BREAKING NEWS Ozzy Osbourne's final photo: Black Sabbath star snapped beaming on stage just days before death
The star could be seen beaming on stage during a farewell concert at Villa Park Stadium, the home of his beloved Aston Villa, just days before his passing.
The rocker reunited with all his original Sabbath bandmates Tony Iommi, Geezer Butler and Bill Ward for the first time since 2005 to bid an emotional farewell to his decades of performing live on stage.
In the snap, Ozzy took in the adulation of a sell-out crowd while sitting in a black throne, dressed in all black.
Looking emotional, he told his adoring supporters: 'You have no idea how I feel.'
In a statement following his death, Ozzy's family said: 'It is with more sadness than mere words can convey that we have to report that our beloved Ozzy Osbourne has passed away this morning. He was with his family and surrounded by love.'
The Black Sabbath icon died 'surrounded by love', a statement from his family said on Tuesday.
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The Guardian
42 minutes ago
- The Guardian
Sabbath, Satanism and solo stunners: Ozzy Osbourne's 10 best recordings
Ozzy Osbourne's voice was probably at its strongest and most distinctive during the great run of Black Sabbath albums of the early 1970s, before years of drugs and alcohol took their effect. In those days, his desolate wail had reach and range, and a deep melancholy. That tone was perfect for the subject of this bleak and blasted reflection on cocaine (Vol 4 was dedicated to 'the great COKE-Cola company of Los Angeles'). Osbourne sounds like a man who has been wiped clean, both terrified of and in thrall to the drug: 'The sun no longer sets me free / I feel the snowflakes freezing me.' At a time when cocaine was still considered a party drug, the fervour in Osbourne's voice as he celebrates enslavement to it is deeply unsettling – it's every bit as amoral and devout in its drug worship as Lou Reed's Heroin. It's pointless trying to extricate the sound of Osbourne himself from Sabbath as a band: at their peak, they were a single being with four heads, but a single musical will – they were perhaps the first truly monolithic-sounding band. So, inevitably, the better the band sound, the better Ozzy sounds. And, dear God, did the four of them ever combine better than on Sabbath Bloody Sabbath, especially in the 'dreams turn to nightmares' section, where Osbourne is singing at the absolute top of his range, while Tony Iommi goes to the very bottom of his to play a riff that even 52 years later sounds as though it has been dredged from some primordial sludge, rather than played on a guitar. And on the acoustic passages, Ozzy makes the perfect transition from rage to gentleness. Blinding stuff all round. Sabotage was probably the best Sabbath album, both profoundly heavy and strange and experimental. Hole in the Sky, though, was Sabbath at their most traditional and basic: a huge rolling boogie, powered by Bill Ward's swinging drums, and topped by Iommi's brutal riff. Near the top of his register, Osbourne – as on Snowblind – sounds possessed by an ecstatic emptiness, like a cult leader. Or, more accurately, a cult follower: he sounds delighted as he sings: 'I'm looking through a hole in the sky / I'm seeing nowhere through the eyes of a lie.' The contrast between Osbourne's shriek and Iommi's roil was a key component of the Sabbath sound – when Iommi was not soloing, his voice was often the only treble in the mix. Though you're never going to Osbourne looking for vocal pyrotechnics, he had a vital role in the musicality of Black Sabbath. Listen to any doom band with a growling vocalist to hear the difference his voice makes. One of the greatest of all heavy metal tracks – you can hear lightbulbs going off in the minds of a generation young musicians as it plays – has a reputation that rests largely on its riff, and its heaviness, but Osbourne brings it to life. Here, he is vicious, bordering on unhinged, his cries of 'yeah' stretching out and getting ragged as his voice fades. Symptom of the Universe depends on its power for Osbourne's commitment, because Geezer Butler's lyric is – to be honest – a bit of a dog's dinner. Osbourne makes it sound credible through sheer force of will. And in the outro – all acoustic guitars and shakers, and Latin rhythms – the desperation turns to grit, and Ozzy is suddenly a kind of soul singer. Told you this was a strange record. When it opens with that bubbling bassline, you might think you're listening to an unheard Cure song. Then the guitars and vocals come in. But where The Writ goes is entirely unexpected. Over the course of nine minutes it manages to encompass not just proto-goth, but Zep-esque storming, with bluesy flourishes from Iommi: anthemic arena rock, grinding and faintly psychedelic passages that preface a large amount of US noise rock a decade later and harpsichord ballad sections. And wherever you throw him, Ozzy sounds completely at home. Sometimes his voice was a monotone, but that meant small gradations and changes in tone really registered. The measure of how central he was to the Sabbath sound was that the band had to overhaul it to incorporate his successor, Ronnie James Dio. Banished from Sabbath, seemingly out of control and hardly likely to top anyone's list of reliable people to ask for a household favour, Ozzy needed to begin his solo career with a bang, and find a way to be something other than Sabbath Part 2, but not as good. He found it in a young, blond California guitarist named Randy Rhoads, who had been playing around Los Angeles with Quiet Riot. Rhoads, who died in 1982, helped reinvent Ozzy – something his employer has always acknowledged. His tone was bright and shiny, a polar opposite to Iommi, and he played with flash and flair – this was the sound of rock guitar to come, and a clean break for Osbourne. For their first single together, Rhoads brought a killer riff, and Bob Daisley gave Ozzy a perfectly self-aware lyric to acknowledge his public perception: 'I'm going off the rails on a crazy train.' Sign up to Sleeve Notes Get music news, bold reviews and unexpected extras. Every genre, every era, every week after newsletter promotion The other signature song from the first Ozzy record, Blizzard of Ozz, gave him a lyrical subject on-the-nose enough to reassure the old Sabs fans that their hero had not strayed too far. You don't release a single about Britain's most famous satanist if you want to let people know you've changed from your old, evil ways. The version on the album was clunky, which was perhaps why a live cut was selected for the single. Ozzy is fine, but no one is really pretending the hero of this recording is anyone other than Rhoads. After Don Airey's portentous keyboard intro, it is Rhoads who provides the crashing riff – just evil enough, but no Sabbath parody – and he who provides the two guitar solos that helped cement his international reputation. Rhoads shredded, but played with melody – he didn't just cram notes in, but made them do things other hard rock guitarists were not contemplating. Arguably the standout moment of Rhoads' career, it's also a song that illustrates that long before experimental metal was a thing, the genre was far from being unimaginative. Diary of a Madman – and yes, the title is once again on the nose – was an extraordinary song of shifting moods, and Osbourne singing a lyric that is not in the least cartoonish but a darkly empathetic account of mental illness, of someone utterly trapped in their own despair. A technically better singer might have been tempted to overemote, but Ozzy keeps the mood, allowing the music – by the end there's an operatic choir – to provide the drama, while he offers the feeling. Ozzy achieved huge commercial success through the 80s without touching the heights of the two albums with Rhoads. There were high points, but there was a fair amount of hair-metal awfulness, too. Ozzy himself long described 1986's The Ultimate Sin as the worst record of his career, no matter it going double-platinum in the US. No More Tears, though, was the toughest and best album in a decade, guitarist Zakk Wylde and producers Duane Baron and John Purdell giving him a completely sympathetic backing. The album opener reconfigured Osbourne in villainy and horror, but of a much darker and less fantastical hue than in the devilish days: Mr Tinkertrain is written from the perspective of a predatory paedophile, a creepy lyric with a perfectly judged backing, that manages not to overstep the mark from horror into prurience. The seven-minute title track of No More Tears was commercial metal par excellence: epic and grand and stirring without becoming overbearing. And, because it was Ozzy, this one was sung from the perspective of a serial killer. This was another case of a band performance bringing out the best in Ozzy: he sounded stronger than he had in years, actually weird and dangerous rather than acting out a pantomime of weirdness and danger. His singing behind the beat in the pre-chorus, dragging out the syllables, is genuinely creepy. Even in the year of Nirvana's Nevermind, an on-form Ozzy was still a metallic force to be reckoned with: No More Tears ended up going quadruple-platinum, his second most successful after his first solo record. It deserved its success; it was also his best record since that debut.
Daily Mail
44 minutes ago
- Daily Mail
James Bond star Rory Kinnear reveals extreme lengths the producers take to keep who will play the next 007 secret
James Bond star Rory Kinnear has revealed the extreme lengths producers are going to in order to protect the franchise amid feverish speculation over who will play the next 007. The celebrated actor, who has played MI6 Chief of Staff Bill Tanner in four Bond films opposite Daniel Craig, has disclosed that scripts are being delivered by hand rather than emailed - a strict security measure introduced after the 2014 Sony Pictures hack that saw early drafts of Spectre leaked online. 'The script for James Bond is delivered by car,' Rory revealed on Jesse Tyler Ferguson's Dinner's On Me podcast. 'And if there are changes in the script, they are delivered by car.' The unprecedented leak more than a decade ago not only contained major spoilers for Spectre, but also the projected budget of $300 million made the film one of the most expensive to be made at the time. The cyber leak also contained celebrities' details and exchanges between executives slamming the ending, to have it rewritten multiple times. Producers were forced to immediately scrap digital distribution. Since then, the franchise has become infamous for its cloak-and-dagger approach - even among its own cast. Rory, 47, added of the script delivery strategy: 'They got burnt, so I understand why they do it.' The Olivier award winner starred in Quantum of Solace, Skyfall, Spectre and No Time To Die, and is one of the longest-standing actors in the current Bond universe. His comments come at a pivotal moment for Bond, as the franchise undergoes its most radical transformation in decades. Amazon, which bought MGM in an $8.5billion deal, now holds the creative reins, and has appointed Dune director Denis Villeneuve to take charge of Bond 26. The French-Canadian filmmaker, a self-confessed 'die-hard' Bond fan, promised to 'honour the tradition' of 007 while opening up the franchise 'to many new missions to come.' He is joined by powerhouse producers Amy Pascal and David Heyman, with Eon's Barbara Broccoli and Michael G. Wilson still involved behind the scenes. Casting, however, remains the hottest topic of conversation - and the race to replace Daniel Craig recently took a dramatic turn. While Kick-Ass and 28 Years Later star Aaron Taylor-Johnson, 35, remains the bookies' favourite, a surprise new contender has emerged: 37-year-old Scott Rose-Marsh. The relatively unknown British actor - whose credits include Wolves of War and Code of Silence - has leapt to eighth place on the Oddschecker leaderboard, overtaking heavyweights like Henry Cavill and Jack Lowden. Despite his lack of blockbuster experience, Rose-Marsh's sudden rise has set tongues wagging in industry circles. Sources say Villeneuve is keen to cast an actor who can grow into the role, rather than one already saturated by franchise fame. Tom Holland, Theo James, Aaron Pierre, Harris Dickinson, Jacob Elordi and James Norton also remain in the top ten, though insiders claim the director's shortlist has shifted several times since he took the reins earlier this summer. Meanwhile, on the Bond girl front, Euphoria and Anyone But You star Sydney Sweeney is widely tipped for a lead role. A source told The Sun: 'Sydney is the top name on the casting sheet for Bond. Denis believes she is hugely talented, as well as having an alluring appeal to younger generations — vital in modernising the franchise.' Sydney, 27, is reportedly close friends with Villeneuve and is being considered for a central role in the upcoming film - potentially as a high-stakes MI6 agent or a powerful femme fatale to match 007 blow for blow. Amazon is expected to officially unveil the cast later this year, with pre-production already underway and filming expected to begin in 2026. The release date is currently pegged for late 2027, though that may change depending on location availability. Bond purists were reportedly unsettled by news that filming may not take place in London due to a Central London ban next year. According to insiders, Liverpool is now a frontrunner to double for the capital - a choice previously used in major franchises such as The Batman and Captain America. A source said: 'This will no doubt irk Bond purists who already fear Amazon taking over the 007 franchise may lead to them making big changes. But Liverpool has become a well-known alternative to London for filmmakers. That doesn't necessarily mean the story is set there — but fans will spot it.'
Daily Mail
an hour ago
- Daily Mail
Sheridan Smith reveals the kind message the late Dame Maggie Smith gave her when she 'spotted her nerves' while filming Quartet
Sheridan Smith has revealed the kind message she received from the late Dame Maggie Smith as they filmed 2012 comedy Quartet together. The actress, 44, has now opened up about working with the legendary star, who sadly passed away in September last year aged 89. Sheridan, who portrayed Dr. Lucy Cogan in the film, revealed Dame Maggie 'spotted her nerves' on set and told her they need to 'stick together'. Speaking to Good Housekeeping UK, she said: 'Dame Maggie Smith was gorgeous in Quartet, which Dustin Hoffman directed. She spotted my nerves on day one and said, 'Come on, us Smiths stick together.' Sheridan also shared the sweet gesture the Harry Potter star made when her dad passed away. She added: 'When my dad passed, she sent me a beautiful card that I still cherish.' The movie, followed a home for retired musicians and the annual concert to celebrate Composer Giuseppe Verdi's birthday is disrupted by the arrival of Jean (Dame Maggie Smith), an eternal diva and the former wife of one of the residents. While filming, Sheridan gushed over Dame Maggie calling her a 'genius' and said she 'took me under her wing'. The Gavin and Stacey star said at the time: 'She's a genius. I watch her at work, and you never believe she's saying lines. 'She took me under her wing. She's so nice. On stage for Hedda Gabler, she sent me opening night present and card, left me a voicemail the other day, I'm overwhelmed, really.' It comes as Netflix fans have gone wild for 'brilliant' British drama Cilla which is 'not to be missed' a decade on from its ITV release. The three-part biopic, titled Cilla, first hit screens on ITV back in 2014. Following 'Cilla Black's rocky path from Liverpool clubs to the top of the charts,' according to the synopsis, the drama has since been added to Netflix. Cilla was a famous singer and television presenter, known for her hit singles You're My World and Anyone Who Had A Heart. Speaking to Good Housekeeping UK, she said: 'Dame Maggie Smith was gorgeous in Quartet, which Dustin Hoffman directed. She spotted my nerves on day one and said, 'Come on, us Smiths stick together' The series explores the famous singer's relationships including with Bobby Willis and Brian Epstein. Sheridan plays the titular star, alongside Aneurin Barnard, John Henshaw and others. In the show, Sheridan dons a sleek ginger bob - strikingly different to her longer, blonde locks. Cilla has received raving reviews by fans and one penned on Google: 'Brilliant portrayal of Cilla by Sheridan Smith who also sings all the songs! Wow! The whole cast were fabulous. One not to be missed!' 'Brilliant. Loved this series, Smith always smashes it,' someone else said. Another added: 'Great performance by all and gives a great feel for the early 60's in Liverpool.' The show was a hit when it first aired over a decade ago, and triggered Cilla's music to be back in the charts. Thousands flocked to buy Cilla's 1964 Number 1 smash Anyone Who Had A Heart after Sheridan performed it on the show back in 2014. The classic track was at number 46 in the midweek chart, as well as reaching the top of the Irish charts. Cilla, who sadly passed away aged 72 in 2015, watched the show and gave Sheridan her seal of approval for portraying her. The Liverpudlian told the Daily Mirror: 'It's a strange experience seeing other people recreating your life... I was a bit worried when I heard that Sheridan was playing me because I'd only ever seen her as Mrs Biggs'. However she added: 'I needn't have worried because Sheridan is absolutely terrific. I can't fault her. But God knows how she sang so well with those false teeth in', during an interview with the newspaper's Rachael Bletchly.
