Tony Iommi, who has been threatening the release of his debut solo album for some time has delivered a musical tour-de-force with one or two exceptions. His unique guitar sound, imitated by many of his contempories but never truely successfully transcribed onto record, is, as one expects the focus of the album and dominats the final mix. The heavy rock template introduced by Black Sabbath 30 years ago remains the fulcrum of all Iommi's subsequent work within the 'fluid' confines of various Sabbath line-ups...and now on'Iommi'. The multitude of guest vocalists succeed to varying degrees with notable contributions from Henry Rollins, Phil Anselmo, (of Pantera...who actually sings), and of course our beloved Ozzy. The latter provides the focal point of interest with his contribution on 'Who's Fooling Who', a much improved song on the two bonus tracks found on the 1998 'Reunion' album. Opening with the now familiar doom-laden bell toll the track grinds slowly and heavily so reminiscent of their early work. The strong vocal contribution from Mr. Osbourne belies much of his recent solo performances and is naturally the strongest reference point to Sabbath. Other notable high points come in the shape of'Patterns' with a distinctve time change midway through reminiscent of material from 'Sabbath Bloody Sabbath' and the the opening machine gun fire of Laughing Man. The combined talents of Ian Astbury and Brian May however fail to rescue the rather non-descript 'Flame On' and the almost commercial 'Goodbye Lament' seems misplaced on this record. Skunk Anansies' Skin provides the only female vocal on 'Meat' which contains one if Iommi's best riffs on this album, but her talents are subsumed under the barrage of sound and does'nt quite therefore succedd. Minor criticisms aside this work is both contemporary in sound whilst remaining true to Iommi's musical roots and idealisms. Questions abound about Sabbath's future but a new record seams remote at this juncture, therefore this release takes on greater signficance for the legions of fans who may never witness the original band play together again. From that standpoint 'Iommi' is a marvellous testament to a guitar 'great' and to Sabbath's contribution to the rock genre. Great stuff Tony!!