Iommi's guitar sound is incredible here and is reminiscent of the early 80's Black Sabbath guitar tones. Production/mix wise this album sounds great and everything is clear and audible even the bass is out there in open like always when it comes to Black Sabbath you could always hear Geezer groovin' away throughout the tracks. The band seemed to be revitalized with the return of Dio fronting them and produced in my opinion the last great Black Sabbath album. With Dehumanizer we see the band pick up right where they left on with 1981's Mob Rules and it is a shame it only lasted with this album only. Making that work in a completely consistent way almost always allows for a gem.Īfter almost a decade of 3 different singers and mediocre albums Black Sabbath finally brought back the best singer the band ever had, Ronnie James Dio. It may not be my favorite subjectively, but it gets to spread its wings from so many different angles, and does more for me than Mob Rules does. While it may have taken a while to grow on me (mostly due to not being acquainted with the style when I was younger), I do think that the Dio-reunion record is an essential listen. The significantly warmer makeup to “Sins Of The Father” is so memorable, and the chugging choppiness of “Master Of Insanity” is a real earworm. Furthermore, there are some seriously hooky chops among us. On a similar subject, opener “Computer God” hits us with the aforementioned slow riffage to start us on the right foot, following with one of the best guitar solos on the disc. I absolutely adore “TV Crimes” because of its ability to lift him high and reflect the raw talent, as well as coat it with this undertow of terror that fits the rest of the record’s approach. That doesn’t mean that Dehumanizer completely ignores the frontman’s roots. Nothing is overly jarring, and the way that they tend to start on slower, menacing riffs that work their way into a galloping frenzy is pretty fun.
This record as a whole is also the greatest example of some of the steadiest pace-progression they ever had. Never at any point does Tony Iommi lose his charm, heavily through the ability to remain riff focused but still having solos that just scream cleanliness and trade off with Ronnie in the foreground. While Dio had already kinda started heading this way with Lock Up The Wolves, he managed to channel it over here alongside some stellar songwriting tactics. So it goes without saying that there’s a lot for this to live up to. No less, this is also probably the first truly doom metal album the band did since the mid-70s, and managed to sound closer to that genre’s styles of the time period. Considering this is the only Black Sabbath record from the ‘90s that’s really anything I’d call great, it also serves as a bit of direction in the midst of general confusion. Studio Demos 1991-1992 (Tracks 3-10)ġ-10 Unknown Song (Take 5) Incl.Remember all of that talk of Ronnie James Dio doing doom metal on The Devil You Know but me not finding it to be as great as everyone else? Well guess what, Dehumanizer is where I get my (better) dose of that. Disc 3: Geezer's Demos 1986 (Tracks 1-2).
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