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Black sabbath headless cross6/18/2023 It's a shame that this didn't put them back into mainstream relevance but subsequent releases were enough to prove the band's staying power. Look through the people, and on through the mist to the hill of the headless cross. Black Sabbath feels renewed here and the album has its share of classics even if they are frequently dwarfed by the band's more famous ventures. Like any good 80s slasher flick, Headless Cross is a little too dated to have the scare factor it may have once had but its excellent performances give it a timeless appeal. If anything, pointing out all the times Martin ad libs and references Satan would probably make for a fun drinking game. The results are about as campy and may be too cheesy for those used to grimmer insights. My first Sabbath song was Iron Man and then I heard Headless Cross and I was very impressed with how heavy it was Now hearing it reminds me of when I was going to school there and how I would listen to it often and watching Army of Darkness around the time of Halloween back. In contrast to the occult warnings of Sabbath's classic era, Headless Cross is much less subtle and takes cues from King Diamond. Headless Cross was actually my first Sabbath album That was in 1993. The lyrics also opt for a darker tone though this has become a point of contention for some listeners. Elsewhere, "Devil And Daughter" borders on speed metal, "Black Moon" effortlessly alternates between blues and power metal, and the closing "Nightwing" serves as a grand but ominous ballad. The title track and "When Death Calls" are easily the album's strongest tracks as the former recycles the anthemic march of "Heaven And Hell" to great effect while the latter has some climactic tempo changes and soaring vocals. The band's doomy power glam template also allows for varied songwriting. Bassist Lawrence Cottle also manages to stand out on the title track despite only playing on this as a session member. Tony Martin also seems to be more comfortable this time around, showing off a wide range and dramatic character that was previously limited by a need to match Ray Gillen. The production is clearer than The Eternal Idol's had been, giving Goeff Nicholls's keyboards room to provide some admittedly dated atmosphere and allowing drummer Cozy Powell's hard hitting barrages to give extra aggression to Iommi's signature riffs and solos. It wasn't a monolith statement but it could be regarded as the first true Sabbath album since the early 80s.įor starters, there hadn't been a Sabbath lineup that showed off this much talent and chemistry since The Mob Rules. The Eternal Idol had previously explored a darker sound and introduced what was left of the fanbase to singer Tony Martin, but Headless Cross perfected the style and pushed its strongest elements to even further heights. Though it was barely acknowledged when first released in 1989, it's hard to emphasize just how significant Headless Cross is in the grand scheme of Black Sabbath's career. Headless Cross Lyrics: Look through the people and on through the mist / To the hill of the headless cross / Where all witches meet on a night such as this. Review Summary: The first true Sabbath album since The Mob Rules
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