Black Label Society - "Order of the Black", 2010

"Order of the Black" is the first BLS album released after an actual break; before that, the band put out about one album per year, along with several live DVDs, greatest hits collections, and more, all while touring relentlessly. Wylde also managed to release "Black Rain" with Ozzy in 2007—an album that sounded dangerously similar to his BLS work—and toured in support of it. Hats off to Zakk's work ethic, especially since he had nothing left to prove, yet he continued to release records and tour the world for years as if there were no tomorrow. The inevitable wear and tear, compounded by Zakk's legendary drinking habits, forced him to rest for a while in 2009, when blood clots in his legs finally compelled him to get sober. Always the one to man up when necessary, he shrugged it off and went on to record and tour as if nothing happened, releasing an album that showed no signs of slowing down or mellowing out. If anything, he seemed to develop a jokester side after getting sober, increasing his presence on social networks and in online interviews, often playing the fool and making fun of himself and others. This less serious, self-deprecating attitude also found its way in the band's videos (see "Overlord" and most of the clips since), and I cannot say I particularly enjoy this approach. As I mentioned in an earlier review, I prefer the redneck, beer-guzzling, hell-raising version of Zakk over the kilt-wearing, joke-cracking, jolly Zakk any day. However, we are ultimately here for the music, so let's get to it.

The first thing you notice about "Order of the Black" is the beefed-up production; everything sounds bigger and louder, with Zakk likely trying to adapt to changing times and the more bombastic productions now common among younger bands. While this works well for the guitars and bass, which sound as massive as ever, the drums feel a bit too processed, probably taking advantage of new technologies by adding some triggers for extra punch. Craig Nunenmacher had unfortunately left the band some time before, and he was replaced by reliable session player Will Hunt, who delivered a slightly more technical performance but sounded a bit too clinical compared to the former drummer.

The album opens strongly with an absolutely killer trifecta that ranks among the best material the band has ever written: groovy, chugging, downtuned brutality reminiscent of the "1919 Eternal" era ("Crazy Horse"); doom-laden, Black Sabbath-inspired riffs ("Overlord"); and more rocking, 90s Ozzy-style mid-tempos ("Parade of the Dead") create an electrifying introduction. "Parade of the Dead" in particular is arguably one of the best BLS tracks ever, with riffing that would not have felt out of place on Ozzy's "No Rest for the Wicked" or "No More Tears," and featuring an irresistible bridge straight out of Iommi's songbook. Wylde's vocals closely follow the usual Osbourne template, but this time they sound fuller than ever, with added grit, marking his best performance since "The Blessed Hellride."

Elsewhere, the album does not sound as impressive; the devastatingly heavy "Southern Dissolution" is the only song that matches the impact of the first three, while "Black Sunday," "War of Heaven," and "Riders of the Damned" only partially maintain the inspired songwriting. "Godspeed Hellbound" is at least somewhat more interesting thanks to the unusually thrashy, double kick-driven riffing, though it ultimately remains quite forgettable. The ballad quota is fulfilled with four tracks of uneven quality, with "Darkest Days" being the only memorable one, displaying a poignant southern rock mood that recalls Zakk's "Book of Shadows" era, which is no small feat. That said, someone should have reminded Zakk that it's not mandatory to include so many ballads every time, especially since only one usually stands out.

"Order of the Black" is not the return to form that many claimed it was at the time; in fact, the previous album, "Shot to Hell," was actually better overall. As often happens, it seems people are distracted by the more pompous production when judging an album, partly overlooking the actual quality of the songwriting. It's still a more than decent BLS album, featuring four or five excellent tracks and several enjoyable fillers, along with notable performances by Wylde and his bandmates. Strangely, it is also the last record to feature Wylde's signature pinch harmonics prominently; the guitarist began to tone them down considerably starting with "Catacombs of the Black Vatican" and onward, likely in response to widespread online criticism.

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