Being a long-time fan (40 years this year), it is all too easy and predictable to want to compare this with the likes of Volume 4, Master of Reality and Sabotage which is regarded by most fans as the last highpoint of the Sabbath-Ozzy era. But the truth is, there is no need for such side-by-side comparisons, 13 stands up on its own. The result is surprisingly sabbathy given the generic nature of Osbourne's past solo efforts and the Devil You Know album which for the most part sounded like a Dio solo record for a lot of die-hard fans. In other words, this is a proto-doom album, the kind of music that Black Sabbath invented and made famous. We all know the riffing magic that resides in Tony Iommi but some of the riffs on this album beg the question, how does he do it? The riffs are one thing but at the end of the day, it is the songwriting mastery that makes this album such a gripping affair.
The production of Rubin is as usual a talking point. The sound is old-school and modern at the same time without sounded too much like either. It doesn't sound overly digital but it doesn't sound analog and dated either. The guitar tone of Iommi kills but it is not the Master of Reality tone that some might be expecting but damn, it is heavy. As well as being a showcase for Iommi's stellar riffing and amazing leads, the vocals of Osbourne are incredible given the fact that he blew his voice to pieces decades ago. He has to sing in a lower register now but that gives these songs a sinister edge and that makes this album that little bit more of a foreboding adventure. Geezer is Geezer delivering groovy bass lines that rumble along while remaining highly melodic. If there is a weak point, (and it is not really) it is the drumming of Brad Wilks which offers none of the jazzy swing that Bill Ward possessed. The drumming seems quiet compared the rest of the band but it is not offensively out-of-place but it does seem a bit too simple at times given the fact that Iommi and Butler are playing their asses off.
'End of the Beginning' kicks off the album and begs the question "Is this the end of the beginning or the beginning of the end?" This track which is bursting with some of the fattest chords Iommi has ever recorded has spine-chilling atmosphere, sinister riffing and exciting tempo changes the likes of which haven't been heard since albums like 'Sabbath Bloody Sabbath' were recorded. Criticisms can be put forward that this track and the following 'God Is Dead' are a little too generic and they are predictable but it is also the kind of stylistic approach that Black Sabbath does best so it is hard to nitpick on that level. The same can be said for the third track 'Loner' which by Black Sabbath standards is by-the-numbers material but three tracks in and it is impossible to not have the hairs stand on end at how "classic sabbath" this really is. There has been a lot of talk about the band returning to their roots for this album and they have done just that but rather cleverly have avoided sounded like any one era. You can hear traces of all the early Black Sabbath albums here, whether it be the "would you like to see the pope on a end of a rope" lyrical approach you can hear on 'Dear Father' or 'Zeitgeist' which echoes Black Sabbath ballads like 'Planet Caravan' and 'Solitude.'
'Zeitgeist' is the psychedelic breather on the album with trippy vocals, acoustic guitar, percussion and jazzy guitar work. That is followed by 'Age of Reason' which is the albums most prog-laden and adventurous piece. Sounding halfway between a Volume 4 track and a Sabbath Bloody Sabbath track, 'Age of Reason' is 13's most musically ambitious and rewarding track and frankly, it is a masterpiece. The song clearly goes through five very different sections, constantly building in atmosphere at every turn. 'Live Forever' features one of the albums best vocal takes, clearly Osbourne is on a roll here, sounding very much at the top of his game. He probably hasn't sounded this good since the 'Diary of a Madman' album. The tune itself though, along with 'Loner' is one of the albums more ordinary, predictable, generic moments. That brings the album to the final one-two punch that is 'Damaged Soul' and 'Dear Father' which brings the album to a spine-chilling dramatic, foreboding closure.
My only real gripe is the production which seems a little dry at times but after a couple of spins of the disc, that is soon forgotten. The deluxe edition features bonus tracks that I have only heard once so I won't review those except to say they are bonus tracks for a reason - they just are not as good as anything on the standard release. Without a doubt, this album is way beyond anything I was and many others was expecting. The band sounds as potent as ever and have produced the best traditional heavy metal album released in many years. If they do retire any day soon, they can lay the band to rest knowing Black Sabbath ended the bands career in the finest way possible given the circumstances behind its production. Could it have been better? Well of course, at times its predictable (but in a good way) and the production doesn't do the album any favors but it certainly doesn't hurt the album that much either. With 3 guys gracefully heading towards 70 years of age, this album is amazingly satisfying and proves once again that they can still match it with any other metal act in the scene today......8.5/10.
Words: Ed Barnard ( Typed Up By Shione C, Posted By Doctor Doom.)
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