Ozzy Osbourne
Down to Earth

THE REVIEW

There is only one review of this album on Debaser and, besides not being flattering, the same reviewer states that they listened to Down to Earth at most a couple of times and then trashed it. The question arises spontaneously: how can you write a review of an album that you didn't take the trouble to listen to calmly, serenely, and thoroughly, but discarded because "it wasn't what I expected" after just a couple of listens and set aside? You can't.

Let's try to remedy that.

Another huge, unforgivable error of the aforementioned "review" is the coarse claim that Dreamer is a horrible piece, worth discarding. Here the "reviewer" immediately reveals themselves for what they most likely are: a metalhead under 25 years old (at least I hope for them). A metalhead who can appreciate only heavy metal and very little else and who, if Ozzy, one of the founding fathers of heavy metal, dares to create a ballad, then it must immediately be declared trash.

It doesn't matter that the Beatles and particularly John Lennon, whose masterpiece Imagine this piece explicitly inspires, are one of Ozzy's greatest solo influences, who had already shown his admiration for Lennon in his beautiful Ghost behind my eyes in the splendid Ozzmosis of 1995. And it doesn't matter that Dreamer is actually a beautiful ballad, musically moving, technically impeccable, with one of Zakk Wylde's best melodic solos and thematically echoing the environmentalist/apocalyptic inspiration of pieces like Revelation from Blizzard of Ozz and the later The Almighty Dollar from Black Rain.

None of this matters; the pure and inveterate metalhead must spread his filth over everything he considers a mortal sin for a metal musician: composing a ballad. I suggest leaving the "metalhead" to his adolescent delusions and taking a bath of emotions by listening to Dreamer.

But also listen to the entire album, which, admittedly, although good, puts all the best pieces at the beginning and leaves something to be desired towards the end.

Gets me through is a stunning opener, as is tradition with Ozz's albums, where a mesmerizing piano intro gives way to a heavy, squared riff brimming with groove on which Ozzy sings memorable verses and chorus.

Less thrilling but still good is the follow-up Facing Hell, which then gives space to the aforementioned Dreamer, of which I have already extensively sung praises.

Also fantastic is No easy way out where you can also hear what the rhythm section, composed of two phenomenal musicians, is made of: none other than Rob Trujillo, who would later join Metallica, and Mike Bordin, ex-Faith No More. Pay attention to the detail of the descending bass scale that precedes the chorus; Ozzy singing No easy way out, that bass line is pure ecstasy.

In this piece, the guitar riff is as Sabbath-esque as you can get, while the keyboardist also emphasizes the spaciousness of the piece, which opens into a highly memorable chorus; shall we talk about the solos? A truly beautiful piece, 10/10.

The next piece has a more street-style riff, here we're in more 80s and Guns'n'Roses territories (to give you an idea) than 70s Sabbath. A nice track to bob your head up and down to anyway. It's no coincidence it was included in the setlist for Live at Budokan the following year. The vocal line is interesting, beginning with Should I think about tomorrow. Here Ozzy slows down the pace and reflects on the advancing age.

If all the pieces were up to the level of these first 5, we would be talking about an absolute masterpiece, but that's not the case.

After the tender and sincere, as well as Beatles-esque interlude of You know (part 1, which curiously will never have a sequel), comes Junkie, which is not up to the level of the previous pieces but can simply be listened to. The instrumental part after the second chorus is interesting, with Rob Trujillo shining as never before; you will surely be able to hear him much more clearly on this album than on anything else he did with Metallica.

With Running out of time, we return to very high levels. Just another wonderful ballad, a power ballad this time. Another bitter (after all, Ozzy is always The Prince of Darkness) reflection on life and the inevitable passage of time, Ozzy talks about lonely and broken heroes, thus speaking of many other musicians like him who, when they are not on stage, hailed by all, often find themselves more alone than ever in facing their demons, alone, lost, and forgotten. Behind the mask, a simple man who is afraid like everyone else and, like all, tries to find a light to bring him home. Musically then, this piece adds to the dozens of other pieces where Ozzy slows down and manages to evoke beautiful emotions. Emotions and also reflections.

And if it ended here, I would not hesitate to assign a 4.5/5 to Down to Earth, but the subsequent Black Illusion and Alive inevitably lower the ratings of an album that remains beautiful, unmissable and which I personally prefer to the still very good No more Tears and Ozzmosis.

This 2000s version of Ozzy is as valid as that of the early 80s and the two albums (Ozzmosis, in my opinion, underrated) from the 90s.

An album I wholeheartedly recommend you go listen to or revisit.