Randy Rhoads tone improvement on Blizzard

jabps said:
Jake got paid for Ultimate Sin i.e. songwriting royalties. For Bark, she gave him an ultimatum, sign over all your rights or we'll just have someone copy your guitar parts and send you on your way.

At that point Jake could have taken the crumbs or go back to nothing in LA. If you think about it he really had no choice, have a career or be known as the guy who couldn't cut it as Rhoads replacement because that is certainly how Sharon and Ozzy would have spun it. Jake also only made about $500 a week on tour. Hell Vivian Campbell got paid even less, he was making $100 dollars a week.

Further Jake wasn't a family friend, he just said in his most recent interview he hadn't spoke with Ozzy in 40 years until his final show.
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Ok so that makes me think that when Zakk auditioned, they didn't give him the same ultimatum. Like hey if you want to be in this band then you'll get zero royalties, to which he must've said yes ill do it. Or, the contract for Zakk was different and they do pay him royalties.
 
Metalhex said:
Ok so that makes me think that when Zakk auditioned, they didn't give him the same ultimatum. Like hey if you want to be in this band then you'll get zero royalties, to which he must've said yes ill do it. Or, the contract for Zakk was different and they do pay him royalties.
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No clue on that. Zakk has certainly never said anything.

As for Jake, is he was promised royalties and publishing before he recorded the album and when it was finished, that's when they reneged on their agreement when Jake was signing his contract.

Jake's mistake was not signing a contract before he recorded Bark at the Moon. Had he done that he would have had more power. Might not have kept him in the band but they would have been liable for money owed contractually. Still that doesn't absolve Sharon or Ozzy of anything, an agreement is an agreement and they flat ripped him off.
 
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In his book Ozzy said that after the lawsuits in the mid-80s everyone got locked in a contract as soon as they were hired on to avoid further litigation. And as far as I know, nobody who has collaborated with Ozzy from NRFTW onward has ever sued over credits or royalties.

Lemmy said at one point he made more money off Mama I'm Coming Home royalties than he did for all of Motorhead.
 
GreatRedDragon said:
In his book Ozzy said that after the lawsuits in the mid-80s everyone got locked in a contract as soon as they were hired on to avoid further litigation. And as far as I know, nobody who has collaborated with Ozzy from NRFTW onward has ever sued over credits or royalties.

Lemmy said at one point he made more money off Mama I'm Coming Home royalties than he did for all of Motorhead.
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Wasn't that a cover of Hellraiser? I didn't know he did that song too
 
jabps said:
Jake got paid for Ultimate Sin i.e. songwriting royalties. For Bark, she gave him an ultimatum, sign over all your rights or we'll just have someone copy your guitar parts and send you on your way.

At that point Jake could have taken the crumbs or go back to nothing in LA. If you think about it he really had no choice, have a career or be known as the guy who couldn't cut it as Rhoads replacement because that is certainly how Sharon and Ozzy would have spun it. Jake also only made about $500 a week on tour. Hell Vivian Campbell got paid even less, he was making $100 dollars a week.

Further Jake wasn't a family friend, he just said in his most recent interview he hadn't spoke with Ozzy in 40 years until his final show.
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Jake gets songwriting credit on Ultimate Sin but he didn't get royalties. On the advice of Bob Daisley Jake took a lump sum payment
 
JackBootedThug said:
First time I heard tribute it was almost like hearing vh1 or the first time I heard zep. It was fuckin amazeballs…totally ruined the studio stuff for me.
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Exactly. Tribute is all I will listen to for the songs on there. I'll only put on Diary for the songs they didn't add to Tribute.
 
Techdeth said:
I I’m in the minority I like the his tone . It’s nasty and brittle but my ear loves it though id not want a tone like his . But anyhow . Anyone have the original cd from the 80s ? Pop that one and listen to a new remastered version . They have changed his tone so much though out the years during these remasters over years that’s it a wild listen . It’s thicker more balanced . Still too brittle and odd for many but it was an observation
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I listened to I Don’t Know from the original Blizzard CD then compared it to the ‘95 remaster . I can tell a difference in the guitar tone but not a big difference , like you mentioned it’s a little thicker , a little less brittle and maybe a bit more mids . I can tell a good difference in the remaster itself , the bass and drums pack a bigger punch and there’s an overall volume increase but it’s not an increase to where it turns into a mess when you turn it up . I can be a sucker for remasters but the ‘95 versions sound good
 
hammered said:
I listened to I Don’t Know from the original Blizzard CD then compared it to the ‘95 remaster . I can tell a difference in the guitar tone but not a big difference , like you mentioned it’s a little thicker , a little less brittle and maybe a bit more mids . I can tell a good difference in the remaster itself , the bass and drums pack a bigger punch and there’s an overall volume increase but it’s not an increase to where it turns into a mess when you turn it up . I can be a sucker for remasters but the ‘95 versions sound good
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Is this when they replaced the drums and bass with the new guys at the time re-playing them?
 
I noticed that his tone varies a bit on Blizzard. Mr. Crowley sounds quite different than I Don't Know. Steal Away also sounds like I Don't Know and Crazy Train. Revelation sounds similar to Mr. Crowley.

I was playing my BE50 today and thinking of Randy while I was trying to play some of his riffs. I kept thinking that he would have loved to have had the options we have today in terms of amps.
 
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BABMusic said:
I noticed that his tone varies a bit on Blizzard. Mr. Crowley sounds quite different than I Don't Know. Steal Away also sounds like I Don't Know and Crazy Train. Revelation sounds similar to Mr. Crowley.

I was playing my BE50 today and thinking of Randy while I was trying to play some of his riffs. I kept thinking that he would have loved to have had the options we have today in terms of amps.
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Totally, he might even have stopped using thr altecs!
 
He was using Altecs on Tribute and his tone absolutely killed.
Same tones he had on the albums, the only difference being the production.
RR knew exactly what he was doing with his gear choices and utilization of it.
All of this negativity about his tone is absolutely overblown and ridiculous.
His tone was unique af and ripped, and anybody with one good ear can hear past the production.
I guarantee nobody bitched about his tone until guitar forum critics came along.
 
Greazygeo said:
Is this when they replaced the drums and bass with the new guys at the time re-playing them?
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That was Ozzy’s “Ultimate Sin.” Unforgivable….

In lawsuits filed in 2000 and 2002 which were dismissed by the courts in 2003, former band members Bob Daisley, Lee Kerslake, and Phil Soussan stated that Osbourne was delinquent in paying them royalties and had denied them due credit on albums they played on.<a href="https://en.wikipedia.org/wiki/Ozzy_Osbourne#cite_note-213"><span>[</span>213<span>]</span></a><a href="https://en.wikipedia.org/wiki/Ozzy_Osbourne#cite_note-214"><span>[</span>214<span>]</span></a> In November 2003, a Federal Appeals Court unanimously upheld the dismissal by the US District Court for the Central District of California of the lawsuit brought by Daisley and Kerslake. The US Court of Appeals for the Ninth Circuit ruled that Osbourne did not owe any royalties or credit to the former band members, who were let go in 1981.<a href="https://en.wikipedia.org/wiki/Ozzy_Osbourne#cite_note-lawsuit_dismissed-215"><span>[</span>215<span>]</span></a> To resolve further issues, Ozzy's manager and wife Sharon chose to replace Daisley and Kerslake's contributions on the original masters, replacing them with Robert Trujillo on bass and Mike Bordin on drums. The albums were then reissued.<a href="https://en.wikipedia.org/wiki/Ozzy_Osbourne#cite_note-216"><span>[</span>216<span>]</span></a> The original tracks were restored for the 30th anniversary of the albums.

Later they successfully sued and received back royalties from those scumbags and the re recorded version was taken out of circulation.
 
Techdeth said:
I like the diary tone and songs a lot more . No Bone movies is the only bad song they made at all
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No Bone Movies is one of my favorite songs by Ozzy/Randy.
Randy brings some of his Quiet Riot style to the band.

Also, I LOVE Randy's tone on Blizzard and Diary.
He was changing the world of guitar playing, and had his own sound.

Remember that the longest Delay available to Randy was only 401ms long.
Dial up a 401ms delay and see how that feels. It's not great.
Kudos to Randy for making it timeless
 
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