One Song - Ozzy Osbourne's “Crazy Train”

Episode Date: September 4, 2025

All aboard! Diallo and LUXXURY pay tribute to Ozzy Osbourne with “Crazy Train” — the ultimate comeback anthem. They trace Ozzy’s rise from disgraced frontman to solo rockstar and go off the rails with a close listen of Randy Rhoads’ unforgettable guitar solo. Don’t let financial opportunity slip through the cracks. Use code ONESONG at MonarchMoney.com in your browser for half off your first year. One Song Spotify Playlist: https://open.spotify.com/playlist/40SIOpVROmrxTjOtH7Q1yw?si=ccb5444ade434f40 Songs Discussed:  “Crazy Train” - Ozzy Osbourne “I Don’t Know” - Ozzy Osbourne “War Pigs” - Black Sabbath “Bark at the Moon” - Ozzy Osbourne “Snowblind” - Black Sabbath “Black Sabbath” - Black Sabbath “Heaven and Hell” - Black Sabbath “Jump” - Van Halen “Cum On Feel The Noize” - Quiet Riot “Dee” - Ozzy Osbourne “Swingtown” - Steve Miller Band “Lost One” - Jay-Z feat. Chrisette Michele “Crystal Breath” - Kim Deal “Sky Burial” - Artificial Go Learn more about your ad choices. Visit megaphone.fm/adchoices

One song. Ozzy, encore, one song. This is the episode of One Song where we talk about crazy train. So today on One Song, we're honoring an absolute legend. I'm talking about the guy who fronted one of the most influential heavy metal bands ever, bit the head off of a bat,

sorry song, and started on an Emmy Award winning reality show all in one hell of a lifetime. I mean, who else can do that? No one else, but Ozzy Osborne. And today's song was a key turning point in his country. career because it took Ozzy from being a recently fired lead singer to being the iconic solo rock star we all know and love today. I mean, who would have guessed that the lead singer of Black Sabbath would turn into everyone's favorite heavy metal grandma? Well, stay too. We're

going off the rails with one song and that song is Crazy Train by Ozzy Osbourne. Visit BetMDMDM casino and check out the newest exclusive. The Price is Right Fortune Pick. BetMDM and Game Sense remind you to play responsibly. 19 plus 3.com. to wager. Ontario only. Please play responsibly. If you have questions or concerns about your gambling or someone close to you, please contact Connects Ontario at 1-866-531-2,600 to speak to an advisor. Free of charge. BetMGM operates pursuant to an operating agreement with Eye Gaming Ontario. Mr. Devil Wears Prada too in theaters. Merrill Street, Anne Hathaway, Emily Blunt, and Stanley Tucci are back. In light of the recent scandal, I'm here to restore your credibility. I did not hire you. And all I need to do is buy my time until you. fail. On May 1st, icons. I'm going to make something of this job.

Rain. The bridges I burn night my way. Forever. I just love my job. Get tickets now. The Devil Wears Prada 2. In theaters May 1st, directed by David Frankel. Hi, I'm actor, writer-director, and sometimes DJ Diallo Riddle. And I'm producer, DJ, songwriter, and musicologist luxury, aka the guy who whispers about metal.

We've already gone off the rails. You didn't whisper a tribulation. This is crazy. Welcome to One Song. The show where we break down the stems and stories behind iconic songs across genres, telling you why they deserve one more listen. You will hear these songs like you've never heard them before. And now you can watch One Song on YouTube and Spotify. While you're there, please like and subscribe. So today on One Song, we're paying tribute to the late, great Prince of Darkness,

the godfather of metal, Ozzy Osbourne himself. He just passed away very recently to our recording this in July. That's right. This has been a very emotional summer for a me. metalheads or those who've had metal in their past like myself. First, it was really moving to see Ozzy on stage at Birmingham in July. With all of these acts paying tribute to him, Metallica and Gojira and, like, Slayer, everyone was there to be a tribute to the gods. And the gods, in this case, were Black Sabbath, his original founding band.

And he played with them for one last time. We knew it was one last time going into, but we didn't know that he would pass away just a week or two later. Oh, I know. It's almost, it really reminds me of the Martin Luther King speech where he says, I may not get there with you. Like, wouldn't it be great if we all knew that we only had a little bit of time left and everybody got to show up and pay their respects? That's really moving. And watching him was already emotional. I was crying.

We were all crying. Not a dry eye in the house. Metalheads, we've talked about this on other episodes. Yeah. We got feelings. My nephew's song who gets brought up a lot on this episode, huge Black Sabbath fan, probably the first person to really expose me to Black Sabbath. He had been saving up his money for this concert because people knew. and unfortunately he didn't get to go because of work reasons,

but he, like, so many knew, like, this was probably going to be the last one. Absolutely. Yeah. For those who weren't there or watched online or those who don't even know about this concert, Ozzy's on stage. He is in a chair the entire time. The throne, yeah. Here's a little clip from that concert.

This is the song, I don't know, from his farewell concert. That is Ozzy, everyone's heavy metal grandpaw, and it's the last time we'll ever see him. And it's also he's frail. It's just so like... But his voice is still good. It still sounds like Ozzy. He's still Ozzy.

And unfortunately that voice has gone silent. Yeah. We won't get new phrases of that voice. Yeah. And that... What a beautiful bookend, though. It's not even my band. It's not even like a...

But like there's something so cool about this guy. And I feel like for some of us, you know, I'll count myself in the uninitiated. I feel like this episode is going to really help open up the Ozzy experience. I hope so. Yeah. That would be great. If there are new fans or converts,

some people that maybe wouldn't have tried on for size, the entire genre of metal. There's already a few in the room, actually. Our producer, Melissa, was just saying that she's found herself leaving Metallica on when it comes on the radio, which I think is great. So, do you all I got to ask you,

when was the first time you remember hearing Ozzie or Sabbath specifically? You know, I probably heard it on the ads for classic rock radio in Atlanta, you know, like songs like paranoid. Like you hear them all the time. Yeah. whether you're an avid listener or not. But I do know the first time I thought, man, I need to like listen to Sabbath or I need to like at least buy a Sabbath album. I was at the winter music conference in Miami one year, like in the early 2000s.

Wait, what year? I was there too. I think 2002. I think it's the year. I remember I was in one of those like seaside cafes where like very famous DJs back then. We cut a winter music conference. It'd be like, oh, Danny Tanak. is going to be at this random

well sometimes it would be just a random cafe and I went to go see Z-trip and in the middle of his hip-hop set came in this rock song and I was like what is this this is amazing and it was singing about war which was on everybody's mind because it's 2002 and my mind was kind of blown

and I asked somebody next to me I was like is this is this Ozzy or like it's Black Sabbath and the song was War Pigs Generals gathered in their massive just like witches at black masses. And over the years, like I said,

my nephew's song, who's a big metal head, would play me sporadically some new metal that he was into and some classic metal he was into. And Sabbath was always there. So that's about as much Sabbath as I got into and as much Ozzy as I got into.

But of course, like Paranoid, crazy trans one of those songs that I feel like everybody's heard at some point being in a movie or somewhere else. And I'm really excited to go on this musical journey with you. Before we go too far lecture, I got to ask, when it came to paying tribute to Ozzie,

Why did you want to do this song, Crazy Train, instead of a Sabbath song? Really hard choice. And two answers. One is we'll definitely do Sabbath another time. But the truth of the matter is that when push comes to shove, I kind of reach for Ozzy solo more than I reach for Sabbath. And that is something I do almost every week. I don't think a week has gone by my entire life that I haven't wanted to listen to Crazy Train or I don't know or over the mountain. I feel like this might be a hotter take than you think.

I attempted to throw a poll in the comments like, which do you prefer, Sabbath or Ozzy? I am choosing my words carefully here. In terms of how often I reach for the band, the album, Spotify, whatever it is, it's Ozzy slightly more than Sabbath. It just is. It just is, and I can't explain why.

But I adore both bands, but I adore, you know, plus one, the solo Aussie repertoire. In the comments, all you Sabbath and Ozzy fans, are you more Sabbath or are you more Ozzy? Where do you align? That's a great question. And I want to hear the reasons why. Yeah, yeah, yeah.

Don't just put the name, put the reason. And just for the uninitiated, what would you say are the sonic differences between Ozzy Osbourne and Black Sabbath? Listen, it must be said that the chronology matters a little bit. Sabbath is 69-ish through the 70s. And production techniques have changed. There's also the fact of Ozzy. There's a grid. There's like a dustiness to Sabbath.

Sabbath has more of a grid. It has more of a dustiness. It sounds like the era in which it was created. and Ozzy solo comes out in 81, and it's right at this moment that we're starting to have metal with a little more sheen, a little more pop production, a little more literally in the arrangements and like the succinctness of the song.

If you look at Sabbath's catalog, sure, there's Paranoid, which is 2 minutes 43, but most of their songs are pretty long and have a lot of different sections, and that's great. But sometimes you just want a radio-friendly pop song with the sheen and polish, and you want it to go verse chorus first

and have an 8 or 16 bar solo, And that's what happens in Ozzy's solo catalogs, much more so than Sabbath. Correct me if I'm wrong. Like, besides just the grittiness of 1969 Sabbath versus 1980 Ozzy, like there's also the MTV factor, am I right? Huge point. That's such a great point. Obviously, Sabbath, one of the things they did, I'm going to try to save most of this

for the episode, we inevitably do. But they did add some imagery into the music that was new. They did this horror movie meets blues rock idea. That was the whole idea. But in the MTV age, which is when Ozzy is coming up, you can suddenly put visuals to it. You can have T-shirts and merch and there's a whole branding thing that happens because of the timing, the factor. And also, we'll get into Sharon a little later, the genius of the management side of things. Sharon almost the Brian Epstein of Ozzy Oswald.

Absolutely. Yeah, you had somebody managing the show who understood branding and visuals in addition to the music and how they can help each other out. What would you say is your favorite solo Ozzy song? Listen, I got a perfect example for you. you. And it's also my favorite Ozzy song. And it is a perfect song. This is Bark at the Moon with Jake E. Lee on guitar. It's from 1983. And it's the sound, but it's also the visual. So if you have access to the video version of this podcast, be sure to watch. If you're watching on Spotify or YouTube. Because it's so early 80s video, like, production. Oh my God. I love this song so much.

I have so much passion. I'm bursting right now. Can I just say people of the 80s were really easy to frightened. That is the funniest. Can we talk about it? Can we talk about it? That's a perfect entree into this whole like devil aspect of it. Yeah, because that was why I feel like a lot of us avoided Sabbath specifically. But that's the thing, the insider outsider nature of all things metal and what we're referring

to is that he's a we're wolf in like cheap 80s makeup in the video we just saw. Yeah. It turns into like a Jekyll and Hyde kind of thing. And if you listen to metal and love metal and are into metal, you get that it's like like a horror movie. You get that it's fake. You get that it's fun. You get that it's fake blood and fake hair and fake everything. And that's the imagery is a fun part of the music. But I understand that on the outside, people that were protesting Aussie concerts. Sure. Were just thought it was the devil's music and weren't able to see the layers of irony. There is a moment in the song we just heard where the Jake E Lee is playing the solo and he plays these 16th notes. That is such a seminal sound for me as a music maker. Because I remember early on, when I was not making music yet, listening to this song in that moment

and being like, this is giving me energy. This is giving me life. It's taking me from being kind of bummed out to wanting to go out and have a coffee and walk around New York City as I guess I would have been at the time. And it was,

I want to capture that feeling. I want to make music that does that for somebody else. I remember having that connection with this song and with that, those literally da-da-da-da-da-da-da. Whether you're aware of it or not, you might realize it's like this tempo is actually sort of up there.

I would suspect in like the high 120s, maybe the 130s. So like it's kind of got that, it's got that pick me up. 150 maybe. You think it's 140. I'm going to say 140, but I don't know.

So that sort of proves my point. Like it's, it's up tempo. Yeah. It makes you want to get up and move. And going back to Sabbath, Sabbath stuff is legendarily paranoid aside, mostly slow and mostly kind of sludge.

You know, there's a whole metal movement that came out of it called stoner rock and sludge, which is slow. And doom metal, right? Doom metal. All of it. that really takes its cute. Part of it is the tempo. There are faster songs, but for the most part,

Sabbath is like drudgely, sad, Birmingham, black and white. Warpigs. Right. So with that said, what would be your favorite song? All these questions are painful for me to have to pick one. I'm putting it on the spot. I think Snowblind might be my favorite, only because I love paranoid and Sweetleaf and Orpigs, but I've heard them a lot. Snowblind's like right in that lane. It's incredibly good and it's a little bit less exposed. And you haven't heard of a million times. Right. Exactly. Let's listen to a little bit. This is Black Sabbath snowblind. Too much.

I can't take it anymore. What is he? What are the lyrics there? What did you just sing? I was singing about cocaine, snow blinds. Oh, I'm an idiot. This is a 1978 live version of a 1972 song. And I love about that is what he's wearing is so out of fashion.

Ozzy is wearing this like, it's 78. It's 78. He should not be wearing these early 70s garments anymore. But it doesn't matter. He's Ozzy. And he's doing what he's. singing about. What is his take on cocaine? Pro.

In favor. So I should just look at the lyrics. I mean, lyrically speaking, first of all, Gieser Butler, the bass player wrote the lyrics to this in most Sabbath songs. They were all doing drugs. They were all doing cocaine.

Pretty famously. Pretty famously. I think the message of the song is a little bit anti, whereas Sweet Leaf is very pro-marijuana. Snowblind is actually a little bit anti. Yeah, I mean, it's meant to be on the... This is just like White Lines.

It was just make the same connection. Because White Lines was a pro-cocaine song and then somebody was like, you can't do that. And so they came along and said, but don't do it. I think if you're doing that little bit to make it anti. I think you're right. I think like if you're singing anti-cocaine songs, but then you go, cocaine, that's just cool. Like, you want to do cocaine because he just whispered cocaine. I'm not an expert on metal or Sabbath, but the blues influence in what I just heard is pretty

undeniable. It's different from, I think, how, like, the Rolling Stones interpreted the blues, or, or Aped the blues, if you will. Aped and eight, yeah. But this really sounds like the blues, and it's not like the American blues as we think of it, but it does feel like the blues as interpreted by a couple of lads from Birmingham. Yeah. Am I right? Like, because I've gone back and I listened to a couple of their first albums, and I think the couple of first albums are really heavy blues. Totally. Yeah. The first few records, There's songs like, you know, like The Wizard, even like Black Sabbath, the main, the first song, their first song, which is their, you know, it's always so satisfying when you see song title, album title, band name, and they're all the same.

So you get that with Black Sabbath on Black Sabbath by Black Sabbath. Yeah. That song is based on a tritone. Dung. Dung. So the very first thing you hear right out the gate is like this core element of bluesiness. Luzi, doom. Minor third, minor third stack we talked about on the Don Penn.

episode. But I think you're right. Even the notes that Ozzy chooses to sing. To be fair, part of what makes him interesting is he has a lot of sing-songy melodies. He does have not necessarily a bluesy voice either or in his delivery. But I would agree that for the most part, a lot of the like riffs and a lot of the basis for the music is closer to blues than solo Ozzy. The impression I'm getting about Ozzy as a singer is that he's not one of these like super classically trained guys. He's literally, a raw nerve. He is singing. It's almost like the Robin Williams thing. We're like, you can write for Robin, but he's going to go way off and improv a lot of stuff. And he'll be like, that's what he does. And it feels

like with Ozzy, yeah, like you feel like somebody else wrote it. Someone else is playing the instruments. But what he's giving you is just something raw and extremely natural. It's very natural. And his voice is very thin, but he can also sing very high. So it's a great contrast with these sludgy, slow riffs to have this voice that's high. It was almost in Sabbath bordering on a pop voice, again, because of his melody choices, but also just the size of the voice and the range and register. I mean, with the exception of the Tyler's and some of these rappers were really low voices, I've always felt like most of the most famous rappers actually had high voices because

there's so much bass and drums down here that you got to have to come up here to like really be heard. That's why everyone was so surprised when EZE got on the mic and it was like, this is freaking perfect. Right? Yes. From Drake to Biggie to Jay-Z, I always felt like, you know, even if they sound, though, they're kind of rapping in the high register. And I feel like Ozzy's singing in his high register.

All right, today we're talking about Crazy Train. And, you know, why don't we start with Ozzy's departure from Sabbath? I believe that's where this, because it's been well documented that he was kicked out by his bandmates in 1979 because even in the band Black Sabbath, his drug and alcohol abuse was a bit too far. And to be fair, I think they're not. they were all pretty abusive of various substances. Dude, they were not teetotelers. But it was Tony Iommi's band to hear the story told.

And if Tony Iommi didn't want you in the band, you were out of the band. Isn't that crazy? That's what happened. Yeah. That's wild. And Ozzy said that that really knocked the win out of him. He went into a depression, spending months hold up, getting wasted in a suite at Los Angeles's own La Park Hotel.

This hotel is literally down the street from where we record the show. I literally used to live across the street from this hotel. La Park is on a quiet little street. called West Knoll. I used to live in 642 West Knoll. It was across the street. And I used to notice that the people who hung out in front of that hotel were not like the people in the rest of the neighborhood. Like it was a very quiet street. It always looked like they were members of bands. Bands like Interpol, Franz Ferdinand. Like it was always like, you know, sort of like hipstery looking dudes standing out in front of La Park. And we love those bands. So hipstery, not being an

insult. So Ozzie's hold up at this hotel, he is still under management by a character we need to introduce. It's very important to this story. That's Don Arden. Don Arden had been managing Sabbath, it was now managing solo Ozzy. And it's important to set up two things. Number one, this man is your classic 60s old school British sort of gangster slash music industry type. There's these incredible stories of either he's being held up at knife point by Gene Vincent or he's or he's like holding Robert Sigwood the Beege's managers out of a window and threatening him, you know, because they're trying to steal the small faces. All these incredible stories. There's got to be a movie. But number two is he is the father of one Sharon Arden, soon to be Sharon Osborne.

So what happens at this point is Sharon comes, meets with Ozzy and takes pity on him, perhaps falls in love in the moment, but certainly takes over management and starts to actually take care of him and nurse him sort of back to health, but also build a new identity and career for him. By the way, I love this character. Who are some of Don Arden's other acts? Look, this guy managed Jerry Lee Lewis and Little Richard at certain points. And also ELO and Airs to fly. of all players. I love it.

Very eclectic roster. Before we go fully into Ozzy's solo story, can we talk a little bit about Sabbath after Ozzy? I did not know that Sabbath continued. I actually thought they were like

the Beatles. They broke up and then Ozzy went solo. But no, Sabbath exists all through the 80s with different lineups. And of course, Dio,

who actually is very beloved. Probably the most important replacement for Ozzie was Ronnie James Dio, formerly of Rainbow. There's such incestuousness in the story of so many of these players. Rainbow's going to come up a little bit later.

So, but yes, Dio replaces Ozzy immediately. And it's actually a pretty good, a couple of records that they do together. And they have a rotating cast all through the 80s and 90s, but I think I did not realize that they continued. Meanwhile, Ozzy becomes sort of like a superstar in the modern age in the 1980s. That had to be, and I think that had to be awkward, bad, you know, for the band members who stuck around to see him take off.

to a different level. I think that's probably true. Well, Gieser Butler, the bass player for Sabbath, ends up being, you know, for a long time, was Ozzy's bass player live. Yeah. And I think on a few recordings as well. Like I said, it's a road,

these cast of characters are all in each other's lives for many, many years. And of course, there's a reconciliation. Yeah. And I think the late 90s, early 2000s, when Sabbath comes back together. When the reunion album comes out. So there is later in life a make-nice that comes together.

But that revolving door was active for about 20 years. It certainly was, yeah. And Ozzy, to your point, was at 10, if not a 50x success commercially for what Sabbath ever accomplished. For all of their importance to hard rock and metal, Ozzy had 50 times the success that Sabbath ever did. That's insane. All right. So with all that said, let us know a little bit about Ozzy's band comes together. So the story goes that Bob Daisley, who's going to be a major unsung hero of this episode,

base player formerly of Rainbow, of all bands, speaking of Rainbow, meets Ozzie in a pub, and apparently they hit it off. They just become friends. Ozzy is in the midst of needing to get a band together. He meets this former bass player. Oh, by the way, also kicked out of Rainbow. Maybe they share a little bit of we just got kicked out of syndrome. Yeah. And they decide to put a band together.

Originally, the idea for this band is that it would be called Blizzard of Oz. So there'd be a reference to Oz. Not a bad name. Not a bad name. But it wouldn't necessarily be the Ozzy Osbourne solo project, as it turns out to be. And then they end up using that name for the album title. But at the time, that wasn't the idea. So they're talking about getting a guitar player,

and Ozzy remembers as much as he's able to because apparently he was wasted at the time. But there was apparently an auditioning process for guitar players in which enters Randy Rhodes. Randy Rhodes. Randy Rhodes, one of the greatest guitar players of all time. We'll be talking much about him soon. But in this moment, he's just had an audition and Ozzy,

lots of stories about whether he was even there. Like Randy says, I don't think he was there, and Ozzy misremembers that he might have been but drunk. All of this to say that in this moment with Bob at a pub in England. He's like, I got the guy. This incredible guitar player wandered into my life. Let's get Randy Rhodes into the band. The three of them formed the nucleus, eventually getting drummer Lee Kerslake, formerly of Uriah Heep. And this becomes the nucleus of Ozzy Machu. Oh, man, it'd be a fly in that room. And I love this quote from Ozzie where he talks about

what a terrifying process the whole auditioning thing was for him. He says, I was only a singer, and I couldn't even play the triangle. I remember listening to five. drummers banging away one after another and thinking, I'm fucked if I know whether any of these guys are any good. I love that story. It's so vulnerable. I think it's one of the things we really like about Oz. That's a great word for him.

That's the other thing about like, I'm always reminded how on the outside the whole Satan thing, it's like, no, he's a sweet guy. We were always told that metal was aggressive. Like every 80s movie had like metal kids like, hey, man, give me your wallet. But really metal was like a refuge for the most vulnerable emotionally people in our society. Absolutely. This guy loves his wife. He loves his kids. He's like he's a real human emotional person, 360. Yeah. And Sharon plays such an important role. I would say this is at a time when he's thinking maybe we name the band Blizzard of Oz. And she's like, no, I want you to be the focal point, your name to be front and center. And I know not all of the new band is loving that. Like bassist Bob Daisley in particular wasn't I read too happy about this. But I got to say, Sharon's instincts, not wrong. Like she understands brand at a time when brand just wasn't a word used like that.

Yeah. And I think there's a reason why we step back to talk about her dad and her dad's, you know, music business experience and sort of swinging landed gangster style of management. I do think that she took a little bit of something from that experience, both good and bad, but says that her father's experience and what she learned from him was both what to do and what not to do. Clearly protecting your artist is a big deal. Yeah. But maybe there's a limit that she sort of pushed it.

times we'll be getting into that. We're going to take a quick break. And when we get back, we're going to hear the isolated stems on one of the most legendary guitar solos of all time. And, of course, Ozzie's iconic isolated vocals when we get back. I got to say, I feel like I have accounts and I have no idea what's going on. Seriously, I have the worst. It's chaos behind that screen, isn't it?

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with plans that harmonize your business, your family, and your dreams. Get financial advice that puts you at the center. Find your advisor at IGPrivatewealth.com. Welcome back to One Song. So luxury, before we get into the Stems, what can you tell us about this song and how it was recorded? So this song was recorded at Ridge Farm Studios in the United Kingdom using the engineering skills of one Max Norman, who's an unsung hero.

Because, again, this is a situation where you've got four musicians and someone's got to record them. Someone's got to run the boards. And someone's got to make it sound like this incredible iconic recording. Does he get a lot of work in this time period? So at the time, he was just the resident studio engineer. And he only got the job because the first guy who they hired, his name was Chris Sangaridis. he was originally supposed to be the producer, but he was fired because the mixes were sounding terrible,

according to all parties involved. But this was his sort of breakthrough, his big break, I should say. He recorded this first record, went on to record the second one, Diary of a Madman, speak of the devil, bark at the moon. He went on to work with Megadeth and Death Angel.

So this gentleman, Max Norman, the engineer, became a producer because the first guy got fired, basically. But this was, to be clear, was one of his first big things. This was his, he was the rest of, He just worked at the studio and he helped out basically as the engineer when they brought in bands and producers. They'd be like, go get me a T, go set up the mics. And then this was his big opportunity to show him what he could do. All right.

Well, let's get into the Stimbs. Can we start with that iconic intro? All right. Well, let's listen to Lee Kirstlake on the drums. And then I'll add Bob Daisley because the two of them together make those initial hits that are so iconic. What you can really hear is the room. You hear the room, the recording. What's interesting is when you do.

Is that bass drum? Is the kick drum totally tuned? Because it sounds a little loose. It sounds like the drum heads a little loosey-goosey. I'm hearing some, he's obviously, he's playing tombs, probably flam on either the floor Tom or maybe there's two tombs, but boom, boom, is probably three drums, one with each hand and play. But you're really hearing.

But does the drum head sound loose at all to you at all? I think I hear some tone if that's what you're saying. Yeah. It's not totally dead. It's not like a Fleetwood Mac record. You're hearing the sound of the drums, and they're not deadened. And so I think that's part of the sound of this song. And what's interesting is we're in this transitional moment.

It's 1980 into 81. Yeah. We're not into the polish yet. This is not the polished Ozzy we're about to hear. This is kind of a DIY almost punk sounding record in terms of its recording. I felt like I was in the room. Like I could feel the space by how those drums were recorded. And let's add Bob Daisley's bass on top of that.

We all hear the I-I-I-I. It's so simple, but that's part of what makes it iconic. I feel like anybody who picks up. a guitar or at least picks up a bass guitar, they're going to try and practice playing that. Totally. Really simple notes. The other thing that you find when you don't have lots of overdubs is it sounds bigger because there are fewer things. And that's a classic lesson that people often learn the hard way. Like the more you kind of stack, I remember hearing this story of Brian May talk about tracking, you know, like 50 guitars for a queen record. And the more guitars you stack,

the smaller the sound got. Right. So right here, we're just hearing three drums and the bass and it sounds massive. It's got a huge sound. And then we get to, so call back to the beginning of this episode where this song. I want to talk about this. Perfect song.

There's six or seven incredible moments. But it must be said that one of those moments, the verse, it's a disco song. This is a disco beat we're about to hear by Lee Kirst Lake. And when you hear it isolated, especially without the crunchy guitars and everything else, it is definitely something that could go under a Sylvester tune or something. Let's hear it.

I love Lee Kerslake's drumming. There's a lot of great fill. So I'll start with the fill that leads us into it. And it's funny because it's like, Rock and roll, Disco. Listen. Can I just say when this part of the song comes in, I hear the Sylvester, but I also hear like the Van Halen.

Like, if you take out like some of the other instrumentation on a song like Jump, like I hear like the jump. That's a dance song too. Like clearly like as much as people, you know, ranted against disco, right. Rock heard disco and they knew it made an impression. It got the people up. Like when you hear drums like that. Yeah.

And then you hear drums like this. Yeah. We feel like we're in the 80s. This does not sound like warping. Oh, totally. There's no going back. And while you would have maybe heard 16th notes and four on the floor every now and then. Every now.

Earlier in the 70s, after disco happened, it meant disco to your ears. Like, there's no going back once it exists. Totally. And to make it even more disco, let's add a little more of that Bob Daisley bass line. And this is just, you could put, you could literally put any disco singer on top of this. That sounds like. It's melodic, it's sweet. We're in A major now.

Everything about it is happy and bouncy. But great. It's got that gallopy sound that is so prevalent in this era. But it's fun too. It's the sort of thing. It's like, don't you love the fact that like Rob Halfer from Judas Priest was gay the whole time? It's one of those things I just love to see the dextaposition of like things where people

may be like really anti in their mind a category. But then they love it actually. Hindsight is 2020. In retrospect, all of that. anti-disco stuff was really just about everything except the music. It's 100% right. Because they literally love disco. They love that Gallupy cell.

That's human to love that. I mean, you'd have to be dead not to like pump your fist and enjoy what we just heard. And then here is arguably my favorite Phil. It's super satisfying. It's after the reprise of the intro. And Lee Kerslake does this iconic huge triplet fill. Here it is. It has to be said that that transition,

You're doing this big rock crazy thing, like maybe it's like a Roger Taylor from Queen or John Bonham thing. And then you're right back into, I love that juxtaposition. That disco beat is catchy, man. Dude, this song is works for a reason. Maybe it's because we have all these delicious things combined like this. Absolutely. I don't think until I went back and listened to it with our one song year, so to speak, that I was just like, oh, yes, this song is firmly planted in the year it was recorded. Absolutely.

Yeah. this is a 1980 into 81 sounding song. I'm not a bassist, but I tend to love the bass part in so many of these songs that we've covered on the show. And this song is no exception. Can we hear some more of that Bob Daisley bass? I'm so excited about this song. I mean, just can't hide it. There's many, many wonderful moments across all the instruments.

There's some incredible fills, which to me are kind of iconic. So there's a moment where Bob Daisley plays this. God, it's so loose, too. That's a wonderful thing about our show. You hear how these iconic songs have imperfections in it. Yeah, he didn't play it the second time the way he played it the first time. It's not locked in perfectly, but it's incredible, especially when you add it to the fill. Here's the drum fill.

This is the second time around of the chorus, as you mentioned. I just kept a little more in there so you can hear that even though there's a moment where they're a little bit like two humans playing. It gets right back to locked in. And across the song, that's okay. Like that works to your ears. You can have a little bit of momentary wobble when it comes right back to locking in, I think. I also think when you have a really good basis, like it's almost like they can do no wrong by doing a little bit more.

Does that make sense? Like, we were talking about the theme song to WKRP and says that. Like that bassist comes in. He's like, I'm going to eat this lunch. He comes in. He's doing so much. And here, like, you don't need the bass to do that much, but the fact that the bass does that much just makes it all the better.

Yeah. And you can tell, I mean, in the room, I'm sort of picturing them. One of them came up with their part first, the drummer or the bass player. And the other one was like, oh, damn. I got a match or exceed what you just did, right? And it sounds amazing. While we're talking about Bob Daisley, I know he's credited as a songwriter on Crazy Train. That's true, right?

Absolutely. Bob Daisley, first of all, the music making process, as he described it, is Randy and Bob Daisley would essentially write the music, the body of music. And then Ozzy would come in and find a melody on top of it. And then actually, Daisley would go back and write lyrics to that melody. So that's how the songwriting process apparently went. with that core unit of the three of them. Yeah.

Because this song was actually written before they got Lee Kerslake on drums, apparently. So, anyway, that's apparently... So the song was written before Kerslake, who's killing it, by the way, on the recording. It's before he technically joined. Daisley, anyone who's an Ozzy fan knows that Bob Daisley has, for years, been talking about these Holy Grail demo tapes that he's never actually released, where he has proof of some things we'll be talking about later that happened to Mr. Order. He's like, they're on my desk.

Yeah, yeah. I will release them. There's a little bit of a dispute about credits and money. that happens. We'll be talking about that a little bit later, but according to his, you know, holy grail tapes, he hasn't released. He has an early version of Crazy Train with a different drummer on it because Kirst Lake hadn't joined yet. Well, we've heard that story before. Is there any more bass that you want to play for us? Absolutely. And I would argue that this might be the best part, uh, fight me, if you will, of the song, except it's not because there's 50 best parts of the song,

but we were just talking about how Daisley was a co-writer. One part of the song he says he wrote was this section, which I'm going to point out is different from any other part of the song. The solo, and this is actually a question to the one song nation, subsection metal heads. I have been trying to find the er song, the first instance of what became a metal trope, which is that when there's a solo, a guitar solo, there's a completely different set of chord changes. It happens so often. Sabbath did it a lot. I don't think Zeppelin did it very much. Happens in this song. We have a completely new section. It's not the verse chords. It's not the chorus. But it is. a part that Daisley wrote, and I love what he plays in it. Here it is. I just love that so much. It's so

simple. It's just 16th notes and it's descending. He adds the B that we didn't have anywhere else. The B chord exists here. I don't know. It just sounds so cool to me that it's this new part that comes in the middle of a song. Again, this is pop craftsmanship. This song is really crafted like a pop song. We have so much going on in every single thing that happens. It's new and exciting or we've heard it before and we can't wait to hear it again. And it's slightly different when we hear it second time. It sounds new and familiar at the same time. Exactly right. And every guitar player on planet Earth who's hearing that is hearing every single note of Randy Rhodes' iconic solo, including myself in their head, because that's what's happening on top of this right now. But we'll get to that

in just a moment. Randy Rose is one of those guitarist names that you hear so much about, even if you don't actively follow the groups that he was famous for. But what would you like to say about Randy Rose before we start playing that guitar? Let's take a moment, another unsung hero. It's a song and artists with many of people around him who helped make him help him shine. Yeah. And Randall William Rhodes, all five foot seven of him, was one of those guys. He, as we discussed earlier, was... He was in a group called Quiet Riot. He was in Quiet Riot. Why am I so dumb? I think of Quiet Riot. I'm thinking about, like, White Snake. I'm thinking about a group from much later into the hair metal. But I guess Quiet Riot, they're... I'm glad you brought that up. They're metal. They're not Hair Rock, to be clear. Well, they just existed earlier than Hair Rock existed. So they start... Randy Rhodes is a founding member of Quiet Riot. And you're right. If anyone who lived through the 80s,

or has seen early MTV videos. Come on, feel the noise. The Slade cover. Right? They also did Mama. We're all crazy now. Another Slade cover. Oh, okay.

He had two hits with Slade covers. But these are both after Randy had left the group and actually after he had already passed. Got it. Okay. So they actually, they're almost like the Bejys. Like they're one of these groups that starts early on and real music heads

know their early word. But the stuff that they got famous for in my lifetime doesn't really necessarily sound like their early stuff. Yeah. They evolved. I guess you could say. Oh, okay, cool. Yeah.

But before they were hair metal, it was Randy Rhodes, who co-founded the band in 1973 when he was 17. And just really quickly, because he's an important figure in this story and in all of metal lore, his mom, Dolores, ran a music school right up here in North Hollywood. So he was classically trained. And he actually took lessons at this school until his guitar teacher famously said, I can't teach him anymore. He knows too much, right? I started a couple of times on this show.

A couple of teachers have told somebody, hey, man, you don't have to be here. Just go on and do it. Go out in the world and do your thing. By the way, the song on this record called D is a 45-second guitar tribute to his mom. Well, let's listen to the iconic opening riff, Randy Rhodes, Crazy Train. I mean, a couple of things. One, I'm immediately riding in the backseat of my mom's car, listening to an ad for a radio station we didn't listen to. That's the music we don't listen to in a car.

Hey, Atlanta, do you need this? That is such an iconic riff. And you can also understand why every kid in certain areas wanted to go out and buy a guitar and learn how to play. Sounds so cool. It sounds so epic. There's no subtlety. There's no nuance. It's not like even like something like my guitar gently weaves.

Like this is like, go for it. You know? This is big. This is big. Yeah. It's so delicious sounding. I think what it does is for me personally. It tickles my brain.

There's a lot of reasons for it. It's kind of like whenever we break down something to its like micro elements, I'm always careful to say, but that doesn't mean you can like rebuild it if you do all these things. You can't get his flying V guitar and his MXR plus distortion pedal. And another important part of the sound, both of Randy Rhodes, by the way, and Ozzy, is that they both are double-tracked, which means that you're hearing two takes that are just slightly different, which thickens it. And actually- So his vocals and Randy's guitars.

Yeah, both of those have been double-tracked. And effects have been added to make them bigger and thicker and wider. And actually, in Randy's case, I think it's triple-tracked. So I think there's one up the middle and two panned hard left and right. So you're hearing him play the same part three times, essentially, but slightly different, which gives it that with actually, we talked about this funny connection on the Abba episode. It's a similar phenomenon. If you have them re-singing the same part, but it's human, so it's slightly different, it'll stick it up. Yeah.

I love that. Are there any other guitar parts you want to play? Are there any other guitar parts you want to play? How much time you got. Well, let's hear a little bit what he does during the verse, during what was disco on the drums and bass. What's he doing? I like that little thing he did.

A little fill at the end. Can we hear that again? I don't think I've ever heard that before. Yeah, he's got a lot of little fills like that. Sometimes it's a little bit of a rise. It goes out. Sometimes it comes down. And it's important to point out this is not bluesy, right?

This is, first of all, major. It's explicitly a major right. now. And a lot of the runs and a lot of like, these are some modes and classical scales. They're more from his classical music tradition. So he's bringing a lot of that into his playing. So interesting story or interesting theory of coming from Quiet Riot guitarist Greg Leon about where this part of the song, where that disco riff, for lack a better word, came from or was inspired by, apparently he tells the story that he was hanging out with Randy and showed him the riff to this song by Steve Miller, this is Swingtown. See if you can hear the connection. And I'll play you

Randy's part again, just so you can make the connection. So just to be, yeah, just to be explicit, what is similar versus what is different, right? What's similar is there's 16th notes going on, both in the guitar and in the drums. It's in major, and we're doing these little syncopated door. Yeah, there's three of them. But in the Steve Miller song, they go up, done, done, done, And Randy's doing the, dun, dun, dun, he's sort of moving around slightly differently. But there's definitely, I think, an inspiration connection and a whole new part comes out of it. There's no sort of ripping off, I would say. No, no, no.

I mean, listen, everything's inspired by everything. And when you play that, it sounds to me like somebody's enjoying a PBR on Lake Havasu. Exactly right. Just to be clear, these are rhythmic similarity. That's it. And what he came up with was different, but inspired by 16th notes with sikipated chords thrown in. Totally. So let's hear the solo. Okay, here we go. Randy Rhodes' Crazy Train solo.

This week on the show, Crazy Train. It's our most normal episode yet. Gets me hyped, pumped, filled with an emotion I can't name. It's not rage. It's not anger, but it's right next to it. It's happy anger. It's rage. It's pure adrenaline. No, that's what it is. It's happy anger, rage adrenaline.

That's why we do this, us metal people or people with metal in our backgrounds, maybe. currently a metal person. Right now I'm a metal person. Oh man, sorry I could not contain myself. Yeah, every square inch of that is like candy and sugar and like a mojito and happiness. You were snowblind right now. I was like, I'm cracked out right now. I'm absolutely smacked out and cracked out. I don't know why, but clearly this is not, I'm not the only person who. No. Randy Rhodes makes react with this. Yeah. It just touches something so directly, which is energy and excitement.

And this is an old song. I've known it for a long time, but it still does that to me. It's so powerful. But I don't know that I can put a single word to it. It's just the energy. What is the word you used? Adrenaline. It's pure, unadulterated, uncut adrenaline.

Well, happy energy is good energy. And I think that, you know, despite what HR might say, I love what you just did. Well, I'm on the come down now, and the shame is starting to sink in and the repercussions. Consequences. Even as somebody who hasn't really followed the bands that Randy Rose has been in for a long time, it's one of those names where I know he famously died. What's the deal with that? It's so tragic.

He was only 25. They were in Leesburg, Florida. This is March 1982. They were on tour. The tour bus, Ozzie and the rest of the band were sleeping on the tour bus. Randy was up early. there was a member of their entourage who was wasted apparently, and they all got in a small plane.

This is near like a little airfield. And they were buzzing the top of the bus as a quote-unquote joke. And somebody messed up and they crashed into a tree. And horrible three people died, including Randy Rhodes in that moment. Just really tragic and awful. And again, only 25 years old. But what incredible legacy. He's obviously left.

He was a great legacy, too. All right. So now we're on to the vocals. And this is Ozzie. in all his freaking Oziness. He came up with the vocal melody. According to the telling, he came up with the melody. Daisley helped with somewhere between 90 and 99% of the lyrics,

according to Daisley. He says that Ozzy may have written a word or two. And the lyrics are about basically the threat of World War III. Yeah, something like the Cold War, World War III. And the title itself apparently comes from a sound that Randy Rhodes' setup was making. It sounded like a whirring sound between his pedals, his guitar pedals and his tone and maybe a flanger,

there was a sort of whirring train-like sound. Oh, wow. And they said, it sounds like a crazy train. Great idea for a song. And here we are. I love that. What are the greatest voices in recorded music history? I mean, even people who don't know that this is Ozzy from Black Sabbath.

No, I, I, can we hear the very beginning, the very first vocal on the song? Viberslap. All important Viberslap. Put a Viberslap. slap on your song, it'll always go classic. Three vibraslaps and 100 episodes, my friend. That's a really high ratio. So, me, you go to concerts, you go to 100 concerts.

We'll hear one vibrers slap. But on one song, you'll hear many. I mean, the all aboard is iconic just in itself. Yes. But let's get into the verse one, because I think that sometimes it's so easy to get lost in the music and the riffing and the drums and even his voice that you don't actually hear the lyrics he's singing. Let's hear verse number one.

First number one, this is John Michael Osborne, singing. verse one of Crazy Train. Crazy. But that's how it goes. Millions of people living as foes. A message that society no longer needs. You know, it's consistent, too.

It is a very Ozzy thing across his catalog, even in Sabbath. He's often saying these messages of like, they're positive messages. Super positive. He's saying we shouldn't hate each other. That's very simple. Who can get mad at that?

On the one hand, like not controversial, but then also when you think about just where society is or where it even was back then during the Reagan Thatcher years, like, these are things that people need to hear. Yeah. I think we want to hear the chorus. Let's hear a little bit of the chorus by John Osborne. Okay, I'll play you the pre that goes right into the chorus. Here it is. Mental wounds, life's a bit.

I'm going. I love that harmony. Yeah, one of the voices is really high. It sounds like a head voice. I think the, you know, falsetto or head voice up there. I don't think he's belting that. Yeah, yeah. Totally.

I'm going! Nope, I can't do it. I can't do it. I definitely can't do that. Going. I'm with it. It's good. It's good stuff.

And it's pop music. This is a pop music chorus. This is a pop song. This is a pop song with disco and hard rock. From due metal to pop metal? It's got everything you could possibly want in music and one four minute experience. All right. Well, here's the bridge.

And I know that things are going wrong for me. I know that things are going wrong for me. You got us. And that just takes us right into the guitar solo. Yeah. Oh, so good. So fantastic. It's so good to hear his voice isolated like that.

You take on a new appreciation for it. Yeah. And that just can't be duplicated. I know Dio has his own thing. You know what I mean? The O's thing is very different. But when I learned this week that Black Sabbath tried to move on without Ozzy, it makes a lot more sense when you know the whole story,

when you know the whole 50-year story. But I'll say it does remind me today of like when Damon Dash was trying to do Rockefeller records with Cameron and Dipset and move Jay-Z out the door. Like, you know, it's the Jay-Z line. You want to do it without me? Okay, make another hove. I heard saying they may ho. Mayho say, okay, so make another hole. You know what I mean?

You're not going to make another Jay-Z. You're not going to make another Ozzy. That's once in a lifetime. One of the greatest singers of all time is Dia, but extremely different, like almost the other extreme. He's like got the chops of, I don't know, maybe not Elephid's Gerald Chops, but he's metal Pavarotti or something like that. He's a metal Pavarati.

I love that. But his voice is rich and thick and he belts and he has accuracy and perfection and precision. And Ozzy doesn't have those things. He has a completely different skill set. And it's a different band. There's a one-of-a-kind Ozzy. Like we said earlier,

it's not that he's doing something where he was classically trade. It's just him. Yeah. You know, and every now that you come across these singers, rappers, whoever, who are just them, and you only get one.

in a lifetime. That's right. One of one. Okay, so now that we've heard the song, how do the splits break down? So, as we were alluding to earlier, it gets a little ugly at this point for Bob Daisley in particular, and for Lee Curse Lake, but for different reasons. But specifically, this is as a song, an even split between Ozzy Bob Daisley and Randy Rhodes. They each share basically 33 and a third percentage. When I hear splits like that, I assume there's no drama, but that's not the case here. Well, maybe for a few days or weeks, there was no drama. It's unclear, but from a few moments later forward until the present day, there is drama that has never quite ended with lots of lawsuits being slung, mostly from Bob Daisley, the bass player

and co-writer of this song. And the Osborne camp, specifically Sharon, I'm going to make a very long story short. Bob Daisley co-wrote nearly every song on this record and the second record. However, on the eve of their first world tour, he and Lee Curse Lake were both sacked from the band, unceremoniously just fired. Yeah. But that's not all. On the second record, when it came out, they had been on the record.

But the photograph, when you buy the second record, which is Diary of a Madman, you'll see that there's a photograph of Tommy Aldridge on drums and Rudy Sarzo on bass. Who are probably the band he was on tour with. Exactly right. And part of the mystery is like, why did this happen? Why did this go down? It could be that Bob Daisley with his asking for more got on Sharon's nerves a little bit. I finished him off. My takeaway from having read a lot about the back and forth lawsuits is that she was just tired of him asking for more than maybe she felt he deserved.

And she has all the power in the situation. She strips him off the second record credit wise, photograph wise. He's still getting publishing royalties. But it's kind of like you also want credits. You don't want to be written out of history. But to add some complication, he gets brought back to continue writing with Ozzy. but he has no leverage in the situation. So he's on the next three records.

He does get writing credits, but he's kind of paid a flat fee and he has no leverage to really push for more. He claimed that he wasn't getting paid on some sinks. He was getting paid some publishing money, but there was some royalties he wasn't getting. And at one point in around 2000, 2001, Sharon just snaps.

She's like, we are re-recording Crazy Train. We are taking you and Lee off the canonical recording. And that's what she does. she gets Mike Borden from Faith No More to play drums and Robert Trujillo from suicidal tendencies and about to join Metallica. And for 10 years, if you bought this record, you would be hearing them replaying the parts. Wow. And it sounds like this. It sounds different. And if you're a fan, you notice the differences. Yeah. So for 10 years, they replaced the parts that they didn't even tell anybody. So people were buying it. Then there was outcry from fans. They're like, what the hell's

going on. So they later added a sticker saying we replaced the parts. The whole thing was basically Sharon being petty. At the end of the day, Sharon herself said, look, this was just me being a quote, mean bitch. Those are her own words about the situation. She said that she did it just to teach Bob a lesson, which is really petty. Where are we now, though? Now when I go out and I buy the CD, like a 40-year-old man, what version of my hearing now? Nowadays, I got to imagine I hear Bob and I hear and I curse like. You can find it somewhere on discogs or something. You can probably buy a 2004

CD of Diary of a Madman or Blizzard of Oz but on Spotify or canonically kind of across the universe on other streaming platforms at least. Most places you're hearing the real deal. You're hearing the real deal. On this show you're hearing the real deal. No shade

on Mike Borden or Robert Trujillo, but it's just not the same without Lee and Bob. Well, it wouldn't be the same without Ozzie. And we did this episode episode in part because, you know, we wanted to talk about him and his legacy. What do you think is specifically the legacy of Crazy Train? Well, since Ozzy passed away this summer, it's finally charted on the Hot 100 for the first time. That already makes it a big deal in the catalog. Yeah, hopefully, too, with the passage of time, I think the context of the sound is sort of baked into

the culture. We've had 40 years of metal music and 40 years of hard rock. So it's sort of less shocking and crazy sounding in an exciting way in 1981. It jumped out of the radio speakers. But now it's just like a canonical song in Western pop music, I would say. It's right up there with respect by Ethan Franklin. Honestly, I think that that's, I know you're sort of half joking, but I would say that like this is just because of the passage of time, I would say it's just a canonical pop song at this point. You know, when thinking about his solo career,

Ozzie himself said he wanted to be more mainstream without selling out to the pop world. Do you think he accomplished that? Selling out is such a funny concept. I know. It meant something different back in the day. And I think what it just was. generally tends to mean is within the community.

So within the metal community, I think what he means is he would hope that the Black Sabbath fans would continue the journey with him, even if he takes a turn and goes on to 101 and starts going 80 miles an hour into pop stardom as he did. It's almost like I will never, selling out as I'm so cynical that I'm going to do something that I don't really want to do artistically just to sell some more records.

I don't think that's what Ozzie did. I think he brought in this guitar player, Young Randy Rhodes and Bob Daisley and Luke Kirst Lake, They made pretty authentic music that was the four of them together making music. There wasn't any selling out involved. They had no idea it would be a success. They had no idea that it was anything other than something they loved. They co-produced basically the song themselves, just these five people.

The four band members and an engineer made this song. And it has that sort of, as I mentioned earlier, sort of a DIY punk ethos. No selling out was involved, but he brought a lot of new people into the fold with it. I don't think you have him on stage in a challenge. singing those songs with all those people showing him all that love. Yeah. I think, you know, as far as his goal of not selling out, mission accomplished. And I think that he brought more people into the fold of what this music can be.

To this day. Even including this episode, potentially, more people being exposed to what this music is because the context makes it more maybe accessible to them. And they can hear what an incredible song, when an incredible talent, Ozzy was. Crazy Train, one of the greats. What about you, Diallo? What do you think the legacy of this song is? You know, before this episode, I wouldn't have understood the difference between Ozzy Solo and Sabbath.

And I'm going to say, I'm going to go back and listen to some more of that Sabbath because I really like some of those early sounds. But more importantly, I think I see what a stepping stone crazy train was for him. You know, this is a guy who goes on. He starts his own festival, Ozzy Fest. Right. Oh, yeah. You know, which is, which was big, you know, when we were younger. His family really helps jumpstart the whole reality show.

Without the Osbournes, I don't know that you have keeping you up with the Kardashians, you know, for better for worse. And, you know, what do all of these things have in common? His name. So I think that at the end of the day, Sharon really had the foresight to help make him kind of a household name. And it all started with this first album and it all started with this first single, Crazy Train. Absolutely. And just to be clear, like, I think Sharon Osborne is incredible. I think I would love, we would all be better off if we had to Sharon on our side.

Yes, I've taught to some fans this week. I actually thought I'd get more mixed. opinions, but if you love Ozzy, you kind of love what Sharon was able to do for it. She was protecting her love, her husband. I mean, I would just hope that anybody listened to this episode who comes into it not knowing much about Ozzy

except that he bit the head off a bat. Now knows a lot more about him than bat head biting. Well said, bat head biting. God bless you, Ozzie. Okay, luxury, it's time for one more song. This is the segment where we share a deep cut or a hidden gym with you,

the one song nation, and with each other. luxury. Why don't you go first? All right. Well, as I've mentioned on previous episodes, huge fan of the breeders, huge fan of Kim Deal. Record just came out a few months ago, and I have just been locked in recently. So this is Kim Deal with Crystal Breath. She can do no wrong. She's got one of those voices that I could just listen to reciting the phone book, as they say, right?

Just incredible. So much emotion in every syllable. I like that one. What about you, Diallo? What's your one more song this week? Did a lot of traveling this summer. And one song that I just randomly came across that I wanted to shine some light on is a song called Sky Burial. The name of the group is Artificial Go. And here it is. That is 101% what I like. Everything, that's like a perfect song.

I thought it was very cool. It's very psychedelic. And it's a group I haven't heard of. And it's a brand new song for right now. So Sky Barrel by Artificial Go. As always, if you have an idea for one more song, you can find us on Instagram and TikTok. You can find me on Instagram at Diallo, DIA, L-L-L-O, and on TikTok at Diallo. And you can find me on Instagram at L-U-X-X-U-Y and on TikTok at LuxuryX.

And you can follow our podcast on Instagram and TikTok at One Song Podcasts. For exclusive content, you can also watch full episodes of One Song on YouTube and Spotify. Just search for One Song Podcasts. We'd love it if you'd like and subscribe. Also be sure to check out the One Song Spotify playlist for all the songs we discuss in our episodes. You can find the link in the episode description. And if you made it that far, we think that means you like this show. So please don't forget to give us five stars, leave a review, and share us with someone who you think would like this show.

It really helps us keep it going. All right, luxury, help me in this darn thing. I'm producer, DJ, songwriter, musicologist, and metalhead for life, luxury. And I'm actor-writer-director and sometimes DJ Diallo Riddle. And this is one song. We will see you next time. This episode is produced by Melissa Duenas. Our video editor is Casey Simonson.

Our associate producer is Jeremy Bimbo, mixing by Michael Hardman, and engineering by Eric Hicks, production supervision by Razak Boykin, an additional production support from Z. Taylor. This show is executive produced by Kevin Hart, Mike Stein, Brian Smiley, Eric Eddings, Eric Weil, and Leslie Guam.