UNDERRATED: BLACK SABBATH
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| You can probably imagine how difficult it was to choose a Black Sabbath picture... |
From their number one hit singles Paranoid to Iron Man, Black Sabbath is undoubtedly one of the most renowned staples and inspirations of the heavy metal scene. With 19 studio albums since the 1970s, including the critically acclaimed ‘Master of Reality,’ fan and critic dubbed masterpiece ‘Heaven and Hell,’ as well as their their most recent reunion release ’13,’ Black Sabbath have proved their worth as a well-rounded and cherished band through every generation. Most notable to most fans are the albums released between 1970 and 1981, in the Ozzy Osbourne and Ronnie James Dio era- two of the biggest dogs in heavy metal history. It’s also important not to write off the subsequent frontmen who shared the stage with guitar idol Tony Iommi (the only consistent member in Black Sabbath), as they too have contributed to the band’s reputation, standing the test of time. Whilst it’s difficult to fathom unpopularity amongst the tracks of such legendary heavy metal pioneers, some songs definitely remain buried and unnoticed relative to other better-received albums, and we believe these musicians deserve credit where credit is due.
A National Acrobat off Sabbath Bloody Sabbath (1973)
Many
old-time fans would argue that ‘Sabbath
Bloody Sabbath’ was the last noteworthy release of the ‘Ozzy era’ and was
celebrated by many. Whilst A National
Acrobat is not underrated as such, we are dumbfounded at its lack of
mainstream praise or presence in any “best of” or “greatest hits” compilations
and feel like it deserves a short, happy mention. This experimental track
presents a smooth yet eclectic groove, written by Geezer Butler himself on the
bass guitar. The catchy interludes, abstract lyrics and accompanying riffs show
off the soaring potential of the band for years to come.
Junior’s
grieving again, and not because of his father but because this song was so
quick to be shaken off as part of a poor album in the eyes of hundreds of
thousands of fans. Never Say Die! was
the final album of the ‘Ozzy era,’ as poor reception and inner turmoil tore the
frontman from the band. To some of us, this song was a real feat in the face of
Black Sabbath’s adversity. Whilst it was different from the typically raw,
heavy vibe that the band usually brings to the table (and somewhat lacklustre
in terms of originality) the track is still one worth spinning. Bill Ward slays
this song (and the rest of the album) with his pure, unadulterated energy and
Geezer Butler brings us a feel-good bass line to accompany the funky, blues
atmosphere underlying the music and pained coming-of-age lyrical themes. Whilst
‘Never Say Die!’ may have been a flop
to many, it was the gateway to further success for the band as Ronnie James Dio
was waved on board as a successor to Ozzy Osbourne.
‘Tyr’ is credited to be the
second greatest album of the ‘Tony Martin era,’ succeeding ‘Headless Cross.’ Tyr brings Black Sabbath to a fresh, new place,
with themes of Norse mythology and fantasy to add to the typical occult
thematic. ‘The Sabbath Stones,’ right
off the bat, packs a heavy punch akin to Thor striking his impossibly hefty
hammer. Tony Martin sets in with a dark, macabre tone to his voice followed by
menacing riffs that Iommi injects between lyrics. The atmosphere behind the
powerful Anno Mundi is incorporated in ‘The
Sabbath Stones,’ utilizing slow riffs and slothful drum beats. This song
takes listeners back to Black Sabbath’s (now dubbed) traditional doom metal
sound, interrupted by fantastic acoustic interludes and bridges, maintaining a
balance that’s easy on the ears as well as a sense of familiarity.
Another ‘Tony
Martin era’ accomplishment that deserves more praise than it receives; ‘Headless Cross’ is the first album to
feature Cozy Powell (well known for his contributions to The Jeff Beck Group,
Whitesnake and Rainbow). Cozy’s drums bring ‘Devil
and Daugher’ that steady paced, classic heavy metal vibe, tying together
Martin’s potent vocals and Iommi’s slick sound. This is a feel good track,
certainly reminiscent of ‘Children of the
Grave’ in its riffs and atmosphere. It’s more of an accessible tune,
pertaining to more mainstream listeners (which certainly is not a bad thing).
Iommi shreds one of the most powerful solos of the entire album, a definite
highlight of the song, with Martin reaching voice pitches in falsetto rivalling
some of the remarkably sharp guitar notes. If you enjoy NWOBHM music, then ‘Devil and Daughter’ will definitely hit
your sweet spot.
‘Computer God’ is an
incredible track, and the first of the ‘Dio era’ to make it onto this list.
Ronnie James Dio graced Black Sabbath and the heavy metal scene with his
immeasurable vocal talents, so much so that he will now forever be known and
respected as the greatest heavy metal vocalist of all time. ‘Dehumanizer’ was thus, of course, a
wildly successful album in itself. Dio’s voice and Iommi’s guitar and song
writing mastery were a match made in heaven. Honestly, it is amazing to us that
this track isn’t more valued. The aggressive, distorted near-growl tone of Dio’s
monstrous voice, delivered in epic staccato drive this song over the prodigious
rhythm guitar. It could easily be considered one of Dio’s angriest
performances. Despite all the angst and menace, ‘Computer God’ doesn’t fall short of incorporating some soft,
acoustic bridging, culminating with a classic fast-paced, all-out solo delivery
from Iommi, staying very true to his signature 80’s flair.
Why does Mark live in Sicily now? Is he dating a Sicilian chick or something?
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