Black Label Society - "Grimmest Hits", 2018

Zakk Wylde's admiration for Black Sabbath has never been a secret, so it surprised no one when he formed a cover band in 2014 entirely dedicated to the Birmingham legends, aptly named Zakk Sabbath. Playing Iommi's riffs and singing Ozzy's melodies repeatedly apparently influenced his Black Label Society songwriting as well, since "Grimmest Hits" turned out to be largely an homage to those masters and also stands as one of the most inspired BLS records in years.

The production immediately feels punchier than on "Catacombs of the Black Vatican," with new drummer Jeff Fabb delivering a powerful, in-your-face performance. It's unclear whether samples were employed to enhance the kick and snare, but the impact is certainly more in line with "Order of the Black" than the previous record, though the drums sound less processed here. They add significant power to the songs, though they can be a bit excessive on the ballads; perhaps a slightly different, more restrained sound would have suited those tracks better, or maybe Fabb's playing lacks some dynamics, as he hits consistently hard even on softer material where a more controlled approach would be preferable. This is a minor complaint, especially since every instrument sounds great in the mix, from the beefy guitars to a bass that finally finds its place. The vocals maintain the positive momentum of the previous record, still following in Ozzy's footsteps but sounding huskier and raspier when needed on the heavier songs, while reviving the southern drawl of earlier work on the more folk-influenced, intimate ballads.

One thing that becomes apparent almost immediately is that Wylde has completely removed his signature pinch harmonics from his guitar playing; there is not a single one on the entire record, which feels strange considering how integral they were to his style. This choice was likely a response to the widespread online criticism the guitarist has faced over the years regarding his (ab)use of the technique. While this is somewhat understandable, it's still odd to think that such a prominent musician would let internet trolls influence his performance. Whatever the real reason, it's certainly a puzzling decision, especially since many of the riffs on the record seem perfectly suited for pinch harmonics; I often found myself wincing whenever Wylde deliberately omitted one that would have fit perfectly. As a longtime fan of his signature style, I see this as a bit of a shortcoming, as I would have enjoyed the album even more if the damn pinch harmonics had appeared where they were clearly meant to be.

The album is pretty much all killer and no filler, an achievement BLS has not managed since "The Blessed Hellride." "Trampled Down Below" and "Bury Your Sorrow" are impactful, groovy tracks driven by choppy riffs that feel refreshing compared to much of the rehashed material the band released in previous years. "All That Once Shined" is even better—a blues-drenched banger that is as heavy and menacing as it gets. Even the more classic rock tracks such as "Seasons of Falter," "The Betrayal," and the album single "Room of Nightmares" are more inspired than anything on "Catacombs of the Black Vatican," blending 70s-influenced riffs with chugging slowdowns, brilliant guitar solos, and memorable vocal lines.

The record truly takes off when the band ventures into more Sabbath-infused territory. "A Love Unreal" and "Disbelief" are pure Black Sabbath worship done right, featuring doomy riffs, Ozzy-esque vocals, and memorable refrains. The latter, in particular, borrows the main riff from "A National Acrobat," but Wylde puts his own spin on it, making it an instant BLS classic. Even the three ballads—especially "The Only Words" and "The Day That Heaven Had Gone Away"—are excellent. While all are similar in style, revolving around folk, southern-fried country flavors, and even featuring Hammond organ and slide guitars, they are heartfelt, beautiful songs that would have made Lynyrd Skynyrd and The Allman Brothers proud.

As I mentioned in some of my other reviews, I am not a fan of the more jokester side of Wylde that became more evident at a certain point in the band's career, for example, in the band's music videos (including the "Room of Nightmares" video) and some of Zakk's social media posts or interviews. That said, the humorous graphics in the album's booklet, featuring the Grim Reaper depicted in various amusing everyday activities, are very well done, thanks to the quality of the black-and-white images. The simple, stylized green-and-black cover artwork also works well, especially compared to some of the questionable cover subjects the band has used throughout its career.

"Grimmest Hits" was a welcome surprise upon its release, as the band had not put out a truly solid album in quite some time. It's a strong record that, despite some minor flaws, easily ranks among the best in BLS's discography, focusing on what the band does best and largely leaving behind the more radio-friendly tendencies of its predecessor, as well as the uneven songwriting of many older albums.

LISTEN: Spotify