Black Sabbath
13

35 years. 35 long years separate us from the last studio album by Black Sabbath in their original lineup, the one from historical and seminal albums like Paranoid (1970), Master of Reality (1971) or Sabbath Bloody Sabbath (1973). The hopes of ever seeing the four Birmingham blacksmiths pounding together again seemed destined to fade progressively, with the slow but inexorable passing of the years and the solo commitments of each member (especially those of Ozzy).

Over the decades, some sparks of rapprochement surfaced: one thinks of the extremely successful reunion tour staged in the late '90s, with a consequent live album - Reunion, indeed - or some sporadic appearances at Osbourne's travelling wagon, Ozzfest, in 2005.

A record of new material (excluding the two tracks released on Reunion, Psycho Man and Selling My Soul) had indeed been missing since 1978, with the extravagant effort offered by our boys in Never Say Die.

On 11/11/11 (a deliberately significant and evocative date), the Sabbath held a mega-conference in Hollywood, announcing a new album and a world tour right afterward.

The entire terrestrial globe goes completely mad: the phenomenon of the Black Sabbath is making headlines again after years of silence, unbelievable!

But misfortunes are always just around the corner, unfortunately.

At the beginning of 2012, his majesty Tony Iommi is diagnosed with lymphoma. Obviously, the entire project is in serious jeopardy, with fans (nonetheless worried about the health of their idol, afflicted by a terrible disease that already took the good Ronnie James Dio away shortly before) keeping their fingers crossed.

Moreover, as if that weren't enough, the historic drummer of the English lineup Bill Ward decides to give forfeiture to his colleagues: due to some contractual disputes and dissatisfaction with the agreed compensation for the album/tour (still not clarified to date!) the "drummer with a jazzy flair" throws away months and months of expectations for a few bucks.

Is it all over? Not a chance. We're talking about Black Sabbath!

It is announced that to replace Ward on the drum stool will be Brad Wilk, directly from Rage Against The Machine.

Having concluded these lengthy but necessary (in my view) summary remarks, we can now discuss the full-length in its entirety.

Leaving aside all superstructures, unnecessary frills regarding contracts, money, media exposure, and whatever else (the music world, unfortunately, is also this today), let's leave it to her to speak, the only indisputable judge: Music.

Is 13 a good album? Yes. Is it an album worthy of the heavy name it bears? Absolutely. Was it necessary? No, not really. No one would have died without a new work from these old rockers, who have nothing and will never have anything to prove to anyone, after having produced seminal masterpieces in the '70s.

The point is this: if three gentlemen in their 60s, filled with money up to the marrow, instead of retiring to some serene Caribbean island to drink Piña Coladas all day watching behinds and reading fashion magazines, have decided to get back in the game and produce 11 new songs (eight in the standard edition + 3 bonus tracks), their work deserves at least a listen. Just like that, out of induced respect, for a sort of inherent veneration in each of us, faced with these Sacred Monsters.

The album starts off brilliantly: Mr. Iommi immediately makes us realize that the periodic chemo treatments he has to undergo haven’t etched him by a millimeter. End Of The Beginning reopens the games after 35 years, and it does so damn well! A riff that couldn't be more Sabbathian emanates from the stereo speakers, Wilk pounds adequately, and Geezer captivates with his apocalyptic brushstrokes on his bass's four strings. Echoes (or perhaps something more) of Black Sabbath (the first track of the eponymous album) are obvious, but I can't help but be pleased. The track flows through unsettling lyrics, typical of the English combo, and ponderous riffs until… there it is! The tempo change – a real trademark of his majesty Iommi – bursts in massively: two turns and off we go, drums and bass in unison lead us to the end! Excellent solo (is there any surprise?) and the ice is broken.

Fans and detractors, devotees and profane, can rest easy: the Sabbath are still themselves, for better or worse!

We arrive at the second track, the single released in advance and already a cult track: God Is Dead? is dominated by a riff as fundamental as it is effective and luciferian, up to the devastating "controlled acceleration" at the end.

Ozzy gets by with skill so far, with the usual vocal overdubs of the last studio albums, but guys, it’s still him! His voice is like a mephistophelic chant, a perfect harmony with Tony's destabilizing riffs, today as yesterday.

The album continues with Loner, the first mid-tempo of the tracklist. It is an immediate and gritty song, which in its melodic pre-chorus recalls something of Osbourne's solo work. A very good piece!

Zeitgeist, the only ballad on the album, opens with a malicious laugh from the Madman, then evolves into an ethereal journey into the deepest space. Gentle and soft guitars accompany us on the trip with interstellar bongos in the background. The similarities with Planet Caravan, a ballad contained in Paranoid, are abundant. Indeed, the 4th track of 13 seems like a true "self-plagiarism," so much the atmosphere and structures recall the twin written over 40 years ago; for me, it's just pleasant news, but I already know that for many others it will be a good reason to accuse the group of "lack of ideas." Amen!

After catching our breath, it's Brad Wilk's turn to remind us which band we're listening to! A simple yet effective drum intro introduces us to Age Of Reason, accompanied by the usual earth-shattering riff. Worth noting is a great solo and the devastating tempo change (ahhh, how we love them!?) around the 4-minute mark. A track that stands out among the most successful, without a doubt.

Following this is Live Forever, the only up-tempo track in the standard disc. A rather predictable piece, with nothing in particular to report. Usual applauded solo coda, and we're good with that!

Damaged Soul is, for me, the peak of everything. Indistinct sounds welcome us, then explode into a dirty slide riff. This is Iommi's "satanic blues" that we love so much! The track seems to come directly from the band's first LP, that Black Sabbath that excited and innovated so much. This is a jam disguised as a song, so rich in solos, one after another, dirty, full of groove, damn filthy, and devilish! Tony wanted to pay homage to his artistic roots, making us understand that this is where it all started. There's even room for an acceleration at the end, truly hair-raising stuff.

Concluding the album is Dear Father, another excellent performance by the four. The song structurally recalls the first and fifth tracks, which can only be a good thing! At the end of the piece, here's the gem. Lightning, thunder, bell tolls… a chilly shiver can't help but run down every Black Sabbath fan's spine, hearing it end in the same way everything started. Applause and tears!

We have reached the end of our journey. Confused, we take the CD out of the player and remain staring into space. We are happy, deeply. The fear that all this could turn out to be a tiresome money-grabbing commercial operation has vanished. All that remains is that dizziness and slight trembling sensation you only feel after listening to a masterpiece; if this then comes from three dinosaurs in retirement age, the enjoyment is amplified to infinity.

Thank you, Black Sabbath.