Disc 1:
01. End Of The Beginning
02. God Is Dead?
03. Loner
04. Zeitgeist
05. Age Of Reason
06. Live Forever
07. Damaged Soul
08. Dear Father

Disc 2:
01. Methademic
02. Peace Of Mind
03. Pariah

Musicians:
    Tony Iommi – guitar
    Ozzy Osbourne – lead vocals, harmonica
    Geezer Butler – bass guitar
+
    Brad Wilk – drums

Black Sabbath’s birth is one remarkable event in heavy metal history. Their vision of doom, sludge and sometimes psychedelic created the soil on which many bands stand today. A few hits and several misses later, the juggernaut act led by Ozzy was shelved in the aftermath of “Forbidden”, their most disappointing material to date. Decades later, the announcement of their reunion received some mixed criticism. Ozzy Osbourne was seen as washed out, done and dusted, bound to release average upon average hard rock albums until his inevitable retirement.

Shockingly, 13 is a monstrous journey full of doom, sludge, psychedelic and bluesy prog-rock. The album revisits and recaptures the glory days. Simply put, there is some real quality filth in here.

The second half of the album is its strong point. “God is Dead?” and the intro song are exaggeratingly long with less quality content to account for. All the rest are complete opposites. Juggernauts like “End of the Beginning” and “Age of Reason” enjoy various time shifts, enough to make them enjoyable as they pass the 7 minute mark. "Zeitgeist" unmistakably borrows from Planet Caravan with distorted vocals singing over the bluesy and trippy instrumentals after Iommi pulls out a jazzy solo.

The production is rugged. Rick Rubin is hated by many, but he did a fine job with this record, showcasing a dry and meaty doom sound. Ozzy’s vocals are sometimes irritating, and his lyrics are far from what they used to be, but the music makes up for that downside.

The circle is complete with "Dear Father" ending with the sound of rain pouring down, just like their very first album began. And looking past the lyrical hiccups and sometimes irritating vocals, 13 is Black Sabbath’s closest thing to a damn good record in years. Some may argue this reunion was not necessary, but after the slump of “Forbidden”, this album was a must. It’s Sabbath’s swan song and illustrates a modern take on the band's glorious legacy. --- Peter K. Mark, sputnikmusic.com

download (mp3 @320 kbs):

yandex 4shared mediafire

back

1. Trashed  (4:15)
2. Stonehenge (1:58)
3. Disturbing The Priest (5:48)
4. The Dark (0:48)
5. Zero The Hero (7:35)
6. Digital Bitch (3:38)
7. Born Again (6:35)
8. Hot Line (4:50)
9. Keep It Warm (5:39)

Musicians:
Ian Gillan – vocals
Tony Iommi – guitar, flute
Geoff Nicholls – keyboards
Geezer Butler – bass guitar
Bill Ward – drums

The idea sure looked good on paper, but when former Deep Purple frontman Ian Gillan joined Black Sabbath for 1983's dreadful Born Again album, the grim reality was that Gillan's bluesy vocal style and oftentimes humorous lyrics were completely incompatible with the lords of doom and gloom. Widely deemed the band's creative nadir (although a few later efforts like Cross Purposes and Forbidden give it a run for its money), Born Again also featured one of the worst album covers ever (it's been voted!), and the subsequent world tour was so troubled and tragicomic that the band's Stonehenge stage set wound up serving as inspiration for the ultimate rock & roll spoof movie, This Is Spinal Tap, when it was discovered to be too large to fit inside most venues! Born Again's equally atrocious "production" leaves one with the distinct impression that, in a misguided attempt to record the heaviest album ever, Black Sabbath came away with the muddiest instead. Among the smoking ruins that pass for its songs, one might find it possible to appreciate Gillan's trademarked double entendres on "Disturbing the Priest," pick out a decent melody within the messy title track, and get down to some mercifully straightforward headbanging with "Digital Bitch" and the album's lone classic, "Trashed." But the remaining detritus, composed of embarrassing numbers like "Zero the Hero," "Hot Line," and "Keep It Warm" and pointless sound effect interludes "Stonehenge" and "The Dark," is simply beyond painful. By comparison, even the barely-recognizable-as-Sabbath material found on 1986's belated comeback, Seventh Star -- originally planned as a Tony Iommi solo effort, to be fair -- sounds pretty damn good. But by then, Black Sabbath's greatly anticipated association with Ian Gillan had gone down as one of heavy metal's all-time greatest disappointments, and nearly killed the genre's founding fathers in the process. ---Eduardo Rivadavia, AllMusic Review

download (mp3 @320 kbs):

yandex mediafire uloz.to mega 4shared cloudmailru gett

back

01.Paranoid
02.Iron Man
03.Changes
04.Fairies Wear Boots
05.War Pigs
06.Never Say Die
07.Children of the Grave
08.The Wizard
09.Snow Blind
10.Sweet Leaf
11.Evil Woman, Don’t Play Your Games with Me
12.Sabbath Bloody Sabbath
13.Black Sabbath
14.N.I.B

Black Sabbath’s Greatest Hits… is a 14 track collection of classic tracks from across the bands first eight albums--including selections from 1970’s debut Black Sabbath and follow up Paranoid,1971’s Master Of Reality, 1972’s Volume 4, 1973’s Sabbath Bloody Sabbath and 1978’s “Never Say Die”. The album brings some of the best loved and most influential rock songs of all time together on one album – including such classics as "Paranoid", "Iron Man", "Black Sabbath", "Sabbath Bloody Sabbath", "War Pigs" and "Changes". ---Editorial Reviews

download (mp3 @128 kbs):

yandex mediafire uloz.to mega 4shared cloudmailru gett

back

01. The Gates Of Hell
02. Headless Cross
03. Devil & Daughter
04. When Death Calls
05. Kill In The Spirit World
06. Call Of The Wild
07. Black Moon
08. Nightwing
09. Cloak & Dagger (bonus)

Tony Martin - Vocals
Tony Iommi - Guitar
Laurence Cottle - Bass
Geoff Nicholls - Keyboards
Cozy Powell – Drums

By the late '80s everyone had pretty much given up on Black Sabbath...and why not? After all, guitarist Tony Iommi was the only remaining original member, and the band had seen an outrageous number of musicians -- particularly lead singers -- crash through its battered ranks since Ozzy Osbourne's late-'70s sacking. So it was actually quite a shock to anyone still paying attention when no-name vocalist Tony Martin outperformed a string of higher-profile predecessors with his contributions to Sabbath's unexpected 1987 return to form, The Eternal Idol, then pulled off the even more remarkable feat of being invited back for a second go-round via 1989's equally satisfying Headless Cross. Arguably the finest Black Sabbath album sans Ozzy or Dio, Headless Cross also featured one of Black Sabbath's most formidable lineups ever: matching the two Tonys with veteran bassist Neil Murray (Whitesnake, Gary Moore, etc.) and experienced journeyman Cozy Powell (too many associations to list) -- one of the few drummers in possession of an instantly recognizable sound. It's Powell, in fact, who leads the Sabs back out to the battlefield when he detonates the reverie of atmospheric intro "The Gates of Hell" with his echoing, pounding war drums, but naturally everything on offer is ultimately bound to, and dependent upon, Iommi's almighty riffs -- from whence all rivers flow. This includes morbid monster-pieces such as "Kill in the Spirit World" and "Call of the Wild," which quake with simply massive power chords yet still manage to flow seamlessly into slightly more upbeat radio-friendly numbers like "Devil and Daughter" and "Black Moon." Likewise, whereas "When Death Calls" is surely one of Iommi's most spine-chilling compositions ever in terms of sheer malevolent force, the equally bewitching "Nightwing" flips the coin entirely with its delicate acoustic guitars and (dare it be said) highly romantic lyrics. In short, for those wise enough to appreciate Black Sabbath's discography beyond the Osbourne and Dio essentials, there can be no better place to start than Headless Cross or its worthy predecessor, The Eternal Idol. --- Eduardo Rivadavia, AllMusic Review

download (mp3 @320 kbs):

yandex mega mediafire uloz.to cloudmailru ge.tt

back

01.	Neon Knights	
02.	Children Of The Sea 
03.	Lady 
04.	Heaven And Hell 
05.	Wishing 
06.	Die Young 
07.	Walk Away 
08.	Lonely Is The Word 

Bass – Geezer Butler
Drums – Bill Ward
Guitar – Tony Iommi
Keyboards – Geoff Nicholls
Vocals – Ronnie James Dio 

Many had left Black Sabbath for dead at the dawn of the '80s, and with good reason -- the band's last few albums were not even close to their early classics, and original singer Ozzy Osbourne had just split from the band. But the Sabs had found a worthy replacement in former Elf and Rainbow singer Ronnie James Dio, and bounced back to issue their finest album since the early '70s, 1980's Heaven and Hell. The band sounds reborn and re-energized throughout. Several tracks easily rank among Sabbath's all-time best, such as the vicious album opener, "Neon Knights," the moody, mid-paced epic "Children of the Sea," and the title track, which features one of Tony Iommi 's best guitar riffs. With Heaven and Hell, Black Sabbath were obviously back in business. Unfortunately, the Dio-led version of the band would only record one more studio album before splitting up (although Dio would return briefly in the early '90s). One of Sabbath's finest records. ---Greg Prato, AllMusic Review

download (mp3 @320 kbs):

yandex mediafire uloz.to mega 4shared cloudmailru gett

back

01. Supertzar (intro) - 0:27
02. Symptom Of The Universe - 4:54
03. Snowblind - 6:25
04. War Pigs - 7:59
05. Black Sabbath - 7:59
06. Dirty Women (incl. drum solo) - 9:36
07. Rock And Roll Doctor (incl. guitar solo & improvisation) - 7:28
08. Electric Funeral - 8:09
09. N.I.B. - 5:40
10. Gypsy - 5:37
11. Paranoid - 2:59
12. Children Of The Grave - 4:39

- Ozzy Osbourne - vocals
- Tony Iommi - guitar
- Geezer Butler - bass
- Bill Ward - drums
+
- Gerald Woodruffe – keyboards

Live at Olympen, Lund, Sweden 1977-04-21

This copy of the legendary vinyl bootleg "Killing Yourself To Die" is a really brilliant piece of work. Soundquality as good as on the vinyl and great artwork as you can see leaves only one main difference between the vinyl and the CD: the price! Like "The Ray Gillen Years" this CD was released by Bondage Music in Japan somewhere back in 1995! Everyone should check out the exciting version of "Gypsy". :::: Lund ’77 is the finest quality specimen of a complete TECHNICAL ECSTASY era show in circulation.

There has been some debate as to whether this show is an audience recording or from an FM broadcast. The stunning clarity and well-balanced mix would convince many that it may have been professionally recorded. In fact, it was recorded with a Nakamichi tape deck and 2 microphones. It’s true origin becomes more evident when you hear some clapping fairly close to the microphones. Also, Ozzy’s vocals are a bit more distant than one might expect them to be on a soundboard or FM tape.

download (mp3 @320 kbs):

yandex mediafire uloz.to mega 4shared cloudmailru gett

back

1. Turn Up The Night (3:40)
2. Voodoo (4:32)
3. The Sign Of The Southern Cross (7:46)
4. E5150 (2:54)
5. The Mob Rules (3:14)
6. Country Girl (4:02)
7. Slipping Away (3:45)
8. Falling Off The Edge Of The World (5:02)
9. Over And Over (5:28)

Bass – Geezer Butler
Drums – Vinnie Appice
Guitar – Tony Iommi
Keyboards – Geoff Nicholls
Vocals – Ronnie James Dio 

1981's Mob Rules was the second Black Sabbath album to feature vertically challenged singer Ronnie James Dio, whose powerful pipes and Dungeons and Dragons lyrics initially seemed like the perfect replacement for the recently departed and wildly popular Ozzy Osbourne. In fact, all the ingredients which had made their first outing, Heaven and Hell, so successful are re-utilized on this album, including legendary metal producer Martin Birch (Deep Purple, Whitesnake, etc.) and supporting keyboard player Geoff Nichols. And while it lacks some of its predecessor's inspired songwriting, Mob Rules was given a much punchier, in-your-face mix by Birch, who seemed re-energized after his work on New Wave of British Heavy Metal upstarts Iron Maiden's Killers album. Essentially, Mob Rules is a magnificent record, with the only serious problem being the sequencing of the material, which mirrors Heaven and Hell's almost to a tee. In that light, one can't help but compare otherwise compelling tracks like "Turn Up the Night" and "Voodoo" to their more impressive Heaven and Hell counterparts, "Neon Knights" and "Children of the Sea." That streak is soon snapped, first by the unbelievably heavy seven-minute epic "The Sign of the Southern Cross," which delivers one of the album's best moments, then its segue into an unconventional synthesizer-driven instrumental ("E5150") and the appearance of the roaring title track. Side two is less consistent, hiding the awesome "Falling off the Edge of the World" (perhaps the most overlooked secret gem to come from the Dio lineup) amongst rather average tracks like "Slipping Away" and "Over and Over." Over the next year, the wheels fell off for Black Sabbath, and Dio's exit marked Mob Rules as the last widely respected studio release of the band's storied career. ---Eduardo Rivadavia, AllMusic Review

download (mp3 @320 kbs):

yandex mediafire uloz.to mega 4shared cloudmailru gett

back

1. Never Say Die  
2. Johnny Blade  
3. Junior's Eyes  
4. A Hard Road  
5. Shock Wave  
6. Air Dance  
7. Over To You  
8. Breakout  
9. Swinging The Chain  

Ozzy Osbourne 	Vocals (lead)
Tony Iommi 	Guitars, Vocals (backing) (track 4)
Geezer Butler 	Bass, Vocals (backing) (track 4)
Bill Ward 	Drums, Vocals (lead) (track 9), Vocals (backing) (track 4)
+
Don Airey 	Keyboards
John Elstar 	Harmonica

After going their separate ways for a brief period following the emotionally taxing and drug-infested Technical Ecstasy tour, Black Sabbath and singer Ozzy Osbourne reconciled long enough to record 1978's Never Say Die! -- an album whose varied but often unfocused songs perfectly reflected the band's uneasy state of affairs at the time. Even the surprisingly energetic title track, which seemed to kick things off with a promising bang, couldn't entirely mask the group's fading enthusiasm just beneath the surface after a few repeated listens. The same was true of half-hearted performances like "Shock Wave" and "Over to You," and there were several songs on the record that sound strangely disjointed, specifically "Junior's Eyes" and the synthesizer-doused "Johnny Blade" -- as though their creation came in fits and starts, rather than through cohesive band interaction. But when it came to wild, stylistic departures, one's disappointing realization that the lurching, saxophone-led "Breakout" came from -- and then went back to -- absolutely nowhere was easily offset by the stunningly successful oddity that was "Air Dance." Arguably the most experimental song in Black Sabbath's entire canon, this uncharacteristically mild-mannered and effortlessly evocative ballad saw Tony Iommi's normally bullish guitar giving way to simply mesmerizing piano flourishes performed by leading session keyboardist Don Airey. If only it had represented a bold new direction (albeit one that die-hard fans would never have accepted) rather than just another sign of the band's quickly fraying sense of identity, Black Sabbath's original lineup may have found a way to save itself -- but Never Say Die!'s incoherent musical aggregate in fact betrayed the harsh reality that it was indeed too late. So even though those same die-hard Black Sabbath fans and completists will likely find some redeeming value in Never Say Die! after all these years, the original lineup's final gasp will hold little interest to the average heavy metal fan. ---Eduardo Rivadavia, AllMusic Review

download (mp3 @320 kbs):

yandex mediafire uloz.to mega 4shared cloudmailru gett

back

01.	In For The Kill 
02.	No Stranger To Love 
03.	Turn To Stone 
04.	Sphinx (The Guardian) 
05.	Seventh Star
06.	Danger Zone 
07.	Heart Like A 
08.	Angry Heart 
09.	In Memory

Bass – Dave "The Beast" Spitz
Drums – Eric Singer
Guitar – Tony Iommi
Keyboards – Geoff Nichols
Vocals – Glenn Hughes 

An often misunderstood and underrated album, 1986's Seventh Star was never intended to be a Black Sabbath release, as the band had effectively broken up following its disastrous 1984 tour in support of career low point Born Again. Instead, Seventh Star was conceived as guitarist Tony Iommi's first solo project, and it was only record company pressure that forced him to resurrect his longtime band's moniker at the last minute. With this in mind, one can better appreciate both the record's more blues-based, often un-Sabbath-like songwriting and the contributions made by journeyman singer Glenn Hughes (ex-Trapeze, Deep Purple, etc.), whose incredibly emotive and soulful vocal style was completely at odds with the deadpan delivery of Sabbath's most recognizable singer, Ozzy Osbourne (a discrepancy that would spell his quick exit when the necessary classics were wheeled out for the ensuing world tour). Still, within the unique circumstances of Seventh Star's creation, Hughes' fiery tunefulness made aggressive hard rockers like "In for the Kill," "Turn to Stone," and "Danger Zone" uncommonly catchy, and gorgeous ballads such as "Angry Heart/In Memory..." and "No Stranger to Love" all the more heart-rending. Tellingly, his efforts fell resoundingly flat on the bluesy aimlessness of "Heart Like a Wheel" and the gothic menace of the title track, making it possible for keener observers to foresee the troubles ahead. Yet, in light of the even more traumatic difficulties that preceded it, Seventh Star -- for all its uncharacteristic sonic qualities -- actually represents the turning of a corner for Black Sabbath's lengthy career, which steadily regained momentum in the years that followed. ---Eduardo Rivadavia, AllMusic Review

download (mp3 @320 kbs):

yandex mediafire uloz.to mega 4shared cloudmailru gett

back

1. Back Street Kids (3:46)
2. You Won't Change Me (6:34)
3. It's Alright (3:58)
4. Gypsy (5:10)
5. All Moving Parts (Stand Still) (4:59)
6. Rock 'N' Roll Doctor (3:25)
7. She's Gone (4:51)
8. Dirty Women (7:15)

Geezer Butler - Bass
Bill Ward - Vocals (lead) (track 3), Drums
Tony Iommi - Guitars
Ozzy Osbourne - Vocals, Harmonica 

Black Sabbath was unraveling at an alarming rate around the time of their second to last album with original singer Ozzy Osbourne, 1976's Technical Ecstasy. The band was getting further and further from their original musical path, as they began experimenting with their trademark sludge-metal sound. While it was not as off-the-mark as their final album with Osbourne, 1978's Never Say Die, it was not on par with Sabbath's exceptional first five releases. The most popular song remains the album closer, "Dirty Women," which was revived during the band's highly successful reunion tour of the late '90s. Other standouts include the funky "All Moving Parts (Stand Still)" and the raging opener, "Back Street Kids." The melodic "It's Alright" turns out to be the album's biggest surprise -- it's one of drummer Bill Ward's few lead vocal spots with the band (Guns N' Roses covered the unlikely track on their 1999 live set, Live Era 1987-1993). ---Greg Prato, AllMusic Review

download (mp3 @320 kbs):

yandex mediafire uloz.to mega 4shared cloudmailru gett

back