Renowned producer Max Norman recalls recording Randy’s remarkable lead work
By Nick Bowcott
IN THE WORLD of hard rock and heavy metal, English producer/engineer Max Norman needs no introduction — his impressive discography speaks for itself. From Megadeth’s Countdown to Extinction to Ozzy Osbourne’s Blizzard of Ozz, Diary of a Madman and Tribute, when it comes to metal, Max clearly has a Midas touch. We asked the esteemed producer about the recording of Randy’s timeless solos on those now legendary first two Ozzy studio albums.
One of the things that truly stands out about Randy’s lead work on both studio albums is the passion and fire that each and every guitar solo exudes. How was that often-elusive “magic” so successfully captured?
There was a definite sense of occasion when it came time for Randy to record those main, middle-of-the-song solos. The way we did them was this: While Randy was rehearsing to record a particular solo, we didn’t sit around and listen to him; instead, we’d go up to the local pub for a few beers or whatever. Then I’d go back, and he’d say, “OK, I’m ready to take it!” You could see it in his face on the studio floor; he was steeling himself... getting ready to pounce. There was a palpable “Now we’re recording” sense of excitement and momentum building up. Randy wanted to capture a performance, and he’d attempt to get the solo within the first two or three takes in its entirety. If he didn’t, he’d say, “Go away for another hour and then come back — I’m not quite getting it right now.” But, for the most part, he would successfully record the whole solo to his liking in those first two or three takes. Randy was such a well-prepared and disciplined guy, he obviously wouldn’t say he was ready until he felt he really was. As a result, we’d grab each solo very quickly and it would be a very fresh, whole take.
Randy had a very clear vision of what he wanted to achieve. To this end, he’d often play what most people would consider to be a perfect take and say, “No, that doesn’t feel quite right — let’s redo it.” Other times he’d say something like, “Goddamn, that felt really good, but I didn’t catch the harmonic I wanted on one note, and it’s got to be there.” I’d look at him in astonishment, thinking, “Are we really gonna blow off this great take and record over it?” He�
