Aside from a woeful album title – which is only really beaten in sheer awfulness by the likes of REO Speedwagon’s You Can Tune A Piano, But You Can’t Tuna Fish – this album is fantastic. It also happens to be a master-class in the guitar.
A lot has been said of Randy Rhoads and Eddie Van Halen. Who was first? Van Halen. Who was better? Rhoads. But at the end of the day it doesn’t really matter, they’re both very different. Randy Rhoads has one foot firmly placed in classical guitar, and for me that’s what makes him more interesting to listen to that the very soul-less Eddie Van Halen.
The loss of Randy Rhoads was just a crucial loss to the guitar, and to the music world in general, as was the similar departure of Stevie Ray Vaughan. My guitar teacher introduced me to this album – Randy Rhoads’ masterpiece – and taught me most of the riffs and licks from it. It suffers from a slightly top-heavy overdriven guitar sound, and if it had been recorded just a few years earlier it might have avoided that and sounded that little bit more timeless.
I’m not that familiar with the later Sabbath albums from Ozzy’s tenure, but this album has so much energy it sounds like a debut album. Breakaway solo albums seldom sound like that – they usually sound like a natural progression from the singer’s last album with their respective band, but here Ozzy, buoyed by the youth of his protégé, records a classic of its genre.
In terms of riffs, this album has them all. Rhoads is a progressive guitar player – just the sheer amount of licks that pepper a song like Crazy Train is testament to that; but quieter moments like Dee and monsters like I Don’t Know and Steal Away (The Night) show his incredible diversity – all with that pulsating, frenetic rhythm that is his trademark.
Hit: Crazy Train
Hidden Gem: Dee