Released in 1970, Paranoid is Black Sabbath’s second studio album, and while their self-titled debut landed in record stores in February of the same year, this September release saw the British Heavy Metal rockers expand upon their origins with a heavier, more bombastic, yet seductively succulent musical style. Yes, its themes are darker, more demonic, and apocalyptic in nature, but don’t let that deter you, as listening to this kind of music will most certainly not open a doorway to hell. It will, however, expand your horizon as the down-tuned musical style melds with your soul in a hypnotic manner that won’t let up until the final note has rung out.
It isn’t all about the music, however, as Paranoid’s album artwork is a thing of beauty, yet it wasn’t always intended to be that way. It’s said that War Pigs was to be the album’s title, yet during the final stages of the record’s release, a decision was made to change the title but keep the existing artwork. As such, you can see where the pig-inspired faux warrior, wielding the sword, would have made sense, but in an interesting dichotomy, the album’s cover art works perfectly with the title Paranoid, for it screams of paranoid delusions. Either way, as is the case with much of Black Sabbath’s extraordinary catalogue, it’s the perfect visual counterpart to the exceptional music contained within.
Speaking of the music, when listening to the 2009 Hi-Res Lossless Apple Digital Master, one can’t help but be impressed by the depth, clarity, and overall tonality of the record, which permits listening at higher volumes, just as an album like this should be listened to, without introducing listening fatigue. It also remains thoroughly enjoyable to those who prefer their volume at less than ear-bleeding levels, meaning that the 2009 edition is ideally suited to a broad audience. Yes, the 2012 remaster is also available via Apple Music, but it’s more shrill and contains known dropouts from the master recording. Plus, I admit that I much prefer the darker mastering of the 2009 remaster as it really highlights Ozzy Osbourne’s vocals, while ensuring the musical bed retains its layered complexity and overall mystique. Yes, there is a case to be made that the 2009 remaster has a noise reduction feel to it (think Dolby NR from the Compact Cassette era), but, in my experience, it makes for a far more enjoyable listening experience.
The good news is that both remasters are available on Apple Music, and you can decide for yourself. So, hit play, turn the volume to 11, and let’s take a look at the songs that make up this legendary release.
War Pigs is an ideal album opener, as it sets the tone for the entire record and serves as a warning, particularly via the air-raid siren, for the upcoming musical experience that one has to hear to fully appreciate. Not only are the band on fire, but Osbourne’s vocals are amongst the greatest he has ever recorded, the culmination of which leaves no room for one to question Paranoid’s impact on the Heavy Metal genre.
Paranoid has a killer guitar lick that is as raw and forward-driving as the band’s overarching style during these early years. The guitar riff, pounding rhythm, and Osbourne’s near-spoken lyrical approach made “Paranoid” a favourite amongst fans. It isn’t, however, without its controversies as the final verse delivers the lyric: “I tell you to enjoy life”, which is often misheard as “I tell you to end your life”. You’ve got to love a good mondegreen, and this is one of the greatest in all of recorded music history.
Planet Caravan proves Black Sabbath were far more than riff-driven rockers, for this jazzy blues-filled psychedelic number has an ethereal aspect to it that offers a direct, yet ideally positioned and complementary, contrast to Black Sabbath’s heavier hitters. Bill Ward replaces his drum kit with congas, proving just how musically talented he is, and as you listen, you’ll be captivated by the soundstage and layered musicality.
Iron Man is a Tony Iommi masterpiece, for there are memorable licks and then there is “Iron Man’s”; a gift from the gods! That said, the entire band is on fire here, and the chosen mix, recording, and vocal style have made this one of Black Sabbath’s most memorable tunes; one that goes beyond the core fan base, having become part of the social consciousness; it’s that good!
Electric Funeral is a moody attitude-infused number that, while not a standout per se, is a core reason why Paranoid is so revered, for as strong as the album’s first half is, it would be for nil if the back end of the record wasn’t up to par. The only negative aspect of “Electric Funeral” that I can’t stand is the backing vocal aspect mid-song. It really doesn’t work and momentarily takes you out of the song as it’s different enough to be distracting.
Hand Of Doom starts akin to “Planet Caravan”, with a more relaxed styling. That quickly changes as the song ebbs and flows between the mellow and heavier aspects throughout the introduction, prior to the song’s explosive element a third of the way in. “Hand Of Doom” may be an album-only number, but it should never be overlooked as it’s a standout song that just isn’t as well-known as the record’s other landmark tunes.
Rat Salad is short and sweet, with some killer riffs, pounding rhythmic beats, and not a lyric to be heard, as this musical interlude not only shows off the musical prowess and cohesion of the band, particularly Ward’s drumming, but also provides a perfect bridge between “Hand Of Doom” and “Fairies Wear Boots”.
Fairies Wear Boots is an interesting closer. It isn’t the strongest song from the album, but there are moments throughout that are simply wondrous and remind you of the music that has come before it, thereby making it a perfect reflective tune to end the record on.
Paranoid is not only one of the greatest Black Sabbath releases, it’s also amongst the very best albums released in the 70s and includes some of the band’s most revered tracks. Yet, it is the culmination of all songs that ensure this second outing is a top-tier release that can be measured against the best music, from any genre and era, as Paranoid is the very definition of a masterpiece.
