🎸 The history of Ozzy Osbourne’s solo band is a saga defined by legendary guitarists, but few moments are as tantalizing and dramatic as the near-reunion that never was. In 2008, as the relationship between Ozzy and his longtime axeman Zakk Wylde was hitting a particularly rough patch, the Prince of Darkness reached out to a former collaborator: Jake E. Lee.
Lee, who helped define Ozzy’s sound in the mid-80s, confirmed that he was approached to return, not only for potential festival dates but possibly for a new album. However, the deal hinged on a single, non-negotiable condition from Lee—a condition the Osbourne camp quickly turned down.
The Wylde-ly Problematic Situation
The context for the approach centered squarely on Zakk Wylde. By 2008, Wylde had solidified his legacy as one of Ozzy’s most important guitarists, having taken over from Lee in 1987 and contributing to classic albums like No More Tears. However, Zakk’s focus on his own project, Black Label Society, and personal issues were reportedly causing friction.
According to Lee, the primary reason Ozzy was seeking a replacement was stark: Zakk Wylde was reportedly “drunk all the time.” While Ozzy himself has acknowledged that his music began sounding “too much like Black Label Society” and that he simply wanted a change, Lee’s revelation points to the practical, daily frustrations that plagued the touring operation and creative process at the time. The band needed stability, and the phone call to Lee was a direct attempt to recapture some of the band’s past glory while moving forward.
A Legacy Interrupted: Lee’s First Stint
Jake E. Lee’s history with the band is both celebrated and controversial. He was a member of the fold between 1983 and 1987, a crucial period following the tragic death of Randy Rhoads.
Lee performed on two seminal records: 1983’s Bark at the Moon and 1986’s The Ultimate Sin. While his tenure produced massive hits, it ended abruptly when he was fired by manager Sharon Osbourne after the conclusion of The Ultimate Sin tour. Despite the unceremonious ending, Lee had established himself as a dynamic, technically brilliant player whose unique style provided a necessary evolution for Ozzy’s sound.
The Single, Unmet Condition
Fast forward two decades, and the opportunity for a reunion was suddenly on the table. Lee confirmed that he was genuinely “interested” in reclaiming his role, especially after spending some time away from the high-profile touring circuit. The call, which surprisingly came directly from Sharon Osbourne, offered a pathway back to the spotlight.
However, Lee was keenly aware of the management issues that plagued his previous tenure. He was determined not to repeat the mistakes of the past, especially concerning compensation and his creative role.
His one condition for returning was unambiguous: He demanded to be credited and paid fairly for his work on The Ultimate Sin.
Lee has long maintained that his contributions to the album, particularly the songwriting, were far greater than what he was compensated for at the time. For Lee, this wasn’t just a financial request; it was a matter of principle and historical correction regarding his place in the Ozzy Osbourne canon.
Why the Deal Collapsed
The Osbournes, however, were unwilling to revisit the past. Lee’s demand to address the financial discrepancies from The Ultimate Sin proved to be the ultimate sticking point. The Osbourne camp turned down the condition, effectively closing the door on the reunion before it could even begin.
Instead of bringing back Lee, Ozzy ultimately hired the Greek guitar virtuoso Gus G. in 2009, who played on the 2010 album Scream.
Lee’s demand highlights the often-complex relationship between artists and management in the music industry. While Ozzy may have desired his talent back, the business side of the operation refused to concede a point of contention from two decades prior. The incident remains a fascinating “what if” moment, revealing that for Jake E. Lee, the principle of credit was more important than the prospect of another world tour.