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Ozzy Osbourne - Mama, I'm Coming Home - Solo - Guitar Lesson

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Key E minor
Ozzy Osbourne - Mama, I'm Coming Home - Solo guitar lesson video
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Classic Rock

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Master7
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Roll back the gain slightly and pick near the neck for a warmer, more open crunch.
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Ozzy Osbourne Hard Rock E minor
Capo Advisor 0 E minor · Original key

About Mama, I'm Coming Home - Solo

The guitar solo in "Mama, I'm Coming Home" sits inside one of the more melodic moments on Ozzy Osbourne's catalog, and that melodic quality is exactly what makes it worth studying. In E minor at a comfortable 92 BPM, the tempo is forgiving enough that every note choice is exposed, so clean intonation and controlled vibrato matter more than speed. Zakk Wylde's phrasing here leans on sustained bends and wide pinch harmonics, a contrast to the aggressive pentatonic flurries he is known for elsewhere. Getting the bends to land in tune consistently is the real challenge, not the overall pace. Use the Practice Toolbar to loop the bend-heavy phrases at a reduced speed until your ear confirms each note is hitting the target pitch before you bring it back up to 92 BPM. This solo rewards players who are working on expressive, vocal-style lead playing in Hard Rock rather than pure technique for its own sake.

  • The solo is built around sustained string bends and vibrato in E minor, making pitch accuracy a more important focus than fretting-hand speed.
  • Zakk Wylde's tone here is warmer and less saturated than his heavier work, so a moderate gain setting will serve you better than a fully scooped metal tone.
  • At 92 BPM in E Standard tuning, the tempo is slow enough to practice each phrase cleanly before looping it up to full speed.

How to Play Mama, I'm Coming Home - Solo

Tuning: E Standard · Key: E minor · Tempo: 92 BPM

Use the section loop to isolate a passage, drop the speed below 100%, and set the metronome to 92 BPM to build it up to tempo.

Gibson Les Paul Standard
Guitar

Gibson Les Paul Standard

Slash's Les Paul Standard on 'Ordinary Man' delivers Ozzy's signature thick, warm sustain through its mahogany body and set neck. The guitar's natural resonance cuts through a cranked Marshall while maintaining the heavy, blues-rooted tone that defines modern Ozzy records.

Gibson Les Paul Custom
Guitar

Gibson Les Paul Custom

Randy Rhoads and Zakk Wylde both relied on the Les Paul Custom's thick mahogany construction and PAF-style humbuckers for sustained, focused leads that pierce through Marshall saturation. The Custom's weight and warmth became sonic anchors for Ozzy's most iconic guitar tones across decades.

Marshall JCM800
Amp

Marshall JCM800

Zakk Wylde dimed the JCM800 2203 for maximum crunch and tight low-end response, making it the backbone of modern Ozzy heaviness. The amp's aggressive gain structure and natural breakup at volume deliver the roaring, sustained tone perfect for pinch harmonics and heavy riffing.

Marshall Plexi (1959 Super Lead)
Amp

Marshall Plexi (1959 Super Lead)

Randy Rhoads' modified 1959 Super Lead Plexi delivered natural tube saturation with a tight, focused midrange that allowed his fast runs and solos to cut through with clarity. The Plexi's simple, responsive design meant tone came directly from his fingers and Les Paul into the amp.

EMG 81
Pickup

EMG 81

Zakk Wylde's bridge position EMG 81 provides high output and compressed sustain essential for heavy riffing and pinch harmonics that define modern Ozzy songs. The active humbucker's tight low-end response couples perfectly with a dimed Marshall JCM800 for maximum aggression.

Dunlop Cry Baby Wah
Pedal

Dunlop Cry Baby Wah

Randy Rhoads and Zakk Wylde both used the Cry Baby wah to add expressive texture to leads without cluttering their core Marshall-driven tone. The wah's responsive sweep enhanced their solos while remaining secondary to the raw tube amp saturation that defines Ozzy's sound.

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