8 Songs by Black Sabbath That Weren’t Sung by Ozzy Osbourne

Even though Ozzy Osbourne is frequently associated with Black Sabbath, the band underwent substantial changes following Ozzy’s departure in 1979. With new frontmen, the band carried on with their musical adventure, adding new elements to their style. The band welcomed a new chapter when Ronnie James Dio, whose talents are valued almost as highly as Osbourne’s, first joined. We explore some of the most notable songs performed by singers who filled the significant hole left by Osbourne.

1. “Lady Evil” (1980)

Under Ronnie James Dio’s command, “Lady Evil” manifests as a mid-tempo rock song with a groove robust enough to sway any listener. Spearheaded by Geezer Butler’s compelling bass and Bill Ward’s solid drumming, the track is adorned with Tony Iommi’s wah-wah infused guitar solos. The engaging chorus and Dio’s strong lyrical imagery, laden with themes of mystique and danger, help make this song a memorable entry in the Sabbath catalog.

2. “The Mob Rules” (1981)

Another gem featuring Ronnie James Dio, “The Mob Rules” unleashes one of Iommi’s most fierce and infectious riffs. The song discusses the chaos that ensues when masses are misled, driven by Dio’s powerful and gripping vocal delivery. With its relentless energy and a raw mix version featured in the Heavy Metal movie soundtrack, the track presents a relentless Sabbath that shows no signs of slowing down.

3. “The Dark/Zero the Hero” (1983)

Featured on the ‘Born Again’ album with Ian Gillan on vocals, “The Dark/Zero the Hero” offers a haunting introduction that transitions into a sinister and heavy composition. This song illustrates Black Sabbath’s ability to evolve while maintaining their dark musical roots, showcasing the unique blend of Gillan’s vocal prowess with the band’s signature sound. Despite some fans’ reservations about the Gillan-Sabbath pairing, tracks like this prove the merger bore some intriguing fruit.

4. “Danger Zone” (1986)

“Danger Zone” features the vocal talents of Glenn Hughes, another former Deep Purple member, whose stints with Black Sabbath brought a different flavor. Despite internal tensions leading to Hughes’ early departure from the band, his contribution to the ‘Seventh Star’ album — initially intended as an Iommi solo project — reflects a blend of conventional Sabbath sound with his unique vocal style. The track stands out for maintaining the band’s rock essence amidst lineup instabilities.

5. “The Shining” (1987)

With Tony Martin as the vocalist, the song “The Shining” from ‘The Eternal Idol’ shows off multiple riff layers and a dynamic structure. Martin’s vocals soar high with a Dio-esque resonance yet carve out his distinctive niche. The opening riffs rank among Iommi’s most memorable, ensuring the track’s place as a standout moment in the Martin era of Black Sabbath.

6. “When Death Calls” (1989)

From the album ‘Headless Cross,’ “When Death Calls” is another Tony Martin masterpiece that captures the spirit of 80s Sabbath. This track blends somber verses and punchy choruses, a formula that showcases Martin’s vocal range and capacity to convey deep emotion. The song builds in intensity and complexity, presenting a dramatic but coherent sonic journey.

7. “Jerusalem” (1990)

Tony Martin explores themes of Nordic mythology in “Jerusalem” from the ‘Tyr’ album, diverging from the band’s typical lyrical path. It’s an energetic track uplifted by Cozy Powell’s robust drumming and enriched with powerful harmonies, perfect for live audience interactions. The song is a testament to Black Sabbath’s versatility and their ability to explore new thematic territories effectively.

8. “I” (1992)

Ronnie James Dio made a triumphant return to Black Sabbath for the album ‘Dehumanizer’, and “I” is a potent testament to his enduring chemistry with the band. This track delivers a solid groove and showcases Iommi’s riffing prowess, complemented by Dio’s assertive and dynamic vocal performance. The music’s heavy atmosphere is balanced by introspective, bluesy sections, making it a multidimensional listening experience.