Metal Nerdism Vol. 9: Top-10 (+1) greatest metal singers you don't see in the lists with the "greatest singers"

Very often (very often) there are lists about the "greatest" singers in magazines and (mostly) online media. These lists are always similar not only because the "greatest" singers are objectively known but mostly because you "can't" make such a list without a few specific names. Name them Bruce Dickinson, Ronnie James Dio, Rob Halford, Eric Adams, Geoff Tate etc. These are legendary voices that should be in such lists for many reasons. If they are "objectively" the best, this is something that's always debated even among professionals, but they're definitely among the greatest.

While those lists are always similar, there will always be singers that never got their share of "greatness" in those lists but a few of them are singers of songs that match the quality of many of those you already know from those lists mentioned above. In the end, a song is not just about the instruments and how "correct" they're performed, or how a voice reaches specific "standards". The greatest pieces of art, sometimes are those who offered something new, something out-of-the-box, something with a passionate and unique performance, something that doesn't follow specific standards. "Critics-professionals-teachers" don't always understand them but the audience does. With that said, we can understand why Blizzard of Ozz or Metallica have sold millions of copies. These are perfect albums and everyone related to these albums can be in such "lists".

Besides all those singers that we use to see in these lists that are many times debatable according to personal tastes or because you can't understand the uniqueness, or talent, or you just don't like the person, there are many more that could be in every of those lists. So here you have the greatest metal singers you don't see in the lists with the "greatest singers".

written by Andreas Andreou

1. Jon Oliva

The Mountain King, the voice of Savatage, one of the best US metal bands. A unique voice with character and passion. From his early performances and his iconic yell in "Sirens" up less known tracks like "The Price You Pay" he was always a character but when he was singing personal lyrics, an unmatchable feeling was dominating each track. During 1989-1991 almost each performance was magnificent, something not very common, even for the greatest singers that use a specific "singing template". "When the Crowds Are Gone", "Hounds", "Summer's Rain", "If I Go Away", Jon Oliva was always unpredictable, a legend on his own.

PERFORMANCE: Tonight He Grins Again (Streets, 1991)

Check also: Russ North (Cloven Hoof)
 

2. Tony Martin

Tony Martin has a long story as an artist, even if he is mainly known as one of the Black Sabbath singers. Actually, he is the second longest serving singer of the first heavy metal band after Ozzy Osbourne. From The Alliance years up to replacing Ray Gillen in Tony Iommi's Black Sabbath version he was a singer with a talent that just needed the right people. And even if in The Eternal Idol (1987) he just followed Gillen's vocal lines, in Headless Cross (1989), Tyr (1990) and Cross Purposes (1994) he was an important element for one of the better heavy metal styles we love to listen. A solid singer with a huge voice. When he also started writing lyrics during Headless Cross he had the talent to find the most suitable words and phrasing that could perfectly fit with his vocal lines.

PERFORMANCE: When Death Calls (Headless Cross, 1989)

Check also: Russell Allen (Symphony X)
 

3. Blackie Lawless

In the '90s, the music world was changing despite the fact that there were still a few bands coming from the '80s that expanded their commercial success and fame. But there was also something new, especially in the United States of America, where everything that W.A.S.P. was representing, became "old" and outdated. It was that point where Blackie Lawless started presenting a different, mature face miles away from the '80s party style of the band and the years where they were targeted by the Parents Music Resource Center (PMRC) along with bands like Twisted Sister. Still though, Blackie  was always different even if his live performance is known for pre-recorded parts. From simple lines like "I'm a wild child, come and love me", to controversial lines like "I got pictures of naked ladies" up to "where is the love to shelter me", Blackie always had this huge emotional voice that made every line sound true even if his self has rapidly change over the years.

PERFORMANCE: The Idol (The Crimson Idol, 1992)

Check also: David Wayne (Metal Church)
 

4. Robert Lowe

Few bands with more than 5 albums can claim that each one of them is at least great, and one of them is Solitude Aeturnus. The Epic Doom Metal legend from Texas is the greatest band of its kind along with Candlemass and an important element of this (true) statement is Robert Lowe's vocal prowess. A cathartic voice that leads tο redemption while at the same time it is mournful leading to ultimate sorrow.

PERFORMANCE: Mirror of Sorrow (Into the Depths of Sorrow, 1991)

Check also: Simen "ICS Vortex" Hestnæs (Lamented Souls, Arcturus)
 

5. Steve Benito

While his legacy is limited to Heir Apparent's One Small Voice (1989) and a few more recordings here and there, Steve Benito had an extremely elastic voice that was very different from all those Geoff Tate clones that despite their excellent abilities were nothing new and all sounded alike. However, he didn't make any career in music because of his character since despite being a talented person, he was also extremely brash, offensive, very opinionated and always used to getting his way, leading Heir Apparent to the end after the release of One Small Voice, illegally taking the name and putting founder Terry Gorle out of the band. Still though, from the rehearsal recordings of the Triad release up to the second Heir Apparent album and the available live shows on the web, Steve Benito is an undeniable talented and intelligent singer.

PERFORMANCE: Cry for Rome (live session 1988)

Check also: Vittorio Ballerio (Adramelch)
 

6. Eric Clayton

Eric Clayton's story is a story that could be larger than the man himself and his band, Saviour Machine. A life of wounds and scars, each one of them present in each song and each performance. The scars in the soul of Eric Clayton were created from deep artistic and emotional wounds and after chasing monsters for a lifetime he finally found love and redemption. His songs are his legacy and within them, you can feel the wounds, the pain, the feelings, his revelation and his art. An emotional baritone with a unique ability to transfer his inner feelings and soul to the listener.

PERFORMANCE: The Night (Legend Part I, 1997)

Check also: Eric Wagner (Trouble)
 

7. J.D. Kimball

Born John David Kimball in March 12th of 1958, died by cancer in October 3rd of 2003, the voice of bravery can be heard in Battle Cry (1984), Warning of Danger (1985), The Curse (1986) and Nightmares EP (1987) of Omen, one of the greatest US underground metal bands of the '80s. "Nothing worthwhile is easy, the path isn't always clear", Kimball sang in "At All Cost" and his life was indeed unclear and difficult but his legacy will remain.

PERFORMANCE: Don't Fear the Night (Warning of Danger, 1985)

Check also: David DeFeis (Virgin Steele)
 

8. Devon Graves (Buddy Lackey)

A haunting and hypnotic voice that  transforms every single line into an image. There are very few singers that can catch the exact mood of the music and lyrics; Buddy Lackey (later Devon Graves) is one of them. Dreams, pain, anxiety, fear, life, society and a wider abstract philosophy around them finds the perfect voice to transform words into images through a unique performance that cannot be easily copied. From "Hangin' on a String" riding on an endless carousel of wishes, hopes and dreams up to the Deadsoul Tribe, the voice that whispers in our ears speaks in words that come from inside, crashing the waves upon the shore. Pure art.

PERFORMANCE: I Remember (A Social Grace, 1990)

Check also: John Arch (Fates Warning, Arch/Matheos)
 

9. Mike Baker

The voice of the first five albums of Shadow Gallery left the mortal world on October 29th of 2008 by heart attack but he marked our lives forever. Despite the fact that he wasn't a composer or lyricist and even most of the vocal lines were written by others (mostly Carl Cadden-James) his performance was an important element in the music of Shadow Gallery and truth to be told, Shadow Gallery's vocal lines are like songs within the songs, and among the best ones in metal music. Baker's emotionally trembled voice had a specific feeling in most of the songs adding a further uniqueness.

PERFORMANCE: Hope for Us? (Tyranny, 1998)

Check also: Alan Tecchio (Hades, WatchTower)
 

10. Dee Snider

There is also another kind of voice, the "life" voices. The confident singers who put their voice's uniqueness and character on top of their lyrics, mainly talking about life, like they already lived what they're talking about. It can't get more real than that and Dee Snider has one of the most powerful voices that grabs you at once no matter how many better singers you can easily think off. Recognizable from the first second, Snider might very well also be the greatest metal frontman ever walked the stage.

PERFORMANCE: The Fire Still Burns (Come Out and Play, 1985)

Check also: Biff Byford (Saxon)
 

+1: Jutta Weinhold

Those lists are male-dominated in all media, probably just because heavy metal also looks like. However, we can't act alike so here is our pick: Jutta Weinhold, the German singer mostly known from Zed Yago and Velvet Viper but she also had a solo career in the '70s.

I saw live Jutta in Germany at the Keep It True Festival in 2015. Born in 1947, she was 68 (!) years old that day. She didn't look more than 50 and she didn't sound more than 40. That was a legendary performance for a person that's nearly 70 years old. Bring in your mind someone at that age and then imagine that one on stage performing "Zed Yago", "The Spell from Over Yonder" and "Revenge". Unbelievable. Jutta nailed everyone, and EVERY man close to her age.

PERFORMANCE: Zed Yago (From Over Yonder, 1988)

Check also: Leather Leone (Chastain, Leather, Malibu Barbi)

Eric Clayton & The Nine: The Man, the Scars, the Band and the live show in Athens.

Saviour Machine is a unique band. Saviour Machine has a unique story; a story that could be larger than the band itself. Formed back in 1989 by the brothers Eric and Jeff Clayton, it became an artistic vehicle that could carry the creative minds of both Eric and Jeff, and travel their musical vision in the heart and soul of the audience. But there are different kinds of audience, so let’s just talk about that specific audience that remained close to the heart and soul of Saviour Machine. That audience will never forget the first time that listened to Saviour Machine I (1993) or Saviour Machine II (1994). That audience was shocked at the first time that witnessed the live ceremony of Saviour Machine, and some of them later, couldn’t handle the Legend trilogy. But that incomplete trilogy, was something that no one could handle; not even the artists themselves. And then, sometime after the entrance of the new millennium, Saviour Machine was no more and Eric Clayton was lost…

by Andreas Andreou

The Man. Eric Clayton. A visionary artist and performer. His legacy so far is more than just music and his story is more than just a story… In 2004 Eric got diagnosed with Barrett’s Esophagus, a condition that got worse over the course of some years. The story is known, so let’s just copy the statement: “We are all familiar with the American healthcare system. You’re not insured, there is no money, we’re gonna pump you full of pills. All kinds of them. The ones that make you feel numb, afraid of everything, weary of contact with anyone. The ones that make you feel dead inside.

This is not a state in which an artist can create. Especially not when you’re dealing with the end of the world every day. Slowly but surely, both Eric’s musical career and his social life burned out. Saviour Machine was dead, his marriage fell apart. With little more on board then some clothes and a baseballbat, Eric Clayton retreated to a trailer in the middle of the Utah dessert, determined not to be found by anyone.”


“I don’t know where I’m going from here, but I promise it won’t be boring” - David Bowie


The Scars in the soul of Eric Clayton were created from deep artistic and emotional wounds. A different kind of audience (not the one we spoke about in the beginning), the bold and ambitious Legend trilogy, the music industry, health, things that shouldn’t happen but happened, and things that never happened… And then, Eric Clayton disappeared. Someone could even write a book about those years in the life of Eric Clayton… But actually, this book is already written by Eric himself; The Collective Journals 1997 – 2009.

There were two turning points in the period of Eric Clayton’s life after The Collective Journals 1997 – 2009, so let’s go somewhere in the mid-10s. Eric was invited by Arjen Lucassen to perform at the Ayreon spin-off The Theatre Equation (2015) in Netherlands. Then, one person enter his life and another one left the mortal world. Eric met his future wife, and David Bowie died. David Bowie and Black Sabbath are Clayton’s biggest influence. Jeff Clayton has even recorded an amazing complete album inspired by Black Sabbath, while in my recent meeting with Eric, once the show in Athens was completed, his first words to me were, “Great t-shirt!”… I was wearing a Black Sabbath one.

Along with his brother Jeff, Eric decided to pay a tribute to David Bowie and started the Bowie Decade project, in which, for a whole year, they recorded and released on bandcamp, a Bowie cover (from his first decade) every month! I’ve been following Eric Clayton since ages and it was very nice to see that the desire for music was back again. This whole procedure was like a redemption and month by month, you could see the evolution of music. Shortly, former members of Saviour Machine, Nathan Van Hala (keyboards) and Charles Cooper (bass) joined this project and that eventually led to the reunion of Saviour Machine.

Listen to the Bowie: Decade project HERE

The writing sessions for new Saviour Machine material started and it was announced that the album will be called Saviour Machine III. However, during those writing sessions - that will take their time, and the album won’t hit the record stores before 2021 – Eric came up with material that didn’t exactly fit for Saviour Machine; it was different and deeply personal…


The Band under the name Eric Clayton & The Nine was formed in 2018. As Saviour Machine are currently not able to tour, Eric formed this band, and they started playing selected concerts, performing Saviour Machine songs and few covers.

Eric Clayton had already decided to move permanently to Europe (specifically in Germany) in the summer of 2017. Then, he was teamed with few talented musicians from the Netherlands: Jeroen Geerts (guitar), Bas Albersen (guitar), Rob Dokter (bass), Twan Bakker (drums) and Ludo Caanen (keyboards). Eric Clayton & The Nine performed seven live shows during the end of 2018 and the beginning of 2019, including Hammer of Doom festival and Brainstorm fest. During that time, new songs started taking shape and now, a new album is already written. The album will be named A Thousand Scars and shortly, the band will enter studio for recordings, with Devon Graves helping with the production.

The live show in Athens, is the ninth show of Eric Clayton & The Nine, and that number seems more suitable than ever before. When Eric Clayton & The Nine were announced that will perform two dates in Greece, 27th of September in Thessaloniki and 28th of September in Athens, at Demons Gate Festival (along with names like Meden Agan, Doomocracy, On Thorns I Lay, Sorcerer and Saturnus), the Greek audience was expecting something unique. Few fans in Thessaloniki weren’t really satisfied, but the ninth show of the band in Athens, was full of passion and emotions, both from the artists on stage and the audience.   

The masks were on stage, but Eric wasn’t wearing one. He doesn’t have to hide anything, anymore, and the band started with “Helter Skelter”, a cover from The Beatles. And then, the masks were off and classic Saviour Machine songs filled the venue. “Christians and Lunatics”, “Enter the Idol”, “The Mask” and an amazing performance of the “Killer”. Then, Eric said that he needs to perform the next song and it was something personal, so David Bowie’s “Five Years” was the next cover. While in the first minutes of the show it seemed that the band needed to find its steps on the stage, we already started to experience something unique. Just like what we really wanted from such a band; and even more. Eric’s voice still sounds emotional and his stage presence is captivating. As for The Nine – The Band, I don’t think that Eric could find more suitable musicians to share his vision and all together share the same passion and love for music. Jeroen and Bas on guitars, Rob on bass, an amazing Twan Bakker on drums and Ludo on keys, all were magnificent.

“Ludicrous Smiles”, “The Wicked Window”, “Son of the Rain”, “Ascension of Heroes” and the apotheosis of “The Stand” (probably the highlight of the night) were next in line. At that point, two new songs were performed, from the upcoming A Thousand Scars album, “The Space Between Us” and “American Whore”. Both of them sounded very good and it seems that the debut album of Eric Clayton & The Nine will be an inspirational, emotional and beautiful release.

A very different performance of “Carnival of Souls” was next, and the show ended with “Legion” and “Love Never Dies”. Eric went off stage and became one with the audience. The kind of audience we spoke about in the beginning. The kind of audience that is one with the artist. The artist we missed for so many years, and finally is back with us.


Welcome back.

Tony Iommi and the Hand of Doom - One riff to rule them all.

February 13th of 1970. The debut album of Black Sabbath was released.

In 2019, we celebrate 50 years of Black Sabbath. Home of Metal is a celebration of the music that was born in Birmingham UK, the birthplace of Heavy Metal. A season of exhibitions and events that connects fans with artists, music, visual art and social history.

From 22 June until 29 September of 2019, there will be a major exhibition celebrating Black Sabbath and their legacy at Birmingham Museum & Art Gallery.

In celebration of the release of Black Sabbath and 50 years of Black Sabbath, we pay a tribute to Tony Iommi (Anthony Frank Iommi, born February 19th, 1948), the Riff Master and Lord of this world.

We take a look on the legacy of his riffs, with contributions and exclusive comments of few great musicians inspired by his music.

The Album. The Song-The Riff.

And the children of doom inspired by his magic: Victor Arduini (Arduini/Balich, ex-Fates Warning), Brian "Butch" Balich (Argus, Arduini/Balich), Howie Bentley (Cauldron Born, Briton Rites),  Chris Black (Professor Black, High Spirits, Pharaoh, Dawnbringer), Leif Edling (Candlemass, The Doomsday Kingdom), Anders Engberg (Sorcerer), Devon Graves (Psychotic Waltz), Kimi Kärki (Lord Vicar, Orne, Reverend Bizarre), Chritus Linderson (Lord Vicar, ex-Count Raven, ex-Saint Vitus), Gerrit P. Mutz (Dawn of Winter, Sacred Steel, Battleroar), John Perez (Solitude Aeturnus), Vorskaath (Zemial, Agatus, Alpha Centauri)

The Album: Black Sabbath (1970)

During 1969, Earth / Black Sabbath were playing live anywhere they could and in January of 1970 the record deal was finally official. Those days, without internet, the spread of the news was quick and a band that released an album in February, could influence another band that released an album just two months later. Things were very fast and recordings were finished in just few days. Just keep in mind that during 1970-1973 Black Sabbath released 5 albums!

So, in 1969, Ozzy heard the Led Zeppelin debut album and he was shocked. He couldn't believe that this was a new band. He said to Tony Iommi, "Did you hear how heavy this Led Zeppelin album sounded?" Without missing a beat, Tony replied, "We'll be heavier". And so they did. In February 13th of 1970, the world of music changed.

According to Devon Graves (or Buddy Lackey, if you prefer), member of the genuine progressive metal act Psychotic Waltz, and also the man behind Deadsoul Tribe, "Black Sabbath is the most deeply influential band of the whole metal genre. Case in point; the first album, Black Sabbath is historically significant because it was the first rock album that remained to a single genre. No blues, no folk. Just a dark, heavy vibe, even when mellow, always a single haunting thread spun throughout. As became the genre that was born from it. Black Sabbath invented ‘Heavy Metal’ without having that handy label."

The Song-The Riff: Black Sabbath

At 4:36, the heavy riff reveals to the desperate voice that was screaming, "Oh, no, no, please God help me!", that Satan's coming 'round the bend...

Victor Arduini, guitar partner of Jim Matheos during the early years of Fates Warning, revealed his Black Sabbath influence with the Arduini/Balich project and the album Dawn of Ages in 2017. Victor comments: "While there are just so many individual riffs that I could include in my list of inspirations there none more specific in its tone, mood and overall feel than the one that started it all, 'Black Sabbath'. The darkness and power that Tony brought to that song still moves me to this day. His simple use of a one-note background behind the vocals created such emotion that rises into those doomy massive power chords, then completely changing into that second half of almighty passionate riffing, is simply one of the best all time moments on any Sabbath album. I still remember how it made me feel 40 years ago and it's no less as inspirational in what I play and write today."

Howie Bentley (Cauldron Born, Briton Rites) besides a guitarist and composer, is also an author and true metalhead. "Every riff Tony Iommi ever wrote for Black Sabbath was stellar, so it is not the easiest thing for me to do to pick a favorite," says Howie and explains "they are all my favorite, and Black Sabbath is the greatest band of all time. So, I will just start from the beginning."

"Though some would say that heavy metal is a subgenre of rock music, I vehemently disagree. There was a point where the two musical genres separated, and that point was when Black Sabbath wrote their first song, the eponymously titled 'Black Sabbath'. With three notes (root, octave, tritone) Black Sabbath created a whole new genre of music that had a lot to do with Gustav Holst’s 'Mars, the Bringer of War', and nothing to do with The Beatles and The Rolling Stones. With lyrics primarily about black magic, wizards, and Lucifer, Black Sabbath left the mundane mediocrity of rock n’ roll, the blues, and hippy bullshit far behind and created the template for heavy metal bands that is still used to this day. Heavy Metal is about entering another world through music. That world is a realm of the supernatural and the fantastic, and was founded by Tony Iommi sending the magic notes through his overdriven amplifier to a world that was ready for something new, which has become something timeless."

The Album: Paranoid (1970)

Just few months after the debut album, the band had more songs completed and Paranoid was released during September in UK. Opening with "War Pigs", previously performed as "Walpurgis" and dealing with witches' sabbath, transformed to the famous anti-war song we all know, now. And then, it is "Paranoid", the song. The last song recorded because the label needed a single. As the backbone of doom, drummer Bill Ward recalls in Iron Fist magazine (September 2018), "There was always an underlying fear that if we made singles we might become a part of popdom, and that might somehow threaten our more aggressive attitude." Black Sabbath always hated singles and Bill also adds to Chris Chantler at the same interview, "We were quite rebellious to any kind of authority, it's just the nature of the beast of where we come from." In 1970, Black Sabbath was already a band with a separation between a core, rebellious fan base, and pop (or new) fans that come to see what's is this that stood before them. More people joined the Sabbath, more songs changed their lives.

The Song-The Riff: Iron Man

The main riff of "Iron Man" strikes like a giant iron bloke and heaviness shocked the world. I am not a guitarist, but when I was a teenager, I learned to play just the main riff of three songs. One of them is "Iron Man". The other two are "N.I.B." and "Smoke on the Water". "Iron Man" is an immortal, dramatic song and that riff is an archetypal Sabbath riff, one of Iommi's (and heavy metal's) greatest and most iconic guitar parts.

The Album: Master of Reality (1971)

Is this the greatest Black Sabbath album? Tony Iommi downtunes and so did Geezer Butler to match. And the heaviest album until 1971 is released! Master of Reality is dark, heavy and extremely influential. There is a new dimension, away from blues influences and here we have THE Black Sabbath sound.

The Song-The Riff: Children of the Grave

The galloping riff, the marching of the damned against the world in which they have to live.

Multi-instrumentalist Chris Black (Professor Black, High Spirits, Pharaoh, Dawnbringer) is one of the most productive musicians of our time. Regarding the article you are currently reading, "Whatever Edling says is the correct answer", notes Professor Black, "but my pick is 'Children of the Grave' opening riff.  That rhythm is one of heavy metal's most dependable building-blocks, and as such it runs through thousands of subsequent heavy metal songs that I also love, and perhaps dozens that I've written."

Kimi Kärki, known as Peter Vicar during his Reverend Bizarre years, also known as Peter Inverted during the early Lord Vicar years, is also a member of Orne, and spreads doom over the world since early '00s. "There’s so many Black Sabbath riffs that rival for attention in my head right now" says Kimi before adding that his favourite Sabbath album is Sabbath Bloody Sabbath, for its diversity and ambition. "But dirty massive riffage was perfected already earlier. I'll go with one song that I have a fond personal memory about. 'Lord of This World' is the sixth song of the third Black Sabbath full-length album Master of Reality."

"When I was working on the second Orne album Tree of Life, I had Patrick Walker of Warning and 40 Watt Sun fame guesting, doing a spoken intro and outro. We recorded in London, and got to witness the original tape reels of Paranoid and Master of Reality by chance. The Holy Grail. This song had piano and slide guitar recorded on separate tracks, as you can hear from the 2009 special edition. And YouTube, nowadays... One of the heaviest songs on this planet could be mixed so that there is Ozzy, piano and slide guitar only, hope someone will pull it off one day."

"But the actual heaviness of the intro... The influential pounding of the verse riff... and THAT evil bluesy riff with a bending that follows "That soul I took from you was not even missed...", and the break. I say goddamn!!! The song is obviously about Lucifer, but with a biblical twist, a warning... It is hence a logical continuum to songs like 'Black Sabbath', and 'After Forever'. It belongs to the pantheon of perfect heavy metal songs."

Kimi's partner in doom and singer of Lord Vicar, Chritus Linderson (ex-Count Raven, ex-Saint Vitus) is one of those (few?) people who do appreciate most of Sabbath, including the Technical Ecstasy and Never Say Die! albums. Chritus adds "I’m gonna go with the song 'After Forever' from Master of Reality album on this one. When that main riff kicks in it always make me grit my teeth. Love that in-your-face kinda thing. He was always the master of that."

The Album: Vol. 4 (1972)

Black Sabbath already spread the seed for the future. And not only for Heavy Metal music, but other genres and sub-genres, too. From Soundgarden to Monster Magnet and beyond, grunge, alternative, stoner, the influence is there. And this influence makes Black Sabbath more important. Originally supposed to be entitled "Snowblind", Vol.4 has the rejected title's acknowledgement in the credits: We would like to thank the great COKE-Cola Company of Los Angeles. And that pretty sums up the lifestyle of Ozzy, Tony, Geezer and Bill during 1972 and the next years.

The Song-The Riff: Supernaut

Frank Zappa loved that song. A song that even influenced Lenny Kravitz... Black Sabbath reach new dimensions. This is "new" and "different" Sabbath, and yet so familiar. Groovy and uplifting, this is an elegant riff from the new and diverse Sabbath era.

The Album: Sabbath Bloody Sabbath (1973)

Is this the best Black Sabbath album? While Master of Reality was a heavy and solid statement, Sabbath Bloody Sabbath is an elegant album that follows specific songs of Vol.4. The proggressive track "Spiral Architect" has an orchestra and unique cosmic lyrics by Geezer Butler, there is flute on "Looking For Today" and Yes keyboard master Rick Wakeman offers his magic on "Sabbra Cadabra". Sabbath Bloody Sabbath is a creative triumph and one of the most important '70s albums with a huge influence in the '90s.

The Song-The Riff: Sabbath Bloody Sabbath

The riff that saved Black Sabbath. The riff that broke Iommi's writing block in 1973. Black Sabbath rehearsed in the dungeons of a castle and when Iommi came up with that riff, another masterpiece started taking shape.

The latest Candlemass album The Door to Doom features a guest guitar solo by Tony Iommi at the song 'Astorolus - The Great Octopus' and Leif Edling was kind enough to have a small break from Candlemass and add his comment: "Very hard to decide what riff is the best of all the mighty and wonderful Iommi riffs. There's a whole pile of them... best riffs ever created! So I'll just make it easy for me... go for the 'Sabbath Bloody Sabbath' one. So mighty, epic, crushingly heavy... immortal! The perfect start to the best heavy metal album ever, that just happens to have the coolest (and best) cover of all records released through time."

Gerrit P. Mutz, singer of Dawn of Winter, Sacred Steel and Battleroar says that Sabbath Bloody Sabbath is also his favourite riff. But if he had to chose another one, he would take something off the same album because it is his favourite Sabbath album. Do you want something different? Gerrit has the answer: "'Who Are You' might more be a melody than a riff but I nevertheless adore it! Goatsnake once did a brilliant and extremely heavy cover of that one, if I remember correctly. To me this "riff" is simple, effective, evoking and pure magic. Combined with the fantastic lyrics this just generates a mood of pure unadulterated timeless DOOM!!!" And if 'Who Are You' is probably one of those few Sabbath songs written by Ozzy, the magic is still there. And will always be, since Sabbath Bloody Sabbath is one of the greatest albums ever released.

 The Album: Sabotage (1975)

The music diversity that started on Vol. 4 and reached unique artistic heights on Sabbath Bloody Sabbath, sounds different on Sabotage. But mentally, psychologically and business wise, Sabotage is the ultimate title for Black Sabbath during 1975. Music had its natural outgrowth but everything is sabotaged for them. If there is one thing that no one can blame Black Sabbath of, it is the fact that they always composed and played the music they felt right in order to satisfy themselves. At least for their great albums. That's why they are great. But Sabotage, despite its greatness, it is also distracted and confused and the paradox is that everything worked in favor of the artistic creation and the music. It was an angry album, it was experimental, a difficult album to make and there are parts that are also difficult to catch or seem out of order but in the end, Sabotage is one of those great album of the mid '70s when music was still evolving and changing. The writ was delivered.

The Song-The Riff: Symptom of the Universe

One of those riffs often voted as "the greatest riff ever", and one of the obvious answers to the question, "what's the greatest riff ever?" A prototype that sets the template for what became speed and thrash metal few years later. Brian "Butch" Balich (Argus, Arduini/Balich) notes, "For me the Iommi riff that had the biggest impact and the one that gets my blood pumping the most is the main riff in 'Symptom of the Universe'." Brian recalls, "I first heard the song at a friend's house back in junior high or high school... to that point I was unfamiliar with the Sabotage album. Well when I first heard that crushing riff kick in the song it just about threw me through the wall. It was like an explosion. So heavy and so catchy at the same time. So simple but so iconic. I still maintain that it's the heaviest riff ever written (and the heaviest song).  So, this was HUGE in furthering my love for Sabbath and for my love of riff heavy music and doom.  Even though I'm a singer, Tony Iommi has been one of the most important musicians to me - his riffing, his soloing.  He's a legend and 'Symptom of the Universe', for me, is his crowning achievement."

The Album: Technical Ecstasy (1976)

Time was moving differently in the music industry of the '70s. Black Sabbath had already released six albums and when Technical Ecstasy, came out, they were considered as "rock dinosaurs" and punk rock had just arrived in the United Kingdom. Today, a period of seven years might be just the gap between two releases, but then, it was already a huge career. Technical Ecstasy is not the "bad" album that many people consider nowadays. There is a thin line between "confused" and "diverse", and that album stands there in the middle.

The Song-The Riff: You Won't Change Me

The opening riff of "You Won't Change Me" sets the perfect intro for Ozzy's desperate and heart-breaking performance. A moody riff in the vein of early Sabbath, even if the album has a different, rockin' and proggy aura of confusion.

The Album: Never Say Die! (1978)

Another difficult Sabbath album. Another confused but also a diverse Sabbath album. The last album with Ozzy and the end of an era. Some people might believe that this is an uninspired and tired album but most likely, Technical Ecstasy and Never Say Die! are two albums that deserve their own era, within an era. An experimental era in the vein of the late '70s, with music recorded in the middle of conflicts and confusion. The ending is just a beginner...

The Song-The Riff: Johnny Blade

Keyboards and heavy-rocking riffing. Tortured and twisted, the future's decided.

The Album: Heaven and Hell (1980)

Polished, straight, focused and solid, Heaven and Hell sets the template for the '80s heavy metal sound. Black Sabbath set the foundations of heavy metal in 1970, and ten years later, Ronnie James Dio enters Sabbath and they change heavy metal music. Epic, sinister and elegant, it brings freshness and power to the tired body of Black Sabbath. The music, the performance and the production of Martin Birch, everything perfectly balanced in order to create a heavy metal masterpiece and one of the greatest metal albums ever.

The Song-The Riff: Heaven and Hell

The opening guitar riff, the bass line and the guitar solo are among the most iconic in metal music. The rebirth of Sabbath and the evolution of Iommi's riffing are more than obvious on "Heaven and Hell". The archetypal Sabbath sound is modernized for the new era.

The Album: Mob Rules (1981)

Mob Rules is a great album that might be underrated by few, only because it is second (as a release) to Heaven and Hell. It is vibrant, epic and heavy. Bill Ward left the band during the Heaven & Hell Tour and Vinny Appice joined Sabbath. However tensions began within the band, with Iommi/Butler on one side and Dio on the other. During the '80s, Iommi has stated that Dio had an extremely selfish attitude and a war of egos began. The mixing sessions of  the forthcoming live album Live Evil ended the battle between the two parties. Dio was asked to leave.

The Song-The Riff: Falling Off the Edge of the World

Is the riff at 2:10, the greatest heavy metal riff of all times? Vorskaath (Zemial, Agatus, Alpha Centauri), adds a detailed commentary about the riff, the song, the album, "I am not sure if I could truly be objective in anything I say about 'Falling Off the Edge of the World' and it's difficult to tame my urge to begin by using epithet exaggerations to describe it." Vorskaath explains, "Suffice it to say that it is my favourite Black Sabbath song.  I should begin by stating this at the very least. Why? Because everything is balanced in such as way so as to create a perfectly dark, ominous yet aggressive heavy metal song."

"The gentle story-telling by Dio on top of the melancholy introduction immediately draws the listener as the passageway to a dark fantasy tale. Geezer's opening bass lines, muffled yet perfectly dominating, prepare us for the doom that Vinny Appice unleashes using those big reverberating gong drums and gong of course. If Sabbath were ever known to have produced Doom Metal, this part is the perfect example as to how the beast of doom moves: ever so slowly and imminently towards the listener."

"Suspense rises by a reversed sound pushing ever forward and reaches a climax upon which the main theme comes to sit and remind all of us how and why Tony Iommi is the master of the riff, if ever there was one. You have been already swept up by the story thus far and now crushed in what must be one of the supreme riffs of heavy metal history. The piece remains ominous and suspenseful throughout, by the nature of that riff whilst never letting go once the run begins."

"The production is of no less significance. Iommi pushed his guitars harder than before by using different amplification than before and the drums were the heaviest and biggest sounding drums on a Black Sabbath album until that date. Such heaviness and spaciousness came to define heavy metal productions."

"Dio once said that the album was composed at studio sessions with everything being outstandingly loud and heavy. That element passed onto the recording and became the most complete heavy metal album that Black Sabbath had recorded to date. No ballads, no happy songs, just darkness and aggression."

"Despite the band itself reckoning the sound of the Mob Rules with disapproval in later years, this remains the finest production that Black Sabbath ever achieved, particularly as a result of their collaboration with Martin Birch, who never worked with Black Sabbath again, but carved himself an illustrious career as the producer of iron Maiden from Killers through to Fear of the Dark." 

The Album: Born Again (1983)

Drummer Vinny Appice followed Dio and Bill Ward returned to Black Sabbath for Born Again that was recorded at the Manor Studios. However, Bill didn't continue beyond the studio recordings, and Bev Bevan joined for touring. As for the singer, he is no other than Ian Gillan. Songs like 'Disturbing the Priest' (there is an also a cool Psychotic Waltz cover out there) and 'Zero the Hero' are eternal masterpieces, but the Sabbath fans (and press) didn't really accept this new super group (they called them Deep Sabbath), and having 'Smoke on the Water' in the live set was a disaster. Ian Gillan was looking forward for the US tour since he didn't manage to tour in the States with his solo band but the best was yet to come for him. After Born Again, Gillan joined the reunited Deep Purple and recorded one of the best reunion albums ever, Perfect Strangers. Black Sabbath continued with many line-up changes during the '80s but the great music is still there. Different, but still there.

Devon Graves (Psychotic Waltz) recalls, "The album Born Again was the most satisfying metal expression of my whole life."

The Song-The Riff: Zero the Hero

This is a haunting riff. A nightmare. "Zero the Hero" is malevolent and sinister. Disturbing and yet so addictive. This riff is pure evil.

The Album: Seventh Star (1986)

It seemed that Black Sabbath would come to an end. Tony Iommi was left alone and started to write and record his first solo album with Glenn Hughes (vocals), Dave Spitz (bass), Eric Singer (drums) and Geoff Nichols (keyboards). However, under the pressure of the record company, the album was released as Black Sabbath featuring Tony Iommi, and had only Tony on the cover sleeve. Seventh Star is a great album, but it is not a Sabbath album. It wasn't meant to be a Sabbath album. But we used to consider it as a Sabbath album and that's fine. Glenn Hughes had to face his demons and bad karma, so he didn't last for more than a handful of live shows. He was replaced with Ray Gillen. Until the next chapter.

The Song-The Riff: Danger Zone

A great riff from a great album. Yes, Seventh Star is a great album. A "Featuring Tony Iommi" album. And "Danger Zone" has an amazing  and addictive riff. It sounds like a classic '80s Iommi riff in a classic '80s hard rock/heavy metal song.

The Album: The Eternal Idol (1987)

The Eternal Idol, the 13th album of Black Sabbath, was released, on November 23 of 1987 and marked the beginning of the most underrated era of the greatest band on Earth. With the guidance of producer Chris Tsangarides and after a difficult period, the album started taking shape with Ray Gillen on vocals but it was finally recorded with Tony Martin, the longest serving Sabbath singer after the Madman.

For some people it is just "one of those other Sabbath albums", but for many others (and especially the last years) it is a great album and the Tony Martin-era gets more recognition over the years. Tony Iommi, the Riff Lord, the Master of all, shines once more. Tony Martin has an amazing voice and even if he based his singing note-by-note on the Gillen vocal lines, he delivers a solid performance that went even further in the albums that followed. And also, Geoff Nicholls is the unsung hero of Sabbath, with his beautiful keyboards that help Iommi to create this unique atmosphere, and we need to mention also the ghost presence of Bob Daisley and Eric Singer.

The Song-The Riff: Eternal Idol

While the album has elements in the vein of Seventh Star, there is a strong epic feeling in few songs, while the title track is pure doom metal. That was something that was missing from the recent albums. Anders Engberg, singer of the Swedish epic doom metal masters Sorcerer, is a huge fan of the Tony Martin era, so when he was asked about his favourite Iommi riff, he said: "The riff or song I have been most inspired by and really feel is in the vain of what Sorcerer is about today is the song 'Eternal Idol' from the album with the same name. That song is for me the pinnacle of the kind of doom influenced music that created bands like Sorcerer and Candlemass. Even though both Ozzy and Dio were there before Tony Martin. It is extraordinary and the vocals are soaring high yet powerful. The evil element in the lyrics makes it perfect. To me the best performance from Mr. Tony Martin."

The Album: Headless Cross (1989)

Headless Cross was the first Sabbath album with I.R.S. Records, after a lifetime with Vertigo and Warner Bros. The album was produced by Tony Iommi and Cozy Powell, Tony Martin wrote all the lyrics and also, Headless Cross is a small village in the vicinity of Birmingham. Overlooked at the time of its release, it is the kind of heavy metal we are missing today.

The Song-The Riff: Devil & Daughter

When Dawnbringer released Into the Lair of the Sun God back in 2012, you could read on a sticker placed on the CD version: "The story of a naive assassin, his bizarre journey, and its tragic end. Revealed in nine untitled parts founded in the key of H (Headless Cross, Heaven Forbid, Hammerheart, Hail to England, Holy Diver...)."

"It's 'Devil and Daughter' too", added Chris Black, the man behind Dawnbringer, about another favourite Sabbath riff, "it was in my head for literally the entire summer of 2011. Awake or asleep, didn't matter.  That rhythm was, and is, in a word: constant".

The Album: Tyr (1990)

By Odin and Tyr, be sure that the blood will start to flow. Black Sabbath's 15th studio album is far away from their traditional sound, and the band reached the shores of epic and power metal, with songs like "Valhalla". This is a different era, but still you can recognize Iommi's riffing. This is the kind of heavy metal we are missing today, part II.

The Song-The Riff: Anno Mundi (The Vision)

John Perez, guitarist and brain of Texas-based epic doom metal legends, Solitude Aeturnus, comments:  "I'm certain that everyone has told you that it's virtually impossible to pick out a favorite riff. Quick guess but I'd say 87% of his riffs are freakin' killer. So I'm going to pick a less obvious, but to my mind equally as important and powerful in the Iommi arsenal. Song and riffs for the song 'Anno Mundi' from Tyr. This song gives me chills when I listen to it! The opening heavy riff at about 1 minute is just a chugging rhinoceros - one of my faves! And the chorus riff is simply as majestic as it gets. It sounds like I'm standing on top of a mountain with wind blowing my hair and looking like I know some important information about the universe! This song gets me every time. So underrated and underappreciated is this era of Sabbath. Iommi is the master at creating songs/riffs for whatever vocalist he has at hand. All hail!"

The Album: Dehumanizer (1992)

After Tyr, the rest Sabbath members that recorded the album and completed the tour (Tony Martin, Cozy Powell, Neil Murray, Geoff Nichols) were each to his home or taking a break with other things. At that point, Tony Martin started working on his solo album Back Where I Belong but none of them knew what was happening until one point. More likely, Martin and Murray were removed from the band. Or they just didn't call them back. However, Dio and Powell didn't really like to work with each other and it was more than obvious that this collaboration will fail once the long recording sessions started. Dio wanted Simon Wright instead of Cozy Powell on drums but Iommi and Butler rejected him. Iommi called Martin to rejoin but it lasted for just few days and a sequence of events led to the final solution: Tony Martin also wanted to finish his solo album, Cozy Powell had a horse riding accident and a broken bone. Meanwhile, Warner Bros Records offer to the Dio reunion line-up a huge amount of money for a new album. With Powell off the picture due to his accident, drummer Vinny Appice was recruited and Dio was back in the studio since that was an accepted option for him. However, he didn't know that Iommi and Butler called again Martin for demo sessions and the pressure of Warner Bros worked on Dio's behalf.

Dehumanizer, the 16th studio album of Black Sabbath was released in June 1992 but the line-up was once again short lived due to extended (again) conflicts between Dio and Iommi/Butler. The final conflict occurred when Ozzy invited Black Sabbath to open for his final (then) shows in Costa Mesa, California, United States. Dio refused because he believed that Black Sabbath shouldn't support for anyone, especially Ozzy.

The Song-The Riff: I

A monster riff! Anger, wicked, legion! An incredible giant riff that brings Sabbath back to form with their heavier record to date.

The Album: Cross Purposes (1994)

Cross Purposes is the most classic-sounding Sabbath album of the Tony Martin era, originally released in January of 1994. When singer Tony Martin joined Black Sabbath, Tony Iommi was the only member of the original line-up and many die-hard Sabbath elitists considered those Sabbath incarnations after the Born Again album more likely as Iommi solo projects under the Black Sabbath moniker. Cross Purposes is probably Tony Martin's personal favourite album from the ones he recorded with Black Sabbath and there is a variety of songs, from the emotional power ballad "Dying for Love", "Cross of Thorns" with its dark, lyrical atmosphere and a magnificent solo by Iommi, "Immaculate Deception" with its haunted keyboards, the doomed and gloomy "Virtual Death" that brings in mind some of the '70s Sabbath aura. And everything with a clear production and mix.

The Song-The Riff: Cardinal Sin

"Cardinal Sin", originally supposed to be called "Sin Cardinal Sin" has a Led Zeppelin "Kashmir" touch evolving to a powerful riff-driven explosion. And that explosion after 2:20 comes with a great Iommi riff.

The Album: Forbidden (1995)

The reunion of the Tyr-era line-up didn't have the same artistic result. No one was happy with the album as it was presented. The presence of Ernie C (Body Count) as producer was a forbidden mission. The album is not bad. It's just not good. However, as Tony Iommi has recently mentioned, he is working on a remix of Forbidden, so the album might have a second chance.

The Song-The Riff: Guilty as Hell

Deep inside you know you're guilty as Hell. Because that's a killer Iommi riff that is lost within a song that makes no difference. At least not until the remixed version...

The Album: Iommi (2000)

The multi-singer solo concept that Tony Iommi had in mind for Seventh Star, finally took shape with the release of his first solo album Iommi. One singer for each song, featuring Henry Rollins, Philip Anselmo, Serj Tankian, Ian Astbury, Peter Steele, Ozzy Osbourne, Billy Idol and few more, it is too modern for a Black Sabbath fan and closer to the bands that are inspired by Iommi.

The Song-The Riff: Black Oblivion

"Black Oblivion" featuring Billy Corgan, has a Vol. 4 touch, and that would be a cool Sabbath-inspired track of the new millennium.

The Album: The 1996 DEP Sessions (2004)

Originally recorded during 1996 with Glenn Hughes on vocals and bass, Dave Holland on drums, Don Airey and Geoff Nichols on keyboards. Due to ex-Judas Priest's drummer, Dave Holland, conviction for sexual assault, Jimmy Copley re-recorded all the tracks in 2004, before the release of the album. That was supposed to be Iommi's first solo album but it wasn't released before the multi-singer solo album. However, it is much better and Glenn Hughes shines!

The Song-The Riff: I'm Not the Same Man

A killer Iommi riff that could be included in an album like Seventh Star.

The Album: Fused (2005)

Another solo Iommi album with his partner in crime, Glenn Hughes. Without been so modern as Iommi, it sounds fresh and much better, keeping a valid heavy metal touch.

The Song-The Riff: I Go Insane

A beautiful nearly 10 minutes song that leads to a riff holocaust after 4:20.

The Album: The Devil You Know (2009)

The reunion with Ronnie James Dio, Geezer Butler and Vinny Appice brings back in modern age the Devil you know and evil doom metal is his game. With the original Black Sabbath line-up touring, they decided to tour and record under the Heaven & Hell moniker, so everyone would be satisfied and Dio won't have to sing "Paranoid" in every show. It makes you wonder how they managed to record such a heavy and evil record after decades and so many albums...

The Song-The Riff: Fear

That's one of those Iommi sinister riffs. One of those riffs that make Satan run away. Or pay a visit for a tea.

The Album: 13 (2013)

The last Black Sabbath album. It was supposed to be the last album with the original line-up in order to make full circle, but Bill Ward is not part of it and drums are recorded by Brad Wilk. However 13 is a honourable final statement of the greatest band ever.

The Song-The Riff: Loner

The archetypal Iommi riff, straight from the heart of the '70s. A proper ending to come full circle (?)




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