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\n<\/p>\nIn 2007, Black Sabbath\u2019s classic Mob Rules-era line-up reunited for the third time, this time under the name Heaven And Hell. As they prepared to tour the UK, Tony Iommi, Geezer Butler and Ronnie James Dio looked back over their tangled history together.<\/p>\n
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It was spring 1979, and Ronnie Dio, still sore from his recent dismissal from Ritchie Blackmore\u2019s Rainbow, found himself courted by perhaps the only British heavy metal<\/a> guitarist more eminent than Blackmore: Tony Iommi. The Sabbath guitarist, whose band was going through a rather black period with their drug- and alcohol-riddled frontman Ozzy Osbourne, had his eye on Dio. Ronnie might\u2019ve been small in stature but his voice was huge.<\/p>\n <\/p>\n After a chance meeting one night at a bar in Hollywood, Iommi invited Dio to his house in Beverly Hills for an impromptu jam with himself, Sabbath\u2019s bassist Geezer Butler and drummer Bill Ward. \u201cFifteen minutes in, we had a song written,\u201d Dio remembers. Appropriately, when Iommi extended his offer to the singer to join Black Sabbath, it wasn\u2019t posed as a question. \u201cI couldn\u2019t have said no anyway,\u201d Dio confesses. \u201cI had some other projects on the table at the time, but this was Black Sabbath. Plus I knew that it was perfect for me.\u201d<\/p>\n Latest Videos From Louder<\/p>\n Perfect, too, for the three Sabbath men. In fact, after the hell they were going through with Ozzy, tying the knot musically with Dio was something of a marriage made in heaven. At the time, the veteran band were in the midst of a creative and commercial rut. Bringing Dio in gave them a renewed sense of purpose as well enabling them to update their sound for a new decade.<\/p>\n \n Heaven And Hell in 2007: (from left) Tony Iommi, Geezer Butler, Vinny Appice, Ronnie James Dio (Image credit: Gavin Roberts\/Classic Rock Magazine\/Future Publishing via Getty Images)<\/p>\n The two studio albums Black Sabbath recorded with Dio during his initial tenure with the band, 1980\u2019s Heaven And Hell and the next year\u2019s Mob Rules (Dio later rejoined briefly for a third, 1992\u2019s Dehumanizer) spark with some of the most electrifying music of their career. Few tracks in the band\u2019s catalogue kick with the force of Neon Knights and Turn Up The Night, the respective openers of those two albums, while the title tracks \u2013 the barnstorming The Mob Rules and the positively monstrous Heaven And Hell \u2013 are on par with even Sabbath\u2019s most revered Ozzy-fronted material.<\/p>\n You may like<\/p>\n That said, Black Sabbath\u2019s output with Dio, sandwiched between the band\u2019s hugely influential, frequently ground-breaking 1970s work with Ozzy and the numerous albums recorded with different line-ups throughout much of the 80s and 90s, has sometimes been overshadowed by . And the flurry of Ozzy activity that has driven the band for much of the past decade \u2013 sporadic reunion tours, various compilations and box sets, a smattering of new recordings, persistent rumours of a full-fledged studio album and, most notably, the 2006 induction of the original line-up of Osbourne, Iommi, Butler and Ward into the Rock And Roll Hall Of Fame \u2013 has left the Ozzyless parts of Black Sabbath\u2019s history being viewed as something of an aberration.<\/p>\n But the Dio era has its staunch defenders, who will be excited by the fact that the Mob Rules era line-up \u2013 Dio, Iommi, Butler and drummer Vinny Appice, the latter having replaced Bill Ward in the summer of 1980 \u2013 have reunited for the second time, 25 years after they originally played together and 15 years since their comeback. The difference this time is that the band won\u2019t be called Black Sabbath, instead adopting the monicker Heaven And Hell.<\/p>\n \n Dio fronting Black Sabbath in 1980 (Image credit: Fin Costello\/Redferns)<\/p>\n The wheels for this unexpected third reunion were inadvertently set in motion by Rhino Records, who recently released the compilation album, Black Sabbath: The Dio Years. The label contacted Iommi\u2019s management to inquire whether any previously unreleased Dio-era material existed that could be included in the prospective package. There wasn\u2019t. So Iommi, for the first time in more than a decade, reached out to Dio with the idea of recording a few new songs. Although over the years the guitarist and singer had occasionally been at odds, in October 2005, prior to a Dio solo show in Iommi\u2019s home town of Birmingham, the two met to discuss the possibility of working together again.<\/p>\n \u201cWe just sat and talked, got rid of all the skeletons in the closet and blew the cobwebs away,\u201d says Dio. \u201cAnd before I knew it, Tony and I were sitting in his home studio in England, throwing ideas around.\u201d<\/p>\n Over the next few months, writing sessions between the two yielded the songs Shadow Of The Wind, The Devil Cried and Ear In The Wall, which Dio describes, astutely, as \u201ca slow one, a mid-tempo one and a fast one\u201d. With the rhythm section of Butler and Appice (it was initially reported that Bill Ward would be involved in the project, but he bowed out and was ultimately replaced by the man who\u2019d done so back in 1980), the three songs were then recorded for inclusion on The Dio Years. \u201cWe got on really well,\u201d Iommi says of working with his former singer again. \u201cAt first we only planned on doing two songs, but then two became three, and from there we went to, \u2018How about a tour?\u2019\u201d<\/p>\n What to read next<\/p>\n Heaven & Hell – Shadow Of The Wind [Radio City Music Hall, 2007] (Official Live Video) – YouTube Watch On <\/a><\/p>\n \u201cIt seemed like the right time to go out with Ronnie,\u201d Geezer Butler adds. \u201cWe\u2019d been doing the reunion thing with Ozzy for so long. No disrespect to that, but we\u2019ve got some great songs and this is a great line-up.\u201d<\/p>\n Be that as it may, it is not, by everyone\u2019s estimation, a Black Sabbath line-up. Shortly after it was announced that Heaven And Hell would be touring in support of the compilation The Dio Years, a statement was issued by Ozzy\u2019s camp wishing the band much success, while asserting: \u2018There is only one Black Sabbath. Ozzy, Tony, Geezer and Bill will be touring late next year along with a new album.\u2019<\/p>\n If Ozzy wielded any influence over the band having chosen an alternative name, no one on either side is saying so. For his part, Iommi, the sole member to have appeared on every Sabbath recording, and the person believed to own the rights to the band\u2019s name, says the motivation behind touring as Heaven And Hell was to avoid confusion with the Osbourne-Ward version of Black Sabbath, which is still, it appears, a living, breathing entity.<\/p>\n \n (Image credit: Mick Hutson\/Redferns)<\/p>\n Perhaps it\u2019s fitting that the Dio-fronted Black Sabbath is now represented as a distinct unit, as, in spirit if not name, it always had been. The reconfigured band came together during a period of turmoil and uncertainty, with both sides reeling from the after-effects of bad break-ups. In Sabbath\u2019s case, the three remaining original members were also forced to contend with the enormous shadow cast by their own legacy, as well as the spectre of their former singer, whose popularity and notoriety would only increase throughout the 80s, and with whom the band would occasionally be drawn into a very public war of words.<\/p>\n And yet with Dio at the helm Black Sabbath not only survived, but also flourished, producing their strongest material in years. If The Dio Years is a welcome and long-overdue tribute, the Heaven And Hell tour is an even more anticipated, and fitting, celebration of this band.<\/p>\n \u201cThe music we made together stirred the souls of a new generation of fans,\u201d Ronnie Dio says proudly. \u201cWhen we came out with Heaven And Hell, Black Sabbath was reborn.\u201d<\/p>\n Indeed prior to Dio\u2019s arrival in 1979 it looked as if Black Sabbath\u2019s days were numbered. Their final album with Ozzy, released the year before, was titled Never Say Die!, but it was obvious to everyone involved that the band had already flat-lined. In stark contrast to such revolutionary releases as their 1970 self-titled debut and follow-up Paranoid albums \u2013 which not only launched the band to stardom but arguably gave birth to heavy metal itself \u2013 Sabbath\u2019s recent output had been artistically weak and commercially disastrous.<\/p>\n \n Tony Iommi onstage with Black Sabbath in 1978 (Image credit: Gus Stewart\/Redferns)<\/p>\n The band were old news, particularly at home in Britain, where the more immediate and visceral sounds of punk had replaced hard rock as the soundtrack for the young and disenfranchised. Additionally, a fresh crop of bands who would serve as the earliest entries into what would become known as the New Wave Of British Heavy Metal movement were plying a harder, faster strain of the basic Sabbath formula. Caught in the middle of this charged musical climate, the members of Black Sabbath found they were in no shape to compete with the new generation. \u201cWe were all going through bad things with drugs and alcohol, and I don\u2019t think any of us knew what was going on,\u201d Iommi says. \u201cWe were so lost within ourselves.\u201d<\/p>\n No one more so than Ozzy, who had left the band briefly after 1977\u2019s Technical Ecstasy (he was replaced by former Savoy Brown and Fleetwood Mac vocalist Dave Walker), and then returned for the desultory Never Say Die! When it came time to record a follow-up, it was obvious that Black Sabbath would have to take drastic measures in order to survive.<\/p>\n \u201cThe record company kept asking: \u2018Where\u2019s our album?\u2019\u201d says Iommi. \u201cWell, we didn\u2019t have it! We were coming up with some riffs, but Ozzy just\u2026 wasn\u2019t capable of singing to them at the time. So we had to say to him: \u2018Well, if you can\u2019t do it we\u2019ll have to find somebody who can.\u2019 Which is what happened in the end.\u201d<\/p>\n \n Ronnie James Dio in the late 1970s (Image credit: Fin Costello\/Redferns)<\/p>\n With Ozzy on his way out, the band began the search for potential replacements. On the shortlist were two former Deep Purple men: David Coverdale and bassist\/vocalist Glenn Hughes (in an interesting turn of events, Sabbath would later team up with Ian Gillan, the most renowned of Purple\u2019s singers, and, eventually, Hughes as well). And there was Ronnie Dio, who had recently split from another former Deep Purple man, guitarist Ritchie Blackmore. Blackmore was in a bid to sell his then-current band Rainbow to a wider audience, and decided that Dio, with his operatic, vibrato-heavy vocal style and penchant for writing fantastical lyrics, did not possess the necessary mainstream appeal.<\/p>\n But Blackmore\u2019s loss turned out to be Iommi\u2019s gain, as Tony recognised in Dio not only a kindred heavy metal spirit but also a man positioned at a similar musical crossroads. \u201cI was sitting around at home in Connecticut after being booted out of Rainbow when I got a call from Tony,\u201d Dio recalls. \u201cAfter that, every few weeks we would just talk on the phone, discussing the possibility of doing something together. But at that point I had still never even met him in person.\u201d<\/p>\n It wasn\u2019t until Dio moved to Los Angeles a few months later that things progressed any further. \u201cI ran into Tony one night at the Rainbow, of all places,\u201d the singer says with a laugh, \u201cand he invited me back to his place to play with Geezer and Bill.\u201d At Iommi\u2019s home the three presented him with the music to a song they\u2019d recently written, and Dio jotted down some lyrics. After giving the new tune, titled Children Of The Sea, a run-through, the deal was sealed.<\/p>\n \u201cAt that point we\u2019d been out in LA trying to get moving on an album for almost a year,\u201d says Iommi. \u201cWe had started it with Ozzy, and now, finally, with Ronnie we were going to finish it.\u201d<\/p>\n But not, as it turned out, with Geezer Butler. Soon after Dio joined, Sabbath\u2019s stalwart bassist announced, to everyone\u2019s surprise, that he was leaving the band. \u201cMy head was just in another place at the time,\u201d says Butler. \u201cI was going through a horrendous divorce, and dealing with all sorts of personal stuff. I couldn\u2019t concentrate on music. I had to go back home to England and get my life sorted out.\u201d<\/p>\n If Black Sabbath had been teetering on the brink of disaster for some time, they had now, at the end of what had been a largely triumphant decade, reached critical mass. In just a few months, Tony Iommi had lost both his highly charismatic frontman and the band\u2019s founding bassist (drummer Bill Ward was still on board, but dealing with his own substance addictions), and was now a guitarist without much of a band. Meanwhile, Warner Bros. were champing at the bit for a new record that would be Black Sabbath\u2019s celebratory \u201810th Anniversary\u2019 album. It was also to be their final one under contract to the label. And Iommi was coming up empty-handed.<\/p>\n \n (Image credit: Fin Costello\/Redferns)<\/p>\n In desperation the guitarist turned to his new singer, and the two of them composed the bulk of what would become the Heaven And Hell album. Although the partnership was untested, it proved to be extremely fertile. In addition to having a voice that was more dynamic and more authoritative than Ozzy\u2019s, Dio also ably filled the songwriting hole created by Geezer Butler\u2019s departure. Where Butler had always been Black Sabbath\u2019s chief lyricist, and had written the bulk of the words that Ozzy ultimately delivered as his own, Dio wrote his own lines \u2013 doing the same in Rainbow contributed to his dismissal from that group, now it was crucial to his new band. He was also a capable bassist \u2013 \u201cYou can\u2019t call yourself a musician if all you do is write poetry,\u201d he says defiantly \u2013 and so could chug along in Butler\u2019s place while Iommi worked up the riffs.<\/p>\n \u201cRonnie opened me up to a whole new way of writing,\u201d says Iommi. \u201cAnd what resulted was all these different types of songs that sounded nothing like what Sabbath had done in the past.\u201d<\/p>\n Another significant figure during this time was Geoff Nicholls, a British musician who had of late been Black Sabbath\u2019s touring keyboardist. He was also an accomplished guitarist and bassist, and it was Nicholls\u2019s bass figure (lifted from a tune recorded by his former band, Quartz) that laid the foundation for Heaven And Hell, the song that would become the album\u2019s title track and centre-piece. Furthermore, Iommi at one point even considered taking Nicholls on board as a second guitarist. \u201cGeoff and I did try out the two-guitar thing in rehearsal a few times,\u201d says Iommi, \u201cbut it just felt weird. Although it certainly was nice and loud.\u201d<\/p>\n Black Sabbath – Heaven And Hell (Live) – YouTube Watch On <\/a><\/p>\n Nicholls was also considered as a replacement for Geezer Butler (as was ex-Rainbow bassist Craig Gruber and, briefly, Dio himself), but that sorted itself out when, prior to Black Sabbath entering the studio, Geezer returned. \u201cI had kept in contact with Tony during the time I was back home in England,\u201d he says. \u201cSo as soon as I felt that I had my life under control I was happy to come back to the band.\u201d<\/p>\n Butler\u2019s arrival also aided in putting to rest another question: would the band still be called Black Sabbath? Confronted (much as they are today) with the absence of their most recognisable member, at one point the band considered changing their name in the hope of having the new material with Dio judged independently of their Ozzy-era work. \u201cIt was discussed for a time,\u201d Butler confirms, \u201cthough in the end the name change didn\u2019t seem necessary. Plus,\u201d he admits, \u201cWarner Brothers would have never taken that risk. They basically said: \u2018If you want us to put the album out, it\u2019s gotta say Black Sabbath on it.\u2019\u201d<\/p>\n Which was, by all means, a better name than the one that had occasionally been used disparagingly in the press, and the origins of which could allegedly be traced back to Ozzy Osbourne: Black Rainbow. A few years later, in a particularly low blow, Ozzy, perhaps acutely aware of Sabbath\u2019s achievements without him, incorporated into the stage show for \n (Image credit: Fin Costello\/Redferns)<\/p>\n But with three original members on board and some very strong material \u2013 including the songs Children Of The Sea, Die Young and the title track \u2013 in the can, the band still known as Black Sabbath entered Criteria Recording Studios in Miami in late 1979 to begin tracking what would become the Heaven And Hell album. While their past few records had been self-produced \u2013 which perhaps contributed to them being far from spectacular-sounding \u2013 this time they brought in Martin Birch, a much in-demand producer who had worked with such hard rock heavyweights as Blue \u00d6yster Cult, Whitesnake and Dio\u2019s former associates, Rainbow.<\/p>\n \u201cI contacted Martin and told him what I was up to,\u201d says Dio, \u201cand he was like: \u2018Black Sabbath?\u2019 Because he felt the same as everyone did at the time \u2013 they\u2019re trouble. But I said: \u2018Trust me. We\u2019ve got something special going on. You\u2019ll love the songs. You\u2019ll love the guys. They\u2019ll love you.\u2019\u201d<\/p>\n The band wrapped up at Criteria just prior to Christmas and went to London to mix the album. Although the recording had gone without a hitch, it was during the mixing stage that Martin Birch\u2019s earlier concern that Sabbath were \u2018trouble\u2019 proved to be well-founded. The band, and in particular drummer Bill Ward, showed themselves to be dangerously combustible.<\/p>\n \n (Image credit: Larry Hulst\/Michael Ochs Archives\/Getty Images)<\/p>\n \u201cBill and I used to have this little party piece we\u2019d do, where I\u2019d light him on fire,\u201d Iommi explains. \u201cSo one day in the studio in London I thought it\u2019d be fun to freak out Martin, and I asked Bill if I could light him up. Bill said: \u2018Uh, not just yet, I\u2019m a bit busy at the moment.\u2019 I looked over at Martin, and he had this look on his face like, \u2018What the hell is going on?\u2019\u201d Iommi laughs. \u201cAbout two hours later Bill came back and said: \u2018Okay, I\u2019m going home now. Do you want to set fire to me or what?\u2019 So I poured all this bloody alcohol over him, lit it, and Bill went up like a bomb. Martin nearly had a fit!\u201d<\/p>\n Which was not exactly the intended outcome. Ward wound up in the hospital. \u201cI thought I\u2019d killed him,\u201d says Iommi. But the drummer was back on his feet to join the band (now tax-exiled to France) for one final recording session at Studio Ferber in Paris.<\/p>\n Determining that the album was still in need of the killer lead-off track, it was here that Sabbath recorded the album opener that would also serve as their 1980 live set opener, as well as prove to be one of the fiercest tunes in their catalogue: Neon Knights.<\/p>\n \u201cWe hadn\u2019t really done too much up-tempo stuff with Ozzy, but it\u2019s something that really appealed to Ronnie, and also something that he was very good at,\u201d Iommi explains. \u201cA song like Neon Knights could have only come together at that time.\u201d<\/p>\n \u201cWe knew we needed a fast one to introduce the band,\u201d Dio says, \u201cso we just laid that song out. It\u2019s simple, and it does exactly what it\u2019s designed to do. The riff hits you right out of the box.\u201d<\/p>\n Released in April 1980, the Heaven And Hell album, led by the rampaging Neon Knights and centred on three epic tracks \u2013 Children Of The Sea, Die Young and the title cut \u2013 re-established Black Sabbath as heavy metal alpha males, on a par with top artists of the day like Judas Priest and AC\/DC. The record\u2019s focused attack, coupled with Birch\u2019s modern-sounding production, endeared the band to younger fans of NWOBHM bands like Def Leppard and Iron Maiden as well.<\/p>\n \u201cI knew we had a great album,\u201d says Dio. \u201cAnd it was nice to see it so well-received. You can never tell how the public will react. But as a band we were all on the same page. We believed in the songs we were writing, and had this feeling of: \u2018Fuck you, this is going to happen.\u2019 No matter what obstacles we faced, we were not going to be stopped from doing that record. We had the right group of people, we had the right songs and it was the right time. And it worked.\u201d<\/p>\n Heaven And Hell proved to be both a critical and commercial high point for the Dio-led configuration of Black Sabbath. The album eventually went platinum \u2013 the only non-Ozzy Sabbath release to date to reach that benchmark. And Warner Brothers, who hadn\u2019t shown much faith in, or offered much support to, the band during its recording, extended the band\u2019s contract well into the 80s. Sabbath then embarked on a massive world tour in support of the record, including appearances at major festivals like California\u2019s Day On The Green and also a highly anticipated co-headlining trip with Blue \u00d6yster Cult (at this point Sabbath were being guided by B\u00d6C manager Sandy Pearlman), dubbed the Black & Blue tour.<\/p>\n \n (Image credit: Fin Costello\/Redferns)<\/p>\n By the summer, however, signs of strain were already beginning to show. In August Bill Ward, suffering from substance addiction and in poor health, quit the band following a gig in Indiana. \u201cHe was in a bad way with drink and drugs,\u201d says Butler, \u201cand he just couldn\u2019t keep it together. One day we looked up and Bill was just gone.\u201d<\/p>\n He was quickly replaced with former Rick Derringer drummer Vinny Appice. But not long after the Black & Blue tour recommenced, disaster struck again when Butler was knocked out by an object thrown during a show in Milwaukee, landing the bassist in the hospital and sparking an all-out riot at the venue. With a recovered Butler the band completed the tour, which they followed with quick runs through Japan (where Iommi was hit with food poisoning), Australia and the UK.<\/p>\n By the time Black Sabbath entered the studio in early 1981 to begin recording for Mob Rules, once again with Martin Birch at the controls, they were all a bit the worse for the wear. By some accounts, Dio, no longer the new guy, and emboldened by the tremendous response afforded to Heaven And Hell, took on a more authoritative role during the sessions. And while that role was perhaps well-earned, it made for a tense situation. But the resulting album, with strong tracks like Turn Up the Night, The Sign Of The Southern Cross and the title track, was another solid affair, even if it arguably stuck a little bit too close to the Heaven And Hell blueprint.<\/p>\n The Mob Rules (2021 Remaster) – YouTube Watch On <\/a><\/p>\n The band hit the road in support of Mob Rules in November 1981. The tour, which took them all the way through the summer of 1982, was another success, and shows in San Antonio, Dallas and Seattle were recorded for a proposed live album. But by the time Live Evil was released, in January 1983, Ronnie Dio and Vinny Appice were out of Black Sabbath.<\/p>\n Prior to the album\u2019s release, reports had begun to surface in the British press that Iommi and Butler had suspected their bandmates of tampering with the unmixed live tracks. \u201cThere were all these tales being told that Vinny and I were sneaking into the studio to raise the drums and vocals, and for some reason Tony and Geezer chose to believe what them,\u201d says Dio. \u201cWhat happened was, we\u2019d arrive at the studio, and the other two guys wouldn\u2019t show up. This went on for a couple days, until finally we got tired of sitting around and decided that maybe we should listen to some of the stuff. And we probably said things like: \u2018What would it sound like if the drums were raised a bit?\u2019 But we weren\u2019t mixing, we were waiting.\u201d<\/p>\n \u201cThings were just screwed up at that point,\u201d says Iommi. \u201cNo one was communicating, and Geezer and I were just going by what the studio engineer was telling us. Everything got blown out of proportion and just escalated beyond control.\u201d<\/p>\n When it was over, Black Sabbath had split in half. After Dio and Appice had been handed their walking papers, the singer wasted no time in getting together a new group (which included Appice) under his own surname. \u201cThe truth is, the writing was on the wall at that point anyway,\u201d says Dio. \u201cWe had done some great things together, but the band had fallen apart. There was no need to try to continue.\u201d<\/p>\n Black Sabbath – TV Crimes (Official Music Video) – YouTube![\"\"](\"https:\/\/www.loudersound.com\/media\/img\/Louder_logo_v1a_black_on_white.svg\"){kind=logo}
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