10cf746e54 Mob Rules is good to listen to once in a while, if you want to hear something like H&H but you need something a little different. Recommended to all those who liked Heaven and Hell; it's basically the same thing, even though the songs are, unfortunately, a tad weaker. Professional ratings Review scores Source Rating Allmusic  Rolling Stone  The Rolling Stone Album Guide  Martin Popoff  . In that light, one can't help but compare otherwise compelling tracks like "Turn Up the Night" and "Voodoo" to their more impressive Heaven and Hell counterparts, "Neon Knights" and "Children of the Sea." That streak is soon snapped, first by the unbelievably heavy seven-minute epic "The Sign of the Southern Cross," which delivers one of the album's best moments, then its segue into an unconventional synthesizer-driven instrumental ("E5150") and the appearance of the roaring title track. In an interview for the concert film Neon Nights: 30 Years of Heaven and Hell, Butler cites "The Sign of the Southern Cross" as his favorite Mob Rules track because "it gave me a chance to experiment with some bass effects." The album was the last time the band worked with producer and engineer Martin Birch, who went on to work with Iron Maiden until his retirement in 1992.
The long, rather pointless trippy section in the middle is the worst part of the song, along with the unexciting guitar solo. "Over and Over", well, "Lonely is the Word" smacks this runt and around and tosses it aside handily. When that first doom metal chord comes in, the song sounds like its on the brink of greatness, and then when that wild fast riff starts, it achieves greatness. Both were produced by Martin Birch, a respected producer who also worked with Deep Purple, Rainbow and Iron Maiden. Monumental. Bill Ward was totally unable to commit to his drum work at this point in time due to numerous problems in his personal life. Another notable example of this is on "Falling Off the Edge of the World", which features lots of thick, menacing reverb packed guitar chords. The album ends with Over and Over, a song that shows these guys knew as well as anybody how to write and play those power ballads that became so popular in the eighties, but with a lot less cheese.