In hindsight, it is surprising to think of Ozzy Osbourne retiring in his mid-40s.

Nonetheless, the Prince of Darkness took his first final bow at the end of his 1992 No More Tours Tour, which supported the previous year’s blockbuster No More Tears. His break from the spotlight — prompted by an incorrect multiple sclerosis diagnosis — was short-lived, but it generated excitement upon his return with 1995’s Ozzmosis.

The anticipation was justified. Along with longtime Ozzy guitarist Zakk Wylde and Journey drummer Deen Castronovo, Ozzmosis reunited Osbourne with bassist and former Black Sabbath bandmate Geezer Butler, who had previously participated in the singer’s No Rest for the Wicked tour. Adding to the excitement was producer Michael Beinhorn, fresh off the success of Soundgarden’s Superunknown.

However, despite the impressive lineup of talent involved, Ozzmosis is a frustratingly uneven listen that often sees Osbourne abandoning his hell-raising heavy metal thunder for monotonous, radio-friendly hard rock.

READ MORE: Ozzy Osbourne Solo Albums Ranked Worst to Best

‘Ozzmosis’ Starts Strong but Goes Downhill

It does not start that way, though. The album opener and lead single “Perry Mason” comes out swinging with a deliciously sinister Mellotron riff and a stomping, gargantuan groove. Osbourne delivers the percussive verses and soaring choruses with devilish flair, transforming what could have been a gimmicky song about a fictional lawyer into one of his strongest post-retirement singles.

The rest of Ozzmosis never quite reaches the high bar set by “Perry Mason.” Follow-up singles “I Just Want You” and “See You on the Other Side” lack energy and bite, instead relying on clean guitars, layers of keys, and sugary melodies. The staggered, chugging guitars on “Thunder Underground” and descending chromatic riffs on “My Jekyll Doesn’t Hide” allow the band to showcase their collective talents — Butler’s nimble bass lines sound as exciting here as they did in 1970 — but they lack the urgency and anthemic hooks of Osbourne’s best songs.

Two Key Shortcomings of ‘Ozzmosis’

Ozzmosis ultimately suffers from its length and its sameness. The 10-song album runs nearly 57 minutes, averaging five and a half minutes per song, and almost every track lumbers along at the same midtempo pace.

They all seem like a deliberate attempt to recreate the magic of “No More Tears,” but that song succeeded because it was balanced by up-tempo rockers such as “Desire” and “Zombie Stomp.” On Ozzmosis, each track blends into the next, with Beinhorn’s sterile, overly polished production stripping them of much-needed edge. Likewise, Osbourne’s super-high vocals sound suspiciously polished in spots and occasionally slip into “whiny” territory.

Despite Mixed Reviews, ‘Ozzmosis’ Was a Huge Hit

Despite its shortcomings (and mixed reviews at the time), Ozzmosis was a commercial success, peaking at No. 4 on the Billboard 200 and achieving double platinum status. It is hardly a bad album; it simply feels uninspired compared to its predecessors. It set the tone for Osbourne’s next several studio albums and marked a turning point in his career. Although he remained one of the biggest names in metal, Osbourne subtly transitioned from contemporary hitmaker to legacy act starting with Ozzmosis.

Every artist fortunate enough to remain active for decades eventually undergoes this transition. That it took Osbourne seven albums and 15 years to do so is a testament to his longevity — and if given a choice between Ozzmosis and retirement, we would still choose Ozzmosis any day.

Watch Ozzy Osbourne’s ‘I Just Want You’ Music Video