One of the UK’s leading prog bands, Big Big Train, reissued their third album, Bard, for the very first time last month. Unavailable for many years, Bard was recorded in 2002 by a line-up of Martin Read (vocals), Tony Müller (keyboards and vocals), Phil Hogg (drums), Ian Cooper (keyboards), Andy Poole (bass) and Greg Spawton (guitar, keyboards), the new version of the album has been completely remixed by the band’s longstanding engineer Rob Aubrey.
To celebrate, Prog has teamed up with the band to offer fans this world-exclusive limited edition bundle, featuring really cool Big Big Train stuff you can’t get anywhere else.
Alongside a special variant version of the latest version of Prog boasting a limited edition Big Big Train front cover, the bundle also comes with a lyric sheet for The Last English King, signed by Greg Spawton, Andy Poole and Ian Cooper, plus an exclusive Bard t-shirt unavailable in shops or on merch stands. Numbers are limited and the only place you can get the bundle is from the Prog online store.
“We didn’t know whether we were going to carry on, so there was melancholy around this possibly being the last one,” Poole reveals in our interview with the Bard line-up in the new issue of Prog.
“It’s a strange thing to look back on, because these were such difficult, miserable times, but with happy days by the end of it,” adds Spawton.
Hawkwind grace the cover of the new issue of Prog, as we celebrate the 50th anniversary of their fantasy epic Warrior On The Edge Of Time and as well as Big Big Train, the new issue also features new interviews with Van Der Graaf Generator founder Judge Smith, Solstice, IQ, The Flower Kings, Mostly Autumn, Dim Gray, Gary Kemp, Everon, Antimatter and loads more. You can read all about the new issue here.
You can trust Louder Our experienced team has worked for some of the biggest brands in music. From testing headphones to reviewing albums, our experts aim to create reviews you can trust. Find out more about how we review.
Back in the early ’90s, Edinburgh-born Chris Connelly confused the hell out of fans of Ministry‘s nihilistic bludgeoning by teaming up with Al Jourgensen, Paul Barker and William Rieflin, as Revolting Cocks, to record industrial-disco covers of Olivia Newton John’s Physical (on 1990’s Beers, Steers + Queers) and Rod Stewart’s Da Ya Think I’m Sexy? (on 1993’s Linger Ficken’ Good … and Other Barnyard Oddities). And if those joyously deviant deconstructions tickled your pickle, then the idea of Connelly’s new band, Sevendials, opening their debut album, dedicated to the memory of late, legendary Killing Joke guitarist Geordie Walker, with a fabulously camp take on Sparks’ 1979 synth-pop single The Number One Song In Heaven, should make you want to investigate further.
Sevendials pairs Connelly with Killing Joke drummer ‘Big’ Paul Ferguson and Los Angeles-based guitarist/keyboardist Mark Gemini Thwaite, whose CV includes stints with Tricky, Peter Murphy and The Mission. While the trio’s collective history – and indeed their moody, menacing debut single Zodiac Morals – may understandably lead one to anticipate dark, apocalyptic rage on A Crash Course In Catastrophe, the 10-track collection isn’t so easily pigeonholed. While the likes of Knife Without Asking and Where The Wolves are powerful melds of industrial-metal and post-punk, the unsettling Weathervane Days sounds like a Tom Waits/Mark Lanegan collaboration, Whispering Wand is country-tinged deviant disco, and a playful cover of Animotion’s 1984 hit Obsession (“Who do you want me to be, to make you sleep with me“?) featuring New York darkwave femme fatale Ashley Bad is horny electro-goth-sleaze, and quite irresistible.
Released on Cadiz Music / CreationYouth, a newly formed label from two more music industry lifers, producer/Killing Joke bassist Martin ‘Youth’ Glover, and Creation Records boss Alan McGee, A Crash Course in Catastrophe is proudly out of step with any current musical trends, and blessed with the ability to wrong-foot listeners at every turn.
Nice work gentlemen, nice work.
A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.
Chimpan A – the prog duo of Rob Reed and Steve Balsamo – commence a series of four EP releases leading up to new album Music Is Art Vol. 1. The video for their cover of Peter Gabriel’s Here Comes The Flood can be seen below.
Reed (Magenta, Cyan, Sanctuary) and Balsamo (Jon Lord, Eric Woolfson, Jesus Christ Superstar) will launch the follow-up to The Empathy Machine in August. Before that, three further CDs will pair a classic cover with a new album track. The initial five-track EP is on sale now.
“I nagged Steve to do this track for nearly three years,” Reed tells Prog. “Understandably he was fearful of attempting a new version of a classic. When I suggested we try it with more of a gospel/soul vocal, he came round to it.
“As soon as we heard Kirstie Roberts sing the chorus line I knew we had something special. It was also a big moment when we played it to Peter Gabriel’s drummer, Ged Lynch. Thankfully he loved it and offered to play on it.
“Having Queen bass player Neil Fairclough on it also very special, along with one of our musical heroes, Neil Taylor. He’s well known for being in Robbie Williams’ band – but to us it was his contribution to Tears For Fears’ classic hits that sent shivers down our spines!”
Chimpan A – Here Comes The Flood 4k MASTER – YouTube
Balsamo admits: “The idea of Here Comes The Flood scared the bejesus out of me! But Kirstie’s powerhouse voice gave us a soulful key into the song. I absolutely love what we’ve made, and with the beautiful and dark video, it’s definitely a brave start to our third album.”
The video is made up of rushes from Rom Baro, a short film by Rhys Davies and James William Cooke, in which Balsamo appears. “When Rob suggested it might work for Flood, we cut it to the song – and it fits like a glove,” the singer says. “I think it’s a little work of art, and a statement of intent for what’s coming on the album.”
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Mick Jagger is engaged to his longtime girlfriend Melanie Hamrick.
In a recent interview with Paris Match, Hamrick, a retired professional ballerina who met Jagger while he was on tour with the Rolling Stones, confirmed that she accepted Jagger’s proposal “two or three years” ago. They first began dating in 2014 and welcomed a son, Deveraux, in 2016.
Hamrick has not been married before, while Jagger was married once to Bianca Jagger from 1971 to 1978.
Hamrick noted that there are no concrete wedding plans yet.
“Maybe one day, maybe not,” she said. “We’re so happy in our current life that I’d be too afraid to change anything.”
Hamrick’s Not Concerned About the Haters
In the interview, Hamrick, who is 37, admitted that she’s been attracted to older men for much of her adult life.
“I think it’s a question of maturity,” she said. “At 17, I was working, paying my own bills, and traveling the world, while most boys my age barely knew what they wanted to do with their lives. I had nothing in common with them. I was absolutely focused on dance; I saw nothing else.”
But she also emphasized that she’s not worried about what other people might think of the age gap between her and Jagger.
“Why worry about other people’s opinions, stop at what they think of us,” she said. “Am I happy? Yes. Are the people in my life happy? Yes. Am I hurting anyone? No. … As long as everyone is happy and healthy, everything is fine.”
Since retiring from ballet, Hamrick has written and published two adult fiction books, First Position and The Unraveling.
In March of 1966, a profile of John Lennon appeared in the London Evening Standard under the title How does a Beatle Live? John Lennon Lives Like This.
Maureen Cleave, a British journalist who worked closely with the Beatles in those years, was then doing a series, interviewing each band member individually. In the piece about Lennon, she wrote about his home life with his wife Cynthia and son Julian, noting various eclectic possessions along the way — a room full of model racing cars, a gorilla suit and a fruit machine, to name a few.
But the profile would become famous for something that had nothing to do with Lennon’s collections. At one point in the article, the Beatle turned his attention to the subject of religion and told Cleave the following: “Christianity will go. It will vanish and shrink. I needn’t argue about that; I’m right and I will be proved right. We’re more popular than Jesus now; I don’t know which will go first – rock ‘n’ roll or Christianity. Jesus was all right but his disciples were thick and ordinary. It’s them twisting it that ruins it for me.”
When the article hit newsstands, this comment appeared not to bother British readers. Church attendance and belief in the U.K. then was in decline, giving way to secularism and other approaches to religious belief.
But several months later, Lennon’s words began being quoted in American publications, where the reaction could not have been more opposite. Some radio stations refused to play Beatles music, while demonstrations were held in more religious parts of the country where Beatles records and other memorabilia were not just gotten rid of but publicly burned. The controversy was so big it got all the way up to the Vatican itself. In the Vatican’s official newspaper, L’Osservatore Romano, the church responded to the matter, saying “some subjects must not be dealt with profanely, even in the world of Beatniks.”
Lennon’s Apology
In August of 1966, Lennon tried to explain himself at a press conference held in Chicago. (The Beatles were then touring the U.S.)
“I’m not anti-God, anti-Christ or anti-religion,” he said. “I was not knocking it. I was not saying we’re better or greater, or comparing us with Jesus Christ as a person or God as a thing or whatever it is. I happened to be talking to a friend and I used the word ‘Beatles’ as a remote thing – ‘Beatles’ like other people see us. I said they are having more influence on kids and things than anything else, including Jesus. I said it in that way, which was the wrong way.”
He also offered an apology of sorts.
“I’m sorry I said it – really,” he continued after a reporter pressed him. “I never meant it to be a lousy anti-religious thing. I apologize if that will make you happy. I still don’t know quite what I’ve done. I’ve tried to tell you what I did do, but if you want me to apologize, if that will make you happy, then – OK, I’m sorry.”
The Vatican Finally Forgives
Some 40 years later, decades after the Beatles broke up as well as Lennon’s passing, the Vatican once again addressed the matter in L’Osservatore Romano.
“It’s true, they took drugs; swept up by their success, they lived dissolute and uninhibited lives,” the publication wrote in 2010 (via The New York Times). “But listening to their songs, all of this seems distant and meaningless. Their beautiful melodies, which changed forever pop music and still give us emotions, live on like precious jewels.”
Giovanni Maria Vian, the editor-in-chief of L’Osservatore Romano, gave a further statement to The New York Times.
“In reality it wasn’t that scandalous,” he said, “because the fascination with Jesus was so great that it attracted these new heroes of the time.”
There was one person who took a bit of umbrage with the church’s message.
“Didn’t the Vatican say we were satanic or possibly satanic — and they’ve still forgiven us?” Ringo Starrtold CNN then. “I think the Vatican, they’ve got more to talk about than the Beatles.”
The Best Song From Every Beatles Album
Consensus can be difficult to reach on which Beatles album is best – much less which song.
Feature Photo: SImone berna, CC BY 2.0 , via Wikimedia Commons
In the early 1980s, a band quietly came together that included some of the most accomplished names in Southern rock—yet despite the caliber of its lineup and the strength of its live performances, the group never released an album. Betts, Hall, Leavell and Trucks, often shortened to BHLT, existed between 1982 and 1984 and featured key members of the Allman Brothers Band and Wet Willie. Guitarist and vocalist Dickey Betts, keyboardist Chuck Leavell, drummer Butch Trucks, and singer/saxophonist Jimmy Hall brought their collective experience to a project that had serious momentum and musical chemistry but never secured a recording contract. Although often overlooked in Southern rock histories, BHLT was a serious band with a defined sound, a solid touring schedule, and a clear creative identity.
The Allman Brothers Band had already experienced a turbulent rise and fall by the time BHLT formed. The group had survived the tragic loss of Duane Allman and found commercial success in the mid-1970s, only to disband in 1976 due to internal conflict. A 1979 reunion proved short-lived, with Arista Records pressuring the band into a more commercially viable direction that ultimately alienated both the band and its audience. By 1982, the Allmans had broken up once again, leaving Betts and Trucks looking for a new outlet. Wet Willie, another Southern band with roots in Capricorn Records, had also dissolved by 1980, freeing up Jimmy Hall for new opportunities. With Chuck Leavell newly off the road from touring with the Rolling Stones, and bassist David “Rook” Goldflies and guitarist/violinist Danny Parks brought into the fold, the stage was set for something unique.
The group’s rehearsal base in Sarasota, Florida, gave way to a series of energetic and well-received live performances. Their first concert took place in Fort Worth, Texas, in December 1982, followed by club shows at venues such as the Agora Ballroom in Atlanta and The Bottom Line in New York City. BHLT even shared stages with The Marshall Tucker Band and Johnny Winter, further proving their range and reputation. At their peak, they played Volunteer Jam IX in Nashville and several high-profile East Coast venues. Their sound, while rooted in the Southern rock tradition, branched off in fresh directions. Betts’ influence brought in blues, country, and Western swing elements, while Hall’s R&B style and Leavell’s jazz-inflected piano lines pushed the band’s arrangements beyond genre expectations.
The group never settled on an official name, which led to ongoing jokes about their acronym sounding like a sandwich or a law firm. Within the band, the name “Sandwich Band” stuck, and their music was sometimes described by Hall as “barbecue music”—a laid-back blend of rock, soul, and groove that avoided falling into formulaic Southern rock tropes. The band’s setlists included new songs such as “Whole Lot of Memories,” Betts’ “Pick a Little Boogie,” Hall’s “Need Somebody Bad,” and Leavell’s version of Betts’ older track “Rain.” While they did perform familiar Allman Brothers songs like “Jessica” and “Ramblin’ Man,” the goal was never to rehash the past. Their music pushed forward with a fresh, genre-blending sound that reflected the experience and evolving interests of its members.
Despite positive reception and a tight musical identity, BHLT never secured a recording deal. The band did enter the studio to record about a dozen demos, including the song “No One to Run With,” which would later be revived by the Allman Brothers for their 1994 album Where It All Begins. Industry obstacles, particularly Dickey Betts and Butch Trucks’ contractual ties to Arista Records and label head Clive Davis’ lack of interest in the project, prevented BHLT from moving forward in the studio. Still, for fans and critics who saw them live, there was little doubt that this was a band capable of greatness.
By mid-1984, with no label support and growing logistical challenges—including Leavell’s continuing commitments with the Rolling Stones—the members of BHLT began to move on. The band quietly dissolved, but not without leaving a lasting impression on those who witnessed them live. For years, only bootlegs and word-of-mouth kept the memory alive, until a 1983 live recording surfaced and was released in 2016 as Betts, Hall, Leavell and Trucks – Live at The Coffee Pot 1983.
While their time together was brief and largely undocumented in terms of studio recordings, the legacy of BHLT remains intact through the careers of its members and the live material that finally found daylight. Chuck Leavell once said, “We had a strong band, and it cooked. In fact, I’ve always said in the years since that BHLT was the best band you’ve never heard of.” Their story is a reminder that not all legendary bands need a long discography—sometimes, it’s the music you didn’t get to hear that leaves the biggest impression.
Check out similar articles on ClassicRockHistory.com Just click on any of the links below……
Brian Kachejian was born in Manhattan and raised in the Bronx. He is the founder and Editor in Chief of ClassicRockHistory.com. He has spent thirty years in the music business often working with many of the people who have appeared on this site. Brian Kachejian also holds B.A. and M.A. degrees from Stony Brook University along with New York State Public School Education Certifications in Music and Social Studies. Brian Kachejian is also an active member of the New York Press.
Judas Priest formed in Birmingham, England, in 1969, emerging as an integral force within the heavy metal genre. Their powerful blend of intense guitar riffs, soaring vocals, and striking stage presence quickly positioned them as pioneers within their field. The original lineup evolved significantly in the early years, ultimately solidifying with Rob Halford as the iconic lead vocalist, accompanied by guitarists Glenn Tipton and K.K. Downing.
The band’s debut album, “Rocka Rolla,” arrived in 1974, showcasing their early blues-infused hard rock style. However, their subsequent releases “Sad Wings of Destiny” (1976) and “Sin After Sin” (1977) crystallized their signature metal sound, setting a new standard within the genre. Albums like “Stained Class” (1978) and “Killing Machine” (1978, released as “Hell Bent for Leather” in the US) further cemented their reputation for sonic innovation and heavy, driving rhythms.
Judas Priest’s mainstream breakthrough occurred with their 1980 album “British Steel,” featuring hit singles “Breaking the Law” and “Living After Midnight,” which became anthems for metal enthusiasts. The album’s commercial success significantly elevated their international profile, firmly establishing them as a household name within the metal community. Their subsequent albums, including “Screaming for Vengeance” (1982) and “Defenders of the Faith” (1984), maintained this momentum, delivering powerful hits like “You’ve Got Another Thing Comin’” that expanded their fanbase worldwide.
Throughout their enduring career, Judas Priest has released eighteen studio albums, achieving global sales exceeding 50 million records. The band’s contributions have been recognized by numerous accolades, including a Grammy Award for Best Metal Performance in 2010 for “Dissident Aggressor” and nominations for albums like “Painkiller” (1990), which many consider a hallmark of their intense, technical proficiency.
Judas Priest is revered by fans for their energetic and theatrical live performances, marked by their distinctive leather-and-studs image popularized by Rob Halford, influencing countless metal bands that followed. Their ability to consistently deliver both musical complexity and sheer entertainment has solidified their status as heavy metal legends. The band’s authentic connection with their audience and relentless commitment to their craft continue to attract generations of devoted fans.
Beyond their musical accomplishments, members of Judas Priest have actively engaged in various social causes and charitable events, including supporting cancer research and disaster relief initiatives. Their willingness to lend their platform to these critical issues further highlights their broader cultural significance and their genuine concern for societal well-being.
Judas Priest’s continued relevance in the heavy metal genre is a testament to their uncompromising dedication and artistic integrity. Their ongoing influence on emerging artists and enduring popularity with fans underscore their pivotal role in shaping metal music history. Judas Priest remains a vital and celebrated force, embodying the essence of heavy metal’s relentless spirit and innovation
Complete List Of Judas Priest Songs From A to Z
(Take These) Chains – Screaming for Vengeance – 1982
A Touch of Evil – Painkiller – 1990
Abductors – Jugulator – 1997
Alone – Nostradamus – 2008
All Fired Up – Turbo – 1986 (2001 bonus track)
All Guns Blazing – Painkiller – 1990
All the Way – Point of Entry – 1981
Angel – Angel of Retribution – 2005
As God Is My Witness – Invincible Shield – 2024
Awakening – Nostradamus – 2008
Battle Cry – Redeemer of Souls – 2014
Battle Hymn – Painkiller – 1990
Before the Dawn – Killing Machine – 1978
Beginning of the End – Redeemer of Souls – 2014
Better by You, Better than Me – Stained Class – 1978
Better by You, Better than Me (Live) – Stained Class – 1978 (2001 bonus track)
Between the Hammer & the Anvil – Painkiller – 1990
Beyond the Realms of Death – Stained Class – 1978
Blood Red Skies – Ram It Down – 1988
Blood Stained – Jugulator – 1997
Bloodstone – Screaming for Vengeance – 1982
Bloodstone (Live) – Ram It Down – 1988 (2001 bonus track)
Bloodsuckers – Demolition – 2001
Brain Dead – Jugulator – 1997
Breaking the Law – British Steel – 1980
Bring It On – Redeemer of Souls – 2014 (Deluxe/EP bonus track)
Bullet Train – Jugulator – 1997
Burn in Hell – Jugulator – 1997
Burnin’ Up – Killing Machine – 1978
Calm Before the Storm – Nostradamus – 2008
Cathedral Spires – Jugulator – 1997
Caviar and Meths – Rocka Rolla – 1974
Cheater – Rocka Rolla – 1974
Children of the Sun – Firepower – 2018
Close to You – Demolition – 2001
Cold Blooded – Redeemer of Souls – 2014
Come and Get It – Ram It Down – 1988
Conquest – Nostradamus – 2008
Creatures – Redeemer of Souls – 2014 (Deluxe/EP bonus track)
Crown of Horns – Invincible Shield – 2024
Crossfire – Redeemer of Souls – 2014
Cyberface – Demolition – 2001
Dawn of Creation – Nostradamus – 2008
Dead Meat – Jugulator – 1997
Deal with the Devil – Angel of Retribution – 2005
Death – Nostradamus – 2008
Death Row – Jugulator – 1997
Decapitate – Jugulator – 1997
Deceiver – Sad Wings of Destiny – 1976
Deep Freeze – Rocka Rolla – 1974
Defenders of the Faith – Defenders of the Faith – 1984
Delivering the Goods – Killing Machine – 1978
Demonizer – Angel of Retribution – 2005
Desert Plains – Point of Entry – 1981
Desert Plains (Live) – Point of Entry – 1981 (2001 bonus track)
You Don’t Have to Be Old to Be Wise – British Steel – 1980
You Say Yes – Point of Entry – 1981
You’ve Got Another Thing Comin’ – Screaming for Vengeance – 1982
Albums
Rocka Rolla (1974): 11 songs
Sad Wings of Destiny (1976): 9 songs
Sin After Sin (1977): 10 songs
Stained Class (1978): 11 songs
Killing Machine (1978): 13 songs
British Steel (1980): 9 songs
Point of Entry (1981): 12 songs
Screaming for Vengeance (1982): 12 songs
Defenders of the Faith (1984): 12 songs
Turbo (1986): 11 songs
Ram It Down (1988): 12 songs
Painkiller (1990): 10 songs
Jugulator (1997): 10 songs
Demolition (2001): 13 songs
Angel of Retribution (2005): 10 songs
Nostradamus (2008): 23 songs
Redeemer of Souls (2014): 18 songs
Firepower (2018): 14 songs
Invincible Shield (2024): 14 songs
Check out our fantastic and entertaining Judas Priest articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
Brian Kachejian was born in Manhattan and raised in the Bronx. He is the founder and Editor in Chief of ClassicRockHistory.com. He has spent thirty years in the music business often working with many of the people who have appeared on this site. Brian Kachejian also holds B.A. and M.A. degrees from Stony Brook University along with New York State Public School Education Certifications in Music and Social Studies. Brian Kachejian is also an active member of the New York Press.
Dropkick Murphys hail from Quincy, Massachusetts, where they were formed in 1996, initially as a side project by bassist and vocalist Ken Casey. The band’s early days revolved around a gritty punk-rock scene infused with a distinctly Celtic influence, rooted deeply in their working-class Boston heritage. They quickly cultivated a strong local following through energetic live performances and relatable lyrical themes centered around blue-collar life, camaraderie, and Irish-American pride.
Since their inception, Dropkick Murphys have released eleven studio albums, each capturing the spirited essence of their live shows. Their debut album, “Do or Die” (1998), produced by Lars Frederiksen of Rancid, introduced their raw, anthemic sound, setting the stage for their musical journey. Their subsequent records, such as “The Gang’s All Here” (1999), “Sing Loud, Sing Proud!” (2001), and “Blackout” (2003), further solidified their reputation, each release expanding their audience and enhancing their distinct sound.
One of Dropkick Murphys’ most significant breakthroughs came with the single “I’m Shipping Up to Boston” from their 2005 album, “The Warrior’s Code.” The track gained massive exposure after being featured prominently in Martin Scorsese’s Academy Award-winning film “The Departed,” dramatically boosting the band’s international visibility. Other popular singles, such as “The State of Massachusetts” from “The Meanest of Times” (2007), continued their success, charting highly and cementing their reputation as a leading force in punk and Celtic rock.
Dropkick Murphys have earned recognition through both critical acclaim and their dedicated global fanbase. Their unique sound has allowed them to stand out in the music industry, leading to numerous successful tours and festival appearances around the world. Notable performances include annual St. Patrick’s Day concerts in Boston, which have become legendary events attracting fans from far and wide, underscoring their deep connection with their roots and their community.
The band’s awards include nominations and wins across various music platforms, further recognizing their contribution to the punk-rock and Celtic rock genres. They have been consistently praised for their high-energy live shows, authentic portrayal of working-class issues, and dedication to their cultural heritage, making them beloved figures in the music industry and among fans worldwide.
Beyond music, Dropkick Murphys are extensively involved in charitable activities, particularly through their foundation, The Claddagh Fund, founded by Ken Casey. The organization supports various community-based charities, veterans’ groups, and addiction recovery initiatives. Their commitment to social causes has reinforced their position as not only entertainers but as responsible and influential community leaders who leverage their music for meaningful impact.
Complete List Of Dropkick Murphys Songs From A to Z
(F)lannigan’s Ball – The Meanest of Times – 2007
(F)lannigan’s Ball (Original Version) – The Meanest of Times – 2007
10 Years of Service – The Gang’s All Here – 1999
1953 – Going Out in Style – 2011
3rd Man In – Do or Die – 1998
4-15-13 – 11 Short Stories of Pain & Glory – 2017
78 RPM – Signed and Sealed in Blood – 2013
A Few Good Men – Sing Loud, Sing Proud! – 2001
AK-47 (All I Want For Christmas Is An) – Signed and Sealed in Blood – 2013
All You Fonies – This Machine Still Kills Fascists – 2022
Amazing Grace – The Gang’s All Here – 1999
As One – Blackout – 2003
Barroom Hero – Do or Die – 1998
Bastards on Parade – Blackout – 2003
Black Velvet Band – Blackout – 2003
Blood – 11 Short Stories of Pain & Glory – 2017
Blood and Whiskey – The Gang’s All Here – 1999
Boston Asphalt – The Gang’s All Here – 1999
Boys on the Docks (Murphys’ Pub Version) – Do or Die – 1998
Breakdown – The Meanest of Times – 2007
Bring It Home (featuring Jaime Wyatt) – Okemah Rising – 2023
Broken Hymns – Going Out in Style – 2011
Burn – Signed and Sealed in Blood – 2013
Buried Alive – Blackout – 2003
Cadence to Arms – Do or Die – 1998
Cadillac, Cadillac – This Machine Still Kills Fascists – 2022
Cadillac, Cadillac (featuring Sammy Amara of Broilers) – This Machine Still Kills Fascists – 2022
Captain Kelly’s Kitchen – The Warrior’s Code – 2005
Caps and Bottles – Sing Loud, Sing Proud! – 2001
Caught in a Jar – Do or Die – 1998
Chosen Few – Turn Up That Dial – 2021
Citizen C.I.A. – The Warrior’s Code – 2005
City by the Sea – Turn Up That Dial – 2021
Climbing a Chair to Bed – Going Out in Style – 2011
Cruel – Going Out in Style – 2011
Curse of a Fallen Soul – The Gang’s All Here – 1999
Deeds Not Words – Going Out in Style – 2011
Devil’s Brigade – The Gang’s All Here – 1999
Dig a Hole (featuring Woody Guthrie) – This Machine Still Kills Fascists – 2022
Do or Die – Do or Die – 1998
Don’t Tear Us Apart – Signed and Sealed in Blood – 2013
Echoes on “A”. Street – The Meanest of Times – 2007
End of the Night – Signed and Sealed in Blood – 2013
Fairmount Hill – The Meanest of Times – 2007
Famous for Nothing – The Meanest of Times – 2007
Far Away Coast – Do or Die – 1998
Fields of Athenry – Blackout – 2003
Fightstarter Karaoke – Do or Die – 1998
Finnegan’s Wake – Do or Die – 1998
First Class Loser – 11 Short Stories of Pain & Glory – 2017
For Boston – Sing Loud, Sing Proud! – 2001
Forever – Sing Loud, Sing Proud! – 2001
Forever 2007 – The Meanest of Times – 2007
Get Up – Do or Die – 1998
God Willing – The Meanest of Times – 2007
Going Out in Style – Going Out in Style – 2011
Going Strong – The Gang’s All Here – 1999
Gonna Be a Blackout Tonight – Blackout – 2003
Good as Gold – Turn Up That Dial – 2021
Good Rats – Sing Loud, Sing Proud! – 2001
Gotta Get to Peekskill (featuring Violent Femmes) – Okemah Rising – 2023
H.B.D.M.F. – Turn Up That Dial – 2021
Hang ‘Em High – Going Out in Style – 2011
Hatebomb – The Warrior’s Code – 2005
Hear the Curfew Blowin – Okemah Rising – 2023
Heroes from Our Past – Sing Loud, Sing Proud! – 2001
Homeward Bound – The Gang’s All Here – 1999
I Had a Hat – 11 Short Stories of Pain & Glory – 2017
I Know How It Feels – Okemah Rising – 2023
I Wish You Were Here – Turn Up That Dial – 2021
I’ll Begin Again – The Meanest of Times – 2007
I’m Shipping Up to Boston – The Warrior’s Code – 2005
I’m Shipping Up to Boston (Tulsa Version) – Okemah Rising – 2023
Jailbreak – The Meanest of Times – 2007
James Connolly – Turn Up That Dial – 2021
Jimmy Collins’ Wake – Signed and Sealed in Blood – 2013
Johnny, I Hardly Knew Ya – The Meanest of Times – 2007
Kicked to the Curb – 11 Short Stories of Pain & Glory – 2017
Kiss Me I’m Shitfaced – Blackout – 2003
L-EE-B-O-Y – Turn Up That Dial – 2021
Last Letter Home – The Warrior’s Code – 2005
Loyal to No One – The Meanest of Times – 2007
Lucky Charlie – Signed and Sealed in Blood – 2013
Memorial Day – Going Out in Style – 2011
Memories Remain – Do or Die – 1998
Mick Jones Nicked My Pudding – Turn Up That Dial – 2021
Middle Finger – Turn Up That Dial – 2021
Middle Finger (Live on Saint Patrick’s Day 2020) – Turn Up That Dial – 2021
My Eyes Are Gonna Shine – Okemah Rising – 2023
My Hero – Signed and Sealed in Blood – 2013
Never Alone – Do or Die – 1998
Never Forget – The Meanest of Times – 2007
Never Git Drunk No More (alternate version) – This Machine Still Kills Fascists – 2022
Never Git Drunk No More (featuring Nikki Lane) – This Machine Still Kills Fascists – 2022
Never Git Drunk No More (Live at Ryman Auditorium) (featuring Jaime Wyatt) – This Machine Still Kills Fascists – 2022
Noble – Do or Die – 1998
Out of Our Heads – Signed and Sealed in Blood – 2013
Out on the Town – Signed and Sealed in Blood – 2013
Paying My Way – 11 Short Stories of Pain & Glory – 2017
Peg o’ My Heart – Going Out in Style – 2011
Perfect Stranger – The Gang’s All Here – 1999
Pipebomb on Lansdowne – The Gang’s All Here – 1999
Prisoner’s Song – Signed and Sealed in Blood – 2013
Queen of Suffolk County – Turn Up That Dial – 2021
Ramble and Roll – Sing Loud, Sing Proud! – 2001
Rebels with a Cause – 11 Short Stories of Pain & Glory – 2017
Rippin Up the Boundary Line (featuring Jesse Ahern) – Okemah Rising – 2023
Road of the Righteous – Do or Die – 1998
Roll Call – The Gang’s All Here – 1999
Rose Tattoo – Signed and Sealed in Blood – 2013
Rude Awakenings – The Meanest of Times – 2007
Run Hitler Run – Okemah Rising – 2023
Sandlot – 11 Short Stories of Pain & Glory – 2017
Sandlot (Acoustic) – 11 Short Stories of Pain & Glory – 2017
Shark Attack – Signed and Sealed in Blood – 2013
Shattered – The Meanest of Times – 2007
Skinhead on the MBTA – Do or Die – 1998
Smash Shit Up – Turn Up That Dial – 2021
Smash Shit Up (Live on Saint Patrick’s Day 2020) – Turn Up That Dial – 2021
Sunday Hardcore Matinee – Going Out in Style – 2011
Sunshine Highway – The Warrior’s Code – 2005
Surrender – The Meanest of Times – 2007
Take ‘Em Down – Going Out in Style – 2011
Take It and Run – The Warrior’s Code – 2005
Talking Hard Work (Woody Guthrie Cover) – Okemah Rising – 2023
Talking Jukebox – This Machine Still Kills Fascists – 2022
Tenant Enemy #1 – Do or Die – 1998
Ten Times More – This Machine Still Kills Fascists – 2022
Tessie – The Warrior’s Code – 2005
The Auld Triangle – The Warrior’s Code – 2005
The Battle Rages On – Signed and Sealed in Blood – 2013
The Battle Rages On (Acoustic) – Signed and Sealed in Blood – 2013
The Bonny – Turn Up That Dial – 2021
The Boys Are Back – Signed and Sealed in Blood – 2013
The Boys Are Back (Acoustic) – Signed and Sealed in Blood – 2013
The Burden – The Warrior’s Code – 2005
The Dirty Glass – Blackout – 2003
The Fighting 69th – The Gang’s All Here – 1999
The Fortunes of War – Sing Loud, Sing Proud! – 2001
The Gang’s All Here – The Gang’s All Here – 1999
The Gauntlet – Sing Loud, Sing Proud! – 2001
The Green Fields of France (No Man’s Land) – The Warrior’s Code – 2005
The Hardest Mile – Going Out in Style – 2011
The Irish Rover – Going Out in Style – 2011
The Last One (featuring Evan Felker) – This Machine Still Kills Fascists – 2022
The Last One (Live at Ryman Auditorium) – This Machine Still Kills Fascists – 2022
The Legend of Finn MacCumhail – Sing Loud, Sing Proud! – 2001
The Lonesome Boatman – 11 Short Stories of Pain & Glory – 2017
The New American Way – Sing Loud, Sing Proud! – 2001
The Only Road – The Gang’s All Here – 1999
The Outcast – Blackout – 2003
The Rocky Road to Dublin – Sing Loud, Sing Proud! – 2001
The Season’s Upon Us – Signed and Sealed in Blood – 2013
The Spicy McHaggis Jig – Sing Loud, Sing Proud! – 2001
The State of Massachusetts – The Meanest of Times – 2007
The Thick Skin of Defiance – The Meanest of Times – 2007
The Torch – Sing Loud, Sing Proud! – 2001
The Walking Dead – The Warrior’s Code – 2005
The Warrior’s Code – The Warrior’s Code – 2005
The Wild Rover – Sing Loud, Sing Proud! – 2001
This Is Your Life – Blackout – 2003
Time to Go – Blackout – 2003
Tomorrow’s Industry – The Meanest of Times – 2007
Turn Up That Dial – Turn Up That Dial – 2021
Two 6’s Upside Down – This Machine Still Kills Fascists – 2022
Until the Next Time – 11 Short Stories of Pain & Glory – 2017
Upstarts and Broken Hearts – The Gang’s All Here – 1999
Vices and Virtues – The Meanest of Times – 2007
Walk Away – Blackout – 2003
Watchin the World Go By – Okemah Rising – 2023
Waters Are A’Risin – This Machine Still Kills Fascists – 2022
We Shall Overcome – Turn Up That Dial – 2021
Wheel of Misfortune – The Gang’s All Here – 1999
When I Was a Little Boy – Okemah Rising – 2023
Where Trouble Is At – This Machine Still Kills Fascists – 2022
Where Trouble Is At (Live at Ryman Auditorium) – This Machine Still Kills Fascists – 2022
Which Side Are You On? – Sing Loud, Sing Proud! – 2001
Wicked Sensitive Crew – The Warrior’s Code – 2005
Worker’s Song – Blackout – 2003
World Full of Hate – Blackout – 2003
You’ll Never Walk Alone – 11 Short Stories of Pain & Glory – 2017
Your Spirit’s Alive – The Warrior’s Code – 2005
Album Song Count (Running Total)
Do or Die (1998): 16 songs
The Gang’s All Here (1999): 16 songs
Sing Loud, Sing Proud! (2001): 16 songs
Blackout (2003): 14 songs
The Warrior’s Code (2005): 15 songs
The Meanest of Times (2007): 20 songs
Going Out in Style (2011): 13 songs
Signed and Sealed in Blood (2013): 18 songs
11 Short Stories of Pain & Glory (2017): 12 songs
Turn Up That Dial (2021): 16 songs
This Machine Still Kills Fascists (2022): 15 songs
Okemah Rising (2023): 11 songs
Check out our fantastic and entertaining Dropkick Murphys articles, detailing in-depth the band’s albums, songs, band members, and more…all on ClassicRockHistory.com
Brian Kachejian was born in Manhattan and raised in the Bronx. He is the founder and Editor in Chief of ClassicRockHistory.com. He has spent thirty years in the music business often working with many of the people who have appeared on this site. Brian Kachejian also holds B.A. and M.A. degrees from Stony Brook University along with New York State Public School Education Certifications in Music and Social Studies. Brian Kachejian is also an active member of the New York Press.
“I just jumped on the private jet and there we were.” The Libertines’ Pete Doherty shares his memories of holidaying in Thailand with members of Britain’s royal family
(Image credit: Phillip Massey/FilmMagic)
The Libertines frontman Pete Doherty has shared his memories of a holiday in Thailand with members of the British royal family. It didn’t end so well for Doherty, as she recalls.
Doherty, then fronting his post-Libertines band Babyshambles, and his girlfriend at the time, supermodel Kate Moss enjoyed holidaying together in Phuket, and were apparently staying in the exclusive and luxurious Amanpuri resort around Easter 2012 at the same time that Prince Andrew’s former wife Sarah Ferguson was on vacation at the resort with the couple’s then-teenage daughters, Princess Beatrice and Princess Eugenie.
“I think it was a couple of times,” Doherty recalls in an interview with The Irish Independent newspaper. “Sarah was there with her daughters, the princesses.
“I can remember Sarah Ferguson dancing in a bar – on the table,” he continues. “That was quite interesting. One for the memories. I think I just went along for the ride. I didn’t even know where we were going. ‘Are you coming then? Hurry up!’ And I just jumped on the private jet and there we were.”
At the time, writers for Britain’s tabloid newspapers weren’t impressed by the young royals keeping company with Doherty and Moss, not least because some years earlier the Daily Mirror had published a photo of Moss in a recording studio with Doherty above the headline ‘Cocaine Kate: supermodel Kate Moss snorts line after line’.
“The 47-year-old Duchess…is holidaying with her two children, who are fifth and sixth-in-line-to-the-throne,” London’s Evening Standard reported on April 12, 2012. “Just an hour or so after the royal party departed, supermodel Miss Moss, 32, arrived at the airport with her five-year-old daughter, Lila Grace, and a handful of friends – although there was no sign of her heroin junkie boyfriend, Babyshambles singer Pete Doherty – to catch a later British Airways service.”
A ‘friend’ of Ferguson told the newspaper that Ferguson was definitely not holidaying with Moss, however.
“She and the Duchess have met at several of his parties before and are on friendly terms but they are certainly not holidaying together,” this source insisted.
Doherty’s recollection is that his own adventures in Thailand in 2012 were cut short, for reasons unspecified.
“I remember I got deported that summer from Thailand,” he tells The Irish Independent. “I woke up in Heathrow Airport in a pair of Thai policeman’s shorts.”
We’ve all been there….
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A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.
It’s impossible to imagine heavy metal without Ozzy Osbourne. His despairing wails over the title track of Black Sabbath‘s self-titled debut set the template for doom and metal in general for the half-century to come and even when he was booted from the band in 1979, he found ways to flourish.
Reinvented as a solo artist, Ozzy’s solo output embraced the showmanship and maximalism that would define metal in the 80s as the genre hit arena and stadium level to become a truly global phenomenon. From surviving the advent of grunge with the stellar No More Tears to fostering the next generation of metal star with Ozzfest, Ozzy’s continued impact on the world of rock and metal is testament to indefatigable spirit and triumphing over the odds.
With Ozzy set to take his final bow in his hometown of Aston this summer, we asked some of metal’s biggest names to pick the greatest Ozzy and Black Sabbath tunes of all time to create the ultimate Ozzy playlist.
Black Sabbath – Black Sabbath (Black Sabbath, 1970)
“We covered Black Sabbath’s title track way back. They’ve obviously inspired so many bands, but for me personally I really love that track because it’s so atmospheric. It’s also kind of time-bound for me, as it takes me back to a time where I was discovering all this heavy music that I love so much.” Sharon Den Adel, Within Temptation
Within Temptation – Black Sabbath – Live at Black X-Mas 2016 – YouTube
“War Pigs says it all for me. The lyrics are so fucking relevant – unfortunately even more so as time’s gone on. I’ve met Ozzy twice and he’s a legend, genuinely. No matter what he’s doing – even if he’s just scoffing a bag of chips in the corner – he’s still a proper star. He oozes charisma and it all comes out on that song.” Benji Webbe, Skindred
Black Sabbath – Iron Man (Paranoid, 1970)
“Iron Man is so dark and hypnotic, it’s incredible. It’s the kind of song that transcends any musical style – it could have been written for Stravinsky and we would still be playing it all the time. Therapy? got invited to record a cover of Iron Man with Ozzy singing [for the 1994 Black Sabbath tribute album Nativity In Black], and we ended up changing it up arrangement-wise, making it more Black Flag-ish.
I wasn’t sure how Ozzy would feel about it and he came back like, ‘Yes, make it your own!’ We got invited out to Los Angeles to work with Terry Date on the final mix. Ozzy specifically came into the studio to see us. We heard the full track for the first time and we were like, ‘It sounds incredible!’ and Ozzy pipes in, ‘Well, I’ve only been singing it for 20 years!’” Andy Cairns, Therapy?
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Black Sabbath – Sweet Leaf (Master Of Reality, 1971)
“I must’ve listened to Sweet Leaf constantly when I heard it for the first time. It was maybe ’76 or ’77, I’d go out riding dirt bikes with my friends and our dads. We’d all get together out in the desert and gather round a camp fire. I remember someone put it on and it was extremely loud and that coughing at the start made me go, ‘What the hell is going on?’ It remains my favourite Sabbath song – I love Ozzy’s vocals so much on it, especially the live version that they put out because it’s so heavy!” Scott Hill, Fu Manchu
Black Sabbath – Solitude (Master Of Reality, 1971)
“I’m a huge Sabbath fan, and so is my son. He loves a lot of that classic rock stuff and I won’t even pretend that wasn’t my doing – it’s all me! I really love Solitude – I can’t believe he sings that. It’s such a beautiful song and his voice is so different. It’s incredibly English too, almost riffing on this Celtic folk idea, and the production sounds so simple even though there’s so much going on in both his vocals and the instrumentals.
The lyrics are very unusual too – it’s not really a metal thing to be like ‘I’m sad, I’m lonely’, it’s almost more like an old folk singer. It’s such a beautiful song; I wish they’d made a whole album like that. But then I guess we’d miss the riffs! Ozzy’s vocal range is insane.” Myrkur
“Those early Sabbath tracks are just brilliant, but when they went out to America and there’s a real mix of styles it really takes off for me. These Brummie rockers meeting West Coast lifestyles on tracks like Snowblind. There’s a kind of swagger and swing to them that I really like. Ozzy really lets loose, and it feels like a hint of who he was before he became this media construct of Ozzy Osbourne, where he’s this figure of fun after the TV show. There was something about that time, the looseness of it all.” Bill Bailey
Black Sabbath – Supernaut (Vol. 4, 1972)
“To me, Vol. 4 is still to this day Black Sabbath’s best album. We decided to cover Supernaut back in the day [as Ministry side-project 1000 Homo DJs]. I think we drove it a little bit further because it was driving to start with, but it was hypnotic, we just kind of shoved it in your face a little bit closer.
[Billy Idol guitarist and Ozzy confidante] Billy Morrison, who we worked with on Hopeiumforthemasses and for Moral Hygiene, is like best friends with Ozzy. He eats lunch with him once a week. He told us that Ozzy is just over the moon about that one. Which is incredible! He’s a fucking genius, just like Lemmy, you know. They were true to their selves.” Al Jourgensen, Ministry
Black Sabbath – A National Acrobat (Sabbath Bloody Sabbath, 1973)
“A National Acrobat from Sabbath Bloody Sabbath has always been one of my favourite songs with Ozzy on. Like, Black Sabbath the song is probably the most impactful song ever and the first time I heard it I remember getting scared, but discovering that band was like a drawing a line through who I was. There was before Black Sabbath, and after. But A National Acrobat is still my favourite, there’s just something about it, man. Ozzy’s voice is incredible on that whole record. They were at their most creative at that point, but Black Sabbath are Bible.” Kenny Hickey, Type O Negative / Silvertomb / Sun Don’t Shine
Black Sabbath – Gypsy (Technical Ecstasy, 1976)
“I’m a huge fan of metal songs called Gypsy: Gypsy Road by Cinderella, Gypsy by Mercyful Fate… there’s loads! Black Sabbath’s is the best, though – people underestimate just how good Technical Ecstasy and Never Say Die! are. Yes, there’s some crap, but there’s also this wonderful stuff like Bill Ward doing a Beatles-style piano ballad on It’s Alright. Gypsy is the best of those songs.
I discovered Black Sabbath when I went to King’s Lynn Corn Exchange when I was 12 for ‘A Night Of Metal’, which had Carl Sentance from Krokus, various session guys and Tony Martin of late Black Sabbath fame. I ended up listening to the first seven Sabbath albums so often it felt like everything else sucked! There’s a musicality and colour to the last two albums that I think is really interesting, this almost prog thing where they’re trying to keep up with the soft rock bands like Kansas and failing hard. Gypsy is cool because it’s the Sabbath we never saw. It’s better than anything on the first two Ozzy [solo] albums!” Tom Templar, Green Lung
“There’s a song called Air Dance on the last Sabbath album with Ozzy from the 70s. It’s an odd song, but that’s fine – Opeth are an odd band too. Lots of people will talk about Iron Man or Black Sabbath, which are great, but they also have shitloads of experimentation on. Never Say Die! might not be their most popular record, but it also proved they were still trying new things and it’s probably got the weirdest songs of the entire Ozzy era. It wasn’t written to be a super-hit, but it’s so great regardless.” Mikael Akerfeldt, Opeth
Ozzy Osbourne – Crazy Train (Blizzard Of Ozz, 1980)
“Crazy Train is my jam, bro! I first heard it on a skate video and fell for it. Then I learned how to play it and loved it more. It’s such a good song. It’s also that little bit left of centre as well, especially for Ozzy. It’s not as dark. It’s almost groovy. It’s that reminder that we can always do more than what people perceive us to be. I really like that Ozzy’s always pushed people in a way that only he could. I’m a fan of him going that far and living through it. That’s pretty gangster. If nothing else, I need more of that energy in the world.” Jason Aalon Butler, Fever 333 / Letlive.
Ozzy Osbourne – I Don’t Know (Blizzard Of Ozz, 1980)
“I love Ozzy. We [Skid Row] opened up for Ozzy Osbourne in Moscow in 1989 when it was still communist. I recently hung out with Ozzy and Sharon at one of Billy Morrison’s art shows. Me and Ozzy just talked about singing and in-ear monitors and looking after your voice, and it was a joy to talk shop with him.
“If you go on my YouTube channel you can hear me singing I Don’t Know with Wolf Hoffmann from Accept, and if you listen to that you’ll hear my love for the song in that recording. I also recorded Believer with Dimebag Darrell but my personal favourite is I Don’t Know. The breakdown in the middle is so melodic, and then you have the heaviness of the main riff and the ambiguity of the lyric where he’s saying, ‘Don’t look at me for answers / Don’t ask me, I don’t know.’ It’s just a great song, it’s cool, it’s heavy as fuck and it’s my favourite Ozzy song.” Sebastian Bach
Ozzy Osbourne – Goodbye To Romance (Blizzard Of Ozz, 1980)
“Goodbye To Romance, I love that song. We did a special tribute to Randy Rhoads last year at a Santa Ana show and I sang that, it was so nice. Eventually I would like to record that cover, I love the emotion.” Doro Pesch
RANDY RHOADS REMEMBERED GOODBYE TO ROMANCE DORO PESCH RUDY SARZO Santa Ana CA 2019 – YouTube
Ozzy Osbourne – Mr. Crowley (Blizzard Of Ozz, 1980)
“We ripped off Mr. Crowley at the very start of our song The Abyss. The intro to it is one of the most terrifying pieces of music, that really crazy synth… On The Abyss I wanted to channel that, really try to replicate it. I loved it so much as a kid and have loved Black Sabbath forever too; we even used to cover Black Sabbath in my old hardcore band. To this day, Ozzy influences us.” Will Gould, Creeper/ Salem
Ozzy Osbourne – Over The Mountain (Diary Of A Madman, 1981)
“Ozzy doesn’t get nearly enough praise for his vocals, especially on his early solo stuff. In a way it’s a bit like his performances on Sabotage stuff like Supertzar or Megalomania, these absolutely massive melodies. In Sabbath he’d got Geezer Butler writing the tunes, but solo he has to work that much harder, and some of the stuff he comes up with sits so perfectly with what Randy Rhoads comes up with.
Ozzy has always had that knack for finding the right vocal melody to fit a riff, and I’ve always really wanted to replicate that. He’s not the most technical singer, but he’s always himself and has made himself stand out. I reckon that comes from his love of The Beatles – you can hear that Lennon-McCartney element in his own style.” Ben Ward, Orange Goblin
Ozzy Osbourne – Over The Mountain (Live) – YouTube
Ozzy Osbourne – S.A.T.O. (Diary Of A Madman, 1981)
“Randy Rhoads is my favourite guitar player of all time. He was the poster on my wall when I was practising eight hours a day – hugely inspirational. He not only resuscitated Ozzy’s career, but the chemistry between Ozzy’s ‘Prince of Darkness’ vibe and Randy’s shredding professionalism is unique in the annals of rock’n’roll. S.A.T.O. has all those elements: it’s spooky, it’s heavy, it’s got some of the greatest Randy Rhoads guitar playing, and it really shows him as an apex artist, bringing Ozzy Osbourne to a brand new audience.” Tom Morello
Ozzy Osbourne – Diary Of A Madman (Diary Of A Madman, 1981)
“There are so many incredible songs you can relate to Ozzy, but if we go just for his solo career and pick stand-outs, I would pick one that I’ve actually had the good fortune of playing with him on two occasions. Diary Of A Madman for me is just one of the most complete songs in hard rock and metal – it’s incredibly dynamic in terms of the way it grooves and builds really well. It’s a beautiful song, and I’m so happy we got to play it, because when it comes to picking songs for live, Ozzy wants to be very comfortable with what he’s doing, so it was a special moment for me when we did that.” Rob Trujillo, Metallica
Ozzy Osbourne – Bark At The Moon (Bark At The Moon, 1983)
“The one that always stood out to me was Bark At The Moon. When I saw that video as a kid, there was just something about it that made me laugh so much. It’s so silly, so campy, and it was everything I really wanted from metal. It also has great melodies and Ozzy’s voice is really showcased on it. Plus, who doesn’t love werewolves?!” Djamila Azzouz, Ithaca
Ozzy Osbourne – Bark at the Moon (Official Music Video) – YouTube
Ozzy Osbourne – Shot In The Dark (The Ultimate Sin, 1986)
“Shot In The Dark comes out number one for me. We actually used to play that as a stage outro after we were done. We considered a cover for a while, but it’s a very weird tuning. It’s like the top two strings are tuned down a full step, so it’s fucking odd as a guitarist, and we’d have to have extra guitars set up specifically for it and fly around with those. The Ultimate Sin record rules, though.” Gabriel Franco, Unto Others
OZZY OSBOURNE – Shot In The Dark – Official (Remastered, 4K, 60 fps, best quality) – YouTube
Ozzy Osbourne – Bloodbath In Paradise (No Rest For The Wicked, 1988)
“Bloodbath In Paradise has always been one of my favourite Ozzy Osbourne songs. The first time I saw Ozzy was on the No Rest For The Wicked tour back in 1988 or 1989. I’m a real hair metal guy. I like The Ultimate Sin and I like No Rest For The Wicked a lot, especially Bloodbath In Paradise. Because of the horror element in the intro, I really, really dig that song.” Mr. Lordi, Lordi
Ozzy & Lita Ford – Close My Eyes Forever (Lita, 1988)
“Back in the 80s, Ozzy did this incredible duet with Lita Ford, Close My Eyes Forever. The first time I heard it I was just a kid, but it was the era of MTV, and I can remember in the video whenever he sings he looks possessed. There was so much rumour around him back then that it scared me, and Lita Ford had kind of that hot older sister vibe… The two of them together in that duet is brilliant.
What I really like is that it’s sad and melancholy – it’s about suicide and death. It’s hot and sexy, but also dark. It’s one of my favourite Ozzy songs, and it just so happens to be with one of the queens of rock’n’roll.” Jesse Leach, Killswitch Engage
Ozzy Osbourne – Mr. Tinkertrain (No More Tears, 1991)
“There’s such a history for Ozzy, starting with Black Sabbath. I love some of the more abstract solo songs, though – the ones you might hear on radio, but not too often. I fucking love Mr. Tinkertrain! It’s a weird fucking topic [paedophilia] for anybody, but for Ozzy especially and that song is super-heavy. Every time I hear it on the radio it’s like ‘YEAH! I’m glad they’re playing this instead of Crazy Train!’ Ha ha ha!” Kerry King
Ozzy Osbourne – No More Tears (No More Tears, 1991)
“No More Tears just kicks ass. Other than being the song I know the best, that’s the song that I think kicks some of the most ass. And you know… kicking ass rules! It’s got huge guitars: riffs, huge pinch harmonics, and I love the structure of it being that kind of, vocal, riff, vocal, riff… I take a lot of influence from that, and I do a lot of that in my own songs. That song rocks.” Caleb Shomo, Beartooth
Ozzy Osbourne – Mama, I’m Coming Home (No More Tears, 1991)
“I’ve got a real soft spot for Mama, I’m Coming Home. I didn’t write the lyrics – Lemmy did – but I told him exactly what I wanted to say. But I tell you what, I don’t really have a personal favourite. People always ask what my favourite album I’ve done is – I don’t have one! They are records of fun, chaos or when I’ve been having a miserable fucking time. Each one is a reflection of me at the time.” Ozzy Osbourne
“My favourite song by Ozzy is Perry Mason, for a couple of different reasons. It was very inspiring for me to listen to a song by the Prince Of Darkness and basically say, ‘Wow, you can write a song about anything.’ But also, before I started out on guitar, I played keyboards, and so that whole intro is amazing – it’s a riff on a keyboard! I’m so glad I still live in a world where Ozzy Osbourne walks the Earth.” Lzzy Hale, Halestorm
“Dreamer is such a fantastic song. It’s dark and mysterious, but also has this cool vibe that exists only in British pop and rock, this echo of Beatles in the melody. It warms my heart to hear. Ozzy is a great singer. He doesn’t fit into any standard way of evaluating a voice, but he has so much character that he’s become distinctive. He also proves that we don’t have to be defined by our character constantly; The Prince Of Darkness is also the guy who sings Dreamer, and that’s great!” Eicca Toppinen, Apocalyptica
“God Is Dead is such a highlight on the last Black Sabbath album, 13. Not just because Ozzy’s voice sounds great – it’s Sabbath so everything sounds great! – but it felt like a very, very expensive wine that’s only got better as it ages. From the lyrics to his voice to the guitars, it’s absolutely perfect.” Jayant Bhadula, Bloodywood
Ozzy Osbourne – Straight To Hell (Ordinary Man, 2020)
“I did two different records with Ozzy, but I’ve gotta say the song Straight To Hell is fucking killer. Working with him on Ordinary Man seemed really important at the time, because he’d had all these different health scares. It became like, ‘Let’s do this and do it fast!’ and he sang great, and wrote so many cool lyrics.
It was such an honour, and working with both him and Iggy Pop back-to-back finally made it feel like, ‘Hey, I’ve arrived!’ But you know, I don’t have a bunch of my own records up at home, but I do have a gold record from Ozzy!” Duff Mckagan, Guns N’ Roses
Ozzy Osbourne – Straight to Hell (Official Music Video) – YouTube
Staff writer for Metal Hammer, Rich has never met a feature he didn’t fancy, which is just as well when it comes to covering everything rock, punk and metal for both print and online, be it legendary events like Rock In Rio or Clash Of The Titans or seeking out exciting new bands like Nine Treasures, Jinjer and Sleep Token.
