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[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!
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.
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.
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.
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 up...to about five on the volume dial.
All right, why the hell does this album have amazing kickass songs like “Perry Mason” and bullshit songs that should have never been recorded like “Thunder Underground,” and “Denial,” together on one album? This is such an inconsistent album that it’s difficult to listen to it in one seating. This album is a clear indication of Ozzy’s career going downhill, and fast.
The album begins as best as it could, with “Perry Mason,” and amazing song that offers one of Ozzy’s best vocal performances and one of the best Ozzy melodies. The song is powerful and upbeat as opposed to the other wankery that this album has to offer. Ozzy’s career has always been sort of the polar opposite of the Manowar career. Manowar has been inconsistent because they include one or two shitty ballads among almost all of their albums, while Ozzy includes one or two incredible songs on his albums, while the rest is either mediocre or pure crap.
The second and third tracks “I Just Want You,” and “Ghost Behind My Eyes,” are still tolerable, but show a decline in the album’s overall consistency. “I Just Want You” offers a pleasant sing-along chorus and is an overall enjoyable ballad. “Ghost Behind My Eyes,” is a bit weaker but the melody is pleasant and the sound is a bit of a departure from the same forceful attempt at trying to produce a hit, as Ozzy has done in the past.
Track four is where the shit hits the fan. “Thunder Underground,” is where everything starts to suck, for lack of a better word. Inconsistency at it’s best, sort of. Track four is an abomination of a song. A weak melody and a weak attempt at trying to play the guitars, mixed with Ozzy’s tired vocals. The vocals are akin to what can be heard on the 2001 release, Down to Earth. The lyrics suck and the vocals suck. What in the hell was Ozzy thinking/taking at the time of writing this song? What was he thinking/taking when he decided to release this album? In my opinion, Ozzy should have hung it up back in the late 80’s.
Another abomination is “Denial.” This song is pretty much the same song as Ozzy’s later song “Gets Me Through.” It’s just another one of those “I’m not the devil, nor the Iron Man” bullshit songs. The vocals get even more irritating and nasal in this song as they sound as if they were computer generated. Why can’t Ozzy just sing like a normal person that hasn’t been taking drugs for the last 30 years…… oh….right…...
Most of the songs on this album have no substance at all, they’re not memorable at all, and have irritating nasal vocals, like no other Ozzy album, excluding “Down to Earth.” There is no depth in this album, sort of like most other Ozzy albums, but even more so. The only songs worth listening to are tracks 1, 2, 3 and 5, the rest is utter bullshit that should have never been attempted. Do yourself a favor and do not get this album. Get the Ozzman Cometh and download the standout tracks from this album and you’ll be set.
I'll get right to the point: This album has too many fucking ballads. I Just Want You: Ballad. Ghost Behind My Eyes: Ballad. See You On The Other Side: Ballad. Denial: Ballad. My Little Man: Ballad. Old L.A. Tonight: Ballad.
5 songs out of 10 are ballads. That should be illegalized or something, cause it completely ruins an album with potential to be great.
The album has a generally darker vibe than most other Ozzy albums, and is in general much heavier than most of his back catalogue, except maybe No Rest For The Wicked. This might have something to do with the appearance of Geezer Butler who takes bass duties on this album, and does it really well, of course.
This slightly dark feeling remains on several of the ballads, which could make them a bit more interesting than most of Ozzy's ballads, but that is not the case.
I Just Want You, Ghost Behind My Eyes, Denial and My Little Man are all unusually boring, even for Ozzy's standards. The later two are in fact really fucking awful.
The closing track Old L.A. Tonight though, is a very inspiring and powerful track, which definitely stands out as being exceptionally good, and one of the album's major highlights.
But of course, it's the heavy tracks that truly gain from this darker vibe. Tracks like Perry Mason, Thunder Underground and My Jekyll Doesn't Hide shows a sinister side of Ozzy that we haven't seen since Bloodbath in Paradise, or even some old Sabbath stuff.
These songs are what lift this album up somewhat, despite the already mentioned fact that more than half of Ozzmosis consists of ballads. Perry Mason has that atmospheric keyboard intro and the incredibly cool chorus. Thunder Underground has a devastating, midpaced rhythm that will get your head banging in no time. My Jekyll Doesn't Hide has that really cool mental feeling over it all. What they all have in common, is really fucking heavy riffwork.
Zakk Wylde gets to bust out some really nice riffs on occasion on this album, which was definitely missing on the previous No More Tears. His solos, though, are not quite as excellent as they use to be, even though they're still pretty great.
Somewhere in between the ballads and the crushingly heavy tracks lies Tomorrow. The verses are pretty atmospheric and balladic, and so is the solo. But the pre-chorus and chorus is heavy as hell, and really catchy too. It's a very cool song all in all. But, not that either is enough to redeem this failure of a record.
Because, despite the fact that Perry Mason, Thunder Underground, My Jekyll Doesn't Hide, Old L.A. Tonight and Tomorrow are all very good songs, there is an entirety of six ballads on this album, and only one of them are at all worth listening to. Ozzmosis qualifies as my least favourite Ozzy album, and nowadays he just seems to be going downhill. I don't know if I dare to purchase Down to Earth...
"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!