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No More Tears (Ozzy Osbourne song)

"No More Tears"
Ozzy Osbourne - No More Tears.JPG
Single by Ozzy Osbourne
from the album No More Tears
B-side "S.I.N."
"Don't Blame Me"
"Party with the Animals"
Released June 1991
Recorded 1991
Genre Heavy metal
Length 7:23 (album version) 5:54 (The Ozzman Cometh edit)
Label Epic
Songwriter(s) Ozzy Osbourne, Zakk Wylde, Mike Inez, Randy Castillo, John Purdell
Producer(s) John Purdell
Duane Baron
Ozzy Osbourne singles chronology
"Close My Eyes Forever"
(1989)
"No More Tears"
(1991)
"Time After Time"
(1992)
"Close My Eyes Forever"
(1989)
"No More Tears"
(1991)
"Time After Time"
(1992)

"No More Tears" is the fifth song on the 1991 Ozzy Osbourne album No More Tears. With a running time of 7:23, it is the longest solo song that Osbourne has ever recorded on a studio album. It reached #5 on U.S. Mainstream Rock Tracks, #71 on the Billboard Hot 100, and #32 on the UK Singles Chart.

The song was redone by guitarist Zakk Wylde as a bonus track on the second reissue of the Black Label Society album Sonic Brew as well as on its own promotional E.P. called the No More Tears Sampler.

A shorter edited version of this song was released to some radio stations, and can be heard on the 1997 compilation album The Ozzman Cometh. The full-length version appears on The Essential Ozzy Osbourne.

The music video was shot to accommodate both the album version and the edited version of the song. Some channels played the full-length video, and others played the shortened version.

This song also is played in the Adam Sandler movie Little Nicky. In the final battle scene where Osbourne appears, "No More Tears" can be heard being played in the background.

Osbourne considers this song to be "a gift from God", as stated in the Prince of Darkness liner notes.

In the 2002 remaster booklet for the No More Tears album, Osbourne stated that the song was about a serial killer.

Richard Gilliam of Allmusic wrote "the song has precisely the sort of hard, rhythmic drive that marks good heavy metal" and "Osbourne’s sharply edged vocals are among the strongest of his solo efforts" but "near the end of the song there’s a pointlessly overproduced art-rock bridge that mars the song’s otherwise fine dynamic flow."


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