Zakk Wylde immediately asserted himself as one of the most talented guitarists in the world when he burst onto the scene as the lead guitarist on Ozzy Osbourne's 1988 album "No Rest For The Wicked." Given his successful run with Osbourne, Wylde's continued musical proficiency should come as no surprise. What is most noteworthy is how prolific a performer he has become. After 2004's acoustic-based "Hangover Music Volume VI," Wylde's Black Label Society returns to its metal roots on their latest release, "Mafia." BLS's 7th album in as many years continues a remarkable run of albums that place Wylde in a class of his own among modern guitarists.
Despite the mellower sound of last year's release, fans generally know what to expect from Black Label Society. This is a band driven by heavy riffs, exceptional guitar work and first-rate solos. Wylde surrounds himself with capable musicians and provides enough skills as a songwriter and vocalist to produce solid all-around albums. "Mafia" is no different than earlier BLS releases in this sense. Wylde is able to stay with what has worked for him without merely reproducing the same album again and again.
"Fire It Up" quickly hooks the listener and is the first of four standout songs that begin the album. The main riff blends a wah pedal with Wylde's vocals while the rhythm guitar pounds away in the background. When the solo begins, Wylde does not just break into random guitar shredding. Given his considerable talents, there would be few complaints if he did so. Yet, Wylde chooses the more effective style of building up his solos. By initially offering more tasteful licks, the moments where he simply lets loose are that much more potent. His speed and flair as a guitarist is still displayed prominently throughout the disc but overall the playing remains well-rounded. At this point, people are aware of how fast Wylde can play. What allows him to continually stand out is his ability to construct and perform solos that showcase his amazing talent without being detrimental to the flow of the songs or album.
Subsequent songs follow the successful formula of straightforward riffs, catchy choruses, and mind-blowing solos with plenty of pinch harmonics as well. "What's In You" and "Suicide Messiah," the album's first single, feature suitable harmonized vocals along with typically impressive solos. "Death March," "Say What You Will" and the particularly strong "Been A Long Time" are not only among the best tracks, but they differ from one another enough to prevent the album from becoming repetitive.
Though the album may have its flaws, the product is about as good as one could expect from one of the few bands still making an album every year. While the lyrics of a song like "Electric Hellfire" are a bit over the top, the sheer power of the song atones for any perceived shortcomings. This frantic track sounds like a much heavier version of Led Zeppelin's "Immigrant Song."
Though the album has a distinctly heavy feel, one should not make the mistake of considering it one-dimensional. "In This River" and "Dirt On The Grave" are softer, piano-driven songs where Wylde utilizes appropriately restrained playing. Though such mellower numbers are in the minority on this album, their presence provides a sufficient change of pace.
"Mafia" produces few surprises, but with this consistency comes little disappointment. One who did not care for Black Label Society's previous work would find little here to differ their outlook. Those who have come to recognize Wylde's tremendous talents and BLS's uncompromising dedication to heavy music will appreciate "Mafia" as perhaps the finest hard rock album of the year.
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