Reviews

The Ultimate Sin, Ozzy's fourth solo album overall, is often viewed as low point in his career. He had just spent time in rehab, and has often said that recording the album wasn't a pleasant experience. He was not in the right state of mind, and contractual disputes with band members made the whole experience rather forgettable. Guitarist Jake E. Lee would present no material until contracts were signed and bassist Bob Dailey quit before recording even started. With all this chaos in mind, somehow an album of above-average quality emerged. The songs were hard-edged, with a tight production, but still held the pop sensibilities of early albums in the catchy choruses and accessible lyrics. The title track rumbles from the speakers with the opening drum pattern, and although the song isn't fast - it is sinister, and Ozzy's vocals sound focused and aggressive. The track even features some double-bass drumming towards it's close, reminding us that is all these great guitar hooks this is still a metal album. The music feels focused in a way Osbourne's music hadn't before. This continues into 'Secret Loser', and although the chorus is almost cringingly poppy, the ragged guitar tones still carry it beautifully. Although Lee would never be seen by fans as a worthy replacement to dead guitar god Randy Rhodes, his solo here shows why he should be. The anthems continue, with 'Never Know Why' giving the best stadium fist pumper of the album. 'Never' features some great six-string work, even if it does lean a little too close to too much of that 80's reverb. 'Killer Of Giants' is a rare quiet moment on the album, and in Ozzy's career overall. It gathers some momentum and punch toward the end, but his heartfelt vocals really touch a nerve as pleads for the warmongers to stop. He is delicate and vulnerable, and it adds a deeper dimension to the album overall. The closer, 'Shot In The Dark', is an oddly sombre track, although it has a decent tempo and a sing-along chorus. From the opening steady bass line and scant guitar, it just has a different feel to the rest of the album - like it is a song that has a different goal than the others. It is a perfect closer to an album, although it wouldn't seem that way if heard on its own. It has a feeling of a restless farewell, of a door being closed that will not be opened again. Rather fitting really, when in hindsight we know that this version of the band would completely splinter in the very near future. It would also be a song that would be at the centre of legal disputes for years to come. The album isn't Osbourne's best work, but it did add another strong group of songs to his growing solo legacy at the time. Although many of the tracks aren't brilliant, overall it is one of his most consistent bodies of work, with no absolute low points. In later years he openly stated it was his least favourite album - but those comments never seemed to be about the songs, more the period of time.