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Metal - Verschenen op 27 oktober 2017 | Sanctuary Records

Hi-Res Onderscheidingen 4F de Télérama
All it took was this black, dense, devilish and rare box set to blow any other Black Sabbath compilation or collector’s item out the water. The record covers their beginnings from 1970 to 1978 when the band released no less than eight albums, all recorded with Ozzy Osbourne. It was these powerful tracks that turned the Birmingham band into the cornerstone of heavy metal as well as its subgenres doom, sludge and stoner. The Ten Year War is all about vinyl. This box set celebrates the medium like no other has done before with the band’s repertoire. It allows you to really appreciate their music, with six legendary albums and two more anecdotal and experimental ones made while the band was struggling with all kinds of substances and couldn’t really find a focus nor manage tensions within the group. In parallel to these vinyl re-releases, the group is offering up all their content in a high-definition digital format which makes it feel like you’re right there in the studio. Sit back and let the masters of reality take you to the depths of their saturated, hypnotic sound that basically saved extreme rock’n’roll. © Chief Brody/Qobuz
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Metal - Verschenen op 11 juni 2013 | EMI

Onderscheidingen 5 étoiles Rock and Folk
13 is het 19e studioalbum van Black Sabbath, de Britste voorvaders van de heavy metal. Bijzonder is dat originele zanger Ozzy Osbourne, na het jammerlijke overlijden van zanger Dio, na bijna drieënhalf decennium eindelijk terug is gekeerd op zang. Daardoor telt dit album 3 van de 4 originele bandleden. Voor een band die al ruim 43 jaar actief is, is dit een opmerkelijk coherent album geworden, geproduceerd door befaamd producer Rick Rubin (Slayer, ZZ Top en velen meer). Hoewel het geen perfect comebackalbum is voor Black Sabbath behoort het zeker thuis in de verzameling van iedere fan. © TiVo
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Metal - Verschenen op 11 juni 2013 | EMI

Onderscheidingen 5 étoiles Rock and Folk
13 is het 19e studioalbum van Black Sabbath, de Britste voorvaders van de heavy metal. Bijzonder is dat originele zanger Ozzy Osbourne, na het jammerlijke overlijden van zanger Dio, na bijna drieënhalf decennium eindelijk terug is gekeerd op zang. Daardoor telt dit album 3 van de 4 originele bandleden. Voor een band die al ruim 43 jaar actief is, is dit een opmerkelijk coherent album geworden, geproduceerd door befaamd producer Rick Rubin (Slayer, ZZ Top en velen meer). Hoewel het geen perfect comebackalbum is voor Black Sabbath behoort het zeker thuis in de verzameling van iedere fan. © TiVo
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Metal - Verschenen op 18 september 1980 | Sanctuary Records

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Metal - Verschenen op 21 juli 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 - Verschenen op 28 oktober 2016 | Sanctuary Records

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Metal - Verschenen op 13 februari 1980 | Sanctuary Records

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Metal - Verschenen op 21 juli 1971 | Sanctuary Records

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Metal - Verschenen op 11 juni 2021 | Sanctuary Records

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Metal - Verschenen op 28 maart 2014 | Sanctuary Records

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Metal - Verschenen op 17 november 2017 | Mercury Studios

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The circle is closed. In Birmingham, the holy ground where the group was born, Black Sabbath is preaching the final verse of a testament that began in 1970. Recorded live on 4th February 2017, which must have reduced to tears an audience of die-hard fans now on the verge of becoming orphans, it foams with riffs which have passed into legend from Black Sabbath, Behind The Wall Of Sleep, N.I.B. and Iron Man, which they had stopped playing. The four apostles can now ditch their robes and relax in the slippers of their retirement. Their final sacraments have been given. The coffin may have disappeared into the earth: but they have left a headstone where future converts will read the commandments of heavy metal. In the new era which is now opening, Ozzy Osbourne will still shake the windows of his cathedrals. © CS/Qobuz
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Metal - Verschenen op 1 december 1973 | Sanctuary Records

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Metal - Verschenen op 25 september 1972 | Sanctuary Records

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Metal - Verschenen op 28 juli 1975 | Sanctuary Records

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Metal - Verschenen op 18 september 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 - Verschenen op 28 maart 2014 | Sanctuary Records

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Metal - Verschenen op 23 november 1987 | Sanctuary Records

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Metal - Verschenen op 28 maart 2014 | Sanctuary Records

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Metal - Verschenen op 26 april 2021 | The Band Aid Trust

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Metal - Verschenen op 28 september 1978 | Sanctuary Records