HEAVEN AND HELL

After two directionless albums, Black Sabbath returned with Heaven and Hell, and from the very first moments of Neon Knights, it's clear this is not the same band that recorded Master of Reality or even Sabotage. The heavy metal here has more in common with Deep Purple or Judas Priest than with early Sabbath. The presence of Ronnie James Dio (whose voice is more powerful and versatile than Ozzy's) marks a huge shift, and it works.

Children of the Sea offers rich, fantasy-tinged hard rock that unmistakably echoes Dio's time in Rainbow, a vibe that permeates the whole album. Lady Evil is a more conventional hard rocker that doesn't stand out much, but it gets the job done. Throughout the record, Tony Iommi delivers some of his most thoughtful solos, and nowhere is that more evident than on Heaven and Hell itself: a monolithic riff, a hypnotic bass line, Dio at full power, and even a closing section with a medieval flair. It's the highlight of the album and one of the greatest heavy metal tracks of the 1980s.

Wishing Well brings back a more upbeat hard rock feel, with Geezer Butler's playful, creative bass lines at the forefront. Then comes Die Young, which starts dark and contemplative, before exploding into fast, furious metal. It's another standout moment. By now, it's clear this album thrives the most when it leans fully into heavy metal. The band sounds more confident here than they had in years, and even the experimental touches feel focused (unlike the confused meanderings of Technical Ecstasy or Never Say Die).

Walk Away opens with a riff that feels almost AC/DC-like. It's another decent hard rock track with a solid chorus, but ultimately forgettable. Finally, Lonely is the Word slows things down, offering a doomy, mid-tempo riff that evokes echoes of the Ozzy era. A long, expressive guitar solo over haunting keyboards brings the album to an emotional and satisfying close.

Conclusion: with Heaven and Hell, Black Sabbath found their way again, at the cost of sacrificing much of their classic identity (which had already been diluted in the two albums before). In return, we get a tighter, more focused record that navigates confidently between hard rock and heavy metal. Interestingly, the result feels closer to Ritchie Blackmore's bands than to early Sabbath, but the quality is undeniable.

Dio brings a stunning voice, tons of personality, and a new lyrical dimension rooted in fantasy and mythology, just like he did in Rainbow. His presence helped shape the future of the genre. And it's not just Dio. Each member of the band shines in their own way, from Iommi's powerful riffs to Butler's creative bass and Ward's tight drumming.

Best tracks: Neon Knights, Heaven and Hell, Die Young and Children of the Sea.

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