Black Label Society - "1919 Eternal", 2002

As a lifelong Zakk Wylde fan, I have watched the musician evolve over the years, from his time with Ozzy through the unforgettable Pride & Glory phase, and finally to Black Label Society, debuting with the outstanding "Sonic Brew" album. Up to that point, Zakk had a nearly flawless discography, although BLS's second release, "Stronger Than Death," was somewhat of a step back in terms of songwriting. It sounded heavier than ever and certainly uncompromising, but also very one-dimensional and lacking the signature southern rock flavor of Wylde's earlier work. Around the same time, the guitarist played on Ozzy's mediocre "Down to Earth" album, although he did not write any material for it, since the songs he demoed were considered "too Black Label" and rejected by Ozzy's team; three of those tracks ended up on "1919 Eternal" instead.

"Bleed for Me," "Demise of Sanity," and "Life, Birth, Blood, Doom" were in fact recorded with a session drummer named Christian Werr, and they sound as if Wylde took the original Ozzy demos, added his own vocals, and tried to make them fit into the album's tracklist. The mix on these tracks is noticeably different from the rest of the album, with the main issue being the drumming, which sounds suspiciously like a poorly programmed drum machine. These three songs stick out like a sore thumb and disrupt the listening experience, especially since they are placed within the first four tracks of the album. While "Life, Birth, Blood, Doom" is a rather forgettable filler, both "Bleed for Me" and "Demise of Sanity" were played on the following tour, and the live versions on the "Boozed, Broozed & Broken-Boned" DVD, featuring Louisiana native Craig Nunenmacher on drums, are vastly superior to the studio takes. This supports the sense that poor production choices and mediocre drumming hampered two otherwise solid tracks. Fortunately, the rest of the record features Nunenmacher on all songs, resulting in a more cohesive sound. The former Crowbar drummer was a great addition to the lineup, lending his notable skills and groove to the band until his departure in 2010.

The album's style continues in the heavier, sludgier direction established with "Stronger Than Death," but this time there is more variety throughout the tracks. Lively, up-tempo songs such as the previously mentioned hard-rocking "Demise of Sanity," the double kick-driven "Battering Ram," and the Sabbath-esque stomp of "Genocide Junkies" are welcome additions to the band's formula. The band is at its best in bulldozing, low-tuned mode, though; "Lords of Destruction," "Graveyard Disciples," "Refuse to Bow Down," and "Berserkers" deliver the kind of crushing sound that could rival many Southern or sludge metal bands, showcasing a mix of palm-muted brutality, martial riffs, and groove-laden drumming. Zakk's lead guitar work remains frantic and impressive, yet still maintains a strong sense of melody.

The vocals are gravelly and consistently marked by an alcohol-soaked Yankee drawl, occasionally featuring melodic, double-tracked Ozzy-esque lines that create memorable refrains on some songs. Although increasingly different from his vocal approach in Pride & Glory, this new style suits the material well and became a trademark of all subsequent BLS albums. The lyrics are somewhat abstract, often exploring themes of death, war, and personal struggles that define much of BLS's work. For an album dedicated to Zakk's father (hence the title, with "1919" being his father's birth year), it's all unusually dark and brooding, likely influenced by the climate of uncertainty and violence in the US after the 9/11 terrorist attacks. Given the album's strongly nationalistic, America-centric theme and Zakk's father's status as a WWII veteran, it is especially confusing that the artwork is based on a German Nazi propaganda poster used to recruit Dutchmen into the Schutzstaffel, only altered by adding the band's signature skull in the background.

Returning to the music, there are some fillers that could have been easily omitted, such as the two obligatory ballads (not terrible, but not among Wylde's best either), the brief instrumental interlude "Speedball," and the closing rendition of the traditional patriotic hymn "America the Beautiful." Considering the album's total running time is one hour, a 40- or 45- minute record would have been definitely more effective. The band should have used the studio time to re-record the drums and instrumental parts for the three songs taken from the Ozzy demo instead, which would have given the album a more cohesive flow.

All things considered, and in retrospect, "1919 Eternal" is not a bad record; in fact, it is better than I remembered, and I seem to appreciate it more now than when it was originally released. Still, it suffers from the aforementioned production flaws, is overly long, and Wylde could have put more thought into it. It sounds somewhat rushed and unfocused; while more eclectic than its predecessor, it is ultimately a mixed bag, and the same songwriting shortcomings will affect several of the band's subsequent albums. There are not many lows, but there are not many highs either, making it a mid-tier BLS album that is worth revisiting occasionally—perhaps by creating your own playlist to trim the excess.

LISTEN: Spotify