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Customer reviews

4.7 out of 5 stars
4.7 out of 5 stars
Format: Audio CD|Change
Price:£8.59+ £1.26 shipping

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on 1 November 2000
It's as simple as that really. IMO only Vol. 4 comes close. I first heard this album on good old vinyl in the gate-fold sleeve which my dad lent me when I was twelve years old. All I can say is that I will always play this album and I will never grow tired of it.
If your contemplating buying it - go for it - you will not be disappointed.
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on 27 March 2007
This is a superb Album where Sabbath became more involved in the production and brought different instruments in the equation.Still sounds great today and the songs , lyrics , riffs and production superb.

The Best Ozzy Sabbath Album by far. 34years olds ad still sounds great!!.

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on 8 May 2016
What I paid for, I will enjoy listening to it.
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on 16 February 2016
Good Rock !! Alwayes from Black Sabbath !!
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on 5 July 2009
Like all other Black Sabbath albums, their fifth one has an enormous potential to offend: it's got unnecessarily stretched songs, rips itself off, features Ozzy's awkward helium voice (it never was that bad before), boasts a pretty silly evil album cover (by Drew Struzan, who also designed the cover of Alice Cooper's Welcome to My Nightmare) and, last but not least, features a guest appearance by none other than the brother Rick Wakeman (Yes / interesting solo career) - if that ain't an omen. However, it still manages to overcome all these (potential) weaknesses on the strength of, uhm... the usual stuff: some excellent songs, sounds and riffs. While I'm usually a sucker for short songs that get to the point quickly and finish before they become tedious, the only two songs that are shorter than five minutes on this album are basically the main flaws. The appropriately titled instrumental "Fluff" sounds nice and cosy and all, with those acoustic guitars and a harpsichord that gives it a medieval tinge, but it's ultimately too fluffy. I must've heard it dozens of times, yet I can't remember how it goes and each time when I listen to it, it glides by unnoticeably. Ten of these, and you'll have a fine new age album, I guess. Something to fall asleep to, indeed. The other rotten tomato is the hopelessly outdated synth-rock of "Who Are You," on which Ozzy and Geezer (Wakeman even didn't have anything to do with this one, if I'm right) experiment with synths and a mellotron, and the results are - simply put - disastrous. Sabbath's sound has always been a corpulent one, a behemoth dragging itself along, but at least you had Iommi's massive riffs to retain the power. Replace guitars with spacey fake synths and what you get is a limp, forceless and overweight heap of nothingness. While the vocals aren't anything to speak of and the lyrics themselves are rather simplistic (yes, I'm being nice), it becomes even more trite because of the peculiar "anti-music". Fortunately, there's some good rockin' goin' on as well, not in the least when the opening track kicks off. "Sabbath Bloody Sabbath" has everything to be a classic: it's heavy with a purpose (easily the most powerful on the album), has a remarkable alternation of trudging repetition and semi-acoustic breaks with folk/jazz touches (there's Led Zeppelin again!), but more importantly, its second half has what's quite possibly the most monumentally heavy and memorable Sabbath riff ever: when Iommi kicks in after 3:19, and Ozzy joins him with his piercing "Where did you run to?"-line... oh man, I can hardly describe what a blast that is. A bulldozer grind with helium vocals, who would've thought of it!? There's nothing that even comes close on the album, excitement-wise, but "A National Acrobat" must be one of the band's most underrated tracks, although one riff and Ozzy's vocal melody are almost exactly the same as those of the title track. It's a lighter and more accessible version of the band - coming closer to hard rock than metal - but it fits the more transparent appeal of the album, while the "happy" galloping ending leads up to a great, rumbling finale. Also songs like "Sabbra Cadabra" and "Killing Yourself to Live" are much easier to digest than anything that came before, the former because it's basically a bluesy boogie tune (although it features Rick Wakeman on piano and synths), but an acceptable one, and the latter because it announces the melodic sissy hard rock that would come later on. It's basically a silly outcast-story, but the chorus definitely has appeal, while those duelling, overdubbed guitar solos are particularly refreshing to hear on a Sabbath album. The album's last two songs are less impressive, but "Looking for Today" still stands as one of their most melodically pleasing songs up to that point. Sabbath Bloody Sabbath is a bit of a divisive album, as its detractors consider it the beginning of the end, but despite its flaws and considerably less brutal power, it's still Sabbath in their prime, offering a pleasing combination of catchy heaviness and slightly peculiar, but oh so charming attempts at a certain elegance. Does that make sense? I KNEW IT DID!
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on 26 August 2012
This band was never satanic , they just liked horror movies! However this one really just creates a fine work here of supernatural inspired metal. the riffs are hard and yet their is some expirementation. This was still a band firing on all cylinders and exhaustion and excess have not taken their toll. It's the fifth in a line of truly classic releases. releases that created a whole subgenre of metal , and influenced all that was too come in harder metal. "sabbath bloody sabbath' and other songs are very powerful here and the band once again tackles drug abuse in a song. Rightly they could see how SATANIC and EVIL the drug culture really is. After all more people have died from drug abuse and crime connected to drugs than in the wars the u.s. or uk fought in the last 50 years easily!. Imo opinion metal was never better than the period from 1970-1991. after that it became too thrashy for me on the radio at least. (once the classic metal sound was abandoned half off all radio stations playing hard rock vanished too. As well as most of the female listener ship. Who wants to listen to death metal that long? zzzzzzzzzzzzz.... anyways this one is good metal and it's a classic so get it.
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on 17 February 2000
This albulm is just brilliant. What more is there to say. Listening to Metallica's covers of 'A National Acrobat/Sabbra Cadabra' leaves me with the impression that 'tallica are still pretenders to Sabbath's crown. That is all that can be said
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on 25 February 2013
A Classic album at a great price.This is not to be missed by fans of this music genre so I would recommend it.
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on 21 May 2012
OZZY OSBOURNE-VOCALS/TONI IOMMI-GUITAR/GEEZER BUTLER-BASS/BILL WARD-DRUMS - BLACK SABBATH. This album is in my opinion the best album they did. 'Sabbath Bloody Sabbath' is a brilliant heavy but technically great album. There's fantastic songs like 'Sabbath Bloody Sabbath', 'National Acrobat', and the acoustic instrumental 'Fluff', and 'Sabbra Cadabra', 'Killing Yourself To Live', 'Who Are You'(not The Who song obviously - it's 5 years earlier!), 'Looking For Today', and 'Spiral Architect'. There's not a bad song on here there isn't, they're all some of the best they did !
It reached the #4 in the UK and #11 in the US(the same position the Black Sabbath Reunion album recorded 1997 reached). And it's gone Platinum in the USA.ReunionBlizzard Of Ozz (Expanded Edition)ParanoidHeaven & Hell (Deluxe Edition)Born Again
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on 10 August 2012
Comes in a soft case. CD sounds quite thin and is over-loud. Also the L/R channels are inverted? The material is good though - but get the non-remastered version.
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