The metal guitarist Lemmy said “never missed a note”


Perfection is never really the goal of rock and roll. Every song you play should have the correct vibe, and if it’s a little off, that’s half of what gives it its attitude. Lemmy was content creating his music, even if it wasn’t perfect every time. However, when he saw Randy Rhoads with Ozzy Osbourne, he knew he was seeing something special.

Even though they didn’t receive as much praise, Motörhead and Osbourne, during Osbourne’s time on Black Sabbath, could be considered pioneers of heavy metal. Although neither band particularly enjoyed discussing heavy metal, their scathing analysis of rock and roll was what made a million people’s hairs stand on end when they were listening to either ‘Paranoid’ or ‘Ace of Spades’.

One could argue that Rhoads was the one who kept Osbourne’s career afloat after he lost alignment with the group. Though it was his wife Sharon who finally pulled him out of his funk, Rhoads’ incredible guitar technique was exactly what Osbourne needed and the complete opposite of what Tony Iommi was aiming for.

Iommi would always imbue many of his riffs with a darker tone as if he sculpted them in the depths of Hell and then resurrected them for the next generation. This remained consistent regardless of how much they changed their sound. When it came to Rhoads, brightness was everything. He took his cues from classical music and put an almost optimistic spin on Osbourne’s first major hits like ‘Crazy Train’ and ‘I Don’t Know’.

Lemmy, known for his straight-ahead rock and roll, recognized Randy Rhoads’ talent. He even called Rhoads “just brilliant.” He recovered after his death—after all, everyone does. However, I adored Randy. He was not afraid to take chances and didn’t feel afraid. He would just go for it because he knew his instrument. And he never missed a note when Ozzy used to throw him up on his shoulder while he was playing.

No matter what he did after, Osbourne was undoubtedly going to be famous, but Rhoads’s riffs were already like little songs, so no singing was necessary to bring them to life. Hearing the bridge to ‘Mr. Crowley‘ was like experiencing Bach or Beethoven on the fretboard for a few minutes. Fans of ‘The Prince of Darkness’ expected menacing licks, but Randy Rhoads’ playing contrasted with that.

Furthermore, Lemmy wasn’t the only one who noticed. Motörhead’s discography was Lemmy doing whatever he wanted. But if Lemmy wasn’t open to new ideas, albums like Another Perfect Day wouldn’t have sounded so progressive.

However, that was Rhoads‘ original purpose in its entirety. Rhoads assisted in pointing out possibilities well beyond what a typical blues lick was supposed to sound like. This was particularly helpful for a frontman like Osbourne. He depended on creating incredible pieces of music within the confines of the rock format.

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