blackdragon123

That's right kids, let's go on a journey. I am a fan of the Sabs and have compiled what I perceive to be the 26 5* tracks that represent the best that Black Sabbath has to offer. I will be including the "Post-Ozzy Years" but have excluded The Devil You Know.

So sit back, relax and prepare to eat a rather large plateful of Sabbath-mash as I; BlackDragon take you on a journey to discover the 26 best Sabs tracks (in my humble) from Black Sabbath to 13 in no particular order.

1. Computer God from Dehumanizer [1992]
As Dio returned to the fold and the promise of a return to form by the heavy metal behemoths was anticipated by many, Dehumanizer was made; an album that has been accused as appearing dated, due to its (Post-Terminator) influences and themes of the dangers of computerised technology. Despite these shortcomings, there emerge some blisteringly heavy and bombastically brilliant songs from that album, and "Computer God" is one of them. It begins the album with a much needed injection of energy and a patiently heavy riff from Iommi. Dio's lyrics in this song have stepped away from the (Dungeons & Dragons) themes of his previous work, and instead pushes forward an urgent and malcontent sermon against the immorality of a computerised world. "Computer God" is a 5* track because it made Sabbath sound angry again, it brought the band back into the real world and featured one of Iommi's most humbling solos to date.

2. Megalomania from Sabotage [1975]
Often described as one of the band's heaviest albums, Sabotage is also one of the band's most experimental, and features some often overlooked classics. One of these classics is the magnum opus of "Megalomania", a paranoia ridden journey into the darkness of the solitary mind. Written at a time of great unrest in the Sabbath camp, due to managerial disagreements and back-stabbings, the dark beauty of this track is its ability to unsettle the listener. Ozzy's approaching echo at the beginning of the song, and the positively maddening riff that blasts its way into the listener's consciousness all make for one of Sabbath's scariest tracks. This song deserves 5* because of its fearless experimentation and effortless charisma, and it will not leave any Sabbath critic unchanged.

3. Supernaut from Vol 4 [1972]
Iommi is world-famous for being some kind of insane riff-merchant, and his best known riffs will be marvelled over for generations to come, but what makes him a true champion of rock music is his consistency of riff-mongering. I will go on record to say that "Supernaut" contains what I perceive to be Iommi's best ever riff. Its combined sense of raw power and technical skill are a joy to listen to, and are complimented by Ozzy's young, springy vocals. The song has attitude, it has coolness, and it symbolises (as "Children of the Grave" did) the progression of Sabbath and of heavy metal. The injection of speed into their songs did not cheapen their effect, and instead showed a band with the ability to adapt to the evolution of sound. This song deserves 5*s because its riff sounds like the gallop of a many-legged horse, and that horse's name is rock 'n' roll.

4. Seventh Star from Seventh Star [1986]
This album may attract of a lot of negative attention due the moniker of "Black Sabbath featuring Tony Iommi", (an embarrassingly ironic description, considering that, at this point Iommi was the only original member in the band) but politics aside, what matters is the music. I remember the first time I heard the riff from "Seventh Star", As it kicked in after the eerie intro of "Sphinx (The Guardian)" my young mind was blown. Never before had I heard such a slick, stylish, marching bombshell of a riff. It, combined with Glenn Hughes' silky vocals, made for a truly beautiful Sabbath song, despite its negligible lyrics, the song stands as one of the many lost diamonds in the band's discography. It holds dominion over the rest of the (admittedly good) album, and deserves 5*s because of its almost sublime sound. Fans may have been gutted that they were deprived of a Tony Iommi solo album, but if you want the next best thing, check out Fused by Iommi Feat. Glenn Hughes.

5. Black Sabbath from Black Sabbath [1970]
The song that started it all. What kind of a list would this be without "Black Sabbath" in it somewhere. The rain, the thunder, the bells, and Ozzy being confronted by a "big black shape, with eyes of fire". Its still a treat to hear live or on the record, its still a chilling, yet satisfying rock song, with delightfully scary imagery and Ozzy's chilling wail at its finest. Its closing riff, that is so urgent and unflinching, make this song more of a horror-story than a song. All other "scary" tracks (that I have heard) fall flat in comparison to this because of its rawness, its understated potential and the unsettling obscurity of its lyrics. This deserves 5*s because this is the birth of Sabbath, the birth of metal, and represents what could be the finest opener to an album ever made. Not one to play for your kids before bedtime.

6. Heaven and Hell from Heaven and Hell [1980]
I do not like this album, it comes across as flat and full of filler-tracks. Much to my frustration, many fans and critics disagree, and somehow this album managed to re-kindle the popularity of Black Sabbath after Ozzy Osbourne's departure. Ronnie James Dio takes the reigns and the band is effectively re-invented. His influence is obvious and the changed nature of the band is both a positive and deeply negative thing. "Heaven and Hell" is one of the positives. It's (in my opinion) the finest song Dio ever wrote and sung. It's a patient, (at times nonsensical) journey into the injustices and conflicts of our world, Dio's growling, passionate voice, coupled with Iommi's more subtle riffs make for a terrific entry for the singer into the band. Its ending, though not "epic" in its production or scale is decisively intense and exciting in a way that music seldom is these days. There is no over-production here. The track feels stripped down, driven by a rock 'n' roll attitude that grant it a 5* rating. It is the Post-Ozzy anthem.

Stay tuned for 6 more this afternoon! (P.S. There is no coherent order here)

__________________
'Well, I'm a common working man,
With a half of bitter, bread and jam,
And if it pleases me, I'll put one on ya man,
When the copper fades away!' - Jethro Tull

Unknown Soldier

Looking forward to seeing to the complete list and then commenting.

__________________
Metal Wars

Power Metal

Pounding Decibels- A Hard and Heavy History

blackdragon123

7. Planet Caravan from Paranoid [1970]
One of the mellow gems that Sabbath produced in their career, "Planet Caravan" can be summed up as "special" in my opinion, as its demonstrates a hauntingly delicate vocal ability by Ozzy, as he manages to invoke the feeling of solitude and vastness that is associated with its subject matter. "Planet Caravan" is a cosmic-love song, and apart from merely being a "good song to get stoned to", it somehow succeeds in capturing that feeling of never-ending distance one would feel if you were actually sailing through the universe. I would describe this effect as "sublime", simply because I cannot find the words to describe the effect it has on the listener. There's a tranquilising, flighty magic that radiates from this track, and deserves a 5* rating because it shows a band brimming with the courage to go heavy, and the courage to slow down, mellow out and lay down some groovy, psychedelic wonders.

8. The Writ from Sabotage [1975]
Epitomising the title of the album, this song is a hateful message written by the band to their money-grabbing, spineless managerial overlords. What I love about this track is that not only are the lyrics biting and seething with venom, but that when Ozzy asks such questions as "Are you Satan? Are you man? You've changed a lot since it began." You can actually hear the hatred spilling out into his words. This is a very emotionally charged song and is unfortunately often overlooked, but its cold, cutting lyrics and dramatic change of tempo and tone at the ending of the track make it one of Sabbath's most hyper-active, and brutally honest songs. With the bleakness offset by the jokey "Blow on a Jug" hidden track, demonstrating that the boys were still in possession of their fun-loving youth despite being screwed over.

9. Anno Mundi from TYR [1990]
TYR is an album that is often laughed off by critics and fans, and is viewed as a rather embarrassing addition to the discography, and while I will admit that the loose themes of Norse mythology do not sit well with the more down-to earth gloominess that had dominated the band's history, It's always best to ignore the politics if you can. Tony Martin is my second favourite Sabbath frontman after Ozzy, and one of the reasons for it is "Anno Mundi", preceded by a patient, scene-setting intro of Latin choirs, Martin's eerie, building vocal demonstration instantly lets the listener know that Sabbath are still hungry, and still able to create atmospheric and passionate rock anthems, before Iommi's riff allows the song to explode into life, offering what I consider to be one of Sab's best album openers. Martin's lyrics are not always memorable, but his voice always is, and "Anno Mundi" is without a doubt his crowning achievement with the band. 5*s awarded for still having the nerve to make heavy metal masterpieces in a time when the world turned its back on the band.

10. N.I.B. from Black Sabbath [1970]
Sabbath's first and (in my view) finest album provides gem after gem, and "N.I.B." a fan and live show favourite, rightfully deserves its place in Sabbath's hall of fame because we hear the signature sounds of Sabbath, and their individuality as a band, but also their influences shining through. The bluesy, infectiously catchy riff, with the strangely charming lyrics, that detail some kind of Satanic love song all make for an early Sabbath classic. This song was made to be played live and I don't think I've experienced many greater musical moments than shouting "OH YEAH!" along with Ozzy and thousands of other mad fans when I saw this played live. It has a youthful, razor sharp kick and an undeniably groovy intro by Geezer and his signature bass style. A 5* song for sure.

11. Born Again from Born Again [1983]
Ian Gillan's offering with the boys in black does take some getting used to. I will admit that listening to his screeching vocals when suffering from a hangover may inspire suicide, but when it catches you in the right mood, Gillan can still make the magic happen. Ignore the album artwork and ignore the slander, songs like "Born Again" are what make Born Again worth listening to. Its a chillingly emotional song, filled with demonic references and dramatic, medieval imagery and it can't help but transport you a muddled, fantastical nightmare of Gillan's own making. What I admire Gillan for on this track and this album is his power to make his presence fully known and fully dominant. His lyrics don't always make any sense, but somehow on "Born Again", the fragmented narrative, mixed with the hypnotic riff and diabolic subject matter make this album both exciting and unsettling at the same time. This track is awarded 5* stars, for its power, its frightening atmosphere and for something I cant quite put my finger on. There is a darkness to it, an addictive one.

12. A National Acrobat from Sabbath Bloody Sabbath [1973]
Credited as being the album that saved Sabbath's career, Sabbath Bloody Sabbath may not be as consistently heavy at its predecessors, and at times sounds like a more conventional rock album, but that doesn't take from its power or its deserved glory. "A National Acrobat" is apparently a song about the fate of the one chosen sperm, (go figure) but maybe that is irrelevant. What's important here is Ozzy's delivery of the lines. As a singer, his greatest gift has always been finding great melodies to go along with Iommi's riffs, and when combined, they make this track a real head-banger. The song emits a punchy, direct sense of blues-fuelled power, that is so effective because it feels as if the aggression is constrained, and that the riff marches on through the song at a constant pace, making each verse more and more empowering. The ill-fated live cover done by Metallica simply goes to show that only Ozzy can sing this song right. It's a 5* track because its graces are purely unique to Sabbath. For a real treat, check out the Medieval style Latin cover sung by Estonian band Rondellus!

7 more to come tonight!

__________________
'Well, I'm a common working man,
With a half of bitter, bread and jam,
And if it pleases me, I'll put one on ya man,
When the copper fades away!' - Jethro Tull

blackdragon123

13. The Sabbath Stones from TYR [1990]
One of the two MASSIVE tracks to dominate the listing of TYR is "The Sabbath Stones", which gives Tony Martin another chance to put his signature stamp on the band's history. It grants the singer another chance to flex his vocal muscle as the song builds to its rather stirring climax. The track, which seems to continue Martin's sceptical view of religion and the worship of "so called" omnipotent beings, manages to keep the listener on edge throughout because it feels although it is forever building to something, and although the climax may be short, and slightly derivative of Iron Maiden's playing style, it does but solidify the Martin era as the (second most) inspiring period of the band's record-making. Martin's manner is satisfyingly aggressive and impassioned, something that he admittedly lost in the later records. But this is Martin in his prime, and the song deserves a 5* rating because of it.

14. Fairies Wear Boots from Paranoid [1970]
This song has a strange title, which was apparently inspired by a "bloody big fight" that took place when the band were confronted by some skinheads whilst out and about. The song, however does not re-tell the incidents of that fateful night, but instead documents one man's recurring hallucination, in which he sees fairies (who wear boots) dancing with dwarves ,(again, go figure). What I love about this track is that it represents one of Sabbath's finest bluesy moments, and when played live becomes one of the best rock 'n' roll tracks in history. Energy is the key word to use when describing this song, which ends the album with a kind of "too cool attitude" that is too damned charismatic to ignore. It's what Sabbath are all about, and its a 5* definite.

15. I from Dehumanizer [1992]
"I" is the blood-stained anthem of the anti-hero, and represents one of Dio's finest lyrical achievements. The words have an infectious arrogance that truly empower the listener, and make it one of those perfect tracks to listen to when you feel like the world has got you down. One of the many reasons why I love this track is because, although it may appear slightly dated, and even tongue-in-cheek in parts, it has an aggressive vibe that is entirely old-school. Dio doesn't need to load his songs with swearwords in order to gain a reaction from his listeners. The power and the anger is gained purely through the intense delivery and monstrous riffs. No gym-freak should be without this track in their playlist. It's a 5* track because it has a strong sense of that all too human self-consciousness and spite, contrasting against the oppressive title of the album quite well.

16. Iron Man from Paranoid [1970]
"Iron Man" is without a doubt my favourite Black Sabbath track. Call that predictable if you will, but there is a reason why it is one of the best known songs by the band. The opening riff, after Ozzy's robotic declaration of "I am Iron Man!" sums up (for me) everything that Sabbath represents. It has the powerful driving riffs, the doom-ridden lyrics and the howling vocals, and is the song I would play to someone who said they wanted to hear Sabbath summed up in one riff. Also, this track is a rarity in the band's discography, as it tells a story, something the band never often did before or after this particular song, and it makes you wish they had done more often! The tale of a man's terrifying journey through time in order to prevent the apocalypse, but who ends up bringing about the same destruction when he is turned to "steel in a great magnetic field" has a timeless and harrowing resonance throughout, and demonstrates Geezer's skill to convert complex themes: such as paradoxes and make them accessible (yet still intelligent) rock song subjects. It is a 5* track because every time I listen to it, it blows my mind a little bit more!

I shall publish the final 10 at a later hour!

__________________
'Well, I'm a common working man,
With a half of bitter, bread and jam,
And if it pleases me, I'll put one on ya man,
When the copper fades away!' - Jethro Tull

blackdragon123

17. Snowblind from Vol 4 [1972]
This musical tribute to cocaine was originally intended to be the title track of the album, but was considered to be explicit in its reference to the drug, and is made all the more blatant by Ozzy's whisper of "icicles within my brain! Cocaine" during the song. The band may have been out of their heads, but it didn't stop them from crafting another gem with this track. This live favourite appears to document the sense of isolation and paranoia that comes with addiction, transporting the listener into the dark world of drugs and superstardom. This song, far from glorifying the narcotic is a frightening report of someone lost in a world of madness and dependency, with a driving riff to march the song forward, it makes for a defining track in the album's listing. The highlight of the song, however is the breakdown, where a more melodic and equally chilling section takes over, and what comes through is an forlorn and earnest confession, allowing the listener some brief insight into a mostly reserved and secretive band. A 5* rating for its untouchable musicianship and class.

18. Hot Line from Born Again [1983]
A forgotten song from Gillan's stint with the band, "Hot Line" is a straight up, no-nonsense rock song, with a punchy riff and some glass-shattering vocals from the Deep Purple singer, it may not make much sense, but the song is undeniably catchy, and could still inspire the most fearful of gig-goers to dive into the rough and tumble of the moshpit with its unrelenting power and face-melting solo. Gillan truly lets loose on this track, that's what I love about it, and his vocals are free to run riot all over the track, sending chaos and head-banging fury through the speakers. The almost schizophrenic change from his normal singing voice to his high pitched screaming at the end of the track gives the song a sense of being delightfully unhinged and unchained. It's impossible to sit still when listening to this track, and is fully deserved of its 5* rating, for this album (love it or hate it) still embodies the spirit of metal more than most.

19. When Death Calls from Headless Cross [1989]
Headless Cross was heralded as Sabbath's saving grace and its (apparently brief) return to form with Tony Martin, and its not surprising why. This album is loaded with great rock tracks, and has a strong sense of identity, with its striking artwork and decisively dark lyrical themes. Its magnum opus, is without a doubt "When Death Calls", a song written by a the devil and addressed to all humanity, warning them gleefully of their impending doom at his hands. This subject matter is handled brilliantly by Martin, whose commanding voice leads the listener deeper into the twisted, shadowy nature of the song with an equal amount of fear and enjoyment. The true power of this track comes from its ending, as an ad-libbing Martin hammers home the point and refuses to let the song die, bellowing out more and more dark reminders of the punishment that awaits the sinful. It's a tribute to heavy metal, and an a fine piece in its arsenal. No wonder Iommi is particularly proud of this album! Assuredly a 5* track.

20. A Hard Road from Never Say Die! [1978]
Ozzy may hate this album, many fans and critics may hate this album, but I will always defend it. The record departs heavily from the heavy-doom mongering records of Sabbath's early 70s period, but I personally consider it a delight, as a lighter side of Sabbath emerges, a different dynamic to the band's playing, and to Ozzy's vocal style emerges, and "A Hard Road" is the best example of this new dynamic in action, celebrating the glory of living life to the full and enjoying all things, good and bad, that come with it. The track's finest moment comes at its end where Ozzy's repeated, uplifting preaching, along with the band in support repeat to the listener again and again. This end is one I have always found inspiring, and, despite the fact that its a much hated album, and I will never get to hear this song played live, it still deserves to be ranked 5* in the Sabbath list. This style of singing (as someone on this forum once rightly pointed out) laid the foundations for Ozzy's singing style on his early solo albums, and so plays a much larger part in the development of the band than he might want to admit. The fact that the band were so strung-out and drug-addled at the time of its creation adds (for me) to the magic and unique feel of the album's production and tone.

21. Sweet Leaf from Master of Reality [1971]
Who could forget the intro to this album? The repeated playing of Iommi coughing up bong smoke into a microphone, before this uncompromisingly muscular riff blasts through the smoke and begins this love-letter to marijuana. There is a charming innocence in Geezer's lyrics, and Ozzy's voice, at the peak of its power, puts them to music beautifully. This is one of the tracks that demonstrates that understated relationship between Ozzy and Iommi so well. There is a level of chemistry here that goes beyond the realms of two musicians simply being placed in the same room as one another and being told to play a rock song. Master of Reality is an album that allows for a wide range of different tempos, styles and genres to manifest themselves through Sabbath's playing, but in order to take that journey with confidence, the listener needs to be exposed to the sheer power of the band at its strongest with "Sweet Leaf", a 5* riff from a 5* band!

__________________
'Well, I'm a common working man,
With a half of bitter, bread and jam,
And if it pleases me, I'll put one on ya man,
When the copper fades away!' - Jethro Tull

blackdragon123

22. Disturbing the Priest from Born Again [1983]
Apart from having possibly the best title for a song ever, "Disturbing the Priest" has a rather funny story behind it. As the band were rehearsing with Gillan in a church "for some reason", they were approached by a rather nervous priest, who told them that he thought the music was lovely, but that it was disturbing the choir practice. This event then managed to work its way into the album, injecting a very healthy dose of British humour into the record. The song itself seems to address the issue of the faithful and the evil, as they are unable to find purpose without having the other to stand as their nemesis. The almost choir-like progression of the song, along with Gillan's vocals are an immediately outstanding track on the album, and manages to strike the balance between being a scary tale and a rocking song particularly well. The unique feel of the record make for a refreshing change and the fact that Gillan aspires to push his vocal ability to its limits on this track make it a 5* contender.

23. Dirty Women from Technical Ecstasy [1976]
The radical departure from the brutal heaviness of Sabotage and the frankly bizarre depiction of "two robots screwing on an escalator" on its artwork may divide Sabbath fans, and Technical Ecstasy may be somewhat patchy, showing a band that was worn-out and struggling to stay alive, let alone stay together musically. But the change is not all bad. The theme of prostitution may not seem totally fitting for a band of Sabbath's more serious nature, but "Dirty Women" is a triumph, regardless. Following the lonely narrator on his journey to find a lady of the night, the song perhaps poignantly reflects the depraved and desperate nature of the band at the time. They had indeed sunk into a decadent, wasteful lifestyle of girls and drugs, allowing for "Dirty Women" to appear more confessional than perhaps intended. Far from being amusing, once Iommi's hammering riff kicks in and the declaration that "Those dirty women, they don't mess around" is made, the darkness of the song is realised. This is an apocalyptic vision of lust and degradation, it's a subject matter and a set of lyrics that one would expect to hear from a Rolling Stones track, but it has been giving the Sabbath treatment, and I praise it for its boldness, and its untouchable power when played live. 5*s all round!

24. Eternal Idol from The Eternal Idol [1987]
The Eternal Idol, for me is the most consistent and solid album ever made with Tony Martin, and is one of the darkest, most unsettling Sabbath songs ever made. It ends the album on an embittered, shaded note, made chilling by the restrained of Martin in the vocal department, letting his tone rise only for the wailing cry of "You and I are victims of their words, As the masters of power try to poison our world!" This 5* song is a showy piece of powerful music, venting a very direct and non-cryptic dissatisfaction with political injustice, a style that has become commonplace in this post 9/11 world. This deserves 5*s for being so timeless, and years ahead of its time, still as relevant now as it was in the 80s. It's just a shame that it's so overlooked.

25. The Warning from Black Sabbath [1970]
A cover that the band made their own, "The Warning" is a 10 minute dive into the improvisational power of Sabbath. The bluesy lyrics and slick guitar/bass work of the song make it instantly alluring, and lead the listener gradually into the breakdown of structured verses and solos into an inspiring display of musicianship from Iommi, Geezer and Ward. There begins a series of jamming style, progressive pieces that continue to enthral and enrapture until the very end where the vocals re-appear. I love this song because it has the same prog-rock attitude as bands like King Crimson, where the music may stop for a moment, allowing for some breathing space before kicking back into life and tearing the place up. This track is Sabbath unleashed, and is an example of a youthful band giving it their all, showing so much promise for their future. 5*s!

26. God Is Dead? from 13 [2013]
I had spent weeks and weeks anticipating and imagining what Sabbath's new record would sound like, and when it was announced that a single would be released, I could not contain my excitement. "God Is Dead?" was everything I could have asked for and more. The (slightly over produced) sound did not mar the quality of the song, as the beast was re-awoken with a steadily building riff and Ozzy's grizzled vocals, allowing the scars of age to show met my ears. The toned down, rough diamond singing, combined with Geezer's famous doom-loving lyrics was (for lack of a better word) inspiring. It was proof to me that the old dogs could still rock, and the patience displayed as the song builds to its climax, with an astonishing riff from Iommi and a new found confidence in the band shining through. This track deserves 5*, because it has the same anger and same brute force that magnum opuses like "Hand of Doom" achieved in the 70s, a true delight.

So there we have it, what I perceive to be the 26 finest Sabbath tracks. There are three albums that did not have delegates appearing in the list, and what I will say is, though I view Mob Rules to be a brilliant album overall, there are no songs that stand out individually enough for me to enter here. Cross Purposes is a lacklustre effort, with only a few tracks holding it up, none of them really possessing that superior spark necessary. And although I consider Forbidden to be an underrated album, the worthy mentions do too fall just a few points far of being included.

If you read to the end, thanks for your patience, and I hope you enjoyed reading as much as I enjoyed writing!

__________________
'Well, I'm a common working man,
With a half of bitter, bread and jam,
And if it pleases me, I'll put one on ya man,
When the copper fades away!' - Jethro Tull

Dr_Rez

Blackdragon this thread is amazing. With Sabbath being my main squeeze this thread is perfect reading, and well written. I am also glad you did not blow your load to quickly naming all the songs off the first 4 albums right away that are just untouchable gold.

Keep it up I will be reading.

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blackdragon123

Thanks man! I really appreciate that. I could get into this journal writing lark!

__________________
'Well, I'm a common working man,
With a half of bitter, bread and jam,
And if it pleases me, I'll put one on ya man,
When the copper fades away!' - Jethro Tull

Big Ears

I agree with a number of your comments and I like the idea of reviewing tracks in preference to albums (it means you don't have to write about tracks you don't like). Any positive comments on Tony Martin's Tyr and Ian Gillan's Born Again are more than welcome in my opinion. So what's next, The 26 Best Budgie tracks?

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neardeathexperience

How did you come up with the decided amount of 26? Why not top 10, or something like the "BIG 20 "...........Why 26????? There are a lot of quality some listed here.