![]() In fact, one of the only songs of any worth from that 12-year period is “Dreamer”, the kind of saccharine ballad in the vein of “Changes” and “Goodbye to Romance” that Ozzy’s always been able to sound charming on. Ozzmosis (1995), Down to Earth (2001), and Black Rain (2007) got progressively worse, Wylde sounding like he was saving his best riffs for his band Black Label Society, the production getting slicker and slicker, Ozzy simply going through the motions. Ever since then, he’s been dragged out by his wife and manager, dusted off, wound up, and sent out to flog a shoddy product that tries to veil its mediocre songwriting with a grating, overproduced sound. The man has endured his share of high-profile misfires over the years, from Technical Ecstasy to Bark at the Moon, but those records cannot compare to the disappointing run of subpar albums that have come out after 1991’s inspired No More Tears. When everyone is on autopilot, though, it can sound utterly disastrous. If his collaborators and hired hands come up with ace material, Ozzy can sell it better than anyone. Lee, to Zakk Wylde, not to mention aided greatly by co-songwriters such as Geezer Butler and Bob Daisley. Luckily for him, he’s always been flanked on stage right by exceptionally talented guitar players, from Tony Iommi, to Randy Rhoads, to Jake E. He might be one of the finest, most inimitable frontmen in heavy metal history, still enjoying massive worldwide success some 40 years after Black Sabbath’s seminal debut album, but as charismatic and entertaining he is, Ozzy Osbourne is only as good as the people he surrounds himself with. ![]()
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