Review: Ozzy Osbourne, ‘Patient Number 9’ – Glorious Metal LP Packed With An All-Star Band

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“It’s one of those days that I don’t believe in Jesus…” – Ozzy Osbourne, “One of Those Days”

I can’t tell you how good it feels to have a new Ozzy album out in the world. It’s like having your favorite, cool uncle who used to slip you beers at wedding receptions in town for a long visit. Ozzy went a decade between 2010’s Scream and his next album 2020’s surprise comeback LP Ordinary Man. We loved Ordinary Man here at B&V. But then we’ve been an Ozzy fan from the start. Well, almost from the start. I merely taped a friend’s copy of Blizzard of Ozz. At the time I was actually more into the Dio incarnation of Sabbath but there’s room for both in any record collection. My first Ozzy album purchase was actually Diary Of A Madman, his second LP. I had to wait until I was in college to finally see Ozzy live on the Ultimate Sin tour in Wichita. Jake E. Lee was his latest guitar wizard in 1986 and it was a great show.

Rather than waiting a decade for another album, apparently only four days after Ordinary Man came out, Ozzy grabbed producer/guitarist Andrew Watt and headed back into the studio to record the follow-up. I really like Andrew Watt as a producer. Besides Ozzy he also produced the fabulous Eddie Vedder solo LP, Earthling. The strategy on this LP was very similar to the last album – recruit top notch players and rock out. Much is being made about the all-star cast of guitarists who play on this album, but there are great musicians on every instrument here. While Chad Smith mans the drum kit for most of the songs on Patient Number 9, like he did on Ordinary Man, there are a few tracks where the late Taylor Hawkins drums. It makes me wonder if these songs were Hawkins’ last recorded tunes? Metallica’s Robert Trujillo, who actually played in Ozzy’s band before joining Metallica, plays bass on most of the tracks. But, Duff McKagan from Guns N Roses mans the bass on several of the tracks. And former Jane’s Addiction bassist Chris Chaney plays on “Nothing Feels Right.”

When you have a bunch of guest stars playing on an album I always wonder about continuity. Will the songs hang together well as an album? Recently Edgar Winter did a fabulous tribute album for his brother Johnny, creatively titled Brother Johnny. There was a host of guitarists who showed up to pay tribute to the late, great bluesman. I felt the album, reviewed in these pages, held together well because all the tunes were in a blues framework. I think despite all the guest appearances Patient Number 9 holds together so well as an album because a) it’s all in a heavy metal framework which keeps everyone rocking in the same direction and b) the base band for this album: Andrew Watt/guitar, Robert Trujillo/bass, and Chad Smith drums – who all play on a majority of the tunes – hold the continuity together from Eric Clapton to Metal Viking Zakk Wylde. It doesn’t matter who plays lead guitar, they have to play with the band. Everybody, including Ozzy, plays with enthusiasm and gusto. Despite some heavy themes you can feel the joy coming off this album.

It’s clear Ozzy has mortality on his mind. With titles like “Dead And Gone,” “Immortal” and “Mr. Darkness” it’s not hard to figure out where Ozzy’s head is at. But in the years since Ordinary Man the Ozzman has “been through hell.” He was diagnosed with Parkinsons. He got Covid. It’s a wonder he got this album out. While I doubt he’ll ever tour extensively again I think having this wonderful metal LP is a blessing. I can understand after all he’s been through why Ozzy sings, as I quoted above, about it being “One of those days that I don’t believe in Jesus.” I think we’ve all had those moments when we feel abandoned by Fate. I will say, and it was the Rock Chick who noticed this first, Ozzy’s voice does sound a bit treated on this album. It’s auto-tuned in quite a few places. But hey, it’s Ozzy I can forgive that. And again, you can tell everyone including Ozzy had so much fun on this project the heaviness doesn’t get to you.

I just love this album. If push came to shove I’d probably admit I liked Ordinary Man just a smidge more but that’s mostly because it’d been 10 freakin’ years since we’d heard from Ozzy and it was such a pleasant surprise. There is a lot to like here. As promised it’s a smorgasbord of guitarists. Ozzy managed to get two of the three former Yardbird guitarists to play on this record. Jimmy Page was approached and declined but I don’t think Jimmy plays that much any more which is a shame. Mercurial Jeff Beck plays lead on two of my favorite tracks here. I love the title track which features Beck’s fabulous solo’ing but I reviewed “Patient Number 9” already. Beck also plays on the power ballad “A Thousand Shades” and his playing is so melodic it’s one of the absolute highlights of the LP. Jeff Beck needs to rock out more. I was stunned when I read Clapton agreed to play on this album. He shows up on “One Of Those Days,” quoted above. I don’t know how they did it but Clapton plays like he’s still in Cream. It’s a great solo and perhaps the best solo Clapton has played since he guested on the Steve Winwood tune “Dirty City.” (Seriously, check that tune out).

While much has been made of Ozzy getting the former Yardbirds to play on this record for me two of the best moments on this album are when Ozzy teams up with his erstwhile bandmate from Black Sabbath, Tony Iommi. Those two go together like peanut butter (a substance I was forced to give up) and jelly. “Degradation Rules,” reviewed previously, an ode to masturbation – although I can’t decide if it’s pro or con – is a wonderful, sludgy metal tune and sounds like an outtake from Masters of Reality. Iommi’s guitar is unmistakable. Ozzy even plays some harmonica on the track, which I love. The other Iommi track is the epic “No Escape From Now.” It starts off like the spooky “Planet Caravan” from Paranoid but then the band shifts through several time changes. They go fast, they slow down. Then the band falls away and Iommi drops some of the heaviest riffage I’ve heard since Vol 4. His solo’ing on this song is so epic and beautiful it belongs in an opera.

Pearl Jam’s Mike McCready shows up on the heavy track “Immortal.” His solo verges on Eddie Van Halen territory. Many notes are shredded. It’s wonderful. He really acquits himself well here. Dave Navarro of Janes Addiction (and briefly the Red Hot Chili Peppers) shows up on the other power ballad here “God Only Knows” and it’s actually one of my favorite tracks. There’s a track on here that doesn’t credit any lead guitarist, “Dead And Gone” that is also an absolute highlight. It takes me back to “Shot In The Dark” just a bit. I’m guessing Andrew Watt saved that solo for himself. Although I’ve heard that Josh Homme from the Queens of the Stone Age played on here somewhere – I can’t find him in the credits – and maybe it’s him. All of these are great moments.

Ozzy’s longest tenured guitarist Zakk Wylde shows up on more tunes than any other guest guitarist. The guy is just a Heavy Metal Viking. He’s got to be a  head taller than Ozzy. I saw them together on the Black Rain tour and it sounded like an airplane landing in the arena. My favorite of the Zakk tunes is probably “Evil Shuffle.” That’s pretty much how the Rock Chick sees me walking through the house – with my evil shuffle. Its a typical, HEAVY Zakk tune. “Mr. Darkness” about an obsessed fan “stanning” over Ozzy is another Zakk highlight. “Nothing Feels Right” which was released as the third single could be seen as Ozzy giving us the state of his health over Zakk’s soaring guitar. It’s all great stuff.

If I had any complaint about this record – and I don’t really – it’s that it feels a little longer than the sixty minute running time. They likely could have edited a few things out. There’s a little bluesy throwaway at the end, “Darkside Blues,” where Ozzy again plays harmonica that they could have cut. It’s only a minute and a half long. Although I kind of wish they’d fleshed that out into an actual tune because well, I love the blues. They could have cut the “scary monster, b-movie, horror film” intro on the title track. And they likely could have cut one of the four Zakk tracks to streamline this thing a little bit. But again, complaining about too much Ozzy on an album is like complaining about too much money in your checking account.

This is a great album and a wonderful celebration of the man, the myth, Ozzy Osbourne. The Ozzy comeback or renaissance continues strong on Patient Number 9. I’ll probably spend most of my weekend up in the B&V lounge cranking this metal mayhem up to 11 and spilling Woodford Reserve on the carpet. This one is a must have for all you hard rockers out there. Enjoy this one at max volume!

Cheers!

New Song: Ozzy Osbourne, From ‘Patient No. 9,’ – “Degradation Rules” Reunites Him With Sabbath Pal Tony Iommi – Heaviness Ensues

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While I was busy putting together my 1982 themed playlist last week Ozzy Osbourne released the second track from his upcoming LP Patient Number 9, a new song called “Degradation Rules.” I think everybody knows by now that I’m an Ozzy fan from way back to his early solo days working with Randy Rhoads. Although, I’m embarrassed to admit I was only vaguely aware that Ozzy had originally been in Black Sabbath… the ignorance of youth. I was very into the Dio era of Sabbath and somehow didn’t connect that with Ozzy. Admittedly that ignorance didn’t survive graduating high school. When I got to college I realized that Ozzy and his former bandmates in Black Sabbath invented heavy metal as we know it. It was during my college years I started to grab up Sabbath’s classic albums like Paranoid and Masters Of Reality. Although admittedly I only had the latter taped on a blank cassette.

Speaking of Sabbath, on this new song “Degradation Rules,” Ozzy is teaming with his erstwhile guitarist from that legendary band, Tony Iommi. Ozzy and Iommi go together like peanut butter and jelly. I was blown away by Black Sabbath’s reunion album back in 2013. I was also lucky enough to see them live on that tour with a miscreant group of guys from Salina (Black Sabbath Live; The Four Horsemen of the Salinapocalypse). That album, 13, ranks among Black Sabbath’s best in my opinion. I only wish B&V had been around to review it when it came out. It was produced by Rick Rubin who told the band, “Pretend Paranoid just came out, what would you do next?” I don’t know if Rubin is very technical as a producer but he does capture a vibe. I would recommend 13 to any heavy metal fan out there.

I think Iommi and Ozzy go together so well I actually also picked up the track they did together on Iommi’s 2000 sol-LP creatively entitled Iommi, “Who’s Fooling Who?” It’s definitely worth a listen. I would also highly recommend the track “Flame On” from that LP sung by the Cult’s Ian Astbury… but I’m getting off track. Ironically Iommi and Ozzy were joined by Sabbath’s original drummer Bill Ward on “Who’s Fooling Who?” but bassist Geezer Butler didn’t play on the song. And then when they reunited for 13 it was sadly Ward that was left out and Iommi/Butler/Ozzy performed on that LP. Such drama…I blame Sharon. What I’d give for a full Black Sabbath reunion!

It was only a few weeks ago Ozzy released the title track from the upcoming Patient Number 9. That song featured legendary guitarist Jeff Beck and I dug it. Although I must admit the Rock Chick was merely lukewarm. I think she liked it, but she didn’t love it like I did. But then again, I really like the way Jeff Beck plays guitar from way back to his days with the Yardbirds and with Rod Stewart in the Jeff Beck Group. I have to admit I’ve been listening to “Patient Number 9” a lot and it sent me back to listen to 2020’s Ordinary ManIt really sounded like Ozzy was having fun on that Andrew Watt produced gem. Watt is back onboard and has produced this new album which comes out in early September…

I was delighted when I played “Degradation Rules” for the Rock Chick and she sat bolt upright on the couch and said, “Now this is what I’m talkin’ about! Heavy Ozzy!” I also checked in with my buddy Drummer Blake and he agreed, “It’s awesome.” It’s hard not to dig the heavy, sludgy riffs on this song. It sounds like it could have been an outtake from Masters Of Reality. It’s just so… “Sabbath-y.” The first thing you hear is that Iommi signature riff-age. He takes us down into the sludge in a very good way. There is also a great harmonica which reminded me of Black Sabbath’s song “The Wizard” from their debut album. RHCP drummer Chad Smith bashes out the beat here.  I can tell Ozzy is still having a good time – he must be to record 2 albums over 2 years after being away for a decade. On the last LP he did songs about cannibalism (“Eat Me”) and alien invasion (“Little Green Men”). “Degradation Rules” tackles the thorny subject of masturbation. “Stuck inside a dirty dream, The hand that feeds you also turns you blind, turns you blind.” Ahem.

Here’s the track:

Ozzy has always seemed to find stellar guitarists to work with. He started with Iommi, then went on to Randy Rhoads, Jake E. Lee, and Zakk Wylde to name but a few. It looks like on this next album he’s playing with a bunch of different ones both from his past and some unexpected guitar collaborators: Eric Clapton, the aforementioned Jeff Beck and Pearl Jam’s Mike McCready. I heard he tried to get Jimmy Page (to collect all three Yardbird guitarists?) but Jimmy declined. I don’t know if all of this will hold together over the course of an entire album, but I trust Andrew Watt to navigate those riffy waters.

Turn this one up LOUD and prepare to RAWK!

Cheers!

Review: Ozzy Osbourne’s New Song “Patient Number 9” With Jeff Beck! On Guitar

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When I was a youngster it seemed like summer vacation flew by, as Jackson Browne sang, “in the wink of an eye.” I always loved summer vacation – I didn’t have to go school, aka Elementary Prison, for a few months.  Now that I’m a working adult I have no extended summer vacation. Summer is now more akin to what Springsteen sang, “Summer’s long but I guess it ain’t very sweet around here anymore.” I think the reason summer flew by when I was a kid is that I missed all the signs that it was passing by me. School would end, Memorial Day would come – the unofficial start of summer in the U.S. – and we were off and running…the next thing I knew we’d be in the mall at the “back to school” sale buying jeans. This year, despite my corporate masters, I plan on enjoying summer. My goal this year is to blast my Summer/Sun playlist as much as possible and more importantly to get a tan. Not that blotchy farmer’s tan but a real life, head-to-toe, “I work outside” without a shirt tan. No more looking like a cadaver for me this year. Memorial Day came and I celebrated. The Summer Solstice came and I was out there doing my pagan thing, dancing naked in the moonlight like I was in a Thin Lizzy song. Now Wimbledon has come and I’m wearing white all day. It’s ok until Labor Day. This coming weekend is 4th of July… Man, it really is summer. More importantly, I can tell it’s going to be a great summer because Ozzy Osbourne, the Prince of Darkness has released a soaring new rock song, “Patient Number 9,” as a precursor to the album of the same name (Sept 9th release date).

I’m on record as being a big Ozzy fan. I became a rock n roll fan in the late 70s, when I was in junior high or middle school as it’s known now. It was kind of a weird time to start listening to music. If you were a fan in the late 60s or early 70s you were probably into Sabbath and Zeppelin. When those bands split up or fractured you may or may not have jumped on the “solo” bandwagons. I could see fans of those type of bands just staying dialed in on that music and not moving forward. They say our music tastes tend to calcify around what we listened to in our late teens. But for me there was both – there was the great music of the 60s and 70s from classic, hard rock bands AND solo music from those guys after their break ups. Robert Plant for instance. I got into rock music just in time to catch Zeppelin’s In Through The Out Door, which we all loved, despite what the critics say. But merely a few years later, Plant came out with Pictures At 11. I just saw this week on social media it’s the 40th anniversary of that album… Man, I love “Burning Down One Side.”

The same thing happened with Ozzy, albeit it a little sooner. I really dug his debut solo album with Randy Rhoads on guitar, Blizzard of Ozz (although I only taped it on a cassette at the time). But I also really liked Sabbath. Although, admittedly I was originally only into the Dio-era Sabbath LPs, Heaven And Hell and The Mob Rules. I’m not sure I even connected Ozzy with Sabbath until I was in college… every rock n roll fan’s knowledge grows on it’s on pace, folks. I purchased Diary Of A Madman almost the minute it came out. “Flying High Again” with those great lyrics, “Mama’s gonna worry, I’ve been a bad bad boy, no use saying sorry, it’s something that I enjoy” were, shall we say, somewhat autobiographical for me at the time. After that I can honestly say I’ve purchased almost every single Ozzy LP. He’s like the Black Keys or Tom Petty, just putting out consistently great music. I think the only LPs of his I don’t own are The Original Sin and Ozzmosis. Although I owned Ozzmosis at one time… not sure if someone took off with it or I sold it at the used record store for reasons unknown.

I began to worry about Ozzy after Scream. With his health scares and accidents I was concerned he’d hung it up. I knew Sharon had run off Ozzy’s long time guitarist Zakk Wylde after the sensational (and sensationally overlooked) album Black Rain because she said it sounded too much like Zakk’s Black Label Society. I disagree but the Rock Chick really takes umbrage with that statement. But then in 2020, after a 10 year absence, Ozzy released the Andrew Watt produced album Ordinary Man. And what a great comeback that LP was. It was the best thing I’d heard from Ozzy in quite a while. Ozzy had so much fun doing that one I heard he immediately scheduled time with Watt to produce the follow up, which comes out on Sept 9th, Patient Number 9. Like Ordinary Man on this new LP there will be many special guests. Slash and Eric Clapton are both said to play on a song or two. I even read that Ozzy tried to coax Jimmy Page to play on a track but he declined. If he’d said yes, Ozzy would have collected all three of the famous Yardbird guitarists: Clapton, Jeff Beck and Jimmy Page. It was a noble plan.

Luckily for Ozzy, Jeff Beck said yes and he’s the lead guitarist on “Patient Number 9.” Coincidentally I’ve been a huge fan of Jeff’s for a long time. I really loved the original Jeff Beck Group but that was mainly because I was a Rod Stewart stan in college. Those albums led me to the Yardbirds and Jeff’s solo albums Wired and Blow By Blow. If you’re a fan of guitar – and an amazing guitar tone – pick up those last two records. I absolutely love Jeff Beck’s playing on this new Ozzy track although in the interest of full disclosure, the Rock Chick misses Zakk Wylde’s heavier, thicker slabs of guitar. To each their own. I’m just lucky I’m married to a woman who notices the difference…

It was my buddy Drummer Blake who first texted me that the tune was out. He’s a huge fan of Jeff Beck and of course, Ozzy as well. I had already heard the tune once. He did point out to me that it has that typical Ozzy intro. You know, it’s got synthesized strings and the sound of eerie laughing. We get it Ozzy, you’re crazy, you’re scary… you’re the fucking Prince of Darkness. But at this stage of the game you don’t need that crap. After you get through the B-movie horror film intro the riff kicks in and the song just takes off to me. I love Jeff’s playing on this song. The opening riff, after scary Ozzy time, just bores into my head. Ozzy’s voice is strong and loud. The chorus is soaring, and when Ozzy sings “When they call your name better run and hide, tell you you’re insane, you believe their lies. I’m not getting out, no I’m not getting out alive…” you tend to believe him. The first solo is a wonderfully off the chain Jeff Beck solo. He’s torturing that guitar. He gets the greatest sounds out of his guitar. The he even comes back for a second solo after the ethereal bridge. Two Jeff Beck solos in one song, yes, please. Here’s the official video…It’s ok, I just watch it to hear the song.

This may be an odd pick for my “song of the summer,” it’s pretty dark after all, but this may be my summer jam. Ozzy has had so many wonderful guitarist he’s worked with: Tony Iommi, Randy Rhoads, Jake E. Lee, Zakk Wylde, Gus G, Andrew Watt, Slash and now Jeff Beck. And he always melds so well with each of them. Hell, hearing this song I can only wish that Jeff Beck was the lead guitarist on the entire album.

Who knows what this means for the upcoming Patient Number 9 LP but knowing how consistently awesome Ozzy’s been over the years, I think it bodes well. I’m not sure whose in charge of quality control down at the Ozzy camp but they deserve a raise. Andrew Watt as producer is bringing out some vintage Ozzy sounds on these tunes and I’m here for it!! Although even I have to wonder how Ozzy and Clapton are going to sound together? But hey, if Ozzy can pull off a collaboration with Elton, whose style is so different than his, he can play with anybody.

Cheers! and of course, Happy Summer.

Editor’s Note: You can find our thoughts on Ozzy’s entire new LP, Patient Number 9, at the following link: Review: Ozzy Osbourne, Patient Number 9: Glorious Metal And Packed With An All-Star Band

B&V’s Best of 2020: New LPs And Live/Vault/Archival Releases, Bad Year/Good Music

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I can’t believe 2020 is almost over. Most years I blink and the year is gone. I can’t really say that about this year. In a matter of two days I’ll be scribbling a “1” over the “0” in the date column on my checks… “Oh it’s 2021 not 2020, sorry.” Yes, I still use checks… you kids and your “apps.” At least this year, in Christmas cards, I didn’t have to read everybody’s not-so-humble bragging about what they did in 2020. This year we’re all just glad we survived. While 2020 was a long slow slog in most areas, it was actually quite a nice year for music. I find myself, in my prior year end retrospectives quoting Don Henley, “It was a pretty good year for fashion, a lousy year for rock n roll.” I certainly can’t say that this year. I will say there is one glaring exception to my 2020 rosy music view: concerts. I miss live music so much I can’t stand it. I’m hopeful, like I never was at the beginning of 2020 about anything, that in 2021 I will be standing in a darkened room in front of a band with my hands in the air, screaming wildly. If Springsteen and the E Street Band’s SNL performance is any indication… I think these musicians are ready to go and are going to come out firing once “the coast is clear” as they say.

It was, if I may say so, a great year at BourbonAndVinyl. I want to say a big Thank You to all the readers, commenters, and followers out there – both those joined us this year and to all of you have been around a while as well. I started this thing with a dialogue with fellow music (and bourbon) lovers in mind and this year that concept came to fruition. With musicians off the road this year, so many acts chose to put out new music or cull through their archives. I found myself writing a lot more than in previous years… sorry if that was a little overwhelming… I get excited about music and I have to share. If you’ve enjoyed B&V this year – tell a friend. All music lovers are welcome. Hopefully I’ve turned you on to something you might have missed which is our goal here at B&V.

There were huge losses this year in rock n roll, too many to enumerate. I was saddened to see Bill Withers pass away this year. “Ain’t No Sunshine” is still one of my favorite tracks. I’ve been hearing “Lovely Day” a lot on commercials lately. Glad to see Bill get some recognition. I was rocked this year by the loss of two titans of rock n roll in the B&V universe. Losing drummer/lyricist Neil Peart of Rush really rocked me. I can still remember the first time I air-drummed to 2112 in junior high school. Rush was so huge here in the heartland, Peart’s loss reverberated through everybody. Making things worse, this year we lost one of the greatest guitarists to ever strap on the instrument, Eddie Van Halen. That one left a mark. Van Halen’s music is such an integral part of my listening as young man it’s almost a part of who I am. Hard, edgy and yet funny at the same time. I loved that band from Van Halen to Fair Warning to 1984 to For Unlawful Carnal Knowledge. Eddie’s guitar playing was always the price of admission for me. He redefined the instrument and that doesn’t happen much, perhaps once every generation or so. His presence, warmth and smile will be missed.

So plentiful was music in 2020 it’s hard to think of an artist who didn’t put out something new or something from the archives. I barely scratched the surface this year. Elton John put out a box set entitled Jewel Box that was a 10 hour journey through demo’s, deep album tracks and rarities. It was great, albeit mellow, but I felt it was for fans only so I didn’t write about it. The King, Elvis Presley put out a 4-disc box Elvis In Nashville (clearly a play on the title his big LP Elvis In Memphis) that collected all of the country/country rock tracks that Elvis recorded over the course of 3 days in Nashville in 1970. Those songs made up the bulk of three albums including the wonderful Elvis Country. The first two discs had all the actual songs, without any studio sweetening but with the second two discs being demo’s – I love the studio chatter of Elvis hanging with musicians – it felt like a fans only kinda thing. It’s a rare year where I can pick/choose the stuff I write about… skipping Elton and Elvis, wow what a year.

There were some fun singles too. The Black Crowes re-released their Christmas classic “Back Door Santa.” I can only hope the brothers Robinson will record a new album in 2021. B&V favs Starcrawler released their cover of Petty’s “I Need To Know” with Heartbreaker Mike Campbell joining in. Greta Van Fleet released their first single “My Way, Now” from their upcoming album… All this is points toward a good 2021!

Here are my favorites from 2020. The first list is new music, stuff that musicians newly recorded. Below, I’ll furnish my list of vault/archive/live albums – where artists either went back and dug out previously recorded material or compilations and also any live albums that caught my attention. I wrote about a lot more than I’m listing here, these are just my favorites. They aren’t in any particular ranked order, it’s pretty random. Enjoy!

B&V’s Favorite New Albums of 2020

  1. Ozzy Osbourne, Ordinary Man – Ozzy returned after a decade’s absence with a great new record. With producer/guitar whizz Andrew Watt helming the project and RHCP’s Chad Smith on drums, GnR bassist Duff McKagan on bass as the backing band, you knew this would be great. Cameos by Slash and Elton John were icing on the cake, Review: Ozzy Osbourne’s ‘Ordinary Man’ – A Simply Extraordinary Album!.
  2. Pearl Jam, Gigaton – Like Ozzy, it had been a long time since these guys had released anything (7 years). I was a touch lukewarm on this record when it came out. It is definitely a “grower.” The more I listen to it the more I like it. The second half of the record gets a little mellow but those are some of my favorite songs. I’d love to see these guys live again, it’s been years, Review: Pearl Jam’s First LP In 7 Years, ‘Gigaton’ – My Conflicted Thoughts.
  3. Fiona Apple, Fetch The Bolt Cutters – It had been 8 years since genius Fiona Apple had released an album – I’m seeing a trend here in 2020 – but Fetch The Bolt Cutters was worth the wait. I think it may be the perfect “lockdown” album, thematically at least, Review: Fiona Apple, ‘Fetch The Bolt Cutters’ – Genius Unleashed.
  4. Bob Dylan, Rough And Rowdy Ways – Another artist with a huge gap since his last studio record – 8 years. Dylan had been releasing Sinatra cover LPs for much of that time so it was nice to hear self-penned stuff again. It was preceded by the mesmerizing 18 minute long “Murder Most Foul.” Great, late-period Dylan, Review: The White Stripes ‘Greatest Hits’ – A Lovingly Curated Romp Through Their Career.
  5. Pretenders, Hate For Sale – Original drummer Martin Chambers returns and he and Chrissie Hynde deliver the goods on this punchy, rocking album, LP Review: Pretenders ‘Hate For Sale’ – A Late Career Classic With Attitude!.
  6. Bruce Springsteen & the E Street Band, Letter To You – Bruce contemplates his own mortality, inspired by the death of the last surviving member of his first band, the Castiles. I loved Western Stars, his 70s southern California noir but it’s great to hear him back with the E Street Band, Review: Springsteen’s ‘Letter To You’ – Contemplating Mortality On E Street.
  7. AC/DC, Power Up – I would have never thought Angus would be able to pull Brian Johnson, Phil Rudd, and Cliff Williams back into the fold and record another spectacular album. Power Up may be my pick for album of the year – if I still picked albums of the year… Review: AC/DC’s Spectacular Return, ‘Power Up’.
  8. The Dirty Knobs, Wreckless Abandon – Former Tom Petty & the Heartbreakers’ guitarist and “co-captain” and current member of Fleetwood Mac, Mike Campbell’s side project finally releases their debut album. There are a lot of echos of Petty here but make no mistake, this is a guitar album. It’s a lot of fun, Review: Mike Campbell’s New Band The Dirty Knobs, ‘Wreckless Abandon”.
  9. Chris Cornell, Nobody Sings Like You Anymore, Vol 1 – I was tempted to put this in the “vault” list but this is all unreleased stuff that was recorded and sequenced by Cornell. He obviously planned to release it but alas didn’t live to do so. All well chosen covers, this LP underscores what a tragedy it was when his voice was silenced, Review: Chris Cornell Posthumous Release, ‘No One Sings Like You Anymore, Vol. 1’ – A Nice Surprise From An Old Friend.
  10. Paul McCartney, McCartney III – A homespun gem more in the manner of McCartney than McCartney II. This felt like a really welcome Christmas gift, Review: ‘McCartney III,’ A Homespun Gem.

B&V’s Favorite Vault/Archive/Live Albums of 2020 

  1. Neil Young, Homegrown – Another brilliant 70s era “forgotten” album from Neil. This guy has more unreleased classic albums than most artists have actual albums. This is included in the upcoming (for general release, it’s already been released to collectors) box set Archives II. If you can’t spring for the whole box set, this is worth picking up on its own, Review: Neil Young’s ‘Homegrown’ – The Lost Masterpiece, In The Vaults 45 Years.
  2. Liam Gallagher, Unplugged – The former lead singer of one of the Rock Chick’s all time favorite bands Oasis, Liam Gallagher finally redeems himself in the Unplugged genre with a great little live album, Review: Liam Gallagher, ‘MTV Unplugged (Live At Hull City Hall)’ – Unplugged Redemption?.
  3. The Rolling Stones, Goats Head Soup Deluxe – The Stones revisit one of their sleazy-rock 70s classics. Light on bonus studio stuff it contains the great live concert recording Brussels Affair, a must for Stones fans, especially you Mick Taylor-era nuts out there, Review: The Rolling Stones, ‘Goats Head Soup Deluxe’ Box Set.
  4. Tom Petty, Wildflowers…and All The Rest – Petty’s vision of Wildflowers as a double LP finally realized. Some lovely stuff was left in the can, Tom Petty: ‘Wildflowers & All The Rest – Deluxe Edition (4 CDs)’ – A Petty Masterpiece Lovingly Revisited.
  5. Prince, Sign O The Times Deluxe – Prince’s creative peak? Maybe… There are so many great tunes that never saw the light of day in this box, it’s perhaps his last masterpiece, Review: Prince, ‘Sign O’ The Times – Deluxe Edition’ – An Embarrassment of Riches.
  6. Ozzy Osbourne, Blizzard of Ozz, 40th Anniversary – In my review I quibbled about the lack of unreleased studio tracks (really just one new track) and disjointed live stuff, but this is such a landmark album, everyone should check this out. Leave it to Ozzy to appear on both these lists in 2020, Review: Ozzy’s ‘Blizzard of Ozz, 40th Anniversary Expanded’ – Is It Worth It?.
  7. Lou Reed, New York – One of Lou Reed’s true masterworks. If you don’t have the album, you need this. If you do, you need this for the live tracks – the entire album played live, Review: Lou Reed ‘New York: Deluxe Edition’.
  8. U2, All You Can’t Leave Behind 20th Anniversary Box – An album with special meaning for the Rock Chick and I… I already had the bonus tracks but if you don’t they’re definitely worth a listen. The concert included from the tour, in Boston is incendiary, Review: U2, ‘All That You Can’t Leave Behind (20th Anniversary Edition)’.
  9. Pearl Jam, MTV Unplugged – Only 7 songs long but soooo worth it. I’ve waited and hoped for years that Pearl Jam would finally release this spectacular performance, recorded shortly after their debut album. This is such a legendary performance…Review: Pearl Jam Release ‘MTV Unplugged’ (Finally!).
  10. Keith Richards, Live At the Hollywood Palladium – Keef takes his wonderful backing band, The X-Pensive Winos out on the road. This expanded edition gives us three additional tracks recorded that night. It’s just a great, live album, Review: Keith Richards + The X-Pensive Winos, ‘Live At the Hollywood Palladium’ Box Set.

If there is an album I missed on these list in your opinion, please share in the comments. I’m always open to new music and I do hate to think I missed something…

I hope everybody held it together during this rough and tumble 2020. Hopefully our little B&V corner of the rock n roll universe helped keep you moving down the road this year. I wish everyone a happy, safe New Year. I don’t think we’re out of the dark yet, but I think there is light at the end of the tunnel… and with any luck, it’s not an oncoming train.

It’s a dark ride, take care of each other out there. I’m certainly looking forward to a better 2021.

Review: Ozzy’s ‘Blizzard of Ozz, 40th Anniversary Expanded’ – Is It Worth It?

I recently wrote a piece reflecting back on my first Led Zeppelin LP purchase (LP Lookback: In Praise of Led Zeppelin’s ‘In Through The Out Door’). In it, I discussed the uphill battle I faced trying to catch up with all the great music that had come out in the twenty years before my “rock awakening” in the late 70s. It’s not like I could stream back then. I was busy buying what was current and trying to selectively and quickly build an album collection of all those great, older records at the same time. I will admit, the emphasis of my purchases back then was more slanted toward what was current. I had the Stones’ Some Girls, Van Halen’s debut LP and ZZ Top’s Deguello, to name but a few. I didn’t realize it at the time, but most of what I was drawn to in the early stages was blues based. Not to put too fine a point on it, but I even had the Blues Brothers’ (John Belushi and Dan Aykroyd) LP, Briefcase Full of Blues. That was a great backing band – Steve Cropper and Matt “Guitar” Murphy on guitars. 

I don’t know why but I was very slow on the uptake when it came to a genre that I absolutely love now, Heavy Metal. Certainly the Van Halen album I had qualified as Heavy Metal, but not much else in the record crate really came close. Metal was where the link between blues and rock and roll was permanently severed, so maybe that was what caused my early hesitancy. My mother had a friend who I’ll call, “Mrs. Smith,” whose kids were the same age as my brother and I. My brother had been buying music for several years prior to my getting into music and I was always taping stuff from his collection. It was a cheap way to build my own music collection. I remember taping and subsequently wearing out Hot Rocks, the Stones greatest hits package that my brother owned. Mrs. Smith heard I was monastically up in my room taping any music I could get my hands on and kindly volunteered to bring a stack of her kids’ records over for me to tape. I’m sure my mom was down in the kitchen complaining about me being “music crazy,” when I should have been, in her mind, “girl crazy.” Mom probably wasn’t wrong. 

A few days later when Mrs Smith dropped by, and she always seemed to be dropping by, she had a stack of records with her. I thought I was open to anything and hauled them up to my room with some blank cassettes. I started glancing at some of these records and I will say, they gave me pause. I recall scratching my head when I looked at the cover art for the first album in the pile, Black Sabbath’s Sabbath Bloody Sabbath: 

“What the Hell is this? Is that a 666? What is going on at the Smith house?” I wondered aloud. Anybody who knew me when I was younger would probably tell you, I was a bit of a wild child. Actually people would probably say that about me now as well. Most people would have assumed I’d see that album cover with its ghoulish images and been all in on Sabbath. Oddly, I had enough exposure to the Catholic church that the whole thing freaked me out a bit. I’m not proud of that. When I dropped the needle on the LP, I quickly stopped taping the album. The music sounded like an invading army. The lead singer, whoever that was (I had no idea who this Ozzy Osbourne was), sounded like he was in pain. The next record was Judas Priest’s British Steel and I’m sad to admit, it didn’t fare much better to my young, tender ears. It was too fast, too hard. I don’t think I taped any of those albums that day. 

As fate would have it, only a few months later I was in the car and heard this great track, “Neon Nights” on the car radio. Who is that? That’s a great track. I mean, this couldn’t have been more than six months after Mrs. Smith’s album visit and now I was into metal? I bought that great Black Sabbath LP, Heaven And Hell, their first with amazing vocalist Ronnie James Dio almost immediately after that (Artist Lookback: Black Sabbath, 1980-1981, The Superb Dio Era). The cover art on that album didn’t inspire fear in me… it made me smile. Oh, how soon I was corrupted! I’m not even sure I realized that I’d held an LP from the “classic” line-up of Black Sabbath merely six months earlier. In fact, with the change of vocalists I’m not sure I even knew they were the same band. Dio was so much more…operatic than Ozzy and I was a clueless teenager. 

Ozzy, mired in alcoholism and drug addiction had been fired from Black Sabbath. Living in a hotel, drinking and drugging, a record company guy Don Arden sent his daughter Sharon out to sign Ozzy. She would later become his manager… and his wife. Ozzy quickly formed a band that was supposed to have been a new group named Blizzard of Ozz. The record company wanted to call it “Sons of Sabbath,” which Ozzy rejected. Somehow Ozzy found one of the greatest guitarists ever, Randy Rhoads to lead the band (Artist Lookback – Ozzy & Randy Rhoads: A Match Made In 80s Metal Heaven). The guy played nothing like Sabbath’s Tony Iommi. He was powerful yet nimble… more in the Eddie Van Halen style. He also recruited Bob Daisley to play bass and Lee Kerslake (who just passed away, sadly) to play drums. Rhoads and Daisley wrote a majority of the songs that would appear on Blizzard of Ozz while Ozzy continued drinking and drugging (and mostly sleeping under the drum riser during rehearsals). The results were nothing short of spectacular. Blizzard of Ozz became the name of the album, not the band, and when released it was released as an Ozzy solo album. He was the name, but it’s a shame they couldn’t hold the band concept together. 

I was over at a friend’s house when he put Blizzard of Ozz on his mom’s stereo. I had heard “Crazy Train,” and for whatever reason didn’t take it seriously. Through out the years I was guilty of not taking Metal acts, songs or albums seriously, a malady I’m gladly over now. All I knew about Ozzy was this “wild and crazy guy” act. Yeah, we get it Ozzy, you’re crazy. But then I heard the album. It is simply one of the landmark Metal LPs of all time. “I Don’t Know,” “Mr. Crowley” and “Crazy Train” were radio staples and stone cold classics. “Goodbye to Romance” was a surprisingly great ballad, meant as a farewell to his former bandmates in Sabbath. It’s the deeper tracks that hooked me though… “Suicide Solution” about the late Bon Scott drinking himself to death was great had showed some depth. “No Bone Movies” was actually an anti-porn song. “Revelation (Mother Earth)” is probably the first Heavy Metal track about the environment. After hearing the album at my friend’s place… yes, I taped the album. Sadly, my first actual Ozzy LP purchase was to be the follow-up, the equally majestic Diary of a Madman. 

I find it hard to believe that it’s been forty years since this legendary album came out. In that time the LP has seen its share of controversy. Sharon Osbourne being the ghoul that she is tried to minimize Daisley and Kerslake’s contribution – going so far as to release the album with new bass/drum parts recorded by other musicians. A sin she fixed in the 30th anniversary edition. Daisley had to sue to get credit as a songwriter. Both Daisley and Kerslake helped write Diary of a Madman and played on the LP – but weren’t credited on the album sleeve, they weren’t even in the photos. Thanks Sharon. Those four guys – Rhoads, Daisley, Kerslake and Ozzy had an amazing chemistry. It would have been nice to see what would have happened if it’d been allowed to continue… Sharon’s greed and Randy’s untimely death will keep us all wondering it seems. 

To celebrate the 40th Anniversary of Blizzard of Ozz Ozzy had released an “Expanded Edition.” A momentous album of this stature deserves a big 40th anniversary package… If you don’t already own this album – by all means, purchase it immediately! However, if you do, and most of us do own this record, the question remains, is there anything in this package that would drive you to rebuy it? I have to say, no. There is a B-side track, “Looking At You, Looking At Me,” that’s been out for years that everyone should check out. There’s a live track “You Said It All” that was released previously on an Ozzy live EP. There’s a couple of studio outtakes that were included in the 30th Anniversary Edition. Then there is a handful of six live tracks from the Blizzard tour. They’re nice tracks but its all a bit disjointed. There just isn’t that much new material or compelling reasons to rebuy this 40th Anniversary package. It seems like this is Ghoul Sharon’s latest cash-in. I would have hoped they’d have an entire show from the Blizzard tour to include here, the way the Stones included Brussels Affair in the latest Goats Head Soup box. That would have been worth the price of admission here. I hear Daisley has some tapes but Sharon didn’t want to have to pay for them… I think she’s hurting Ozzy’s legacy. 

Regardless of Sharon’s shady financial motives, Blizzard of Ozz remains one of my favorite Ozzy albums and one of my favorite albums period. This is one to play extremely loud… maybe with a pint of something strong to nip at while you’re flying your Devil Horn hands in the air! 

Cheers! And be safe out there! RAWK from an acceptable, safe distance folks.