The photograph on this T-shirt captures the members of Black Sabbath in their hometown of Washington, D.C., on a sunny spring day in 1983, shortly after recording their only studio album Out of Step, which represented a galvanizing call to arms for a generation of disaffected youth eager to express…... 

No. Try again.

The photograph on this clever T-shirt, put out by Wear Dinner, is an adaptation of one of the many iconic pictures taken by Glen E. Friedman. The photograph, for which Friedman used a fisheye lens, was taken in the summer of 1983, just a few months before Minor Threat broke up. (If you’d like to learn more about that picture, I recommend picking up Friedman’s 2014 book My Rules.)

To get the shirt, you’ll have to fork over $25, or you can get a coffee mug for $12.

Unaccountably, I couldn’t find any clips of Minor Threat or Fugazi playing Sabbath covers (weird!) so here are these two extended videos instead.

Sabbath, Paris, 1970 and Minor Threat, CBGB’s, 1982.
 

Half-Life? Never heard of ‘em.

A friend recently shared some vintage garage-rock goodness with me from the Saginaw, Michigan band, Half-Life and man, it knocked me for a loop. On June 27, 1969 Half-Life recorded the track “Get Down” at GM Studios in East Detroit (the same studio that the MC5 recorded Back in the USA).

The minute I hit the play button, I was immediately floored by the opening riff in “Get Down” and its remarkable resemblance to Tony Iommi’s fuzzed-out riff on “Paranoid.” Even the opening percussion is eerily similar to the Sabbath classic. Recorded in only one take, when the band started shopping “Get Down” around to local Detroit radio stations they were told it had no commercial viability. Half-Life would later drop the song from its
 

Half-Life, a garage band from Saginaw, Michigan. Circa 1969

So this could mean one of two things. Either Half-Life are actually time bandits of the most awesome kind or Black Sabbath somehow caught wind of “Get Down” from 3,652 miles away (the approximate distance between Detroit, Michigan and Birmingham UK), allowing Iommi to claim the sweet lick for his own. Not only do both scenarios bear the markings of a lunatic conspiracy theorist, the first one has no real basis in reality. No matter much I wish that it did. Another interesting fact to add to this weird mix is that “Paranoid” almost didn’t make it onto the record and the track came came to be in a somewhat similar way that “Get Down” did—according to Sabbath bassist, Geezer Butler:

The whole story of how we created that song is funny. It became the most popular song from the album, but it wasn’t something we thought much of when we wrote it. In fact, we finished the record and then the producer told us we needed one more song to finish up the album, so we just came up with “Paranoid” on the spot. Tony [Iommi] just played this riff and we all went along with it. We didn’t think anything of it.

In all seriousness, the riffy similarities between “Get Down” and “Paranoid” are rather uncanny, but I’ll leave you to judge that with your own ears. Just press play below. Now do I believe that Tony Iommi, one of the most influential guitarists of all time lifted the epic riff for “Paranoid” from a little known garage-band from Saginaw? Of course not, and neither do you. However, if you dig “Get Down” (and I strongly suspect you will), I recommend that you pick up the compilation A-Square (Of Course): The Story of Michigan’s Legendary A-Square Records which features “Get Down” and other rare recordings from the Ann Arbor-based label from bands like the legendary MC5 and The SRC (The Scot Richard Case).
 

“Get Down” by Half-Life (1969)
 

Previously on Dangerous Minds:
‘New’ footage of Black Sabbath on German TV, 1970

Don’t worry, I know the shoes!
 
Back in 2004 when Black Sabbath guitarist Tony Iommi was working the press circuit for the release of Black Box: The Complete Original Black Sabbath (1970-1978), he noted that the collection would include the band’s obscure cover of Carl Perkins 1955 rockabilly classic, “Blue Suede Shoes.” The track was also released by New Millennium Communications in 1999 on a compilation called, Black Mass.

According to Iommi, Sabbath decided to play the uptempo number during one of their recording sessions for the German TV show Beat-Club in May of 1970. Their performance (which aired on Beat-Club episode #55) of “Blue Suede Shoes” and “Black Sabbath” were both recorded on Beat-Club‘s soundstage. The band then recorded two other tracks, “Iron Man” and “Paranoid” at Radio Bremen studios in Bremen, Germany that would later air as part of their appearance on Beat-Club on episode #59.

During the interview, Iommi makes it pretty clear that the decision to play “Blue Suede Shoes” was a “joke” and really just “a run-through for the cameras.” Something that the band never intended or expected to be seen by anyone outside of the studio, much less heard. The greatest part of all this is the fact that Sabbath vocalist Ozzy Osbourne really didn’t know the lyrics to the song at all. I give you this fantastic example straight from Ozzy’s mouth:

I know a girl who lives next door/she’d be in the kitchen/with an eye on the wall

And it only gets worse. Damn. How the band keep a straight face during this performance is beyond me. Perhaps the LSD hadn’t kicked in yet? Maybe Ozzy was sober? Whatever the case may be, it seems that this was the one and only time the band was captured on video performing “Blue Suede Shoes”. 
 

Black Sabbath and rubber chicken
 
The video below includes onscreen subtitles for Ozzy’s mixed-up lyrics. It is two-minutes of hilarity. I’ve also included video of the band’s entire appearance on Beat-Club from 1970 for your viewing pleasure. Double O, double Z… why? FTW!
 

Black Sabbath performing “Blue Suede Shoes” on Beat-Club (episode #55) with Ozzy’s new “lyrics.”
 
More Sabbath after the jump…

 
By about a thousand lengths, Black Sabbath’s best song is “Supernaut” from Black Sabbath Vol.4. You’re free to argue the point, but you won’t change my mind. Yeah, “Paranoid” and “Iron Man” are obviously among metal’s greatest works, and the MONSTER riffs from “N.I.B.” and “Into the Void”  are indelible. But “Supernaut?” BEST. PERIOD. The hefty physicality of Tony Iommi’s performance of the main guitar riff melts me down into a puddle every time I hear it, and when Ozzy wails “I wanna reach out and touch the sky / I wanna touch the sun but I don’t need to fly”  I goddamn believe HE CAN, with or without mountains of drugs. It’s absolutely perfect.
 
Continues after the jump…

Black Sabbath, 1970
 
On this day 44 years ago, Black Sabbath played their first-ever show on U.S. soil. However, as the headline of this post insinuates, the actual location of the gig is some debate, depending on the sources you choose to believe.
 

Black Sabbath, London 1970
 
Riding high (quite literally) on the huge successes of their first two albums, Black Sabbath (released on February 18th, 1970) and Paranoid (released on September 18th, 1970), both Black Sabbath guitarist Tony Iommi and vocalist Ozzy Osbourne historically credit the location of their first U.S. show in their respective autobiographies as legendary Manhattan club, Ungano’s. In his 2012 autobiography, Iron Man: My Journey through Heaven and Hell with Black Sabbath, Iommi recalls showing up to Ungano’s and was horrified at what a “shithole” the club was. Their roadie plugged their Euro gear into Ungano’s U.S.-only sockets and subsequently blew the club’s fuses. After a short unplanned pre-show intermission, the power went back on and Black Sabbath’s first gig was history. Or was it?
 

Black Sabbath jamming at Esby Gymnasium at Glassboro State College?
 
Other sources claim that the band’s first gig took place at Glassboro State College (now known as Rowan University) in New Jersey. And the story is quite similar to Iommi’s. Claims made by rock promoter Rick Green, the brother of Stu Green who with his brother ran Midnight Sun an influential music promotion company that started out in Pennsylvania in early 70’s, has been quoted as calling himself the “promoter” of Black Sabbath’s “first U.S. gig” at Glassboro. On the surface, it’s not hard to believe. The Greens booked everyone from Lou Reed and Alice Cooper to the Patti Smith Group at the historic Tower Theater in Upper Darby, Pennsylvania, not far from Glassboro State.

In aninterview that Rick did in 1992 with The Philadelphia Daily News, he spoke about the gig in strangely similar detail to Iommi’s recalling that Sabbath blew out the power after plugging in their amps into incompatible sockets. This caused the gig to be rescheduled until the end of Sabbath’s inaugural tour. Hmmm. So what about Glassboro? Was it real, or was it just a bad memory? Here’s another version of the Glassboro story, according to an article from The Seth Man, a journalist who writes over at Julian Cope Presents Head Heritage. The post also cites Rick Green’s Daily News interview as a source, but includes more detail:
 

The band’s (Black Sabbath’s) passage through customs at Kennedy Airport in New York proved to be “a day-long trauma that left the group tired and humiliated,” causing them to be three and a half hours late for the gig. Finally appearing onstage at 1:00 in the morning, the power to their sound system cut out during the first song. It was fixed within a few minutes, but once they recommenced they caused a second power outage that not only knocked out their sound system but the power to the gymnasium, the campus and “...most of the power in the neighborhood. The street lights were out and there was darkness.” Appropriately enough, the date was Mischief Night: exactly half a year away from Walpurgisnacht on October 30th.

 

Black Sabbath, perhaps snapped during the Esby show
 
As I mentioned earlier, there are many resources, some trustworthy, that credit Glassboro as Sabbath’s first American gig, including British author Garry Sharpe-Young (specifically in the book, “Metal: The Definitive Guide”) and the Rock and Roll Hall of Fame’s timeline on Sabbath. I’ve even read accounts that seem legit that tell the tale of a young Ozzy Osbourne, allegedly so distraught during the Glassboro gig that he wandered off into a messy pile of tears in corner of Glassboro’s Esby Gymnasium (where the mythological gig was held), while shouting “I hate America and I want to go home!” Of course I’d be remiss if I didn’t mention that said article spelled Ozzy’s name “Ozzie” and also notes that Ozzy was 20 at the time, when he was actually 22. I’m probably nitpicking here, but for what it’s worth, I’d like to present another piece of this very weird puzzle.  Below is a strange show poster for the Glassboro show, supposedly created by promoter Rick Green’s little sister. The poster went to auction at Christie’s in 2007. The auction item’s bio states a bit of maybe-history noting that after the power went out during the first song, Sabbath wasn’t able to continue and the show was made up later at neighboring Montclair State University.
 

Black Sabbath show poster for Glassboro State College. Christies auction 2007.
 
So what to believe? In my mind, it’s hard to conceive that Tony Iommi’s recollection of Sabbath’s first gig would be incorrect. I mean, he was there, man. And despite the fact that it’s nothing short of a miracle that Ozzy remembers anything from those early days (although in his book “I Am Ozzy,” which I’m currently reading, he remembers a lot), the fact that he corroborates Iommi’s heavy metal history lesson just adds credibility to the show taking place at Ungano’s. So let’s put an end to this folklore once and for all. In the pages of the the Fall 1998 issue of Rowan Magazine the University historians took a look back at the many famous visitors they have hosted through the years such as Blondie, Elton John and Jane Fonda. The publication, that the University publishes itself, makes no mention of Black Sabbath. So there you have it. Black Sabbath’s first live U.S. show PROBABLY took place in a small, skuzzy club in Manhattan on October 30th, 1970, not some upper-crust college in New Jersey that was more accustomed to the stylings of Arthur Fiedler and the Boston Pops Orchestra. The END (or is it?).

 
This is a very interesting video of Black Sabbath that popped up on YouTube yesterday. It comes from German TV, but it’s cut together in such a way that it’s hard to tell what the original presentation was supposed to be. What is very clear is that the TV show presenting the footage is stridently annoyed at the high fees that rock bands are charging for their gigs, explicitly blaming the venue managers in defense of the penniless “youths” who have to pay the high concert ticket prices.

The video artlessly mashes together two performances, the first apparently a show Sabbath played at the Rock Circus in Frankfurt on June 21, 1970 (according to the annoying on-screen text, they were paid 4,000 Deutschmarks, roughly $1,100 in 1970 dollars). According to the text, the average fee for a Black Sabbath show, after starting the year “namenlos” (nameless, anonymous), was 7,000DM, or nearly $2,000. The text also points out that British and American groups received 50% more when playing in Europe. In that footage we can see a big chunk of “War Pigs” being played with its original lyrics, from when the song was still called “Walpurgis.” According to Wikipedia, Paranoid was recorded from June 16 to 21, 1970, the last day of which, you’ll notice, is the same day as the date given for the Frankfurt gig, so something is amiss there. If Ozzy was still using the old lyrics, then perhaps this was recorded earlier than that, and possibly this footage isn’t from a German gig at all. It’s a bit of a puzzle.

In the second clip, Sabbath plays “Iron Man” at a concert in which they are amusingly seen inside a boxing ring. Over that footage, we see the average fees that various bands receive (“GINGER BAKER’S AIRFORCE, 25.000.-” for a show on the island of Fehmarn, off the coast of Germany, etc.). That show is pretty clearly piping in the studio track for the audio.

Whatever this ridiculous TV show was, it bears some resemblance to this German video of the Welsh prog band Man, which also dates from 1970. I suspect it was the same show, and the videos got separated somehow. If you wait until the 9:55 mark of that video, you’ll see that the typeface is the same, in that portion of the video at least, and the spoken text is full of lighthearted witticisms like “Are we such good consumers, are we so jaded that we don’t notice who is trying to make money here?” etc etc.
 

 
via WFMU

 
Is there a place in Black Sabbath for the likes of David Sanborn? I know what you’re thinking: Fuuuuuuck that. But seriously, give this video a try and just see if Sabbath wasn’t crying out for the smooth jazz treatment all along. You might be surprised…

I’ve watched this video three times now and it makes me crack up every time. I still can’t quite figure out what it is that makes it work so well; the original footage possesses some quality that makes it fit, whether it’s Tony Iommi’s supremely sweet and confident manner of wielding the axe or Ozzy’s sweaty gyrations with the mic. Probably both!

Ozzy’s habit of suddenly springing up into the air kills me every goddamn time. You gotta give it to him, he is really into it, smooth jazz or not.
 

 
(Here’s the original footage, for those who are curious.)

 
Even a heavy metal tourist such as myself holds the late Ronnie James Dio in reverence. He was an early pioneer of the genre, with bands Elf and Rainbow. He sang for Black Sabbath for a while, and he managed a 30-year career with his own band, Dio. He’s even widely credited with the creation of the infamous “devil horns,” though he insists he merely cultivated the gesture from his Italian grandmother’s attempts to ward off the “evil eye.”

But like I said, I’m merely a casual observer of the genre. I am however, pretty well-versed in early rock ‘n’ roll teeny-bopper fodder—at least, enough so to say that Ronnie James Dio’s early pop crooner career is totally worthy of cranking up on the AM radio when you’re making-out at “Make-Out Point.” He started making music in 1957—it only makes sense that Ronald James Padavona had a few family-friendly incarnations before finding his place in the black hearts of a million Satan-loving heshers. And honestly? The dude was just really talented, with incredible musical instincts and an all-around great voice.
 

Ronnie Dio and The Prophets, looking wholesome
 
Below is just a smattering of teen dream Dio’s early recordings. The first (my favorite) is Ronnie Dio and The Red Caps’ 1960 gem,  “An Angel is Missing”—very Ricky Nelson. The second one is Ronnie Dio and The Prophets’ rendition of “Will You Still Love Me Tomorrow,” probably from 1962. This is literally one of my favorite songs of all time—I am ruthlessly protective of it, and I approve. The third is Ronnie Dio and The Prophets again, doing “I Told You So.” I saved this one for last, because it’s the darkest one, and its ominous sound may have predicted what was to come!!!!
 

“An Angel is Missing”
 

“Will You Still Love Me Tomorrow”
 

“I Told You So”

 
Chronology is the damndest thing. Everybody knows the fantastic scene in This is Spinal Tap in which the band commissions a Stonehenge set but mistakenly asks for a model of 18 inches instead of 18 feet, which tiny replica then finds its way into a real Tap concert—even though nobody has informed the band’s members of the mixup beforehand.

That gag was first presented to the public on March 2, 1984, when the movie was released. A year earlier, in August 1983, Black Sabbath (one of the primary sources for Spinal Tap) released Born Again (October 1983 in the U.S.), one of their most poorly reviewed efforts. The second track on the album is a brief instrumental called “Stonehenge”—and on their 1983 Born Again tour, Black Sabbath hilariously had to shelve a Stonehenge stage concept because the scenery was much too big to use—someone had misinterpreted the requested foot measurements as meters, making all of the pieces roughly nine times too large (remember your volume calculations in high school geometry?).

It’s tempting to conclude that Spinal Tap nicked the gag off of this real-life precursor. But there are problems with this theory. For one thing, Black Sabbath’s North American tour didn’t start until mid-October 1983, and the incident with the Stonehenge set didn’t occur until around October 21, when they hit Montreal. It seems unlikely that they hadn’t finished principal photography on This is Spinal Tap by then (the project had already been kicking around for a while), and nothing about the Stonehenge gag suggests a rush job—a full song was composed, a live rendition was recorded, and so forth.

But that’s not all. When This is Spinal Tap was much closer to the pitch stage, Rob Reiner and his three principals, Christopher Guest, Michael McKean, and Harry Shearer (who did the bulk of the writing), put together Spinal Tap: The Final Tour, a 20-minute rough cut of the movie that they could show to financiers as an example of what the end result would look like. This footage dates from 1981 or 1982—well before Black Sabbath released Born Again—and the Stonehenge bit is there pretty much in its entirety.

So it’s all a complete coincidence—one of those uncanny examples of art anticipating life.
 

 
While we’re on the subject, let’s see what the members of Black Sabbath had to say about the Stonehenge incident. By the time of Born Again, Ozzy Osbourne was long gone, and Ronnie James Dio had quit the band after the previous album, Mob Rules. Tony Iommi and Geezer Butler were still in the band, and they actually wanted to release the material under a different name, but label considerations forced them to stick with the name Black Sabbath. They recruited Deep Purple singer Ian Gillan to do the vocals, but he quit the band after the tour. Original drummer Bill Ward, now newly sober, had sat out Mob Rules but returned for Born Again; it was the last Sabbath studio album Ward would play on.

According to a 1995 interview with Geezer Butler, this was what happened with the Stonehenge stage set:
 

Jeb Wright:  There is also a part of the movie Spinal Tap that concerns Geezer Butler – or so I have been told.  The idea of Stonehenge being too small actually came from Black Sabbath’s idea to make a Stonehenge stage set for the Born Again tour that was too large.  My source gave you the credit for the whole mistake.

Geezer Butler: It had nothing to do with me.  In fact, I was the one who thought it was really corny.  We had Sharon Osbourne’s dad, Don Arden, managing us.  He came up with the idea of having the stage set be Stonehenge.  He wrote the dimensions down and gave it to our tour manager.  He wrote it down in meters but he meant to write it down in feet.  The people who made it saw fifteen meters instead of fifteen feet.  It was 45 feet high and it wouldn’t fit on any stage anywhere so we just had to leave it the storage area.  It cost a fortune to make but there was not a building on earth that you could fit it into.

JW:  Where is Stonehenge now?

GB:  I last saw it on the docks in New York on the same tour.

JW:  So somewhere these things are around.

GB:  They were probably thrown into the Atlantic Ocean.

JW:  One day a futuristic society will find them.

GB:  They will think it is Atlantis.

 
So wait—Sharon Osbourne’s dad was probably responsible for the mixup, which must mean that the part of Jeanine Pettibone in This is Spinal Tap is basically Sharon Osbourne, right? I don’t think I had put that together before.

In an interview in Mojo magazine in December 1994, Gillan largely confirms the story but says that the whole Stonehenge idea was Butler’s, which Butler obviously denies (see above):
 

We were up at a company called LSD (Light and Sound Design) in Birmingham, and the lighting engineer asked if anyone had any ideas for a stage set. Geezer Butler suggested Stonehenge. “How do you envisage it, Geezer?” asked the engineer. “Life size, of course,” replied Geezer. So they built a life-size Stonehenge. We hired the Birmingham NEC [National Exhibition Centre] to rehearse in and they couldn’t get these bloody things in there. We opened in Montreal and Don Arden had hired Maple Leaf ice hockey stadium for a week, so they shipped the set over there and could still only get a few of those damn stones up, one each side of the stage, one behind the drums and two cross-pieces.

 
According to Gillan, there were further misadventures involving dry ice and (as in the movie) a dwarf:
 

Then we hear this horrendous screaming sound—they’ve recorded a baby’s scream and flanged it—and suddenly; we see this dwarf crawling across the top of Stonehenge, then he stands up as the baby’s scream fades away and falls backwards off this 30 foot fibreglass replica of Stonehenge onto a big pile of mattresses. Then dong, dong—bells start toiling and all the roadies come across the front of the stage in monk’s cowls, at which point War Pigs starts up. By now we can see the kids are either in stitches or wincing in horror.

After spending 40 grand a day to achieve all this, someone had economised by not actually trying out the dry ice in the afternoon run through. So as I stride confidently towards my prompt book, not even knowing the first word of the song, I’m suddenly shocked to see a chest-high cloud of dry ice is berating me to the front of the stage. So there I am after this big opening, kneeling down, swatting the air and trying to read me line, popping my head above this cloud every now and then. Someone shouted “It’s Ronnie Dio!”

 
Butler thinks the original Stonehenge plinths are in the Atlantic Ocean, but I found a reference online to the effect that “the design company LSD (Light and Sound Design) ... still have the model in their possession. At one point, it was going to be donated as an auction prize for a children’s charity, but since it was touring around rock museums all over the world as part of an exhibition, this never happened.”

Is this true? Did anyone reading this ever see a tour at a “rock museum” that included the original Black Sabbath model of Stonehenge?
 
“Spinal Tap: The Final Tour,” part 1:

 
More after the jump…

 
No, this wasn’t Black Sabbath’s attempt to make their own Yellow Submarine, this is actually just a (pretty darned brilliant) parody from the short-lived Comedy Central series, TV Funhouse.

The band goes on vacation in Hawaii to unwind after a tour. Ozzy, naturally, is portrayed as a befuddled idiot, Bill’s drunk as hell and Geezer and Tony are stuck-up, disapproving snobs. Produced by Robert Smiegel, animated by John Schnall and written by Metalocalypse co-creator Tommy Blacha.

Some drug-damaged YouTube commenters—and no doubt Ozzy himself—seem to think they remember this from the 1970s!!!
 

 
Black Sabbath -Tony Iommi, Ozzy Osbourne, Geezer Butler and Tommy Clufetos (doing a fine job filling in for Bill Ward) - play a solid version of “Iron Man” last night at Lollapalooza.

Right now heavy rainstorms in the Chicago area have shut down Lollapalooza.  Plans are to resume the fest as soon as the storms pass. Once the weather delay is over, you can stream the rest of the fest here.

Massive party pooper. 100,000 people evacuted from Chicago’s Grant Park.
 

 
Sad to hear that Black Sabbath guitarist, Tony Iommi, was diagnosed with the early stages of lymphoma.

From Billboard:
 

Iommi, 63, is currently working with his doctors to determine the best course and “remains upbeat and determined to make a full and successful recovery,” a statement said.
 
In November, the group—Iommi, Ozzy Osbourne, Geezer Butler and Bill Ward—announced album and tour plans. While the statement does not indicate whether live dates will be affected, the band continues to write and record their first album in over three decades. Rick Rubin will produce the group’s comeback album, which is expected to be released in fall 2012 through Vertigo/Universal.
 
The metal pioneers are scheduled to headline Download Festival, which will take place between June 8-10 in Donington Park, England.

Here’s hoping he makes a full recovery. Iommi’s autobiography, Iron Man: My Journey through Heaven and Hell with Black Sabbath, was published in late 2011 by Da Capo Press.

Below, Black Sabbath in their evil prime on regional Yorkshire Television. Shot in Paris in 1970, the group plays songs from their first album and Paranoid.
 
 

 
Via The Daily Swarm

 
Black Sabbath were filmed live in Paris performing songs from their first album and Paranoid in December of 1970 for regional Yorkshire Television. It’s the best footage, bar none, that you will ever see of the band in their evil prime.

A scorching, killer set of the devil’s music. Play it LOUD.

Set list:

Paranoid
Hand Of Doom
Rat Salad
Iron Man
Black Sabbath
N.I.B.
Wasp
Behind The Wall Of Sleep
War Pigs
Fairies Wear Boots

Via TreeAshMusic/Thank you Henry Baum!

 
Formed by Martin Atkins (ex-Public Image Ltd drummer, and member of Killing Joke, Ministry and PIgface), Opium Jukebox are a Bhangra tribute band, who released some rather stonking cover albums of the Sex Pistols (Never Mind the Bhangra Here’s Opium Jukebox), The Rolling Stones (Sticky Bhangra), Black Sabbath (Bhangra Bloody Bhangra), and a rather fab industrial compilation of various artistes including Nirvana, Soft Cell and Gary Numan, Music to Download Pornography By.

Well worth getting acquainted with, so here’s a small selection of their covers:
 

“Anarchy in the UK” - Opium Jukebox
 

“God Save the Queen” - Opium Jukebox
 

“Paint it Black” - Opium Jukebox
 

“Iron Man” - Opium Jukebox
 
With thanks to Marcel Lechump
 

 
You get this.

(via Nerdcore via AudioPorn Central)