Tuesday Two-Fer, IV: Ozzy

From our friend HIM.

The easiest way for me to deal with Ozzy is to squint. When I do that, I tend to only see the Ozzy I want to see. The young, tasseled, wild man with the unruly mop of hair leading Iommi, Butler, and Ward through their doom-ladened and often experimental paces. The musical genius set on self-destruct, yet somehow eluding death with a slurred cackle and a smile. But, as his solo career blossomed, it also paradoxically withered for me. The Prince of Darkness became the Court Jester, a cruel example of the thing you are known for becoming a punchline you can’t see. I still owe the man a musical debt. However, I now tend to dig into the archives when I want to focus on the positive.
 
First Pick: “Tonight,” Diary Of A Madman (1981)

There is, at this point, a huge asterisk next to any Ozzy song. Putting aside the issue of who wrote this song, one can still applaud the Prince for the emotive qualities of his delivery on this under-appreciated track from his early solo career. The song is moody and introspective, closer to his Sabbath roots than the polished sheen of his later outings. And Ozzy’s voice is matched by the perfect trio of Rhoads, Kerslake, and Daisley.
 
Second Pick: “No More Tears,” No More Tears (1991)

Ozzy, the brand, the machine, the Sharon-train—shouldn’t sound this good at this point in his career. Chalk it up to the production of Purdell. Attribute it to the pinch harmonics of Wylde. Hail the last appearance of Daisley. No matter. This was a perfect combination of old and new, processed and punchy. Sadly, he never sounded this good again.
 
Honorable Mention: “Bark At The Moon,” Bark At The Moon (1983). Thank you, “co-writers” Lee and Daisley.