by Gregg Johns

Created on: January 09, 2009   Last Updated: January 16, 2009

Ah the memories! This album spawned an entire genre and clearly signaled the end of "flower power" and the '60's. Instead, it brought to light the grim, dark and stark realities that lie just beneath the surface of modern life. Of course, with an added bit of horror and surrealism for good measure.

My introduction to this monsterpiece involved a high school trade arrangement of Kiss "Destroyer" for said album. Don't get me wrong! Destroyer is a great album, but I was perpetually hooked after hearing Black Sabbath for the first time. The creepy album cover sets the tone for what lies inside. The steady rain and tolling bells of the self-titled first track creates mounting tension before Iommi's heavy tri-tone riff (the Devil's interval)comes crashing in with the intense pounding of Bill Ward. Ozzy's creepy vocals just serve to intensify the mood. Being a Hammer classic horror geek, this was like having a cool flick blasting through my cheesy old Realistic speakers.

Besides, these guys could play their asses off! Ward and Geezer Butler are rhythm monsters thundering under the distinct and heavy runs of Iommi. The Geez's interplay with the guitar and doubling are awesome.

For me, this album is unique from subsequent Sabbath albums in that it contains roots elements such as bluesy and jazzy extended jams with the now trademark heavy tone. I was surprised to later read how quickly this album was completed with few overdubs and in a very short time period. The listener can easily feel the guys in their zone and playing as a cohesive tight unit.

The second track, the Wizard, gives one the eerie feel of Satan meets delta blues. The harmonica, though bluesy at times, makes a cool and unsettling contrast and complements the heavy guitar riffs.

The third track suite -Wasp/Behind the Wall of Sleep/Bassically/N.I.B. highlights the musicianship of Iommi, Butler and Ward. Extended jams a la Cream, but with their own distinct signature sound. At times the rhythmic changes and melodic themes also take on a progressive feel. However, this comes to a screeching halt with "Behind the Wall of Sleep" as Ozzy scares us with "evil petals with strange power" and how the sleeping wall of remorse "turns your body to a corpse." Then we segue into "Bassically" as Geezer kicks off the processed muddy liquid bass groove that forms the intro to N.I.B. Ozzy brings us back to sheer horror with "Look into my eyes, you'll see who I am; My name is Lucifer, please take my hand."

The remaining tracks continue with some really cool extended jams with a jazzy syncopated feel starting with "A Bit of Finger" and Ozzy doesn't fail to take us back to dark tales of the "Sleeping Village", gives a stern "Warning" and reminds us how "Wicked" our world can be.

This album kept me transfixed for hours with my first electric guitar learning all of the riffs I could muster. The Iommi influence often makes itself known in some of my original compositions in a subconscious manner. This album holds a special place in my music collection and should be in the collection of all metalologists, young and old, as it is a seminal work. It is great in its own right and was the catalyst for some great metal for decades to follow!

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