Founder rate ends 9th September.

We’re rebuilding theartsdesk to secure the future of real arts journalism. Be part of it by subscribing: if you do it now, the founders’ rate of just £40 yearly is yours FOR LIFE!

SUBSCRIBE NOW 

Album: Ozzy Osbourne - Ordinary Man

The Prince of Darkness defies his (health) demons for a late-career high

share this article

Ozzy: trademark lunacy and wistful regret

Ozzy Osbourne stands on the front cover of his new album grinning mischievously in a horror-style bowler hat and cane. Look into the eyes, though, and there's also a hint of sadness. The Prince of Darkness (71) has been beset by a series of health problems, and this, his 12th studio album, may also be his last. If so, what a way to bow out. Ordinary Man's songs look back at the singer’s life with a mix of trademark lunacy and wistful regret, topped off with guest appearances that range from rapper Post Malone to Rocket Man, Elton John. 

Like many of rock's best recordings, Ordinary Man was born out of healing. Quite literally. It was conceived as a distraction from a bout of pneumonia and a diagnosis of Parkinson's. Ozzy started putting together an all-star band with Duff McKagan (Guns N' Roses) on bass and Chad Smith (Red Hot Chili Peppers) on drums.

For the album's musical lynchpin Ozzy took a contrasting approach. He enlisted the help of guitarist/producer Andrew Watt (29), best known for working with acts like DJ Snake and Cardi B. This tension between styles is key to the album's success. Watt brings a melodic pithiness to everything he plays, including thick sludge-metal licks ("Goodbye") and demonic Sabbath-style riffs ("Today is the End"). 

Ozzy is in surprisingly fine voice too. On "Under the Graveyard" delicate finger-picked guitar gives way to a howling sermon on death and life-on-the-edge. A more reflective take on mortality comes on the title track - a sprawling "November Rain-ish" number where Elton John plays the role of Axl Rose and Slash (more or less) reprises his classic solo.

It's not all doom. For much of the LP Ozzy is simply having maniacal fun. "Eat Me" is classic Ozzy horror-book material, and "Scary Little Green Men" is a punchy little number about aliens, featuring Tom Morello on guitar. Another highlight is "It's a Raid" (ft Post Malone), a high-octane punk-stomp about the day Ozzy accidentally called the cops on himself. 

There's only one really superfluous track, "Take What you Want", a somewhat jarring duet with rapper Travis Scott. That aside, Ordinary Man is the most poignant, deranged and high-volume album about growing old you're likely to hear.

@russcoffey 

 

Overleaf: Ozzy's video for "Under the Graveyard"

Add comment

The content of this field is kept private and will not be shown publicly.
Name that you would like to appear as the author of the comment
the most poignant, deranged and high-volume album about growing old you're likely to hear

rating

4

explore topics

share this article

Help secure the future of arts journalism

In this era of algorithmic recommendation, opaquely sponsored content and AI slop, theartsdesk’s mission to preserve real journalistic and critical values has never been more important.

If you like what you see here, please join us 
in this mission.

Subscribing to the site will help us in our coming 
redesign and expansion.


If you do this before the 9th September this will be at our guaranteed founder’s rate: 
your subs will never increase again.

Subscribe now for £5 per month. 
or yearly for just £40.

Or if you simply want to support us with a one-off donation, you can do so here.

more new music

The return of a punk-era landmark of British art rock
With a danceable rock feel she displays her burgeoning creativity
The garage rockers don't do themselves justice on new album
Andy Dragazis’ musical alter-ego offers nods to legendary arranger and producer Charles Stepney
The welcome return of a foundational album of electronic minimalism
Surrealism, social observation and more muscular sound from the Leeds quartet
A powerful personal outpouring of joy and pain - with a great beat
The London quartet have taken to playing large venues with ease, as this career-spanning set showed