Black Sabbath
The Eternal Idol

The second half of the '80s represents a turbulent period for Black Sabbath, revolving around the charismatic figure of Tony Iommi. He cannot keep a steady line-up that properly represents the group after the adventures related to Seventh Star just the previous year. But unexpectedly, in 1987, salvation arrives in the person of Tony "The Cat" Martin, who will bring relative stability within the band. Eric Singer (future Badlands and Kiss) on drums, Bob Daisley (former Uriah Heep, former Rainbow, and former Ozzy Osbourne) on bass, and finally the trusty Geoff Nicholls on keyboards form the core that will record The Eternal Idol along with the two Tonys (Iommi and Martin). The first chapter of the Tony Martin era, to be honest, is not the most exciting.

Overall, we're faced with a decently good album, containing some good compositions and some rather weak and feeble tracks. "The Shining" is a scary opener, where the arpeggio is performed with a magical guitar effect and the howling bass vibrates in the background. The riff is effectively powerful, and the voice is energetic and reminiscent of Ronnie James Dio, as purists point out. "Ancient Warrior", on the other hand, is a less convincing track, where vocals and guitar intertwine forming strange flights of fancy and a weak chorus. "Hard Life To Love" is somewhat better, with a bit more fluidity dictated by the dynamism of the rather sustained riff in rhythm. Glory Ride maintains the not particularly high level of the previous song, with a noticeably more catchy cut, almost sentimental in the keyboard-filled chorus. "Born To Lose" is truly spectacular, bringing us back up like The Shining. The riff smashes like a marble slab on teeth, with the beautifully sharp overdrive typical of Iommi in the '80s. Here, too, the band is in perfect harmony with Tony Martin's vocal requirements, not to mention the amazing guitar solo.

"Nightmare" is the atmospheric track of the album, where a certain mysticism pervades the riff, with a well-timed pick-up halfway through the song and a reminiscence referring to the atmosphere of 'Sabotage' (relisten to Thrill Of It All to believe). Scarlet Pimpernel is the most beautiful of all the acoustic instrumental pieces written by Tony Iommi over the years. Listening to this enchanted piece really feels like flying, offering a moment of respite to the listener. But the strong emotions resume with Lost Forever, without particular jolts or shivers down the spine. The album's finale is extraordinary: the title track, an acidic ballad in the style of 'Born Again,' though much darker, sepulchral, obscure, and sinister. Once again, Tony Martin, who sings with unprecedented passion, receives praise, supporting and greatly enhancing the apocalyptic guitar twists of Tony Iommi. Even the lyrics are remarkable, as hadn't been seen in years: a dark reflection on the afterlife, raising doubts that have plagued man for centuries (Is there a heaven, is there a hell? / Who's this God, tell me there's no God above), this time very different from the religious positivism that characterized songs like After Forever or A National Acrobat, both from the Ozzy Osbourne era.

Transition is the term that best suits this album, but also the search for stability, which will soon be achieved. "The Eternal Idol" is to this day the least sold Black Sabbath album. The production is poor, the result of three different producers (Jeff Glixman, Vic Coppersmith, and Chris Tsangarides) who made a mess of things, such as crediting Dave Spitz (bass) and Bev Bevan (percussion), who did not play a single note on "The Eternal Idol" and lasted only a few weeks before being promptly discarded by Iommi & Co. The abrupt departure of the band's manager, Don Arden, and a sound not exactly at its peak put the icing on the cake. But one must not forget the grit of a guitarist-leader who does not want to give up and the enthusiasm of a singer destined to enter forcefully into the history of Black Sabbath.

"The Eternal Idol" does not reach the heights where the "Seventh Star" shone, will not find a place in the Viking Pantheon of "Tyr," nor will it ever be a milestone like "Headless Cross," yet its historical importance is vital for the fate of the band. Honestly, it can be said that it is not an album to be discarded even though it is not exactly stratospheric.