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Metal - Publicado el 27 de octubre de 2017 | Sanctuary Records

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Metal - Publicado el 11 de junio de 2013 | EMI

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Aunque no llega a concretar el sueño de los fans de ver reunido al cuarteto original – el único ausente aquí es el baterista Bill Ward, reemplazado por Brad Wilk (Rage Against The Machine y Audioslave) –, 13 es el álbum de Black Sabbath que más cerca está de recrear la magia de los clásicos primeros discos de la banda, mucho más que cualquier otra cosa que los miembros de la banda hayan hecho por su cuenta o en cualquier combinación desde entonces. Producido por Rick Rubin, este sorprendente disco es más pesado, más preciso y más interesante que todo lo que los integrantes de Black Sabbath han hecho en varias décadas. Esencial para los fanáticos del verdadero heavy metal. © Fred Thomas /TiVo
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Metal - Publicado el 11 de junio de 2013 | EMI

Premios 5 étoiles Rock and Folk
Aunque no llega a concretar el sueño de los fans de ver reunido al cuarteto original – el único ausente aquí es el baterista Bill Ward, reemplazado por Brad Wilk (Rage Against The Machine y Audioslave) –, 13 es el álbum de Black Sabbath que más cerca está de recrear la magia de los clásicos primeros discos de la banda, mucho más que cualquier otra cosa que los miembros de la banda hayan hecho por su cuenta o en cualquier combinación desde entonces. Producido por Rick Rubin, este sorprendente disco es más pesado, más preciso y más interesante que todo lo que los integrantes de Black Sabbath han hecho en varias décadas. Esencial para los fanáticos del verdadero heavy metal. © Fred Thomas /TiVo
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Metal - Publicado el 18 de septiembre de 1980 | Sanctuary Records

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Metal - Publicado el 21 de julio de 1971 | Sanctuary Records

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Between October 1969 and May 1972—a span of just over two and a half years—Black Sabbath recorded four albums, which both individually and collectively provided the cornerstones, foundations, and building blocks of heavy metal. That the band managed such studio productivity is, in and of itself, a miracle, given both their touring regimen and their prodigious drug intake. Even more remarkable is the amount of creative growth Black Sabbath underwent in that time period. The band captured on Vol. 4 is one that has definitively advanced the style they codified on their debut and also one that is clearly straining to find new modes of expression within that style. While not quite reaching the heights achieved on 1973's Sabbath Bloody Sabbath, Vol. 4 is absolutely a more impressive album than any of the three that preceded it—faster, slower, heavier, more delicate, more brutal, more complex. It is, daresay, more mature. It's also definitely more fueled by cocaine, and that powdery influence is hard to deny here; yes, of course, there's "Snowblind," and, yes, that was the album's original title, but there's also a peculiar clarity and concision to the material that was almost certainly brought about by the band's heightened ... attention. While earlier Sabbath jams could dawdle a bit aimlessly, the grooves here are tight and the riffs are as focused as they are chunky. Throughout Vol. 4, the band eases into their most effective elements and gets straight to business. On Black Sabbath, "Cornucopia" would have had a four-minute opening but here, after a brief, four-bar intro, it careens straight into a breathless, four-minute bash to the back of your skull. Even the album's longest song is technically two pieces ("Wheels of Confusion/The Straightener"). Yes, things are more compositionally complex, but they are also more focused. That's not to say that Sabbath is all cocaine-sparkly speed-jams here; to the contrary, Tony Iommi digs into some of his meatiest, doomiest riffs, complemented by intricate song structures. "Tomorrow's Dream" may be the burliest song in the Ozzy-era Sabbath catalog and its bridge may be the most uplifting moment. It all comes together on two of the album's most contrasting and iconic tracks—the mournful piano balladry of "Changes" and the hard-charging "Supernaut"—both of which are inventive, perfectly executed, and impossible to imagine on any of the previous Sabbath albums. © Jason Ferguson/Qobuz
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Metal - Publicado el 28 de octubre de 2016 | Sanctuary Records

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Metal - Publicado el 13 de febrero de 1980 | Sanctuary Records

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Metal - Publicado el 21 de julio de 1971 | Sanctuary Records

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Metal - Publicado el 11 de junio de 2021 | Sanctuary Records

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Metal - Publicado el 28 de marzo de 2014 | Sanctuary Records

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Metal - Publicado el 17 de noviembre de 2017 | Mercury Studios

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Se cierra el círculo. En Birmingham, santo lugar donde el grupo vendría al mundo, Black Sabbath ha predicado el último capítulo de un evangelio comenzado en 1970. Grabado el 4 de febrero de 2017, este live, que hará sollozar a una legión de fans que sigue al grupo desde hace décadas y que se enfrentan ahora a una sensación de orfandad, recurre a riffs que han pasado ya a la posteridad (los de Black Sabbath, Behind The Wall Of Sleep, N.I.B. o Iron Man) y que la banda dejó de tocar hace mucho. Estos cuatro apóstoles cuelgan ahora sus sotanas y se calzan alpargatas de jubilados. Los últimos sacramentos han sido dichos. El féretro puede bajar a tierra, tan solo quedará una lápida para que los futuros conversos recuerden los diez mandamientos del heavy metal. En esta nueva era que ahora comienza solo Ozzy Osbourne sermoneará en sus catedrales. © CS/Qobuz
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Metal - Publicado el 1 de diciembre de 1973 | Sanctuary Records

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Metal - Publicado el 25 de septiembre de 1972 | Sanctuary Records

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Metal - Publicado el 28 de julio de 1975 | Sanctuary Records

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Metal - Publicado el 18 de septiembre de 1970 | Sanctuary Records

Paranoid was not only Black Sabbath's most popular record (it was a number one smash in the U.K., and "Paranoid" and "Iron Man" both scraped the U.S. charts despite virtually nonexistent radio play), it also stands as one of the greatest and most influential heavy metal albums of all time. Paranoid refined Black Sabbath's signature sound -- crushingly loud, minor-key dirges loosely based on heavy blues-rock -- and applied it to a newly consistent set of songs with utterly memorable riffs, most of which now rank as all-time metal classics. Where the extended, multi-sectioned songs on the debut sometimes felt like aimless jams, their counterparts on Paranoid have been given focus and direction, lending an epic drama to now-standards like "War Pigs" and "Iron Man" (which sports one of the most immediately identifiable riffs in metal history). The subject matter is unrelentingly, obsessively dark, covering both supernatural/sci-fi horrors and the real-life traumas of death, war, nuclear annihilation, mental illness, drug hallucinations, and narcotic abuse. Yet Sabbath make it totally convincing, thanks to the crawling, muddled bleakness and bad-trip depression evoked so frighteningly well by their music. Even the qualities that made critics deplore the album (and the group) for years increase the overall effect -- the technical simplicity of Ozzy Osbourne's vocals and Tony Iommi's lead guitar vocabulary, the spots when the lyrics sink into melodrama or awkwardness, the lack of subtlety, and the infrequent dynamic contrast. Everything adds up to more than the sum of its parts, as though the anxieties behind the music simply demanded that the band achieve catharsis by steamrolling everything in their path, including their own limitations. Monolithic and primally powerful, Paranoid defined the sound and style of heavy metal more than any other record in rock history. © Steve Huey /TiVo
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Metal - Publicado el 28 de marzo de 2014 | Sanctuary Records

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Metal - Publicado el 28 de marzo de 2014 | Sanctuary Records

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Metal - Publicado el 23 de noviembre de 1987 | Sanctuary Records

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Metal - Publicado el 26 de abril de 2021 | The Band Aid Trust

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Metal - Publicado el 28 de septiembre de 1978 | Sanctuary Records