In a union as unexpected as a teapot on a Marshall stack, classic rock royalty and Sunset Strip legends have come together for a high-seas sonic adventure.
Just try and get your head around this. On four strings, Bob Daisley—the thunderous bassist behind Ozzy Osbourne’s Blizzard of Ozz. On six strings, Mick Box, the eternal guitar maestro of Uriah Heep. At front and back, vocalist Marq Torien and drummer Fred Achingof the glam-leaning, groove-heavy BulletBoys. And powerless to resist their hard rock temptations, the Doobie Brothers’ anthem “Takin’ It to the Streets,” stripped naked and then reimagined in full yacht metal regalia.
The title track to the Doobies’ sixth album in 1976, “Takin’ It To The Streets” was both composed and sung by the band’s newly-acquired frontman Michael McDonald, and swiftly became one of their biggest hits yet, a number 13 Billboard smash. Years later, that same magazine elected it the Doobie Brothers’ third greatest song, and of course, it’s been a yacht rock staple since before there was even a yacht to rock it on.
Well, now it’s on course to become a metal staple too, as the BulletBoys– no strangers to turning up the heat on classic tunes – bring their characteristic Sunset Strip swagger and vocal bravado to the mix, crafting a version that glides as smoothly as a speedboat in Monaco but hits like a bottle of Jack at soundcheck. And with Daisley and Box on the deck alongside them, you know that soundcheck is gonna be loud.
Produced in Los Angeles with a mix of analogue warmth and digital bite, this yacht metal version of “Takin’ It to the Streets” is more than a cover—it’s a seafaring reinvention, custom-built for late-night drives, dive-bar jukeboxes, and yes, possibly the top deck of a very dubious cruise liner.
The track drops today on all streaming platforms, while Yacht Metal itself – a limited-edition vinyl compilation positively overflowing with like-minded reinventions – is sailing closer every day.
So polish your deck shoes, crank up the stereo, and prepare to set sail on the smoothest, loudest voyage you didn’t know you needed.
The Metal Voice interviewed legendary songwriter and bassist Bob Daisley (Rainbow, Ozzy Osbourne, Black Sabbath) about his Book ‘For Facts Sake’ in 2021.
In the interview Bob was asked about the time in 1984 when on tour with Ozzy he convinced Motley Crue not to fire Mick Mars he said, “That night after the show Mick Mars went on our Bus (with Ozzy on the Bark at the Moon tour 84 ) and I went on their bus so I was the only one from Ozzy that went on their bus. And they were having a meeting. What they were planning on doing was getting rid of Mick and getting another guitarist in and they asked me for my opinion. So I said if you want my opinion for what it’s worth I would say do not try to fix something that is not broken. I said I have seen it before with Lee Kerslake in the Blizzard of Ozz. I said you got a chemistry there, you got a functioning unit, Mick Mars is part of that don’t Fuc*k it up. Don’t do it. I think I saved Mick that night cause they were serious about getting someone else. Mick was good for the band, he was part of the sound of the delivery of what they did.”
This interview was originally posted on The Metal Voice on Nov 25 , 2021
The Metal Voice’s Jimmy Kay and Alan Dixon recently interviewed legendary songwriter and bassist Bob Daisley (Rainbow, Ozzy Osbourne, Black Sabbath) about his Book ‘For Facts Sake’. Bob has appeared a few times on The Metal Voice going in depth about his career with Gary Moore and his court proceedings and time with Ozzy.
This time Bob talks about the making of Black Sabbath’s ‘Eternal Idol’, convincing Motley Crue not to fire guitarist Mick Mars, plus writing with Steve Vai for Ozzy and a lot more
When asked about the making of Eternal Idol “I have never really worked with Tony before this album. Tony is great, I love his playing, his writing, his sound. Everything that he plays is a classic riff, they just pour out of him and they are just not throw away riffs, they are all really really good valid riffs. It was great for me. I enjoyed it, it was 1986. Eric Singer was on drums and Eric and I got along very well. Ray Gillan was the vocalist (at first). We all got on fine. “
When asked if he wrote the lyrics with Ray Gillan at the time “Ray had some scratch lyrics written and a couple of the others put bits in. A lot of them (lyrics) weren’t that great. They asked me to write the lyrics for the songs, which I did. There are some lines I left in there of Ray’s. “
When asked about the exit of Ray Gillan “I don’t know the full circumstances cause I wasn’t with the band at that point but when Ray left I don’t know if there was a fall out or what happened between him and management or Tony or whatever it was. But his vocals have already been recorded but they didn’t use them because they knew that they were replacing him with Tony Martin. So they got Tony Martin to re-do everything and released it that way. It went for years and years without anyone hearing the Ray Gillan’s version. They were Ray Gillan’s melodies and phrasing and that is what came from Ray’s heart. Tony martin did an admirable great job of replacing what Ray had done. The initial thing came from Ray. When you hear Ray’s version, it’s the version.”
When asked if he got paid for Eternal idol “I did get paid but I was weary of the whole situation because I knew everyone was unhappy and I thought why go into a situation plus I was very happy working with Gary Moore at the time. I think the Sabbath album Eternal Idol is underrated and is a very good album.”
When asked about a seance he did with Randy Rhoads during the Blizzard of Ozz Era “That rehearsal place was reputed to be haunted and it probably was, there were little things that happened and I wrote about them in the book. I think one night we were in that mood and we would sit down and have a seance and we did the letter and numbers and the glass and all that. Some things came out. It did say things to Randy (Rhoads) that freaked us all out. We threw all the bits of paper and numbers and glass into the fireplace and put salt on the table. Cause it was not a good vibe and it was not good news and was not a good prediction, it was pretty awful.”
When asked about the time he and Steve Vai tried to write an Ozzy album “That was an honour as well and it was great but it didn’t really work out for Ozzy and Steve Vai for whatever reasons. I don’t know the full details. I was at home and I got the phone call will you come and co-write the next album (Ozzy). I loved the idea of working with Steve Vai and Ozzy together. So we went to Steve Vai’s studio in L.A. and we began putting down tracks with Steve on some of the stuff and then we went to New York and began writing and rehearsing in the Sony studios. But then all of a sudden it all fizzled out, the plug was pulled. I’ve got some recordings from those sessions. It was mostly me, Steve Vai and the drummer Deen Castronovo a very good drummer.”
When asked how he convinced Motley Crue not to fire Mick Mars “That night after the show Mick Mars went on our Bus (with Ozzy on the Bark at the Moon tour) and I went on their bus so I was the only one from Ozzy that went on their bus. And they were having a meeting. What they were planning on doing was getting rid of Mick and getting another guitarist in and they asked me for my opinion. So I said if you want my opinion for what it’s worth I would say do not try to fix something that is not broken. I said I have seen it before with Lee Kerslake in the Blizzard of Ozz. I said you got a chemistry there, you got a functioning unit, Mick Mars is part of that don’t Fuc*k it up. Don’t do it. I think I saved Mick that night cause they were serious about getting someone else. Mick was good for the band, he was part of the sound of the delivery of what they did.”
Jimmy Kay and Alan Dixon from Canada’s The Metal Voice recently spoke to former Gary Moore, Ozzy Osbourne , Rainbow, bassist Bob Daisley about his new tribute album to former guitarist Gary Moore. Which was released on October 26 via earMUSIC, “Moore Blues for Gary – A Tribute To Gary Moore”.
Watch the interview here:
Daisley talks about Gary Moore’s career, the participants on the Gary Moore tribute album, Moore’ preference of Ozzy guitarists and when Moore turned down Ozzy as his frist choice for guitarist when Ozzy got fired from Black Sabbath.
When asked about the time Ozzy wanted Gary Moore as his guitarist prior to Randy Rhoads
“Ozzy never wanted to replace Randy Rhoads with Gary Moore, Gary Moore was Ozzy’s first choice. When Ozzy was in Los Angeles after he got fired from Black Sabbath and he was thinking of putting a band together his first choice was Gary Moore. Gary Moore didn’t want to work with Ozzy because of Ozzy’s reputation with drugs and booze being unreliable and unprofessional. Gary said I will help you find a guitarist or if you find a guitarist that you want my opinion on I will help you that way. ”
When asked about which Ozzy guitarist Gary Moore preferred
“One thing I would like to add is that Gary rated Jake E Lee very high he said, Saying I think Jake E Lee is one of the best guitarist Ozzy ever had. ”
When asked about his and Lee Kerslake’s induction into The Hall of Heavy Metal History Gala in January 23 2019 for their contributions to Ozzy’s Blizzard of Ozz and Diary of a Madman
“That is great it really puts the icing on the cake. I spoke to Lee Last week about it and he is over the moon because Lee is not having a good time at the moment he has some bad health issues and we don;t know how much longer Lee is going to be around, he can go in a few months we don;t know. So for this to happen for Lee it means a lot for him and it means a lot for me. it’s something that’s really really nice to have. ”
John Sykes (ex-THIN LIZZY, WHITESNAKE) does a rendition of “Still Got The Blues”, with the soulful vocals by Daniel Bowes (THUNDER) complementing each other.
“Parisienne Walkways” is played by Steve Morse (DEEP PURPLE, DIXIE DREGS) and Ricky Warwick (THIN LIZZY, BLACK STAR RIDERS, THE ALMIGHTY).
Gary’s friends are here — his rocking keyboard / guitar / vocal sidekick Neil Carter sings “Empty Rooms”, which he co-wrote with Gary. Don Airey (DEEP PURPLE, RAINBOW) and Glenn Hughes (DEEP PURPLE) had joined forces with Gary on numerous occasions, together with Eric Singer (KISS) and Darrin Mooney (PRIMAL SCREAM). .
Doug Aldrich (WHITESNAKE, DIO), r Steve Lukather (TOTO), Joe Lynn Turner (RAINBOW), Jeff Watson (NIGHT RANGER), Damon Johnson (BLACK STAR RIDERS, ALICE COOPER) and Stan Webb (CHICKEN SHACK).
Gary’s sons Jack and Gus are also involved, playing guitar and singing on “This One’s For You”, showing that the “Blood Of Emeralds” still runs their veins.
Moore Blues for Gary – A Tribute To Gary Moore” track listing and personnel details:
01. That’s Why I Play The Blues
02. The Blues Just Got Sadder
03. Empty Rooms
04. Still Got The Blues (For You)
05. Texas Strut
06. Nothing’s The Same
07. The Loner
08. Torn Inside
09. Don’t Believe A Word
10. Story Of The Blues
11. This One’s For You
12. Power Of The Blues
13. Parisienne Walkways
Jimmy Kay from Canada’s The Metal Voice recently spoke to legendary OZZY OSBOURNE, BLACK SABBATH, RAINBOW, GARY MOORE and URIAH HEEP bassist and songwriter BOB DAISLEY.
In the interview Bob Daisley spoke about his time in Rainbow with Ronnie James Dio and goes in depth in regards to the writing and recording sessions on the classic Ozzy Osbourne albums, Blizzard of Ozz, Diary of a Madman, Bark at the Moon, The Ultimate Sin and No Rest for the Wicked. As well Daisley talks about the court challenges he and drummer Lee Kerslake pursued over the years against Don Arden of Jet Records over unpaid royalties.
Watch the interview here:
When asked about his dismissal from Rainbow during the Ronnie James Dio years (5:29)
“In 1978 Ritchie Blackmore decided that he wanted to go a little more commercial he wanted to have hit records, chart success, so he got a new line up. Ritchie did have the chart success that he wanted with his new singer Graham Bonnet but I think it was at the expense of a certain amount of respect because Rainbow became sort of poppy and commercial. You can’t knock the success but I don’t think it was the best versions of Rainbow. The classic lineup what other people say is the lineup with Ronnie James Dio, Blackmore, Cozy Powell and David Stone and myself.”
On his first rehearsal with Ozzy (9:47)
“I took the train to Stafford England, I got to Ozzy’s house and he had a couple of other guys there a drummer and a guitarist and I don’t know who they were, nice blokes but I wasn’t sort of knocked out by them, no real spark there, it was just ok no real chemistry. So I went to the kitchen with Ozzy and I said look if you want to be serious about this I would like to form a band with you but I don’t think these two other guys are world class players. Ozzy said ok one minute, Ozzy walked back into the rehearsal room and he told those two, pack up fellas it’s not going to work out and they were gone, on the spot.”
When asked about his original contract stipulations with Jet Records and how he was fired from Ozzy’s band (13:41)
“An average deal in those days was around 12% of retail so we were suppose to have 12% for the whole band and because Ozzy had just come out of Black Sabbath and he was already signed to Jet Records as their artist we decided that we thought it was fair that Ozzy gets 6% for himself. The other 6% was suppose to be split between guitarist Randy Rhoads, drummer Lee Kerslake and myself we were suppose to get 2% each. And that would change as we went further down the line as it became more of a band. Also It was a band it wasn’t a solo project, it was a band called The Blizzard of Ozz. We didn’t actually sign the contract because things were getting changed all the time, we had our law firm and they had their law firm and lots of back and forth.”
“The two albums Blizzard of Ozz and Diary of a Madman were done about 10 or 11 months of each other including a UK tour in between. We wrote the songs then we recorded the album. The first album was recorded and out before the contract was signed. Then when it came to write the second album Diary of a Madman we said hang on a minute we haven’t got the money from the first album yet. Don Arden the manager at the time said on the phone to us don’t worry carry on the work and it will be all sorted out you will have your contract and money so we believed him and we carried on working. Then we recorded Diary of a Madman and Lee Kerslake and I got fired. Ozzy wanted Tommy Aldridge in the band and Tommy was a friend of Sharon Arden’s as well. During the UK tour they kept pulling me a side saying let’s get rid of Lee let’s get Tommy and I just didn’t think it was the right move, they asked me several times and I said no all the time, so eventually they got rid of me and Lee.”
When asked about Ozzy Osbourne’s musical contributions to Blizzard of Ozz (19:50)
“Randy Rhoads had riffs and ideas. Randy and I would sit on a chair next to each other and work things out together musically most of the main riffs were Randy’s but the music part we did together. We would play a backing track and Ozzy would sing a melody over it and a lot of these melodies were very good. Ozzy had never written lyrics, Randy wasn’t a lyricist and neither was Lee so I did the lyrics. I just wrote lyrics that would fit with Ozzy’s phrasing and his melodies.”
When asked about the court case against Jet Records and Don Arden (45:00)
“We had gone to court against Jet Records and Don Arden, we didn’t get credited on Diary of a Madman they put bassist Rudy Sarzo and drummer Tommy Aldridge and credited them on playing on Diary of a Madman when they hadn’t played a note or beat on it. We got our songwriting credits but we didn’t get our co-production credits and we didn’t get our performance credit royalties. We were going to court against Jet Records. Ozzy and Sharon Arden were helping us because she had a big fallout with her father but we didn’t know at the time was Sharon had bought the rights to Ozzy’s catalogue from her father Don Arden in 1983 and they were getting the royalties. We went to court in 1986 and Don Arden and Jet records paid us an amount but in 1986 those albums weren’t multi platinum they done a million and a bit each, we thought we would continue to get royalties but we didn’t because there wasn’t an actual judgment against Don Arden or Jet Records because he waved a white flag and made an offer and the lawyers advised us to take it.”
When asked if he would keep pursing the court cases against the Osbourne’s camp over unpaid royalties after his latest lose (54:05)
“Oh no.”
When asked how much money he believes he was owed in unpaid royalties today (54:18)
“The Blizzard of Oz and Diary of a Madman have probably sold 4 or 5 million each and the record royalties from performance that’s got to be in the millions that we didn’t get paid.”
When asked if the Osbourne’s called him up today to participate once again on another album would he consider participating? (54:49)
“Well I never say never. I don’t burn bridges, I don’t hate people. If there was a way to do it where we could work something out in a sort of nice way I wouldn’t say its completely out of the question, it’s a possibility I suppose depending on the circumstances on how they sell and offer it.”
When asked about his thoughts about the Ronnie James Dio Hologram Tour (54:43)
“I wouldn’t see something like that I think its a little distasteful but that is just my opinion.”
According to Classic Rock Magazine, Bob Daisley has published a selection of unheard clips featuring the late RANDY RHOADS, recorded while they were members of Ozzy Osbourne’s first post-Black Sabbath outfit BLIZZARD OF OZZ.
Daisley, Kerslake, Osbourne and Rhoads in Blizzard Of Ozz
The tapes were made between December 1979 and March 1981, and offer a range of glimpses into the band’s development, including the moment Rhoads received and first tried out his effects pedal board.
The bassist, who hopes one day to release what he calls his “Holy Grail” tapes, launched the clips to mark the 32nd anniversary of Rhoads’ death – and he’s also taken the opportunity to illustrate how hectic life was in the band, especially once manager Don Arden appointed his daughter Sharon as tour coordinator.
Daisley says on his website: “I’ve got one show on tape, but it’s not labelled so I’m not sure which gig it is.
“Sharon had only just arrived back from America before the tour began. Dates were being moved, added, pulled, postponed and rescheduled at short notice.
“As an example, our day off in Birmingham, after playing Liverpool the night before, was cancelled so we could drive to Ridge Farm Studios in Surrey to remix Goodbye To Romance for a single. After we’d done the the remix and spent the night at Ridge Farm we were informed that Jet Records wanted a new song to release.
“So Randy, Lee Kerslake and I put together the music, with Lee singing the guide vocal at soundcheck while Ozzy, drunk, slept under the drum riser. I took the tape of what we’d written back to the hotel and wrote the lyrics in my room before the show that night. The song was You Said It All.”
Daisley believes fans of the band will enjoy hearing his collection of recordings, but adds: “I’ve often been asked if there were any songs or ideas left over from the writing sessions with Randy. The answer is ‘no’ – we used and recorded everything that was completed at the time.”
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