Black Sabbath ’13’ Album Review

The ominous guitar halts of opener “End of the Beginning” play like an apt arrival for a comeback of epic proportions. “Is this the end of the beginning, or the beginning of the end?” Ozzy Osbourne asks to kick off Black Sabbath’s first album in 18 years. It’s a question that’s seemingly impossible to answer, especially in regard to Black Sabbath’s fluctuating career status. Yet as the album kicks off in full, thrilling nostalgic gear immediately, one would hope this isn’t the end of anything for Black Sabbath, who sound surprisingly revitalized on 13. “The system has to be recast,” Ozzy snarls on “End of the Beginning”, signaling the entry of vigorous guitar chops courtesy of Tony Iommi. Here’s where the track really gets going, and where Ozzy is able to stretch out his elongated vocals with his trademark delivery, flashing between quivering emotion and deadpan nonchalance. It’s an exciting way to start 13 that reminds of Black Sabbath’s reign as the greatest group in heavy metal. And despite some hiccups along the way, the album generally keeps up with the opener’s fervent heavy metal and classic-rock revivalism throughout.

Produced by famed producer Rick Rubin, one of the most adept at capturing ferociously distorted rock without the result sounding muddled, 13 has no faults from a production standpoint. Rubin is a noted fan of Sabbath, and his studied knowledge of the band’s past repertoire results in a sound that reflects the group’s vintage intuition, all while touting a rich clarity that supersedes the muscular guitar riffs and pulsating rhythm sections. “Loner”, with its jangly guitar-driven chorus, sounds Sabbath once again appealing to a secluded high school faithful; it’s awe-inspiring how some kids may be coping with new material from groups their parents used to cope in high school. “He hides himself away, his secrets not revealed,” sings Ozzy, an eerily foreboding quality present in his voice. “As life jut passes by he keeps himself concealed.” Although it may seem initially aimed to dissect the actions of a recluse, powerful lines like the concluding “I wonder if he will be happy when he’s dead” before guitars halt abruptly show Sabbath as much more than a group attempting to seize an emotional niche.

The exotic acoustic beginnings of “Zeitgeist” kick off one of the album’s most interesting tracks, also marked by the psychedelic warbly effect of Ozzy’s voice. His straining pleas resemble the psychedelic overtures of Pink Floyd’s Roger Waters, and the interesting acoustic trickles and tropical minimalism percussion shows a lighter and more retrospective side to Black Sabbath. In addition to its alluring instrumental sections, “Zeitgeist” contains engrossing lyrical work from longtime Sabbath lyricist Geezer Butler. “The strings of fear they are holding up the race / The puppets falling to the ground,” Ozzy croons, one of his crispest and most sincere vocal deliveries in years. “The love I feel as I fly endlessly through space / Lost in time, I wonder will my ship be found?” A sensual guitar solo follows, more tender and subdued in a Clapton sense rather than Iommi’s typical fleet streaks of guitar. “Zeitgeist” is a success through and through, and wraps up a strong four-track punch to open up the album.

Although the second half of 13 contains several highlights, like the thunderously anthemic fury of “Live Forever”, it also shows a more scattered and less inventive approach. Everything here is fun to an extent, but an effort like “Damaged Soul” drags on too long, and relies too much on a stylistic gimmick in its hook. In the case of “Damaged Soul”, the bluesy guitar howls seem out of place. Even if there is minimal distraction, nothing pulls the listener in like “Zeitgeist” or “Dear Father”. “Age of Reason” doesn’t attempt any stylistic tricks, but in similar form to “Damaged Soul” the arrangement isn’t as engaging as the other efforts on 13, like “Dear Father”, which concludes the album in theatrical heights, especially within the final few minutes’ transitioning from hard and heavy guitar riffs to symphonic punches. Overall, 13 is an exciting album that, while not Black Sabbath’s absolute best, is a better comeback than anyone could have envisioned after 18 years apart. For a legendary group that looked like it would never come back, 13 is a job well done.