The release of Black Sabbath’s “Headless Cross” should have been cause for celebration, coinciding with its 20th anniversary.
But guitarist Tony Iommi was all that remained of the original quartet when Sabbath’s 14th studio album arrived on April 24, 1989, 35 years ago. His career was now moving into a slow downward turn amid numerous unsuccessful personal and business decisions.
Considering all that, the only appropriate form of “celebration” could have been a funeral. On the other hand, if there is a band capable of making a trail work in their favor, it is Black Sabbath.
Despite a ridiculous amount of musician turnover, Iommi had shown great songwriting momentum on the band’s previous offering, “The Eternal Idol.” Meanwhile, the relatively unknown, but very talented Tony Martin was back for his second album as lead vocalist. And the legendary Cozy Powell (Jeff Beck Group, Rainbow, Whitesnake, etc.) was also on hand to provide his percussion.
When all was said and done, “Headless Cross” would fulfill the recent promise of “The Eternal Idol” by delivering arguably the most impressive and consistent set of songs found on any Sabbath LP not led by Ozzy Osbourne or Ronnie James. Gave.
“Headless Cross” had malevolent, widescreen doom anthems like the title track, “Kill in the Spirit World.” And the positively amazing “When Death Calls”, with a guitar solo by Queen’s Brian May). Even comparatively streamlined modern metal. And giants like “Devil & Daughter”, “Call of the Wild” and “Black Moon”.
It all benefited from excellent keyboard nuances courtesy of veteran Sabbath sideman Geoff Nicholls. And inventive bass lines from jazz-trained session ace Laurence Cottle. Although he was later replaced by Whitesnake alum Neil Murray for touring purposes. To top it all off, there was a rare detour into acoustic guitars by Sabbath lynchpin Iommi. He mixed them with his patented cyclopean power chords for the album’s exquisite closer “Nightwing.”
“Headless Cross” earned Black Sabbath some of their best reviews in years. Unfortunately, poor marketing efforts and widespread distribution problems seriously hampered the album’s prospects in the United States and other key territories. As a result, a project that under more favorable circumstances might have constituted a comeback of sorts became a well-kept secret.
Black Sabbath’s return to full respectability would have to wait.
