I’m sure you can visualize the scene: two long-haired gadabouts clad in dirty black cargo pants and Slayer t-shirts go to the home of one of them to smoke a bag of weed they just scored. They go to the tool shed in the backyard, converted to a drug haven for the two potheads, with metal posters on the walls, a lava lamp and an old, smelly couch with the upholstery spilling out of the cushions. The only thing needed to complete the scene before the two wastoids light up is some groovy, crunchy tunes. One of them goes to the CD player and very ironically puts on Master of Reality, and the first sounds of Tony Iommi coughing (presumably from marijuana smoke) starts in, and the other one nods and says “niiiiice.”

There; how’s that for completely unqualified knowledge from a guy who’s never done an illegal drug in his life?

A lot of people point to Master of Reality as the birth of what’s called “stoner rock.” It usually involves very distorted guitars, minor keys and simple, repetitive figures. An entire song can consist of one riff of two measures repeated for 4 minutes.

If you ask me, I’m not sure “stoner rock” really exists; it might be no more than music scholars having too much time on their hands but needing to validate their choice of career, and thus creating sub-sub-sub-subcategories for everything under the sun. I shouldn’t speak too ill of them, though, since I definitely wouldn’t turn down someone offering to pay me actual money to invent terms like “stoner rock.” The more I think about it, the more it’s sounding like a really good gig.

Here’s my argument. In my mind, stoner rock is music that provides a good soundtrack for getting high, and it helps if there is a positive reference to the uses and powers of drugs. Under that definition, Phish would be stoner rock. So would the Black Crowes. And Cypress Hill. So would Bob Marley, Enya, the Spin Doctors and Enigma. In fact, a case could be made for almost any band having at least one song that qualifies as stoner rock, which is what makes the label so problematic.

The questionable status of stoner rock aside, Master of Reality does have plodding guitars and lazy approach to musicality (simple and bluesy, not a lot of adornment), both of which make it particularly suited to leaning back and getting wasted. That combined with the opening track being a romantic ode to marijuana and it’s easy to see why Master of Reality gets associated with the drug culture. If there is such a thing as stoner rock, “Sweet Leaf” is the quintessential song of the genre, but it’s really the only qualifying one on the entirety of Master of Reality, and arguably in Sabbath’s entire catalog.

Hippies were really ancestors of modern-day stoners, and Black Sabbath shares some lyrical commonality with them on this album, if not musically. In 1971, The music culture was reacting to the hippie movement, and acts like Black Sabbath, the Stooges and David Bowie had an opposite aesthetic to hippie bands like Jefferson Airplane and the Grateful Dead, even if they sometimes had matching lyrical themes.

“Children of the Grave” is a breath away from being a protest song, very in line with the hippie movement. While it has very dark and doomy music, it promotes revolution through non-violence and passive resistance. The title is a little deceiving; it makes you think it’s about zombies or something, and it takes a slightly more sardonic and fatalistic tone. You might not expect it from a band so often associated with Satanism, but “Children of the Grave” is quite positive. It centers on love.

Love, believe it or not, is a big theme of Master of Reality. Metal bands nowadays have a huge aversion to themes like love, forgiveness, joy and positivity. Instead, they myopically focus on suffering, evil, torture, self-loathing and chaos. Love is uncool. Yet here, on what is largely agreed upon to be one of the bedrock albums of heavy metal, Black Sabbath are talking about not only love, but (gasp!) God.

Next up: Black Sabbath says “God is the only way to love…” wait, what???

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