RECORD STORE TALES Part 196: Happy Rockin’ Mother’s Day!
I’m hoping I don’t embarrass my mom too much with this post. I love my mom. My friends love my mom. Everyone loves my mom, they always have. It used to drive me nuts, actually. Particularly with my friend Bob, it drove me nuts. My friends would come over and spend more time talking to my mom than to me!
Joe, who ran one of our stores, was one friend that always enjoyed seeing my mom in his store. Unfortunately for me, Joe really used to tease me about it, too. Long time LeBrain readers will remember one story in particular. Here’s the pertinent text from that tale:
One morning I was opening the store, and my computer beeped the sound that told me, “An order just arrived, please read me!” So I did. Only the order looked something like this.
ARTIST: I’m totally going to
TITLE: bone your mom.
I was digging through boxes of stuff, as Mrs. LeBrain and I prepare to move to a larger place this year. In a closet I found a card from the record store. Joe had signed it.
OZZY OSBOURNE – “Flying High Again” (2011 Record Store Day exclusive)
Here’s something of an underappreciated item. Everybody knows that Ozzy and Sharon re-recorded the drums and bass on Blizzard of Ozz and Diary of a Madman back in 2002. In retrospect this was a shrewd move despite the fan backlash. In Lucas-esque fashion, it enabled them to restore the original versions for much-hyped reissues in 2011. To usher in these new/old releases, Record Store Day shoppers were able to buy a replica original “Flying High Again” single.
Both the reissue and the original 1981 single featured the B-side, “I Don’t Know”, recorded live at an unspecified gig. Like Diary of a Madman itself, this B-side had its bass and drums re-recorded in 2002. It is difficult to hear the differences, but listen to the bass tracks right around the 2:10 minute mark. Where Bob Daisley plays lots of interesting harmonics, the re-recorded version has Rob Trujillo hitting the lows. The bass parts are very different.
The credits on the 2002 edition of Diary indicate all tracks, “live” one included, were remixed with new bass and drums.
When Diary was reissued in 2011, it did not include this B-side, but instead an entire (different) concert on a bonus CD. Therefore the original version of the “I Don’t Know” B-side remains a vinyl exclusive. Cool. I am not sure why this was not advertised on the single sleeve or in the media. In fact, I’ve owned this single for two years without putting 2 + 2 together. The “Flying High Again” vinyl single is the only place you can get the original, untampered “I Don’t Know” live B-side!
For that reason alone:
5/5 stars
But is this worth $12 as per the price tag? That’s one thing that bugs me about these singles today. I understand that manufacturing costs have changed and it’s a niche item, but still! $12 for one song. One song, because they were going to sell us all “Flying High Again” itself on the Diary reissue, as advertised on the front.
DEEP PURPLE – Deep Purple (1969 EMI, 2000 The Original Deep Purple Collection)
I love when bands release a self-titled album as their third, perpetually (purpetually?) confusing fans who think it’s their first! Maybe not so much in the Wikipedia age, but many of my customers thought that Deep Purple was the band’s debut.
This album is unbelievable. I know people, very particular music fans, who consider this to be the best Deep Purple album. I wouldn’t make that claim myself (I prefer Fireball) but I rank this one very high. Neither of the first two albums by Deep Purple Mk I did much for me. I found them meandering and plodding. Somehow, by the third record, the band had morphed into something different. The singer was Rod Evans (Captain Beyond) and the bassist was Nicky Simper (Warhorse). And of course more changes would come, since this would prove to be the last album for both men.
Side one, track one is an amazing opener called “Chasing Shadows” (not to be confused with a later Deep Purple song just called “Shadows”) that features a Paice-arranged drum orchestra throughout the whole song. “Blind” is second, which features Lord on harpsichord. How 1960’s! Great song though, slow and mournful with a wicked Blackmore solo. This is followed by the Donovan cover “Lalena”. It is another sad sounding track in a row, but with a beautiful organ opening from Jon Lord. A brief instrumental called “Fault Line” is a crazy interlude, recorded backwards with the bass recorded forwards. That melds into a serious rocker called “Painter”, which ends side one. “Painter” to me is best remembered for Ian Paice’s inventive drumming and Blackmore’s excellent bluesy playing.
Side two began with “Why Didn’t Rosemary?”, a groovy blues rocker with the relentless rhythm section of Paice and Simper driving it. “Bird Has Flown” follows, but not the Beatles song. It verges on heavy metal with Blackmore leaning heavily on the wah-wah peddle. The final track, “April”, is a 12 minute tour-de-force and an obvious foreshadowing to the next Deep Purple album, Concerto For Group And Orchestra. It features a long opening in two movements. The first movement is mostly organ and classical guitar, with some electric guitar accents. The second is based entirely on classical instruments and sounds very medieval at times. (Foreshadowing Blackmore’s Night!) Finally, the band kicks in with an intense rocker, Paice laying it down hard. Rod Evans’ lead vocal is among his best, a fitting swan song, although he certainly didn’t know that at the time!
Indeed, even while Deep Purple were gigging with Rod Evans and Nick Simper in the band, they would soon secretly begin rehearsing and recording with their replacements, Ian Gillan and Roger Glover!
This excellent CD remaster comes with an extensive booklet and five bonus tracks. Some of these bonus tracks were completely previously unreleased. These are live BBC performances and non-album singles. Notably included are two cool, catchy and rare singles A-sides: “Emmaretta” and “The Bird Has Flown” (an earlier version of “Bird Has Flown”). Some of the BBC performances have since been released on compilation albums, but these are rare performances indeed. In a short while, the band would write In Rock and drop most of the old songs from their set.
The only flaw with this CD, (and I’m talking the only flaw), is the cover. That awesome painting by Hieronymus Bosch is one of the coolest, creepiest, most interesting paintings I know. The original LP was a gatefold and you could fold the whole thing out and stare at it for years. The cover on this CD is so tiny, and doesn’t show the back part of the LP. That’s a real shame. For such a great cover, for it to be chopped and rendered down to about 2″ per side…it doesn’t make any sense. What a blown opportunity. The CD should have come with a small fold out poster, at least.
5/5 stars…but pick up an original LP if you can. I have a purple vinyl reissue, but it lacks the gatefold, and you really lose something without the gatefold.
CRISS – Criss Special Limited Edition (1993 EP, TNT Records)
At long last, Peter Criss was releasing new music, for the first time since 1982’s Let Me Rock You, over a decade prior. Tellingly, it was a mail-order only release, on a small California label called Tony Nicole Tony Records. It ran me over $40 Canadian (with shipping) to order it. It was a limited edition, all copies to be numbered and signed by the Cat himself.
An angry letter and six months later, I finally received my Criss EP to find that the hyped signature was just printed on. Yes, it was numbered (mine is #2408), but for $40…come on.
I overlooked the sad artwork of Peter’s face, half painted in his old cat makeup, and hair bleached blonde. I cracked the seal, put the disc in and hit play.
I was struck immediately by the poor production. The drums sound awful. For a solo EP by a drummer, I was hoping for better sounding drums than this. Peter’s singing was OK, but the lyrics? He does this section near the end of the the first song, “The Cat”, that was just…stinky.
Listen to this one now. Gene and Paul went up the hill to fetch a pail of water, Gene fell down and broke his crown, And Paul came tumbling over.
And then his does this weird high pitched shriek that is so embarrassingly terrible, that I couldn’t believe it made it only to the album. Well, it could only get better from there.
Nope.
The same awful sounding drums, rapping, and another awful lyric:
Planes, trains and limozines, So what? What does it mean? We’re burning down like Mercury, God bless the Killer Queen.
This time the singer isn’t Peter, but a fellow with a mohawk called Mike Stone. This same Mike Stone would later end up in a band called Queensryche. And if anything was worse than Peter’s shrieking on track one, it’s Mike Stone’s singing on track two. And the song sucks, too.
“Good Times”, an electric ballad with a soulful vocal from Peter, is pretty good. It has the vibe of something that would have fit onto Peter’s 1978 solo album, without the schlock. OK, one good song. At least there’s one.
But then Mike Stone rears his ugly mohawk again, on a song called “What You’re Doing”. No, not the Rush tune. It’s not a bad song, but Stone’s truly awful singing renders it unlistenable. Finally, Peter saves this drowning EP with an acoustic remake of “Beth”. It must be remembered that up to this point, an acoustic version of “Beth” had never been released. It was presented that way in the Kiss Meets the Phantom of the Park movie, but until this EP, you couldn’t buy it like that. So this is cool, and slightly different from the version that later ended up on the Cat #1 album.
I have no doubt this is very rare today, and I’ve never seen another copy. If you can find it, great. But you may not need to listen to it.
Part 2 of my 2-part review of the Quiet Riot Twin Pack set. Twin Pack bundled the band’s final two releases: a retro live album, and the final studio album, Rehab.
QUIET RIOT – Rehab (2006 Demolition)
I love Quiet Riot, even more than I have reason to. Metal Health was the first “metal” album I ever bought, on cassette, and I’ve re-bought it three more times since. I just love that album, and I admit it’s probably 60% music and 40% nostalgia. Since it came out, I’ve managed to collect a lot of Quiet Riot. Prize possessions are my CD copies of Quiet Riot I and II. This Twin Pack set was important to me because the version of Rehab contained herein has the European bonus track, “Wired To the Moon”.
It turns out, however, that Rehab kinda sucks. It has its supporters who enjoyed the heavier, bluesier sound. Rehab unfortunately repeats the problem that Quiet Riot have had for many years: they don’t write very many good songs! Kevin DuBrow and Frankie Banali were reduced to a duo after the departures of Rudy Sarzo (who went on to Dio and is now in Tateryche) and Carlos Cavazo (now in Ratt). Rehab had the right ingredients in place, with the awesome Tony Franklin on bass and Glenn Hughes providing backup vocals, but it was not to be. I give them an A for effort, as I am usually in favour of heavying up the sound and adding blues elements. They get a D for execution.
The concept was to leave behind the glam rock, but the songwriting is so underpar. Choruses and verses don’t mesh, melodies don’t stick in the head, and riffs don’t hit you where it hurts. The best song, “South of Heaven”, is a really good Zep-ish tune though. “Strange Ways” features an incredible solo by Neil Citron, like a cross between jazz fusion and Eddie Van Halen. Jazz Halen? On the other hand, “Old Habits Die Hard” is one of the more colossal failures. Aping Joe Cocker’s “With A Little Help From My Friends”, DuBrow sinks this one all by himself with his overwrought lead vocal.
There are some good moments. Pretty much all the guitar solos and instrumental sections are incredible. The drums are good. A song called “Beggars and Thieves” is one of the better songs, because it is anthemic and memorable like old Quiet Riot. Unfortunately, that cannot be said of most of this material. Glenn Hughes classes up the place by several notches when he shows up at the end, but this also highlights Kevin DuBrow’s limitations.
1983 hairline
2005 hairline
I dislike the cover art and packaging. DuBrow’s wig, oh my God. Seriously? The old Quiet Riot logo is also gone, and the masked mascot dude is barely visible. The album was self-produced by Kevin and Frankie, but they really should have spent some money on a producer with a decent set of ears. These songs would not have passed muster with any serious producer. The title of Quiet Riot’s final album is now a sad irony, considering DuBrow’s overdose at age 52.
RECORD STORE TALES Part 195: REZ – Between Heaven ‘N Hell
March, 1986.
“I got some cool new bands,” said Bob one day after school. He had been working at the nearby Harvey’s restaurant and had been exposed to some unfamiliar music from his co-workers.
“Have you ever heard of Christian rock?” he asked me.
“Yeah,” I answered. “Stryper are Christian rock. I like Stryper.”
“Well,” Bob explained, “I taped all the best songs by two awesome bands: REZ and Darrell Mansfield. REZ is short for Resurrection Band. Darrell has this awesome song called ‘Thunder and Lightning’. You have to hear it! It is so cool.” Bob then sang the chorus to me. Sounded good.
The songs he, and soon I, were enthralled with were as follows:
Darrell Mansfield: “Thunder and Lightning”, “After the Storm”.
REZ: “Zuid Afrikan”, “2,000”, and “Shadows”.
Bob taped them from a guy at Harvey’s, and then I taped them from him. I had a third generation tape, which I played over and over. We played the hell out of those three REZ songs. They were absolutely incredible songs, and the lyrics were cool too. They didn’t come across as “overtly” Christian, but all had positive messages. Bob particularly loved “Shadows”, and a brilliant song it was. He loved the lyrics, as Bob and I were both very anti-drug:
In the words of his mama, ‘He was my only son.’ In the words of his sister, ‘He was on the run.’ In the words of his girl, ‘How could it end this way?’ In the words of his daddy, ‘Well he never had much to say.’
The lyrics mentioned “angel dust and tortured dreams”, and we knew what had happened to the subject character of the song. It focuses on the friends and family left to carry on. But before too long, an uplifting chorus:
Lord You, You took the shadows, All my fears and doubts, and brought me out of the night, Lord You, You take the shadows, Give me hope and love, turn my darkness to light.
For a little while, we had a new favourite song.
We didn’t know the name of the singer (Glenn Kaiser), but his gravelly voice was a cross between Bob Seger and Rod Stewart. He was our new vocal hero that spring. Now, if only we could hear more by REZ…
March, 1998.
By this time, my old cassette tape with the REZ songs was unlistenable. Because of this I hadn’t heard anything by the band in many years. I had been working at the store for four years, but never saw any listing for this band. But T-Rev had a tendency to check out-of-the-way places for CDs. Downtown Kitchener one Sunday afternoon, we were checking out a new local pawn shop. In their $1.99 CD bin, I found an interesting title: I believe it wascalled Inspirational Rock. It struck my eye immediately because one of the included tracks was “Shadows”, by REZ. It was an automatic purchase.
I closed the door and hit play. A single haunting, acoustic guitar played a dark melody.
You, you chase the shadows, Because your hopes and dreams have been lost in the night.
Once again, I had a new favourite song.
March, 2008.
I learned that Between Heaven ‘N Hell, by REZ, was finally issued on CD, 23 years after its initial release! Amazon.com had it for a reasonable price, and of course I had to have it. For the first time in almost two decades, I had the chance to hear “2,000” and the anti-apartheid track “Zuid Afrikan” once again. And they were just as good as the first time I heard them. I found other standout tracks as well, such as the scorching “I Think You Know”.
I was surprised to find that the band had a second lead vocalist, Wendy Kaiser. In fact she’s on the front cover! Her songs tend to be more new wave oriented, but she does rock out on some, like “Save Me From Myself” and “Nervous World”. Unfortunately, her voice is not to my taste, so I tend to gravitate solely to the Glenn Kaiser songs.
The final song on the album is “2,000”, one that Bob and I used to rock out to all those years ago, in the parking lot of Stanley Park Sr. Public School on Hickson Ave. in Kitchener We’d pop like 14 D-cells or something like that into a ghetto blaster, grab a basketball, and shoot some hoops while listening to “2,000”. We loved the futuristic, echo-y vocal. This was an anti-nuclear weapons song, much like Ozzy was doing around the same time on his Ultimate Sin album.
Shame this one wasn’t a scorcher all the way through. Still, it has enough positive rock power, gritty but powerful choruses, and memorable songs to earn a passing grade.
Part 1 of my 2-part review of the Quiet Riot Twin Pack set. Twin Pack bundled the band’s final two releases before DuBrow’s untimely death: a retro live album, and the final studio album, Rehab.
QUIET RIOT – Live & Rare (2005 Demolition)
I will tell you right off the bat, the only reason to own Live & Rare by Quiet Riot is if you are like me (obsessive collector), and must own everything. That’s it. There are no other reasons. This is a terrible, terrible CD. Awful. It is so cheaply and carelessly put together that it truly is the definition of “cash grab”.
The original pressing of this CD had a major flaw, a 2 second gap between the songs. This amateur mistake caused the audience noise to cut out and then start again in a way that was just jarring and unpleasant. They partially fixed the problem on my second printing…but only partially. The 2 second gap is gone, but it is replaced by a quick split-second pause — think about the way a live album sounds when you play it on an mp3 player. It’s not nearly as bad as the 2 second gaps, and it makes the album so much more listenable. At the end, the live portion doesn’t even finish with a fade-out. Just an amateur abrupt silence. Lastly, the three demo tracks at the end aren’t even listed in the correct order on the CD sleeve. I have a hard time imagining how these flaws made it past quality control — twice!!
I can remove the gaps using Audacity, and re-burn the thing using Nero, but really what’s the point? If the album was decent, it might be worth the effort. Unfortunately, Live & Rare is pretty poor. You wouldn’t expect this to be the case upon reading the track list. Live performances from the 1983 Metal Health and 1984 Condition Critical tours, the golden years with the classic lineup. Throw on three bonus tracks from the 1981 DuBrow demo and it should be a pretty satisfying listen, gaps or no gaps.
Musically the songs are fine, but the recordings are terrible! Basically this sounds like a bootleg, and I have heard far better bootlegs. I’ve heard audience bootlegs that were better quality than Live & Rare. It’s nice that there are some rarely played tracks on here (“Gonna Have a Riot” and “Danger Zone”) plus a drum solo, but otherwise the CD is close to unlistenable. What’s the point of a drum solo if it sounds this terrible? The only, and I mean only, saving grace on this CD are the three unreleased DuBrow demos. They date from a time when Quiet Riot was actually broken up, and Kevin was recording under the name DuBrow. Banali was a part of the DuBrow lineup. They were eventually renamed Quiet Riot and they recorded Metal Health and made metal history. These demo tracks are historically significant to fans, and it’s nice to finally have them.
Buyer beware. I was not at all impressed with this CD, and I think Quiet Riot should have been embarrassed to release it. The liner notes state that it was “produced and mixed by Neil Citron and Frankie Banali”. I wonder exactly what they did to produce and mix it. I speculate that they adjusted some levels on a home PC and burned a copy to CD…without removing the 2 second gaps! Not very pro at all.
EUROPE – The Final Countdown (1986, 2001 Epic remaster)
I remember back in 1986/1987, all the rock magazines were playing on the same angle: Who’s better, Europe or Bon Jovi? Hard to believe that the two bands were once considered on the same playing field, now that Bon Jovi are permanent megastars. Not to mention their music sounds nothing alike!
Everybody knows “The Final Countdown” which received a new life thanks to TV shows shows like Arrested Development. (Gob Bluth uses it as his theme song during his ill-fated magic acts.) What you may not know is that this album had three other classic singles (“Rock the Night”, “Carrie”, “Cherokee”) and 6 great album tracks with no duds. As an added bonus, this remaster also includes three live tracks from 1987’s Final Countdown World Tour. These may in fact be the same tracks as the Extended Versions release, but I don’t have that one to verify.
The synth-y title track kicks off the proceedings, its regal anthemic melody setting the mood. A science fiction themed song, the people of Earth have departed for Venus (let’s ignore that Venus is 460 °C). The lyrics…not super great on this album, but let’s not forget that English was their second language and they were still kids at the time. Regardless, “The Final Countdown” is a complete success as a song, from insanely catchy verses to chorus to intricate guitar solo courtesy of John Norum.
“Rock The Night” follows, another catchy song, this time with the guitar handling the meat of the tune. Then, the hit ballad “Carrie”. It’s a bit soft by today’s standards but is still a well written keyboard ballad with a great melody. This is followed by another great rock song, “Danger on the Track”. Vocalist Joey Tempest tells us of a journey followed by “strangers on my back”. (See, because “back” rhymes with “track”.) Again, not a great lyric, but it is a great song. Side One of the original LP was finished with the fantastic “Ninja”, which in my own personal world was a single in its own right. The lyrics: “If I were a noble ancient knight, I’d stand by your side to rule and fight.” OK then.
Apparently the phantom zone wasn’t just for General Zod.
Side Two kicked off with a riff and a smile, and probably the best tune: “Cherokee”. The lyrics here are not bad, a tale of the demise of the American Indian. However it is the riff that holds the song down, a typical Norum burner of great integrity. Still can’t tell what that voice says at the beginning of the song, though! The next track is “Time Has Come”, a mid-tempo soft one that I considered filler back then but like quite a lot now. “Heart Of Stone” has a bit more meat to it. This is followed by the fastest and heaviest song on the album, “On The Loose”, which has some of Norum’s best playing. In fact it was this song that brought Norum to my attention as a monster shredder in the first place. After hearing this song, I continued to watch his career with great interest, from solo albums to Don Dokken back to Europe. The album closed with another mid-tempo soft song, “Love Chaser”, which has a keyboard melody reminiscent of “The Final Countdown” itself, bringing us full circle. It is another great tune with killer melody and vocals from Joey Tempest.
The three bonus tracks are live takes of “The Final Countdown,” “Danger on the Track” and “Carrie”. Clearly, Europe could always cut it live. These are from the Hammersmith Odeon in 1987, and feature Norum’s replacement Kee Marcello on guitar. Marcello is no slouch, and had a different style to Norum’s, therefore adding another element to the songs.
The Final Countdown is the kind of album that I think should be owned, rather than just pick up a hits disc. You won’t go wrong with any of these ten tracks. The live stuff is just an added bonus.
My understanding is that this EP, much like Twisted Sister’s Under the Blade, was remixed and re-released. It is the remixed version that I got in Mississauga at the Toronto Musical Collectibles Record Show. I’ve wanted this EP for a long time, but for some reason it’s only now that I finally picked it up. I was pleased to find it an enjoyable listen, easily on a par with Out of the Cellar, possibly Ratt’s best album.
Europe got 7 tracks on their version of the original mix (wishlist!), but this remixed version only has six. Missing is “You’re In Trouble” which in re-recorded version was also on Out of the Cellar. 6 songs is a good length, too much Ratt can sound like razorblades coming at your ears, some times! This self-titled debut keeps things brief, each of its songs more or less delivering the goods.
The opener “Sweet Cheater” and “U Got It” are the faster side of Ratt. I love Bobby “Da Blotz” Blotzer’s simple but gleeful drum intro. (Can’t believe this guy was in Tateryche.) Both songs have decent riffs, once again keeping things simple. Pearcy’s trademark vocal snark is in fine form. Ratt are not a great rock n’ roll band, but they certainly satisfy my cravings when I need some spandex-wrapped non-wimpy LA hard rock. No ballads. They had their own sound, largely due to Pearcy’s one-of-a-kind voice.
The closest thing to a ballad would be “Back For More”, which is to say, it has some acoustic guitars before Pearcy yelps, “You turn him away, you tell him you’re mine, You make him believe you’re but one of a kind.” Meaningless but cocky. Which maybe sums up the whole Ratt experience. This is an early version of the hit song from Out of the Cellar, a bit longer, needing some of the fat trimmed.
“Walkin’ the Dog” is a Rufus Thomas cover via Aerosmith. Aerosmith were in no danger of being dethroned by Ratt’s version, but it’s fun. It suits their sound, it’s heavy, they throw their own attitude into it, and I’m sure there were youngsters of the 1980’s who assumed it was their own original tune. The guitar solo is great.
The best song is the single “You Think You’re Tough”. If Ratt has two sides (fast, and mid-tempo) then this is the mid-tempo side. The riff is one of their best, the chorus and bridges are great, and the video had both Ozzy and Motley Crue in it. Cool.
That’s Tawny Kitaen on the cover. Pre-Coverdale. She was dating Robbin Crosby at the time!
A while ago I talked about the rarities/remix compilation album, The Randy Rhoads Years. I recommended that album, but I am also lucky enough to own CD copies of the first two Quiet Riot albums. Over 13 months ago (!) I promised you that we would take a closer look at Quiet Riot I and Quiet Riot II. That day has come! LeBrain never breaks a promise to his readers.
In a 1993 Guitar for the Practicing Musician interview, Kevin DuBrow complained that producers Derek Lawrence and Warren Entner “didn’t know from guitars”. Quiet Riot I is ample evidence for that. Randy’s guitar is but a shadow of what it would later become under the wing of Ozzy Osbourne. Where later on, Randy would fill songs out with catchy, intricate licks, on QRI he tends to stick to riff-solo-riff song structures.
And this is one awful sounding album. The vocals of Kevin DuBrow are shaky, and the recording is muddy. There are very few standouts among its 12 tracks. Even the Small Faces cover “Tin Soldier” is rendered lackluster. You can hear Randy doing some neat tricks on the guitar, but it’s buried in the mix.
Lyrically, “Mama’s Little Angels” is beyond awful:
“As soon as mommy’s at work, Out come the paint cans, We start to spray it on the wall. That’s getting boring, Go get the bats! Gonna have us some indoor ball! …Well Randy’s up to bat, gonna hit me a home run! Sorry ’bout that, outside! Ball one!”
Whooboy.
“Look In Any Window” is better on the Randy Rhoads Years CD. Here, DuBrow is singing a completely different, annoying vocal melody. Shame, because this is QR’s slant on Alice Cooper, very much up the alley of “I’m Eighteen”. I’ll stick with the remixed/re-recorded version, thanks.
The best song on Quiet Riot I is easily the Dave Clark Five classic, “Glad All Over”. I remember growing up, Bob had a Randy Rhoads guitar book. It was loaded with transcriptions of his Ozzy classics, as well as “Glad All Over”. We had never heard of “Glad All Over”. To this day I don’t know why that seldom-heard song was included in a Randy Rhoads guitar book! Kevin’s vocalizing here is hilariously screamy. I love it. Randy’s solo is Nuge-tastic, with a little intricate lick at the end. Great stuff.
So that’s QRI. Quiet Riot II is marginally better in the songwriting department. The band wisely included only nine tracks on the second album. A few of these are standouts: “Slick Black Cadillac” would be re-recorded effectively by another lineup on the Metal Health album. To hear that song played by Randy Rhoads, the guy who co-wrote it, is cool. His take on the guitar is different from Carlos Cavaso’s, although Carlos obviously did copy some parts. If only it were better recorded, this version could easily supplant the hit Metal Health version.
Another familiar song is “Afterglow (Of Your Love)”, also originally by Small Faces. This song was rendered in an acoustic form on The Randy Rhoads Years. On QRII, it is full-on electric. I prefer the electric version, I just wish it sounded better. There are other decent songs on QRII, such as the melodic “Eye For An Eye”, “Trouble”, and “We’ve Got the Magic”. By the second album, Quiet Riot had gotten better at writing melodies. They had work to do on stitching catchy melodies together into complete songs. Most songs on Quiet Riot II have some really good parts, but are not necessarily great all the way through. The dead production does not help the situation.
Even though Rudy Sarzo (Tateryche) is pictured on the sleeve and credited, he did not play bass on Quiet Riot II. Kelly Garni played bass, as he did on the first LP. To this day, I don’t know if the CD copies I have are promos or bootlegs. While I don’t know of any promotional CD test pressings, these are definitely high quality for bootlegs. They even have the hilarious mis-transcribed lyric sheets that usually accompany real Japanese CDs. So, I really don’t know!
mikeladano.com 