Review Summary: No thoughts, just Wylde
Ozzy’s first album to feature guitarist Zakk Wylde is quite possibly the most energetic album that he has ever released. Much of that can be attributed to Wylde himself; with his signature downtuned chugs and pinch harmonics still years away from completely taking over, the way he peppers his riffs with the occasional squeal is contagious and his soloing lives up to his name. It also rubs off on the rhythm section particularly with drummer Randy Castillo showing his speeds on songs like “Tattooed Dancer.” If the albums with Jake E. Lee were jumping on the glam bandwagon driven by bands like Ratt and Dokken, then No Rest for the Wicked is perhaps taking its cues from the nastier edge spearheaded by the Guns ‘n Roses crowd.
But while this album’s more aggressive execution gets it pegged as a sort of anti-Ultimate Sin, it might be stuffed with even more effects, synths, and other sorts of eighties cheese. Keyboardist Jon Sinclair gets to be just as dominant on the proceedings as Wylde in spots as tracks like the sinister “Bloodbath in Paradise” and the crawling introspections of “Fire in the Sky” and “Hero” are filled to the brim with keys, choirs, and spoopy samples. There’s also a larger emphasis on backing vocals than any other Ozzy album as just about every chorus is hammered home with layered sing-alongs, making even the most boneheaded hook stick in the brain.
Speaking of which, the songwriting is ultimately driven by the same sort of stupid fun that defines Ozzy’s other eighties albums that followed Randy Rhoads’ passing. “Miracle Man” is the perfect opener as the furious chugs play well with the schadenfreude of seeing a holy roller get knocked from his pulpit and the robotic voices make for a catchy call-and-response chorus. “Demon Alcohol” is another major highlight that hides its darker intentions with another engaging riff and rousing party vibes, revealing itself as a sort of “Suicide Solution” sequel with a closer glance. Other tracks like “Devil’s Daughter” and “Breaking All the Rules” are the sort of dopey anthems that write themselves, but they’re still very enjoyable.
Despite being somewhat overlooked in the grand scheme of Ozzy Osbourne’s career, No Rest for the Wicked is one of his strongest blasts of eighties metal. The performances alone make it worth checking out as the lively approach feels like a world apart from the colder touch of the Jake E Lee albums and it’s hard to imagine these songs working quite as well with this sheer power behind them. The formula is arguably better realized on the following No More Tears and it could never hope to touch the majesty of the Randy Rhoads era, but No Rest for the Wicked manages to offer some great surprises.
