Ozzy Osbourne Dead at 76: Remembering the Godfather of Heavy Metal
From Black Sabbath to “Crazy Train,” how Ozzy redefined rock, inspired generations, and became music’s most unforgettable voice. This is background for Music 101 and the live interview is posted.
How did a working-class kid from Birmingham become the wailing voice of doom that launched heavy metal — and why does Ozzy’s run with Black Sabbath still feel like the sound of the end of the world?
🎤 Pioneer of Heavy Metal
Ozzy’s career began as the voice of Black Sabbath, a band that essentially invented heavy metal with their dark, heavy riffs and apocalyptic themes. Tracks like “Paranoid,” “Iron Man,” and “War Pigs” became blueprints for the genre, and their impact is still felt today.
He and his bandmates reshaped rock music and inspired countless artists
🔥 Solo Career & Signature Sound
After departing Black Sabbath, Ozzy carved his path, releasing solo classics:
“‘Crazy Train” didn’t just announce Ozzy’s solo career — it roared onto the scene with that iconic riff and a chorus you couldn’t escape.
It quickly became his signature song, landing on just about every list of greatest metal tracks — VH1 called it the 23rd best hard rock song ever, and Rolling Stone put it at number 6 among all-time metal classics.
Then came albums like No More Tears, which went multi-platinum and proved Ozzy wasn’t done evolving.
Tracks like ‘Mama, I’m Coming Home’ — part power ballad, part emotional wreckage — showed just how much range he had.
That album alone gave him four top-ten hits on the Mainstream Rock chart.
🌟 The Prince of Darkness – The Persona
Ozzy’s stage presence—his haunting voice, wild theatrics, and infamous stunts (like biting a bat’s head off)—cemented his “Prince of Darkness” persona.
His larger-than-life image not only defined an era but influenced global pop culture and plenty of younger artists
🏆 Cultural Icon & Reality TV Legend
Ozzy broke out of the metal niche by starring in The Osbournes, the hit MTV reality show that ran in the early 2000s.
It showed his human side—funny, tender, occasionally profane—and brought him into mainstream culture. Spencer Kornhaber from The Atlantic described him as an “unruly chaos agent and a beloved family man,” highlighting why he resonated so widely.
🙏 Final Farewell & Legacy
Ozzy’s farewell Black Sabbath show on July 5, 2025, at Villa Park was both powerful and poignant—performed seated due to his Parkinson’s struggles—and widely hailed as “the greatest heavy metal show ever.”
He passed away on July 22, 2025, at age 76, surrounded by family, leaving behind an enormous legacy.
💬 In Summary
Ozzy Osbourne wasn’t just a singer—he was a force of nature who shaped heavy metal, broke into global pop culture, and revealed a deeply human side that connected across generations.
In conclusion, his triumphant final performances and the appreciation poured out in his passing show that his music, persona, and influence live on.
What do the godfather of metal and a classic songwriter have in common: did Ozzy and Ian Hunter ever cross paths in the wild world of ‘70s rock rebellion?
🎙️ Direct Collaboration: “All the Young Dudes”
Back in 2004, Ozzy Osbourne put his spin on “All the Young Dudes” for his Prince of Darkness box set and the Under Cover album — a bold move, covering a glam rock anthem written by David Bowie and made iconic by Ian Hunter and Mott the Hoople.
But Ozzy didn’t just cover it. He brought Ian Hunter himself on board to sing background vocals.
The collaboration came together across coasts. Sharon Osbourne reached out directly to Hunter, who recorded his parts in New York while Ozzy laid down his vocals in Los Angeles. The two never met in the studio, but the track stitched their voices together across time and genre.
Reflecting on it years later, in a 2023 issue of Horse’s Mouth, Hunter recalled the moment simply:
“Fun. Ozzy’s a very likable bloke. Sharon rang us up and asked me to sing background vocals on it. He was in LA – I did it in NY.”
🎸 What Mick Jones Did
Ozzy and Hunter traveled in shared musical circles, which overlapped on one of Ozzy’s LPs.
“Dreamer” (2001)
Down To Earth, Ozzy Osbourne’s eighth studio album, isn’t the most praised record in his discography, which may have something to do with the fact that guitarist Zakk Wylde wasn’t involved in the writing process.
However, other songwriters were recruited for this record, and one of them was the founding member of Foreigner, Mick Jones, who would help pen the album’s biggest hit, “Dreamer.” It’s still one of Ozzy Osbourne’s most beloved ballads, and it’s easily the best track off this LP.
Jones’s role on Ian Hunter’s Short Back ’n’ Sides (released August 29, 1981) was important to point out. Jones co‑produced the album alongside Mick Ronson, played guitar and contributed vocals on several tracks, and he was brought in initially to overdub on one song (“Theatre of the Absurd”), but his involvement expanded—he ended up contributing to multiple tracks and shaping the overall sound.
Jones and Hunter then collaborated on Jones’ song “Just Wanna Hold” (which is from Mick’s 1989 solo album); interestingly enough, the pair was assisted in the writing by none other than another Mick, Mick Jagger wrote under the pseudonym “M. Phillips,” and Billy Joel adds vocals and piano to the mix.
🔧 Shared Producer: Max Norman
These weren’t the only threads connecting the two legends Ozzy and Hunter. Producer Max Norman, who helped shape the sound of Ozzy’s seminal early solo albums — Blizzard of Ozz and Diary of a Madman — had also worked with Ian Hunter, producing his 1983 record All of the Good Ones Are Taken.
Though they never shared a full project or tour, both Ozzy and Ian passed through the same orbit — a mutual respect, a shared producer, similar collaborators, and a single song that brought rock swagger and metal together in a surprising and strangely fitting way.
In conclusion, both artists’ music highlights a fascinating crossover in their careers — separate projects, different places, but a shared creative spark behind the scenes.
How did Sabbath turn blues into doom?
Osbourne, who struggled with dyslexia, dropped out of school at 15 to work a series of menial factory jobs, including toiling in a slaughterhouse and testing car horns. He also served a brief stint in prison for burglary.
He stated, “I remember playing in the Crown Pub in Birmingham and thinking, ‘This will be good for a couple of years, drink a few beers and have a jam.’”
The ride lasted considerably longer.
The pre-history of Black Sabbath traces back to the late 1960s in Birmingham, England, where the band emerged from a gritty industrial landscape and a vibrant local music scene.
In 1968, guitarist Tony Iommi and drummer Bill Ward, who had played together in a band called Mythology, joined forces with bassist Geezer Butler and vocalist Ozzy Osbourne, who were part of a group called The Rare Breed. After both bands dissolved, the four musicians formed a new outfit called the Polka Tulk Blues Band, named after a brand of talcum powder Osbourne saw in a shop. The lineup initially included saxophonist Alan "Acker" Clarke and rhythm guitarist Jimmy Phillips, but they were soon dropped, leaving the core quartet of Iommi, Butler, Ward, and Osbourne.
ALAMY
The band briefly went by the name Earth, focusing on heavy blues and rock inspired by acts like Cream, Jimi Hendrix, and John Mayall’s Bluesbreakers.
They played covers and original material in Birmingham clubs, honing a darker, heavier sound influenced by Iommi’s distinctive guitar style—partly shaped by a factory accident that cost him the tips of two fingers, leading to downtuned guitars and a sludgier tone. Butler’s interest in occult themes and horror films, coupled with a vision he claimed to have of a shadowy figure, inspired early lyrics, notably for the song "Black Sabbath," which became a cornerstone of their sound.
By late 1968, they discovered another band named Earth, prompting a name change to Black Sabbath, inspired by a 1963 Boris Karloff horror film.
This shift aligned with their evolving style, which blended heavy blues with ominous, riff-driven compositions. They gigged extensively around Birmingham and beyond, including residencies in Hamburg, Germany, building a reputation for their intense live performances.
By 1969, they secured a deal with Vertigo Records (UK) and Warner Bros. (US) after recording a demo. Their debut album, Black Sabbath, was recorded in a single day in October 1969 and released in February 1970, marking the birth of heavy metal with its dark, heavy sound and occult-themed lyrics.
This pre-history reflects a fusion of working-class grit, musical experimentation, and cultural influences that set the stage for their groundbreaking career.
In conclusion, Black Sabbath doom rock began in a gritty English industrial setting.
How did Sabbath’s debut turn thunder into vinyl?
In 1970, several songs about their vinyl debut were thunderous.
Their 1970 self-titled debut album hit the top 10 in the U.K. and #23 on the U.S. charts. A year later, their second album topped the charts in the U.K. and reached #12 across the pond.
"The worst of the counterculture on a plastic platter," Robert Christgau, the "Dean of American Rock Critics," wrote.
But as the 1960s gave way to the 1970s, a new generation of fans embraced Black Sabbath's dark lyrics and sludgy sound, a new style of rock music that would become known as heavy metal.
"Black Sabbath" (1970)
Musically limited, guitarist Tony Iommi didn't know the series of notes he'd borrowed from Gustav Holst's The Planets was known as “diabolus in musica,” or “devil in music,” a tense, unresolved sequence that composers avoided during the Renaissance in order not to disturb the devil.
However, it would introduce this slow, lurching song of menace, in which Osbourne pleads for help from God when confronted with Satan. “Doom metal" bands originated their influence from these brief six minutes and 20 seconds of gloom. Iommi stated in his memoir, Iron Man: "We knew we had something; you could feel it, the hairs stood up on your arms, it just felt so different. We didn't know what it was, but we liked it." The opening track on the band's self-titled 1970 debut, "Black Sabbath," is often regarded as the first true heavy metal song—something that Osbourne was reluctant to acknowledge.
"As far as we were concerned," he said in his memoir I Am Ozzy, "we were just a blues band that had decided to write some scary music."
Famously inspired by a demonic visitation witnessed by the occult-obsessed Butler at the end of his bed, Ozzy sounds like a man frozen on the spot by blood-chilling terror.
“Paranoid” (1970)
"Paranoid" is the most popularized song in Black Sabbath’s entire catalogue, and outside of one of his solo career hits, it’s the biggest song of Ozzy Osbourne’s career.
When Paranoid dropped in 1970, it didn’t just rattle windows—it rewrote the rules. In the UK, it shot straight to the top 🥈 #1 on the Albums Chart and held its ground for over a year, solidifying Black Sabbath as a serious force in rock.
Across the Atlantic, it climbed to 🥉 #12 on the U.S. Billboard 200. Not a chart-topper stateside at first—but it didn’t need to be. Over time, Paranoid became a cult classic, gaining steam year after year until it earned a mighty 4× Platinum certification. Not bad for a record that sounded like the end of the world.
The addiction of “Paranoid” is that its so catchy from its vocal hooks that by the time it’s over, you’d think the entire song was one long catchy chorus, but there is only the one chorus. Ozzy’s voice is unique and demonstrates his ability to take simple lines but entice the listener in.
This doom-rock beat features Osbourne begging and brooding through bassist Geezer Butler's evocative lyrics about depression:
"Make a joke and I will sigh and you will laugh and I will cry/Happiness I cannot feel, and love, to me, is so unreal."
The lyrics flew off in less than a half-hour as filler to round out their second album, it became their only song to hit the Top 10 in the U.K., landing Black Sabbath an unlikely booking on "Top of the Pops" alongside Cliff Richard.
"[I]t was like a punk song years before punk had been invented," said Osbourne in his memoir, I Am Ozzy. “Mind you, none of us thought it was special when we recorded it.”
If Black Sabbath had to be summarized by one iconic anthem loved by both fans and newcomers, it would be Paranoid—a driving, powerful song propelled by guitarist Tony Iommi’s fast riffs and Ozzy’s intense screams about mental struggles, depression, and feeling isolated. The track was so impactful that they renamed the entire record after it. The album earned them their first UK #1 and unintentionally paved the way for punk rock nearly five years before the Sex Pistols emerged.
“War Pigs” (1970)
Another of Black Sabbath’s early iconic tracks, “War Pigs” is infused with Ozzy Osbourne’s dynamic vocals, giving its defiant anti-war message a powerful punch.
Similar to “Paranoid,” “War Pigs” stands as a signature Black Sabbath anthem, but without Osbourne’s influence, this classic wouldn’t have gained the distinct character that made it the band’s masterpiece.
Osbourne's vocals stood out prominently in one of the most iconic anti-war songs ever, while Butler's lyrics sharply highlighted the impact of class warfare within the military-industrial complex:
"Politicians hide themselves away/They only started the war/Why should they go out to fight?/They leave that role for the poor."
The song is the British equivalent of Creedence Clearwater Revival’s “Fortunate Son.”
"Geezer came up with these heavy-duty lyrics about death and destruction," said Osbourne in I Am Ozzy. “No wonder we never got any chicks at our gigs.”
Black Sabbath may have played a key role in creating heavy metal's horror-themed language of witches and demons, but their socially and politically charged lyrics often go unnoticed. Starting with Ozzy’s powerful, operatic vocals, “War Pigs” is a gritty, jazz-influenced, Wagnerian doom-metal masterpiece that became one of the band's most unforgettable anthems. The lyrics depict a nightmarish vision of a world torn apart by war, inspired by bassist Geezer Butler’s talks with Vietnam veterans and his critical view of politicians as “the people trying to get the working classes to fight their wars for them.” Originally called Walpurgis, the record label rejected the title for being too satanic.
"Iron Man" (1970)
Black Sabbath's biggest American hit and their most iconic guitar riff.
“Iron Man” peaked at #52 on the Billboard Hot 100 in 1972.🥉 Not a chart-topper—but a massive cultural success nonetheless. But it hit #4 in the UK 🇬🇧, making it their highest-charting single overall.
As but one example of its influence, Jack Black's Dewey Finn teaches it in 2003's "School of Rock."
Over the years, Osbourne has performed versions of it with Metallica, Guns N' Roses guitarist Slash, and Irish alt-metal band Therapy? and rapper Busta Rhymes.
A timeless Sabbath classic, “Iron Man” combines Iommi’s massive, Godzilla-like heavy riff with Butler’s dystopian sci-fi lyrics about time-traveling cyborgs and apocalyptic warnings. It could have easily slipped into cheesy melodrama, but Ozzy delivers with deep emotional sincerity, filling the narrator’s struggle with real pain and sadness. Even now, it retains a chilling power that goes beyond any sense of kitsch.
“Fairies Wear Boots” (1970)
Many Black Sabbath songs’ lyrics weren’t penned by frontman Ozzy Osbourne, but the track "Fairies Wear Boots" off Black Sabbath’s sophomore LP, Paranoid, was written by Osbourne.
It’s one of those songs that young people remember for the oddest reason. In my case, cowboy boots were a fad at the time at my high school in California, and we had discussions about our manliness just because of this song.
Supposedly, the song describes Black Sabbath’s encounter with a group of skinheads.
This led to guitarist Tony Iommi getting injured and having to delay a show. The song’s swinging blues rhythm matches Osbourne’s intense vocal style, making it one of the earliest Sabbath tracks to highlight Osbourne’s wilder vocal delivery.
In conclusion, the 1970 LPs featured several songs that have become the standard foundation for gloom rock.
🎙️ How did Sabbath go from stoner anthems and sad ballads to inventing thrash metal—all in the space of four years?
1971
“Sweet Leaf” (1971)
Marijuana has been linked to Ozzy Osbourne’s image since his early days as the lead singer of Black Sabbath. Besides being a classic Sabbath song, “Sweet Leaf” played a key role in establishing Osbourne’s bold and unconventional style of music that has influenced countless fans and artists.
1972
“Changes” (1972)
“Changes” stands as one of the most emotionally poignant songs in Black Sabbath’s catalog, a haunting ballad that departs from their usual heavy metal sound.
Fun fact for me, I had it on an 8-track tape for my 1974 Chevy van and loved the tune from the first time I heard it.
Originally conceived during a late-night jam session in a Bel Air mansion, the song took shape as Ozzy Osbourne improvised a melody over Tony Iommi’s wistful piano motif. Geezer Butler later added lyrics inspired by drummer Bill Ward’s crumbling marriage—though Ward himself didn’t contribute to the writing.
The track revealed a surprising new side of Osbourne. A devoted Beatles fan, he crafted the vocal line with striking vulnerability, showcasing a vocal sensitivity rarely heard in Sabbath’s work up to that point. “Changes” became a testament to his range—not just vocally, but emotionally—and marked the band’s first foray into power ballad territory.
Its resonance didn’t end in the '70s. Decades later, Ozzy revisited the song as a duet with his daughter Kelly, turning it into his only U.K. #1 single.
He confessed in I Am Ozzy that the original still moved him deeply: “If I put it on my iPod, I'll drive everyone nuts singing along to it all day.” The track has since become a touchstone across generations, with artists like Yungblud offering their powerful reinterpretations—most memorably during Sabbath’s farewell concert in Birmingham.
Both an outlier and a classic, “Changes” captures the ache of personal loss and the weight of transformation. It remains a fitting metaphor for Ozzy’s tumultuous life, full of sudden shifts, unexpected lows, and moments of raw beauty.
“Snowblind” (1972)
Drugs played a significant role in Ozzy Osbourne’s career, much like they did for all the original members of Black Sabbath. Cocaine, in particular, was heavily used while recording Black Sabbath’s iconic fourth album, Vol. 4, which is precisely what the band’s eerie and powerful song “Snowblind” addresses.
This one, too, was on heavy rotation in my ‘74 Chevy van.
The track serves as a striking reminder and even a warning of the suffering and mental torment that drug addiction brings, a part of Osbourne’s life he has spoken about openly.
With the LP Sabbath Bloody Sabbath, Ozzy Osbourne stretched into new theatrical territory, but in doing so, he began to lose the raw, underground base that first made him a cult hero.
1975
"Symptom of the Universe" (1975)
There was more of a rebound and a new direction. Tony Iommi's driving riff and Ozzy Osbourne's rhythmic vocals in tracks like "Symptom of the Universe" set the stage for what became known as "thrash metal" in the 1980s, an intense sound crafted by bands such as Metallica, Megadeth, Slayer, Anthrax, and others.
🔥
Up to this point, the material explores Ozzy’s evolution within Black Sabbath, tracing the progression from “Sweet Leaf” and “Changes” to the proto-thrash of “Symptom of the Universe.” This neatly encapsulates the early-to-mid '70s Sabbath arc: from stoner sludge to raw emotion to proto-metal innovation.
In conclusion, this provides a clear narrative arc: Ozzy’s growth within Sabbath, culminating in their genre-bending peak, before his solo rebirth begins in 1980 with Blizzard of Ozz.
🎙️ Podcast & Substack Theme
How Did Ozzy Osbourne Reinvent Metal—Twice? From Sabbath’s proto-doom to solo-era spectacle, how did Ozzy manage to create and then completely redefine heavy metal?
1980
“Mr. Crowley” (1980)
A handful of songs from Ozzy Osbourne’s solo career completely transformed rock guitar music, with his legendary track “Mr. Crowley” standing out as a prime example.
Undoubtedly, a large part of Osbourne’s solo career success is owed to guitar master Randy Rhoads; however, the electric connection between them was genuinely unique, and that’s what has kept Osbourne’s albums of the time so memorable.
“Crazy Train” (1980)
Often considered the breakthrough hit that launched Ozzy Osbourne’s solo career, “Crazy Train” remains the Prince of Darkness’ most iconic song.
After being ousted from Black Sabbath in 1979—thanks to years of infighting and unchecked substance abuse—Ozzy Osbourne spiraled into a cocaine-and-pizza-fueled haze in a Hollywood hotel room. His lifeline came in the form of Sharon Arden, daughter of Sabbath’s manager Don Arden, who pulled him from the wreckage and became both his manager and, eventually, his wife. What followed was one of the most unlikely comebacks in rock history: a rebirth that produced Blizzard of Ozz, a five-times-platinum juggernaut that didn’t just keep Ozzy relevant—it turned him into an icon of the MTV era.
At the heart of that resurrection was “Crazy Train.” With its unforgettable opening riff—courtesy of classically trained guitar phenom Randy Rhoads—and Ozzy’s manic, sky-punching vocals, the song became a perfect fusion of theatrical metal and Cold War paranoia. It was a plea for sanity in a world cracking at the seams, delivered with a wink and a snarl. Though Ozzy would go on to release dozens of solo tracks, “Crazy Train” remains his defining anthem, the one performed more than any other in his solo career, according to Setlist.fm. It even got the lounge treatment for The Osbournes and was sampled by Trick Daddy during the crunk era—proving that its infectious energy could leap genres and generations.
The song’s success also marked a pivot in metal’s evolution. While Black Sabbath had invented the genre’s doom-laden core, Ozzy’s solo work ushered in a brighter, more melodic strain of heavy music—one that could coexist with the glitter and glam of the early ‘80s. “Crazy Train” married accessibility with intensity. Beneath the fretboard wizardry and Ozzy’s wailing were lyrics that spoke of peace, not perdition—a call for unity at a time when global tensions threatened to boil over.
Part of what made the track so enduring—and Ozzy so fascinating—was his uncanny ability to shift between two personas: the menacing occultist who flirted with Satanic imagery, and the lovable, bumbling "Prince of Darkness" who’d one day become reality TV’s most unlikely sweetheart. That duality was baked into “Crazy Train,” a song co-written by Ozzy, Rhoads, and bassist Bob Daisley, with lyrical inspiration drawn in part from tarot cards and a shadowy nod to Aleister Crowley, the British occultist who had already haunted the works of Led Zeppelin and David Bowie.
“Crazy Train” didn’t just save Ozzy’s career—it defined his second act. It was the sound of a man on the brink, raging and laughing and pleading all at once, strapped to the front of the rollercoaster he’d helped build.
1981
“Over the Mountain” (1981)
Featuring one of the most iconic drum intros in heavy metal, courtesy of Lee Kerslake from Uriah Heep. "Over The Mountain" opens Ozzy Osbourne's second album with more complex and powerful instrumentation compared to his first record.
In conclusion, nearly every song with guitarist Randy Rhoads is a must-hear, but due to the riffs and solos in this track, "Over the Mountain" stands out as one of the top 10 songs from the Rhoads era.
⚡ Was Ozzy Metal’s First Reality TV Star—Before Reality TV?
Yes, we could say that with his new production.
“Flying High Again” (1981)
“Flying High Again” is a joyous track on so many different levels.
After being fired from Black Sabbath and then achieving huge success with his first solo album, Ozzy Osbourne’s second record with guitarist Randy Rhoads finally had him living the rockstar dream once more. With Rhoads' legendary guitar playing and the upbeat energy throughout, “Flying High Again” highlights why much of Ozzy Osbourne’s solo material remains timeless.
The period around Osbourne's second and third solo albums—1981's Diary of a Madman and 1983's Bark at the Moon—marked the peak of the wild stunts that often distracted from his music: biting the head off a dove during a CBS meeting, throwing meat at his crowd, accidentally biting the head off a bat, urinating on the Alamo, and snorting ants.
https://youtube.com/shorts/sz79MbFLNvM?si=Lsb3L02vC0jIYyGI
With all these antics, Ozzy had his perspective.
“I thought it was a rubber bat,” Osbourne said at the time. “I picked it up, put it in my mouth, crunched down, bit into it, being the clown that I am.”
Osbourne also infuriated the state of Texas in 1982 by urinating on the Alamo, a stunt that got him arrested and for which he later apologized.
There was also the time Osbourne reportedly snorted live ants instead of cocaine on a whim in a bizarre contest with his band’s opening act, Mötley Crüe.
His biggest rock radio hit from that time was the aptly titled, soaring “Flying High Again.”
“Believer” (1981)
"Believer," the fourth track from Ozzy Osbourne’s sophomore album Diary of a Madman, shines less spotlight on Osbourne and more on his god-like guitarist, Randy Rhoads.
The song features a range of mesmerizing chord progressions layered over eerie synth sounds. Yet, the true highlight is Rhoads’ guitar solo. In 1981, aside from Eddie Van Halen, Rhoads was pushing the boundaries of guitar playing, and “Believer” provides a glimpse into his brilliant creativity.
“Diary of a Madman” (1981)
Randy Rhoads is often cited as one of the greatest metal guitarists of all time, and the title track to Ozzy Osbourne’s sophomore album is a testimony to why. “Diary of a Madman” showcased the range of sonic emotions that Rhoads and Osbourne were capable of painting together when they were at their best.
A sense of pain is evident in Osbourne’s voice throughout this track, as if he’s embodying the madman character described in the song. It’s a brilliant example of how far Osbourne and his band would go to craft deep, immersive soundscapes.
1983
“Bark at the Moon” (1984)
There are many outstanding and often overlooked Ozzy tracks from the Jake E. Lee era; yet, “Bark at the Moon” will always be seen as the ultimate Jake E. Lee song and one of the best in Ozzy Osbourne’s catalog.
Back then, there was some resentment toward Ozzy Osbourne and his team for listing Osbourne as the only songwriter for the whole album (the only one in his discography credited that way).
Still, fans saw past that, and “Bark at the Moon” is regularly praised for Lee’s exceptional guitar skills alongside Osbourne’s intense performance.
In conclusion, the dramatic Osbourne fit perfectly with MTV, which aired his very first music video, the werewolf-themed “Bark at the Moon.”
🔮 What Happens When You Mix Lemmy, Lita Ford, and Nuclear War?
1986
“The Ultimate Sin” (1986)
Guitarist Jake E. Lee’s work with Ozzy Osbourne is frequently underrated, even though he played a key role in some of Osbourne’s most popular songs. One of Lee’s lesser-known tracks that’s worth checking out is the title song from 1986’s “The Ultimate Sin.”
Lee’s ability to amalgamate rhythm and lead playing rivals that of Rhoads, and it also complements Osbourne’s powerful and straightforward vocal inflections throughout this track.
“Shot in the Dark” (1986)
Even though Jake E. Lee played on just two of Ozzy Osbourne’s solo albums, he contributed to some of Osbourne’s biggest hits as well as some of his most underrated songs. While “Shot in the Dark” became a huge hit, Osbourne’s clear vocals and Lee’s blend of lead and rhythm guitar work rarely receive the recognition they deserve on this track.
From the chorus to the bridge solo and the powerful main riff, “Shot in the Dark” showcases the finest sound elements of Ozzy Osbourne’s solo work.
Dropped during the height of America's heavy metal surge, Osbourne's fourth solo album, The Ultimate Sin, featuring the hit single "Shot in the Dark," marked his first album to reach the American Top 10.
“Killer of Giants” (1986)
Jake E. Lee’s exceptional guitar playing, combined with Osbourne’s powerful themes of nuclear destruction, creates a surprisingly moving piece. Few songs in Osbourne’s solo career tackle such a heavy and timely topic while also featuring instrumentals as emotionally complex as those in “Killer of Giants.”
1988
“Fire in the Sky” (1988)
While it’s one of the less popular albums from the Zakk Wylde period of Osbourne’s LPs, songs like “Fire in the Sky” show why No Rest For The Wicked is packed with underrated treasures.
From the powerful chords in the chorus to the verses and bridge that evoke the classic Randy Rhoads-Osbourne albums, “Fire in the Sky” is a song that frequently gets overlooked when people talk about Ozzy Osbourne's best tracks.
“Miracle Man” (1988)
The fifth studio album, No Rest for the Wicked, was the first album to feature now-fan-favorite guitarist Zakk Wylde.
Wylde brought a much more blues-influenced style to the guitar compared to any of Osbourne’s earlier guitarists, and the main riff, along with the whirlwind solo on “Miracle Man,” highlights this. As the album's opening track, “Miracle Man” clearly announced that this fifth album marked the beginning of an exciting new chapter, featuring a livelier Ozzy Osbourne..
“Close My Eyes Forever” (1988)
"Close My Eyes Forever," the duet with fellow revered rock icon Lita Ford, is still Osbourne’s highest charting single to date, and it’s the biggest hit of Ford’s career.
In 1988, the song reached #8 on the Billboard Hot 100. This slow ballad offers plenty of space for both Osbourne and Ford to stand out, making it one of the rare occasions in the '80s where two huge rock legends teamed up to create something meaningful.
This beautiful metal power ballad, a duet with former Runaways guitarist Lita Ford, marked Ozzy's first Top 10 pop hit—and his only one for the next 30 years. Ford told Metal Underground that "'Close My Eyes Forever'" was kind of an accident. “[M]e and Ozzy had a few drinks and started jamming. There was a small side room with a guitar and keyboard, so we began fooling around, singing and playing, and ended up writing “Close My Eyes Forever.” Before I knew it, the sun was rising.”
In conclusion, the mix of the old, the hip, and the new proved lucrative and career-enhancing for the Prince of Darkness.
Now that the Prince was a collaborator, where did his career take him?
1991
“Mama, I’m Coming Home” (1991)
Make no mistake, “Mama, I’m Coming Home” many feel this is the best ballad of Ozzy Osbourne’s solo career.
Beautifully presented and uplifting with its poetic themes, the song highlights the finest qualities of Ozzy Osbourne and his band in a timeless way. It’s a high-energy rock track, with lyrics written by fellow heavy metal legend and Motörhead frontman, Lemmy Kilmister.
Co-written with Lemmy from Motörhead, this unusually gentle power ballad started as a heartfelt tribute to Sharon and became a regular feature in live shows, although Ozzy found it hard to perform when Sharon was fighting cancer in the early 2000s. His most recent, raspy-voiced rendition of the song in Birmingham just weeks ago left a deeply emotional impression.
“No More Tears” (1991)
In some respects, “No More Tears” serves as Ozzy Osbourne’s flipped take on Queen’s “Bohemian Rhapsody” – lengthy, frequently progressive in its arrangement, and captivating because of its anthemic nature.
When “No More Tears” dropped in 1991, it didn’t just signal a new Ozzy Osbourne—it announced one. Towering over the album that shares its name, the track stands as the definitive moment of the Zakk Wylde era. From its brooding, bass-driven intro to Wylde’s explosive solo that brings it all home, the song channels a perfect storm of heaviness and precision. It’s a showcase of Wylde’s raw talent, with a riff that feels like it’s dragging you into the underworld and a lead break that tears through the atmosphere.
Ozzy’s vocals ride that wave with unrelenting energy. His layered, echo-drenched delivery gives the song its haunted majesty—part howl, part prayer, all conviction. This wasn’t just another heavy metal single; it was a reassertion of his status as a genre-defining voice, now reaching for something deeper.
By the time he recorded No More Tears, Ozzy had come through the fire. He was sober, physically leaner, and creatively re-centered. Gone were the cartoon theatrics of his glam-metal peak. Instead, he emerged with a look and sound that traded excess for atmosphere—still unmistakably Ozzy, but sharper, more grounded.
Released just a week before Nirvana’s Nevermind, the album could have been a casualty of the cultural shift that rendered so many of Ozzy’s peers obsolete.
But instead of fading, he adapted. With its fusion of hard rock grit and melodic sophistication, No More Tears offered something the new generation could feel. Tracks like the soul-baring “Mama, I’m Coming Home” and the title track didn’t just survive the grunge wave—they carved out space within it.
What set this record apart wasn’t just its commercial success—it was the emotional growth behind it. Written after Ozzy’s stint in rehab and a stretch of personal turmoil with Sharon Osbourne, the songs were more reflective, less bombastic, and surprisingly intimate. The glam-metal shine gave way to something closer to prog-rock’s ambition, with moments of genuine vulnerability and maturity.
In the end, No More Tears became more than just a comeback. It was a career recalibration—a benchmark of artistic evolution from a man who’d already defined and redefined rock across three decades.
“Desire” (1991)
Lyrically and thematically, “Desire” is a definitive Ozzy Osbourne anthem.
The 1991 upbeat track from the multiplatinum album No More Tears features Osbourne openly sharing his passion for the rockstar lifestyle and how it has been a natural ambition since the start of his career.
Sure, the sudden and oddly timed “Crazy Train” chants at the end come off as a bit silly, but they fit the wild, unpredictable character of the Prince of Darkness that “Desire” ultimately highlights.
“Mr. Tinkertrain” (1991)
The opening song from Osbourne’s 1991 album No More Tears is a thrilling ride filled with heavy, groovy riffs and powerful choruses.
Until now, nothing in Ozzy Osbourne’s career has sounded this polished. Every aspect of the enhanced production on this album shines through in “Mr. Tinkertrain,” which remains one of his most overlooked songs, despite its lyrics and themes feeling a bit outdated.
“Hellraiser” (1991)
Co-written by Ozzy Osbourne, Zakk Wylde, and Motörhead's frontman Lemmy Kilmister, “Hellraiser” oozes with Wylde’s signature pinch-harmonic riffs, while its lyrics capture the defiant spirit of both Osbourne and Kilmister.
Although it pays tribute to the 1987 horror film with the same title, “Hellraiser” stands out as one of Osbourne’s signature songs due to its layered metaphors about the rockstar image that he embodied.
1992
Was (Not Was) feat. Kim Basinger and Ozzy Osbourne, "Shake Your Head" (1992)
Ozzy Osbourne … a dance diva? It happened with this track, an unexpected pop hit in the U.K. and Ireland. In the early '80s, Osbourne featured on a dance song by the eclectic group Was (Not Was), supported by several backing vocalists—one of whom, Osbourne discovered years later, was Madonna.
They re-recorded it in the '90s with an updated sound (courtesy of Chicago house producer Steve "Silk" Hurley) and actress Kim Basinger filling in for the Queen of Pop.
1995
“Perry Mason” (1995)
The powerful swinging riffs and vocal hooks in the album opener “Perry Mason” don’t just knock on the door; they burst right through it from the very start.
Featured on Osbourne’s less acclaimed seventh studio album Ozzmosis, “Perry Mason” stands out as the most popular and best track on the record, as well as a key Zakk Wylde performance.
“I Just Want You” (1995)
Except for a handful of songs, Ozzy Osbourne’s seventh studio album, Ozzmosis, doesn’t deliver as much as his previous albums.
Nevertheless, “I Just Want You” stands out as one of the few bright spots, largely thanks to guitarist Zakk Wylde’s playing.
In conclusion, while it may not be as powerful as some of Osbourne’s other ballads, it remains a solid track overall.
With these new paths to explore, where was Ozzy traveling in his more recent output?
2001
"Gets Me Through" (2001)
In his sixth year headlining Ozzfest (with or without a reunited Black Sabbath), Osbourne released Down to Earth, an album that showcased his esteemed 2001 live band: hotshot groove-metal guitarist Zakk Wylde, future Metallica bassist Robert Trujillo, and Faith No More's hard-hitting drummer Mike Bordin.
2010
“Let Me Hear You Scream” (2010)
Ozzy Osbourne’s career saw quite a change before the recording of his 11th studio album, Scream.
Longtime guitarist Zakk Wylde had exited the band, and Osbourne had brought in virtuoso Gus G.
Despite the album not reaching the same highs of Osbourne’s previous work, the lead single “Let Me Hear You Scream” was a solid track that showcased Gus G’s shredding guitar talents, as well as Osbourne’s knack for writing a hooky chorus.
2013
Osbourne kept rocking and rolling, reuniting with the original Black Sabbath lineup (except for Ward) for several profitable tours and releasing the band’s only U.S. No. 1 album, 13, in 2013.
“God Is Dead?” (2013)
Black Sabbath’s final studio album, 13, is often overlooked by classic metal fans, yet it holds up as a surprisingly strong reprise, filled with grand baroque’n’roll epics that echo the band’s early dark energy. It also marked their first #1 hit across the Atlantic, selling over a million copies. Building on Sabbath’s well-known fascination with religious rituals and their sinister side, "God Is Dead?" is a moody, liturgical track that earned the hard rock legends their first Grammy in 14 years.
2019
“Take What You Want” (2019)
If there’s one thing 2020’s Ordinary Man did better than any of Ozzy Osbourne’s previous LPs, it was taking a risk. “Take What You Want,” the 2019 single which first appeared on Post Malone’s Hollywood’s Bleeding, showcases Osbourne alongside modern music titans Malone and Travis Scott.
While the song is less centered around Osbourne, the fact that Osbourne can hold his own and fit amongst these other big names truly is an achievement in its own right.
With over 700 million streams on Spotify, the song is the most successful track Osbourne has appeared on in well over the past decade.
Osbourne had his second Top 10 pop hit at the age of 70 and was adopting and co-opting more and more imagery from heavy metal. This song marked the beginning of Osbourne’s association with producer Andrew Watt, which yielded Ozzy's first solo album in a decade, 2020's Ordinary Man, and its Grammy-winning follow-up, Patient Number 9. "I’d never even heard of this kid," Osbourne told the Sun. "He wanted me to sing on his song … so I did, and then one thing led to another."
2020
“Ordinary Man” (2020)
After not releasing an album for nearly a decade, Osbourne’s twelfth studio album, Ordinary Man, was the sonic switch-up he needed.
The title song from Osbourne’s comeback album includes the legendary Elton John and is a heartfelt ballad that takes listeners on a journey through Osbourne’s wildly beautiful life as a rock star. Slash tops off the track that would be at home on any Guns n’ Roses record.
In conclusion, these new paths with ace guitarists such as Slash are indicative of how others contribute to Ozzy’s newfound respect from his peers.
So after all the darkness, theatrics, and howling riffs—what's left when the Prince of Darkness finally fades into silence?
Ozzy Osbourne’s legacy is more than bats, eyeliner, and power chords—it’s a raw, unfiltered cry for understanding God and the big questions of life in a world that often feels chaotic and cruel. From Sabbath’s apocalyptic doom to his solo career’s ballads and anthems, Ozzy gave voice to the frustrated misfits, rebels, and troubled youth. He turned questions into a gothic rock spectacle, excess into entertainment, sorrow into melody, and rebellion into art. Whether wailing over Tony Iommi’s crushing riffs or riding Randy Rhoads’ lightning solos, Ozzy made questioning God sound divine. And in doing so, he didn’t just survive the storm—he embodied it.
I’ll let the Ozz man have the last word, as he said in an interview.
In conclusion, perhaps Ozzy said it best when summing up his life, “But I’ve got no complaints. At least I’ll be remembered.”
References
Tributes to Ozzy Osbourne pour in: 'Farewell to the Prince of Darkness'
What Ozzy Osborne said about being Christian & the Bible Before Death
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