Ozzy Osbourne

REVIEW: Black Sabbath – Past Lives (2002)

BLACK SABBATH – Past Lives (2002 Sanctuary)
(CD 1 is a reissue of 1980’s Live at Last (NEMS))

Black Sabbath’s Live at Last (1980) has been reissued so often that its Discogs listing shows 81 distinct versions.  Those don’t include the Black Sabbath live set Past Lives, of which Live at Last forms its first CD.  The second disc is all unreleased live versions, from shows in 1970 and 1975.  These consist of some of the big Sabbath numbers that weren’t on Live at Last (“Iron Man”, “Black Sabbath”) and more obscure material like “Hole in the Sky”.

“Hand of Doom” from Paranoid is an unusual though doomy way to open the CD.  It rolls from gentle bass to a roaring mania.  It is a taut performance largely because of Bill Ward’s enviable swing.  “Hand of Doom” was recorded in 1970, but jumping ahead to ’75, Ozzy’s intro to “Hole in the Sky” is cute.  It wasn’t out yet.  “Listen to it, you might like it, OK?” asks Ozzy.  Then, “Are you high?  Are you high?  So am I!”

Some Sabbath songs are like a brand new bulldozer, unrelentlessly heavy, yet shiny and cool.  “Hole in the Sky” is one such riff-monster, an indispensable slab of heavy metal.  It’s followed by another new one, and even heavier:  “Symptom of the Universe”.  Young, wasted Sabbath blast through it — and stay the fuck out of Bill Ward’s way!  The drummer is a tornado.  “Megalomania” makes it a perfect trifecta of new songs.  It’s an epic 10 minutes of different paces, riffs and melodies.  Unlike other metal bands, Sabbath often welded two or three unforgettable riffs together into mega-compositions.  Look at “Black Sabbath” for example — they could have made two songs out of it, but instead we have one massive monolith.  On stage, “Megalomania” is tense and never boring.  Ozzy shreds his voice to pieces.

As far as Past Lives goes, these three songs (“Hole in the Sky”, “Symptom of the Universe” and “Megalomania”) are the nugget of gold in the middle.  It’s a first official live release for most of them.  A live “Symptom of the Universe” was issued by a Tony Martin-era lineup on 1995’s Cross Purposes ~ Live, but that cannot compete with the vintage original lineup.*

It’s only oldies from there in.  “Iron Man”, “Fairies Wear Boots” and “Black Sabbath” (with unique Tony Iommi guitar intro) make up for their absence on Live at Last.  “N.I.B.” and “Behind the Wall of Sleep” from the first Sabbath round out the set.  Nobody did them better than the original band in the 1970s.

Today we have more original Sabbath to choose from that just Past Lives; two complete concerts were included in the recent Paranoid 4 CD box set.  Back in 2002, this kind of release warranted bigger fanfare.  The audio is not pristine.  Flutter, static and amp hum are part of the deal.  If you’re into buying archival live material, you know what this is about.

The original digipack release of Past Lives comes with a booklet, a poster, and most importantly a guitar pick.  Collectors will probably want to hold out for a version with pick intact, though finding one might be a “holy grail” item.  If you don’t care about such things, a simple jewel case release is widely available.

4/5 stars

 

* Sorry Harrison.

 

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REVIEW: Black Sabbath – Live at Last (1980)

BLACK SABBATH – Live at Last (1980 NEMS)

Although the Black Sabbath discography is not that complicated, we still struggle to know exactly how to file Live at Last.  Recorded in 1973 (Vol. 4 tour), it was shelved because the band were not happy with it.  Much later on (1980) it was released officially but without the band’s consent or knowledge.  They have shunned it, while Live at Last has enjoyed a number of re-releases and remasters.  For maximum fun, why not track down an old vinyl pressing with the singer’s name spelled as Ossie Osbourne?  (The vinyl pressing is also one way to get a completely unedited version; most CD releases lack at least the band intro.)

Live at Last was, for many many years, the only live Black Sabbath album with Ozzy.  Live Evil, released in 1982, had then-current frontman Ronnie James Dio.  Although considered a sub-par album, you didn’t have much choice back then.  Excessive Tony Iommi guitar feedback may be one reason the band weren’t happy with it.

Starting with new single “Tomorrow’s Dream”, Sabbath sound coked to the brim.  Iommi’s guitar pukes sonic sludge, Bill Ward floating behind, and Geezer playing bass melodies from another world.  “Sweet Leaf” continues the trip; Ozzy howling “I love you!” while the stoned band pummels through.  Original Sabbath has a looseness that no other lineup possessed.  It’s just something special that happens with those four guys, and Bill Ward had the swing to it all.

Brand new tune “Killing Yourself to Live” hadn’t been released yet, but it’s pretty intact in live form.  “Get high!” screams Oz.  The challenging song demonstrates Sabbath’s ability to meld multiple memorable guitar riffs together into a single whole.  “Killing Yourself to Live” has at least three distinct riff sections, each cooler than the last.  Unfortunately the recording doesn’t allow us to really hear how the audience responded to the new material.

“Cornucopia” alone could be responsible for birthing half of grunge rock.  The young band’s energy is remarkable.  “Snowblind” is a blast, with Ozzy shouting “CO-CAINE!” rather than whispering slyly. Closing side one, we come to “Embryo/Children of the Grave” and its unforgettable chug riff that launched many a metal band.  You can hear the crowd clapping madly at Ozzy’s command to “Embryo”, before the riff cascades down like the Biblical flood.  Bill Ward paces it faster than the album version by several notches.  “War Pigs” also swings, a little faster than album, but with an unusually jazzy touch.

For some serious swing, check out the 20 minute “Wicked World” medley.  Ward jazzes it up like nobody’s business, when he’s not crushing the heavy parts.  Tony Iommi has a varied guitar solo section, becoming “Into the Void”, then a blues jam and the old standard “Sometimes I’m Happy”.  That turns into “Supernaut” and a drum solo, before reverting right back into “Wicked World” for the finale!  This insane extended track is the one to buy the album for.

After asking the audience several times “What do you wanna hear?”, Ozzy closes with “Paranoid”.  Once again it’s quite fast with Bill ahead of the beat.  Osbourne tells the crowd that they’re beautiful and of course “we love you all!”  and that’s that — a one hour live album on a single LP, all done.  No “Black Sabbath”, no “Fairies Wear Boots” or “Iron Man”, but plenty of the blackest Sabbaths.

Recommended CD edition:  Black Sabbath’s 2002 Past Lives set, which includes a slightly edited version of Live at Last plus a whole CD more of unreleased live stuff.  It even has a sticker on the front that says “Live at Last…deluxe edition”!  Full review of that CD tomorrow.

3.5/5 stars

WTF Search Terms: jeff vwcj edition

WTF SEARCH TERMS XXXIX:   jeff vwcj edition

It’s time for 10 more WTF Search Terms!  WTF Search Terms are those weird and wacky things that people typed into search engines to get here.  This instalment is a mixed bag, some of which I can explain and some I cannot!

 

1. is jeff vwcj bliw vy blow valuable

This person, with fingers too large for their phone, is asking if Jeff Beck’s Blow By Blow album is valuable.  Would you have figured it out?

2. what year did ozzy do the randy rhodes tribute tour

A reasonable question — except there was no such “tribute” tour.  The Randy Rhoads Tribute live album came out in 1987 and there was no tour to support it.  It was recorded on 1982’s Diary of a Madman tour.

3. has bret michaels and richie kotzen made up

Again, a minor detail is wrong here — Richie Kotzen had an affair with Rikki Rockett’s fiance, not Bret’s.  And I doubt they have spoken since!

4. gucci gang song, rhetorical analysis

You’re in luck!  I already did a lyrical analysis of this Lil’ Pump hit song.  There wasn’t much to analyse in “Gucci gang, Gucci gang, Gucci gang, Gucci gang, Gucci gang, Gucci gang, Gucci gang, Gucci gang.”

It’s all downhill from here, though.  A series of dirty searches from dirty minds make up the remainder:

5. mary wiseman ass

Mary Wiseman is one of the cast members on the new Star Trek.  No pictures of her ass here, sorry.

6. xxx kissing videos in hd bluray

Wait…xxx kissing videos?  Xxx rated videos of people kissing?  Just trying to understand, here.  Glad you’re onto HD though….

7. fuaking juniar

It just sounds dirty.

8. amanda seyfried feet porn

Jesus not again!?  This is the second time!  Well, here is the picture you like, one more time:

9. new boys fucking

Gross.

10. bigbas porn

It’s all about the bass? I dunno. I’m reaching here!

#644: On the Road with Peter and Ozzy

GETTING MORE TALE #644: On the Road with Peter and Ozzy

Peter started coming up to the cottage with us in the summer of 1991, after we both finished highschool. Peter didn’t pack light. On any given trip, Peter would pack the following items:

  • Baseball gloves & ball
  • A football
  • Nintendo games
  • At least a dozen movies
  • Food, food and more food
  • Several tapes for the car

Peter’s favourite artist for cottage road trips was Ozzy Osbourne. During the summer of 1992, No More Tears was in the deck. Peter skipped the ballads. No “Mama I’m Coming Home” for him! We also enjoyed Billy Idol. Peter made a special mission to pick up Whiplash Smile before a road trip.  I can recall going to Fairview Mall, and opening the tape in the car.  We were also into a band called Transvision Vamp who had a couple great car tunes – “Baby I Don’t Care” was one.

When he had a car CD changer, we played a fun guessing game. We’d throw in Nirvana’s Nevermind, and Weird Al Yankovic’s Off the Deep End. Peter hit shuffle. When we heard the classic chords to “Smells Like Teen Spirit”/”Smells Like Nirvana”, we had to guess who it actually was before the vocals began. It took a while to hear the difference.  Eventually I could tell.  Weird Al tends to do spot-on covers, instrumentally speaking.

Ozzy was good for passing other cars. Nothing like passing people going 150 kph on the highway, with Ozzy cackling “Crazy Train” out the windows. Black Sabbath was also handy. While visiting Frankenmuth Michigan, Peter scored a three CD Sabbath box set called The Ozzy Osbourne Years.  It had virtually every song from the first six Sabbath albums, only missing instrumentals.  I can distinctly remember passing cars to “Sabbath Bloody Sabbath”. Peter tried to synch up passing the cars to Ozzy shouting “You bastards!”

When we weren’t rocking, we were laughing. Peter had an extensive collection of comedy tapes and CDs. Andrew Dice Clay was a favourite. We liked his “Christmas song”:

“Suck his dick, til the veins are blue…
Suck his dick, til you take his goo…
Merry, merry Christmas….”

Dana Carvey also had a hilarious rock opera spoof song about choppin’ broccoli.

But the food! My God. Peter did not skimp on the food. He liked to treat the whole family to a chicken stir fry. He brought all the food and equipment. Once he even made his own chicken balls from scratch, with his mom’s special recipe. Noodles, bean sprouts, chopped veggies, and all the fixings: nothing was missing. Sometimes he’d bring a dessert, and always a bottle of wine.  Choppin’ broccoli indeed.

We were never hungry nor bored. When available, we would run into town to buy fireworks. When we ran out, if Peter hadn’t got his fill, we’d go back in town to buy more. My mother used to joke that there was no downtime with Peter. When done one activity, he’d move right on into the next one. And if we had a building project on the go, he’d be there with his tools, in the fray helping out.

Car trips with Peter were unforgettable. Try passing a car while Ozzy shouts “You bastards!” out the window and you’ll have an idea what it was like to hang out with us.

 

 

REVIEW: Make A Difference Foundation – Stairway to Heaven/Highway to Hell (1989)

Make A Difference Foundation – Stairway to Heaven/Highway to Hell (1989 Polygram)

In 1989, I proudly sported my Moscow Music Peace Festival T-shirt in the highschool halls.  It was cool to see the rock bands on the forefront of heavy metal bringing music to the Soviet Union.  Scorpions, Bon Jovi, Motley Crue, Cinderella, Ozzy Osbourne and Skid Row joined Russian metal band Gorky Park in the name of peace and being drug free.

Drug free?  Ozzy?  It’s true that this was a little strange, but Motley were at least clean for the first time in their lives.  The Scorpions had played behind the Iron Curtain before, and Sabbath were huge in Russia.  Meanwhile Bon Jovi were one of the few bands to legally release an album in the USSR, and in return they brought Gorky Park to the US.  I was lucky enough to have a girlfriend who recorded the televised part of the concert off MTV and sent me a copy.  It was a pretty mindblowing video.  Those Russians were going absolutely nuts, seeing their idols on stage.

Later on, the bands each contributed a song to a compilation album called Stairway to Heaven/Highway to Hell, each covering an artist who had been touched by substance abuse.  The CD was produced by the biggest name at the time, Bruce Fairbairn himself.  The proceeds went to an anti-drug charity, for all the good “just saying no” does.  The album itself was a pretty great compilation of mostly exclusive music.  Though almost all of it is now available elsewhere, that wasn’t the case in 1989, making this a tempting buy.

Gorky Park, the up and comers, started off with “My Generation”.  Some find it too putrid to stomach.  It’s virtually an original song with only the lyrics recognizable.  The riffs and melodies seem otherwise new.  So give Gorky Park some credit for at least not attempting a carbon copy, but then you gotta take off some points for turning “My Generation” into a Bon Motley song.  Unfortunately for Gorky Park, their momentum halted when singer Nikolai Noskov quit in 1990.

Skid Row surprised the hell out of everyone with the Pistols’ “Holidays in the Sun”.  It was the first indication that Skid Row had punk roots.  “Holidays” was very much a look ahead to where they would go on Slave to the Grind.  They were on the punk bandwagon a full two years before Motley decided to cover the Sex Pistols.  It’s always strange to hear flashy metal guitar solos on a Pistols song, but it’s sheer joy to hear Sebastian spitting and screaming up a storm.

Scorpions had a new compilation out called Best of Rockers ‘n’ Ballads.  Another Who song, “I Can’t Explain” was taken from it to be used on this CD.  It is by far the better of the Who covers, as Scorpions really made it their own.  Next, Ozzy’s track is quite interesting.  It’s the only studio recording of the lineup including Zakk Wylde, Randy Castillo, and Geezer Butler.  Geezer quit the band shortly after, and this incredible lineup never recorded anything else.  I consider it the strongest band that Ozzy had after Randy Rhoads.  The quartet did a live sounding cover of “Purple Haze”, unfortunately not the greatest version.  It is at least a showcase for Zakk Wylde to go nuts on the wah-wah pedal.

I will argue that the best track on this album came from the band that was riding a brand new high:  Motley Crue.  Clean and mean, they were incredibly strong in 1989.  They the balls to choose an obscure Tommy Bolin (Deep Purple) solo tune:  “Teaser”.  Motley put on that Dr. Feelgood groove, and Mick Mars laid waste to the land with his slidey guitar goodness.  It’s no surprise that “Teaser” has reappeared on Motley compilations several times since.  It has balls as big as a bus!

Another strong contender is Bon Jovi’s take on Thin Lizzy.  “The Boys are Back in Town” fits seamlessly with that small town New Jersey vibe that Bon Jovi used to have.  Lynott must have had some influence on a young Jon Bon, because all his old tunes are about the boys – back in town!  Dino’s bar and grill could be in Sayreville NJ.  Of course, Bon Jovi are a competent enough band to be able to cover Thin Lizzy and do it well.

Another surprise:  Cinderella doing Janis Joplin.  Singer Tom Keifer suited Joplin, though you don’t immediately associate the two!  “Move Over” takes advantage of that Keifer shriek that isn’t too far removed from Janis.  From there on though, it’s filler.  Jason Bonham, Tico Torres and Mickey Curry do a pretty boring “Moby Dick”.  It’s funny how John Bonham sounds bigger on the original, than three drummers on this remake.  Then it’s a bunch of live jams from the Moscow concert:  “Hound Dog”, “Long Tall Sally”, “Blue Suede Shoes” and “Rock and Roll” (Bonham on drums again for the latter).  Vince Neil is hopelessly out-screamed by Sebastian Bach on the Zep tune.  All the singers participated, but Sebastian Bach and Tom Keifer blew ’em all away.

This disc has been out of print a while, but isn’t too hard to find.  80s rockers need to have it for its historical value.

3/5 stars

#589: Metal 101 – Learning the Basics in the Original School of Rock (Circa 1984-86)

GETTING MORE TALE #589:
Metal 101 – Learning the Basics in the Original School of Rock (Circa 1984-86)

I started getting really serious about rock and roll in the mid-80s. I was 12. Much Music had arrived. I had instant access to so many great bands. Thanks to the Power Hour, I had an hour dedicated to heavy metal every week.  I also had friends like Bob and George who were willing to let me tape things from their collections.  I started buying rock magazines.  But there was a learning curve.

Take Van Halen, for example.  All I knew of them were a couple singles from 1984.  I had seen the video for “Jump”.  I had also learned from my friends that Eddie Van Halen was the greatest guitar player alive.  Since I didn’t know the difference between a guitar and a bass, I assumed Michael Anthony was Eddie Van Halen.  I don’t know why I assumed that, except I probably liked Michael’s beard.  Bob and George corrected me, but I wondered, “How can you tell a guitar from a bass guitar?”

“A bass only has four strings”, they told me.  And you could tell the number of strings by the tuning pegs.  I got it!  Soon I was able to start piecing the rest together.  George bought a bass a few months later.  There is a local musical legend that lived on our street named Rob Szabo.  He is a very talented player, singer and songwriter.  He was starting to put together his own band, and all he needed was a bassist.  George was adamant that he was that bassist.  He decided this before he even bought a bass.  Rob was too nice a guy to tell George that they wanted someone else with more experience.  He didn’t expect George to buy a bass because of the vacancy in the band.  To his horror, that is exactly what George did.  I think he jammed with them once or twice before they let him go.  Maybe not even once.

Undeterred, George learned the instrument by playing along to records.  He put together a couple bands of his own, like Asylum and Zephyr.  His singing was shit, but his bass playing wasn’t bad at all.  He got pretty good at it.  But sadly, in our neighborhood, George might be best remembered for his attempts at singing.

George’s bedroom window was right next to our front step where I hung out a lot as a kid.  Bob and I would be up there listening to music, or even playing GI Joes on the lawn.  Sometimes we’d sit there in just listen to George.  You’d hear him put on a record, start playing along on bass, and when he got singing you’d think a cat was being tortured up there.  It was horrendous, but he seemed to have no idea how awful his singing really was.

George worked at Long John Silver’s which was about a 20 or 30 minute walk.  In the early hours of the morning, I saw George walking down the street alone with his headphones on, heading for work.  Suddenly he burst out:  “ALRIGHT! LOVE GUN!”  Then came the barely recognizable chorus of one of my favourite Kiss songs.  It was the kind of scene that you’d make sure you got on video today.  Another time, he was singing Judas Priest.  We ran into him that time and asked him what’s up?  “It’s Priest Week,” he answered.  He was only listening to Judas Priest that week, it seems.

One time George was over playing his bass, and he asked me if I knew how to pick out a bass line in a song.  I actually did, and I learned it by hearing him play bass along with his records.

Besides Kiss, Priest, and Van Halen, I was learning about bands such as Iron Maiden and Black Sabbath.  Bob had a Black Sabbath tape with a baby devil on the cover.  He brought it over one time, raving about a song called “Zero the Hero”.  We listened to it and it was cool.  I especially liked the spooky music between songs.  That was my first taste of Black Sabbath.  I knew who Ozzy Osbourne was, but I didn’t know he was in Black Sabbath before.  All I knew was the singer of Black Sabbath had long black hair and looked really evil.  Ian Gillan was my first Black Sabbath singer.

George was really cool about letting me tape his stuff, to the point that he’d bring his VCR over so I could even record his videos.  We did this on about two or three occasions, as he had quite a collection of taped videos.  I was interested in getting some more Dio.  I had heard “Holy Diver” and wanted some more, so I got the video for “The Last in Line”.  The clip was a trip to a hellish underworld of monsters and musical vigilantes.  A bit later, we got to a Black Sabbath video for “Neon Nights”.  I recognized the two moustache guys.  But who was that singer?

I timidly asked George, “Hey…did Dio ever have anything to do with Black Sabbath?”

“Yeah, that’s him.”

No way!  My brain expanded about six levels that afternoon.

Sabbath had a singer before the long black haired guy.  Unreal.  George told me that guy (Ian Gillan) was the singer from Deep Purple.  Holy shit!

A few months after that, we were in the park listening to Sabbath’s Paranoid on cassette.  “That’s Ozzy singing!” shouted Bob above the music.  I simply could not believe it.  And not long after that, I was watching Much Music again when they debuted a brand new Sabbath video with yet another singer!  A bearded guy!  Some guy named Glenn Hughes?  Never heard of him before.  He had a beard and a suit.  Not really very rock and roll.  Could you imagine my reaction if I knew at that time that Glenn Hughes was also a singer in Deep Purple?

The circle was becoming complete.  This kind of trivia was like candy to me.  I ate it up, every last morsel that I could absorb.  Band “A” led me to Band “B” and Band “C” via these kinds of connections.  Ozzy even connected back to Quiet Riot, the first “metal” tape I ever bought, via original guitarist Randy Rhoads.  He was about the only guy who could rival Eddie Van Halen in the guitar stakes, according to my friends.  But there was a new up-and-comer that Much Music kept talking about, named Yngwie Malmsteen.

Much was an advantage my neighbors didn’t have.  Neither Bob, nor George, nor Rob Szabo had the channel.  I began growing and developing tastes of my own, though still heavily influenced by my friends.  On my own, I found White Wolf, Sammy Hagar, Savatage, Queensryche, Aerosmith…and Spinal Tap.

Yes, Spinal Tap.  “Hell Hole” became one of my favourite songs during the summer of ’86.  My sister liked it.  She hated her Catholic school, and as we’d drive by, she’d sing “Don’t wanna stay in this Hell Hole!”  That school was a indeed a “hell hole”.  Shitty teachers and shittier bullies who did not like heavy metal.

It’s true that the teachers gave me hell for wearing a Judas Priest T-shirt.  It is also true that we went to a retreat for a week, where music T-shirts and players were forbidden.  I have always been drawn to music since my earliest memories.  What did these teachers have against music?  I knew.  It was the old myth that these groups were “Satanic” and would drive us to all do drugs and die.  What those teachers didn’t know was that the music made me feel good without drugs.  I was even expanding my vocabulary.  Bands like Judas Priest and Black Sabbath were not simplistic with their lyrics.  I learned words such as “pyre” and “pneumatic”.  Through Iron Maiden, I was learning about literature and history.  I knew stuff that they weren’t even teaching in school, about Alexander the Great, the Gordian Knot, and the Rime of the Ancient Mariner.  How could that be bad?

Fuck ’em.  I trusted myself.  I was smart enough to know better than they did.

I look back at these early days, and I’m not surprised that it’s these bands that the core of my tastes are built around today.  Long live rock and roll.

 

REVIEW: Ozzy Osbourne – No More Tears (remaster)

“Politicians make decisions, they’re the ones to blame, so don’t blame me.”  — Ozzy Osbourne

OZZY OSBOURNE – No More Tears (originally 1991, 2002 Sony remastered edition)

No More Tears was a big hit for Ozzy and is usually hailed as a “comeback” and “his best album since Randy Rhoads”. But is it?

No More Tears certainly offers chills, thrills and new sounds.  Slide guitar on an Ozzy album?  Check out “Mr. Tinkertrain”.  Zakk Wylde was starting to spread out and grow, really exploring his southern roots and adapting that to heavy metal.  No More Tears might be the peak of Ozzy’s collaborations with Zakk, as they really did produce some magic here.  Some of the stuff Zakk does on “Mr. Tinkertrain” alone is career-defining.

Ozzy was also trying to escape his “satanic” image, and No More Tears was his step away from that.  It’s also a step towards the mainstream.  Second track “I Don’t Want to Change the World” is an example of Ozzy’s turn to radio-ready hard rock.  It’s a shame because after the chunky guitar assault of “Mr. Tinkertrain”, a speedy metal track like “Don’t Blame Me” would have been perfect in the second slot.  “I Don’t Want to Change the World” is unfortunately not much better than a Motley Crue filler track.  It’s repetitive and despite Zakk’s squeals and licks, fails to launch.  His solo at least scorches hot.  Then the whole thing gets stuck in the mud.  “Mama, I’m Coming Home” (lyrics co-written by Lemmy) was the hit ballad that I never liked.  “Mama” more than any of the other tracks really represented Ozzy’s desire to break free of the shackles of his own image.  There are better ballads on the album.  “Mama” is so generic it could have been recorded by literally anybody.

Moving past, the album catches a little air due to the groovy chugging riff of “Desire”.  The stock melody doesn’t do it many favours, but momentum is restored.

Ozzy did well by discovering his newest member, bass player Mike Inez who later went on to Alice in Chains.  Inez was a co-writer on the title track “No More Tears” and his bass line has become a signature hook.  “No More Tears” is one of Ozzy’s greatest achievements as a recording artist.  This is a direction he should have explored further.  Even though it’s incredibly memorable and accessible, “No More Tears” has slightly progressive and psychedelic elements mixed in.  Its groove was detuned and modern, but the samples and keys bring it levels above what most other mainstream bands were doing in 1991.  And then there’s Zakk’s slippery slide guitar expertise.  It just doesn’t get any better than “No More Tears”.  Ozzy wanted to move beyond being the clown prince of devilish metal?  Mission accomplished and then some, in a completely fearless 7:24.  Ozzy was an innovator when he was in Black Sabbath, and in 1991 he became that again on “No More Tears”.

Opening side two, “S.I.N.” is great old-school Ozzy metal.  Call it “S.I.N.” or just “Shadows in the Night”, this track has the kind of classic hooks and soaring vocals that Ozzy is so good at delivering.  Ozzy had a core writing team of Zakk and drummer Randy Castillo, who wrote this killer.  Lemmy stepped in to help out on “Hellraiser” which Motorhead recorded as well on 1992’s March ör Die.  “Hellraiser” is too middle of the road to be classic.  Even Motorhead’s version kind of sucks.

A stock ballad called “Time After Time” is a tad better than “Mama, I’m Coming Home”.  It has some pretty sweet melodies and harmonies going for it, and another brilliant Zakk solo.  “Zombie Stomp” brings back the heavy, simply by living up to its name.  You got a name like that, you better stomp, and this one stomps like all the beasts in the jungle are coming for you now.  It’s also plenty of fun.  Surely an underappreciated Ozzy career highlight.  Drummer Randy Castillo had a lot to be proud of on this one, as he took the spotlight for the two minute tribal intro.  When that’s all over, Zakk powers the groove.

More fun ensues on “A.V.H.” (no idea what that stands for).  A little bit of southern pickin’ from Zakk gives way to an adrenaline powered blast.  It’s a shorty compared to some of the more epic lengthy songs.  Finally “Road to Nowhere” ends the album with a retrospective.  “I was looking back on my life, and all the things I’ve done to me.”  It’s easily the strongest ballad on the album and one of Ozzy’s personal best.  “The wreckage of my past keeps haunting me,” wrote Ozzy in 1991, perhaps not knowing that it always will.

There is no arguing the importance of the song “Mama, I’m Coming Home” in the career of Ozzy.  It went top 30, and was huge on MTV.  Would No More Tears be a better album without it?  Should Ozzy have released it as a single or on a movie soundtrack?  Try this.  Remove “Mama” from the album, and put the B-side track “Don’t Blame Me”* in between “Mr. Tinkertrain” and “I Don’t Want to Change the World”. There is something to be said for a good B-side, and Ozzy has done a number over the years.  Yet “Don’t Blame Me” is far too good for that fate.  It combines riff with groove and hooks like nothing else on the album, and just listen to Zakk’s funky pickin’.  Fortunately it’s on the 2002 Sony remastered CD, along with a lesser B-side called “Party With the Animals”.  You might remember it from the 1992 soundtrack Buffy the Vampire Slayer.  “Animals” is definite B-side material.

Back to our original question.  Was No More Tears the “best album since Randy Rhoads”?  It’s quite good and easily his biggest since Randy Rhoads.  But it has filler, and some of that filler is downright annoying.  The remastered edition is the one to get, since you don’t want to miss out on “Don’t Blame Me”.  Bark at the Moon is likely the high water mark since the passing of Rhoads.  No More Tears is still one to own, even if you have the hits, for some killer and underrated album tracks (and one B-side).

3.5/5 stars

* Two early album titles used for this record were Don’t Blame Me and No Dogs Allowed.

WTF Search Terms: WOO! edition

WTF SEARCH TERMS XXXVII: WOO! edition

What are “WTF Search Terms”, you ask?  Simply, they are phrases that people typed into a search engine to wind up at mikeladano.com.  They’re sometimes weird, sometimes wonderful, and always amusing.  I hope you enjoy this 37th instalment of WTF Search Terms!

First please welcome “Nature Boy” Ric Flair to the WTF Search Term family!  The 16 time world wrestling champion was immortalized in the Legendary Klopeks song “Ric Flair” from their album Straight to Hell.  Someone googled the lyrics:

i wanna do a chop i wanna do a woo i wanna be like ric flair cause he’s so fucking cool

I love that somebody heard that lyric and had to google it.  Next up:

does anyone like the 2002 version of blizzard of ozz

The answer is yes:  Sharon does.  But next is a band that Sharon does not like.

benjamin of beef iron maiden

Oh, autocarrot.  I think they meant Benjamin Breeg.

This next person mixed up two bands, but it also could be autocarrot.  Funny either way:

deep leppard heartbreak

Then a grouping of searches for Snake the Tattoo Man.  But people need to decide where he’s from.  (It’s London).

snake from brantford tattoo guy
guy named snake in london, on
the man called snake, london, on

I got a chuckle from this next one:

fankie banali sucks

Well, let’s be fair.  Frankie Banali is an awesome drummer.  I’d never say he sucks.  I never have.  But his current version of Quiet Riot does kinda suck.  Unlike the following album:

europe last look at eden satanic lyrics

Oh, come on.  I’m sick of the “satanic” accusations levelled at this band.  Some deluded people actually think Joey Tempest is a demon.  I’m not fucking kidding.  Next question.

does album slave to the grind have any value?

Only what the music is worth to you.

which rock band was dressed to die in 1974

Hah!  None.  But Kiss were Dressed to Kill in 1975.

Thanks for reading!  The WTF Search Terms keep rolling in, so there will always be more….

 

 

 

REVIEW: Ozzy Osbourne – Live & Loud (1993 grille cover)

OZZY OSBOURNE – Live & Loud (limited edition 1993 Epic speaker grille edition)

Ozzy Osbourne has done lots and lots of tours since his “No More Tours Tour”.  It seemed special at the time, because we thought Live & Loud was going to be the last live album.   It was not.   What was supposed to be a definitive and indispensable capstone is just another live album, only really notable for its packaging.

Let’s start there.  If you buy this album, don’t buy the remastered edition in the jewel case.  This album didn’t need remastering a couple years later.  Why would it?  Instead search for the original digipack with the metal speaker grille cover.  Finding one in good shape can be a challenge.  Unfortunately, the metal grille is not removable although the VHS release did have a removable grille.  The release also came with two Ozzy “temporary tattoos” on little 2″ x 2″ sheets of paper.  These are the first things to get lost and you might want to consider that you’ll never find them.

Live & Loud scores an A+ for packaging, but gets mediocre grades for the music.  This is patched together from a variety of recordings, and it sounds like a lot of fixing was done after the fact.  It’s bogged down with over-long guitar and drum solos (Zakk Wylde and Randy Castillo) and too much talking.  There is only so much that one needs to be told to “go fucking crazy”.  Ozzy proclaims that he loves us so often that it loses all meaning.  He’s more of a cheerleader than a singer at times, constantly badgering the crowd to get “louder”!  There is also an annoyingly long intro that means nothing without the visual accompaniment that’s supposed to go with it.  I will admit that my buddy Peter and I were amused when Ozzy said “Let me see your fucking cigarette lighters” during “Mr. Crowley”.

On the plus side, this particular lineup of Ozzy’s band was one of his strongest.  Zakk and Randy were joined by bassist Mike Inez who was invited to join Alice in Chains in 1993.  Another plus is the presence of Black Sabbath.  The second to last song is “Black Sabbath”, performed by the original Black Sabbath, at the final show on the tour.  Fans will recall that Sabbath were touring their incredible Dehumanizer album, which frankly blows away Ozzy’s No More Tears.   When Sabbath (then including Tony Iommi, Geezer Butler, Vinny Appice and Ronnie James Dio) were asked to open for Ozzy at his final two concerts, Dio bailed.  He was replaced for those shows by a little known metal singer named Rob Halford.  At the last of the two shows, the original Black Sabbath featuring Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward reunited to play a three song set.  It was their first time together since Live Aid in 1985.

Unfortunately, a couple tracks aside, Live & Loud is flat and uninspired.  “Black Sabbath” isn’t brilliant but at least it’s historic.  All the important songs are there, with maybe a few too many from No More Tears.  There is one surprise in “Changes”, the old Sabbath classic.  This is performed by Zakk on piano and Ozzy.  It’s brilliant and was used as the single.  “Mr. Crowley”, “Shot in the Dark” and “Desire” are pretty good, but drummer Randy Castillo was killing it.  He was the perfect drummer for that band.  Rest in peace Randy.

Live & Loud is for the serious fan only, who will really want to get the grille cover.  Live & Loud is not consistent enough for the average listener and gets bogged down in spots making it a very long run.

2/5 stars

 

#533: Spirituality as a Heavy Metal Fan

STOPARRETThe below is a personal non-preachy discussion on living life as a Christian heavy metal fan.  I’m not interested in changing anyone’s personal convictions, just telling a story.  If this bothers you, press “back” now.

 

papa

GETTING MORE TALE #533: Spirituality as a Heavy Metal Fan

Any fan of heavy metal music who is also a believer in the Lord above has had to come to grips with this apparently hypocrisy.  How can one follow the word of God and yet listen to Ghost?

Believe In One God Do We,
Satan Almighty,
The Uncreator Of Heaven And Evil,
And The Unvisable And The Visable,
And In His Son,
Begotten Of Father,
By Whom All Things Shall Be Unmade,
Who For Man And His Damnation,
Incarnated,
Rise Up From Hell,
From Sitteth On The Left Hand Of His Father,
From Thense He Shall Come To Judge,
Out Of One Substance,
With Satan,
Whose Kingdom Shall Haveth No End.

I wrestled with this contradiction very early in life. As a young Catholic-raised kid discovering rock music, I wanted to make up my own mind. One of my earliest sources of music via the magic of Sunday afternoon taping sessions was my next door neighbor George.  In addition to the Kiss discography, George had most of the Maiden, Priest and Ozzy catalogue either on LP or cassette.  George wasn’t particularly religious, but one afternoon he did tell me, “I won’t listen to anything Satanic.”  I took that to mean that Maiden, Priest and Ozzy lyrics checked out A-OK.

Many people of faith have found that their religious convictions shake and waver over the years.  That period for me began in the 1990s, although I never considered myself an agnostic or an atheist.  I was in the early years of my University career; that period when you think you know it all.  I remember some fierce discussions around the dinner table with me loudly proclaiming that I was the only sitting authority on whatever subject had come up.  My parents remember them too, as the naive younger me spouted off about whatever I read on an overhead projector.  Meanwhile, I was frustrated that they didn’t seem to be giving my lecture serious enough consideration.  Some dinners ended up with me storming up to my room in anger with my food unfinished.

One of my earliest courses in University was my first year introduction to Anthropology.  The prof, whose name long escapes me now, was an animated character.  His long hair was always tied up in a ponytail on the back of his head.  He wore suits and ties to class, which most profs did not.  Many (especially in the psych department) preferred socks and sandals.  He told anecdotes and moved around a lot.  He always kept one hand on the podium.  The class noticed his storytelling sessions always proceeded with one hand firmly anchored, keeping him in a tight orbit at the front of the classroom.  He was a fantastic teacher and I briefly considered a career in Anthropology before I realized it involved a great deal of travel and going out of doors.

He was most certainly an atheist, which is unsurprising considering that the first semester of the class was about primate evolution.  He was fascinating, and though I never doubted the science of genetics and natural selection, he certainly proved to me that the simple 7-days 7-nights story of the Bible did not happen as simply as it was written.  That could only be allegory for a sequence of events that humanity did not have words for or basic knowledge of at the time.  Knowledge is cumulative.  We know now that we can follow the development of life through fossils, getting older and older as we dig deeper.  Things line up, make sense.  He explained to us why the concept of a “missing link” is a logical fallacy.

None of this bothered me.  Even though I wouldn’t consider myself a spiritual person at that age, I just assumed any God who is truly all knowing and all powerful could easily create the universe as it was, with the laws of nature, physics and all the matter inside it, via the Big Bang.  It would still turn out exactly as He envisioned it to, because that’s the definition of an all powerful God.  There didn’t seem to be any contradiction to me.  I tried to argue this as part of an intro Philosophy course paper that I wrote the same year.  I attempted to go to the quantum scale to explain things and blew it fabulously.  That paper was a C-, if I recall correctly.  The T.A. that marked it suggested that the quantum section should have been axed completely.  (He was absolutely right!)

At the same time, I was very deeply invested in a love of heavy music, having collected at least 400 tapes at that stage.  Stryper aside, none of them were Christian rock.  There were plenty of masters of the dark arts, however:  Alice Cooper, the Ozzman, the Sabs, Priest, Maiden and the lot.  As least, that’s the way many religious folks seemed to think it was over the years.  I couldn’t hear any Satanism in their lyrics.  Look at the words to Sabbath’s “After Forever”:

I think it was true it was people like you that crucified Christ,
I think it is sad the opinion you had was the only one voiced,
Will you be so sure when your day is near, say you don’t believe?
You had the chance but you turned it down, now you can’t retrieve.

Perhaps you’ll think before you say that God is dead and gone,
Open your eyes, just realize that He’s the one,
The only one who can save you now from all this sin and hate,
Or will you still jeer at all you hear? Yes! I think it’s too late.

Because the song also has a line that goes “Would you like to see the Pope on the end of a rope – do you think he’s a fool?,” some folks are likely to get their panties in a bunch. Context in any art form is important, often true with lyrics.  It’s hard to imagine Ozzy sitting there seriously worshipping Satan when he’d rather be drinking, don’t you think?

At the same time, I was collecting the albums of Savatage, and their lyrics sometimes had a clearly Christian bent.  Their Streets album features a character called “D.T. Jesus” and a full-on Holy character redemption.  This didn’t bother me either.  It stirred warm memories of Bible stories that I learned in school.  Most importantly at that time, I was learning that music lyrics are not always meant to be taken at face value.  Take Poison for example.  You might think that the “Unskinny Bop” might be an exercise regime.  They cleverly disguised their true intention with made-up words.  Ozzy isn’t singing about his belief in the undead in “Bark at the Moon”.  Maybe he’s inspired by some movie he saw as a kid.  Does it really even matter?  It’s just a song.  It’s just entertainment.

OZZYThere is one instance when paying attention to the words does really matter, such as when a vulnerable youth might think “Flying High Again” sounds really fun and cool because Ozzy said so.  But that is where the parents must step up.  It’s not Ozzy’s responsibility, nor the state’s, to monitor what your kids are doing.  Pay attention to what they are listening to and make sure you give them the straight talk on any issues that concern you.  That’s what my parents did (unbeknownst to me).  My mom read over the lyrics when I wasn’t home.  She never had made any musical demands of her son other than “turn it down” when it was too loud.

I felt a stronger return to my faith around the time I met my wife.  Our connection seemed beyond just two random people falling for each other.  It seemed like two puzzle pieces coming together.  Like I’d finally found the one who understands and puts up with my bizarre self, and vice versa.  It’s not about thinking “I was made for loving you, and you were made me loving me,” so much as feeling it.  One thing I learned from Philosophy class is that faith is not something you can prove or disprove.  The definition of an omniscient and omnipotent God means He or She could create the universe we live in without leaving any trace of His/Her existence, nor any purpose we can comprehend.  Maybe we’re all just chess pieces on a big chess board.  You don’t know and you can never prove it one way or another, because how do you know your “proof” isn’t just another move in the chess game?

Faith means you believe something or not.  I think science is pretty bang-on with how it describes how the universe behaves, and will continue to modify and reshape its theories based on what comes flying out of the next particle accelerators.  It’s an exciting time to be following science, as we unlock some of the most elusive particles predicted by theory.  At the same time, events in my life (far more than just meeting my wife) have made my heart lean further in the direction of faith than disbelief.  I think whoever it is that created the universe did so with the laws of nature that we study today.  I think that science is peering into the mind of God, as Einstein suggested.  I came to these conclusions on my own; only later did I realize many got there before me.

As for lyrics about Satan even though I’m on the other guy’s side?  I think it’s all about being a good person in the time you’re given on this Earth.  I don’t care what you call it; that doesn’t mean we can’t be friends.  As long as you try to go about your life without being an asshole, sure we can be friends.  For example I’d be foolish to exclude you from friendship just because we don’t share the same opinions on (delicious) olives.  I’d be equally foolish to exclude you just because you have different ideas about how we all got here.  I think, if anything, we’re all here to help each other.  We should do that anyway, even if it’s just holding a door open for your neighbor.  There are some things that some Christians consider hellfire-worthy sins that I could care less about.  It was always important for me to find a balance between my spiritual beliefs and what I know to be right or wrong.  I’ve encountered a few Christians who say that homosexuality in a sin.  A really bad one, too.  I don’t want anything to do with that statement.  I know in my mind and my heart that it doesn’t matter what gender you’re attracted to.  What matters is using your time on this Earth to be the best person you can be.

I like Ghost; I don’t have to sing along to their music if I’m not feeling the words.  That’s free will, and I don’t think I’ll go to hell for exercising it, even though some folks have warned me that’s where I’m headed.  I hope that when it comes to the important choices in life, I’ve made more of the good kind than bad.  At the end of it all, that seems to be more important.

Reverend X.  Much different than Catholic school.  Is that a phone book?