That record that took Black Sabbath fans by surprise
It’s January 1986 when a cover appears in record stores that leaves metal fans a little confused: a desert, a lonely Tony Iommi and a logo that reads “Black Sabbath featuring Tony Iommi”. 40 years have passed since the publication of “Seventh Star“, an album that is much more than just another chapter in Sabbath’s discography: it is a portrait of a transitional era, an experiment in survival and, in hindsight, an underrated gem of melodic rock.
A solo album?
“Seventh Star” wasn’t supposed to be a Black Sabbath record. After Ian Gillan’s abandonment and the failure of the project with David Donato, Tony Iommi felt ready for his own first solo adventure. He wanted to explore more blues and hard rock sounds, less linked to the darkness of doom (that type of metal with dark, slow and heavy sounds typical of early Sabbath) that he himself had invented. However, the pressure from Warner Bros. and manager Don Arden was relentless: the name “Black Sabbath” sold, that of “Tony Iommi” alone was a commercial unknown.
The compromise was that bizarre subtitle, featuring Tony Iommiwhich reflects creative uncertainty of the project and which made the album a hybrid right from its genesis. The most obvious element of disruption was the entry of Glenn Hughes. The former Deep Purple bassist and singer brought a breath of soul and blues that Sabbath fans would never have expected.
A strange hybrid
Hughes’ voice is crystal clear, very distant from that of Ronnie James Dio or Ozzy Osbourne; it is more melodic and versatile, therefore suitable for more intimate songslike the melancholy and poignant ballad “In Memory” (dedicated to Iommi’s father). But it is precisely this diversity that makes “Seventh Star” a unique listen even today.
There title track it is the only real bridge with Sabbath’s past: a hypnotic, slow, almost desert-like riff that evokes mystical atmospheres. Even “Danger Zone” doesn’t deviate too much: it’s a piece of pure hard rock, perfect for 80s radio, which demonstrates how ready the band was (still) to compete with the giants of the period. In “Heart Like a Wheel”, however, the blues takes over. It’s a high-level jam session, where Iommi demonstrates that his roots lie deep in the mud of the Delta, as well as in the steelworks of Birmingham.
A complicated legacy
The tour that followed was marked by Hughes’ personal problems (related to addictions) which led him to leave the band after a few dates, replaced by Ray Gillen. This helped give “Seventh Star” the label of “unlucky record“.
Yet, 40 years later, critics and fans have rehabilitated the work, thanks to his technical maturity. Eric Singer (future KISS) on drums gives a solid and modern performance, Jeff Glixman’s production has stood the test of time incredibly well.
Tony Iommi says:
Seventh Star it was my way of saying that I wanted to try something different. It wasn’t Sabbath in the strictest sense, but it was 100% me.
It’s the perfect album for those who love Iommi’s guitar and wants to hear her breathing in less “claustrophobic” contexts than usual.
