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BLACK SABBATH

Prog Related • United Kingdom


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Black Sabbath picture
Black Sabbath biography
The historic four members of Black Sabbath went to the same Birmingham secondary school (in the then-semi slums of Aston) and played in two separate groups (Ozzy and Geezer in one called The Rare Breed and Tony and Bill in another called Mythology) then joined forces. Tony Iommi's loss of two fingertip of his fretting hand in an industrial work-related accident (he is a bit older than the other three and was working already) had almost convinced him to stop music, but his foreman offered him a Django Reinhardt album (he was missing two fingers) and this helped Tony overcoming his handicap by adding a self-made prostheses on his fingertip, but he had to detune his guitar to play with it. The now-named EARTH group (a definite improvement on the previous Polka Tulk Blues Band then the Earth Blues Band) soldiered on for a few months without much success, although they were playing 12-bar Jazz-Blues-Rock ala Ten Years After, until Toni Iommi accepted an offer to join JETHRO TULL as their guitarist in replacement for Mick Abrahams. While Iommi's tenure in Tull lasted a few weeks (his only testimony is Tull's appearance in the RnR Circus DVD), it gave him an idea of what kind of efforts were required to get a professional group together. After his return to Birmingham, he reconvened EARTH and gave them a tight schedule and work ethics, which made him assume the leadership of the group as well.

Changing their name to Black Sabbath, the group started getting gigs all over the country, and recorded their debut album in two days. This self-titled album is now one of the most influential albums ever in rock's history, especially the eponymous track, with its bell-and-thunderstorm intro, its huge descending riffs and gloomy fantasy lyrics. The group went on crazily-scheduled tours and quickly managed an international fame with the star system lifestyle including heavy use of all kinds of drugs. With their second album "Paranoid", Sabbath consolidated their aura and success, with a highly impressive and very different sound to anyone else around, great interplay and grim lyrics, and almost didn't include the title track, which would go on to be their only #1 hit on either side of the Atlantic. One of the reason of the group's success is their "Satanist" image, which attracted all kinds of freaks (we are in the aftermath of Manson and the Tate murders), but this was not really emphasised by the group itself: Geezer's lyrics (and to a lesser extent Ozzy's) were es...
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ParanoidParanoid
Rhino/Warner Bros. 2016
Audio CD$7.99
$9.50 (used)
Sabbath Bloody SabbathSabbath Bloody Sabbath
Rhino/Warner Bros. 2016
Audio CD$7.00
$6.00 (used)
SabotageSabotage
Rhino/Warner Bros. 2016
Audio CD$5.99
$7.89 (used)
The Ultimate Collection (2CD)The Ultimate Collection (2CD)
Rhino/Warner Bros. 2017
Audio CD$12.97
$12.96 (used)
Master Of RealityMaster Of Reality
Rhino/Warner Bros. 2016
Audio CD$7.99
$8.98 (used)
Black Sabbath (180 Gram Limited Opaque Red Vinyl)Black Sabbath (180 Gram Limited Opaque Red Vinyl)
Limited Edition
Rhino/Warner Bros. 2016
Vinyl$23.79
$15.99 (used)
Heaven And HellHeaven And Hell
Rhino/Warner Bros. 2008
Audio CD$7.62
$7.48 (used)
Technical EcstasyTechnical Ecstasy
Rhino/Warner Bros. 2016
Audio CD$5.99
$6.99 (used)
Vol. 4Vol. 4
Rhino/Warner Bros. 2016
Audio CD$7.00
$6.99 (used)
Paranoid (Deluxe Box)(4CD w/Book)Paranoid (Deluxe Box)(4CD w/Book)
Box set
Rhino Records - No SAI 2016
Audio CD$29.74
$25.99 (used)
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3h 12m
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4h 2m
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4h 7m
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BLACK SABBATH discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

BLACK SABBATH top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.23 | 773 ratings
Black Sabbath
1970
4.29 | 853 ratings
Paranoid
1970
4.05 | 662 ratings
Master Of Reality
1971
3.82 | 566 ratings
Volume Four
1972
4.10 | 673 ratings
Sabbath Bloody Sabbath
1973
3.98 | 507 ratings
Sabotage
1975
2.76 | 352 ratings
Technical Ecstasy
1976
2.93 | 338 ratings
Never Say Die!
1978
4.02 | 506 ratings
Heaven And Hell
1980
3.46 | 353 ratings
Mob Rules
1981
2.75 | 281 ratings
Born Again
1983
2.55 | 196 ratings
Seventh Star
1986
3.16 | 187 ratings
The Eternal Idol
1987
3.24 | 208 ratings
Headless Cross
1989
3.22 | 188 ratings
Tyr
1990
3.09 | 250 ratings
Dehumanizer
1992
3.27 | 164 ratings
Cross Purposes
1994
1.87 | 161 ratings
Forbidden
1995
3.52 | 145 ratings
Heaven & Hell - The Devil You Know
2009
3.70 | 265 ratings
13
2013

BLACK SABBATH Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.95 | 81 ratings
Live at Last
1980
3.42 | 119 ratings
Live Evil
1983
2.93 | 24 ratings
Cross Purposes Live (CD + VHS)
1995
4.23 | 96 ratings
Reunion
1998
3.94 | 74 ratings
Past Lives
2002
4.19 | 30 ratings
Live at Hammersmith Odeon
2007
4.27 | 37 ratings
Heaven & Hell: Live from Radio City Music Hall
2007

BLACK SABBATH Videos (DVD, Blu-ray, VHS etc)

3.42 | 14 ratings
The Black Sabbath Story - Volume 1 1970-1978
1991
3.79 | 14 ratings
The Black Sabbath Story - Volume 2 1978-1992
1992
1.74 | 25 ratings
The Last Supper
1999
3.47 | 15 ratings
Never Say Die
2003
4.50 | 4 ratings
Inside Black Sabbath with Tony Iommi
2003
2.84 | 10 ratings
Cross Purposes Live
2003
4.63 | 8 ratings
In Concert
2004
3.67 | 3 ratings
Total Rock Review
2006
3.84 | 24 ratings
Heaven and Hell: Live from Radio City Music Hall
2007
3.75 | 4 ratings
Children Of The Grave
2008
2.69 | 7 ratings
In Moscow
2008
4.75 | 4 ratings
Madman Alive in Athens
2008
3.86 | 7 ratings
Classic Albums: Paranoid
2010
3.33 | 15 ratings
Live. Gathered in Their Masses
2013

BLACK SABBATH Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.05 | 5 ratings
The Best Of Black Sabbath
1971
4.00 | 4 ratings
Attention! Black Sabbath
1973
4.50 | 4 ratings
Pop Giants: Volume 9
1974
5.00 | 3 ratings
Reflection
1975
3.11 | 36 ratings
We Sold Our Soul for Rock and Roll
1975
4.67 | 3 ratings
Attention! Black Sabbath Volume 2
1975
4.50 | 4 ratings
Children of the Grave
1976
5.00 | 2 ratings
The Best Of Black Sabbath
1976
5.00 | 2 ratings
Paranoia
1976
4.67 | 3 ratings
Star Gold
1976
4.13 | 11 ratings
Greatest Hits
1977
5.00 | 4 ratings
The Singles 1970-1978
1978
5.00 | 2 ratings
The Best: The Ultimate In Heavy Metal
1983
5.00 | 2 ratings
Collection Vol.1
1984
5.00 | 2 ratings
Hand of Doom
1984
5.00 | 2 ratings
The Sabbath Collection (original)
1985
1.48 | 4 ratings
Blackest Sabbath
1989
5.00 | 4 ratings
Black Sabbath
1990
5.00 | 3 ratings
Backtrackin'
1991
5.00 | 2 ratings
The Black Sabbath Story
1991
4.20 | 5 ratings
The Ozzy Osbourne Years
1991
5.00 | 2 ratings
The Ultimate in Heavy Metal
1991
4.25 | 4 ratings
Iron Man
1992
4.50 | 4 ratings
Iron Man (Alternative Version)
1994
2.06 | 8 ratings
The Sabbath Stones
1996
4.71 | 7 ratings
Under Wheels of Confusion 1970-1987
1996
3.80 | 5 ratings
The Originals
1996
5.00 | 2 ratings
Black Sabbath 1970-1987 Digital Remaster
1996
0.00 | 0 ratings
We Sold Our Soul To Rock 'n' Roll, Vol.II
1996
4.50 | 4 ratings
The Collection
2000
4.67 | 3 ratings
The Singles 1970-1978
2000
3.79 | 19 ratings
The Best of Black Sabbath
2000
4.57 | 7 ratings
The Complete 70's Replica CD Collection 1970-1978 (boxset)
2001
4.67 | 3 ratings
Rock Champions
2001
4.67 | 3 ratings
The Best of Black Sabbath
2001
4.73 | 11 ratings
Symptom of the Universe
2003
4.50 | 14 ratings
Black Box (The Complete Original Black Sabbath 1970-1978)
2004
5.00 | 5 ratings
Selections From - Black Box: The Complete Original Black Sabbath (1970-1978)
2004
4.00 | 3 ratings
Black Sabbath
2006
4.60 | 5 ratings
Greatest Hits 1970-1978
2006
5.00 | 2 ratings
Rock Giants
2006
3.68 | 19 ratings
The Dio Years
2007
5.00 | 2 ratings
Audiobiography
2007
4.88 | 8 ratings
The Rules of Hell
2008
5.00 | 1 ratings
The Ultimate Collection
2017

BLACK SABBATH Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.38 | 13 ratings
Paranoid
1970
4.08 | 12 ratings
The Wizard
1970
3.91 | 11 ratings
Evil Woman
1970
4.11 | 9 ratings
N.I.B.
1970
4.00 | 7 ratings
Coleccion Underground N° 3: Presentando Paranoid
1970
4.00 | 8 ratings
Paranoid
1971
2.89 | 9 ratings
Iron Man
1971
3.33 | 3 ratings
Rock Power
1971
3.56 | 9 ratings
Snowblind
1972
3.25 | 8 ratings
Tomorrow's Dream
1972
3.56 | 9 ratings
Snowblind
1972
3.88 | 8 ratings
Wicked World
1972
4.25 | 4 ratings
Black Sabbath/Status Quo split PROMO
1972
3.88 | 8 ratings
Paranoid
1972
4.10 | 12 ratings
Paranoid
1973
4.25 | 8 ratings
Sabbath Bloody Sabbath
1973
4.30 | 10 ratings
Sabbath Bloody Sabbath
1973
2.73 | 11 ratings
Sabbath Bloody Sabbath
1973
3.78 | 9 ratings
Hole in the Sky
1975
3.56 | 9 ratings
Gypsy
1976
3.38 | 8 ratings
It's Alright
1976
3.71 | 7 ratings
Hard Road
1978
3.67 | 9 ratings
Never Say Die
1978
3.67 | 6 ratings
Hard Road
1978
4.40 | 10 ratings
Die Young
1980
4.79 | 10 ratings
Neon Knights
1980
4.00 | 10 ratings
Mob Rules
1981
4.14 | 7 ratings
Turn Up the Night
1981
4.13 | 8 ratings
Paranoid
1982
4.13 | 8 ratings
Paranoid
1982
4.13 | 8 ratings
Paranoid
1986
4.00 | 3 ratings
Seventh Star Sampler
1986
3.80 | 5 ratings
No Stranger To Love
1986
4.00 | 5 ratings
The Shining
1987
3.80 | 5 ratings
4 Songs From The Eternal Idol
1987
4.17 | 6 ratings
Devil And Daughter
1989
4.20 | 5 ratings
Devil And Daughter
1989
4.00 | 6 ratings
Call of the Wild
1989
4.14 | 7 ratings
Devil and Daughter
1989
2.56 | 8 ratings
Headless Cross
1989
3.75 | 8 ratings
Feels Good to Me
1990
4.00 | 3 ratings
Castle Gold Collection: Volume 22
1991
4.00 | 3 ratings
Kerrang! Four-Play
1992
4.00 | 6 ratings
Time Machine
1992
3.82 | 8 ratings
TV Crimes
1992
3.83 | 6 ratings
I
1992
3.60 | 5 ratings
Get a Grip
1995
3.71 | 7 ratings
Psycho Man
1998
3.50 | 2 ratings
Paranoid
1998
4.00 | 5 ratings
Reunion
1998
4.22 | 9 ratings
Black Mass
1999
4.20 | 5 ratings
The Best Of Black Sabbath
2000
4.22 | 9 ratings
Paranoid
2000
4.22 | 9 ratings
Paranoid
2004
4.33 | 9 ratings
The Dio Years (Sampler)
2007
4.00 | 5 ratings
The Devil Cried
2007
4.00 | 6 ratings
Heaven and Hell (Radio Sampler)
2008
3.24 | 10 ratings
The End
2016

BLACK SABBATH Reviews


Showing last 10 reviews only
 Heaven And Hell by BLACK SABBATH album cover Studio Album, 1980
4.02 | 506 ratings

BUY
Heaven And Hell
Black Sabbath Prog Related

Review by Chicapah
Prog Reviewer

4 stars Sometimes I'm pleasantly surprised to find that my snooty, know-it-all assumptions about a classic band are unfounded. For decades I brushed off Black Sabbath as being nothing more than a one trick pony that made a name for themselves by merely being loud, brash and controversial. I didn't give them much credit for being all that talented because all I ever heard on the radio was 'Iron Man' and 'Paranoia' and neither song did anything for me. (Ironically, when I finally got around to listening to the LP those tracks are part of I realized there was a lot more going on than I anticipated hearing and I felt obligated to give it a favorable review. Who'd a thunk it?) While my taste in prog still leans heavily toward the symphonic and jazz fusion ends of the spectrum and always will, there's a part of me that enjoys high-quality hard rock quite a bit. Especially when there's plenty of creativity and imagination tossed into the mix. 'Heaven and Hell' fits that description to a tee.

According to what I've read, the boys in Black Sabbath (despite their own share of destructive hang-ups) got their fill of Ozzy Osborne's dreadful habits after making eight albums with him commandeering the mike and kicked him out the door. It just so happened that singer Ronnie James Dio was unemployed and pleased as punch to step in when the invitation was received. Within the first few seconds of the opening cut, 'Neon Nights', one can tell it was a near-perfect, serendipitous match made in, well, heaven. The tune features a driving Deep Purple-ish, Highway Star-like motivating riff that doesn't waste time making a bold statement of purpose. When Dio opens his mouth it's a done deal. He pours uncompromised energy and excitement into the song that announces the group's timely resurrection from the doldrums of burn out mediocrity. But what shocked me most was Tony Iommi's guitar solos. They sizzle and pop like wet bacon on a hot skillet. I wasn't expecting that at all. 'Children of the Sea' is next. Its subtle opening leads to a weighty progression that might've grown tiresome if not for Ronnie's awesome vocal tour de force. And, once again, I was knocked silly by Tony's blazing guitar lead. They also display admirable arrangement skills by letting the track die down a tad in order to set up a power-packed ending. 'Lady Evil' sports a more traditional, straight-ahead rock & roll vibe that does a fine job of keeping the momentum ball rolling at this juncture. The lyrics are pretty lame but who cares? This foursome sounds like a band that's firing on all cylinders. 'Heaven and Hell' follows and, while it starts off like a throwback to their earlier minimalist productions, Ronnie jumps into the fray and gooses it with a freshness and vitality that can't be denied. They rev up into speed metal mode for a spell and then finish with an unanticipated Spanish guitar segment that I found delightful. Overall, this terrific number shows off a great deal of maturation in their songwriting acumen.

'Wishing Well' is a tight rocker from the get go. I get the feeling Mr. Dio brought some of what he learned from fronting Rainbow into the sessions as far as how to structure tunes like this one in a way that isn't overly predictable or patronizing. 'Die Young' benefits from sideman Geoff Nichols' dreamy keyboard contributions and the contrast they add keeps the proceedings from turning stale. (I'm a big fan of variety so the fact that each cut has its own character is a major plus in my book.) The middle section is nice and proggy, too. Gotta say it's hard not to be constantly blown away by Ronnie's incredible range and intensity. The man was one of a kind. 'Walk Away' is next and Iommi's switch to a slicker guitar tone comes at just the right time. It distinguishes this tune from the others right off the bat. It erects a much more radio-friendly aura yet it doesn't detract from the album's central mojo at all. Instead it demonstrates efficiently the versatility that helped keep them relevant in that era. They conclude with 'Lonely is the Word'. Tony, bassist Geezer Butler and drummer Bill Ward combine to present a knock-down-the-walls, bang-your-head arena rock riff that could satisfy any crowd of rowdies anywhere and Dio's voice slices through the din without any difficulty whatsoever. I really like that they tossed in a brief jazzy interlude along the way. Humbly I find it necessary to reiterate that, to my amazement, Iommi had by this time turned into a monster guitarist that I would've bragged about to my friends had I been paying attention. A little late now.

Black Sabbath was either fortunate beyond belief or extremely wise to recruit Ronnie James Dio when they did because together they made a damned good record. The musical landscape was changing rapidly as the 70s came to a close and a lot of their contemporaries were deteriorating into starving dinosaurs as Punk and New Wave were fast becoming the rage. By bringing new blood into their band and letting him contribute and blend his unique artistry into their foundational sound they were able to give their reputation a huge boost as they entered the 80s decade. 'Heaven and Hell' reached #9 in the UK and a respectable #28 in the States, no small feat for an established-but-aging rock outfit in that uncertain era. Sadly, the Dio/Black Sabbath marriage didn't survive past their follow-up LP together but they can be super proud of this one. I can't find a darn thing wrong with it so I give it a solid four-star rating. This is how sledgehammer rock is supposed to sound, kids.

 Technical Ecstasy by BLACK SABBATH album cover Studio Album, 1976
2.76 | 352 ratings

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Technical Ecstasy
Black Sabbath Prog Related

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

3 stars Recorded around a blur of drugs, alcohol, spiralling ego, gruelling touring schedules and draining legal battles, Black Sabbath's seventh album `Technical Ecstasy' from 1976 is not the complete dud it's often reputed to be, although it's undoubtedly the poorest release from the classic Ozzy Osbourne-fronted line-up of the defining heavy rock group. It does have an admirable eclectic and diverse approach with ambitions of offering something a little more than just the usual sludgy heavy-metal riffs and doomy lyrics as well as a more sophisticated production, but it sadly doesn't deliver too much in the way of quality material, even if it still offers a few gems here and there.

Opener `Back Street Kids' is a reliably brash heavy chugger with Tony Iommi's galloping riffs, Geezer Butler's pumping dirty bass and a screeching Ozzy vocal that also throws in a few whirring synths courtesy of Gerald Woodroffe and Bill Ward's busy drumming. But it's the longer and dramatic `You Won't Change Me' that proves to be a real Sabbath classic - a defiant and blunt vocal from Ozzy delivering a confronting lyric that holds traces of the dark romance and despairing hope that permeates so many great Sabbath songs, backed to snarling evil riffs over gloomy synths and frantic guitar soloing from Iommi, all topped off with a cracking chorus. The much despised `It's Alright', sung by Ward, is a softer piano tune with traces of a Beatles-esque sound is fairly forgettable, but repeated listens reveals a harmless time-passer at worst. After quite an upbeat intro of skittering drums and buzzsaw guitars `Gypsy' tears through a multi-sectioned range of moods and ideas, but despite it not being the most memorable song, the slick studio production really goes to town to make it at least sound interesting and dense.

Side two's misogynist-blasting `All Moving Parts (Stand Still)' is a funky bluesy romp that still remains just a little bit dull, and despite a shrieking vocal and stomping drumbeat, the throwaway `Rock 'N' Roll Doctor' seems lethargic and can't even offer a punchy memorable chorus. Downbeat ballad `She's Gone' is strangely elegant and melancholic with its gloomy orchestration and reflective acoustic guitars behind another tortured romantic lyric and genuinely passionate vocal from Ozzy, and closer `Dirty Women' is one of the more overtly `proggy' moments due to its lengthy instrumental runs with constant organ, melodic reaching guitar strains (and Tony's solo in the climax seems to go on forever!) but still finds time for a roaring vocal and plenty of ballsy chugging riffs.

Along with the band feeling the pressure of the emerging punk bands of the time and the pressure to remain relevant and vital, `Technical Ecstasy' found Black Sabbath in something of a no-win situation - deliver a more typical heavy-metal album and be accused of merely repeating themselves, or experiment with their formula and annoy the metal purists by shifting too far from their signature sound. Time and perspective actually reveals a perfectly OK album that sadly especially suffers when being compared to the classic run of the first six Sabbath albums that stretched from the self-titled debut in 1970 through to '75's `Sabotage', but seriously, what wouldn't?

Three stars.

 Paranoid by BLACK SABBATH album cover Studio Album, 1970
4.29 | 853 ratings

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Paranoid
Black Sabbath Prog Related

Review by ProgMirage1974

5 stars REVIEW #11 - "Paranoid" by Black Sabbath (1970)

After achieving success with their debut album, Black Sabbath immediately got back to producing a new album. With very little material at their expense, the songs on their second album were either quickly written, or built off of improvisation. Still as ambitious as the first album, and more cohesive as a whole, the band would ultimately release what has come to be known as the greatest heavy metal album of all time - instrumental in inspiring subsequent acts. The lyrics on this album are far more serious than those on their debut, with topics ranging from the ongoing Vietnam War to drug addiction, and a change in vocalist Ozzy Osbourne's voice brings an edgier sound to the album , as opposed to the more bluesy-orientated vocals from before.

The iconic intro of the opener "War Pigs" (5/5) greets the listener. A slow bluesy opening with sirens gives way to the lyrics - a protest of the authoritarian figures who dictate war; politicians and generals, who send off innocent people to die doing their bidding. Inspired by the highly unpopular war in Vietnam, this song is one of the most famous protest songs ever created, and one of the most well-known Black Sabbath songs. The song features a slow groovy vocal section, then an extended instrumental section titled "Luke's Wall" that ends the album with a great Iommi guitar solo. The eight-minute song is followed by the shorter and more commercially-viable "Paranoid" (5/5), recorded very quickly as it was intended to be a filler track. Considered to be one of the greatest heavy metal songs of all time, it charted as high as #61 on the Billboard Hot 100. A very fast song and with a distinct, catchy riff, this song still receives extremely heavy radio airplay and is generally the song used to introduce people to the band. Next, in the spirit of the track "Sleeping Village" from their first album, is the calm, psychedelic "Planet Caravan" (5/5). The most "proggy" song on the album due to its unique sound and distortion - it is simply a love song about a couple floating through space. A captivating song, it also adds a science fiction touch to the generally dry concept of love songs - which in turn makes it unique. The album returns to heavy metal with the closing track of side one, the iconic "Iron Man" (5/5). With one of the most recognizable riffs in rock, this song would ultimately be Sabbath's most commercially successful song, peaking at #52 on the Billboard Hot 100 despite receiving almost no radio airplay. A story about a time traveler who tries to warn Earth of an incoming apocalypse, but is ignored and ultimately brings forth the destruction that he saw in the future, it is one of the seminal pieces of rock history which cannot be understated in terms of musical genius and relevancy. Through and through so far, a great album - no flaws and impressive musicianship/subject matter.

In side two, you are greeted by the grimy riff of "Electric Funeral" (5/5), a song about the doom brought forth by nuclear war. With a heavier guitar tone, this is a great example of an inspiration to the doom and stoner metal genres. With ominous lyrics of destruction, this song goes well with videos of the Bikini Atoll Nuclear tests, or any other nuclear event. The dark lyrics continue with the following song "Hand of Doom" (5/5), this time about heroin-addicted returning Vietnam War veterans in England. With a quiet bass intro, this song shifts tempos very well. Considered by many to be the best and heaviest song on the album, and an underrated masterpiece, it is a favorite among fans of the band. Next up is the short instrumental piece "Rat Salad" (3/5), a drum showcase for Bill Ward and the precursor to a drum solo at live shows. The only real blemish on the album, it simply does not strike me as an interesting track, although there is nothing wrong with this drum-oriented track. The album finishes off with the solid "Fairies Wear Boots" (5/5), with its solid instrumental intro titled "Jack the Stripper". A song believed to be critical of the skinhead subculture, it has a great chorus and Iommi's guitar is on point as usual. A solid finisher to a great album.

There is no understating the importance of this album to heavy metal. It is an amazing album nonetheless - nearly perfect. Despite not being a true prog rock album, it has its moments (like the debut album) of progginess, and the themes of this album can certainly be described as "progressive" for the time. With multiple famous songs, this album is considered to be the band's best, and launched Black Sabbath into the mainstream. Ranked #131 on Rolling Stone's 500 Greatest Albums of All Time list, it has garnered critical acclaim, save for the outlying critic or two. It would ultimately become the band's highest-selling album of all time. Black Sabbath would go in an even heavier direction following this album's release - and continue on their journey towards rock and roll immortality. A must-listen album for any rock fan, for it appeals to both the casual and the seasoned rock fan.

OVERALL: 4.75/5 (A+)

 Black Sabbath by BLACK SABBATH album cover Studio Album, 1970
4.23 | 773 ratings

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Black Sabbath
Black Sabbath Prog Related

Review by ProgMirage1974

4 stars REVIEW #10 - "Black Sabbath" by Black Sabbath (1970)

It is a fact that Black Sabbath is one of the most influential bands that shaped the genre of heavy metal. Considered by many to be the first ever "true" heavy metal album, their eponymous debut is a unique mix of blues and psychedelic rock with a never-before heard level of darkness, gloominess, and raw power. Whether it be the unique voice of vocalist Ozzy Osbourne, or the powerful guitar riffs by Tony Iommi, this album despite not being vehemently prog, still would go on to inspire many prog rock bands, and therefore deserves recognition as part of the genre.

Opening up the album is the added sounds of a thunderstorm, deep in bass and ominous in nature - a foreshadowing of what is to come in the opener track "Black Sabbath" (5/5). Suddenly the listener is hit hard by a loud, slow, heavy guitar opening. Utilizing a simple tritone riff inspired by Gustav Holst's "Mars: Bringer of War" movement (the same piece that inspired King Crimson's "The Devil's Triangle" on their second album released the same year), it sets the tone - dark and forbidding. A reprieve opens up to Osbourne's vocal strength - lyrics based upon a supernatural encounter by bassist Geezer Butler coupled with the vocal emotion makes the song even more haunting. The song goes from fast to slow before hitting a climax with an Iommi solo before abruptly ending. A simple song in scope, yet immensely influential. Next up is "The Wizard" (4/5), a Tolkien-inspired song utilizing harmonica and a faster paced tempo. With a good groove, this song is solid, and the harmonica is a great addition to make the song unique in comparison with the other material on the album. Then comes the heavier "Behind the Wall of Sleep" (4/5), a shorter piece which establishes the tone for the final song of the first side, the hefty "NIB" (5/5). Beginning with a bass guitar solo titled "Bassically" on American releases of the LP, this goes on for about a minute before ending and giving way to an infectious, powerful Iommi riff. With first-person lyrics from the point of view of the devil falling in love, the verses are followed by the same epic Iommi solo - elaborated upon in the song's final hoorah. A six- minute wall of metal, this is the highlight of the album, and one of the band's many classics.

Side two differs depending on the UK and US releases of the LP. In the band's native UK, the listener was given the band's first ever single, a cover of the band Crow's "Evil Woman (Don't Play Your Games with Me)" (2/5) which, despite being historically significant, falls extremely short to the other material on the album, due to its inherently commercial nature. Recommended to the band for being a radio-friendly song, the band was not very excited about recording a cover of the song, but went ahead with the wishes of their producer. On the American release however, the listener is given the far superior "Wicked World" (5/5) from the B-side of their first single. A song with cynical lyrics of the world (a sign of what would come on the band's second breakthrough album), the brutal riff coupled with the lyrics make this song a classic, although it is far less known in the Sabbath catalogue. The next track, "Sleeping Village" (5/5) offers a calm reprieve from the action on the album, with ominous lyrics that utilizes great imagery before opening up into a raw Iommi riff that segues into the closing track of the album "Warning" (4/5). An extended ten-minute cover of the Aynsley Dunbar Retaliation song, this is the only real example of prog you will find on the album. A much heavier touch on the original, coupled with a very long improv showcase with wild drums and guitar riffs, it is not a great closer to the album, but certainly ambitious and raw.

Black Sabbath's debut introduced the world to what would eventually become the diverse genre of heavy metal. Panned by critics, it also drew criticism to the band for "Satanic imagery", stemming from the lyrical content of some of the songs, as well as the inverted cross featured in the LP's gatefold cover (a decision by the cover artist, not the band). Over the course of the band's history has this criticism existed, despite the fact that every member of the band is a Christian. As a huge Sabbath fan myself, I am very happy with the content on this album - except the Crow cover. Everything else on this album is gritty, rough, and ominously beautiful - from the opener to the closer. It may not necessarily be an example of prog rock, but there is no debate as to whether this album was monumental in giving rise to the modern prog bands we see today. Many rock bands cite Sabbath as their inspiration, as the band, along with other pioneers such as Led Zeppelin and Deep Purple, brought rock and roll into a new era, one which is considered to be a golden age. Any rock fan should give this album a listen out of historical significance alone.

OVERALL: 4.42/5 (B+)

 Sabotage by BLACK SABBATH album cover Studio Album, 1975
3.98 | 507 ratings

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Sabotage
Black Sabbath Prog Related

Review by DrBob806

5 stars 4.86 stars

My personal favorite of the Ozzy era. I bought it when I was in 6th grade in '75, and still play it today. tony iommi absolutely was brilliant on this album, especially the acoustic ending of Symptom of the Universe. The Writ is an absolute masterpiece, with several parts to the tune & powerful lyrics...Ozzy never sounded better.

The Thrill of It All, wow. People stare at me if I'm blasting that one in traffic, it shakes their cars. I tried to get my kid's choir director to "sing" Supertzar, to no avail.

To me, a huge Sabbath fan, I really really enjoy Sabotage, Technical Ecstasy, and Never Say Die- although I know most critics weren't fans of the last 3 with Ozzy. Sabbath showed their greatness and evolution, bringing in synthesizers and a different sound to their early-bass driven stuff. Love 'em all...

 Mob Rules by BLACK SABBATH album cover Studio Album, 1981
3.46 | 353 ratings

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Mob Rules
Black Sabbath Prog Related

Review by Prog Leviathan
Prog Reviewer

3 stars Here's a satisfying hit of bottom-heavy metal from the genre's founding fathers which will appeal to prog fans looking to take their intellect down a few notches and revel in what makes rock music so fun: pure excitement, energy, and electric crunch. Mob Rules abounds with each of these, and while the songwriting is only occasionally elevated beyond straight-ahead hard rock fare, the experience is completely satisfying.

Black Sabbath's down-tuned, gloomy sound for this release follows in the footsteps of the excellent Heaven and Hell, the album which revitalized the band. Mob Rules has that same sense of scope, weight, and power. Iommi's guitar work is excellent throughout, while Geezer Butler continues to be one of the most underrated bassists in the history of rock. These two guitarists lay down a ton of sound, and unlike metal music which would appear later in the decade - and in contemporary metal, for that matter - the production is smart enough to let us hear them play! You can pick out every fuzzy riff of Butler's bass and each threatening note of Iommi's chord transition. He also does some powerful soloing throughout - any one else think that the guitar solo is rapidly disappearing? Great playing!

Dio is incomparable as always. He's one of the all-time greats in the genre and it shows throughout the album. A lesser vocalist would not pull off these songs, even the mediocre ones like "Country Girl." Lyrics throughout this album are not as engaging as in previous Sabbath albums, but they aren't all bad either. Some have a lot of gravitas that increase the scope of the album.

Highlights include the sleazy vibe and style in "Voodoo", the world-ending power chords of "Sign of the Southern Cross," and the rip-roaring energy in "Falling Off the Edge of the World." Unfortunately, for each of these moments there's a less ambitious "Mob Rules," "Country Girl," and "Slipping Away," hard-rock filler that strives for radio-friendly play, but feel like concessions when compared to the other more interesting songs.

All in all, Mob Rules is very satisfying. With only a few prog or art moments, it's appeal will be limited to the listener's interest in classic - and above average - heavy metal, but that shouldn't prevent one from cranking up the stereo and letting Black Sabbath give us an ear-full of what real heavy metal sounds like.

Songwriting: 3 - Instrumental Performances: 3 - Lyrics/Vocals: 3 - Style/Emotion/Replay: 4

 The End by BLACK SABBATH album cover Singles/EPs/Fan Club/Promo, 2016
3.24 | 10 ratings

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The End
Black Sabbath Prog Related

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "The End" is an EP release by UK heavy/doom metal act Black Sabbath. The EP was released through Vertigo Records in January 2016. "The End" features 4 unreleased studio tracks, recorded during the sessions for "13 (2013)", and 4 live tracks recorded on the tour ("The Reunion Tour") supporting the album (recorded between April 2013 and April 2014). So while the EP was released to coincide with Black Sabbath final farewell tour ("The END Tour"), and was only available for purchase at shows on that tour, it actually doesn't feature material recorded live from said tour.

Stylistically the studio tracks pretty much follow the same heavy/doom metal formula as the band also played on "13 (2013)". Quality wise it's not necessarily obvious why these four tracks were left off "13 (2013)", as they are generally as memorable and powerful as the material featured on the album. Especially "Season of the Dead" is quite a brilliant track. The sound production resembles the one on "13 (2013)", which is again natural as these tracks were recorded during the same sessions as the material on "13 (2013)". The sound production is powerful, dark, and organic, although the drums could have prospered from a more organic tone.

The live recordings feature a professional sound quality, and the instrumental part of the performances is of high quality throughout. Ozzy Osbourne's performances are a bit more up and down. He for example sounds great on "Under the Sun" (from "Vol 4 (1972)"), while his performances on the three tracks off "13 (2013)" ("God is Dead?", "End of the Beginning", and "Age of Reason"), vary a bit more in quality. He generally sounds alright when he sings loud anthemic parts, but he has a hard time hitting the right notes when he sings more mellow, and occassionally it even borders the embarresing. Overall the live tracks are pretty great though.

So while "The End" is not a perfect release, it's certainly a release that fans of the band should find a worthy purchase, and especially those who enjoyed "13 (2013)" should find a lot to like here. A 3.5 star (70%) rating is deserved.

 Never Say Die! by BLACK SABBATH album cover Studio Album, 1978
2.93 | 338 ratings

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Never Say Die!
Black Sabbath Prog Related

Review by Progresearcher

5 stars This review is dedicated to the fathers of heavy metal, the pioneers of prog-metal, the most innovative band of the genre(s), Black Sabbath. They have at least four full-blooded works of progressive metal, namely "Sabbath Bloody Sabbath", "Sabotage", "Technical Ecstasy" and, of course, "Never Say Die" (1978). All of them were created long before the appearance of the now well-known term. One of the most commercially unsuccessful Black Sabbath albums, "Never Say Die" is a revolutionary work, failed to be properly appreciated. In fact, however, this is a brilliant creation, the first progressive jazz-metal album ever. At first, the title track 'Never Say Die' sounds like, say, a merely driving metal with unswerving heavy riffs, but soon, in the refrain, you can hear unusual guitar arrangements and excellent fast solos over Ozzy's voice, leading the song toward the next part. After the second refrain, the main theme suddenly falls into an unexpected atonal piece with improvisations of the classical guitar. This promising opener ends with a long, rapid and magnificent guitar solo.

Many years ago, after a few listenings to the second track 'Johnny Blade' I, already a great admirer of Genesis, King Crimson, Van Der Graaf Generator and Yes, realized that this metal band had too intricate, composite structures to make a widely available album out of "Never Say Day". 'Johnny Blade' is one of the most progressive tracks on album, together with 'Shock Wave', 'Air Dance' and 'Breakout / Swinging the Chain'. Opening with a massive futuristic keyboard intro, 'Johnny Blade' rapidly moves into the heavy realm with regular changes of themes and tempos. With excellent complex arrangements, skilful playing and singing, this song has all the ingredients of the true prog-metal. The guitar seems to be a prominent instrument, but I need to say that each of the other instruments doesn't play only supporting roles; on the contrary, all the parts are different here, those of a varied and dynamic bass, teeming keyboards and strong vocals.

'Juniors Eyes' is a pretty unusual song for Black Sabbath. Mostly led by the bass, nearer to the end it surprisingly transforms into a real progressive rock jam with excellent interactions between guitar and keyboards. At the time, Tony Iommi was the most versatile guitar player. The drumming is also outstanding, and Ward never works with his arsenal in a straightforward manner. 'Hard Road' is the only disappointing track here. With the exception of a decent guitar solo somewhere in its middle, it is the most easygoing song on the album. So that's why, of course, it was reissued as an "A" side for the single a few weeks later.

But then the first track on LP's side "B", 'Shock Wave', turns out to be the most complex and manifold composition on the album, consisting of several various themes, none of them being repeated until the end. Yes, the music is ever-changing, and therefore it is more diverse than probably anything by Threshold (who are clearly influenced by Black Sabbath, aren't they?). 'Air Dance' is not even a prog-metal song, but a highly innovative sympho-prog piece, very successfully combined with elements of jazz-rock. More than half of the composition is a delightful, very original, instrumental fusion with jazzy guitar solos and authentic symphonic keyboards arrangements. Generally, Tony Iommi's guitar work on this album is simply incredible. Never have I heard such inventive and masterful leads from the "best rock guitarists" of the '70s, Ritchie Blackmore and Jimmy Page.

Unlike the previous track, open jazzy piano solos sound all over the next mid-tempo 'Over to You'. Amazing! 'Breakout' is a long instrumental intro for 'Swinging the Chain' with a powerful horn section, finely crossed by masterful jazzy sax solos. The band works effectively with the musical intervals so as to create a rich, complex and adventurous sound. Fast and quirky, purely jazzy improvisations of sax lead 'Breakout' into 'Swinging the Chain'. With Bill Ward singing, this composition takes Black Sabbath back into a heavier domain. 'Swinging the Chain' is a true prog-metal composition with some highly complex arrangements. With rapid changes of various themes, so typical for progressive rock in general, there are quirky guitar parts continuously crossed by improvisations of wind instruments. Ward's voice is quite pleasant. It is now well-known, that since then Bill could not do regular drumming for the band due to his illness. It's a hard job, clearly. But I suppose, it could have been possible to use Bill's talent for lead singing after Ozzy's departure?

"Never Say Die" is simply a phenomenal heavy metal album, probably the most important work that has contributed to the forming of progressive metal as a separate genre. Most, if not all, of the metal, prog-metal and related bands of the past and the present are followers of the great innovators of Black Sabbath. The early structures are taken by doom and extreme metal combos, while the band's progressive period (1973-'78) showed the way to go for the outfits like Mercyful Fate / King Diamond, Candlemass / Abstrakt Algebra, Fates Warning, Threshold, Tiamat and many others. It's a pity that the lack of support and the pressure on the part of the major labels forced Black Sabbath to stop exploring deep prog-metal realms after their most innovative work ever.

 Tyr by BLACK SABBATH album cover Studio Album, 1990
3.22 | 188 ratings

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Tyr
Black Sabbath Prog Related

Review by Sergey Slenkoff

4 stars One of the most closest to prog albums by Sabbath. The central concept compostion consits of 3 parts - "The Battle of Tyr" (short Wagnerian instrumental for keyboards), "Odin's Court" (ballad), "Valhalla" (heavy epic). It is devoted to Scandinavian mythology and to the beliefs of the Vikings. Album was produced by Tony Iommi and Cozy Powell and probably it was Cozy who made acsent on drums and keyboads in the mix. I suppose that Cozy had "Stargazer" by Rainbow as a model of sound in his mind. Tony, Cozy and Leif Masses had made very contrast album. You are either listening to heavy metal riffs or to acoustic or ballad guitar sound. Heavy epics in the start ("Anno Mundi") and the middle of the album, real ballad (do you remember "Changes"?) and official single hit "Feels Good to Me", two dynamic tracks "Law Maker" and "Heaven in Black" (potential hits). Real hit (without single and video) "Jerusalem". What's not to like? Probably the most impressive record and most impressive lyrics by Tony Martin ever. It seems that album impressed mostly Scandinavian bands - you can listen to the albums by Tiamat, Bathory from 90s and they frequently used same manner of contrast sound.
 Forbidden by BLACK SABBATH album cover Studio Album, 1995
1.87 | 161 ratings

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Forbidden
Black Sabbath Prog Related

Review by Sergey Slenkoff

4 stars Give this album a second glance. Start to listen to it with the bootleg "Forbiden. Rough Mixes" with instrumental versions of the songs before producer Ernie C changed the sound having in his mind "Cop Killer" by Body Count as a model of sound. It could be great Sabbath album. Ernie C blurred guitars in his mix and added hollow wooden sound of drums - I suppose his idea was a kind of ethnic drums with Sabbath riffs. Result is rough doomish unpolished sound. Result is questionable but interesting. It didn't work back in 1995, but it works now. Negative reviews are based on comparings with previous Sabbath albums. Don't compare - simply relax and listen. Believe the album works for the listener and it grows with each listening. It's real Sabbath sound.
Thanks to Sean Trane for the artist addition.

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