The Complete Albums 1970-1978 is a comprehensive box set celebrating the foundational era of heavy metal pioneers Black Sabbath, assembling the eight seminal studio albums fronted by iconic vocalist Ozzy Osbourne along with guitarist Tony Iommi, bassist Geezer Butler, and drummer Bill Ward. Spanning from their self-titled 1970 debut to 1978's Never Say Die!, this impressive collection captures the band's seismic evolution from raw blues-rock innovators to worldwide heavy metal trailblazers. Each album showcases the quartet's signature blend of down-tuned, crushing guitar riffs, thunderous bass lines, swinging jazzy percussion, and sinister thematic lyrical exploration. Key masterpieces included in the box set are Paranoid, Master of Reality, Vol. 4, Sabbath Bloody Sabbath, and Sabotage, featuring immortal rock standards like War Pigs, Iron Man, Sweet Leaf, and Symptom of the Universe. Digitally remastered for optimal fidelity, this box set presents the definitive sonic legacy of the legendary British quartet during their prime 1970s run, making it an essential historical chronicle and ultimate audio archive for long-time enthusiasts and classic rock collectors alike.

Despite a never-ending succession of guitarists, Ozzy Osbourne never changed his basic musical attack over the years. There are slight differences between the records, with the only noticeable distinctions being the production fads of the time. Ozzmosis, his sixth solo studio album, isn't all that different from his previous two records, No More Tears and No Rest for the Wicked, largely due to the still impressive skills of guitarist Zakk Wylde. However, even Wylde's prowess is diluted by the slick, modern-rock conscious production by Michael Beinhorn (Soul Asylum). Occasionally, the guitar is synthesized, which is indicative of the album's main flaw - on the surface, the music is hard and loud, but it actually sounds smooth and processed. Furthermore, there's a distinct lack of fully formed songs and riffs, which is what really sinks the record. Osbourne can survive bad production - he has for most of his career - but he can't survive without having anything to sing.

Having been cleared earlier in the year in another lawsuit concerning the supposedly suicide-inducing subject matter of his music, Ozzy Osbourne reinvigorated his sound and expanded his following with his sixth studio album, No More Tears, in the fall of 1991. Finding more sympathetic producers in Duane Baron and John Purdell to replace Roy Thomas Baker (who had helmed his last effort, 1988's No Rest for the Wicked), collaborating with Lemmy Kilmister of Motörhead on four songs, and retaining the services of guitarist Zakk Wylde, Osbourne brought his music into the '90s. Songs like "Desire" and "S.I.N." had an energetic, contemporary metal sound, and Osbourne effectively changed gears to turn out gentle ballads like "Mama, I'm Coming Home," which gave him his first U.S. Top 40 hit on his own…

Essentially an amped-up karaoke night in the Osbournes' basement lair, Under Cover is impeccably engineered and effortlessly played - ex-Alice in Chains axe slinger Jerry Cantrell provides impressive guitar work throughout, making a strong case as to whether this is his baby or Ozzy's. All of the tracks here, with the exception of "Rocky Mountain Way," "Sunshine of Your Love," "Woman," and "Go Now," appeared on 2005's Prince of Darkness box set. Guest appearances abound, with Mott the Hoople's Ian Hunter choking out his original refrain on "All the Young Dudes" in a style that can only be described as "endearingly awkward homeless man," Mountain's Leslie West turning the amps up to 11 on "Mississippi Queen," and blues-rock wunderkind Robert Randolph laying down some serious pedal steel on "Sympathy for the Devil"…

'Seventh Star' is the twelfth studio album by heavy metal icons Black Sabbath. Originally released on 28 January 1986 in the United States and on 21 February 1986 in the United Kingdom, 'Seventh Star' features founding guitarist Tony Iommi with a line-up of Geoff Nicholls, Eric Singer, Dave Spitz and Glenn Hughes (ex-Deep Purple) as lead singer. This reissue features a brand new 2026 remaster.

Originally released in 1972 and presented here as a rare 1998 unofficial reissue by the Euroton label, Vol. 4 is a monumental, earth-shattering masterpiece that captures the founding fathers of heavy metal, Black Sabbath, at their absolute creative and sonic zenith. Recorded in Los Angeles amidst a haze of notorious excess, the album marks a massive evolutionary leap forward, expanding the band's trademark crushing doom riffs with unexpected orchestral arrangements, acoustic textures, and sonic experimentation. Driven by Tony Iommi's iconic, down-tuned guitar architecture, Geezer Butler's driving bass, Bill Ward's jazz-inflected power drumming, and Ozzy Osbourne's haunting vocal delivery, the record yields timeless heavy staples like Supernaut, Cornucopia, and the snow-dusted anthem Snowblind, contrasted beautifully against the piano-led ballad Changes. This high-fidelity archive also includes the classic bonus cuts Evil Woman and Wicked World, making it an essential, high-octane document of definitive hard rock history.

So this is it; the last officially released Sabbath music ever, only available to the lucky fans who attended their final world tour. It contains four live tracks, preceded by four outtakes from the 13 recording sessions.
We get doom and gloom old school Sabbath once again. If you have heard 13, you will know how these songs would sound. Iommi's signature guitar doom, Geezer’s distorted bass and Ozzy’s signature vocal style. The four new songs made available all have their highlights and easily could have been on 13.

The shortest album of Black Sabbath's glory years, Master of Reality is also their most sonically influential work. Here Tony Iommi began to experiment with tuning his guitar down three half-steps to C#, producing a sound that was darker, deeper, and sludgier than anything they'd yet committed to record. (This trick was still being copied 25 years later by every metal band looking to push the limits of heaviness, from trendy nu-metallers to Swedish deathsters.) Much more than that, Master of Reality essentially created multiple metal subgenres all by itself, laying the sonic foundations for doom, stoner and sludge metal, all in the space of just over half an hour. Classic opener "Sweet Leaf" certainly ranks as a defining stoner metal song, making its drug references far more overt (and adoring) than the preceding album's "Fairies Wear Boots"…

There's a lot of pressure involved with being the rulers of the underworld, and nobody knows it better than Black Sabbath in 2013. Inarguable legends and at least partially responsible for creating heavy metal as we know it with their classic '70s material, Sabbath have spawned generations of followers and become one of the final words of the genre. There have been countless reunions and mutations of the band following vocalist Ozzy Osbourne's first dismissal in 1978, and even 13 doesn't quite deliver on fans' decades-long desires to see all four original members back together. Original drummer Bill Ward sits the record out due to disputes over the recording contract, with Audioslave/Rage Against the Machine drummer Brad Wilk providing beats in his stead…

Sabbath and Dio were dealing with a dwindling fan base, unsuccessful albums, and a longstanding creative rut when they decided to reunite the Mob Rules lineup. In a perfect world, they would have created a monster of an album and shot back into the limelight with a vengeance. But with ten-year-old internal tensions still gnawing away at the band, they hastily created Dehumanizer, a weird side note in their long history. Ronnie James Dio delivers his strongest performance since the early '80s, and hearing Geezer Butler and Tony Iommi play together after nine years is inspiring. But they cannot seem to overcome the challenge of crafting classic Sabbath material, and it is this issue that haunts the recording from moment one. "Sins of the Father" is a good example; they attempt a "Children of the Sea"-type slow jam with the same ringing guitar and up-tempo vocals…

Breaking Out Of Heaven 2007-2009 is a Deluxe Box Set focusing on the final chapter of Ronnie James Dio’s celebrated tenure with members of Black Sabbath. Reuniting with Tony Iommi, Geezer Butler, and Vinny Appice under the name Heaven & Hell, the band returned to the stage and studio decades after their original run for an unexpected second act.
The set spans three key releases from the era: The Devil You Know (2009); Live From Radio City Music Hall (2007 performance); Neon Nights: 30 Years Of Heaven And Hell - Live At Wacken (recorded on tour in Germany, 2009).
Include an illustrated book with new liner notes by Hugh Gilmour, plus a replica tour book and poster.

Ozzy Osbourne's eighth solo studio album, Down to Earth, shows the madman of rock relying on a supergroup of metal musicians to bring his sound together. Longtime Ozzy guitarist Zakk Wylde is back, this time with Suicidal Tendencies bassist Robert Trujillo and Faith No More drummer Mike Bordin supplying the rhythm. Despite the ever-changing world of heavy metal, Ozzy has a strangely timeless sound that he does not stray from on this record. Thick, heavy songs like "Gets Me Through" could really be on any Ozzy record after 1989 and fit in, but it is this bizarre reliability that keeps the album as listenable as it is. There are a few off moments, most specifically when it comes to the occasional murky production that muffles Wylde's fiery guitar and Bordin's drums…

Ozzy Osbourne's tenth studio album was originally called Soul Sucka before fans shut the working title down. The resulting Scream may not win any awards for brain cell power as far as titles go, but the 11 tracks contained within find the Prince of Darkness in fine form. People who only know the metal legend from watching him mumble and baby step around his house in sunglasses and a track suit on reality television can hardly be blamed for steering away from his music, but it only takes one chorus of opener “Let It Die” to suggest otherwise. Like 1980’s Blizzard of Ozz (Randy Rhoads), 1983’s Bark at the Moon (Jake E. Lee), and 1988’s No Rest for the Wicked (Zakk Wylde), Scream features a changing of the guard. Enter Greek power metal guitarist Gus G., a progressive, tech-heavy shredder who can pound out drop-D, Lamb of God-inspired doom riffs (“Latimer’s Mercy”) on one hand while paying respects to Rhoads' peerless “Diary of a Madman” intro on the other (“Diggin’ Me Down”)…

After years of playing a dispiriting game of musical chairs with various lead singers during the early '80s, Black Sabbath guitarist Tony Iommi finally stumbled upon a dependable frontman when he admitted relative unknown Tony Martin into the fold, thereby initiating the original heavy metal band's long awaited return to respectability - if not chart-topping success. Martin joined the oft-interrupted sessions for what would become 1987's The Eternal Idol album already in progress, stepping in for an unreliable Ray Gillen when the latter moved on to Jake E. Lee's Badlands, and helping Iommi rescue an astonishingly solid long-player from the jaws of complete and utter chaos. As it turned out, Martin's powerful, muscular voice - though bearing more than a passing resemblance to former singer Ronnie James Dio - was ultimately the perfect foil for full-bodied heavy metal anthems like "Hard Life to Love," "Glory Ride," and "Born to Lose"…