Ozzy Osbourne Celebrated With All-Star Performance at Rock Hall

A star-studded lineup of rockers joined forces to honor Ozzy Osbourne during the 2024 Rock & Roll Hall of Fame induction ceremony.

The backing band for Ozzy's set was impressive, featuring Red Hot Chili Peppers drummer Chad Smith, Metallica bassist Robert Trujillo, producer and multi-instrumentalist Andrew Watt and keyboardist Adam Wakeman. All of the musicians have history with Osbourne: Smith and Watt contributed to 2020’s Ordinary Man and 2022’s Patient Number 9, Trujillo also played on the latter album, while Wakeman -- son of Yes' Rick Wakeman -- co-wrote five songs on Osbourne's 2010 LP Scream.

That group was joined by Tool frontman Maynard James Keenan and Wolfgang Van Halen for the first song of the set, Osbourne's 1980 classic "Crazy Train." Ozzy himself got the tune started, providing his distinctive demonic cry of "All aboard!" before Keenan took over vocal duties.

READ MORE: Ozzy Osbourne Inducted Into the Rock and Roll Hall of Fame

Ozzy's longtime guitarist, Zakk Wylde, and country star Jelly Roll joined for the next song, "Mama I'm Coming Home." The 1991 power ballad marked Osbourne's only Top 40 hit.

Billy Idol Performs 'No More Tears' at Ozzy Osbourne Hall of Fame Induction

Osbourne’s close friend Billy Idol got in on the fun during the third and final song of the set, "No More Tears." Idol was joined by Steve Stevens, his longtime guitarist and collaborator. Prior to the ceremony, Ozzy campaigned for Idol to be inducted one day as well. “Billy Idol is a rock icon,” Osbourne declared earlier this month. “His music is timeless. Billy Idol should be inducted into the Rock and Roll Hall of Fame.”

READ MORE: Ozzy Osbourne Albums Ranked Worst to Best

Saturday’s all-star performance celebrated Osbourne’s second enshrinement in the Rock & Roll Hall of Fame. The legendary singer was previously inducted in 2006 as a member of Black Sabbath.

'Blizzard of Ozz' (1980): "Crazy Train"

Ozzy Osbourne's first solo hit sets the pace for his best work. Musically, there's a defining riff and a style that harks back to the unrelenting thrust of Black Sabbath, with an added top-end energy that's slightly more pop-rock. Then there's a trademark Ozzy vocal melody and lyrics about being, well, Ozzy – or at least the fictional version of him. While it's difficult to choose one track from this album, "Crazy Train" just shunts ahead. (Martin Kielty)

'Diary of a Madman' (1981): "Flying High Again"

The years of drink and drug excess hadn't even peaked yet, so it's not surprising that "Flying High Again" celebrates the benefits of being under the influence (at live shows, crowds were invited to "keep smoking those joints" as the song was introduced). Behind that, however, there's another stunning Randy Rhoads solo and another choice melody. In many ways, Blizzard and Diary represent a single musical project – another reason there could be multiple choices for best track on the second LP. (Kielty)

'Bark at the Moon' (1983): "Bark at the Moon"

The death of Rhoads brought Jake E. Lee into a world where Osbourne, unhappy with reality, attempts to overdo an already overdone imaginary persona. And while his third album begins to feel ridiculously overblown at points, and the production values begin to change with the times, there's no denying the strength of the title track's composition, guitar heroics and compelling vocal melody. (Kielty)

'The Ultimate Sin' (1986): "Shot in the Dark"

Osbourne himself hated this LP, calling it The Ultimate Din, but it's not quite the lost cause it's made out to be. While there's too much pandering to mid-'80s production, "Shot in the Dark" is by any standards a good rock song of the era. The fact that its writing credits are disputed – the song is alleged to have been completed by bassist Phil Soussan with his previous band Wildlife, and his then-colleagues are said to have contributed more than Osbourne – perhaps explains why it feels like less of an Ozzy song and more of an anonymous mid-'80s rocker. (Kielty)

'No Rest for the Wicked' (1988): "Miracle Man"

It's all-change once again, with the arrival of Zakk Wylde and the brief return of Bob Daisley, and "Miracle Man" is probably the best example of that particular musical force. A personal dig at shamed televangelist Jimmy Swaggart, who'd taken swipes at Osbourne in public before his fall, it features a lot of the energy of the first two albums and sees the bandleader demonstrating more confidence than in recent outings. (Kielty)

'No More Tears' (1991): "No More Tears"

Over a decade into his solo career, Osbourne delivers one of his most convincing performances of all time. There’s an older-and-wiser feel to his sixth LP, and the humor is darker while still present, to say nothing of the on-the-button production for the era. More than half the album is undeniably major-league, but the title track, which jokingly tries to convince listeners to take the side of a serial killer — and chills with the suggestion of how easy it might be to do so — is a high point in the expression of Ozzy's Prince of Darkness character. (Kielty)

'Ozzmosis' (1995): "See You on the Other Side"

After announcing his retirement, Osbourne instead followed up No More Tears with a seventh album, and anticipation was high when Wylde was joined by Sabbath bassist Geezer Butler, Yes keyboardist Rick Wakeman and future Journey drummer Deen Castronovo. To top that, "See You on the Other Side" was co-written by Lemmy Kilmister. What was to hate? Sadly, the production, which landed the LP with middling reviews. But it's better than that, and this track is the best of the lot. (Kielty)

'Down to Earth' (2001): "Junkie"

One of the handful of songs co-written by Robert Trujillo before he moved on to Metallica, "Junkie" returns to one of Osbourne's great themes, but the passage of time sees more introspection coming to the fore. It's a classic, almost Sabbath-like vocal performance, but the absence of any writing credits from Wylde in favor of a wide range of other creatives contributes to a lack of cohesion that leaves most of the LP difficult to love. (Kielty)

'Under Cover' (2005): "Rocky Mountain Way"

Osbourne said no one wanted to hear any new music from him, hence a covers album. The truth might have been even fewer people wanted a covers album. This LP, if anything, proves that Ozzy's solo output is so well-defined around him and his persona(s) that he shouldn't do covers – other artists should cover him. However, since we have to choose one, it's "Rocky Mountain Way" for its competence and sense of fun — and to be fair, the collection's sense of fun is its saving grace. (Kielty)

'Black Rain' (2007): "Not Going Away"

Rumored to be the first album Osbourne recorded sober, this is far from his best work, although it features some of the heaviest music of his career. With Wylde back in the fold, Black Rain certainly carries a sense of intent, if not achievement. For example, "Not Going Away" is a statement that he intends to keep performing until he drops, and there's no faulting his vocal delivery and interplay with Wylde. (Kielty)

'Scream' (2010): "Let Me Hear You Scream"

Perhaps the album Black Rain could have been (even if it shouldn't have), Scream feels a lot more focused. Guitarist Gus G. provides a badly-needed lick of paint to the Ozzy machine. If it's not one of his best LPs, it's at least solid and confident. The songs, mostly co-written by producer/drummer Kevin Churko, make an undeniable bid to feel of-the-moment, even though most fans would argue Ozzy doesn't need to be. Regardless, "Let Me Hear You Scream" retains some key trademark elements in the vocal melody and smoking lead guitar. (Kielty)

'Ordinary Man' (2020): "Straight to Hell"

Osbourne immediately makes up for the decade-long wait between Scream and Ordinary Man with the latter's opening track, serving up the type of wickedly funny, party-hardy metal stomper that's been his bread and butter for decades. "Straight to Hell" features a murderer's row of talent, with Chad Smith and Duff McKagan providing the walloping low end and Slash laying down a roaring, wah-drenched solo. Osbourne plays the devilish master of ceremonies, delivering thunderous call-and-response vocals alongside the guitars and laughing maniacally after dropping one of the hardest bars of his career: "I'll make you scream, I'll make you defecate." (Bryan Rolli)

'Patient Number 9' (2022): "Degradation Rules"

Osbourne turned heads when he claimed some of the tracks on Patient Number 9 could have been Black Sabbath tracks. Many of those same heads started banging when "Degradation Rules" – one of two collaborations with Tony Iommi – arrived with its heavy Sabbath overtones, right down to some harmonica action in the introduction. Along with proving Ordinary Man hadn't been a late-career fluke, producer Andrew Watt's focus on harmony allowed some of Osbourne's passion for the Beatles to drip into "Degradation Rules," all to its betterment. Within its deep, dark doominess, it's a sarcastic look at a dirty old man. And as long as you don't listen too closely to the lyrics, you can imagine Sabbath continued beyond 2017 – which is nice. (Kielty)

Next: 27 Rock Stars Inducted Into the Hall of Fame More Than Once