Review Summary: Very enjoyable but ultimately pedestrian
In the grand scheme of Black Sabbath, 1994’s Cross Purposes feels almost like an afterthought. The vacuum caused by Dio’s sour departure was filled by the eternally beleaguered Tony Martin, but this album doesn’t have the same vibe as Headless Cross or Tyr. Having Geezer Butler stick around for bass duties gives it an air of legitimacy, but having *only* two original members feels more half-empty than half-full through a purist lens. This isn’t an identity crisis on par with Never Say Die or the following Forbidden, but the band’s status was rather muddled at the time.
While the mood could never match the angry nihilism of the preceding Dehumanizer, Cross Purposes has a similar ‘real world’ tone. This is best demonstrated by Martin’s performance as he shows off a husky demeanor compared to his past flamboyance and his lyrics reflect more societal woes compared to his more mystical musings. Going along with that, Iommi’s riffs maintain a certain street metal grit on songs like “Psychophobia” and “Back to Eden” and drummer Bobby Rondinelli’s one-off appearance channels a less flashy Cozy Powell.
Of course, there is still a certain degree of polish often indicative of the Martin Sabbath era. Keyboardist Geoff Nicholls maintains a prominent presence as his synth patches give songs like “Immaculate Deception” and “The Hand That Rocks the Cradle” some dated yet charming atmosphere. You’ve also got your share of more ballad-leaning numbers as “Cross of Thorns” is a bit of somber brooding while the earnest calls for world peace on “Dying for Love” will make one recall the days of concerts crowds swaying with their lighters in the air.
Fortunately, there are some staple songs that emerge from these seeming contradictions. “I Witness” is an absolute blast of an opener, playing like a sleazy update of “Turn Up the Night” with its charging riff set and strutting wails. “Virtual Death” is another major standout with its especially grinding doom riffs and detached layers, drawijg comparisons to Alice In Chains in an ouroboros of influences. “Evil Eye” also makes for a neat closer, riding a slinky blues groove that was co-written by Eddie Van Halen though doesn’t feature his playing directly.
Overall, Cross Purposes is a very enjoyable album though one that I have to admit can ultimately feel pedestrian at times. The musicianship is rock-solid and there are some great songs, but it doesn’t quite have an essential appeal. The heavier aspects were considerably more effective on Dehumanizer and while this was my personal introduction to Martin Sabbath, it doesn’t hit the same lovable occult cheese as his best with the band. The feeling of being ’just another Sabbath album’ can make it easy to pass up for all but the biggest diehards, but it’s a fun listen.
