Rudy Sarzo discusses working Dio, Ozzy, Whitesnake, Quiet Riot and more.

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RUDY SARZO

Interview by Marko Syrjala

Pictures by Marko Syrjala and www.rudysarzo.com

Rudy Sarzo is one of the best-known bass players in the business. He has performed and recorded with Whitesnake, Ozzy Osbourne, and Quiet Riot, amongst others. Recently he joined another legendary band – Dio – and I had a chance to talk with Rudy after the band’s brilliant performance at the Tuska Festival in Helsinki.

Well, first of all, congratulations on being the newest member of the Dio family!

 

Thank you!

 

It must be asked – how did you end up in Dio because it wasn’t a long time ago when you played with Yngwie Malmsteen?

 

Yes, I did. Well, this is the exact series of events: Quiet Riot broke up last year, around September, and I’ve been concentrating on a couple of things while I was working with Quiet Riot. I worked with Visual Media software. I did presentations for Sony and some other stuff. So you know, I was concentrating on that and also seeing what was available musically. And a friend told me that Jimmy [Bain] had left the band. So I called up Wendy [Dio, manager, and wife]. I told her, “Wendy, you know, Quiet Riot is no longer” because not everyone knew that Quiet Riot had broken up, and I just wanted her to know that I wasn’t?’ in Quiet Riot anymore and that I was available and that I would love to play with Dio. So she says, “Well, Ronnie is working on the album. He’s writing with [Craig] Goldie. When the songs are written, we will give you a call, and we’ll see where we’re at”. So a few days later, I get a call from Yngwie’s management about a tour. Yngwie was a wonderful experience to tour with, but it’s a solo thing, and he plays bass on all of his records. It works for him, and he shouldn’t change what he’s doing. It is excellent, and it works for him, so that’s good.

 

How was it to work with Yngwie?

 

Oh. I have nothing but great things to say about him. It was an experience. Musically, he was terrific. People wise, we got along really well, his wife is great, and he’s got a baby boy, a young child, it was like a family thing. He’s moving towards being more stable, and his music just keeps getting better and better. But then I get a call from Wendy to do the record. I was in the middle of a tour, but she said, “We’ll get Jeff Pilson to do the record.” He’s an old friend of mine. I love Jeff. He’s a good bass player. So she says, “When your commitment ends, give us a call.”. So when I finished the tour, I called Wendy and said,” I’m available now.”. Having explained that, I’d just like to complete the rest of my beer!

 

So, you are now a full-time member of Dio?

 

Yeah. And I am staying here for as long as they want me. It doesn’t get better than being in this band, and I’ve been to many bands, and I’m being treated fantastic. I am just finding my way in.

 

You have played with David Coverdale, Ozzy Osbourne, and now with Ronnie. Would you compare those guys somehow, who has the biggest ego?

 

I can’t say that David ever had a big ego. I mean, I was doing this crazy stuff on stage, and David never said, “Stop doing that.” With Ozzy, it was more of a situation where he was making a transition from Black Sabbath, which was very traditional, to a new career. Now you see Zakk Wylde running around, but it was me and Randy and Ozzy on stage in the old days.  When I played there, I was told just to stand there. Do not move, do not turn around, don’t do that, and so on. We were just like classic heavy metal. We were kind of building elements, and that’s it! It wasn’t a matter of ego; it was just a matter of fitting in. With Ronnie, he’s  always telling me, ” You know, they have this ramp in front –  “C’mon, get in there!” I’ve been treated better in this band, and some other bands, than in my OWN band.

 

That’s good to hear.

 

Because sometimes it’s a lot of insecurity when you’re joining a band. When you join a band, the first day you get there, it’s like moving into a new house. First, you unpack your suitcase, get to know the neighbors, just trying to fit in. A month later, you might say, “You know what, maybe I should paint this room a bit different” It’s all a matter of being courteous.

 

If I have understood correctly, you say that Ronnie is the best employer you have ever had. Am I right?

 

It’s funny. We were talking about that yesterday, and I was telling him how impressed I am. Not just because of his voice, which is still amazing but his command on the stage. And he is working with the audience.  He’s the best one that I’ve worked with. He never did any shortcuts, or he never gives a microphone to the audience and just says, “You sing. you know! Do the job for me?”

I can guess who you are talkin’ about here. “Laughs.”

 

I don’t say any names here, “laugh.” You know what I mean. I love David, and he’s incredible as a person and as a singer. I’m a huge fan of his. But as for Ronnie, he always does all the high and difficult notes himself, and that’s rare. Ronnie takes it to a certain level that no one can beat him. He carries the whole thing.

 

How about the setlist on this current tour? I mean, were you able to make some song choices or suggestions as well?

 

Ronnie’s very open. He’s always open to suggestions. I suggested a couple, “Gates of Babylon” and I suggested “Rock n Roll Children,” but we didn’t have time to do it today. We have to do some songs, like “Rainbow In The Dark,” which we love to do. But the great thing about playing with Ronnie is that there are so many songs to pick from. To do “Gates of Babylon,” which he’s never done before, ‘s a new thrill for me. Every year it’s playing new stuff that isn’t new but stuff from the past that hasn’t been done for so long. There are not many bands that can do that.

 

On this tour, you are playing a lot of stuff from Rainbow and Black Sabbath. Were you familiar with all that material when you joined the band?

 

I was familiar because, you know, you hear those songs all the time. But one thing is to be familiar, and another is to get inside the songs. You can just learn the part, but you also have to learn what the part means the foundation because you get the rhythm section of the song’s layer.  And the one thing that is the most challenging because of the absence for me is the Jimmy Bain songs because he’s not a pick player, so he’s got his own sound. It’s a certain feel with a pick, and I play with my fingers, and the sound is quite different then. 

 

How well you know the newer Dio albums, like KILLING THE DRAGON?

 

Did we do something from KILLING THE DRAGON today?

 

No, you didn’t “laugh.”

 

Well, to be honest, I’m more familiar with the classics from watching them from MTV back in the 80’s you know..? There are certain songs I had to learn. Even I knew those, but I had no idea how to play them (laughs).

 

Jeff Pilson played bass on the latest Dio album, MASTER OF THE MOON. Did you get involved in this album recording process at all?

 

No, I was on tour with Yngwie when they were recording this album. So I wasn’t able to do anything about it. It is tough to be in more than one band at the same time. It’s like living in two houses at the same time or having two families. It’s like, “Hi honey, I’ll be right back,” and then she asks, “With who did you spend last night?” and I say, “With my another wife (laughs)  and “see you again in the morning!”. You can’t do that for too long, that’s for sure.

 

If you had played on that album, would you have played anything differently than Jeff?

 

It’s tough to say. Because again, the songs were already written by Ronnie and Craig, so there’s a certain essence you can’t change too much, you know? You have to play for the song. You’re playing the songs, and the music is Dio. You have to play Dio style stuff here (laughs). But when I’m playing those songs live, I can try a lot of different things. Some might work better than others, but I keep on trying. There’s a certain thing that I’m beginning to co-operate with, which is playing more scales, which comes from the stuff like “Gates Of Babylon” that type of you know. There’s a lot of ways to improvise, and that fits me very well.

 

How much have you changed your playing style during the years? This stuff is quite different from Quiet Riot or Whitesnake stuff?

You have to understand. I’m joining a band that already has a sound and a style, so I have to mold myself to fit into it. Little by little, I find little things that I can fit myself into, y’ know what I mean? But first, the most important thing is for me to become the bass player in Dio. And then the real Rudy will come out, but my priority is to be the bass player in Dio.

  

 

In the past, you have played bass lines, which are mostly written by Bob Daisley, Geezer Butler, and Neil Murray. How much do you follow the original lines, and how much is just improvisation by Rudy Sarzo?

 

Well, I played with those bands with different drummers. I never got to play them with the original drummer that. For example, when I play something that Bob Daisley has influenced me. I tell you something interesting. There’s nothing against Bob, of course, I think he’s a great bass player, I’ll get tat you later, but for example, when I play songs from BLIZZARD OF OZ or DIARY OF A MADMAN with Tommy, and because Tommy plays so different from Lee Kerslake, I had to play differently. I had to play because you have to play with the drummer. When I played with Tommy again in Whitesnake, Tommy doesn’t play like Cozy Powell or like Ian Paice, so I had to play again as Tommy does.

 

When you’re playing with Dio, how much do you’re following the original basslines created by the original bassist Jimmy Bain?

Well, you have to follow that because it’s the song. Like I have to follow what Ritchie Blackmore played on the bass, Ronnie tells me Ritchie played bass on the Rainbow albums, or I have to follow Geezer Butler on the Sabbath songs; otherwise, I’m not playing the song, I’m doing something else. But a little by little, I add certain things that fit; you gotta play what feels right.  I had to change the original lines and make them fit. When I’m playing with Simon, he doesn’t play as Vinnie did, so I have to make it fit. He doesn’t play like Bill Ward, or he doesn’t play like Cozy either. It’s like a matter of making a fit being part of between the rhythm section and being a part of the band. And then you start bringing in your own stuff. Then you are home, and you can maybe move some furniture a little bit and things like that. But first, you have to settle in. When you move to a new apartment, it’s your own apartment, your own house. Sometimes you don’t want to unpack your boxes for weeks. You start with a room. Fix that room is like a song, and the room is a song, okay? Let’s start with a bedroom. I’m going to fix the bedroom. The living room is still a mess; all the boxes are in the living room, and there are boxes in the kitchen then; next week, I’m going to fix the living room. Get it together, okay, and now I got the kitchen; you know what I mean; it’s not all of once it?s like little by little, and that’s what I’m doing right now with Dio. It’s very exciting because this is a great house to be in, it’s a great home. I’m very happy to be here now. I’m blessed to be in this band.

 

 

  

 

 

SOMETHING BAOUT WHITESNAKE

 I have a couple of questions about Whitesnake, and let’s start with the easy one. How did you get that job in the first place?

 

I met David when Whitesnake opened up for Quiet Riot in 1984 in the US. Then when I left Quiet Riot, he called me up to join the band. He wanted Tommy and me to play on the record. From experiencing the relationship between David and John Sykes on tour, I didn’t want to be part of another explosive situation. So when John Sykes was out of the band in 87? He played on the 1987 record, so that he might have been out in 86? Anyway, once John Sykes was out of the band, I felt it might be safe now to be in Whitesnake. Those guys, they make great music together, and if they could just work it out, that would be great, but that’s got nothing to do with me.

 

Have you been asked to rejoin the band after the last tour you did with them in 1994? 

 

No. 1994 was the last time I played with Whitesnake, which was a very bluesy tour. And I’m not a bluesy bass player. I like metal and rock. I did the -94 tour, but I was miserable. I wasn’t into the music. It wasn’t a band like it was when we did the 87 and 90 tours.

 

How do you like Whitesnake nowadays, the new version of the band?

 

I don’t know. There are so many new line-ups. I love David. I have nothing but great things to say about him. It was a great experience working with him. Tommy Aldridge, great drummer. I’ve played with him in many bands.

 

Do you know the current bass player Marco Mendoza?

 

He’s a great bass player.

 

There happened one funny thing last year at the Sweden rock festival. David was doing a public press conference there, and one of the reporters believed that the bass player of Whitesnake is the same guy who plays in Twisted Sister. Mark “The Animal” Mendoza. David soon replied that he only uses good players in his band “laughs.”

 

Really? That’s funny. “laughs.”

 

In musically, what is the biggest difference between playing in Dio compared to Whitesnake or Quiet Riot?

 

For example, Whitesnake: When I played with Whitesnake, Tommy Aldridge was in the band, the same as when we played with Ozzy, and he leaned forward. There?’ three ways of playing: leaning forward from the beat, on top of the beat, and behind the beat. Tommy was the drummer, so he was the conductor. He leans forward, Randy [Rhoads] leaned forward, I leaned forward. It’s really good for a big place like an arena. Even though we were doing bluesier material with Whitesnake, we were leaning forward. With Dio, there’s a certain element of being pretty much on the beat. But for example, “Gates of Babylon” would lean forward. I have to adapt myself to that position, that very disciplined feel. Then you have “Heaven and Hell,” which is a little bit more? It’s a little easier. So I’m shifting, I’m finding my way in there and getting a feeling of what the song has to be. Otherwise, you’re not playing the song anymore.

You have mentioned Tommy Aldridge many times, but how is it different to play with Simon Wright to him?

Simon is the most responsible drummer I’ve worked with. I always know where he is, and he has a very fast backbeat. I became a fan of his,  that’s why I met him when I heard him play with AC/DC, and I thought he was unbelievable. He is like a machine BUT with a lot of feel on it. He was great to play with. It was great to play with all the guys, you know. [Craig] Goldy and I had a band together right before he joined Dio and Tommy, and I joined Whitesnake after that, so I’ve known Goldy for a long, long time.

 

What was the band called?

 

It was called Driver.

 

You never released albums?

 

No. We were rehearsing and were just starting to get a record deal.

 

In the early 90’s you played briefly in a band called Manic Eden together with Adrian Vandenberg, Tommy Aldridge, and Ron Young. Tell me something about that project?

 

That was pretty much Adrian Vandenberg, Tommy Aldridge, and myself. We first started with a singer named James Christian from the House of Lords, and it sounded too much like Whitesnake. We wanted something a little more 90?s, so we brought in Ron Young from Little Caesar,r which gave an edge to it.

  

How much you toured with Manic Eden??

 

We did an advance tour in record stores, and that was about it cause then after that, David [Coverdale] called us up to do the 1994 Whitesnake tour.

 

I think the Manic Eden album is great, and I think it sounds a lot like Whitesnake. Personally, I think it’s a better album than SLIP OF THE TONGUE.

 

You think so? It’s different, you know, a little more modern sounding.

 

 Tell us something about a band called Project M.A.R.S? This came up in mind because I just met Tony McAlpine a couple of weeks ago here in Finland.

 

Was he here with G3?

 

Yes, he was.

 

That was just basically because we wanted to get a record deal. There was Tommy Aldridge, Tony McAlpine, the singer Rob Rock and myself. I mean, if you listen to the record, the songs are more commercial than really heavy metal. It was a great time because Tony is an amazing player. He’s a musical genius. I think him… because of their classical background he and Yngwie. They both are musical geniuses. I believe that Randy Rhoads had the potential to be at their level, but unfortunately, it never happened. I mean, if you listen to DIARY OF A MADMAN, that’s an incredible album. Before Randy died about one year later, he was then working on even more complicated songs. Unfortunately, he could never fulfill his real potential, but some people have fulfilled their potential, and Tony McAlpine is definitely one of them. He is an incredible classical concert pianist. He can play for you anything you ever want to hear.

 

He’s now playing both keyboards and guitar on that G3 tour, as you probably know?

 

Yes, I know. Before he picked up the guitar, he was a concert pianist. He’s amazing with both instruments.

 

Did you do any touring for the M.A.R.S album?

 

No, as soon as we recorded that album and we didn’t get it signed to a major label, it was released anyway, but we knew that we could just not compete with everybody else. So we decided then to call it quits.

 

RANDY RHOADS BOOK

 

You are currently writing a book about Randy Rhoads?

 

Yes, that’s correct, and I’m going to finish it very soon. It’s called OFF THE RAILS.

 

What kind of stuff can we expect from your book?

 

Oh, it’s written in diary form. I mean, I’ve got these really nice crazy stories about Ozzy and Ronnie has all these great stories from Rainbow and Sabbath, amazing stories. My own motivation is to write about what happened basically. There is so much wrong information flying around, you know. There are so many inaccurate accounts of the tours, places and dates, and other stuff.  Basically, that’s all about it. I was the only musician in Quiet Riot and Ozzy with Randy, so  I witnessed many different things. All the craziness with Ozzy and stuff, you know?

 

When is the book coming out?

 

I can’t wait to finish it, but I still have eight more chapters to do, and then I’m done. Hopefully, it comes out sometime next year?  

 

What kind of relationship you have with Ozzy and Sharon these days?

 

They both are great. We are running to each other all the time. There was a Randy Rhoads introduction in the guitar center, and they both were there and so on. There is really nothing bad to say about then. I started writing the book because I met Sharon after one Black Sabbath show, and we talked to each other like in the old days, and she said to me that Ozzy doesn’t remember anything from the past years. I thought that was a real shame that he couldn’t tell about those years, so somebody has to (laughs).

 

Did you use any outside writers to help to get this book written?

 

No. I didn’t need any help with this book because I was there by myself, and I do remember everything, “laughs.” You know what. When I’m on tour, I always wrote down notes like: “Today I’m here, this is the hotel, this is the capacity,” and so on.

 

So you do write a diary all the time?

 

Yes, I do. And that’s my source for that book. I got anything with me. I have all the reviews, interviews, and other stuff. Journalists, for example… all the bad things they said about Ozzy. Often they called him Benny Hill (laughs)

 

Do you mean that British comedian who died something like ten years ago?

 

The same man (laughs).

 

It really must be interesting to read all your own memories and stuff after all these years.

 

It is, I can tell you (laughs). It’s really funny, and I sometimes felt that I was in a time machine.

 

I can’t wait to read that book. Let’s see what Sharon thinks when it comes out??

 

Of that period, you mean? There’s nothing new about that, nothing that they haven’t said about that already by themself. Everybody knew in the band that Randy and Sharon had an affair and so on! (laughs).

 

Have you been in touch with Randy’s mother still?

 

Yes. She is actually writing her own book at the moment.

 

Are you going to show your book for her here before it’s going to be released?

 

Yes, I will. Actually, it’s the publisher who has to do that. I sign a contract that says that I can’ disclose the book’s content, you know?  She’s writing her own book about Randy, and that’s great. Book of mine is mostly stories just about me with Randy in Quiet Riot, and then it’s about us on tour. There are a lot of stories from Ozzy tours and stuff like that.

 

 

QUIET RIOT TALK

I’m going to ask a couple of questions about your former band, Quiet Riot. You left the band in 1985 and then rejoined in 1997. Why did you decide to give that band another try after twelve years?

 In the United States in 1997, there wasn’t a lot of rock. It was all grunge. It was no reunion, but we were like the first to be reunited.

 

KISS did it already in 1996?

 

Yeah, but they’re a 70’s band.  We were talking about the 80’s bands, like Ratt and Warrant and all that. It wasn’t really a reunion because up until that moment,  Quiet Riot had been working. They had been touring and stuff like that with different line ups. It was very simple, Marilyn Manson had a party, and they hired Quiet Riot. So we came there and jammed and played at the party and thought, “Yeah, why don’t we do it?”

 

You recorded two new studio albums with the band before you split with them again.

 

Yeah, ALIVE AND WELL and GUILTY PLEASURES.

 

Do you want to say any comments on those albums?

 

Not really.

 

Why?

 

It’s like this: You get married to your wife, your divorce, you get married again, your divorce. There is nothing to talk about, then?

 

I understand. After the first break, it doesn’t feel the same anymore?

 

It is not a family anymore.

 

There’s been a lot of talk on the internet about why the reunion didn’t last long, and one of the reasons mentioned was that Kevin liked to disappear every then and now, and caused a lot of problems for the band?

 

Yeah, nothing new. It happened several times. But there was more too…

 

You then did a couple of shows with Paul Shortino on vocals?

 

Yes, because we were going to get sued by the promotor cause we couldn’t find the singer. We did the shows only not to get sued and to pay for expenses.

 

You played only two shows with Shortino?

 

Three. After that, Kevin appeared, and then we did whatever, and then he left us stranded at the airport. We’d go to the airport, Carlos [Cavazo], Frankie [Banali] and myself, fly to the city, no Kevin. We’re all on the phone “I can’t find him” Four times in one year. The fourth time we got sued by promotors. It cost us a lot. It’s on the Internet. I’m not saying anything new. I’m just repeating what’s basically already known. And I can also say a lot of good things. Frankie is great. I love Frankie, he’s one of my oldest friends, he was the best man at my wedding, and I love him like a brother.

 

Your last release with the band was the DVD, “Live In The 21st Century – 20 Years Of Metal Health”. What’s the story behind that one?

Well, we never had a DVD, and we wanted to do release it for Christmas time, which meant that if we’ve waited some more…What we were doing was we were always on tour with Quiet Riot. Not a tour like this but like an on weekends. We mostly toured only in States…

 

And you also did some shows in Spain?

 

Yes, we did a couple of shows in Spain too, I had a miserable time there, but I don’t want to talk about it anymore. And I wasn’t miserable because of Spain but because of other things which happened then… So it would have waited to play in bigger places, you know, like having a big tour together with Poison or someone else we would never get that DVD out before Christmas. We then decided to do a show at the Key Club in L.A. The production company of that DVD was based in Los Angeles in Hollywood, so we just did it. It was actually a very easy thing to do.

 

Are you personally happy with the DVD? So far, I have seen it just once so, and at least it sounds like a real live recording. No overdubs or fixing?

 

No doubt about that, but once again. If you listen to anything that I’ve recorded live, there’s never been overdubs in my playing: none, zero (laughs).

 

Not a single one even on Ozzy’s TRIBUTE album?

 

Not a single one. SPEAK OF THE DEVIL, no dubs. That was the last thing I did with Ozzy. Have you seen the video from the “Speak Of The Devil” tour? Even there are no dubs there. I mean, I’ve never done or will do any overdubs for live recordings, never, zero. Have you heard a bootleg from Japan with Whitesnake?

 

I’m not sure about that?

 

Donington then?

 

Yes, that one I have heard.

 

There are no dubs there.

 

There’s a good bootleg DVD from that show, too…

 

Really. That one I would like to see.

 

However, when the Quiet Riot DVD came out, the band had already broken up?

 

Yes, it came out after we broke up. We broke up in September, and it came out in November or something like that. I was not involved in the overall making of this except playing on it because it was not a very common thing to do for me then?

 

Did you ever get any money from that release?

 

Yeah sure. And I will get more if someone is buying a copy? (laughs).

 

As you said, there have not been a lot of Quiet Riot live recordings or video footage available before. I only remember one from a huge outdoor festival, and you played there together with Ozzy then?

 

Yes, that was in 1983. It’s not an official one?

 

No, I think it just came out from the tv back then, and it’s now on sale everywhere.

 

 

Who originally came up with an idea with a man in the iron mask? That “person” has later been used on almost every Quiet Riot album cover?

 

It was my idea. He’s a universal headbanger, and he could be anybody? He’s the man in the iron mask. Alexander Dumas kind of thing, you know? “laughs.” I’m a big fan of his. Have you ever read Count of The Monte Cristo? What a great book. This guy on the cover is universal. Anybody could be that person. Do you know what I mean? We wanted to use a face, and we wanted it to be a kind of symbolic icon.

 

Do you own the rights of this “guy?”

 

No. The band Quiet Riot does. It’s like the name Quiet Riot; the band owns it. That’s the reason Kevin can?’ use the name Quiet Riot anymore. Legally he can’t.

 

Have you heard Kevin’s new solo album? 

 

I haven’t. I’m not really interested in former Quiet Riot members. And I’m currently too busy with Dio, you know? But I still wish them all the best of luck. Or at least I wish them the same thing they wish me! “laughs,”  or maybe just a little bit better :). Still, I’m quite sad for Frankie because he worked so hard to keep it together. But you know what happened?

 

This is a little bit out of the subject, but do you know why Frankie recently refused to tour with WASP, although he just recorded two albums with them? Now they have their old drummer Stet Howland on tour instead of Frankie.

 

I don’t know Stet, but I know that Blackie wanted Frankie to play with WASP forever. Frankie played a lot on their records, and?

 

True. He first played on HEADLESS CHILDREN in 1989, and later on, he has recorded  5 or six albums with the band.

 

True. I’ll tell you what happened now. When Frankie was in Quiet Riot, Blackie kept offering him a lot of money. Once, when there was no Quiet Riot, then Blackie said, “I’m gonna give you less,” and then Frankie was offended and said no. It was a matter of principle for Frankie because of Quiet Riot, then I think. And now, when there was no Quiet Riot anymore, he got a much worse offer because he wasn’t in that band anymore. It’s a clear principle thing. Do you know what I mean?

 

METAL HEALTH AND THE BIG TIME

Quiet Riot made its big breakthrough with METAL HEALTH in 1983. Although you were an official member of the band, you didn’t play on all tracks on the album. Why?

 

Why? Guess who I was playing with when those songs were recorded?

 

With Ozzy, I guess?

 

Correct. You have to remember I went in there just to do one song as a tribute to Randy. That’s what really happened, and I’m playing with Ozzy, and I’m like emotionally I’m buried dry every night because Randy is not there. You go on stage, and there is the same stage, same show everything every night except Randy’s gone. And it was killing me. I got a call from Kevin, and he says, “You know we are making this record, and would you come down and just do “Thunderbird?” I said, “Yeah, sure, I’ll do that.” I go down because I had been with Frankie for many years. He was the first real drummer that I play with. Kevin, of course, I knew from Quiet Riot and Carlos he was in a band called Snow that we knew each other. Kevin says, “Do you remember “Slick Black Cadillac?” I did, and we decided to do it. “Well, do you remember, “Life’s a Bitch?” I did, and so we recorded it too. So you know, in that first session I did five songs. And I’m going to Kevin “You know what? This feels like an emotional refuge, but… Randy’s not here and…” To me, Quiet Riot was with Randy, or then it wasn’t Quiet Riot. That band could have been named anything, you know, but it was just that because Quiet Riot, name Quiet Riot, was getting a lot of publicity because Randy was playing with Ozzy. It was in the interviews, and the reviews of the Ozzy shows all the time. Randy Rhoads, an ex- Quiet Riot member, was mentioned everywhere, so Kevin thought, “Hey, I wanna use the name. This is getting a lot of publicity” So on that first date, I did about five songs. “Metal Health” and “I Don’t Wanna Let You Go” were already recorded before I went in.

 

Chuck Wright played on a couple of tracks on the album. How he ended up there?

 

Chuck Wright because he was in the band. And then he got kicked out, and in fact, one of my friends, Tony Cavazo, was going to be in the band. On that same day, they recorded “Cum On Feel The Noise” with Tony because I had never heard that song before. I wasn’t in the band. I was just doing some stuff that I had played with them before. “Cum On Feel the Noise” was a song I had never heard in my life. In fact, later on, when I played that song live, I was thinking, “Never heard the song. I’m just going to play what I think that song should be like?” and that?’ what I played. Then months later, somebody played me a record of Slade, and I was like, “That’s how it goes” “laughs.” I just played what I thought it might be.    

 

One last question about Quiet Riot? Did you ever imagine that METAL HEALTH would be such a huge success?

 

No. Are you kidding me (laughs)?

 

Our time is up now. Thank you for the interview!

 

Thank you!

 

 

 


 

Special thanks to Tuska Festival organizers and Spinefarm for getting this interview done!!!  

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