Discover Lead Singer Tony Martin's Studio Records with British Heavy Metal Legends Black Sabbath

The Eternal Idol (1987)

Trademarks by the Numbers Delivered in Boring Manners

By the mid-eighties, Black Sabbath had become a Tony Iommi solo project with an inconsistent line-up that changed almost yearly. The Eternal Idol was a particularly chaotic affair. The singer, drummer and bassist who started recording the album didn't stay and were replaced by a new singer and bassist as well as a stand-in drummer. Even the band manager was fired during recording. Surprisingly enough, the final result doesn't sound all over the place and sees the band return to its doom and heavy metal roots. The material however is rather uneven and makes for one of Black Sabbath's worst outputs.

The only song that fully convinces is massive doom metal epic ''Eternal Idol'' that oozes with atmosphere, creativity and classic Black Sabbath trademarks such as eerie vocals, menacing guitar tones and slow but thundering rhythm section supported by some fresh cinematic keyboard effects. It's regrettable that one of the band's very best tracks is overlooked because it can be found on an overall forgettable record that was rightfully negatively received back in the days.

The rest of the record attempts to go back to Black Sabbath's trademark sound but fails to develop the unique charm of the early years or even the more experimental albums released in the mid-eighties. The band doesn't have much chemistry which isn't a surprise considering the revolving line-up. The rhythm section sounds bland and uninspired. The guitar riffs are often repetitive and unspectacular. New singer Tony Martin has a decent melodic voice with a slightly rough undertone but he is not as emotional as Ray Gillen, not as catchy as Glenn Hughes, not as dynamic, flexible and skilled as Ian Gillan, not as dramatic and talented as Ronnie James Dio and certainly not as atmospheric, passionate and unique as Ozzy Osbourne. The gloomy keyboard work is the only element that can be described as truly convincing and that's a shame for a heavy metal album.

In the end, Black Sabbath's The Eternal Idol features an excellent title track that might figure among the band's five greatest tunes ever while the rest varies between slightly above average and slightly below average Black Sabbath material by the numbers. Some people tend to rate this record up retrospectively because they didn't like the bluesier commercial predecessor Seventh Star that is certainly an acquired taste. But while the predecessor could be controversially discussed, this record here is bland, boring and unimaginative which is certainly worse in my book. This record is only interesting for die-hard fans and collectors and I would even go as far to say that this release is the worst in Black Sabbath's discography up to the moment when it was released.

Final Rating: 55%

Headless Cross (1989)

Tunes of Thunder

The eighties have been a chaotic decade for doom and heavy metal legends Black Sabbath with multiple line-up changes and significant ups and downs in terms of consistency, legacy and quality. The decade has however ended on a most positive note with Headless Cross, the quartet's strongest output since Heaven and Hell at the very beginning of the same decade. This output convinces with catchy, heavy and memorable guitar riffs by Toni Iommi, dynamic, gloomy and rhythmic bass guitar sounds by underrated session musician Laurence Cottle, energetic, liberating and precise drum play by legendary Cozy Powell, atmospheric, playful and variable keyboard sounds by veteran Geoff Nicholls and diversified, enthusiastic and melodic vocals by Tony Martin who delivers the greatest performance so far in his stunning career.

The shining highlight of this excellent output is its worthy title track ''Headless Cross'' that is among the five greatest songs ever recorded by Black Sabbath in my humble opinion. This track opens with rhythmic drum patterns before gloomy bass guitar and electric guitar tones set in. The guitar riffs are atmospheric, memorable and powerful and thus sound flawless and timeless alike. The vocals are sinister yet melodic in the simple but efficient verses before becoming captivating and emotional in the tense pre-chorus and highly memorable chorus itself. The song further increases in quality in its excellent middle section with haunting keyboard sounds that seem to come straight from a horror movie soundtrack. This outstanding song is six and a half minutes long and not one single second is wasted here. If anyone asked me to present the perfect doom metal song, this is the track I would come around with. If you aren't familiar with this song yet or last listened to it decades ago, make yourself a present and enjoy this masterpiece in its remastered version at full volume.

The remaining tracks can't quite compete with this masterpiece or else this album would be considered not only record of the year but record of the decade. However, several other great songs deserve to be mentioned. "Devil and Daughter'' for instance comes around with memorable lyrics, catchy chorus and gripping sing-along passages that would work splendidly in concert. 

"When Death Calls" is a truly sinister doom metal epic carried by a strong vocal performance and an excellent guitar solo by Queen's very own Brian May as this legendary song combines the greatest metal band and the greatest rock band of the eighties hailing from the United Kingdom.

The record's second half slowly decreases in quality but can still be considered good to very good doom metal other bands would crave to create. Even forgotten bonus track "Cloak and Dagger" convinces with rhythmic guitar riffs and liberating vocals that invite to dance and sing along. This song would have deserved a rightful spot on all regular editions of this wonderful album.

The most recent remastered version of this record does this excellent album justice and even improves its already great quality. This remastered version shows how to appropriately honour the original material while making it sound perfectly timeless with flawlessly executed contemporary technology. Other veterans who have released underwhelming remastered efforts should most certainly take note.

At the end of the day, Black Sabbath's The Headless Cross is one of the greatest doom metal records ever released and especially its title track is a masterpiece for the ages. It's wonderful that this album has recently been remastered and republished as many fans have been forgetting about or even overlooking this record for much too long. Purchase the wonderful boxed set Anno Domini 1989-1995 which includes four great Black Sabbath records released between the late eighties and the mid-nineties and blast The Headless Cross as loud as you can to enjoy it to the fullest.

Final Rating: 90%

Tyr (1990)

Creating Atmospheric, Smooth and Warm Soundscapes

Black Sabbath's third studio record with dynamic, passionate and versatile singer Tony Martin has left an excellent first impression upon me but has declined slightly as time went by. Released only just one year after the stunning doom metal masterpiece Headless Cross, the quartet's fifteenth studio album Tyr aims for a much more atmospheric, conceptual and melodic vibe from start to finish.

Excellent opener "Anno Mundi (The Vision)" for instance opens with dreamy choirs recalling British rock legends Queen and takes its time to unfold progressively. While doom and heavy metal fans might need some time to appreciate this unusual approach, fans of progressive rock and symphonic rock should certainly dig this overlooked gem.

The quartet pushes things even further with the ambitious trilogy "The Battle of Tyr", "Odin's Court" and "Valhalla". Strictly conceptually speaking, these songs could legitimately be described as viking metal before this genre really became a stereotype dominated by bearded overweight men with ugly tattoos. All three songs are calm, melodic and short as they focus on cinematic atmosphere and lyrical depth over classic heaviness and ambitious musicianship. One has to congratulate the quartet to show the courage to evolve its sound so late in its illustrious career.

Another example for this courageous change is "Feels Good to Me", a very melodic pop rock song with surprisingly optimistic lyrics about the end of a romantic relationship. This is the kind of song one might expect to find on the soundtrack of an early Wong Kar-wai movie but it's a genuine surprise coming from the iconic heavy metal flagship.

Seasoned veterans will however still find several more traditional doom and heavy metal songs upon this output. Black Sabbath has pushed its soundscapes further but hasn't denied its roots either. "The Sabbath Stones" for instance is an intellectual doom metal masterpiece that almost equals the brilliance of the predecessor's remarkable title track.

The fast-paced "The Law Maker" also stands out on an overall smooth record with a warm production and must have worked splendidly in concert back in the days. Who knows, perhaps we will one day see a project of Tony Iommi and Tony Martin honouring these forgotten classics. I know for sure that I would attend a concert of the project.

The only issue with Black Sabbath's Tyr is that one needs to be in the right mood to appreciate this record. I most certainly couldn't listen to it every day. However, whenever I'm looking for an atmospheric, smooth and warm rock album, this album keeps coming to my mind time and again. This overlooked gem might not appeal to every seasoned fan of the band but it's certainly the one album that might appeal to a hard rock, progressive rock and symphonic rock audience that usually doesn't care much about doom metal and heavy metal. This unique album certainly deserves to be revisited three and a half decades after its release to be appreciated to its full potential.

Final Rating: 85%

Cross Purposes (1994)

A Roller Coaster Ride in Terms of Quality and Impact

The core members of Black Sabbath haven't always treated some of its part-time members with the respect they would have deserved. Dedicated, passionate and skilled singer Tony Martin had brought the band back to its chemistry, inspiration and reputation of yore when stepping in as the band was at its weakest point of its career from a commercial and creative perspective in the mid-eighties. Suddenly, he was ousted from this very same band and replaced with legendary former member Ronnie James Dio who once again decided to only stay for a short while. Tony Martin was thus asked to step in once again but it's quite obvious to me that his original enthusiasm to join the doom and heavy metal flagship had been vanishing significantly upon getting on board for a second stint.

This lack of motivation can clearly be heard in the first minute of opening tune "I Witness" that kicks off Cross Purposes. The vocals are surprisingly low, Tony Martin can be heard mumbling rather than singing and he sounds utterly careless and most certainly not for stylistic motivations. However, once the track reaches its pre-chorus segment, his desire gradually increases and ultimately makes a satisfactory return to the excellent standards we have been used to in the past. A depressing tune thus becomes a decent heavy metal track that might not sit among the group's greatest cuts but ultimately qualifies as an acceptable opener.

The great news is that the record's quality progressively increases after the slightly confusing opening tune. "Cross of Thorns'' for instance is a melancholic power ballad with emotional depth as thoughtful lyrics intertwine with wonderful melodic guitar play. "Virtual Death" offers the exact opposite with a nightmarish atmosphere based upon tormented vocals and distorted musicianship evoking a haunting dystopian world. "The Hand That Rocks the Cradle" focuses much more on rhythm over atmosphere and is an energetic song that would also work splendidly in the context of a concert.

However, the record's overall satisfactory progression in terms of impact and quality is now and then harmed by average tunes that fail to connect with large parts of the intended audience. "Back to Eden" for instance aims at being a hopeful power ballad but the safe and secure musicianship fails to leave a mark. "Cardinal Sin" has some promising existential ideas brought forward in its lyrics but the track's structure is all over the place and fails to hit the mark. Bonus track "What's the Use?" didn't make the record for reasonable motives since only its gripping chorus can convince while the verses lack power and the overall structure doesn't feel fleshed out at all.

At the end of the day, Black Sabbath's Cross Purposes, both in its original form and in its remastered version, qualifies as a slightly below average release in the group's stunning discography. It starts on a weak note but quickly increases in quality. While the aforementioned highlights leave lasting impressions, there are also a few average tunes that rush by without leaving much of an impact. These are the reasons why the quartet's seventeenth regular studio album is only recommended to avid collectors and faithful fans of the band as well as anyone digging Tony Martin's unique vocals.

Final Rating: 75%

Forbidden (1995)

Turkeys Are Beautiful, Intelligent and Sociable Birds

 Black Sabbath's eighteenth studio record Forbidden is often considered the black sheep in the vast discography of the legendary British heavy metal quartet. The record suffers from a flat production, poor promotion and experimental songwriting ideas that didn't sit very well with fans of old date back in the days. However, the last studio record to feature lead singer Tony Martin, bassist Neil Murray, keyboarder Geoff Nicholls and drummer Cozy Powell, has recently been remastered by the band's only constant band member and guitarist Tony Iommi and most certainly deserves to be revisited and evaluated anew.

Let's dive headfirst into the record from the mid-nineties and address the first elephant in the room. Opening tune "The Illusion of Power" opens with psychedelic guitar notes before overtly dramatic lead vocals by Tony Martin take listeners by surprise. In stark contrast, the chorus sounds quite low and features backing vocals by American rapper Ice-T. He also has a short solo part in which he narrates rather than raps for a short period of time. The production of his vocals sounds as if it had been recorded underwater with a broken microphone and leaves listeners scratching their heads. As you can read, the bold choice to put such an experimental tune right at the start is quite controversial. However, there are a few elements here that redeem the song. First and foremost, the melodic guitar play and the main riff of the chorus are absolutely infectious and showcase Tony Iommi's unique style impressively. Secondly, the rhythm section is grippingly tight as the chemistry between bassist Neil Murray and drummer Cozy Powell is excellent here. Thirdly and lastly, the statement to open the record with such a brave choice underlines the group's praiseworthy will to still experiment eighteen records into its career at a point when it had nothing left to prove to anyone but themselves. At the end of the day, the opening track might not be excellent but it also isn't the jarring disasterpiece some reviewers make it out to be.

This record focuses on two specific types of songs that are mixed throughout the entire album. First and foremost, we get to hear energetic, short and rhythmic heavy metal tunes based upon tight drum play, dynamic bass guitar patterns, gripping guitar riffs and passionate melodic vocals. Single cut "Get a Grip" is such a tune and still makes genre enthusiasts bang their heads, raise their fists and sing along three decades later. "Shaking Off the Chains" goes one step further as it quickens up the pace and unfolds a most desperate atmosphere as this combination appeals to listeners' brains and hearts alike. Title track "Forbidden" features energetic up-tempo rhythms as the bumbling bass guitar, the precise drum play and the simple guitar riffs find a balanced fusion.

The second category are emotional mid-paced half ballads focusing on dreamy guitar tones and melodic lead vocals unfolding their full potential. Longing, mournful and psychedelic "Can't Get Close Enough" might need a few spins to grow but qualifies as one of the band's most unusual, experimental and creative ballads. "I Won't Cry for You" has a similarly introspective, melodramatic and sluggish approach that needs some time to grow but ends up convincing with its heartfelt sincerity. "Rusty Angels" offers a different take however as it offers a little bit more pace in the rhythm department as well as more variety regarding the mid-paced guitar riffs while keeping the overall airy, thoughtful and warm soundscapes as well as the soulful lyrics that deserve our entire attention.

One last song that truly deserves to be pointed out is regular album closer "Kiss of Death" that takes elements from the record's liberating heavy metal soundscapes as well as from its inspiring balladry and puts these into the context of the album's most epic tune breaking the six-minute mark. The highlight of said song is its passionate chorus that only kicks in after four minutes and turns out to be this album's catchiest moment thanks to one of Tony Martin's greatest achievements in his long career. This forgotten pearl grows with every spin and even outclasses some beloved classics to be honest.

Sure, this record also has its flaws in form of some fillers in the middle section, the stark contrast between elegiac balladry and energetic heavy metal music and the aforementioned flat production that is however redeemed by a strong remastering effort by guitarist Tony Iommi himself.

However, while not coming even remotely close to the band's greatest records from the seventies and eighties to be fair, Forbidden isn't the nadir many reviewers have made it out to be. This album features a lot of forgotten pearls, hidden potential and will to experiment, progress and surprise. Dedicated fans of the band should now take the time to give the brand-new remastered version a fair chance and spin that ugly duckling that turns out to be a beautiful bird a few times indeed.

Final Rating: 80%