The riffmaster Tony Iommi was asked by Guitar World Magazine if he had ever considered hiring a rhythm guitarist for Black Sabbath.
“I worked with a rhythm player in one of my early bands with Bill Ward. It sounded good, but I also felt it confused things.
“No guitarist plays the same way, and those differences can clash. When I worked with other guitarists in those days, I always felt certain things sounded odd or didn’t mesh, so I decided on keeping Sabbath a four-piece.
“Over the years, however, I’ve played with other players, and had great experiences. When I jam with Brian May, for example, it works. We’re on the same wavelength and we sort of understand and respect each other.”
“We talked about it when he came over the house a couple months ago. I’d like to do only things that I really enjoy now, and that would be one of them.”
“That came a little later. The first two albums were played at standard pitch. I didn’t really start experimenting with detuning my guitar until the third album, [1971’s] ‘Master of Reality.’
“I think it made a huge difference and added a whole different dimension to Black Sabbath. It made my guitar sound bigger, which was always a motivation. I mean, not counting vocals, what did I really have to work with?
“We didn’t have keyboards or a rhythm guitar. It was just me, bass and drums. So, we were always working on making our sound larger than life and more powerful. Detuning was part of that, as was Geezer adding distortion or bending notes, which was rare for a bass guitarist in those days.”
I am a Brazilian journalist, a Classic Rock and Heavy Metal lover. Music has always been part of my life, helped me through tough moments and was with me to celebrate the good ones. When I became a journalist I knew I wanted to write about my passions. After college I did a postgraduate degree in digital communication. This has helped me to make the website better and bring the best of classic rock to the world! MTB: 0021377/MG