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It should be called Ozzmos-shit... - 35%

evermetal, October 19th, 2009

[Sound of phone ringing] “Yes?” “Hey, Geezer, this is Ozzy, how are you?” “I’m fine mate, and you?” “I’m okay now. Listen Geezer, would you like to make an album together? I have some great ideas. ”Something like the Diary… album?” “No man, who wants to listen to this crap nowadays? I’m working on some shit that will play massively on the radio worldwide. We will make it big time!” “Sure lad, you can count me in”. This is totally fictional but could be the true beginning of the making of horrible release that haunted our dreams in 1995.

Ozzy had revealed some years before that he wanted to retire. He could have done so and go down in style. But he just couldn’t leave things the way they were. He was damn sure his new album would be adored by the fans and hopefully by the music media. His old friend Butler on the bass, Zakk Wylde on the guitars and Dean Castronovo on the drums, man what a band this would be! Well I say shit!!

Indeed Ozzmosis was released in 1995 and entered the charts at high places, while the press praised his come-back. But some of us did not bite the bait, because this album sucks big time! Where the heavy metal we all love? Where are the riffs, the melodies and the heavy stuff we’ve been waiting to hear from THIS man? Ozzmosis makes No More Tears look like a masterpiece. I have heard that Lemmy of Motorhead has participated. How did he make such a mistake?

The album lacks, almost completely in inspiration and speed. The songs are mid-tempo and boring to death. The somewhat heavy guitars don’t have the strength to fill in the space but only in a few parts. The rhythm section is disastrous and the only good thing, oddly enough, is the vocals. Songs like Ghost Behind my Eyes and My Little Man have nothing interesting to offer and are not worthy of his mostly glorious past. Plus this awful ballad called Old L.A. Tonight. I feel sorry to say all those things but this is the truth. If he aimed for a wider audience, he succeeded.

The only songs that survive the wreckage are the opener Perry Mason which is quite heavy and has a pretty good riff, and the semi-ballad I Just Want You that is simply awesome, both melodic and heavy, an oasis in the desert of dullness in the album. Also the song Whole World’s Falling Down, which is basically a bonus track in my CD, reminds a bit of the good, solid stuff he has written in the past. But here’s where it ends. The rest are boring and irritating at times.

With Ozzmosis, the once great artist tried to make a fresh come-back and show that he is back on the metal track. Instead he made a big pile of shit that can be better used as playing go and fetch with your dog. Or else you can flash it down your toilette. It makes no difference. Only the name Ozzy Osbourne on the cover keeps me from throwing it away. He totally fucked things up!

A mixture of fantasy and fiction - 99%

Genzel, June 6th, 2009

Even though this album is Ozzy in his most authentic state, the scenery, mood and balance of the album is more of a fantasy oriented. Zakk is on the top of his game, pinning lightning fast and juicy riffs, solos and pinch harmonics. Ozzy does music from his heart. He is authentic person and published this album to show how. This artistic flavour of heavy metal, is made with passion and with a willing spirit. He did most of his music in mid 1980's with a little or no control over his sound or songs, thats why those years not only butchered Ozzy's already short lifespan, but made him to do some really stupid things. The material from mid 1980's may be disliked slightly by the master of metal himself, but most fans love them and thats what counts. His solo career is argued to have something to do to compete with Sabbath, but there is no need to go into that more specificly.

Music here is monstrously brilliant mix of both resiliance, top notch production and all out open minded song delivering. The two track run which Ozzy did on the tour of this album will not get even almost the right way of what this album is all about. Perry Mason, Tomorrow and My Jekyll Doesn't Hide are thunderous, sheerly mad blend of sludgy and juicy metal alongside with really catchy choruses. The psychedelic See You On The Other Side WILL get you to the other side, both literally and metaphorically. Every song has diversion what comes into lenght( Ozzmosis is presenting the most lenghty Ozz tunes of all time) and to this melodramatic and emotion consuming style. Aimee and Old L.A Tonight are incredibly uplifting and songs full of life spirit, vitality, energy and optimism.

Ozzy screams and roars in his lyrics, giving his most authentic performance in his entire solo career, and career generally, for that matter. Zakk played hundreds of shows with Ozzy to this point, and his fingers are ready for tapping the most exciting, awe inspiring and melodic material. As with the sound, this album is way overproduced, polished, but it grows every listen more attractive. The insanely chaotic and prodigal overall sound showcases of the willing spirit of the entire band. Blizzard of Ozz was almost as exciting as a friday night out and Ozzmosis falls to the same category, even though being way more fun. In the long nights and midnight oil burning moments in Paris or with old pals, Ozzy delivers arguably his best album since Black Sabbath from the 1970's. Ozzy sounds authentic, because he now does music not only sober, but with a sound of innocent charm, like a newborn baby.

This album is the salvation what we were looking for when we started listening to heavy metal. The album is really heavy, psychedelic and twists and scrumbles thorough your mind like a hurricane and you end up wondering: "What in the world was that?". This album owns the living crap out of the metal mammoths Blizzard of Ozz and Bark At The Moon, because there are anymore no difference between fantasy and fiction. Except, that is, Ozzmosis. Ozzy does get some low rates from his fans, because his exciting savour in his lenghty solo career is overshadowed by his public and private persona.

Ozz-Bore-Fest. - 45%

hells_unicorn, November 11th, 2007

Before I begin I would like to state for the record that the score given to this album reflects the inclusion of 2 bonus tracks on the 2002 reissue, which remarkably enough are better than 80% of the material on this halfwit concoction. A score of 35 should be applied to the original release, as it only contains 2 good songs, and 2 almost passable songs with ridiculous lyrics. Why these songs, along with a collection of other better songs such as “Back on Earth” and “Walk on Water” were not on the original release can only be explained as either a shameful attempt at spreading Ozzy’s better moments onto several CDs in order to boost sales, or as a momentary desire to shy away from sounding too 80s in the early post-Nirvana era, neither motive garners any sympathy from me obviously.

The marketing hype behind this album was huge, spearheaded by an endless barrage of broadcasts of the one lone masterpiece of this album “Perry Mason”. Essentially being an epic and more rocking variant on the “No More Tears” format that Ozzy and Zakk based most of their better 90s material off of, it features a rather intricate set of lead riff and keyboard interchanges. However, as great as this song is, it’s placement at the beginning of the album gives the impression that we are to be treated to a whole album of genius, and right after things really fall start of fall apart.

Although somewhat catchy in the musical department, “I Just Want You” is so lyrically absurd that it literally commits artistic suicide within the first 10 seconds. If Ozzy and company had elected to put this song as a B-side to a single and replaced it with “Back on Earth”, I would have boosted this album’s score an additional 10 points. Likewise, the Lemmy Kilmister collaboration “See you on the Otherside” is musically catchy and not too bad for a ballad, but the lyrics just kill the song, I literally lost count of how many times he repeats the song title.

Oh man does the shit rain from the sky for the majority of this album after getting past the radio friendly stuff. The crap runs in two distinct varieties, the pop-a-vein, hard to squeeze out kind in the form of slow and painful ballads, and the loose liquefied diarrhea groove grunge tracks which amount to Ozzy and Zakk ripping off riffs from alternative rock groups who, in turn, ripped them off from Sabbath. The best representative of the horrific Night of the Living Ballads zombies is the comically boring “My little man”, complete with a collection of quirky guitar effects and bad lyrics. Likewise, the hypnotically redundant mud-groove song “Thunder Underground” represents almost all of the heavier tracks on here. With the exceptions of Zakk’s solos, which occupy between 15 and 25 seconds in each song, there isn’t much of worth on here.

After suffering through all of that, if you haven’t torn the CD to pieces, we are treated to some final moments that are inspired. “Mr. Jekyll Doesn’t Hide” shows Geezer Butler trying to salvage a pretty lousy album with a solid Sabbath-like tune, it’s essentially something that could have been heard on “Cross Purposes” or “Dehumanizer” but with Ozzy singing, but it rocks nonetheless. “Whole World’s Falling Down” is a speed track that almost could compare to “Secret Loser”. It was probably not included on the album because of the public bias against the speed metal tendencies of the 80s. Likewise, “Aimee” screams mid-80s power ballad, probably the best ballad I’ve heard out of Ozzy and tragically something overlooked in most quarters.

Unfortunately I can not endorse this album because there isn’t enough quality material on here; this is probably the lowest moment in Ozzy’s rather turbulent solo career. If you can track down the single for “Perry Mason” and for “Back on Earth”, you’ll have everything on here worthy of hearing. For downloading purposes, add “Mr. Jekyll doesn’t Hide” to your list, and leave the rest of the rot on here to dissipate into nothingness.

All But Out of Ideas - 46%

DawnoftheShred, November 18th, 2006

Osmosis, according to Miriam-Webster, is a scientific term used to describe the diffusion of a liquid (usually water) through some sort of membrane. Ozzmosis, on the other hand, is a musical mishap by veteran rock icon Ozzy Osbourne that even the likes of Geezer Butler and Rick Wakeman can’t completely save.

Opener “Perry Mason” is one of the few truly good songs off of this album, featuring a pretty memorable chorus and a groovy Zakk Wylde riff-set throughout. All balls and no bullshit, “Perry Mason” rules. This is how good Ozzy songs are written. “I Just Want You” is actually pretty good too. It’s a bit mellower and Ozzy sounds like he recorded his vocals underwater (or perhaps, under the influence), but the lyrical mechanics are pretty fluid. After this, things start to get patchy. Hit “See You On the Other Side” features Ozzy’s best vocal performance on the album (especially during that post-solo climactic hook), but the guitar rhythm that supports the verses sports quite possibly the worst clean tone of all time (it’s down-tuned, murky, and over-processed). “My Little Man” is this album’s “Mama I’m Coming Home,” a cheesy ballad-of-sorts with a neat sitar-sounding effect on the guitars that fails to save it as a whole. The rest of the songs continue in the same vein, having that modern rock/mallcore feel lingering about them. Ozzy’s voice modulates from enjoyable to insufferable throughout and the whole thing just feels slow and over-long.

Instrumentally, things are quite competent from beginning to end, but it’s the poor songwriting that cripples this album. With Zakk Wylde returning on guitar and Geezer Butler on bass, there are plenty of nice little musical touches to entertain the listener when Ozzy himself fails to, but the album is short on substance. Take away all the pinch harmonics, guitar solos, and the handful of interesting riffs and lyrical passages and you’re left with a gloomy, generic 90’s rock album with the distinct but decaying vocals of the once great Ozzy Osbourne. Long-time fans and newcomers alike might find some things to enjoy on this album (namely “Perry Mason”), but you’d be better off just picking up Alice in Chains’ self-titled album: it has a more authentic sound in the same vein of what Ozzy was going for here while being simultaneously more inventive and even gloomier.

Not the greatest - 62%

tfs0003, March 19th, 2005

The latest edition of "Ozzmosis" makes some sort of horseshit claim on the back of the jewel case that the album was a darling of the critics upon its release. I was not able to unearth any evidence to prove that. There are much worse albums out there, but this one just isn't that great. For starters, if Ozzy's entire catalog sounded akin to most of "Ozzmosis," he wouldn't even be categorized as metal by the metal-archives or anyone else. Roughly half of the songs are ballads and no songs push the tempo beyond moderate. Still a good deal of the songs are quality on the writing level. The most glaring problem stems from the fact that an album thematically based on slow to mid-tempos and lyrical introspection could benefit greatly from a little grit in the overall sound. Unfortunately, the ultra-slick production mellows out (read: sanitizes) every audible sound on the album. Zakk Wylde is a terrific guitarist with lots of great ideas, but using chorus effect to begin almost every track is not one of them. Despite these complaints, some of the ballads would have been welcome on an album of primarily hard metal one at a time. "I Just Want You" in particular stands out on its own, although it blends in with the undiversified texture of this collection. "Perry Mason" is a truly great song in swaggering 6/8 meter. It's worthy of mention along with Ozzy's best material, a high standard indeed. "Thunder Underground" gets a bad rap, which is unfair. I love this song in all of its new metal, drop-c sharp glory. Along with "Perry Mason," "Thunder Underground" is the only part of "Ozzmosis" you should let your metalhead friends catch you listening to in public. However, if you want to convince your girlfriend/pastor/local PTA that Ozzy is good old family fun (in a depressing, reflective way), crank it about five on the volume dial.

Anal Cunt song title! - 20%

UltraBoris, August 26th, 2002

"I refuse to retire (I'm gay)". Or, "It Only Gets Worse". As if you thought that No More Tears was bad, here's something that gets even more fucking boring, not to mention having the single dumbest album title ever.

So we start off really promising. "Perry Mason" alone gives this album 15 more points than it should have - this is just a great song, that every once in a while Ozzy manages to come up with, for no apparent reason. It is entirely coincidental and is no way related to the fact that he has an IQ of 47.

"I Just Want You" - has anyone ever noticed that the lyrics say "I don't ask for much, I just want you", wow wouldn't that make you feel really special? "Oh by the way, you're human diarrhea, not much at all..." - fucking dumbcunt love song. Blows ass. Though I gotta mention, that "I'm sick and tired of being sick and tired" is really so stupid that it's clever. But it's so much more convincing when Blitz snarls it. You figure out what song - if you spent your time listening to bands like that, not bands like this, you'd get somewhere in life.

"Ghost Behind My Eyes" - again, blows ass. The problem with most of these songs is that they are very, very slow and very, very whiny. Well, not really slow, just plodding and midpaced. They don't ever pick up the pace and fucking shred. Ever. A few of Ozzy's songs are midpaced and catchy. The overwhelming majority are midpaced and crappy.

"Thunder Underground" - see above, all these songs really sound all the fucking same. "See You on the Other Side", does that imply you're going to FUCK OFF AND DIE?!

Why no, it means he'll write more total fucking shit. The rest of the album has no redeeming virtues. "Tomorrow". "Denial". Boring! "My Little Man" and "My Jekyll Doesn't Hide" - look, the fact is, you used so many drugs that your penis fell off during the '86 tour, and writing odes to it won't grow it back, so stop talking about it!!

"Old LA Tonight" - okay the fact that I even managed to listen this far, just to be rewarded with another complete fucking snoozefest makes me a fucking retard. Ya know, when this album was about to be released, I had so much hope for it. "No More Tears" had sucked, but when they played "Perry Mason" on the radio....

Damn you, false hope!!! Damn you, having precisely one good song surrounded by complete feces!! Damn you, Ozzy, and damn the horses you fuck too!