November is Doom- Black Sabbath : "s/t"

 Ok, for our dedicated doom month, I'm reviewing every single Black Sabbath album, even the Tony Martin album. I reviewed all of Ozzy's solo work right after he died, so this only makes sense. This is being done in order so starting with the 1970 debut album. This album is 55 years old and has clearly stood the test of time. The riff that drives the e[eponymous title finds the "devil's note" at its heart beat, and this defines metal. Not to mention the stellar drumming of Bill Ward on this track and the fear and longing in Ozzy's voice. You would think that alone means I am giving this album an 11, and this is all delaying the inevitable. 

Well, one thing about this album is it does turn into a bit of a jam. The jamming starts a little with "the Wizard," which is a bit of a boogie; it's the taunt syncopation that holds the aggression of metal. Ozzy goes for his best blues phrashing when it comes to where to put his vocals. Billy Strings covering this song would be cool. "Behind the Wall of Sleep" is even more of a jam, but I really Ozzy's vocals on this one. Lyrically, Geezer Butler drew inspiration from an HP Lovecraft story, so Lovecraft left a lasting infger print upon metal that still finds bands drawing inspiration. "NIB" might be my favorite song from this album, but I have heard it a thousand times. Ozzy shows more of what he is capable of 

The version I am reviewing features "Evil Woman". The first cassette I bought of this was in 1987 had 'Wicked World" in its place, and the two songs have switched places over the years as a bonus strong. I prefer "Wicked World: "Sleeping Village" is a blue jam, that works for what it is, I really like the softer side of Ozzy's voice that is shown on this one. "the Warning" is even more of a jam though it feels like when things come togetrher at the end they finish the thought started in the prveious song. It's also very clear why Toni Iommi commands the attention of aspiring guitar players. I will give this one as ten as it's anchored by the three classics on the first side of the album that balances it all out. 

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Jerry Cantrell : "I Want Blood'

I owned "Boggy Depot", but haven't checked out his solo stuff since. I love his guitar playing but often feel with most artists' solo work, it is energy that would have been better invested in their main band. The first song sounds like Alice In Chains so it's hard to complain. There is a who's who of rock royalty on the album Robert Trujillo plays on the second song. The riff to this song sounds like it should be on a solo Ozzy album, making me surprised Ozzy has not tapped Cantrell for solo stuff. If this was all supposed to be on the next Alice In Chains album I would not be surprised. 

Duff Mckagan also joins him on "Afterglow", which feels like an Ozzy solo ballad run through the filter of Alice In Chains. The way the chords ring out could have been found in the band's later work. However, the chorus is not as strong as the previous songs. Duff is also back on the more rock n roll title track that feels more in line with Queens of the Stoneage, though I guess on "Facelift" there is some of this on the b-side. Marilyn Manson's drummer Gil Sharone, plays on this album though Mike Bordin plays on the title track. Still, it does not feel like the best use of his talents. It's basic rock n roll. 

Greg Puciato lends backing vocals to "Echoes of Laughter". It's a darker song, that tempers the brooding with soulful melody. The vocals on this album are really well produced. This might be the album's best guitar solo. "Throw Me a Line" is rock but with a slithering groove that works really well. It goes to show his songwriting ability has not faded since Alice in Chains. "Let it Lie" oddly has Bordin just playing the drum parts on the chorus, which I'm not sure they cut it that way, maybe he just got the best take. I like that it is darker which does give it more of the classic Alice In Chains feel, it could have been an outtake from 'Dirt". 

"Held Your Tongue" is more rock n roll, though is still doused in the nostalgia for Alice in Chains. At this point, it's clear, that Cantrell was carrying Alice in Chains, as he proves by making an Alice in Chains record by himself. It's weird because if this was an Alice In Chains album I would have been less hesitant to check it, going to show you how powerful the branding of a band is. "It Comes' is another Alice in Chains-like ballad, but I enjoy the mood it creates. I'll give this a 9.5, as it is the best Alice In Chains album that they did not make as a band. 

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Report to the Dance Floor- :Post Malone : "Hollywood's Bleeding"

If you are surprised I am covering this album then you must have missed out on my Taylor Swift review. It's ok it is only a few clicks back.  I see this guy as being about as Trap as Justin Bieber. Like Justin he makes some entertaining pop music. "Beerbones & Bentleys" was very hooky and well written. This is the bar this album is being held to. The opening title track is more atmospheric than his other stuff and not the most hooky The second song is better and plays more to his strengths. . He continues to sing more than he raps. Or another way to say this might be his supposed style of raps is sing song to the point of crossing over. By the time we get to "Enemies" he is locked back into his comfort zone.

The more new wave tone of "Allergic" is like the turn the Weeknd took on "False Alarm" . It's a cool song, but sets the record straight this is a pop album not a hip hop album. "A Thousand Bad Times" is another catchy song, though it justifies my Justin Bieber comparison. Lyrically this album falls along the same lines as the previous one. I might just need to grow on "Circles" is almost too happy for me. The bass contributes to this. The song is fairly guitar centered. Future joins him on "Die For Me" thus giving the song a stronger hip hop element. There is more auto tune on his voice on this one to conform more to the standard 2019 hip hop approach. Halsey also drops a pretty effective verse on this. He is doing what he does really well on "On the Road" which benefits from a solid groove.  Well... Ozzy is on "Take What You Want". It is a good song, but I am not sure how I feel for Ozzy's  sake.

"I'm Gonna Be" is an odd pop song. It might have to grow on me."Staring at the Sun" is another pop song, it has a lighter mood despite the lyrics though some what dialed in aside from the female vocal. There are however 17 songs so more margin of error. My guess is if this had been narrowed down to the 10 best songs it would have been am incredible album. The melody to "Sunflower" reminds me of M.I.A, what ever happened to her ?  It's beginning to add to the fact that this is a happier more upbeat album than the previous, perhaps he needs to do more drugs. At this point if you are not a fan of Malone you might wonder what   I consider a good song when it comes to Malone here,  this can best be explained by the song "Internet" . It is melodic pop with a drug glazed  attitude .  I am not looking for Morrissey quality lyrics. Sometimes he delivers this better than others "Goodbyes" just falls in the comfortable dialed in range of what he does.

"Myself" is well written for what it is and works for what he does. He needs to quit taking the meds the Doctors prescribe him and take the ones they are not.  "I Know" works , but is in the Bieberr zone. The last song "Wow" works for me after the second listen. The beat is pretty solid. I will give this album a 9, I could narrow this down to the ten songs that would make this a 10, but he would not stop while he was ahead so it is what is is and I am workign with what I am given. 

Playlist -London's Ozzy Mix

Since London has been getting into Ozzy , I decided to make her mix of Ozzy songs. These might not be the all time best Ozzy songs , so things like the song "Diary of Madman" and " Suicide Solution" are not included. But these are some of my favorite Ozzy songs, that are kind of a 101 into his more accessible fun songs, rather than the ones he wrote in a depressive drug binge, those are obviously the best song, but perhaps not for a 9.After all that what I listened to an we know the route I went. If you are not really familar with Ozzy's solo work then this is as good of a place as any to start, as I have pulled from a cross section from the 80s to more present.  

Devils Daughter



Let Me Hear You Scream



Breaking All the Rules




No More Tears



Over the Mountain


Waiting For Darkness


Ultimate Sin


Thunder Underground



Mr. Crowley

 

The Top 50 Metal Guitarists - 10 to 1

Here we are at the end of our Top 50 Metal Guitarists list, The death of a guitarist I played with turned my thoughts to what makes a good guitarist great. Metal finds the stakes for guitarists high. Shredding can come before playing a fucking song. While all of these guitarists can play a solo, I was also looking for tone, impact on the genre as a whole and how their personalities came through in their playing. So this list of the top 50 Metal Guitarists. If you don't find your favorite guitar player here then know they were just wankers.

 10-Adrian Smith

His Band is primarily propelled by the galloping bass, but they are also known for their twin guitar harmonies. His partner in crime Dave Murray could be on this list too, but Adrian Smith's playing always struck me as being a little more nuanced.


 9-Dimebag Darrell 

His vulgar display of riffing hits you like a cowboy from hell. His solos embrace chaos and melody. He has influenced modern metal tremendously,  his original styling and chops that managed to place him above his hero Ace, when it comes to metal Dimebag is just more fucking hostile.


8-Jerry Cantrell

Some of the more melodic and mournful grunge thanks to the drugged trappings of his band that killed their lead singer. Equally blues base as he is a technical shredder his metal chops can slip out of any run
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7-KK Downing

Until their peers Iron Maiden, Downing's band was not driven by the bass. They were less technical and sometimes more aggressive. It was their album "PainKiller" that really put un-believers to rest.




6-Piggy/ Denis D’Amour

 His sound evolved from dissonant thrash into a space age prog metal sound that defined his band's weird and wonderful brand of metal. While they took influence from bands like Killing Joke and Discharge, Piggy blended that with a angular metallic aggression to create one of the most unique sounds ever.


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5- Alex Lifeson

Lifeson beat out Piggy, due to the fact if his band did not exist then metal and progressive rock might not find themselves so often hand in hand. You might question how metal is Rush, so I suggest getting back to me after hearing "2112" and "Caress of Steel" this is not to say they were metal for the duration of their career as they became radio rock , but those two albums alone solidify his place here.

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 4-Selim Lemouchi 

 He died on my birthday four years ago. Seeing this guy live made me a believer as he was one of the best guitarists I have ever seen live. His band the Devil's Blood, played a jammy style of retro doom boogie. He has two other guitarists in his band that he had to play around and still found the space to do some amazing things.


 

 3-Randy Rhodes

 Some times his tone is too bright for me and I'll blame that on his days with Quiet Riot. He inspired a decade of shred, more tasteful than all the Yngwies , he blended the neo-classical touches in a hard rock context.



2-Andy Larocque

Andy beat out Randy because Rhodes' weakness is his strength, he plays darker. Andy also has a more aggressive playing style making him a much more metal player than Rhodes. Andy's style of playing fit perfectly with the horror motif of King Diamond's writing making them the perfect match.

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 1-Toni Iommi 

There was a second I had him at number two, but them I thought about the "Mob Rules" and "Heaven and Hell" albums where he plays with the same firey precision that Andy does and summons a similar darkness years before , not to mention his use of the devil's note created heavy metal so there is that.


 

Black Label Society: "Grimmest Hits"

You might be surprised that I have never listened to a Black Label Society album. I am a huge fan of solo Ozzy, so I like Zakk's guitar playing. I liked the Pride N Glory album. I caught Zakk Sabbath with Clutch. I am not sure why these guys never clicked. Perhaps it is the white trashy fan base that turned me off , who knows. The first song has more ambiance than expected, it's more grunge than the kind of metal I have heard these guys crank out in the past. Obviously the guitar solos are a big part of the song. He is good at what he does. The vocals kinda coast over everything. Very middle of the road. There is a little more of a Black Sabbath feel to the verses of "Seasons of Falter". The rest of the song is very melodic and about as driven as newer Alice In Chains. Zakk's voice sounds better on some of the more relaxed passages. The hardest hitting sections are where the guitar solo falls. Its not bad , but not blowing me away either.

By the 3rd song I have resigned myself to the fact this album is just not going to be as heavy as I was waiting for. In fact it's more rock n roll. "the Betrayal" is more up tempo, and his guitar has attack to it, tonally it's too warm and not enough low end on the mix as a whole to make it heavy. If you play guitar or are into shreddy guitar then this will be more your thing. Coming out of the solo there is a heavier riff, but it doesn't turn the tide a hell of a lot. They go for more of a doom tinged feel with "All That Once Shined", but in truth it's not much harder than Govt Mule. The vocals are all multi tracked. The guitar tone is surprisingly not as beefy either. Being in a Sabbath cover band has certainly influenced his riff writing. The drummer shows a little more of his chops toward the end of this song, but is careful to not eclipse Zakk's show.

His guitar playing is very tasteful on the southern rock ballad "the Only Words" that brings to mind the Allman Brothers or Stevie Ray Vaughn in terms of tone. "Room of Nightmares" is about as heavy as Stone Temple Pilots. It feels like he had these country/ blues tunes written and want to get them out so to kill two birds with one stone he was obligated to write some more aggressive rock songs in order to fill out the album and go on tour. There is more conviction in the chug powering "A Love Unreal". This where all the other heavier tunes need to be.So this album is hit or miss , but when it hits it really connects.  He maintains the momentum going into "Disbelief". Then it ebbs back down to a more soulful blues ballad with "The Day That Had Gone Away". It reminds me of a less vocally powered "Say Hello to Heaven". It is some of his most nuanced guitar playing. I think this kind of thing is the direction he really wants to head in. It continues to ebb and flow into more rock moments being crammed into the albums 3rd act. There is more of a Led Zepplin like groove to "Bury Your Sorrow". It ends with another southern rock ballad. At the end of the day is playing really sells these and the albums strongest moments balances it all out so I'll give this one a 9.

Black Sabbath : "The End" ep

The only good thing to come out of David Bowie's death is he is now perfectly preserved and there is zero chance of him diminishing his legend. Ozzy and the boys are still kicking the chance that they could taint my memories of Sabbath are very real. The chug that drives this song, works but does it living up to the monolith of music that is their first 11 albums and If we are counting the Dio albums and "Born Again" as the classics, so some people might dispute "Technical Ectasy" and "Never Say Die " as classics , truth be told, I have given the Dio albums more air time than those two. The four new songs were from the "13" sessions, so are the four song that didn't make the album. "13" is not a bad album. It got an 8 on here. So falls short of "Blizzard of Ozz" and "Diary of Madman", and more than likely even "No Rest For the Wicked". Middle of the road solo Ozzy.

The militant chug to "the Season of the Dead" marches in a manner that would be impressive if it wasn't from the band who wrote the book on metal, instead it feels like they are pulling from the cliff notes. "Cry All Night" sounds like it  was left off "No Rest For the Wicked" rather than a Sabbath. Though it's giving Ozzy props since that album came out in 1988. The middle section where the solo surfaces is the first place where it really feels like Sabbath.   This one grew on me the most after repeated listens. Half the drums on this album are handled by Tommy Clefetos a session guy who has played with Ted Nugent, Rob Zombie and Alice Cooper.


Geezer has some nice runs and proves he still has the chops on " Take Me Home" and the song has some mean punches to it that are heavier than most solo Ozzy, but does this measure up to Black Sabbath? The acoustic section in the middle reminds you Tony Iommi is much better than people give him credit for, but from a song writing perspective, Bill and Tony need to take the wheel from Ozzy, who is doing what he does, but this is what he does post "Bark At the Moon".  There is more fire in the attack of "Isolated Man".  I don't mind the lower voiced Ozzy melody on the verses, it's a cool effect and it would have worked well on "Ozzmosis" .  I'll give these songs a 9,  for a man his age Ozzy sang his ass off and sounds as good as he did in the late 80s. Even if Iommi is dialing it in he captures enough moments to remind you who he is.

The Weekly Shuffle

Yep... here we go again, I hit shuffle on.. well iTunes as my iPod has bitten the dust, if anyone know a spell to resurrect an iPod classic please hit me up and let me know or how to get the volume to work after the Apple store cleans lint out of the head phone jack then hit me up.  So with that said reviewing the first ten songs that crop up.  

"Back Door Man" - the Doors

They take a simple blues jam and turn into something drunkenly great, most of this lies on Morrison, but the drumming and guitar playing on the song is pretty classic as well.

"Her" - Swans

Gira's voice sounds great when he lays back and croons.Sounds like it was at its peak on the "Love of Life" album which had the band at the perfect balance of punishing and melodic.

"Diamonds and Rust"  - Judas Priest

They now own this Joan Baez cover. Halford is more restrained her and really serves the song in more of a mid range croon. It has more of a Heart like gallop in this incarnation.

"Unearthly Kingdom" - Immortal

This band really find powers when they slow down and find a groove like this. The croak of the vocals form a creepier narrative at this tempo. When it does pick up the pace its more double bass driven than blasty.  The guitar playing on this part sounds mean as hell

"What She Said" - the Smiths

This is an underrated song by the band , because it's not played at 80's night or Brit Pop night or where ever kids are dancing to "Girlfriend in a Coma" and "How Soon is Now". It kicks pretty hard so it's not for the pop minded.

"How Does the Grass Grow?" - David Bowie

It holds the quirky sensibility of  Scary Monsters mixed with the almost doo-wop of Aladdin Sane. The bass is killing it on this song thanks to Gail Anne Dorsey. This songs holds up to the rest of Bowie's work which says a lot.

"Curse of the Pharaohs" - Mercyful Fate

 Why Metallica ever attempted to cover this with James singing I don't know, as King owns it even thought the majority of the song is in his more crooning voice, which I have grown over the years to appreciate almost as much as his shattering upper register.

"Flying High Again" - Ozzy

As far as the songs on Diary of a Madman, this is one of the cheesier platters on the album, steeped in the sounds of the 80's from which it came. Most of this is on Randy Rhodes, whose playing is the most dated element to the song. I think Diary is a much better and darker album than Blizzard, though Blizzard has it's moments, It's Ozzy we are taking about so even at his worst he is endearing, if you are a total metal guitar geek then this song can do no wrong.

"Johnny the Fox Meets Jimmy the Weed" - Thin Lizzy

It took me a long time to get into this band as the singers sounds like a cab driver from Jersey. It came down to me hearing some of their deeper album cuts to really appreciate them. These guys are clearly a guitar players' band, they have incredible tone and are pretty versatile songwriters, even if you don't like their more beer commercial efforts like the "Boys are back in Town".

"Black Dragon" -Dissection

I'm not sure why Reinkaos gets so much flack, sure compared to Storm of the Nights Bane its a little on the cock rock side, but these songs are all awesome, this one might have its black wings raised above the rest. Awesome riffs and groove with a great sense of dynamics.      

The Top 100 Greatest Metal Albums: 10 to 1

Here we are at the final top ten of our The Top 100 Greatest Metal Albums of All Time.

10- Dissection-Strom of the Light's Bane

This Swedish band bridged the thrash with black metal.



9- Dio - Holy Diver

Last In Line is a great album and it set Dio apart from the other bands he had sung for, but Holy Diver is tighter more dynamic song writing.



8- Voi Vod- Dimension Hatross

Light years ahead of it's time this sci-fi based Canadian thrash band took a turn to
progressive.

7- Slayer -South of Heaven

Sure Reign in Blood is a great album, but this is where thrash got it's groove back .



6-Ozzy Osborne- Diary of A Madman

Blizzard might have the hits but Diary is darker and harder. The title track alone sets it apart from his first solo album.



5-Mercyful Fate-Don't Break the Oath

The vocals on this blow the other Fate albums out of the water and the guitar tone is fuller.



4-Judas Priest - Sad Wings of Destiny

They go beyond just rock to more dark and progressive place here.



3- Black Sabbath- Sabotage

Not the tired old greatest hits, but a drug band who dabbled in rock.



2-Iron Maiden - Number of the Beast

For any one who wants to say Dianno era is better, none of the songs could have seen the light a day with him singing them.



1-King Diamond - Abigail

This album has every element you could want from a metal album, blazing leads, amazing drumming and some of the best vocals ever recorded with the power of Halford , but delving in much darker places. The heaviest of his solo work.

Black Sabbath; " 13"

We put the Masters of Reality up on a pedestal due to who they are but have forgotten their Hands of doom have been very human and very flawed in the past.   Unlike David Bowie , Sabbath’s body of work was pretty spotty after Sabotage , with Never Say Die and Technical Ecstasy  being downright silly but having a few good moments, the Dio years were strong and I think I wanted dehumanize to better than in fact it was , we won’t even get into How bad the album Forbidden was, then take into consideration how bad Ozzy’s solo work has been for over a decade Ozzmosis was really the last album worth a shit and the deck is stacked against them as far a my expectations, if you couple this with the lack luster single “God is Dead”.Brad Wilk of Rage Against the Machine is the drumming on this and it goes against his normal style but her adapts well, I would have chosen a more metal drummer but oh well…

 The Opener, which is the second single that premiered on CSi, which was a very metal choice for them, but thank Sharon for her dedication to besmirching the Sabbath Legacy.  It’s not a bad song, is it, color by numbers for them? Yes, and with Rick Rubin producing it, there is a very organic warmth to it, think somewhere between a Danzig album and the in-your-face dryness of Reign in Blood.  It sounds like a heavier solo Ozzy because of his worn-out vocals don’t have the bite they did on the original albums. I think the multi-tracked chorus effect production of his vocals on his solo albums does his voice more justice. But this song passes for what I will expect from a Sabbath reunion of sorts.

“God is Dead” gets another listen to me, and here’s hoping the media player I first heard it on was compressing the shit out of it, as they tend to do. The vocals sound better than I remember, so that helps, and I like what he is doing on the verses. The lyrics are reheated cliches I think Geezer should have overseen them more than Ozzy, the melodies are more solo Ozzy than Sabbath.

“Loner” has more of an arena rock swagger to it than I would think they would take , almost going back to No Rest For the Wicked  cock rock Ozzy if it was produced with a Queens of the Stoneage faux sludge. This would be good solo Ozzy and as I have predicted better than post-Born Again Sabbath, but not classic.  The solo is the most concerning aspect of this one because it sounds like Mick Mars not Iommi, who I have long considered to be one of the great under rate soloists.

“Zeitgeist” goes to quick to the Planet Caravan balladry for my tastes, but I the effects on Ozzy’s voice and Geezer showcases some very tasteful melodic playing on his part. Iommi does whip out a cool solo toward the end but overall it’s a little too “ Momma I’m Coming Home” for me. “ Age of Reason” once again reminds me of the one song I use to like off “Ozzmosis” but is not on par for Sabbath but isn’t shabby for an Ozzy solo album, which for practical purposes this is just with Butler and Iommi on the payroll. Which is how Sharon sees it I’m sure and IT would sell more in this day and age with the Sabbath brand rather than as a another solo Ozzy album which most metal fans as a reality tv buffoon who use to be in a really awesome band but tolerate like a crazy uncle.

“Live Forever” sounds like pretty generic metal riffs, that sure at one time they might have left their thumbprint on but it would put them in the same boat like band such as Motorhead who only rips themselves off. The same could be said for “Damaged Soul” but it does so with more conviction and the vocal production works better. Once again there’s too much of a wink at bands they have influenced , in this case Down or bluesier Pantera, with Iommi on  autopilot until it comes to letting it rip on the solos , however on auto pilot these guys are better than the bands they spawned. The vocals on the bridge also sound more like Sabbath and less like solo Ozzy, which is a plus in my book.  The closer “Dear Father” has a doomish creep to it and Ozzy’s voice is well aware of its limitations is shielded by suitable production. Is this going to win over any new fans? I doubt it , it doesn't exactly school the kids on the magnitude of influence the originators of metal have had but for old timers it hits enough of a sweet lead spot on the nostalgic heartstrings to satisfy the black masses, but really how many of these songs will they really try to put up against the classics live ?    I’ll give this an 8 as it’s more like a 7 as a Black Sabbath album but the best shit Ozzy has personally done in 15 years .   

God Bless Ozzy Osborne

It's a slow time of year for new stuff though I have a backlog of reviews 'm finishing up, but I was watching this documentary on Ondemand so I'll write it up. My three year old daughter was trying to figure out what this was about when they went into the history of his life and I told her, "This is about a boy who grew up to become metal". With the surge in stoner rock Black Sabbath continues to be the one metal band acceptable to like from that era. But as a kid before I got into Sabbath , I was into Ozzy's solo stuff. Sure I had "Speak of the Devil" so I knew all the Sabbath songs on there and I even bought the two Dio Sabbath albums before I started collecting Sabbath proper in High school and discovered the Majick of the real Sabbath.

Jack Osborne made this film and it bears a similar formula to the one Sam Dunn applied to his films like the Rush Documentary, my favorite part of this style is the interviews with other musicians interspersed through out, this one features Paul McCartney, Henry Rollins and Tommy Lee.

Of course the beginning digs into the early days of Sabbath which is like watching the origin section of a superhero movie which has been covered in Vh1's Behind the Music, Metal a Headbanger's Journey and the Metal evolution series. I do like hearing the epic drug stories, it sounds like Geezer and Bill ward were his drug buddies while Iommi was more reserved. From reading the Doors biography, I'd sy Sabbath did more drugs than the and a wider variety than Mötley Crüe.

One thing I like about this film though I during the Osbornes I began to resent the buffoonery that Sharon obviously had him play up, do I think someone who survived a addiction doesn't have the wits to use a remote control? Of course not, I was once an addict so you can't fool me sure, I don't know where I put my keys and my phone some of the time but Ozzy has always played up his personality it's part of his brand. I think the image foreshadowed what he does for a time and it's been hard for him to be taken seriously now. This film the act is dropped and it's a more honest look at his behind the scenes.

There a really cool clip of them playing "Never say die" on top of the tops. Most of the other Sabbath footage isn't all that rare the standar California jam clips. I also like the fact there a good balanced look at his firing from Sabbath. Of course Dio is glazed over they go into Sharon managing Ozzy and Randy Rhodes discovery. Of course Ozzy's solo career would eclipse Sabbath for a time. I guess this transition was always something I had taken for granted and without a doubt those first two albums are prefect....10s if you are keeping track of my scoring . Granted Sabbath albums from the first until the technical ecstasy days would be tens as well.

Of course going into his thirties he was bloated from drinking, but until he got sober around no rest for the wicked. I would have been good with less Sabbath and more of the Randy Rhodes years as Randy shows up and then dies why not talk about the sessions and tours for Blizzardand Diary. There's a good segment of him watching his videos for. The eighties, of course he doesn't remember making them. Any fan of Black label Society needs to watch any video from No Rest Days as he is cock rocking.

It puts the pill addled days of reality tv in prespective as he discusses his current sobriety. It's in these moments the most wisdom comes, but after this I watched "I'm Your Man" the Leonard Cohen documentary, which I told some one was more compelling as Cohen actually has insightful things to say where even in his most lucid Ozzy comes off as endearing at best, though far from the fool he has let himself be portrayed as . So if you were a fan of the show, you will be disappointed, but you have no respect of them as legacy to have watched it in the first place so go drink Draino for your suicide solution.

For any fan of the Oz it's a worthwhile watch though maybe not on my top ten rock documentary list.