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Everyone knows the legendary Black Sabbath albums released in the 1970s, from their debut album Black Sabbath up until Sabotage in 1975, although there were a few more releases during that era. Fans of Ronnie James Dio are also familiar with albums like Heaven and Hell, Mob Rules, and Dehumanizer. However, the band went through several other lineups with different lead singers, including Born Again with Ian Gillan, Seventh Star with Glenn Hughes, and of course the Tony Martin albums.
With a vast amount of material to choose from, much of this music may have been overlooked by casual fans, and this article aims to showcase those hidden gems. We purposely avoided the bands’ first six albums from 1970 to 1975 and a lot of the classic Dio stuff. We wanted to dig deeper and offer some surprises as well as some gems we think were overlooked or at least came off as shocking left turn for the band.
# 10 – Thrashed – Born Again
“Trashed” was released on Born Again, the only Black Sabbath album to feature Ian Gillan of Deep Purple on vocals. Released in 1983, this album marked a unique and often overlooked chapter in Black Sabbath’s storied history. Recorded at Manor Studios in Oxfordshire, England, during the early months of 1983, the sessions were marked by a raw, unpolished energy that mirrored the often chaotic state of the band at the time. Produced by Black Sabbath and Robin Black, the album captures a distinct sound that veers into heavier, faster territory while still retaining the band’s signature dark and ominous vibe.
The song “Trashed” tells the wild, semi-autobiographical tale of Gillan’s reckless driving around the Manor Studios grounds in a borrowed car, ultimately resulting in a crash. With its relentless tempo, scorching guitar riffs from Tony Iommi, and Gillan’s wailing vocals, the track is a testament to the unrestrained spirit of the band’s Born Again era. The rhythm section, featuring Geezer Butler on bass and Bill Ward on drums, anchors the song with a pounding, frenzied intensity that underscores the reckless narrative.
Critically, “Trashed” has been seen as one of the most underrated songs in Black Sabbath’s catalog, often overshadowed by the band’s more well-known hits from earlier albums. The chaotic energy of the song is complemented by Gillan’s unique vocal style, which, while divisive among purists, brought a different edge to the Sabbath sound. The album itself was a commercial success, reaching number 4 on the UK Albums Chart and number 39 on the Billboard 200, but it did not spawn any major singles, leaving tracks like “Trashed” buried beneath the band’s towering legacy.
The song’s lyrics, laced with Gillan’s dark humor, reveal a carefree yet dangerous attitude, perfectly capturing the album’s unhinged ethos. Lines like “Oh, Mr. Miracle, you saved me from some pain / I thank you, Mr. Miracle, I won’t get trashed again” highlight the reckless abandon that defined the band during this era.
# 9 – Turn To Stone – Seventh Star
Originally intended as Tony Iommi’s solo project, Seventh Star was released in 1986 under the Black Sabbath name at the behest of the record label. Recorded at Cheshire Sound Studios in Atlanta, Georgia, the album features an all-star lineup, including Glenn Hughes on vocals, Eric Singer on drums, Dave Spitz on bass, and Geoff Nicholls on keyboards. Produced by Jeff Glixman, known for his work with Kansas, the album captures a unique fusion of hard rock and blues influences, showcasing a side of Sabbath that strayed from their signature doom-laden sound.
“Turn to Stone” is a high-energy track that opens the album with a blistering guitar riff from Iommi, setting the tone for what would be a departure from the band’s classic sound. Hughes, known for his tenure with Deep Purple, delivers a powerful vocal performance that brims with urgency and raw emotion. His vocal lines, such as “If you dance in the fire, you’ll get burned,” convey the song’s themes of consequence and defiance. The rhythm section, anchored by Spitz’s punchy bass lines and Singer’s driving drums, provides a solid backbone that propels the song forward with relentless energy. Iommi’s soloing on “Turn to Stone” is particularly notable, blending his trademark heaviness with bluesy flourishes that reflect the album’s broader stylistic experimentation.
Despite its strengths, “Turn to Stone” and the Seventh Star album as a whole were met with mixed reactions from fans and critics. Many struggled to reconcile the drastic shift in sound and the absence of familiar faces like Ozzy Osbourne or Ronnie James Dio. The album peaked at number 78 on the Billboard 200, a modest showing compared to Sabbath’s previous commercial successes.
# 8 – Devil & Daughter – Headless Cross
Headless Cross, Black Sabbath’s second album with vocalist Tony Martin, stands out as the only album on this list to feature two tracks, underscoring its underappreciated brilliance in the band’s discography. The song “Devil & Daughter,” the first of these tracks, encapsulates the dark and atmospheric themes that defined Headless Cross, released in 1989. Recorded at Woodcray Studios in Berkshire, England, and produced by the band with Tony Iommi’s distinct vision, the album was released during a time when Sabbath was navigating through shifting lineups and a heavy metal scene evolving into new subgenres. The core lineup for this album consisted of Tony Iommi on guitar, Tony Martin on vocals, Cozy Powell on drums, and Laurence Cottle on bass, whose uncredited role gave the album a dynamic, groove-laden sound.
“Devil & Daughter” explores the tale of a sinister relationship between a young woman and the Devil, encapsulating the occult themes Sabbath had often flirted with but with a renewed, contemporary energy. The song is propelled by Iommi’s crushing guitar riff, which melds seamlessly with Powell’s thunderous drumming, creating a powerful backdrop for Martin’s commanding vocal performance. Martin’s delivery of lines like “She’s got the power of the devil behind her / This was the gift of the master to find her” paints a vivid picture of temptation and doom, delivered with a fiery intensity that cements his place among Sabbath’s notable frontmen. The song’s haunting melodies and dark lyrical themes set it apart as one of the highlights of the album, capturing the band’s ability to blend storytelling with hard-hitting rock.
Despite its strengths, “Devil & Daughter” did not achieve significant commercial success, largely overshadowed by the emerging grunge scene and changes in the heavy metal landscape.
# 7 – I Witness – Cross Purposes
Overshadowed by the grunge explosion of the early 1990s, Black Sabbath’s Cross Purposes found itself lost in a sea of alternative rock dominance, despite containing some of the band’s most compelling work since their classic era. One standout track from the album, “I Witness,” serves as a stark reminder of Black Sabbath’s enduring ability to craft powerful, hard-hitting songs even when the spotlight had shifted away from them. Recorded at Monnow Valley Studio in Wales, the album was produced by the band with Leif Mases, whose past work with Led Zeppelin and Jeff Beck added a refined yet heavy touch to the record. The lineup during this period featured Tony Iommi on guitar, Tony Martin on vocals, Geezer Butler on bass, and Bobby Rondinelli on drums, a combination that brought a renewed vigor to Sabbath’s sound, blending the band’s signature doom-laden riffs with a polished modern edge.
“I Witness” delves into themes of disillusionment and existential dread, a familiar territory for Sabbath but delivered with a fresh urgency that resonated with the 1990s’ angst. Tony Martin’s vocals pierce through the dense instrumentation, delivering lines like “It’s the same old story / Life just lived too fast” with a biting intensity that captures the song’s core message of human frailty and frustration. Iommi’s guitar riff is the driving force behind the track, relentless and razor-sharp, while Butler’s bass provides a deep, brooding undertone that complements Rondinelli’s precise drumming. The song’s structure, with its memorable chorus and blistering guitar solo, showcases the band’s ability to evolve while maintaining the essence of their classic sound.
While “I Witness” and Cross Purposes received critical praise from dedicated fans, the album struggled commercially, peaking at a modest number 122 on the Billboard 200. The album’s release during a time when grunge bands like Nirvana and Pearl Jam dominated the airwaves meant that Sabbath’s brand of heavy metal was often overlooked. Yet, “I Witness” remains a standout, demonstrating the band’s refusal to be sidelined by shifting musical trends. Its lack of widespread recognition has made it a hidden gem in the Sabbath catalog, cherished by those who seek out the band’s more obscure works.
# 6 – The Mob Rules – Mob Rules
“The Mob Rules,” the title track from Black Sabbath’s 1981 album Mob Rules, stands out as one of the band’s most ferocious and politically charged songs, capturing the raw, uncompromising energy of the Dio era. Recorded in the spring of 1981 at Record Plant Studios in Los Angeles, the song was produced by Martin Birch, whose expertise in heavy metal production is evident in the song’s explosive mix. The lineup for this track includes the powerhouse combination of Ronnie James Dio on vocals, Tony Iommi on guitar, Geezer Butler on bass, and Vinny Appice on drums, marking Appice’s debut as the band’s drummer following Bill Ward’s departure.
Lyrically, “The Mob Rules” is a scathing commentary on mob mentality and societal decay, themes that resonated deeply during a time of global unrest. Dio’s lyrics, “If you listen to fools, the mob rules,” capture the chaotic spirit of the early ’80s and the dangers of groupthink, all delivered with his signature vocal intensity. Iommi’s guitar work is both menacing and electrifying, driven by a relentless riff that underpins the track’s dark and aggressive tone. Butler’s bass lines provide a thunderous undercurrent, while Appice’s drumming, punctuated by rapid fills and powerful rhythms, pushes the song into a relentless forward momentum. The urgency in the song’s structure makes it one of the standout tracks on the album. This is how you open up a rock and roll album, baby!
The song gained additional exposure when it was included in the soundtrack of the 1981 animated film Heavy Metal. Despite not being released as a single, Mob Rules peaked at number 29 on the Billboard 200. Metallica has frequently included the song in their live setlists as a nod to the impact of Black Sabbath on their sound. In 2009, the heavy metal supergroup Heaven & Hell, featuring Dio, Iommi, Butler, and Appice, performed the song during their tours, bringing it full circle as a staple of the Dio era’s legacy.
# 5 – The Shining – The Eternal Idol
At the halfway point on our 10 Most Underrated Black Sabbath Songs list is the song entitled “The Shining.” the opening track from Black Sabbath’s The Eternal Idol, stands out as one of the most underrated songs in the band’s extensive catalog. For those who dig deeper into Black Sabbath’s discography beyond the Ozzy Osbourne and Ronnie James Dio years, “The Shining” serves as a compelling reminder of the band’s adaptability and the strength of Tony Iommi’s enduring vision for the group. Released on November 23, 1987, The Eternal Idol marked a turbulent time for the band, characterized by lineup changes and internal chaos.
The album was recorded at various locations, including Air Studios in Montserrat and Battery Studios in London, under the production of Jeff Glixman and Vic Coppersmith-Heaven. “The Shining” showcases the debut of vocalist Tony Martin, whose powerful and operatic voice breathed new life into Black Sabbath during a period when the band’s identity was in flux. The track also features Tony Iommi on guitar, Bob Daisley on bass, Eric Singer on drums, and Geoff Nicholls on keyboards, creating a lineup that brought a fresh but distinctly heavy Sabbath sound.
Musically, “The Shining” is a dark, epic song driven by Iommi’s signature guitar work, which melds intricate riffs with a sense of foreboding melody. The lyrics, penned by Iommi and Daisley, delve into themes of darkness and redemption, with lines like “There’s a man who sees all there is to see, what the future holds for all.” These words set a mystical and ominous tone, reflecting the band’s enduring fascination with the supernatural and the macabre. Martin’s vocal delivery is a highlight, bringing an emotional weight that elevates the song beyond its immediate peers. The interplay between the haunting keyboards and Iommi’s brooding guitar solo creates a dynamic atmosphere that captures the essence of late ’80s heavy metal, making “The Shining” a powerful opener that sets the stage for the rest of the album.
# 4 – TV Crimes – Dehumanizer
# 3 – You Won’t Change Me – Technical Ecstasy
For those exploring the more obscure corners of Black Sabbath’s discography, “You Won’t Change Me” was released on Black Sabbath’s Technical Ecstasy album. Released on September 25, 1976, Technical Ecstasy was recorded at Criteria Studios in Miami, Florida, and produced by guitarist Tony Iommi. This album marked a transitional period for the band, both musically and personally. Despite mixed critical reception, the album demonstrates Sabbath’s willingness to push boundaries, and “You Won’t Change Me” stands as a testament to the band’s ability to blend heavy riffs with a more melodic, almost melancholic vibe.
Musically, “You Won’t Change Me” features Tony Iommi’s signature guitar work, but it’s the haunting, blues-inflected keyboard playing of Gerald Woodroffe that sets the song apart from the rest of the album. Iommi’s riffs are slower and more deliberate, evoking a sense of resignation that pairs perfectly with Ozzy Osbourne’s plaintive vocals. The lyrics, reflecting themes of despair, personal turmoil, and defiance, capture the emotional landscape of a band struggling with inner conflicts and external pressures. Geezer Butler’s bass lines are as heavy as ever, providing a dense foundation, while Bill Ward’s drumming adds a dynamic intensity that drives the song forward. The result is a moody, introspective track that captures Sabbath’s darker side without relying on the typical doom-laden tropes of their earlier work.
# 2 – End Of The Beginning – 13
“End of the Beginning,” the opening track from Black Sabbath’s 2013 album 13. Released on June 10, 2013, 13 marked the first Black Sabbath studio album featuring Ozzy Osbourne, Tony Iommi, and Geezer Butler together since 1978’s Never Say Die!. The album was recorded at Shangri-La Studios in Malibu, California, with production handled by Rick Rubin, whose minimalist yet effective approach sought to recapture the raw intensity of Sabbath’s early days. The song serves as a perfect opener, setting the tone for an album that was both a return to form and a modern reimagining of the band’s classic sound.
“End of the Beginning” is a sprawling, nearly nine-minute epic that explores themes of technological dread, existential angst, and the struggle against a mechanized future—a fitting echo of the band’s long-standing fascination with apocalyptic imagery. Tony Iommi’s crushing riffs drive the track, invoking the same kind of doom-laden atmosphere that defined the band’s seminal works. His guitar work is complemented by Geezer Butler’s deep, ominous bass lines, which provide a dense undercurrent to the song’s foreboding mood. Ozzy Osbourne’s vocals, filled with urgency and menace, guide the listener through the narrative of a world on the brink of an unsettling transformation. Brad Wilk of Rage Against the Machine fills in on drums, adding a dynamic and powerful rhythm that aligns perfectly with the song’s heavy, plodding pace.
Critically, “End of the Beginning” was received as a highlight of 13, praised for its classic Sabbath sound and its ability to capture the essence of the band’s early work while still feeling relevant to contemporary listeners. The track’s structure is reminiscent of Sabbath’s earlier works like “Black Sabbath” and “War Pigs,” beginning with a slow, brooding intro that builds into a relentless riff-fueled assault, complete with tempo changes and atmospheric solos. The lyrics, penned by Osbourne, Butler, and Iommi, delve into the unsettling possibilities of humanity’s future, reflecting a broader commentary on the digital age’s impact on human existence. The song’s climax, marked by Iommi’s searing guitar solo, feels both like a nod to the past and a declaration of the band’s undying relevance.
# 1 – Headless Cross – Headless Cross
“Headless Cross,” the title track from Black Sabbath’s 1989 album Headless Cross, stands as one of the most compelling yet underrated songs in the band’s extensive catalog. Released during a period of significant lineup changes and waning mainstream attention, this track showcases Black Sabbath’s enduring ability to craft dark, atmospheric metal with a sense of purpose and power. The album was recorded in 1988 at The Soundmill in Wales and Woodcray Studios in Berkshire, England, and it marked a creative resurgence for the band under the guidance of producer Tony Iommi, who also played a crucial role in shaping the sound of the album.
The song “Headless Cross” features Tony Martin on vocals, whose commanding and versatile voice brought a fresh dynamic to Sabbath’s sound. His lyrics delve into themes of ancient curses, demonic forces, and the haunting legacy of the Headless Cross village in England, where a plague wiped out much of the population in the 17th century. The track opens with a menacing drum intro by Cozy Powell, one of rock’s most respected drummers, whose thunderous beats set a dark, foreboding tone. Iommi’s guitar work is as formidable as ever, with heavy riffs and a blistering solo that stands among his best, while Laurence Cottle’s bass lines add a deep, resonant undercurrent that drives the song forward. Geoff Nicholls’ keyboards enhance the song’s gothic atmosphere, blending perfectly with the track’s eerie and dramatic narrative.
Critically, “Headless Cross” is often highlighted as a high point of Black Sabbath’s late ’80s era, even though it remains overshadowed by the band’s earlier works with Ozzy Osbourne and Ronnie James Dio. The song received positive reviews upon release, with many praising the band’s return to form and their ability to evolve while maintaining their classic sound. The album reached number 31 on the UK Albums Chart and number 115 on the Billboard 200 in the United States, reflecting a modest commercial impact that belied its artistic merit. The accompanying music video, drenched in moody visuals and sinister imagery, reinforced the track’s themes of supernatural dread, enhancing its impact as a standout piece of storytelling.
Despite its relative obscurity in mainstream rock culture, “Headless Cross” has resonated deeply with metal fans and musicians alike. The song’s gripping tale of battling evil and the battle against unseen forces has made it a cult favorite among Sabbath enthusiasts. Notably, it has been covered by a few lesser-known metal acts, including bands like Witchcraft Coven, who paid homage to its dark, foreboding atmosphere. However, it remains largely untouched by more prominent artists, perhaps due to its unique place in the Sabbath catalog—a haunting reminder of the band’s resilience and their capacity to surprise and inspire, even in their lesser-celebrated moments.
We love Black Sabbath and have paid tribute to the band by writing many articles on the group, which you can find below……
10 Most Underrated Black Sabbath Songs article published on Classic RockHistory.com© 2024
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