Ozzfest 2010: Too Fat for Love

One of my favorite parts of the film “Almost Famous” is a scene where William Miller, a young rock journalist, reminds the members of Stillwater that he wasn’t just a journalist writing for a small magazine, but he was also a fan. It’s that statement in the film that actually opens the door to a whole new world in which he has an all access pass to all that is Stillwater. If nothing else, Cameron Crowe (the writer and director of “Almost Famous”) had his hand on the pulse of what it was like to love music so much that you actually root for people you’re covering to become famous. And how could he not? This was his life before he became the cinematic success that he is today. In any case, if you’re anything like William, you cheer the bands you love on because you’re also invested in their careers as much as you are your own. It’s probably that part of the process that gives writers like myself the greatest joy to know that we might have had a small part in helping spread the word about those that we think are the most worthy of your attention. But even as compelling as “Almost Famous” is, we often forget that, like most stories, if there is a rise to fame there is also a fall. And I’m not talking about the kind of meteoric fall from the top of Olympus to the depths of Hades that sometimes happens when bands lose their mojo. I’m talking about the kind of fall that loses you as a fan and disgusts you so much that it no longer matters how good the music is, you’re just no longer going to be a part of it. You see, I believe that there is no worse fate for a band than when a group of guys forget what it’s like to pursue every interview and to shake every fans hand with the kind of passion that they once had on their way up- and this was the first problem I had with this year’s incarnation of Ozzfest.

Ozzfest has now become bloated and “Too Fat for Love.” This is pretty evident just by looking at the 2010 lineup. Sure, you’re going to sell some tickets. When you headline Rob Halford, Motley Crue, and Ozzy himself how can you not? Hell, Ozzy is our Elvis. And the days are drifting closer to a time when this generation of fans will have to reminisce about the last time they saw Ozzy sing and where we were when he died. It will be for nostalgic reasons alone that we will never actually burn Ozzy at the stake or even blame him for being let down. He puts on a great show. Even as we, in print, burn this festival and the adjoining hillside to the ground we want to remain loyal fans of Ozzy. We have no problems with Ozzy, the performer. But while Ozzfest 2010 may be soldiering on, we’re also not going to lie about a disappointing second stage that featured bands like Skeletonwitch and Goatwhore. Goatwhore? Goatwhore. We’re here for Ozzy and certainly not some second rate bands that got their names by randomly spinning two different wheels of nouns to be called Goatwhore. Sorry, if that was where my wheels stopped, I would spin again. Try again. Skeletonwitch! Damn it. This certainly isn’t my day. That’s two for two on bands that lost the wheel of fortune.

That being said, there were some highlights to the second stage – but only two. Zakk Wylde and Black Label Society were definitely impressive. His guitar playing is still legendary and his fast moving fingers are the very definition of incendiary. After being Ozzy’s right hand man for so long, how could he not be anything but great? The other band worth mentioning was Drowning Pool who brought an energy worthy of the main stage.  “Bodies” remains their signature song and rightfully so. The bodies definitely hit the floor as they closed their set.

But as we were shuffled around and escorted from one perimeter of the festival to another it became abundantly clear that the old days of previous Ozzfests are now gone. Nobody is talking about it, but it feels like this festival is on its last legs and a lot like the ballplayer that decided to play one last season for the sake of their own egos. I imagine Russell Hammond telling William Miller not to sweat it as they neared the end of their tour (or in this case the end of a successful career). Everyone here sees it, but no one wants to admit that the circus might be coming to an end.

As I mentioned earlier, the main stage was really always about three acts. Halford, Crue and Ozzy. And two out of three ain’t bad. I was the most impressed with Rob Halford who still has a crazy range and I would even go so far as to say that he pushes himself harder as a solo act than when he’s fronting Judas Priest. The guy is turning 59 in a few days and still can hit notes that would shatter glass under the right conditions. Now that’s impressive.

And then there was Motley Crue. What must happen for a band to completely lose touch with those that might have a hand in carrying on their legacy to simply no longer care what their fans think? I don’t know. Of course, I have to single them out and say that they are a perfect example of a band that can still play but no longer cares to impress its audience with anything beyond the theatrics of a Vegas lounge act. These are the very guys that would shut the door on William Miller and not think twice about it. Were they good? No. They were serviceable – though barely. At times their music and drums seemed so disjointed that the only people enjoying it were the ones being entertained by the translator for hearing impaired. Now that guy was fun. I want to party with him.

After a terrible Motley Crue, thank God that Ozzy closed the show bearing his name. Ozzy was great, though these days he’s more machine than man. On stage,  he is completely likeable and he aims to give the audience exactly what they want without really deviating too far from the early 90’s and No More Tears and even occasionally reaching into his bag of tricks to revisit classic Black Sabbath with “Iron Man” and “Fairies Wear Boots.” Ozzy was definitely good. The band is a mixed bag. The new guitarist, Gus G, is quite an able player and has some large shoes to fill given the legacy of Randy Rhoads and Zakk Wylde before him but he deserves some recognition for holding his own. Wish I could say the same for the drummer who needs to learn that speed and power do not equal good rhythm and drumming.

I hope that Ozzfest continues – I really do. But not under the current regime and definitely not under the current spirit of spitting on the little guy. Because really, you never know who your next William Miller is going to be and you never know when that guy is going to write that scathing article that just happens to be picked up by Rolling Stone. It’s really that simple. If that’s the way you’re going to run your event, then it might be time to consider retiring and chasing kids off your lawn. And I’m talking to you Motley Crue because you’re off to a great start turning into Bob Dole.

By Paul Stamat

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All Photos by Erick Bieger 8/14/10 at San Manuel Amphitheater (Devore, CA)

Exodus:

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Drowning Pool:

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Black Label Society:

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DevilDriver:

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Halford:

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[Editor’s Note: You may have noticed that there are no photographs of Motley Crue or Ozzy. You can thank their management for that. After approving us to shoot on Friday, they turned around and cut the list down by about 80%, leaving numerous publications high and dry. More than a few of us traveled some distance to attend this show and rented specialized equipment (since Crue only allowed photographs from the soundboard) to shoot it only to be told at the gate that we were off the list. Circle Six Magazine cannot condone the absolute disrespect shown to us and our media colleagues by Tenth Street Entertainment and Sharon Osbourne Management. It will certainly give us pause when invited to cover their clients in the future.]