ALBUM REVIEW: Ninth Star (A Tribute To Black Sabbath) – Emerald Sabbath
Since their inception in 1969, BLACK SABBATH have stood as a peerless and utterly iconic institution. They remain the unopposed godfathers of heavy metal, with a legacy perhaps only rivalled by THE BEATLES, LED ZEPPELIN, PINK FLOYD and NIRVANA, and are a rare case of a band truly demanding no introduction. Innumerable bands have bowed at their altar; there are dozens of tribute albums available to fans who desire only to hear their favourite songs re-worked. However, most seemingly fall into the trap of playing BLACK SABBATH songs precisely how BLACK SABBATH would – this is totally harmless, but it ultimately begs the question: “What’s the point?”. Even great bands like PANTERA and FAITH NO MORE have released covers of iconic BLACK SABBATH songs, Hole In The Sky and War Pigs respectively, where the song itself remains unchanged, it just sounds like its adopted parents. However, EMERALD SABBATH’s NINTH STAR is a tribute album to one of the greatest bands in the history of heavy metal which shows invention, creativity and demands discussion.
Curiously, EMERALD SABBATH wasn’t founded by an ex-member, or a famed manager, or even a prominent musician. This album, rather, was arranged by Michael Suilleabhain, an Irish nuclear construction safety inspector and BLACK SABBATH super-fan, claiming to have seen the band upwards of 80 times. Ninth Star is the product of a long-time, combining both his love for the staple metal group and classical music. He decided to re-record a selection of classics with as many ex-members he could get hold of, some even playing songs they appeared on the original recordings of, and then garnishing the songs with classical players he would bring in. Adam Wakeman and Vinnie Apice rank among the most well-known of the ex-members, but all the contributors have their place in the history of BLACK SABBATH, and it’s a glorious thing to see this tribute come to light.
The selection of covers and re-imaginings on this tribute album is a deeply curious one, taking from some of the band’s more poorly received works more than many fans would expect, or perhaps prefer. Most fans believe the band’s legacy concludes with the eccentric and experimental masterpiece Sabotage, (many fans would sooner not discuss the underwhelming Technical Ecstasy and it’s hopeless follow-up, Never Say Die!), with even Dio’s finest works attracting scepticism from the die-hards.
It would be foolish to dismiss all of BLACK SABBATH’s unheralded work, as many of it is simply underappreciated and, with the benefit of hindsight, ought to be reassessed. Suilleabhain clearly knows this, as he welcomes the presence of the lesser-known songs. Of course, there are Ozzy-era songs aplenty, it’s the most acclaimed era of the band’s long career, so it would be ill-devised to not focus on this. However, even these choices are surprising, and joyfully so. None of the band’s most distinguished works are present here; you will find no covers of Iron Man, War Pigs, N.I.B., Snowblind, Children Of The Grave or even Paranoid. Rather, Suilleabhain opts for oft-forgotten cuts, including instrumentals such as Orchid, Fluff and Embryo, the bombastic Supertzar, and much-publicised ballad Changes. This is a wise decision, as these cuts naturally lend themselves to orchestral and theatrical instrumentation.
This is also part of the problem with the album. BLACK SABBATH are unquestionably a heavy metal band; their sound is founded on thunderous riffs formed by the architect of the craft, underpinned by an apocalyptic rhythm section and complete with the commanding vocal performance of Ozzy, Dio, or any of the other finer vocalists who have fronted the group. Yet somehow, it was when EMERALD SABBATH do away with heavy metal all together that the results are up to scratch. The classical interpretations of Orchid, Embryo and the faithful re-recording of Supertzar are all album highlights, as they show just how bold and ambitious much of BLACK SABBATH’s music was. It’s a refreshing take on these songs which have grown so familiar, and when EMERALD SABBATH don’t force themselves to directly compete with the forefathers, the results are often captivating.
However, when the performers in EMERALD SABBATH attempt to be more faithful to the original formula, it is where they ultimately pale in comparison. Hole In The Sky packs more gusto than almost any other song in the band’s back catalogue, and yet here it feels tired and sluggish. Die Young is one of the most well-loved songs from Heaven & Hell, one of the most acclaimed albums in the history of heavy metal, and yet this version boasts none of the same grandeur. Furthermore, the vocal performances throughout this album often lack character. Continually, it fails to improve upon a C-grade Sebastian Bach rip-off. By no means do they distract from the music, but they don’t necessarily offer much either. Perhaps its too much to ask to demand performances one can compare to some of the finest in rock history, but ultimately this is the test they have set themselves. It’s by no means unlistenable, but it is unremarkable.
Ultimately, the mere existence of this album is a marvel in itself. Being able to recruit members of your favourite band and make them produce the art you envision in your head is the dream of many a music fan, and to see it come to fruition is joyous. Suilleabhain ought to be proud of what he has achieved here, and the end result is almost irrelevant in these circumstances. The final result may be a mixed bag, and it’s unlikely to demand many either repeated or uninterrupted listens from most fans but it’s a fitting and interesting tribute to one of the greatest bands to ever do it.
Rating: 6/10
Ninth Star (A Tribute To Black Sabbath) is set for release February 15th via PHD.
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