Ozzy, in a moment of weakness, called Zakk. Zakk said, “Let me come in and redo a solo.” Rubin refused. He had hired session guitarist Steve Vai for a single track (“My Little Man”), and more crucially, a young, unknown player named Joe Holmes. Holmes didn’t try to be Randy Rhoads or Zakk Wylde. He played bluesy, fractured, human solos. The solo on “Tomorrow” isn’t fast—it’s a man trying to climb out of a grave.
Here is why Ozzmosis deserves a second listen. ozzy osbourne ozzmosis album
The story of Ozzy Osbourne 's 1995 album is one of a legendary "un-retirement." After his 1991 No More Tears tour was billed as his farewell (the "No More Tours" tour), Ozzy found that staying home with a house full of "screaming kids" was far more exhausting than being on the road. The Failed Experiment: "X-Ray" Ozzy, in a moment of weakness, called Zakk
Tracks like "Thunder Underground" and "Denial" showcase a rhythmic heaviness that Osbourne had rarely explored before. Wylde’s signature "bullseye" guitar tone is present, but it is deployed with a discipline that serves the song rather than the solo. The guitar work on Ozzmosis provided a crucial link for metal fans in the 90s, offering a familiar voice (Ozzy) over a sound palette that felt contemporary and aggressive. Holmes didn’t try to be Randy Rhoads or Zakk Wylde
Songs like "Perry Mason" and "Thunder Underground" are built on riffs so heavy they could crack pavement. The tone is dark and ominous, perfectly suiting Ozzy’s voice, which sounded world-weary and commanding in equal measure.