Its legendary bass line and gothic overcast provide a straightforward yet elaborate foundation that allows for supplementary guitar chugs, drawn out vocal lines, an extended break devoted to symphonic extravagance, and perhaps one of Zakk Wylde’s most elegant solos ever. This presentation gets pushed to even further extents on the grandiose title track. Perhaps it’s uncanny for a song of this nature to feature such a rousing riff set and catchy vocal lines, but this doesn’t have the camp of a “Bloodbath in Paradise” or “Bark at the Moon.” Ozzy was certainly no stranger to dark topics before but a song about a child predator feels more *real* than anything he’d done before and the opening samples do well to establish a sinister mood. Tinkertrain” immediately demonstrates this shifted outlook. After a string of strong but frankly shallow albums, this was his most purposeful work since Diary of a Madman. However, these elements are paired with some extra substance as the songs feel more dynamic and the lyrics mark the start of Ozzy’s more introspective themes. The production reflects holdovers of that eighties polish, the musicianship is as over the top as ever, and the songwriting is still largely driven by quick pacing, streamlined structures, and loud accessible choruses. On the surface, 1991’s No More Tears initially feels like an extension of the party metal sound last seen on 1988’s No Rest for the Wicked.
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