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The Eternal Idol Import


Price: CDN$ 14.15
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Product Details

  • Audio CD (Oct. 1 1993)
  • Number of Discs: 1
  • Format: Import
  • Label: Warner Bros
  • ASIN: B000002LB4
  • Other Editions: Audio CD  |  Audio Cassette
  • Average Customer Review: 3.7 out of 5 stars  See all reviews (46 customer reviews)

1. The Shining
2. Ancient Warrior
3. Hard Life To Love
4. Glory Ride
5. Born To Lose
6. Nightmare
7. Scarlet Pimpernel
8. Lost Forever
9. Eternal Idol

Product Description

Customer Reviews

3.7 out of 5 stars

Most helpful customer reviews

By A Customer on Oct. 26 2003
Format: Audio CD
I think this is one of the best heavy metal albums ever. If they ask me, it's got everything it needs (though I'm really not such an expert in rock music's structure or guitar playing or whatever, I just like to listen to it). This was one of their least succesful albums. Well it shouldn't have been.
They say, if the singer's not Ozzy, then it's not Black Sabbath. Well, maybe it's not Black Sabbath then, but it's still GREAT! Tony Martin IS a great singer too, as well as the others. Also, a band's identity doesn't matter if you like the music.
I won't analyze the songs one by one now, I guess I couldn't even do that. The music is simply fabulous. But this work does have a message in it's entire (which not every album does). I think it says, don't screw up your life and try to live it to the fullest. I like that.
We have to admit, this music was born in the glam period, which most people hate and I don't like it either. So what? We shouldn't judge things by that. All right, the drum snare does sound a bit strange, but that doesn't make it glam music, 'cause it isn't; fortunately, because this style did influence later Sabbath albums.
So you should get this, even if you think it isn't really Black Sabbath.
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Format: Audio CD
On my review of Headless Cross, I said that I couldn't decide which one was the best of the Tony Martin period of Black Sabbath. Well, I've made up my mind, I think Eternal Idol is. The songs are consistently brilliant through the whole album. Tony Martin sings his heart out, and he is the best singer the band has ever had, although other singers have had more recognizable qualities to their voices.
"The Shining" is probably the best song ever from the post-Dio period of Sabbath, along with "When Death Calls" from the Headless Cross album. Its opening notes are beautiful and delicate, and soon after, it erupts with its signature massive-power-chord-filled riff (you know, the kind that Sabbath is famous for). The melody lines are astonishing, and the riffs are as mean as ever when they are not beautifully melodic.
The rest of the album is nearly as good! Every song is great and distinguishable, just as a great album should be. The only song that seems a little like filler is "Lost Forever", but then it redeems itself fully for having the best guitar solo in the whole album. "The Scarlet Pimpernel" is a wonderful acoustic instrumental track that reminds me of "Laguna Sunrise" from Vol. 4 and "Fluff" from Sabbath Bloody Sabbath.
Even after many times of listening through the record, Eternal Idol still sends chills down my spine! Long live rock and roll!
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Format: Audio CD
As many Sabbath fans, I grew up addicted to the original Black Sabbath. This made me very questionable about any other era of what I used to call "Not Really Black Sabbath". Then I listened to "Heaven and Hell", and was blown away. I figured it was such a great album due to an accomplished singer like Dio joining the band. I never thought I could get into a "Black Sabbath" album with Iommi being the only original member and having a virtually unknown singer at the mic. As soon as I heard "The Shining", however, I was proven wrong. This album made me realize why Black Sabbath is so addictive...the masterful riffs that Tony Iommi comes up with. Sure, Geezer's frenzied bass lines, Bill Ward's solid, yet soulful drumming, and Ozzy's desparate singing that sounds like a soul from hell in complete torment really complimented the original lineup, the true source of Sabbath's genuis is Tony's guitar work and song writing ability. This album proves that, and is defenitely the best post-Ozzy album aside from "Heaven and Hell".
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By trebe on Feb. 11 2002
Format: Audio CD
Since founding member Ozzy Osbourne left Black Sabbath, the group has had numerous distinguished vocalists. Among them, Tony Martin may be the least known, and one of the more under appreciated. "The Eternal Idol" his first effort with the group, contains some of his finest work with Sabbath.
The man can definitely sing, and the range of his voice is well suited to the music and the lyrical material. Martin shows great feeling on slower numbers like the title track or "Nightmare", and also rocks out on songs like "Born To Lose" or "Lost Forever".
Over the years, Tony Iommi has really grown as a guitarist, long removed from the "Iron Man" days, evolving into a true master at heavy guitar riffs. Playing fast or slow, in your face or understated, the man can do it all. From the chattering riffing of "Lost Forever" to the evil, hauntingly heavy tones of "The Eternal Idol", nobody does it quite like Tony Iommi. After all this time, his playing still keeps you guessing.
Known more for his riffs and rhythm playing, Iommi's solos, have at times lacked character. Too much distortion and too many notes streamed together. Taking time to put a little space between his notes, he delivers solos with a bit more substance. The solo on "Born To Lose" is particularly memorable, and those on "Lost Forever", "Ancient Warrior", "Glory Ride" are not bad. Though the tonality is still on the "thin" side.
The album is solid, with only the instrumental "Scarlet Pimpernel" breaking up the metal assault. The lyrics also deserve mention. More than mere lines that rhyme, they attempt to tell a story and create imagery. Though not specifically credited to Tony Martin, his influence on this and subsequent albums is apparent. This recording heralded the coming of the Sabbath of the late 80's and 90's and is the best of Sabbath's recordings with Tony Martin.
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