posted April 29, 2002 16:03
It's a pretty good read.
Below is the Edited for Ozzy info only version
It was a true honor to spend time with a true Rock N Roll legend. Bob Daisley has played with some of the biggest names in hard rock's illustrious history including but not limited to Ozzy Osbourne, Ritchie Blackmore, Ronnie James Dio, Gary Moore, Cozy Powell, Randy Rhoads, Yngwie Malmsteen, Jake E Lee, Zakk Wylde, Carmine Appice, Tommy Aldridge, Steve Vai, Joe Lynn Turner, Tony Iommi and Bill Ward. In addition, Daisley wrote the lyrics for almost all of Ozzy's biggest hits including "Crazy Train," "Flying High Again," "Bark At The Moon," "Mr. Crowley," and "Diary Of A Madman." The relationship Daisley had with Osbourne was a special one that goes back to before Randy Rhoads was in the band. Bob tells the story of the first day he jammed with Randy as well as the day he leaned of the brilliant guitarist untimely death. Daisley reveals who "Suicide Solution" was really about. The answer may surprise you and cause VH1 to go back and do their homework as it is not about AC/DC's Bon Scott -- and we know because we asked the man who wrote it!
In the end, Daisley has become estranged from the Osbourne camp as he claims he has not been paid royalties from Blizzard Of Oz and Diary Of A Madman. In fact, the feud has become so nasty that Ozzy has even removed both Daisley's and drummer Lee Kerslake's parts from the new version of Blizzard and Diary, opting for Ozzy's current drummer and bass player to record their own parts onto the CD. This is an unprecedented move that cannot be ignored as a cruel slap in the face. It appears that the only reason this happened was to anger the men and throw fuel on the fire. Imagine Led Zeppelin IV without Bonzo and John Paul Jones. How about Paranoid without Geezer Butler or Bill Ward? You can read all about it at www.bobdaisley.com <http://www.bobdaisley.com/>
In time, we can only hope all parties will find a common ground. In the meantime, enjoy this incredible interview with one of Old School Metal's true pioneers. We cover all of the major bands that Bob played in from Chicken Shack to Mungo Jerry to Widowmaker to Rainbow to Ozzy Osbourne to Uriah Heep to Gary Moore with several trips back and forth to Ozzy's band. The last album Daisley appeared on by Ozzy was No More Tears. In fact, that is Bob playing the opening notes to "No More Tears." Awesome!
- Jeb Wright April 2002
Jeb: Please share with me the day you were at the club called Music Machine in London and ran into Ozzy Osbourne. What do you remember about that day?
Bob: I went to see a band called Girl at the Music Machine. They were on Jet Records and Widowmaker had been on Jet. I was looking for a gig at the time as I had come out of Rainbow Arthur Sharp was one of the people there from Jet and he said, “Ozzy Osbourne is here and he is looking to put a band together.” I was chatting to Ozzy and he said, “I hear you were in Rainbow. Would you want to put a band together?” I said, “Shit, let’s have a play together.” Jet Records got me a train ticket to Stafford, where Ozzy lived in the Midlands, and we had a bit of a play together with a couple of people I didn’t know -- a guitar player and a drummer. It went fine and he phoned Arthur at Jet Records and said, “Bob and I get along like a house on fire. The fire brigade just left.” I said to Ozzy, “Let’s get serious about it if we are going to do it. The other guys in the band today were just people to play with to see if we got along. They are not good enough for us.” He walked into the room where he had this little rehearsal studio and said, “Hey guys, it’s not working out. Pack up and go home.” That was all he said; it was funny. He then said to me, “I know a guitar player in LA named Randy Rhoads.” They flew Randy over and we met at Jet Records in London. Ozzy went home to Stafford and Randy and I went up on the train together. Randy and I had a play together with a roadie who played some drums named Spencer. The funny thing was that after the first time we played Randy and I looked at each other and said simultaneously, “I like the way you play.” We said it right at the same time; it was really weird. Next, we started auditioning drummers. After a couple of days, Randy and I were going to catch a train to London and while standing on the platform in Stafford I has this weird feeling that came over me and I thought, “One day people are going to ask me what it was like to play with Randy Rhoads.” I had no idea why I had that feeling. I had no idea that he was going to die in a few years and that this album was going to take off like it did. This was in 1979. It all ended up so true.
Jeb: Now Ozzy was really fucked up at that time with drugs and booze. Did you ever wonder if maybe joining his band at this time was a mistake?
Bob: People told me that I was making a mistake. People told me that he was a burned out has been and that he was a piss head. I just had a good feeling about the whole thing. I just said, ‘Fuck, I’m going to do it.” It was work and it was the sort of work that I had been looking for, you know, heavy rock. Ozzy did do a bit of coke and he smoked a bit of pot but I think he drank more than anything. I used to get on his case and I think he got pissed off about it. I used to say, “Ozzy, we got a fucking drummer coming here in about an hour and you are half pissed. You need to sober up. We don’t want to find the right guy and then he has second thoughts about it because we are a bunch of piss heads.” I used to jog in those days to stay fit and I would take Ozzy with me to get him away from the shit and to give him more of a healthy feeling.
Jeb: Sharon had taken over as Ozzy's manager if I recall. What was your first impression of her?
Bob: I knew Sharon from Widowmaker because we were with the Arden’s. Don, her father, was the manager of Widowmaker and the record company and Sharon used to work with her father in the office and take care of certain things for the band. At the beginning of the band with Ozzy, Randy, Lee and myself, it was David Arden who was taking care of stuff. Sharon didn’t come in and have anything to do with stuff until after the recording of the first album. She really didn’t get involved until the beginning of the writing for Diary Of A Madman.
Jeb: When you where still known as Blizzard Of Oz I have heard you were rehearsing and no one really expected that this band was going to break huge. What do you remember of the earliest days of playing with Ozzy, Randy, Lee and Don?
Bob: Don really didn’t play with us. He just came in to do the sessions. He was a keyboard player who had been with Rainbow so we had that connection. We had been looking for a drummer for months and Lee was the last drummer that we had auditioned. He started playing and Randy and I looked at each other and said, “Thank fuck for that.” He was really perfect for the band; we had found the guy we were looking for. From then on it just escalated. You could see that each of us was improving in how we played, including Randy.
Jeb: How did the recording for Blizzard Of Oz go? Were there any songs that were more difficult to get the right sound then others?
Bob: Once we got the basic sounds we were looking for then it went fine. We had a producer named Chris Tsangerides who was great in the studio but he wasn’t right for us. He just wasn’t getting the sound we needed. After a week or so we said, “We don’t really need this guy. We will produce it.” We had Max Norman on as engineer. It worked together as both a band and as a band of producers.
Jeb: How is Ozzy to work with in the studio? Is he a perfectionist? How does he compare to how you are like to work in the studio with?
Bob: No, he is not a perfectionist. He is to a point but I would get very serious about the music and the production and about rehearsing and getting parts right. He used to jokingly call me Sid Serious. “Fucking come on Sid Serious, lighten up.” I am easy going in the studio and I like to have a laugh as much as anyone else but I take my music serious. Randy did as well. In those days, he was still feeling his way because this was his first big act. Quiet Riot hadn’t done shit before that. Randy was really just starting to come alive in his playing. All due respect to Randy, he was a brilliant player, a great player and a dedicated player but I think the chemistry between the four people brought out the best in everybody including Randy and Ozzy.
Jeb: Were you involved in any of the writing or arranging of the songs? What are you most proud of on that record?
Bob: You obviously haven’t checked the credits on Blizzard Of Oz. I co-wrote all of the songs. We started putting music together -- just me and Randy and Ozzy. Ozzy had these vocal melodies and he would sing them with any words that came into his head. Ozzy and Randy sat up one night trying to write lyrics and I came down and saw what they had done and I thought, “Oh my God.” It was awful. It was embarrassing and amateurish. I told them, “I tell you what, I will write the lyrics.” I wrote all of the lyrics for the rest of the albums.
Jeb: I didn’t know that.
Bob: I wrote all the lyrics on Blizzard Of Oz, Diary Of A Madman, Bark At The Moon, The Ultimate Sin and No Rest For The Wicked. I didn’t write any lyrics for No More Tears, I just played on that one.
Jeb: I am a huge fan of Ozzy’s and I always assumed that he wrote the lyrics.
Bob: The lyrics drive the direction of the band, the image of the band and define what the band is about.
Jeb: The lyrics really set you guys apart from a lot of the mindless heavy metal at the time.
Bob: I remember one review that said that we were the thinking man’s heavy metal. I was really proud of that. Whether people knew it or not, I knew that I had written the lyrics. What I am most proud of is “Crazy Train.” Randy came up with the riff and Ozzy came up with the vocal melody and I wrote the lyrics and the musical section that Randy soloed over in the middle. It has become a Rock N Roll anthem and I am really proud of that. When I was with Rainbow, one of my Rock N Roll ambitions was to write a hit single or to be involved in writing one with somebody else. In Rainbow, Ritchie and Ronnie wrote everything and they didn’t need anyone else. When Blizzard Of Oz happened it was great because I got to realize one of my ambitions.
Jeb: I will name some songs from the album and you give me your first impressions: “I Don't Know”
Bob: Ozzy used to tell me that when he was with Black Sabbath, they were an occult band and they used to have a lot of people ask them questions like they were psychics or something. I wrote the song for Ozzy to say, “I don’t know. Don’t ask me what the future of mankind is because I don’t know.”
Jeb: “Crazy Train”
Bob: “Crazy Train” is really a peace song about how crazy it is that people are brainwashed and mind controlled by the powers that be over fucking stupid religion and stuff like that. That is why the opening lines, are “Crazy but that’s how it goes/Millions of people living as foes.” We have inherited all the bullshit from all of the cold wars and all of the crap. The young people inherited it and back then I was still young (laughing).
Jeb: “Dee/Suicide Solution”
Bob: “Dee” was the instrumental that Randy did. He called it ‘Dee’ because his Mothers name is Delores. Her nickname is Dee, so he named it after her. He was really chafed when Ozzy said that he could put it on the album. He wasn’t sure if he was going to have it on the album or not and after a few days Ozzy said he could put it on. “Suicide Solution” about Ozzy because he was drinking himself to an early grave.
Jeb: Now I have read over and over that Ozzy wrote that about Bon Scott.
Bob: That is bullshit. I knew Bon Scott and so did Ozzy and we did find out about Bon Scott’s death during the recording of that album but I wrote “Suicide Solution.” I wrote the fucking words so he can say all he likes about who I wrote it about but I wrote it about him killing himself with alcohol. It was a warning song. It is stupid to drink yourself into the ground. It is not a solution to a problem as it is really just hiding. Solution also has a double meaning in that it is a liquid like alcohol. I wrote about Ozzy just drinking too much at the time. We all liked to drink but he was really getting into it sometimes.
Jeb: “Mr. Crowley”
Bob: Ozzy already had the idea for that but he just had the title. He wanted to write it about Aleister Crowley who was into black magic and witchcraft and all that.
Jeb: “Revelation Mother Earth”
Bob: Some of the words came from the book of Revelations in the bible. I had been in the rehearsal room and I had been playing a song by John Lennon called “Mother.” Ozzy came in when we were doing the backing and he went “Mother” just like the John Lennon song. We started calling it ‘Mother Earth.’ I wrote that about the dangers of us destroying our own planet.
Jeb: Describe, if you will, each persons role in the band on the first album as you see it.
Bob: Don‘s role was really just as a session player. I think the roles are really obvious although maybe not as you thought Ozzy wrote the lyrics. He came up with most of the vocal melodies. Lee was the perfect drummer. As soon as we got him we knew he was the guy we had been looking for. Randy was such a new fresh talent. He had some new things that guitar players from the old school didn’t have and that worked really well. I was still pretty young myself but I had a bit of experience from the bands I had been in and traveling the world and recording. It all just gelled very well.
Jeb: How did the organ intro to Mr. Crowley come about? I just think that is fucking awesome!
Bob: One of the auditions we had was a keyboard player who had an idea that went something like that. We got that idea and wrote that part for the beginning of “Mr. Crowley.”
Jeb: Now he is going to sue.
Bob: (Laughing) No, I think we changed it enough.
Jeb: Your bass notes set the tone for the song “Crazy Train.” Did you guys plan on you starting that way and Ozzy going, "all aboard hahahahah" or was that something you all just came up with on the spot?
Bob: The bass note thing was planned. Ozzy used to like different songs starting different ways. He used to say, “Let’s start this one off with the drums.” The “all aboard” came later in the studio when we were overdubbing vocals.
Jeb: What was the tour like for Blizzard? It had to be nuts! I have heard that you started in small venues and that the size of the crowd just grew and grew each night.
Bob: We actually did a very small tour but we didn’t call it Ozzy Osbourne or Blizzard Of Oz. We went out under the name of Law. We wanted to see what is was like to play the material in front of an audience and to break the band in. It went great. After a while we called the band The Blizzard Of Oz. We went out on a proper tour. That is when the album started taking off. The gigs started building up.
Jeb: How bout life on the road with Ozzy back in 1981?
Bob: I remember a funny thing Ozzy said on the first tour one time. It was not a crazy thing but it was quite funny. Coming from Black Sabbath people used to think he was into black magic and all that. One night there was a big line of kids who wanted to get their albums signed at the end of one of our gigs. One kid, as he got his Black Sabbath album signed, said, “Ozzy are you still into black magic?” Ozzy looked at him and said, “No, I like Milktray now.” I will have to explain. In England there is a box of chocolate called Black Magic and there is another box of chocolate called Milktray.
Jeb: On to Diary Of A Madman: How in the hell did you guys come up with so many songs in such a short period of
Bob: We just worked five days a week, all day. Randy had riffs that he was working on. For Diary Of A Madman it was Lee, Randy and myself. A lot of times Ozzy wasn’t there as he either had hangovers or he was off to see his family. Lee came up with several of the vocal melodies for that album. I know he came up with the vocal melody for “Flying High Again.” He used to have a microphone at the side of his drums and he would sing while we put the songs together. The other thing was that Randy had the rough idea for the song “Diary Of A Madman” and I came up with title. I wrote all of the lyrics as well on the album. Ozzy would come and go from rehearsals. One day he came in and we played him “Diary Of A Madm an” and because it had funny timing he couldn’t get his head around. He said, “Who the fuck do you think I am? Frank Zappa!” We said, “You sing in this part but you don’t sing here. This timing goes like this ect.” He started to like it when he got his head around but at first he was like, “This is not for me.”
Jeb: Your name is all over the writing credits on Diary. Lets just start with the songs and you tell me what comes to mind: “Over The Mountain“
Bob: That was a great intro by Lee. Fucking classic. Drummers play that all the time just fucking around. It has become a real trademark.
Jeb: "Flying High Again"
Bob: I will tell you a story about “Flying High Again.” My Mother’s family is from England and they immigrated to Australia and I was born in Sydney. When I was in Sydney as a teenager I was in a band. We went to the country to do a gig. This was in the 60’s and we were all dressed in our "flower power" gear. We had on fringed jackets, flowery shirts and little square glasses. We must have looked really freaky to the country people. I had a station wagon and as I was loading my gear after the gig, this county looking guy came up to me and said, “Are you going back down to the smoke tonight? Are you going back to the city?” I said, “Yeah.” To him people in the city must have been weird and all on drugs because he said, “Are you going to be flying high again in Sydney town?” When I was writing the lyrics for “Flying High Again” I was doing a bit of coke with Ozzy and I thought, “Here I am flying high again.” and that guy's voice came back to me and I thought, “Fuck, that is a good title.”
Jeb: “You Can't Kill Rock N Roll”
Bob: Ozzy had the basic idea and I wrote all the lyrics for it. It is just about record companies being fucking greedy and trying to tell the artist what to do. Even in the times of confession the lines they give me aren’t true. They will tell you one thing and then do something else. It was really about record companies being controlling and the industry in general.
Bob: You can move mountains with the power of belief but you have to have strong belief. That is all that was about. It is a bit philosophical.
Jeb: “Diary Of A Madman”
Bob: I really wrote that one about myself. When I was 16 I had my first nervous breakdown and it really fucked me up. I was a sensitive kid and I have always been a sensitive person. I suppose you have to be sensitive being in the arts. I wrote the words about myself. Quite often we have problems and we are our own worst enemies and that is why “Enemies fill up the pages one by one in the diary. Are they me?” I am my own worst enemy.
Jeb: What do you remember about the covers for both Blizzard and this album? They both made a statement. Were you guys involved in the artwork at all?
Bob: We were not really involved at all. On Blizzard Of Oz they had a picture of Ozzy on the front. We wanted a picture of the band so it wouldn’t become The Ozzy Osbourne Show. We were all important to the act but the record company overruled us and put a picture of Ozzy on the front and a picture of the band on the back. By the time Diary Of A Madman was finished recording, we didn’t get to see the artwork because they got rid of Lee and me.
Jeb: Oh shit, I forgot an important one: Were you there the day Ozzy bit the head of off the dove? What is the real story to what happened and did it help you guys or hurt you guys? What was your reaction?
Bob: I think it helped overall but it didn’t help the dove! Any publicity is good publicity--even if people get pissed off over it. I wasn’t there then as I had gone from the band and was in Uriah Heep with Lee. He didn’t do it for publicity. Ozzy was fed up with record executives and wanted to freak them out. We were having trouble getting the album released in America and when he did sign he cut a deal with CBS. They presented him with two doves of peace and he thought, “Here is what I think of your gesture” and bit the head off of one. It was really a finger to all the hypocrisy that goes on. That was pretty much it.
Jeb: Now it seems to me, and I once talked to Lee about this, that something really fucked up happened. Why did you guys get thrown out of the band after this record?
Bob: Ozzy wanted Tommy Aldridge in the band but he wasn’t available and then we found Lee and did the first album. After that Tommy did become available. Tommy was a friend of Sharon, who was now involved with the band. Ozzy wanted Tommy in the band as well. I said that I wouldn’t have it and they eventually got rid of both of us so Tommy could come in the band. During the recording of No More Tears Ozzy actually said to me, “You were right about Kerslake.” He actually admitted it. It was the best line up and it was never recreated.
Jeb: To make matters worse, you co-wrote the entire damn album and your name did not appear on it. I remember buying this record and thinking that Aldridge and Sarzo were playing on it.
Bob: We were pissed off about that. We went to court and won the case in 1986 about getting royalties on the album. They were supposed to change the credits and they didn’t. It has been an ongoing saga ever since but we will eventually have our day.
Jeb: How did you hear of Randy's death?
Bob: That was very sad. I had landed in Houston, Texas with Lee Kerslake and Uriah Heep on March 19, 1982. We checked in the hotel and immediately went into a club in Houston called Cardies. There was a girl at the door and she said to me, “You used to play with Ozzy. You know Ozzy don’t you?” I said, “Yes.” She said, “Some of them got killed in a plane crash this morning.” I said, “Who? What are you talking about?” She said, “I don’t know much about it. I don’t know if Ozzy was one of them but some of them got killed.” There was a guy from a radio station there and he said, “We are not 100% sure but we know that one of them was Randy Rhoads.” I just said, “Fuck.” I walked into the club and Lee was sitting at the bar. He had gone in ahead of me. He turned and he looked at me and said, “Fuck, you have gone all white. What is wrong?” I said, “Lee, there was a plane crash this morning and Randy was in it and he is dead.” We sat there all night drinking tribute drinks to Randy and we went back to the hotel and got really drunk. We were drunk and crying at the bar and it was just so sad. We were drinking all of the drinks that Randy used to drink like a Grasshopper and all these sort of cocktail drinks. It was all in tribute to Randy. I got up the next morning with the worst hangover.
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Jeb: Do you feel that if you had been there you could have done anything to prevent it?
Jeb: Do you feel you would have advised him not to go up in that plane with the bus driver?
Bob: I may have. I know that Don Airey had already been up in the plane. I know that Randy hated flying. Apparently, Don said to Randy, “You have got to go up. It is fucking great.” He had to have counseling after that because he blamed himself. You can’t blame yourself because when somebody’s number is up, it is up. If Randy was supposed to die that day and he didn’t go up in the plane then somebody else may have gone up in the plane and Randy might have been in the bus and the plane might have hit the bus where Randy was. Who knows? My Grandfather used to say, “If I knew where I was going to die then I wouldn’t go there.
Jeb: After Ozzy's management treated you poorly, you came back to do Bark At The Moon. Why? Was it hard to do? Did you make any conditions to come back?
Bob: Fucking good question! The conditions I made to come back were to keep my distance. I said, “You just pay me for writing songs and pay me to play on it.” It was difficult. Nobody knew how Ozzy’s career was going to go at that time because Randy was dead. It was going to be a whole different ballgame. I think Jake E. Lee did a good job of filling Randy’s shoes. I think the album turned out very good. I was supposed to get bonuses when the sales reached a half a million and then a million but they fucked me on that. I didn’t get it.
Jeb: Your first gig since rejoining Ozzy was the US Festival. What was that day like?
Bob: It was fucking nerve racking. Out of the blue Ozzy says to me -- he knew I was coming back to write for Bark At The Moon -- and all the sudden Ozzy says, “Oh, we’ve got a big gig coming in a few days and I’ve just punched me bass player in the face.” That was the bass player who used to have a cheese grater on the back of his bass and he used to rub his knuckles on the back of the cheese grater to make them bleed while he played. Anyway, he had gone and Ozzy didn’t have a bass player. He called me in and I hadn’t played those songs since mid 1981 and this was mid 1983. I had two rehearsals to do the whole show, which consisted of the two albums worth of material and all of the Sabbath stuff. We went down to San Bernardino and I was standing on this stage in front of 400,000 people and Don Airey was getting all worried. He said, “Ozzy, this could all go wrong in front of all these people.” The only person to make a mistake that day was Don Airey. There was a magazine in LA called Bam that put a little article in it that said I was the hero of the day because I went back in to the band with only a couple rehearsals and did it note perfect. That was nice.
Jeb: Do you remember hanging with the Scorpions, Van Halen and the others that day? What was the backstage scene like at the Us Festival?
Bob: I remember hanging out a little bit with Van Halen. One of my daughters was a big fan of Van Halen and I got him to sign an autograph for her.
Jeb: Another newcomer you got to hear was Jake E. Lee. What was your impression of him? How did he handle the comparisons to Randy? Do you think they were fair?
Bob: I thought Jake was a great player. Ozzy has had other players who were a bit of a copy of Randy, either image wise or playing wise or “I used to be a pupil of Randy” or whatever. Jake E had his own style and his own sound. He didn’t play like Randy, although he did play the Randy stuff very well. He did an admirable job of filling Randy’s shoes.
Jeb: I interviewed Carmine Appiece and he told me that Sharon fired him because he was doing drum clinics on the road and that he was getting more press than Ozzy. True or just Appice thinking highly of himself?
Bob: I think it is partially true and it is partially Carmine thinking highly of himself. I was on that tour and Carmine used to sneak off and do drum clinics and sometimes come back a bit late for sound checks. Sometimes he would throw extra things into the songs that shouldn’t be there just to show his pupils that he gave free tickets to after doing the clinics. He got a little carried away with himself but it was wrong for Ozzy and Sharon to get rid of him because he had a contract to do that tour. They should have ironed out the problems but what do they do? They get rid of him and bring Tommy Aldridge back and I think it was a mistake. Carmine sued them and he won.
Jeb: Jim Dandy told me that Tommy Aldridge is the best concert drummer money can buy but he said that he is horrible in the studio because he does not know how to tune his drums. What is your reaction to this statement?
Bob: I would not say that Tommy is horrible in the studio. I would say that he does not shine in the studio. Where he does shine is live. He is a very good live drummer. He loses his inhibitions when he is on the stage playing live and I think he gains inhibitions when he is playing live in the studio. That is my analysis of it. He is a great guy and a lovely bloke. We got along great and we had a lot of laughs. He is a great drummer live but I didn’t really like what he did in the studio.
Jeb: Yet another young guitar player came your way in Zakk Wylde. Where did he come from? I read an interview where he said he was Ozzy's drug dealer.
Bob: (Laughing) I don’t know where he came from. Ozzy had Zakk when he called me back to work on the No Rest For The Wicked album. I like Zakk. He is a great player.
Jeb: Is that you on the intro to "No More Tears?" What was that album like to work on?
Bob: Yeah that is me on the whole album. By the way, that is me on the whole Black Sabbath Eternal Idol album. Dave Spitz got a credit saying that he played some of the bass parts but he didn’t do any of it. The same thing happened on No More Tears. Mike Inez got credit as playing some bass on it but he didn’t do any of it. That was a great album to do and I had great fun doing it. I got involved with the lyrics but they didn’t use them. They used my lyrics to inspire other lyrics to be written.
Jeb: I have read where Zakk has said in interviews that he remembers Mike Inez starting that song off in the studio. Now you are telling me that you played it on the record. How can that be?
Bob: Mike was Ozzy's bass player at the time. I got a call from Ozzy and he said he was having problems getting the songs recorded and he asked me to come down and give it a try. I played on the whole album. The songs, including No More Tears, were already written when I got called in. Mike Inez used to come and watch me play in the studio. I found him to be a very friendly guy. I think what Zakk was talking about was playing the song in the studio with Mike Inez. To give credit where credit is due, Mike had the idea of starting the song with the bass and he had an intro that he had written. I changed it around a bit when I came in. On the credits of the album that is why I am credited as the bass player. Mike is credited as having bass inspirations.
Jeb: Let’s talk about some of the songs. “Mama I'm Coming Home”
Bob: I remember I used a fretless bass on that. I enjoyed that one and it was fun to do.
Jeb: “Mr. Tinkertrain”
Bob: That was about a pedophile or something. Fuck knows where that came from.
Jeb: “No More Tears”
Bob: That was a fun one. The middle section John St. Claire wrote. It was kind of like the Beatles and I liked it.
Jeb: This was the last Ozzy album you worked on. Why?
Bob: I was actually asked to come in and work on another one. In 1994 Ozzy got hooked up with Steve Vai. Steve came in and played guitar and co-wrote everything with Ozzy. They were looking for bass players who sounded like me. Steve Vai said, “Ozzy, why don’t just get Bob Daisley to come in?” So they got me in. We started in Steve’s studio in LA and then we went to CBS studios to write and rehearse but it wasn’t really working out between Ozzy and Steve. Instead of firing him and doing it the right way and saying, “Steve, it is not working out” Sharon came in and said, “Sony has pulled the plug on the project. There is no album to be done.” I thought what a load of bullshit. Deen Castranova said to me, “Oh fuck” and he got all depressed. I said, “Deen, don’t worry. We will hear from them in a couple of days. This is just a ploy to get rid of Steve Vai.” The phone call came a couple of days later and that is when they started talking to Zakk. They kept me hanging around for months as I was supposed to do the album. They changed their mind again and got Geezer Butler in to do it. I thought, “Oh fuck, thanks a lot.” I said, “Hey Sharon, how about a cancellation fee?” I had already had five grand up front and she said, “I will give you another five grand. That is a $10,000 cancellation fee.” They never ever paid me that other five grand, those cocksuckers.
Jeb: Sony/Epic has re-released Diary Of A Madman and Blizzard Of Oz. I have heard that they recorded over your parts and Lee Kerslake's parts. Why?
Bob: It is because we have been suing them for the last four and a half years for royalties that we have not received on Blizzard and Diary. We are also suing them for credits that we didn’t receive on Diary. Now they have gotten so pissed off because we are suing them that they are saying that we are harassing their family. We have had no contact with them. Our lawyers contact their lawyers and that is it. They are going to remove us from the album because of that. It is as simple as that. My reaction is that it is a fucking disgrace. They should not slander the memory of Randy Rhoads by putting his playing with two guys that Randy had no say in because he is dead. They have ruined a product. It is a slander towards the fans that have helped put him there. It is a finger up to them. It is that to us as well but we expect it. To do it to his own fans and his own product that has been consistently selling for 20 years? He is an idiot. Whether Ozzy did it or not I don’t know but he would have had to have given his consent.
Jeb: Is there any legal action that you can take to stop this?
Bob: I don’t really know. We have the lawsuit going on but I can’t really comment on that without talking to the lawyers.
Jeb: Whose fault do you perceive this to be? Ozzy? Sharon? Record Execs? What is their reasoning?
Bob: I really don’t know. I wouldn’t like to comment on that either. Ozzy would have had to give his consent. Whether it is he and Sharon together who knows? If it is more him or more her I don’t know. I can’t understand why the record company would do it. They are fucking mental. The product has been consistently selling for 20 years and they go and change it? That is dumb.
Jeb: Do you have any resentment to Ozzy about this or is this beyond his control?
Bob: It is not totally out of his control. I would imagine that he would have had to go into the studio to redo it.