When Zakk Wylde joined Ozzy Osbourne‘s solo band as a young guitarist, he stepped into a lineage that included iconic players like Jake E. Lee and Randy Rhoads. But it was the legacy of Black Sabbath, and in particular Tony Iommi, that loomed largest for him.
Wylde has always approached his role in heavy metal with a kind of reverence. As he told Guitar World (via Guitar), his admiration for Iommi is both deep and specific: “He’s basically the Bach, Mozart, and Beethoven of metal guitar. He’s all three of them in one. And he’s the John Lennon and Paul McCartney of riff writing. He truly is.”
That comparison doesn’t come lightly from someone whose own guitar work with Black Label Society and other projects has shaped the genre’s modern sound. But for Wylde, Iommi represents a pinnacle of creativity and technical mastery: “His genius is just immense. I love every aspect of his playing. And outside of songwriting, I love his solos; I love all of it. It’s not just the riffs; Tony Iommi has amazing technique and can play fast… he’s just the complete package.”
It’s not only about admiration for the man—Wylde places Black Sabbath on a pedestal as the very foundation of the genre. He draws a bold comparison to the origins of the automobile industry, noting: “[Black Sabbath are] like how Henry Ford is the creator of the car. They’re everything. All the bands that have come after… like with the car, it doesn’t matter if it’s NASCAR, a Formula One race car, a dragster or however advanced it gets, it’s all based on the original Ford Model T.”
He elaborates on that metaphor with a clear sense of legacy: “It’s based on that basic design. It’s a testament to what was created. Sabbath are the architects of the whole thing. They’re the massive oak tree, and we’re all just branches off of that tree. I think everybody there loves them, and we wouldn’t all be doing it if it wasn’t for them.”
As Wylde prepares to take the stage for Black Sabbath’s farewell show at Villa Park, his words serve as more than just tribute—they’re a reminder of how far-reaching one band’s influence can be. In a genre known for its evolutions and offshoots, he makes it clear that the roots all trace back to a single source.
