4. Black Label Society / 1919 Eternal. 2002. 4/5

The story goes that Zakk wrote a number of songs for Ozzy Osbourne's album Down to Earth but that they were rejected by Ozzy when he brought them in because they were "too Black Label Society". The result was that although he performed on the album, none of the songs were written by Zakk. A somewhat strange decision, given Zakk's stated love of the man.
So these songs were now waiting to be used, and they turned up as the basis of the next Black Label Society album. This one. And it is noticeable that they also influence the writing of the remainder of the album. 1919 Eternal is a different styled album from the first two BLS albums. It really is geared closer to what an Ozzy Osbourne album would sound like.

The album kicks off with "Bleed For Me" which has a very 'Ozzy' tempo to it, with Zakk's soulful mourning driving along the back end of the song. "Lords of Destruction" is much more typical of this era Black Label Society, the wailing Zakk guitar riff along with an effects driven rhythm in the unique BLS style. "Demise of Sanity" is another 'Ozzy' song, a more up-tempo song heavy on guitar with a more typical lyrical outlaying throughout the song, as is "Life, Birth, Blood, Doom".
The much slower tempo "Bridge to Cross" is the first of many future songs like this that Zakk records for BLS. He does it well, but really, we want some speed and guitar from Zakk. Which is what he brings us on "Battering Ram", a fast pace drum driven song with a great solo that restores the balance of the album. This is followed by the classical guitar solo of "Speedball" that flows straight into the BLS staples "Graveyard Disciples" and "Genocide Junkies".
"Lost Heaven" is the second slow tempo song of the album, which again is almost like intermission at the movies - time to take a leak and grab a drink. "Refuse to Bow Down" and "Berserkers" showcase that great Wylde axe, before the album concludes with Zakk's guitar instrumental rendition of "America the Beautiful", an obvious reference to the 9/11 terrorist attacks.

This was the first album of BLS that I got and heard, following raves from the Metal Edge website. It was a pleasant surprise all round, with Zakk's guitaring complementing his vocals, but also the change from that which he played with Ozzy Osbourne. I guess I had been expecting something similar. What I found was aggressive, heavy and not all of the same tempo. It perhaps still ranks as Black Label Society's finiest moment.