Showing posts with label The Starwood. Show all posts
Showing posts with label The Starwood. Show all posts

Lost in Translation: Shooting the cover of 'Quiet Riot II'


How a good idea went wrong

By Peter Lindblad

Randy Rhoads - The Quiet Riot Years Red Match Productions
Chasing an American record deal was ultimately a dispiriting experience for the first version of Quiet Riot, featuring the late, great Randy Rhoads on guitar.

Time after time, Quiet Riot, through its management company the Toby Organization, had opportunities to perform showcases for various record label executives, and they got a few nibbles, but they just could not land that big fish.

This despite having Warren Entner of The Grass Roots in their corner, pushing them to create a flamboyant, pre-glam look that would surely attract a great deal of attention. He was a part owner of the Toby Organization and he had connections. They represented Angel, who was on Casablanca Records. Still, he could not get anybody interested in Quiet Riot, despite the fact that they were playing to crowded houses at famed Sunset Strip rock and roll haunts like the Whisky-A-Go-Go and, their home away from home, The Starwood – that is except for label called Buddha. But, Buddha had financial problems, and so, even though they’d signed with them, when Buddha went under, their deal was null and void.

Being the resourceful types, the Toby Organization did secure a deal for Quiet Riot in Japan with CBS/Sony, and the band put out its first record there – basically on the strength of its cover, it did well, although the band was not thrilled with the production, as is explained by original drummer Drew Forsyth in the engrossing new documentary “Randy Rhoads – The Quiet Riot Years,” directed by longtime Quiet Riot photographer Ron Sobol, who has also authored an accompanying coffee table book of the same title.

Though they still dreamed of getting that elusive American record deal, Quiet Riot had obligations in Japan – namely, they had a second record to make. And they did it, and when the time came to do the artwork for it, Sobol, the band’s photographer, lighting director and good friend, had an idea for the cover.

Quiet Riot II 1978
“Somehow the concept was thought of – I can’t remember it exactly. Kevin [DuBrow] wanted to call the record – it was their second record – 2nd and 10 – 10 songs on their second record,” remembers Sobol. “It was a football term. And I said, ‘Can I shoot it? Here’s what we’ll do: We’ll have you guys in a locker room, with these football players, and the juxtaposition of you skinny guys with these huge football players might make an interesting picture.’ Kevin said, ‘Okay, let’s do it, but it’s on spec. You’ve got to pay for it. If we can’t use it, I’m sorry.’”

Undeterred, Sobol set the whole thing up.

“To me, it was worth the expense to try to get it done,” says Sobol. “So I rented all this equipment, and I paid the football players … I went to this school. I was going to Valley College at the time. It’s a junior college in Van Nuys, Calif. And first, I got permission to use the locker room, and then I asked the football coach if I could use the players. And he said, ‘Yep, that’s fine with me.’ So I offered them $50 to be models. Four of them jumped on it right away. They said, ‘Okay, I’ll do it. I’ll do it. I’ll do it.’ And they were great. They did everything I wanted. And the band was great, too. So, we went to the locker room, and we spent about four hours in there that day shooting pictures. It came out great. And our concept was like the back cover has the baseball cards … football cards or baseball cards. That was our concept, too.”

There was only one problem: It did not occur to them that in Japan, nobody knew what 2nd and 10 meant, being mostly unfamiliar with American football vernacular in the Land of the Rising Sun.

“We sent a mock-up of the thing to Japan, and it came back where they said, ‘Yeah, great,’” recalls Sobol. “The record comes back, like the finished copy, and it’s called Quiet Riot II. And we were going, ‘Why did they call it Quiet Riot II?’ Well, because they don’t play football in Japan. So, 2nd and 10 meant nothing to them. It’s just one of those things that people don’t think about.”

A bit deflated by the packaging of their second album, the men of Quiet Riot were not too upset, and neither was Sobol. After all, they’d had a blast at the photo session, and they could only laugh about the mix-up. Looking back on it now, Sobol has only fond memories of Quiet Riot’s pre-Metal Health days, although, having been good friends with DuBrow from the start, he was around for the band’s meteoric rise in the early-‘80s, when Metal Health became the first heavy metal record to shoot all the way to No. 1 in the States.

There are great candid shots from that photo session in Sobol’s book, including one of a huge lineman carrying Rhoads around as the guitarist, wearing a flashy, colorful bow tie, vest and flared pants, clutched a stuffed Snoopy toy – “Snoopy” being one of Rhoads’s nicknames. And at one time, there was talk of DuBrow doing a book on Quiet Riot with Sobol, but it never came to fruition.

Yeah, everybody had a great time that day. It’s just like, hey, I never imagined when I was taking those pictures just for fun that they’d end up in a book,” says Sobol. “Kevin actually wanted to do a book with me, and he said, ‘Get your stuff together, we’ll write a book about the Quiet Riot years.’ And then he called me back, and he goes, ‘You know, I found out it’s going to cost X amount of money to make these. I don’t know what we could sell them for. Plus, I have to go out on tour again with Quiet Riot.” You know, they were playing clubs. And so that idea got put by the wayside. But I got all the stuff together, and now it’s almost like Kevin was there with me doing this.”

Stay tuned for a more extensive Q&A with Sobol coming this week.

Click Here for Additional Information: Red Match Productions

Book/DVD Review: Randy Rhoads - The Quiet Riot Years


Book/DVD Review: Randy Rhoads – The Quiet Riot Years
Red Match Productions
All Access Review: A-
Randy Rhoads - The Quiet Riot Years
Red Match Productions

Ron Sobol’s access was unlimited. Having befriended Kevin DuBrow, after the two bonded over a shared interest in photography and Humble Pie, Sobol eventually became part of the Quiet Riot family – as the band’s personal shutterbug, as its lighting director, and simply as somebody they would pal around with. Along for the ride, through all the ups and downs, Sobol watched the early version of Quiet Riot, featuring a young Randy Rhoads on guitar, tear up the Sunset Strip and garner a following rivaled locally only by Van Halen.
 
This was long before Metal Health made Quiet Riot a worldwide phenomenon, however. Back in the late 1970s, Rhoads and Quiet Riot – despite their colorful stage garb and charismatic live shows – couldn’t get any American record label to take a chance on them. The showcases they performed for label executives led to nothing but false promises. Even the well-publicized demonstrations they organized outside record companies in Los Angeles, where supporters pleaded for them to sign the band with well-meaning placards and chants even as the police tried to silence them, fell on deaf ears. Sobol had his camera trained on Quiet Riot, and the circus surrounding them, the whole time.
 
For years, Sobol, the ultimate band insider, has been sitting on a mountain of hundreds of behind-the-scenes still photos and mountains of super 8mm concert footage he compiled while running with DuBrow and the rest of the Quiet Riot pack. And it’s all here in “Randy Rhoads – The Quiet Riot Years,” undoubtedly the most comprehensive and candid biography of that period in Quiet Riot’s history that’s ever been compiled. Packaged together as a vividly illustrated coffee table book plus an illuminating DVD, Sobol’s collective work – he directed the DVD and authored the book – revisits the halcyon days when Quiet Riot ruled The Starwood and other Hollywood hot spots, such as the Whisky A-Go-Go and The Troubadour, while also performing before thousands of people who showed up to bask in their pre-glam metal glow at local colleges and festivals. And yet, that major American record label deal eluded them.
 
The frustration was palpable, as Sobol’s documentary illustrates in such heartbreaking fashion. Everybody associated with Quiet Riot were pulling their hair out trying to figure out how to break this band. Fan club president Lori Hollen did her part, hauling a boatload of friends to go see Quiet Riot, and Jodi “Raskin” Vigier, the one-time girlfriend of both Rhoads and DuBrow, and Laurie MacAdam worked on livening up the band’s image – MacAdam’s fashion sketches for the band’s dazzling, completely over-the-top stage clothes are shown in both the film and the book. Then, along came Ozzy Osbourne, and the party was over, as he took Rhoads to be his new guitarist and his musical salvation. Unfortunately, that meant the original Quiet Riot, fronted by the indomitable DuBrow and Rhoads, his very close friend, would never hit the big time together, as they’d hoped they would.
 
Watching and reading “Randy Rhoads – The Quiet Riot Years,” it’s impossible not to get a full sense of the abject disappointment everyone associated with this version of Quiet Riot felt when their career stalled. In a DVD full of wide-ranging, completely open interviews, drummer Drew Forsyth – with some bitterness – relates how a disinterested producer torpedoed the band’s first album, 1977’s Quiet Riot, and details how management failed them on numerous occasions. And there was drama within Quiet Riot, as DuBrow knocked heads with bassist Kelly Garni, which caused tension between DuBrow and Rhoads, who’d been friends with Garni since childhood. Garni’s time in the band ended rather abruptly, however, when in a drunken rage he pulled out a gun during an argument with Rhoads, an incident thoroughly hashed out in a film that captures the youthful joie de vivre and DIY spirit of Quiet Riot and its closest allies. At the same time, it deals with the crushing disillusionment that comes with seeing one’s dreams go unfulfilled, this despite scintillating footage of a swaggering Quiet Riot knocking them dead in exciting live performances. Big issues, such as Rhoads feeling stifled creatively by DuBrow, drive the story and make it a gripping yarn, but there are other individual moments of greatness, including a thorough dissection of the mind-blowing solo Rhoads used to play at Quiet Riot gigs from his guitar tech Brian Reason. And this is just half the story.
 
Edited and laid out skillfully, with particular attention paid to attaching bite-sized pieces of text with compelling graphics, the book is jam packed with beautifully shot color and black and white images, augmented by scraps of memorabilia as well as moving tributes from its senior editor – and one of Rhoads’ guitar students – Peter M. Margolis and DuBrow’s mother. Among the treasures from Sobol’s archives are mesmerizing portraits of Rhoads, leftover pictures of the band taken during a football locker room photo shoot for the Quiet Riot II cover, stolen scenes of backstage high jinks – including one section with the boys parading around in dresses – and an endless stream of highly visceral, electrifying close-ups of the band’s two lightning rods, Rhoads and DuBrow, giving it their all onstage. Accompanied by an informative, if somewhat skeletal narrative, the photography jumps off the page, and it’s not just because there is so damn much of it to sift through. The product of inspired intuition, fly-on-the-wall observations and a true cause – namely, the advancement of Quiet Riot – Sobol’s images catch members of the band and their entourage at their leisure, having a fantastic, carefree time in sunny Southern California before they lost their innocence.

Click Here for Additional Information: Red Match Productions
       
      –   Peter Lindblad