When lists of the most influential bands are compiled, the same predictable names are often tossed about – the Beatles, the Stones or for alternative music the Velvet Underground.

Whilst there is no denying the importance or brilliance of these groups, there is one Midlands band that remains hidden in the dark; surreptitiously managing to shape nearly every band who delved the same darkness thereafter….the mighty, the indescribable Black Sabbath!

The tale of Birmingham’s gloomiest rockers can be split into 5 rather tatty chapters. There is the well known ‘classic era’ of Ozzy and the fellas; paving the way for the birth of heavy metal. But there is also the lesser known 4 chapters; the Dio years, the revolving door era of changing singers and styles, the criminally underrated Tony Martin ‘power metal’ era and the blistering return to the classic line up (minus original skin hitter Bill Ward) in 2013.

The history of Sabbath is a complex and patchy one; and no doubt I will make numerous factual mistakes during this first meander into Sabbath’s full back catalogue. But hopefully my journey through these 19 albums will at least give you some idea of which albums I recommend you track down, and how much their work is worth the effort…including the stuff without Ozzy!

With us gathered in black masses, let’s begin!

Black Sabbath (1970)

I’m always fascinated by the way in which a band introduces itself to the world…the first song on the first album is a way to announce ‘we are here’ ‘this is who we are.’ Bands like the Beatles come thrusting through the speakers with a statement of intent like no other on ‘I Saw Her Standing There,’ which opens their debut album ‘Please Please Me.’ Go back and listen again to the raw, pent up energy at the beginning of that album if you don’t believe me.

The other example of a band really ‘throwing it down’ on song 1, side A is Black Sabbath (the band) on their debut Black Sabbath (the album) and Black Sabbath (the song).

I love that feeling (it doesn’t happen very often) when you hear a piece of music and think ‘what the hell is this?!’ something totally different from anything you’ve heard before that stops you dead in your tracks. When I first heard the sound of rainfall, a church bell chiming and then the heaven’s falling as those distorted notes rang out – it freaked the hell out of me, and I was hooked.

What a way to introduce yourself to the world on your first album! One of the best album openers ever; how does Tony Iommi make just 3 notes sound so menacing?!

From there on, the rest of the album sets the band apart as something completely unique. All the ingredients may be familiar; from the bluesy heavy rock of bands like Zeppelin, with horror tropes lifted equally from Alistair Crowley and the Hammer Horror films. But there’s no denying the force and the presence that Sabbath have on their debut album, the simple but highly effective riffs of Iommi, the face melting rhythm section of Butler and Ward and the arresting double tracked vocals of a young Ozzy.

Favourite track: Black Sabbath

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Paranoid (1970)

Coming just months after their debut, Paranoid is a band really harnessing their potential and power. Whilst the last album had been a flag in the sand; Paranoid takes the bluesy jamming of that album and focuses it into an historic album of undeniable classic songs. From the opening unforgettable sounds of War Pigs to their equally memorable roof-collapser Fairies Wear Boots, not a minute or a riff is wasted, and Paranoid rightly claims it’s place as one of the most important albums of the genre.

Favourite track: Fairies Wear Boots

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Master of Reality (1971)

Sabbath continue their ascent to heavy metal gods on 1971’s Master of Reality. Whilst perhaps not as memorable as the first two albums, songs like Children of the Grave and Into the Void help cement their place at the top of their niche.

Favourite track: Children of the Grave

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Vol. 4 (1972)

Breaking out of the ‘sludgy’ sounds of their first three albums to something a little more rock driven, Vol. 4 still manages to maintain that definitive Sabbath sound.

Whilst not every cut hits the mark (I could’ve done without the laborious Changes, the half-cooked FX or the Eagles sounding Laguna Sunset), Vol. 4 shows a band at the height of their game being unafraid to continue to grow and evolve.

Favourite track: Supernaught

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Sabbath Bloody Sabbath (1973)

Sabbath continue to grow and experiment on 1973’s Sabbath Bloody Sabbath; another first class rock album to add to their portfolio.

They sound comfortable in their own skin and free to add more elements to their sound including early synths and piano. The tracks don’t really pop out at me with the same individual intensity of the first three albums, but I feel like there are many more layers on show hear and no doubt SBS will continue to grow on me more and more with each listen.

Favourite track: Sabbra Cadabra

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Sabotage (1975)

Now we’re talking! Sabbath really bring their A game on the mid-70s Sabotage, a hidden gem in their collection and one that surprised me.

Seriously why have I overlooked this one for so many years?! The band are on FIRE on this one and all the way through I was loving it!

Favourite track: Hole in the Sky

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Technical Ecstasy (1976)

The musical landscape had gone through so much change by the time Sabbath reached 1976’s Technical Ecstasy, and for first time they are left sounding a little uncertain of what direction they want to head in. This of course isn’t helped by the ravages of drugs and infighting on the band. But whilst lyrically this is one of their poorer albums as the original Fab Four, it’s not half as bad as you’ve been led to believe.

Favourite track: All Moving Parts (Stand Still)

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Never Say Die (1978)

I’ve heard so many bad things about this album that I kept waiting for a ‘howler,’ which never came! I really enjoyed this album! Sabbath plus sax, what’s not to love?

For a band running on fumes (in more ways than one) behind the scenes, Never Say Die still manages to bring enough verve and vitriol to award repeat listens. it’s a credible rock album which deserves more credit than it gets.

Favourite track: Never Say Die

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Heaven and Hell (1980)

As the band entered their second decade, they were in trouble. Accelerating drug issues in the band had culminating Ozzy being unceremoniously kicked out of the band and the future looked bleak.

Sabbath weren’t about to call it quits however, and another band’s similar disintegration was ironically to save them; when the band Rainbow also fired their singer Ronnie James Dio and Black Sabbath saw a fortuitous opportunity to nab the singer.

It was a risky move, but thankfully it was worth the risk. The band immediately gelled with their new singer, and they managed to turn the trajectory that would’ve seen them tread the well worn path of drug-fuelled destruction into a new lease of life on 1980’s Heaven and Hell.

The album sounds renewed and fresh. Dio is a more technically accomplished singer, which loses some of the ‘rough and ready’ charm of the ‘classic era,’ but there’s no denying this is a band back at the height of its powers.

If you listen to just one ‘Ozzyless’ Sabbath album, make it Heaven and Hell.

Favourite track: Heaven and Hell

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Mob Rules (1981)

Black Sabbath mark 2 continue to set the bar high on 1981’s Mob Rules. Whilst perhaps not as notable as it’s predecessor, the band are still very much on a roll here.

Favourite track: The Sign of the Southern Cross

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Born Again (1983)

Once more into the fray; the band find themselves without a singer for a second time when Dio leaves after just two albums (I’m sure it was more than that!).

The band’s luck doesn’t save them this time however, and Born Again starts a pattern of revolving door singers and line ups, starting with Deep Purple’s Ian Gillan.

It’s not all doom and gloom (ok this is Sabbath so it kind of is!), and there are moments of inventiveness and riffage galore from Iommi and co. But the band seem directionless, generic and far less interesting here.

Favourite track: Stoneage

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Seventh Star (1986)

Things were in such a mess in the Sabbath camp by 1986, that Tony Iommi’s solo effort Seventh Star was hastily rebranded by the record company as a BS album (‘featuring Tony Iommi’). No doubt fans were confused…well the ones who had stuck around after the rather abysmal Born Again.

Glenn Hughes is on vocal duties this time, and we still have Black Sabbath bass monster Geezer Butler on bass. But understandably for an album that was originally meant as a solo album, this diverges from the ‘usual formula’ we had come to expect.

The resulting album is actually a lot better than it has been given credit for. Ok, it’s not about to top any BS album lists any time soon; but it’s a good rocking album that paves the way for the more ‘power metal’ sound that is to come for the band.

Favourite track: In for the Kill

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The Eternal Idol (1987)

Those who had given up hope on Sabbath by the time 1987’s Eternal Idol rolled around were in for a surprise. For backstage, the band had finally settled on a formula that would work for them moving forward into their next ‘era.’

The main catalyst for this was perhaps Sabbath’s most underrated frontman Tony Martin.

There’s no mistaking what decade we are in here; with the massive stadium drum production and the ‘cock rock’ guitars. But Eternal Idol represents a band who have found their way out of the wilderness and have rediscovered their focus, energy and fun. My favourite since Heaven and Hell.

Favourite track: The Shining

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Headless Cross (1989)

The winning formula of stadium fillers, a sprig of dark lyrical matter and Tony Martin’s incredible vocals continue on 1989’s Headless Cross.

The next few albums are pretty much interchangeable as the band settle into a comfortable groove that helps sustain but also date them as the musical landscape around them starts to change once again.

Favourite track: Headless Cross

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Tyr (1990)

Whilst people woke up to the second coming of punk rock via grunge and rap metal, Sabbath were writing concept albums about the Norse Gods. No doubt there were mumblings in the music media about the lasting relevance of the 20 year old band.

That’s not to say Tyr isn’t worth a listen, and it still contains heavy riffs and the powerhouse tonsils of Tony Martin.

Sabbath continue to exist in their own world, which no doubt ostracised them a bit from their peers at the time, but also helps them to escape the plunders of fleeting musical trends.

Favourite track: Valhalla

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Dehuminizer (1992)

On paper, Dehuminizer should be a classic Black Sabbath album. Dio is back behind the microphone, Geezer is back behind the fat strings and the production has never sounded better.

But at its heart the songs just aren’t there on Dehuminizer, and all the great ingredients can’t save a so-so album from being just that.

Favourite track: TV Crimes

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Cross Purposes (1994)

Tony Martin returns on vocals, but they also maintain Geezer on bass. Another great sounding album, and the songs are stronger than on Dehuminizer. It’s a perfectly serviceable power metal album, but it’s a path the band have trod many times before.

Favourite track: Immaculate Deception.

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Forbidden (1995)

When the story of this great band are committed to the annuls of history, I do hope the contribution that Tony Martin made will be readdressed. Over nearly 10 years the fireball singer/songwriter was instrumental in keeping the band going with 5 sturdy metal albums during a time when most of the world had moved on to new genres.

Forbidden is no different. Whilst in no way quintessential, it’s a solid album of tunes that, like everything Martin did with the band is worth a listen if you like your metal punchy and fun.

Favourite track: Get a Grip.

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13 (2013)

18 years since the last Sabbath album and a full 35 years since the classic era line-up (minus Bill Ward on drums) recorded a studio album together, fans were understandably more than a little excited by 2013’s ’13’ album.

The band were no doubt buoyed by the returned notoriety of Ozzie, who had been transformed into a reality TV darling thanks to the popularity of ‘The Osbournes’ show.

Unfortunately that show had also reduced Ozzie to somewhat of a ‘rock n roll joke,’ with comedians queuing up to deride and impersonate his shaky, incoherent drug addled persona.

But if fans had any concerns about the reunion, they are quickly dispelled once 13 starts to spin; one of Sabbath’s most exciting albums.

Whilst Ozzie isn’t the best lyricist in Sabbath’s history (yes I said it!) or even the best singer in comparison to Dio or Martin, he’s lost none of his ability to really ‘sell’ a song and create an atmosphere. Meanwhile Iommi shows he’s lost none of his potency as the Lord of the riffs on tunes like Age of Reason and in the hands of production legend Rick Rubin he’s never sounded better. Bill Ward is of course missed, but Brad Wilk from Rage Against the Machine is incredible on drums and again really helps bring 13 to life.

In my opinion the ‘return’ of classic era Sabbath shouldn’t overshadow the 35 important years that the band had spent experimenting with their sound, pushing the boundaries of their music and creating many awesome albums with the 80’s and 90’s line-up. But still it’s a real treat to hear 70’s era Sabbath doing what they do best and showing once again what a force of nature they really are on their last album 13.

Favourite track: Age of Reason

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Final Thoughts

Well, what a ride that was! One of, if not THE most important heavy metal bands showed they could retain their core ethos through all kinds of line-up changes, experimentation and drug-related difficulties. A band that even at their perceived ‘worst,’ were able to create forceful and arresting music that was always worth a listen. Whilst not always loved by the critics, I hope this little blog shows that they are very much worth the hype they get from the fans and a myriad of metal bands they helped spawn.

Thank you for listening, and please share your own favourite Sabbath albums and songs in the comments below.