1980 s HEAVEN AND HELL is a milestone release for BLACK SABBATH.
Not only because it s the first one not to contain metal godfather OZZY OSBOURNE (sunk in drug addiction and involved in several feuds with other band members), replaced by another legendary singer, former ELF and RAINBOW member RONNIE JAMES DIO. It was the record that halted BLACK SABBATH s decline started in late 70 s.
At that time, BLACK SABBATH was replaced in Heavy Metal amplifiers by faster, harder and more technically-based bands like JUDAS PRIEST, UFO, even RAINBOW, SCORPIONS and MOTORHEAD (obviously MOTORHEAD is not included when I mentioned technique). This is not only to say that these bands have gone further where SABBATH sound stagnated - SABBATH records in late 70 s were inane compared to its previous releases. As OZZY left, SABBATH was left for dead to many people, not surprisingly.
HEAVEN AND HELL demolished all pessimism over BLACK SABBATH. It presents the better production of all band records, thanks to MARTIN BIRCH s prowess (references at that time indicated that he was the man behind DEEP PURPLE s MACHINE HEAD crystal-clear sound - futurely, he would go on to produce other Heavy Metal monster, IRON MAIDEN, with remarkable results).
The band sounds thick, dazzingly heavy, dynamic as it has never been before. BIRCH increased song s tempos and put TONY IOMMI s guitar on the forefront (where previous producers have lost IOMMI among the mixes). IOMMI, having room to breathe, displayed some of his best solos ever. DIO s powerful pipes helped a lot where OZZY s wailing have progressively slowed down SABBATH tracks. Other musical elements noteworthy are the bass lines provided by GEEZER BUTLER, less prominent taken alone here but more 'groove-oriented' and contributing more to the ‘sum of parts’. A great bass performance is presented in the title track, however. BILL WARD on drums ignites like no other time after 1975. GEOFF NICHOLS on keyboards proves to be a good addition to SABBATH s sound - he is much more restrained and song-oriented than JEFF WOODRUFFE and RICK WAKEMAN have been previously.
HEAVEN AND HELL presented a different BLACK SABBATH, although not a completely different one. Still present are the flawless GUITAR RIFFS of IOMMI, the sinister bass lines of BUTLER and the energetic/economic drums of WARD. DIO provided technical vocals second to none (OK, maybe ROB HALFORD from JUDAS PRIEST) and NICHOLS carefully sketched good textures for the album. Great songs - some fast, not quite what you would expect from them, but what s the problem? - which, sometimes, touched PROGRESSIVE ROCK for its intrincacy. This album’s first half is almost flawless – but great music is still present on the second half. In the end, an album able to be compared to such masterpieces as PARANOID, VOL4 and MASTER OF REALITY. Surely among SABBATH s finest work!
What about the lyrics? For the first time a band member (DIO) provides all of them (this is a disconforting note, since I consider GEEZER a great lyricist - even considering how dull OZZY contributions sounded next to DIO ones). (Urban) Dungeons-And-Dragons imaginary replaces sci-fi and horror themes. This time it worked - later, on MOB RULES, lyrics would start to be increasingly repetitive.
The quality of the record skyrocketed BLACK SABBATH once again into Heavy Metal Heaven (and Hell :), as several bands from the rising NEW WAVE OF BRITISH HEAVY METAL (DIAMOND HEAD, IRON MAIDEN etc.) claimed their allegiance to SABBATH s sound and their recognition as THE true kings of Heavy Metal. HEAVEN AND HELL climbed to English Top 10 (first time for SABBATH since 1973), NEON KNIGHTS sold a lot of singles in the process and even PARANOID (the song) was reissued again, making English and American Top 40. Things were so good that BLACK SABBATH former manager issued a bootleg album, LIVE AT LAST (later incorporated in SABBATH s official discography) which climbed to number 5 on English charts. SABBATH would couter-attack this release with its first live album, LIVE EVIL, a few years later.
So, let s have a brief of each track on HEAVEN AND HELL:
NEON KNIGHTS -> very heavy, very fast. Blasting riffs all over. Top-notch vocals. Furious drums. Percolating bass. PARANOID mixed with SYMPTON OF THE UNIVERSE? Maybe. It s the track that most resembles old BLACK SABBATH. An undisputed Heavy Metal classic!
Highlight: IOMMI sounds like never before here on his solo.
CHILDREN OF THE SEA -> built upon a delicate IOMMI melody on acoustic guitar, with atmospheric keyboards. A great moody track which briefly turns into a Heavy Metal epic when BUTLER and IOMMI thrash through a killer joint riff, followed by a thunderous rhythm. But DIO goes even higher, his vocals provide the adequate tone for ever shift in dynamics. Much better than RAINBOW!
Highlight: DIO, which could challenge most singers of Rock here.
LADY EVIL -> 50 s Rock revisited, where SABBATH bluesy roots are exposed. Superb bass lines, plain lyrics (which resemble CLIFF RICHARDS s DEVIL WOMAN). This one would be the mainstream for several SABBATH tracks on further albums. Sounds like a Heavy Metal ELF.
Highlight: Strong BUTLER gives the pace on this one.
HEAVEN AND HELL -> the title track is a stronger contender for 'best track' here and undeniably is one of BLACK SABBATH s greatest moments (it was even included in last BLACK SABBATH collection, which have only 2 tracks from DIO era!). A multi-parts epic with a strong GOTHIC feel (see the lyrics, DIO s best ever), where bass takes the lead once again, leaving room for DIO bleed his lungs off. Loose bass lines, crawling keyboards, minimalist drums and a restrained, but Heavy guitar mark the rhythm. Be patient if you find the track too much slow (by they way, this is BLACK SABBATH)! The pace suddenly increases after the first chorus, in what is arguably IOMMI s best solo ever. DIO shouts the final chorus with astounding power and ability. Impressive!
Highlight: Everything converges here to forge a Gothic Rock masterpiece (even the lyrics), it would be unfair to point just one performance here. Thus, I would call attention for this track’s lyrics, some of the best SABBATH would ever put in their albums.
WISHING WELL -> a pretty regular track, which goes less further than its opening guitar riff suggests. Good Hard Rock, just that. Closer to ELF than regular BLACK SABBATH.
Highlight: The opening guitar riff
DIE YOUNG -> other Progressive incursion, this time closer to Hard Rock. Spectacular riffs, great guitar parts and once again DIO exceeds on vocals. Keyboards provide textures which are fundamental for thee excellency of this track. Metallica and Iron Maiden between 1984 and 1991 picked up something (or more) from here. SABBATH classic!
Highlight: great keyboards and their textures!
WALK AWAY -> twin sister of WISHING WELL. Another great opening riff and not much more. DIO once again recalls his ELF roots.
Highlight: once again, The Riffer, Mr. TONY IOMMI.
LONELY IS THE WORD -> achingly masterful. A classic of catharsis. Very, very depressing. A monster guitar riff (older brother of WALK AWAY) sided with brutal, stripped-down drums, which together delve deeper and meaner, a sonic earthquake which builds a perfect landscape for Dio to pound his the-end-of-the-world-is-now vocals. Lonely, indeed, is the word for DIO feelings here. The so-called STONER METAL (Queens of the Stone Age, Kyuss etc.) owes a lot to this underrated SABBATH classic.
Highlight: BILL WARD. Here his minimalist drumming is THE thing that makes Earth shake!
BLACK SABBATH would go on to make other records in next 20 years, but none as terrific as this one, as well as no BLACK SABBATH record, not even PARANOID, would be so decisive for the very band s future. So, everyone can recognize and be pleased by this record s magic - but SABBATH fans (like me) will ever regard it, even more, as the blessing that saved SABBATH guys for the 80s and after! SABBATH would go on without OZZY OSBOURNE - and OZZY himself would go on alone very well, as his first record, BLIZZARD OF OZZ, indicated just a few months after HEAVEN AND HELL! That said, we can qualify the break-up of BLACK SABBATH as mutually profitable, after all!
