Episode #182 – Ozzy Osbourne – Diary of a Madman (with Nick Jones from Pod of Thunder)

No video episode this week as we assumed it would be blocked. Enjoy a superior audio experience using one of the services below. https://www.youtube.com/watch?v=S_a-RE0ag94

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    A Note About Ozzy and Diary’s Connection to Deep Purple:

    • Bob Daisley’s time and songwriting in Rainbow, with Gary Moore, and with Jon Lord in The Hoochie Coochie Men
    • Don Airey in Ozzy’s touring band, though absent from this album
    • Living Loud with Steve Morse, Don Airey, Lee Kerslake, Bob Daisley, and Jimmy Barnes
    • Most importantly – the doors this opened for us in our journey and fandom of hard rock and this style of music

    Core Band:


    Album Art & Booklet Review

    • Other [Make Up] – Cheryl Hubbard
    • Photography By – Fin Costello
      • Legendary rock photographer over the years.
    • Photography By – Tony Harrison (6)
      • Mostly Ozzy credits on Discogs
    • Set Designer [Set] – Denise Richardson
      • Also credited on Bark at the Moon
    • Set Designer [Set] – Ernie Spruces
      • Only credit on Discogs
    • Design – Steve “Skull” Joule*
      • Art Director at Kerrang!
      • Did many Ozzy designs during this period
      • Also famously did the Born Again album cover
      • In interview with heavymusicartwork.com: “But I guess the one I’m proudest of and really is the full package is Ozzy’s, 1981, ‘Diary Of A Madman’, the great set , brilliantly built by photographer Fin Costello’s work pixies, the ridiculous props, magic alphabets, the hand lettering, Ozzy being as drunk as a skunk at the shoot, Ozzy’s son Louis biting the head off the stuffed dove on the cover, just like daddy and of course becoming ‘THE HAND OF SATAN!!! Haaaaaaaargh!!! Yeah, I love that cover and it definitely sums up the early ’80’s.”

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    Album Tracks:

    Side One:

    1. Over the Mountain (Daisley, Osbourne, Kerslake, Rhoads)
      • Bob Daisley: Title and lyrics were mine. To be fair, Ozzy’s melodies and scat singing before lyrics were written sometimes influenced what I wrote, the lyrics were written to fit his phrasing on most songs.
      • Daisley said Rhoads wrote the riff using eight notes but Daisley suggested going with sixteenth notes.
      • Daisley stated that over the years Frank Banali had been credited as coming up with the opening drums but he said there is no basis to these rumors.
      • Lyrics were written right before Ozzy recorded the vocal.
    2. Flying High Again (Daisley, Osbourne, Kerslake, Rhoads)
      • Bob Daisley: The title and lyrics were mine, Ozzy may have put in a word or two again. In my book, there’s a whole story about how this song came about from an experience I had as a young lad playing in bands in Australia. The title actually came from a very ‘straight’ bloke who asked me a question about drugs.
      • Started off as a song called “Mean Machine” based on the vocals Lee sang during the writing process.
    3. You Can’t Kill Rock and Roll (Daisley, Osbourne, Rhoads)
      • Bob Daisley: Ozzy’s title, and a few words were his but the meat and potatoes of the lyrics were mine. I wrote it about being screwed by record companies and being lied to, a premonition me thinks…
      • In his book “For Facts Sake,” Bob Daisley writes: “One of [the new songs] had a Pink Floyd vibe so I named it “Floydian,” which later became “You Can’t Kill Rock ‘n’ Roll.”
    4. Believer (Daisley, Osbourne, Rhoads)
      • Bob Daisley: My title and lyrics. I was reading about the power of belief at the time and wanted to convey a positive message. Maybe a word or two from Ozzy and some inspiration from his phrasing but all my idea.
      • Randy and Daisley would joke that this bass riff sounded like “Purple haze”

    Side Two:

    1. Little Dolls (Daisley, Osbourne, Kerslake, Rhoads)
      • Bob Daisley: My title and lyrics. Again, maybe a word or two here and there from Ozzy but totally my idea. A song about Voodoo without mentioning the word. Fuck knows how I came up with that one…
      • Daisley says it was based on a riff he’d written in Windowmaker for a song called “Mean What You Say” while the middle eight was taken from a song he’d layed in Mecca’s single, “Black Sally” in 1969.
    2. Tonight (Daisley, Osbourne, Kerslake, Rhoads)
      • Bob Daisley: Ozzy had originally sung ‘just a kiss before we say goodnight’ to open the song but I thought that was a bit soppy so changed the idea to someone down and out on the street. I think Lee came up with the ‘tonight’ where it ended up in the chorus but I wrote almost all the lyrics.
      • Daisley says this song had the working title “Just a Kiss.”
    3. S.A.T.O. (Daisley, Osbourne, Kerslake, Rhoads)
      • Allegedly stands for Sharon Arden Thelma Osbourne
      • Bob Daisley: Not my title, Ozzy and Sharon changed it from ‘Strange Voyage’ which had been mine, to ‘S.A.T.O.’ after Lee and I were ousted. I wrote the lyrics about how life can be a strange voyage and was inspired by a Buddhist text entitled ‘A Ship to Cross the Sea of Suffering’. The S.A.T.O part is explained in my book.
      • The working title was “Headbanger.”
      • Daisley says this is the only song on the album not tuned down a semitone.
      • Lyrics were inspired by Buddhism
      • Ozzy and Sharon decided to change the title from “Strange Voyage” to this because they were both having an affair.  It stood for S.A. (Sharon Adrian, her boyfriend) T. O. (Thelma Ozzy.)
    4. Diary of a Madman (Daisley, Osbourne, Kerslake, Rhoads)
      • Bob Daisley: My title and lyrics. The title came from a movie of the same name which I’d seen starring Vincent price. When I told Ozzy about my idea he loved it and that became the title of the next album before we’d even started writing it. I wrote the lyrics about my own personal experience which I go into detail about in the book. When Randy, Lee and I first worked up the music for the song without Ozzy, he came in the next day, heard what we had and said, “Who the fuck do you think I am, Frank Zappa?”
      • Daisley says that at the time he wasn’t aware that some of the chord progressions weren’t entirely original.  He said it borrowed from Randy practicing “Etude Number 6” by classical guitarist Leo Brouwer.
      • Daisley says Ozzy needed a few run throughs with Lee explaining to him how the vocals fit in to get it before he was comfortable singing it.
      • Arranged By [Strings] – Louis Clark
      • https://en.wikipedia.org/wiki/Louis_Clark
      • Conductor and arranger that worked with ELO
      • Continued to work with Ozzy on “Bark at the Moon.”
      • Daisley said Clark was going for a Carl Orff type sound to give it the “Carmina Burana” treatment with the orchestra and choir.

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    Bustin’ Out The Spreadsheet

    Reception and Charts:

    • Daisley said the whole album is tuned down semitone to give it a heavier feel and to make it easier for Ozzy to sing.
    Visit my website https://vinyl-records.nl for complete album information and thousands of album cover photos

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