Black Sabbath
Cross Purposes

THE REVIEW

It's 1994, and the final chapter of Black Sabbath is being written. But Tony Iommi still has the desire—or perhaps stubbornness—and brings to life this Cross Purposes, a good album that perhaps lacks something, that "hand" of God—Ronnie James, to be clear—that had returned with Sabbath on the previous Dehumanizer, 12 years after the legendary Heaven and Hell. Not to take anything away from the good Tony Martin, who is undoubtedly an excellent vocalist, but Dio is indeed a god and has no rivals. The lineup, in addition to the aforementioned Martin and Iommi, features the historic bassist Geezer Butler and, making his debut with the group, drummer Bobby Rondinelli.
Talking about the album, you immediately notice from the energetic opener "I Witness" that Sabbath won't disappoint us this time either. It's a classic Sabbath post-Ozzy style piece, with Rondinelli keeping the tension high from start to finish. With "Cross of Thorns," our guys seem to calm down, even though Butler and Rondinelli once more dominate, with an Iommi who almost stays in the background until the proverbial solo, which, however, doesn't have much ambition. Indeed, everything is supported by an excellent Martin who gives the piece a lot of emphasis. It's perhaps one of his best performances. "Psycophobia" arrives, and the title says it all: it's a nearly schizophrenic track, decidedly un-Sabbath style, I would almost dare to say thrash, and it doesn't leave much.
This all leads us to "Virtual Death." The sound seems fitting: a drum that slowly pounds relentlessly, a distorted guitar, a dark bass. These are the real Sabbath.

The climax comes when a dazed and malicious Martin is left with only Butler: "People Always Tried To Change Me, Alter Everying I Am, Though You Find This So Amusing, You Left Me In This State I'm In. Virtual Death." The best track on the album.
After all this, the first notes of "Immaculate Deception" start, and once again Sabbath manages to surprise. Finally, you hear the real Iommi, who breaks a sweeping rhythm with a solo worthy of his name.
For years and years, Black Sabbath has always used the same standard formula; why change? And here comes the usual ballad: "Dying for Love." It introduces a languid yet inspired Iommi, continues with an excellent Martin. A nice piece, which accelerates at the end, certainly not the best slow song by Sabbath, but it's enjoyable to listen to.
"Back to Eden" gives us back energy and preaches goodwill: "The Power Of Peace Can Destroy The Gun..," but it's also cynical: "The Human Race Will Never Learn." In "The Hand That Rocks the Cradle," Iommi proves his skill but nothing more. Even in "Cardinal Sin," we find a more classic Sabbath sound, but it's a bit forced and nothing extraordinary. It concludes with "Evil Eye," which is said to have had a close collaboration with Eddie Van Halen. Perhaps it's meant to be a follow-up to Evil Woman (People say the woman's got an evil eye. Got hell looking up, heaven looking down, free me from the woman with the evil eye), but who knows... it's still a standard Sabbath piece, unpretentious but somewhat catchy.

In favor of the album is the fact that Black Sabbath has never just thrown together four notes and lyrics, and therefore on this front, we can't help but achieve a certain quality: texts—almost—always sensible and coherent and an excellent record production.
Against it is the fact that it's 1994, and this hard rock has been overused: to be honest, Black Sabbath has been surpassed for some time. Iommi and company won't give up and will try several more times, especially with the last studio album Forbidden in 1995, and with a Live, Reunion, with the original Iommi-Osbourne-Butler-Ward lineup in 1998.
Recently, Ozzy has said that he has no intention of returning to the studio with Black Sabbath because it would only put mud on the legendary works of the '70s. Wise words!