As much as Satan, album crime
canadian journalism, goldie lookin chain your mother's got a penis song lyrics, the tyee, flicks, stills, alternative, web publishing tool, crime, 'literary journal', helping, kinky, live, cinema, quarterly, barbs, publication, marthawainwright, gift set, growing cannabis, adult, media watch, I remember seeing old books with vitriolic cartoons of Capitalist Pigs (literally) strolling along in tophats and waistcoats with buttons ready album to album pop from the accretions of fat, lighting giant Havana stogies with $100 bills. Possibly the only difference between that was conscious inflammatory propaganda and this is (you can accept this to whatever degree you choose – I tend to take it all the way) true folk culture, where the hatred is more organic and sensate, churning straight up from the bowels in catharses of rage as apocalyptic as the End they visualize in this song and "Electric Funeral," probably the two most vicious statements we’re ever going to hear from this band. Even Dylan, after finding it in himself to write "I hope that you die," realized that there was nothing more he could say on the tip of that particular limb. "War Pigs" ends up a fantasy of Judgment Day, the sword of the Archangel cleaving the necks of those who have chosen to serve Lucifer and now must follow him into Gehenna.
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As much as Satan, the righteously vindictive Old Testament God and spiritual-super-natural agonies recur in crime their music, they are almost invariably used to make a moral point. "The Wizard" is a song of reassurance for those nursing paranoias about neighborhood witches and warlocks who might be nursing a grudge against them, painting a benevolent shaman: crime Evil powers disappear Demons worry while the Wizard is near Everyone’s happywhen the Wizard walks by The Black Sabbath vision of life on earth and the machinery of civilization becomes concrete in their second LP, Paranoid, whose very first song takes crime the epithet applied so indiscriminately for the past half-decade to anyone the speaker happens to be in disagreement with, and carries it to its ultimate gross characterization in a vignette reminiscent in verbal content and unbridled bitterness both of Dylan’s "Masters of War" and the firebrand rhetoric of agit-prop pamphlets of the Socialist Workers and other parties farther left since the time of the First World War.
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