ABSTRACT
One of the heavy metal genre’s true survivors, John Michael “Ozzy” Osbourne has been a magnet for controversy since Black Sabbath first emerged into the public eye in the late 1960s. He has produced a solid body of recordings over the years, although they have taken a back seat to the publicity surrounding lawsuits alleging that his song, “Suicide Solution,” caused the death of three teenage fans, as well as antics such as relieving himself on a wall of the Alamo and biting the head off a bat during a Des Moines, Iowa, concert. Dismissed from Black Sabbath after 11 years as lead vocalist, Osbourne went to assemble his own support band (known as the Blizzard of Ozz), featuring Quiet Riot alumnus Randy Rhoads on guitar, ex-Uriah Heep drummer Lee Kerslake, bassist Bob Daisley (formerly with Chicken Shack and Rainbow), and keyboardist
Don Avery. His debut release, Ozzy Osbourne’s Blizzard of Oz (Jet/CBS #36812; 1980; #21; platinum record)—which included the pulsating “Crazy Train” (Jet/CBS #02079; 1981) and the extended live track, “Mr. Crowley” (Jet/CBS #37640; 1980), augmented by Rhoads’ tour de force guitar work-exhibited more energy and a darker vision than anything produced by Black Sabbath in nearly a decade. The next LP, Diary of a Madman (Jet/CBS #37492; 1981; #16; platinum record), made it clear that Osbourne’s comeback was no fluke. However, the loss of Rhoads in a plane crash, followed by a succession of band personnel changes, halted his momentum for a time. He was content
to recycle Black Sabbath material in live performance with Talk of the Devil (Jet/CBS #38350; 1982; #14; platinum record), while his studio albums-Bark at the Moon (CBS #38987; 1983; #19), The Ultimate Sin (CBS #40026; 1986; #6), and No Rest for the Wicked (CBS #44245; 1988; #13)—were lackluster efforts despite platinum sales. Although Osbourne would surface with new releases on occasion-No More Tears (CBS #46795; 1991; #7) and Ozzmosis (CBS #67091; 1995; #4) earned faint praise at a time when heavy metal in general had entered a moribund phase-the bulk of his releasesTribute (CBS #40714; 1987; #6), consisting of 1981 live recordings with Rhoads; Just Say Ozzy (CBS #45451; 1990; #58), Live & Loud (CBS #46795; 1993; #22), and The Ozzman Cometh – The Best of Ozzy Osbourne (CBS #487260; 1997; #13), all of which included ample helpings of classic Black Sabbath material-consisted of concert performances and compilations. In the early 21st century, he received a career boost from the unlikeliest of sources, as a cable television sitcom star. The Osbournes would earn an Emmy award and become MTV’s highestrated program. The first season also achieved best-selling status as a DVD compilation (Miramax #29165; 2003).
