The current Black Sabbath reunion has been star-crossed almost from the start. Original members Ozzy Osbourne, Tony Iommi, Geezer Butler, and Bill Ward staged a splashy press conference in November 2011 to announce a tour and a Rick Rubin-produced album, but the mood quickly soured. Subsequent months brought a lymphoma diagnosis for guitarist and sole consistent member Iommi, a contract dispute involving drummer Ward, high-profile gigs with a fill-in behind the kit, and, finally, the eyebrow-raising news that the comeback LP-- the first full studio record to involve more than two members of Sabbath 1.0 since 1983's Ozzy-less Born Again-- would feature Rage Against the Machine and Audioslave drummer Brad Wilk. The peanut gallery snarked; fans despaired.
That 13 isn't an out-of-touch embarrassment is a surprise. That it's cohesive, engaging, and even fun is a near-shock. As with most Rubin ventures, the goal from the outset was to help the band recapture their original mojo, the chemistry that made their initial 1970-78 run so brilliant. Does 13 measure up to classics such as Paranoid and Vol. 4? Of course not. No amount of good intention could recapture the black magic of the band's narcotically enhanced glory days, and while Wilk's performance is sturdy enough, no sub could eclipse Ward, one of the most distinctive rock drummers of the last 40 years and the engine behind Sabbath's signature sludge-blues cadences. But 13 does offer many of the primal joys that helped immortalize Sabbath in the first place, while documenting the spark that still unites Osbourne, Iommi, and Butler, all three of whom sound about as vital here as anyone could've hoped.
The record's greatest strength is how well it captures the apocalyptic trudge that Sabbath nailed from the very first downbeat of their 1970 debut. The doomy passages in the first two tracks, "End of the Beginning" and "God Is Dead?", sound stupendously heavy. This isn't just a result of 13's raw production values; it's also that the band is clearly grasping for the same dire emotions (soul-deep malaise, reaper-fearing horror) that fueled their early work, emotions that from the mid-'80s on-- as Iommi carried on under the Sabbath banner with a Wiki-nightmare's worth of collaborators-- have shared album space with less weighty, more pedestrian hard rock. As Iommi, Butler, and Wilk lurch through the titanic riff of "End of the Beginning", with Ozzy sneering, "Reeeeeee-animation of the sequence," it's clear that a legacy is being reclaimed. Osbourne, for one, may have squandered any remaining mystique when he opted for reality-TV stardom, but he proves here that he still wields an eerie power at the mic.