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7. Planet Caravan from Paranoid [1970]
One of the mellow gems that Sabbath produced in their career, "Planet Caravan" can be summed up as "special" in my opinion, as its demonstrates a hauntingly delicate vocal ability by Ozzy, as he manages to invoke the feeling of solitude and vastness that is associated with its subject matter. "Planet Caravan" is a cosmic-love song, and apart from merely being a "good song to get stoned to", it somehow succeeds in capturing that feeling of never-ending distance one would feel if you were actually sailing through the universe. I would describe this effect as "sublime", simply because I cannot find the words to describe the effect it has on the listener. There's a tranquilising, flighty magic that radiates from this track, and deserves a 5* rating because it shows a band brimming with the courage to go heavy, and the courage to slow down, mellow out and lay down some groovy, psychedelic wonders.

8. The Writ from Sabotage [1975]
Epitomising the title of the album, this song is a hateful message written by the band to their money-grabbing, spineless managerial overlords. What I love about this track is that not only are the lyrics biting and seething with venom, but that when Ozzy asks such questions as "Are you Satan? Are you man? You've changed a lot since it began." You can actually hear the hatred spilling out into his words. This is a very emotionally charged song and is unfortunately often overlooked, but its cold, cutting lyrics and dramatic change of tempo and tone at the ending of the track make it one of Sabbath's most hyper-active, and brutally honest songs. With the bleakness offset by the jokey "Blow on a Jug" hidden track, demonstrating that the boys were still in possession of their fun-loving youth despite being screwed over.

9. Anno Mundi from TYR [1990]
TYR is an album that is often laughed off by critics and fans, and is viewed as a rather embarrassing addition to the discography, and while I will admit that the loose themes of Norse mythology do not sit well with the more down-to earth gloominess that had dominated the band's history, It's always best to ignore the politics if you can. Tony Martin is my second favourite Sabbath frontman after Ozzy, and one of the reasons for it is "Anno Mundi", preceded by a patient, scene-setting intro of Latin choirs, Martin's eerie, building vocal demonstration instantly lets the listener know that Sabbath are still hungry, and still able to create atmospheric and passionate rock anthems, before Iommi's riff allows the song to explode into life, offering what I consider to be one of Sab's best album openers. Martin's lyrics are not always memorable, but his voice always is, and "Anno Mundi" is without a doubt his crowning achievement with the band. 5*s awarded for still having the nerve to make heavy metal masterpieces in a time when the world turned its back on the band.

10. N.I.B. from Black Sabbath [1970]
Sabbath's first and (in my view) finest album provides gem after gem, and "N.I.B." a fan and live show favourite, rightfully deserves its place in Sabbath's hall of fame because we hear the signature sounds of Sabbath, and their individuality as a band, but also their influences shining through. The bluesy, infectiously catchy riff, with the strangely charming lyrics, that detail some kind of Satanic love song all make for an early Sabbath classic. This song was made to be played live and I don't think I've experienced many greater musical moments than shouting "OH YEAH!" along with Ozzy and thousands of other mad fans when I saw this played live. It has a youthful, razor sharp kick and an undeniably groovy intro by Geezer and his signature bass style. A 5* song for sure.

11. Born Again from Born Again [1983]
Ian Gillan's offering with the boys in black does take some getting used to. I will admit that listening to his screeching vocals when suffering from a hangover may inspire suicide, but when it catches you in the right mood, Gillan can still make the magic happen. Ignore the album artwork and ignore the slander, songs like "Born Again" are what make Born Again worth listening to. Its a chillingly emotional song, filled with demonic references and dramatic, medieval imagery and it can't help but transport you a muddled, fantastical nightmare of Gillan's own making. What I admire Gillan for on this track and this album is his power to make his presence fully known and fully dominant. His lyrics don't always make any sense, but somehow on "Born Again", the fragmented narrative, mixed with the hypnotic riff and diabolic subject matter make this album both exciting and unsettling at the same time. This track is awarded 5* stars, for its power, its frightening atmosphere and for something I cant quite put my finger on. There is a darkness to it, an addictive one.

12. A National Acrobat from Sabbath Bloody Sabbath [1973]
Credited as being the album that saved Sabbath's career, Sabbath Bloody Sabbath may not be as consistently heavy at its predecessors, and at times sounds like a more conventional rock album, but that doesn't take from its power or its deserved glory. "A National Acrobat" is apparently a song about the fate of the one chosen sperm, (go figure) but maybe that is irrelevant. What's important here is Ozzy's delivery of the lines. As a singer, his greatest gift has always been finding great melodies to go along with Iommi's riffs, and when combined, they make this track a real head-banger. The song emits a punchy, direct sense of blues-fuelled power, that is so effective because it feels as if the aggression is constrained, and that the riff marches on through the song at a constant pace, making each verse more and more empowering. The ill-fated live cover done by Metallica simply goes to show that only Ozzy can sing this song right. It's a 5* track because its graces are purely unique to Sabbath. For a real treat, check out the Medieval style Latin cover sung by Estonian band Rondellus!

7 more to come tonight!

__________________
'Well, I'm a common working man,
With a half of bitter, bread and jam,
And if it pleases me, I'll put one on ya man,
When the copper fades away!' - Jethro Tull