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tisthenightofthewitch · 5 years

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With Ghost, can the devil’s music finally become a family affair?

Cardinal Copia has a lot to prove. He doesn’t have the blood of a pope, but as the newest bandleader for Satanic rockers Ghost, he’s got youth and “sexual charisma,” according to the clergy. The church needs that: all of Copia’s predecessors are dead. Papas Emeritus I, II and III were assassinated and embalmed earlier this year. The snappy-dressing, jukebox-carrying cardinal’s their only hope.

Until the next album. You can watch the playfully dark succession story unfold on YouTube, used this time to hype Prequelle, Ghost’s fourth LP.

Behind each newly appointed skull-faced preacher is actually the same guy. A fan of history, heavy metal and the 1980s, Tobias Forge is Ghost, the next in a lineage of Grammy-winning rock bands who wear costumes and sing about the devil. Backed by masked musicians called Nameless Ghouls, and the oldest of the fictional popes, the saxophonist Papa Nihil, Ghost makes a tour stop at the Community Center Theater on November 15.

Can the band please the clergy, or at least Sacramentans who grew up on Ozzy Osbourne, Alice Cooper and Judas Priest? Because that’s exactly who this music is for.

Listen to Prequelle’s “Dance Macabre,” an arena rock love anthem sewn as a dark party for the dead, and you’ll see what I mean: It’s a nostalgia trip to that bygone marriage of glam and horror, with reverb-heavy drums, triumphant keys, layered vocal melodies, power-metal riffs and a wanting guitar solo. And similar to bands like Iron Maiden, Ghost pulls from history for contemporary commentary: The song “Rats” retells the Black Plague, so in this case the 14th century. Wonder who they’re calling out?

After a 2015 Grammy win for Best Metal Performance, Ghost is making a name for itself as torchbearers for a classic kind of heavy music. SN&R spoke with the frontman about the apocalypse in Prequelle, creating satanic music that’s inviting to everyone, and Forge’s love for his brother, who died in 2010, on the same day Forge uploaded Ghost’s first EP on Myspace and became an overnight sensation:

Are you a big history buff?

I’m not a historian. I’m interested in history. It’s a lot of ground to cover if you look at it from a worldwide basis, but try me.

There are a lot of historical parallels being drawn right now. To the Cold War. To World War I and II. What’s Prequelle about, and how are you pulling from history here?

The main concept is mortality … Acknowledging the fact that you can persevere so far, but as far we know, you’re likely to succumb to some sort of ending. … And I think from an apocalyptic perspective … that has been preached and prophesized many, many times. Civilizations have come and gone. And new ones arose at the expense of others. … It’s easy to think of humanity as very complicated, but at the end of the day, it’s very simple. We’re not that smart. We move in groups. And we tend to do the same things over and over again.

Are you responding to any recent historical cycles you’ve observed?

Well, politically, in terms of the Cold War, there’s a lot of things … You have a little bit of Watergating here, you have a little bit of the crisis of the mid 1900s going on. We still have huge countries against each other. I’m talking about Russia and America, and me as a European, we’re sort of sitting in between, which is not very different than how it was in the ’50s … But from a worldwide perspective, I also think that there are enough people in the world who don’t want it all to go away permanently … I want to believe that we will be able to look back on this 50 years from now as one of those weird points in history when things were a little bit rocky. But then 50 years from now, there will be something else.

How do you see your role, being a popular musician playing apocalyptic music?

I am an entertainer. I am here to make you feel potentially a little bit better about the world, and in your every day-to-day life. … I guess a lot of the entertainment I’m into, especially when It comes to rock, has some sort of social take, commenting on the contemporary state of the world, especially in the ’60s, the ’70s … But I don’t have higher hopes than that in terms of Ghost’s relevance to what is going on. I don’t think we’re changing a whole lot. But I think we can probably be a little bit of a band aid for anyone who likes Ghost and what we and we’re doing. Hopefully [we] can be a pillow to squeeze if the times feel rough.

In the ’80s, artists like Judas Priest and Ozzy Osbourne were known for incorporating Satanic themes, and upsetting Christians. But that was 40 years ago. Are there any ways that you’re music has offended people, that surprised you?

I think that I have been personally more subjected to people who have said the opposite. Just coming from a traditionally more conservative background, and then being surprised that they are oddly in favor of what Ghost is doing. Maybe not 100 percent from a philosophical point of view, whatever that means, but it still resonates in a positive way among people who would traditionally not like “satanic rock music.” … I have theories about it, but I don’t know, maybe it’s just the fact that heavy metal in the 1980s was way more of a household thing, and the gap between generations was bigger at that point, so you’d have the 15 to 25-year-old teenagers in 1980 or 1985. Their parents would have been 40 or 50 at that point, and were potentially of a different breed than most of the 40 year olds, 50 year olds, 60 year olds today. … But it all depends on how you present yourself as a spokesperson for a band like this. I’m not here to shock people who are not willing to be shocked, if that makes sense. I’m not here to throw a grenade into the god-fearing home, trying to rip your family apart … I want them to come to the show and have fun and feel good about themselves, and want to live their lives … not to commit suicide or go kill someone. I want people to be happy and embrace life. … I can imagine Rob Halford [of Judas Priest] having never said anything unlike what I just said, nor Ozzy Osbourne.

Are you a Satanist?

From a strictly Christian point of view, if that means believing in a physical, half man, half-ram living in the underground, no, I don’t believe there is such a thing. I’m not the opposite either. … And you know, I’m sure in the eyes of the beholder, if I was put in front of true god-fearing bible thumpers, I would probably be regarded as a Satanist … just because I’m not a god-fearing bible thumper. But the concept of Satanism has many, many forms … In the last 50 years now, ever since [Anton] LaVey and pop-cultural Satanism, when that rose in the latter of the part of ’60s with the Church of Satan, and Black Sabbath and Black Widow and Coven and that sort of hippie Satanism, which at the end of the day, heavy metal, black metal, all that is based upon that cultural Satanism. … I grew up with that. … So from that point of view, I would definitely say that culturally, I am definitely, for lack of better way of putting it, I’m a devil-liking kind of guy. But … I wouldn’t sacrifice a baby to a half-ram that I believe to be living in the underground. … And I would never ever encourage anyone to do that.

Oh good. In an interview with Revolver magazine, you likened Ghost to procreating with rock history. What has Ghost meant to you?

Obviously, it’s meant the world … Not only am I myself depending on it, but I have two kids depending on it. I have a wife who’s depending on it. I have around 30 people around me living on this. So obviously it has a great feel of significance for me … It’s very much reliving a lot of the things that I did as a kid, when I dressed up as KISS and Alice Cooper, and watched horror films. It’s very much reconnecting with a lot of the things I grew up with. It’s very childish. In a regurgitating kind of way.

Is that what you meant by “procreating?”

I guess so, I’m not involving myself as a child in that, so don’t go incestuous or weird here. (Laughs.) I’m definitely wallowing in my past. I’m very much a typical kid who grew up in the ’80s. Just because I had a brother who was older than I … I got a lot of teenage culture from him at an early age. I’m definitely wallowing in that. If I would meet myself in 1985, you can compare the things I’m interested in, and not a whole lot has happened, really. I’m searching to recreate myself as a five-year-old with my brother. That feels important.

NewsReview.com

#The Band Ghost #Tobias Forge #Tobias Interview #Ghost Band #Cardinal Copia

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music2liveby · 5 years

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DAY 29: Heaven and Hell by Black Sabbath

Album: Heaven and Hell Release: April 25th, 1980 Genre: Heavy Metal

After over a decade of defining the heavy metal genre, Ozzy Osbourne’s continuing drug problem during his tenure with Black Sabbath finally came to a culmination before the turn of the decade, leading to Tony Iommi personally firing Ozzy from the band. With no front man to lean on, the future of Black Sabbath laid in question. Then, like the pot of gold at the end of a rainbow, lead singer of Rainbow Ronnie James Dio was called upon by the band to carry on their career into the 80′s. Suggested to the band by the tour manager’s daughter Sharon Arden (later becoming Sharon Osbourne...how the tables turn), his debut record with the band Heaven and Hell has proven to be far less iconic than his predecessor, but that makes this incarnation of the band no less impressive. While many may be familiar with Dio from his subsequent solo career through the mid 80′s, Ronnie was a relatively unknown vocalist at the time with his assistance to Rainbow being his only notable credit at the time. Heaven and Hell allowed Dio to shine under the brightest of lights, riding the coattails of all of the accolades of musical titans that had come to that point. Make no mistake though, Dio’s vocal abilities stand alone in their own right for his fantastic range and delicate yet raspy high notes. This was not a case of a successful band carrying the new member, but instead a creative collaboration that produced some of the best tracks in the career of Black Sabbath. Consider it a rebrand - no, a rebirth - that recreates the black and dreary tones of old with a much needed splash of color from their new frontman. Black Sabbath was here to stay, baby. Heaven and Hell was a major intersection for the group, taking off in a different direction and even labeling this new lineup as Heaven and Hell in present day to distinguish from the past. One thing was clear: this wasn’t your grandpa’s Black Sabbath. While all of the elements fans came to know and love were still present, the prolific presence of Ronnie James Dio is felt as soon as the vocalist opens his pipes and graces us with his talents. It’s like a breath of fresh air, marching forth with the bass as a motor until the pace strengthens in the middle of the song, increasing the urgency and unleashing Iommi’s much anticipated solo shredding to cap off this tune. Today, the original Black Sabbath lineup has reunited for their final tour, capping off like the cherry on top of their long-lived career. Now only spoken of in legend, it’s never too late to educate yourself on the history of music’s darkest timeline.

#Heaven And Hell #Black Sabbath #Ronnie James Dio #Tony Iommi #Geezer Butler #Dio #365songs

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oceanlyricss · 4 years

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Black Sabbath

An English hard rock institution whose influence on heavy metal cannot be overstated, Black Sabbath not only pioneered the genre, they helped launch the career of one of its most colorful and controversial characters in Ozzy Osbourne. The band distilled the smoke and strife of its industrial hometown into a punitive blast of doom-laden heavy blues-rock via bass player Geezer Butler's dystopian lyrics, which leaned heavily on the occult, and guitarist Tony Iommi's seismic riffing. When paired with Bill Ward's economical yet formidable work behind the kit and Osbourne's primal tenor, the effect was both powerful and accessible -- a blueprint for aspiring decibel pushers of every skill level. The band formed in 1968 under the ill-fitting name the Polka Tulk Blues Band -- Iommi and Ward, who had just left the pub blues outfit Mythology, were looking to take the genre in a more robust direction. They enlisted the services of Butler and Osbourne, both of whom had played together in a group called Rare Breed, and by the end of the year were operating under the moniker Earth. Black SabbathThe transition from Earth to Black Sabbath took place the following year, after Osbourne and Butler penned a song that was inspired by the 1963 Boris Karloff horror film of the same name. The resulting "Black Sabbath," a funereal slab of blast furnace-forged dread built around the augmented fourth/tritonic interval, better known as the devil's interval, would serve as the opening volley on their explosive eponymous 1970 debut. Released via Vertigo Records, the more progressive subsidiary of Philips/Phonogram, the bulk of the Rodger Bain-produced LP was recorded in a single day. Only a handful of guitar overdubs -- Iommi's signature sound was lent considerable gravitas by the fact that he tuned his guitar a half-step down to provide some slack for a pair of fingers that saw their tips removed in a factory accident -- along with the rain, thunder, and tolling bells that so effectively introduced the group to the world, would be added later. The record was released on Friday the 13th, which helped kick-start the band's reputation for populating the fertile crime scene that is history with plenty of blood spatter. Flush with eventual genre classics like "The Wizard," "N.I.B.," and the aforementioned title cut, Black Sabbath was initially dismissed by critics -- retrospective reviews were far more reverent -- but it managed to reach the U.K. Top Ten and hold court for over a year on the U.S. Top 40, eventually going certified platinum. ParanoidWith the surprise success of Black Sabbath, the band wasted little time in getting back into the studio. Released just seven months after their debut, Paranoid, the very antithesis of the sophomore slump, would spawn two of their biggest singles in "Iron Man" and the nervy, hard-hitting title track, the latter of which would be the band's only Top Ten hit -- the LP went straight to the top of the U.K. charts, and sold over four million copies in the U.S. Deeper yet no less immediate cuts like the air-raid siren-led, politically charged "War Pigs" and the trippy, mellow doom anthem "Planet Caravan" showed a group that had far more creative gas in the tank than its detractors would have cared to admit. Paranoid also afforded Sabbath their first measure of controversy after an inquest was made regarding an American nurse who committed suicide while listening to the LP -- for many, the name Black Sabbath would become synonymous with Satanism throughout the '70s and '80s. Master of RealitySabbath continued to blow the unholy horn of plenty with albums three and four. Released in 1971, the brutish Master of Reality was certified double platinum on the strength of fan favorites like "Sweet Leaf," "Children of the Grave," and "Into the Void," the latter two of which saw Iommi downtune three semitones in order to release even more string tension -- Butler followed suit, and the deep earth pummeling that followed has been widely cited as the auger of sludge, doom, and stoner metal. The LP also featured the Iommi-composed/Butler-penned "After Forever," which, much to the confusion of some of the band's more zealous critics, reflected the bass player's deep Catholic faith. Vol. 4, recorded in Los Angeles, arrived the following year, and was the first Sabbath outing to not see Rodger Bain handling production duties -- Iommi and then-manager Patrick Meehan would co-produce the album. Certainly the group's most ambitious outing to date, Vol. 4 also represented Black Sabbath at their most chemically dependent -- the album's working title was Snowblind -- shipping in speaker boxes filled with cocaine, and turning their rented Bel Air house into a boozy black cauldron of rock star excess. Nevertheless, they managed to pull it together long enough to piece together a dark, introspective gem of a record that didn't spawn any hits -- the caustic riff-gasm that is "Supernaut" must have charted in some other more forgiving dimension -- but still topped the album charts. Vol. 4 dutifully reflected Sabbath's debauched collective headspace at the time, but retained enough of the blue-collar might that fueled their early works to connect. Sabbath Bloody SabbathArriving in 1973, Sabbath Bloody Sabbath was another success, doubling down on the more progressive elements of Vol. 4, even going so far as to tap Rick Wakeman from Yes to contribute keyboards to the track "Sabbra Cadabra." Bolstered by the now iconic title cut as well as the punishing "Killing Yourself to Live," the LP not only resonated with fans, but elicited positive comments from mainstream critics as well, becoming Sabbath's fifth platinum album in the U.S. and earning their first silver certification in the U.K. Sabotage, released in 1975, saw Sabbath returning to the bottom-heavy, molten metal attack of their debut, for the most part dialing back on the orchestral flourishes and studio trickery of their last two outings. It also arrived in the midst of contentious litigation between the band and its now former manager Meehan. Between the bruising "Hole in the Sky," the angst-fueled "Symptom of the Universe," and the nearly nine-minute epic "The Writ," the band sounded both reinvigorated and wrecked -- a bloodied beast, filled with bullets, standing on the corpse of its captor. Fans and critics were kind, but the musical climate was changing both at home and abroad, and Black Sabbath were beginning to feel the chill. Technical EcstasyBy 1976 the band was undergoing an internal struggle as well, having to contend with an increasingly frustrated and chemically dependant frontman, who was looking to strike out on his own. Technical Ecstasy (1976) and Never Say Die! (1978), despite going gold, suffered beneath the weight of both the band's substance abuse issues and its increasingly diminished position in popular music. Bands like the Clash and the Sex Pistols were on the rise, and Sabbath's brand of stalwart heavy blues-rock was losing favor. During the recording of Never Say Die!, Osbourne quit, eventually making his way back into the fold during the final sessions, but in 1979, after touring in support of the album, he was fired from the group for good. Heaven and HellOsbourne's departure and successful solo career may have signaled the end of an era for the group, but Black Sabbath weren't about to go gently into that good night. At the suggestion of the band's new manager's daughter Sharon Arden (later to become Sharon Osbourne), Iommi, Butler, and Ward brought in ex-Rainbow frontman Ronnie James Dio to take over vocal duties. Dio's powerful voice, as idiosyncratic and iconic as Osbourne's but with far more wholesale appeal, proved the perfect fit for Black Sabbath 2.0. Released in 1980, Heaven and Hell was a critical and commercial success, becoming their third-highest-selling LP behind Paranoid and Master of Reality. That same year, while on tour, Ward had reached the apex of his alcoholism and announced that he too was leaving the group. Vinny Appice, the younger brother of legendary Vanilla Fudge drummer Carmine Appice, was brought in to replace him, and would appear on the group's tenth studio outing, 1981's Mob Rules. The album received mixed reviews, but still managed to go gold in the U.S. and crack the U.K. Top 40 on the strength of the fiery title track, which also appeared -- in a different version -- in the cult animated, adult-fantasy film Heavy Metal. The band's first ever concert album, Live Evil, was released in 1983. Recorded during the group's 1982 tour in support of Mob Rules, it presented an audio snapshot of the band at the peak of its technical powers, but failed to capture the internal tensions that were bubbling beneath all of the pick slides and pyrotechnics. Citing an irreconcilable falling out with Iommi and Butler, Dio and Appice left the group in the middle of mixing the album, and formed their own band. With the newly minted Dio issuing Holy Diver and Osbourne dropping his third chart-topping solo LP, Bark at the Moon, Black Sabbath were at a definite crossroads. Born AgainUndeterred, Iommi and Butler immediately began looking for new members with whom to start up the old machinery, eventually settling on Deep Purple's Ian Gillan on vocals and a freshly sober Bill Ward behind the kit. While it sold well initially, the resulting Born Again was a critical failure, a tone-deaf collection of subpar Sabbath tropes that would ultimately leave Iommi the last man standing. Even the tour in support of the album was a disaster, with Ward, who relapsed during recording, being replaced by Move/ELO drummer Bev Bevan, and a cringe-inducing prop malfunction providing the inspiration for the 1984 mockumentary This Is Spinal Tap's now classic Stonehenge sequence. After the tour Bevan left, Gillan rejoined Deep Purple, and Butler went solo, leaving Iommi no choice but to put the band on hiatus. Seventh StarWhat followed was a long period of near-constant personnel changes, with Iommi remaining the sole original member. Issued in 1986, the bluesy Seventh Star was, for all intents and purposes, an Iommi solo album -- record company pressure forced him to add the Black Sabbath moniker to the front cover -- and 1987's Eternal Idol was the first to feature new semi-permanent vocalist Tony Martin. Hard rock heavyweight drummer Cozy Powell joined Iommi and Martin on 1989's Headless Cross and 1990's Viking-themed concept album Tyr, but none of the initial post-Born Again LPs had much of an impact critically or commercially. Once again the musical paradigm was shifting away from the hard rock/heavy metal genre, and Sabbath were just trying to stay afloat. The generally well-received Dehumanizer, a Heaven and Hell/Mob Rules-era reunion with Butler, Dio, and Vinny Appice, provided the Black Sabbath name with a much needed shot in the arm in 1992, and managed to sneak them back into the Top 40 both at home and overseas, but it would prove to be a one-off affair. Arriving in 1994, Cross Purposes kept Butler on board and brought back Martin on vocals, but it failed to capitalize on any momentum left over from Dehumanizer's success, and the following year's disappointing Forbidden, the band's 18th studio LP, would be the last outing for Martin, as well as the last studio album from the band for nearly 18 years. ReunionIommi, Butler, Ward, and Osbourne would eventually make their way back under the stage lights in 1997, culminating in the release of the Best Metal Performance Grammy Award-winning double-live LP Reunion, but it would be 16 years -- and a whole lot of Ozzy, who was eventually given his own reality television show -- before the band would bring the dark arts back to the recording studio. Released in 2013, the Rick Rubin-produced 13, which also brought home a Grammy, this time for the single "God Is Dead?," would be Black Sabbath's final album, and in 2015, Osbourne, Iommi, and Butler -- Ward refused to participate -- announced that their upcoming world tour would be their last. The aptly named The End Tour, which concluded in their hometown of Birmingham, saw Black Sabbath closing the coffin lid on a nearly 50-year career and cementing their legacy as the unheralded harbingers of heavy, sludge, stoner, and doom metal. A concert LP/film of the performance was released in 2017. Source Read the full article

#billward #BlackSabbath #blues #geezerbutler #OzzyOsbourne #rock #rockband #tonyıommi

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cryptodictation · 4 years

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Didn't rock die? Rhythm artists give an overview of musical style

The band Kiss and singer L Borges are close to 50 years of career: they understand that rock has lost strength, but is alive (photo: AFP / MIGUEL RIOPA)

One of the main discussions in current music about the space of rock in the phonographic industry. A genre very marked by names from the past, rock n 'roll lost space in the market and saw the hip hop grow and become the most heard style worldwide. However, guitars are alive, just not in the same way.

O mail talked with Tommy Thayner, guitarist of the band Kiss for 18 years, and with L Borges about the changes in the music world and what is this new space that rock occupies in the current industry. Both representatives of past musical generations, musicians have a converging view on what has happened with rock.

New, original

For Thayner, rock is a thing of the past, but it didn't necessarily get stuck back there. “Bands looking to make rock these days stick to old references and end up doing more of the same. There is a lot of new rock n ’roll, but it’s harder to deliver something really new”, says the guitarist.

Thinking in the direction proposed by the member of Kiss, currently bands with a strong influence of old rock have gained some notoriety. As an example, young people from Greta Van Fleet, who had ascended the meter before the first studio album, were announced at festivals worldwide, including Lollapalooza Brasil. A year after the explosion of popularity they are scheduled to open Metallica's concerts on the band's South American tour. However, it is one of the main criticisms received by the musicians of Greta Van Fleet that they make a sound very similar to the one that enshrined the career of the British Led Zeppelin.

“To think that you don't make more rock like you used to do bands like Kiss and the Rolling Stones much bigger nowadays”, points out Thayner. The guitarist has been on the road for 18 years with the band of extravagant makeups playing hits that have marked the history of music, especially in the 1970s and 1980s. “I cannot tell you a name that I think will dominate the genre in the coming years, because rock still dominated by those who play it since ancient times ”.

Impoverishment

With more radical opinions, L Borges believes that rock has only lost space due to market options. “Things are changing very quickly, what is now successful is what is prefabricated to do well in the media.” With 48 years of career and rock, the composer believes that it is something seasonal. “Something cyclical, rock has saturated, lost space and many things of dubious taste have been occupying the space, but at some point it returns to the top”, says L .

(photo: Pedro David / Divulgao)

“A lot of bad music is getting the relevance of good music”, criticizes L Borges. For the sake of what works in the music market, the singer thinks there is a loss of quality in the current hits. “The new trends contribute to the impoverishment of music”, completes the artist.

Regarding the beauty of rock, the composer recalled Jimmy Handrix's performance at the Monterrey festival in 1967. “I told my 20-year-old son to watch this show, that rock”, says L Borges. For him, the icons show that music is timeless and without borders ”.

Trainee under the supervision of Severino Francisco

How does the rock scene move today?

The freshness of youth

Greta Van Fleet

• Hard Rock band formed by twins Josh Kiszka and Jake Kiszka together with the younger brother Sam Kiszka and drummer Daniel Wagner started in 2012. With a retr grip, the band heads the new names of international rock with just two albums released. In 2019, they played in the South American Lollapaloozas and 2020 they open the Metallica turn, also in South America.

Kaleo

• Islands Group also dated 2012, Kaleo formed JJ Julius Son, David Antonsson, Daniel Kristjansson and Rubin Pollock. With songs in English, the band makes a sound with blues influences and that abuses guitar solos. The band's North American tour is scheduled for the second half of 2020 after the release of their second studio album, Surface sounds, on June 5th.

Ego Kill Talent

• Brazilian band founded in 2014, with Jonathan Correa, Jean Dolabella, Niper Boaventura, Raphael Miranda and Theo van der Loo in their current formation. One of the main exponents of national rock, the group has played in major events such as Rock in Rio, made international turns and were recently chosen to open System of a Down shows.

Old pan that makes good food

Ozzy Osbourne

• At 71, the eternal singer of Black Sabbath launched in 2020 Ordinary Man, 16th career disc. Having already participated in rapper music in 2019 and with this new release, the rocker shows that, despite several health problems, he intends to remain active in music with a tour scheduled for October this year in Europe and the United States.

Armas e Rosas

• Iconic international rock band returned to its original formation With Axl Rose, on vocals, Slash, on guitar, and Duff McKagan, on bass. Since then, they have turned and played at the biggest festivals in the world. Currently, they are working on an Indian music album scheduled to be released in 2020, but still without confirmation. It would be the first of the founding trio since 1991.

Rolling Stones

• Owner of one of the most public records in the history of music, the Rolling Stones are recording an album of indie music. The band's guitarist, Ronnie Wood, told an English tabloid that the intention is to present news in 2020 and leave for the world tour.

The post Didn't rock die? Rhythm artists give an overview of musical style appeared first on Cryptodictation.

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wknc881 · 4 years

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Album of the Week: Diary of a Madman - Ozzy Osbourne

When John Michael “Ozzy" Osbourne was effectively fired from Black Sabbath in 1979, I don’t think anyone (except the “Prince of Darkness" himself) knew what would become of an Ozzy solo career. In 1980 he released his first record, Blizzard of Ozz, and there was, in fact, something to pay attention to, here. He had found a young guitar player by the name of Randy Rhodes (Quiet Riot), who played in classic fashion but with uncommon precision and style. “Crazy Train" and “Mr. Crowley,” the two singles from the album, give the listener a clear view of both, Ozzy’s future and the talent of the young guitarist.

On November 7, 1981 the greatest Ozzy record (IMO) was unleashed onto the world, Diary of a Madman (Jet); and it was a clear and powerful sign that there would be no containing this madman, later to be called, The Godfather of Heavy Metal! The two singles, “Flying High Again" and “Over the Mountain" give an immediate glimpse of Ozzy’s Genius and the evolution of that young guitarist, Randy Rhodes. The production of the entire record is thick, in a good way! It helps to portray the power of this duo as they were getting wound up to revolutionize the metal world. But it is the title track, “Diary of a Madman" which casted Ozzy’s vision the clearest, I think; with the incorporation of a choir and keyboards, this track is huge when speaking to what was to come – Dark and Eerie.

Unfortunately, it would not be the duo of Ozzy and Randy that would conquer the world. Ozzy would have to foster another relationship when Randy Rhodes was tragically killed (1982) in a plane crash while on tour with Osbourne in Florida. Three Ozzy guitarists would follow, Brad Gillis [Night Ranger] (1982), Jake E. Lee (1982-87) and Zakk Wylde (1987-present). But for this masterpiece entitled, Diary of a Madman, its Ozzy (vocals, obviously), Randy Rhodes (guitars), Bob Daisley (bass), Lee Kerslake (drums) – though neither of the last two are credited anywhere but the original release. Rudy Sarzo (Quiet Riot; Whitesnake) soon took over bass and Tommy Aldridge (Whitesnake; Ted Nuggent; Thin Lizzy) the drums for the American tour to support the album.

Ozzy has had MANY great songs during his career, but the ONE great record is Diary of a Madman – Triple Platinum in the US!

I got to see Ozzy in 2018 in Bristow, Va. His stage presence, along with Zakk Wilde’s, is the best I’ve seen. Of the “big bands,” this was definitely one of the best shows!

Favorite Songs: Flying High Again, Over the Mountain, S.A.T.O., Diary of a Madman

Rating: A Masterpiece 10/10!!

Stay Metal,

THE SAW

#WKNC #WKNC 88.1 #The Saw #The Saw's Butcher Shop #Album of the Week #Diary of a Madmad #Ozzy Osbourne

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