CD Review: Paradox – Tales of the Weird

CD Review: Paradox – Tales of the Weird

AFM Records

All Access Review: B+

Paradox - Tales of the Weird 2013

Claudio Bergamin sure has a way with apocalyptic imagery. His cover art for Tales of the Weird, the first new album in three years from Germanic thrash/power metal mavens Paradox, is certainly eye-catching, what with the creepy cloaked figures wandering about a wintry, burned-out landscape surveying the destruction as broken pieces of what may be a meteor fall from the sky on what has to be an alien planet.

Were this the 1980s, that sort of scene on a vinyl sleeve would have geeky teenage metal fans that had nothing better to do during the day but hang around record stores frothing at the mouth. This being the digital age, Bergamin’s imaginative, sci-fi/horror vision simply won’t have the impact on sales it would in the dwindling brick-and-mortar universe, but it does accomplish something for Paradox. And that is, it rectifies the cardinal sin of sequencing Paradox commits by opening the record with the 9:19 title track, an unwieldy, power-sapping mish-mash of conflicting and unfulfilled ideas that quickly unravel and fail to gain any real traction – despite some serious guitar shredding and the occasional attention-grabbing riff from Charly Steinhauer and Christian Munzer.

Hardy and fair-minded listeners who’ve crawled through that obstacle course of barely listenable challenges are rewarded with action-packed, dizzying progressive-metal mazes of dramatic arrangements, blinding tempos, pristine production and spectacular melodies. Among the most gripping and frantic tracks are “Escalation,” the multi-layered “Brainwashed,” “The Downward Spiral and “Slashdead” – all of them synthesizing Dream Theater and Metallica in combining fluid, fleet-fingered fretwork, flights of classical bombast and pounding, frenzied rhythms as unstoppable as a runaway train. Heavier than most of Tales of the Weird, but still fast as can be, “Brutalized” is Paradox on steroids, yet floating over this riotous, skull-crushing mayhem going on at street level is this strangely beautiful little guitar melody that somehow avoids being sucked into the tumult. Look for it and don’t miss it, make sure to stop and appreciate the pretty, well-designed acoustic guitar interlude “Zeitgeist” – they could get lost in all the brazen firepower Paradox unloads on Tales of the Weird.

Still, it all comes together for Paradox on the expansive and melodic “Fragile Alliance,” a raging river of monstrous, thick riffage, power-metal theatrics and vast, canyon-like vocal choruses. And yet for all of its extraordinary technical brilliance, its racing blend of power and speed, and its sheer immensity, Tales of the Weird suffers somewhat from ... well, a paradox. Trying to balance the desire to thrash like there’s no tomorrow with a flair for the dramatic is tricky for Paradox, especially with a singer whose strength is dynamic expression rather than brute force. Furthermore, the listener fatigue that comes with being bombarded every possible moment with instrumental fireworks is a very real problem. Paradox has the best of intentions with their cover of Rainbow’s “A Light in the Black,” but it’s too much, with whirls of synthesizer competing against a sensory overload of their own creation. And yet “Tales of the Weird” is a real page-turner once you get past the first chapter. (www.afm-records.de)

-        –    Peter Lindblad

CD Review: Bad Religion – True North

CD Review: Bad Religion – True North

Epitaph

All Access Review: B+

Bad Religion - True North 2013

Outraged about so many things these days, from the Citizens United ruling to corporate avarice, the regressive fascism of Tea Party politics and – their favorite target – close-minded religious zealotry, punk stalwarts Bad Religion air their latest laundry list of grievances on True North. 

Still feisty after all these years, as evidenced by the inclusion of a fiery expression of inarticulate rage titled “Fuck You,” Greg Graffin, Brett Gurewitz and company are just as intensely intellectual and righteously angry as they were when they came of age in Ronald Reagan’s America in the early 1980s.

PhD. In hand, Graffin goes off in search of justice and reason in an age devoid of both, as Bad Religion – a model of precision and control, with a multitude of guitars blazing away – packs short, punchy bursts of incendiary, yet irresistibly melodic, punk rock with rhetorical gunpowder into True North, as “Land of Endless Greed,” “In Their Hearts is Right,” “My Head is Full of Ghosts,” “Nothing to Dismay” and “The Island” go off like small grenades full of barbed hooks. Dashing to the finish line in record time is 1:01 “Vanity,” the fastest song Bad Religion has ever recorded, and the title track jumps out of the speakers like a panther.

Some machines are just more finely tuned than others. Built for speed, Bad Religion’s engine is running at peak efficiency, with little wasted motion, taut rhythms and those great backing vocals harmonies that serve as Bad Religion’s secret weapon. These rapid-fire songs are tense and indestructible, although Bad Religion loosens the nuts a little on the metallic, rumble “Dharma and the Bomb” – which somehow sounds like The Clash’s “Brand New Cadillac” filtered through a rush of the Foo Fighters’ adrenalized pop – and the gasping, slow-burn “Hello Cruel World,” which lacks the cardiovascular strength of the rest of True North.  

Speaking up for downtrodden, “Dept. of False Hope” is not exactly a ray of sunshine for economically beaten up blue-collar heroes, but it does fight for their dignity and exhorts communities to do what they can to lift up the less fortunate. Bad Religion has always been idealistic, and age hasn’t turned them into cynics. What they are is punk and hardcore’s version of AC/DC or Motorhead, churning out the same albums decade after decade and still managing to duck criticism for doing so. Though there is some diversity on True North, these old dogs don’t want to learn any new tricks, and after a while, some of these songs tend to run together. In the end, Bad Religion just wants to sharpen and streamline their guitar-driven attack to the point where it serves as a perfectly designed missile delivery system for warheads of the truth – at least as Graffin sees it. With True North, Bad Religion is pointed in the right direction, and spoiling for a fight. (www.epitaph.com)

-        –  Peter Lindblad

CD Review: Helloween – Straight Out of Hell: Premium Edition

CD Review: Helloween – Straight Out of Hell: Premium Edition

The End Records

All Access Review: B+

Helloween - Straight Out of Hell 2013

The Tim Burton-style cover should have been a dead giveaway, hinting at the distinct possibility of Straight Out of Hell being one of the most cinematic and expansive records in the Helloween canon. This being their 14^th studio album, Straight Out of Hell is rife with war imagery, uplifting messages, cosmological exploration, angry recrimination, and in one instance, a Utopian tale of a doomed imaginary empire … oh, and there’s also a love ballad, a sweeping epic really titled “Hold Me In Your Arms” that Hollywood ought to snatch up before investing in another one of Nicholas Sparks’ cloying romances.

Certainly, no one can accuse the veteran Germanic power-metal outfit of repeating thematic lyrical patterns. Still lightning fast and intent on constructing increasingly grandiose arrangements, Helloween balances heavy, mauling riffage and speedy, mind-bogglingly complex guitar solos and twin leads with mellifluous melodies here. All this, plus Dani Loble’s blinding drums and Helloween’s flair for unexpectedly fluid dynamic shifts are on display on tracks like “Burning Sun,” the piano-laden “Waiting for the Thunder” and the hook-filled “Far From the Stars.”

This is classic Helloween, always willing to switch galloping speed-metal horses mid-stream and go for the throat, as triumphant anthems “Live Now!” and “Another Shot of Life” are shot through with undying optimism and fist-pumping choruses – as well as whirling keyboards, slickly executed tempo changes and churning guitars. On the other hand, “World of War” washes radiance over trampling, trudging death-metal rhythms, while the exotic, charging, head-spinning sand storm “Nabataea” should be splashed across the silver screen – in 3D, of course. Straight Out of Hell’s most interesting and gripping track, the massive “Nabataea,” so reminiscent of Iron Maiden, is also one of its most diverse, with gentle, scenic descents and majestic, breathtaking climbs onward and upward well past where eagles dare.

An absorbing sonic experience from beginning to end, even if the simplistic and bitter “Asshole” seems beneath them, Straight Out of Hell: Premium Edition is not a game-changer for Helloween. Nevertheless, it does find Helloween attempting to perfect their dramatic, shock-and-awe formula, blowing away audiences with dazzling musicianship and bombastic instrumental flourishes, the occasional daring trespass into prog-rock, ambitious songwriting from Markus Grosskopf, Michael Weikath, Andi Deris and guitarist Sascha Gerstner, and the ability to weave fantastical tales made for the widescreen. (theendrecords.com)

-        –    Peter Lindblad    

Punk rock memorabilia starts a riot

Genre is one of the hottest in the field of rock 'n' roll collecting

By Peter Lindblad

Titled "Punk Girl CBGB's 1977," this Ebet Roberts
signed and dated archival pigment evokes
memories of the New York City punk scene. 

Punk rock’s time has come – at least with regard to music memorabilia. One of the hottest genres in collecting, records, photos, clothing, fanzines, fliers, pins and other ephemera from punk’s halcyon days are highly sought after by collectors.

In demand now more than ever, the rarest and most obscure punk memorabilia can fetch big prices. But, what’s out there? What’s the history of this outsider music and what bands dragged punk out of the gutter and made it a worldwide phenomenon? In this blog, we’ll take an in-depth look at the rise of punk and what collectors can expect to find when entering this particular world of rock ‘n’ roll memorabilia.

Overview

Rock ‘n’ roll had lost its way. At least that’s how the punks felt in the mid-1970s.

Reacting to the glitzy excess of mainstream arena-rock acts and the perceived pretentiousness of progressive-rock, there was an underground movement taking shape in the U.S., England and Australia that sought to make rock ‘n’ roll dangerous again, like it was in the ‘50s. The music was fast and furious, influenced by the bruising, riotous proto-punk of bands like The Stooges, The New York Dolls and the MC5, as well as the gritty, raw power of ‘60s garage bands.

Nowadays, the remnants of that revolutionary period in music history are highly sought after by collectors looking for the rarest and most interesting pieces of memorabilia that somehow survived the mayhem.

From the archives of the photographer
Godlis comes this vintage print titled
"CBGB's Bathroom 1976." 

Pinpointing exactly where or when punk started is a matter of intense debate. Some have said the U.K. punks were influenced by what was happening in New York City, where a grimy little club called CBGB’s played host to Television’s avant-garde guitar orchestrations, the Talking Heads’ arty funk, the Ramones’ supercharged blasts of fast, infectious pop-punk and Patti Smith spitting out evocative, highly literate street poetry against a back-to-basics backdrop of tense three-chord rock.

Overseas in England, a perfect storm of DIY, anti-conformist fashion, economic hardship, political and social anger and musical anarchy was coalescing around a snotty band of young men known as The Sex Pistols, who were managed by the master of the shocking publicity stunts, Malcolm McLaren. Seeing their sound and fury live was a life-changing experience for another one of Britain’s punk icons, Joe Strummer, who would go on to form The Clash with his future songwriting partner Mick Jones of the band the London SS. While the notorious Sex Pistols practically set the world on fire with their confrontational, and sometimes bloody, gigs and a debut album in Never Mind the Bollocks that blazed with white-hot intensity, it was The Clash who endured longer.

Imploding from within, as bassist Sid Vicious departed and then succumbed to a drug overdose after being implicated in the murder of his girlfriend, the Sex Pistols ground to a halt on a tour of America, while The Clash carried on, expanding the strict boundaries of punk to include elements of reggae, early hip-hop, and rockabilly, among other musical styles. They made classic albums like London Calling and their U.S. commercial breakthrough Combat Rock, before tensions between Strummer and Jones came to a head and Jones was fired. U.K. punk certainly didn’t die with the Sex Pistols or The Clash, as the U.K. produced a slew of exciting acts like The Buzzcocks, The Slits, The Adverts, Stiff Little Fingers, Chelsea, The Damned, Magazine, The Raincoats, Sham 69, Siouxsie & the Banshees, and other rabble-rousers. Post-punk outfits such as Joy Division, The Smiths, The Cure and more would add more gloomy atmospherics to the punk lexicon, and new wave acts added synthesizers to the mix for a more stylish sound.

This photo of former Black Flag
front man Henry Rollins was
taken at Toronto Edgefest II.

In the U.S., scenes were popping up in different cities all over the country. Los Angeles had the stridently political, uncompromising Dead Kennedys and X, a band that married outlaw country and punk in their own sort of musical shotgun wedding. Bands like The Germs and The Weirdos continued the L.A. tradition of wild and wooly punk rock, and gradually, the scene became more violent as punk morphed into hardcore and bands like Black Flag challenged their audiences with their fists as well as their guitars. The same thing happened in New York City, as punk’s originators fell by the wayside, and bands like Blondie were scooped up by major record labels and became part of the mainstream, with the advent of punk’s cousin, New Wave, sanding off some of punk’s rough edges to make a sound more palatable for the masses. Cleveland’s Pere Ubu established itself as one of the more innovative bands the genre has ever seen, and it was where The Dead Boys got their start, before migrating to New York City. Then, there was the Washington D.C. area, which had the Dischord house [actually in Arlington, Va.], the label formed by Fugazi and Minor Threat leader Ian MacKaye.

Other countries had their own burgeoning punk scenes, including Australia, where The Saints and Radio Birdman offered an edgy alternative to AC/DC. Canada had the politically charged D.O.A., led by Joey “Shithead” Keithley, and The Diodes. And there were plenty of other nations that had less-publicized punk scenes sprout up. Over the years, punk has assimilated itself into popular culture, with bands like Green Day, Rancid and the Offspring selling scads of records in the 1990s and the 2000s, leading purists to accuse them of selling out. Seattle’s grunge scene also had its day in the sun, with Nirvana, Soundgarden and others slowing punk’s full-steam-ahead aesthetic and making it heavier.

At its core, however, punk was always about thumbing its nose at the establishment and trying to do its own thing without corporate help of any kind. It flourished because of the passion, determination and intellect of writers and entrepreneurs who established their own magazines and independent record labels. As the title of a great documentary film on the life of Joe Strummer makes perfectly clear, the future of punk is unwritten. However, music like this always seems to find a way to survive.

Punk Memorabilia Collecting Overview

Here’s the thing about punk: It was never meant to last. It was all about burning as hot as possible for however long it was meant to exist, and when there was nothing left but embers … well, that’s life.

So, much of what punk produced – from clothing to gig flyers, promotional posters and cheaply produced 45s – was either destroyed along the way or greatly damaged, oftentimes intentionally by those owned the stuff.

Perhaps, that’s why the market for punk memorabilia has grown increasingly hotter in recent years – as proof of punk’s fairly recent growth as in the collectibles area, the venerable auction firm Christie’s held a punk/rock sale in late 2008 that generated $747,300 in earnings. Collectors have always chased mint-condition rarities, which, in turn, come with relatively hefty price tags. Not everything, however, is hard on the pocketbook. There are plenty of bargains out there for collectors who don’t want to blow the rent money on hard-to-find t-shirts or obscure 7” singles.

Buttons and badges are popular items, and even those of acts such as The Ramones, the Sex Pistols, Joe Strummer, and newer acts like Screeching Weasel come at reasonable prices – even if they’re in collections of individual bands. You might expect to pay between $10 and $20 for some. The money shelled out for gig flyers and promotional posters is also not completely outrageous. Though many didn’t make it through the madness, others did despite being so disposable. Early posters from the New York scene can go for $100 to $200, while flyers can range from $10 to $60 or more.

An exceptionally rare X-Ray Specs' promotional
album from 1978 that boasts 16 demo,
rehearsal and live songs.

Records are an interesting area. Some of the artifacts from the U.K. have actually been devalued by their appearances on CD collections and compilations. Still, there are a few that can go for hundreds or even thousands of dollars. Being poor, punk bands and indie labels didn’t have the money to press more than 500 or 1,000 records at a time. With such limited runs, there simply aren’t many of these records around.

Other items of note include photos from the early days, magazines and fanzines, and perhaps the most expensive items of all, pieces of clothing. With its safety pins and Mohawk haircuts, punk was as much a fashion movement as it was a musical one, and the provocative designs worn by icons such as Johnny Rotten, Sid Vicious and Joe Strummer, among others, are prized by collectors. Authenticated signatures of artists and band members will increase the value of pieces. As with everything, however, condition is critically important to the value of any piece.

Here’s a closer look at punk items that have collectors salivating:

Clothing

An authentic "DESTROY" shirt from
Boy London, made famous by Johnny Rotten. 

430 King’s Road in the Chelsea district of London is one of the most famous addresses in punk. It’s where Malcolm McLaren opened the notorious store SEX, which sold bondage equipment, fetish gear and t-shirts that shocked the sensibilities of conservative Londoners with Nazi imagery and gay cowboys, among other things.

In 1975, McLaren took on the task of managing the Sex Pistols, and a year later, the shop was renamed as Seditionaries. From the beginning, when McLaren took over the 430 King’s Road storefront, he sold t-shirts designed by his then-girlfriend Vivienne Westwood. The Sex Pistols were often seen wearing Seditionaries clothing, as McLaren took advantage of the Pistols’ growing popularity. Other big-name punks such as Adam Ant and Chrissie Hynde of The Pretenders were frequent guests. However, the couple eventually split, and they closed the Seditionaries store in 1980.

Westwood designs – shirts with the word DESTROY and swastikas splashed across the front being perhaps the most famous of them all – sold in the Seditionaries store are in high demand and t-shirts can go from $100 to $1,000 or higher.

SEX wasn’t the only King’s Road shop vying for attention from punks. Around the same time, Stephane Raynor ran Acme Attractions with John Krevine. The legendary punk filmmaker Don Letts ran the store at one time and it catered to people like Bob Marley, Boy George, Hynde and Patti Smith. However, Raynor and Krevine closed the store in 1976 to focus on their Boy London clothing line, which had its own King’s Road store. Boy London designs are also highly sought after.

Vintage original band t-shirts from the likes of The Clash, The Ramones and other more iconic punk acts are also prized by collectors; if it can be proven that they worn by any of the members or any other big-name artists, the price goes up.

Of course, designers didn’t just splash controversial slogans across t-shirts. They also made custom blazers, leather jackets, patches, and dress shirts, which featured taboo images like swastikas, blood and anarchistic sentiments. Much of it, of course, was ripped and torn and shredded beyond recognition, but you can still find punk clothing items from punk’s heyday.  

Records

A rare 7" pressing of The Dictators' 1977
"Hey Boys"  single from Asylum Records.

Indie labels with little financial backing have always had to spend their money wisely. To that end, often when they pressed punk rock records, they often only produced 500 to 1,000 at a time, most of the time releasing 7” singles or 45s.

Bands like horror-punks The Misfits made good use of this business model. Their 45s are some of the most valuable around, often going for as much as $500. Others by bands like Black Flag and the Circle Jerks can also be worth hundreds, as are some records from labels like Touch & Go, SST and Dischord. Seattle’s Sub Pop label did the same thing, but went one step further by starting a singles club, where members would receive a 45 in the mail of bands on the label. Some were on colored vinyl or featured artistic sleeves. Early releases by Nirvana are sometimes worth hundreds or even more than a thousand dollars.

Going back to punk’s beginnings, some of the most expensive and rare records are relics that era, including one of the true holy grails among punk records, the Sex Pistols’ “God Save the Queen/No Feelings,” which had gone for six figures – the AM and Town House pressings fetching $17,000 and $23,000, respectively. In 2012, a rare 7-inch promotional acetate of the single put out by the LTS label went for an astounding $20,000 on the U.K. eBay auction web site. In part, what makes Sex Pistols’ singles so valued is the fact that were continually given the boot by a number record labels, who pressed only a handful of their singles.

There are other valuable punk records out there, including XTC’s unreleased picture sleeve for “Science Fiction/She’s so Square” (Virgin 1977 VS 188), which has brought in more than $2,500. Going for under $1,000, Joy Division’s An Ideal for Living EP (Enigma 178 PSS 139) and Generation X’s unreleased picture sleeve for “Your Generation/Day by Day” (77 Chrysalis CHS 2105) – featuring Billy Idol, before peroxide – have fetched $800 and $500, respectively.

When it comes to records, the real money is in original recordings, not reissues. There are some characteristics of original recordings that set them apart – non-glossy sleeves, the lack of distributor names on record backs, and cheap plain labels. Early non-major label releases and obscure 45s are worth the most.

Photos and art prints

Visually, punk has provided some of the most compelling pop culture images ever, and those who documented early scenes in New York City and the U.K. with their cameras have gained fame for their work. Bob Gruen, for example, has taken some of the most iconic rock photography ever, including well-known shots of John Lennon. Being a New Yorker, he also was a fixture on the Big Apple’s punk scene, snapping classic black-and-white and color images of The Ramones, Jayne [or Wayne] County, Blondie and other New York City punk acts, as well as artfully shot images of The Clash playing live.

Stiv Bators of The Dead Boys
is the subject of this archival
pigment print from Ebet Roberts.

Gruen had competition in New York City. Eileen Polk, Godlis and Ebet Roberts also produced some of the most compelling punk photography to come out of that scene, with Godlis famously framing the graffiti-scrawled CBGBs bathroom for posterity. While they had the New York City scene covered, Edward Colver focused his lens on California’s vibrant punk community. One of the most famous punk rock photos ever was taken by Colver. It shows a stage diver doing a flip into a crowd of punks and was featured in the movie “American Hardcore.”

Ray Stevenson, Erica Echenberg, Denis O’Regan and Adrian Boot are some of the biggest names in punk photography in the U.K. Prints, negatives, and slides are all sought after by collectors.

Certain punk artists also achieved notoriety, including the subversive Jamie Reid, who may be best known for the ransom-note style lettering associated with Sex Pistols’ records and his “God Save The Queen” design, which featured a safety pin through her royal highness’s nose and swastikas over her eyes. Some of his murals are exceedingly rare.

Gig flyers and posters

This original D.O.A./Frightwig 1985
 German/Swiss tour poster is a rarity.

One of the most affordable options for collectors, gig flyers and posters were subject to all manner of destructive forces. Stapled to bulletin boards, telephone poles, kiosks, walls and any other places bands could think of to promote punk shows, flyers were often crudely drawn, Xeroxed or designed with stark, outrageous images intended to provoke reactions. Many, however, were damaged beyond repair.

U.K. flyers for the likes of The Slits, Generation X and the Pogues are in demand, while ones created for the aborted Sex Pistols’ “Anarchy in the U.K.” tour are highly prized and worth several hundred dollars.

When it comes to availability, U.S. punk flyers might be somewhat easier to find. In true DIY fashion, many were designed by the band members themselves, although some artists found their own niche in flyers. Raymond Pettibon, responsible for many of the shocking and sometimes humorous flyers put out for Black Flag shows, is one of them. Others for bands like The Misfits, Dead Kennedys, Minor Threat, Samhain, Agnostic Front, Youth Brigade, TSOL, Fear, The Germs, Crime, Negative Trend and more certainly are attractive to collectors. One for The Germs designed by their drummer for a show at the Whisky that featured a controversial Hitler Youth image is considered among the most sought after flyers around.

More expensive generally, and often featuring more sophisticated art work, punk posters of such acts as The Sex Pistols, The Clash, The Jam, Adam and the Ants, The Damned, D.O.A., The Buzzcocks, Blondie, The Ramones, TV Personalities, Elvis Costello and hundreds of other punk acts were used mostly to promote new records. So, they were often posted on the walls of record shops, but many were often tossed away over time. Still others could be found at bus stops and concert venues. Whatever the case, flyers and posters are pieces of history that reflect the rebellious and challenging artistic impulses of punk.

Magazines and fanzines

Issue No. 11 of the U.K. 'zine
Ripped & Torn.

Swept up in the frenzy of the punk movement, many fans and devotees wanted to become part of the action. True to the DIY aesthetic of punk, many started underground magazines or fanzines as a means of documenting what was happening in their respective scenes.

In the U.K., Sniffin’ Glue, founded in 1976, was one of the earliest and most outrageous ‘zines, and though it was only around for a year, it made an impact. Grammar wasn’t much of a concern, and swearing was common, but it is remembered more for its chronicling of the early U.K. scene – mostly through its pictures. And there were other U.K. ‘zines, many of the cut-and-paste variety, that left their mark, including Zig Zag, Dangerous Logic, International Times and Ripped & Torn.

The U.S. had its share of ‘zines as well, with Search & Destroy and Paranoia covering the L.A. scene, while in New York, the aptly named Punk kept an eye on what was happening there. One of punk’s most well-known literary figures, Legs McNeil, helped found the Punk ‘zine.

Miscellaneous

From the 1977 Dutch "Monty" punk series comes this
collector's card of the Sex Pistols.

Like other musical genres, punk produced its share of unusual promotional items that were designed to market the bands. Along with the aforementioned buttons, pins and badges, all sorts of weird oddities are out there just waiting for a home. Finding them requires a little research on eBay and the Internet.

While there are far too many to mention here, a few of the more rare and interesting pieces include a mini baseball bat that served as a promotional piece for The Ramones’ “Beat on the Brat” single and a letter opener for the band’s second studio LP Leave Home – both of which can go for $500. Another fun item is a jigsaw puzzle that was made for The Clash’s Give ‘Me Enough Rope album. Collectors’ cards also were popular items.

Overall, punk continues to explode as a rock ‘n’ roll memorabilia market. As with most collectibles, rarity and condition set the price. No matter what you collect, however, the hunt is always the most enjoyable part of the hobby. 

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Backstage Auctions: Featured Punk Rock Memorabilia Available For Sale

DVD Review: Patti Smith – Live at Montreux 2005

DVD Review: Patti Smith – Live at Montreux 2005

Eagle Rock Entertainment

All Access Review: C+

Patti Smith - Live at Montreux 2005

Montreux, Switzerland is a long way away, both literally and figuratively, from CBGBs, circa 1975. The accommodations at the famed jazz festival hosted by this Swiss city couldn’t be better – a big, wide stage, space to fit a big crowd comfortably and muted, but colorful lighting. Presumably, even the bathrooms are nice, or at least the janitorial staff is likely to clean up any vomit in a timely manner – unlike the famed venues where punk came of age and its rats spat at anything resembling convention.

This is where Patti Smith found herself in 2005, fresh off having curated the Meltdown Festival in London and in a nostalgic mood, as she and her band acknowledged the passing of 30 years since the release of Horses, one of punk’s landmark records. And while we might long to see a younger, hungrier Smith in her more natural environment once again at dirty old, graffiti-splattered CBGBs, passionately expressing her haunting, disturbingly poetic visions of people caught in desperate, dangerous circumstances  and looking down the barrel of troubling existential crises as Lenny Kaye feeds her cleverly designed, well-manicured guitar shapes and frenzied, feedback-drenched squalls, those days are gone, never to be repeated. She’s moved on to bigger, if not always better, things, and CBGBs is now a clothing store.

It’s nice to see, however, that Smith, now well into her 60s and still wearing the familiar androgynous uniform of a white shirt and black tie, has retained some of the edginess and raw emotion that fueled her finest writings and most flammable performances, as evidenced by a sometimes mesmerizing and fiery performance captured in an all-too-brief concert film “Live at Montreux 2005.” With the exception of a rather tepid and paint-by-numbers reading of Bob Dylan’s “Like a Rolling Stone” and a disjointed and sleepwalking journey through “Seven Ways of Going” punctuated by some truly pointless improvisations, Smith, Kaye, bassist/keyboardist Tony Shanahan, drummer Jay Dee Daugherty and guitarist Tom Verlaine – he of Television fame – are mostly sharp, nuanced and wonderfully intuitive in framing Smith’s arty imagery and stark sketches of street life. However, as respectful as they are of their surroundings,their performance seems somewhat bloodless.

Given a short and sweet treatment, “Because the Night” is, of course, supposed to be the driving, cathartic centerpiece of every Smith performance, although in some respects, it almost seems like Smith and company are eager to get it out of the way on this occasion. Less powerful than one would hope, “Because the Night” gives way to a more raucous, freewheeling version of “Not Fade Away/Momento Mori,” where the tension builds organically around the conversational and smartly constructed guitar interplay of Kaye and Verlaine and there’s some real muscle in Shanahan’s bass grooves.

The inspirational, jangly rock “People Have the Power” closes the show on a high note, as singer and band rediscover that precious, potent alchemy they lost somewhere midway through the set, but well before that, going all the way back to the show’s beginning, Smith and company had the audience in the palms of their hands. The sunny hooks and breezy swing of “Redondo Beach” – contrasting lyrics laced with tragedy – exuded warmth, while the bittersweet beauty of “Beneath the Southern Cross” seemed to leave everyone transfixed. “Free Money,” with its beguiling piano intro, had the same effect, before Smith and company shook them out of their stupor by racing to the song's affecting, frenzied conclusion, with a dancing Smith calling out, “Where are the dreamers?” over and over again in a state of wild abandonment. Noisier and more aggressive, “25^th Floor” might be even more chaotic and angry, and it joins “Free Money” as the explosive anthems that you wish were more prevalent in “Live at Montreux 2005." Still, there’s enough of Smith’s raw charisma and emotional intelligence here to overcome the occasional lulls. (www.eaglerockent.com)

-        –    Peter Lindblad

Randy Rhoads, Quiet Riot come into focus

Photographer releases new book, DVD on the original Quiet Riot

By Peter Lindblad

Randy Rhoads - The Quiet Riot Years
Red Match Productions

Kevin DuBrow took a liking to Ron Sobol right from the start. The Quiet Riot front man, now deceased, was a Humble Pie fan, and so was Sobol.

They were both budding photographers, although DuBrow would give up the camera for a chance at rock ‘n’ roll glory. Sobol, on the other hand, stuck with it, even going so far as to study film at the University of Southern California.

Before going to USC, though, Sobol was having the time of his life hanging out with Quiet Riot in the 1970s, taking behind-the-scenes photos and live video of the band whenever he had the chance. Randy Rhoads was in the band then, and he was already developing a reputation around Hollywood and Southern California as an unparalleled guitar slinger, an axe man of incredible dexterity, expression and imagination. His only competition: Eddie Van Halen. Yes, that Eddie Van Halen.

Unfortunately for Quiet Riot, it was Van Halen that scored the American record deal they coveted – though they did sign a Japanese deal for CBS/Sony. It wasn’t for lack of trying that Quiet Riot – at least the version featuring Rhoads, DuBrow, Kelly Garni and Drew Forsyth – failed to get that contract. Everyone around Quiet Riot tried to get the labels to notice them. Their management company, the Toby Organization, had connections. Warren Entner, one of the partners, had been in the Grass Roots, who had a number of hits in the 1960s. And the Toby Organization already had Angel, a band on the Casablanca label.

Despite their frustrations, that edition of Quiet Riot had a good time. And Sobol was part of it, serving as the band’s photographer, its lighting director and their friend. Now, Sobol has released a coffee table book that is packed to the rafters with tons of amazing images of the group and its wunderkind guitarist, who resembled Snoopy from the “Peanuts” cartoon. Titled “Randy Rhoads – The Quiet Riot Years,” it takes readers on an incredible journey back in time, providing a colorful pictorial history of that era of Quiet Riot’s existence.

From the early rehearsals to the backstage parties, the electrifying concert performances at clubs like The Starwood, the Troubadour and other Sunset Strips institutions and the photo shoot for Quiet Riot II, Sobol captured it all. The boys liked to have fun. Mischievous and delightfully devious, they enjoyed playing pranks on each other. They were young and energetic, having the time of their lives in Southern California, and they had no idea what life had in store for them. Sobol reveals that side of the band, as well as their more serious issues – such as recollections from those closest to Rhoads and DuBrow, talking about how they felt about those two shooting stars and what it was like when they found out both had die – in this extravagant biography.

Relying less on words than he does on pictures, Sobol presents a fully realized portrait of four ambitious young men who wanted to make it all the way to the top. Real life would get in the way, however, as Rhoads left to join forces with Ozzy Osbourne in one of heavy metal’s most incredible reclamation projects. Hurt by Rhoads’s decision, DuBrow nevertheless carried on, and eventually, he experienced success beyond his wildest dreams when Quiet Riot’s Metal Health hit No. 1. Sobol stuck around for that, too.

In addition to the book – which also includes sketches for the band’s flamboyant stage clothing, various business documents, concert ephemera and newspaper articles – Sobol has also crafted an insightful and revealing documentary film that features more still images as well as his super 8mm films of Quiet Riot tearing it up in concert. Interviews with the likes of Forsyth, fan club president Lori Hollen, Rhoads’s guitar tech Brian Reason, Rhoads’s guitar tech, and the one-time Jodi Raskin, the girlfriend of both Rhoads and DuBrow who also functioned as their stylist, along with clothing designer/artist Laurie MacAdam.

Together, the two releases offer the most exhaustive and lively history of the original Quiet Riot that’s ever been packaged. Sobol talked about the book and the DVD, as well as his experiences with Quiet Riot, in a recent interview.

The amount of photos in the book is unbelievable. Do you have anything left?

Ron Sobol: I’ve probably got a few left, but not much.

Maybe you’ve got another book in mind?

RS: Well, originally, it was going to be a book with all of my rock pictures, and just a little bit of Quiet Riot. But then there was so much Quiet Riot it looked like it would be more interesting as a book about Randy Rhoads, the Quiet Riot years, and so it became that. I used to shoot for Japanese magazines, so I shot Led Zeppelin, I shot Queen, I shot Journey, Aerosmith … a lot of bands. And they ended up in magazines in Japan. So we were going to use a lot of those pictures, but, like I said, we decided to concentrate on Quiet Riot, or Randy with Quiet Riot.

It seems like that’s the story that’s closest to your heart, being so involved with Quiet Riot.

RS: Yeah, it is. I did their lights, and I took their photographs. I took their first promo picture … I did everything. I designed the logo that was on the drum set. It was like the most fun … those 10 years from ’75 to 1985 were the most fun years of my life. And I think I said this in the movie, but I’ll say it to you for the interview: After Randy passed away, that’s when Quiet Riot pretty much broke up, because he left, [and then] Kevin resurrected Quiet Riot, and I was still working with him so I got to go on tour, doing lights for the “Metal Health” tour, and the tour after that, “Condition Critical.”  

What struck me about the book and the movie is that it seemed like there was such a family atmosphere around Quiet Riot and how everybody around Quiet Riot was pulling for this version of the band to make it big. Was that the case?

RS: Yeah, it was exactly what you said. It was all for one and one for all. The record deal was always just around the corner and it never quite happened. They did get to put out two records in Japan, but that was all that happened.

What do you recall about meeting Kevin DuBrow for the first time? You had that shared interest in photography. What did you think of him?

RS: (laughs) He was a character. My brother [Stan Lee, guitarist for the punk band The Dickies] introduced us, because of our mutual interest in Humble Pie. So Kevin said, “Why don’t you come over and bring your stuff, and I’ll show you what I’ve got.” And I went over to his house and he was living – he was 17, I think – with his parents. And he’s living in this tiny little bedroom with his brother. I don’t know how many people might be interested in this, but his brother [Terry] became a plastic surgeon and did this TV show called “The Swan.” And his wife is on the “Real Housewives of Orange County” – sometimes he’s on the show. So anyway, he’s living in this little room with his brother, but basically, it was Kevin’s room, because Kevin’s drum set was in there, the wall was plastered with rock pictures – clippings from magazines. Kevin was really tall. He was 6-foot-4, and so he could be a little intimidating to little ol’ me at 5-foot-7. But he was just a great guy. And actually, after I left his house that day, I never thought I’d necessarily see him again, but he'd called me up and said, “Hey, what are you doing? Let’s hang out.” And we became best friends.

And he was a really good photographer, too. Did he carry on with that at all, or was it something he abandoned when the rock thing took off?

RS: Yeah, once he started with Quiet Riot, he was done taking pictures. He was my biggest critic (laughs). If there was anything slightly out of focus, he’d say, “What’s wrong with you?”

He was like that, too, with Randy I suppose. He really pushed and prodded him to greatness.

RS: He wasn’t going to let anything stand in his way … not that Randy stood in his way. You know, if it wasn’t for Kevin, Randy might still be playing in a garage. Randy needed somebody to push him along. It was his mother that pushed him to go to the Ozzy interview.

You have a favorite picture of Randy in the book that’s kind of a portrait of him. How did that shot come about and why do you like it so much?

RS: Well, there’s a couple … I’m not sure if you’re talking about the one on the inside where I think he’s got a white jacket, and then there’s one on the back of the book. Okay, the one with the white jacket was taken in my parents’ backyard, and if you look closely behind it, there’s the swimming pool.

I think that’s the one …

RS: Okay. And why do I like it? It’s just Randy … here’s the thing about when I took pictures of these guys. Since I’d been taking photos of these guys, just about from the very first rehearsal, they were used to me being around, so their guard was always down and you’d see the real them in the pictures. They weren’t posing for me.

That’s what definitely comes across. They’re all very natural, as if they’re not aware of you at all.

RS: Right, because they were so used to me being there.

Along those lines, behind the scenes, it seemed that Quiet Riot was always cutting up and having a good time. Was that really the way it was?

RS: They were complete practical jokers always looking to get a rise out of someone. I was frequently the butt of their jokes.

Oh, is that right?

RS: However, one time, I was living with Kevin … he actually got me to move out of my parents’ house. He was roommates with – if you remember in the movie – Kim McNair, Randy’s friend. Kim was living with Kevin, and then Kim moved out, and Kevin said, “Why don’t you move in with me?” And I go, “Oh, I’m going to school. Living with my parents is a lot easier when you’re in school. I don’t have to think about paying rent and stuff.” He was relentless in saying, “You’ve got to move out. We’re going to have fun. There’ll be girls,” and as soon as he said that, I go, “All right. Okay.” So Quiet Riot was trying to get signed, and Van Halen was on the scene and they got signed first. And their record came out, and then their second record came out, and Quiet Riot still didn’t have an American record deal. Well, you’ve heard of Tower Records?

Sure.

RS: Tower Records would have all this promo stuff they’d always be giving away. And there was a postcard they were giving away, like the little pictures on the back of the second Van Halen album. You can actually see in the book this picture of David Lee Roth jumping with his legs spread, and I cut it out and stuck it on the head of Kevin’s … well, it was our cat, Larry the Cat. And I stuck it on the cat’s head and took a picture. And so then, I forget who actually started this running little practical joke, but one of us took the David Lee Roth thing and stuck it in the butter tub, underneath the lid so when the person opened the tub of butter, there it was. And it just kept escalating, where if it was my turn, ‘cause I found it, I would take it and … for instance, like I took the toilet paper roll and unrolled it part way, and then stuck it on the toilet paper roll so that when he was going to the bathroom, he’d see it while he was going to the bathroom … stuff like that. But that actually escalated to the shows at the Starwood, and I would tape the picture of Roth to the microphone, and Randy’s roadie, Brian [Reason], would do the same thing with pictures of Eddie Van Halen. Finally, they had enough and they just screamed at us, bloody murder, that “if you ever do that again, you’re fired.” And we stopped (laughed).

What were those early days like as they were gearing up to play clubs? Did they rehearse all the time? I know Randy was so dedicated to his craft, but were they really intent on honing their sound before getting out there?

RS: Well, Randy would teach guitar lessons in the daytime, and then at night, they’d rehearse. And they rehearsed probably four nights a week. They had a place where they could keep their equipment. First, they were rehearsing in the garage of their first manager, Dennis [Wageman], and he actually turned the garage into a rehearsal/recording studio. And after they left him, they got a place in Hollywood, and that was like, you know … that was the place to go. When they played, there were always people watching them rehearse – almost like a total party atmosphere. They could get a lot of work done because people were respectful that they had to rehearse, but afterwards, there would be this big row where people would be drinking and smoking and doing whatever. I think there are actually some pictures in the book of Kevin and some girls, where they’d take their tops off and … you know, more than that went on, but that’s the only documentation you could really put in the book without getting in trouble. And you know, it was total fun, camaraderie. You could just see how Randy was at rehearsal. The producers of [Quiet Riot's first two] records really didn’t capture him, because the difference between what we saw live and in rehearsal was incredible.

And Drew [Forsyth, Quiet Riot’s first drummer] talks about that in the movie, too. He was really disappointed that the producers couldn’t capture their live sound.

RS: I guess they probably needed more money behind the band to hire a producer that could really do the trick, but it just never happened.

Take me back to those days at the Starwood and set the scene for me. What were those shows like? I know [Quiet Riot fan club president] Lori Hollen would bus in fans she knew. The shows must have been electric.

RS: They were pretty much selling the Starwood out, or the Whisky or wherever they were playing. They would get great crowds. One thing we were trying to do was they were trying to bring an arena atmosphere into a club, where we brought our own lights in and our own fog. We brought in strobe lights. There was an intro tape, which in the movie you can hear a little of the intro tape, and I believe there’s a special feature where you hear the whole thing – I haven’t really played the [DVD]. I worked on the thing for two years, so it’s not like I can keep watching it (laughs). But there’s an intro tape with a lot of police lights and then we had police lights, strobe lights, fog … it was a whole big deal to make it a special experience, not just jumping on a stage and start playing. We wanted to create an atmosphere of fun.

It sounds like the crowds really took to the band, too. What was the band like onstage? I know from watching some of the live footage in the movie you get a sense of it, but they just had great charisma and personality.

RS: Yeah, they were all class clowns, and they knew how to put on a good show. If you watch the movie, like during Randy’s solo, you can see on his face how much fun he’s having. And I haven’t seen too many people who could play as well as he did while moving around like he did at the same time.

Going back to how good a time Quiet Riot liked to have, some of the funniest shots in the book – I think it’s in the movie, too – had to do with one particular show when they went backstage after they were done and put on all those dresses.

RS: That was at a show they did … actually, they opened for Van Halen. I believe it was Glendale College … yeah it was the college, because I remember it was backstage of the auditorium, where they store all the clothes for school plays. There were a bunch of dresses. They decided to put them on, and I took pictures of it, and it was one of those fun things they did, and I had great pictures. I took movies of them wearing the clothes; that’s in the movie. Anything that was around that they could use as a prop, they would do.

Talk about shooting the cover for Quiet Riot II.

RS: Okay, well, somehow the concept was thought of – I can’t remember it exactly. Kevin wanted to call the record – it was their second record – 2^nd and 10 – 10 songs on their second record. 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.” To me, it was worth the expense to try to get it done. 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. Sent a mock-up of the thing to Japan, and it came back where they said, “Yeah, great.” 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, 2^nd and 10 meant nothing to them. It’s just one of those things that people don’t think about.

I particularly like the shot of that big lineman carrying Randy around.

RS: 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. 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. And I got all the stuff together, and now it’s almost like Kevin was there with me doing this.

I was going to ask what it was that made you put out the book at this time.

RS: Well, you probably know about that other book [“Randy Rhoads,” by Andrew Klein and Steven Rosen]. I gave those guys pictures, and I called up Andrew Klein one day and asked, “What’s up with that book?” He said, “Oh, it’s done. Do you want to see it?” I said, “Yeah, okay.” So I meet him, and he has it on a computer disc. And I couldn’t believe it. I told him, “This is the best rock book I’ve ever seen.” Have you seen it?

Yeah, yeah. It’s great.

RS: Oh, you have it?

Yep.

RS: Is it one of the best rock books you’ve ever seen?

It was my rock book of 2012.

RS: Okay (laughs). I said, “Can you do that for my stuff? We’ll do ‘Randy Rhoads – The Quiet Riot Years.’” Because I still have more pictures. They thought I gave them all my pictures, but I didn’t. And they said, “Let’s do it.” And I think I already said this to you, we were originally going to do all my stuff. I mentioned that, right?

Yes.

RS: We were just going to do this, because there was so much stuff.

One of the really fun parts of the book and the movie has to do with the protests, where Quiet Riot supporters took to streets and picketed various record companies in an attempt to get them to sign the band. Talk about how that came about and what it was like to shoot that.

RS: The band was really frustrated about not getting a record deal, and they were sitting around saying, “What can we do? What can we do?” And Rudy [Sarzo, who had replaced Garni in Quiet Riot after Garni was kicked out for allegedly pulling a gun on Rhoads during an argument] says, “Well, maybe we can go protest at the record companies and picket the record companies. (laughs)” And Kevin goes, “That’s a great idea.” So we got the fan club president to rally the fans and we made t-shirts. Everybody got a t-shirt, so you can see this in the movie, where there are pictures from Kevin’s apartment where we were … well, it was mine and Kevin’s apartment. We silk-screened Quiet Riot t-shirts, gave ‘em out to all the kids, rented a flat-bed truck – which now we wouldn’t have gotten 10 feet on the street without getting arrested – piled all the kids in the truck, made a schedule to hit all the record companies, called local news to come out. But we kept missing the news, because when we went to Burbank to picket Warner Bros. Records, they said, “You can’t do this without a permit.” So, we had to leave and our whole schedule was off because of that. So, I decided, “Well, look. I’ve been taking pictures of everything else, why don’t I take pictures of this?” So I got those pictures.

Were you ever along for any of the [record label] showcases Quiet Riot played?

RS: Yeah, in the book there are pictures from those showcases. They would do a set, and then the guy would come in, so they would rehearse before they played for the record executive. So I think I had to leave the room. The pictures are from them doing it before the record executive came in, because they wouldn’t need me sitting there taking pictures and being distracting. I would take them before and then leave and find out later whether they got the deal or not. It was like a full dress rehearsal, where they would wear their stage clothes and do the whole show.

The DVD has such great live footage. What was your favorite live segment in the movie and was it difficult to edit that all together?

RS: Was it difficult to edit it all together? I think it was just like we started chronologically from the beginning. I guess it was difficult putting the music to the story – where to put which songs, but there was so much material that it just kind of organically … I kept giving the editor more stuff. Like, we had the interviews and we had the live footage, the Super 8 mm footage, and I had all this other footage. Like, there’s a part in there where Kevin was in a band with my brother, Stan Lee from The Dickies, before The Dickies started. The bass player in that little segment, if you remember in the movie, he was a member of The Dickies, and the drummer, his name was Danny Benair. He was in a band called The Three O’Clock. So, I shot that, and there are actually two movies, but for some reason, I’ve only got one. They were doing “Can’t Explain” [The Who] and then we had the tape of them doing it, and we’d sync it up, because back then there was no videotape – at least affordable videotape. And then they also did “Moonage Daydream,” but I don’t know where that is. So I had that, and I had all my films from when I went to USC film school, so you see a little bit of that. And then I have my “just joking around” films.

Yeah.

RS: For something like this, you need a really good editor, and we had a really good editor. His name is Matt McUsic. And he did a great job.

One of the really cool things I thought from the DVD was when Brian Reason [Randy’s guitar tech] was talking about Randy’s trademark solo. Was that planned or did he just start talking about it and it seemed like that would be a perfect thing for the movie?

RS: No, we wanted him to talk about the solo for the movie. That was definitely planned. We didn’t tell him what to say. We just asked him to describe being the guitar tech during Randy’s solo, and that’s my favorite part of the movie.

I think it’s mine, too. It’s amazing how meticulously thought out it was. Maybe sometimes we as rock fans don’t think about that when we're hearing a guitarist do a solo.

RS: Yeah, I mean he was obviously an improviser in the solo, and it was very night to night. But, you know, that was pretty much what he did – depending on the crowd, as it is with any other artist or musician, they feed off the crowd, but that was just an unbelievably great solo he did. I think it was better than the solo he did … he kind of took parts of it for the Ozzy solo he did, but I think this is way better and I’m pretty sure it’s longer.

I wanted to ask you, too, about Kelly Garni and the incident that happened where the two were arguing and he's alleged to have pulled a gun on Rhoads. Were people pretty willing to talk about that?

RS: Yeah, yeah. Even he talked about it. Kelly is not shy about talking about it.

It’s such a rough part of the movie seeing two childhood friends grow apart. It’s a really tragic part of the movie.

RS: Yeah, well, Kelly … you know, has that little problem, drinking. I would say that as far as Quiet Riot goes, that was his undoing. Stuff happens and people live and learn, and I’m sure he probably somewhere regrets it.

As far as the end of that stage of Quiet Riot’s existence, when Randy left, did you have any inkling that he was going to leave at some point?

RS: We had no clue. I didn’t think he was going to go do that. We couldn’t believe that he left. We couldn’t believe he took the gig because he wasn’t like a Black Sabbath fan or anything. And obviously, at that point, having been kicked out of Black Sabbath, somebody was probably considering him washed up and somebody believed in him, and it worked out great for Randy for him to go play in that band.

What about the day that Randy died? What do you remember about talking to Kevin about it and how he dealt with it?

RS: Well, I was driving in my car listening to the radio, and they played two Ozzy songs in a row, or Blizzard of Ozz songs in a row. Usually when they do that, at least back then, it meant something bad had happened. Nobody played two songs in a row and they said, “That’s dedicated to the late, great Randy Rhoads, who died in a plane crash today.” Well, I hadn’t heard of any airliner going down, so I called Kevin and I said, “What is this?” He goes, “There was a small plane crash. Randy’s dead.” I went over to his house and we were crying and hugging each other and tried to deal with it. I mean, who could believe something like that would happen? I’ve actually been up in a small plane. Now, I would never do it again, but when you’re young, you just do stuff and you don’t think about it. There’s no explanation for it. It’s just one of those crazy, weird life things.

Did you go to the funeral, too?

RS: Yes.

That must have been, as any funeral would be, an unbelievable scene.

RS: There were a lot of people there, and it was just tragic. I still can’t believe that happened.

What is your favorite memory of Randy? You talked about what a generous guy he was in the book, especially with his time in helping young guitarists.

RS: Well, I can give you a couple. One, like you were talking about, has to do with him teaching guitar. He was actually teaching me stuff on the guitar. He taught me my favorite Quiet Riot song, which was “It’s Not So Funny.” He taught me how to play that. And then when he came back from Ozzy, he taught me how to play “Crazy Train.” He was always teaching, like, “Yeah, sure. Here’s how to play that.” I would have to say a special memory was … it was pretty much a few months after I met him and the band had started, I got pneumonia. And I was in the hospital for a week and him and Kevin came to the hospital to cheer me up. I thought that was really special because who wants to go visit somebody in the hospital. So that was kind of a special thing, where it was like, “Yeah, we’re friends.”

During Quiet Riot’s Metal Health days, what was your favorite memory of that time? You got to see that band finally get the exposure that they deserved.

RS: Um, I would say the US Festival was pretty special. When John Cougar Mellencamp dropped out, and Quiet Riot got to fill his spot, they had to fly out special. I think we were in Minnesota or somewhere when they got the call to do it. I can’t remember exactly, but it was somewhere [around] the Mississippi, and they were going to play in the daytime, so they didn’t need me to do lights, ‘cause I was out on tour with them doing lights. But they took me anyways, so I got to go. And what was there – four hundred thousand, five hundred thousand people there watching that show?

One of the cool things about Quiet Riot was their look, too, with their clothes made by I believe Laurie MacAdam?

RS: Lori was designing the clothes, and then Jodi [Raskin, the one-time girlfriend of both DuBrow and Rhoads] would sew clothes.

How was that to work as their lighting director? I mean, they must been such a visually cool band anyway.

RS: Yeah, well, I got to bring in extra spotlights, and we brought in strobe lights and fog, so they let me do whatever I wanted, which was great. I knew the songs … here’s how I started doing the lights for them. What happened was, the lights would always be so dim or poor for photographs. I’m looking at my pictures and I didn’t like to shoot with a flash. I wanted to capture what they really looked like, but the lights were so poor for photographs that I said, “You know what? Let me start doing the lights. I know the songs.” And they said, “Go for it.” So that’s how I started doing the lights, because I knew all the songs anyways, so it was just natural.

What do you want people to glean from this book and the DVD?

RS: You can see what it was like to be an up-and-coming band in the late ‘70s and what it took to either make it or not. And you see the trials and tragedies and then eventual worldwide domination – two guys that had a dream who went their separate ways and got big in two separate ways. They had this one-for-all and all-for-one theme of everybody working together.

You can really get a sense of what it was like being young and living in California at that time.

RS: Yeah, it was great. I mean, that 10 years – I think I said it – were the best 10 years of my life and everything you’ve ever heard, when I got to tour with Quiet Riot during the “Metal Health” tour, everything you’ve heard about stuff that happens in a rock band happened. 

That’ll be in the next book, huh?

RS: Yeah. That’d be a good one: “Quiet Riot – the Metal Health Years.”

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