Register Forgot login?

© 2002-2019
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Privacy Policy

Ozzy punks fuck off - 89%

TrooperEd, February 15th, 2018
Written based on this version: 1992, CD, Reprise Records

While I do defend Tony's right to use the Sabbath name throughout the Ozz-less period, I've also made many a statement saying that the first two Sabbath albums with Dio weren't really proper sounding Sabbath albums, sounding more like Rainbow (or Dio, whatever you want to call it).

That ends right here.

This album is a return to the sound of Master of Reality, Volume 4, Sabotage, etc., etc., this is proper sounding Black Sabbath. It just happens to feature Ronnie James Dio on vocals. Judging from the far more socially relevant lyrics, you'd think Geezer was back on lyric duties, but no it turns out Dio is very capable of writing beyond dragons and rainbows (after some prodding from Iommi, that is). Computer God in particular is a very inspired poem from the man on the silver mountain (termination of our youth, FOR WE DO NOT COMPUTE).

I suppose if you were to be super critical, you could say the one missing element is Bill Ward, but Ward was already losing his chops around 1980. Lemmy only knows what kind of positive effect, if any, his playing would have had on the album. True that the dream skinsman would have been Dio's former Rainbow bandmate Cozy Powell, but history seemed to prove they would stay former bandmates forever. Vinnie Appice does just as fine of a job, if not finer, as he did on The Mob Rules.

Highlights...good Lemmy what isn't a highlight? Well, I was never that crazy about Time Machine. Having one version on the album was trepidatious, but two (the reason this album doesn't make it past 90)? No thanks. I was a little annoyed when that was one of the Dehumanizer tracks chosen to play live when I saw this lineup on the 2008 Metal Masters tour. As opposed to After All (The Dead), Buried Alive, Too Late, I (no wait they played that one). Master Of Insanity is a particularly compelling blast of Zeppelin rocker energy. Yes I am making that comparison because there is a nicking of Wanton Song here, but then again I thought Wanton Song kind of sucked to begin with. The intro to Sins of the Father has a passing resemblance to Soundgarden's "Searching With My Good Eye Closed" but again, it takes something a bit too passive and meandering and gives it a sense of urgency and danger. I've heard a few critics (ok, just Martin Popoff) say this album was Sabbath following the grunge trend, similar to what Judas Priest did with Painkiller. Both notions I vehemently disagree with because both respective bands begat both of these trends. Sabbath in particular, no grunge/Seattle band would dare blaspheme it's name (well, Kim Thyali kind of did, but he ended hilariously languishing in obscurity. Having your riff correctly repurposed by a band you thought had "boring parts." Rolling on the floor laughing my ass off indeed). Sabbath merely swooped down like a bloody angel fast descending to show these flannel fruitcakes how its supposed to be done. They never did listen though did they?

An incredible metal record, an incredible 90s metal record, no less. This is the one post Ozzy-Sabbath album you need to own.