With renewed vigor, Black Label Society has enjoyed a renaissance in recent years, with more solid material in recent years and Doom Crew Inc. doesn’t disappoint with Zakk Wylde releasing opuses that seem familiar to longtime fans, but made with more inspiration. Wylde is inspired as always by the main character Tony Iommi and also contains a ballad delicately mixing piano and guitar. It’s BLS at the top of its game and Doom Crew Inc. ranks 19th.
BraveWords spoke to Man Wylde for a feature article; an excerpt below:
For the first time on a BLS studio album, Zakk Wylde exchanges solos and paired guitar parts with Dario Lorina, and it really makes a difference. âDuring the years that Dario was in the band (he joined in 2014), I just give him more to do – ‘Dario, why don’t you double that part of the solo? Pre-existing stuff that we do in the set, whether it’s “Stillborn” or whatever. Obviously he does all the solos when I play the piano. It’s just an evolution actually. When I was doing the album, pretty much on Catacombs when we did ‘My Dying Time’, there were guitar harmonies leading up to the main solo. On this record it’s almost an Allman Brothers type approach, or Judas Priest where there are harmonies, then you have the main solos – Dickey Betts and Duane Allman swapping, or Glenn Tipton and KK Downing, like that. . Rather, it is this approach. So when I was writing it, it was like, I’m going to play solo here, and this part that you play solo on. This is how it happened. It’s like the Black Label Society has brought the show live to the recording studio. “Yeah pretty well. I agree.”
After more than 20 years doing everything himself, Zakk had no trouble sharing the guitar duties in the studio. âNo. I love Dario and I love showing it. When we play live I’m always proud of him. I dig him. Whereas when I play with Ozzy it’s a three-way band – one guitarist. .When I’m with Ozz, I love doing it like that, but with this format, it’s different.
The production on Doom Crew Inc. is both warm and crisp; not an easy feat to accomplish. âThe same thing we do on every Black Label album,â Zakk remarks. âPretty much using the same amps, the same things. Since Order Of The Black, we have recorded all the records in the Vatican (Zakk’s home studio). With every album you try to beat your last bench press – whether it’s Def Leppard or AC / DC. When they made Pyromania, the production was crazy. There really is no going back. So when they do Hysteria, the production, you’re trying to beat what you were doing before. After AC / DC did Highway To Hell, it was with Mutt Lange – the production on this thing is great. Everything is crystal clear, you can hear it all, great performance guys. So when they did Back In Black, the goal was to beat the production. It’s like anything. Even when I was doing my signature Marshall (amplifier), it was like, “Zakk, what kind of amp do you want? I say, ‘It’s pretty much perfect like that. Just give me more of that. That would be the only way to improve it. But I think it’s like that with any band, be it Zeppelin or whatever. I’m sure Jimmy Page, every time he went to the studio his goal was just to make the sound sound as good as possible.