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Music on vinyl: 23 sought after releases in April 2025 according to Discogs
But what have vinyl collectors been specifically seeking throughout April 2025? Fortunately for us, online music marketplace Discogs not only compiles a monthly list of desirable releases but also allows us to refine our search terms.
By exploring the marketplace, we selected the vinyl releases that appear on numerous user wantlists, resulting in 23 records currently in high demand among Discogs users.
So, do you own any of them? More importantly, are you willing to part with these particular releases, knowing they're going to a good home – perhaps not quite as good as yours, but hopefully close?
Here are April's most wanted records, according to Discogs.
1 . The Clash - London Calling (2 x LP, 1979)
The 1979 release of London Calling by The Clash is still one of the most requested items on Discogs. The hallowed work of Joe Strummer et. al. is currently wanted by 12693 users in the marketplace - have you one to spare? | Getty Images Photo Sales
2 . Black Sabbath – Paranoid (Gatefold, with Management Credits, 1970)
The 1970 single-disc edition of Black Sabbath's Paranoid has a total number of 13192 'wants' on Discogs' marketplace. With Ozzy's final live performance at Villa Park coming up this summer, will more people be requesting a chance to pick up this item? | Getty Images Photo Sales
3 . Stardust – Music Sounds Better With You (12, 33 ⅓ RPM, Single Sided, Single, Etched, 1998)
Still sending waves through dancefloors decades later! This sought-after 12-inch single of Stardust's iconic Music Sounds Better With You is a must-have for any house music aficionado. The single-sided pressing and unique etched design add to its collectible appeal. With over 13,000 users on Discogs still searching for this euphoric anthem on wax, don't miss your chance to own a piece of dance music history. Feel the groove on this essential single! | Provided Photo Sales
4 . Folklore The Long Pond Studio Sessions (2 x Vinyl, Record Store Day re-issue, Grey, 2023)
Relive the intimate and enchanting experience of Taylor Swift's Folklore: The Long Pond Studio Sessions with this highly coveted 2xLP grey vinyl reissue, released for Record Store Day. This special edition captures the magic of the stripped-down performances and storytelling behind the critically acclaimed album. With over 13,000 fans still searching for this unique pressing, don't miss your chance to own this beautiful and sought-after addition to any Swiftie's collection. Immerse yourself in the Long Pond Sessions on vinyl! | Getty Images Photo Sales
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Scotsman
3 hours ago
- Scotsman
is it still a metal classic or has it aged like milk?
This article contains affiliate links. We may earn a small commission on items purchased through this article, but that does not affect our editorial judgement. Has Fear Factory's Demanufacture stood the test of time or, as the prosecution accuse, become a 'flimsy structure' for metal to follow? Sign up to our daily newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to Edinburgh News, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Fear Factory's 1995 album Demanufacture is widely considered a landmark in metal, but its legacy remains fiercely debated. Accusations range from being overly mechanistic and cold to lacking the warmth and organic feel of traditional metal Is it a pioneering work guilty of derailing a genre, or is it a misunderstood masterpiece deserving of a dramatic re-evaluation? Today, we convene in the solemn chambers of public opinion to preside over a musical case that, while critically lauded in its time, has since been subjected to scrutiny, mischaracterisation, and perhaps, a failure to fully grasp its true impact. On trial: Demanufacture by Fear Factory, a 1995 release that arrived with the force of a hydraulic press, forging a path between industrial coldness and metallic brutality. Often cited as a pioneering work, it has also faced criticisms of being too rigid, too mechanical, and even, by some, too influential in ways that led to less desirable offshoots. Advertisement Hide Ad Advertisement Hide Ad The defence, however, believes there is compelling evidence for its enduring genius and rightful place as a monumental achievement in heavy music. Before we delve into today's proceedings, let us set the scene. Is Fear Factory's Demanufacture a work of art, or is it merely a work of 'calculated aggression?' | Getty Images/Canva In the mid-1990s, the landscape of heavy music was in flux. Metal, in its traditional forms, was still powerful, but new hybrids were emerging, challenging conventions and setting the stage for what would become one of the decade's most defining, and often divisive, sounds: nu-metal. It was into this fertile, yet volatile, ground that Fear Factory emerged. Formed in Los Angeles in 1989, Fear Factory quickly distinguished themselves from their peers. Comprised of vocalist Burton C. Bell, guitarist Dino Cazares, bassist Christian Olde Wolbers, and drummer Raymond Herrera, the band forged a unique sound that relentlessly fused industrial machine-like precision with death metal's aggression and groove metal's rhythmic drive. Advertisement Hide Ad Advertisement Hide Ad They built a reputation for pioneering a distinct rhythmic assault, often employing blast beats, double bass drumming, and heavily palm-muted guitar riffs that sounded more like percussive machinery than traditional shredding. Their lyrical themes, consistently exploring the uneasy relationship between man and machine, technology and humanity, carved out a distinct conceptual identity that resonated with a generation grappling with the digital age. It was in 1995 that Fear Factory released their second studio album, Demanufacture. Upon its arrival, it was heralded by many as a ground-breaking work, a bold leap forward that redefined the boundaries of extreme music. However, over the years, Demanufacture has become a subject of considerable controversy and debate. While praised for its innovation and brutal efficiency, it has also been accused of being cold, sterile, and overly mechanical, with critics questioning its emotional depth and whether its influential sound inadvertently paved the way for more simplistic and less organic forms of metal. Advertisement Hide Ad Advertisement Hide Ad To truly analyse its impact and legacy – and to confront these long-standing accusations – we are today putting Demanufacture on 'musical trial' in the court of public opinion. Let the proceedings begin. In defence of: Fear Factory - Demanufacture The Charge The album, Demanufacture by Fear Factory, stands accused of being a sterile, overly mechanistic, and emotionally cold blueprint for a wave of metal that prioritised rhythm and aggression over organic feel and nuanced musicianship, ultimately contributing to a perceived dehumanisation of the genre. The Prosecution Ladies and gentlemen of the jury, we are presented today with an album that, on the surface, might appear to be a marvel of precision and force. Indeed, upon its release, Demanufacture was met with considerable acclaim. But I submit to you that this very precision, this relentless, machine-gun rhythm, this calculated coldness, is precisely its greatest sin. The evidence will demonstrate that Demanufacture, for all its apparent innovation, presented a stark, almost unfeeling vision of metal. The drumming, while undeniably fast, often felt more like a programmed beat than the fluid expression of a human hand. Advertisement Hide Ad Advertisement Hide Ad As one reviewer noted regarding drummer Raymond Herrera's work, it's "precision machine gun fire drum work," often raising questions of "whether his drum work is not redone to some extent with studio magic, because it is totally mind blowing, despite the fact that he rarely touches his cymbals." This "machine-like" quality, while impressive, sacrifices the organic warmth of human performance. The guitar riffs, precise and percussive, largely eschewed the melodic complexity and dynamic range that defined earlier eras of metal, reducing the instrument to a rhythmic hammer. Critics have pointed out that Demanufacture "doesn't try to wow you with high-pitched vocals or blazing guitar solos as this album features absolutely none of that." This minimalist approach to traditional metal elements, while a deliberate choice, stripped away much of the expressive freedom cherished by purists. Even the vocals, while shifting between guttural roars and clean, almost ethereal melodies, often contributed to an unsettling dichotomy rather than a cohesive emotional landscape, with some finding the clean vocals "somewhat off key" at times Advertisement Hide Ad Advertisement Hide Ad We contend that this album, by "prioritising mechanisation over human elements" [paraphrased from general criticism], laid the groundwork for a future where metal became less about fiery passion and more about calculated aggression, paving the way for bands that would imitate its mechanical precision without capturing its conceptual ambition. It streamlined, it systematised, it... de-manufactured the very soul of heavy music, leading to a sound that, "while powerful, often sounded very lifeless when compared to their later work" and "very compressed by today's standards." It set a precedent for a sound that, in less capable hands, often became predictable, repetitive, and ultimately, devoid of the human element. The defence may speak of innovation, but we will show you an album that, despite its power, ultimately sacrificed warmth and humanity for the cold, unyielding embrace of the machine. This album, we contend, is guilty of establishing a blueprint that, while powerful, often led metal astray. Advertisement Hide Ad Advertisement Hide Ad The defence Members of the court of public opinion, I appreciate the arguments that the Prosecution has levied against the album, but I remind them of the state of metal at the time. This was in 1995, where the metal genre was just on the cusp of breaking into mainstream avenues through acts such as Korn, Limp Bizkit, and in later years, Linkin Park. Where some groups might have changed their formula to reflect the change in trends, I argue that Fear Factory "evolved" their sound not simply to be accessible for newer fans of the genre, but to ensure they did not alienate older fans of their industrial style. Demanufacture indeed sounds emotionally cold and lacks organic warmth; but that is precisely the point of the album. It's a meticulously crafted concept album about a man's struggles against a machine-controlled government, with each song a chapter in his life. As the band themselves stated, the album took its inspiration from the movie The Terminator, and within that context, the 'stark, unfeeling' nature of the album and lack of organic warmth is not a flaw, but a deliberate and essential artistic choice. This is an album that is meant to evoke emotions of technology taking over organic matter, and thus had to prioritise mechanisation over human elements. Not just that, but the very nature of industrial metal lends itself to having a cold, mechanical resonance to it, and I point to the likes of Nine Inch Nails or Godflesh as previous evidence of this aesthetic being central to the genre. Advertisement Hide Ad Advertisement Hide Ad The charges of being lifeless and compressed, giving it a powerful, suffocating feel, are exactly the kind of emotions Fear Factory looked to evoke with the work. Again, members of the court, this is a concept album about technology taking over. The relentless, percussive guitaring perfectly compliments the blunt force nature of the drumming, giving listeners such as myself vivid images of mechanical presses, whirling machinery, and cold, metallic elements as part of the story's chilling narrative. This wasn't a flaw; it was a masterful sonic design choice that immersed the listener in the album's dystopian vision. As for the charge against Burton C. Bell's vocals, his performance perfectly embodies the album's themes of man versus machine. What the Prosecution labels as "off-key" is, I submit, an unfair and superficial judgment. The stark contrast between the desperate, vulnerable human element of Bell's clean singing and the cold, almost automated yells, demonstrates the harrowing duality of the album's core concept. Advertisement Hide Ad Advertisement Hide Ad It's the sound of humanity struggling for breath against an overwhelming, artificial perfection, and in many respects, a chilling premonition of what life, according to Demanufacture, has become. This vocal interplay isn't a weakness; it's a dynamic storytelling device, full of nuanced emotion that transcends simple melody. Furthermore, to label Demanufacture as a "harmful blueprint" that led metal "astray" is to fundamentally misunderstand its pioneering spirit. This album was not simply following trends; it was very much steadfast in the industrial metal blueprint, while expertly borrowing from the burgeoning groove metal scene that was popular at the time. That it didn't lead metal "astray" should be more of a testament to the importance of the record across the metal genre, rather than dismissing it as building "flimsy structures" going forwards. It's not Fear Factory's fault if other artists were inspired, influenced, or outright cribbed from them and produced second-rate imitations—much like it is unfair to blame The Beatles for a "flimsy structure" regarding the raft of British pop acts that followed them or an act like The Libertines being accused of laying a formula for what has been called these days as 'landfill indie.' True innovation, like that found on Demanufacture, always risks inspiring lesser imitations. This album's influence should be celebrated, not condemned, for opening new sonic pathways in heavy music. I rest my case, your honour(s) Advertisement Hide Ad Advertisement Hide Ad What is your verdict on Fear Factory's 1995 album Demanufacture? Share if you're for or against the album by leaving a comment down below, and catch Fear Factory when they peform at Bloodstock Open Air 2025 in August 2025.
Scotsman
5 hours ago
- Scotsman
is it still a metal classic or has it aged like milk?
This article contains affiliate links. We may earn a small commission on items purchased through this article, but that does not affect our editorial judgement. Has Fear Factory's Demanufacture stood the test of time or, as the prosecution accuse, become a 'flimsy structure' for metal to follow? Sign up to our Arts and Culture newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Fear Factory's 1995 album Demanufacture is widely considered a landmark in metal, but its legacy remains fiercely debated. Accusations range from being overly mechanistic and cold to lacking the warmth and organic feel of traditional metal Is it a pioneering work guilty of derailing a genre, or is it a misunderstood masterpiece deserving of a dramatic re-evaluation? Today, we convene in the solemn chambers of public opinion to preside over a musical case that, while critically lauded in its time, has since been subjected to scrutiny, mischaracterisation, and perhaps, a failure to fully grasp its true impact. On trial: Demanufacture by Fear Factory, a 1995 release that arrived with the force of a hydraulic press, forging a path between industrial coldness and metallic brutality. Often cited as a pioneering work, it has also faced criticisms of being too rigid, too mechanical, and even, by some, too influential in ways that led to less desirable offshoots. Advertisement Hide Ad Advertisement Hide Ad The defence, however, believes there is compelling evidence for its enduring genius and rightful place as a monumental achievement in heavy music. Before we delve into today's proceedings, let us set the scene. Is Fear Factory's Demanufacture a work of art, or is it merely a work of 'calculated aggression?' | Getty Images/Canva In the mid-1990s, the landscape of heavy music was in flux. Metal, in its traditional forms, was still powerful, but new hybrids were emerging, challenging conventions and setting the stage for what would become one of the decade's most defining, and often divisive, sounds: nu-metal. It was into this fertile, yet volatile, ground that Fear Factory emerged. Formed in Los Angeles in 1989, Fear Factory quickly distinguished themselves from their peers. Comprised of vocalist Burton C. Bell, guitarist Dino Cazares, bassist Christian Olde Wolbers, and drummer Raymond Herrera, the band forged a unique sound that relentlessly fused industrial machine-like precision with death metal's aggression and groove metal's rhythmic drive. Advertisement Hide Ad Advertisement Hide Ad They built a reputation for pioneering a distinct rhythmic assault, often employing blast beats, double bass drumming, and heavily palm-muted guitar riffs that sounded more like percussive machinery than traditional shredding. Their lyrical themes, consistently exploring the uneasy relationship between man and machine, technology and humanity, carved out a distinct conceptual identity that resonated with a generation grappling with the digital age. It was in 1995 that Fear Factory released their second studio album, Demanufacture. Upon its arrival, it was heralded by many as a ground-breaking work, a bold leap forward that redefined the boundaries of extreme music. However, over the years, Demanufacture has become a subject of considerable controversy and debate. While praised for its innovation and brutal efficiency, it has also been accused of being cold, sterile, and overly mechanical, with critics questioning its emotional depth and whether its influential sound inadvertently paved the way for more simplistic and less organic forms of metal. Advertisement Hide Ad Advertisement Hide Ad To truly analyse its impact and legacy – and to confront these long-standing accusations – we are today putting Demanufacture on 'musical trial' in the court of public opinion. Let the proceedings begin. In defence of: Fear Factory - Demanufacture The Charge The album, Demanufacture by Fear Factory, stands accused of being a sterile, overly mechanistic, and emotionally cold blueprint for a wave of metal that prioritised rhythm and aggression over organic feel and nuanced musicianship, ultimately contributing to a perceived dehumanisation of the genre. The Prosecution Ladies and gentlemen of the jury, we are presented today with an album that, on the surface, might appear to be a marvel of precision and force. Indeed, upon its release, Demanufacture was met with considerable acclaim. But I submit to you that this very precision, this relentless, machine-gun rhythm, this calculated coldness, is precisely its greatest sin. The evidence will demonstrate that Demanufacture, for all its apparent innovation, presented a stark, almost unfeeling vision of metal. The drumming, while undeniably fast, often felt more like a programmed beat than the fluid expression of a human hand. Advertisement Hide Ad Advertisement Hide Ad As one reviewer noted regarding drummer Raymond Herrera's work, it's "precision machine gun fire drum work," often raising questions of "whether his drum work is not redone to some extent with studio magic, because it is totally mind blowing, despite the fact that he rarely touches his cymbals." This "machine-like" quality, while impressive, sacrifices the organic warmth of human performance. The guitar riffs, precise and percussive, largely eschewed the melodic complexity and dynamic range that defined earlier eras of metal, reducing the instrument to a rhythmic hammer. Critics have pointed out that Demanufacture "doesn't try to wow you with high-pitched vocals or blazing guitar solos as this album features absolutely none of that." This minimalist approach to traditional metal elements, while a deliberate choice, stripped away much of the expressive freedom cherished by purists. Even the vocals, while shifting between guttural roars and clean, almost ethereal melodies, often contributed to an unsettling dichotomy rather than a cohesive emotional landscape, with some finding the clean vocals "somewhat off key" at times Advertisement Hide Ad Advertisement Hide Ad We contend that this album, by "prioritising mechanisation over human elements" [paraphrased from general criticism], laid the groundwork for a future where metal became less about fiery passion and more about calculated aggression, paving the way for bands that would imitate its mechanical precision without capturing its conceptual ambition. It streamlined, it systematised, it... de-manufactured the very soul of heavy music, leading to a sound that, "while powerful, often sounded very lifeless when compared to their later work" and "very compressed by today's standards." It set a precedent for a sound that, in less capable hands, often became predictable, repetitive, and ultimately, devoid of the human element. The defence may speak of innovation, but we will show you an album that, despite its power, ultimately sacrificed warmth and humanity for the cold, unyielding embrace of the machine. This album, we contend, is guilty of establishing a blueprint that, while powerful, often led metal astray. Advertisement Hide Ad Advertisement Hide Ad The defence Members of the court of public opinion, I appreciate the arguments that the Prosecution has levied against the album, but I remind them of the state of metal at the time. This was in 1995, where the metal genre was just on the cusp of breaking into mainstream avenues through acts such as Korn, Limp Bizkit, and in later years, Linkin Park. Where some groups might have changed their formula to reflect the change in trends, I argue that Fear Factory "evolved" their sound not simply to be accessible for newer fans of the genre, but to ensure they did not alienate older fans of their industrial style. Demanufacture indeed sounds emotionally cold and lacks organic warmth; but that is precisely the point of the album. It's a meticulously crafted concept album about a man's struggles against a machine-controlled government, with each song a chapter in his life. As the band themselves stated, the album took its inspiration from the movie The Terminator, and within that context, the 'stark, unfeeling' nature of the album and lack of organic warmth is not a flaw, but a deliberate and essential artistic choice. This is an album that is meant to evoke emotions of technology taking over organic matter, and thus had to prioritise mechanisation over human elements. Not just that, but the very nature of industrial metal lends itself to having a cold, mechanical resonance to it, and I point to the likes of Nine Inch Nails or Godflesh as previous evidence of this aesthetic being central to the genre. Advertisement Hide Ad Advertisement Hide Ad The charges of being lifeless and compressed, giving it a powerful, suffocating feel, are exactly the kind of emotions Fear Factory looked to evoke with the work. Again, members of the court, this is a concept album about technology taking over. The relentless, percussive guitaring perfectly compliments the blunt force nature of the drumming, giving listeners such as myself vivid images of mechanical presses, whirling machinery, and cold, metallic elements as part of the story's chilling narrative. This wasn't a flaw; it was a masterful sonic design choice that immersed the listener in the album's dystopian vision. As for the charge against Burton C. Bell's vocals, his performance perfectly embodies the album's themes of man versus machine. What the Prosecution labels as "off-key" is, I submit, an unfair and superficial judgment. The stark contrast between the desperate, vulnerable human element of Bell's clean singing and the cold, almost automated yells, demonstrates the harrowing duality of the album's core concept. Advertisement Hide Ad Advertisement Hide Ad It's the sound of humanity struggling for breath against an overwhelming, artificial perfection, and in many respects, a chilling premonition of what life, according to Demanufacture, has become. This vocal interplay isn't a weakness; it's a dynamic storytelling device, full of nuanced emotion that transcends simple melody. Furthermore, to label Demanufacture as a "harmful blueprint" that led metal "astray" is to fundamentally misunderstand its pioneering spirit. This album was not simply following trends; it was very much steadfast in the industrial metal blueprint, while expertly borrowing from the burgeoning groove metal scene that was popular at the time. That it didn't lead metal "astray" should be more of a testament to the importance of the record across the metal genre, rather than dismissing it as building "flimsy structures" going forwards. It's not Fear Factory's fault if other artists were inspired, influenced, or outright cribbed from them and produced second-rate imitations—much like it is unfair to blame The Beatles for a "flimsy structure" regarding the raft of British pop acts that followed them or an act like The Libertines being accused of laying a formula for what has been called these days as 'landfill indie.' True innovation, like that found on Demanufacture, always risks inspiring lesser imitations. This album's influence should be celebrated, not condemned, for opening new sonic pathways in heavy music. I rest my case, your honour(s) Advertisement Hide Ad Advertisement Hide Ad
Scottish Sun
5 hours ago
- Scottish Sun
Ozzy Osbourne's most outrageous moments from bat eating to meat throwing and feud with TV legend
Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) SINCE shooting to fame as part of Black Sabbath, Ozzy Osbourne carved out a staggering career in the entertainment industry spanning almost 60 years. But this week, he sadly passed away "surrounded by family" at his home with his family after a lengthy battle with Parkinson's. Sign up for the Entertainment newsletter Sign up 7 Ozzy Osbourne passed away following his battle with Parkinson's Credit: PA And with the world mourning the loss, it's impossible not to look back at the jaw-dropping moments that defined his one-of-a-kind career. Whether he was biting the head off a bat on stage, hurling raw meat into crowds, or feuding with TV royalty. Here's a look back at the most outrageous and iconic moments in the life of the rock legend. Bat-Biting (1982) 7 This bat-biting incident became a career defining moment for Ozzy Osbourne Credit: Alamy The singer - dubbed the Prince of Darkness - has always played up to his satanic image. So when a fan hurled what he thought was a rubber bat toy at him on stage in January 1982, he put its head in his mouth and chomped. Turned out it was in fact a real bat and he later recalled: 'Immediately, something felt wrong.' There was a foul taste, and he felt the severed head twitch in his mouth. The teenage bat-thrower later insisted it was already dead, but Ozzy always maintained he felt it moving. Ozzy's Death Metal (1995) 7 Ozzy had almost killed a man by tossing a TV out a hotel window Credit: Getty Wild rocker Ozzy had almost killed a man by tossing a TV out a hotel window whilst on his Retirement Sucks! tour in 1995. He was boozing with guitarist Zakk Wylde in Prague unaware of a smoker outside when he decided to throw a TV out of his hotel room. Ozzy and Kelly Osbourne performing their version of Changes together He recalled: 'I am in The Four Seasons and I am watching the TV and I go to Zakk, 'I have never thrown a f****** TV out of the window of a hotel room. Let's f****** do it'. 'So I ripped the window open, picked it up and threw it out of the f****** window. It landed on the floor and f****** exploded. It went like a bomb. 'Little did I know that there was a guy smoking a cigarette and I shudder to think if that had hit him on the head. I would have killed him stone f****** dead.' Meat Throwing (1980's) 7 The rock legend hurled raw meat and animal parts into the crowd Credit: Getty In the Eighties, Ozzy took his fan interaction to a whole new level with a ritual as outrageous as it was unforgettable. The rock legend began hurling raw meat and animal parts into the crowd — all whilst encouraging fans to return the favour with whatever strange items they could sneak into the venue. One being the now-infamous bat incident and whilst some chalked it up to his on-stage theatrics, the truth was far more tongue-in-cheek. He revealed in his documentary The Nine Lives of Ozzy Osbourne, the inspiration came from old slapstick films featuring custard pie fights. He said: 'It gave me this idea to throw, instead of pie, bits of meat and animal parts into the audience. 'I thought it was hilarious. (They'd throw back) sheep testicles, live snakes, dead rats, all kinds of things. Someone once threw a live frog onto onstage, it was the biggest frog I'd ever seen and it landed on its back.' TV Legend Feud (2002) 7 Not yet disgraced TV host and comedian Bill Cosby slammed the Osbourne's family show Credit: Getty Back in 2002 Ozzy and his family created a reality show big enough to rival The Kardashians. The Osbourne's documented the ups and downs of the family's day to day life but not everyone had a good opinion about he show. Not yet disgraced TV host and comedian Bill Cosby slammed the MTV series as "not entertainment". Ozzy later revealed in his autobiography that Cosby had sent a letter scolding the family's use of foul language and supposed bad influence. Wife Sharon was quick to fire back with a letter of her own, pointing out that Cosby wasn't exactly a saint — especially after news of his extramarital affair surfaced in the late nineties. She also called out the hypocrisy of him clutching at straws over swearing whilst TV was drowning in violence. The Alamo (1982) 7 The Birmingham-born rocker was arrested at the site when he decided to publically urinate Back in 1982 a very drunk Ozzy was seen dressed in one of wife Sharon's gowns during a photo shoot near the Alamo — the iconic Texas landmark where outnumbered rebels made their famed last stand against the Mexican army. The Birmingham-born rocker was arrested at the site when he decided to publically urinate. He later returned to the landmark with son Jack with Ozzy admitting he wasn't sure if he actually peed on the memorial as he was "very inebriated". But Ozzy's fears were calmed once they were met by local councilman Robert Trevino who found Ozzy's old police report. He then revealed the star was only charged with public intoxication that day - and never with public urination or public indecency. Dove De-Capitation (1981) 7 Ozzy pulled one of the most bizarre stunts in music history Credit: The Mega Agency A bat isn't the only thing The Black Sabbath Frontman bit into. Back in 1981, during a meeting with CBS Records to celebrate his new solo deal, Ozzy pulled one of the most bizarre stunts in music history. Hoping to make an impression, he arrived at the boardroom carrying two white doves. What was supposed to be a quirky gesture quickly turned into a PR nightmare when he suddenly grabbed one of the doves and bit it's head off. Spitting it onto the conference table in front of label executives and later reportedly did the same to the second dove, he admitted: 'They were all throwing up all over the place. People were freaked.' He was immediately thrown out from the building and whilst the label was appalled, the stunt only added to Ozzy's reputation as rock's most unpredictable wild man.
