Probably my second favorite Ozzy track, "Shot in the Dark" is the final track on 1986's The Ultimate Sin. I knew this song from its inception as a single, and it wasn't until the early 90s that I heard the entire album from which it hails. At that time, I wasn't a fan of the album, just the song, which seemed like a moody anomaly on an otherwise, at-first-glance collection of so-so 80s hard rock (It didn't help that my high school girlfriend and her two older sisters played Ozzy non-stop for the three years we dated. Forced familiarity can indeed breed contempt, a lesson we could have applied to our relationship, as well).
Maybe ten years ago or so, I gave The Ultimate Spin another chance, and found that, not only did I remember a lot of the tracks, but I remembered them kindly. Excitedly, even. Since then, this has become a go-to Ozzy record for me. As much as I love and respect the man, I don't gel with a lot of his solo work. Riding high off No More Tears, I was ready to embrace Ozzmosis when it landed in 1995, but the lead single, "Perry Mason," just seemed like such a ridiculous song. Like Ozzy had somehow gone all the way around the bend into self-parody. The album didn't sit much better with me, and that was the last of his solo work I paid attention to until Mr. Brown got me into 2020's Ordinary Man circa 2021. Producer Andrew Watt ended up being the best thing to happen to the Ozzman in decades, as I'd rank Ordinary Man and Patient No. 9 as instant classics. Both records are of a caliber that, while the early stuff is still untouchable, hold their own.
I've made it my mission to comb through his catalogue and see if I missed anything.
NCBD:
Great pull list this week. Let's go!
James Tynion & Michael Walsh's Exquisite Corpses continues barreling along its destructive path and you're damn straight I'll once again have a front row seat! I have a feeling this book is going to really surprise us along the way. Not everything is as straightforward as it seems.
Watch:
For reasons I simply cannot fathom, about two years ago I walked away from HBOs Doom Patrol series and never came back. This wasn't intentional; I'm not really sure how I got like this, but I tend to leave shows - even shows I adore - hanging. Something kicked in again last week, and I rewatched the entire second season and am now perched atop the first episode of Season Three, which is unfamiliar ground for me.
I can't stress how much I love this show. It's absurd, moving, and outright bat shit. The look of it is among my favorite looks to any show or film - the lighting is soft, dark, but still colorful. The set design is symmetrical, cohesive and downright creepy A.F., when it needs to be. And the original, Dada-esque undertones Grant Morrison so lovingly wove through his run on the book in the 80s are always ever-present. These elements would be disparate and jarring in the hands of most, but this show blends them all perfectly.
Playlist:
Deee-Lite - Dewdrops in the Garden
Deee-Lite - World Clique
Primus - Antipop
Hot Stove Jimmy - It's a System...
Lard - The Last Temptation of Reid
Meat Puppets - Dusty Notes
Deadfly Buchowski - Russian Doll E.P.
Pixies - The Night the Zombies Came
Ozzy Osbourne - No More Tears
Ozzy Osbourne - Perry Mason (single)
Ozzy Osbourne - Down to Earth
Ozzy Osbourne - No Rest for the Wicked
Card:
From Jonathan Grimm's Hand of Doom Tarot, which you can buy HERE.
• Page of Wands
• Two of Cups
• Four of Wands
Creative emotional support is needed to reclaim a regular sense of balance, i.e. in this case, duty. I remain in a non-writing paradigm. I did begin re-reading Shadow Play Book One: Kim & Jessie, a much-needed and until now shirked necessity for, you know, working on the sequel. That's a major step for me, but I need to get back to a regular routine and it just seems to be drifting further and further away. A day stolen here or there just doesn't amount to much, and I think the cards are telling me that I need to ask K for help.
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