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