Bassist Becky Baldwin (Mercyful Fate, Fury) recounts how an unexpected email led to recording with the Black Sabbath legend, overcoming first-session nerves, and becoming part of Tony Iommi‘s new album, ‘From the Dark’.
Wach the full interview below.
For Becky Baldwin, receiving an email from Tony Iommi’s management was the beginning of an extraordinary career milestone. A lifelong Black Sabbath fan, Baldwin was invited to the legendary guitarist’s studio to record bass for his new album, *From the Dark*.
In an interview with *The Metal Voice*, Baldwin shared the story behind the opportunity, her first meeting with Iommi, and the experience of working alongside one of heavy metal’s most influential musicians.
The invitation began with an email from Iommi’s manager, explaining that the guitarist was working on new music and asking whether Baldwin would be interested in contributing bass.
Initially, she wondered whether the message was legitimate. After checking the sender’s details and verifying the company, she agreed to speak with the manager, who invited her to the studio for a session.
Although excited, Baldwin had no idea whether she would get the job. She approached the meeting as an audition, knowing that even if nothing came of it, the opportunity to work with Iommi would be valuable in itself.
Arriving at his home in the West Midlands, she was understandably nervous. Iommi greeted her personally, welcomed her inside and introduced her to his dog, Pebbles, joking that the little dog had killed three people.
His unexpected sense of humour immediately surprised Baldwin. While Black Sabbath’s music is often dark and serious, she discovered that Iommi enjoyed joking around and keeping people guessing.
After an initial conversation, Baldwin joined Iommi and producer Mike Exeter in the recording studio. Iommi played her “The World and Alone,” the first single, before asking her to pick up her bass and play along.
There was one major challenge: she had never heard the song before.
Baldwin had to absorb the arrangement, identify the musical structure and develop a bass line on the spot, all while performing in front of one of her musical heroes.
Nevertheless, she persevered. Although she feared another bassist might have produced better ideas more quickly, her performance impressed the team.
Before leaving, Baldwin was asked about her availability for additional sessions. Still reluctant to assume anything, she requested a photograph with Iommi, wanting a memento of what might have been a one-time encounter.
The confirmation came just an hour after she returned home.
Iommi called to tell her that her work had been outstanding and that he believed she was perfect for the album. The additional studio dates were confirmed, and Baldwin was officially part of the project.
Working Alongside a Heavy Metal Legend
By the time Baldwin began recording, most of the drums, guitars and vocals were already in place. Her task was to develop and record the bass parts, working directly with Iommi and Exeter.
Initially, the plan was for her to hear each song for the first time in the studio. Baldwin successfully requested access to the music between sessions so she could prepare bass lines and arrive with ideas ready to discuss.
That preparation made subsequent sessions more relaxed. Iommi would sometimes pick up his guitar to demonstrate a riff or explain a particular passage, allowing them to refine the arrangements together.
She says this while describing how nervous and overwhelmed she felt playing in front of Iommi.
Even as she became more comfortable, the experience remained surreal. Seeing Iommi playing guitar just a few feet away was a powerful reminder that she was working with a musician whose music had inspired her for years.
Asked about her favourite songs on *From the Dark*, Baldwin highlighted “Death wake” and “Return of the Arbalist,” tracks that stood out during the recording sessions and have continued to appeal to her.
