Tone Report Weekly 184 - Page 39

“Shot In The Dark” Ozzy Osbourne The Ultimate Sin Coming off a stint in rehab and business conflicts with his band, Ozzy and company turned in a rather unmemorable batch of ‘80s metal that Ozzy was all too happy to delete from his catalog when he had his ‘90s resurgence. Some have theorized it was to avoid having to pay royalties to former bassist Bob Daisley and former guitarist Jake E. Lee, but Ozzy asserted it was overall dissatisfaction with the album. It’s hard to blame him, what with the thin production and weak performances. Coming at the end like a wake-up call is “Shot In The Dark”, Ozzy’s only songwriting collaboration with then-bassist Phil Soussan. Unlike Randy Rhoads’s dramatic “Driver 8” REM Fables of the Reconstruction A loose concept album about the American South recorded in London with a new classical influences or Lee’s buzzing LA grind, “Shot In The Dark,” is an eerie mid- tempo ode to the madness of a serial killer. It truly sounds like no other single in Osbourne’s catalog, and while Lee would be replaced by the ubiquitous Zakk Wylde on the next album, Lee gives himself a good send- off with the epic outro solo. The rest of The Ultimate Sin has mostly been forgotten, but after working out the legal issues Osbourne has re-introduced it to his setlists and live albums, playing it to this day. producer, REM didn’t have nice things to say about Fables for a while. Peter Buck himself completely disowned it for a time, saying the band “wrote good songs but killed them in the studio,” and there were hints that the band almost broke up during its conception. Shorter compilation albums would ignore Reconstruction tracks completely, but longer ones would make space for the single “Driver 8.” For the most part, Reconstruction is more gothic than fans were used to at the time, sounding closer to the Cure than REM. By contrast, “Driver 8” is more stripped down and has the classic REM jangle while keeping strong with the themes of the record. Down the road, fans would have a more positive reception to the album than REM would, considering it the dark horse of their early days on I.R.S. records. 39 39