Record #924: Black Sabbath – Black Sabbath (1970)

There is perhaps no more unlikely group to change the course of music than Black Sabbath. Originally called the Pulka Tulk Blues Band, and later Earth, the working class quartet from Birmingham cut their teeth playing in blues clubs with a sound not unlike the blues rock of Cream.

But somewhere between forming and recording their first album, a series of events caused them to morph into one of the most ferocious and influential bands of all time. And while Black Sabbath still retains a lot of their blues jam tendencies, the nucleus of their legendary career—and heavy metal as a whole—is impossible to miss.

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Record #640: Black Sabbath – Vol. 4 (1972)

For years, I’ve mistakenly thought of Black Sabbath as a one-trick pony—probably on account of the monotony of the horde of copycats citing their catalogue as their bible.

But after digging deeper into their discography, I can see now that the source material is much more diverse than I could have imagined. Vol. 4 is especially varied, and not just in comparison to their other records, but within its own tracklist.

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Record #601: Black Sabbath – Master Of Reality (1971)

For my great love of metal bands that are often described as “Black Sabbath worship” (see: Pallbearer, Elder, BaronessIsis), I’ve never dug too deep into Black Sabbath themselves beyond some superficial listens to Paranoid.

But on a recent trip to the record store, I decided to change that. Trying to decide between this record and Vol. 4, I pulled up an article that called this record the “ultra-heavy” foundation of doom, sludge, and stoner metal.

I just wasn’t expecting so much overt Christianity.

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Record #48: Black Sabbath – Paranoid (1970)

Black Sabbath is often cited as one of the founders of the popular rock subgenre “metal,” but you’d never guess if you compared it to the drop-D tuned, breakdown plagued, double-kick-drum fury of today’s metal.
This is too melodic, lacking the palm muted chunks of contemporary metal, instead favoring dark (for the time) lyrics put over heavily distorted (again, for the time) blues rock.
But don’t take that as a criticism of the music, only of modern semantics.
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