| Black Sabbath | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | 13 February 1970 (1970-02-13) | |||
| Recorded | 16 October 1969 | |||
| Studio | Regent Sounds (London) | |||
| Genre | Heavy metal[1] | |||
| Length | 38:08 (UK) 39:24 (US) | |||
| Label |
| |||
| Producer | Rodger Bain | |||
| Black Sabbath chronology | ||||
| ||||
| Singles from Black Sabbath | ||||
| ||||
Black Sabbath is the debut studio album by the Englishheavy metal bandBlack Sabbath, released on 13 February 1970 byVertigo Records in the United Kingdom and on 1 June 1970 byWarner Bros. Records in the United States.[2] The album is widely regarded as the first truemetal album,[3] and the opening title track, "Black Sabbath", was named the greatest heavy metal song of all time byRolling Stone[4] and has been referred to as the firstdoom metal song.[5]
Black Sabbath received generally negative reviews from critics upon its release but was a commercial success, reaching number eight on theUK Albums Charts and number 23 on the USBillboard Top LPs chart.[6] It has retrospectively garnered reappraisal as one of the greatest and most influential heavy metal albums of all time.Black Sabbath is included in Robert Dimery's 2005 musical reference book1001 Albums You Must Hear Before You Die.
On release, a writer forThe Boston Globe described the music ofBlack Sabbath as "hardblues-rock".[7] In retrospect,AllMusic's Steve Huey feels thatBlack Sabbath marks "the birth ofheavy metal as we now know it".[8] In his opinion, the album "transcends its clear roots inblues-rock andpsychedelia to become something more".[8] He ascribes its "sonic ugliness" as a reflection of "the bleak industrial nightmare" of the group's hometown,Birmingham, England.[8] Huey notes the first side's allusions to themes characteristic of heavy metal, including evil,paganism, andthe occult, "as filtered through horror films and the writings ofJ. R. R. Tolkien,H. P. Lovecraft, andDennis Wheatley."[8] He characterises side two as "given over to loose blues-rock jamming learned through" the English rock bandCream.[8]
In the opinion of the author and formerMetal Maniacs magazine editor Jeff Wagner,Black Sabbath is the "generally accepted starting point" when heavy metal "became distinct fromrock and roll".[9] In his opinion, the album represented a transition from blues rock into "something uglier", and that this sound "found deeper gravity via mournful singing and a sinister rhythmic pulse".[9] According toRolling Stone magazine, "the album that arguably invented heavy metal was built on thunderousblues-rock".[10] Sputnikmusic's Mike Stagno notes that Black Sabbath's combined elements ofrock,jazz andblues, with heavydistortion created one of the most influential albums in the history of heavy metal.[11] In retrospect,Black Sabbath has been lauded as perhaps the first true heavy metal album.[12] It has also been credited as the first record in thestoner rock genre.[13]Taking a broader perspective,Pete Prown ofVintage Guitar says, "The debut Black Sabbath album of 1970 was a watershed moment in heavy rock, but it was part of a larger trend of artists, producers, and engineers already moving towards the sound we now call hard rock and heavy metal."
Black Sabbath's music and lyrics were very dark for the time. The opening track is based almost entirely on atritone interval played at slow tempo on the electric guitar.[14] In the 2010Classic Albums documentary on the making of the band's second albumParanoid, bassist Geezer Butler claims the riff was inspired by "Mars, the Bringer of War", a movement in Gustav Holst'sThe Planets. Iommi reinterpreted the riff slightly and redefined the band's direction. Ward toldClassic Albums, "When Oz sang 'What is this that stands before me?' it became completely different...this was a different lyric now, this was a different feel. I was playing drums to the words." The song's lyrics concern a "figure in black" which Geezer Butler claims to have seen after waking up from a nightmare.[12] In the liner notes to the band's 1998 live albumReunion the bassist remembers:
I'd been raised a Catholic so I totally believed in the Devil. There was a weekly magazine calledMan, Myth and Magic that I started reading which was all about Satan and stuff. That and books byAleister Crowley andDennis Wheatley, especiallyThe Devil Rides Out ... I'd moved into this flat I'd painted black with inverted crosses everywhere. Ozzy gave me this 16th Century book about magic that he'd stolen from somewhere. I put it in the airing cupboard because I wasn't sure about it. Later that night I woke up and saw this black shadow at the end of the bed. It was a horrible presence that frightened the life out of me! I ran to the airing cupboard to throw the book out, but the book had disappeared. After that I gave up all that stuff. It scared me shitless.
Similarly, the lyrics of the song "N.I.B." are written from the point of view ofLucifer, who falls in love with a human woman and "becomes a better person" according to lyricist Butler.[15] Contrary to popular belief, the name of that song is not an abbreviation for "Nativity in Black;"[16] according to Osbourne's autobiography it is merely a reference to drummer Bill Ward's pointedgoatee at the time, which was shaped as afountain pen-nib.[17] The lyrics of two other songs on the album were written about stories with mythological themes. "Behind the Wall of Sleep" is a reference to the H. P. Lovecraft short story "Beyond the Wall of Sleep,"[18] while "The Wizard" was inspired by the character ofGandalf fromThe Hobbit andThe Lord of the Rings.[19] The latter includes harmonica playing by Osbourne.[18] The band also recorded a cover of "Evil Woman," a song that had been an American hit for the bandCrow. In his autobiography, Iommi admits the band reluctantly agreed to do the song at the behest of their manager Jim Simpson, who insisted they record something commercial.
The album was recorded at Regent Sounds Studios on Denmark Street, London in a 12-hour session on 16 October 1969.[16][nb 1][20] Iommi said: "We just went in the studio and did it in a day, we played our live set and that was it. We actually thought a whole day was quite a long time, then off we went the next day to play for £20 in Switzerland."[21] Aside from the bells, thunder and rain sound effects added to the beginning of the opening track and the double-tracked guitar solos on "N.I.B." and "Sleeping Village", there were virtually no overdubs added to the album.[16] Iommi recalls recording live: "We thought, 'We have two days to do it and one of the days is mixing.' So we played live.Ozzy was singing at the same time, we just put him in a separate booth and off we went. We never had a second run of most of the stuff."[22]
The key to the band's new sound on the album was Iommi's distinctive playing style that he developed after an accident at a sheet metal factory where he was working at the age of 17 in which the tips of the middle fingers of his fretting hand were severed. Iommi created a pair of false fingertips using plastic from a dish detergent bottle and changed the string arrangement of the guitar. Iommi replaced the second string with the first, the third with the second, and so on. In place of the first, he added abanjo string, to make it easier for him to bend the strings. Later, Iommi would downtune the guitar on the albumMaster of Reality, to make its playability even less painful.[23] "I'd play a load of chords and I'd have to play fifths because I couldn't play fourths because of my fingers," Iommi explained to Phil Alexander inMojo in 2013. "That helped me develop my style of playing, bending the strings and hitting the open string at the same time just to make the sound wilder." In the same article, bassistGeezer Butler added, "Back then the bass player was supposed to do all these melodic runs, but I didn't know how to do that because I'd been a guitarist, so all I did was follow Tony's riff. That made the sound heavier."
Iommi began recording the album with a whiteFender Stratocaster, his guitar of choice at the time, until a malfunctioningpickup forced him to finish recording with aGibson SG, a guitar he had recently purchased as a backup but had "never really played." The SG was a right-handed model, which the left-handed Iommi played upside down. Soon after recording the album, he met a right-handed guitarist who was playing a left-handed SG upside down, and the two agreed to swap guitars; this SG became Iommi's main guitar that he modified and later "put out to pasture" at theHard Rock Cafe.[16]
Black Sabbath vocalistOzzy Osbourne has always spoken fondly of the recording of the band's debut album, stating in his autobiographyI Am Ozzy, "Once we'd finished, we spent a couple of hours double-tracking some of the guitar and vocals, and that was that. Done. We were in the pub in time for last orders. It can't have taken any longer than 12 hours in total. That's how albums should be made, in my opinion." DrummerBill Ward agrees, tellingGuitar World in 2001, "I think the first album is just absolutely incredible. It's naïve, and there's an absolute sense of unity – it's not contrived in any way, shape or form. We weren't old enough to be clever. I love it all, including the mistakes!" In an interview for theClassic Albums series in 2010, Butler added, "It was literally live in the studio. I mean, (producer)Rodger Bain, I think he's a genius the way he captured the band in such a short time." In his autobiographyIron Man: My Journey Through Heaven & Hell with Black Sabbath, Iommi plays down the producer's role, insisting, "We didn't choose to work with Rodger Bain, he was chosen for us... He was good to have around, but we didn't really get a lot of advice from him. He maybe suggested a couple of things, but the songs were already fairly structured and sorted."
Thecover photograph was shot atMapledurham Watermill, situated on theRiver Thames in Oxfordshire, England, by photographerKeith McMillan (credited as Keef), who was in charge of the overall design. Standing in front of the watermill is a figure dressed in a black cloak, portrayed by model Louisa Livingstone, whose identity was not widely known until 2020.[24] "I'm sure (McMillan) said it was for Black Sabbath, but I don't know if that meant anything much to me at the time," Livingstone recalled, adding that it had been "freezing cold" during the shoot. "I had to get up at about 4 o'clock in the morning. Keith was rushing around with dry ice, throwing it into the water. It didn't seem to be working very well, so he ended up using a smoke machine," she said.[25]
According to McMillan, Livingstone was wearing nothing underneath the black cloak, and some experimentation was done involving some "slightly more risqué" photographs taken at the session. "We decided none of that worked," McMillan said. "Any kind of sexuality took away from the more foreboding mood. But she was a terrific model. She had amazing courage and understanding of what I was trying to do."[25]
The innergatefold sleeve of the original release featured aninverted cross containing a poem written by Roger Brown, McMillan's photography assistant.[24] The band were reportedly upset when they discovered this,[18] as it fuelled allegations that they weresatanists oroccultists;[16] however, in Osbourne's memoirs, he says that to the best of his knowledge nobody was upset with the inclusion.[26] Iommi's recollection is somewhat different: "Suddenly we had all these crazy people turning up at shows," he toldMojo magazine in 2013. "I thinkAlex Sanders (high priest of theWiccan religion) turned up at a gig once. It was all quite strange, really." The liner notes to the 1998Reunion album state "Unbeknownst to the band,Black Sabbath was launched in the U.S. with a party with the head of theChurch of Satan,Anton LaVey, presiding over the proceedings... All of a sudden Sabbath were Satan's Right Hand Men."
In the years since the iconic cover photo was shot, Livingstone has releasedelectronic music under the name Indreba.[25]
Black Sabbath was recorded forFontana Records, but the record company elected to switch the band to another of their labels,Vertigo Records, which housed the company's more progressive acts.[27] "I got a call from a guy, Olav Wyper, at a newly set-up label, Vertigo," recalled Sabbath manager Jim Simpson. "Olav had been atCBS when I took the album there, and said he'd now like to do a deal. This was only because, for Vertigo's second tranche of new releases, someone had failed to delivermasters for[the release with catalogue number] V06. So they signed Black Sabbath as a makeweight, because we had finished masters, which could be delivered in a hurry."[28]
Released onFriday the 13th February 1970,Black Sabbath reached number eight on theUK Albums Charts.[29] Following its United States release in June 1970 byWarner Bros. Records, the album reached number 23 on theBillboard Top LPs chart,[30][31] where it remained for more than a year and sold one million copies.[32][33]
Black Sabbath received generally negative reviews from contemporary critics.[34]Rolling Stone'sLester Bangs described the band as, "just likeCream! But worse", and he dismissed the album as "a shuck – despite the murky songtitles and some inane lyrics that sound likeVanilla Fudge paying doggerel tribute toAleister Crowley, the album has nothing to do with spiritualism, the occult, or anything much except stiff recitations of Cream clichés".[35]Robert Christgau, writing forThe Village Voice, panned the album as "bullshitnecromancy".[36] He later described it as a reflection of "the worst ofthe counterculture", including "drug-impaired reaction time" and "long solos".[37] InMick Wall's bookBlack Sabbath: Symptom of the Universe, Butler reflects, "The London press absolutely hated us when we made it 'cos they'd never written an article about us, they didn't know of us. When our first album, the first week, went straight into the charts, the London press went, like, what the hell's going on here? And they've hated us ever since."[38]
| Retrospective reviews | |
|---|---|
| Review scores | |
| Source | Rating |
| AllMusic |   [8] |
| Christgau's Record Guide | C−[37] |
| Collector's Guide to Heavy Metal | 8/10[39] |
| Encyclopedia of Popular Music |  [40] |
| MusicHound Rock | [41] |
| The Rolling Stone Album Guide | [42] |
| Sputnikmusic | 4/5[11] 5/5[43] |
| Uncut | 7/10[44] |
Retrospective reviews ofBlack Sabbath have been positive.AllMusic reviewer Steve Huey said it was a highly innovative debut album with several classic metal songs, including the title track, which he felt had the "most definitive heavy metal riffs of all time". Huey was also impressed by how the band's "slowed-down, murky guitar rock bludgeons the listener in an almost hallucinatory fashion, reveling in its own dazed, druggy state of consciousness".[8] InThe Rolling Stone Album Guide (2004), journalist Scott Seward highlighted Bain's grandiose production on "an album that eats hippies for breakfast."[42] In the opinion of Mike Stagno of Sputnikmusic, "both fans of blues influenced hard rock and heavy metal of all sorts should find something they like on the album."[11]BBC Music's Pete Marsh referred toBlack Sabbath as an "album that changed the face of rock music."[45] Canadian journalistMartin Popoff called the album "a landmark debut" and the only one in the discography to suffer "the transitional step towards the concept of full metal".[39]
In 1989,Kerrang! rankedBlack Sabbath number 31 on their "100 Greatest Heavy Metal Albums of All Time".[46] In 1994, it was ranked number 12 inColin Larkin'sTop 50 Heavy Metal Albums. Larkin praised the album's "crushing atmosphere of doom", which he described as "intense and relentless".[47] In 2000,Q magazine includedBlack Sabbath in their list of the "Best Metal Albums of All Time", stating: "[This album] was to prove so influential it remains a template for metal bands three decades on."[48] In 2003, it was ranked number 241 onRolling Stone magazine's list of the500 Greatest Albums of All Time,[20] 243 in a 2012 revised list,[49] and 355 in a 2020 revised list.[50]Rolling Stone rankedBlack Sabbath number 44 in their list of the 100 Best Debut Albums of All Time, describing the title track as the song that "would define the sound of a thousand bands".[51] Additionally, in 2017, the magazine ranked it 5th on their list of "100 Greatest Metal Albums of All Time".[52] The album was also included in the book1001 Albums You Must Hear Before You Die.[53]
All songs written byTony Iommi,Geezer Butler,Bill Ward andOzzy Osbourne, except where noted.[18]
| No. | Title | Length |
|---|---|---|
| 1. | "Black Sabbath" | 6:20 |
| 2. | "The Wizard" | 4:24 |
| 3. | "Behind the Wall of Sleep" | 3:37 |
| 4. | "N.I.B." | 6:08 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 5. | "Evil Woman" (Crow cover) |
| 3:25 |
| 6. | "Sleeping Village" | 3:46 | |
| 7. | "Warning" (The Aynsley Dunbar Retaliation cover) |
| 10:28 |
| Total length: | 38:08 | ||
| No. | Title | Length |
|---|---|---|
| 8. | "Wicked World" | 4:47 |
| Total length: | 42:55 | |
| No. | Title | Length |
|---|---|---|
| 1. | "Wicked World" (singleB-side, TF1067) | 4:44 |
| 2. | "Black Sabbath" (studioouttake) | 6:22 |
| 3. | "Black Sabbath" (Instrumental) | 6:13 |
| 4. | "The Wizard" (studio outtake) | 4:46 |
| 5. | "Behind the Wall of Sleep" (studio outtake) | 3:41 |
| 6. | "N.I.B." (instrumental[nb 2]) | 6:08 |
| 7. | "Evil Woman" (alternative version) | 3:47 |
| 8. | "Sleeping Village" (intro) | 3:45 |
| 9. | "Warning" (part 1) | 6:58 |
| Total length: | 46:24 | |
| No. | Title | Length |
|---|---|---|
| 1. | "Black Sabbath" | 6:20 |
| 2. | "The Wizard" | 4:22 |
| 3. | "Wasp / Behind the Wall of Sleep / Bassically / N.I.B." | 9:44 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 4. | "Wicked World" | 4:47 | |
| 5. | "A Bit of Finger / Sleeping Village / Warning" |
| 14:15 |
| Total length: | 39:28 | ||
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 6. | "Evil Woman" |
| 3:25 |
| Total length: | 42:53 | ||
| No. | Title | Length |
|---|---|---|
| 1. | "Evil Woman" | 3:25 |
| 2. | "Black Sabbath" (studioouttake) | 6:22 |
| 3. | "Black Sabbath" (Instrumental) | 6:13 |
| 4. | "The Wizard" (studio outtake) | 4:46 |
| 5. | "Behind the Wall of Sleep" (studio outtake) | 3:41 |
| 6. | "N.I.B." (instrumental) | 6:08 |
| 7. | "Evil Woman" (alternative version) | 3:47 |
| 8. | "Sleeping Village" (intro) | 3:45 |
| 9. | "Warning" (Part 1) | 6:58 |
| Total length: | 45:05 | |
The original North American Warner Bros. Records pressings ofBlack Sabbath list incorrect running times for "Wicked World" and the "Warning" medley (4:30 and 14:32, respectively), and also credit the album's original songs using the band members' given names (Anthony Iommi, John Osbourne, Terence Butler, and William Ward).[54] TheCastle Communications edition of 1986 also featured a live version of "Tomorrow's Dream" as a bonus track.
Disc two of the Deluxe Editions contains "N.I.B. (studio out-take)" with vocals, that was incorrectly listed as "N.I.B. (instrumental)".
| Chart (1970) | Peak position |
|---|---|
| Australian Albums (Kent Music Report)[55] | 8 |
| Canada Top Albums/CDs (RPM)[56] | 29 |
| Dutch Albums (Album Top 100)[57] | 6 |
| Finnish Albums (The Official Finnish Charts)[58] | 13 |
| French Albums (SNEP)[59] | 10 |
| German Albums (Offizielle Top 100)[60] | 8 |
| UK Albums (OCC)[61] | 8 |
| USBillboard 200[62] | 23 |
| Chart (2022–2025) | Peak position |
|---|---|
| Belgian Albums (Ultratop Flanders)[63] | 96 |
| Greek Albums (IFPI)[64] | 18 |
| Hungarian Physical Albums (MAHASZ)[65] | 14 |
| Scottish Albums (OCC)[66] | 24 |
| UK Independent Albums (OCC)[67] | 11 |
| UK Rock & Metal Albums (OCC)[68] | 3 |
| Region | Certification | Certified units/sales |
|---|---|---|
| Canada (Music Canada)[69] | Gold | 50,000^ |
| United Kingdom (BPI)[70] 2009 deluxe edition | Gold | 100,000^ |
| United States (RIAA)[71] | Platinum | 1,000,000^ |
^ Shipments figures based on certification alone. | ||
