BLACK SABBATH

1. Black Sabbath for the bell-driven intro, cinematic heavy prog before its time; hard rock, quite simply, with hints of dried, black, viscous blood, coming from a sacrifice before the altar of a haunted house; in short, a dark sound with the final drums reminiscent of GENESIS's on 'The Knife', which just goes to show... 2. The Wizard with this raw, primal folk sound à la LED ZEPPELIN, yes, the similarities are still felt 50 years later; the riff, a precursor or initiator of heavy metal, the harmonica, the easily accessible vocals, and the riff, in short, avant-garde and deliciously retro! 3. Behind The Wall Of Sleep for this track, more heavy bluesy than anything else; If LED ZEPPELIN represents one of the fathers of hard rock, BLACK SABBATH would be its heavy counterpart with this more muted, heavy, solemn tone, but hey, now it's just metallic. 4. N.I.B. for Geezer's bass intro, soft enough to hit you hard when you hear this radio edit riff, the thing that marks you for life, Tony launching his notes over an archaic, raw riff. Ozzy's unique voice is starting to take effect. While I had trouble at first, today it has become a reference; Bill plays and accompanies Tony in a fruity, clear-sighted, and almost ethereal solo, far from the depths often attributed to this sound.

5. Evil Woman (Don't Play Your Games With Me) delves into LED ZEPPELIN territory, impossible to get rid of; an expressive rhythm with the riff, bass, and vocals that will become one of their traceable vectors; a good solo as a second vector, it pulls from all sides. 6. Sleeping Village for the ethereal acoustic opening, before moving into heavy metal with this heavier sound. Was that Tony's finger that had put the brakes on their style? 7. Warning for the cover of 'The Aynsley Dunbar Retaliation', a bluesy band at its core; a track with Geezer's heavy bass and Tony's twisting stereo solo for the album's title track; bold, hypnotic, giving ideas for the SCORPIONS' future Fly To The Rainbow, the bewitching track that dares to digress into progressive without being prog, we agree; the track is sly, dirty, austere, seeming to come from a beast from Hell. 8. Tomorrow's Dream as a CD addition on Vol. 4 of 72.

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