Ozzy Osbourne
Bark At The Moon

THE REVIEW

Some time ago, a friend of mine let me listen to Bark At The Moon, the third effort by the ''Madman'' Ozzy Osbourne.
I was quite impressed, so much so that the other day, taking advantage of a sale, I bought it original.

Already after about ten seconds, I started thinking to myself . . . "I didn't remember it like this" . . . . For example, in the first song, the title track Bark At The Moon, Ozzy's evil laughter has been stripped of the echo and now it's just a simple Ah-ah-ah, and the keyboard parts have been turned down so much in volume that they are almost imperceptible (. . . now I'm not going to bore you with the numerous small but annoying changes present in all the tracks . . . )
However, I listened to it all the way through, and I have to admit that, in this shape, it didn't leave me with the same sensations.
Quite irritated, I borrowed the old version. . .

It's the European version, which differs from the American one in three particulars:
1) the song Spiders replaces Slow Down
2) the track order is completely different
3) ''Ozzy Osbourne / Bark At The Moon'' is written in blue and yellow instead of red and yellow like in the American version.

Now let's talk about the album. . . . it's certainly a remarkable product, an excellent mix between metal and the pop/rock typical of the '80s. Ozzy and company skillfully navigate both the more powerful songs and the soft ballads, and Jake E. Lee manages to (quite) respectably replace the incomparable Randy Rhoads.

The opening is entrusted to the excellent Rock'n'Roll Rebel, where the guitars and an engaging rhythm provide an excellent atmosphere more hard rock than true metal.
The following Bark At The Moon is probably the most famous song, as well as the most beautiful one of the entire album: a perfect blend of metal and the inimitable style of the '80s. A sharp guitar riff, a wonderful rhythm, the right keyboard touches, and finally Ozzy's voice, which really gives its best here, make it an essential song in the musical scene of that decade.
Another noteworthy track, although much more pop, is You're No Different, where Don Airey's keyboards (now with Deep Purple) prevail over the other instruments and brilliantly intertwine with the guitar, which serves as an embroidery function. We return to more gritty sounds with Now You See It (Now You Don't), which boasts, for better or worse, a typical '80s production, with a linear rhythm and very ''pumped up'' drums.
The second half of the album is introduced by Forever (better known by the American title Centre Of Eternity): bells and choir seem to introduce us to something sacred. . . but after just over a minute everything changes. The track transforms into a powerful metal which is enjoyable to listen to. The idea of adding a slight echo in the chorus is excellent: the Madman's voice really seems to come from another dimension.
So Tired is a ballad with romantic atmospheres, decidedly over the top (note the excellent work of Airey, who, with the keyboards, simulates an entire orchestra): it seems like an excellent modern revisitation of Changes by Black Sabbath. . . absolutely worth listening to.
The penultimate track is titled Waiting For Darkness. It is, in my opinion, the only slightly underwhelming episode of the LP. It closes with the good Spider, where it picks up the style of Now You See It: an excellent bass line, linear rhythm, and good chorus.

In conclusion, I feel like recommending ''Bark At The Moon'' as I consider it an excellent album. It will definitely appeal to lovers of both hard rock and hair metal, as well as 80s nostalgics.

Just one last piece of advice before closing.
If you really want to purchase this album, buy it on vinyl or look for a used CD (European or American version doesn't matter, as only one song changes), because the original has been out of print since 2002.
The important thing is that you steer clear of this remastered version (the catalog number is EPIC 502042-2), because it's not a remastering at all: it's a total remix, and it's truly an insult to this great album.
The score 4/5 is for the original, of course. . .