is much the same as the side one closer. It has time changes, difficult widdly bits and quite a rocking beat that drives it, but it lacks a rhythm and a tune. 'Rock & Roll Doctor' is very average and not the sort of track you would expect a band of their calibre to commit to. I suppose it's a fun, light relief song but it is not much of one. It is an upbeat rock and roll track that should have been sold to ZZ Top. 'She's Gone', however, is stunningly good. It is a ballad good and proper. There are no distorted guitars, just ethereal picking, angelic orchestral accompaniment and a mood of severe melancholy. It really is a triumph. Pity then that 'Dirty Women' ends the album by taking the progressive and rock and roll idea and putting them together. What occurred was a 7 minute track about prostitutes that meandered to a very boring chorus.

Not all bad, not all good. It is the very definitive middling album; there are about 3 great tracks, 3 ok tracks and 2 below average ones. Not a great place to start with Sabbath but by no means an album to miss as the few gems there are sparkle very brightly indeed.
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on 8 July 2010
Unlike the other reviews I would say this album is worth getting if you like Black Sabbath. Ok I'd buy their first four albums before I'd get this one (which i did) but songs like Back Street Kids which is a good straight ahead rocker with lyrics that seem to hark back to the bands youth "Brought up in a back street living with the salt of the land" and It's Alright sung by Bill Ward which shows a more reflective, tender side to the band are quality songs. Overall while not an essential Ozzy-era album to buy it's still worth getting,
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