Down to Earth is Ozzy Osbourne’s eighth studio album and was released in October 2001. Produced by Tim Palmer and featuring the singles “Gets Me Through” and “Dreamer”, the album is Osbourne’s only studio album to feature bassist Robert Trujillo. The album peaked at #4 on the US Billboard 200 chart. (more…)
Released in 1991, No More Tears was produced by Duane Baron and John Purdell. It is the sixth studio album by Ozzy Osbourne and features the #2 hit single “Mama, I’m Coming Home” as well as the Grammy-winning track “I Don’t Want to Change the World”. It is one of Osbourne’s most successful albums, having been certified 4x Platinum by the RIAA. This edition features two bonus tracks. (more…)
Ozzy Osbourne finds a permanent replacement for Randy Rhoads in Jake E. Lee, a more standard metal guitarist without Rhoads’ neo-classical compositional ability or stylistic flair. Still, Osbourne and his band turn in a competent, workmanlike set of heavy metal featuring the crunching title track, whose video (featuring Osbourne dressed as a werewolf) became popular on MTV. Unfortunately, substance abuse problems would prevent Osbourne from releasing another record up to the standards of Bark at the Moon for nearly the rest of the decade. ~ Steve Huey (more…)
Blizzard of Ozz is Ozzy Osbourne’s debut solo album. The record was originally released in 1980, a year after the heavy metal vocalist was dismissed from Black Sabbath. The record had major commercial success, was certified 4x Platinum in the U.S. The single “Crazy Train” peaked at number 9 on Billboard‘s track list and has since become one of Osbourne’s signature songs. (more…)
Things start to improve for Ozzy on No Rest for the Wicked, as Zakk Wylde replaces Jake E. Lee on guitar and Osbourne comes up with his best set since 1983. Again, it’s not quite up to the level of excellence his Blizzard of Ozz band achieved, but Osbourne sounds somewhat rejuvenated, and Wylde is a more consistently interesting guitarist than Lee. Highlights include “Miracle Man” (in which Ozzy gloats about the downfall of the TV preachers who had long attacked him as an agent of Satan) and the MTV hits “Crazy Babies” and “Breaking All the Rules”. (more…)
Despite a never-ending succession of guitarists, Ozzy Osbourne never changed his basic musical attack over the years. There are slight differences between the records, with the only noticeable distinctions being the production fads of the time. Ozzmosis, his sixth solo studio album, isn’t all that different from his previous two records, No More Tears and No Rest for the Wicked, largely due to the still impressive skills of guitarist Zakk Wylde. However, even Wylde’s prowess is diluted by the slick, modern-rock conscious production by Michael Beinhorn (Soul Asylum). Occasionally, the guitar is synthesized, which is indicative of the album’s main flaw — on the surface, the music is hard and loud, but it actually sounds smooth and processed. Furthermore, there’s a distinct lack of fully formed songs and riffs, which is what really sinks the record. Osbourne can survive bad production — he has for most of his career — but he can’t survive without having anything to sing. (more…)
Ozzy Osbourne streamlines his approach to keep up with the emerging trend toward slick, radio-ready metal, but Ultimate Sin is largely unsuccessful, as the performances are flat and uninspired and the material lacks much variety. There are some good moments, including the single “Shot in the Dark,” but overall, Ultimate Sin is unable to push past the level of mediocrity. (more…)
Ozzy Osbourne – Blizzard Of Ozz (1980) Vinyl Rip in 24 Bit/96 kHz -> 960 MB | 16 Bit/44 kHz -> 300 MB | Complete HQ Scans | PNG -> 160 MB DR 11 | FLAC, IMG+CUE, No Log | Label: CBS/Sony Inc., Japan #25AP 1992
Ozzy Osbourne’s 1980 solo debut Blizzard of Ozz was a masterpiece of neo-classical metal that, along with Van Halen’s first album, became a cornerstone of ’80s metal guitar. Upon its release, there was considerable doubt that Ozzy could become a viable solo attraction. Blizzard of Ozz demonstrated not only his ear for melody, but also an unfailing instinct for assembling top-notch backing bands. Onetime Quiet Riot guitarist Randy Rhoads was a startling discovery, arriving here as a unique, fully formed talent. Rhoads was just as responsible as Osbourne — perhaps even more so — for the album’s musical direction, and his application of classical guitar techniques and scales rewrote the rulebook just as radically as Eddie Van Halen had. Rhoads could hold his own as a flashy soloist, but his detailed, ambitious compositions and arrangements revealed his true depth, as well as creating a sense of doomy, sinister elegance built on Ritchie Blackmore’s minor-key innovations. All of this may seem to downplay the importance of Ozzy himself, which shouldn’t be the case at all. The music is a thoroughly convincing match for his lyrical obsession with the dark side (which was never an embrace, as many conservative watchdogs assumed); so, despite its collaborative nature, it’s unequivocally stamped with Ozzy’s personality. What’s more, the band is far more versatile and subtle than Sabbath, freeing Ozzy from his habit of singing in unison with the guitar (and proving that he had an excellent grasp of how to frame his limited voice). Nothing short of revelatory, Blizzard of Ozz deservedly made Ozzy a star, and it set new standards for musical virtuosity in the realm of heavy metal.
For a quarter century, the Rock and Roll Hall of Fame has honored rock’s most influential figures. Last October, they celebrated their 25th anniversary with two star-studded, once-in-a-lifetime concerts. The 25th Anniversary Rock & Roll Hall of Fame Concerts documents these unprecedented events and features incredible collaborations. The roster featured a who’s who of rock including artists performing together in unique combinations that will most likely never be witnessed again.