LOS ANGELES, CALIFORNIA - NOVEMBER 24: (EDITORS NOTE: Image has been converted to black and white.) ... [+]
The last 3 years have been an ongoing concern for heavy metal’s Prince of Darkness. Ozzy Osbourne has encountered a number of health scares resulting in now three rescheduled tours, and in January he opened up about his ongoing battle with Parkinson’s disease. While it’s been a very worrisome and strenuous time for Osbourne, through the thick of it all he’s shown there’s a silver lining.
Ordinary Man, is Ozzy’s 12th studio album and marks his first solo album in ten years. Possibly a direct result from his collaboration with Post Malone, Ozzy’s time off the road was spent making a new record, and with no other than famed producer Andrew Watt (Post Malone, Cardi B, Juice WRLD). The decision to work with Watt certainly had fans awaiting a refreshing and different kind of Ozzy album, but simultaneously it had many fans perplexed. For one, Watt was also helming guitar duties for the album, and longtime touring and studio guitarist, Zakk Wylde, had no involvement with Ordinary Man. While it wasn’t exactly shocking to find out Ozzy had recruited new musicians, it just wasn’t all that apparent if Watt could deliver the guitar staples required for an Ozzy record. However, with a little research into Watt’s musical background, you’ll find he’s a tried and true rocker, and has been ever since his debut in the lesser known rock super trio, California Breed (Glen Hughes, Jason Bonham).
In the case of Ordinary Man, Andrew Watt delivers far and beyond expectations. Production and performances on this album are stellar, maybe sounding too crisp at times, but the fact of the matter is Watt helps deliver the best Ozzy album of the 2000’s. Riffs and shred solos are ever so flowing on Ordinary Man, and any who’ve doubted Watt’s guitar capabilities are in for nice surprise. In addition, other notable instrumentalist include Chad Smith (Drums, Red Hot Chili Peppers) and Duff Mckagen (Bass, Guns N’ Roses), and they don’t overindulge in their performances, but instead offer tasteful contributions when necessary.
However, it wouldn’t be an Ozzy record without the Prince of Darkness himself. For someone who’s experienced more than a fair share of partying, and also outlived most rockers from their generation, Ozzy Osbourne proves once again that nothing can get in the way of his devil gifted voice. Songs like “Goodbye,” “Straight to Hell,” “Ordinary Man,” and “Today Is The End,” showcase just how consistent Ozzy still is at seventy-one years old. Lyrically, Ordinary Man has classic Ozzy tropes with a few “ALL RIGHT NOW’s” and the staple “Go F**KING CRAZY,” which helps inject the necessary Ozzy enthusiasm for the record. But aside from this, the lyrical subject matter is actually where the album steps out of the ordinary.
This record not only speaks to Ozzy’s recent and ongoing hardships, but shows a deep reflection on his outlandish rockstar career. Ozzy has accepted that there will be an end to his road, and despite having changed his rockstar ways long ago, he wouldn’t go back and change who he used to be. The title track spells this out pretty clear, as Ozzy confesses “Yes, the truth is I don’t wanna die an ordinary man.” This track also features a very fitting guest appearance from Elton John, especially considering how both Ozzy and Elton lived and grew up through similar rock stardom. In addition, Slash executes a smooth and dramatic guest guitar solo on this track, topping it off as one of Ozzy’s most guest filled songs to date.
Most of these songs showcase a vulnerable side to Ozzy, and a perspective that’s not as prevalent on his previous work. This certainly makes for the strongest aspect of the album, and it’s driven full force by the excellent instrumentals. However, while Ordinary Man is a stellar return for the Prince of Darkness, there are a few hiccups scattered throughout that keep it from reaching top tier Ozzy. Provided that the deeper and sentimental songs are really drive what this album home, songs like “Eat Me” and “Scary Little Green Men” loose momentum for Ordinary Man. One of these tracks is a metaphorical description for eating Ozzy alive (i.e. doing drugs?), while the other is about alien conspiracies. Albeit they have nice hooks, neither song fits the vibe established throughout the rest of the album. In addition, there are few sound instance where Ozzy’s age can be heard in his vocal delivery, which isn’t a problem, but it’s often compensated with heavy amounts of vocal processing. It makes Ordinary Man sound too clean for it’s own good at times, and while it certainly can be seen as a different mixing style, it keeps the record from standing shoulder to shoulder with Ozzy’s more gritty classics.
Overall, Ordinary Man checks all the marks for a solid Ozzy Osbourne album, and it manages to bring a few welcomed surprises, particularly the guest features and Andrew Watt’s sizzling guitar work. It’s a comeback album that’s by no means perfect, but a truly impressive one that deepens Osbourne’s sentimental place in rock and metal music. And by the looks of it, Ordinary Man won’t be Ozzy’s final work.
