Guitarist Jimi Bell has had a long and winding career, but one of its strangest chapters involves a song he wrote that eventually appeared on Black Sabbath’s 1992 album Dehumanizer. Despite his direct role in shaping the track, he was never credited as a writer. Decades later, Bell says he has come to terms with it.
Before joining Autograph and establishing himself in House Of Lords, Bell’s name came up for a highly coveted spot in Ozzy Osbourne’s band. Though the job ultimately went to Zakk Wylde, Bell’s audition still opened doors.
As he recalled (via Ultimate Guitar): “Even after the Ozzy gig didn’t happen, Sharon still believed in me. That belief led directly to Geezer and what became a whole new chapter in my career. Geezer wanted to explore a more melodic sound than Sabbath, but still heavy. We had an amazing lineup: Carl Sentance on vocals, now in Nazareth; Jezz Woodruff from Robert Plant’s band on keys; and Gary Ferguson on drums – his resume is unreal.”
His time with Geezer Butler included marathon rehearsals in London, where Bell relied on classic gear to hold his own against Butler’s earth-shaking bass lines: “We rehearsed in a killer studio in London, and I used Marshall 800 heads – they were essential to match Geezer‘s massive low-end tone. Watching him play up close was wild. His thunderous attack on the bass is next level.”
It was during this period that Black Sabbath‘s guitarist, Tony Iommi, and vocalist, Ronnie James Dio, reunited with Butler, and they came up with what became “Master of Insanity,” a track that surfaced on Dehumanizer.
The guitarist recalled how he learned of its inclusion: “In ’91, I got a call from Geezer‘s wife, Gloria. She told me Sabbath was reuniting with Ronnie James Dio and wanted to use ‘Master of Insanity’ on the new album. I was thrilled – until I found out I wouldn’t get songwriting credit. Tony Iommi apparently didn’t want a song by another guitarist on a Sabbath record.”
What followed was a bittersweet mix of pride and disappointment: “Geezer did thank me in the liner notes, and he promised me payment after the tour. I never saw the money. But hearing Dio perform a song I wrote was unforgettable. Ronnie even mentioned our collaboration in his book, and Geezer wrote about it in his autobiography, so I’ve made peace with it.”
Interestingly, another track on Dehumanizer shares a title with one of Bell’s unreleased songs, though the resemblance ends there: “We did have a song called ‘Computer God’, but it was totally different – more of a melodic hard rock track. There’s a rehearsal video of it on YouTube. Only the title made it to the Sabbath version; musically, they’re worlds apart.”
Bell’s experience is a reminder of how tangled the music business can be, even for musicians working alongside some of rock’s biggest names. His lack of credit still stings, but his reflections suggest he values the experience — and the chance to hear Dio bring his idea to life — over the paycheck he never received.
