We’ve all seen the videos, when a person on a Zoom call stands up without thinking and winds up flashing all of his co-workers. It’s easy to see how it can happen.
The pandemic helped us to relax our dress codes a bit. We often worked form home and dressed very casually while doing so.
According to WFLA, police say a Sarasota man took things to the next level recently, by placing calls to random numbers and engaging in video calls with whomever picked up the other line. The problem was, they say he was naked when doing so.
The Sarasota County Sheriff’s Office arrested the man and charged him with indecent exposure exposure of sex organs and obscene communication. Deputies began their investigation back in February of 2022, after a report was made by a victim who had received three separate phone calls from a man who had exposed himself and performed lewd acts during each call.
Through tattoo identification, a 35-year-old man was found and arrested for the crimes. Once in custody of the Sheriff’s office, the man admitted to placing several calls to several different numbers.
The Greatest Hits From Genesis
Genesis: Their Greatest Songs, Ranked
Mike Rutherford once told this writer that he was glad that Genesis existed in their era and not this one. While we don’t normally think of Genesis as a controversial band, this song, which took shots at evangelical preachers, would have conservative media up in arms if it was released today. The live version of this song allowed Phil Collins to ham it up with his preacher impression, which might not go over as well today.
An absolutely heartbreaking ballad inspired by the tragic death of Eric Clapton’s son, Conor (his death inspired Clapton’s classic “Tears In Heaven”). Phil Collins and Eric Clapton were close friends and collaborators at the time.
The ‘Invisible Touch’ album marked the peak of Genesis’ pop domination, but even on that album, they still reminded fans of their progressive rock roots. This explosive instrumental closed the album and allowed Phil Collins to really show off his creativity on the drums. The song was recently used to great effect in the 2020 film ‘Palm Springs’ (if you haven’t seen it, check it out!).
The fourth side of ‘Three Sides Live’ was new studio tracks, to hold the fans over until their next album, 1983’s ‘Genesis.’ “Paperlate” is one of two Genesis songs that used the horn section from Earth Wind & Fire (the other being “No Reply At All”). Phil Collins also worked with them on his solo material. This song came during the transitional period where the band were clearly looking at mainstream appeal outside of the progressive rock world, and even the mainstream rock world. Pretty soon, Phil and Genesis would be ubiquitous in pop music and that would last for nearly a decade.
Phil Collins later did a more R&B influenced solo version of this song for his first album, ‘Face Value,’ but the Genesis version is the better one. Mike Rutherford’s funky bass playing and guitar playing are the secret weapon here.
Recorded during the band’s massively successful reunion tour in 2007, this was one of the real deep tracks that they played to appeal to the die-hard fans. We’re glad that they’re reuniting again, but it’s tragic that Phil Collins can no longer play drums. His playing here, along with Genesis’s longtime touring drummer Chester Thompson, is incredible. Thompson, by the way, is no longer part of the touring band: now, Phil’s son Nic Collins is the band’s drummer.
The opening track from the band’s first live album with Phil Collins on vocals. It’s amazing now to think that anyone doubted that Collins would be able to replace Peter Gabriel. He proved that he had the vocal chops on 1976’s ‘A Trick Of The Tail’ and ‘Wind And Wuthering.’ But on ’Seconds Out,’ he proved that he wasn’t just a worthy singer, he was also a worthy frontman (and he only got better as the years went on).
‘Wind and Wuthering’ was the band’s last album with guitarist Steve Hackett. Maybe not coincidentally, “Your Own Special Way” -- written by Mike Rutherford -- was the band’s first hit single in the U.S., reaching #62. What seemed like a fluke at the time would later be a regular occurrence, as Genesis as a band (and as individual members) would spend lots of time on the pop charts in the years to come.
"Ripples" was one of the highlights of the band’s first album with Phil Collins on vocals. Written by Tony Banks and Mike Rutherford, the folky song showed that they were leaning towards simpler songs with catchier choruses. Despite having an insane amount of talent in the band, they realized that they didn’t have to show off their chops on every song.
One of the many songs on ‘The Lamb Lies Down On Broadway’ to showcase Tony Banks’ spectacular piano playing. Midway through the song, Steve Hackett melts faces with a stellar guitar solo, before ceding the spotlight back to Banks. Many of the songs on ‘Lamb’ don’t hold up outside of the album’s narrative -- it’s a very ambitious concept album. “Anyway” is one that works on its own, as long as you don’t get too invested in the lyrics.
Here, Genesis combined prog-rock lyrics with a poppy jam. Tony Banks said of the song, "the idea was that the [main] character had to pretend that he'd just been robbed by people and that's why he'd disappeared for a few weeks, and in fact what had happened [was] he'd been to the future and gone to this fantastic world where everything was wonderful and beautiful and everything... but he couldn't tell anybody that, because no one would believe him and the powers that be kept him silent."
This is a *really* deep cut; it’s a single from their debut album, from before Phil Collins even joined the band. It featured Peter Gabriel singing, Tony Banks on keyboards and Mike Rutherford on bass, with Anthony Phillips on guitar and John Silver on drums. Progressive rock was in its earliest stages at this point; “Where The Sour Turns To Sweet” sounded like a cross between the Assocation and the Hollies.
The fifth single from ‘We Can’t Dance.’ That LP came out just weeks after Nirvana’s ‘Nevermind,’ an album that had a seismic effect on pop culture. By the time “Never A Time” hit radio in November of 1992, Genesis (and many of their peers) seemed out of step with popular culture, and that was particularly true on this ballad. Which is a shame: it’s an excellent song, particularly Mike Rutherford’s guitar playing, which seemed to be channeling Eric Clapton.
27. “Back In N.Y.C.” from ‘The Lamb Lies Down On Broadway’ (1974)
Phil Collins originally wrote the song for his solo debut, but ended up giving it to Genesis, who had their biggest hit yet with it (it climbed to #16 on the pop charts). For many pop music fans, this was the first they’d heard of Genesis.
Another big pop hit, and again, it was written by Collins alone. The song begins with a drum machine, something Collins was using in his solo career (despite his considerable skills as a drummer). The song dealt with the homeless crisis in England, a topic he’d revisit on his solo song years later, “Another Day In Paradise.”
Their first single from their first album as a trio. Mike Rutherford wrote the lyrics, and Rutherford, Collins and Banks co-composed the music. It was a lot simpler and more accessible than their earlier material, and went on to become their first U.S. top 40 single, hitting #23.
An evocative instrumental composed by Steve Hackett and Mike Rutherford, it highlights Hackett’s underrated playing. The song begins as a musical conversation between Hackett, Rutherford and Tony Banks; Phil Collins’ drums come in about two minutes into the song, giving it a bit more of a “rock” feel.
This one easily could have been on a Phil solo album. He wrote the lyrics and co-wrote the music with Banks and Rutherford. The soulful breakup ballad -- a specialty of Phil’s -- was one of the band’s biggest hits. It reached #3 on the pop charts. We could expand more on this, but Christian Bale’s Patrick Bateman did such a good job in 2000’s ‘American Psycho.’ (You can find it on YouTube but take note, it’s rather NSFW).
An eight and a half minute socially conscious prog-rock jam: it was a sci-fi tale that told of an eviction of low-income tenants. Peter Gabriel used a tactic that he favored during the early years of Genesis, where he used different vocal styles when singing from perspectives of different characters.
Another song that saw the band embracing simplicity (Collins said that his drum part was influenced by Ringo Starr). Mike Rutherford’s guitar solo was also simple, but at the same time, it was perfect. The song was their first top 10 single in America, reaching #6.
The first song from their first album with guitarist Steve Hackett and drummer Phil Collins, and what a bizarre introduction it was. A ten and a half minute epic with lyrics based on a Victorian fairy tale. Follow us here: it’s about two children who live in a country house. The girl, Cynthia, kills the boy, Henry, by cleaving his head off with a croquet mallet (that’s the scene on the album’s cover). She later discovers Henry's musical box. When she opens it, Henry’s ghost appears. But he’s old and getting older and to make things creepier, he tries to talk Cynthia into having sex with him. Genesis have a lot of weird songs (particularly on ‘The Lamb Lies Down On Broadway’) but this might be the weirdest.
Genesis were always supportive of Phil Collins’ solo success, even as it surely shifted the balance of power in the band. Tony and Mike never seemed to sweat Collins’ growing popularity as a solo artist, but surely they noticed that he scored four #1 hits by ‘86 (“Against All Odds,” “Sussudio,” “One More Night” and “Separate Lives” with Marilyn Martin). With “Invisible Touch,” they finally had their first and only U.S. chart topper. Ironically, it was knocked out of the #1 slot by a classic from their former singer: Peter Gabriel’s “Sledgehammer.” And while the prog-rock die-hards may not have loved the poppy jam, Collins has called it his favorite Genesis song.
The last song on their second album, their final with original guitarist Anthony Phillips. It was more aggressive than most Genesis songs, although Peter Gabriel’s flute solo provided a mellow interlude. The song was one of the first times Gabriel penned socially conscious lyrics. He said he was inspired by a book about Mahatma Gandhi, and in the lyrics, he discussed how “all violent revolutions inevitably end up with a dictator in power.” But you can decide for yourself what he meant when he sang: “Soon we'll have power, every soldier will rest and we'll spread out our kindness/To all who our love now deserve/Some of you are going to die/Martyrs of course to the freedom that I shall provide.”
With “That’s All,” “Illegal Alien,” “Taking it All Too Hard” and “Just A Job To Do,” Genesis were clearly looking past the rock charts to the top 40. But on “Home By The Sea/Second Home By The Sea” -- clocking in at a combined 11 minute plus -- they pointed out that they still had some classic prog rock jams in them.
Prog-rock at it’s finest. Here’s another 11 minute epic! This one shows off Steve Hackett’s sublime lead guitar, Banks’ keyboards, Peter Gabriel and Phil Collins’ harmonizing and some sweet flute *and* oboe playing from Gabriel. Collins’ drumming under the solos is subtle but amazing. It’s one of the few songs that Gabriel had no hand in writing; while the band is credited as co-writers on all the songs, apparently Banks and Rutherford co-wrote the lyrics, and co-composed the music with Collins and Hackett.
‘Invisible Touch’ in some ways seemed to follow the template of ‘Genesis.’ Each album had a socially conscious jam (the awkward “Illegal Alien,” “Land of Confusion”), a two part progresssive rock throwback (“Home By The Sea/Second Home By The Sea,” “Domino”) and a reggae-styled soft rock jam (“Taking It All Too Hard,” “Throwing It All Away”). ‘Genesis’ also had a weird and creepy jam with “Mama,” and ‘Invisible Touch’ had “Tonight, Tonight, Tonight.” While we prefer “Mama,” the pop charts clearly favored “Tonight, Tonight, Tonight.” The former hit #73 on the Hot 100, while the later hit #3. Of course, that was with a shortened version of the song; we prefer our “Tonight, Tonight, Tonight” in its full eight minute, fifty one seconds form.
One of the Gabriel-era songs that the Collins-era Genesis performed the most, and it’s easy to see why: the band was firing on all cylinders on this one (and Collins’ drumming is particularly excellent).
The last song from what is, in effect, the last Genesis album (we’re not counting the post-Phil Collins album, ‘Calling All Stations’). Tony Banks wrote the lyrics, and it seemed that he knew that the band were coming to some sort of end. Genesis’ breakup was a bit unique in that there never seemed to be ill will between the members. But it was just time -- and frankly, Rutherford and Banks were fortunate that Collins stayed as long as he did, given his massive success as a solo artist. But “Fading Lights” was a perfect send off and a moving final bow: it has a lot of elements of what made the band great. It starts off with a drum machine, and sounds like another sweet ballad, before evolving into a powerful jam that sees Collins, Rutherford and Banks stretching out one last time.
The opening song that sets the scene on the band’s final album with Peter Gabriel. Co-written by Gabriel and Tony Banks, it features some of Mike Rutherford’s best bass playing. The guy is just underrated at both of his instruments: guitar and bass.
A reggae-tinged jam propelled by a great Mike Rutherford guitar riff. Rutherford also wrote the lyrics, but you’d be forgiven for thinking that Phil Collins did. Hey, it’s a breakup jam! And even the band’s cranky prog-rock fans might identify with the song, provided they’d ever had a girlfriend or boyfriend and split up with them: “We cannot live together/We cannot live apart/And that's the situation/I've known it from the start/Everytime that I look at you, I can see the future/Cause you know I know baby that I don't wanna go.” In some ways, it’s the saddest kind of breakup. It’s not your fault, it’s not mine, I still have feelings for you… but this thing is never going to work out.
The song opens the first Genesis live album. It started in uber prog rock style, with Tony Banks’ lengthy mellotron intro (almost as if he was taunting Keith Emerson or Rick Wakeman). If that’s not prog enough for you, the title was a reference to John Keats' 1817 poem "On First Looking into Chapman's Homer.” The lyrics, however, were inspired by Arthur C. Clarke’s sci-fi novel “Childhood’s End” (which also inspired Pink Floyd’s song “Childhood’s End” from ‘Obscured By Clouds’). This might be the band’s proggiest moment, and -- fun fact -- this was one of the two songs that Phish performed at Genesis’ induction into the Rock and Roll Hall of Fame.
One of the band’s most intense songs, and a reminder that Phil Collins could be as weird as Peter Gabriel when he wanted to. The song was influenced by the then-new art form known as hip-hop. It’s true: Phil’s “HA HA ha!” was inspired by Grandmaster Flash and the Furious Five’s “The Message” (“Ah ha ha ha: It's like a jungle sometimes it makes me wonder/How I keep from going under!”) What’s the song about? Collins revealed in an interview that “[It] is just about a young teenager that's got a mother fixation with a prostitute that he's just happened to have met in passing and he has such a strong feeling for her and doesn't understand why she isn't interested in him.” Not the stuff that dominates adult contemporary radio, and indeed, this one was a jam for the more rock-based quadrant of their fanbase.
It took five albums for Genesis to get a hit single in the U.K. (their first U.S. hit was still a few years away). “I Know What I Like (In Your Wardrobe)” hit #21 on the U.K. singles chart, not bad for a song about a happy guy who mows lawns for a living.
You could argue that Genesis oversimplified the complexities of the world’s issues in this song (and video), but on the other hand these lyrics are not a bad mantra to keep in mind: “This is the world we live in/And these are the hands we're given/Use them and let's start trying/To make it a place worth living in.” The video won a Grammy (but lost an MTV Video Music Award to Peter Gabriel’s “Sledgehammer”). And imagine how it would dominate the news cycle if it was released today: it lampooned the sitting President (Ronald Reagan), as well as other major players on the world stage, including Ayatollah Khomeini, Mikhail Gorbachev and Muammar Gaddafi, and took shots at celebrities including Prince, Sting, Tammy Faye Bakker, Michael Jackson, Madonna, Princess Diana and Hulk Hogan.
Genesis’s records were pretty pristine in the ‘80s, and they weren’t really a jam band, so live versions of their songs tended to stay pretty close to the studio versions. But this live take of “Abacab” adds nearly two minutes of intensity, giving it the edge over the excellent studio version. It was always a blast to watch Phil Collins and touring drummer Chester Thompson go beat for beat at the end of this jam.
Like many of the songs on ‘The Lamb Lies Down On Broadway,’ the lyrics won’t make much sense if not familiar with Rael’s story, but “The Carpet Crawlers” has such a bittersweet melancholy sound, and it’s catchy as hell: “The carpet crawlers heed their callers, you gotta get in to get out.” The song clearly means a lot to Genesis: this lineup (Gabriel, Hackett, Rutherford, Banks, Collins) reunited for a new version of the song in 1999 featuring lead vocals by both Peter and Phil. And it was the closing song on the last Genesis reunion tour.
Is it a rock song? Funk? R&B? Pop? It didn’t matter: “No Reply at All” is straight up one of the band’s catchiest songs, and one of the few to incorporate outside musicians (like “Paperlate,” it uses Earth Wind & Fire’s horn section). The video gave a glimpse of the band’s sense of humor. It was a performance video, but Phil, Mike and Tony also mimed the horn playing. It’s funnier than it sounds.
Apparently a response to critics complaining that Genesis were trying too hard to appeal to American fans, Peter Gabriel wrote lyrics that were very U.K.-specific for the ‘Selling England By The Pound’ album. Whatever his inspiration was, this song kicks off the best album of the Gabriel era (and depending on how you feel about Phil Collins, maybe the best Genesis album ever). Oddly enough, this song inspired their R&B-flavored hit “Paperlate,” nearly a decade later. The band was jamming on the song during soundcheck and Collins was singing variations on the term “paperlate”... from the lyric “‘Paper late!’ cried a voice in the crowd.” And that led to an entirely new and very different song.
Like “Abacab,” the studio version is great. But the live version adds over a minute, including the extended intro. Mike Rutherford and Daryl Stuermer’s pulsing guitars give the crowd a brief warm up before Tony Banks comes in with his best keyboard riff ever. One of the great things about this band, particularly in the ‘80s was: for all of their virtuosity, they always recognized the beauty in simplicity. They could definitely flex, but they also knew when to stay out of their own way. This is another live recording where Phil’s charisma as a frontman explodes out of your speakers. And ultimately, it was Phil’s abilities as a frontman and songwriter that made this band the behemoth that it became… and why, 30 years after their last album together, they’ve returned to sell out arenas across America, one more time.
The Prince Of Darkness Celebrates 40 Top Solo Songs
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.