Billboard reports that Kelly Osbourne from MTV's The Osbournes has signed a recording contract with the UK independent Sanctuary Records Group. Kelly, who was dropped by Sony Music earlier this year, will debut on Sanctuary with the re-issue of her Sony CD Shut Up!, augmented by five new songs, including her long-anticipated duet with her father Ozzy on the old Black Sabbath song "Changes" -- which also will become the revised title of the CD.

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The other four new songs on Changes will all be live performances: "Come Dig Me Out,” “Disconnected,” “Too Much of You” and “On The Run." However, the focus will be on the remake of "Changes," which is now being billed by Sanctuary as a "jaw dropping makeover" that "takes a surprisingly tender father-daughter turn" into "a modern coming-of-age anthem—replete with soft piano and a choir providing angelic backing vocals."

Although Shut Up! was a flop upon its release by Sony, selling only about 150,000 copies total despite the "buzz" surrounding the Osbournes from their TV show, Kelly says that she is "f---in' thankful" to put the record out again, since it didn't get "a fair chance the first time." However, Sanctuary's "augment and rename" strategy seems designed to maximize purchases of Changes among people who already own Shut Up! and think they're getting new product. We wonder what that says about the quality of the rest of Kelly's almost complete second album, if a reissue of the first album is considered to be the best place to release her duet with Ozzy.

We also wonder about the sappiness of the lyrrics in the "Changes" remake. For example, Ozzy sings “She’s my baby/I love her so/but it’s too late now /I’ve let her go” and Kelly answers “We shared the years/we shared each day/I love you daddy/but I’ve found my way.” Ouch. However, maybe we should be grateful, since Ozzy and Kelly actually speak a total of 33 words without swearing -- which may be a family record.

In addition, we wonder about Kelly's choice of label. Although Kelly says that she signed with an independent like Sanctuary because she was tired of "suck[ing] corporate d---" at a major label, we note that Sanctuary, unlike the major labels, doesn't pay large signing bonuses or delivery advances for new records. Since the Osbournes have never been inclined to leave any money on the table, we can only assume that no major label was interested in Kelly.

Finally, we wonder if reissuing Kelly's existing album is consistent with the search for "fresh ideas" that her mother Sharon was touting at the time Kelly left Sony. Perhaps we need to make another entry in Sharon's list of "fudging" the truth.

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