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PS: by “unreleased” I mean not present in Tribute and therefore in live version.

I would like to add something about Rhoads. I own an unofficial live recording from 1982, recorded in Memphis, Tennessee, shortly before his death, and in comparison to Tribute, the guitar approach is quite different. Let me explain: Tribute is very nice, but in my opinion, it expresses only one aspect of Rhoads; rather, it is the best live performance as a band. I can assure you that in 1982, even on a technical and speed level, Rhoads made significant progress. Some solos were even changed or completely reinterpreted, as in the case of Goodbye to Romance (entirely changed) or Mr. Crowley (revised). I also have a rare one from 1980 recorded at Chelmsford Odeon that includes an unreleased song, You Looking at Me Looking at You, which, apart from being really beautiful, is a true gem, if only for its rarity! And you, do you have any unreleased live recordings from the period 1980-82?

The only note is what Marco85 pointed out, you use the word sborone too often and it becomes redundant over time. Odissey also has some good ideas, for example, the solo of Now is the time is long but perfect.

So I read years ago in an interview with Jake and Lee, of course Randy doesn't appear as an author, but he said he found the sheet music for guitars mostly set up by Rhoads. Whether that's true or not, only he knows, perhaps. Sure, it's possible that Randy wrote pieces for the new album before he died, but I agree that Diary of a Madman is the best; for Ozzy, it's his masterpiece.

Thank you, Aniel, for your intervention!

Perfect, we are on different positions, but at least we have explained ourselves. I have absolutely nothing against you; if I have been polemical, it's only because I believe in what I've written. Perhaps I went overboard with my tone, but you weren’t exactly joking either! That said, if you feel like responding, I have a question for you (and your friends as well): I don’t like Zakk Wylde, and that’s known, but there’s a piece from the live album Just Say Ozzy that I really like, and it’s the solo from Shot in the Dark. Some time ago, I read that someone questioned whether it was actually played by Wylde; in reality, it was reportedly redone in the studio by Brad Gillis (who was also Ozzy's guitarist, replacing Rhoads). Can you tell me anything about that? Finally, one last thing: after listening to Diary of a Madman, I thought the next album would be a flop. In reality, I was surprised because Bark at the Moon contained some precious guitar pieces, at least in my opinion. Only later did I learn from an interview with Jake and Lee that 90 percent of the arrangements for that album were written by Rhoads, and Lee played them exactly as they were. Did you know that? Well, hello, this is my way of starting a dialogue, I hope to hear from you!

I wonder why many of you chose to comment on Tribute when talking about Zakk Wylde, Romeo, and many other guitarists, who may also be valid, but have little to do with a legend of the six strings. I'm sure, Vinsex, that you are very knowledgeable about Wylde, and I say this without any polemic tone today, but I don't understand why you didn't decide to comment on a live Ozzy performance with Zakk instead; here we should honor Rhoads' work, and it doesn't seem to me that you are doing that by equating him with many other valid musicians who, I repeat and will never tire of saying, leave nothing that will be remembered by future generations. Let's be honest, do you really believe that anyone will remember Wylde or Romeo in 25 years? This is the difference that separates a great musician from a good guitarist; otherwise, we end up saying that they are all good on the same level, but this is sentimentality, while I believe that in 20 years, people will still remember Hendrix, Blackmore, and also Rhoads because "Little Wing," "Highway Star," or "Mr. Crowley," just to name a few, are masterpieces that are timeless; they will always be modern and will captivate beyond changing trends. I would like to address dreamwarrior, who made some intelligent comments (so as not to be always labeled as obtuse); it is especially true that a comparison between Rhoads and Wylde makes no sense because (among many reasons) they have two very different musical roots, their approach is clearly different—this is a nice observation that I fully agree with. However, regarding the idea that Wylde would win in a hypothetical comparison, I don't believe so; Rhoads' personality is devastating. It is true that his only limit was dying at just 25 years old, just when he was starting to express his talent. He certainly died in 1982, and in the meantime, techniques have evolved significantly, but you said so yourself, Wylde was not influenced by the "shredding" phenomenon; he continued his blues-country music in an original way—this is a merit. It may appeal to some and not to others (as in my case), but at least he did not copy anyone. One last observation: I didn't want to praise Rhoads for the award he won but only to debunk a blatant falsehood that when he was alive, he was considered a good guitarist but nothing more, and then, after his death, the famous hyperbole would occur. I'm sorry, but it's not right to desecrate the memory of a great artist with these falsehoods, embellished with some lofty words: if one chooses to write a review of a deceased musician, they should at least strive to show the utmost respect; expressing one's ideas is legitimate, but passing off false news as true—absolutely not. It's a pity there hasn't been a correction yet, but only great silence. I say it's a pity because a person with a bit of humility would admit to making a mistake, but perhaps that is asking too much...

But generation, you are not able to mock anyone, your IQ is a joke.

Frankly, I almost feel sorry for you; you’ve made a huge mistake and you’re scared to confront it, and if that’s not obstinacy, I don’t know what is! Anyway, I've read your review closely and I simply contest the premise from which you started: that Randy Rhoads was considered a good guitarist before he died, but nothing more, and that with his death he became some sort of six-string hero. I repeat, this is a historical inaccuracy because two and a half months before he died, Rhoads won the Grammy Award for Best Guitarist of the moment, which means, if you didn’t understand, that the global critics deemed him the greatest of his generation. And you know, back then there was a certain Van Halen, a certain Michael Schenker, and many others that I won’t list, but the list is quite long. So, even if it hurts you, you should admit that you wrote a solemn piece of nonsense, but given your significant obstinacy, you surely won’t do that. Secondly, a ranking where Toni Iommi is considered the greatest guitarist of all time is at least bizarre and debatable; as far as I’m concerned, Hendrix is also in that spot for his historical merits, and then where’s a certain Blackmore? Washing dishes? Come on, give me a break! Iommi is a guitarist of great riffs, but he never aspired to be a guitar hero, and I admire him for that. As for Randy, he was a tremendous guitarist before he died and remains a tremendous guitarist after his death; there is no hyperbole except in your Spartan brain. The fact that Zakk Wylde can play his parts means nothing; Jake and Lee could also do that, even Brad Gillis could do that. It's obvious that Ozzy had to replace Rhoads with professionals of the instrument, but it’s the soul of the great guitarist that makes the difference, the imprint he leaves over time through his music, and on this there is absolutely no comparison. Rhoads belongs to the elite of six-string players; Wylde is a good guitarist, but nothing more, and he won’t leave anything worth remembering in 20 years. Maybe ask yourself why, if you can!

I'm sorry, here are the grades! See you soon!