HistoryOriginally envisioned simply as Geezer Butler's solo band, G//Z/R came about when a marketing representative suggested the 'futuristic' computer-related moniker. Butler had at this time left Black Sabbath promising not to return because the band had lost its meaning.
Bell was recruited through advice from his manager Scott Koenig. While Fear Factory's Burton Bell was used for the debut, Brown was drafted for the second round two years later. Brown was actually managed by the recording studio used by G//Z/R and hence the connection was made. The singer fronted rap/rock band Dr. Bewkenheimer when Geezer recruited him. Castronovo also played with Butler, during this period, in Ozzy Osbourne's band. Howse and Butler had had a ten-year long musical relationship by this time.
The only live shows performed for Plastic Planet were in support of Life Of Agony.
The band's name was changed simply to Geezer for 1997's Black Science because record stores and shoppers had a difficult time sorting and locating the band. Black Science was recorded in Canada. Geezer's solo career was cut short because of the reunion of Black Sabbath. While Dr. Bewkenheimer had broken up upon Brown's joining Geezer, the singer ultimately resurrected and returned to the band. The Black Science tour featured Chad Smith on drums. This line-up also recorded 2005's Ohmwork which appeared on Sanctuary.
GZR - OHMWORK - SANCTUARY
Right now I am not sure whether the band of former Black Sabbath bassist is called Geezer, GZR, G/Z//R or even G//Z/R so let's simply use the name used on the photocopied cover of the CDR sent this way. What is certain is the distress and twinge that comes upon hearing one of the fathers of heavy metal pander to the wimp market of today and issue an album replete with influences from pseudo-music rubbish like Marilyn Manson, Incubus and others topped with typically asinine rapping. The album does indeed have good songs - the opener Misfit and track number four which is entitled I Believe are obvious choices - but mallcore trash like Pardon My Depression, Prisoner 103, Aural Sects and others are not becoming a revered metal personality and either show how one would stop at nothing for commercial recognition or are attempts at misguided rebranding of a man and his career. Whichever the case, sadder than the follower status of the muzak here and arrival of rap and mallcore to Geezer a couple of years after the death of the trend is the obvious truth that the musicians on this album are masters of their game and could have easily lent their talents to real and timeless music instead of belatedly attempting conformity. - Ali "The Metallian"