With their legendary riffs, doom and gloom lyricism, and “godfathers of metal” title in tow, balladry is the last thing headbangers have in mind when it comes to Black Sabbath. And yet, when we dig through the vast expanse of their catalog, we’re treated to a number of songs that showcase the sensitive side of the Sabs. As you’ll see, this list encompasses virtually every era of the band’s storied existence, the sole constant being one Mr. Tony Iommi, whose six string stylings extend far beyond lumbering power chords. Without further ado, here are our Top 10 Black Sabbath Ballads.
10. “No Stranger to Love”
How appropriate that we kick off a list of Black Sabbath songs with a song that wasn’t supposed to be a Black Sabbath song! By now, we all know the tale of Seventh Star. What was supposed to be Tony Iommi’s solo debut was rebranded as “Black Sabbath featuring Tony Iommi” due to pressure from Warner Bros. As far as the album itself goes, it’s a real mish mash of styles and sounds that at times tends to derail altogether. However, there are some shining moments throughout, one such example being “No Stranger to Love”. Propelled by the explosive vocal heroics of a (by his own admission) drug addled Glenn Hughes, had “No Stranger to Love” bore the moniker Survivor, Chicago, or Starship instead of Black Sabbath, it would’ve been an adult contemporary smash, still receiving waiting room airplay to this day.
9. “She’s Gone”
One day I’ll write a From My Collection in defense of Technical Ecstasy and how you’ve all got that album misunderstood. Until then, here’s my defense of the sole ballad off said album, “She’s Gone”, or as I like to call it, the stronger follow up “Changes”, which you won’t see on this list. Yes, you read that correctly. Whereas “Changes” is largely monotonous and one-note, weepy to the point of Gilbert O’Sullivan territory, “She’s Gone” pairs lyrics of heartbreak and despair to a beautiful Beatles-esque string section. This obviously wasn’t the first time Sabbath had utilized orchestral elements (i.e. “Snowblind”, “Spiral Architect”, “Supertzar”). By now, they were studio pros, and it shows on the arrangement masterclass that is “She’s Gone”.
8. “Solitude”
For an album loaded with proto-stoner/doom riffage galore, gruesome apocalyptic tales, and absolutely savage performances, “Solitude” might be the most shocking moment on Master of Reality. For 5 minutes, the Sabs trade in their amps and electric guitars for atmosphere and acoustic guitars. Ozzy’s voice is no more than a whisper, recounting the tale of a love gone astray over a hypnotic psyche-folk dirge. Just as “She’s Gone” comes off as Beatley in nature, so does “Solitude”, reminiscent in delivery of George Harrison’s raga rockers, minus the middle eastern instrumentation. It’s a hauntingly beautiful palette cleanse of a song, and the only thing that can properly brace us for the closing “Into the Void”.
7. “Feels Good to Me”
I’ve heard it argued that Tony Martin had not a metal voice, but rather an AOR voice. It’s hard to argue otherwise on a cut like “Feels Good to Me”. While both The Eternal Idol (1987) and Headless Cross (1989) boasted flashes of AOR amidst the ever crushing power-doom that was established come the Dio era, “Feels Good to Me” off Tyr (1990) is a full blown AOR power ballad, the type that would be decimated by the Seattle sound just a year later. Sure, some might call it cheesy and pomp, but you know what isn’t? The soul in Martin’s vocal delivery and Iommi’s impassioned leads, which rival the melodic finesse of Gary Moore on this one.
6. “Planet Caravan”
Whereas “She’s Gone” is a rare example of the sequel bettering the original, “Planet Caravan” reigns supreme when pitted against its successor, “Solitude”. As oddball as these songs might be to a metalhead in 2024, one must take into consideration the context of the era. This was 1970. It wasn’t uncommon for heavy bands, who were themselves in their infancy, to throw in a soft song in an effort to showcase variety. Hell, Led Zeppelin III put the prime focus on folk songs/ballads, the rockers taking a backseat. Considering the caliber of “Planet Caravan”, Sabbath’s maiden voyage into the world of ballads, there’s no doubt in my mind Birmingham’s finest could’ve given Zeppelin a run for their money with a similarly natured album. It’s a psych-folk trip-out for freakers and headbangers alike, that still sends chills over half a century on.
5. “Fluff”
At the time of its release, Sabbath Bloody Sabbath was Sabbath’s most nuanced album to date, deviating from the blues and doom leanings of their first four affairs for what can best be described as a metallized spin on Sgt. Pepper’s era Beatles. The lyrics were more emotional than ever, the songs were bordering on prog, and even Yes keyboardist Rick Wakeman was called in to help expand the band’s sonic palette. Sandwiched in between the crushing “A National Acrobat” and boogieing “Sabbra Cadabra” on side A is “Fluff”: A beautiful acoustic instrumental from the mind of Iommi. Consisting of acoustic guitars, piano, and subdued electric guitars, “Fluff” is simple, yet compelling, expanding upon the delicacies of Vol. 4‘s “Laguna Sunrise”. Who knew metal’s forefathers could be so fragile?
4. “Junior’s Eyes”
You know, I almost debated including this on here. The chorus might rock a little too hard and those wah-wah guitars are oh so funky. That said, it’s the truly heart wrenching nature of the lyrics that lands “Junior’s Eyes” on this list. Initially penned and recorded with short lived frontman Dave Walker, it’s the Ozzman who returned and made the song his own, resulting in Never Say Die!‘s second best track, behind only “Johnny Blade”. Even though these once mighty metal titans were now tired, drugged out, and at each other’s throats, they could still spark up some of that old magic, as evidenced by the painfully underrated “Junior’s Eyes”.
3. “Born Again”
Born Again is another album that gets far more hate than it deserves, although I feel the tides have been turning in recent years. The fact of the matter is, even out of their minds on booze and cocaine, Black Sabbath could craft a better heavy metal album than your favorite band. On an album full of highlights, it’s the chilling title track that makes its way up to #3 on our list. Ian Gillan gives an absolutely scorching vocal performance, shrieking his veteran head off against a slow, dismal arena-doom soundscape. To this day, I ponder the meaning of the lyric, “The gray and plastic retards all floating in circles”. Perhaps some things are better left unknown.
2. “Over and Over”
What can I say about Mob Rules that hasn’t been said already? The older I get, the harder it gets to choose between this and Heaven and Hell (1980). Of all the aspects of note, what’s perhaps most intriguing about Mob Rules is that it’s Sabbath’s doomiest album since Vol. 4, singlehandedly establishing the epic doom/power-doom niche. On an album loaded with slow, lumbering epics, the band saved the bleakest for last. The archetypal power-doom ballad if there ever was one, “Over and Over” is one of the most underrated moments in Sabbath history, showcasing some beautifully melodic soloing from Iommi and an anguish in Dio’s voice that hits the dead center of our very souls.
- “Lonely Is the Word”
And here it is: Sabbath’s defining ballad. Closing out the epic Heaven and Hell, “Lonely Is the Word” is slow, melancholic, and almost bluesy in nature, but in a different manner than the band’s early ’70s roots. Like all of Heaven and Hell, “Lonely” is an otherworldly listening experience, taking metal to new heights, a decade after they invented it. It takes top honors on this here list, if only for Iommi’s soloing alone, which might be the best he ever laid down on tape. For a man known for his riffs, the solos on here go toe to toe with any David Gilmour or Gary Moore solo, and I’ll die on that hill. We also can’t forget Dio’s angelic vocals and the haunting synths of Geoff Nicholls. Put these all together and you’ve got “Lonely Is the Word”: The greatest Black Sabbath ballad.
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