Bassist Bob Daisley and His Blizzard With a Madman
David Lee Wilson, 4 September 2002
It would take several pages to fully list the works of songwriter
and musician Bob Daisley, but here are a few golden goodies that
have undoubtedly chewed your ear through the years. Rainbow's Long
Live Rock & Roll, Black Sabbath's Eternal Idol and everything worth
listening to by Ozzy Osbourne. Certainly no small contribution to
rock and roll, and you would think more than enough to ensure the
man some respect from his peers as well as the music industry in
general. Still, some would deny Daisley what he is owed in both
respect and financial compensation.
The Osbourne's, specifically Sharon and Ozzy Osbourne who have
reportedly amassed a personal fortune in excess of 100 million
dollars, can't seem to put the pennies together to pay Daisley for
the work he did on the landmark albums The Blizzard Of Ozz and Diary
Of A Madman. These discs are easily the most significant pieces of
work in Osbourne's solo career and quite possibly all of heavy metal
but they have been despoiled as a result of the conflict between
Daisley, original Blizzard Of Ozz Band drummer Lee Kerslake and The
You see, rather than simply and properly crediting the storied
rhythm section for their work and paying the agreed upon
compensation, The Osbourne's went the punitive route and chose to
replace all the bass and drum sections of the original albums with
those from other musicians. These bogus discs have been released and
all editions of the true and original product recalled leaving
little to no choice for those who want to hear classics like "Crazy
Train" or "Over the Mountain." In my mind, and simply as a fan of
the music, these are the actions of a couple of conciousless and
deluded industry whores. Then again The Osbourne's have increased
their fortune considerably by exposing just that on MTV so, as
angering as it may be, one shouldn't expect anything more from this
Fortunately for you, me and any who would hear the real thing over
what is being printed now there are copies to be found on e-bay or
in the used shops. While there you might want to pick up some of the
Rainbow or Uriah Heep material that features Daisley as well, you
simply won't hear better hard-rocking this side of 1990.
Daisley now lives in Australia where he is writing and recording
with a blues outfit known as The Hootchie Coochie Men. During a
moment of calm between the Osbourne legal entanglements and musical
endeavors aplenty, Bob found a few free hours to speak with me by
telephone about the good, the bad and the ugly of his career in
KNAC.COM: Can we knock the Ozzy stuff on the head right up front, before we get to the other stuff?
DAISELY: Sure, sure.
KNAC.COM: From where I sit and I admit I don't know the entirety of
the situation, but what has been done to you guys is just an
outrageously shitty thing. What I wonder is, can the money that is
owed each of the parties really be all that much to an organization
like the one run by the Osbourne's?
DAISLEY: Oh certainly not, they wouldn't feel it a bit
KNAC.COM: Is it a case that they are so far in arrears that they
just don't want to part with that kind of money and think the better
business decision would be to pay the lawyers to try and get out of
it? I am sorry, I just don't get this at all -- can you help me to
understand how it is this would happen in the first place?
DAISLEY: Oh yeah. I mean, we went to court in '86, in London, and
got one payout and then we thought the royalties would continue and
that the artwork would be fixed for the lack of credit and all of
that -- but it just didn't happen. It went on and on and on and now
we are at it again to finally get it resolved once and for all.
KNAC.COM: Was the mangling of your name and other former band
members on The OzzMan Cometh "hits" CD a swipe at you all as well,
do you think?
DAISLEY: Well, that looks pretty deliberate to me. They have to
oversee things that happen on album covers and give them the okay
and if it had been one name it might have been swallowable -- but
three names? Like, Rudy Sarzo is called "Trudy Sarzo" and Phil
Soussan is "Bill Sousan" and my name has obviously been spelled
incorrectly as well. Who knows why they did it. Is it supposed to be
some kind of funny joke or is there another reason. I mean, it was
just kind of stupid. The fact that Kerslake and myself never ever
had our credits on Diary Of A Madman fixed... They put stickers on
them for a little while and then I think that on some of the CDs we
had our name on it as playing on Diary, but now they have it saying
that we played on the original versions and now here is somebody
else doing it. It is a fucking joke.
KNAC.COM: It is a sad situation for sure.
DAISLEY: All the letters that have been coming in to my site, and
even if you look at a lot of other sites, have been one after the
other saying what idiots they are and "How dare they?" What a
bastardization of a great product it was. I spoke with Mrs. Rhodes
the other day, Randy's Mother, and she told me how disappointed she
was that they actually had done something like that. I mean, it
affects Randy as well, you know. Randy's playing doesn't shine like
it did on the original version because that was a band playing
together and that is what made all of the difference. Randy is not
here and he didn't have a say in who they put his playing with. They
copied the parts, but you can get a machine to copy the parts, but
it is not going to have the human emotion or the vibe or the energy
or the magic that the original ones had.
KNAC.COM: It seems a bit cheeky for another musician to even do such
a thing -- I am speaking about the guys that actually went in and
played over your parts. Isn't there some kind of "code" you
musicians have where a thing like that wouldn't happen?
DAISLEY: I think that it is actually musically whoreing yourself. It
is truly mercenary, though, I do suppose that they could have been
in the band and told, "Do as you are told or fuck off!" I don't
know, but then again if somebody asked me, hypothetically, and I was
working with Robert Plant or Jimi Hendrix or something and they
said "Go in and re-record what Mitch Mitchell or Noel Redding did"
or what John Paul Jones did I wouldn't care how much that they would
pay me, I would refuse. I would just say, "I am not going to be a
part of this revision of history." I would refuse to do it,
KNAC.COM: Regardless of whether they were paying you and Lee
Kerlake, it still seems absolutely pointless to re-record the rhythm
tracks on his two best albums. I mean, to what effect? I can't
conceptualize any gain for having done it? I can say that I have
noticed that the incidence of the big songs from those albums being
played on the radio have increased but they don't play the new
versions so. . .
DAISLEY: Right, so they get more airplay from the old stuff, yeah.
Well, people are really pissed off, too, because not only [the
Osbourne's] done this in the first place, but they don't let people
know with the labeling on the front of the album. It doesn't
say, "This is not the original band and these are not the original
recordings." People are pissed off with that. To not let people know
and sell it like it was the original product, that is really wrong.
KNAC.COM: I know you are far more intimate with the people than I
have ever been, but I would guess that all this is not coming from
Ozzy himself, because I don't think that he has a clue what is going
on with the business aspect of his career?
DAISLEY: I really don't know, but I would have to imagine that he
would have to give his consent at the end of the day and I would
imagine that he would have to be in there, in the studio, for some
of it. That is just an educated guess. I would have thought that he
would have to give his consent. I wouldn't say that Ozzy is totally
KNAC.COM: Well, it is being done in his name anyway. . .
DAISLEY: It is his name and it is his product and his history and it
is a real slur to the memory of Randy Rhodes as well.
KNAC.COM: I know that you and others have lived with Ozzy's taking
writing credit on songs that he had little or nothing to do
with, "Suicide Solution" for instance. . .
DAISLEY: I did.
"The fact that Kerslake and myself never ever had our credits on
Diary Of A Madman fixed... It's a fucking joke."
KNAC.COM: Well I mean, it went beyond just the attaching his name as
a co-writer to things to the point that when he was sued by the
parents of some kid who had committed suicide he would swear that he
wrote the lyrics to that song and even would recount a story of what
inspired the lyrics. That had to be hard to hear and while you were
still in the band too?
DAISLEY: I know, in his interviews he would say, "Well, what I wrote
it -- about was Bon Scott. . ." and you know I wouldn't have even
minded it if he said, "When we wrote this" because he wrote one line
in "Suicide Solution." I came up with the title and the whole rest
of the lyrics, he wrote one line, "Wine is fine but whiskey is
quicker." That is all that he came up with for that song and I wrote
all of the rest, including the title, and I wrote it about him! It
was because he had gotten thrown out of Black Sabbath and was drunk
all of the time and it wasn't a solution to the problem, so it was
like the word solution had a double meaning, solution like a liquid
and solution like the answer to a problem. That is why I called it
KNAC.COM: Wow, I really don't know what to say, I can only imagine
how you would feel.
DAISLEY: Well, I wasn't too pleased, and like I say it wouldn't have
been too bad if he would have used the term "we" instead of "I" when
claiming writing credit. When Randy had first died and there was a
lot of press about he would say things like, "Oh yeah, Randy and I
wrote everything." He totally left me and Kerslake out of it, and
you know Lee came up with a lot of stuff for Diary Of A Madman. Lee
came up with some of the vocal melodies and some of the musical
ideas and arrangement ideas and all sorts of stuff and that is why
he is credited on six songs. We put a lot of work into the musical
side of things when Ozzy wasn't even there sometimes.
KNAC.COM: Could you give an example?
DAISLEY: When Ozzy came in and heard "Diary of a Madman" for the
first time he said, "Who the fuck do you think I am, Frank Zappa? I
can't sing over that." And then we showed him where the vocal parts
would go and what they would do and then he liked it, but early on
it was beyond his understanding. I mean, it did have funny timings
in it and clever little bits and he couldn't quite grasp it at
KNAC.COM: Legend holds that the material for those first two records
was recorded at the same time and then they were compiled and
released apart from each other, is that true?
DAISLEY:No, no and I have seen that so many times in print. Blizzard
Of Ozz -- we began the writing for that at the end of 1979 and we
had pretty much completed the writing for it by the time that Lee
had joined the band in the beginning of 1980. Lee didn't join until
February or March and then we completed the writing and went in and
recorded Blizzard in March of 1980. Then we went on the road and did
some touring around England, Scotland and Wales, and what have you,
but toward the end of 1980 we started writing the material for Diary
Of A Madman and we completed it in the beginning of 1981 and went
into the studio roughly a year after Blizzard Of Ozz was recorded,
so they are about a year apart really. I think that people tend to
think we went in and recorded a shitload of stuff and went in and
recorded two albums and had them both in the can, but they are in
fact a year apart.
KNAC.COM: Yes, I remember reading Ozzy interviews where he would
say, "I write two albums at a time so that I can tour for two years
at a time. . ."
DAISLEY: "I write two albums at a time," eh? [Laughs] Yeah, right.
KNAC.COM: To my ear, you can tell that the same individuals were
involved in the recording of the discs, but sonically there is
something different between the two -- did you use a different
studios for each session?
DAISLEY: Well, for a start, Randy had some different guitars for the
second album than on the first one and I used a different bass and a
different amp on the second one. On the first one I used a Gibson
EB3 through a Marshall head which was one of Randy's 100 Watt guitar
heads and a 4x12 cabinet whereas on the second one I used my 61
Fender "P" bass through an SVT with an 8x10 Ampeg and that would
give it a different sound for a start. Plus by the time of the
second album, we had been together for over a year, getting used to
each other and the way that we played and the way that we wrote. We
were getting more used to the production ideas that we would have in
the studio and that is another thing, they dropped our production
credit off of Diary Of A Madman and a lot of the production ideas on
that album were mine, and I just didn't get credited for it which
was really unfair. We weren't there for the mix of Diary Of A Madman
because they did that in America after they had gotten rid of us,
but mixing an album and producing an album are two completely
different things. Quite often you will see credits on an
album, "Produced by" and "Mixed by" so production credit and mixing
credit are two different things. I put a lot of work into the
production of that second album and then didn't get a credit for it.
KNAC.COM: I had always assumed that you and Lee Kerslake had went
off to do a record with Uriah Heep and that is how you left Ozzy,
but I am guessing that wasn't really what sent you out of Ozzy's
DAISLEY: No, they fired us, they just dropped us out of it. What
had happened was that when we were putting together the first band,
it was only me and Randy and Ozzy and we auditioned drummer after
drummer after drummer, and it just went on for months, and during
the auditions we were writing the material for the first album and
we just couldn't find a drummer. I know that Ozzy would have liked
to have Tommy Aldridge in the band, but Tommy was busy doing
something else and wasn't available, but then the last drummer that
we had to audition was Lee Kerslake, and fortunately as soon as he
started playing we all said, "Thank God for this, he is just the guy
that we are looking for." And he did fit in the band like a glove
and we recorded the first album, toured and started writing the
second album. Later in that year Sharon had come on to the scene,
after we had recorded the first album, and Ozzy and her got hooked
up and then Ozzy and Sharon started pulling me aside and
saying, "Why don't we get rid of Lee and put Tommy Aldridge in now --
he is available?" I said to Ozzy, "Look, I know that you wanted
Tommy in to start with but we have got Lee in now and he is perfect
and if it ain't broke, don't fix it." So, I wouldn't agree to that.
That happened several times, Tommy would be playing in London and
Ozzy would say, "Let's go and see Tommy play?" And I would
say, "Yeah, but we have got Lee and he is a great drummer so why
change it?" And it went on and on and eventually, I think, that they
both said, "Fuck this, we will get rid of them both." And that they
did. As history tells you Ozzy got me back several times so. . . I
had actually heard through the grapevine that they didn't really
want to get rid of me, but they got rid of us both because I kind of
stood my ground about Lee. Then about 1991 when I was doing the No
More Tears album Ozzy actually said to me, "You know, you were right
about Kerslake." I thought, "Yeah, well it is a bit late now but at
least he admitted it." [Laughs] Lee was perfect for the band, there
was a magic, a chemistry, it all fitted together like a jigsaw.
KNAC.COM: And whatever love it was that they had for Tommy Aldridge
superceded all that?
DAISLEY: Well, I don't think that they recognized it. I think that
they got carried away with their own importance or with their own
power or whatever. You know, "This is Ozzy's band and he can do what
he likes!" You can do what you like but don't shoot yourself in the
foot, which is kind of what I think he did. But, you know, Sharon
was on the scene and it was sort of Ozzy and her had the power
between them, and Sharon and Kerslake didn't really see eye to eye
from day one, they weren't exactly President of each other's fan
clubs. [Laughs] I don't think that they recognized the magic that we
had in that first lineup, and it wasn't until later years that they
found out it couldn't be recreated. It was too late to recreate it
after Randy had gone anyway. The next lineup after that was Ozzy and
me and Jake [E. Lee] and Tommy Aldridge for Bark At The Moon, but by
then it was obviously only me and Ozzy who were the original
KNAC.COM: This all fills in the gaps for an incident that occurred
last summer when Lee was on tour with Uriah Heep here. Someone had
handed him a photo of the original Blizzard Of Ozz band to sign and
he just stared at it and said, "What a waste." Now I can understand
better what he was thinking there.
DAISLEY: Yeah, and that is right because who knows what might have
happened had we kept that band together and just done it how it was
supposed to be done as a band called "The Blizzard Of Ozz."
Originally the band was to be called "The Blizzard of Ozz" and the
first album was going to be called just that, and then in smaller
writing "Featuring Ozzy Osbourne" which we didn't mind, but instead
they went ahead and called it an "Ozzy Osbourne" album and when the
success came it was like, "We can do anything that we like."
KNAC.COM: And it seems like they did! [Laughs]
DAISLEY: Yeah but then they had Rudy Sarzo in the band, and Ozzy
calls me up and says, "Well Rudy is a nice guy and he is a good bass
player and he is good at playing what you have already thought of,
but he doesn't think of new things to play." I don't think that Rudy
was really a writer.
KNAC.COM: Yeah, he is an interesting guy actually and a very
interesting case in hard rock/heavy metal because he is on the cover
of all these albums -- Whitesnake, Quiet Riot and Ozzy's -- but he
doesn't play on most of them. I do like his playing on the live
albums, though. [Laughs]
DAISLEY: Yeah. Well, like that Whitesnake album that Neil Murray and
Aynsley Dunbar played on and then in all the videos it was Tommy
Aldridge and Rudy Sarzo, again so history repeats itself, I guess.
"I don't think that [Ozzy and Sharon] recognized the magic that we
had in that first lineup... It was too late to recreate it after
Randy [Rhodes] had gone anyway."
KNAC.COM: Well Rudy always has kind words to say about Ozzy, I know,
but there are others that have followed you in that band who have
not faired as well -- Phil Soussan, who you mentioned earlier, has a
suit against Ozzy as well I believe?
DAISLEY: Yeah, Phil's discrepancies are with his song "Shot in the
Dark" because he brought that song in pretty much finished, I think,
to the Osbourne camp. He said that he has a recording of it from
before he even joined the band.
KNAC.COM: And that is not over with yet either?
DAISLEY: No, it is still ongoing at the moment. I think that is
probably why Sharon kicked him at Randy Castillo's funeral.
KNAC.COM: Wait, Sharon Osbourne kicked Phil Soussan at a funeral?
DAISLEY: Oh, yeah, Sharon kicked Phil in the knee at Randy's
funeral, which was really disrespectful.
KNAC.COM: What a class act she is! [Laughs]
DAISLEY: Yeah, I mean, if you are going to go to a funeral to pay
your respects, you know, take your problem somewhere else, not at a
funeral! [Laughs] Then again, if you are going to do something as
disrespectful as put Randy Rhodes playing with two other bogus
characters that is pretty disrespectful as well, isn't it? Somebody
who is dead that can't come back and do or say anything about it --
that is a disgrace.
KNAC.COM: I still don't get it?
DAISLEY: Yeah, I am at kind of a loss for words myself. I couldn't
believe it when somebody first sent me an e-mail when they had first
learned about it and I just couldn't believe my eyes. I was
like, "Naw! My God!" Then I found out that they had withdrawn all of
the old copies of the original product to promote the new one --
that was even worse.
KNAC.COM: Well, as I say, it is obviously your version that the
radio stations here are playing, because you can definitely tell the
DAISLEY: Yeah, somebody sent me a copy of each one and what they
have done is they just went into the studio and just soloed the bass
and soloed the drums and just copied exactly what we did but without
the feeling and the emotion, and obviously they couldn't have been
there at the time when the magic was created between the four of us.
Even Randy sounds different because of it.
KNAC.COM: Another complaint that people have had about these discs
is there is not much in the way of "Bonus Tracks" which has pretty
much become the standard when you re-issue already-available titles -
- are there many tracks that you guys did that remain in the can
from these sessions?
DAISLEY: Well, there is a song called "You Looking at Me Looking at
You" which was a track used for a B-side of a single, I think it
was "Crazy Train," and that was originally going to go on the album
and the B-side was going to be "No Bone Movies" which was written
specifically as a B-side, but we thought in the end that it turned
out better than "You Looking at Me Looking at You," so we put it on
the album and used "No Bone Movies" for the B-side. Then there was
another song called "You Said It All," which was written on the road
because they were going to release a twelve-inch live version
of "Mr. Crowley," which they did. That was pretty much written at a
soundcheck one afternoon. I took a tape of the idea from soundcheck
back to the hotel before getting ready for the gig and wrote the
lyrics for it, and I think that we recorded it that night live!
KNAC.COM: That is a great story to hear because that song has been
one of my absolutely favorite songs from that period of the
band. . .
DAISLEY: What? "You Said It All?"
KNAC.COM: Absolutely! I remember waiting and waiting for the studio
version to show up somewhere, but now I guess you are telling me
there never was one?
DAISLEY: No, it was never recorded as a studio song. It was just
that live version done with the mobile studio at the gig and that
KNAC.COM: How was it that you came to work with Black Sabbath?
DAISLEY: What happened was that I had already worked with a
producer called Geoff Glixman when I was with Gary Moore, and so I
knew Geoff and he knew me, and we knew what to expect from each
other and I guess he liked my playing. He knew the connections with
me and Ozzy and Tony Iommi, probably would know my playing from
that, and so I got a phone call saying, "Black Sabbath is in
Montserrat in the West Indies and their bass player [Dave Spitz] had
to go back to the States and would you fancy doing the Black Sabbath
album?" and I said, "Yeah!" It was the sort of music that I like so
sure, you know? So, I got on a plane the next day or maybe a day
after that and I went into the studio and I said, "Play me a track
but without the bass on it because I don't want to be influenced by
what somebody else has done." I had a listen, I did the track and
then Tony Iommi came in and had a listen back and he looked up at
Geoff Glixman and said, "Let him do whatever he wants" and then he
walked out! [Laughs] Obviously, he loved what I had done on that
first track and he said to give me a free hand and I ended up doing
the whole album. I think that there is a credit on that album for
Dave Spitz because he was the bass player in the band and had been
on the road with them and I had just come in to do the album but I
did play on the whole album, it is all me.
KNAC.COM: Thank you for predicting and answering the next question!
DAISLEY: [Laughing] Quite all right!
KNAC.COM: I think that was the same story with Bev Bevan and Eric
Singer with the drums.
DAISLEY: Yeah, sometimes they will do that because it is like
somebody is still in the band but somebody else played on it or is
going on the road with them and I think that it is unfair because it
is not a proper credit. It is like on No more Tears, I played on the
whole album, but they put Michael Inez's name on the album sleeve as
well just to have the continuity of having him on the cover and then
going out on the road, but I did the whole of that album as well.
Give credit where it is due, you know? I know Michael Inez came up
with the initial idea for that little riff at the beginning of the
song "No More Tears," but I changed the positioning of it, where it
falls on the beat, and all of the other stuff on there was all me,
all my ideas. I know that if I am replacing something that somebody
has done or there are demos to be done, I always say, "Give it to me
without the bass" and it is because I don't want to be influenced by
something that someone else has done.
KNAC.COM: So that is actually you playing on the song, "No More
DAISLEY: Yeah, all of it.
KNAC.COM: Wow, another example of how the party line at the time was
something other than reality because I distinctly remember Ozzy
saying that playing was Inez's work.
DAISLEY: Yeah, that was crap.
KNAC.COM: So, with Black Sabbath, it was a very different thing by
that point, kind of Tony and the name only by that point. . .
DAISLEY: Yeah, there was Eric Singer playing drums, which is where I
first met him. There was Tony and the same keyboard player, Geoff
Nichols, and Ray Gillen was singing when I was doing that album. All
of the vocal parts and the melodies and the phrasing was all Ray
Gillen and I think that Tony Martin went in after that and replaced
everything, but at least when he replaced what Ray Gillen had done
the album hadn't been released yet, so I guess that was okay.
[Laughs] It wasn't like they withdrew it and took it back into the
studio -- it was just that what they had done they ended up
replacing with Tony Martin.
KNAC.COM: Were there things knocked about in the studio for that
record that didn't make it to the actual release?
DAISLEY: Yeah, there was one song -- and I can't even remember if it
ever ended up with a title -- but it is something that Tony and I
were working on.
KNAC.COM: Okay and on to Rainbow. You kind of came in on that band
in a transitional period. How was it that you got the gig in the
DAISLEY: I joined Rainbow, roughly, around July of '77. That lasted
for a bit more than a year, I think, because I know that when I
joined we rehearsed for about six weeks into August of '77 and I
know this because it was in rehearsals that we heard about Elvis
dying and that was in August of '77. We rehearsed up until the end
of August and then we did a Scandinavian and European tour into
September and October, and maybe even November, and then we were
into the studio to finish up Long Live Rock And Roll around
December. January of '78 we went to Japan and in February we went to
America and were there for quite some time. I think that everything
folded around the autumn of '78 so it lasted a year and a bit with
that lineup. A lot of people tend to think that was the classic
lineup but I wouldn't comment on that. I mean I liked it, and I
thought it was a good lineup with Ronnie and Cozy and David Stone,
he was a guy from Toronto and a good keyboard player.
KNAC.COM: Yeah, it was a good band and the album was great, but it
seemed that it was about that time where Ritchie Blackmore started
to accelerate the hiring and firing of band members to the point
where the band didn't really have any kind of identity beyond
Ritchie's solo project.
DAISLEY: Yeah, he did change lineups but he did keep Cozy Powell on
drums for a while, but then he did get rid of him after a tim,e too,
so that whole lineup had all gone. The newer version of Rainbow was
a lot more commercial with Graham Bonnent and all of the other
people that he had at that time were good players, but it was just a
bit more commercial than I expected, but it did do well. You can't
knock the success of it, but I still think that the heavier lineup
with Cozy and Ronnie was better.
"[My gig with Rainbow] lasted for over a year and I learned a lot
from it and it was a good experience. It put my name around more and
it was just a good situation and I enjoyed working with that band."
KNAC.COM: How was it that you actually got the call to come into
Rainbow in the first place?
DAISLEY: I was on tour in a band called Widowmaker and we had
finished an American tour in Los Angeles in about July of '77 and I
met up with a friend of mine, Dick Middleton, who I had known from
England and had worked with in a band in the early days called Mungo
Jerry, anyway, I went to see Dick in LA and he said, "Hey, Blackmore
is here and he is looking for a bass player, would you be
interested?" I said that I would be, and so I met up with Ritchie
and had a few beers and that happened a couple of times and then
Ritchie said, "Would you like to come in for an audition?" I did,
and they put me through the paces and got me to try different songs
and different ways of playing things. Ritchie was particularly
interested in a bass player who played with a pick, he didn't want a
finger-style player, he wanted the precision of a pick and that is
how I played. At the end of the audition he said, "Yeah, that's it,
you can have the gig if you want it." Funnily enough, I had actually
thought about it a while because I had heard stories about Ritchie
being fickle and Ritchie chewing people up and spiting them out and
saying, "Next!" [Laughs] "Well, he lasted three months so let's get
someone else now," and I felt like, "Do I really want to be in that
position?" In the end I said to myself, "Yeah, it is a good position
and an opportunity and a stepping stone so take the chance, why
not?" Like I said, it lasted for over a year and I learned a lot
from it and it was a good experience. It put my name around more and
it was just a good situation and I enjoyed working with that band.
KNAC.COM: Strangely enough after wanting a picking-bass player he
hired Roger Glover who, at the time, was a finger player, I believe!
DAISLEY: Yeah! [Laughs]
KNAC.COM: There are the completist kind of fans out there who put
together these intricate time lines for groups and one that I saw
had you in the band in the morning with Graham Bonnent and then by
the evening you were replaced by Roger Glover which sounds strange
to me, but so do a lot of things in this business! [Laughs] Was this
at all accurate?
DAISLEY: Oh, is that what happened? [Laughs] I don't know, I don't
know too much about that really.
KNAC.COM: How was it that you got your papers to leave Rainbow? Was
it a formal thing or did Ritchie just not renew your contract when
it came time?
DAISLEY: It was a civil thing. I think that it came to the point
where, I can't remember who it was that told me, it probably would
have been Bruce Payne or it may have been Ronnie but someone phoned
and said, "Ritchie is changing the band and it is going to go in a
different direction. . ." So it wasn't like nobody told me or
anything, so I think that it was okay. I saw Ritchie a couple of
years after that when I was walking down Sunset Blvd in LA with Lee
Kerslake while we were on tour with Uriah Heep and we met up with
Ritchie and he said, "Why don't we go and get some breakfast
somewhere?" and we did that at Ben Frank's, I think it was, and that
was the last time I spoke with Ritchie, twenty years ago. [Laughs]
It doesn't seem that long ago, but I guess it was.
KNAC.COM: When Rainbow gave way to the Deep Purple reformation they
compiled a "live and rare" disc with a couple of tracks from your
period on it, what did you think of those performances?
DAISLEY: Yeah, they were all right I thought -- I thought they were
quite good, actually.
KNAC.COM: Have you kept up with any of the other guys from Rainbow
through the years?
DAISLEY: I did a tour with Ronnie at the end of 1998, which is
something that not many people know about because it was a last
minute thing. He had a bass player that had another commitment to do
something and couldn't make it and Ronnie said to me, "Do you want
to do some shows?" And so I went in with them and rehearsed a bit in
LA and then we went to England and Scandinavia in October and
November of '98. I was in kind of a bad frame of mind then, though,
because my Dad had just died and I was just not in a good place and
it got really weird and it probably wasn't the ideal mental space to
be in to be working with somebody for the first time after twenty
years, but that was no fault of Ronnie's or the band's. Ronnie sang
great and the band was great, but it just didn't seem an enjoyable
time to me because of my thing, but it was only like a three week
tour or something and I just went in and did it and came out. We did
some Rainbow stuff and obviously his Dio stuff and a few Sabbath
KNAC.COM: You also did some work with Joe Lynn Turner, another
Rainbow alum albeit from the time after you had left the band. . .
DAISLEY: Yeah, the Mother's Army thing, as well as the first time
that I worked with Joe on the Yngwie Malmsteen album and that was in
1987 or '88. Joe and I talked about maybe getting a band together
and we spoke with Carmine Appice, but it didn't happen until the
Mother's Army thing. Carmine had phoned me and said, "What are you
doing?" and I told him that I was going out to Australia soon, this
was when I was in England, and he said, "Well, fly via San Francisco
and come in and have a play with Jeff Watson [Night Ranger] and me."
And so I did that and played on a track or two of Jeff's solo album
and then I came down to Australia. The next year, '92 or so, we got
the Mother's Army thing together with me and Jeff and Joe Lynn and
Carmine and it was starting to do good and we did two albums with
that lineup and the third album, Carmine wasn't with us and we had
Anysly Dunbar on that one -- what a great drummer that guy is! I
love his playing, that guy. Business-wise the Mother's Army thing
never got off the ground but personnel-wise and musically it was
great, I like everybody in the band. I think that we might try and
release one of those albums through MP3 or one of those things, and
if we do, people can hear about it through my website, I am sure.
KNAC.COM: Lastly, Uriah Heep. You played with them for a time and
made some good music with them, but it never really caught fire in
the same way your work with some of these other bands did -- what
was that period of your career like for you?
DAISLEY: Personally I liked that band and it was like a family,
which I really liked. It was a happy situation and I played on
Abominog and Head First, but it became a little frustrating because
I knew the band was good and the music was good, but it didn't seem
to be getting as far as it should have gone. It had some success,
but it should have gotten a bit more push from the record company
and the management or whatever and it wasn't quite breaking the ice
and that was frustrating.
KNAC.COM: What do you have going on musically now?
DAISLEY: I just did a blues album, and the band is called The
Hoochie Coochie Men, after the old Muddy Waters song, although that
song is not on the album. [Laughs] There is some original stuff on
there, and there are some blues covers and it is very much a blues
album, but it is very listener-friendly, if you know what I mean. I
have played it for lots of people who are not particularly blues
fans but even they like it, so it has had a good reaction and there
will be some news about that on the website as well...
KNAC.COM: Is this something that you are taking out to play live?
DAISLEY: I don't know, we will see what the reaction is and what the
sales are like and just seeing if people are buying it or not buying
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