Rodger Bain – Through the Shattered Lens

One of the things I’ve always loved about early Black Sabbath is just how unpredictable their music could be, especially when you venture beyond the songs everyone already knows. Wicked World, from their 1970 self-titled debut album Black Sabbath, captures the band developing the chemistry that would eventually make them legendary. There’s something infectious about the song’s bluesy, jazz-influenced rhythm, with Geezer Butler’s bass dancing around Bill Ward’s swinging percussion while Tony Iommi’s guitar adds just the right amount of grit and aggression. Personally, I’ve always enjoyed the song’s raw energy and shifting rhythms, which keep things interesting without sacrificing its underlying groove. There’s an unpolished charm to the recording that captures a young band whose musical instincts were already remarkably sharp.

Lyrically, Wicked World is an early example of Black Sabbath tackling social issues rather than relying on the occult imagery that would become associated with their reputation. Ozzy Osbourne sings about inequality, war, hypocrisy, and humanity’s indifference toward the suffering of others. There’s a cynical, world-weary quality to the lyrics, but their straightforwardness makes them effective. Ozzy isn’t delivering some elaborate philosophical statement; he’s simply pointing out how messed up the world can be. I’ve always appreciated that beneath Black Sabbath’s dark imagery and ominous atmosphere was a surprisingly grounded sense of social awareness. More than half a century later, I find it both fascinating and depressing how relevant these observations remain. That same working-class frustration would become central to songs like War Pigs and Children of the Grave.

However, the real attraction for me is Tony Iommi’s terrific guitar solo, which deserves far more recognition than it receives. We’re so accustomed to celebrating Iommi as the godfather of heavy metal riffing that it’s easy to overlook just how expressive and accomplished his lead playing could be. Rather than simply unleashing a barrage of distorted notes, he moves between blues-inspired phrases, expressive bends, and bursts of rapid-fire picking with remarkable fluidity. I particularly love the jazzy looseness of his playing during the quieter instrumental breakdown, when the music briefly pulls back before building momentum again. Butler and Ward provide the perfect rhythmic foundation, allowing Iommi’s guitar to take center stage without losing the song’s groove. It’s one of those solos that doesn’t need unnecessary flash to leave an impression, and I could happily listen to Iommi stretch out for several more minutes.

Wicked World stands out because of the personality and musicianship behind its performance. Ward’s restless drumming, Butler’s adventurous bass lines, Ozzy’s cynical delivery, and Iommi’s expressive guitar work come together beautifully. I love the crushing heaviness of Iron Man, the ominous atmosphere of Black Sabbath, and the aggression of War Pigs, but there’s something especially satisfying about hearing the band approach a song with this kind of rhythmic energy. While Wicked World might never enjoy the recognition of those classics, I consider it one of the overlooked highlights of their debut. It’s a reminder that Black Sabbath’s greatness extended well beyond their legendary riffs, and frankly, Iommi’s guitar solo alone is reason enough for me to keep coming back.

Wicked World

The world today is such a wicked place
Fighting going on between the human race
People go to work just to earn their bread
While people just across the sea are counting their dead

A politician’s job, they say is very high
For he has to choose who’s gotta go and die
They can put a man on the Moon quite easy
While people here on Earth are dying of old diseases

[guitar solo @2:55]

A woman goes to work every day after day
She just goes to work just to earn her pay
Child sitting crying by a life that’s harder
He doesn’t even know who is his father

Great Guitar Solos Series

“Paranoid” kicks off with that racing riff that instantly puts you on edge, like you’re glancing over your shoulder waiting for trouble to catch up. It’s short, loud, and ridiculously catchy, but what really makes it stick is how alive it feels the whole way through, like the band is barely holding back all that energy. Alongside their other iconic single “War Pigs” from the same second studio album, Paranoid, these tracks are straight-up building blocks of what would become heavy metal—raw power, dark vibes, and riffs that redefined everything.

What I love most is how Tony Iommi’s guitar doesn’t just sit in the background—it drives the whole thing. The man lost the tips of his right-hand ring and middle fingers in a factory accident but came back playing like a bat out of hell, way better than dudes with all their fingertips intact. The riffs are sharp and urgent, but the solo is where it really takes off, because it sounds loose, clever, and aggressive all at once.

The guitar solo begins at about 1:23 in the original track, and that’s the moment the song really opens up and starts flexing. From there, Iommi keeps it simple enough that it feels memorable on first listen, but the phrasing has this gritty personality that makes it sound way bigger than the number of notes would suggest. It’s a great example of how a solo can be compact and still feel huge.

So if someone’s never heard “Paranoid” before, I’d tell them to start here and just let it rip. It’s heavy without being bloated, exciting without being messy, and the solo gives it that extra spark that makes the whole song feel iconic. Tracks like this and “War Pigs” are exactly why Tony Iommi earned his title as the “Godfather of Heavy Metal”—even if you’re not usually into older metal, this one has such a direct punch that it’s hard not to get pulled in.