Ozzy Osbourne: Ordinary Man (Epic Records) [Paul Hutchings]
The title of the Double O’s 12th solo album, Ordinary Man, is no doubt a tongue in cheek reflection on a life that has been anything but ordinary. Much has been written about his journey from the blinding poverty in the gritty Midlands of the 1960s to the Los Angeles home and the opulence his career has rewarded him with. This isn’t a eulogy, because despite recent unsurprising revelations that he’s had Parkinson’s Disease for over 15 years, the Ozzy that all the metal world knows, and love remains very much alive and kicking. Co-written with guitarist Andrew Watt (California Breed) who plays guitar and produces the album, the first thing to note is that Ordinary Man has a very high standard of polish. As well as Watt, Ozzy has enlisted the help of some big hitters for what is in all probability is his final album. Duff McKagan lays down the bass lines whilst stickman Chad Smith ensures that the crispness that Tommy Clufetos brought to 2010’s Scream remains securely in place. No Adam Wakeman this time but Charlie Puth adds the thick synths needed on opener Straight To Hell.
I'm listening to this, and the new Ritual King for that matter, on the 50th anniversary of Black Sabbath's self titled debut. Considered to be the birth of heavy metal it's influence can be felt throughout the ages and always very obviously on the more stoner/doom/sludge style with every down-tuned, psych drenched, distorted riff owing their exisitence to Ozzy, Tony, Geezer & Bill. Lowrider are no exception, mostly instrumental soundscapes that rely heavily on thundering grooves and psychedelic explorations. Their first record in 20 years it's a monolithic slab of desert rock that warps it's way around your brain as four piece Peder Bergstrand (bass, guitar, vocals), Ola Hellquist (lead guitar, vocals), Niclas Stalfors (guitar) and Andreas Eriksson (drums) once again fill that post-Kyuss void of head-squelching fuzz and low-end rumbles across 6 sprawling tracks. Sun Devil/M87 is the shortest number on the album but has a huge bass throb leading into the 11 minute final song, Pipe Rider, which spirals with the addition of some shimmering synths. The band have always been one that excels at the instrumental style but Bergstrand gives a brilliant varied vocal performance between the wall of noise. A warm welcome back from these bands they have gone into the void and returned, but now they are back to descend again. 7/10
Ritual King: S/T (Ripple Music) [Matt Bladen]
As I said this album was playing on the day Sabbath came into the populace, Ritual King owe more to Sabbath than Lowrider due to the Iommi-like riffing, Ozzy-like vocals and the huge stoner metal hooks. The energetic Valleys kicks off this debut full length release from the Manchester three-piece showing what they are made of from the off, ballsy riffing and thick syrupy grooves, however this aggression is taken away with jazzier strains of No Compromise which starts out clean driven by Gareth Hodges drumming and Dan Godwin's bass throb but ramps up the tube distortion as Jordan Leppitt unleashes his massive riffing and great vocal, things swirl with more jazzy refrains. There's a lot of different styles here all wrapped up in the stoner metal template, Headspace brings some desert rock stylings, 602 is a riff heavy instrumental while Dead Roads is grooving, dirty proto-doom as Restrain really slows things down. Ritual King is a heady concoction of classic sounds with a refreshing modernity, the influence of that tolling bell from 1970 is there but distinctly shaped by 2020, definitely children of the grave Ritual King are lean mean, riff machine, with a full length primed for taking on the road. 7/10
The title of the Double O’s 12th solo album, Ordinary Man, is no doubt a tongue in cheek reflection on a life that has been anything but ordinary. Much has been written about his journey from the blinding poverty in the gritty Midlands of the 1960s to the Los Angeles home and the opulence his career has rewarded him with. This isn’t a eulogy, because despite recent unsurprising revelations that he’s had Parkinson’s Disease for over 15 years, the Ozzy that all the metal world knows, and love remains very much alive and kicking. Co-written with guitarist Andrew Watt (California Breed) who plays guitar and produces the album, the first thing to note is that Ordinary Man has a very high standard of polish. As well as Watt, Ozzy has enlisted the help of some big hitters for what is in all probability is his final album. Duff McKagan lays down the bass lines whilst stickman Chad Smith ensures that the crispness that Tommy Clufetos brought to 2010’s Scream remains securely in place. No Adam Wakeman this time but Charlie Puth adds the thick synths needed on opener Straight To Hell.
As opening songs go, Straight To Hell is as good as most Ozzy albums. It’s riff heavy, bombastic and typically Ozzy. Straight To Hell should be scary but like Alice Cooper, the Prince Of Darkness has lost his sinister edge, and as he enters his eighth decade hearing a line like “I’ll make you scream, I’ll make you defecate” only conjures up images of incontinence. The saving grace is a searing solo from Slash, one of two that the Top Hat contributes to this release. We then get the first bit of reflection, All My Life being a melodic, emotional semi-ballad, Ozzy’s introspection laced with defiance. It’s another big song, musically tight and Watt’s guitar work matching those that have gone before. Indeed, his solo on this track echoes Gus G, Zakk Wylde and Jake E Lee.
“Do you have any memories” echoes a distorted voice with a disturbing chuckle as Goodbye starts. Whether this is a message or not, Goodbye eerily suggests that this is the finale once again. “No future, no future, replace me now I’m gone”. A third of the way into the track and it explodes, the pace quickens with thundering distorted bass and drums, and more messages; “Sitting here in purgatory, Not afraid to burn in hell, All my friends are waiting for me, I can hear them crying out for help”. It’s one of the strongest tracks on the album, combining the sludgy darkness of Ozzy’s melancholic depression with an almost thrash approach. And wrapped up with some fooling around at the end as Ozzy asks “Is it dinner time yet? Do they sell tea in heaven?
The title track has been out for a while, the duet with Elton John whose distinctive piano playing dominates one of the most honest and moving songs the Double O has ever written. Symphonic, orchestral and tugging at the heart strings, you’ll either love or hate this. I’m happy to ride with the former. This is Ozzy. “I don’t want to die an ordinary man”. Choral harmonies, big sounds and another instantly recognisable solo from Slash all combine perfectly to sweep along in one massive lump of emotion. It almost had me weeping. Ordinary Man is followed by the first single from the album, Under The Graveyard. Another classic Ozzy song, it’s huge chorus resonates and his vocals are holding up despite the obvious editing and enhancing that has been undertaken during the mix and production. A fiery first five songs and it’s now that the test comes. Eat Me is weak, Ozzy’s vocals sound like someone has taken his teeth out. He’s more likely to need a blender than a knife and fork. Whilst the production gives the album a modern sound, Eat Me is the first real sign that the ideas well was slowly drying up.
Today Is The End follows, and again I’m struggling with it. Too many effects, echoing vocals and a rather insipid song, truth be told. I really have no fucking clue what’s going on in the middle section, but it’s more pop than rock. Scary Little Green Men at least allows for a bit of rocking out but the jazz style piano jars with the overall direction. Deep bass and drums introduce Holy For Tonight before Watt’s Gilmouresque guitar work, combined with gospel choir backing allows Ozzy to reflect once more on his mortality. “I’m running out of time forever”. A multi layered highly produced track, soaring synthetic strings and an epic feel, this steers Ozzy closer towards Floyd territory than he’s ever been before. Whether he had massive input into the writing and composition remains a nagging question from the start of this album; one that I’m unable to provide an answer.
The less said about the final two tracks the better. It’s A Raid featuring Post Malone is a punky rampaging song, with the US hip hop artist trading vocals with Ozzy, but it’s a disjointed uncomfortable union, one that you feel was probably forced from the outside. Sirens and background narrative everywhere, Ozzy’s accelerated vocals are curiously driven. It’s awful. Take What You Want starts well enough, but the inclusion of Malone and rapper Travis Scott scream at a desperate attempt to appeal to a market that wouldn’t even know who Ozzy Osbourne is. The presence of that nasally vocoder rapping is abhorrent and with Ozzy side-lined for large swathes of the track, it feels like he’s the guest, not the other way around. The abrupt ending kills any positives and closes an album that is a real variable package. If this is to be Ozzy’s swansong, it won’t be a glorious one. But we can at least look back on a career that is anything but ordinary. 5/10
Demons & Wizards: III (Nuclear Blast) [Paul Hutchings]
The circle is now complete. Two decades since their debut release, the collaboration of Hansi Kürsch (Blind Guardian) and Jon Schaffer (Iced Earth) returns with III. Having reissued the two previous albums, Demons & Wizards and Touched By The Crimson King in 2019, which were supported by a selection of smaller dates and festivals, the time and pressure was clearly on for the third album. Combining the darker vibe of the debut release and the more complex and fierier sophomore album, III is a mix of the traditional Iced Earth and Guardian sounds with additional influences that have evolved in the 14 years since Schaffer and Kürsch last collaborated. “We have grown indeed”, Schaffer says, “and that will be obvious from the first listen. You will hear classic and progressive rock influences, even an alternative vibe in a few places. But it is a pure and dynamic heavy metal album through and through. A journey of epic proportions!”
An army of additional support helped to create III, with Schaffer and Kürsch visiting Iced Earth’s own studio Independence Hall, Blind Guardian’s Twilight Hall and the legendary Morrisound Recording Studios, assisted by seasoned engineers Jim Morris, Charlie Bauerfeind, Tommy Geiger and Joost van den Broek. Aiding Schaffer and Kürsch were studio musicians Brent Smedley (Iced Earth), Ruben Drake (Purgatory, Sons of Liberty), Jake Dreyer (Witherfall, Iced Earth) and Jim Morris, returning for his third stint as lead guitarist besides a cast of backing vocalists, the PA’dam chamber choir (on Dark Side Of Her Majesty and Diabolic), and more.
Lyrically, Demons & Wizards have always covered various literary, mythological, or fictional topics, and this tradition is continued on III. Kicking off with Diabolic which Kürsch admits is connected to Heaven Denies, but with a diverse set of lyrics. As you’d expect, Diabolic is a racing eight minutes of classic power metal with Kürsch’s spiraling alto delivery instantly recognisable. It’s riff hungry, galloping along until the six-minute mark where it takes a gentle gradient to descend to the close, deep choral voices echoing. Invincible follows, an almost throwaway track; this is the kind of song that Schaffer and Kürsch can write in their sleep. Soaring chorus, magnificent overlapping harmonies (a favourite trick of Kürsch’s to overdub his own vocals multiple times) and a slow, intricate tapestry which weaves musically. Then we have Wolves In Winter, a slow building powerful track, Schaffer’s chugging riffs warming the anticipation before the song begins in earnest, whilst Kürsch once again is magnificent. Few vocalists in metal today can match his range.
Final Warning is the shortest track on the album, at 3:46. It’s a track that never really gets moving, a stop-start style with deep echoing synths in the background, thick riffs and the backing chamber choir add depth. Lighters aloft for Timeless Spirit, a haunting acoustic start, harmonies resonating as this track smoulders. Morris let's fly here with some sonic guitar work and as the track increases in tempo through the nine-minute journey. Elsewhere, Dark Side Of Her Majesty contains an intense build up, a rip-roaring track with some neat string effects whilst Midas Disease has a straight-up hard rock feel, the riffs part of Schaffer's tribute to AC/DC’s Malcolm Young. Once more it’s an epic tale to conclude this album, this time Children of Cain, which at ten minutes is the longest track on the album. As A finale, it is magnificent, with Zeppelin era Page style guitar at the start and finish, bookending the narrative which ebbs and flows, one moment visceral, the next soft and calm.
It’s a fitting finish for such an impressive album. Kürsch: “The tune has an overwhelming vibe, not exactly positive, but positive… For this song, I had to create an exclusive universe and came up with a nice dystopian story, which mainly deals with a society called Children Of Cain.” Given the commitments of both artists, it’s unlikely that these tracks will see their live debut for a long time. Given that sobering thought, it is worth sitting back and enjoying another quality release from two of the most creative and well-respected artists in the world of metal. 8/10
Lowrider: Refractions (Blues Funeral Recordings) [Matt Bladen]
Demons & Wizards: III (Nuclear Blast) [Paul Hutchings]
The circle is now complete. Two decades since their debut release, the collaboration of Hansi Kürsch (Blind Guardian) and Jon Schaffer (Iced Earth) returns with III. Having reissued the two previous albums, Demons & Wizards and Touched By The Crimson King in 2019, which were supported by a selection of smaller dates and festivals, the time and pressure was clearly on for the third album. Combining the darker vibe of the debut release and the more complex and fierier sophomore album, III is a mix of the traditional Iced Earth and Guardian sounds with additional influences that have evolved in the 14 years since Schaffer and Kürsch last collaborated. “We have grown indeed”, Schaffer says, “and that will be obvious from the first listen. You will hear classic and progressive rock influences, even an alternative vibe in a few places. But it is a pure and dynamic heavy metal album through and through. A journey of epic proportions!”
An army of additional support helped to create III, with Schaffer and Kürsch visiting Iced Earth’s own studio Independence Hall, Blind Guardian’s Twilight Hall and the legendary Morrisound Recording Studios, assisted by seasoned engineers Jim Morris, Charlie Bauerfeind, Tommy Geiger and Joost van den Broek. Aiding Schaffer and Kürsch were studio musicians Brent Smedley (Iced Earth), Ruben Drake (Purgatory, Sons of Liberty), Jake Dreyer (Witherfall, Iced Earth) and Jim Morris, returning for his third stint as lead guitarist besides a cast of backing vocalists, the PA’dam chamber choir (on Dark Side Of Her Majesty and Diabolic), and more.
Lyrically, Demons & Wizards have always covered various literary, mythological, or fictional topics, and this tradition is continued on III. Kicking off with Diabolic which Kürsch admits is connected to Heaven Denies, but with a diverse set of lyrics. As you’d expect, Diabolic is a racing eight minutes of classic power metal with Kürsch’s spiraling alto delivery instantly recognisable. It’s riff hungry, galloping along until the six-minute mark where it takes a gentle gradient to descend to the close, deep choral voices echoing. Invincible follows, an almost throwaway track; this is the kind of song that Schaffer and Kürsch can write in their sleep. Soaring chorus, magnificent overlapping harmonies (a favourite trick of Kürsch’s to overdub his own vocals multiple times) and a slow, intricate tapestry which weaves musically. Then we have Wolves In Winter, a slow building powerful track, Schaffer’s chugging riffs warming the anticipation before the song begins in earnest, whilst Kürsch once again is magnificent. Few vocalists in metal today can match his range.
Final Warning is the shortest track on the album, at 3:46. It’s a track that never really gets moving, a stop-start style with deep echoing synths in the background, thick riffs and the backing chamber choir add depth. Lighters aloft for Timeless Spirit, a haunting acoustic start, harmonies resonating as this track smoulders. Morris let's fly here with some sonic guitar work and as the track increases in tempo through the nine-minute journey. Elsewhere, Dark Side Of Her Majesty contains an intense build up, a rip-roaring track with some neat string effects whilst Midas Disease has a straight-up hard rock feel, the riffs part of Schaffer's tribute to AC/DC’s Malcolm Young. Once more it’s an epic tale to conclude this album, this time Children of Cain, which at ten minutes is the longest track on the album. As A finale, it is magnificent, with Zeppelin era Page style guitar at the start and finish, bookending the narrative which ebbs and flows, one moment visceral, the next soft and calm.
It’s a fitting finish for such an impressive album. Kürsch: “The tune has an overwhelming vibe, not exactly positive, but positive… For this song, I had to create an exclusive universe and came up with a nice dystopian story, which mainly deals with a society called Children Of Cain.” Given the commitments of both artists, it’s unlikely that these tracks will see their live debut for a long time. Given that sobering thought, it is worth sitting back and enjoying another quality release from two of the most creative and well-respected artists in the world of metal. 8/10
Lowrider: Refractions (Blues Funeral Recordings) [Matt Bladen]
I'm listening to this, and the new Ritual King for that matter, on the 50th anniversary of Black Sabbath's self titled debut. Considered to be the birth of heavy metal it's influence can be felt throughout the ages and always very obviously on the more stoner/doom/sludge style with every down-tuned, psych drenched, distorted riff owing their exisitence to Ozzy, Tony, Geezer & Bill. Lowrider are no exception, mostly instrumental soundscapes that rely heavily on thundering grooves and psychedelic explorations. Their first record in 20 years it's a monolithic slab of desert rock that warps it's way around your brain as four piece Peder Bergstrand (bass, guitar, vocals), Ola Hellquist (lead guitar, vocals), Niclas Stalfors (guitar) and Andreas Eriksson (drums) once again fill that post-Kyuss void of head-squelching fuzz and low-end rumbles across 6 sprawling tracks. Sun Devil/M87 is the shortest number on the album but has a huge bass throb leading into the 11 minute final song, Pipe Rider, which spirals with the addition of some shimmering synths. The band have always been one that excels at the instrumental style but Bergstrand gives a brilliant varied vocal performance between the wall of noise. A warm welcome back from these bands they have gone into the void and returned, but now they are back to descend again. 7/10
Ritual King: S/T (Ripple Music) [Matt Bladen]
As I said this album was playing on the day Sabbath came into the populace, Ritual King owe more to Sabbath than Lowrider due to the Iommi-like riffing, Ozzy-like vocals and the huge stoner metal hooks. The energetic Valleys kicks off this debut full length release from the Manchester three-piece showing what they are made of from the off, ballsy riffing and thick syrupy grooves, however this aggression is taken away with jazzier strains of No Compromise which starts out clean driven by Gareth Hodges drumming and Dan Godwin's bass throb but ramps up the tube distortion as Jordan Leppitt unleashes his massive riffing and great vocal, things swirl with more jazzy refrains. There's a lot of different styles here all wrapped up in the stoner metal template, Headspace brings some desert rock stylings, 602 is a riff heavy instrumental while Dead Roads is grooving, dirty proto-doom as Restrain really slows things down. Ritual King is a heady concoction of classic sounds with a refreshing modernity, the influence of that tolling bell from 1970 is there but distinctly shaped by 2020, definitely children of the grave Ritual King are lean mean, riff machine, with a full length primed for taking on the road. 7/10