mobilewave

Black Sabbath-Paranoid




Tracks:

. War Pigs/Luke's Wall - 7:58
2. Paranoid - 2:52
3. Planet Caravan - 4:35
4. Iron Man - 5:58
5. Electric Funeral - 4:52
6. Hand of Doom - 7:09
7. Rat Salad - 2:30
8. Jack the Stripper/Fairies Wear Boots - 6:14

Download:
[Only registered users can see links. ]



Black Sabbath-Born Again



Tracks:

1. "Trashed" – 4:16
2. "Stonehenge" – 1:58
3. "Disturbing the Priest" – 5:49
4. "The Dark" – 0:45
5. "Zero the Hero" – 7:35
6. "Digital *****" – 3:39
7. "Born Again" – 6:34
8. "Hot Line" (Iommi, Gillan, Butler) – 4:52
9. "Keep It Warm" (Iommi, Gillan, Butler) – 5:36


Download: [Only registered users can see links. ]

Black Sabbath-The Eternal Idol



Tracks:

1. "The Shining" - 5:38
2. "Ancient Warrior" - 5:34
3. "Hard Life to Love" - 5:00
4. "Glory Ride" - 4:48
5. "Born to Lose" - 3:43
6. "Nightmare" - 5:17
7. "Scarlet Pimpernel" - 2:07
8. "Lost Forever" - 4:00
9. "Eternal Idol" - 6:35

Download: [Only registered users can see links. ]


Black Sabbath-Technical Ecstasy



Tracks:

1. "Back Street Kids" – 3:47
2. "You Won't Change Me" – 6:42
3. "It's Alright" – 4:04
4. "Gypsy" – 5:14
5. "All Moving Parts (Stand Still)" – 5:07
6. "Rock 'n' Roll Doctor" – 3:30
7. "She's Gone" – 4:58
8. "Dirty Women" – 7:13

Download: [Only registered users can see links. ]



Black Sabbath-Sabbath Bloody Sabbath




Black Sabbath-Cross Purposes


Tracks:

1. "I Witness" – 4:56
2. "Cross of Thorns" – 4:32
3. "Psychophobia" – 3:15
4. "Virtual Death" – 5:49
5. "Immaculate Deception" – 4:15
6. "Dying for Love" – 5:53
7. "Back to Eden" – 3:57
8. "The Hand That Rocks the Cradle" – 4:30
9. "Cardinal Sin" – 4:21
10. "Evil Eye" – 5:58

Download: [Only registered users can see links. ]

Black Sabbath-Dehumanizer

Tracks:
1. Computer God - 6:10
2. After All (the Dead) - 5:37
3. TV Crimes - 3:58
4. Letters from the Earth - 4:12
5. Master of Insanity - 5:54
6. Time Machine - 4:10
7. Sins of the Father - 4:43
8. Too Late - 6:54
9. I - 5:10
10. Buried Alive - 4:47
11. Time Machine (Wayne's World Version) - 4:18[1]

Download: [Only registered users can see links. ]

Black Sabbath-Headless Cross

Immagine ridotta: 82% della dimensione originale [ 350 x 347 ]

Tracks:
1. The Gates of Hell – 1:04
2. Headless Cross – 6:15 (Tony Iommi, Tony Martin, Cozy Powell)
3. Devil & Daughter – 4:32 (Iommi, Martin, Powell)
4. When Death Calls – 6:41
5. Kill in the Spirit World – 4:59
6. Call of the Wild – 5:09
7. Black Moon – 3:56
8. Nightwing – 6:19
9. Cloak & Dagger – 4:37[1]

Download: [Only registered users can see links. ]

Black Sabbath-Black Sabbath

Immagine ridotta: 76% della dimensione originale [ 377 x 381 ]

Tracks:

1. "Black Sabbath" (Iommi, Ward, Butler, Osbourne) - 6:18
2. "The Wizard" (Iommi, Ward, Butler, Osbourne) - 4:21
3. "Wasp/Behind the Wall of Sleep" (Iommi, Ward, Butler, Osbourne) - 3:37
4. "Bassically/N.I.B." (Iommi, Ward, Butler, Osbourne) - 6:04
5. "Evil Woman" (Wiegland, Wiegland, Waggoner) - 3:22
6. "A Bit of Finger/Sleeping Village" (Iommi, Ward, Butler, Osbourne) - 3:48
7. "Warning" (Dunbar, Moreshed, Dmochowski, Hickling) - 10:34
8. "Wicked World" (Iommi, Ward, Butler, Osbourne) - 4:43

Download: [Only registered users can see links. ]

Tkanks V.V and Lord Greed006 for helping with uploadsB-)

I hope you like ItB-)

:usethx:

checked by Tw!SteD+F@!tH 12/2/409

topic cleaned by __sahil-grg__ on 30 Jan 2010

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___..:::warfreak:::..___

Black Sabbath 1975 - Sabotage (HARD ROCK)[Rapidshare]

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REVIEW:
Years of constant touring, alcoholism, and drug abuse finally began to
affect Black Sabbath around the time of their sixth release, 1975's
Sabotage. While it's not a bad album (in fact, it's one of their most
underrated), you can sense that the magical chemistry that made
such albums as [Only registered users can see links. ] and [Only registered users can see links. ] so special was beginning to
disintegrate. But guitarist[Only registered users can see links. ] again comes equipped with
an arsenal of sturdy, ultra-heavy riffs, as evidenced by the raucous
album opener, "Hole in the Sky," as well as the drug-induced anthem
"Symptom of the Universe" — both tracks coming as close to garage
rock as Sabbath ever got. But the album's biggest surprise is the
melodic, synth-laced "Am I Going Insane (Radio)," which is more akin
to '70s power pop than to the band's patented doom metal (although
the lyrics are what you'd expect — detailing a person's downward
spiral into dementia). Although often overlooked, Sabotage remains
an interesting and challenging release.




[Only registered users can see links. ]

___..:::warfreak:::..___

Black Sabbath 1976 - Technical Ecstasy(HARD ROCK)



REVIEW:
Black Sabbath was unraveling at an alarming rate around the
time of their second to last album with original singer [Only registered users can see links. ]
Osbourne, 1976's Technical Ecstasy. The band was getting
further and further from their original musical path, as they
began experimenting with their trademark sludge-metal sound.
While it was not as off-the-mark as their final album with
[Only registered users can see links. ] , 1978's [Only registered users can see links. ], it was not on par with
Sabbath's exceptional first five releases. The most popular
song remains the album closer, "Dirty Women," which was
revived during the band's highly successful reunion tour of
the late '90s. Other standouts include the funky "All Moving
Parts (Stand Still)" and the raging opener, "Back Street Kids.
" The melodic "It's Alright" turns out to be the album's biggest
surprise — it's one of drummer [Only registered users can see links. ]'s few lead vocal spots
with the band ([Only registered users can see links. ] covered the unlikely track on
their 1999 live set, [Only registered users can see links. ]).




[Only registered users can see links. ]

___..:::warfreak:::..___

Black Sabbath 1980 - Heaven And Hell (HEAVY METAL)


REVIEW:
Many had left Black Sabbath for dead at the dawn of the '80s,
and with good reason — the band's last few albums were not
even close to their early classics, and original singer [Only registered users can see links. ]
Osbourne had just split from the band. But the Sabs had
found a worthy replacement in former [Only registered users can see links. ] and [Only registered users can see links. ] singer
[Only registered users can see links. ] , and bounced back to issue their finest
album since the early '70s, 1980's Heaven and Hell. The band
sounds reborn and re-energized throughout. Several tracks
easily rank among Sabbath's all-time best, such as the
vicious album opener, "Neon Knights," the moody, mid-paced
epic "Children of the Sea," and the title track, which features
one of [Only registered users can see links. ] 's best guitar riffs. With Heaven and Hell,
Black Sabbath were obviously back in business.
Unfortunately, the [Only registered users can see links. ]-led version of the band would only
record one more studio album before splitting up (although
[Only registered users can see links. ] would return briefly in the early '90s). One of Sabbath's
finest records.




[Only registered users can see links. ]

___..:::warfreak:::..___

Black Sabbath 1981 - Mob Rules (HEAVY METAL)



REVIEW:
1981's Mob Rules was the second Black Sabbath album to feature vertically challenged singer [Only registered users can see links. ], whose powerful pipes and Dungeons and Dragons lyrics initially seemed like the perfect replacement for the recently departed and wildly popular [Only registered users can see links. ]. In fact, all the ingredients which had made their first outing, [Only registered users can see links. ], so successful are re-utilized on this album, including legendary metal producer [Only registered users can see links. ] ([Only registered users can see links. ], [Only registered users can see links. ], etc.) and supporting keyboard player [Only registered users can see links. ]. And while it lacks some of its predecessor's inspired songwriting, Mob Rules was given a much punchier, in-your-face mix by [Only registered users can see links. ], who seemed re-energized after his work on New Wave of British Heavy Metal upstarts [Only registered users can see links. ]'s [Only registered users can see links. ] album. Essentially, Mob Rules is a magnificent record, with the only serious problem being the sequencing of the material, which mirrors [Only registered users can see links. ]'s almost to a tee. In that light, one can't help but compare otherwise compelling tracks like "Turn Up the Night" and "Voodoo" to their more impressive [Only registered users can see links. ] counterparts, "Neon Knights" and "Children of the Sea." This unhappy streak is finally snapped by the unconventional "E5150," a synthesizer-driven instrumental. Then, the unbelievably heavy, seven-minute epic "The Sign of the Southern Cross" delivers one of the album's best moments before unleashing the roaring title track. Side two is less consistent, hiding the awesome "Falling off the Edge of the World" (perhaps the most overlooked secret gem to come from the [Only registered users can see links. ] lineup) amongst rather average tracks like "Slipping Away" and "Over and Over." Over the next year, the sh*t would hit the fan for Black Sabbath, and [Only registered users can see links. ]'s exit would mark Mob Rules as the last widely respected studio release of the band's storied career.




[Only registered users can see links. ]

___..:::warfreak:::..___

Black Sabbath 1992 - Dehumanizer (HEAVY METAL)
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REVIEW:
Sabbath and [Only registered users can see links. ] were dealing with a dwindling fan base, unsuccessful
albums, and a longstanding creative rut when they decided to reunite
the [Only registered users can see links. ] 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.
[Only registered users can see links. ] delivers his strongest performance since the early
'80s, and hearing [Only registered users can see links. ] and [Only registered users can see links. ] 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, but the hook is just not there and
the band sounds like its creative wheels are spinning in place.
The bandmembers do craft enough good riffs to make songs like
"Time Machine" and "After All (The Dead)" at least sound interesting,
but they don't deliver a "Heaven and Hell" or "E5150" like they could
have. And instead of [Only registered users can see links. ]'s classic doom-laden lyrics making their
triumphant return, [Only registered users can see links. ] takes on the writing duties and manages to
pen some true stinkers. "Computer God," "TV Crimes," and "Master
of Insanity" are all decent songs that are tanked by his cheesy "
contempt for humanity" lyrics. At least he doesn't sing about dragons,
but it wouldn't be that much worse than what is here. Dehumanizer
isn't terrible, but it should have been the sign for the band to call it a
career. Instead, [Only registered users can see links. ] split when he refused to open shows for [Only registered users can see links. ]
Osbourne's retirement tour; they used [Only registered users can see links. ] singer [Only registered users can see links. ]
for a few shows, and then everyone left but [Only registered users can see links. ] and [Only registered users can see links. ], who
stayed on to paste a new lineup back together for the marginally
better [Only registered users can see links. ].




[Only registered users can see links. ]

___..:::warfreak:::..___

Black Sabbath 1994 - Cross Purposes (METAL)


REVIEW:
Cross Purposes could have been the ultimate Black Sabbath album. That may
be a bold claim, but it combines members from several different eras together
for perhaps the most promising lineup since Ronnie James Dio's days with the
band. Geezer Butler is there to represent the classic '70s version, Tony Martin
returned to the fold to be the '80s representative, new drummer Bob Rondinelli
brings the '90s flavor to everything, and Tony Iommi is the never-say-die (no pun
intended) original member who never left the flock. But instead of crafting
Sabbath's masterful return to grace, they made a weird mishmash of power
metal and stoner rock that works more often than not. At least Butler seems to
have Iommi attempting memorable riffs again, something he couldn't quite get
the hang of until the album previous to this. "I Witness" opens with a classic
guitar part, while the drums drive the song along and the bass chugs away with
a newfound energy. But this energy is offset by the increasingly soulful vocals of
Martin, who simply cannot muster the creepy wail that Ozzy Osbourne brought to
the band. In fact, he puts in a performance that is even below the standards he
set on albums like The Eternal Idol. The minute his voice starts on the first track,
it's as if Sabbath had to adjust to not make him sound out of place. Why the band
couldn't have found a suitable replacement is a mystery, unless Iommi had simply
given up on bringing in yet another singer after so many had come after Osbourne.
"Virtual Death" is the brutally heavy shocker that suddenly appears in the middle
of the album; it goes to show how they could have incorporated Martin much more
effectively and is also the best slow crawl Iommi had worked on since 1983's "Zero
the Hero." Butler does seem to have a good influence on Iommi whenever they work
together, and their interplay becomes quite interesting as the album goes on. For
whatever reason, most of the filler is at the beginning, leaving the better material to
hang back for the second half. "Immaculate Deception" contains another good riff,
although keyboardist Geoff Nichols spews inappropriate new age nonsense all over it.
"Back to Eden" improves matters again with more wonderful interaction between
Butler and Iommi, while "Cardinal Sin" is yet another good song that goes to show
how misused Martin had been during his first run with the band. Many might disagree,
but Cross Purposes is the first album since Born Again that actually sounds like a real
Sabbath record. And it is probably the best thing they'd released since The Mob Rules,
even with the filler tracks and keyboards. Of course, the lineup completely dissolved
as Iommi perpetuated the band's downward spiral, but for a brief moment it seemed
like Sabbath could have really shaped up into something special.



[Only registered users can see links. ]

_ylsen_

Black Sabbath Sabbath, Bloody Sabbath



Sabbath, Bloody Sabbath
A National Acrobat
Fluff
Sabbra Cadabra
Killing Yourself To Live
Who Are You?
Looking For Today
Spiral Architect

CODE
[Only registered users can see links. ]

.(S)ilVeR.(G).Aj.

Artist: Black Sabbath
Album: Sabbath Bloody Sabbath
Year: 1973
Genre: Heavy Metal
Bit Rate: 320 kbps
Compression: mp3
File Size: 86.2 mb

Track List:
01 - Sabbath Bloody Sabbath
02 - A National Acrobat
03 - Fluff
04 - Sabbra Cadabra
05 - Killing Yourself To Live
06 - Who Are You
07 - Looking For Today
08 - Spiral Architect

Rapidshare.com:
[Only registered users can see links. ]

Password:
none

.(S)ilVeR.(G).Aj.

Artist: Black Sabbath
Album: Black Sabbath Vol. 4
Year: 1972
Genre: Heavy Metal
Bit Rate: 320 kbps
Compression: mp3
File Size: 87.3 mb

Track List:
01 - Wheels Of Confusion, The Straightener
02 - Tomorrow's Dream
03 - Changes
04 - FX
05 - Supernaut
06 - Snowblind
07 - Cornucopia
08 - Laguna Sunrise
09 - St. Vitus Dance
10 - Under The Sun, Every Day Comes and Goes

Rapidshare.com:
[Only registered users can see links. ][/code]

Password:
none