Reading a recent interview v guitarist Zakk Wylde, that was pointing out the 25th anniversary the Ozzy Osbourne’s No rest for the Wicked, I very first felt type of old. Wow, a quarter century. Then, I automatically dialed up the record, which never ever strays much from mine playlist.

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For me, No rest for the Wicked ranks best up there through Blizzard of Ozz and Diary that a Madman in the discussion of Ozzy’s finest solo records. It was a groundbreaking album for him in number of ways, no the the very least of which to be a fresh-faced 20-year-old shredder on etc who totally changed the sound.

That clean-shaven child with the teased and also frosted hair is virtually unrecognizable indigenous the gnarly, scruffy, mustache berserker we understand Wylde together today, however he infused Ozzy’s music with a new energy and helped the steel godfather relax his most difficult solo record to the point.

For whatever reason, ns never associated with the Jake E. Lee version of Ozzy’s band. I still think Bark at the Moon is a very, an extremely overrated record. To this day, there are only a couple of songs native it that make their way into mine playlist. Then came The can be fried Sin, which to be a different animal. I in reality really favor that one, but it’s certainly of that is time in the large hair part of the late 1980s, and also it’s one of the few Ozzy albums that feels really dated come me. We needed a little more spice, and also we got it.

Wylde announces his presence to the civilization on the very first track and lead solitary from the album, “Miracle Man,” with a wicked sound riff that establishes his style and sets the tone for the remainder of the record. TV preachers are basic target and, in those days, were a favorite topic for metal bands — however Wylde’s screaming riff, punctuated by his trademark pinch harmonic squeals, increased this one over the average, and more importantly, it was favor nothing that we’d ever before heard from Ozzy before.

That same power carries throughout the record, significantly on my favourite track, “Tattooed Dancer.” i can’t listen to the song without cranking it up, and the manic guitar riff remains among my favorites indigenous Wylde.

But it wasn’t constantly the wild riffing and also shredding that captured our attention. Probably the most renowned song native No rest for the Wicked is additionally one the the most basic from a etc standpoint, “Crazy Babies.” The E-D-A progression of the key riff can virtually be played through one finger, and then Wylde throws in a G squeal to peak it off, yet it’s a attractive riff and also gives Ozzy part breathing room to supply a crazed-sounding vocal that fits perfectly.

Likewise, the sliding strength chords that “Breaking every the Rules” have the right to be play by nice much any novice, yet it has actually such one ominous, almost Sabbath-like sound, that it remains a favorite from the record. Though the whole record is wilder and also heavier, it’s one of the couple of truly dark numbers.

It’s joined, surprisingly, by the soaring semi-ballad “Fire in the Sky,” which has such a forlorn tone because that a reasonably heavy song.

Another bit of trivia — No rest for the Wicked additionally contained Ozzy’s first “hidden track.” Though now familiar and overdone, it to be the fairly brand-new thing to execute then. I still don’t quite understand the concept, due to the fact that it appears to me the by hiding it, you’re saying it’s no really an excellent enough to go on the album. That’s absolutely not the instance with “Hero.” At least Ozzy didn’t put a bunch of blank one-second monitor or 10 minutes of silence between the end of the “official” record and also “Hero,” a pair of the more annoying techniques of the “hidden track.”

It needs to be said that, lyrically, this is most likely not the best of Ozzy’s records. Yes the TV preacher song and a tune around Charles Manson (“Bloodbath in Paradise”) that space both reasonably cliché steel topics. “Demon Alcohol” certainly doesn’t have the same style as its equivalent “Suicide Solution” indigenous Blizzard the Ozz, and as much as I prefer “Tattooed Dancer,” I have to admit that it’s not precisely poetry. That said, Wylde’s etc work and also the much-needed infusion the excitement that he lugged to the job carries the through.

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The 17-year-old child blasting No rest for the Wicked v the little tinny four-inch speakers in his van in the college parking lot assumed it was one of the coolest things he’d ever before heard. A lot of has readjusted for that boy in 25 years, yet one thing hasn’t: No rest for the Wicked is quiet blasting the end of my truck speakers, and also I still think it’s among the coolest records I’ve ever before heard.