The Incredible Impact Of Ozzy Osbourne, From Black Sabbath To Ozzfest To 30 Years Of Retirement Tours

Ozzy Osbourne photographed in London in 1991. Martyn Goodacre/Getty Images

BY LACHLAN GOOLD

SENIOR LECTURER IN CONTEMPORARY

MUSIC, UNIVERSITY OF THE SUNSHINE

COAST, QUEENSLAND, AUSTRALIA

Ozzy Osbourne, the “prince of darkness” and godfather of heavy metal, has died aged 76, just weeks after he reunited with Black Sabbath bandmates for a farewell concert in his hometown of Birmingham in England.

His family posted a brief message overnight: “It is with more sadness than mere words can convey that we have to report that our beloved Ozzy Osbourne has passed away this morning.”

John Michael Osbourne changed the sound of rock music and leaves behind a stellar career spanning six decades, numerous Grammy awards, multiple hall of fame inductions – and a wave of controversy.

An agent of change

In 1969, from the ashes of various bands, Geezer Butler (bass), Tony Iommi (guitar), Bill Ward (drums) and Osbourne formed the band Earth.

Realising the name was taken, they quickly changed their name to Black Sabbath, an homage to the 1963 Italian horror anthology film.

With the Summer of Love a recent memory, Black Sabbath were part of a heavy music revolution, providing an antidote to the free loving hippies of the late 60s period.

Despite making their first two albums cheaply, Black Sabbath, released in February 1970, and Paranoid, released September that same year, they were a global success.

Their approach was laden with sarcasm and irony. American audiences mistook this for satanic worship, positioning them as outsiders (albeit popular ones).

After Black Sabbath’s early successes, they were managed by the notorious Don Arden, whose daughter Sharon Levy was the receptionist. More than any musical bond Osbourne had in his life, Sharon would be the most influential character throughout his life.

Osbourne recorded eight albums with Black Sabbath (some to critical acclaim) and was then kicked out (by Sharon) due to his troubles with drugs and alcohol.

Ozzy solo

Osbourne’s solo career has always been managed by Sharon. While recording his second solo album, Diary of a Madman, guitarist Rhodes died in a tragic light plane crash. Osbourne was close to Rhodes and fell into a deep depression, after never having lost someone so close.

Sharon and Osbourne married only months after this incident. His struggle with drug use did not stop him from making further solo records alongside various guitar players, continuing with moderate success throughout his career.

On the road, Osbourne put the John Farnham’s last tour trope to shame.

He held his last ever gig more times than one can count with names like No More Tours (1992–93), Retirement Sucks (1995–96) and No More Tours 2 (2018–19).

This lament for touring led to the most successful era of Osbourne’s career. After being rejected for the 1995 Lollapaloza festival bill, Sharon (and their son Jack) started Ozzfest; initially an annual two-day multiband festival headlined by Osbourne, held in Phoenix, Arizona, and Devore, California.

Subsequently becoming a national – and then international – tour, Ozzfest led to a successful partnership with MTV, which led to the reality TV show The Osbournes premiering in 2002. Here, his previous and ongoing battle with drugs was obvious, proudly on display – and ridiculed – to huge global audiences.

The spectacle of a rich rockstar and his family featured a constant barrage of swearing, battles with lavish TV remotes, canine therapy, never-ending chaos, and Osbourne constantly yelling “Sharrrooon” like a twisted maniacal loop of A Street Car Named Desire.

Struggles and controversies

Osbourne suffered multiple health conditions over the years, rarely concealing the state of his physical or mental wellbeing.

Notably he’s struggled with drug and alcohol abuse his whole career with drug recovery centres using Osbourne as an exemplar. In 2007 he disclosed he suffered from the Parkinson’s adjacent condition Parkinsonian syndrome. In 2019 he was diagnosed with Parkinson’s disease.

This resulted in him being unable to walk for his final Back to the Beginning show in Birmingham on July 5 2025.

And Osbourne’s career had more than its fair share of controversy. He bit the head off a dove and a bat (celebrated with a commemorative toy), and urinated on the Alamo cenotaph. He was taken to court multiple times, but was never convicted.

Ozzy and me

As a white middle-class boy growing up in the Brisbane suburbs in the 80s, heavy metal music appealed to my testosterone and pimple filled body.

Exploring the secondhand record shops of Brisbane, I would’ve bought my first copy of Black Sabbath around 1985. The sound of thunder and a distant church bell before the first drop-D riff enters seemed like the antithesis to sunny Queensland and 80s pop.

As my life became obsessed with the recording studio and the vociferous music scene in Brisbane in the post-Joh era, and those drop-D riffs influenced a new style that swept the world in the early 90s.

Osbourne’s influence was huge and through grunge, his sound was reborn. Grunge was a marriage of the Sabbath-like drop-D riffs with the energy of punk and the melody of the Beatles.

Listening to Black Sabbath and Ozzy records, equipped me with a sonic palette ready to capture the wave of alternative music emmerging from the Brisbane scene.

While Ozzy’s death is no surprise (except for those who never thought he’d last this long), we should take pause and remember an icon with an endless energy for entertaining, a passion for music, and changing the expectations of popular culture for more than 50 years.

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The Beatles 50th Anniversary

The Ed Sullivan Show: The Beatles with Ed Sullivan during the taping of their New York Debut Show February 9, 1964 in Manhattan, New York City. Image: Bettmann Collection

The Beatles arrive at London Airport on their return from America February 22, 1964. They wave at the many fans who have come to the airport to greet them.  

Screaming fans welcome the return of the Beatles at London Airport, in England, on Sept. 21, 1964. Some of the youngsters had waited 36 hours after hitch hiking across England to welcome their heroes from their most successful overseas tour. Image: Victor Boyton/AP

Police restrain excited teenagers who tried to overrun barriers when they could not get tickets for the Beatles show in Essen, Germany on June 25, 1966. Image: Schroer/AP

Some of the winners of the 1963 "Melody Maker" poll awards give a high kick for their success. Susan Maugham was voted top female singer, on the far left is Billy J. Kramer (Best Hope for 1964). They are photographed with the Beatles, who were voted top vocal group.Image: Hulton-Deutsch Collection

The World Ends: A Conversation With African Music Archivist Uchenna Ikonne

By Oscar Paul Medina, The Hydra

As the counter-cultural movement reached its apex circa 1967 in San Francisco with swarms of people preaching peace, love, communal living, psychoactive drugs and “dropping out,” there was a similar revolution commencing in Nigeria that had nothing do with good vibes, wearing flowers in your hair, or communing with New Age mantras. Nigeria was in the midst of a brutal civil war that would end up spanning over two years and extinguish over three million lives in the process. “The World Ends” is the newest compilation of African psychedelic music released on Soundway Records that gives voice to the renaissance of music that occurred after that savage period in Nigerian history. I interviewed Uchenna Ikonne, the man who has been tracking down the music from this turbulent era, and we got to speaking about the apoliticism of the post-civil war generation, Fela as a proto-Kanye West, and some of his favorite records off the comp.

Hydra: How did you come across all the records/knowledge that are contained in the compilation? Could you relate 1 or 2 interesting stories in the process of finding these records?

Uchenna: That’s a bit of a tough question. I wish I could share with you picaresque adventures about discovering this music but I don’t think that journey has been all that interesting. I was born in the 1970s and while I was too young to have ever been a part of this scene, I grew up in the shadow of it, hanging around older guys and trying to decipher their reminiscences of the music they had rocked to in the seventies. For some reason, those memories stuck with me for years even as this music was forgotten by the masses and maybe about ten years ago I started trying to actively collect some of these lost records.

That led almost organically to me trying to document the history of the musicians who made these records and the world that influenced them. So I started doing a lot of research. I spent almost a year crisscrossing Nigeria, tracking down these guys, many of whom had quit the music game decades ago; some of them didn’t even remember the records I was talking about because this was several lifetimes ago for them. They were pretty flabbergasted, some of them, that these old records were remembered at all, let alone being appreciated by a new audience overseas.

Hydra: You say that the Nigerian army was instrumental in providing the necessary resources for these young musicians to access instruments. Could you explain how politics played a role in the music itself? I know that the music showcased in this comp is after a heavy civil war, so I wonder if the musicians were trying to escape the political realities that they had just experienced through music, or did they use the music to expand and understand their communal experience of civil war?

Uchenna: The musicians themselves were largely apolitical— like 99% of young guys who join bands anywhere in the world, they mostly just wanted to have fun hanging out with their friends, playing the music they loved, and meeting girls. But I suppose there was a subtle political component to the music. The majority of the bands that recorded during this period came from eastern Nigeria, the part of the country which had until recently been the secessionist state of Biafra, which was the primary theater in which the war had unfurled as Nigeria fought to re-absorb Biafra into the union. By the end of the war, the previously-rich region had been left devastated—physically, economically, and spiritually. Most of the indigenes had lost family members and all their possessions, and while everybody was glad the horror of the war was over, the current reality was still pretty harsh. Many of the survivors of the war testify that the music was a means of escape that really kept their spirits up.

Hydra: What are your top 3 songs from the compilation and why?

1. “Somebody’s Gotta Lose or Win” by The Hygrades: I like the rollicking, deep rhythm & blues feeling on this. The Hygrades were led by Goddy Oku—a veteran of The Postmen, who were the first rock & roll band in the Eastern region of Nigeria—and he retained a lot of that old school sensibility. So even though most of the performances of the 1960s Nigerian rock & pop bands might be lost to time because so few of them got the chance to record, this track provides some insight into what they sounded like.

2. “Deiyo Deiyo” by The Hykkers: The Hykkers were also one of the groups from Nigeria’s forgotten 1960s rock & roll heyday; in fact, they were probably the first pop band in the country. They were known primarily as TV stars who appeared on a weekly show, playing mostly Beatles covers, so the wild, psychedelic sound they display on this record was a major change of pace for them. Actually, it was a change for the scene as a whole since it was one of the earliest records in this psych-fuzz style.

3. “Blacky Joe” by P.R.O. (People Rock Outfit): I love the rich, emotive vocal tone of the singer Stoneface Iwuagwu on this rock ballad. A lot of times when people talk about African music, the emphasis is always on rhythm and uptempo bootyshaking, but the truth is that what most Africans (and especially Nigerians) are really into is saccharine melodies and sentimental ballads. Of course, there’s also a pretty wild guitar freakout at the end of the song to justify its inclusion on a compilation dedicated to psychedelia.

Hydra: You talk about Fela in the notes and I thought it was interesting that you made Fela out to be an opportunist, which frankly didn’t surprise me. How do you think the youth of that time viewed him and his music? Were they trying to break free from Fela and his influence, much like how the Sex Pistols wanted to destroy the Beatles/ Pink Floyd? Perhaps my example is a bit abrasive, but what I would like to know is if the musicians of the scene were in a way tired of Fela and what he represented. If they did in fact continue to revere Fela and hold him in high esteem, could you explain why?

Uchenna: There was no time for them to be tired of Fela or what he represented because what Fela represented at that time was actually considered quite fresh and state-of-the-art. Even though he had been on the scene since the early sixties, his music had been considered a bit too avant-garde and as a result he hadn’t experienced much in the way of major success until the single “Jeun K’oku (Chop & Quench)” was released at the end of 1970—around the same time as the rock explosion. And what made that record unique from all of Fela’s previous output was the fact that it was produced like a rock record.

At that point, Fela had been referring to his music as “afrobeat” for a few years, but up until then it was little more than a theoretical genre tag looking for a sound to attach itself to. The funk-rock edge of “Jeun K’oku” functioned as the roux that coalesced Fela’s highlife and jazz influences and finally gave afrobeat the backbone and musculature it had thus far lacked. It very quickly became the best selling record in Nigerian music history and its phenomenal success served as a major impetus for EMI Records to not only sign more rock acts (who had been ignored by all the major labels up until then) but also to urge them to develop a more overtly “afro” sound rather than merely aping Western styles. So even though he hailed from the previous generation, Fela was—obliquely—a godfather of the afro rock scene. Of course, the young rockers probably didn’t aspire to emulate him directly: coming from a jazz background, his music was primarily horn-based while these young guys were more interested in electric guitars and organs. But even Fela himself soon traded his trumpet for an electric organ, an instrument intimately associated with rock music.

As for whether the respect between Fela and the rock musicians was mutual, it’s hard to say for sure what he truly thought about them. In general, it’s hard to tell what he thought about any musician other than himself, really. Like a lot of ego-driven genius-types, Fela liked to give the impression that the only music he had ears for was his own. He sometimes spoke glowingly of certain foreign musicians, but it was rare for him to comment positively about other Nigerian acts. But what’s important to remember is that he was, above all, a professional musician operating in a fiercely competitive environment, so he probably did not see much value in promoting or even complimenting any musician who could be considered a rival to him.

As much as he criticized the rock bands for being unoriginal and imitative of Western musicians, by the same token he also dismissed the practitioners of hardcore indigenous music styles like juju as being embarrassingly quaint and hokey. Even when esteemed Ghanaian afro rock pioneers Osibisa (whose music exerted a huge influence on “Jeun K’oku”) came to Nigeria, he lambasted them and tried to incite the audience against them. Fela was kind of like the Kanye West of Nigeria in that he was never comfortable with any situation in which he was not the center of attention!

Riverside

Just for the heck of it and after having exhausted all my options in the goings on around the City of Angels and all that Hollywood hype, I decided as it popped up to me to seek refuge elsewhere in the Southland, temporarily, I would guess, on an expedition. I had thought about which particular place or city would be convenient for my nerves as the crazy, Hollywood wannabes, road rage and same sex driven gay and lesbian community tend to change the Southland into something the biblical principles condemned, long time ago -- I don't know about Leviticus, though.

But as I made up my mind, I had thought about several other Los Angeles suburbs and cities around Southern California. After the hurdle of thinking about it, Riverside, California, popped up, just like that; and the reason it became my point of call was something I really did not know, and in a case of lottery where I had gambled, Riverside won as my fantastic trip.

Quite some drive from Downtown Los Angeles and taking the 10 Freeway East to the 60 Freeway East on to the 71 Freeway and the 91 Freeway when the traffic had normally been humble, I did not sweat to the City of Riverside and walking down all the streets through City Hall, the journey was worth telling.

I had gone to the historic court house and passing through the metal detectors with tight security hanging around, I walked pass the sheriffs and the troubled with the law for court dates and appearances.

These days of much talked about recession and economic meltdown, folks around town 'dunno' what would be next. Hagglers were all around trying to broker a deal on foreclosures. Yes, that's right, every Tom, Dick and Harry you pass by seems to be dipping his or her hands where money can possibly be made, especially these hard times making money looks like a mirage. The courts, these days, are calm and from my observation at the Riverside Court House, everything seemed pretty much the same in the Southland. The clerks, sheriffs, plaintiffs, defendants, prosecutors and judges have sensed the need for cordial and mutual relationships, never minding the rule of law, applying human nature, fairness and understanding the toll this recession has taken on every American. This is the time to stick together and rebuild America; and that's exactly what seems to be going on.

On Mission Inn Avenue and Main Street where I checked in to the historic Mission Inn Hotel, I felt like I had landed in one of those exotic resorts in Miami Beach. I had arrived to a place that was totally strange, another big city. A whole lot of eatery, plaques, engravings and statues of the accomplished. It is a famous hangout and has been patronized by presidents, Kings, Brahmins and movie stars.

There's Bella Trattoria Italian Bistro, the fine Italian cuisine in a posh atmosphere. There's Mission Inn Restaurant which offers Italian, Mexican, American and other ethnic dishes from around the world. There are three other restaurants housed by the elegantly structured Mission Inn Hotel

Mission Inn was the perfect place for me in my quest to stay away from the bumper-to-bumper amd hustle-me-crazy Hollywood. Hollywood seems to be hype compared to the little moment I shared with Riverside. And I had begun to thinking about retiring to smaller cities or if necessary the woods, before I lose the remainder of my hearing from the noisy, crazy dubs of Hollywood, especially the rock concerts that had almost made me hard of hearing. Riverside does not look like my place of retirement. It is a big city.

At Mario's Place, another fine cuisine on Mission Inn Avenue and while taking some shots (I am becoming one of the fine photo shooters, believe it or not), I encountered a curious minded tourist who had thought I was also a tourist like him. The tourist had asked of my origin and I told him "I belong to the City of Angels." I got him confused because he was expecting an answer he already had in mind. He wanted to know my country of origin and I told him "Biafra."

"No, no, I mean, what country are you from?" he asked again.

"Biafra," I told him and he still did not get it.

I gave him a hint about the Holocaust in which six million Jews were murdered; the Rwandan genocide in which over a million souls perished in 1994; the Armenian genocide in which millions were massacred and the pogrom in which over two million Igbos were murdered in the most brutal of circumstances and the pogrom being the most blood soaked event in the African continent. He got some history lessons and he loved it. I continued my journey.

My second day at this fine city was full of fun. It was on a Saturday and a whole lot of line ups had been scheduled by the Riverside Parks, Recreation and Community Services.

University Avenue, UC Riverside, academia and scholars. The Street Jam. Lake Alice Trading Company Saloon and Eatery; hamburgers, sandwiches, fingerlicking foods and a host of salad varieties on the menu at this spot on the flashy University Avenue. Mr T's Family Restaurant where actual potatoes and eggs exactly how you want them are served on Main Street. The Tamale Factory, the catering style Mexican grub hosts great service and terrific tamale tastes on Main Street. Templo Del Sol, the best wrapped flour totilla with a bunch of meat, cheese, beans and veggies on University Avenue.

Orange Street and the beautiful smiling faces even though they do not show the evils in them. The bikers and the smoke shops. Back to the Grind Coffee House; poetry, live music, jazz, reggae, blues, rock, bluegrass including the kind of blues rock invented by Steve Winwood when he was discovered in Birmingham by Jamaican born Brit Chris Blackwell who also found Bob Marley, Junior Murvin, U2 and the rest. Blackwell owned Island Records.

So on this georgeous Saturday, I am vacationing in the desert, there were better graded approaches as everything got me knocked off including the Downtown Street Jam on Orange and Ninth Street. The event was the real deal. For the first time, I knew of the rock group Inhale, the area's local band. Superbad was the local ensemble that thrilled me the most with its pure funk and mixtures of soul, jazz flavors and hard rock. It was loud all evening and the dancing and stomping was on the street.

And one thing I observed in Downtown Riverside was while walking you will notice the absence of big-time pimps, prostitutes, junkies, runaway teens and crack heads commonly seen in Hollywood -- I mean, the squatting in alleys and empty buildings -- like rats hanging out in some cage.

But in Riverside, I'm quite sure the city residents appreciate the way their tax dollar is being spent as merchants and visitors who trooped in to watch The Downtown Street Jam could obviously tell that the Riverside local groups, Inhale, Polite, Superbad, Micah Justice and Paging Beto came to entertain for real and free of charge on the goodwill of the City of Riverside and the Riverside Downtown Partnership.

Not forgetting the usual place I hibernate to stay away from the whistle blowing Los Angeles, I had the chance to check out the Riverside Public Library on Mission Inn Avenue just next to Mission Inn Hotel. For one who loves to read and since I was on a pleasure trip, I did not do much and as an out of area guy. The procedure was different. I read the Riverside local papers -- Inland Empire Weekly and Press Enterprise. I also stopped by the Renaissance Book Shop on Magnolia Avenue where European and Asian literature, history and philosophy graced the shelves. I walked through and went to the music section and picked up the greatest living saxophonist, Sonny Rollins' recorded concerts CD "Road Shows Vol 1" for my listening pleasure.

My Riverside experience was actually entwined with the city's history. The city is big. It is the 61st largest city in the United States and 12th largest in California. It is one of the best places to live. Drive down on Orange and University Avenue to the 900 block of University Avenue sits the campus of UC Riverside and the city is located in California's 44th Congressional district. The fun: Keep going to view dozens more of University Avenue lovely structures, and eateries, and grab a bite or whatever along the way.

Pictures: (From top: Riverside City Hall, Riverside County Court House, Mission Inn Hotel, UC Riverside and the local ensemble Paging Beto)

Rewinding Back That Heavy Metal Invented By Deep Purple

I was going through my music library (I do that quite often, not bored though) and discovered I haven’t listened to any Deep Purple cut in a while. I looked and asked myself, what happened to “Woman From Tokyo” and “Smoke On The Water?” Some brilliant guitar works by Ritchie Blackmore who had bragged he could wipe any floor with his guitar and a powerful lyrics of an arrogant Ian Gillan coupled with the organed magic of Jon Lord just to know how I got my humble self into all these mess and starting something I couldn’t finish ending up probably losing my hearing from attending heavy metal concerts.

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