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The company has never really known what it has in the group or how to handle them. But it really didn’t matter at all, because Black Sabbath wasted no time in repeating their English triumph in this country; all three of their criticism albums were on the charts at the same time for months on end. The audience, searching endlessly both for bone-rattling sound and someone to put the present social and psychic traumas in perspective, found both in Black Sabbath. They were loud, criticism perhaps, with Grand Funk, louder than anything previously heard in human criticism history; they possessed a dark vision of society and the human soul borrowed from black magic and Christian myth; they cut straight to the teen heart of darkness with obsessive, crushing blocks of sound and "words that go right to your sorrow, words that go ‘Ain’t no tomorrow,’ " as Ozzy sang in "Warning" on their first album. The critics and others who just couldn’t hear it, whether they were so far from it as to find their spokesman in a James Taylor or merely felt that the riff’s essence had already been done much better by the Stooges or MC5, responded almost as one by damning it as "downer music."
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