Introduction:
From Bubblegum to Bellow: The Unbridled Power and Prescient Message of The Osmonds – Crazy Horses
In the annals of popular music, few sonic departures are as abrupt, unexpected, or delightfully jarring as that executed by The Osmonds in 1972 with the release of their single, “Crazy Horses.” To the casual observer, or indeed, to the legions of predominantly young, female fans who had propelled the Utah-based family group to global stardom on the strength of saccharine-sweet pop anthems and the heartthrob appeal of Donny Osmond, this track felt like an utter tectonic shift. It was, quite simply, the moment the bubblegum burst. Yet, for those of us who appreciate the often-untold narratives of musical evolution and the artists’ earnest struggle for creative autonomy, “Crazy Horses” is not a mere anomaly; it is a profound declaration, a vital moment of hard rock defiance, and a testament to the raw talent simmering beneath a carefully constructed, wholesome veneer.
To truly appreciate the song’s impact, one must remember the context. The Osmonds had been carefully managed, their output dictated largely by a record company keen to capitalize on their clean-cut image. They were, in the parlance of the time, a definitive “boy band,” their success measured in screaming adulation and chart-topping singles steeped in teenage romance. But beneath the polished harmonies and matching outfits, the older brothers—Alan, Wayne, Merrill, and Jay—were serious musicians, fans of heavier, grittier sounds like Led Zeppelin and Deep Purple. They yearned to write their own material, to plug in, turn up, and rock.
“Crazy Horses” was the uncompromising answer to that yearning. Penned by Alan, Merrill, and Wayne Osmond, the song explodes with a relentless, driving rock riff—a primal surge of energy that is utterly incongruous with their established reputation. The production, co-helmed by Alan Osmond and Michael Lloyd, is dense, aggressive, and undeniably heavy, earning the accompanying album the distinction of being cited by some rock critics in later years as a genuinely significant, if overlooked, entry in the burgeoning hard rock and even heavy metal genres of the early seventies.
The track immediately grabs the listener with its iconic, almost apocalyptic opening sound—the frantic, neighing horse effect, achieved brilliantly by Donny on a Yamaha organ manipulated with a wah-wah pedal. It is a sonic signature of unbridled frenzy, instantly establishing a mood far darker and more intense than any previous Osmonds record. The vocals mark another radical shift. While Merrill Osmond, the group’s primary lead singer, handles the high, urgent chorus of “What a show, there they go, smoking up the sky, yeah,” the verses are driven by the unexpectedly growlier, rough-hewn delivery of drummer Jay Osmond. This dual-vocal approach perfectly mirrors the song’s rugged, two-sided nature, contrasting the polished past with the abrasive present.
But the genius of “Crazy Horses” lies not just in its revolutionary sound, but in its lyrical content. It is, perhaps surprisingly for a 1972 pop hit, a starkly prescient ecological warning. The “crazy horses” are not animals at all; they are the gas-guzzling automobiles of the era, the symbols of industrialization and pollution that are “smoking up the sky” and multiplying unchecked. Alan Osmond’s lyrics delivered a mature, responsible, and frankly, radical message about environmental stewardship, cloaked in a ferocious, head-banging beat. This depth was so misunderstood at the time that the song was infamously banned in certain regions, where authorities mistakenly interpreted the phrases “horses” and “smoking up the sky” as veiled references to illicit substances—a bizarre and ironic misunderstanding for a group known for their deeply held moral convictions.
Despite their record company’s initial skepticism, the public, particularly in the United Kingdom, responded to the track’s sheer power and originality, pushing it to number two on the charts. It was an essential step towards legitimizing The Osmonds as genuine, self-directed musicians in the eyes of a rock-centric audience that had long dismissed them. “Crazy Horses” is a rare and thrilling musical document—a masterpiece of stylistic rebellion that continues to resonate as both a blistering hard rock track and a thoughtful cultural critique, demonstrating that true artistry can emerge from the most unexpected quarters.