Showing posts with label Tony Iommi. Show all posts
Showing posts with label Tony Iommi. Show all posts

Monday, March 2, 2026

Back to the Beginning... Ozzy Osbourne's Final Show (July 5th, 2025)

 Post #406

On July 5th, 2025, from Villa Park, Birmingham, England, Ozzy Osbourne- the proverbial "Prince of Darkness", gave a memorable and unforgettable final performance. Ozzy, struggling for years with Parkinson's disease and unable to walk, fulfilled a long-standing dream of playing one final show* with the original Black Sabbath lineup in front of a hometown stadium crowd. What's even more- the entire, day-long celebration of all things Ozzy & Black Sabbath was live-streamed so that fans around the world could watch this momentous farewell performance. I was one of those fans, and while I could not watch the entire show in a single sitting, the live-stream ticket gave me a few days to re-watch the event, and I managed to see every band's set.

Part of the theme was to have each band that performed include a cover of a song by either Black Sabbath or from Ozzy's solo career. This is the element I will focus on for this post. To review every band's set completely would take forever. Besides, they'll probably release the whole concert on DVD or Streaming platforms eventually, right? We can hope!

So then, I will review each Sabbath/Ozzy cover song, and therefor build the most memorable send-off for the ultimate heavy metal icon in a setlist-to-end-all-setlists. Here goes nothing...

As the event began, our opening band was Mastadon. Their choice of a cover song was ‘Supernaut’ from the Volume 4 album. Drummer Brann Dailor sang lead vocals.

The next band was Rival Sons. I was not surprised to see them in the lineup, as they had opened for Black Sabbath on their 2016 The End Tour. They covered ‘Electric Funeral’ from Paranoid.

Big-Four thrash titans Anthrax were next, and they delivered an awesome version of ‘Into The Void’ off of the Master of Reality album.

Halestorm kept the show rolling and delivered the first cover song from Ozzy’s solo material with ‘Perry Mason’ from the Ozzmosis album.

Then came Lamb of God. Before launching into their Sabbath cover, vocalist Randy Blythe talked about how the world is a divisive place, as it was in 1971, and said how this song was a call to love ourselves and love our brothers and neighbors. The song was ‘Children of the Grave’.

As much as the A-list bands were doing an amazing job of showing the love and respect for Ozzy and Black Sabbath, what came next would raise the bar. A rotating lineup of a Supergroup, dubbed ‘Tom Morello’s All-Stars' took the stage and their set was primarily filled with cover songs. During this first set, here are the Ozzy & Sabbath cover tunes, with lead vocals credited:

-'The Ultimate Sin' (Lizzy Hale of Halestorm)

-'Shot In The Dark' (David Draiman of Disturbed)

-'Sweet Leaf' (David Draiman of Disturbed)

-'Believer' (Whitfield Crane of Ugly Kid Joe)

-'Changes' (YUNGBLUD)

During the intermission between the Supergroup and the next band, they played a video of a pre-recorded song by Jack Black and some School of Rock musicians: ‘Mr. Crowley’.

The next band was Alice In Chains and their choice of cover song was ‘Faeries Wear Boots’ from the Paranoid album.

Gojira came next, playing a short set that concluded with a cover of ‘Under the Sun’ from Volume 4. It was good to see a European band in the lineup, because otherwise, aside from Black Sabbath & Ozzy, all the other bands were American.

The next act was really more of a jam session that featured a drum-off between several drummers. They jammed to the riff from ‘Symptom of the Universe’. The drummers featured: Travis Barker, Danny Carey and Chad Smith.

The Supergroup returned for a flurry of more Sabbath and Ozzy covers mixed into their set of several other classic rock and metal songs. They included:

-'Snowblind' (Billy Corgan from Smashing Pumpkins)

-'Flying High Again' (Sammy Hagar)

-'Bark at the Moon' (Papa V Perpetua from Ghost)

Pantera were up next. Their ‘legacy lineup’ features Phil Anselmo and Rex Brown as original members, while Charlie Benante of Anthrax and Zakk Wylde are playing drums and guitar respectively. Giving credit where credit is due, Pantera raised the bar, being the first original band to perform 2 Sabbath covers in their limited set time. They played ‘Planet Caravan’ and ‘Electric Funeral’, both from the Paranoid album, and both songs they had covered before.

Tool performed next. They covered ‘Hand of Doom’, another track from Paranoid. It was a fitting choice as it is a ‘prog-rock’ type of song that moves into different sections from beginning to end.

Another Big-4 thrash titan, Slayer, were next up. When it came time for their cover, they played ‘Wicked World’ from Black Sabbath’s eponymous debut album. I loved this choice on so many levels. One: the lyrical themes are right on par with Slayer classics like ‘World Painted Blood’. Two: it was great to see Sabbath’s first album represented it the choice of covers. I’ve often thought that album is unfairly underrated.

There was another prerecorded video played between set-changes, this time by Fred Durst of Limp Bizkit. He performed ‘Changes’ from the Volume 4 album.

Side note: I was aware by this point that more than one song was performed twice. I was slightly annoyed that the bands seemingly didn’t coordinate their song choices for the sake of avoiding repeats such as this, but under the circumstances I tried not to hold it against them. However, in this case I happened to prefer Yungblud’s version.

By this point the show was escalating towards the inevitable climax, as the performers were now clearly at the A-list level. The next band was Guns N’ Roses. GN'R raised the bar with their song selection, opening with not just one, not two, not even 3, but 4 Black Sabbath covers! Those were: 'It's Alright', 'Never Say Die', 'Junior's Eyes' and 'Sabbath Bloody Sabbath'. With their selections, GN'R went deeper into the Sabbath catalog than we had heard up to this point. They were the first band to play selections from Black Sabbath's 7th and 8th albums with Ozzy: Technical Ecstasy and Never Say Die! Three of their four covers came from these albums, and one of those tracks ('It's Alright') was originally sung by original Sabbath drummer, Bill Ward!

The final "opener" before Ozzy would take the stage was Metallica. Arguably the world's most popular heavy metal band, Metallica got the final opening slot, and were beyond honored to be able to be a part of this finale to the Black Sabbath/Ozzy Osbourne legacy. With Guns N' Roses' honorable inclusion of several deep-tracks from often-overlooked albums, could Metallica do anything to top that? Arguably, they did just as well. They opened with 'Hole in the Sky' from the Sabotage album, the only other track from this album performed on this day was the 'Symptom of the Universe' drum-off (which didn't feature any of the lyrics!). Then, before their set was finished, they also honored the Never Say Die! album with a performance of 'Johnny Blade'!

At long last it was time for the living legend himself: OZZY FUCKING OSBOURNE!

Performing his set seated in a bat-shaped throne, The Prince of Darkness rose from the stage, called for the crowd to scream, and began a set for the ages...

Giving it his all, one last time Ozzy performed his most iconic tracks:
'I Don't Know'
'Mr. Crowley'
'Suicide Solution'
'Mama, I'm Coming Home'
'Crazy Train'

Easily the most emotional moment of his set was his performance of 'Mama, I'm Coming Home'. Ringing with a symbolism never felt before, the lyrics and melody of this legendary ballad left no dry eyes in the audience, either in Villa Park, or anywhere in the world where fans were viewing it. I can vouch for this, personally. The track may be from the album No More Tears, but make no mistake, there were tears on this historic day.

One final set change-over, and before you knew it, Ozzy's original Sabbath bandmates, Tony Iommi, Geezer Butler, and Bill Ward were on the stage with Ozzy Osbourne, and they delivered the most classic of Black Sabbath songs:
'War Pigs'
'N.I.B.'
'Iron Man'
and of course, 'Paranoid'!

As fireworks closed this evening of legacy, tribute, love, and respect for Ozzy Osbourne and Black Sabbath, the original members presented Ozzy with a congratulatory cake.

24 Black Sabbath tracks spanning all 8 original albums with Ozzy.
12 Ozzy Osbourne songs from 5 of his albums.

36 total tacks performed to honor a single, iconic legend of heavy metal music...

John Michael "Ozzy" Osbourne.

Enjoy this playlist of those tracks. If possible, the covers by the performing artists are included. If the cover version has not been recorded for streaming, I used the original Black Sabbath or Ozzy Osbourne recording.


Happy Headbanging to all!

(* Ozzy passed away just weeks after this performance. Ozzy has often sang about his love of performing music, as the lyrics of songs like 'I Don't Wanna Stop' or 'Not Going Away' have depicted. The timing of his death makes these and so many more of his songs all the more prophetic. I will have much more to write on Ozzy, Black Sabbath, and his bandmates in other upcoming posts very soon...)

Tuesday, June 18, 2024

Black Sabbath - Anno Domini 1989-1995 (2024 Box Set)

Post #400

    I became a fan of Black Sabbath for the first time in the early 1990's, largely due to the fact that I was a fan of Dio, and I heard that Ronnie James Dio had reunited with Black Sabbath for the Dehumanizer album in 1992. I added that album to my collection, and proceeded to track down most of Black Sabbath's back-catalog over the next several years. Most of the albums I tracked down featured Ozzy or Dio as vocalists, but there were a couple more-recent ones featuring some guy named Tony Martin as the lead singer.

    The Sabbath/Dio reunion did not last beyond the Dehumanizer album, and the next album they released, Cross Purposes, again featured Tony Martin on vocals. As a new fan, I was a little frustrated with the inconsistency of their lineup in this era, but at the end of the day I didn't think much of it. They had one more album with Martin, Forbidden, released in 1995. Little did anyone know this would be the final studio album from Sabbath for years and years to come...

    Fast-forward to the post-iTunes, and streaming era of music, and all these digital platforms have a huge gap in Black Sabbath's discography: all the albums released under the I.R.S Records label! Coincidentally, these albums included 4 of the 5 albums that Black Sabbath recorded with Martin as vocalist. The first album he sang on, The Eternal Idol, was the band's last release under the Warner Bros. label.

    For years, the only way to hear these 'missing' albums was if you owned them in physical format from their initial release. The I.R.S. label folded in 1996. I had collected some, but not all, of these Tony Martin Sabbath albums as CDs, but for years I was missing others. In recent years I've become a 'streaming music' listener, and frequently craft my own playlists to listen to on my daily commute. The absence of these Black Sabbath albums left gaps in my Black Sabbath playlists, and the songs from these albums faded into obscurity...

    Thankfully, Tony Iommi, Black Sabbath's founding guitarist, and only member who was in the band throughout it's entire career, has been diligently working for years, if not decades, to try to get these missing albums reissued. Now, in 2024, this has finally happened!


Anno Domini 1989-1995 is a 4-disc box set collecting these 4 albums previously unavailable since 1996. 3 of them have been remastered and the 4th (Forbidden) remixed by Iommi himself. I have this box set on CD format now, but perhaps more important is the fact that they are now available on streaming platforms for the masses to access. I have also revised several of my playlists to now include tracks from these albums. Don't worry, I'll post links to some of these playlists at the end of this post.

    Now let's look back on the I.R.S. years, and the Tony Martin era contained therein. Joining Sabbath in the late 1980's, Tony Martin brought with him a voice that was perfect for the times: melodic with plenty of range. He was able to sing with power and grit, but also hit high, falsetto notes. While his voice can be described as closer to Ronnie James Dio's than to Ozzy's, it is still a unique voice, and deserves respect and appreciation in its own right.

    Another important element of their sound during this era is the keyboardist Geoff Nichols. Nichols adds the ambiance of keyboards on each of these albums. While their prominence varies from one song to another, they are perhaps most prominent during this era than in any previous incarnation of Black Sabbath. With these musical elements in mind, I'll now share my recommended tracks for each album.

Headless Cross

-Headless Cross (for this lineup, this song is like the track 'Heaven & Hell' was for the Ronnie James Dio Lineup)
    -When Death Calls
    -Nightwing
    -Cloak & Dagger* (a bonus track, not available on original release)

Tyr

Tyr is essentially a concept album based on Norse mythology. Tyr is the son of Odin, and is known as the God of War.
    -Anno Mundi
    -The Law Maker
    -The Battle of Tyr/Odin's Court/Valhalla (the centerpiece of the album, these tracks form a medley of continuous music, best played in order!)


Cross Purposes

 -I Witness
    -Immaculate Deception
    -Evil Eye (Cowritten with Edward Van Halen)
    -What's the Use* (another bonus track, not available on the original release)


Forbidden
 

Forbidden has long been my favorite album from this era, and with Tony Iommi giving it a thorough remix with a fine-tooth comb, it has only gotten better!
    -The Illusion of Power (a slow and heavy, doom-laden track, but the most unique element? Guest vocals by the hardcore rap artist Ice-T!)
    -Can't Get Close Enough (starts off with the feel of a ballad, but morphs into one of Iommi's classic, heavy riffs- one of my favorites!)
    -Rusty Angels (a faster-tempo number, this one really rocks!)
    -Loser Gets it All* (another bonus track, nicely closing out the Tony Martin era of Sabbath)

Now, as promised, here are the links and brief descriptions of my updated Sabbath playlists that feature songs from this box set:
"The Sabbath Stones" This one is directly copied from the track list of a compilation of the same name, one that was briefly available from I.R.S. Records, but now can only be found for resale in the far corners of the internet...

"Best of Tony Martin" A response to a playlist challenge posted in a Facebook group devoted to the Tony Martin Era of Black Sabbath.

And last but not least, "Black Sabbath - Dark Sacrament" This playlist is focused on Tony Iommi's guitar work, and I've included some tracks from every recorded album I could find. Originally this was compiled on 4 CDR's, and progressed from early-to-late releases. I've even included Iommi's contributions outside of Black Sabbath where I could find them...

Happy Headbanging!

Monday, November 11, 2013

Black Sabbath 13 (2013)

Post #270
Exactly 2 years ago, the original line-up of Black Sabbath gathered to announce they were reuniting and would record a new album and plan a world tour. Legendary producer Rick Rubin, who had recently managed the recording of Metallica's return-to-form album Death Magnetic, was also revealed to be their producer. It was the biggest news for heavy metal music of the millennium. The press conference instantly stoked high expectations among the most loyal metal fans around the world.

Since then there have been a few set backs. First there was a contract dispute between the band's management and drummer Bill Ward, which unfortunately could not be resolved. To fill the void at the drum spot Brad Wilk (from Rage Against the Machine and Audioslave) was brought in. His previous work under Rubin's production with Audioslave was a plus. Just when things seemed to be back on track, guitarist Tony Iommi was diagnosed with lymphoma, a form of cancer affecting white blood cells. The recording process went immediately on hold as Iommi began treatment.


However, in spite of the obstacles, the band members pulled themselves up by their bootstraps and the album was completed. Black Sabbath. 13. A collection of songs that surprised me in spite of my skepticism. I had always thought the vibe of the original Black Sabbath albums would be forever lost in the '70's. The diligence and determination of the band members along with Rubin's goal-driven guiding hand on the production board have truly and thoroughly proven me wrong.

Rubin has succeeded with recapturing the band's original sound on 13 as much as he did with Metallica's Death Magnetic, if not more! The opening track, 'End of the Beginning', starts with a simple chord progression in tones that immediately recall the early-Sabbath sound. After a few measures the song transitions to a slow and haunting series of notes from Iommi's lead guitar, and can you hear the fabled diminished 3rd, or "Devil's 3rd", in that riff? I must say yes! Finally Ozzy's voice joins the mix, a long anticipated moment, and the magic of what Black Sabbath should be has been restored. It's almost as if they tried to recreate the song 'Black Sabbath' on purpose, yet there are also parts that sound similar to 'Breaking Into Heaven' (from the last Heaven and Hell album, The Devil You Know.) In any case, by this point any reservations I had held about this reunion have been dispelled.

For the next couple songs, 'God is Dead?' and 'Loner', they continue in the same vein with reestablishing the classic Sabbath sound. The guitar tones remain reminiscent of their works from their debut album through Sabbath Bloody Sabbath. With Ozzy's voice, Geezer and Iommi on bass and guitar, and Brad Wilk doing an impressive job of playing an 'old-school-Sabbath' drumming style this album is living up to expectations, if not exceeding them. Lyrics are challenging conventional religion, and tackling social and political issues left and right. Struggles between good and evil, Satan and God, heaven and hell are omnipresent throughout 13.

Another personal highlight is the track 'Zeitgeist'. It does a better job of recreating the vibe of 'Planet Caravan' than anything else. Eerie reverb effects on Ozzy's vocals, lyrics centering around the esoteric concept of space and time, the gentle strumming of an acoustic guitar, and even the soft bongo-style percussion; it is arguably better than the first 'Planet Caravan'!

The final track on the album, 'Dear Father', is another classic of Sabbath style, with the heavy, low-end guitar tonality, lyrics that beg the elusive higher-power of God for reasons of our existence, and a minor-key chord pregression to add just the right amount of doom and gloom. But then, after the music fades, there is a last little surprise for the old-school Sabbath fan in all of us: the original thunderstorm sounds effect from the intro of the very first Black Sabbath album. A bold statement to incoporate such parallells with their past, but in this case, appropriate!

Recommended tracks from 13:
-End of the Beginning (A great song to start the album. Immediately comparable with their early classics!)
-God is Dead? (Perhaps the most modern-sounding song on the album, but still indisputably classic Sabbath!)
-Loner
-Zeitgeist (Amazing as many of the previous songs have been with recapturing the original Black Sabbath sound, this one takes the cake, as it recreates the mood, vibe, and effect of the classic Sabbath song, 'Planet Caravan')
-Damaged Soul (This song incorporates a little harmonica, bringing back memories of 'The Wizard'...)
-Dear Father (Another great song with the throw-back Sabbath sound, but the finishing touch is when the song closes you're left with a sound effect of a thunderstorm and a tolling bell in the background... Sound familiar, perhaps?)