Said “The Cat” of the whole affair: “We were kinda steered into a ‘rap SABBATH’ album. This was after the Sabs reunited (for the first time) with Ronnie James Dio on 1992’s Dehumanizer and a one-time attempt at getting things back together in the studio with two tracks (“Psycho Man” and “Selling My Soul”) on the live album Reunion.įorbidden was a strange note to go out on. Whathafuck?! Maybe it had something to do with it being 1995 and Soundgarden handling Sabbath-duties for the time being.įorbidden also seemed like a final chance for the band to extricate itself from IRS records, the now-defunct home to Dread Zeppelin and The Fine Young Cannibals. “You know what it’s like, you get one of these whiz-kids who come up with these great brainwaves that doesn’t work,” Iommi admitted in his recent autobiography, Iron Man. Huh?!? Forget that opener “The Illusion of Power” tries to squeeze a crushing groove out of Cozy Powell it sounds like “The Cat” is trying to actually rap against the creeping Iommi riff. Incidentally, Tony Martin should also be credited with one of metal’s most spectacular mullets.įirst and foremost, the most telling (and shocking) sign of this being a complete crash n’ burn disemboweling of the Sabbath legacy comes on the production credits: produced by the creative force behind BODY COUNT, Ernie “C.” Cunnigham. Maybe they’re not proper Sabbath records, but good ones. Truthfully, the Tony Martin era of the band doesn’t get enough credit The Eternal Idol and Tyr are solid records as well. In fact, The Headless Cross is on my top 5 list of Sabbath albums. First off, let’s make this clear: I do consider the Tony “The Cat” Martin era of the band to be a legit part of the Sabbath legacy, just not Forbidden. In the wake of all the hoopla of their classic line-up reformation I give you Black Sabbath’s self admitted career low-point: Forbidden.
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