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- ANDREW: It's funny,
I had this conversation with Elton

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when I got to work with him,
'cause I asked him, like,

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"How do you write your piano parts

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to, like, this lyric page
that you're staring at?"

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And he was, like, "It's ordained.
It just comes from somewhere else.

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It's given to me."

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And... I was, I got chills on my body,

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because I have been saying that
my whole life.

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I'm having conversations with him
sitting with the guitar,

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and suddenly this little thing comes out,

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and then... a month later
it's on the radio

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and people love it and it's a hit.

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And I don't know where it's coming from.

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I'm sitting there with Ozzy,

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and one of the first songs we, we did
was this kind of piano ballad song.

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This illustrious man that's lived...
so many lives over,

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should have been dead
such a long time ago.

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If he ever does,
he's not gonna go out easy.

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He's gonna go out
like Tony... Montana.

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And so I came up with the line,
"I don't want to die an ordinary man."

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And I swear
I am not making any of this up.

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He comes over the next day,
and he handed me a lyric sheet,

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the first line that said
on the lyric sheet was...

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"I'm just an ordinary man."

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He came up with this concept,
"ordinary man"

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and I came up with this concept,
"I don't want to die an ordinary man"

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on the same night.

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So, he liked the concept.

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Ozzy... Osbourne.

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- He went to the studio having no idea
who any of the people in that room were.

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A connection and an instant trust
was built.

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So, I called Andrew and I said,
"Will you do an album with my dad?"

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And he said, "No."

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- I didn't know if I could do it
not because I didn't want to do it,

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because I didn't think
I was worthy of doing it.

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Ozzy is the most character in a voice
I've ever heard.

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When he sings, you know it's him.

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The most legendary rock singer
of all time.

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- I don't know
how that little... does it.

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He... is one of the great producers
of today.

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He's an unbelievable writer.

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- Um, I hate doing that.

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- Our first cut was "Let Me Love You,"
and then we did "Wolves" for Selena Gomez.

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"It Ain't Me," "Señorita,"
5 Seconds of Summer,

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The Chainsmokers, Zac Brown Band.

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- He's one of these little...
that's just good at everything.

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He's probably got a... 10-inch dick.

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- I think Andrew was very used to working
with pop music people.

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I love pop music
and I'm not putting it down,

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but what you're good at
isn't always what you love.

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And I think that Andrew loves rock music.

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- ANDREW: My dad always played me music
growing up.

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He played me The Beatles,
he played me The Who,

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he played me Zeppelin,
and he played my Black Sabbath.

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And I was scared the first time
I heard Sabbath, it's evil-sounding stuff.

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- You know, if, if you've love something
from a child... musically,

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and then you get to work with that person,

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it's just like the biggest rush ever.

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- ANDREW: When I, when I look down
at my hands, I see Ozzy...

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Paul McCartney, "Blackbird,"

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David Bowie, Prince.

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So, my guitar hand, my right hand.

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And then Bowie again, the lightning bolt,

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George Harrison, when I play slide.

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And New York, which is my baby, my home.

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- SHARON: This little punk kid, shaved...

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Silly hairdo, comes in,
and I'm like, "Oh, here we go."

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And I'm thinking it's gonna be, like,
he's gonna come with all this pop stuff.

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- ANDREW: I love pop music,
I love making it.

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But I'm, I'm a rocker, it's what I love.

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My first call was Chad from Chili Peppers.

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I was like, "They just asked me
to make an Ozzy album."

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He was, like, "Why don't we do it?
Let's do it. Let's do it. Let's do it."

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I was like, "All right.
Who should we have play bass?"

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So, I think about it in my head,
of my favorite rock bass players

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that would bring something
that I would want to work with.

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And so I called Duff up,
who's a friend as well.

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I said, "You know, they asked me to make
this Ozzy album, Chad wants to do it."

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"We're doing it. When should we...?"
They were, they were both so...

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They gave me the confidence,
both those guys.

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This all does not feel real to me.
I mean, even this, I'm like...

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trying to talk to you, but I see plaques
for my favorite Black Sabbath albums.

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I feel like this is some dream
that I am going to get woken up from.

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So, the "cry for help" on the last take,
use everything else from this take.

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Ozzy, you're... killing it.
This one's good.

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When you're working with someone...

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and you're writing with an artist,
artist to artist, creative to creative,

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you open up on such a vulnerable level.

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And so, we're having this conversation,

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and... it just comes out,
"I don't wanna die an ordinary man."

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That line, so what's that about?
"Ozzy, what does that mean to you?"

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"It means that I know
I'm coming towards the end.

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And I'm looking back on my life,
looking back on my family.

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And I'm, I'm gonna talk about it,
and I'm gonna be vulnerable.

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I'm gonna address the fact
that this is not forever.

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But the music's forever.

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- ANDREW: It starts with me sitting down

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with my engineer Paul,
who's at the computer,

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who's sitting on the couch,
and Chad's on the drums,

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Duff's on the bass, I'm on the guitar.

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We're sitting together
and we're making a progression of chords,

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a body of music, something
that feels like it could be a verse.

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Then from there, me, and the artist,
in this case Ozzy...

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- I can't do it on my home.
I don't play an instrument.

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- ANDREW: ...and whoever else
I'm co-writing with,

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in this case, Ali Tamposi, get together.

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- And then it's just a melody fest.

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And then we'll start talking concepts.

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- ANDREW: Then we sit and we write lyrics

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that sound like what would fit
into those melodies,

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and it's may the best man win.

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You know, everyone's saying, "This line,"

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"No, this line," "No, this line,"
"No, this line," or "That's great."

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And obviously the artist
is the ultimate judge, Ozzy would be,

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"I love that. That line's great."

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Or he would say something,
and we'd be, like, "We love it!"

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Then from there the vocal is recorded
and polished.

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Then we add all the finishing touches,

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be it guitar part,
keyboard parts, or reduction...

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- There are some days you just
are able to tap into that channel

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and it runs through you.

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When Ozzy and Andrew met,

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I think they saw a lot of themselves
in each other.

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- I think it was at a time where
both of them, Andrew and my Dad,

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were in a very transitional period
in their lives.

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And my dad had weeks
of being himself again.

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It was almost like oxygen
to somebody who was suffocating.

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- You have to contribute your art
and throw the paint at the canvas,

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and then you have to have those moments

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where you're, like,
"OK, is this good enough?

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Will people like this?
Is this what's right for the artist?"

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And my check point was always,

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"What would the 12-year-old die-hard
rock fan that played guitar to the mirror

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say about this music?"

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And that boy
would be very happy right now.

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- Yeah!