🎹Guitarist Jake E. Lee, a key figure in Ozzy Osbourne’s solo career during the keyboard-heavy mid-80s, has revealed his deep dissatisfaction with the final mix of one of the era’s most notable albums, Bark at the Moon (1983). Lee claims he was overruled by Sharon Osbourne, who delivered a highly blunt directive concerning the mix.
🔊 Guitars Too Low: The Sonic Complaint
During an interview with Tone-Talk, Lee selected Bark at the Moon as the album whose production he was “most displeased with sonically.” He recalled being summoned by Ozzy and Sharon Osbourne to listen to the final mix.
Lee did not mince words when asked for his opinion: “I said, ‘I hate it. Keyboards are loud. Guitars — they’re not driving the songs anymore. They’re too low.’ I said, ‘I hate it.'”
Ozzy initially agreed with Lee, suggesting, “That’s it! We need to remix it!” However, Sharon quickly shut down the idea, citing critical deadlines.
🤬 “Just Get Used to It”: Sharon’s Final Word
According to Lee, Sharon Osbourne was adamant about sending the album in immediately due to delays. She firmly rejected any suggestion of a remix and delivered a definitive, cutting response directly to the guitarist:
“No. We’re already way too late giving them the album. We can’t remix it. We have to send this in now.’ And then she looked at me and said, ‘And just get used to it.'”
📝 The Publishing Rights Bluff
Adding to the album’s troubled history, Lee also touched upon the highly contentious issue of his publishing and songwriting rights for the record. Lee has previously stated he was forced to sign away these rights after the album was recorded under the threat that his guitar tracks would be erased and re-recorded by another musician.
However, Lee now believes this threat was an empty one. Reflecting later that night, he realized the contradiction in Sharon’s stance: “If they couldn’t spend another couple extra days to remix, they certainly couldn’t have brought [in] another guitar player, have him re-record all my tracks. So, that was a bluff.” He concluded with resignation, “Shit! But hey, is what it is.”
Lee’s recollections paint a vivid picture of the creative control dynamics within the Osbourne camp during the recording of one of Ozzy’s most popular albums.