OSBOURNE OZZY/RANDY RHOADS TRIBUTE. TABLATURE
Ozzy Osbourne - Randy Rhoads Tribute
Series: Guitar Personality
Publisher: Cherry Lane Music TAB
Artist: Ozzy Osbourne
Artist: Randy Rhoads
Matching folio to the sensational live album, featuring: Suicide Solution - Believer - Iron Man and more. Plus feature story and photos.
Inventory #HL 02507904
ISBN: 9780895243478
UPC: 073999079043
Publisher Code: 7904
Width: 9.0"
Length: 12.0"
128 pages
In virtually every tune, the listener can hear evidence of Randy's
elaboration and embellishment of the basic song structure with
countless additional fills, extending and intensifying existing sections
with interesting new material. All the familiar Rhoads-isms
are here but more plentiful: long, elastic bends, wailing artificial
harmonics, switch flipping, pick slides, portamento glissandi, pull off
flurries, trills and whammy bar manipulations uf all lypes. Tn
"Crazy Train" Randy elaborates on the basic song structure by
adding two solos to the form which function as intro and outro,
respectively. These new solo sections were given a freer treatment,
producing statements which were more like an assortment of fills
and noises than the constructed solos he was famous for.
Randy approached his solos in two ways. The first being a stylized
classical concept of reproducing/duplicating the melodic and
rhythmic entity intact, with little or no obvious variation. The solos
to "I Don't Know," "Crazy Train," "Mr. Crowley," "Flying High gain,"
"Revelation (Mother Earth)," "Steal Away (The Night)" and
"Goodbye to Romallce" all share this approach. The second is one
in which he paraphrases while extemporizing/improvising on the
underlying solo mood, structure and thematic content. This more
liberal attitude is employed in the solos of "Believer," "Suicide
solution," "iron Man," "Children of the Grave," "Paranoid" and
''No Bone Movies," where fragments from the original solos serve
as inspiration for further invention.
Throughout his live performance, Randy used sound effects from
his pedal board coloristically to add new dimension to the song
(e.g. the final chorus of "I Don't Know," where the wah-wah is
heard prominently as a filter sweep) or to generally enhance solo
lines and chord textures. His well-known arsenal of processors:
wah. flanger, fuzz, chorus, EQ, echo and delay was exploited to
an even greater extent than in the studio.
Included in this collection is Randy's unaccompanied guitar solo
which evolves from the closing bars of "Suicide Solution." The
elaboration begun in the internal solo hints at the mood and substance
of an a cappella spot, particularly in the usage of exotic
intervals (tritones), feedback, quick ascending and descending
phrases and whammy bar sounds. The unaccompanied solo combine
virtuoso flash techniques with melodious episodes, culminating
in a mixture of compositional and jammed styles. Key elements
in thi solo are: extremely fast minor pentatonic riffs which are
moved through related tonal centers, muted flurries, diminished
7th arpeggio out-lines, scalar, triadic and chromatic runs, double-
handed sequences and whammy bar growls and dives.
It is immediately obvious that the Black Sabbath selections in
this set were particularly conducive to Randy's style by virtue of
several aspects-the darker, quasi-classical (early Eurometal) mood
in modality and melodic content; the heavier driving rhythm feel
(much like his own riffs); and the backing chord progressions for
solos, which complemented his penchant for signature melodic rolling
scale passages and use of minor and exotic line forms_ This
suited his guitar playing more aptly than the pop-rock leanings of
his Quiet Riot material, which relied in great part on I IV V chord
progressions depictive of the major mode. In "Children of the Grave"
the background harmony for the solo is 1 vi vii, an Aeolian chord
pattern, which seems to coax out of Randy the trademark style he
developed with Ozzy. The solo to "Paranoid," again built over a
driving minor riff, combines, humorously, Chuck Berry unison bend
sequences with "outside" scale excursions, bent tap-ons and
machine-gun quick picking ostinati. A clear example of Randy
Rhoads' rootsier rock 'n' roll/blues side can be heard throughout
the straight ahead rocker "No Bone Movies," which finds him using
ideas from the basic A pentatonic/blues vocabulary effectively.
Furthermore, a solid rock 'n' roll 12/8 triplet phrasing indicative
of blues shuffle rhythm and soloing over a simple 1 IV chord progression
strengthens this impression.
Possibly the most unique and unexpected treasure on this album
is the personal experience offered the listener to join Randy in the
studio during the tracking of "Dee. "Here we share intimate moments
of a thoughtful performance, resulting in two foundation tracks being
laid down, over which he added over-dubbed voices to create the
familiar masterpiece. Admirers of Rhoads' studio technique will
appreciate the insights, informality and candor of this all-too brief
session with Randy.
In re-evaluating his contributions, it becomes apparent that
Randy Rhoads' work is still as moving and significant as it was
over five years ago. It is interesting to see the seeds Rhoads planted
take root and bear fruit in so many contemporary guitarists' styles.
His pioneering of the fusion of high-tech heavy metal with classical
and exotic musics redefined and revitalized the idiom of modern
rock guitar. For those who never had the opportunity to see or hear
this star shine so brilliantly, and for those who wish to remember,
this final encore deserves a standing ovation. We applaud you, Randy and Ozzy!
Believer
Children Of The Grave
Crazy Train
Dee
Flying High Again
Goodbye To Romance
I Don't Know
Iron Man
Mr. Crowle
No Bone Movies
Paranoid
Revelation
Steal Away (The Night)
Suicide Solution
128 pages.
Italiano
English
