You’re definitely *not* a heathen for feeling that way—musical taste is deeply personal, and you’re far from alone in your opinion of Zakk Wylde’s playing, especially in the context of Ozzy Osbourne’s solo material. While many fans admire Wylde’s technical skill and stage presence, there’s a sizable group who feel that his heavy reliance on pinch harmonics, squeals, and a “Southern metal” tone took Ozzy’s music in a direction that clashed with the darker, more gothic or melodic sound of his earlier work.
It’s understandable that, as a 17-year-old seeing Ozzy live in 2007 and being introduced to Black Label Society (BLS) at the same time, you felt blindsided. BLS has a much grittier, biker-bar energy—very groove-heavy and riff-centric, often drenched in that Southern sludge. For fans who were drawn to the eerie atmospherics of *Diary of a Madman* or the neoclassical drama of Randy Rhoads’ playing, or even Jake E. Lee’s sleek, razor-sharp tone, Zakk’s aggressive, blues-rooted shredding and constant squeals can feel jarring.
Zakk brought his own brand to Ozzy’s sound starting with *No Rest for the Wicked*, and while there are standout tracks—like “Miracle Man” or “Perry Mason”—many feel his style overshadowed Ozzy’s more haunting, theatrical essence. That contrast only grew as his playing became more exaggerated over the years.
It’s not blasphemy to feel like a certain guitar player changed the DNA of an artist you love. Plenty of longtime fans share that sentiment and often revisit the earlier eras for that reason. Taste evolves—and while Zakk has his audience, it’s totally valid to wish Ozzy had explored different sonic directions, especially in his later solo years. You’re not alone, and it doesn’t make you any less of an Ozzy fan—it just means you know what you connect with
most.
