Black Sabbath - the Record, the Review

[Vyn]

Motivated by my recent Soundgarden, "review," I thought I'd do the same for some other albums. I have spent a lot of time lately listening to all manner of music, from the aforementioned trip to grungeville, to classical, post-punk-reverse-pop, modern metal, etc. It seems like a good time to return to the basics, to a band that left me in awe back in the day and more than fifty years later remains number one in my heart. Herein is my attempt at a serious review of Black Sabbath's debut:




Released on February 13, 1970, Black Sabbath's monumental first long-player not only defined the genre of, "heavy metal," but also introduced a darker, heavier sound to rock music in general. What follows is a song-by-song break down, with a special focus on Evil Woman and Wicked World due to their inclusion/exclusion across two different markets.

1. Black Sabbath
The opening track, "Black Sabbath," begins with the sound of rain and a church bell tolling, immediately setting a somber, ominous tone. The song then introduces what is often referred to as the "devil's interval" or "diabolus in musica"—a tritone interval that has historically been associated with dissonance and tension. This use of the tritone is pivotal, as it lays the foundational sound for heavy metal. The song's structure is relatively simple, but the riff, built around this dissonant interval, combined with Ozzy Osbourne's haunting vocals, creates a compelling and foreboding atmosphere. It's a masterclass in how tonality and rhythm can be used to evoke emotional responses.

2. The Wizard
"The Wizard" showcases the band's versatility, incorporating a harmonica played by Osbourne, which adds a bluesy, psychedelic rock feel. This track is a departure from the doom-laden sound of the opener, demonstrating the band's roots in blues rock. The song's rhythm section, driven by Bill Ward's dynamic drumming and Geezer Butler's bass lines, provides a solid foundation for Tony Iommi's riffing and solos. The pentatonic scales used here are common in blues music, but Iommi's heavy, distorted treatment gives them a fresh, darker edge.

3. Wasp/Behind the Wall of Sleep/Bassically/N.I.B.
This suite of songs showcases Black Sabbath's ability to weave together different sections and themes seamlessly. "Behind the Wall of Sleep" features a riff that exemplifies Iommi's ability to create memorable melodies within the heavy metal framework, using modal scales to evoke a mysterious atmosphere. "Bassically" is a short but sweet bass solo by Butler, leading into "N.I.B.," a song characterized by its blues rock influence and notable for its love story told from Lucifer's perspective. The use of syncopation and blues scales, combined with heavy distortion, creates a groove that is both catchy and sinister.

4. Evil Woman - Wicked World
A more in-depth look at these two songs follows #5.

5. A Bit of Finger/Sleeping Village/Warning
The album closes with another medley that moves from the serene and melodic "A Bit of Finger" into the darker "Sleeping Village," and finally into "Warning," a cover that the band makes entirely their own through extended solos and jam sections. This suite encapsulates the essence of the album—melding heavy, doom-laden riffs with moments of melodic introspection and virtuosic musicianship. The modal melodies and harmonic minor scales create a sense of unease and foreboding, while the band's tight rhythm section underpins the expansive, exploratory solos.

On June 1st, 1970, Warner Brothers released this masterpiece in the North American market. Although much has been said about it, and some claim to know the definitive facts of the matter, it isn't certain why the decision to replace "Evil Woman" with "Wicked World" was made. The intricacies of international music distribution and licensing issues at the time may have played a role. The record label might have made a strategic decision regarding "Evil Woman"'s appeal or fit with the North American market, determining that "Wicked World was a stronger track for that audience.

Evil Woman
Originally a cover of a song by the band Crow, "Evil Woman" demonstrates Black Sabbath's early engagement with blues rock, which was a significant influence on their nascent heavy metal sound. The track is anchored by a classic blues progression, which it employs to craft a darker, more foreboding atmosphere than the original. This is achieved through Iommi's heavy, distorted guitar riffing—a hallmark of Black Sabbath's sound that contributes to the song's brooding quality.

The harmonic structure doesn't stray far from traditional blues, but Iommi's riffing introduces chromaticism that adds a sense of unease, aligning with the themes of manipulation and deceit in the lyrics. The rhythm section, with Butler on bass and Ward on drums, lays down a groove that's both heavy and swinging, a characteristic feature of early heavy metal's debt to blues rock. Ozzy Osbourne's vocals, while still developing his iconic style, showcase his ability to convey emotional distress and darkness, fitting the lyrical content snugly.

Wicked World
"Wicked World," on the other hand, is an original composition by the band. It presents a slightly different facet of Black Sabbath's sound, leaning more into jazz influences, particularly in the rhythm section. The song's structure is less conventional than "Evil Woman," featuring shifting time signatures and a more fluid, improvisational feel in parts of the instrumentation, especially in Ward's drumming, which exhibits more complexity and variation.

The lyrical themes in "Wicked World" are more explicitly social and political, critiquing environmental destruction and societal apathy. This thematic divergence is matched by the music's darker tone and more experimental approach, which would become more pronounced in the band's later work. Iommi's guitar work is again central, providing a riff that is both catchy and menacing, driving the song forward and reinforcing its dark themes.

Two Songs, Two Markets
When contrasting the two songs and considering their fit within the Black Sabbath album, several key differences emerge. "Evil Woman" fits comfortably within the blues-based heavy rock sound that characterized much of the album, including tracks like "The Wizard" and "N.I.B." Its inclusion on the UK version of the album reinforces this bluesy foundation of early heavy metal. The song's thematic focus on personal betrayal and darkness aligns well with the occult and fantastical elements that permeate the album.

"Wicked World," however, introduces a slightly divergent sound that hints at the band's future direction. Its inclusion in the North American release offers a broader palette, showcasing the band's willingness to experiment with more complex structures and socially conscious lyrics. This track, while still embodying the heavy, dark sound of the album, points to the band's evolution beyond the blues rock foundation towards a more distinctly heavy metal sound characterized by thematic and musical complexity.

"Evil Woman" and "Wicked World" represent two facets of Black Sabbath's early sound, rooted in blues but branching into more experimental and socially aware territory. Each song's inclusion on different versions of the album highlights the band's versatility and the transitional nature of their debut, laying the groundwork for the development of heavy metal. From the very beginning, Black Sabbath conveyed a broad spectrum of influences and forward thinking, despite the criticisms levelled against them. They were ahead of their time and although that time has passed their music lives on, as vital and powerful as ever.

[Zzzptm]

What's interesting is how Black Sabbath isn't cheesy on this album. So many other bands would have gone over the top with devil/satan/demon/witch/wizard/pentagram/eeeeeevillll themes, but Black Sabbath restrained themselves admirably. There were other bands like Hawkwind, King Crimson, and ELP that were pushing boundaries on being serious about sci-fi/fantasy in music. Black Sabbath can be seen as part of that maturation in subject matter, bringing the occult into the equation.

[Charger]

Good write up there Vyn!

I can easily agree with most parts!

But as far as Evil Woman goes, that song's a bit of a miss. It's bit "happy" sounding and it does stand out like a sore thumb on the album. Bit overly poppy even I'd say. This would be the cheese of the album...it's not overly so but still...the lyrics are weak as well... It's a song I always skip when listening to the album.

Wicked World is an underrated masterpiece. Yes it has some Jazzy feel in the drums which isn't ideal but the riffing and especially the solo part are amazing.

Why however the more poppier song was removed from the US release is very strange. As the US market surely would have liked a bit more lighter tune...Maybe it had something to do with legal issues it being a cover and all...but then again so was The Warning....who knows.

But it is wild how an album released 54 years ago (YIKES) can still sound so powerful today!

[Vyn]

What's interesting is how Black Sabbath isn't cheesy on this album. So many other bands would have gone over the top with devil/satan/demon/witch/wizard/pentagram/eeeeeevillll themes, but Black Sabbath restrained themselves admirably. There were other bands like Hawkwind, King Crimson, and ELP that were pushing boundaries on being serious about sci-fi/fantasy in music. Black Sabbath can be seen as part of that maturation in subject matter, bringing the occult into the equation.

True dat. The Sabs managed to pull off a song with a tolling bell and rain/thunder, with the lyric "Please God Help Me!" without a whiff of cheese.

But as far as Evil Woman goes, that song's a bit of a miss. It's bit "happy" sounding and it does stand out like a sore thumb on the album. Bit overly poppy even I'd say. This would be the cheese of the album...it's not overly so but still...the lyrics are weak as well... It's a song I always skip when listening to the album.

Frankly, I skip it as well - have never liked it much or Crow's version. Interestingly, there are some other songs on Crow Music that aren't too bad. As I recall Evil Woman was kind of a one-off single that the band didn't even want to record, but their label forced the issue. The review I did of that song was an attempt at being objective, and listening to it in terms of its musicality. Otherwise I would simply have said, "it sucks" lol.

I have always felt that the two different song versions of Black Sabbath's first release was interesting for a couple of reasons. First, they were not an established act with an international audience from which a record label could even draw any conclusions as to who would like which one better (i.e. sell more units). Second, their musical stylings were groundbreaking (from hindsight) but at the time I can't imagine record labels caring so much as to spend the time wrangling over which song was going to open side two of the record. Obviously, somebody did!

And thanks for the kind words! I'd say that sometimes my muse rides my ass so I start writing stuff, but that would imply I can write lol. Which, I can, but at the level of a kid in high school...

[Zzzptm]

First ad for Black Sabbath in Cashbox, 11 July 1970...

[Vyn]

I think that picture of them is the "meanest" Geezer has ever looked...almost like he's about to stab Malcolm Young or some shit like that.

[Zzzptm]

"I need you guys to look more aggressive, come on, give me something to work with, oh yeah, I'm getting it from Geezer there! Yeah! That's it!" as the camera fires with the flashes down at the press shoot.

I go through these Cashbox magazines from 1946 to 1979 every week for the project I'm doing on my radio shows this year for "this week in..." material and while I'm not playing 70s rock on my show, I keep my eye out for the ads of the day. And because they're all PDF files, I don't have to worry about rats or fire hazards with such an archive!