Author: Rok Klemše
Artist: Black Sabbath
Released: 1980
Black Sabbath… a musical institution. A cult in the truest sense of the word. The first real heavy metal band (at least that’s the commonly accepted view, so let’s set aside the sea of influences for a moment). Their debut, Black Sabbath, is considered one of the biggest milestones in rock music. On February 13, 1970, it changed music history. Who doesn’t know the dark, doomy riffs of the brilliant guitarist Tony Iommi and the distinctive, one-of-a-kind vocals of the godfather of heavy metal, Ozzy “Madman” Osbourne? Rhetorical question or not, there probably aren’t many of them.
So Black Sabbath, with Ozzy at the helm, started writing history almost 40 years ago. Right up to 1975’s Sabotage they were at their peak, without a single bad release. But then came a five-year rough patch that led to Ozzy leaving the band.
Many saw Ozzy’s departure as the death of Black Sabbath, but Iommi found a more than worthy replacement. Ozzy’s spot was filled more than successfully by ex-Rainbow frontman Ronnie James Dio (“the little king of rock and roll”), who is still considered one of the best vocalists in hard rock/heavy metal. Dio breathed new life into the band. It’s true that the doomy sound that defined the band’s early work, and that Ozzy helped shape so strongly, is gone, but Dio adds a completely new dimension. Heaven and Hell is a real heavy metal wrecking ball! On Heaven and Hell, Black Sabbath truly abandoned, for the first time in their career, the blues roots that dominated the Ozzy era. Well, okay, I’m lying, but more on that a bit later. Anyway, with Heaven and Hell, Black Sabbath waded into the waters of true heavy metal, and in places even progressive rock. The biggest contributor to that was Dio’s fantastic, operatic singing style. Still, the playing style of Iommi, Butler and Ward didn’t change drastically. Even though Iommi probably pulled the best riffs and solos of his career out of himself on this very record, the guitar, bass and drums still have that unmistakable sound. But the band hadn’t sounded this fresh and unified since Children of the Grave! Dio surely helped with that, giving the band a fresh dose of inspiration and a new direction in the search for life post-Sabotage.
Dio blew in fresh air not only musically — he also contributed decisively to Black Sabbath’s new lyrical style. Unlike Ozzy, Dio is a real poet; he wrote some truly beautiful poetry for the album and reached for themes of fantasy, romanticism and lyricism that were almost absent from the lyrics before. And this is exactly where critics of post-Ozzy Black Sabbath will find a bone to chew on. On Heaven and Hell you can no longer find that ominous, dark note Black Sabbath are so famous for. But the lyrics are far from bad, quite the opposite — it’s just that they deal with entirely different themes than those on the first records.
The album kicks off with the dynamic, punchy Neon Knights; a fast, heavy opener that hits you right off the bat, yet is still excellent. Black Sabbath were very much alive in 1980! Iommi’s fantastic lead, which keeps coming back throughout the track, and Dio’s phenomenal singing prove right from the opening moments of the record that the two have the recipe for success.
With Children of the Sea the record takes on a more epic, mystical flavor, helped without a doubt by the beautiful acoustic intro, which, as far as I’m concerned, is still one of the best intros of its kind in metal! The song builds mainly on Dio’s incredible melody, and after the intro it explodes into a brutal sawing of power chords. Iommi shines with melodic fills and a solo that’s unusual for Black Sabbath, but excellent. One of the best songs Black Sabbath ever wrote! “It’s never never never coming back, look out!”
At the start I mentioned I wasn’t entirely honest when I said Black Sabbath had completely shaken off their blues roots on Heaven and Hell, and that really shows on the mid-tempo bluesy Lady Evil. A song that once again delivers excellent Iommi fills and a great, groovy sound from Butler’s bass. It’s all backed up by a catchy chorus that enchants like the wicked lady the lyrics talk about. The cherry on top is an interesting solo with a wah pedal.
The title track Heaven and Hell hits with epicness in the truest sense of the word. Definitely one of the record’s highlights, and at the same time its longest song. A punchy, heavy track with plenty of tempo and rhythm changes, backed by a galloping bass guitar that’s slightly reminiscent of Harris’s Maiden gallops. If Dio hasn’t convinced you so far, this song will win you over with ease; truly heavy metal in its best light. Everything is in the right place, every note is played perfectly, the solo is once again excellent with a delay effect, and Dio, belting out line after line after the solo, would put many a vocalist to shame. The climactic peak is calmed by a closing section on classical guitar. Magical!
Wishing Well is yet another catchy “straight-in-the-face” rocker. I know I’m repeating myself, but when there’s nothing else to say… Dio is great 🙂 Once again there’s a dynamic bass line and acoustic guitars that get drowned out by the distorted axe.
Die Young… my personal favorite Black Sabbath song ever. Despite the slightly morbid title, it’s a song with an optimistic carpe diem message. A song that fills me with positivity and adrenaline every single time. Even though it’s a bit “cheesy” with its keyboard intro, the outburst that follows more than justifies its reputation as one of the most overlooked Black Sabbath songs. One of the few songs I could listen to over and over (right now it’s playing for the third time in a row, haha). “So live for today, for tomorrow never comes!” If Dio still doesn’t convince you with this one… you’re made of stone. Haha.
Walk Away is probably the “worst” song on the record, since it was an attempt to write a pop single that would reach the masses. Still, it’s light-years ahead of the worn-out Changes or Am I Going Insane?
Lonely is the Word is said to be one of Iommi’s favorite songs, and it works well as the album’s closer. This dreamy bluesy track, at least for me, isn’t on the level of the opening songs, but it’s still a very solid song, with interesting guitar lines and bits.
When I started writing this review I wasn’t entirely sure how to write the conclusion. Now I can say without a doubt that Heaven and Hell is one of Black Sabbath’s best releases, and for me personally even the favorite. Ozzy is undoubtedly “the voice of” Black Sabbath, just as Bruce Dickinson has always been the first fiddle of Iron Maiden, but I think I can safely say that Dio leaves him far behind. Instrumentally, too, this record is simply incredible. Back in 1980, Iommi was ahead of his time with his superior guitar wizardry, and Butler and Ward made up a very coherent rhythm section.
Heaven and Hell put Black Sabbath back on the throne of the kings of heavy metal. And soon those of us who are a bit younger will finally get to experience Dio with Black Sabbath live too. Well… as Heaven and Hell.
Lineup
Ronnie James Dio – vocals
Tony Iommi – guitar
Terrance “Geezer” Butler – bass guitar
Bill Ward – drums
Production
Martin Birch
Tracklist
1. Neon Knights
2. Children Of The Sea
3. Lady Evil
4. Heaven And Hell
5. Wishing Well
6. Die Young
7. Walk Away
8. Lonely Is The Word
