On Bob and Lee's input

[shred1]

I can assure you I am not Sharon Osbourne.
And, I don't feel sorry for Bob.... at all.
All this talk here about hording video and audio etc. for money... what about Bob? Is his heart in the right place?

Fact is Bob Daisley, in 2011, is still pulling this card, but hasn't delivered anything.
No audio (money issue), no book (money issue), had a dust-up with the folks putting the documentary together (money issue), but still receives 'saint-like' daily adulation for having a connection with a dead icon. Keeps Bob's name alive on the chat boards.....

Also, I have never heard Mr. Daisley say he was grateful for being at the right place at the right time, contributing to a couple of classics.
The Right place/right time formula applies to anyone who has had success in the music biz. You can't manufacture that.
With Bob, it is all sour grapes.


Here is the interview the above quote came from:

A Quiet Moment With The Ozz
The Ozzy Osbourne Interview
By David Sans

On the bus en route from Salt Lake City to Denver in the early morning hours of January 10, 1982.

Ozzy Osbourne: The whole band are great. As we’re going along, it’s getting better and better and better. Record label chief Don Arden said at San Diego, “I don’t think it can ever get better than that,” but I think tonight was better than San Diego. I can’t change my fucking drumhead; I can’t change my fucking guitar — I just have to get on with it, you know?

Great titles for the next albums. Bark at the Moon and Killer of Giants.
I just wish there were two of me, so one could write and one could do what he fucking does. I suppose there is two of me. The next album is going to be Killer of Giants, and the follow-up is going to be Bark at the Moon. I’m going to record the two simultaneously.

Been writing new songs?
Oh, yeah.

Got enough already?
No. I’m just beginning. I’ve got the mood of what I’m going to do. Killer of Giants is going to be sort of medieval. Bark at the Moon is going to be into sort of — wolves; werewolves and all that shit.

Will you write a lot of songs under those themes I’ve yet to do a concept album, and I want to do a concept album. Every track feeds into the next, you know? That’s the idea I have. Whether it comes off or not, I don’t know.

How many songs do you write?
I don’t write — these guys write.

I notice you’re all credited on the tracks.
Everyone feeds off everyone else. It’s like a rock and roll jungle. You know where you’re coming from: if it feels for everyone, it feels good for everyone. Randy may come up with a fucking riff and I do the major writing, but if Rudy or Tommy or Don come up with a thing that we want to use, everyone gets the credit for it. As long as the picture’s painted.

Do you write all the words?
No. Can’t spell. I generally get the idea, the initial push, and we work it out together.

How did you hook up with these guys?
The way I met Tommy was so ironical. I first left Sabbath in seventy-fucking, ahh, zilch. I went to a management company called Ina Carter Music. An old friend of mine who used to be a roadie was working for Pat Travers, and Pat Travers was looking for a new drummer.
I told this guy Dave that I wanted to get Tommy in a band. Tommy was just leaving Black Oak... he eventually went with Pat Travers. When I did leave Sabbath finally, I mentioned Tommy’s name to everybody. I said I wanted to play with Tommy. I said he was the greatest rock and roll drummer in the world, and I really sincerely mean it. It’s hard to try and explain, but the way things happened in this band — it was like things were meant to happen, as if we were all meant to meet.
Tommy and I have been doing the same circuit since ‘72, ‘73, when he was with Black Oak and I was with Sabbath. I think he’s the greatest fucking drummer in the world.

How’d you find the other guys?
At a clap clinic.
It’s hard to explain how it all happened. When I left Sabbath I was in total fucking turmoil in the mind. I thought I’d blown the biggest thing in my life, the only one crack I’d ever get out of the fucking suburban shithole. I’d gone to Los Angeles and auditioned so many Tony Iommi lookalikes, it was untrue.
At the end of the day, this guy (Dana Strum) said, “I want you to listen to this guitar player.” I was stoned out of my face — as usual. Heard one guy at 4:00 in the morning, and he was only tuning his guitar when I said, you’ve got the gig.
That was Randy. Phenomenal. His presence. I don’t give a fuck about... I have a feeling about people. You could be the greatest player in the world, but if you haven’t got the feeling that I want to get, I don’t go for it.
Rudy came and auditioned for the band, and instantly it clicked. The bass player before Sarzo was a cunt. He was a fucking money-grubbing fucking tight-fisted freak.

How long was he with you?
About nine months.

How’d you get him?
He fell off a fucking Christmas tree.

And Don?
Say no more. Don was on it from the beginning, doing session work. We had a keyboard player on the road before him, but Don played on the albums. He’s a great player, anyway.

How did you leave Black Sabbath?
Quite easily — I got fired. I wouldn’t fucking put up with their crap any more. I left first, but my lawyer said to me, “If you leave, you voluntary fucking leave. But ifl you fucking get yourself fired, you can claim a bit of dough.” We were potless. Black Sabbath, I’m telling you now, I swear to God — I don’t know now what they’re... but at that time, we were fucking penniless. Penniless! We had got ripped off like...we got taken for 15 mil. By everybody! We didn’t know what the fuck it was about! We thought as long as you’ve got a Rolls Royce and a fucking toot of cocaine up your nose, you’re happy.
It’s a fucking big syndrome — it’s left a scar on my mind — I don’t trust many people any more. I trust my management, although a lot of people out there don’t trust my management. I trust my management, because I have to, because I do trust them. I says to Sabbath...all I did with Ozzy Osbourne was took my fucking thing right back to where it started. I said, “Let’s get to basics again, and fucking knock it out” — and so you can get on stage and do near as possible on stage as you can do in the studio.

How did you go about getting thrown out of Sabbath?
I got very drunk and very stoned every single day. Plus the fact Tony Iommi was using Sharon Arden as his motivation — he was pretending to be in love with her.

And you were already in love with her?
No. I can’t explain, because it’s very complex to try and explain. Maybe Sharon could put you in the picture better than I could.

Was she managing Black Sabbath at the time?
At the time, yes. And I wanted to sue the fuckin’ ass of Warner Brothers, if you want to know my honest opinion. I ain’t gonna say it, because I’m not going to be liable.

You were unhappy with the label and unhappy with the band?
I was just generally unhappy.

What happened after they fired you?
I got the band together. I thought [Sharon] was going to say “Fuck Off” to me, and as it happened, I believe at that point, if Black Sabbath had stuck together, that we could have revealed the biggest scandal of the 70s. I’m not mentioning any names, and you can print this — I’m not mentioning
any names, any companies, or anybody, but I do believe that we could have fucking — with the -strength of a man like Don Arden, who is a strong fucker, and the Arden organization, we could have burst the whole business open.
I was sitting in the fucking Le Parc Hotel in fucking Los Angeles, sitting there like a sack of shit, and she comes in and says, “We want to keep you, and we want to fuck them off,” because they allowed themselves to got to. I locked myself away for three months.

What did you do?
I sat in a room and got drunk every day, listening a guy over the road playing “Iron Man” every night.

[Sky]

Thanks for posting the interview, sounds like Ozzy was completely out of his head, it's so full of contradictions that it's hard to believe anyone would take a word of it seriously. Wonder if it was done before or after he punched Randy in the face for wanting out.....

[shred1]

Before.

Yes, its obvious Ozzy is sh**faced in this interview, but I didn't make up his comments with regards to Bob - that is how he felt about him at the time. And yet, Bob went back!

Why? No other offers came in. Off to Uriah Heep (version 12.0)! Working with Gerry Bron and Bronze Records - another 'straightshooter'.

Bob is a great bass player and writer, but he has terrible business sense.

History bears this out.

[Cryptic Night]

Bob is a great bass player and writer, but he has terrible business sense.

History bears this out.

Why does he have terrible business sense? I can't recall the interview, but somewhere he said that he didn't really want to go back to Ozzy, but Lee Kerslake told him to. He knew that Bob would be better off playing for Ozzy than playing with Uriah Heep. Lee's the one who convinced Bob to go back.

That, and Bob also took a lump sum type of deal. He knew he'd probably end up getting ripped off again, so he just sold the music straight to Ozzy. Bob owns no rights to the music after DOAM.

I really don't see how this is bad business.


I mean, if you got fired from your job, and you were later offered your job back, whether or not you like your boss, wouldn't you go back? You need to make money somehow.....

I don't know how big Uriah Heep was at the time, but they were a garage band compared to Ozzy Osbourne. (In my opinion, at least) So, Bob made the wisest decision in choosing to go back to Ozzy.

[shred1]

Would I go back after the boss fired me, then, called me those types of names in the press?
NO.

If Bob would have went with a standard publishing arrangement, he would still be getting royalty checks for BATM.
It still sells. Rule number one in the rock biz - don't sell your publishing. Ever.

Why go back if there is even a 'chance' of getting ripped-off. Foolish. Double foolish when the parties involved have already ripped you off before.

Listening to Lee Kerslake on matters of business really isn't that smart either!

Daisley was expecting a 'Rainbow' sized monetary return on a release that at the time, was UK release only.

His name isn't on the North American record deal. Ozzy was signed as a solo artist here.

[rokket]

Would I go back after the boss fired me, then, called me those types of names in the press?
NO.

If Bob would have went with a standard publishing arrangement, he would still be getting royalty checks for BATM.
It still sells. Rule number one in the rock biz - don't sell your publishing. Ever.

Why go back if there is even a 'chance' of getting ripped-off. Foolish. Double foolish when the parties involved have already ripped you off before.

Listening to Lee Kerslake on matters of business really isn't that smart either!

Daisley was expecting a 'Rainbow' sized monetary return on a release that at the time, was UK release only.

His name isn't on the North American record deal. Ozzy was signed as a solo artist here.

Foolish, would have been to agree to do Bark At The Moon and then leave it up to Sharon to do the right thing and pay you after the fact.

What is clear is that Ozzy and Sharon ripped off Bob and Lee in the first instance by not paying them what they were entitled too, thus causing the situation to be what it is today.

One thing to remember also is that us, the fans, have also been affected by this, in that we miss out on the real Blizzard/Randy stories, and only get to hear from Ozzy and Sharon. We also miss out on hearing hours of previously unheard Blizzard writing and rehearsal tapes and hearing stories that Bob, Lee and Don could tell.

Bob's book is going to be worth the wait. And for all those annoyed at the time it's taking to be published, get a grip, it's not your book, and there's no time limit on it being published just because YOU think it's taking too long........

I can't wait for Bob to do his own documentary, inviting Lee, Don and Ozzy to contribute. Ozzy will refuse to have anything to do with sitting with those guys talking about the memory of Randy. That say's it all really.

[shred1]

I can't wait for the documentary either.

[GUITARIDOL5682]

For everyone who is in the dark to why Bob went back to work with Ozzy read this here from question 7 onwards.
http://bobdaisley.com/interview/website

[shred1]

I would start with question 4, which contains this important fact:
I made sure CBS signed Ozzy on a solo deal because I didn't want to waste my time negotiating with the lawyers representing other members of Blizzard.

Also, Bob's rationale for returning seems rather naive ....
'First and foremost, we were still good friends'
- except for the FACT that Ozzy had already ripped him off and called him a a f****** money-grubbing f****** tight-fisted freak.
Yeah, that is a great friendship.

[rokket]

I would start with question 4, which contains this important fact:
I made sure CBS signed Ozzy on a solo deal because I didn't want to waste my time negotiating with the lawyers representing other members of Blizzard.

Also, Bob's rationale for returning seems rather naive ....
'First and foremost, we were still good friends'
- except for the FACT that Ozzy had already ripped him off and called him a a f****** money-grubbing f****** tight-fisted freak.
Yeah, that is a great friendship.

Seems to me that when Randy died, that was the end of Sarzo being in the band shortly after, Ozzy had to get Bob back because he needed a new album and who was going to write it? Ozzy and Jake? If Ozzy hated Bob so much why have him in the band in 1980/81/83/84/85.......Bob was doing it for the $$$, I don't doubt that, but also because I'm sure he loved playing those songs live, who wouldn't....!!!

[shred1]

My opinion only, but I believe Ozzy got Bob back because:
A) Bob is a good writer and bass player, and a major contributor to the sound of the first two LPs, which he didn't want to stray from.
B) They knew they had Bob over a barrel and knew how to manipulate him. They had already jacked him once.
C) It kept everyone's eye off the ball in terms of the original lawsuit regarding the first two albums. Bob is pacified, while the clock ticks on his statute of limitations regarding the first lawsuit, which Don Arden is 'helping' with, by giving Bob's royalties to Ozzy and Sharon.