Tag: Ozzy Osbourne

Burning The Ground Remembers: Ozzy Osbourne (1948–2025)

 

The world has lost one of the most iconic, unpredictable, and uncompromising voices in rock history. Ozzy Osbourne, the so-called Prince of Darkness, passed away at the age of 76, just weeks after taking his final bow in his hometown of Birmingham, England.

Ozzy’s death brings the curtain down on a career that defied rules, labels, and expectations. For us here at Burning The Ground, where extended mixes and rare pressings help keep history alive, it’s hard to overstate what Ozzy and Black Sabbath meant—not just to rock, but to music culture as a whole.

A Farewell Worthy of a Legend
Ozzy’s final performance came earlier this month on July 5th at Villa Park—aptly titled “Back to the Beginning.” Billed as his last-ever concert, it brought the original Black Sabbath lineup together one last time: Ozzy, Tony Iommi, Geezer Butler, and Bill Ward. Even with his ongoing health battles—Parkinson’s disease and limited mobility—Ozzy delivered an emotionally raw, thunderous set, performing seated atop a gothic throne.

The setlist was a masterclass in heaviness: “War Pigs,” “Paranoid,” “Iron Man,” “Children of the Grave,” “Fairies Wear Boots,” and of course, his solo anthem “Crazy Train.” This wasn’t just a sendoff—it was a declaration. Ozzy didn’t go quietly.

The show was streamed live to a global audience and raised over £140 million for Parkinson’s and youth mental health causes.

Beyond the Bat Myths: A Cultural Force
To reduce Ozzy to the bat-biting antics and MTV soundbites would be to miss the full scope of his legacy. Born John Michael Osbourne in Aston, Birmingham, he helped invent heavy metal when he fronted Black Sabbath in 1968. Their debut album redefined what rock music could sound like—darker, slower, heavier—and Paranoid (1970) remains one of the most influential records of all time.

After Sabbath, Ozzy’s solo career burned just as brightly. From Blizzard of Ozz to No More Tears, his collaborations with guitarists like Randy Rhoads and Zakk Wylde gave us some of the most anthemic, adrenaline-pumping rock of the ’80s and ’90s.

For those of us who came of age digging through import 12″ bins and watching 120 Minutes, Ozzy was always there—the voice in the distance, the howl in the night. He didn’t need a dance remix. He was the remix: raw, wild, and totally original.

Coming Soon: Back to the Beginning in Theaters
Ozzy’s final concert was filmed and will hit theaters in early 2026 as Back to the Beginning: Ozzy’s Final Bow. For fans who couldn’t witness it live, this will be a chance to say goodbye properly—to raise the horns one last time and celebrate the man who brought heavy music out of the underground and into the mainstream.

Final Thoughts from the Ground
Ozzy’s passing feels like the end of a chapter we all thought would never close. In an age where so much of music feels algorithmic and overprocessed, he remained defiantly real—unfiltered, loud, and gloriously imperfect.

Here on Burning The Ground, we dig into the grooves of forgotten formats, spin the long versions, and honor the strange, glorious detours of music history. Ozzy was one of those wild detours—a punk in platform boots, a metal godfather, and a reality show dad who somehow made it all make sense.

Rest in power, Ozzy. May your riffs echo through eternity, and may the next world have amps that go to eleven.

  • Paul / Burning The Ground

Ozzy Osbourne – Bark At The Moon (UK 12″)

BURNING THE GROUND EXCLUSIVE 1983

a-front

“Bark at the Moon” is a song by heavy metal vocalist Ozzy Osbourne. It was the first single released from his 1983 album of the same name. The music video produced for the song was Osbourne’s first.

Though officially credited solely to Osbourne, “Bark at the Moon” was co-written with guitarist Jake E. Lee and bassist/lyricist Bob Daisley. Lee claims he was threatened with firing by Osbourne’s wife and manager Sharon if he refused to sign a 1983 contract stating that he would relinquish his claims to writing and publishing. In 2003, Daisley filed a lawsuit against the Osbournes, claiming lost royalties for his significant songwriting contributions.

Lyrically, the song deals with a creature of some sort who once terrorized a town, was killed, and later mysteriously returned to once again wreak havoc upon the villagers. The music video, however, borrows heavily from Robert Louis Stevenson’s classic Dr. Jekyll and Mr. Hyde story, depicting Osbourne as a “mad scientist” who ingests a substance in his laboratory which causes him to transform into the werewolf depicted on the Bark at the Moon album cover. Thought to be insane, he is subsequently committed to a mental institution.

The music video for the song was partially filmed at the Holloway Sanatorium, outside London, England. In the early 1980s infancy of the music video medium, the video, which was the first Osbourne had made, was highly anticipated due to his outrageous image. Drummer Tommy Aldridge played on the studio recording of the track, but the video features his replacement in the band, Carmine Appice.

In the UK the single peaked at #21 while in the US it barely reached the Billboard Hot 100 only peaking at #109.

The sleeve states that the b-side tracks are exclusive releases they did not appear on the album upon the intial release.

SIDE A:
Bark At The Moon 4:15

SIDE B:
One Up The “B” Side (Exclusive Release) 3:26
Slow Down (Exclusive Release) 4:17

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

RELEASE INFORMATION:
Label: Epic ‎– TA 3915
Format: Vinyl, 45 RPM, Single, 12″
Country: UK
Released: 1983
Genre: Rock
Style: Heavy Metal

CREDITS:
Producer – Daisley*, Norman*, Osbourne*
Written-By – Ozzy Osbourne

NOTES:
Track A: Taken from the EPIC LP “BARK AT THE MOON”

Find the 12″ on DISCOGS

b-back

EQUIPMENT USED:
Turntable: Pro-Ject Debut Carbon (DC)
Cartridge: Ortofon 2M
Stylus: Ortofon OM Stylus 30
Platter: Pro-Ject Acryl-It platter
Stabilizer: Pro-Ject Record Puck 
Phono Pre-amp:
Bellari VP130 Tube Phono Preamp
Tube:
Tung-Sol 12AX7ECC803-S Gold Electron Tube
Soundcard:
ESI Juli@
Record Cleaning:
VPI HW 16.5 Record Cleaning Machine
Artwork Scans:
Brother MFC-6490CW Professional Series Scanner

SOFTWARE USED:
Recording/Editing: Adobe Audition 3.0 (Recording)
Down Sampling: iZotope RX Advanced 2
Artwork Editor: Adobe Photoshop CS5
Click Removal: Manual
FLAC/MP3 Conversion: dBpoweramp
M3U Playlist: Playlist Creator

RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
MP3 (320kbps)
Artwork scanned at 600dpi