Florida man is unlike the others. He marches to a differnt drum. He blazes his own trail. He steals only left shoes. Police in Miami say Florida man burglarized a shoe store last week and the entire crime was caught on video surveillance cameras. After an unsuccessful attempt to break-in through the front door, the man can be seen dropping through the ceiling a few minutes later. The store, which does not carry insurance on the shoes, says the theft cost them about $20,000. An investigation of the scene by police found three separate holes in the roof, the firsttwo of which did not get the burglar into the business. Here’s where the whole thing goes off the rails. The thief only took shoes designed ot fit LEFT FEET. Turns out, the store only places the left shoe oin display in the showroom, while the matching right shoe is kept in another part of the store. Still, the thief grbbed piles of the left shoes and escaped through the roof hole. He ramains on-the-run. The owner of the store hopes the intruder notices that the shoes are all left only and brings them back. The chance of that is not very high, but who knows? In the meantime, the store owner says he will give a reward for the return of the shoes, no questions asked. Source: WSVN.com
Ozzy’s Top 40 Songs Ranked
Ozzy Osbourne: His Top 40 Solo Songs Ranked
The kick-off song from Ozzy’s last album for a decade, ‘Scream.’ Producer Kevin Churko (Disturbed, Five Finger Death Punch) gave Ozzy’s sound a bit of a modern metal sheen here, with a more processed guitar sound, a funky cowbell line, and even some guttural vocals, although the song soon veers into a pretty intense jam that could have been an outtake from a classic Black Sabbath era.
The title track from one of Ozzy’s less-popular albums, this song is a highlight mainly because of Ozzy’s quick return to harmonica playing. Ozzy isn’t really an instrumentalist, but he also played harmonica on Black Sabbath’s “The Wizard,” 37 years earlier.
We can hear the complaints coming already about the inclusion of this one: lighten up and have fun with this, Ozzy clearly did. It’s one of many goofy Ozzy collabs: he’s also worked with Was (Not Was) and Kim Bassinger (“Shake Your Head”), DMX and Ol’ Dirty Bastard (“Nowhere To Run”), the Wu-Tang Clan (“For Heaven’s Sake 2000”) and even Miss Piggy (“Born To Be Wild”). And yeah, Post Malone.
No one has more “working class” cred than Ozzy; the artist formerly known as John Michael Osbourne grew up to a poor family in post-World War II Birmingham, England, one of six siblings living in a two-bedroom house. This understated version of the John Lennon classic doesn’t need power from big guitars or drums; the pain in Ozzy’s voice tells the story.
By the early ‘90s, hair metal was dead. Generally speaking, so were power ballads. But “Road To Nowhere” saw Ozzy looking back on his life (much like in the newer and better “Ordinary Man”); the lyrics rang true and felt less cheesy than many of hard rock’s slow jams that dominated radio in the late ‘80s.
Ozzy’s fourth solo album was a difficult one; he’d just emerged from rehab and he was fighting with current and former members of his solo band. The title track and lead-off song from the album was a strong start to the record, most of which didn’t really hold up.
The last song and the easy highlight from Ozzy’s most pop-metal album.
By 1988, everyone -- regardless of music taste -- knew who Ozzy Osbourne was. But this ballad was the first time he’d had a legit pop hit. His duet with former Runaways guitarist-turned-pop-metal-hitmaker Lita Ford was a number 8 hit (decades later, he’d reach number 8 again with “Take What You Want,” a collaboration with Post Malone (a song that, you’ll note, did not make this list).
Ozzy revisited this underrated Black Sabbath piano ballad as a duet with his daughter, Kelly. Altering the lyrics is usually an awful move, but there’s a bit of sweetness here, listening to the famous father and daughter singing to each other.
This was Ozzy’s take on John Lennon’s “Imagine” (“Your higher power may be God or Jesus Christ/It doesn't really matter much to me/Without each other’s help there ain't no hope for us. The song, co-written with Mick Jones of Foreigner and Aerosmith collaborator Marti Frederiksen was definitely aimed at radio, and ended it up with more gravitas than anyone could have imagined, as it was released just a month after 9/11.
Ozzy has tons of live albums where he revisits his Black Sabbath songs with his current band, but as great as Ozzy’s bands are, it’s tough to match Sabbath. But this version of “N.I.B.” is fun, because you can hear how much fun Les Claypool and Primus are having, jamming with the “Prince of F***ing Darkness.”
Black Sabbath released their self-titled debut in England in February of 1970 (it would be released in the U.S. in June of that year). Meanwhile, Mountain released their debut, ‘Climbing,’ including this jam, in March of 1970. Both albums are pillars of hard rock and metal. Ozzy’s take on Mountain’s classic is a blast, and features Mountain main man Leslie West on guitar (along with Jerry Cantrell of Alice In Chains, who played on the entire ‘Under Cover’ album).
Ozzy had been yelling this at his fan for decades, it only made sense that he turned it into a song. It’s basically an anthem for rock fans, and who better to sing it than Ozzy?
From the first songs released from ‘Ordinary Man,’ Ozzy seems to be in a reflective mood, which makes sense for a 70-something-year-old metal icon.
Ozzy’s original backing band -- bassist Bob Daisley, drummer Lee Kerslake and of course, guitarist Randy Rhoads -- were unbeatable for the short time that they were together. And even if they weren’t as scary as Black Sabbath, Ozzy still sounds haunted here, wailing from the perspective of a doll being tortured by a sadistic master using needles and pins. “It's a pity/You'll pray for your death/But he's in no hurry.”
Ozzy apparently hated the version created for the flick; electronic artist Moby produced the track, but he was being too harsh. It was better than most of his previous album, 1995’s ‘Ozzmosis.’
Probably the scariest prog-rock epic ever; it’s from King Crimson’s 1969 debut, ‘In The Court of the Crimson King,’ and both Ozzy and guitarist Jerry Cantrell really get to sink their teeth into this, as does jam-band steel guitarist Robert Randolph, who guests on the track.
As Ozzy and Elton John are wrapping up their touring careers, they united for this song where they look back on their insane lives. Cynics might say that 70-year olds can’t sing metal (or rock), but this is an honest and powerful song that a younger person could not sing. It’s a miracle that both of these guys lived to hit the big seven-oh, and neither of them are in any danger of dying “an ordinary man.”
It provided the perfect ending to Ozzy’s classic solo debut, charging straight out of “Revelation (Mother Earth),” it leaves you wanting more. Luckily fans just had a few months to go before the followup, ‘Diary of A Madman.’
In 1992, if you had Ozzy, Lemmy and Slash in a room, a ballad probably isn’t the first thing that you’d come up with. But Lemmy had been writing with Ozzy at that point - including Ozzy’s “Mama, I’m Coming Home,” and this was an extension of that partnership. Given that Ozzy was enjoying a huge resurgence in popularity in ‘92 and Slash was (and still is) one of the hottest guitarists on the planet, this should have been a huge hit.
This, of course, is something of a mantra for Ozzy, and also for guitarist Zakk Wylde, who returned to Ozzy’s band for the ‘Black Rain’ album.
One of the two ballads that redeemed ‘Ozzmosis,’ Ozzy co-wrote this with Bryan Adams’ collaborator, but the Canadian hitmaker didn’t crank out lyrics like “There are no unbeatable odds/There are no believable gods!” Ozzy’s passionate vocals, along with Zakk’s George Harrison-esque guitar solo makes this one of Ozzy’s most interesting and powerful songs of the ‘90s.
In which Ozzy addresses a porn addiction: “Can't kick the habit obsession of smut/Voyeur straining in love with his hand/A poison passion a pulsating gland.” Poetry with a purpose!
You might think that ballads are wimpy, but would you have said that to Ozzy, Lemmy and Zakk, who co-wrote the song? This one avoids the sap that ballads by the hair metal bands specialized in.
Beneath the thunder of Randy Rhoads, Bob Daisley and Lee Kerslake, “Tonight” is a classic ballad. Not a power ballad, but a Sinatra ballad, circa ‘In The Wee Small Hours.’ While Ozzy’s original writing team - Ozzy/Randy/Daisley - are rightfully thought of as the scribes of timeless metal classics, their songs really transcend genres. “Tonight” also features one of Randy Rhoads’ greatest solos.
While Ozzy looked a bit cartoonish on the cover of his second solo album, on the title track he revealed that his struggles with mental illness -- something that discussed openly in 1981 -- were real. The lyrics include the line “Voices in the darkness/Scream away my mental health,” are much scarier in retrospect; we now know that he has struggled with addiction, depression and anxiety. Ozzy was always theatrical, but those painful groans at the end of the song were real.
Legend has it that the song stands for “Sharon Arden, Thelma Osbourne” -- Arden being Sharon’s maiden name and Thelma Osbourne being Ozzy’s first wife. With that in mind, lyrics like “I can't conceal it like I know I did before /I got to tell you now the ship is ready/Waiting on the shore” -- and their sense of moving on -- makes more sense. Whatever the song is about, it’s one of many classics on Ozzy’s flawless second album - which will always live in the shadow of his debut.
Bob Daisley got co-writing credit -- rightfully -- for the songs on ‘Diary Of A Madman,’ but for years, he didn’t get credit for playing bass on the album. The original album credited Randy Rhoads’ ex-Quiet Riot bandmate Rudy Sarzo (who joined for the tour but didn’t play on the album). Today, that’s been sorted, and rightfully so, as “Believer” features a nasty Daisley bassline that he deserves his credit for.
An anthem for any kid who has a hard time expressing himself/herself, but they find their truth in rock and roll. It’s timeless.
Ozzy was counted out by many after he was ousted from Black Sabbath; this song became an anthem celebrating his incredible and improbably success in the wake of his debut solo effort, 1980’s ‘Blizzard Of Ozz.’
Is it about the late AC/DC frontman Bon Scott, as Ozzy has suggested? Or, is it about Ozzy himself, as bassist Bob Daisley (who wrote the lyrics) suggests? Either way, it isn’t advocating drinking or suicide, although Ozzy was sued by the parents of a young man who took his own life, allegedly after listening to the song. If anything, the song is a warning about the dangers of alcohol dependency.
For a very unconventional singer, Ozzy Osbourne has pulled off a lot of great ballads in his solo career. “Goodbye To Romance” is one of his best, and it wouldn’t sound out of place in a cocktail lounge, minus the solos by guitarist Randy Rhoads and keyboardist Don Airey.
Another mantra from Ozzy, thanking the fans and the music for getting him into his 50s. Written by Ozzy with producer Tim Palmer, it features one of Zakk Wylde’s most monstrous riffs.
The highlight of Ozzy’s brief era with guitarist Jake E. Lee. While following in the footsteps of Ozzy’s late guitarist Randy Rhoads would be impossible, Lee at least co-wrote and played on one song that held up to the Rhoads era.
The opening track off of Ozzy’s second solo album, it immediately let the world know that “Blizzard Of Ozz’ wasn’t a fluke. Like much of the first album, it featured a commanding Randy Rhoads riff along with a soaring solo.
Zakk Wylde’s finest moment. By the end of the ‘80s, Ozzy was in danger of becoming obsolete; 1986’s ‘The Ultimate Sin’ and 1988’s ‘No Rest For The Wicked’ made him seem out of step with a music scene that was getting heavier and that was, frankly, embarrassed by and disdainful of the hair metal that dominated the ‘80s. The song and video saw Ozzy staking his claim as the godfather of heavy music, and also showed that he could compete with his musical offspring.
The first song from the first Ozzy solo album announced that he actually might be able to have a great second act, post-Black Sabbath. It also announced the arrival of a new guitar hero in Randy Rhoads, who not only didn’t try to mimic Black Sabbath’s Tony Iommi, he seemed to be a rare metal guitarist who wasn’t even influenced by him. Black Sabbath could never be topped, but Randy Rhoads (and bassist Bob Daisley and drummer Lee Kerslake) helped Ozzy to get out of their shadow.
This ode to Aleister Crowley would be great no matter what, but it’s Randy Rhoads’ solo -- his greatest ever -- that really puts this song over the top, and earns it its status as one of Ozzy’s greatest.
Ozzy and his band put everything and the kitchen sink into this one -- which was impressive given that they produced the album themselves. Randy flexes his classically inspired acoustic chops here, but also plays some fearsome riffs. Don Airey uses then-modern synthesizers, but also grand piano. Lee Kerslake throws percussive instruments like chimes in, but also pounds the drums furiously.
Ozzy’s solo career might not have been more influential than what he did with Black Sabbath, but with “Crazy Train,” he soon began eclipsing his former band in popularity. It has one of the greatest riffs in metal, one of Randy Rhoads’ greatest guitar solos; Bob Daisley’s bass is minimal but scary and it’s one of Lee Kerslake’s best performances. But Ozzy’s melodic wailing is what makes the song a classic, and the best of his post-Sabbath career.
Bon Scott: Aussie Badass
AC/DC: Top 25 Bon Scott Songs
Whether you've successfully snuck into someone's bedroom past curfew or only dreamed of that happening in your youth, "Night Prowler" is the perfect soundtrack for that moment. The song closes out 'Highway to Hell' and ends with Scott quoting the ABC sitcom 'Mork & Mindy' catchphrase, "Shazbot, Nanu nanu." The moment has taken an odd poignant turn especially since the death of Robin Williams, who played the titular Mork.
AC/DC have never exactly been masters of subtlety. Some bands like a side order of raunch, but for AC/DC, it’s the main course, and “Go Down”…well…it’s pretty obvious what it’s about. It's an outstanding opening track on ‘Let There Be Rock’ with a bold riff to boot.
‘Powerage’ is an AC/DC fan favorite for a reason, but one of its most underappreciated songs might be “What’s Next to the Moon,” who’s murder plotline allusions can almost be overlooked thanks to its (ahem) killer groove.
“And I got patches on the patches/On my old blue jeans.” Simply put, “Ain’t No Fun (Waiting ‘Round to Be a Millionaire)” exemplifies the hustle and struggle of trying to make it. Think of it as the bluesy cousin of “It’s a Long Way To The Top (If You Wanna Rock ‘n’ Roll),” which will be coming up later on this list.
An anthem and middle finger to traditional lifestyles, “Rock ‘n’ Roll Singer,” like a lot of AC/DC songs, has a brilliant bridge: “Well you can stick your nine-to-five livin’/And your collar and your tie/You can stick your moral standards/’Cause it’s all a dirty lie/You can stick you golden handshake/And you can stick your silly rules/And all the other s---/That you teach to kids in school/’Cause I ain’t no fool.”
Let’s just be blunt: This is a song about a less-than-great relationship that should just call it quits, but the sex is outstanding. What’s a troubled-in-love person to do? Obviously, stick around. Did we mention the sex is outstanding?
Once again, AC/DC is far from subtle, but they sure were clever about it with “The Jack.” Who knew a poker metaphor about contracting some sort of STI could be so infectious? (Wait...strike that. Let’s just go with “fun and catchy.”) A highlight during every AC/DC show, “The Jack” has been on the setlist a total of 1,742 times making it the most-played song in the band’s history according to Setlist.fm.
The slower tempo of "Love Hungry Man" adds to its seduction and is about as close to crooning Scott ever got. Angus Young's solo drips with bluesy swagger and really put this underrated track over the top.
“Bring on the dancing girls and put the champagne on ice!” Sometimes, excess is best. “Sin City” proves that, and also features one of Angus Young’s most underrated, blistering solos ever.
As far as songs about unsuccessfully trying to pick up a woman at a bar go, "Shot Down In Flames" might just be the coolest, most unapologetically badass one of all time. Sure, Scott didn't get the girl, but he still seems to be having a blast in the process. "Ain't it a shame" this track was never released as a single! Its big chorus is super radio-friendly.
Despite AC/DC’s debut international release being panned by some critics, ‘High Voltage’ is brimming with straight-up bangers. The title track is one of them, and it brings the LP to a boisterous close, particularly during the final pre-chorus when Bon Scott lets out an electric scream that would offer a glimpse of the vocal brilliance he’d lay down on AC/DC’s next four albums.
When it comes to AC/DC, it’s often the case that the dirtier the lyrics, the better the song. "Touch Too Much" might be one of the prime examples of that train of thought, especially when the first verse contains the lyrics, "I was so satisfied/Deep down inside/Like a hand in a velvet glove." A fan-favorite, "Touch Too Much" famously was never performed live... until 2016, and we can thank Axl Rose for that. Rose filled in on vocals on AC/DC's last tour after Brian Johnson was forced to exit due to hearing issues. Rose, a big AC/DC fan himself, helped introduce some deeper cuts to the setlist, and "Touch Too Much" might just be his finest achievement on that front.
AC/DC ought to have a collective PhD in writing amazing grooves. One of their finest was “Gone Shootin’,” which was also featured in the 1996 film ‘Beavis and Butt-Head Do America.’ Fun fact: The film isn’t the only Beavis and Butt-Head connection that “Gone Shootin’” has. In the film’s IMDb profile, Mike Judge is cited saying on the film’s DVD commentary that Beavis and Butt-Head's TV theme song is the riff from “Gone Shootin’” played backwards. To quote Beavis, “Kick ass!”
From its grizzly premise to its video, everything about “Jailbreak” is pretty perfect. It was first featured on the Australian release of Dirty Deeds Done Dirt Cheap, but it finally received a proper release in the US, Canada and Japan on the 1984 EP ’74 Jailbreak. (Better late than never.) Also, the bridge is just outstanding: “Heartbeats, they were racing/Freedom, he was chasin’/Spotlights, sirens/Rifles firing/But he made it out...with a bullet in his back.”
“Gimme a Bullet” presents a unique scenario as a fan. It makes you wonder who broke Bon Scott’s heart so badly that led him to write these lyrics. (“Gimme a bullet to bite on, something to chew/Gimme a bullet to bite on, and I’ll make believe/I’ll make believe it’s you.”) However, it also makes you thankful for said person, because they helped inspire one incredibly brutal, badass breakup song.
Built on a backbone of a bold, minimalist riff, “Problem Child” exudes danger and swagger out the gate and it never lets up even as the track comes to a close. After all, even the “Problem Child” makes a point to say that even their mother hates them. That *really* says something.
The closest AC/DC has ever gotten to a ballad, “Ride On” just makes you ache. Most of us can relate (perhaps a little too well) to “another empty bottle and another empty bed.” Bon Scott’s gravely vocals are hair-raising, as are Angus Young’s sustained blues solos.
The gospel according to AC/DC, “Let There Be Rock” has a little fun with the inherent bombast of some religious sermons by telling the story of how rock and roll came to be. “The white man had the schmaltz/The black man had the blues/No one knew what they was gonna do/But Tchaikovsky had the news.” Those lyrics were so prolific, Brian Johnson recited them at the opening of his Rock and Roll Hall of Fame acceptance speech back in 2003 as a nod to Bon Scott who wrote them.
The opening track on ‘High Voltage,’ “It’s a Long Way...” proved two things: AC/DC were not to be messed with and bagpipes, when accompanied by the guitars of Angus and Malcolm Young, can be incredibly badass. Songs like this can only be written when a band is just starting out and fighting tooth and nail for their big break. Unlike other bands, however, AC/DC didn’t lose the edge of “It’s a Long Way...” as they continued to put out subsequent albums. They stuck to their guns and have maintained their grit for decades.
AC/DC is all about lust, but they were as visceral as any punk band of the day, and "If You Want Blood (You've Got It)" is the proof. The track is famously used in the 1995 film ‘Empire Records’ that served as equal parts anger release and record store employee jam session. If you're looking for the perfect song to blare with the windows down after a rough day at work, you've got the song you're looking for right here.
Structurally speaking, “Rock ‘n’ Roll Damnation” sticks out in the AC/DC catalog because there is no guitar solo to be found and relies heavily on the rhythm track, which also contains the rarities of maracas and handclaps. The track was the final one recorded to be included on ‘Powerage’ at the request of AC/DC’s label, who wanted a more radio-friendly track as a lead single. The track would go on to be AC/DC’s first song to chart in the U.K. Now, if only this outstanding song could take off on classic rock radio in the United States.
The definitive rock anthem for plus-size ladies everywhere, the story behind “Whole Lotta Rosie” is a bit murky. Some accounts point to “Rosie” being a very enthusiastic groupie while others cite Bon Scott having a fetish for big women. Whatever the *real* story is, here's what is likely safe to presume: Bon had sex with a not-so-thin woman, and he had such a good time that he wrote a now-iconic song about it. The fact that “Rosie” has evolved into a stage prop during AC/DC shows only further lends to her legend.
Oi! Oi! Oi! Oi! Oi! Oi! Oi! Oi! Oi! Oi! Oi! Oi! Oi! Oi! Oi!
Murder! Sex! More murder! What more could you want from a rock song? For AC/DC on “Dirty Deeds Done Dirt Cheap,” they’ll give you that *and* a massive riff *and* a bold chorus *and* one of the best examples of the brilliance of Phil Rudd’s minimalist drumming. Seriously, Rudd’s drum track is just perfect. Go back and listen, because that will be time well spent.
Sure, it might seem like an obvious choice, but it really is the right choice to top this list. As soon as those first three gritty notes rattle off in the intro, it's nearly impossible to turn away from this song and, by extension, the entire ‘Highway to Hell’ album. An ode to the rigors of tour life, "Highway to Hell" was practically a classic out the gate with its undeniable riffs, sing-song chorus and overall tough-as-nails attitude. As far as rock anthems go, it is the promised land.