For any musician, translating the sounds in their head into a fully realized recording can be a frustrating process. The goal is always to enhance a song to its fullest potential, but when technical limitations get in the way, it can be agonizing to bridge that gap in the studio. While Tony Iommi was the mastermind behind Black Sabbath’s signature heavy riffs, even he encountered challenges when pushing the band’s sonic boundaries.
Throughout the early Sabbath records, Iommi’s guitar work defined the band’s identity. Initially rooted in blues rock, his dark, sludgy riffs on a Gibson SG gave Sabbath a sound unlike anything else at the time—like summoning a beast from the depths of hell. However, as the band evolved, they sought to expand their musical landscape beyond just the crushing weight of their riffs.
By the time Vol. 4 came around, Sabbath was experimenting more than ever. The album featured unexpected elements like the piano ballad “Changes,” which divided fans, and later in their career, they even welcomed Rick Wakeman to add eerie keyboard flourishes to “Sabbra Cadabra.” But of all the unconventional additions, nothing was as unexpected as the harp on Sabotage’s “Supertzar.”
Iommi first stumbled upon the idea while toying around on a harp, despite not actually knowing how to play it properly. What started as a simple experiment quickly turned into a key piece of the song. However, when he brought in a professional harpist to record the part in the studio, he realized he was out of his depth.
“I had a harp, and I couldn’t play the harp, but I could play a couple of notes on it,” Iommi admitted. When asked how he wanted it played, he was at a loss, confessing, “I was so embarrassed. So I said, ‘Just play what you think will go with it.’”
Despite his struggle, the final version of “Supertzar” turned out to be one of the band’s most haunting instrumentals. While the harp is traditionally associated with angelic, ethereal sounds, Sabbath twisted it into something entirely different—like an ominous prelude to a demonic uprising. As soon as Iommi’s guitar kicks in, it transforms into a grand, unsettling piece that perfectly fits the band’s dark aesthetic.
Although “Supertzar” isn’t considered a Sabbath classic, it showcases their willingness to experiment and push boundaries. Iommi may not have been able to master the harp, but in true Sabbath fashion, they still found a way to make it sound utterly menacing.
