A deep dive into Black Sabbath's unexpectedly revitalized "Forbidden" album
Highly anticipated. That’s the only way to describe the release of Black Sabbath’s box set covering their 1989–1995 recordings, featuring Tony Martin on vocals. This often-overlooked era, which we’ve previously delved into, contains its share of musical gems crafted by the masterful Tony Iommi. Yet, until now, the “Forbidden” album was universally regarded as the weakest link in the Black Sabbath discography. That perception, however, is now being challenged by a new remix of its material, laying the foundation for a fresh re-evaluation.
At the time of its original release, “Forbidden” suffered from the production of Ernie C (of Body Count), an ill-fated attempt to keep Sabbath relevant amidst changing musical trends. The dry and flat sound undermined the compositions rather than enhancing them. Tony Martin’s vocals were pushed far to the forefront, Geoff Nicholls’ keyboards were virtually nonexistent, and Tony Iommi’s guitar work felt stiff and uninspired. The overall production leaned more toward a rap album aesthetic than a Black Sabbath record, effectively dooming “Forbidden” from the outset.
This assessment wasn’t entirely unfair. The album was undoubtedly uneven and fell noticeably short in quality compared to other Martin-era releases. Still, the sense that it could have been so much better lingered. Nearly three decades later, that potential is finally being realized—not through re-recordings or alternate takes, but through a proper remix by the riff master himself, Tony Iommi.
The result? A record that sounds completely different—renewed and vibrant, with dynamics that had previously been buried or ignored. Tracks like the title song or “Shaking Off The Chains” shine as rediscovered Sabbath classics, thanks to Iommi’s signature heavy riffs and Martin’s powerful performances. The standout track, “Kiss of Death,” now feels utterly devastating, while each composition reveals nuances that were always there but went unnoticed.
The release of this box set and the cult following surrounding this era of Black Sabbath feels like a long-overdue vindication, particularly for Tony Martin—a phenomenal vocalist who stepped into the shoes of giants and rose to the challenge. Similarly, “Forbidden,” the most maligned and sidelined album in their discography, finally has a chance to demonstrate its true worth, unburdened by the baggage of rap producers, distribution woes, and the specter of a possible Ozzy Osbourne reunion that haunted its original release.
As for the box set itself, it’s a treasure trove. The remastered versions of “Headless Cross,” “TYR,” and “Cross Purposes” are worth the price of admission alone. Add to that the detailed booklet and other goodies, and this set becomes a must-have for fans. Beyond that, it offers hope on another level—a hope for renewed collaboration between Tony Iommi and Tony Martin, or the unveiling of more unreleased material from that era. Should neither come to pass, the legacy they’ve already left behind will continue to enrich our lives indefinitely.
The Sinner