BOB DAISLEY – Interview with a true rock legend

Rainbow, Ozzy Osbourne, Mothers Army, Uriah Heep, Kahvas Jute, Living Loud etc.

Bob Daisley is a true rock legend. A man who has been pounding out killer bass riffs for more than forty years with some of the world's greatest hard rock & heavy metal acts such as: Rainbow, Uriah Heep, Gary Moore, Black Sabbath & Ozzy Osbourne to name just a few. As many know Daisley is more than a bass player, he has written some of the greatest songs in rock history. Songs that will live on for many years to come such as: 'Crazy Train', 'Over the Mountian', 'Suicide Solution' among many others. Six months ago I had the pleasure of conducting an interview with Bob, which to date has been one of the best & most successful interviews I have done. It's not very often in this business that you get the opportunity to ask true rock icons questions on more than one occasion, so when I was given the chance to interview Bob again I was more than happy to include questions from other fans from around the world! I caught up with Bob last week to discuss the recent Kahvas Jute reunion, the soon to be released CD & DVD, life on the road, Rainbow, Mothers Army, Randy Rhoads, covers & much more. Bob was happy to answer some of the hundreds of fan questions I was sent which will please many of you. If you are a fan of rock music you will enjoy this interview!

Hi Bob, thanks again for putting time aside today to speak with me, how have ya been mate?

No problem. I've been good thanks Cameron.

Bob as you know after our last conversation together, more than six thousand fans in as little as 24 hours had visited my websites to read your interview. I am a huge fan of the work you have done throughout the years & this time around I have given other fans from around the world the opportunity to have a question or two included in this interview.

Wow that's amazing.

Kahvas Jute recently did a reunion show which took place at The Basement in Sydney, many fans are disappointed that you guys are located here & yet they rarely get to see you live! Are there any plans to do a full Australian tour anytime soon?

Well it's great to see that there has been that kind of interest in it already because I guess in some circles the name Kahvas Jute doesn't really mean too much. But for the people who do, there is a legendary connection to the name. As an example, if you have an original vinyl copy of that album we did back in the beginning of 1971 when it was released, today its worth between five hundred & six hundred dollars. There are parts of the world where the re-issued CD of that album, are still selling; in Germany, Italy & I heard it was being sold in Texas as a re-release for one hundred dollars. There is the possibility of Kahvas Jute doing more shows but really it depends on how soon we get the new DVD & Cd from The Basement show out, plus a remastered version of the only album we did which is called 'Wide Open'. Dennis Wilson & I were up at his place mixing the soundtrack for the Basement DVD & we were part way into it, I had to come back home and Dennis had to have a minor operation, so as soon as we can get the mixing & the artwork done & get it out, then we may do some more shows to coincide with the release.

As you know I attended the reunion gig & from the perspective of a guy who had never actually heard the band before, I was blown away. The new songs are great, the classic Kahvas Jute tracks really stand up to anything that's out there today. With 'Wide Open' to be re-released soon, Can we expect to see more new material from you guys in the future?

Yes that's another possibility as well. The Basement show was really an experiment. Tim Gaze, Dennis Wilson & I got together & wrote some more songs. When we listened to them along with the old stuff, we thought well it still sounds like Kahvas Jute; it still has that continuity, the material really fitted in well together. It wasn't like, well here are five new songs then here are five old songs.

Tell me how Mark Marriott got involved with the project?

Well I worked with Mark Marriott on a session a few years ago & he is a very competent drummer. I was quite impressed with him the day I worked with him in the studio. When I was in the studio with Mark I noticed that he would listen to what you said. If you said to do a Keith Moon fill here or a Ringo fill there, he would do it. So when we needed a drummer for Kahvas Jute I immediately thought of him, being in Sydney as well. Dannie Davidson, the original drummer, had a lot of baggage & to be honest with you, I think Mark was an improvement. Dannie was a great drummer back in the day. He was a proper drummer; he didn't just listen to pop records. He was having lessons with a professional jazz drummer here in Australia called Derrick Fairbrass. Dannie was a very competent drummer himself but I haven't heard him play with anyone in years & the last time I played with him it didn't have the same spark. In all fairness, it would have been nice to have Dannie there being the original drummer, if he didn't have the Yoko wife & the baggage but that was the case so Mark was called in. I sent Mark a copy of the five new songs that we had recently done & a copy of the original Kahvas Jute album, he had obviously listened to them properly, I think he did a brilliant job. We only had a couple of days to rehearse before the Basement gig too.

As you have mentioned in recent interviews, the Kahvas Jute reunion show was recorded & will be released on CD & DVD, has a date been set for the release yet?

No, not until we finish mixing the album & get the artwork done. Once that's all out the way we will work towards a release date. It would be nice to think that we will have it released this year but there's not that much of it left [laughs]. Realistically I would say we would be releasing the new album early next year.

A lot of bands don't like to record live albums because they feel they can't capture the sound of their live performance. What is your take on this & do you feel the new CD defines a live Kahvas Jute experience?

Yeah I think it defines the Kahvas Jute sound. What we've got on tape from that show at The Basement really does capture the Kahvas Jute sound. It could have been recorded in 1970 – 71. There's a better element of experience & maturity in the playing now. My take on live albums is that as much of it as possible should be kept live. You hear about bands going into studios & taking months sometimes years to mix a live album because they're re-recording it all. The Thin Lizzy Live album, which is regarded as one of the best live albums ever, isn't really live. Phil went in & re-recorded all the bass parts, all the vocals & a lot of the guitar parts, so you're not left with much from the original true live sound and performance. We want to keep as much of this album as live as possible. There may be a bum note here & there that will be replaced but keep it live, otherwise it's pointless calling it a live album.

What label will the album be released on?

At this stage we really don't know. We would like to think that it will be with EMI which is the label that released the Living Loud CD but we just don't know yet.

You mentioned to me at The Basement that you were going to be working on Gary Moore's next album. What details can you give us at this stage?

Nothing etched in stone. When I talked to Gary last, which was a few months ago now, he mentioned that he was going to be recording in August. Gary was in the middle of changing record labels & because of that, things were being put back & I haven't really spoken with him since then. The only thing that seems to be definite is that Gary wants to do another rock album which will be more along the lines of the Thin Lizzy Irish style rock, which would be really good & fans have been crying out for, for years now.

Last time we spoke, there was a possibility of an Australian/European Living Loud tour. Can you shed any light on to what is happening with that?

That's another difficult one. As we all know, Lee's in Uriah Heep, Steve & Don are in Deep Purple & Jimmy's got a hit album here at the moment. We just have to wait for that window of opportunity for everyone to be able to get together. Lee Kerslake, Steve Morse & I are going to try to get together soon to do some writing for the next album. Jimmy will come in on that when he's free to do some lyrics & melodies etc. I can't see any new recording happening until the New Year. We recorded the last album in Florida & if we do the next one over there we might do some live shows while we are there. But nothing has been planned at this stage.

Bob I wanted to talk to you about covers. What do you think of bands such as Nightwish who do a fantastic version of Gary Moore's 'Over The Hills & Far Away', Hammerfall, even Pat Boone covering songs that you have either written or been a part of in some way?

Personally, I think it's great to do it if you can do them like you just said as a fantastic version. If you just try to recreate something that's already been done its pointless. I think the hardest thing ever to re-do would be something like a Led Zeppelin song or a Beatles song unless you do them like Joe Cocker did Beatles songs. He would do them so different to what The Beatles had done that sometimes it was almost like a new song. If it's any of my stuff, I feel flattered. If people want to do anything that I've been involved in, maybe I'm not the reason that they were doing them anyway, they were probably Randy, Ozzy or Gary fans [laughs]. It's like a breath of fresh air to hear a new version of something that's either an improvement or a different slant on what the original idea of the song was.

I wouldn't say that the Pat Boone version of 'Crazy Train' was an improvement!

No but that was a real novelty thing. When I was a kid & Pat Boone was in the charts, I was into Elvis & Little Richard. Most people regarded Pat Boone as Mr. White Bread & Mr. Corn Ball & so on, to have him (The King of Corn) do one of your songs is really an honour in a funny sort of inverted way. I'm sure Pat Boone realises that he was regarded in that way and did all those rock classics as a tongue-in-cheek self send-up.

Do you have any favourite covers from the ones you have heard?

I don't really have any favourites to be honest. I listen to them & think it's really nice that they have covered them but some I didn't even know had been covered. I did know that there was another Ozzy tribute album being put together & they had contacted Drew Thompson in Melbourne who handles Living Loud, & had asked him about putting a Living Loud song or two on the album. We actually said no, we didn't want to get involved in a tribute album. The way we did the Ozzy songs we wanted to get it away from the way the originals had been done. I think it would have taken a little bit of the credibility away from Living Loud if we had appeared on the tribute cd.

Over the last few years the Australian hard rock & metal scene has started to come alive again, do you get the chance to see any of the newer bands that we have playing in the clubs week after week.

I don't go to clubs very much. If there's a particular act that somebody tells me about or if someone advises me to check out a certain band, I might pop in & have a look. I think it's a great thing that the scene is coming alive again here because it really needs to. I really think music all around the world needs a good kick up the arse. I'm sure there are a lot of great bands, writers & performers out there that we don't get to see only because a lot of it gets suppressed. The thing that's been promoted for years now is dance music & fuckin rap & shit like that. Its fuckin' garbage!

[Laughs] You're right there. You can put the television on any weekend & say to yourself 'how the fuck does this song make it into the top ten'!

Yeah I know, as an example, in England recently, there was a mobile phone ring tone that went to number one!

Yeah it was number one here too.

[Laughs] But it's sad really.

I will never understand how any of that shit makes it into the top 1000 to be honest [laughs]. I know that a few years back Australian band Addictive asked if you would play bass on their version of 'Crazy Train', which you did do. How does it make you feel when you are asked requests such as that from relatively unknown bands?

Well Addictive were involved with a friend of mine as their manager & that was quite a few years ago, actually that was in the beginning of the nineties. I thought Addictive were a very good band. They had an album that they asked me to produce which I got involved in. They didn't have much of a budget & they didn't have enough time to mix the album while I was there, so they had to remix the album after I had gone. I don't think the record company got behind it, but it turned out pretty good & every once in a while I play that album for my own enjoyment & think it still holds up & its still good. They were so much better than a lot of bands that have made it. I thought it was nice that the guys wanted to do 'Crazy Train' & that they had asked me to play on it. Since I was there producing the album I was happy to play on the track. They were a good bunch of blokes!

For someone like yourself who is considered among most hard rock & heavy metal fans around the world to be an influential song writer & bass player, what do you think most people would be surprised to learn about you?

[Laughs] I've always been interested in philosophy. I lean towards the Buddhist philosophy & I read a lot of stuff from a bloke called David Icke & he exposes a lot of things that are being done to people, the manipulation of people's thoughts with mind control, mental conspiracies etc. I remember when 'Diary of a Madman' was first released. I was reading a review in London that said lyrically you can call this album the thinking man's heavy metal [laughs]. There are not too many weird or unknown things about me [laughs].

Well nothing that you care to share with us right? [Laughs]

[Laughs]

I want to talk to you a bit about life on the road, Mötley Crüe often refer to the Motley/Ozzy tour as one of the craziest tours they've been on. Being part of Ozzy's band at that time, what do you remember from the tour with Mötley Crüe?

I remember at the start of the tour Mötley had these t-shirts made up that had this happy smiley face on the front with bullet holes & blood coming out of them & written on it was 'The No Fun Tour'. I still have one of those t-shirts actually. The tour started off that way because Sharon was on that tour with Ozzy & she said to Mötley 'you can't have any girls back stage & you can't have any backstage passes & there's no booze or drugs'. It was like being in fucking school. They got really pissed off about it & that's how it started.

By the end of the tour you can safely say the “no drugs & alcohol” policy was out the window? [Laughs]

Oh yeah, every time Sharon had to leave & fly back to London or New York for management & record company business etc, every time that she'd fuck off Ozzy would get a big bag of cocaine & a crate of booze [laughs]. There was plenty of stuff like that going on that I'm sure she wasn't meant to know about [laughs].

What's the most ridiculous thing you have ever asked for on a tour rider?

I never really had any silly demands. If I was drinking I would just get wine, if I wasn't drinking I would get Perrier water. People might think that was weird [laughs].

[Laughs] Yeah why the fuck does this guy want water on his rider, he's supposed to be in a Rock 'n' Roll band? [Laughs] Plenty of artists do ask for water though, I guess it's a good break from all the alcohol [laughs].

Even when Ozzy was drinking he would never drink before a show.

Wow really?

No he always went on straight; well 99% of the time. There were a couple of times in the early days where he would start drinking in the middle of the day. I remember when we played in Brighton, England on the very first tour with Randy & Lee. Ozzy had been drinking all day & he had broken up with his wife Thelma & this new thing with Sharon was getting to him, so he decided to get pissed all day went on stage & mooned the audience [laughs].

Touring the world for so many years must put a burden on family life? Do you travel with family on the road & how do you find a balance with constant touring?

You can't really take a family on the road with you unless you're super rich. Ozzy & Sharon took their own tour bus & had a nanny with them when they had the kids, but when you're just part of the band you can't afford to do that. There would be a couple of times where they would fly out when we had breaks but it's impossible to take a family on the road with you & I don't think it's very professional to mix business with your private life. It's not easy to be away, it does take it's toll sometimes.

After all these years in the business what is it that keeps you going?

A basic love of music, which you really need to have. If you're in it for the money, fame or the sex & drugs, you won't last too long. I think what keeps you going is the enthusiasm to create & play music, which is the object of the exercise & what it's all about. I remember when I first started playing, that's what I was in it for. It was all very nice to think that one day I might be famous or one day I'll get recognition or get rich but the real reason to be in it is for the music & with that comes job satisfaction.

Last time we spoke we played the song game, I gave you a list of songs & you told me what came to mind. I want to do a similar thing this time but with different musicians you have worked with over the years:

Jake E Lee: I think Jake did an admirable job of filling the shoes of Randy which were pretty big shoes to fill. He was individual in as much as he re-created what Randy had done having to play it live but he put his own little flavour into it which was good. When we did that first album after Randy's death he gave it a bit of continuity with his own style. I worked well with Jake, he had good riff ideas that we worked on & turned into songs. He's a bit of a funny bloke; Jake likes to keep to himself.

Zakk Wylde: Nice bloke, I got on well with Zakk. The first story that comes to mind was when I first met Zakk. He was about twenty or so & he'd just got the gig with Ozzy, this was back in 1987. I had said to Ozzy “now you think back twenty odd years ago to when you were in Sabbath & picture somebody handing you a baby & telling you that this is going to be your new guitar player one day” [laughs]. I think Zakk is a great player & a lovely bloke that I really got on well with but I think Ozzy has had better guitarists. That's just my opinion, not to say that he's not as good as anyone else.

Cozy Powell: I got on very well with Cozy too. He was a bit of a larrikin [laughs]. I was a bit intimidated by Cozy. As you know I have always been a big Jeff Beck fan & I knew that Cozy had played with Jeff Beck. We were mates & it was a very sad thing when he died. I had spoken to Cozy only days before his death & we were talking about the possibility of Rainbow doing another album together with the classic line-up with Ritchie, Ronnie, Cozy & myself & I'm not sure what keyboard player they would have used, but not long after that Cozy was killed in the car crash & all thoughts & ideas of a Rainbow reunion went straight out the window, which was very sad.

Steve Vai: I guess I felt a little intimidated going into the studio with Steve too, but when you've got a job to do you just have to get on with it. It was Steve's idea to bring me in on the 'Ozzmosis' album. Steve had been working with Ozzy on songs for the album & they had bass players coming in & Ozzy would be saying “what would Bob Daisley be doing here”? “What would he do there”? “What would he write here”? Steve Vai turned around & said to them “why are you getting all these people in? “Why don't you bring in the real thing'? [Laughs] So I got a phone call & ended up in L.A. a couple of days later. I arrived in L.A. on the 4th of July 1994. I started working with Steve & we got on very well together. We were working in Steve's Los Angeles studio for a little over a week when Ozzy & Sharon decided that they wanted to go to Sony studios in New York & work there. We all flew over there, then a few days later Sharon came in & said “Sony's pulled the plug on the project”. “There's not going to be an album”. I remember the drummer Dean Castronovo saying “Oh fuckin' hell”. I pulled him aside & said “Look, this is just their way of getting rid of Steve because they don't want him to do the album, they're fucking cowards”. A couple of days later I got another call from Sharon, “Yes we're still doing the album but we're not using Steve”. I thought fuckin' hell, why couldn't you just come out & say that? We all went back to London & they had flown a couple of songwriters over. I can't remember their names though, I wasn't asked to write anything, I was just supposed to play on the album. As it turned out, Steve Vai wasn't paid for his studio time, Steve was let go in a really cowardly way, & then I was kept on putting songs together, recording demos to eventually get another phone call from Sharon saying “Oh we've changed our minds, we're using Geezer Butler now”.

Carmine Appice: He's a bit of a legend really as a drummer. Shit he's played with so many people; Carmine played with Jeff Beck & sang some of the songs. He's a fantastic drummer, I still talk to Carmine. We send emails to each other from time to time & when I'm over there we hook up. He will always remain a legendary drummer.

Besides working together on 'Bark at the Moon', you played on the Mother's Army albums, did that come together because of the Ozzy Osbourne connection?

Well when I went to L.A. with Gary Moore in 1987, I stayed on in L.A. after the tour because I got a call from producer Jeff Glixman who was working on Yngwie Malmsteen's album at the time. Jeff had called me & asked if I wanted to do some tracks on Yngwie's album. So I stayed behind to hook up with Yngwie. I didn't do the whole album, just four or five tracks. I met up with Joe Lynn Turner who was singing with Yngwie at the time & Joe was a mate of Carmine's. The three of us would hang out & we started talking about getting a band together & it didn't eventuate then but a few years later when I was in England I got a phone call from Carmine, right before I was supposed to come back to Australia to produce that Addictive album actually. Carmine said “Why don't you fly out to Australia via San Francisco”? “I'm putting a band together with Jeff Watson from Night Ranger & we thought of you, would you be interested”? So I flew to San Francisco. I was only there for two or three days, we played together & it worked really well. I played on a track on Jeff's solo album called 'Lone Ranger' while I was there. I went back in the New Year & we started to put the band together. We got a couple of different singers in that didn't quite work out, & then we thought of Joe Lynn Turner who ended up doing a fine job.

Do you think you guys will do any more projects like that in the future?

I don't know. We'd all like to think so, we have all talked about it but the state of the industry makes it really hard for us to just get an album release. We had good albums & we would play them to people and get responses like “God, this is great, where can we buy this”? We'd say “Well you can't” [laughs]. It's released in Japan & Mongolia but we couldn't get promotion or a proper record deal, which was a shame.

To become a star these days it seems the only way to make it would be to go on a reality music show like Idol or Rockstar Inxs etc. What do you think about the mass wave of reality shows looking for so called “talent” and do you watch any of them?

No I can't stand to be in the same room as any of them to be honest. I think it's a terrible state of the industry that they have to resort to that. There is plenty of proper talent out there but that sort of shite makes money & there's no shortage of wallys who'll watch it & get sucked in by it

Bob have you ever considered writing a book about your Rock 'n' Roll experiences?

Both my daughters are always saying to me “Dad, you have got to write a book”. I have thought about it but I haven't gotten around to it yet. Eventually I will get to the point of saying o.k. I've got to do it [laughs]. There are endless stories to be told before I snuff it.

Well it would save you answering a lot of the same questions over & over again wouldn't it? [Laughs]

[Laughs] Yeah anytime someone wants to do an interview I can say 'just read the book' [laughs].

I believe you have a lot of unreleased material from the early days working with Ozzy, Randy & Lee. Have you ever considered releasing any of it?

Well as much as I would love to, there is a legal situation there. The Osbournes own the rights to anything associated with the name Ozzy or the name Randy Rhoads. I don't know if Randy's turning over in his grave but Sharon manages the Randy Rhoads estate. After Randy died Mrs Rhoads had to sue the Osbournes for years to try & get her royalties. I spoke to her about that & she said “Bob I just ran out of time & money”. “I couldn't be bothered, I'm getting old”. She's about eighty now but this was back when she was in her sixties. When The Osbournes wanted to release the Randy Rhoads Tribute album they had to get Mrs. Rhoads permission, so they cut a deal with her. I think she bent & gave in because she wanted to keep the name of her son alive who died in the line of duty. I have tapes of us in the studio writing stuff together & you can hear Randy & me talking but I don't think I could ever legally release it because of the Osbournes.

Out of all the years you worked with Ozzy, who was the best musician that auditioned for Ozzy's band but in the end never made it?

One of the drummers that Jake & I auditioned in L.A. back in 1985 was Eric Singer. As we all know he didn't get the gig. But I think it was at a time where Ozzy had left it up to Jake & me to audition everybody. It was funny we auditioned so many drummers & every time we heard somebody wanted to audition we said “Learn these three songs that we are auditioning everyone on”. I remember 'Over the Mountain' was one of them because of the drum feature but I can't remember the other two, probably “I Don't Know” & “Crowley”… If they were crap we would let them play the next couple of songs then say thank you, leave your name & we'll contact you, but it got to the point after the first twenty or so drummers that if somebody was crap we would just stop [laughs] say “No! Next!”. If somebody wasn't right it was pointless wasting their time & ours. I don't know what happened with Eric but later when I was working with Eric in Black Sabbath & with Gary Moore, I used to say to him “You know you would have been perfect for Ozzy” [laughs]. He'd say “Yes, I auditioned & you never gave me the gig”. [Laughs]

When it comes to on-stage & studio chemistry, who is the one person you have enjoyed working with the most?

That's a tough one. I've had so many good working situations. Steve Morse is great! I love working with Steve, we get on well together & he has some great ideas. Jeff Watson is another one, Jeff & I got on really well together. I remember when I did the Black Sabbath album, Tony Iommi asked me to join the band but I was working with Gary at the time. Of course the original line-up of The Blizzard of Ozz was a special creative time and very enjoyable. Lee Kerslake inspires me to do things & vice versa, we are almost like brothers at times. That one's too difficult to answer and name one person. It is very hard to single out one person; they've all been good in their own way.

Do you regret not joining Black Sabbath?

No, not really, I did well with Gary. At the time Black Sabbath weren't being handled right by management & people were getting messed about, I wasn't one of them but some people weren't being paid. People were coming & going in the band, it didn't seem to be too stable. But it was great to work with Tony.

Since we last spoke, what albums have you been listening to?

Recently I have been listening to the Jimi Hendrix box set with the purple velvet cover; there are some great songs on that and he was such a great and innovative player. Speaking of great players, there is another guitarist that I only discovered in the last couple of years that other people may know about called Danny Gatton. Wow, what a player that guy is! His playing is fantastic! His style is country/rock but it's worth checking out. Another album I listened to recently was Jeff Beck's 'You Had It Coming'. There's a song on there called 'Nadia' which is a brilliant piece of guitar playing. Just the other day I listened to a Miles Davis album called 'Kinda Blue' which is apparently his all time classic album. I've always listened to a wide range of stuff from Pavarotti to Robert Plant. Another is a box set of out-takes from Little Richard & the reason I did was because I recently purchased the bass that played on all of those early tracks. The guy who played bass with Little Richard back then was named Olsie Robinson. He had a Gibson EB1 Bass, which has the violin shaped solid body. Olsie used that bass on all those early 1956-57 Little Richard recordings like 'Good Golly Miss Molly' & 'Lucille'. So I have been listening to all those tracks just to hear my bass on them [laughs]. I think Little Richard was the epitome of the birth of Rock 'n' Roll, he was the innovator.

Wow, that's pretty cool! How did you end up with his bass?

A friend of mine in America had it. He bought it at an auction in America. Most of the people at the auction were more interested in autographs & clothing rather than instruments. More than likely this bass has come up & they've said Olsie Robinson & everybody's thought “Who's that”? Because it's not Little Richard's piano they didn't care, but to me and a lot of other people, that bass is a really important piece of rock 'n' roll history.

What modern guitar player do you think would have been perfect in replacing Randy Rhoads years ago?

Oh I don't know! Randy was pretty unique. If somebody's got a style you can't always recreate that by listening to what they have done so far, because all of a sudden they might do something totally out of the blue that you never thought they'd do. I know what you're saying & at the time I thought Gary Moore would have done a good job with Ozzy, but we're talking over twenty years ago. Like so many of the greats, Randy is irreplaceable. It's like saying “Who would have been as good as Jimi Hendrix in the Jimi Hendrix Experience when he died”? Nobody! I'm sure if Randy had a say in it when he went he would have been flattered if somebody like Jeff beck or Steve Morse had taken his place. Randy was a big fan of Steve's work!

Twelve months ago there were a lot of rumours about a possible Rainbow reunion, obviously this didn't eventuate. Is that something you would consider given the opportunity?

It would be weird after all these years [laughs]. I think it would be a good idea but to be honest with you, I don't think Ritchie is even interested in playing rock anymore. Ritchie is & has always been into the medieval/folk music that he's playing now. I haven't spoken to Ritchie in a long time but I have heard that he doesn't even like to listen to any rock music anymore, so whether he would do it or not I don't really know.

Well Bob that's all I have for you today mate. I just want to thank you again for your time and as always, it has been a pleasure. Do you have any last words you want to share with our readers?

I always like to thank anyone who will take the time to get the word out there & some of the truths that often get left behind. And of course thanks to all the fans who take the time to read it & are interested in anything I've got to say! All the best to you all.

For all the latest news on Bob Daisley check out the following sites:
http://www.bobdaisley.com
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