Ozzy Osbourne: “Patient Number 9” (Review & Stream)

It’s amazing that the man, who now seems rather tragic in interviews, still delivers such vocal performances. This cannot all be due to the miracles of studio technology. Or maybe it does… In any case, Ozzy sounds like Ozzy again, whining, sinister, eccentric, but also sovereign and intonation-safe. A good two and a half years after his last solo album, “Ordinary Man”, Andrew Watt wrested another one from him as producer and musical director and provided him with an all-star ensemble with Chad Smith, Robert Trujillo, Duff Mc-Kagan etc .

Ozzy sounds like Ozzy again

As always with Ozzy, the lead guitar position is excellently filled. In addition to his old side kick Zakk Wylde and the even older creative partner Tony Iom mi, he is also supported by unexpected string icons such as Jeff Beck and Eric Clapton. The only thing missing is Jimmy Page. They say he didn’t want to. Especially the old ones are convincing all along the line, Iommi for example in the two typical reef mountains, which he paints black with a giant brush. And when Ozzy (or whoever) unpacks the blues harp on “Degradation Rules”, Black Sabbath really aren’t far away. Jeff Beck is also convincing. He succeeds in translating the mental confusion of “Patient No. 9” into tonal language with his reality-bending melodies and, almost even more suggestively, snapping the somewhat cheesy string elegy “A Thousand Shades” out of its pre-calculated orbit.

Even Clapton had one of those truly inspired days on “One Of Those Days,” pulling out all the stops, from bluesy slowhand fills that gently entwine Ozzy’s vocal lines to wild wah-wah runs that aren’t just a tad early Remember Cream days. The bombastic prepared balladesque predominates again, as on the last albums. But the saddest thing is the “Darkside Blues” with slide guitar and harp at the very end. Ozzy’s voice sounds so far away as if he’s almost gone.

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