The one VHS tape I’m working on currently spans a period of recordings from about July 1986 to September 1987. This Hear N’ Aid special features a MuchMusic interview conducted by J.D. (John) Roberts. There’s lots of exclusive information in this valuable video, including a tidbit on bands who refused to be in the same project as Spinal Tap!
This was a long awaited release, since the US Festival was way back in 1983! The Holy Grail would be an official Van Halen release of their legendary performance, but I digress. There aren’t a lot of really great live Quiet Riot albums out there, with one called Extended Versions being the best package. Live at the US Festival is brief at just seven songs (plus a 4:38 guitar solo that also includes a sneak preview of a song called “Scream and Shout”). It does capture Quiet Riot at their peak, at a critical gig, and includes a DVD of the whole thing for the complete package. (Come on, Van Halen…)
Let’s have a look at the DVD first. The crowd is vast, the costumes ridiculous, but there’s some kind of fire in the air. The atmosphere is electric and the band are absolutely great visually, particularly Rudy Sarzo. DuBrow is the consummate glam frontman, and an underrated one at that. Have a giggle at the old style giant screens displaying the band logo.
The CD itself sounds good, no complaints there, and the recording sounds untampered (evidenced by a messy Carlos Cavazo guitar solo in “Cum On Feel the Noize”). Sarzo’s bass is mixed nice and audibly. It would have been better if more of a booklet was included, but it’s just a simple fold-out with no liner notes. This set is sparse and just over 40 minutes long. A lot of that time is taken up by talking. You get the big hits though, and the non-album track “Danger Zone”.
Live at the US Festival is a pretty easy Quiet Riot purchase to justify because of the included DVD.
Quiet Riot took the unusual step of firing their only original member, lead singer Kevin DuBrow, in 1987. They soldiered on with new singer Paul Shortino and did a brief tour of Japan before calling it a day for the band. Meanwhile, Kevin DuBrow was supposed to working on a new band called Little Women.
In 1991, various media were reporting that Kevin DuBrow and Carlos Cavazo had gotten back together in 1991 as a new band called Heat. It was a quiet reunion for the singer and guitarist who had been estranged since DuBrow’s firing in 1987. Within two years of forming Heat, the band had morphed into a new version of Quiet Riot, now featuring former drummer Frankie Banali and newcomer Kenny Hillary (RIP).
Terrified features 3/4 of the classic Metal Health lineup with only Rudy Sarzo being absent. (He’d join again later on Alive and Well). Like a mighty ship changing course in heavy waters, Terrified is a monstrous Quiet Riot CD, anchored by Cavazo’s newly heavy guitar playing and Banali’s inimitable thunder. The drum production on this album could be the best on any Quiet Riot disc, and up there with Banali’s sound with bands such as W.A.S.P.
Lots of winners on the Terrified: “Cold Day In Hell” boasts an angry 90s groove, but with the melodic sensibilities of Metal Health-era QR. “Loaded Gun” almost sounds like a Metal Health outtake, because it has a throwback vibe. Their cover of “Itchycoo Park” is the only acoustic song, a much needed respite before re-entering the fray on the storming title track. Only a few filler tracks (in a row) almost derail the album, but soon we’re back on track with “Rude, Crude Mood”. It may be one of the worst lyrics that DuBrow’s ever written but the music sure rocks. “Little Angel” is fast but forgettable, and before long you’re into “Resurrection”, a six-minute instrumental tour-de-force. Banali and Cavazo take the helm on it with a shuddering riff, and they don’t let go until it’s fade out. An awesome track.
Quiet Riot’s career can be divided up into a number of phases. In the 1970s, there was the Randy Rhoads era represented by two decent Japanese albums. This was followed by the the so-called “classic era” of major label releases (Metal Health to QR) from 1983-1988. Then there is the reunion era which runs from Terrified to Rehab (2006) and finally Kevin Dubrow’s death in 2007. As a coda, Frankie Banali resurrected the name with a variety of lead singers and continues to tour and record. Their last album was 2014’s 10 featuring lead singer Jizzy Pearl. Terrified would stand as the best album of the reunion era, which they sadly struggled to equal on later releases like Down to the Bone.
Worth the investment.
I’ve reviewed almost every single Quiet Riot album now. Only Guilty Pleasures awaits of the studio albums I have left to cover. Why did I leave 1984’s Condition Critical for so long? As the follow-up to Metal Health, you’d think I would have tackled it already. But I didn’t even have the album ripped to my computer.
As a half-arsed Metal Health clone, I’ve never felt like Condition Critical deserved a lot of time spent on it. I received it in 1985, and it has never been an album I have particularly cared for. I still think today that most of the songs are not very good. At that, almost every song is an inferior clone of a prior one on Metal Health:
- “Sign of the Times” = “Metal Health (Bang Your Head)”
- “Mama Weer all Crazee Now” (Slade cover) = “Cum On Feel the Noize” (Slade cover)
- “Winners Take All” = “Thunderbird”
And so on and so forth. Spencer Proffer returned to produce, so even sonically Conditional Critical is all but a clone of the previous record. I’m sure the guys thought they were repeating the magic to take them back to the top of the charts. How wrong they were! Most of the new songs were written solely by Kevin DuBrow, and it feels rushed.
Condition Critical still retains some of the fun of Metal Health. Although not as good, the dumb-titled “Stomp Your Hands, Clap Your Feet” is plenty fun just like Quiet Riot classics. “Party all Night” is also a hoot, and you have to admit that the guys did make a pretty hilarious music video for it. Quiet Riot broke with the help of MTV, and they at least retained their knack for making an amusing music video.
On side two of the album there was hidden a serious heavy tune, the title track “Condition Critical”. This slow grinder is one of those great lost tracks that you can only get on the album. Banali breaks the levee with some solid drums. Songs like this make tracking down the record worthwhile for those willing to give it a shot.
On the other hand, I had a friend who said “Winners Take All” is probably the worst Quiet Riot song of all time.
Proceed with caution.
You lucky, lucky readers! Guess what? It’s….
THE BEST FUCKING COLLABORATION WEEK EVER!
All week, Aaron over at the KeepsMeAlive and I will be colluding. Monday to Friday, we will be talking about the same CDs. He hasn’t read my reviews, and I haven’t read his. Today, we’re both discussing Quiet Riot‘s landmark Metal Health. Be sure to check both reviews each day this week!
Aaron’s installment: QUIET RIOT – Metal Health
QUIET RIOT – Metal Health (1983, 2001 Sony remastered edition)
While my first rock album ever was Kilroy Was Here, by Styx, my first metal album ever was this one: Metal Health, by Quiet Riot. Although I was really into Styx, Quiet Riot were the first band that I “loved”. Some music that people liked when they were in grade school embarrasses them today that they ever owned it. Not me, not this album. Since buying it in ’84, I’ve owned this album on cassette, LP and twice on CD. And I’ll probably buy it again; I understand there is a more recent reissue out with more bonus tracks. Metal Health was the crucial cornerstone in my musical development, and always will be one of my all-time favourites. Read on!
The opening drum crash to “Metal Health”, sometimes also referred to as “Bang Your Head (Metal Health)”, instantly transports me back in time. Chuck Wright played bass on this one, extra slinky and funky (although Rudy Sarzo plays on most of the album). Suddenly I’m in the basement at my parents’ house, listening to this cassette on my old Sanyo ghetto blaster. I still recall, the cassette shell was white. I played the crap out of it, annoying everyone.
“I got a mouth like an alligator” sings lead howler Kevin DuBrow, and how accurate he was. I had no idea that Kevin’s mouth would cause the band to oust him only a few years down the road. I liked the attitude of the lyrics, and the aggression of the guitars. Impossible to ignore was new drummer Frankie Banali, who to this day is an absolute ballcrusher of a hard rock drummer. His metronomic groove on Metal Health gave it the drive. I wouldn’t have been able to break it down and articulate it like that when I was a kid, but these are the factors that attracted me to the song.
“Cum On Feel The Noize”, the Slade cover, is now more famous than the Slade original or Oasis’ version for that matter. It’s a great tune, but Quiet Riot and producer Spencer Proffer nailed the sound and the vibe. The gang vocals are irresistible. The cover was a huge hit, but it painted them into a corner.
Much like my first rock purchase Kilroy Was Here, there were songs I liked and songs I hated. I don’t think I was the only 12 year old kid who didn’t have the patience for ballads. Girls? Who cares! So I also hated “Don’t Wanna Let You Go”. I wasn’t obsessive about listening to whole albums back then, since I was brought up in the LP age where we just dropped the needle. So I often fast-forwarded through “Don’t Wanna Let You Go”. Or we would play side one of the cassette, rewind, and play it again. (“Don’t Wanna Let You Go” was on side two of the cassette version). Shortly after I suddenly noticed girls were EVERYWHERE, the song started to click with me. Its sparse arrangement driven by Frankie’s drums make it a really special song. Carlos Cavazo’s guitar solo had melody and composition to it, and drew my attention to the fact that a guitar solo wasn’t just a 30 second bore, but a micro-structure within the song, like a song all its own.
“Slick Black Cadillac” is a remake of a song from the second Quiet Riot album (cleverly titled Quiet Riot II) although we didn’t know that at the time. “Slick Black Cadillac” is simply a classic today, and even though there isn’t a Randy Rhoads writing credit on it, you can hear the echo of his influence in Carlos’ guitar fills. The lyrics to this song are so catchy, and soon you too will be singin’ about those solid gold hubcaps. I was attracted to songs that told a story, and the rudimentary story here is a guy in a Caddy runnin’ from the “coppers on his trail”. There’s no Dylanesque poetry, and DuBrow was never a crooner. This is about loud guitars and drums, a singer who is screaming his face off, and songs about cars and rocking!
You know I got a fully equipped rock ‘n’ roll machine,
At speeds that take me high, high, high,
At dead man’s curve,
I only hear one word, drive, drive, drive!
Love’s A Bitch” is less successful but it has a mournful quality that isn’t bad. “Breathless” is better, a fast rocker featuring Frankie’s breakneck but steady pounding of the skins. Following at the same pace, “Run for Cover” is just as furious, but lacking in melody. Carlos Cavazo’s guitar showcase “Battle Axe” used to precede “Slick Black Cadillac” on my cassette version, which it was perfectly suited for. On the original LP and the CD, it opens “Let’s Get Crazy”. Because the running order of the cassette is permanently branded into my memory, it’s hard to get used to. “Let’s Get Crazy” is goofy, seemingly an attempt to have another song like “Metal Health” on the same album. As such it’s filler.
Finally there is “Thunderbird”, the piano-based ballad that Kevin wrote for the late Randy Rhoads. Didn’t like it then, love it today.* It’s a beautiful song and maybe the best thing DuBrow’s ever written. It’s cheesy as hell, but who cares? The heart is there.
CD bonus tracks include a fun live take of “Slick Black Cadillac” (complete with DuBrow’s “vrroooom, vrrrrroooom!”) taken from a radio promo release. Also present is “Danger Zone”, an outtake that is not quite up to the album standards, but certainly close. Remastering is loud and clear, and liner notes are informative enough.
Enjoy. Doesn’t matter if it’s 1984 or 2015, this is a great album.
* When we were kids, my sister and I used to play ‘air bands’ to this album. I’d always make her sing “Thunderbird” while I would get the ‘better’ songs!
I guess two out of three ain’t bad.
I’ve made no secret of my dislike for the happenings in Quiet Riot recently. I find their current reunion, with no original members, to be tenuous at best. Singer after singer, Quiet Riot stumbled onwards before finally hiring Jizzy Pearl of Love/Hate and Ratt fame. With Pearl they’ve managed to record an album. 10 is the name of that album, another thing I find a little disrespectful. The name 10 seems to me to imply it’s their 10th album. It’s not; all fans know Metal Health was their third, not first, album. This seems to play into an earlier attempt to re-write the Quiet Riot related Wikipedia pages to state that Metal Health was the band’s first record. Why? I can only speculate that this is done to promote the current Quiet Riot as having “original members”, when in fact they have none.
However, I’m going to listen with open ears, because that’s what I’m here to do.
First track, “Rock in Peace” is one I like quite a lot. What I don’t like is the muddy, muddy sound. The drums sound like they’re in another room. It’s too bad because I think the song has potential. As for Jizzy, it’s easy to adjust to him as lead singer of Quiet Riot. Although he doesn’t sound like the late Kevin DuBrow too much, he does have certain screamy qualities in common with DuBrow. This enables him to adapt to the Quiet Riot sound. The lyrics quote the band’s biggest original hit, “Metal Health”, which is alright. Halford’s quoted himself before too. OK, so production aside, not bad.
“Bang For Your Buck” has some tasty guitar by the talented Alex Grossi, making his first Quiet Riot album appearance here. Unfortunately the otherwise fine song is held back by Jizzy, overreaching and straining. Grossi really does redeem the song especially with the solo…but damn this album sounds muddy. Congested. Like I have a head cold while listening to it.
Third in line is the weird titled “Backside of Water”. I don’t know what that title means, and since this is a digital release, there are no lyrics. It smokes along nicely, with more fantastic Grossi guitars, but it’s an unremarkable song that doesn’t sound like Quiet Riot, except in the sense that Quiet Riot has a lot of unremarkable songs. The Ratt-like “Back on You” is outtake quality. I’m sensing that the guys think they can just throw a shout-AC/DC-style chorus on something and call it catchy, but it doesn’t work that way.
“Band Down” is what you’d call a “down n’ dirty” rocker. I’d call it dull, and poor sounding. I think they’re trying to recapture that “Stay With Me Tonight” vibe, but without a memorable chorus. But “Dog Bone Alley” is worse, absolutely sunk by horrendous backing vocals. It has a slinky, heavy groove, and some smokin’ guitars, but that’s not enough to build a song with.
Quiet Riot’s biggest stumbling block has always been songwriting. That’s why some of their biggest hits are covers. Quiet Riot 10 continues that frustrating tradition. Just like albums such as Alive and Well had some good songs and solid moments, so is Quiet Riot 10. And that’s only six songs!
What Quiet Riot did to make a full album is include four live songs, kinda taking a page out of the ZZ Top book, a-la Fandango! These tracks are all obscurities, songs not available in live versions before. They all feature Kevin DuBrow, but could Frankie have not found better sounding recordings? From Quiet Riot III is a horrid sounding version of “Put Up or Shut Up”. This is bootleg quality, and not even good bootleg quality. Too bad; sounds like it was a good version. Then, from the stinky Rehab CD comes an unnecessary “Free”. So it’s heavy, whoop-de-do. It’s a shitty song, and the vocals are so damn distorted at times that it sounds as if Kevin’s under water. “South of Heaven” too suffers from these sonic defects. It seems like they were going for a Zeppelin “Nobody’s Fault But Mine” kind of vibe, but as if the mothership crashed into “The Ocean”. (See what I did there?) Kevin even yelps, “Push, push!” It’s a shame because Frankie really is a smokin’ drummer.
The final track is a nine minute rock n’ roll medley. This is a great jam. Humble Pie’s “Red Light Mama, Red Hot!” is a great little obscure choice. Kevin sounds like he’s having a blast. Actually the whole band sound like they’re having more fun here than they were playing their own originals. This seques into other more familiar hits, still harkening back to that old British blues rock sound.
Live many albums of Quiet Riots past, 10 stumbles and fails at times, while producing pleasing hard rock surprises at others. The sonic issues are a surprise to me. I hope a physical CD release, if there is to be one, would improve the sound.
1. “Rock in Peace” 4:00
2. “Bang For Your Buck” 3:52
3. “Backside of Water” 4:18
4. “Back on You” 3:24
5. “Band Down” 3:17
6. “Dogbone Alley” 4:29
7. “Put Up or Shut Up” 4:18
8. “Free” 4:05
9. “South of Heaven” 5:25
10. “Rock ‘n’ Roll Medley” 9:22
QUIET RIOT – Extended Versions (2007 Sony BMG)
There are several Quiet Riot live albums available: this one, Setlist, Live at the US Festival, and Live & Rare. All are vintage recordings from the early 1980’s. Of the three, you might look at Extended Versions and pass on it. It looks cheap and unofficial. To overlook this CD would be a mistake, and this is why.
Sure, it lacks any sort of booklet or liner notes. All I know is that the first eight tracks are from Pasadena in 1983, and the last two from Nashville the same year. From the outside you wouldn’t know that. The only information is the ominous “Recorded Live” which tells you very little indeed. Being 1983, this is the “classic” lineup of Kevin DuBrow, Frankie Banali, Rudy Sarzo, and Carlos Cavazo, on the Metal Health tour. Introducing “Love’s A Bitch,” DuBrow reveals that they only began their US tour a short while ago.
Perhaps because it’s early in the tour, or maybe because they’re home in California, Quiet Riot pulled out two rarities for the Pasadena show. These are “Gonna Have A Riot” and “Anytime You Want Me”, neither of which are on Quiet Riot I or II. Both are written solely by DuBrow, but “Gonna Have A Riot” is from the Randy Rhoads period. “Anytime You Want Me” is of more recent vintage, and it’s actually quite an excellent pop rocker. Also rare was the set opener, “Danger Zone”, unreleased until 2001 when the studio version was added to the Metal Health remastered CD.
In addition to the rarities, you get the hits: “Metal Health”, “Cum On Feel The Noize”, “Slick Black Cadillac”, “Love’s A Bitch”. There’s also a handful of well liked album cuts such as “Let’s Go Crazy” and the smoking “Breathless”. That song knocked me out as an 11 year old and it still does today. All performed by the band in their prime, before the downfall.
Live & Rare sounded awful, but this CD sounds pretty good. I’m not sure if it’s a radio broadcast, but it’s perfectly listenable. It’s too bad there’s no packaging, because if this had been packaged with more effort and care, it could have been sold as an “official” live album quite easily. Bummer there’s no liner notes, all you’re going to get is the music. However, the music stands up for itself and it’s an enjoyable live album.
Bought at an HMV store in Guelph Ontario, spring 1996.
After the fairly impressive Terrified in 1993, I had my hopes up for Down to the Bone. I shouldn’t have. Even though this album represents the reunion of the seasoned QRIII lineup (Kevin DuBrow, Carlos Cavazo, Frankie Banali, Chuck Wright), this is one of the worst albums that Quiet Riot have ever released, and that’s saying something.
The songs on Down to the Bone fall into two categories: filler, and covers. The album is bogged down by boring production and mixing. Cavazo’s guitar tone is harsh, and makes the overly long album difficult to listen to in one sitting. The snare drum sound is obtrusive and not very good. Down to the Bone has a cold sounding mix, dry and irritating. This isn’t helped by the filler music contained herein. “Dig” for example contains a pathetic excuse for a chorus, making you wonder how anybody could have thought this was a good song. It’s a shame because Cavazo’s solo is melodic and cool, but it’s a great guitar solo is not enough to save the song. There are moments here and there, melodies and riffs that are memorable, but no actual songs that you’d say, “Yeah, that’s a good song.” Only the cover of The Kinks’ “All Day and All of the Night” made my Quiet Riot road tape.
Down to the Bone overstays its welcome at almost 70 yawn-inducing minutes. I have very rarely played this album. The last time I can distinctly remember listening to the whole thing — until now — was over a decade years ago. Go ahead and ask me how any of the songs (besides the cover) go. I won’t be able to tell you.
QUIET RIOT – QRIII (1986 CBS)
A short while ago, longtime LeBrain reader Deke and Jon from E-tainment Reviews brought up QRIII as a contender for Worst Quiet Riot of All Time. Digging into the discussion, I mentioned 1995’s Down to the Bone as another possible contender. Jon also mitigated QRIII by reminding us of the teriffic single “The Wild and the Young”; the only reason to own it. So the jury is technically still out….
QRIII certainly sucks. I knew that I could do one of two things for its review: Take a shit on the album cover and post a picture of that as the review, or lambaste it verbally and harshly. Unable to decide between the two approaches, I instead decided on a first for mikeladano.com: the very first Choose Your Own Review!(™) Choose A) The Short One, or B) The Long One!
REVIEW A: The Short One
REVIEW B: The Verbose One
QRIII (actually Quiet Riot’s fifth album) did nothing to revitalize their career. DuBrow was fired shortly after, leaving no original members. Quiet Riot soldiered on for one more album and tour anyway (with Paul Shortino on the creatively titled album but redeeming QR), before breaking up. In ’93 they finally reunited with Dubrow intact, on the decently heavy Terrified CD.
QRIII, released in 1986, was a sign of desperation closing in. Rudy Sarzo was out, and in was Chuck Wright. The band had flatlined commercially, so what did they do? They copied everybody else’s formula for success. That means they incorporated an overabundance of keyboards, buried the guitar way down in the mix, sampled everything, recorded sappy and faceless ballads, glossed it all up, and basically snuffed out any spark that this band once had. I felt that they also copied Kiss somewhat in image, with bouffant hairdos and sequined gowns that looked like hand-me-downs from Paul Stanley’s Asylum wardrobe. DuBrow’s new wig didn’t help things.
There is the one song that rises above the stinky, putrid toxic morass that is QRIII. “The Wild and the Young”, despite its reliance on samples, is actually a really strong hard rock rebellion. On this track, the studio techno-wizardry did its trick. The song is irresistible, and remains a personal favourite. The drums kill it, and the gang vocal chorus is catchy as hell. The song was accompanied by a creative video, so I was suckered into buying the tape. If I had only known there was just one good song, I wouldn’t have spent my hard earned allowance on QRIII. More to the point, if I had known just how bad the rest of the album actually was, I would have steered way clear. Everything is choked down in a mechanical slop of keys and samples. These songs are so nauseating, so tepid, so embarrassing, that I really can’t say it with enough vigor.
The lyrics: mostly pathetic nonsense. “The Pump”:
Well let’s pump pump pump pump,
Strike it rich what you’re dreamin’ of,
Let’s pump pump pump pump,
We’re gonna hunt for gold, Gonna dig for love.
Then, throw in a Plant-esque moan of “Push, push, push, oh! oh! oh!.” Serious.
Lastly there are the sadly misguided attempts at a “soulful” direction, which crash and burn gloriously. I’m sure in the studio, producer Spencer Proffer assured Quiet Riot that he was producing a hit album. This would get them on radio and MTV, he might have guaranteed. Meanwhile, the real situation was more like, “Let’s throw anything and everything to the wall and see what sticks, because this band’s asses are on the line this time.” But it was the band who wrote this slop with Proffer, so they bear equal responsibility for the calamity. I’m sure there were so many drugs in the air that “The Pump” actually seemed clever at the time.
QRIII will be remembered not as the album that knocked Quiet Riot down, (that honor goes to Condition Critical) but as the album that flat-out buried them. They would never be a serious commercial property again.
Do you enjoy the crash and burn of an astonishing train wreck? QRIII is for you.
QUIET RIOT – Alive and Well (1999 Deadline Music)
When Rudy Sarzo rejoined Quiet Riot, re-completing the classic Metal Health lineup, there wasn’t much fanfare. There also wasn’t much fanfare for this album which came and went without so much as a whisper. The reason is pretty simple. Like most of Quiet Riot’s post-1983 output, it’s not that great.
It’s better than I feared though. Some of these new songs are darnright good. “Against The Wall” is the best of the new songs, a rocker that would have fit on Condition Critical as one of the best tunes. It’s a peppy, upbeat motivational rocker. “Angry” is also not bad, being pretty heavy with a great vocal delivery from DuBrow. It is incredible that right up until his death, Kevin DuBrow’s voice was as strong as ever. “The Ritual” is a groover, something previously unknown for Quiet Riot. It’s mean and nasty and it works really well.
The rest of the new material isn’t all that hot. Quiet Riot’s problem has always been poor songwriting. Much of their best material were either covers or co-writes. There are awkward choruses that just don’t hit the spot; bridges and verses that jar with the riffs. These songs don’t sound like completed songs, they sound like a bunch of parts stuck together. Witness “Too Much Information” (which I actually like the lyrics to quite a bit), “Don’t Know What I Want”, “Alive and Well”, and “Overworked and Underpaid”. These are not great songs. They have neat parts and nice bits buried within them, but as a whole…sorry, no. There is also one truly awful song, the funk-crap of “Slam Dunk (Way To Go)”. What an awful song. Truly a terrible, terrible song that never should have made it past the demo stage.
There’s one previously released track, the AC/DC cover “Highway To Hell” (previously released on the AC/DC tribute album, Thunderstruck). It’s OK, but let’s face it, very few bands can cover AC/DC. Carlos Cavazo can’t play that rhythm part and make it sound right. Sarzo’s bass is a little too bouncy. Otherwise, it’s an OK cover, but once again Quiet Riot are padding out albums with covers…
The record company made them re-record six of the old classic tracks, and here they are tacked onto the end. Some are OK. “Don’t Wanna Let You Go” (one of my personal favourite Quiet Riot songs) has been rearranged acoustically. Carlos’ acoustic guitar is beautiful, and because this song presents a new arrangement, I think it’s worthy of inclusion. The rest offer very little of interest. Why re-record old classics? There’s no real artistic reason, only financial reasons. I guarantee you that you will not replace your old copy of “Metal Health” with this re-recorded version. And the new version of “The Wild and the Young” is just bad, bad, bad. All the techy-uniqueness of the original has been replaced by pseudo-heaviness and funk. Yes, funk, there’s a funky break right in the middle that should have been excized. It’s just awful.
As an album, Alive and Well has enough good going on to make it listenable, but this is no comeback. This is treading water, zero growth. Amazon is loaded with positive reviews, fanboy-ish as they are. Well, I am the biggest Quiet Riot fan around. And I’m just being objective here when I say this: Unless you’re die-hard like me, you don’t need this album.