Black Sabbath
Never Say Die

Welcome back, Debaserian people. I have returned to review after a short period of rest, and I want to come back with the review of one of my favorite albums, "Never Say Die" by Black Sabbath. Naturally, before starting my usual track-by-track, I feel the need to write a little introduction: many bands at a certain point in their career decide to broaden their musical horizons and explore genres they had never touched before. Valid examples can be Queen's "Hot Space" and Kiss's pop trilogy "Dynasty," "Unmasked," "Music From The Elder." Unfortunately, very often, fans of the group and critics do not take well the stylistic change of the band, often transforming very valid albums into flops or highly contested works. It must be admitted that sometimes these musical changes are not very successful ("Hot Space," even if I like it a lot, is certainly not a work on par with many other Queen albums), but this is definitely not the case for Sabbath, who after a bad job like "Technical Ecstasy" presented this album to the public in 1978, which in my opinion is truly very valid and well-executed.

And now the track-by-track: welcoming us to this record is the title track "Never Say Die", which is a very simple Hard Rock and catchy song, with nothing particularly special aside from a certain melodiousness. What’s really beautiful is the way Butler plays the bass, intertwining its sound with that of the guitars and drums, providing a very solid musical base. Moving on to a piece that has very little Sabbath in it, "Johnny Blade", introduces us to the song through very dark and distorted chords with keyboard by former Judas Priest and current Deep Purple member Don Airey. The bass and drums immediately follow the keyboard, starting a frenetic battle of riffs, and Iommi’s harsh guitar manages to crank out his usual heavy riffs while Ozzy Osbourne's sepulchral voice gives a very dark and grave tone to the song. This track is very distinctive, and in 1978, it left many Sabbath fans speechless as it was far removed from traditional Sabbath standards. The instrumental storm present in this song is notable, and it seems that amidst this fury of riffs and chords Ozzy is just an optional. The track is remarkable and also very beautiful, but due to its differences compared to other Sabba works, not everyone might like it. Moving on with "Junior Eyes", a song that Ozzy dedicates to his recently deceased father, Butler's bass in this song is exceptional and manages to surprise us from the very first chords. The chorus is very catchy, but unfortunately, in contrast to the rest of the band, Iommi here drops significantly, laying bare an excessively distorted and predictable solo. In fact, I dare say that in this song Iommi's guitar is completely off and the mustached guitar hero lets himself go to riffs heard thousands upon thousands of times. However, special mention must be given to Ward, who manages with his drums to do an excellent job, very well-executed, and the drum roll with which Ward starts the chorus.
Now we find ourselves listening to a not very convincing and rather lacking track, "It's A Hard Road." The song is not at all particular or captivating, and even the chorus that might seem engaging at first listen becomes boring soon after. Perhaps the worst song on the album, but once this brief parenthesis is overcome, we face "Shock Wave," here the limits of human tolerance are reached. The song is trash, boring, predictable, Iommi unable to do anything good with the guitars. Let's move on and not waste time on this terrible song. Once these two sad parentheses are overcome, we find ourselves listening to the most beautiful song of the entire album "Air Dance." This song is a small masterpiece, with blues and jazz infusions scattered all around, sweet and dreamy. The piano manages to make us dream, the bass and drums provide very jazzy rhythms, and the acoustic guitar in the background adds an extra touch to this song. Beautiful, truly the most successful track on the entire album, and one can also sing the praises of the subsequent "Over To You," also rich in blues infusions and with excellent melodiousness. Along with "Air Dance", it can be placed in the progressive genre, "Over To You" is certainly another extremely valid track. Having overcome the previous confusion, Iommi returns to being the riff-eater he always was, and Butler confirms himself as the best Sabbath of the album, always managing to do excellent work without ever declining.
And here we are at the instrumental piece of the album "Breakout," symphony of notes and chords, with background sax and trumpets that make this piece very particular and especially very good. Guitar and drums manage to do good work together, and after this beautiful instrumental track, we move on to the final song of the CD, which is "Swinging The Chain," with a very fit Bill Ward on vocals who manages to sing not excellently but fairly well. The fully recovered Iommi’s guitar provides an excellent base, while it’s entirely unnecessary to once again praise the excellent Butler.

After listening to "Never Say Die," I feel compelled to say that it is a very valid work except for track 4 and 5, a really good job, very pleasant to listen to and a record that should be purchased. Greetings from Axl Spark.