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Home ยป ๐Ÿ•ท๏ธ BLACK SABBATH โ€“ THE ORIGINAL SINNERS OF HEAVY METAL โš”๏ธ๐Ÿ”ฎ๐Ÿ–ค

๐Ÿ•ท๏ธ BLACK SABBATH โ€“ THE ORIGINAL SINNERS OF HEAVY METAL โš”๏ธ๐Ÿ”ฎ๐Ÿ–ค

Michael by Michael
2 July 2024
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Genre: Heavy Metal, Doom, Proto-Everything
Formed: 1968 โ€“ Birmingham, England
Known For: Starting heavy metal. Full stop. ๐Ÿค˜
Status: Retired, but eternal. Like riff-based vampires ๐Ÿง›โ€โ™‚๏ธ๐ŸŽถ


๐Ÿญ BORN FROM SMOKE AND STEEL

It started in the post-industrial pits of Birmingham, where four working-class lads swapped hammers for guitars and accidentally summoned the devil through a speaker cabinet. ๐Ÿญ๐Ÿ”Š

  • Ozzy Osbourne โ€“ Madman frontman, riff preacher, bat-biting Brummie
  • Tony Iommi โ€“ Guitar god, riff lord, two fingers down, ten times heavier
  • Geezer Butler โ€“ Bass sorcerer and occult lyric master
  • Bill Ward โ€“ Drummer, soul, chaos, heart (and hospitalised regularly)

Originally called Earth, they saw a horror movie, wrote a song about it, tuned everything lower than your nanโ€™s expectations, and birthed an entire genre. ๐Ÿ•ท๏ธ

Heavy metal began right here. With one haunting tritone riff that still gives chills.


๐Ÿ’ฟ THE SABBATH DISCOGRAPHY โ€“ RIFF REPORT STYLE ๐Ÿ”ฅ๐ŸŽง


1๏ธโƒฃ Black Sabbath (1970)

๐ŸŒง๏ธ Thunder. Rain. DOOM. The riff that started it all.
๐ŸŽง Black Sabbath, N.I.B., The Wizard
Riff Rating: ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ
The original horror soundtrack.


2๏ธโƒฃ Paranoid (1970)

โšก One of the best albums EVER. Period.
๐ŸŽง War Pigs, Paranoid, Iron Man, Electric Funeral
Riff Rating: ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ
Metal blueprint. Zero skips. All killer.


3๏ธโƒฃ Master of Reality (1971)

๐ŸŒซ๏ธ Even heavier. Down-tuned. Sludgy AF.
๐ŸŽง Sweet Leaf, Children of the Grave, Into the Void
Riff Rating: ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ
Stoner metal owes this album its weed.


4๏ธโƒฃ Vol. 4 (1972)

๐Ÿ‚ Experimental, druggy, epic. Tony Iommi goes wild.
๐ŸŽง Supernaut, Snowblind, Changes
Riff Rating: ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ
Half chaos, half magic.


5๏ธโƒฃ Sabbath Bloody Sabbath (1973)

๐Ÿง  Proggy, ambitious, haunting โ€“ peak Sabbath evolution.
๐ŸŽง Sabbath Bloody Sabbath, Killing Yourself to Live
Riff Rating: ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ
Sounds like a haunted castle with guitar pedals.


6๏ธโƒฃ Sabotage (1975)

โš”๏ธ Aggressive and weird โ€“ an underrated banger.
๐ŸŽง Symptom of the Universe, Hole in the Sky
Riff Rating: ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ
Modern thrash was born here.


7๏ธโƒฃ Technical Ecstasy (1976)

๐Ÿ› ๏ธ Bit lost, bit glammy, still Sabbath underneath the sequins.
๐ŸŽง Dirty Women, Back Street Kids
Riff Rating: ๐Ÿ”ฅ๐Ÿ”ฅ


8๏ธโƒฃ Never Say Die! (1978)

๐Ÿ›ซ The end of Ozzy (for now) โ€“ some gems, mostly confused.
๐ŸŽง Never Say Die, Juniorโ€™s Eyes
Riff Rating: ๐Ÿ”ฅ๐Ÿ”ฅ


9๏ธโƒฃ Heaven and Hell (1980)

๐ŸŒฉ๏ธ RONNIE JAMES DIO JOINS. Game changer.
๐ŸŽง Heaven and Hell, Neon Knights, Children of the Sea
Riff Rating: ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ
Metal becomes epic.


๐Ÿ”Ÿ Mob Rules (1981)

๐Ÿ’ฅ Heavier, faster, meaner. Dio soars.
๐ŸŽง The Mob Rules, Falling Off the Edge of the World
Riff Rating: ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ


๐ŸŒ€ Born Again (1983)

๐Ÿ˜ณ Ian Gillan from Deep Purple? Wild. Weird. Cult fave.
๐ŸŽง Disturbing the Priest, Trashed
Riff Rating: ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ


๐Ÿ Seventh Star, The Eternal Idol, Headless Cross, Tyr, Cross Purposes, Forbidden (1986โ€“1995)

๐Ÿ“‰ The wilderness years. Some moments of glory, lots of chaos.
๐ŸŽง Headless Cross, When Death Calls
Riff Rating: Varies from ๐Ÿ”ฅ to โ„๏ธ
Tony Iommi carries the Sabbath name alone.


๐Ÿ•ฏ๏ธ 13 (2013)

โ˜ ๏ธ The comeback โ€“ Ozzy, Tony, Geezer back together.
๐ŸŽง God Is Dead?, End of the Beginning
Riff Rating: ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ๐Ÿ”ฅ
The endโ€ฆ but what a way to go.


๐ŸŽธ ESSENTIAL RIFF REPORT PLAYLIST

๐ŸŽง War Pigs โ€“ Still relevant. Still dangerous.
๐ŸŽง Paranoid โ€“ The accidental classic
๐ŸŽง Iron Man โ€“ Riff 101
๐ŸŽง Black Sabbath โ€“ Horror in audio form
๐ŸŽง Children of the Grave โ€“ Fists in the air
๐ŸŽง Heaven and Hell โ€“ Dioโ€™s metal sermon
๐ŸŽง Into the Void โ€“ As heavy as tectonic plates
๐ŸŽง Symptom of the Universe โ€“ Proto-thrash gold
๐ŸŽง Sweet Leaf โ€“ ODE TO WEED.
๐ŸŽง God Is Dead? โ€“ Last rites, riff-style


๐Ÿง›โ€โ™‚๏ธ WHY BLACK SABBATH STILL RULE

Because they created it. Metal wouldnโ€™t exist without Sabbath.

No Slayer. No Metallica. No Maiden. No doom, sludge, stoner, death, black, or whatever-core-you-like.

Sabbath brought:

  • Heavy riffs
  • Occult vibes
  • Lyrics about war, madness, and paranoia
  • Real working-class rage
  • A mascot-less mystery that made them scary and seductive

And they did it in flares. Respect. ๐ŸงŽโ€โ™‚๏ธ


๐ŸŽค FINAL VERDICT FROM THE RIFF REPORT:

Black Sabbath are not a band. They are the primal scream of heavy music.
They crawled from the smog of Birmingham and invented a global religion of riffs, doom, and devil horns.

If youโ€™ve ever banged your head, worn black, or drawn a pentagram in your school notebookโ€ฆ
you owe them.


All hail the dark lords. Up the Sabbath. Diolch and doom on, mun. ๐Ÿด๐Ÿ•ท๏ธโšฐ๏ธ๐Ÿ”ฅ

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โš”๏ธ JUDAS PRIEST โ€“ THE METAL GODS WHO MADE STEEL SCREAM ๐ŸŽค๐Ÿ”ฅ๐Ÿ๏ธ

Michael

Michael

๐ŸŽธ About Michael Michael is the founder, editor and chief riff wrangler of The Riff Report, an independent Welsh rock, metal and alternative music publication built by fans, for fans. A lifelong rock and metal fan, Michael has spent years immersed in the music, culture and community that surround the heavier side of life. From discovering new bands and digging through classic albums to standing in muddy festival fields, squeezing into packed venues and spending far too much time near the front of a stage, music has always been much more than background noise โ€” it is a massive part of who he is. That passion eventually became The Riff Report, a publication created to celebrate the bands, artists, venues, festivals, photographers, promoters and fans who keep the rock and metal world turning. Michael spends much of the year covering gigs, festivals, tours, album releases, new singles, interviews and music news, with a camera never too far away and a press pass usually hanging somewhere around his neck. Whether it is a huge arena show, a major outdoor festival or a tiny grassroots venue packed with people discovering their new favourite band, he believes every part of the scene has stories worth telling. For Michael, one of the biggest joys of music journalism is being able to shine a light on artists at every level. The Riff Report is just as interested in the hungry independent band playing to 50 people as it is in the global act headlining to 50,000. Supporting unsigned, independent and grassroots musicians is a huge part of the publicationโ€™s identity, because every legendary band started somewhere. Sometimes the next big thing is not on a massive billboard or a major-label playlist โ€” sometimes they are crammed onto a tiny stage in a pub, plugging in their own gear and hoping somebody in the room remembers their name. Michael wants The Riff Report to be one of the places that remembers.

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