Epic and A & R Ops
September 9
Ozzy Osbourne is finally ready to deliver the follow-up to 2020s critically acclaimed album, Ordinary Man.
While the mans recent health problems have been well documented he has been quietly toiling away in the studio in readiness to deliver his latest metal masterpiece, and this time he has brought some friends with him in the form of ZAKK WYLDE, ERIC CLAPTON, MIKE MCCREADY (PEARL JAM), CHAD SMITH (RED HOT CHILI PEPPERS), THE LATE TAYLOR HAWKINS (FOO FIGHTERS), ROBERT TRUJILLO (METALLICA), DUFF MCKAGAN (GUNS N’ ROSES), CHRIS CHANEY (JANE’S ADDICTION) AND FOR THE FIRST TIME EVER, ON AN OZZY SOLO ALBUM, OZZY’S BLACK SABBATH CO-FOUNDER TONY IOMMI.
So let’s not fuck around any more and get into it shall we?
Opening with Patient No. 9, featuring Jeff Beck, we are greeted with cackling and laughter over the top of an ambient sonic palate that you just know won’t last.
The guitar kicks in and is soon followed by the instantly recognizable voice of Mr. Ozzy Osbourne who sounds as relevant now as he did back when the dinosaurs roamed the Earth.
It is a typically slow structured Ozzy track that ebbs along at a steady pace, the sheer heaviness of the music adding that essential layer of metal.
Beck’s DNA is all over this track, particularly when the solo’s roar to life and the magic takes over. At a tick over 7 minutes, Patient No. 9 is an interesting choice of opener but nonetheless the perfect way to start the journey.
Immortal is up next, and it doesn’t take guest artist Mike McCready from Pearl Jam long to plant his signature all over it.
This track is more up tempo than its predecessor but still carried by that same monotone warble that is Ozzy. The man might not be able to walk unassisted but he sure can still sing!
McCready jumps in at regular junctures to make sure Ozzy doesn’t steal all of the glory and after two tracks the verdict is still a resounding thumbs up.
Without even looking at the track listing for the next number, I can pretty much guarantee Zakk Wylde is stroking the strings. The song is Parasite and you can feel the ongoing chemistry between Zakk and Ozzy instantly, which already makes for great listening.
Wylde has a way of bringing out the beast in Ozzy and Parasite is sung with more urgency and intent. Of course, Wylde has to showcase his awesomeness a couple of times, and he delivers majestically.
No Escape From Now is the song most people are waiting to hear, as it reunites Ozzy with original Black Sabbath guitarist Tommy Iiomi for the first time ever on one of Ozzy’s solo albums. It is a typically measured and doomy number that picks up pace gradually, drawing you back into a world of love and psychedelics not known for over 20 years.
And hasn’t it been missed!
I’m not going to say much more about Parasite except it was (almost) worth the wait, but grab the album yourself for vindication. But needless to say, there is more to the story…
Here’s an interesting one. Eric Clapton playing on One Of Those Days.
Clapton’s familiar blues twang opens the song, before Ozzy’s slow and haunting melodies croon as one with his guitarist.
I must say I was sceptical about this pairing. Just because they are both masters of their musical craft, it doesn’t mean their styles will suit each other. But who am I to question the judgement of the Prince Of Darkness?
Jeff Beck returns for A Thousand Shades and eases into things on the back of a beautiful guitar lick that allows Ozzy to gently slide into his duties in a mellow, almost melancholy way. You can feel the anguish in Ozzy’s voice which is refreshing and sad at the same time, but all in all it’s another damn fine track.
Zakk Wylde is back for Mr. Darkness, a song that could only have been penned about one person. This is a dark song all round. Dark in nature. Dark in lyrics and dark in atmosphere. But it’s still Wylde and Ozzy so it fucken rocks.
Wylde continues on the next song, Nothing Feels Right, but he is telling a falsehood. Everything about this album feels right and as soon as the great man starts conducting the order of things here even if it wasn’t right it would be (if that makes sense). The boys soon find their groove and the pace picks up, with Ozzy keeping up admirably.
Things do slow down a bit though – because, let’s face it, none of us are spring chickens any more – but it doesn’t affect the trajectory of the song.
A song within a song, if you will.
Wylde stays on duty for Evil Shffle next up and the swagger in this song is there from the opening riff.
Blues drenched metal. Is there anything better?
And starting with a guitar solo, so yes, yes it does. Probably my pick of the bunch to date, especially with an awesome guitar solo to finish as well.
Iiomi returns for Degradation Rules with a harmonica in tow from somewhere. This whole album is drenched with blues undertones and is all the better for it. Blues metal anyone?
This has replaced Nothing Feels Right by a long margin as the standout track, and who would be surprised when you consider the pedigree of the two men once more recording together?
The last three songs have no one listed as guesting on them, but when you consider the quality of the “house” band, why would you even need guests?
Rob Trujillo plays bass for the most part, with Duff McKagan and Chris Cheney filling in as needed. Chad Smith plays the bulk of the drums with the late Taylor Hawkins stepping in for an appearance, and I am assuming Zakk handles regular guitar duties, but could be wrong.
The first of the three, Dead and Gone, is just meat and potatoes Ozzy stuff, while God Only Knows entertains without overwhelming the senses. A beautifully mesmerizing guitar solo mid way through revitalizes everything, capturing the majesty of the music while also paying homage to its creator.
For some reason Darkside Blues is written in capitals is if to accentuate the point, but if you couldn’t tell from the slide guitar and soothing sounds of the mouth organ this is going to be a blues number then you should probably slash your ankles right now.
This has a swampy, deep southern blues feel to it and is possibly the most un-Ozzy song I have ever heard.
But it’s great, and a perfect way to close out the album. Then, with one more cackle, it’s all over.
Was it worth the wait?
Fuck yes it was.
