After Jake E. Lee split from Ozzy Osbourne’s band in 1987, Jimi Bell was one of the many guitarists who auditioned for the gig. But while he respected Lee and Randy Rhoads, they weren’t his primary influences.
“Both were absolute monsters on the guitar, no question,” he says. “But I go a bit further back to guys like Johnny Winter, Ritchie Blackmore and Al Di Meola. And of course, Eddie Van Halen changed the game for me.”
Eventually, Ozzy and Sharon Osbourne narrowed their choice down to Bell or Zakk Wylde. And although Bell got on well with Sharon, the facts that Wylde was a Rhoads disciple and was already working with Ozzy sealed the deal.
But Sharon introduced Bell to Geezer Butler, leading to a spell beside the Black Sabbath bass player. He co-wrote Master of Insanity with Butler, which appeared on 1991 Sabbath album Dehumanizer. But he wasn’t paid or credited for it. “I wish some things had turned out differently, but I don’t carry bitterness,” he says. “I’m proud of what I did – even if the paperwork didn’t always reflect it.”
He went on to record with House of Lords and joined Autograph after Steve Lynch quit. “Sharon definitely vibed with me,” he says of his Ozzy audition. “But he made the final call. Zakk was the right fit for where Ozzy was going.”
What inspired you to pick up the guitar?
“I was a drummer first, from age 10 to 13. I used to jam with friends, and one day the guitarist left his guitar against his amp. I couldn’t resist. Even though it was right-handed and I’m a lefty, I plugged it in, hit the Big Muff fuzz box – and I was hooked instantly.
“I became obsessed with guitar, so I progressed quickly. By 15 I was already playing in public. At 16, I started gigging in clubs, and I had to get my parents to sign permission slips to get in the venues. The first time I played for a real crowd, I knew I’d found my path.”
How did you hook up with Joan Jett?
“Around 1984 I was in a band called Joined Forces, playing all original music. Someone from Joan’s label, Blackheart Records, saw us live and offered us a management deal. Next thing we knew, we were out on tour with Joan. We had a full tour bus, became close with her band and crew, and Joan herself was incredibly kind and down-to-earth.
“Joan was always particularly kind and friendly towards me. That led to us landing the role as The Hunzz in the Joan Jett/Michael J. Fox film Light of Day. The release party at the Hard Rock Café in New York could have been a chapter in a book all by itself!”
How did you get the call to audition for Ozzy?
“I was endorsed by Kramer Guitars and Dennis Berardi, the president, had kind of taken me under his wing. One morning he called to say Jake E. Lee was out and he’d sent a video of me to Sharon. Suddenly I had an audition – but the catch was I had to fly out that same day.
“I already knew four or five Ozzy songs, so when I got to the hotel I focused on brushing up on them: I Don’t Know, Crazy Train, Flying High Again and Suicide Solution.”
What gear did you use for your Ozzy audition?
“The backline was all set. I just had to bring myself and my Boss 7-band EQ to push the amp a bit harder. I’m pretty sure it was a Marshall JCM800. The energy in the room was intense but inspiring.”
What was the actual audition like?
“Part one was with Randy Castillo and Phil Soussan. Most of the players went through that first round. Sharon actually sat in on mine – probably to see if she’d wasted plane tickets! She liked what she saw, and I was told I did great. The next day, part two was at a different location, onstage with Ozzy. Surreal doesn’t even begin to cover it.
Ronnie mentioned our collaboration in his book, and Geezer wrote about it in his. I’ve made peace with it
“It went exceptionally well – I was locked in with the band and stayed true to the song and the solo, but I added a little flair unique to me. Ozzy literally leaned down in front of my amp while I was playing.
“Then I played a solo on my own, and the vibe was strong. Ozzy and Sharon told me it was down to me and Zakk. I went to dinner with them at a fancy restaurant, where Ozzy ate off my salad plate with his fingers!
“Then I went back to their house and hung out for a while, and I even met Ozzy’s oldest daughter, Aimee. At that point Zakk had already started working with them, and I think his similarities to Randy played a big part in the final decision.”
Ozzy has said Zakk’s tape was the only one he really listened to. What do you think of that?
“I don’t know if he ever saw my tape; but I know Sharon did, and that’s what got me in the room. More importantly, Ozzy saw me live, just inches from my amp. I think that moment said more than any demo ever could.”
How did your connection with Geezer Butler come about?
“Even after the Ozzy gig didn’t happen, Sharon still believed in me. That belief led directly to Geezer and what became a whole new chapter in my career. Geezer wanted to explore a more melodic sound than Sabbath, but still heavy. We had an amazing lineup: Carl Sentance on vocals, now in Nazareth; Jezz Woodruff from Robert Plant’s band on keys; and Gary Ferguson on drums – his resume is unreal.”
What was your rig like with Geezer?
“We rehearsed in a killer studio in London, and I used Marshall 800 heads – they were essential to match Geezer’s massive low-end tone. Watching him play up close was wild. His thunderous attack on the bass is next level.”
You co-wrote Master of Insanity, which ended up on Sabbath’s Dehumanizer. But there were issues with credit and payment. What happened?
“In ’91 I got a call from Geezer’s wife, Gloria. She told me Sabbath was reuniting with Ronnie James Dio and wanted to use Master of Insanity on the new album. I was thrilled – until I found out I wouldn’t get songwriting credit. Tony Iommi apparently didn’t want a song by another guitarist on a Sabbath record.
“Geezer did thank me in the liner notes, and he promised me payment after the tour. I never saw the money. But hearing Dio perform a song I wrote was unforgettable. Ronnie even mentioned our collaboration in his book, and Geezer wrote about it in his autobiography, so I’ve made peace with it.”
Randy Rand was more than a bandmate; he was a close friend
There’s been talk that Computer God, also from Dehumanizer, came from your era with Geezer.
“We did have a song called Computer God, but it was totally different – more of a melodic hard rock track. There’s a rehearsal video of it on YouTube. Only the title made it to the Sabbath version; musically they’re worlds apart.”
You’ve had major runs with House of Lords and Autograph. What were those experiences like?
“House of Lords has been a huge part of my career. We’ve made 13 albums with Frontiers Srl, and I’ve written over 100 songs with the band. James Christian still sings like a beast. We’re heading to Europe for a tour in late 2025.
“As for Autograph, I joined after Steve Lynch left to form 222. Randy Rand brought me in and told me to make the guitar my own, which I did. We had a great three-year run before Randy passed. I’ll always treasure that time. – he was more than a bandmate; he was a close friend.”
Steve Lynch wasn’t thrilled about your version of Autograph. Was that uncomfortable?
“The situation was tough, especially after Randy passed. But I’ve moved on. I prefer to focus on the good times we had and all the friendships I made. We were very close on and off stage. Randy will always hold a special place in my heart.”
What’s next for you?
“I’ve got a bunch of things going on. I get called to lay down solos for other artists, which I love. I’ve also done music for WWE wrestler entrance themes and ESPN; projects like that are always exciting.
“One of my main focuses is my tribute band Beyond Purple. We honor the Deep Purple family tree – songs by Rainbow, Dio, Whitesnake and all three DP vocalists. We’ve started writing original music, and we’ve already got more than a full album's worth ready to go.”
- Beyond Purple tour the US throughout 2025.
You must confirm your public display name before commenting
Please logout and then login again, you will then be prompted to enter your display name.
