Zakk Wylde: “Yeah, I Got That Riff at the Tony Iommi Swap Meet”

And, indeed, Doom Crew Inc. finds Wylde and his BLS cohorts in competition form. “Every time I make a record, it feels like the first time, because you don’t know what you’re going to get at the end,” Wylde says. “I still have a blast doing it because of that.” Built on a foundation of chugging, churning, swinging riffs like those that have been the band’s bedrock since day one, Doom Crew showcases Wylde’s uncanny ability to draw fresh water from the well of inspiration that is Black Sabbath’s first four records. Asked what it is about those LPs that keeps him so inspired after all these years, Wylde emits a barbarian laugh. “Tony Iommi is at the top of my list of influences—just as a songwriter! I laugh because, whether it’s ‘Gospel of Lies’ or ‘Destroy & Conquer,’ it’s like, ‘Yeah, I got that riff at the Tony Iommi swap meet … behind a toaster at the Lord Iommi garage sale!’” Of course, ultimately, it’s Wylde’s personality as a songwriter and his touch as a player that define the songs. Sabbath’s influence will always be a major ingredient in Black Label Society’s sonic stew, but it’s never going to be seasoned quite the same way twice.

Black Label Society’s “Set You Free” Riff Rundown

While the songwriting on Doom Crew Inc. is classic Wylde fare, it’s the first BLS record to feature a second guitarist. Wylde and longtime road sparring partner Lorina go toe-to-toe on several of the album’s incendiary solo sections, trading licks and, at long last, bringing the counterpoint drama of the band’s live shows to a studio album.

“It was a natural evolution,” Wylde explains. “On the older songs, like ‘Stillborn’ or ‘Suicide Messiah,’ we’d double certain parts together live, so I decided to add Dario in and have more fun at the party! We always extend the solo in ‘Fire It Up’ live, and that’s become the big guitar solo of the night—we go back and forth like dueling banjos and it’s always a good time. When we were doing this album, I was just like ‘I’m going to extend the solos and we’ll trade off here and here, and at the end we’ll come in together and both play this line.’”

Wild About Audio Circa-1988

As many guitarists are no doubt aware, over the years Wylde hasn’t been shy about collaborating with manufacturers on signature gear. At one point he had approximately 15 namesake guitars between the Gibson and Epiphone brands. However, Wylde’s relationship with Gibson ended years ago, and the iconic 1981 “bull’s-eye” Les Paul Custom he relied on for so much of his career (he calls it “Grail”) has been retired. What’s more, Wylde says every guitar and amp used on Doom Crew Inc. was made by his very own Wylde Audio brand, which is distributed by Schecter Guitar Research.

“Tony Iommi is at the top of my list of influences … it’s like, ‘Yeah, I got that riff at the Tony Iommi swap meet … behind a toaster at the Lord Iommi garage sale!’”

Zakk Wylde’s Gear

Despite his storied reliance on Grail, Wylde doesn’t favor a specific guitar from the many models whose headstock bears his surname. “The crazy thing is, I’ll play three to five different guitars a night on tour, and with the VIP package we do, we give those guitars away at the end of the show. So I could hand you any one of those guitars and you could make a record with any one of them. The consistency of the Wylde Audio guitars is that good. They all have a mahogany body, maple neck, and ebony fretboard, and they all use the same EMG [81 and 85] pickups. You know when you pick up an electric guitar and play an open G chord, and you can already tell, unplugged, how it resonates and whether it’s a good instrument or not? These all do that thing for me. So there wasn’t just one on the record.”

Rig Rundown – Zakk Wylde

Always Giving Props

Longtime fans (or anyone who follows Wylde’s Instagram antics) can attest that, despite his success, Wylde remains both an impassioned student of guitar and an outspoken fan of his heroes. His adoration for Randy Rhoads and Tony Iommi is well documented, but he also lost a hero with the passing of Edward Van Halen in late 2020. “When I first joined Ozzy, I was 19 years old going, ‘Okay, how do I sound like Zakk Wylde? You don’t want to be compared to King Edward, so don’t tap and don’t use a whammy bar….’ So, I just crossed a bunch of things off the list. I went out of my way not to sound like Eddie Van Halen, because everyone was trying so hard to be like him—yet it was still Eddie’s influence changing my playing style! The coolest thing about music—or anything, really—is the passing of the knowledge and the passing of the gift. What Eddie did was the same thing that Michael Jordan did in inspiring everyone else in the league to be better. When Ed came out, we all had to try that much harder. At the end of the day, that’s the best thing music does.”