Paranoid is the “classic” Black Sabbath album, and for good reason. It’s the kind of album in an artist’s discography that’s the most acclaimed because it strikes the best middle ground that appeals to the widest audience. The traditional blues dirges that laid the groundwork for the band’s self-titled debut are severely toned down here, and Paranoid isn’t as relentlessly heavy and downtrodden as the doom metal of Master of Reality. Paranoid is more consistent and the playing isn’t as sloppy as the coke-fueled Vol. 4.

The progressive elements that may have made Sabbath Bloody Sabbath‘s songs not as immediately compelling to some aren’t here, and Sabotage had a more modern sound than the lower fidelity “classic rock” sound many fans love, and it was much more aggressive and at times also may have been too experimental for some.

The title track of Paranoid is admittedly still my favorite. It’s a pop metal song that’s still undeniably Black Sabbath that the band penned out in an afternoon before the album’s release due to pressure from the record label to have a hit single. It’s a fast song, which is a rare thing for Sabbath, the lyrics are funny, and the hook is timeless. “Paranoid” was THE blueprint for the more aggressive New Wave of British Heavy Metal movement.

Speaking of timeless, I can’t go without mentioning “Iron Man.” Objectively, it’s a fantastic song that is rightfully considered one of Sabbath’s best. It has the most famous guitar riff of all time next to “Smoke on the Water” by Deep Purple. And much like that song, I don’t like it very much. I’ve heard the riff of “Iron Man” so many damn times even before ever listening to Paranoid that listening to it now it just comes off as cheesy.

That’s my problem though, like I said. I don’t hold it against an obviously excellently written song—and it is a good riff. But I wouldn’t mind if I never heard “Iron Man” again save for the occasional nostalgia trip. “Iron Man” was further tainted for me when it was used in the credits to the Marvel superhero movie adaption of the same name.

(Addendum: My love for “Iron Man” rekindled after noticing that the ripping solo starts right after the line about Iron Man now taking his revenge on the world. Too perfect.)

“War Pigs” is the third hit from the album. It’s great, though I won’t defend it like I did “Iron Man,” because I don’t think it’s as good, to be frank. It’s one of Black Sabbath’s many proto-doom metal songs, and as far as songs of that quality go on this very album, I’d choose “Hand of Doom.” My favorite part of “War Pigs” is when Ozzy’s vocals sound like he’s giving orders to an army troop standing in line, but the delivery even with the context reminds me of certain parts of “The Wizard” on the first album, which is another song I prefer over it. “War Pigs” is a bit too monotone and slow for my liking, and it could have done with more dynamics or a minute shaved off.

With the classic songs out of the way, my favorites are the spacey “Planet Caravan,” the psychedelic metal of “Electric Funeral,” and the second most uptempo song on the album, “Fairies Wear Boots.” Ozzy Osbourne took over for Geezer Butler for lyrical duty on the latter song, writing all of the lyrics while stoned. Apparently, Ozzy has no idea what he wrote it about (other than fairies wearing boots, and you gotta believe him). “Rat Salad” is the token instrumental song. It’s decent, but these tracks are best to help with the pacing of the album and it’s for that reason “Rat Salad” should have been placed after the heavy “Iron Man” or right before the 7 and 6 minute “Hand of Doom” and “Fairies Wear Boots,” respectively.

Paranoid is understandably Black Sabbath’s most popular album, but it isn’t my favorite (those would be Sabbath Bloody Sabbath and Sabotage). I don’t even think I would call it their best. Mainly, I think the thing that makes Paranoid so accessible to many is the same thing that doesn’t make it as entertaining to me. Like I said in the first paragraph, Paranoid lacks the strong personality of Black Sabbath’s other classic albums, so it’s difficult for me to find a certain mood where I specifically want to listen to it.

Creatively and ambitiously, Paranoid is still as equally a stunning album as the other Black Sabbath classics, and like all of them it’s mind-blowing to think about the musical environment it was released in. Nothing sounded like Black Sabbath at the time of their formation, and they’ve stood the test of time better than almost any other rock band of the ’70s. They’re certainly the most influential band.

Paranoid‘s title track also receives credit for having the best lyric in the history of metal:

“Make a joke and I will sigh, and you will laugh and I will cry.”

That’s like, the driving sentiment of the entire genre.