In Memoriam: Ozzy Osbourne (1948-2025) By: Jesse Striewski

Ozzy Osbourne. So few names in history have been as universally recognized or needed as little to no introduction as he has. Even just the word “Ozzy” alone is enough to invoke an array of memories and emotions for nearly any functional adult that’s been paying attention for the past five plus decades (including those who aren’t even necessarily “fans”).

Not even three weeks ago I was researching and writing about Ozzy’s life in preparation for his final, “Back to the Beginning” show both as a solo artist, and as a member of the pioneering heavy metal act Black Sabbath that he had co-founded alongside Tony Iommi, Geezer Butler, and Bill Ward so many years ago back in 1968. Like so many others, I watched with my family as Ozzy and company said their farewells on stage from Birmingham, England. And like so many others, I mourned at the news of his passing yesterday, just seventeen days after that monumental final show.

I considered the fact that writing about both Ozzy and Sabbath again so closely after the last time might run the risk of some redundancy, but how could I not do a full tribute for such a deserving figure? That being said, I decided I would not get too detailed here, and would try to focus more on conveying what Ozzy has meant to me personally, rather than give a straight history lesson on his life alone.

As previously stated, Osbourne began his musical journey in the late 1960’s as a member of Black Sabbath, who are largely considered to this day to be the forefathers of heavy metal music. The band released their first self-titled album in 1970, and Osbourne stayed with them throughout the rest of the decade before his erratic behavior brought on by drugs and alcohol saw him dismissed from the band shortly after 1978’s Never Say Die! album.

A comeback of epic proportions ensued in the following decade when, with the aid of new manager (and future wife) Sharon and a hotshot new guitarist by the name of Randy Rhoads helped get Ozzy in shape for a solo career that started with 1980’s Blizzard of Oz record.

A string of albums, including 1981’s Diary of a Madman (the final before Rhoads’ untimely death in a plane accident), 1983’s Bark at the Moon, 1986’s The Ultimate Sin, and 1988’s No Rest For the Wicked (the latter of which the first to feature longtime guitarist Zakk Wylde) cemented Osbourne’s role as the “Prince of Darkness.”

By 1991’s No More Tears LP, I was beginning to really start to appreciate Ozzy’s music, just as it seemed as though he might be ready to retire from it. Thankfully for me though that was not the case, and just two years after the release of 1995’s Ozzmosis album I would be seeing him on stage for the first time, both as a solo artist, and as a member of the reunited Black Sabbath (sans Bill Ward on drums) at the 1997 Ozzfest. It was an epic experience I only wish I had soaked in a little longer.

Around this same time, I had also started playing the bass guitar and even started my first garage band, ironically with two of my fellow friends/classmates that I had attended said Ozzfest with in the ’90s. I would practice that bass for hours, likely driving my family insane (my poor parents were the ones who even gifted me the instrument in the first place) as I learned many an Ozzy or Sabbath song, some for band practices, some just for fun (I was dumbfounded the first time I ever made my way through “Crazy Train” from start to finish, which to the best of my memory was the first song I ever learned to play in its entirety).

Several years later, I would see Ozzy and Sabbath on stage once again, this time for the 2004 Ozzfest, and this time with the entire original lineup together at last, including Bill Ward. I remember driving all the way from essentially Orlando to Tampa directly after getting off of work (something that would likely not be possible for me nowadays) to make the show, and sitting on the lawn by my lonesome (my girlfriend at the time and her friends all left early for whatever reason) before someone graciously handed me an upgraded ticket about eleven rows back from the stage. From there, the party truly began, and even Ozzy’s wife, Sharon, was there to introduce the band at the height of the Osbournes’ newfound reality TV show fame, too.

I had a chance to go to one more Ozzfest in 2007, but at the time I was still a relatively new father, and it just wasn’t the feasible thing to do just then (no doubt something I now regret to some degree in hindsight).

But by 2010, something equally as exciting as watching your heroes live happened. I had worked my way into music journalism as a freelancer by that point, and was given the chance to interview original Sabbath drummer and longtime bandmate to Ozzy, Bill Ward. I could not believe my luck as I actually spoke to this living legend on the phone as he recounted many of his historic memories with me that day (I would have a similar experience a few years later in 2018 when I also interviewed former Ozzy bassist Phil Soussan for Rewind It Magazine).

By 2023, my own son was old enough to not only start appreciating many of these moments, but also start taking part in some of them, too. First by seeing the reunited Pantera with said Ozzy axeman Zakk Wylde in place of the late Dimebag Darrell (who ironically was also there at that ’97 Ozzfest as an opening band so many years prior), but also meet one of Osbourne’s own offspring, Jack Osbourne, that same summer as well (see photo below).

The author (second from right) with (from left to right) Brooke Striewski (wife), Jack Osbourne, and Jacob Striewski (son) at Spookala on 6-10-23.

When the devastating news of Osbourne’s passing first began making waves yesterday afternoon, I knew the impact would be like none other before it. Every musician or artist of any kind that I follow were each posting their own unique tributes to this person that affected so many lives, and even friends and family were reaching out to me as though I had lost someone close to me (which in a way we all had). The only response that made any sense to me at the time was to simply gather all of my Ozzy and Sabbath records, CD’s, tapes, and concert ticket stubs and put them all together as a shrine of sorts (see photo below).

Various Ozzy Osbourne-related items from the author’s personal collection.

I found it appalling that there was also somehow still a sub-sect of people out there posting negative comments online about Osbourne, calling him “problematic” among other ignorant things. One such person even went as far as saying he had “never done anything good” during his time here, but based off of the $190 million Osbourne’s final concert raised alone for Parkinson’s and other charities, I’d say that’s a fairly false observation (and it has got to be exhausting to be that way).

As I’m sure he was to so many others, Ozzy was like that second dad – or at the very least that unhinged uncle your parents don’t want you spending too much time around (I’ve often related my own father, whose date of birth is only separated from Ozzy’s by a mere ten days, to him). In an even stranger turn of events, Ozzy not only left this world in the same manner as my late uncle Joe, but also on the same anniversary of my late cousin Scott Striewski, who was a born rocker through and through, that passed away on July 22, 1998.

The influence Ozzy Osbourne had on both music and the world itself is immeasurable, and the lasting impact he’s had and will continue to have for generations to come, is indescribable. He was a legend we loved while he was here with us, and a beloved icon that will now forever remain in each of our hearts until the end of time. Goodbye, Ozzy.

Pantera, Alice Cooper and more at Welcome to Rockville in Daytona Beach, FL on 5/20 and 5/21/23 By Jesse Striewski/Photos By Brooke and Jacob Striewski

The last time Rewind It Magazine made it out to Daytona Beach for the annual rock fest Welcome to Rockville in 2021, the event was held at the end of the year, and the weather was nearly perfect. Thankfully we skipped last year completely, which by all accounts reached near disastrous levels with torrential downpours that caused delays throughout the festivities.

Thankfully things did not go as terribly wrong by the time we decided to make an appearance on Saturday, May 20 (the first two nights just didn’t have enough to offer of interest in all honesty), although by the time we did finally make it, we had just missed Kreator’s (one of the main selling points of the day for myself personally) set, arriving just in time to see their crew breaking down their gear.

So we waited for Sepultura’s set on the very same stage instead. Having already seen them once back in 2011, I already knew what to expect more or less, and only stayed to hear a handful of tracks from them in the form of “Isolation,” “Territory,” and “Means to an End” before making our way onto better things.

One of the other main selling points for me personally this year was actually Jason Bonham’s Led Zeppelin Evening, which is what we promptly left said Sepultura set early for in order to catch their full set. It was a blast hearing the likes of “Immigrant Song,” “Good Times Bad Times,” “Over the Hills and Far Away,” “The Wanton Song,” “Ramble On,” “Misty Mountain Hop,” “The Ocean Song,” “Black Dog,” “Whole Lotta Love,” and “Rock and Roll,” even if many of these by now are beyond overplayed radio standards.

Chevelle were the next act to catch, and although I’ve never had too much of an issue with their music (this would be my third time seeing them live, too), it was a perfect chance to take a breather and catch a bite to eat while listening to the likes of “Face to the Floor,” “The Clincher,” “Send the Pain Below,” and “The Red” in the background.

Then there’s good old Alice Cooper, who at this stage in the game feels timeless. And speaking of time, this marked my fourth time actually catching him in concert (and two of those instances I had actually worked security for him). “Lock Me Up,” “No More Mr. Nice Guy,” “I’m Eighteen,” “Under My Wheels,” “Billion Dollar Babies,” “Fallen in Love,” “Snakebite,” “Feed My Frankenstein,” and “Poison” were all thrown out there before fans were given a guitar solo by the lovely Nita Strauss that ended in a jam of “Black Widow.”

“The Ballad of Dwight Fry” found Cooper singing in his signature straight jacket before his daughter Cheryl Cooper came on stage and decapitated him with a guillotine under the tune of “I Love the Dead.” The classic ’70s anthem “School’s Out” (complete with a few bars of Pink Fylod’s “The Wall” thrown in there for good measure) seemed to end the set before Cooper emerged behind a podium for an encore of “Elected.” Although far from my first time seeing him, it was surreal finally watching him with my two favorite people by my side, making it an especially fond memory for me.

Alice Cooper rallies the crowd in Daytona Beach, FL on 5/20/23.

For the life of me I’ve never really gotten the appeal of Godsmack, even though I have caught them live before as well (just once, back at Earthday Birthday in 2012). And how they were even remotely above Alice Cooper on the roster makes zero sense, but either way they opened with “When Legends Rise,” before going into the likes of “Cryin’ Like a Bitch!!,” “1000hp,” “You and I,” “Something Different,” “What About Me,” “Bulletproof,” and “Awake.”

By this time, frontman Sully Erna pulled back to have a “drum off” with drummer Shannon Larkin (who some may recall was the drummer for Ugly Kid Joe for many years). This lead to brief medlies of rock staples such as “Back in Black,” “Walk This Way, and “Enter Sandman” thrown in, and seemed like the perfect time to start heading over to the next stage.

And said stage contained what everyone had really came to see, the reunited Pantera. I was beyond lucky enough to see the band back at Ozzfest in ’97 when both guitarist Dimebag Darrell and drummer Vinnie Paul were both still alive, so it really didn’t bother me to see singer Phil Anselmo and bassist Rex Brown now joined by Black Label Society’s Zakk Wylde and Anthrax’s Charlie Benante filling in for the departed brothers in tribute to them (it also gave my wife and teenaged son a chance to finally see them for the first time as well).

While my memory is somewhat fuzzy as far as what the band played way back over twenty years ago, there’s no mistaking the band ripped through “A New Level,” “Mouth For War,” “Strength Beyond Strength,” “Becoming,” and the recently added “Suicide Note Pt. II.”

“5 Minutes Alone,” “Yesterday Don’t Mean Shit,” and “Fucking Hostile” continued the non-stop aggression before the band slowed things down a bit, showing video footage of the Abbott brothers with “Cemetery Gates” draped over top of it before segueing into their trippy cover of Black Sabbath’s “Planet Cavravan.” More hard-hitting classics in the form of “Walk” and”Domination/Hollow” followed before they closed things out with “Cowboys From Hell,” effectively leaving even the biggest of naysayers with their jaws to the floor.

The following day, Sunday, May 21, paled in comparison after what was beheld previously. By the time we had made it, Senses Fail were already on stage and wrapping it up, so after catching a couple of tracks like “Buried Alive, “Chop Suey/Break Stuff,” and “Can’t Be Saved,” we proceeded to the one that post-grunge ’90s rockers Filter was appearing on. They wasted no time with their five-song set as they plowed through “Welcome to the Fold,” “Face Down,” “(Can’t You) Trip Like I Do,” “Take a Picture,” and of course, “Hey Man Nice Shot.”

More ’90s rock followed as legendary skate punks Pennywise then took over the Octane stage. It was my third time seeing them since the very first Warped Tour I ever attended back in 2001, and I was still genuinely excited to hear tracks like “Peaceful Day,” “The World,” “Straight Ahead,” “My Own Country,” “Same Old Story,” “Fuck Authority,” a cover of Nirvana’s “Territorial Pissings,” “Pennywise,” “Society,” and “Bro Hymn.”

Skate punk legends Pennywise rocked the final day at Rockville on 5/21/23.

Sets from the likes of mediocre acts such as The Mars Volta and Coheed & Cambria were again perfect opportunities to grab a bite to eat and check out the merch tents before watching the likes of trap rapper Ghostemane. For perhaps the first time ever, I fully understood what it felt like to be that fish out of water parent just there for their kid, as I endured songs with titles like “Nihil,” “Bonesaw,” and “Trench Coat” that made little to no sense to me.

Another band I can’t say I’ve ever had much interest in at all, Incubus, were somehow after all this. And while I still can’t say I’m a fan by any means, I never realized what a jam band they really are in concert (nor how easy-on-the-eyes their current bass player Nicole Row, who’s also served some time with Panic! At the Disco, actually is). All of their staple songs were present of course, including “Nice to Know You,” “Come Together” (Aerosmith cover), “Pardon Me,” and “Wish You Were Here.”

Another act I was there mainly for my kid were Deftones (it’s not that I have anything against them, they’ve just never been my style). But I was surprised to see their live set was actually quite entertaining, despite some of their songs still landing on the tedious side for me. But they managed to pack in sixteen tracks with non-stop energy that included “Genesis,” “Needles and Pins,” “Be Quiet and Drive (Far Away),” “My Own Summer (Shove It),” “Diamond Eyes,” “Digital Bath,” “Tempest,” “Swerve City,” “Rosemary,” “Ohms,” “Minerva,” “Bloody Cape,” “Change (In the House of Flies),” “Rocket Skates,” “Nosebleed,” and “Engine No. 9.”

And finally, Tool. Sure, I was semi-into them when Undertow first came out back in the day like most sixth graders at the time. But I have long since disliked them ever since the first time I saw them live back in 2002, and frontman Maynard James Keenan performed with his back facing the crowd the entire time (exciting). I’ve seen them one more time since, in 2016 with Primus, where I promptly left soon after they hit the stage. On Sunday night, I did the same thing once again, making my way out of Rockville as they were performing “Forty Six & Two” (just their second track of the night).

I’ve since seen the images from the show and have heard others that stuck around for it express their disappointment as well. And Keenan’s drag outfit was far from some deep political statement about Florida or some meaningful artistic expression as some might try to spin it to be, but rather just another gimmick from an overrated, obnoxious hack. Hopefully this will be the final time I ever have to witness such a joke in person, and if anyone deserved to close out such a festival, it was definitely not them.

Album Review: Ozzy Osbourne – Patient Number 9 (Epic Records)

By: Jesse Striewski

I was initially hesitant when I first heard Ozzy Osbourne would be releasing another album so soon after 2020’s Ordinary Man, feeling it might be on the “rushed” side. But it doesn’t take a genius to recognize greatness when they hear it, and that’s exactly what’s achieved with (most of) Patient Number 9.

From the moment the title track/first single kicks into high gear, it’s apparent the Prince of Darkness has still got it, crooning through seven minutes of epic proportions. From then on, the Ozzman channels his best John Lennon impression (“One of Those Days,” “God Only Knows”) to echoing back to his days in Black Sabbath (“Evil Shuffle,” “No Escape From Now,” Degradation Rules” – the latter two each featuring former Sabbath band mate and godfather of the metal guitar, Tony Iommi). But it’s when Ozzy dives deep that’s most interesting; “Nothing Feels Right” and “Dead and Gone” might just go down as a couple of my personal favorites here.

Aside from Iommi, there’s an array of other star musicians that guest here, including longtime axeman to Ozzy’s solo band Zakk Wylde, and legendary guitarists like Eric Claption and Jeff Beck. Bass parts are rounded out by Metallica’s Robert Trujillo and Duff McKagan of Guns N’ Roses, while drum duties are handled by Chad Smith of the Red Hot Chili Peppers and late Foo Fighters drummer Taylor Hawkins in what may now be his final recorded performance.

But getting back to the music, Patient Number 9 delivers on all accounts as both a rock record, and an Ozzy album, filled with heavy menancing riffs, and plenty of catchy hooks. Surprisingly, there’s not even a lot of filler found here, either. At seventy-four years old, Ozzy shows he’s still got it after all these years, and I’m just thankful to still be able to witness it.

Rating: 4/5 Stars

Retrospective: 20 Years Since Mark Wahlberg Became a ‘Rock Star’ By Jesse Striewski

Few fictional ‘rock’ flicks have ever perfectly captured the essence of sex, drugs, and rock and roll as well as 2001’s Rock Star. Tagged with the line “The story of the wanna be, who got to be,” its source inspiration was drawn from the real life fairy tale of Tim “Ripper” Owens, who landed the dream job as frontman for heavy metal legends Judas Priest after being discovered singing the band’s material in a cover band.

Directed by Stephen Herek, the film uses this idea to tell the story of Chris “Izzy” Cole (Mark Wahlberg), who goes from singer for a Steel Dragon cover act, to the real deal almost overnight. He instantly feels all of the highs and lows going from obscurity to the big leagues, with many of his personal relationships ultimately straining as a result, including his romance with girlfriend/manager Emily Poule (Jennifer Aniston).

Having previous experience as lead singer for Marky Mark and the Funky Bunch, Wahlberg pulls off playing Cole like a pro. He’s surrounded by more ‘real life’ musicians throughout the film, with guitarist Zakk Wylde (Ozzy Osbourne/Black Label Society), bassist Jeff Pilson (Dokken), and drummer Jason Bonham (Led Zeppelin) making up the rest of the lineup of the fictional Steel Dragon.

The author (left) with former Judas Priest singer Tim “Ripper” Owens in 2019. Owens inspired the plot of Rock Star.

Outside of Steel Dragon, there’s use of many other notable musicians in the film; Slaughter drummer Blas Elias, Alter Bridge frontman Myles Kennedy, and even one time L.A. Guns/future Steel Panther lead singer Ralph Saenz (a.k.a. Michael Star – see photo below) all pop up at one point or another. There’s even an homage of sorts to the 1984 classic This is Spinal Tap, when the band is seen photographed on the same rooftop featured in said film.

Aside from featuring many original songs by the likes of KISS, Motley Crue, and Def Leppard (among many others) throughout, it also contains a number of covers re-imagined as Steel Dragon originals, such as the Steelheart track “We All Die Young.” And while the other members of the fictional outfit perform on these songs, oddly, Wahlberg does not sing on them. Instead the vocal duties are handled by Steelheart vocalist Miljenko Matijevic, and one-time Journey singer Jeff Scott Soto.

Making under $20 million on a $50-plus million dollar budget, Rock Star fell short of making the impression filmmakers had hoped it would; this could likely be attributed to the fact it was released just days before the September 11 terrorist attacks. Still, the film has since maintained a life of its own among fans, and remains a go-to, rags-to-riches rock journey to this day.

Steel Panther performing live in 2013; vocalist Michael Star makes a brief appearance in the film (photo courtesy of the author’s personal collection).

Album Review: Zakk Sabbath – Vertigo (Magnetic Eye Records)

Zakk Sabbath - Edited (1)

By: Jesse Striewski

I tend to usually shy away from tribute/cover albums (always found them a tad too on the ‘gimmicky’ side), but this track-by-track rendition of Black Sabbath’s masterpiece 1970 debut album arranged by Zakk Wylde and company was way too irresistible to pass up.

Backed by former Ozzy Osbourne/Rob Zombie bassist Blasko and ex-Danzig drummer Joey Castillo, Wylde does justice (both vocally as well as musically) to not only classics like “N.I.B.” and the title track, but equally brilliant (yet sometimes overlooked) numbers such as “Wicked World,” “Behind the Wall of Sleep,” and “Sleeping Village,” all of which are a welcome trip back through time.

What’s also interesting is that instead of releasing Vertigo digitally, the band is only offering physical copies in an effort to bring back a more ‘authentic’ feel to the entire rock experience. Fifty years since it’s original release, Black Sabbath is still just as timeless as ever, and this new addition serves as one more reminder of it’s enduring legacy.

Rating: 4/5 Stars