Quote:
|
Originally Posted by PolkaHero I was going to argue at first, but after looking over my Diary liner notes it does credit Sarzo and Aldrige. Some confliction reports going on here; gotta do some research. . . . . |
This is a great thread! I was 15 or 16 when “Blizzard” broke. I had been playing bass for a year and was very influenced by Ozzy’s first two solo records.
Here’s what happened (to the best of my recollection);
1. The original band was put together in USA with plans of recording in UK
2. Red tape with UK work permits meant that only one person could get a British work visa. Hence, Randy Rhodes went and the rest of the band (i.e. Dana Strum on bass) was SOL.
3. An expedited search was conducted to find a new bassist and drummer. Bob Daisley was first on board. Lee Kerslake was an 11th hour addition as Ozzy (and management) wanted a real band: not a studio drummer.
4. The band: Ozzy/Daisley/Kerslake/Rhodes and Don Airey on keyboards (now with Deep Purple) recorded the first Ozzy albums. “Blizzard of Oz” and “Diary of A Mad Man” for sequential release
5. After the release of “Blizzard” but before the tour started. Ozzy fired Lee Kerslake because he was never happy with his drumming. He fired Bob Dailey at the same time for reasons unknown
6. The “Blizzard” tour with Rudy Sarzo on bass Tommy Aldridge on drums
7. Diary of Madman released crediting Rudy Sarzo and Tommy Aldridge even though they did not play on the album.
To further complicate things Ozzy’s original label, JET, did not pay Ozzy the royalties on these albums. I don’t know how this ended up (but I have some theories).
As part of a standard recording contract, artists are forbidden from re-recording their material on a different label for a specific number of years. The rationale is, after significant time has passed, the artist might have “creative re-interpretation” of earlier works.
MY THEORY
1. Ozzy, for the love of money and/or perhaps wanting revenge against JET records (whom I think is run by his father-in-law who was also Black Sabbath’s manager). Tries to obtain the rights to the original recordings. JET (or whomever owns these rights now) refuses.
2. Ozzy is “creatively inspired” to “artistically reinterpret” his first two solo records by altering the master tape copy he had in his possession (but not the legal rights to use). The fact that he has receives the royalties on this is inconsequential as it’s all about art, not money, right ?!
3. JET, or whomever ones the rights to the original recordings, threatens to sue Ozzy over his use of those recording which he doesn’t have the rights to. (Basically bootlegging himself… life was simpler without lawyers…) Ozzy pleasantly reminds JET that he either hasn’t received the royalties of these recordings (maybe he has by now, but he wouldn’t be happy about at least a decade of delays and legal wrangling).
4. More legal wrangling ensues
It amazes me how these things drag out over decades. For example, the Chambers Brothers hit “Time has come today” still gets radio play and is used in a recent automobile TV commercial. The artist (Lester Chambers) is in litigation to get royalties as he has not received a dime from that song. Sadly the seven year delay between Boston’s second and third album was over legal wrangling as well. (And the band did not receive any royalties until this was resolved.)
My point here is that I prefer the original Ozzy recordings over the remasters but IMHO, its about business not music.
, made my night 
