LIVING LOUD
Artist Interviews
HEAVEN AND HELL (PART 1) - BOB DAISLEY REFLECTS ON A CAREER THAT HAS SEEN THE VETERAN BASSIST PLAYING ALONGSIDE SOME OF ROCK'S LEGENDS
INTERVIEW: BETH PRICE
9 September 2005
Bob Daisley has been in the music industry for many years now. Playing bass with such greats as OZZY OSBOURNE, GARY MOORE, Ritchie Blackmore's RAINBOW, URIAH HEEP, BLACK SABBATH and many more. Throughout his career he has encountered many changes, seen people come and go, and recently been involved in a massive lawsuit with the Osbourne's. He talks about the past, the lawsuit, the music, his passions and the new projects he is working on; being a part of LIVING LOUD, Blues band THE HOOCHIE COOCHIE MEN and resurrecting one of his earliest acts, the pioneering Australian Prog-Rock outfit KAHVAS JUTE.
(Part 1.)
It seemed like RAINBOW was your first big break, what do you remember were the best and worst moments of that time?
"I think the best moments were the times when it meant being 'at the top' and that I was experiencing the freedom of a truly professional organisation. I mean, not being in an 'opening act' gave more freedom of expression in our art which gave full focus on what we were playing. Even the touring part was so much more bearable, being in better hotels, better transport etc. The most important 'best moments' were really the standard of musicianship and professionalism though, and being with the great players (and singer) that they were. The only 'worst moment' I had to endure was really only the fact that it was Ritchie's (Blackmore) band and not a true democratic situation. I can understand why it was like that but there was still an element of frustration because of it.
"All in all, RAINBOW was a great opportunity for me to experience the business from a higher level, an experience that taught me a lot from many different perspectives. For the most part, it was a very enjoyable and creative time for me."
So how much does the 'professionalism' improve the freedom and enjoyment of being in a band?
"Immensely. Professional attitude can make or break a band and certainly affect the level of enjoyment experienced within playing and writing. Being professional means being reliable, mature in attitude and being able to deal with other people, i.e. musicians, promoters, record executives etc. Having a diplomatic attitude towards people and situations can sometimes mean compromise but it can also save working relationships and in the long run make for a more enjoyable experience."
What was it like to play with Ozzy Osbourne and Randy Rhoads (guitar)?
"Every time I'm asked the 'What was it like to play with Randy Rhoads?' question, I think of the time I was standing on Stafford Railway Station with Randy soon after we met in 1979. We'd been at Ozzy's house to start writing material for the record and to audition drummers. As we stood waiting for the train back to London (where I lived and where Randy was staying in a flat), I had an overwhelming premonition that one day I'd be asked that question over and over again. I've always been a bit what people term psychic and so was my mum, even more so, which explains it to a point.
"As far as the answer goes, I think you only have to listen to the product we all came up with to get an idea. Ozzy was the 'name' and selling point of the band, and of course his input was very important as a part of the recognisable sound. The overall direction of the music and the trademarks came from a total of the ingredients, that is, the chemistry of the four people that joined together to 'bake the cake'. To quote a lesser used cliché, the whole was much bigger than just the sum of the parts. Randy was such an important ingredient, with the great flair in his guitar playing style and his classical music family background. But I think that each and every member was as important as the next, no-one was any more important in making the final music than anyone else. Ozzy had just been fired from BLACK SABBATH for being drunk and non-productive and he wasn't much different with the new band, which was called BLIZZARD OF OZZ. This was NOT an Ozzy 'solo' record as they, the Osbourne’s, will now tell you.
"But to get back to answering the question, it was great to work with both Ozzy and Randy and equally enjoyable to work with Lee Kerslake (drums). The four of us had a great time in those early years making music together. The first album was done without Sharon (Osbourne) on the scene and when she began managing the band the camaraderie went out the window. She wanted to focus on Ozzy and make it the Ozzy show and she had dollar signs in her eyes looking at Randy. Sharon and Ozzy didn't recognise the winning formula staring them in the face and decided they wanted to fire Lee to get Tommy Aldridge in as drummer, but I wouldn't agree so they fired both of us. When we first went into the studio to record, we didn't think about what was going to be a hit or what was going to make money or get airplay, we just wrote and played the music we loved and that's an important characteristic in the magic of it all. I think later that Ozzy got 'Sharonised' and as history tells, Randy got killed. Randy wanted out from them anyway. He didn't know how to get out of his contract or how to get away from the Osbourne camp. In the end, sadly he found his own way I guess. Long live his memory."
Tell me more about the psychic premonitions?
"As I mentioned, my mum was very much that way and she could do it at will, but mine's just when it happens, it happens, if you know what I mean? I remember Ozzy being worried that his career was over in 1979 when we formed BLIZZARD OF OZZ. One particular night we were travelling through London in a black London taxi, I still remember where it was, we were going through Bayswater down Queensway, and I said to him, 'I just know that this is going to take off and be successful – look me in the eye, I can honestly tell you, don't worry'. It was something that I just 'knew'. There have been many instances where things just 'come to me' but like I said, I can't do it at will, I have to wait and if it comes, it comes. Don't ask me 'what's the future of mankind?' though, don't ask me, I don't know!"
You mentioned before that Randy wanted out of the whole Ozzy and Sharon thing, what did he say to you, how did he show that he didn’t want to be involved with them anymore?
"Randy wanted to get out of the Rock business and study/concentrate on classical guitar. He was serious about music and wanted to deepen his knowledge and involvement in music theory and the classics. There was also a deal done by Sharon and Ozzy with Sharon's father, Don Arden (Jet Records), where Ozzy and the current band were to record a whole album of BLACK SABBATH songs live and Randy hated that idea. He was contracted to Ozzy and Sharon and felt trapped. When Ozzy found out that Randy wanted out, he punched him in the face and called him an ungrateful little shit. Randy didn't hate Rock music or the music of BLACK SABBATH but he did hate feeling trapped and he did want to get away from the Rock business to study more seriously. Who knows, maybe if he'd had his way, he would have studied classical guitar for a while and come back to Rock stronger than ever. I'd like to think so."
What did you do when you first heard that Randy Rhoads had died in the plane accident? Did it make you reassess your life in any way?
"When Randy was killed, Lee (Kerslake) and I were out of the band and had reformed URIAH HEEP. We (URIAH HEEP) were in the air on our way from London to Houston, Texas, to start a U.S. tour when the incident occurred. When we got to Houston, Lee and I went to the place we were to play at the following night, to have a look at the venue. As we walked in, the girl on the door recognised us and began talking to me. Lee went on ahead into the club... Cardi's it was called. She told me that 'some of the Ozzy band had been killed in a plane crash that morning', but she didn't know who? She then told me of a radio announcer in the club at the time, who would know, so I asked him. He told me it was Randy and Rachel, the wardrobe lady. I was speechless and walked into the club and sat next to Lee at the bar. He turned to me and said, 'What's wrong? You've gone all white'. I told him about Randy and we just sat there drinking and crying, it was so sad. We were tired and jet-lagged as we'd only just arrived from London and this all seemed too unreal. We went back to the hotel bar and drank a toast to Randy with all his favourite drinks. I had a floral wreath made in the shape of a bow-tie, for his burial, as Randy had a thing about bow-ties; they were even on his guitar as fret-markers. We couldn't make it to the funeral because of contractual commitments, which for us was even sadder. I began to think about how this could have been me with Randy had I been still in the band, but I always remain philosophical in these matters and take the view that we'll all be at the place we're meant to be when we go. On a lighter note, my Irish grandfather used to always say, 'If I knew where I was going to die, I wouldn't go there'. Which I think is a humorous way to look at it.
There have been many times on the road that I've felt very lonely and too far from home doing the job that's my life and work and Randy lost his life in the line of duty. It's very sad that his mother, Delores, had to file a lawsuit in the 80s to get what her son was owed. As she later told me 'I just ran out of money, patience and it all became too much'. Don Arden, Sharon's father, told me personally that within days of Randy's death, Sharon came into the office to change Randy's contract. I wouldn't put anything past that lot. Now in her 80s, Mrs. Rhoads is an old lady and Sharon Osbourne manages the Randy Rhoads estate. He must be turning in his grave. Rock on Randy, we miss you. Bless you."
Both Ozzy and Randy have big reputations (more Ozzy than Randy). What do you make of what both of them have created and what they have/will leave behind?
"To be honest, I get a little sick of the 'Ozzy/Randy' thing. I've even seen it in print that 'Randy Rhoads saved Ozzy's career single-handedly'. With all due respect to Randy – and don't get me wrong here, he deserves all the praise and respect he gets – he didn't do it alone. Ozzy had been fired from BLACK SABBATH for being non-productive and continuously drunk and consequently had earned himself a bad reputation. Randy, Lee and I supported Ozzy to get him back on his feet. I know QUIET RIOT, Randy's L.A. band, couldn't get a recording contract which goes to show that Randy wasn't the 'cavalry' alone, or maybe they would've been signed on the strength of Randy alone. Ozzy was 'the name' with the following that came from BLACK SABBATH and that helped us a lot, which is the reason we accepted a lesser royalty rate to Ozzy, but never got paid anyway. Randy was a fantastic guitarist with great song ideas and Ozzy had the 'trade mark' voice. He wasn't/isn't a great singer but he was original with a recognisable voice. Randy and I put most of the first album together musically and Ozzy's vocal melodies were creative and important. I think the lyrics are equally important to the whole thing as are the drum and bass parts. We had auditioned over forty drummers before Mr. Right (Lee Kerslake) came along. That whole chemistry was a magical union of us all, not just Ozzy, who took more credit than he deserves, and Randy, who does deserve much credit but as I said, he didn't do it alone. I mentioned before that 'the whole was much greater than just the sum of the parts'. I'm proud to have been part of something that will go down in Rock history as classic, and that is, two albums, 'Blizzard..' and 'Diary...', by a band called BLIZZARD OF OZZ, and NOT a 'solo' project by someone who can thank their lucky stars for being surrounded with people that helped pull him out of the shit. It saddens me when I see Ozzy on the TV nowadays, that something we created together became the source of greed, lies and litigation and I think of all the good times and laughs that we shared together making great music. The legacy of all this is obviously the music, but even that's been changed as most people know by now that Lee Kerslake's and my performances were removed from the original recordings in 2002 when we sued the Osbourne’s for unpaid royalties. Who knows, maybe one day the original recordings will be re-released? I'd like to think so, for the sake of the true fans of those albums."
You have mentioned that your performances, as well as Lee's, on the albums have been re-recorded. How does it make you feel that not only did you originally write some of the best songs of Ozzy’s 'solo' career, with little recognition, but you have now had both of your performances tampered with, with little notice given to the public with regards to the 'remastered' versions of those albums?
"Well, this is typical of what they, the Osbournes, will stoop to. Let's not forget the way that Lee and I were blatantly omitted on the credits of 'Diary Of A Madman' for our performances and production after we recorded them and then were fired. I put a lot into the production ideas of that album – even the title was mine. When the album was released, the credits stated Rudy Sarzo on bass and Tommy Aldridge on drums, neither of whom played a note nor a beat on the record. Obviously Lee and I expected to get some kind of slap in the face around the time of the re-recording because we were suing them, but to insult the memory of Randy, whom this has also affected, is truly selfish on their part. I'm always getting letters and comments on my website about how disgusted music lovers are with the way this has bastardised Rock History. For us, the making of the music was the fruit of the labour of love and can never be duplicated nor recreated, it happened once and once only.
"Randy had no say in the matter of changing the overall sound of these records by what they did just to spite us and when I spoke to Delores, Randy's mother, she expressed her regret and disappointment. It's such an insult to the record buying public to change drastically the recordings without appropriate labelling, with intent to deceive and now there's no choice, no-one can buy the originals anymore. Nowhere on the exterior artwork is there labelling that states 'Not original recordings', 'Not original artists', it just says 'Remastered' which is a load of 'what's good for the garden'. This just goes to show where their priorities are, with greed for money, power and control, forget the art and music itself. I think it was a bit like saying 'we'll show 'em, we'll ruin our own product'. Duuuuhhhh!
"I wrote in excess of 95% of all the lyrics on the first five albums and there's a song that I wrote the lyrics to entitled 'You Can't Kill Rock 'N' Roll', which in essence, this statement in the title may be true, but in their case, they've had a good go at crippling it!"
After all of the troubles you have had working with Ozzy, why go back to do 'No More Tears' and 'Bark At The Moon' and also again with Ozzy and STEVE VAI in 1994?
"That's a very important question and the answer is a complex one. The first time I went back to work with Ozzy was for the writing and recording of 'Bark At The Moon' in 1983. He'd had Rudy Sarzo, Don Costa and UFO's Pete Way on bass at various times, none of whom Ozzy was satisfied with. Lee and I had started a lawsuit against Jet Records/Don Arden, Sharon's father, for non payment of royalties from the first two records and lack of appropriate credits on 'Diary Of A Madman'. Because Sharon and her father had had a serious falling out, and were no longer speaking to each other, Sharon and Ozzy decided to help Lee and me with being witnesses in our case to prove that we were meant to get royalties and proper credits. So off I went to help write and record 'Bark At The Moon', which was followed by a promo world tour. By July 1983, Sharon had done a deal with her father to buy the rights and the catalogue of the Ozzy records, unbeknownst to Lee and me. This meant that they, the Osbourne’s, were now receiving our royalties from those records and were still 'helping' us sue her father. When the case finally went to court in 1986, Sharon changed her mind and sent into court a signed declaration that we shouldn't be paid but it was to no avail as we won and got a payout from Jet/Don Arden who later declared bankruptcy. Lee and I thought then that the credits would be changed and that our royalties would continue, but that didn't happen as the Osbourne’s owned the rights now but still didn't make it known to us. Of course being on good terms with Ozzy meant that we could work together and Sharon promised numerous times that the credits on 'Diary...' would be changed in our favour.
"Because of complications with publishing company contracts, Jake E. Lee and I agreed to write the songs for 'Bark...' and let Ozzy take the credit. That's why on that album it says 'All songs written by Ozzy Osbourne'. That really hurt us, but there was no other way at the time. He even told 'International Musician' in an interview, that he'd written all the songs with one finger on a piano – I wonder where the other hand was! The next album, 'The Ultimate Sin', was written by Jake and me while Ozzy was in The Betty Ford Centre for rehabilitation, which is why most of the material was written in Palm Springs. Ozzy decided to get rid of Tommy Aldridge on drums at this time so Jake and I got the job of auditioning drummers in L.A. Still without a drummer, we began to continue writing/auditioning drummers in London. One weekend we were asked to go into the studio to record some demos for the record company to hear. Ozzy had hardly been at rehearsals all week and when it came to do the demos, we only had two days to record four or five songs and mix them, so there was a degree of urgency. When Ozzy showed up at the studio, he began to drink and smoke pot then decided he wanted to change arrangements and parts of the songs whilst getting off his face. I said to him, 'Ozzy, it's a bit late now to start changing things, maybe you should've showed up at rehearsals'. After that there was tension in the air which later came to Ozzy and me yelling at each other and him firing me again. A month later I got the phone call requesting me to write the lyrics for the album and we agreed a deal. Of course, when the album was released the first five hundred thousand pressings contained artwork that said 'All songs written by Jake E. Lee and Ozzy Osbourne', a 'mistake' according to them. I threatened to sue and my credit was added.
"The whole history of our working relationship has been an uphill struggle and a 'love-hate' one most of the time – they loved my work but hated paying for it and crediting me! It wasn't until much later and after I'd recorded the 'No More Tears' album and worked with Steve Vai in 1994 at his studio on new material for the next Ozzy record, that Lee and I found out about them getting our early royalties and the deal that they'd done by buying the rights to the Ozzy catalogue – and not telling us of course – in 1983. I had been asked to play on the next record for Ozzy in 1994 and had allotted the time for it to be messed about yet again with 'We're using Geezer Butler now, instead of you' after I'd put in weeks of preparation and rehearsals, not to mention turning down other work I'd been offered for that period. Sharon promised me a 'cancellation fee' – do you think I got it? Hang on there's a pig flying over! Steve was still owed for the use of his studio but neither got paid nor played on the record. Lee and I then, in 1997, sought legal advice and were informed of the great strength of our case by very reputable lawyers in L.A. For us though, it was like suing the government, as the Osbourne’s were very rich, very powerful and super connected.
"Around 1999/2000, Don Arden contacted me offering to help us in our case against the Osbournes. Lee and I met with him in London and we thought we'd have a good chance. It was at this time that he told me about Sharon changing Randy's contract soon after he was killed. Not long after that, Don went back on his word and made up with Sharon and became our enemy, saying that we'd offered to pay him to lie. Nice family eh?
"Why did I work with them for so many years? Because I believed promises that weren't kept, and above all, I loved being a part of the music, which often leaves you vulnerable in being taken advantage of."
It seems that you and Lee place a higher price on the music than a dollar amount can ever achieve. Since the court case was dismissed in October 2003, has there been any further legal action taken against the Osbourne's? I know that you probably can't talk about it in great detail, but what's happening now?
"Yeah there's really not much more to add. It seems so weird that for the first four years of the lawsuit from 1998 – we met with our lawyers in 1997 but the suit officially began in 1998 when the Osbourne's were served – through to 2002, that every issue in the case, and there were many, was allowed by the judge in every summary judgement, until out of the blue and all of a sudden, the same judge said that we didn't have a case. It was a female judge and I've heard that it's a woman's prerogative to change her mind but this was nuts. We then appealed the decision and after that went to the Supreme Court but to no avail, they wouldn't hear our case. I know that the Osbourne's are very connected, rich and powerful and I wouldn't put anything past them. I do have faith in the law of Karma though, so we'll all have to wait and see what happens. We are very disappointed in the so called 'justice system' though."
We'll have to wait and see whether Karma does come back to haunt them. Let’s move on shall we? After playing with Ozzy, in the first instance, you went on to play in URIAH HEEP. Tell me about some of the most memorable experiences from that time in your life?
"The URIAH HEEP episode of my life was a very enjoyable one. When we reformed The HEEP in 1981 it was like a family from day one. There weren't any bosses or leaders, just mates having fun making music. The first instances of us playing together were when Micky Box (guitar), Lee and I had a play together at Jumbo rehearsal rooms in London. Soon after that John Sinclair (keyboards) and Pete Goalby (vocals) completed the picture. I remember getting a phone call from Ozzy when he was in L.A. and he'd heard our first album since the reformation of URIAH HEEP, which was entitled 'Abominog' (1982), and he was raving about it. He said he was going to have a sandwich-board made to wear up and down Sunset Boulevard to tell people to buy it. The album got good reviews and began to make a noise in the U.S., but the record label didn't get behind it and it only had minor success. We did quite a lot of touring which was always fun with the HEEPsters and in 1983, soon after recording another album entitled 'Head First' (1983), I got the phone call from Ozzy to rejoin him to help write the next record, 'Bark At The Moon.' It was a difficult decision to make as I loved The HEEP but the situation hadn't been handled right from the management/record company point of view and I had a family to support and a mortgage and bills to pay.
"It was never the same with Ozzy, what with Lee and Randy gone and me 'working for' a band I started with Ozzy. Jake E. Lee did an admirable job of filling the hard-to-fit shoes of Randy, and Tommy Aldridge, although a great drummer, didn't suit the band like Lee had. All these things made me miss the HEEP even more, but I just had to get on with it and do a professional job. I remember being on the road with Ozzy in the U.S. and MÖTLEY CRÜE were opening up for us. Nikki Sixx, CRÜE's bass player, played me a track from an album he'd just bought and said to me 'Hey dude, check out the bass on this, it's the coolest'. He played me a song called 'Stay On Top' which was a song from the URIAH HEEP album 'Head First' that I'd just recorded. 'Yeah that's me', I told him, 'not bad is it?'
"John Sinclair was/is a great keyboard player, one that I often recommended Ozzy to use on his records. Years later, John became Ozzy's keysman and we worked together again, this time on the albums 'No Rest For The Wicked' and 'No More Tears'. I just wish that HEEP had been promoted and handled better and seen a greater success than we did. Such is the record industry. They still work hard and sound great though... Rock on HEEPsters!"
You've just recently been recording with GARY MOORE, after a break of some years? How did it come about?
"Gary and I remained friends and kept in touch over the years even though we hadn't worked together and even after I moved to Australia. I came back to the UK on numerous occasions and often hooked up with Gary for a drink or meal and a chat. We always got on well and have a similar sense of humour, I always get his jokes and vice versa, whilst quite often, others in the room don't. As to the question, how did it come about? Well, it was kind of ironic, I was sitting watching a programme about air disasters on TV, it was around October 2003, and I was thinking, 'thank goodness I don't have to fly anywhere for a while' – it's never been my favourite means of transport. I'd done a live DVD with Jon Lord and my blues band THE HOOCHIE COOCHIE MEN, earlier that year, and then in July flown to Florida and London to record the LIVING LOUD album with Steve Morse, Don Airey, Lee Kerslake and Jimmy Barnes. So I thought that being close to the end of the year, I would have done all my flying for that year by then. Wrong! A couple of days after watching the air disaster programme, Gary phoned me out of the blue, pardon the pun, and asked what I was doing. When I told him I had some time off, he asked if I'd like to play on his forthcoming album, a Blues album but a rougher, ballsier style of Blues than previous. 'Can you be in London next week?' he asked. 'Certainly', I said and off I trundled to start recording with Gary. It's always a good laugh with Gary and this was no exception. Of course it's serious music and usually fairly demanding but fun at the same time. He's such a great player; I always enjoy working with true pros. The album 'Power Of The Blues" got very good reviews when it was released in mid 2004 and I flew back to England in June that year to rehearse for some live shows. We were to play at outdoor festivals in July/August and we did the first few when Gary injured his finger which went septic and he had to be hospitalised. I waited around to see if we could do some more of the shows but he didn't recover in time. We were also to do a UK tour in November of that year but Gary's finger wasn't 100% so contracts and promotion couldn't be locked in. It was such a shame and it must have affected the sales of the album. The 'Power Of The Blues' album is certainly worth a good listen, I think it's one of his best in years, so did a lot of the reviewers. I think because we didn't use a 'click-track' and just let rip, you can hear that it was fun for us and the music has a natural spontaneity. I look forward to working with Gary again, if that happens?"
You’ve just mentioned the LIVING LOUD album. How did it come about? What was the idea behind it?
"When I did the shows with the Blues band THE HOOCHIE COOCHIE MEN with Jon Lord in February 2003, the promoter, a friend of mine called Drew Thompson, made the suggestion of doing an album with Jon along with a singer here called Jimmy Barnes who had got up with us at The Basement gig in Sydney to sing. Jon had just left DEEP PURPLE at that time and the suggestion of Steve Morse for the guitar slot was made. It was all sounding very good and the next recruit would be the drummer. I immediately thought of Lee Kerslake as Lee and I had talked about doing something together for years with the idea of re-doing some of the songs that we had co-written and performed on from the BLIZZARD OF OZZ days, from the first and second albums, as a sort of personal tribute to Randy (Rhoads) and our time together as a band. As early as around the beginning of the 90s we'd discussed this idea, so it was NOT a retaliation to what the Osbourne's had done the previous year when they replaced Lee's and my performances on those first two records. The original idea that Lee and I had for this project of doing the old songs was to have various guests on the record, a few different singers, guitarists and keyboard players. People like Gary Moore, Jake E. Lee, Brian May, Ronnie James Dio, Don Airey, Jon Lord etc. etc., but when Lee and Steve (Morse) and I got together at Steve's place in Florida in July of 2003, I thought, 'wait a minute, this sounds and feels too good to change or tamper with by having anyone else get involved', so we kept it as a band instead of a 'project'. The same happened when a few days later Jimmy came in to sing, it all just sounded and felt right, so no-one else was asked to guest on the record. Originally the keyboard parts were to be shared by Don Airey and Jon Lord, but when it came time to record, Jon wasn't available so Don did it all. I think that it turned out best this way as it sounded more like 'one band' rather than a project and Don had been the keyboard player on the first BLIZZARD OF OZZ album. Johnny Cook played the keyboards on the second BLIZZARD OF OZZ album, 'Diary Of A Madman' but guess what, he didn't get his credits and had to get the Musician's Union to fight for his payment.
"I wasn't sure if everyone involved would want to do our old BLIZZARD OF OZZ songs but the idea was well received and the new versions turned out great. We didn't really want to recreate the originals, like some people, but wanted to do new arrangements with new parts and give the old songs a breath of fresh air so to speak.
We were more than pleased with the result of the LIVING LOUD album ('Relentless') and we wrote and played together with great enjoyment and enthusiasm, so there should be another one. That first one is to be released in the U.S. in January 2006, so let's hope it makes its mark.
"During 2004, when Steve and Don were here in Australia with DEEP PURPLE, and with Jimmy and me living here, we took advantage of the situation and flew Lee out from England so we could do a few shows and record/film them. The result is a live DVD and album which we are all happy with. It's not always easy to get together with everyone in different bands and different countries but we'll do what we can and when we can, and if we have our way, this'll be the only band any of us are in."
Credit/s: Beth Price
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Last updated: 9 September 2005
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