How Zakk Wylde Navigated Ozzy Osbourne’s Guitar Commandments
In 1987, a young Zakk Wylde stepped into the spotlight as he joined Ozzy Osbourne’s legendary band, securing a position that many renowned guitarists had aspired to. Among those contenders was the talented neoclassical shredder chris Impellitteri, who had caught Ozzy’s attention. Ultimately, much like his decision to recruit Randy Rhoads, Ozzy took a risk by selecting a guitarist who was relatively unknown at the time.
fast forward to today, and Wylde remains a pivotal figure in Ozzy’s ensemble, with onyl a few brief separations over the years. Notably, Testament’s Alex Skolnick filled in for a single night, and Gus G took over for one album. Wylde has solidified his status as the most devoted guitarist in the Prince of Darkness’s realm.
The Importance of Adapting to Ozzy’s Vision
Wylde’s longevity in the band can be attributed to his willingness to adhere to Ozzy’s stringent guidelines regarding guitar playing and equipment. This adaptability was evident from the outset of his career with the iconic frontman, as recent comments from Wylde have highlighted.
At just 20 years old, Wylde joined a lineup that included new keyboardist John Sinclair and original bassist Bob Daisley, who was making his return as the 1983 album Bark at the Moon. Their first collaborative effort, No Rest for the Wicked, was released the following year, thrusting Wylde into the high-pressure world of one of heavy metal’s most celebrated acts.
Creative Constraints and Musical Growth
Reflecting on his early days, Wylde expressed a desire to incorporate more slide guitar and wah pedal effects into No Rest for the Wicked. However, he quickly learned that Ozzy had a distinct aversion to the wah sound. “The moment Ozzy hears a wah-wah, he immediately thinks of Jimi Hendrix,” Wylde recounted. “I could be playing ‘Twinkle, Twinkle, Little Star’ with a wah-wah, and he’d be shouting, ‘Hendrix, Hendrix, Hendrix!’”
But the restrictions didn’t stop there. Wylde’s custom-painted Bulls-eye Les Paul became a signature element of his image,subtly nodding to Randy Rhoads’ iconic polka-dot design. While Ozzy approved of the aesthetic, he imposed specific conditions.
“I was only allowed to use the guitar’s back pickup for the album,” Wylde revealed. “Ozzy despises the sound of the front pickup, which he refers to as the ‘cow tone.’”
Respecting the Legacy
Though these demands might seem excessive to seasoned musicians, Wylde embraced them wholeheartedly. “ozzy has been rocking since before I was born,” he noted, acknowledging that he was merely three years old when Black Sabbath released their groundbreaking debut in 1970. “I had to respect his insight into what would resonate in the studio.”
Transforming Ideas into Hits
Such anecdotes illustrate Wylde’s wisdom in leaning into Ozzy’s vast experience. After all,No Rest for the Wicked marked the 13th album for Ozzy,while it was Wylde’s inaugural project. He has also openly admitted to drawing inspiration from Jimi hendrix and his predecessors in Ozzy’s band—Randy Rhoads and Jake E. Lee—to craft his first riffs for the group.
