Ozzy Osbourne

#810: So Tired

Wishing Ozzy and his family all the best with his recent Parkinson’s diagnosis.

 

GETTING MORE TALE #810: So Tired

I don’t know what I expected the first time I saw Ozzy Osbourne on TV.  All I knew of him was that he was supposedly a drug-crazed metal madman.  What I saw on TV was a blonde guy in a cowboy hat.  Certainly not how he had been described to me.  Just an ordinary guy?  I didn’t know any of his music yet, just the name and a little bit of the reputation.

I began learning a little bit more during one of my childhood basement VHS taping sessions in 1985.  George came over with his tape collection and I recorded clip after clip of rock and metal from him.  It was a feast!  Imagine getting all the key early videos by Ozzy, Dio, Twisted Sister, Black Sabbath and more in one afternoon.  All this new music!  All these new artists!  I only knew a few faces and names.

It was actually only Carmine Appice that I knew from Ozzy’s band.  The distinguished looking drummer, with his jet black hair and cool-as-fuck moustache was prominent in the video for “Bark at the Moon”.  I knew him from King Kobra.  There was no mistaking Carmine.

I taped a few Ozzy videos from George that day.  He only started making music videos in 1983 for Bark at the Moon.  There was nothing to represent the Randy Rhoads years — “Crazy Train” wasn’t released until 1987.  The videos I had collected to date were a live concert version of “Paranoid” from the Bark tour, “So Tired”, and “Bark at the Moon” itself.

“Paranoid” featured Jake E. Lee on guitar, but I certainly didn’t know his name.  I wouldn’t have known it was a Black Sabbath song or anything else about it.  I couldn’t tell what he was singing or shouting at the crowd.  “Get your hands on it!” I thought I heard him shout.  Hands on what?  I assumed it was something that went over my head, but all this really proves is that it doesn’t matter what a rock star is yelling at an audience.  They just have to sound cool yelling it.   He could have been shouting “Eat Grapenuts!” and it still would have sounded cool.  Sure Ozzy, I’ll have some Grapenuts.  I also misheard him singing “I can’t find” as “Yeah yeah fight!”  When you don’t know the words, your mind fills in the blanks.

Over the years, Ozzy has taken a lot of flak from religious circles for lyrics that promote suicide.  There is no way I was getting “suicide” from that performance of that song.  I wasn’t getting anything!  Rock haters — you can’t have it both ways.  You don’t get to say “You can’t understand the words” and “The lyrics cause drug abuse and suicide”.  You can’t have both at the same time.  All Ozzy caused in my household was turning up the volume knob on the TV set.

The most puzzling thing Ozzy had done to that point might be the single/video “So Tired”.  Even to people well aware of Ozzy’s career, the video was more than odd.  So imagine a kid like me in 1985 with no Black Sabbath or Ozzy albums.  That music video was peculiar to say the least.

Playing multiple characters, Ozzy seems to occupy a Victorian village, where he performs at the local opera house.  He’s also an old man, and there’s a guy with a decaying face, and another guy with one lopsided eye.  In the 80s, you see, you had to have a guy with a lopsided eye.  Black Sabbath had one in “Zero the Hero”.  An orchestra covered in cobwebs accompanies Ozzy at the playhouse.  Then Ozzy, garbed in black with sequins, shoos the ballet dancers off the stage.  Oh look!  There’s Abraham Lincoln in the balcony.  Not for long!

 

The lopsided eye guy (a stage hand presumably) suddenly pulls a knife, cuts a rope, and drops a sandbag on Ozzy’s foot!  Meanwhile, the stage manager (played by Ozzy) feeds Ozzy his lines in frustration.  Then an Ozzy with a Hitler moustache emerges on a riser playing piano.  Again, remember, Black Sabbath had a Hitlerstache guy in “Zero the Hero”!  By the time Lincoln hit the floor, I was utterly baffled.

Couple this with the fact that the song is a lush, campy ballad with strings and piano.  Not the kind of song I associated with the heavy metal madman.  I didn’t know of his history with ballads like “Changes”, nor was I aware of his love for John Lennon.  I thought “So Tired” had to be a joke!  The only guitar is in the brief solo.  Ozzy certainly couldn’t be doing this kind of music seriously.  Could he?

“So Tired” is cheesy, but that doesn’t take away that it’s actually a pretty great ballad.  The song (like the entire album) is credited solely to Ozzy.  I think Bob Daisley probably wrote it with Ozzy, maybe even Don Airey was involved.  There’s no way Ozzy wrote it alone.

The video though, that’s still to do this day one of the most outlandish things Ozzy’s ever committed to celuloid (and he had a reality TV show).  Like an Ed Wood film, it stumbles far beyond being bad, instead becoming some sort of ugly but priceless treasure.  I can’t stress this enough — at the time, Ozzy only had two official music videos.  One was “Bark at the Moon” and the other was “So Tired”.  We didn’t have much to judge Ozzy by, and it’s safe to say that “So Tired” threw us all for a loop!

REVIEW: Ozzy Osbourne – The Ozzman Cometh (1997 Japanese import)

OZZY OSBOURNE – The Ozzman Cometh (1997 Sony Japan 2 CD set)

By 1997, Ozzy had reclaimed his crown as the prince of darkness.  The successful Ozzfest, including a partial Black Sabbath reunion (Mike Bordin instead of Bill Ward) had introduced Ozzy to a wave of nu-metal youngesters.  Why not cap the year off with a greatest hits album?  It wasn’t Ozzy’s first (1989’s Best of Ozz preceding it) but it was his first for most of the world.  Incredibly, given the Ozzy camp’s ability to muck up important releases from time to time, it was a particularly good package.

The Ozzman Cometh has had a number of issues over the years, but we won’t get into the ones that came after Sharon meddled around with re-recorded tracks.  Initially there was a limited edition 2 CD set and a standard single disc.  The lucky fans in Japan got an expanded 2 CD set with two bonus tracks.  That’s the one you see pictured here.  It comes in a non-standard extra thick jewel case due to the extra Japanese booklet inside.

The big deal of this new compilation was the inclusion of recently discovered early Black Sabbath tapes — “Ozzy’s 1970 basement tapes”.  Wikipedia tells us that these are actually BBC recordings:  “The John Peel Sessions” of 26 April 1970.  These have yet to be included on any Sabbath deluxe, so you have to be sure to get The Ozzman Cometh to complete your Sabbath collections.  “Black Sabbath” and “War Pigs” commence the set right out of the gate.  These tapes are raw but clean, and Geezer Butler has remarkable presence.  It’s a very sharp picture of what young Black Sabbath sounded like.  The lyrics are still a work in progress for those who love such differences, but Ozzy sounds even more like a man possessed.  “War Pigs” is still in its “Walpurgis” form, the “Satanic” version, and this is the clearest you will likely hear it.

Onto the hits:  Ozzy’s grudge against The Ultimate Sin was apparently already in play.  On the US CD, only one track from the Jake E. Lee era was included and it’s “Bark at the Moon”.  In Japan, “Shot in the Dark” is substituted in replacing Zakk Wylde’s “Miracle Man”, bringing the Lee content to two.  However the Randy Rhoads era is the star of the disc, with his version of “Paranoid” lifted from the Tribute album.  Included are, for the most part, the expected usual Rhoads songs:  “Crazy Train”, “Goodbye to Romance”, and “Mr. Crowley”, but no “I Don’t Know”.  Instead it’s the more interesting “Over the Mountain”.

As for Zakk Wylde’s legacy, it’s hobbled by the missing “Miracle Man”, since “Crazy Babies” doesn’t adequately capture his madness.  “No More Tears” is present as a single edit, and “Mama, I’m Coming Home” is necessary for any hits CD catering to people who just want some Ozzy songs they like.  It’s unfortunate that “I Don’t Want to Change the World” from Live & Loud takes up space.  The Zakk era ends with two good songs:  “I Just Want You”, the excellent dark ballad from Ozzmosis, and “new” song “Back on Earth”.  You had to have a new song, and according to the liner notes this was an unreleased one from the Ozzmosis era featuring Geezer Butler on bass.  Fortunately it doesn’t sound like an inferior song, just one too many ballads for the album.  (It’s written by Taylor Rhodes and Richie Supa.)

The second CD contains more treasure.  “Fairies Wear Boots” and “Behind the Wall of Sleep” are bonus Sabbath songs from the same Peel session.  Like the first two, they are crisp and probably essential to any serious fan of the original lineup.

Japan got two extra songs from movie soundtracks, enabling you to get them on an Ozzy CD.  The first is the excellent “Walk on Water”, Ozzy’s only studio recording with Zakk Wylde’s replacement Joe Holmes.  If you wanted to know what an Ozzy album with Holmes would have sounded like, here’s a good indication.  It would have been not too dissimilar from Ozzmosis but with some really different guitar playing.  Sure sounds like Mike Bordin on drums!  The other soundtrack song is “Pictures of Matchstick Men” featuring Type O Negative as the backing band.  It’s pretty forgettable.

The Ozzy interview from 1988 is 17 minutes of nothing special.  Here’s an interesting fact for you.  When stores were solicited for this album in 1997, I can distinctly remember the papers saying the interview would be a new one conducted by Flea from the Red Hot Chili Peppers.  I no longer have that piece of paper, and memory is what it is these days, but that’s what it said.  For whatever reason the 1988 one was used instead.  Go ahead and let me know how often you play it.  You can tell it was taped in the UK, at a rehearsal or soundcheck, because you can hear Zakk wailing away in the background.

The Japanese CD also comes with a neat sticker sheet with all of Ozzy’s album artwork on it.  I think the US CD has some screen savers.  I’d rather have the stickers.

Ozzy and company did the greatest hits thing right and have never actually done it this well since.  May as well track down a 2 CD Ozzman Cometh and get those Black Sabbath tracks you’re missing.

4.5/5 stars

#804: Freestylin’

GETTING MORE TALE #804:  Freestylin’

I thought I’d try something different, and just sit down at the keyboard and write.  I have a warm coffee next to me (I drink large regular now) and some music in my speakers.  I’m listening to a Japanese import of Quiet Riot’s new album Hollywood Cowboys.  Just listening; not reviewing.  You have to spend time just listening.

I do most of my listening at my keyboard these days.  My main room music setup is seldom used anymore.  Only when I’m spinning something in 5.1 surround do I usually roll out the big guns.  Otherwise I’m content to just listen at my desk or on a pair of headphones.  It’s a nice comfortable spot for me, right by a window.  Outside the ground is dusted in a shallow layer of white.  It is December 20th, 2019.

I dared go to the mall today.  Long story short, a bunch of stuff I ordered for Jen for Christmas got cancelled (out of stock).  Not having much choice this late in the game, I went to the mall where I accomplished my mission.  It wasn’t what I’d call “fun” but it was also pretty painless.  I stopped at Sunrise records where I inquired about The Rise of Skywalker soundtrack.  I would have taken CD or vinyl, but their stock had not yet arrived.

I do know this.  A “deluxe edition” of the soundtrack is coming in March.  Then, later in 2020, a 27 Blu-ray (!) Skywalker Saga boxed set.  I don’t know how far that will put me back, and I actually don’t care!  I’ve been enjoying speculating what could be in that box.  The press release specified it was being billed as a complete Skywalker Saga.  That’s 9 films.  Let’s guesstimate that each movie will be a 2-disc set.  That’s 22 discs, plus 5 extra Blu-rays?  That’s one possibility.  With George Lucas out of the picture, we could be getting an “original” original trilogy and a Holiday Special.  Sky’s the limit, so let’s make some wishes.

This Quiet Riot album is decent.  I liked Jamed Durbin with that band.  You simply cannot hear that Frankie Banali was ill.  I hope Frankie fights a hard battle against that bitch named cancer, and many more albums are still to come.  You can do this, Frankie.  The Japanese bonus track this time out is an acoustic version of the bluesy “Roll On”.

I’ve been listening to a lot of Ozzy Osbourne over the last few weeks.  You’ll see some of that in future content I’ve written.  I played a few of his more recent albums, Scream and Black Rain in addition to all the classics.  Those two are not bad.  They hold up better than I thought they would.  It’s refreshing when you get to Scream, with Gus G on guitar.  Too much Zakk Wylde can lead to ear fatigue.  The Randy Rhoads era stands out absolutely as the pinnacle.  The way he wrote and played guitar is unlike anyone else, and there just isn’t enough Randy music in the world.

In case you’re curious, there’s one Ozzy album I never bought, and that’s Down to Earth (2001).  I’ve heard it and I’m just not interested.  Too many outside writers and too much influence from the producer, would be my nutshell review.  I have no plans to add it to my collection, though I did buy the CD singles.  I like having B-sides.

I think I’ve rambled long enough.  Christmas is coming and I still have one special post to go, as a gift to a reader.  Thanks for hanging in — and stay tuned for the annual year-end lists!

And may the Force be with you, always.

 

#792: The Summer of ’93 – Live Album Explosion

GETTING MORE TALE #792: The Summer of ’93 – Live Album Explosion

Keeping up with new releases is challenging for anyone.  Today, every band is releasing a box set, live album, compilation, EP, or even (gasp) new material!  This is not a new phenomenon.  As a young collector in an earlier time, 1993 was particularly challenging.  I was suffering from “live album burnout” due to a number of double lives that year.  I dutifully picked up the most important ones to me, as much as I could afford.

I plotted things out.  The first batch of live albums on my radar that year were as follows:

Four of my favourite bands in one brief chunk of time, with two of the four being doubles.  I had to budget this out somehow.

I’m not sure when I bought Van Halen’s album, but I most likely bought it first.  The dual CD set was at Costco for thirty-something bucks so I put it in the cart.  I know it was early in the year because I remember listening to it in the car while driving to school for final exams, which occur in April.  Specifically I remember listening to the live version of “Cabo Wabo” on my way there.

I found the Van Halen album underwhelming.  Too much stuff from For Unlawful Carnal Knowledge and some clattering solos made it a struggle to finish in one sitting.  Sammy Hagar would later comment that the album sucked because too much of it was re-recorded in the studio.  I just thought it was a drag.

Kiss were (and are) my #1 band, so I dutifully bought it as quickly as I could.  I didn’t get it on the day of release (May 18), but I do know the exact date that I purchased it:  May 20.  I know this because I remember that we had to get home from the mall (Fairway Park Mall’s HMV store) in time to catch the series finale of Cheers.  I got the free poster with my cassette copy.  I chose cassette for strategic reasons.  Double live albums were a bigger investment, so I liked to get those on CD.  I was already starting to distrust the cassette tape format.  I’d hate to buy a double cassette set and have one of the tapes go bad.  Alive III was a single tape, so I went for that and stayed with that until I got a double vinyl reissue a couple years later.

The Ozzy was a limited edition package.  I needed that special grille cover with the two “tattoos” inside.  I couldn’t afford it so I put it on my birthday list.  I accompanied my mom to HMV to make sure she got the right one.  Killed the surprise, but also the anxiety of not getting the exact version I “needed” for my collection!

Ozzy Osbourne had already supersaturated the market with live albums, and his was tedious to listen to.  I gave it more it than a fair shot, as I wanted to really hear how Zakk approached the live versions differently than Randy or Tony had.  It was an exercize that paid minimal dividends, wading through minute after minute of numbing “extra extra crazy” Ozzy monologues.

I decided to hold off on Iron Maiden as long as I could.  The idea of a single disc live Maiden album was a little off-kilter for me.  An album of tracks from 1986-1992 didn’t sound all that appealing to me.  Maybe I should wait until the second disc, due in October, came out so I could listen to both equally.  Maybe I should skip A Real Live One entirely.  The album seemed a hasty entity, being released so Maiden could tour to support new product.  The cover art was also lo-fi sketchy, compared to predecessor Live After Death.

Good or bad, I decided to hold off on Maiden for the time being.  I had enough live metal to digest anyway.

Kiss was the only album I was happy with, though it was clearly an inferior offering to Alive I and II.  Unlike Osbourne, it wasn’t too long, and kept the filler to a minimum.

When the next batch of live albums rolled out, I was weary.

The Bon Jovi live disc came with a pricey special reissue of Keep the Faith, a limited edition.  I immediately put that one on my Christmas list and did my best to pester my mom into buying it.  I had to make a decision about the others.  I scratched Satriani and Testament off my list.  They weren’t going to be priorities this time.

As for the final call on Iron Maiden?  The decision was made for me when I found Live at Donington, once again at HMV.  What was this?  It looked like a bootleg, but wasn’t.  It had no liner notes.  Absolutely bare minimum packaging.  Nary an Eddie in sight.  It was a “limited edition“, and a double CD with a complete concert.  The easy choice was to buy this instead of the other two albums.  For the time being, at least.  I finally did get all three albums, when I was working at the Record Store, in 1996.  The Boxing Day sale enabled me to get both live Maidens and the recent Tesla greatest hits for a reduced price.  It took me three years to get ’em!

That busy 1993 list doesn’t include live home videos released that year (Ozzy, Van Halen, Bon Jovi, Kiss) or the albums that I didn’t even know about (Live Cult).  I had to draw the line and audio has always been my priority over video.

Too much is too much, and in 1993 we just had too much.

Do you remember what live albums you bought in 1993?  Comment below!

 

REVIEW: Iommi – Iommi (2000)

“Like many projects featuring multiple singers, the album called Iommi is a mixed bag but with more gems than turds.”

 

IOMMI – Iommi (2000 Virgin)

Iommi is the first released solo album by Tony Iommi, but actually the third recorded.  The first was 1986’s Seventh Star, released as “Black Sabbath featuring Tony Iommi”, with Glenn Hughes on vocals.  10 years later, Tony recorded another album with Hughes often referred to as “Eighth Star“, which was released in 2004 (after the drums by Dave Holland were re-recorded by Jimmy Copley) as The 1996 DEP Sessions.  Then finally in 2000, Tony took a page from the successful Santana formula book and did an album with various lead singers called Iommi.

Like many projects featuring multiple singers and assorted musicians, the album called Iommi is a mixed bag, but with more gems than turds.  The guitarist picked an interesting assortment of vocalists, mostly artists big in the 90s.  It’s telling that Tony’s good buddy Glenn Hughes isn’t one of them (though Hughes returned on 2006’s Fused).  Clearly commercial interests were most important when it came to selecting the singers and songs.

The inimitable Henry Rollins gets the enviable opening slot with “Laughing Man (In the Devil Mask)”.  Rollins sounds best with a heavy riff behind him, and this one is pure grunge.  Producer-de-jour Bob Marlette co-wrote almost every song, and there’s little doubt that this is how Iommi acquired its “modern” edge.  Rollins creates a swirl chaotic rock around him, but the riff alone would have sunk without Hank.  Iommi seldom writes such atonal, monotonous guitar parts as “Laughing Man (In the Devil Mask)”.

Skin (Skunk Anansie) is surely one hell of an underrated singer, and her track “Meat” howls.  Iommi’s solos and riffs sound much more like what comes naturally from him.  Then, it’s the unfortunate sound of 90s drum loops and samples.  It’s Dave Grohl’s tune “Goodbye Lament”.  Because as soon as one thinks of Iommi or Grohl, we think of drum loops, am I right?  Fortunately Grohl has ex-Sabbath bassist Lawrence Cottle and Queen maestro Brian May on his track.  He plays the drums when they finally do kick in.  Three of those four guys played on Headless Cross!  The drum loops suck and date the song to a certain period in time, but fortunately Grohl knows how to write good melodies so it’s not a total bust.

Phil Anselmo (Pantera) takes the very Sabbathy “Time is Mine”.  That riff sounds like it may have been later used on an actual Black Sabbath record.  The track simmers with fury, then Phil lets it rip loose.  The only way to make Sabbath heavier than Sabbath is to include a singer like Anselmo.  Drumming is Seattle legend Matt Cameron.

The expressive Serj Tankian (System of a Down) lets his pipes have their way with “Patterns”, amidst more of those annoying samples.  It absolutely sounds more System than Sabbath, which is fine since both are heavier than fuck.

The one guy that pulls off a truly Black Sabbath-sounding song is the guy you’d least expect:  Billy Corgan.  Yet his “Black Oblivion” comes closest to the spirit of classic Black Sabbath, in terms of length and epic riffage.  Billy plays bass and guitar on the track as well — what a phenomenal bassist!  (The drummer, Kenny Aronoff, knew Corgan from the 1998 Smashing Pumpkins tour on which he played, and then Aronoff went on to play on two more Iommi solo discs.)

The Cult’s Ian Astbury makes Iommi sound like — who else? — The Cult!  Brian May returns for some guitar (with Cottle and Cameron on bass and drums).  The Cult rarely employ such monolithic riffs, but the chorus is pure Cult.

“Flame On!  I used to bleed like a suicide mother,
Flame On!  And now I breath in this dirty black summer,
Flame On!  I bought the truth in the mouth of my brother,
Flame On!  I used to bleed like a suicide motherfucker.”

Shame about the damn loops, like something discarded from Chinese Democracy.  They also infect “Just Say No to Love” featuring the late Peter Steele of Type O Negative.  Like Astbury, he makes Iommi sound like his band, which already sounded a bit like a Black Sabbath parody.

The biggest disappointment on the album is second to last.  “Who’s Fooling Who” is a virtual Black Sabbath reunion, with Ozzy Osbourne and Bill Ward returning to the fold.  On bass is Lawrence Cottle, making it 100% Sabbath alumni, 3/4 original.  And it’s easily the most boring song on the album.  The best thing about it is Bill Ward, the first drummer who didn’t sound like a session guy.  A muffled Ozzy phones in his part, but Bill puts some effort into composing the percussion.  The best part is the instrumental burnout.

And then, a surprising finish:  Billy Idol, with a monstrous “Into the Night”.  Idol should consider doing heavy riffy metal like this more often — he’s good at it.  Though he effectively snarls his way through the slow riff, his punky side comes out when things get fast.  The contrast between riffs and tempos is half the fun.

With Iommi freshly consumed and digested anew, it’s obvious that good portion of what you heard was purposefully geared towards the nu-metal Ozzfest crowd.  The selection of musicians was clearly slanted post-80s, but it’s the loops and samples that really blow.  The blame must be laid on producer Bob Marlette, especially considering some of the loops sounded exactly like another band he produced:  Rob Halford’s Two.  The whole thing sounds like a “product”, though at least with some pretty incredible riffs behind it.

3/5 stars

 

VHS Archives #76: David Lee Roth discusses change and disses Ozzy (1994)

Here’s David with Avi Lewis talking about the 80s, change, and dissing Ozzy Osbourne.

REVIEW: Rulers of Rock – Various Artists (1988 cassette)

RULERS OF ROCK (1988 PolyTel)

When the front cover features crumbled tinfoil, you know you’re in for a seriously good time.

This tape still sounds amazing!  It was a gift 30 years ago from an old girlfriend, and it somehow survived all my cassette purges (even the one that sent most of them to Thunder Bay.)

From the fine folks at PolyTel, you get an assortment of hot rock that makes for a remarkably good listen today.  Opening with Bon Jovi’s “Living on a Prayer” you couldn’t ask for a better embarkation point.  That goes right into the back-to-basics brilliance of “Love Removal Machine” by the Cult.  I remember that old girlfriend really hated The Cult, so it was kind of her to give this to me.  I didn’t have Electric yet, so this was my first ownership of the song.

The Ozzman cometh on “The Ultimate Sin”, still relentless today even though Ozzy tries to ignore most of the Ultimate Sin era.  Ozzy and Jake made some incredible music together and this is one.  The cassette swings back towards hair metal with Cinderella and their early hit “Nobody’s Fool” from 1986.  On tape, the ballad sounds thicker and heavier.  It also appears to be the full length version and not a single edit.  Up next, it’s the non-metal of The Alarm, but “Rain in the Summertime” fits like a glove.  It’s really no softer than “Living on a Prayer” when you think about it.  Unfortunately the cassette has a warbly spot right in the middle of the song.  Kiss close the side with the softest one yet:  “Reason to Live” from Crazy Nights.

Flipping the tape, side two opens with a hit just about equal to the one that commenced side one.  The keyboards sound carpet-deep on tape, as you recognise “The Final Countdown” by Europe.  If there were only two bands battling for rock supremacy in 1987, it was Bon Jovi vs. Europe.  Side one vs side two!

Our first Canadian content is predictably by Rush.  Hey, it had to be either Rush or Bryan Adams.  “Time Stand Still” featuring Aimee Mann was the kind of mainstream hit perfect for a tape like this.  Less predictable is the presence of Yngwie Malmsteen with “Fire” from Trilogy, a song totally out of character for a tape with The Alarm and Cinderella.  Deep Purple are next to crash the party with 1987’s Bad Attitude.  Once again, it was my first time owning a song.  I imagine Deep Purple with a little less shocking next to Yngwie, though probably just as unfamiliar to an unsuspecting buyer.

Why not a little Christian content, since so many styles of rock are represented here?  Stryper’s “Honestly” may sound like a romance, but it’s a cleverly disguised prayer.  And finally, because why not? It’s “Hourglass” by Squeeze!  I was 17 years old, and I hated it!  Different story today.

30 years down the road, Rulers of Rock was a delightfully entertaining listen with twists, turns and surprises.  And it’s still the only place I own those Squeeze and Alarm songs!

4/5 stars

 

 

VHS Archives #58: Ozzy Asks a Rhetorical Question (1993)

Ozzy Osbourne never did live interviews with MuchMusic in my time of recording the show, except for this one telephone interview. Teresa Roncon was helming the Power 30 with Ozzy on the line. Ozzy is as mumbly and entertaining as ever!

Listen as Ozzy announces a Black Sabbath reunion tour that didn’t happen. Date: June 28 1993

VHS Archives #50: A quick chat with Ozzy (1986)

Tour bus interview by Denise Donlon, from the Pepsi Power Hour in 1986. Just a clip.

VHS Archives #47: Weird Al Yankovic “interviews” Vince Neil, Def Leppard and Ozzy (1992)

Summer, 1992!  Weird Al Yankovic took over MuchMusic for a day, and it became AlMusic!  This entry is dedicated to good pals Sarca Sim and Mars!

Check out Weird Al’s hilarious “interviews” with:

  • a newly solo Vince Neil
  • a jinxed Def Leppard
  • and the prince of darkness himself, Ozzy Osbourne.

AlMusic was a full day of comedy and music, but I only taped the parts I knew I needed to have for my VHS Archives.