BLACK SABBATH

Heavy Metal • United Kingdom
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Black Sabbath are an English heavy metal, hard rock band, formed in Birmingham in 1968, by guitarist Tony Iommi, bassist Geezer Butler, singer Ozzy Osbourne, and drummer Bill Ward. The band has since experienced multiple line-up changes, with Tony Iommi the only constant presence in the band through the years. Originally formed in 1968 as a heavy blues rock band named Earth, the band began incorporating occult themes with horror-inspired lyrics and tuned-down guitars. Despite an association with occult and horror themes, Black Sabbath also composed songs dealing with social instability, political corruption, the dangers of drug abuse and apocalyptic prophecies of the horrors of war. Osbourne's heavy drug use led to his dismissal from the band in 1979, after which he began a successful solo career, selling over 100 million albums. He was replaced by former Rainbow vocalist Ronnie James Dio. After a few albums with Dio's vocals and read more...

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BLACK SABBATH Discography

BLACK SABBATH albums / top albums

BLACK SABBATH Black Sabbath album cover 4.22 | 170 ratings
Black Sabbath
Heavy Metal 1970
BLACK SABBATH Paranoid album cover 4.47 | 204 ratings
Paranoid
Heavy Metal 1970
BLACK SABBATH Master Of Reality album cover 4.35 | 170 ratings
Master Of Reality
Heavy Metal 1971
BLACK SABBATH Vol 4 album cover 4.01 | 120 ratings
Vol 4
Heavy Metal 1972
BLACK SABBATH Sabbath Bloody Sabbath album cover 4.30 | 139 ratings
Sabbath Bloody Sabbath
Heavy Metal 1973
BLACK SABBATH Sabotage album cover 4.14 | 105 ratings
Sabotage
Heavy Metal 1975
BLACK SABBATH Technical Ecstasy album cover 2.93 | 69 ratings
Technical Ecstasy
Heavy Metal 1976
BLACK SABBATH Never Say Die! album cover 3.17 | 70 ratings
Never Say Die!
Heavy Metal 1978
BLACK SABBATH Heaven And Hell album cover 4.37 | 139 ratings
Heaven And Hell
Heavy Metal 1980
BLACK SABBATH Mob Rules album cover 3.97 | 99 ratings
Mob Rules
Heavy Metal 1981
BLACK SABBATH Born Again album cover 2.86 | 71 ratings
Born Again
Heavy Metal 1983
BLACK SABBATH Seventh Star album cover 2.91 | 57 ratings
Seventh Star
Heavy Metal 1986
BLACK SABBATH The Eternal Idol album cover 3.29 | 57 ratings
The Eternal Idol
Heavy Metal 1987
BLACK SABBATH Headless Cross album cover 3.72 | 57 ratings
Headless Cross
Heavy Metal 1989
BLACK SABBATH Tyr album cover 3.35 | 53 ratings
Tyr
Heavy Metal 1990
BLACK SABBATH Dehumanizer album cover 3.69 | 76 ratings
Dehumanizer
Heavy Metal 1992
BLACK SABBATH Cross Purposes album cover 3.35 | 49 ratings
Cross Purposes
Heavy Metal 1994
BLACK SABBATH Forbidden album cover 2.24 | 49 ratings
Forbidden
Heavy Metal 1995
BLACK SABBATH 13 album cover 3.79 | 52 ratings
13
Heavy Metal 2013

BLACK SABBATH EPs & splits

BLACK SABBATH The End album cover 3.83 | 5 ratings
The End
Heavy Metal 2016

BLACK SABBATH live albums

BLACK SABBATH Live At Last album cover 2.93 | 23 ratings
Live At Last
Heavy Metal 1980
BLACK SABBATH Live Evil album cover 3.48 | 36 ratings
Live Evil
Heavy Metal 1982
BLACK SABBATH Cross Purposes: Live album cover 3.35 | 10 ratings
Cross Purposes: Live
Heavy Metal 1995
BLACK SABBATH Reunion album cover 3.91 | 23 ratings
Reunion
Heavy Metal 1998
BLACK SABBATH Past Lives album cover 3.60 | 20 ratings
Past Lives
Heavy Metal 2002
BLACK SABBATH Live At Hammersmith Odeon album cover 4.09 | 13 ratings
Live At Hammersmith Odeon
Heavy Metal 2007

BLACK SABBATH demos, promos, fans club and other releases (no bootlegs)

BLACK SABBATH re-issues & compilations

BLACK SABBATH We Sold Our Soul For Rock 'N' Roll album cover 4.46 | 13 ratings
We Sold Our Soul For Rock 'N' Roll
Heavy Metal 1975
BLACK SABBATH The Collection album cover 0.00 | 0 ratings
The Collection
Heavy Metal 1992
BLACK SABBATH The Sabbath Stones album cover 5.00 | 2 ratings
The Sabbath Stones
Heavy Metal 1996
BLACK SABBATH The Best Of Black Sabbath album cover 4.75 | 6 ratings
The Best Of Black Sabbath
Heavy Metal 2000
BLACK SABBATH Symptom Of The Universe: 1970-1978 album cover 5.00 | 3 ratings
Symptom Of The Universe: 1970-1978
Heavy Metal 2002
BLACK SABBATH Black Box: The Complete Original Black Sabbath (1970-1978) album cover 4.90 | 5 ratings
Black Box: The Complete Original Black Sabbath (1970-1978)
Heavy Metal 2004
BLACK SABBATH Greatest Hits 1970-1978 album cover 2.22 | 5 ratings
Greatest Hits 1970-1978
Heavy Metal 2006
BLACK SABBATH Black Sabbath: The Dio Years album cover 5.00 | 5 ratings
Black Sabbath: The Dio Years
Heavy Metal 2007
BLACK SABBATH The Rules Of Hell album cover 5.00 | 3 ratings
The Rules Of Hell
Heavy Metal 2008
BLACK SABBATH Greatest Hits album cover 4.00 | 1 ratings
Greatest Hits
Heavy Metal 2009
BLACK SABBATH Iron Man: The Best Of Black Sabbath album cover 4.00 | 1 ratings
Iron Man: The Best Of Black Sabbath
Heavy Metal 2012

BLACK SABBATH singles (34)

.. Album Cover
2.00 | 1 ratings
Evil Woman / Wicked World
Heavy Metal 1970
.. Album Cover
2.00 | 1 ratings
Paranoid
Heavy Metal 1970
.. Album Cover
2.00 | 1 ratings
Iron Man / Electric Funeral ‎
Heavy Metal 1970
.. Album Cover
2.00 | 1 ratings
The Wizard
Heavy Metal 1970
.. Album Cover
2.00 | 1 ratings
Children Of The Grave
Heavy Metal 1971
.. Album Cover
2.00 | 1 ratings
Wicked World
Heavy Metal 1971
.. Album Cover
2.00 | 1 ratings
Sweet Leaf
Heavy Metal 1971
.. Album Cover
2.00 | 1 ratings
After Forever
Heavy Metal 1971
.. Album Cover
2.00 | 1 ratings
Tomorrow's Dream
Heavy Metal 1972
.. Album Cover
2.00 | 1 ratings
Sabbath Bloody Sabbath
Heavy Metal 1973
.. Album Cover
2.00 | 1 ratings
Changes
Heavy Metal 1973
.. Album Cover
2.00 | 1 ratings
Am I Going Insane (Radio)
Heavy Metal 1975
.. Album Cover
2.00 | 1 ratings
Back Street Kids
Heavy Metal 1976
.. Album Cover
2.00 | 1 ratings
It's Alright
Heavy Metal 1976
.. Album Cover
2.00 | 1 ratings
Gypsy
Heavy Metal 1976
.. Album Cover
2.00 | 1 ratings
Never Say Die!
Heavy Metal 1978
.. Album Cover
2.00 | 1 ratings
A Hard Road
Heavy Metal 1978
.. Album Cover
2.00 | 1 ratings
Neon Knights
Heavy Metal 1980
.. Album Cover
2.00 | 1 ratings
Die Young
Heavy Metal 1980
.. Album Cover
2.00 | 1 ratings
Lady Evil / Children Of The Sea
Heavy Metal 1980
.. Album Cover
2.00 | 1 ratings
Lady Evil
Heavy Metal 1980
.. Album Cover
2.00 | 1 ratings
Mob Rules
Heavy Metal 1981
.. Album Cover
2.00 | 1 ratings
Turn Up The Night
Heavy Metal 1982
.. Album Cover
2.00 | 1 ratings
The Shining
Heavy Metal 1987
.. Album Cover
2.00 | 1 ratings
Headless Cross
Heavy Metal 1989
.. Album Cover
2.00 | 1 ratings
Devil And Daughter
Heavy Metal 1989
.. Album Cover
2.00 | 1 ratings
Call Of The Wild
Heavy Metal 1989
.. Album Cover
2.00 | 1 ratings
Feels Good To Me
Heavy Metal 1990
.. Album Cover
2.00 | 1 ratings
TV Crimes
Heavy Metal 1992
.. Album Cover
2.00 | 1 ratings
Master Of Insanity Part 1
Heavy Metal 1992
.. Album Cover
2.00 | 1 ratings
Master Of Insanity Part 2
Heavy Metal 1992
.. Album Cover
2.00 | 1 ratings
Get A Grip
Heavy Metal 1995
.. Album Cover
2.00 | 1 ratings
The Devil Cried
Heavy Metal 2007
.. Album Cover
3.00 | 2 ratings
God Is Dead?
Heavy Metal 2013

BLACK SABBATH movies (DVD, Blu-Ray or VHS)

.. Album Cover
4.00 | 1 ratings
Black And Blue
Heavy Metal 1980
.. Album Cover
0.00 | 0 ratings
Cross Purposes: Live
Heavy Metal 1995
.. Album Cover
1.50 | 2 ratings
The Last Supper
Heavy Metal 1999
.. Album Cover
4.00 | 1 ratings
The Black Sabbath Story: Volume One 1970-1978
Heavy Metal 2002
.. Album Cover
4.00 | 1 ratings
The Black Sabbath Story: Volume Two 1978-1992
Heavy Metal 2002
.. Album Cover
3.69 | 4 ratings
Never Say Die: Live In 1978
Heavy Metal 2003
.. Album Cover
4.00 | 1 ratings
Classic Albums: Paranoid
Heavy Metal 2010
.. Album Cover
4.50 | 3 ratings
Live... Gathered in Their Masses
Heavy Metal 2013

BLACK SABBATH Reviews

BLACK SABBATH Born Again

Album · 1983 · Heavy Metal
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SilentScream213
An absolute tragedy of an album. So much potential, almost all of it wasted.

Here we have all the ingredients for a great album. While most of these songs are pretty unconventional for Sabbath, they end up being some of the most unique and interesting they have ever written. The music here is great - the riffs, the atmosphere. Easily up there with Sabbath's best. Unfortunately, the production is awful. That isn't enough to completely ruin the songs, but it is not raw in an endearing way; there was a mistake in the studio apparently, and it shows. This was a mess.

Then, we have Ian Gillan. A fantastic vocalist, sure. But he just doesn't fit Sabbath. Ozzy isn't a great singer by any means, but he defintely has an ear for music, and his wails really fit Sabbath's style. Dio, there's really nothing that needs to be said; he can do just about anything. Both those vocalists wrote lyrics a little differently; Dio's lyrics were occaisionally out of place in Sabbath, but his delivery was always on point, so it's forgivable. Ian has none of that. His lyrics are terrible; mostly about sex, getting drunk, rocking out, etc. On top of that, his delivery does not fit Sabbath at all. In Disturbing the Priest and Born Again, he does manage to sound somewhat menacing, but the rest of the time, he just sounds too damn happy. It doesn't fit at all.

Let it be said that there are no bad songs here, and one great one even in the title track. But the album could have been a masterpiece if handled better, and instead it's a mess full of unrealized potential.

BLACK SABBATH Sabotage

Album · 1975 · Heavy Metal
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SilentScream213
What a mixed bag. I had already heard, and now agree, that Sabotage contains some of Sabbaths absolute best material, and some of their most lackluster. It starts very strong, with an A-side that is unyielding save for a weak acoustic instrumental track. Some of Toni’s best riffs accompany Ozzy’s most impassioned vocal performance yet.

The B-side isn’t bad, not at all. It’s just so completely inferior to the A-side. Mostly hard rock tracks lacking either memorable hooks or riffs carry the listener through the second half in minor disappointment. However, nothing can be said to overstate the comeback that is the final track, “The Writ.” “The Writ” blew my mind when I first heard it. Unmistakably, I recognized that track as the birth of true Doom; in contrast to the Traditional Doom sound Sabbath coined, this track was very moody, very slow, very heavy. It was melancholic, and passionate. Somewhat progressive and eclectic. This track, I believe, is what birthed melancholic Doom Metal as a separate style to the slow but epic style of Trad Doom, and consequently, led to Death Doom and Funeral Doom.

BLACK SABBATH Black Sabbath

Album · 1970 · Heavy Metal
Cover art Buy this album from MMA partners
UMUR
"Black Sabbath" is the eponymously tited debut full-length studio album by UK, Birmingham based heavy metal act Black Sabbath. The album was released in Europe through Vertigo Records in February 1970. It saw a US release through Warner Bros. Records in June 1970. The US version features an alternative tracklist to the original European version, replacing the Crow cover track "Evil Woman" with an additional Black Sabbath original titled "Wicked World". The tracklist change makes sense as the band were never that happy with the inclusion of "Evil Woman", but they were pushed by their then manager to include the track, as he felt the album otherwise lacked a song with commercial appeal (and if he was shooting for a radio hit single, he was probably right).

The album was recorded in one 10-hours long session in October 1969, and it was predominantly recorded live in the studio, with lead vocalist Ozzy Osbourne recording his vocal tracks simoultaniously with the recording of the instrumental tracks. The band then spend a few hours doing some overdubs (a few vocal overdubs, the bells, thunder and rain sound effects opening the title track, and the double-tracked guitar solos on "N.I.B." and "Sleeping Village"), and then the album was more or less done. Although the contemporary music press was largely unenthusiastic about the album, it was a commercial success for Black Sabbath and after its US release, sold more than a million copies.

"Black Sabbath" is in retrospect THE seminal release which started the heavy metal movement. Although at it´s core it´s pretty much a really heavy blues rock album, there is a dark occult atmosphere to the album (which is further enhanced by the creepy cover artwork and lyrics about Lucifer and other dark themes) and some very heavy distorted riffs and rhythms, which were more extreme than similar features on the output by other contemporary heavy rockers like Deep Purple, Led Zeppelin, and Uriah Heep. The most heavy and dark moments on this album simply transcend the term rock and belong to the then new born genre heavy metal (which it probably wasn´t labelled back then).

The album opens with the dark and doomy title track, which for contemporary ears must have been an extremely heavy track. But "The Wizard", "Behind The Wall Of Sleep", "N.I.B.", and "Sleeping Willage/Warning", are also quite dark and heavy tracks. Listening to "Evil Woman" it´s understandable the band didn´t feel it fit with the rest of the material, as it features a less heavy and lighter mood. "Wicked World" is arguably a better choice, featuring a similar heavy impact and dark atmosphere to the other tracks on the album. The album is packed in a dark, heavy, and organic sounding production, which suits the music perfectly. This one is not only a classic, it´s a great album featuring high level musical performances (real persons playing/singing, warts and all), a well sounding production, and powerful and creative songwriting. A 5 star (100%) rating is deserved.

BLACK SABBATH Sabotage

Album · 1975 · Heavy Metal
Cover art Buy this album from MMA partners
siLLy puPPy
What sounds like just like a form of wordplay on the band name BLACK SABBATH, SABOTAGE, the final album of the classic mandatory six found the quartet of Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward culminating all the heavy metal thunder one last time before the band effectively lost all momentum and quickly fell from grace. SABOTAGE is also one of the most misunderstood and least appreciated of the big six but for us diehard fans the album ranks very well near the top of the mighty SABBATH’s canon for being one of the most intricately crafted and esoterically interesting of the bunch. Graced with epic proto-prog compositions that eschew conventional songwriting with a fiery passion reinvigorated that allowed more experimental touches to seep in, SABOTAGE allowed SABBATH one last moment of musical glory before the band hit a creative brick wall. The album while seemingly random in many ways actually makes a lot more sense once the story behind it is unmasked. The tale is somewhat hinted upon with the oddball album cover that shows the band’s reflection in the mirror behind being SABOTAGED.

SABBATH had a phenomenally successful run with the first five albums but like many rock bands of the era found themselves in the spoils of riches which led to hedonistic drug abuse rituals and incessant bouts of self-indulgence. Around the time of “Sabbath Bloody Sabbath” the band discovered that the management had been ripping them off all along and siphoning funds like a parasitic scourge. SABOTAGE was created during the time when the litigation against former manager Patrick Meehan and others was taking place. Many of the references on the album are derived from the experiences of this period of time and despite the stress that the never-ending legal battles generated, the incident seems to have reinvigorated the fiery passion of distrust, paranoia and rage against the machine that made the first two SABBATH albums so amazingly focused. Despite all odds, the band seemed to channel all of the angst into crafting one of the most sophisticated and fine-tuned albums of its career. While SABOTAGE usually ranks last of the classic period amongst the general fanbase, the album that requires more than the average spins before digesting is actually one of the band’s highest artistic statements.

SABOTAGE is a unique mix of stylistic approaches. Not only does it contain some of the band’s heaviest moments such as the crushing “Symptom Of The Universe” which some cite as one of the first blueprints of thrash metal (another would be Queen’s “Sheer Heart Attack” the prior year) but the album also contains the bizarre “Supertzar” which while based on Iommi’s guitar riffing, employed the English Chamber Choir to ululate wordless vocalizations which eerily accompanied the heavy metal thunder. The opening “Hole In The Sky” sets an important tone of blistering heaviness that evokes the zeitgeist of earlier albums like “Paranoid” and the short acoustic guitar snippet “Don’t Start (Too Late)” which i always assumed was about taking political action was actually an inside joke that referred to tape operator David Harris who was often frustrated because they band would start playing before he was ready to begin recording. The less than a minute echoed guitar sequence reminisces of the short instrumentals on “Master Of Reality” and provides the perfect fluffer between the heavy metal bombast of “Hole In The Sky” and the soul crushing uptempo heaviness of “Symptom Of The Universe, arguably one of the band’s finest moments.

Starting with “Megalomania” the album becomes much more experimental. While heavy metal guitar riffs remain aplenty, the track which approaches the 10-minute mark displays SABBATH’s most proto-prog leanings that begins with a sinister mid-tempo slice of echoey guitar fueled paranoia that slowly morphs into a heavy metal guitar riff based powerhouse. The track not only provides the perfect canvas for Ozzy Osbourne to vent his rage and discontent but also allows his much improved vocal style to hit a new level of sophistication by exploring a wider range of octaves as well as some of the most powerfully emotive deliveries of his career. The rest of the album only builds off of the momentum. “Thrill Of It All” follows suit with another dualistic one-two punch of melodic constructs. It begins with Iommi’s guitar parts, both rhythm and lead generating a fiery metal experience that shifts into a more keyboard dominated second half which displayed the band’s much improved integration of keyboards.

After the choral metal experience of “Supertzar,” the sole single of the album “Am I Going Insane (Radio)” also proved to be one of the most hated of the band’s career right up their with “Changes” from “Vol 4.” While the “(Radio)” annex to the title insinuated an edit of some sort and the cause of much confusion, the title actually was derived from the Cockney slang term “radio-rental” which means “mental” and if like me you’re not up on your English dialects especially in the slang department it is an understandable misunderstanding. The song itself is hardly a throwaway despite its commercial appeal. By far the most accessible of the SABOTAGE track listing, it was also one of the few tracks where Ozzy wrote the lyrics, a job mostly performed by bassist Geezer Butler. While Ozzy’s lyrics usurp the guitar playing of Iommi on this one as his playing becomes subordinate, the track is quite arty in in display of heavy and soft alternate passages and Ozzy’s emotive vocal delivery and lyrical content narrated the depression that the band was in the middle of.

The biggest mindfuck of the album has to be the fact that “Am I Going Insane (Radio)” was a title of the penultimate track however it was the final track “The Writ” that actually repeated the lyrics “Am I Going Insane.” The closer wasn’t really a bona fide song of sorts but rather a melodic declaration of frustration and paranoia not experienced since the band’s earliest albums of 1970. The pop melody is the most repetitive of the album and IMHO was the ultimate statement of a band truly losing its shit before the inevitable downturn which was prolonged for an agonizing two more albums which finally resulted in Ozzy leaving the band. The track is also rather symbolic. As Ozzy repeats the lyrics like a deranged declarative chant of sorts, the album ends by sinister laughing voices mocking him as if the lawyers had the last laugh. So many ways to interpret all of this but the ambiguity of it all plus the stellar instrumental performances of SABOTAGE are what has made this one of the hardcore fan favorites. While not as immediately accessible as the first three albums, SABOTAGE was in reality the peak of SABBATH’s Ozzy-era creative prowess and for true fans where the six year party officially ended. A more careful analysis and the proper time for its magic to sink in will reveal SABBATH’s most crowning achievements made all the more remarkable by the traumatic events that surrounded it.

BLACK SABBATH Sabbath Bloody Sabbath

Album · 1973 · Heavy Metal
Cover art Buy this album from MMA partners
siLLy puPPy
When the four members of BLACK SABBATH reflect upon the time period when “Vol 4” was released they can only recall upon how the seeds were sown for the ultimate demise of the so-called pioneers of the heavy metal genre of rock music. All the members were suffering from one form or another of substance abuse and the phenomenal success of their albums gave them the financial freedom to indulge in their wildest fantasies in order to achieve the ultimate party like it’s1999 scenario. Unfortunately these endless days and nights of hedonistic highs and living in the sin city of 1970s Los Angeles essentially killed the creative process and no matter how hard the band tried to muster up even the simplest of ideas, ended up in dismal failure every time. The team members that consisted of Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward were starting to think that the band’s expiration date had arrived and were seriously considering throwing in the towel.

Luckily the band decided to return to the UK and immerse itself into the mysterious and spooky surroundings of The Forest of Dean where they rented Clearwell Castle in Gloucestershire, England where they once again were able to grasp onto the musical mojo that made their earlier albums so sinister and sensational. The haunting environs suited the band well as they recaptured the occult darkness once again. SABBATH BLOODY SABBATH was literally launched when Tony Iommi stumbled upon the main riffs while playing in one of the dungeons in the castle and the evil heaviness is what set the tone for the rest of the album to follow. Once the SABBATH dudes were acclimated to the new surroundings, the ideas started pouring in once again. Scaring the crap out of each in the spooky medieval fortress aside, the band continued the heaviness of the four previous albums and continued the experimental and progressive elements that started on “Vol 4.”

SABBATH BLOODY SABBATH introduced even more complex compositional arrangements that included more keyboard styles and also some strings and other touches. While a sitar and bagpipes were attempted to be included, they were nixed from the final editing which was probably a good thing! With the heavy introductory riffs of the title track and the nightmare visions of the album cover art by Drew Struzan, SABBATH recaptured the dark imagery and darkened vibes of the debut album and “Paranoid” but also displayed a more mature musical approach that found the standard heavy metal riffing styles fortified by deviations into more sophisticated flirtations into the world of progressive rock that found the band members taming their demons and taking on the challenges in order to up their game and remain relevant in a quickly evolving music business. Despite almost breaking up earlier in the year of 1973, the band composed some of the best material of its career and once back in the London for the final recording sessions also happened to be in the studio next to where Yes was recording “Tales From Topographic Oceans” which led to Rick Wakeman playing keyboards and piano on “Sabra Cadabra.”

Except for a few speed bumps, SABBATH BLOODY SABBATH gracefully returned to the Lords of Darkness’ former glory with crushing heavy riffing, evil sounds and imagery and most importantly an album that holds together cohesively unlike the wobbly “Vol 4” that was bogged down by the insipid ballad “Changes” and the pointless electronic experiment of “FM.” With the heavy duty bombast of the title track, the album follows with one of the band’s most interesting tracks ever, the fiery “A National Acrobat” which holds its own in the heaviness department but also engages in an interesting mixing it up of stylistic changes that includes some funk driven grooves and sensational atmospheric freakery to add the proper spell casting haunting sounds. It also displays Ozzy’s vocal style in full fire as he seemed to hit his stride on this album. The track takes many hairpin turns and cranks it out for over six minutes.

While the heaviness is in tact, SABBATH BLOODY SABBATH is a much more daring album as each track takes a different approach. The third track “Fluff” is perhaps the only one that fails to engage. As an acoustic guitar instrumental, it serves well as an intermission of sorts but with a running time of over four minutes woefully wears out its welcome. While similar tracks on previous albums were effective (such as “Orchid” on “Masters Of Reality”) they only lasted a short time whereas “Fluff” just goes on and on with a beautiful piano run which would admittedly sound great on a Yes album but derails the tone of what the first two tracks so confidently constructed. Luckily the following “Sabra Cadabra” makes up for its lackadaisical fluffiness and returns the musical flow to sizzling. With the highly fueled octane of Iommi’s instantly addictive guitar riffs and Ozzy’s controlled manic vocal style, the track delivers some serious chops before Rick Wakeman’s Minimoog and piano contributions take the track into the stratosphere. This still remains one of my most cherished SABBATH tunes. The arrangements and compositional flow are just flawless.

Side Two continues the musical mojo with the crushing riffs of “Killing Yourself To Live” which also displays creative compositional deviations from the expected SABBATH grab bag. Ozzy handled the synthesizer duties on all but “Sabra Cadabra” despite not knowing how to play it but still mustered up the engaging track “Who Are You?” which displays a sinister keyboard riff that sounds like the prototype of what would eventually evolve into the intro of “Mr. Crowley” in his future solo career. While simple in design, the creepy scale utilized works perfectly and continues the eerie mood of the album. “Looking For Today” is another guitar riff based track but with a more complex melodic development and while not the best track on the album isn’t that bad at all. The album ends with “Spiral Architect” which includes the strings of The Phantom Fiddlers. The track is laced with many changes in tempo, timbre and dynamics and the most diverse of the album. While it contains a huge guitar riffs, the problem with this one is that the delivery style is too reminiscent of Pete Townsend and The Who in certain sections when Ozzy isn’t singing. Once again not a horrible track at all but The Who segments bug me. A minor quip. The string section is actually used tastefully and works quite well.

Although the band was staggering along and pulling miracles out of their arses to keep the musical compositions flowing, things were still continuing to unravel as the members were starting to suffer from infighting and the continued drug related incidents. Despite it all the critics had finally caught up to the band’s vision and SABBATH BLOODY SABBATH actually received praise from both critics and fans alike. As well as being a bloody excellent album that still keeps me enthralled, this was my first experience with SABBATH so this is an album that has a personal significance as well as just being a great album. While not as perfectly sinister as the band’s first three albums, this one holds together quite well despite the many elements thrown in the blender and forced to perform unthinkable things together. Only the lackluster “Fluff” and the overuse of the Townsend guitar style on “Spiral Architect” keep me from giving this a perfect score but because this album was my gateway into the world of the BLOODY SABBATH crowd, i’ll round it up every time and for my tastes a clear step up from “Vol 4.”

BLACK SABBATH Movies Reviews

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stefanbedna wrote:
more than 2 years ago
be following last album Black Sabbath ALIAS Heaven&Hell-The Devil You Know released 2009 official album discography thanks stefanbedna
Pelata wrote:
more than 2 years ago
The importance of Black Sabbath cannot be understated. Without Black Sabbath, Heavy Metal as we know it would not exist...or perhaps not exist at all.

My favorite era is without a doubt the Dio era (including the Heaven & Hell band). The albums RJD was a part of are pure Metal magic!!

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