Nick Karn <glassmoondt@yahoo.com> (06.10.99)

A 1 for Black Sabbath? You mean to honestly tell me that on an objective, quality music review site that you'd rank one of the most influential metal bands ever (and no, I don't consider Zeppelin a pure heavy metal band, half the time they played acoustic music or heavy blues, not dark and evil riff-oriented stuff that is the standard for this music, although they did play a good part in it) on the same tier as John Fogerty, Blind Faith, Free, Ringo Starr, Traffic, and The Traveling Wilburys? You've got to be kidding me. Sure, they were limited songwriters, but hey, every band is... how many of them can keep going for 10-15 years with consistently great material? Even some of the legends like the Beatles, the Doors, Hendrix, and the like weren't around long enough for us to know. You can fault Sabbath to a degree for letting their work seriously deteriorate over the years when they were well past their prime, but man, their influence and pure epic power of the early work is hard to be denied. For this reason, I think you should have given them a minimum rating of 3 (or possibly 2 if you're really bored with them) - a 1 is just ridiculous. In my opinion, this is almost as bad as the prospect of Johnny Rotten reviewing Pink Floyd, I'm sorry.

Chris Cormier <chris2@nb.sympatic.ca> (19.06.2000)

Black Sabbath were the most atrociously overrated band that ever made it to a 'great influence' category.  Unbelievably lame in all respects (except lyrically, they get a few points for having different words on every line), their sheer monotony makes Rick Astley sound not that bad.   I originally wanted to write about how bad this band is, but it seems pointless to give details, because their music has no details.  I can't be sure this comparison is exact, having never tried it, but i suppose it's like putting a tin can over your head and having friends throw cinder blocks at the can.

Paul Stadden <paul@stadden.com> (03.09.2000)

This is to the Chris Cormier person. Ok, you're right. Black Sabbath was not an influence. There are absolutely no bands I can see that have an influence from Black Sabbath. Metallica, Soundgarden, Pearl Jam, Pantera, Megadeth, Nine inch Nails, Smashing Pumpkins, Ugly Kid Joe, White Zombie, NONE of these bands show a Black Sabbath influence AT ALL. They NEVER used any note or chord combinations that weren't used for hundreds of years in any song, due to the fact that they were actually outlawed because of their dark and evil sounding nature, only to be used again by a little old blues band from Birmingham, and ESPECIALLY not on their first album, which was at #23 in America and #13 in Britain. And Paranoid has NEVER been considered by most rock critics to be the peak perfection of a heavy metal album. No, of COURSE not. Why, they probably never even any albums in the top ten. SURELY Master of Reality didn't reach #8 in the U.S. of A. Oh, and I'm positive that they never had ANY famous musicians in the lineup. Ronnie James Dio, Glenn Hughes, Ian Gillen, Ozzy Osbourne, Cozy Powell, Bev Bevan, Ray Gillen, Rick Wakeman, Don Airey, Eddie Van Halen, Ice-T, Rob Halford, Brian May, those guys wouldn't touch Black Sabbath with a ten foot pole. And the band COULDN'T have lasted 30 years. There's NO WAY they could EVER have lasted THAT long. I mean, it's not like they did a three year consistantly sold out reunion tour across the world or anything like THAT. I mean, they couldn't possibl have millions of loyal fans. And that Tony Iommi, what a loser HE is. I mean come on. Only 3 signature guitars from three different guitar companies, 2 signature guitar pickups, and 1 signature guitar amp? Puh-LEEZE. That's pathetic. Look. You may not like Black Sabbath, and I can understand it. But please. You don't think anyone else that was successful was monotonous? Just because you don't like Black Sabbath doesn't mean you have to claim that it isn't something that it plainly is. Namely, one of the most influential bands in history. Period.

Boyd Jackson Jr. <bjackson@brandywine.net> (23.09.2000)

About your opinions on Black Sabbath. Even though I disagree with you about them, I'm not going to say you are wrong. I know everybody has their own opinion as to what band is better. That's what makes us (the fans) purchase there CD's. Black Sabbath is my favorite heavy metal band of all-time. I have never heard so much variety that one group can accomplish. Every time I listen to a Black Sabbath album, I can't help but be amazed. Now I agree with you on some things. For one, Ozzy doesn't have the greatest voice in the world, but the way he can think up lyrics that rhyme is unlike any other. I realize his voice is high, but that makes him unique. Bands that sound different then everything else that is popular at the time is what I like the most. Another thing I like about Black Sabbath (besides the deep guitar riifs), is the drummer, Bill Ward. I like the way he drums to a different pattern on repeating guitar riffs (example: "War Pigs, "Hand Of Doom," and many others). They deserve credit, and to be honest with you, many bands in the 70's did sound different from each other. That's what made the decade so amazing. I love Led Zeppelin, Deep Purple, Ritchie Blackmore's Rainbow, etc., and have heard many albums by those bands, so I am positive that Black Sabbath ranks right up there. Please, I'm not saying you are wrong about what you said, it's just that everyone has there own opinion, and mine is that Black Sabbath is really unique. I also want to say that I agree with you about the Eagles. They were never really my favorite either. How about this. If I said that one of the greatest albums of all-time was Master Of Reality by Black Sabbath, you would say I'm wrong. If you said (for instance) that Led Zeppelin II was the best album ever made, I would say you are wrong. So who's right? Both of us. Everyone has different thoughts about everything, and that's what made all these bands popular. Thank you for reading.

<RichardMelchior@aol.com> (29.09.2000)

As much as I disagree with you 50% of the time George, I do admit that you're spot on about your definition of heavy metal. No one ever wants to admit they like heavy metal, preferring to call the stuff they like hard rock. I'm as much at fault as anybody - as my recent response to your Physical Graffiti review exposed.

Morten Felgenhauer <Morten.Felgenhauer@kvaerner.com> (15.01.2001)

Yes. They were influental, but who did they influence? I will probably recieve death threats directly, so that George won't be bothered, for writing this, but 'heavy metal' was a dead end in the first place. Deep Purple (mark II) and Led Zeppelin did everything interesting that could be done with the genre and it should have been left there. What later bands learned from Sabbath was mostly image and lyricwise and this has been taken to riduiculus 'heights' in later years. You can use this against me for not understanding Sabbath, but I have only one album with them, a collection of the Ozzy years. But what I hear doesn't encourage me to get any of their original albums. They had a few good songs, like "Paranoid" and "Iron man", but even Lee Jackson in the Nice sings better than Ozzy in my opinion. Their production in the early years also leaves something to be desired, especially that thin drum sound. What it boils down to is this: good guitar and a few good songs. If you bother at all, buy a representative collection.

Glenn Wiener <glennjwiener@hotmail.com> (17.06.2001)

These dudes definitely have their following. The motto of theirs that they Souled Their Souls For Rock N Roll tells it all. I don’t particularly care for their evil flavored style of metal but there is not doubt upon their heavy and I mean HEAVY influence on many of today’s modern bands. Ozzy Osbourne has the perfect helium styled vocals for their overall sound. And Tony Iomini’s guitar playing style is quite unique if not overly spectacular. Whereas I don’t mind their music in small doses, I could never include Black Sabbath in my music collection.

CRANE MIDI LAB <trecchia@hotmail.com> (22.06.2001)

I noticed an inconsistency in your review: You say that Led Zeppelin had already created the genre of Heavy Metal and then, in the 4/5 mark you give Sabbath for originality you say Sabbath were the procreators of heavy metal. I imagine that the latter was a throw away comment, based on what you say at length in the body of the review. Of course, it doesn't really matter a whole heck of a lot in the end. Heavy metal has been called different things since its "conception". Poison, Def Leppard (sp?), and Bon Jovi were considered Heavy Metal in the eighties but today are mainly referred to as "hair bands". Is the new label correct or was the old one? It must be noted that today's heavy metal bands show a stronger influence from Sabbath than Zeppelin, however, while the opposite was true during the 80s. Which band truly started the genre? It all depends on how it is defined. Ok. So, my definition? I believe lyrical content is a very important determining factor. For me, the distinction between hard rock and metal is that the former's lyrical themes are generally centered around a macho conception of sex while metal lyrics are usually about chaos and alienation. That would make Led Zeppelin hard rock and Sabbath metal...Most of the time (see "Sabra Cadabra", "Gypsy", and "Dirty Women". These are the exception rather than the rule). In reality, I don't think you can entirely call Sabbath a heavy metal band because of their many breaks with the "metal code" (jazzy numbers, pianos, party tunes like "Supernaut") but the beginnings of the genre can be found in a good deal of their music. Of course, that's just my definition, hardly "the rule", don't know why I bothered to mention it.

<Hiscumbagg1@aol.com> (05.09.2001)

How do you feel about the Beatles?......They were Ozzy's influence. I think they must also be satanic.........

Ratko Hribar <stormbringer@email.hinet.hr> (29.10.2001)

Am I to believe that Black Sabbath is a worse band than Deep Purple and Led Zeppelin ?

Tony Seljuk <twilde_62@hotmail.com> (29.11.2001)

simply put, this is kid's stuff. that is, if your average kid is into horror flicks and the apparent "sinister" elements of the occult. how would I know? I was once a Sabbath addict about 20 years after the fact. Something about the production of these recordings appealed to me...loud and unprofessional! Exactly. I had a taste of all eras of Sabbath; mostly from the '70s of course, they actually sounded cool then, only one thing from the Dio era (tell me that stuff isn't funny once you find yourself sober), and even something from the later era, TYR I think. Enjoyed all of it until I found David Bowie, the Cure, the Beatles, the Who, and other less embarassing exponents of British rock; subsequently I've never recovered. eventually I donated my entire teenage metal years collection to the local thrift shop for others to get drunk to, or simply gave a it a location in the Round File. Believe me I'm still finding some of that stuff and tossing it.

Koka Chernov <hobbit@uraltc.ru> (24.08.2002)

Good day, George.

Mike Guerricabeitia <MJGuerricabeitia@msn.com> (28.11.2002)

hey george,you obviously don't know dick about a musicians ability.the SABS were a very talented bunch.you just seem to love to kick geezer butler around,but his bass playing is nothing short of incredible.i've seen black sab concert videos and sit there in awe of his bass fills,don't know how he pulls off that shit(i'm a guitar player myself),which leads me to the master,TONY IOMMI.the mark of a great guitarist,in my humble opinion,is to create something easy and to the point,and he suceeds in spades.his soloing,although chaotic is easily the best and most memorable in the history of hard rock.this man is the most imitated guitarist in the history of rock and roll,i can't believe all the people(past and present)that borrow so freely from his legacy.this guy deserves at least 50 million in royalties alone for this fact.yet he is still not a household name.BILL WARD makes john bonham seem like an amateur,by the way.his arsenal is a huge part of the sabbath sound and he can pull of trippy time changes without a hitch.and yes i would rather listen to his short drum solo on "rat salad" than bonham's excruciating "moby dick".my point is :stop comparing everybody to led zeppelin,"THEY WERE NO GREAT SHAKES"(he'he').now there's a catalog that really needs re-examining.just my 2 bucks worth!!

Dan Smith <dan@pioneer-net.com> (15.01.2002)

Your reviews of Black Sabbath albums have the bent of a man being forced to listen to something he really doesn't care for. It's like your mind's wandering through most of it and then suddenly something sticks out, so you write that down, then back to dayreaming. I know the feeling. I used to write reviews for a music website and the opinions I formed during the first song sometimes made it nearly impossible to really *listen* to the rest of the album. The point is, if the music doesn't strike a chord within you, it's hard to review it objectively - that job should be left to those who love the genre. I'm a hard rock lover and country music hater - so if I were to review a country music album, my dismissiveness of the whole genre would taint my review considerably. I might find some things to like about the album - but the diehard country fans would probably want to crucify me for my sacrilidge in not appreciating all the fine subtleties of the "twang". And... here's the kicker... they'd be right!

max <max@dickson171.fsnet.co.uk> (01.07.2003)

Hi, enjoyed reading your comments on your site. Of course I don't agree with it all, but then would you expect anyone to agree totally? :)

Brian Adkins <Brian.Adkins@Enerwise.com> (25.10.2003)

Hello George, great review of this one...........really good album but enough reasons to not be great. I was always afraid to buy any Black Sabbath albums because of their "reputation".  But they're really not as bad as some make them out to be, and if you don't like Ozzy singing about the works of Heaven and Hell, at least you can enjoy the instruments. Tony is a most excellent guitar player indeed, I personally love his solos and don't mind a bit on the 14 minute closer. 'Wizard' is my least favorite song on the album, it's like the song never goes anywhere, the lyric don't build up to anything, there's no mind-boggling solos, just an average ole song. But it's short enough that I've made it to track 3 before it starts getting annoying.  I think Ozzys voice and Iommi's guitar are the perfect combination, I mean could they have really played non-Satanic music? Just picture this in your mind: Ozzy singing "All You Need is Love", who the heck would he have convinced? Haa Haa So I think they chose the correct substance for their music, the sound fits it beautifully. I only own this and PARANOID and love both albums, MASTERS will be soon to come after reading your review. I highly recommend this album to anyone that enjoys excellent guitar work.  The rest of the band isn't bad but the guitar work is really the jewel in Sabbaths music, for me anyway.

Stephen Rutkowski <a_saucerful@hotmail.com> (17.03.2004)

The mind boggles at the thought that at one stage in your life you thought that Black Sabbath were deserving of only 1 star. I would give them 3 stars without even thinking, but then I am much bigger on hard rock/heavy metal than you are. (By the way I’m not going to weigh in with this hard rock vs. heavy metal debate so I will just use both terms so no one can be offended.) I suppose 2 stars will have to do then. I am not the biggest Black Sabbath fan, not by a long shot. My hard rock loyalties really lie with Led Zeppelin, but I have the first six Black Sabbath albums and think they are all great. I started off with a prejudice against Black Sabbath believing they were just a generic heavy metal band. That may have been true in the ‘80s but the early Black Sabbath was something truly different. I would generally add 1 more point to all your ratings for the first six albums, except for Sabbath Bloody Sabbath which I would give an 11. I am not prepared to get any other albums though, particularly after Ozzy left. If I want generic ‘80s metal, there are plenty of avenues for me to turn to. The lifeblood of Black Sabbath really is Tony Iommi, most tracks depend on him only. He was the greatest riffer as you said George, and not a bad soloist. And there really are occasional moments of acoustic beauty – I would add ‘Planet Caravan’ and ‘Fluff’ to ‘Laguna Sunrise’ as those really surprising moments. Still it’s only the fantastic riffs that make me return to Black Sabbath. Where they really lose it is in the remaining three members. Ozzy Osbourne is not on the same field as Robert Plant and Ian Gillan, but unlike most non-Black Sabbath fans I would say his voice was adequate. He yelled out the lyrics with a mixture of tremendous ferocity and chilling screams, creating the exact atmosphere that I’m sure ! the band wanted to create. His voice would never be strong enough to s ing ballads with any emotion though, and so hard rock/heavy metal was his role. Geezer Butler’s bass playing was adequate but not talented enough to supercede John Paul Jones or Roger Glover. The biggest loser is Bill Ward. His drum style and tone was fairly underwhelming compared to Bonham’s and Paice’s. The good news is that Iommi’s guitaring is good enough to carry the band, and that is exactly what he did. Black Sabbath’s influence is there for all to see. They came up with the novel idea to combine dark music with equally dark lyrics. Although now this is commonplace with the myriad of heavy/speed/death/whatever metal bands, somebody had to do it first. Led Zeppelin had the dark music, but for the most part the lyrics were just the same old. Black Sabbath tapped into a niche market – I’m sure the majority of their fans were disillusioned teenagers! who were attracted by the lyrics and mystique associated with Black Sabbath. Suffice to say, although I am quite young, I don’t really care about any of that sort of stuff. It’s only Iommi’s riffing and fantastic guitar tone that makes me enjoy Black Sabbath. But whatever you do, do not have the same prejudice that I did. Black Sabbath are much more than a regular heavy metal band.

Divyang Thakur <thakurdivyang@yahoo.com> (14.06.2005)

Ah,well one fine day last year in september i wrote the word "Rock Reviews"in the google search thingy and was rewarded by getting the result "Mark Prindle"and after that "George Starostin" and decided to go to your site first but hey!You had temporarily retired so I went to Prindle's site.And hey,hey I liked his reviews.Isn't life strange?I hadn't heard one Beatles album 10 months before but thanks to filesharing(Well I am a communist after all)I have heard them,Pink Floyd,Doors,Led Zeppelin,Yes,King Crimson,Black Sabbath,Bob Dylan,Moody Blues,Nirvana,Ac/Dc,Aerosmith,Bee Gees,Cream,Creedence Clearwater Revival,Emerson lake and Palmer,Eric Clapton,Jethro Tull.........I'm surprised myself.Where did i get the time?With my exams and all on top of them too.(I'm 16 so clear the impression that I'm gonna say something of value not that all adults put too much value in their words.On Prindle's site you will find lots of "Prindle you suck this album rules you don't know what you talking about you prick"types.)but I would like to say this about the web reviewing community,most of you are good and before that i used to believe in sites like rolling stones Magazine and in the newspapers.And all of them misguide you.Or why did I get the impression that King Crimson is bad?Or that 'Aqualung' is the only song Jethro Tull made that is listenable?Or that Salt'N'Pepa are a good band?Or that the Moody Blues are not good?

Brian Dickson <bdickson4830@hotmail.co.uk> (08.10.2005)

For all the snobbery against Black Sabbath by many music critics (whcih incidentally I tend to view as kind of funny rather than anything that annoys me!) I can't see how anyone can deny that their first 6 albums are full- and I mean brimming over - with good catchy riffs. In fact more than any other band in rock history Sabbath should be praised for the riffs that they created. So while some seem to find gratification by putting on a silly "Black Sabbath are disgustingly bad" act, I say put away your monocle and give them a chance. (Not meaning you George!)

Tim B. <mrpieeater@hotmail.com> (07.01.2006)

Only just wanted to say that I've had the 'Led Zeppelin created metal not Black Sabbath' argument with lots of people. At first I was inclined to agree that Zep did create metal, but further thinking made me realize that they didn't.

Tagbo Munonyedi <grimtraveller@hotmail.com> (19.09.2006)

The story of the Sabs is really in three parts; 1. The original line up/2. The Ronnie years and 3. everything after that. I'm not really interested in 2 and 3 from a musical point of view though it is fascinatingly sad from a biographical/filling in the history point of view.

jemster <jemster@ix.netcom.com> (01.10.99)

Look, I haven't heard this album, but I've heard Paranoid, and after hearing that a lot of thigs begin to disturb you.

Nick Karn <glassmoondt@yahoo.com> (14.10.99)

I heard this album straight through once a couple years ago spending the night at a friend's house, and I distinctly remember the desire to completely doze off during Iommi's guitar soloing near the end of the album, which I eventually did at around 5 in the morning. So I guess you side with the general opinion that this solo section is a real tedious drag, and it seemed that way to me. I also agree with you that the title track is a monster - it's the only song here I still have a great memory of, Ozzy's desperate vocal wailings and his unusually warped style on this track, and that unexpected, "evil" solo section. Could very well be the defining Sabbath song, and maybe the most obviously Satanic thing they ever wrote.

Michael Rohm <loki@shadrach.com> (08.01.2000)

Actually, a minor note to your comment on the first Sab album, "This is the first truly 'Evil' rock album..." No, it isn't. There was a band called Coven who released an LP a year earlier called Witchcraft Destroys Minds and Reaps Souls - it actually contained a black mass on side two of the record. The music itself isn't really evil, a la Sabs, but the lyrics are purely Satanic, about black masses, witches' sabbats, soul selling, hexes and curses, and so forth.

<Sabbath246@aol.com> (07.12.2000)

Definitely the first true heavy metal album (NOT Zeppelin's debut, contrary to popular belief). See, Zeppelin's debut was more or less just your average 60's hard rock music, although heavily blues-based. But this album was something entirely different, something newer, something darker, something more mysterious than anyone had ever heard before. Just imagine: It's early 1970, and in the midst of all this flower power shit comes Ozzy and co. bellowing lyrics like "Is it the end my friend? Satan's comin' 'round the bend!" and "Look into my eyes, you'll see who I am. My name is Lucifer, please take my hand". The opening number is perhaps the darkest, most frightening song ever. It's of course titled "Black Sabbath", and it tells of a dying man about to go to Hell (this would sure serve well as a bedtime song for your kids, huh?!). I don't really care for it that much, except for Tony's lightning-quick guitar rumbling at the end. Next comes a real ass-kicker- "The Wizard". It features more heavier-than-thou riffage from the master of metal himself- Tony Iommi, and also some awesome harmonica interludes from good ol' Ozz. Without a doubt the best song on here is "N.I.B.". The first time I heard it, I absolutely fell in love with the guitar riff. And Ozzy's vocals are so eerie and fit the song so perfectly it just sends a shiver down one's spine! Funny enough, the song was named after Bill Ward's beard, which looked like the nib of a pen (hence the name "N.I.B."). The lyrics are about Lucifer falling in love with a human being and changing his ways (I'm a big Black Sabbath historian and researcher so I know what I'm talking about!). "Wicked World" was actually the very first song the fantastic foursome ever wrote together. When they originally wrote it in 1968, it was nearly 15 minutes long! This version is impressive too, though. Ozzy's voice on this song is just awesome, though not as hypnotic and eerie as on "N.I.B." The guitar solo in the middle is nothing to write home about. After all, Tony's a master, but he's no Jimmy Page, and he's certainly no Blackmore, but he is what he is: the undisputed king of heavy metal guitar riffs ("N.I.B", "Paranoid", "Iron Man", "Sweet Leaf", "Into The Void", "Tomorrow's Dream", "Supernaut", "Sabbath Bloody Sabbath", "Symptom Of The Universe", need I say more?). "Sleeping Village" is mystical in all it's glory, even if it is only 55 seconds long. And Ozzy gives perhaps his best vocal performance EVER on this song. The first time I heard "Sleeping Village", on a cassette I borrowed from a friend, I didn't even believe it was Ozzy singing! He sounds so relaxed and peaceful, yet so eerie and mystical at the same time, as only Ozzy can. And the last number, "Warning", never ceases to take my breath away. Black Sabbath playing a blues tune? Who'd of ever thought? Oh well, after all, their main inspiration was blues-based stuff anyway (Ozzy credits Cream and John Mayall's Bluesbreakers as the band's most significant influences), and they do it rather well too. It's all starts with some maniacal riffing and soloing from Mr. Iommi, then leads into Butler's calm, six-note bass riff that is indeed the backbone of the whole track. The lyrics, about faded love, are splendid and the guitar playing towards the end is, regardless of what anyone says, brilliant. This is without a doubt Tony's finest moment on the guitar. He goes from relaxed and bluesy to wall-rattling heavy, without warning (no pun intended). All in all, I'd give this record an 8 out of 10. Too influential to be put into words, this will forever be remembered as THE ALBUM THAT KNOCKED THE WORLD ON IT'S ASS!

Fred Anderson <hreaper@online.no> (22.01.2001)

Rating this album anything lower than 5/5 is a federal crime in many states. Whoever wrote this review is not a metal fan, and has never been one. It's that simple. (Fred Anderson is absolutely right! I am not a metal fan. However, I have actually explicitly stated it in the intro, so it didn't take a logical genius to figure that out - G.S.)

CRANE MIDI LAB <trecchia@hotmail.com> (20.06.2001)

My congratulations on a well-crafted review! A few bones must be picked, as is inevitable. When you say the lyrics are Satanic, do you mean they are in praise of Satan? That seems not to be the case. They do say the name, but they don't say "worship him!" 'N.I.B.' is surely the closest to Satanic the band got, but it is just a silly story about Satan falling in love. The lyrics tell a story, nothing more, nothing less. I think this is what you meant? Bone #2: I believe that, instead of sounding stupid, Ozzy's singing along with the riff on 'N. I. B.' adds to the overall power of the sound. Besides, it is a catchy little melody. The third bone: There is much more than just the riffs to jump up and down and say "yahoo!" about. The band interaction works to enhance the riffs. Think what the album would be with the riffs alone! Furthermore, Ozzy's singing is flat on occasion (note the real bomb at the ends of both verse sections of 'Warning'...Yech!), but the delivery is very expressive and adds to the mysterious quality of the record. One area I strongly agree on is the long solo passages in Warning'. Some interesting contrasts happen along the way (like the clean-toned rockabilly section), but many of the sections go on way too long. One of the most interesting solos on the album is the double-time double tracked one on "Bit o' Finger". Check it out, listening for the interaction of the two guitar solos. Granted, there are spots along the way where they step on each others toes so to speak, but for the most part, they seem to carry on an interesting competition/dialogue. I'd say your 8 rating is just fine in the end.

Ratko Hribar <stormbringer@email.hinet.hr> (06.10.2001)

One of my favorite Sabbath albums, no doubt about it. Naturally, it's heavy and moody, and it is the first well-known 'Evil' rock album. Since it came out in 1970, it found a comfortable middle ground between the much inferior Led Zeppelin III, and the superior Deep Purple In Rock, both of which came out the same year. However, the thing that made Sabbath the prime band of the year 1970, was the quick release of Paranoid. I suppose the songs on this album, could be considered monotonous, especially since 'The Warning' lasts so friggin' long, but with such colossal riffs thrown in for good measure, who the hell cares ? Ozzy's voice does demand a little of getting used to, but he will get better with time, and by then, he will grew on ya. His helium voice is expressive enough, although his range is totally limited, however, his vocal delivery is completely unique and he can't be mistaken for anyone else (a rather unusual thing in rock music). I have to mention that on 'Wicked World' he sounds very much different than on the other tracks, which is probably partially caused by the mix. The lyrics here, aren't awful, cause Led Zeppelin wrote similar stuff, and this is actually even more acceptable, cause it's not so overblown or blatantly stupid ('Battle Of Evermore', people ?). The lyrics here are, at least, straightforward, and not particularly offensive (that is, unless you're an extremely religious person).

Glenn Wiener <glennjwiener@hotmail.com> (28.11.2001)

Certainly a groundbreaking release. The titlet track is one scary piece of music. The thunderstorms and church bells create an eerie mood and I am blown away by those power chords. However, the shift in rhythm and ending guitar solo is what captivates the experience for that song/piece. Truthfully I'm not much for harmonica driven pieces especially in a Heavy Metal Band. Therefore, I do not care for 'The Wizzard' too much. 'Wicked World' has some nice shifts in tempo and 'NIB' has a fairly captivating melody. The parts of the songs in the suite aren't bad either. The last suite of songs goes on for a little bit too long. 'Warning' is pretty cool but Tony Iommini should have saved the riffage for a live concert rather than this CD.

<SpaceClown@aol.com> (06.12.2001)

Perhaps the best Black Sabbath album. Perhaps not. Still, I'd give it a 10 either way. One sees the influence of all those old Hammer horror films at work here -- the album sleeve, with the old keep, the mysterious smiling woman in her funeral dress, and the fat black raven in the briars, makes all this rather obvious. In fact, the album sort of comes across as a youthful tribute to all of those awesome old horror guys ... Christopher Lee, Vincent Price, Peter Cushing, Charles Grey … actors from a time when horror movies were well-crafted and thoughtful. This is a great album despite the fact that Ozzy hadn't really achieved his full vocal range yet (as George has already pointed out, and he's right), and despite the occasionally cheesy song lyrics the man had to work with. The main reason for my rating of '10' is threefold … first off, this was the album that, for better or worse, began the genre of "heavy metal" as we know it today, and deserves a lot of respect for sheer innovation alone (who else had such a heavy sound back in 1970)? Second, there's not a single bad song on the album. And third, the album opens and closes with two of Sabbath's best songs EVER. These two songs - "Black Sabbath" and "Warning" - stand so far above the rest of the album, I've decided to single them out and review them specifically.

Eric Rogozin <erogozin@mtu-net.ru> (01.07.2002)

Nothing special! I heard it once and I wasn't much amazed. Maybe a couple of tunes are decent. There's no way to compare it to magnificent Deep Purple In Rock, Led Zeppelin III and Very 'Eavy, Very 'Umble releases, which came out the same year!!! Overrated! Speaking 'bout Sabbath, Paranoid and Master Of Reality are much better.

Koka Chernov <hobbit@uraltc.ru> (06.09.2002)

I regret, that "The Rebel" is not present here. But Sabs had thrown away their bluesy past (and their previous name "EARTH", too), although that past contained some beautiful songs. Furthermore, they changed their direction drastically.

Stephen Rutkowski <a_saucerful@hotmail.com> (17.03.2004)

Although as I said I don’t care too much for evil and that kind of thing, I will dwell for just a moment on the album cover. For mind, this type of picture is much scarier than –looks through other Black Sabbath covers– the covers for Sabbath Bloody Sabbath or Dehumanizer for instance, as it represents what humans are most afraid of – the unknown. It seems as though prior to movies like The Blair Witch Project, Hollywood had also forgotten that this is the most effective way to create true horror. I am not a movie buff my any means, but I thought I should point that out. The relevance to the cover is that the eerie woman and raven are amongst the briars in front of the equally eerie keep. If faced in this situation, you would have no idea what could happen. Is the woman evil? What could she potentially do to you? Why is the raven looking towards her for? It’s the unknown that would scare you most and this creates a truly effective album cover.

<potupchik@comcast.net> (28.10.2005)

I'd like to make a couple of corrections: First of all, it was Geezer that came up with the horror music idea, not Iommi. And the song "Wizard" isn't literally about a wizard. The "wizard" is actually the local drug dealer. Why do you think people are so happy about the "magic" that he's spreading?

Tagbo Munonyedi <grimtraveller@hotmail.com> (19.09.2006)

Categorically ! This is not the album that invented heavy metal, as the British paper, the Sunday Times claims. I was reading someone's paper last week, initially upside down, when I saw an article called "50 albums that changed the face of music" and my interest perked up. In fairness to the article, it wasn't the top 50 of all time or anything like that {I've had it to here with those kind of things though they are interesting}, just fifty that changed the face of music. And the contributors looked at all genres {I mean, Aretha Franklin, Miles Davies, Otis Redding and Frank Sinatra were in there} and the many singles that have changed music's face {arguably more singles than albums have done so } weren't included and no artist had more than one entry and those parameters explain why there was nothing by Bob Marley, the Sex Pistols, the Mahavishnu Orchestra, Cecil Taylor and a whole lot more. There were only maybe three that I didn't agree with, the Stooges' RAW POWER and the Clashes' LONDON CALLING being two of them. BLACK SABBATH was a worthy entry coz while it didn't invent metal, it's future influence did spawn subsequent genres so on that point alone it should be there, even if it had been a load of crap and crap this debut was not.

Nick Karn <glassmoondt@yahoo.com> (14.10.99)

Unquestionably the best out of the albums I've heard so far, and it's definitely the most important metal album ever made - one of the greatest as well. The riffs and arrangements are at their most powerful, especially on the more "epic" tracks like "Electric Funeral", which is a fun as hell song to jam on, because it's not terribly difficult to play but all instrumental aspects of it sound so forceful and great. I played bass when I got together with a couple other people, and we ran through it without vocals. Anyway, no argument with "Iron Man", "Hand Of Doom", "War Pigs" (you should hear the original gory lyrics to the demo of this song from Ozzy's basement tapes!) and "Fairies Wear Boots" (particularly dark intro section), as they definitely show the band at their best, and the stupid and cartoonish lyrics actually give the songs more power because they bring the instrumental strengths to the forefront. The title track is even really infectious - they don't write too many of those type of songs with hooks, and the lyrics are actually well-written (another rarity for them), describing the psychological confusion we all go through at some point in an effective fashion. "Planet Caravan", another departure from their sound, has a really cool bassline, relaxing bluesy guitar work and an interesting vocal effect, and I enjoy it. The only real filler here is "Rat Salad", but to despise the record because of it is just stupid, I agree. It's a nice instrumental, with a good riff and a short drum solo that never approaches self indulgence (unlike the endless "Toad" which I despise). An easy 10 for this album. Classic.

<DirkKroner@aol.com> (13.06.2000)

Maybe Tony Iommi or Geezer were not in the same leauge as ´Cream´,but could you imganine Eric Clapton playing something _really_ powerfull as 'PARANOID'?

Philip Maddox <slurmsmckenzie@hotmail.com> (09.09.2000)

This is my only Sabbath album, and it never struck me as hard as people say it should. The highlights are definately there - nobody can deny the excellent, chuggin' title track, the perfect riff of 'Iron Man', or the powerful opener 'War Pigs'. All of them have got what I like in my heavy metal - power. Those riffs are driven straight into your head without any hope of escape. 'Planet Caravan' is nice, too - very moody and atmospheric. Not great, but very good. That covers side 1. Side 2 is a different story, though. 'Electric Funeral' starts of with a great riff, but it loses me by the end. That middle section just doesn't make it for me. 'Hand Of Doom' and 'Fairies Wear Boots' are both way too long - the former is pretty good in spite of it's length, but I never liked 'Fairies Wear Boots' much. It just drags on and on and refuses to leave any impression in my head at all. 'Rat Salad' is a drum solo. It's short, but it's pure filler. I'd give it a 7/10, maybe an 8 on a good day because the best material here is classic and none of it is really bad. No, a seven because I really don't like 'Fairies Wear Boots'. But a high 7!

Paul Stadden <paul@stadden.com> (10.10.2000)

You could not be more right. If you want to get the best of Black Sabbath, you pretty much have to buy Paranoid and Master of Reality.

<Sabbath246@aol.com> (14.11.2000)

Unlike many others, I don't consider this to be Sabbath's best album. That credit would have to go to SABOTAGE (hands down). But this album is still great. The best tune on here in my opinion is "Planet Caravan", beacuse it's so relaxing and eerie. "War Pigs," the title track, and "Iron Man" are the big radio staples here. "Electric Funeral" is awesome. LOVE that middle section! "Hand Of Doom" is a killer jam with an anti-heroin message (funny enough, most music critics and other narrow-minded airheads took this as being a pro-heroin song!) I don't really care for "Rat Salad", even though Bill Ward is one of rock's most gifted drummers. And last, we have "Fairies Wear Boots", which I personally love. I see you're stumped on what the song's about, huh? Well I'll tell you: One day in mid-1970, Geezer Butler was walking the street when a group of skinheads jumped him. He wasn't seriously injured, but he took a good beating before his other three bandmates realized what was going on and fought off the assailants. How is this related to "Fairies Wear Boots" you ask? Well, it just so happens that each of the punks was wearing boots, so Sabbath decided to make fun of those sons a' bitches with the song "Fairies Wear Boots". This REALLY happened. Geezer has even admitted it. Anyway, say what you will about Ozzy Osbourne: he's got a high voice, he bit the head off a bat (and a dove), he's not that great of a singer, blah, blah, blah... The bottom line is WHO CARES? The man came from practically nothing as a child, being so poor that at times he couldn't even be fully clothed. And just a few years later, at the tender age of 20, he's a f**king millionaire and singer for a kick-ass heavy metal band. For Chrissake, that's got to count for something!! I look at the shitty music that's sold to us nowadays (with the exception of Kid Rock), and I think to myself: Where would the world be without good ol' HEAVY ASS ROCK 'N ROLL!

CRANE MIDI LAB <trecchia@hotmail.com> (04.07.2001)

You may be right about the King Crimson influence on "Electric Funeral". There is one other apparent KC influenced section, this one on "Children of the Grave" from Master of Reality. The part where Tony, Geezer, and Bill all play the unison riff with the stops and starts is very reminiscent of "21st Century Schizoid Man". Don't ya think?

Ratko Hribar <stormbringer@email.hinet.hr> (06.10.2001)

If you ask an average metal fan what is the most famous metal album of the seventies, he would most likely say Paranoid. Indeed, Black Sabbath we're the real forefathers of the genre, and the songs presented on this disc are some of heavy metal's most enduring anthems: 'War Pigs' (originally 'Walpurgis', that version is on The OZZman Cometh), 'Iron Man' and, naturally, the radio staple 'Paranoid'. This time the drums, the bass and the fat distorted low guitar tone are even somewhat heavier than on the debut, making some perfect cacophony which will stay in your brain forever. But, contrary to the popular opinion, this isn't Sabbath's best album, cause that honor would go to the majestic Master Of Reality, which is one of their heaviest albums ever. Anyway, this album came out in the same year as the debut, and by doing so it finished the job of overshadowing Deep Purple In Rock. The hook filled title track is driven by a powerful rolling riff (to Mr. Dirk Kronen; Blackmore didn't invent the riff in 'Paranoid', but he did invent the riff in 'Smoke On The Water', which is much catchier), and the song has some dark, but not cartoonish, lyrics. The awesome gentle bluesy ballad 'Planet Caravan' is doomy and unforgettable. 'Fairies Wear Boots' is slightly jazz influenced and features some unexpectedly funny lyrics. The drum solo 'Rat Salad' is every bit as tedious as all drum solos, but it's at least short. God bless you Bill Ward !!! Except for those more well-known tracks, 'Electric Funeral' and 'Hand Of Doom' are also colossal songs with great arrangements and REAL solid riffs. All in all, this is an album that should be in the collection of every true metal fan. I think it's understood that this one deserves a low 10.

Koka Chernov <hobbit@uraltc.ru> (06.09.2002)

The most strange thing here, is that Sabs had absolutely no idea what the word Paranoid means! Virtually, they had chosen it because of cool sounding.

Vuyo Jama <vjthedj24@hotmail.com> (03.04.2003)

In response to Koka Chernov's comment about the length of time, that it took 2 dayd to record Paranoid.I would like to state that it took 4-5 days. Black Sabbath was done 2 days( they had 3 days booked).

Stephen Rutkowski <a_saucerful@hotmail.com> (17.03.2004)

I would give this album a rating of 13 without even thinking about it. It is easily the best Black Sabbath album (unless that happens to be one of the albums I haven’t heard but I severely doubt that). Out of all hard rock/heavy metal albums, I would rate only Led Zeppelin I and IV higher than this album. The first six tracks represent the greatest stretch of material to ever appear on a hard rock/heavy metal album. Although I regard Led Zeppelin IV as a better album, it contained ‘The Battle of Evermore’ which really disrupts the momentum. There are no such problems here. For mind, the only weaknesses are from the half baked ‘Moby Dick’ rip off ‘Rat Salad’ and the slightly (but ever so slightly) substandard ‘Fairies Wear Boots’. ‘Rat Salad’ is not too bad. The solo is nice and short and we don’t have to worry about Ward throwing the sticks on the floor like a certain Mr. Bonham. ‘Fairies Wear Boots’ is a good and slightly complex track with more jazz influenced rhythms. However it is somewhat overlong and is a slight let down after hearing the five riff monsters that came before it. So let’s discuss these riff monsters. The riffs on ‘War Pigs’ are even better than on ‘The Wizard’ and Ozzy’s screeching is adequate for the song. The only complaint I can have is that the “soft” parts are a little too long. ‘Paranoid’ is a fantastic radio staple and easily Black Sabbath’s most well known song. It has a wonderfully fast chugging riff that is great to headbang or stomp your feet to if that’s your kind of thing. It’s incredibly catchy too. ‘Iron Man’ wins the award for the best riff on the album which is no mean feat. ‘Electric Funeral’ is indeed very reminiscent of ‘Pictures of a City’ but I doubt very much it is a rip-off. It still doesn’t sound the same if you get my meaning, just similar. In any event, it is a very good song. The middle part sounds more like ‘Astronomy Domine’ than ‘Interstellar Overdrive’. Now that part sounds like a complete rip-off. I always expect to hear the astronaut’s voice followed by Syd Barrett but then I remind myself I am listening to Black Sabbath. ‘Hand of Doom’ is slightly overlong with what seems like an endless amount of alternations between the quiet and loud parts. Otherwise it is another fantastic song. And did I mention ‘Planet Caravan’? That is probably Black Sabbath’s best ever soft song, right up there with ‘Fluff’ at least.

Tim Blake <staticnz@gmail.com> (14.07.2006)

Paranoid is a great album, but it is totally overrated. I say this as a huge Sabbath fan. As far as I'm concerned Paranoid has the fact that it was extremely popular going for it, memorable riffs and reasonable yet bloated songs, but there isn't much more to it that inspires brilliance. I don't understand how it can be considered as on the same level as say, Sabotage, Masters Of Reality, or Sabbath Bloody Sabbath (which you rated poorly, I totally disagree with your assessment of it...it could well be be their very best but I'm torn).

Tagbo Munonyedi <grimtraveller@hotmail.com> (19.09.2006)

In the earlier days the group's fifth album was usually voted as their magnum opus by fans but in the last decade, I note that they've been voting this one in as the tops. I'll probably be hung by Sabbatines for this but.....I think not ! In fact, of the classic first six, I rate this as fifth, for what it's worth. But to put that in context that's coz I rate their first six extremely highly so not viewing PARANOID as a classic don't mean much. It's a patchy album, but that's good patchy, not indifferent or bad patchy.

jemster <jemster@ix.netcom.com> (13.10.99)

"They should realize before they criticize that God is the only way to love", "I've seen the light and i've changed my ways"...hmmm, maybe the rumor of this band being anti-satan was right!

Nick Karn <glassmoondt@yahoo.com> (14.10.99)

Quite an interesting phenomenon of an album, because of its' sheer brutal power (it is a sure candidate for the heaviest album ever recorded), but the lyrics are obviously Christian! I don't really agree with you that the first signs of boredom start to show up here - all of their strengths are still well apparent, and it's a rather excellent effort. I'd give it a 9 instead of a 10 is because of its' short length and the songwriting quality is just a little below Paranoid in effectiveness. "Sweet Leaf" (what's this one about? duh!), "Lord Of This World" (excellent groove and riff and strong time change in the chorus) and "Into The Void" (VERY strong influence for grunge, along with Neil Young's Everybody Knows This Is Nowhere) are mind-blowing riff based songs, while "After Forever" and "Children Of The Grave" are very forcefully played tunes and the best examples of the "phenomenon" of this album - I just can't figure out how White Zombie, a very overblown and cartoonish 90s metal band, ended up covering "Children Of The Grave", which is appropriate for them musically but lyrically it's a hippie song!!! And "After Forever" sounds like an obvious Christianity anthem that, because of its' heavy power, still wouldn't convince Christians that Black Sabbath are anything but Satanic, pot-smoking rejects. The lighter musical moments are fascinating contrasts, too, as "Solitude" may be a bit of a medieval sounding ballad, but it's a rather interesting one - not too overblown, and lots of dreary emotion, while "Embryo" and "Orchid" are not too special, but pleasant, and effective intros for their respective songs.

Anders Hedman <anders.hedman@chello.se> (24.05.2001)

Just one note. "After Forever" is actually one of the few Sabbath songs credited to Iommi alone. So Geezer probably didn't write the lyrics for that one (or maybe the other members didn't want their names under a Christian song).

Ratko Hribar <stormbringer@email.hinet.hr> (06.10.2001)

This is it, THE ALBUM. This perfect album represents the true essence of heavy metal as no other. The brutality never ends on this one, amazingly bottom-heavy with it's share of faster moments. The first signs of boredom probably would appear here, for a normal listener, but for a hardcore metal fan this is as good as it gets. It's not at all diverse, but that doesn't bother me a tiny bit, the only thing I do mind a little is the fact that it's a rather short album. Again, the arrangements and songwriting are strong as ever, with astonishing monolithic riffs which are splattered all over the numerous, cleverly constructed songs. The 'cough cough' introduction to 'Sweet Leaf' starts things off, with Iommi churning out another one of his unstoppable bone-crushing riffs that just refuses to leave my head. In the catchy 'After Forever' Ozzy sings some effective anti-Satan lyrics, and Iommi creates another outstanding fast riff. In fact, this is my favorite track here, I just adore that heavenly riff. It's an unforgivable shame that such an excellent song like 'After Forever' isn't getting it's due. Then follows the creepy gothic instrumental 'Embryo' that leads us in 'Children Of The Grave' another speedy track with yet another classic riff. Since the guys correctly assumed we need a little break, they give us the medieval sounding instrumental 'Orchid'. Then it's time for more kick ass power, so we get an evil sounding, riff-driven, slow stomper 'Lord Of This World'. And it's a good one too, but in spite of the decent riffage, it just sounds too lightweight. The ballad 'Solitude' sounds very nice, cause it is moody and mysterious, and Tony plays that soft melody perfectly well. Naturally, since the album is almost over, we need a fast pounding track to conclude it on a high note. And indeed, we get just that, the exciting 'Into The Void' rips with an awesome riff, and kicks us right in the face. Needless to say, that superb song single-handedly created grunge. A perfect, high-as-a-mountain 10.

Koka Chernov <hobbit@uraltc.ru> (06.09.2002)

Well George, maybe you ain't a heavy metal fan, but thank you for precise and fair early-Sabbath ratings. Members of Sabbath were improving their prowess day by day. "Children of the Grave" is the major highlight here, real Furnace of Frenzy, featuring rampageous bass & thunderous riffage - the epitome of early metal. Gosh! Even Bill is tolerable here. "Embryo" and "Orchid" are fascinating melodies. Indeed, salvation for stranded in metallic desert. Iommi's creativity is dazzling, he is the main driving force and his guitar work demonstrates his art approach. The only low point here is "Soltitude" - second-rate and too "liquid" for me. Needless to say that Ward sucks everywhere, except "Children". This is the only reason that prevents me from giving a 10 here. Just imagine what a masterpiece could it be, if they had an opportunity to substitute Ward for Bonham...

Stephen Rutkowski <a_saucerful@hotmail.com> (17.03.2004)

Tony Iommi promised the public that Black Sabbath could take up the slack that Led Zeppelin had delivered with III and produce the heaviest album to that point. He didn’t disappoint. Again we are presented with five riff monsters with a bit of filler around the edges. But this time, the filler really is filler. There are no good but slightly inferior tracks like ‘Fairies Wear Boots’ and the ballad ‘Solitude’ is much much worse than ‘Planet Caravan’. Coupled with the curious but ultimately pointless acoustic instrumentals ‘Embryo’ and ‘Orchid’, the album rating suffers by one point (giving us a 12 this time). But this still leaves five really good tracks. Perhaps there is nothing as catchy as ‘Paranoid’ nor are there any riffs to quite compete with ‘Iron Man’ (although they do come close) but that guitar tone puts the tracks on another plane. I’m still undecided about the best riff on the album though. I’ll probably award it equally to ‘Sweet Leaf’ and ‘After Forever’. The ‘Sweet Leaf’ riff is just so damn powerful, but I love the speedier ‘After Forever’ riff too. The lyrics to ‘After Forever’ were indeed written by Iommi. I think I read somewhere that he as a person wanted to distance himself from the satanic aura associated with the band. He actually believed what he wrote; he didn’t just write the lyrics to appease the public or anything like that. It is also interesting to note that Iommi will no longer play 'Sweet Leaf' or any other tracks that praise or criticise narcotic substances.

Tagbo Munonyedi <grimtraveller@hotmail.com> (19.09.2006)

In the early 80s I used to see all kinds of parallels between Sabbath and Zeppelin which could be construed as intentional or unintentional; the Birmingham connection, Ozzy's almost Plant like unorthodoxy as a singer, lead guitarist that wasn't beyond playing electric segments solo, two albums in their first year, the second of which really cements the reputation with slight musical deviations, non vocal track one from the end of second album, and built around a drum solo, to boot (!), no album in '74, band rarely on album covers, peak performance {or let's at least say a very strong one} in '75, acoustic presence on third album.......ha ha, that last one was deliberately misleading because there's only one acoustic track and it's very short, called ORCHID and it comes over more as a prelude to LORD OF THIS WORLD than a piece in it's own right. EMBRYO is identical in purpose though nothing like it. It actually sounds like a hurdy gurdy though I suspect that it's a guitar with that brilliant cello type sound {there's a similar sound at the end of Pink Floyd's ASTRONOMY DOMINE}. Along with SOLITUDE these represent honest departures from the by now established Sabbath sound but they're all so short, especially the two "instrumentals". If there is any resemblance to Zep's trajectory, it ends here coz while Zep's third outing had some heavy moments, it was a sonic departure {though perhaps unintentional} from albums one and two. The same is not true of MASTER OF REALITY. It is unashamedly heavy metal rock, as bruising as it's predecessors and in some ways more so. But for me, much as I love this album, I find this to be the weakest of the first six, partly because it's so short {EMBRYO and ORCHID between them are concluded in a couple of sneezes}, partly because it's as patchy as PARANOID. Back to SOLITUDE for a moment, it sounds like a rewrite of PLANET CARAVAN to me but is also a forerunner to CHANGES on the next album. I'm not even sure that it's Ozzy singing it though I've never seen anything to suggest it's not him. If it is him, I'd have to say that it's one of the most fabulous vocals I've ever heard from him, even if I'm not a great fan of the song. It's ok I guess. But that vocal is something else, he sounds even older than he does on some of the debut LP.

José Humberto Mesquita Filho <humberto@fcm.unicamp.br> (01.10.99)

Black Sabbath is a band that really belongs in the seventies - and it's an example of a classic band. They evolved their sound, being their first three albums based on merciless rockers, specially designed for you furiously banging your head. Being those rockers either slow or fast, they got the job done. But on this one, Sabbath Bloody Sabbath and Sabotage they did it with some difference: the primary target is still the banging of your head, but with a more accurate production, more complex arrangements. Altough the songs are still heavy, they got kind of "progressive", they are experimenting here. Not that much on this one, but oh... just listen to the next two albums, and you'll be blown away.

Nick Karn <glassmoondt@yahoo.com> (14.10.99)

Now this is where things kinda start gettin a little "blah", and Sabbath is showing signs that they're not really gonna be able to carry on anywhere near as effectively as before, and that their peak has already passed. None of the songs are bad, mind you, but there's not much GREAT either, except for maybe "Supernaut" (one of Iommi's best riff creations ever) and the dramatic hard-hitting, almost progressive-like "Under The Sun". "Laguna Sunrise" has very pleasant emotional atmosphere for an acoustic instrumental, and "Snowblind" has its' dark moments, but the rest I'm not too sure about. Oh yeah, we have another one of those "pointless instrumental fillers" that everyone thinks is such a huge dent in the album. Again, STUPID! It's nothing more than a harmless interlude between "Changes" (which, in ballad form, really showcases the band's most obvious weakness, and you already know what that is) and "Supernaut". "Tomorrow's Dream", "Cornucopia" and "St. Vitus Dance" are good, but certainly not spectacular, songs to round out the album. A 7 here.

Dan Miller <Dan.Miller@phs.com> (15.12.2000)

Black Sabbath pushed the boundaries, and with great results. I have the Castle import version with original liner notes, photos and a story, so it's a better buy than the Warner Bros. version. The story claims Sabbath has grown musically and lyrically to rival progressive outfits such as Yes, Genesis and ELP. While I wouldn't go that far, there are plenty of moments in V4 that definitely show an improvement in composition and intelligence, especially "Wheels of Confusion." It begins with a 6/8 blues variation that sounds a little like Deep Purple but then rips into trademark Sab riffage until it ends with an almost acoustic rush miles away from the thundering, bloated carnage of Master of Reality. "Tomorrow's Dream" is one of the most direct tunes they've ever done - straight and to the point. "Changes" works with its simplicity. Yeah, I doubt that's Mike Pinder on the mellotron or Keith Emerson on the piano, but so what? Ozzy's vocal delivery takes some rather trite lyrics and transforms them with sincerity. "Laguna Sunrise" sounds like Tony is backed by a real string ensemble, not a mellotron, thus adding to the song's natural beauty. But yeah, it can be hard to tell, because the production on this album has a certain live quality to it, as if it took its cue from King Crimson by recording a concert and fazing out the crowd noise. "Snowblind" is powerful, with one of Tony's best leads to date and a string (mellotron?) in back that adds to the song's weight and tragedy. "Sweet Leaf" this is not. "St. Vitus" and "Cornucopia" are decent rockers, "FX" is fun, and although "Supernaut" kicks in with an excellent riff, the rest of the song I feel is messy and doesn't live up to its potential. Speaking of messy, or lack there of, V4 is probably Bill Ward's best performance on a Black Sabbath record. His fills are timely and full of energy and drive (like they were on "The Wizard"). I've always thought of Bill as a heavy metal Keith Moon - quick, agile and talented, but just an inch away from total recklessness and abandon. Listen to his insane fills on Sabotage's "Symptom" and you'll know what I mean, but on V4 he's reigned in and effective - he must've kicked the coke habit for a while! "Under the Sun" proves this - it's the album's closer and the most effective track on the album, incorporating V4's compositional integrity with the drone and moan of Master's thunderous guitar sound. Excellent!

Jaime Vargas <j.vargas@aznar.es> (06.11.2002)

Just a quick note - I'm listening to the last track of this album ("Under the Sun") and, am I the only one that thinks that the "fast boogie" part of it sounds directly lifted from Deep Purple's "Flight Of The Rat" from In Rock, down to the lead guitar passage that opens and closes the section? Have a listen to it and tell me I'm not hallucinating!!

Ratko Hribar <stormbringer@email.hinet.hr> (06.10.2001)

It was a matter of time, every classic 70's band with time wanted to get a more complex sound, actually, they all wanted to progress and Sabbath was no exception. Sadly, like all heavy rock bands they failed miserably. Naturally, Led Zeppelin did managed to make some minor triumphs on that field, but they didn't completed that transition either. The hard hitting rockers aren't so powerful as they should be. Sure, they have intricate arrangements, but the experimentation isn't so successful as one would hope. For instance, this stuff is still horrendously heavy, but the riffs are getting artificial. The riffs on 'Snowblind' are lacking distinguishness, and the one on 'Cornucopia' is completely messed up. 'St. Vitus Dance' is tuneless and wretchedly useless. The lame instrumental 'FX' opens the way to the grind of 'Supernaut', which has a memorable melody, and the riff is unbeatable, so, it almost manages to crack my skull in two pieces. 'Wheels Of Confusion' is also overbrilliant, as it is overlong, and hey, it has fresh riffs and lot's of vitality (well, some vitality). 'Changes' is a poppy ballad that can't measure itself with 'Planet Caravan' or 'Solitude'. And yeah, 'Laguna Sunrise' is a simple acoustic thingy, but it works completely. It might just be their best instrumental ever. The progressive edge of 'Under The Sun' assures us that they do have some potential, so it just mesmerizes the audience with it's sheer brutality and the energetic riff. This really is a 8, but a high one at that. Now, some say this is their last strong album, however, I wouldn't agree with that. After the slight downfall with Sabbath Bloody Sabbath, they did succeeded to make a blistering comeback with Sabotage.

Chris Bryen <ran@embassystafford.com> (14.07.2003)

Just a quick note...I'm surprised no one has mentioned it before but the piano/mellotron on "Changes" were performed by Rick Wakeman. Keep up the good work.

Stephen Rutkowski <a_saucerful@hotmail.com> (17.03.2004)

My initial impressions were that the album was a little messy – like the band were not certain where to head. On one hand there were still some great riff monsters like before, and even better some of these tracks display quite a fair bit of complexity (‘Wheels of Confusion and ‘Supernaut’ being the best of these). But on the other hand there was some odd “progression” in ‘FX’, another crappy ballad in ‘Changes’, a heavy metal track that wasn’t quite sure what it’s doing in ‘Cornucopia’ and two tracks that are trying to beat Deep Purple at the boogie-metal genre in ‘St. Vitus Dance’ and ‘Under the Sun’. ‘Changes’ is truly a terrible song. It has three things going against it: a) Some of the most hackneyed lyrics you will see (or hear for that matter), b) A very primitive piano melody and ineffective use of the mellotron that I am fairly certain was not performed by Rick Wakeman. (I think Chris Bryen is getting confused with ‘Sabbra Cadabra’) and c) Ozzy’s voice was just not cut out for this type of emotional singing. I was completely unsure how they actually created the superfluous ‘FX’. I won’t have a go at the band though because it is not offensive or anything like that. ‘Cornucopia’ is a messy heavy metal track. The riff is hard to distinguish and there is no melody to speak of. ‘St Vitus Dance’ incorporates a nice alternation of vintage Sabbath metal with boogie-metal but again the melody is almost non existent. ‘Under the Sun’ also contains more of this so called boogie-metal, but this one also contains a much better riff.

Tagbo Munonyedi <grimtraveller@hotmail.com> (19.09.2006)

You know, if any album the Sabs did should have been called PARANOID, it was this one. Coz the drug induced paranoia comes across really strongly here and the overall doomy sound back up Geezer's lyrics almost to perfection. Those doomy riffs that the Sabs so specialized in were hugely influential in the decade to come. I'm sort of surprized that their musical infuence wasn't felt all that keenly at this period, but then, I don't feel they were ever truly appreciated for the right reasons. In the last album, they were extolling the virtues of the sweet leaf, having railed against acid and heroin the album before but here they go one stage further in proclaiming the joys of coke snorting....except that it doesn't sound so joyful. Or let's say that what is presented here are visions filtered through the coca plant crystal. Anyways......

Anders Hedman <anders.hedman@chello.se> (24.05.2001)

I just wanted to say that you're probably alone in thinking "Killing Yourself To Live" is a throw away track. I think it's a truely great song!

Ratko Hribar <stormbringer@email.hinet.hr> (06.10.2001)

This is not as threatening as you might think, given the album title. Overall, the band isn't so dark and powerful like before, and the sound is somewhat lighter. But, then again, it was still heavier than most of the stuff at that time. And guess what ? This album is awfully pretentious. The band inserts keyboards in their sound, which doesn't make me too happy, cause they demolished a good part of their sound. Although, they did hire Rick Wakeman, so it can't be completely terrible. The songs themselves are constructed pretty good and the instrumental aspects of the record are on the level. Again, the arrangements are sharp, but for the most part, the melodies are lacking imagination and spontaneity. The title track is one of the high points, with the crunchy opening riff and a melodic solo by Iommi. 'Spiral Architect' has got a wonderful riff and a steady melody with traces of Zeppelin visible here and there. That track also has some lovely strings incorporated in it, which was certainly a nice idea. 'A National Acrobat' has a fascinating guitar intro, and a powerful groove. Like always, we have a short instrumental, 'Fluff', which sounds experimental, but, well, awful. Wakeman does a mighty fine job on the fast 'Sabbra Cadabra' (IMHO), a song which has a few of different sections blended together with technical perfection. 'Looking For Today' is mighty fine and memorable, but it's actually very poppy, and repetitive near the end. 'Who Are You' is a solid prog tune, with lot's of keyboards and synths. The forgettable 'Killing Yourself To Live' isn't a disaster, but it's hardly anything more than passable. Anyway, this certainly isn't the most important album in their repertoire, but it does give us insight in the development of their sound. Nice and solid, but nothing more. I'd give it a 7.

Revolver <jcjh@home.com> (29.10.2001)

I enjoy this album a lot. Songs like "Fluff", and "Spiral Architect" are actually beautiful, and "Sabbath Bloody sabbath", "Sabbra Cadabra" and "National Acrobat" are very catchy. Even "Who Are you" (not to be confused with the superior 'Oo song of the same name) is a great attempt at prog. I dont miss the heaviness, 'cuz i can just kill my eardrums with Vol 4 or Master Of Reality if i wanted heavy. 9/10.

Beryl Clarke <beryl.clarke@bigpond.com> (24.03.2003)

I've always liked this album because every track is unique, but I think ona few of the tracks there's too much guitar overdub. Iommi has always been my favourite guitarist but dubbing solos over solos annoys me a bit. On the live Reunion album(which I think is excellent) 'Sabbath bloody sabbath' sounds much cleaner and heavier. I would love to hear this album played live. 'Killing youself to live' is my favouite track, mainly because of the many riff changes in the one song. A national acrobat is also brilliant with the riff changes. I think Bill Ward is one of my favouite drummers - I can't understand the critisism of some readers. John Bonham would have wrecked this band - he's heavy skin bashing is a pain in the arse!

saman <saman@froggy.com.au> (12.09.2003)

Sabbath Bloody Sabbath is one of the best heavy rock albums to date. The comments made just shows a lack of understanding of this type of music.

Stephen Rutkowski <a_saucerful@hotmail.com> (17.03.2004)

This is probably the only major disagreement I have with you George regarding Black Sabbath. For mind Sabbath Bloody Sabbath is still a quality album, it is just slightly flawed giving it an overall 11. The guitar tone has definitely become more generic which is probably the biggest flaw for the heavy numbers. ‘Killing Yourself to Live’ is not that bad, but yes it is quite generic heavy metal. The other three heavy numbers are immense though: wonderful use of soft and heavy on the title track, a magnificent riff fest on ‘A National Acrobat’ (Probably my favourite track on the album) and some delightful boogie on ‘Sabbra Cadabra’ (but still not in the same league as Deep Purple). Rick Wakeman does help this track a little bit. He delivers a trademark Rick Wakeman synthesiser solo (reminiscent of his solo career at the time) and the piano is pretty good.

Tim Blake <staticnz@gmail.com> (14.07.2006)

This is a bizarre review. But maybe I think that because I just find it bizarre to say that the guitar tone has become more 'generic' (what the hell does THAT mean when the tone has merely become thicker but is almost exactly the same, you telling me Iommi should stick with paper thin guitar!?), that Iommi is out of memorable riffs (whaaat!? comment makes no sense when you listen to the album) and the most bizarre thing of all, calling 'Killing Yourself To Live' a 'throwaway', because it always struck me as the best song on the album. How can you dismiss it 'instantly'!? It is because it's...well...god I can't think of anything wrong with it. It's an absolute classic. Now, to be fair, I'm probably moderately biased in regards to this album. It was the first Sabbath album I ever bought, and it sucked me in instantly. But if it isn't heavy enough just listen to the title track and 'Killing Yourself To Live', two of Sabbath's heaviest songs. The only two things I can think of I don't like about this album is the aforementioned 'Who Are You' (which isn't near as bad as people say, it's just a bit weak), and the repetitious high vocal bits on 'Looking For Today' (which besides that is an awesome song). Plus I guess 'Spiral Architect' sounds a little fruity and fillerish to me, but there isn't anything wrong with it...just preference.

Tagbo Munonyedi <grimtraveller@hotmail.com> (19.09.2006)

Hassles, both internal and external have mashed up many a group though every now and then the forces that are making life so uncomfortable seem to conspire to make great art and this album is kind of in that category. By this point, the band were spracked by overindulgence with booze and drugs, so much so that when they turned up to the studios to try and recreate Vol 4, they were seriously freaked out by the sight of a recently built synthesizer which spoiled the atmosphere for them ! On top of that, Tony Iommi had writer's block and given that virtually all of their songs began with his input, this was bad news. He was pissed off that they would never start off songs or bring in ideas and Bill Ward was reeling both from serious coke addiction and from nearly being chucked out of the band coz of his reluctance to get to grips with the song CORNUCOPIA on the last album. Iommi also felt that they'd lost their edge and hunger coz they now had success and also money to burn and were owners of Rolls Royces and other rich rock star trappings. Even the title of the album betrays tiredness and reluctance to get the show on the road again, you know, "oh, Sabbath bloody Sabbath"...... Somehow they pulled it together to produce a sizzling album that ironically did carry on where Vol 4 left off.

<Sabbath246@aol.com> (02.08.2000)

The definitive Sabbath album. You can point to Paranoid all you want, but the truth is this is the greatest heavy metal album of all time (next to Deep Purple In Rock). Not one song on here is boring, although Supertzar gets on my nerves after a few minutes. 'Hole In The Sky' absolutely, positively FUCKING ROCKS! The obvious filler is the acoustic instrumental 'Don't Start Too Late', but even that's enjoyable. But you'll forget all about it by the time you hear the grumbling, bone-crunching riff of 'Symptom Of The Universe'. And, my God, 'Megalomania' is breathtaking! The best song the Sabs ever did in my opinion. I love the part where Ozz sings the chorus: "Why dont'cha just get outta my life". It's the best vocal performance he ever did. He sings it so smoothly and emotionally that you really are convinced he's a megalomaniac. Unbelievable! 'The Thrill Of It All' is awesome too, with that memorable seven-note riff. I don't really care for the aforementioned 'Supertzar', simply because it's boring. 'Am I Going Insane?' is not too good, but it's not too bad either. And 'The Writ' is mediocre in my view. Aside from 'Thrill Of It All', side two isn't too impressive. But believe me, side one more than makes up for it! All in all, Sabbath's best and a true heavy metal work of art.

Ratko Hribar <stormbringer@email.hinet.hr> (06.10.2001)

I have to admit I found this album to be somewhat depressive. It's not unlike the previous release, but this time it sounds more aggressive and harder. Some rockers are heavy and thundering, and some are pretty much distortion-less and the overall sound is again, light. But, despite the fact that it isn't vintage Sabbath heavy, it's in no way commercial, as it is still dark in places. The tracks are much longer (some are clocking around 9 minutes), and the arrangements are still complex, but there's not so much synthesizers this time around, which can't be bad by definition. The band displays steady musicianship, but, however, despite a couple of shining moments, this isn't their best album by far.

Stephen Rutkowski <a_saucerful@hotmail.com> (17.03.2004)

Black Sabbath managed to add an ounce of brains to their illustrious brawns and deliver some interesting and at times, very good tracks. Ultimately Sabotage is a very good album, and I would rate it only below Paranoid and Master of Reality. As is obvious from Vol. 4 and Sabbath Bloody Sabbath, the band desperately tried to broaden their musical horizons. The results were quite messy in Vol. 4 and Sabbath Bloody Sabbath was way too reliant on amateurish synthesisers. Now this is where the brains come in. The band decided that they would concentrate on their strengths (playing as a three instrument band) but develop it in a more exciting way with occasionally a little extra (most noticeably ‘Supertzar’ which is the only major departure from the three instrument formula), but it also yielded the wonderfully structured, and dare I say it, intelligent ‘Meglomania’. The first part is a bit slow, but it is a nice easy introduction. But the real meat is in the incredibly catchy second part, which is the greatest slab of music on the album. ‘The Writ’ is in a similar vein but nowhere near as good. Unlike you George, I really like the first part of ‘The Writ’. It is hard hitting with an irresistible beat (but a little too slow again!). The second part isn’t very good though.

Mark <jimmypage6@excite.com> (24.03.2004)

What a great album! And I agree that it was definately their last great album, (or at least "last stab at a great album" as you put it). Llike you, my two standouts are "Meglomania" and "Symptom". "Meglomania" has that great reverse echo on Ozzy's voice in the first half that is so bizarre, but the last half is what kills me, the fast boogie section. I love Ozzy's little screams in between the fast sections.... "suck me" indeed. And his last scream near the end has got to be one of the coolest screams ever recorded. "Symptom Of The Universe" is an absolute drop dead classic. And I agree, without this song, no Slayer, Metallica etc etc, although if Slayer or Metallica were this good, I'd be a fan. This sounds to me like a band who has discovered something amazing and can hardly beleive it themselves. Wow. One of the best guitar sounds Sabbath ever got on tape too. These two are the obvious "classics" (if you can say that of Sabbath without smiling) on this album, and th! at would be enough. I kinda agree with you about "Hole In The Sky"; is is generic and it predicts the upcoming descent into mediocrity that Sabbath was about to take (although hindsight is 20/20, so maybe we think that way because we now know what followed for the next 25 years - would we have noticed it at the time?) but I like it fine. "Supertzar" is okay, but to me, while it's intersting, it seems like filler. And Tony's little acoustic piece, "Dont's Start" is nice, in fact my fave of all his little acoustic ditties. Nice guitar work and use of overdubbing on this one. "Am I Going Insane" has never really impressed me much. I always thought it was generic or too obvious a stab at trying to get a "radio hit". (I think this one is much more generic than "Hole In The Sky").

Tagbo Munonyedi <grimtraveller@hotmail.com> (19.09.2006)

This absolute pearler of an album as far as I'm concerned sums up the Sabs; it's like a distillation of everything they'd been in the last five years with added interest.....it's the point at which they'd been aiming and had finally reached and I don't think it ever got this good again though they did continue to knock out good work from time to time. Just about every album has some value and everyone has their faves and opinions. Mine is that the first six albums were a superbly strong and gradual climb through brilliance and constitute Sabbath's classic contribution to 20th century popular music.

Ratko Hribar <stormbringer@email.hinet.hr> (06.10.2001)

This one is also underrated, but not so much like Sabotage or Heaven And Hell. It is visibly weaker than Sabotage, but some solid cuts are still apparent. The main problem is, to put it short, that the songs aren't individually crafted so good like before, so the quality is slipping badly. This was meant to be an ambitious artistic album, with lot's of complicatedly structured songs and some pretty complex arrangements, and it probably is, but it just doesn't work as well as it should. It's evident that they 'tried too hard, and got so far, but in the end, it doesn't even matter'. Did ya recognize that ? That's from Linkin Park, and it's ploddering on the radio just now. Anyways, Sabbath's songwriting abilities are going upwards, but the riffs are so... NOT THERE. There's not too much real riffs here (and the ones that are here are mostly generic), but instead of them Sabbath uses tuneless power chords. However, overall, the record is still pretty acceptable and decent. And hey, the synth/keyboards connection is back, but, for the most part, the sound is still guitar-heavy. Although, I have to warn ya, if you're looking for a really heavy and dark Black Sabbath album, this should probably be your last choice, cause they're getting lighter with each new album.

<JACKYJETS@aol.com> (22.04.2000)

are you nuts or just stupid never say die is a absolutely great LP

Ratko Hribar <stormbringer@email.hinet.hr> (06.10.2001)

Ain't this a melodyless, poorly conceived stinker ? What to say about this worthless abomination ? Well, it turns out that this overblown rubbish even has some sort of cock rocking Zeppelin influences in it, but is that good ? Nah. The arrangements are so sloppy and pitiful, and Iommi completely deserts his signature guitar sound, and starts playing as shitty as possible. The 'alleged' kick ass title track is, in fact, noting more than a batch of badly performed messy chords teamed with some laughable singing from a drugged Ozzy. It was supposedly some kind of a hit, but it ain't exciting in no way, just your basic 70's generic-happy slow track, which should have been forgotten with the seventies. 'Johnny Blade' is a goofy comic-book-styled rocker, but it's at least memorable and heavy. The lyrics are ridiculously cheesy, though. The melancholic 'Junior's Eyes' has a enjoyable funky bassline, so it's pretty groovy. 'Swinging The Chain' has a nice intro riff, but it's a truly repulsive hogwash, that maybe did work in the 70's but it's just sickening today. Bill Ward sings okay, but it wouldn't hurt if his voice sounded a bit more polished. But, on the other hand, why try ? It's a horrendous tune, and not God himself couldn't save it. The puke-a-ton continues and burns brightly in sleazy fodder like 'Over To You' (dull piano thing that wonders aimlessly for too damn long), 'Air Dance' (crappy pop number), 'Hard Road' (another pointless pop-rocky snoozefest) and 'Breakout' (weird jazzy track with a sax solo). 'Shock Wave' is a passable rocker, and while it isn't especially interesting, it's a lot heavier than most of the stuff here. And hey, now I know why Ozzy sounds so uninterested on this album, if I was asked to sing on such a massive shitfest, I would also sound just like that. This lineup of Black Sabbath finally collapsed after releasing this album, and Ozzy went on to make a blistering solo album with Blizzard Of Ozz. In the meantime, the band hired Ronnie James Dio and got back in the studio. The result was Heaven And Hell, and with that album they entered the 80's and the NWOBHM.... but that's another story. And this, this is an extremely low 4.

<JACKYJETS@aol.com> (22.04.2000)

now i am convince you know not what you talk about

Paul Stadden <paul@stadden.com> (03.09.2000)

What are you talking about!? This is one of the greatest heavy metal albums of all time! It starts off with the amazing 'Neon Knights', and if it weren't for 'Mob Rules', this would be the 'Paranoid' of the non Ozyy era. It then goes into 'Children of the Sea', one of the most popular Black Sabbath riffs. It starts out with beautiful acoustic guitar (actually low volume electric), with Ronnie James Dio's perfectly flawless falcetto balancing perfectly over top. Then, both Dio's voice and the guitar go into one of their best guitar lines since 'Sabbath, Bloody, Sabbath'. It moves into a chorus of voices after a great solo by Iommi and moves back to the soft acoustic sound, ending with an explosion of the main riff. Then comes 'Lady Evil', a very addicting song, especially the lyrics ("There's a place just south of witches valley, where they say the wind won't blow. Lady evil, she's a magical mystical woman.") And now here comes the centerpiece of the song, 'Heaven and Hell'. It's amazing main line that goes into Geezer's bass and another showcase of Ronnie James Dio's falcetto. It has one of my favorite riffs of all, right after the chorus of singers and the drum break by Bill Ward, the line reminds me very much of Stevie Ray Vaughan. 'Wishing Well' comes on strong, Tony dubbing an acoustic guitar over his electric during the refrain, something I think was probably not to common. 'Die Young' is definitely in my top five favorite songs of all time (Right up there with 'A Day in the Life' by the Beatles and 'Texas Flood' by Stevie Ray Vaughan). Tony does incredible soloing and lead guitar work over top of the excellent rhythm part, Bill Ward drums better than he has in years on this song, and Ronnie James Dio's vocals take it over the top. I never get tired of hearing it. 'Walk Away' is another one of those addicting songs with good lyrics. 'Lonely is the Word' is an excellent song, blending the heavy metal style and softer pop rock style. There is not a single bad song on this album, in fact they're all fantastic. You should definitely have given this a better review (along with almost every other one of these albums), but I do agree with you on Technical Ecstacy and Never Say Die. Oh, by the way, Tony Iommi wrote 'After Forever', lyrics and all, not Geezer.

Ratko Hribar <stormbringer@email.hinet.hr> (29.10.2001)

The banal, generic and gothic sound is here. Jeez, thank God they hired Ronnie, I fear to think what would happen if Ian Gillan was available. Unfortunately, Sabbath are still going slowly to hell and Ronnie happily leads the way (he's kinda like a piper, or something like that). On the bright side, Ozzy's gone. Yeah, he was okay, but I think a decade was more than enough of him. For those ultimate Ozzyfreaks there's still his solo band (which definitely had it's moments, check out Blizzard Of Ozz, Bark At The Moon and Ozzmosis).

Jeff Hendershott <acdc@bright.net> (18.12.2003)

This is the album that turned me on to Ronnie James Dio. What pipes! Aside from Iron Maden's Bruce Dickinson, Dio is in a league all his own. As for this album, it rocked. Not much more to say.........

Mark Walker (18.10.2005)

And so amidst a haze of drugs and alcohol, as well as allegations against Ozzy not being able to sing the Sabbath songs anymore, Ozzy was let go and former Rainbow frontman Ronnie James Dio was brought in. The result was...to me at least, one of the best Sabbath albums in years. To make a vocal comparison between Dio and Ozzy is laughable. Dio is a far superior singer in power and range than Ozzy ever thought of being and unlike Ozzy, Dio has taken care of his vocal chords over the years. Maybe that's why the man still packs a wallup well into fifties. One just needs to hear the opening track 'Neon Nights' to put to rest any doubts about Dio being a capable frontman. 'Children Of The Sea' is a very well written song with a nice acoustic intro that successfully showcases the dynamic range of Dio's voice. The title track has a nice hook to it and one needs to check out the dynamic live version on Live Evil to see how Dio makes the vocal even more menacing. There is some filler. I've personally never cared much for 'Die Young', but overall this is a fine album.

Ratko Hribar <stormbringer@email.hinet.hr> (29.10.2001)

Okay, I don't know about the mob, but Ronnie sure rules here. He sounds unbelievable, although the lyrics are horrible (but does that even deserves mentioning ?). I have a bone to pick with you George, because I don't agree with some of your comments about this album. Well, the album is too similar to the previous one, and the patterns are equal, but then again, almost every album from any generic metal band does have the same patterns. Tragic, I know. You're right about the freshness, I feel it too.

Mark Walker (21.10.2005)

This is Dio's crowning achievment with the Sabs. The cover will make you want to go to church, but aside from that, the songs are top notch. They stuck with the Heaven And Hell formula which was fine as that was Sabbath's best selling album in years. 'Turn Up The Night' like 'Neon Knights' is another kick ass way to get the proceedings underway. 'Sign Of The Southern Cross' is one of my favorite Sabbath songs...ever. And I do like 'E5150'. I don't mind a good synth fest if it's done well and it was a hell of a way to start a concert as Sabbath did when I saw them on this tour. 'Falling Off The Edge Of The World' is extremely underrated in my opinion and the title track is a classic. As for Dio's supposed satanic aspirations...I have a contemporary christian album called Seeds Of Change by Kansas guitarist/keyboardist Kerry Livgren. Ronnie James Dio contributes two fine vocal performances on 'Mask Of The Great Deceiver' and 'To Live For The King'. In the accompanying booklet that comes with the cd, Livgren talks about Dio's performances and says "I can assure you that Ronnie is no satanist." Having seen this tour and The Last In Line tour...I beg to differ. But that is a matter of opinion and perhaps we shouldn't take him all that seriously. I wished that this edition of Sabbath could have continued. This and Heaven And Hell are two of Sabbath's very best albums in my humble opinion. Follow this in your cd collection with Holy Diver.

Paul Stadden <paul@stadden.com> (03.09.2000)

This was one great live album. I rank it up there with Stevie Ray Vaughan's Live at the El Macambo (not above, but up there). Ronnie James Dio is heavy metal's greatest singer, although I don't care for his constant flashing of the devil sign, and his slightly "jolly about Satan" lyrics, but what a voice. My favorite Black Sabbath song is 'After Forever', due to the lyrics. I have been searching forever of a recording of Dio doing it, but so far, no luck. Well, anyway, back to the album at hand. Dio does a great job at 'N.I.B.', but I think that maybe 'Black Sabbath', 'Iron Man', 'War Pigs', and 'Paranoid' should have been left Ozzy. However, I thought that 'Children of the Grave' was meant for this guy! It's like they wrote it in anticipation of someday having Dio in the band, his voice was perfect for it. I didn't care for the live version of 'Mob Rules'. Without the overdubbed lead/rhythm guitar at the end, it sounds wierd. It was kind of pointless to have 'Fluff' tacked onto the end and 'E5150' on the beginning, but with the magic of the track skip button on my CD player, they aren't a problem. The extended medley of 'Heaven and Hell' and 'Sign of the Southern Cross' was neat though, and Dio getting the audience to sing was pretty cool. I do miss Dio in this band. Dio left after Tony and Geezer accused Ronnie of going into the studio and remixing the vocals louder. Oh well, at least they got back together for the Dehumanizer album. It is kind of cool, though, that Tony Martin, the second longest surviving Black Sabbath singer, sounded very much like Dio.

Ratko Hribar <stormbringer@email.hinet.hr> (02.11.2001)

It's hard for me to be objective when I'm talking about this particular live album. Although I normally don't enjoy live albums, I do like this one a lot. In fact, it would be fair to say I like this one more than Reunion. Since I'm a fan of Ronnie Dio I see absolutely no problems with his treatment of Sabbath's classics. The man growls and screams in a perfect way and his performance suits the selected tracks. The versions of 'N.I.B.', 'Black Sabbath', 'Iron Man' and 'Children Of The Grave' presented here, are simply glorious. Unfortunately, the version of 'War Pigs' on Live Evil just can't measure up to the original. Mind you, I never liked that song too much since I always thought it's tuneless and overlong, but since everyone thinks it's GREAT, I've learned to appreciate it. However, I don't have to appreciate this version, and indeed, I won't. Dio did his work respectively well on this track, but Iommi doesn't. The riff sounds worse than it should and it destroys the little enjoyment I've felt while listening to the original. But hey, Vinnie Appice does a good job on his drum solo, but most people don't like it cause they miss Bill Ward. I dunno, I'm happy with the drums, especially since I've heard Dio's solo albums before the Black Sabbath ones and I'm accustomed to Vinnie's style. 'Paranoid' sounds awful here, but interesting enough, it sounds crappy even on Reunion. BTW, I'm sad that they didn't add 'After Forever' on the album, cause it is one of my favorite Sabbath numbers. The mighty distortion crunch is added to the Heaven And Hell numbers, so they sound more powerful than in their studio versions. 'Neon Knights' is blistering and fast, just how it should be. 'Voodoo' rips live and sounds very menacing. 'The Mob Rules' isn't quite as good as in the original but it still kicks a decent amount of ass. To all open-minded Sabbath novices: 'Children Of The Sea' is also magnificent here, and although George doesn't like it, I urge you to give it a chance. Anyway, the OVERLONG crawling of 'Heaven And Hell' meets 'Sign Of The Southern Cross' simply gets over-boring with time. I tell ye, if it isn't for Ronnie I wouldn't be able to swallow that megamonster at all. Besides that, I regret that the band decided to include low grade instrumental garbage like 'Fluff' and 'E 5150' on the album cause it's repulsive and unnecessary. Overall, it's a solid live album with a great song selection. And the mix is excellent too. One more thing, the Dio's stage presence is just atrocious here. He's terribly stiff and the conversation with the audience is kinda fake. The transition between the songs sounds awkward, but that probably isn't visible on the single CD version of the album. This album isn't recommendable to a average Sabbath fan, but it's essential to a Dio fan, so they should get it. But, be warned that some songs are very slow down and some tracks are performed mediocre at best. Be sure to listen to it carefully before you buy it, cause this isn't suitable for everyone. I personally think it's an very decent release worthy of a 8.

<DebNMarkW@aol.com> (04.04.2003)

This is a decent live album in many ways. The cover is not one of them. If you can get past that, the album itself is a very accurate snapshot of the Dio led Sabbath. His version of 'Paranoid' I just can't listen to. Can't do it. He sings it like he had to be talked into doing it. Probably did. Is it me or does the sound on this album make you feel like your sitting in the balcony listening? I still have my vinyl copy from years ago and have yet to hear it on cd, so maybe it's me. Dio is more powerful a singer than Ozzy will ever be. His voice is capable of metal shrieking one minute, and a melodic intro the next. Remarkable voice. I do like 'Children Of The Sea', and live it seems to have just a little more energy than on the studio version. The centerpiece is the 'Heaven and Hell/Sign Of The Southern Cross' medley. Dio sings his arse off and Tony really let's loose with some killer soloing, but when Dio gets to that part about telling heaven's angel to go away as he wants to burn in hell...well that to me is crossing the line. Everyone has their own opinion, but I personally feel it is really a commercial for Satan, and like all other commercials, I shut it off. It does sound strange having Dio sing Ozzy classics, but he puts more heart into them and sings it like he means it. 'N.I.B.' and 'Iron Man' are perfect examples of this. I really thought this version of Sabbath would go on to much more success. So I was truly shocked when Dio abruptly quit the band shortly after this album. He of course would go on to solo success, creating the excellent Holy Diver album, and is still considered one of rock's greatest vocalists.

Eric Ericson The Killa <ericericsonthekilla@budweiser.com> (10.06.2003)

Let's state a personal fact first, I grew up on Live Evil. It was only two years old when I first picked it up on pre-recorded tape. To me, that recording was so awesome. It sounded larger than life, and that was due to a couple of things: One, everything from Iommi's guitar to Geezer's bass, Vinny's drums, and of course Ronnie's booming voice, sounded so over-the-top in the audio department. To steal from Spinal Tap, everything sounded like it was turned up to eleven.

<DWARFNEBULA@aol.com> (13.03.2000)

Okay, since you asked ... this is my response to you giving Black Sabbath's Born Again a miserable little five. Now personally, I think I made some pretty good points here, but you be the judge.

<Sabbath246@aol.com> (27.07.2000)

The most underestimated album in the entire Sabbath catalogue. I would without a doubt deem this the best post-Ozzy Sabbath album. I was somewhat surprised to see all the derogatory things you had to say about this album. Sure, Ian's voice ain't nearly as powerful as it was in the early 70's, but he still can cut it with the best of 'em. "Trashed" is my favorite one on here. Is it just me, or does this song borrow a little from "Highway Star"? Oh well, still a damn good jam. "Stonehenge" is one of those numbers you just gotta listen to at night, with all the lights out, through the headphones. Just downright creepy! "Disturbing The Priest" is awesome, despite the moderately Satanic lyrics. "The Dark" is pretty pointless, but "Zero The Hero" is bitchin'! I think had it not been for this album, you probably would have no Metallica, Megadeth, or Guns 'N Roses. Gillan's singing on "Zero The Hero" is great (then again, I can't think of one song I've ever heard where his voice is less than spectacular). Side two pretty much sucks except for the title track. I really disagree with you're saying that Dio would outsing Ian "in a second". WHAT?!!! Even in '83, Ian would still put that little windbag to shame. IMHO, of course. And you must remember, Ian was epitomizing the role of hard rock singer w/Deep Purple long before Dio came along. All in all, I think this album at least deserves an 8 or a 9. A 6? COME ON, GEORGE!!! I admit, it sure as hell ain't no SABOTAGE, but nontheless it's a metal masterpiece.

Paul Stadden <paul@stadden.com> (03.09.2000)

You, sir, have been way too insulting to this band. Born Again deserves respect. It was in the Top 40 in America and hit #4 in Britain! It saw the return of Bill Ward, one of rock's greatest drummers. I don't know of anyone, even that Vinny Appice character, that can pull of Ward's stuff without a solid month of daily rehersal. He was certainly better than Bev Bevan of ELO, (Yes, ELO, the pop rock group that had such soft hitting hits as 'Evil Woman'. Their drummer was doing 'War Pigs' and 'Sabbath, Bloody, Sabbath'.) who toured with Black Sabbath on the Born Again tour. Ian Gillan gave Black Sabbath a blues edge again, only vocally, not guitarwise. It was cool, I wish Gillan would have stuck around and done at least one more album. The best song off this album was definitely 'Trashed', Black Sabbath's response to 'Highway Star'. Oh, and to the guy who wrote the first e-mail in response to your review: I know what you mean when you say that you like the obscure songs the best. My favorite Black Sabbath song was 'After Forever', not exactly one of most well known. My favorite riff was 'The Shining' off the Eternal Idol album. Now that's obscure.

Ratko Hribar <stormbringer@email.hinet.hr> (29.10.2001)

Come on people, let's face it, Born Again is plain bad. It's a very disappointing album in every prospective. Especially the cover art, which is laughable, but also kinda sad. The title definitely isn't just ridiculous, it's also idiotic and ironic (how about Dead Again? - it wouldn't be the first time). Here, we can really see where's Sabbath going to from now on. The first two comments are to some extent correct, and I do agree with some of their claims, but that doesn't change the fact that after Ronnie Dio left, Sabbath started to deteriorate. Look, I'm not saying that after Dio, Sabbath became worthless, because that's not true. The band started to make very BAD albums, but, however, sometimes they did record some very GOOD songs (not a whole album of them, of course). Some of those good songs are here, but not to many of them (and it's quite hard to find them, unlike on the albums from the Dio days). I don't think that happened just because Dio left, they we're just losing steam, and Gillan couldn't help them much. Okay, if Dio stayed for one more album that one could probably be their best one (not counting the Ozzy albums), cause they would shake off that Heaven And Hell influence that popped out on Mob Rules. In 1980. Dio brought them new impetus, and in 1983. Gillan really couldn't do that (and if he could, they probably wouldn't let him - hmm, that's it, perhaps he really gave them some good ideas but they didn't listen... sounds convincing to me).

Evgeniy Legotin <highway_star123@hotmail.com> (12.12.2003)

That's another really unfair review of Born Again. Most people that review it are really biased. They keep on criticizing Ian Gillan and some say that he doesn't even come close to Ozzy This is not true. It's simple: Gillan is a way better singer than Ozzy. Ozzy was a great frontman but NOT a great singer, while Gillan is definitely of the best vocalists ever. ( though I too find it a bit annoying that he screams his ass off throughout the entire album). Now, back to Born Again. I know that everyone hasd their own opinions, but if you take your mind off the cover and the production and stop bitching about Gillan, you might just realize that this album is pretty cool. The opening track, 'Trashed', is a solid number and, although it doesn't come close to Purple's 'Highway Star' (which it is quite similar to), it's still good. The other tracks on the album are also worth listenintoo, although the last 2, in my opinion, are a bit of a drag. But 'Disturbing the Priest', my favourite from ths album, can easily be seen as a Sabbath classic, and 'Zero the Hero' features an awesome riff (sadly, its repeated only twice) and is another cool track, though I find Gillan's rap-like. verses quite annoying. 'Digital Bitch' features awful production, but through the noise you can still hear a solid track. And then comes the title track, an eerie number which sounds nothing like ordinary Sabbath ( I love the chorus). The last 2 tracks,'Hot Line' and 'Keep It Warm', as I have mentioned, are not too good, but nonetheless provide an interesting listen. But I think the two synthethiser numbers are pretty pointless. Anyway, finally, no matter what people say about it, if you have the chance, get it and give it a GOOD listen, and you'll realize that it is REALLY good. Peace .

Linden Jordan <ljblood@hotmail.com> (22.12.2003)

And speaking of how there would be no Guns n Roses without the song 'Zero the Hero', it's an established fact that the opening riff from that was nothing more than the prototype for the Gunners' classic 'Welcome To The Jungle'. Go compare them, I did.

<Endaveur@cs.com> (02.12.2005)

"Trashed" kicks ass! It was really the first time they put a face on Black Sabbath through the MTV generation. Not only is the song stellar, but the video as well. It's a quintessential rock song that made coming of age exciting. Plain and simple! I remember it well at 13 when it first came out and it still resonates in current discussions w/ my mates from the past. That speaks volumes in the fact that the song has transcended over 20 years in an album that was only done once. Meaning, Ian Gillan w/ the 3 other members. I would put "Thrashed" as one of my top 5 metal songs since 1980. Making the album itself, something to be reckoned with. Thank God for VHI Classics and TIVO. And I bet if you asked someone like Dave Grohl, he'd say the same exact thing.

Jeff <historynut@bright.net> (22.01.2006)

After RJ Dio left, my interest in this band left. Be that as it may, the song "Trashed" is just balls-out funny! I mean, I like it, but just the lyrics and the blazing TI guitar riffs and the lyrics about some drunk-out-of-his-head moron trashing a car is an odd but amusing combination. I still laugh when I hear this song (very infrequently mind you). I can't exactly say why, but it's just funny to me!

Paul Stadden <paul@stadden.com> (29.10.2000)

The first time I heard this album, I was indeed rather shocked and a bit repulsed. It started out cool, though. I was enjoying the main riff to "In For the Kill", thinking about how good Glenn Hughes vocals are, when they suddenly started playing the chorus. It immediately conjured up imagery of some crappy eighties hair band like Poison or Bad English. Trying to purge my mind of this horridness, I immediately went to the next song, "No Stranger to Love". It started out cool, with the mock string section and the guitar solo. Then came the drums and vocals, and I'm thinking "So far so good." Then, as if to completely repeat the disaster of the first song, the chorus hit and Bad English invaded my immagination again. Beginning to get frustrated with this costly import CD, wondering if it would make a good clay pigeon, I went to the next song, "Turn to Stone". It was a little better, sounding a little like Green Day at first. I went right past the boring instrumental 'Sphinx (the Guardian)' into a song that sounded a little like "Kashmir". The main riff of "The Seventh Star" was awesome, and finally Glenn Hughes vocals sounded like they fit next to Tony Iommi's guitar work. The next song, "Heart Like a Wheel" was pretty cool, as was "Angry Heart". I still don't know why they put two songs with heart in the title right next to each other. Then the album ended with "In Memory". It was kind of neat, being only 2:53 seconds long. I eventually came to like "In For the Kill" and "Turn to Stone". I think that it would have sold better if the record company hadn't forced him to call it a Black Sabbath album. Although, if that had happened, I don't think Black Sabbath would have ceased to exist. Therefore, all the Black Sabbath albums henceforth would not be here today. Although I wish that some of them hadn't been made. However, I think that this album was definitely better than the ever stupid Headless Cross and the pointlessly boring rehash of riffs that was Cross Purposes. I did however, love The Eternal Idol. There was something about the riffs, the vocals, the keyboards, and everything else that just mad that album one of my favorites. I fell in love with the opening riff of "The Shining" right away. "Ancient Warrior" left imagery of graveyards and battlegrounds, and wars in medieval times. "Glory Ride" is one of my favorites. The song "Eternal Idol" definitely has my favorite riff of all time. It's an awesome, highly underrated album. Avoid Headless Cross at all costs. Avoid photos of the Seventh Star lineup at all costs. Buy Eternal Idol at all Costs.

<Dan804935628@aol.com> (30.03.2001)

What happened yo Black Sabbath? On this disc they sound just like all the other crappy hair bands of the 80's,actually even worse on some songs!! Glenn Hughes has  a good voice,(that is glenn hughes,right?) but the crap he's singing about is just some of the worst sh*t i've ever heard,including anything by warrant or any other hair metal band at the time.This is an example of a once great band following the herd.At least when gillan was in the band they kind of sounded like sabbath.

Roger <admin@parrot.net> (21.09.2002)

Before even attempting to review The Eternal Idol, some background into Black Sabbath's hard times is definitely in order. Without understanding the context, the transition between the bludgeoning Born Again and the soft soapy Seventh Star back to The Eternal Idol just appears too baffling.

Alexander Zaitsev <zaitsev@perm.ru> (30.05.2003)

Hi!

No reader comments yet.

Pedro Andino <pedroandino@msn.com> (26.01.2004)

i loved tyr! i mean i can picture black sabbath playing to texas in 1990 with poison

Ratko Hribar <stormbringer@email.hinet.hr> (29.10.2001)

It seems I didn't quite meant what I said earlier, cause I did bought this one. What can I say about Dehumanizer? For example this: "Hell, yeah, Ronnie's back, and am I the thankful one."

No reader comments yet, but here's a review of the accompanying Cross Purposes Live by one of the moderators of the official Tony Iommi forum who was kind enough to send in one.

Eric Ericson The Killa <ericericsonthekilla@budweiser.com> (05.06.2003)

Here's a review of Cross Purposes Live someone on the Bill Ward Forum asked me about on February 15, 2003,(the first paragraph is the original question asked me):

Eric Ericson The Killa <ericericsonthekilla@budweiser.com> (05.06.2003)

I guess the main fault of Forbidden isn't actually the music as it is the production. To put it simply, it sounds like mud. Everything sounds so bassy, much like a fourth generation demo tape, it sounds that low-fidelity. That's what disappointed me with it right off the bat, after the great production sound of Dehumanizer & Cross Purposes, we get that on Forbidden.

Valentin Katz <Valka324@home.com> (09.12.99)

This is one great album. You complain about the length but the length is exactly what's so attractive about it. You actually feel that you're there in Birmingham listening to Ozzy spewing his Tourette Syndrome-like lyrics and Tony's heavy and ominous chords. I'm extremely glad that they put all the early songs on there basically refraining from including anything after 1974, which is when they were going pretty much downhill. Best Song: 'Iron Man' (the fact is incontrovertible despite the weak "I AM IRON MAN" opening.

Ratko Hribar <stormbringer@email.hinet.hr> (29.10.2001)

Wow !!! This is a great live album, and indeed, it deserves a big fat 9. Reunion is an amazing album in all aspects, but I admit, I wanted to slap Ozzy so bad while hearing it. Why is he so obsessed with the word "fuck" in every imaginable shape? Can't he say anything else other than that ? I believe he can, when he wants. Hah, but he didn't, so I wont be able to give 10 points here (and no, that's not the only reason). Well, moving on. The choice of the songs is acceptable, but why didn't they play 'Supernaut' ? I like 'Fairies Wear Boots', 'Behind The Wall Of Sleep' and 'Into The Void' but they could have played some of the later Ozzy stuff. I mean, there are good songs even after Master Of Reality. Okay, they put four newer tracks here, but there's not a single song from Sabotage (not even 'Symptom Of The Universe' or 'Megalomania'). From Technical Ecstasy there's only one track (which I can tolerate), but I miss 'A National Acrobat' from Sabbath Bloody Sabbath. Well, let's not be spoiled. The album shreds, and I simply adore that distorted, gruffer and fat tone, although, I normally don't like live albums. "Greatest hits" packages are the best thing for me. Nevertheless, I recommend it highly to anyone who likes Sabbath, or heavy metal for that matter. Hmm, there's two studio tracks here, and both of them are quite beautiful. I mean, 'Psycho Man' is surely excellent, and even 'Selling My Soul' has something special about it. I want to point out that I don't consider 'Selling My Soul' dull, because it's too short to fall in that category, and it's even kinda catchy (I couldn't get the text out of my head). In every case, this record is the ultimate proof that old friendships, and the lack of cash, can overcome all hostilities between our happy band members. Ain't that sweet ? It sure is.

<DebNMarkW@aol.com> (29.03.2003)

This is a fucking good album that is fucking long over fucking due from a fucking band that fucking couldn't get along for a fucking long time. Annoying isn't it? I do not understand Ozzy's fascination with this word. It really gets old as George pointed out. The band sounds like they are actually having fun again. I've never cared for Ozzy as a vocalist, and it is no secret that his vocals have been "cleaned up" in the studio. This is however one of his best performances. Whether studio magic played a part remains to be seen. Tony Iommi is the star here as he delivers one powerful solo after another. I like the song selection very much, and this beats the hell out of the lame Live Evil, as much respect as I have for Ronnie James Dio as a vocalist. Why Sabbath didn't lauch a major tour after this album's success is a mystery to me.

Eric Ericson The Killa <ericericsonthekilla@budweiser.com> (23.06.2003)

Finally some of Black Sabbath's rarest and earliest live concert performances are released for the first time on a world-wide scale. To the casual fan, it's like receiving these live recordings from the vaults of Hell, to others (like myself) it's just getting better versions of what we've already had for years on bootleg. Still, everybody wins. This 2-disc set is actually four different performances of Black Sabbath between the years of 1970 thru 1975. Here's the dates & locations of those performances plus the songlist: