The 968.9-carat Star of Sierra Leone diamond was discovered by miners on February 14, 1972. It ranks as the fourth-largest gem-quality diamond and the largest alluvial diamond ever discovered. In September of #1972 another diamond was born. My prayer for this next cycle around the sun is that I continue to be stretched beyond my imagination, that I keep living in #faith, that I will operate from a place of selfless love and receive it in abundance. I'm so excited about #chapter46. Thank you to those who continue to love me, lift me up and most importantly pray for me.
Three albums into their career, @blacksabbath had attained such a level of success that they decided to change things up for their next LP in a number of ways, resulting in what would eventually become the most critically lauded record in their catalog in ‘Vol. 4,’ released on Sept. 25, 1972.
Having broken big in America by then, the band decamped to Los Angeles to record the album at the Record Plant while living at an estate in the Bel-Air neighborhood owned by John du Pont, heir to the Du Pont fortune who would later be convicted of murder. “I was putting so much [cocaine] up my nose that I had to smoke a bag of dope every day just to stop my heart from exploding,” frontman Ozzy Osbourne would say of the period in his autobiography ‘I Am Ozzy.’ “It would be almost impossible to exaggerate how much coke we did in that house…at one point we were getting through so much of the stuff, we had to have it delivered twice a day.” Vol. 4 brought new elements to Sabbath. Alongside the familiar slow and sludge-like grooves on “Wheels of Confusion” and doom-laden “Cornucopia,” there was the brief but wildly shifting “St. Vitus Dance,” elements of bizarre experimentation on “FX” and the uncharacteristic balladry of “Changes.” “The first three albums could’ve all been from the same batch really, but [‘Vol. 4’] was when we started introducing different things,” Iommi said.
It can’t be stressed enough how much of an influence cocaine was to ‘Vol. 4.’ Geezer Butler would later estimate that the record made $60,000 to make, but $75,000 was spent on the drug.
Ultimately, the label rejected the use of ‘Snowblind’ as the album’s title to avoid any controversy, though the band had a bit of fun with a dedication on the record sleeve under the track-listing which read, “We wish to thank the great COKE-Cola Company of Los Angeles.”