20TH BLACK SABBATH ALBUM "13" IN 2013

That's not Bill Ward!http://www.thrashhits.com/2013/01/2013-album-preview-black-sabbath-13/

Since the death of Heaven and Hell’s front-man Ronnie James Dio in May 16th, 2013, rumors had been circulating for an original Black Sabbath reunion, which had been both welcomed and denied by band members until a formal announcement in November 11th, 2011 at the Whiskey a Go Go with all four original members and Rick Rubin. However, it was later announced that original drummer Bill Ward was having contractual issues and omitted himself from the band until a signable contract could be provided. There has been a fury of rumors stating that he couldn't play anymore and a diagnosis lymphoma from Ronnie James Dio incited Tony Iommi to get one with it. So they proceeded with drummer Brad Wilk, of Rage Against the Machine and Audioslave. Jump to 2013, the release of their latest output is upon us, come June 10^th, and streaming itunes is the standard album in its entirety. This is the review of Black Sabbath’s 13.

The first song “End of the Beginning” resembles their first song “Black Sabbath” from the album “Black Sabbath” with a slow doomy melody at beginning and ominous lyrics, then kicks into high gear with a fast paced solo and then slows down again as a resolution. The song follows a three act structure, unlike “Black Sabbath” and is a solid song. Like the next song on the album, this song runs at eight-minutes and takes it time, however, the differentiation in tone and riffs will entertain nonetheless

Next, the first single from the album, “God Is Dead?” and with a title like that it seems like a bold move to alienate potential listeners. Then again with a name like Black Sabbath and years of accusations of Satanism, people who would be sensitive to such subject matter wouldn’t be listening to this band. In reference to a quote by German Philosopher, Friedrich Nietzsche, lyrics describe someone deliberating whether God is truly deceased and coming to grips with it. Like End of the Beginning, it has a slow guitar work at the beginning with intermissions of ascending guitar and bass riffs with accompanying drums until it all culminates into fast rhythm section. As stated this was the first single from the album released in back in April 2013, for many people this was the first song they heard. It takes time to grow on you but ultimately isn’t a standout song.

The third song on the album is “Loner”, which for those familiar with Black Sabbath's discography, the riff and bass-line mimics the signature riff of N.I.B. off the first album. In that sense, this song demands head-banging and is one of the more fast-paced songs of the album as it runs at five minutes. The song is not as thought provoking as the first songs as it tells the story of an outsider and could easily be the most poppy song on the album.

“Zeitgeist”, or “Return to Planet Caravan” as it should be called, opens with laughter rippling into synthetic sound effect which dissolves into acoustic guitar and bongo drums. Osborne’s distorted vocal, and it’s likely that they used the same technique they used on the “Paranoid” album of Leslie speakers. The original song was about floating through the universe with one's lover, and it seems that Sabbath has returned. It is the only song that could be described as easy listening, which this reviewer would describe it as ‘boring.’

“Age of Reason” will certainly shake you from your dormant sleep as it returns to the doomy strumming of Tony Iommi’s guitar. With the exception of “God Is Dead?” each song has a distinct linage to a song of the past; however, this one sounds like a new creation. Drums launch the rest of the band into action but ultimately this is Tony Iommi’s moment to shine with an extended solo. The input of a choir in certain moments of the song is a nice touch

“Live Forever” is the bastard child of “Children of the Grave” and “Hole in the Sky,” and like those songs, it is a good song, but unlike those songs, doesn’t amount to anything spectacular. It’s a solid song certainly, however, it trudges along undistinguished within Black Sabbath’s catalogue. “Damaged Soul” calls upon heavy metal’s predecessor of blues and Tony Iommi solo and guitar work throughout the song is the centerpiece of the song.

“Dear Father”, the last song on the album, contains a tangible ambience as if you’re transported into the recording studio and can guitar picking and ascension. It cannot be overstated that Tony Iommi is the master of riffs and handles his guitar better than most people handle their lives. The song ends with the same doomy church bell intro found at the beginning of their first album and ends “13” as if it were the bookends of Black Sabbath’s discography.

Overall, “13” is exactly what anyone would expect from this Black Sabbath reunion. This is a review of the standard album and there another three to four songs provided on various deluxe editions and Best Buy exclusives. Half of the album has a startling resemblance to their early work, even to the point of retreading ground. Ozzy Osbourne returns to the Black Sabbath as if thirty years hadn't pass and distinguishes himself from his solo career. The standout performer, as always, is Tony Iommi who brings back the master riffs and brooding guitar, and Geezer Butler complements these riffs with his bass. Brad Wilk does a fine job, however, it is inescapable to hide from the angered metal maniacs wanting a true reunion with Bill Ward. Bill Ward would certainly bring in improvisation and the album would be all the better with his involvement. Ultimately this Black Sabbath album doesn't step out of their comfort zone to present something of note; it is in the end a very solid album. It would be very controversial to step outside the Black Sabbath formula, so metal fans will rejoice for Sabbath’s return.