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Single Thoughts

Black Sabbath’s “Changes” is already a deeply emotional song, and Ozzy Osbourne’s vocals convey those emotions so vividly. The melancholic piano and strings create a raw emotional impact on the listener.

When YUNGBLUD was asked to cover this song for Ozzy Osbourne’s farewell show in Birmingham, it was undoubtedly one of his biggest challenges. As a young musician aspiring to follow in Ozzy Osbourne’s footsteps, he faced a daunting task. However, based on my limited knowledge of this genre and YUNGBLUD himself, I believe he not only rose to the challenge but also exceeded expectations.

Covering a legendary and genre-defining song like Ozzy Osbourne’s “Changes” is no easy feat. Most artists would be hesitant to touch such a masterpiece, let alone reinvent it and add depth to an already emotionally charged song.

The introduction of “II / From Sleep Token” on drums, “Nuno Bettencourt / From Extreme” on guitar, “Frank Bello / From Anthrax” on bass, and “Adam Wakeman / From Ozzy Osbourne’s Band” on piano transforms the song, elevating it to a new dimension.

The first minute of the cover closely mirrors Black Sabbath’s original. The crisp piano and YUNGBLUD’s emotive vocals blend seamlessly. His raspy vocals perfectly complement the song, especially when he hits the iconic hook, “I’m Going Through Changes / I’m Going Through Changes / I’m Going Through Changes, Oh.” The impact of that “Oh” resonates through your bones, showcasing his ability to maintain power and control in his mixed range. 

From this point on, it’s as if the band collectively decided to crank up the volume and really push this song to its crescendo in such a beautiful way. The slow introduction of the band is incredibly satisfying. It starts with a subtle and crisp 4/4 on the ride of the kit, with a slight accent on the fourth beat every now and then. This perfectly complements the already gorgeous piano. A deep-toned guitar then noodles around the lyrics sung by YUNGBLUD during the second verse, building an atmosphere of impending explosion.

Erupt it certainly did! By the time we reach the second chorus, the toms ring poetically around the screeching guitar as Nuno slides his lick across the fretboard. The bass finally joins in, commanding attention alongside the rest of the band. However, this attention is not only received but also controlled. This is evident from the crowd’s participation in the chorus. The energy of the crowd is not only heard but also felt throughout the song. YUNGBLUD is experiencing his “Freddie Mercury” moment, just like Freddie did at Live Aid. The crowd is in the palm of his hand.

What more could you want? Well, Nuno has an idea and it’s a face-melting guitar solo. This isn’t just a random mashup; it’s one of the most beautifully composed 30-second solos. The bend of the notes that introduce the solo somehow makes it feel like he slowed down the tempo. Instead, he’s setting up for iconic hammer-ons and pull-offs that make his fingers seem to be moving a million miles per hour.  All the while, he seamlessly falls back into the chorus with the dirty grit of his power chords over the band’s second-to-last chorus.  

The final verse’s full-circle moment, returning to just the piano and vocals, effectively restores a sense of calm to the arena. This allows listeners to fully grasp what I believe is the song’s most crucial section: the lyrics “It Took So Long To Realise / And I Can Still Hear Her Last Goodbyes / Now All My Days Are Filled With Tears / Wish I Could Go Back And Change These Years”. This profound exploration of failure and heartbreak resonates deeply, clearly declaring to someone Ozzy hurt or wronged, his intention to change, while simultaneously expressing his own hurt.

Like all great live performances, the band plunges back into the song with a hiss and a roar, concluding in a heavy and loud final chorus.  The entire experience – the band, the crowd, YUNGBLUD’s vocals, and the drum fills – is a powerful, almost shouting spectacle.

Leading to the song’s best section, YUNGBLUD channels the energy of the crowd and fully showcases his musical persona in a single note. The “Oh” that precedes his singing with the crowd is guttural and deep, a declaration that he’s not done with them and they’re not done with the song either. The final chorus is spiritual, with the crowd’s vocals profound, as if they were trying to ensure Ozzy Osbourne himself heard the emotion and feeling they were singing for him. The energy his nearly six-minute song filled the arena with was truly outstanding.

Now, I’m not suggesting this is better than the original. It’s incredibly difficult to definitively say one is superior to the other. The original song’s emotion and intention made it a cult classic for a reason. Though, I’ll stand by my belief that I haven’t heard many other artists masterfully blend a song into something new while enhancing the original. This song’s genius lies in YUNGBLUD and the band’s absolute respect for the original while simultaneously crafting something fresh and introducing a new generation of rockers to the genre.