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(Fall 2006) by George Dionne
Some bands from the decade of decadence fade off into the sunset, others
keep on trucking. So is the case of Quiet Riot. As with most bands, the group
has had their share of ups and downs and line-up changes over the years,
but longtime members Kevin Dubrow and Frankie Banali help keep the show on
the road. Quiet Riot recently released their 11th album entitled Rehab (read
CD review).
RIL: If I knew absolutely nothing about Quiet Riot, how would you
describe the group’s music to me?
FB: Big anthem hooks in the 1980's, pocket full of rock blues in the present.
RIL:
Within the past year or so, Quiet Riot has changed line-ups several times.
As of today, and hopefully the printing of this interview, who is
in Quiet
Riot?
FB: QUIET RIOT can at times be a seasonal band.
Currently we are Kevin DuBrow (vocals) Frankie Banali (drums) Alex Grossi
(guitar) and Chuck
Wright (bass).
This is the live band which differs from the recorded band for the new "Rehab" CD
which was released in the US on October 3, 2006.
The studio band included
both Kevin and I as well as Neil Citron (guitar) Tony Franklin (bass)
formerly with The Firm and Blue Murder and Glenn Hughes
(bass/vocal duet) formerly of Deep Purple and Black Sabbath.
RIL: Why
were there so many member changes over the last year & how
many times has Chuck Wright been a member?
FB: Some things work sometimes, some things work temporarily and some things
don't work indefinitely when it comes to musicians and personalities. This
is true for any band. As to your question about Chuck Wright, he has been
a part of the associated QUIET RIOT landscape at one time or another since
around 1981.
RIL: You have a new album out called Rehab. It certainly
sounds different than past Quiet Riot albums. Tell me a little about
it.
FB: Rehab is a departure from what people have come to expect from QUIET
RIOT. Because Kevin and I are aware that when it comes to QUIET RIOT, some
expect
it to be the same style and others criticize it for being the same style
as before, we therefore decided to record a CD that pleased both he and
I and let the critics and public decide if they like it or not. Either
way
it's fine because while every musician likes approval, it's not a requirement
to us.
Kevin and I wrote separately and with other musicians to write material
that is more in tune with our own personal musical tastes. We also recorded
with
musicians who we knew could best perform the varied and sometimes archaic
styles that are represented on these recordings. I can't say enough about
guitarist Neil Citron and bassist extraordinary Tony Franklin. They don't
come any better. For me working again with the very talented Glenn Hughes
was a bonus in itself.
RIL: It’s no surprise that Kevin is really
high on Glenn Hughes as of late. Would you say that it’s that
admiration or influence that is reflected in the new material?
FB: No, not really. Glenn was instrumental in helping Kevin with lyric
and vocal ideas especially for the songs that I wrote for the record
with Neil
Citron
as they were a little more foreign in style than what Kevin is used to.
RIL:
Glenn appears on your cover of Spooky Tooth’s “Evil Woman” of
course. What did Glenn bring to the table as far as the recording process
went?
FB: Glenn shines best on the record via the 1969
Spooky Tooth track "Evil
Woman" where he sang the vocal duet with Kevin and played bass on
that track. Glenn didn't bring anything to the recording process, but
he certainly brought volumes of talent and a great deal of humor.
RIL:
Were you a little apprehensive of doing yet another classic cover?
FB: No because this song is hardly known outside of a cult classic
status, and a eight plus minutes in length, it was hardly done to gain
any commercial
attention.
RIL: It’s been five years since the release of your last
studio album Guilty Pleasures. Was it difficult securing a record label
for this release?
FB: That depends on your objective. If your objective is to get a sizeable
advance, yes. If your objective is to get it released in as many markets
as the product
requires, no.
RIL: Getting back to Guilty Pleasures, do you think that
if it were released around the time of Metal Health that it would have
been a hit record?
FB: No. Although I think it was a good record, it wasn't a great record
and the production was mediocre at best.
RIL: On the flip side let’s
talk about Alive and Well. Looking back do you think it was a good
idea to re-record your hit songs?
FB: Not at all. The only reason we agreed to
do it begrudgingly was because the label, Cleopatra Records, insisted
on it and it was a
deal breaker. Not
our
call or our choice.
RIL: Going back even further, what did you think when
Metal Health went number one on the pop chart?
FB: I always thought and still think that it is a great record
for it's time, but no one, least of all any of us, had any idea
that it would attract such
great attention and success. We owe the fans that supported it a huge debt
for it's success.
RIL: Did you ever get any feedback from Slade about
your cover of “Cum
on Feel the Noize?”
FB: We got the fame and the attention and they got the money. Thanks were
never exchanged by either side.
RIL: How does touring with Quiet Riot today
differ from touring with Quiet Riot in 1983?
FB: When you are successful, you play large events. When time passes and
the success and fame fades a bit, you play both large and small events.
It's become a career that you love to do.
RIL: You recently contributed “Magical
Mystery Tour” to the
heavy metal Beatles tribute album Butchering the Beatles. With you on the
track
were Jeff Scott Soto, Bruce Kulick, and Jeff Pilson. Did you actually get
to record with them or was it put together in the studio like most of these
releases.
FB: The correct line-up for the Butchering The Beatles track for Magical
Mystery Tour is Jeff Scott Soto (Vocals) Yngwie Malmsteen (Lead Guitar)
Bob Kulick
(Rhythm Guitar) Jeff Pilson (Bass) and me on drums.
Generally speaking, most of these projects rarely allows the whole lineup
to record together because of the different tour schedules of musicians
as well as the recording taking place in LA and many of the musicians living
elsewhere. Usually the rhythm section records together along with tentative
guitars sections, but it varies project to project. I actually never saw
any of the musicians who participated in the track I recorded. I was just
the producer, the engineer and me and the drums.
RIL: Do you do a lot
of these tribute albums? What do you think of them?
FB: I've done a fair amount of these. I enjoy playing the drums, so when
I get called for these sessions, if it's a track that I think would be
fun to play
and that I can bring something to the table musically, I'm happy to do
them. It also gives me the opportunity to play with musicians outside
of QUIET
RIOT and hang out with friends I sometimes haven't seen for many years.
Plus, it's a little extra cash!
RIL: Journalism 101 states that I have
to ask you at least one question about a touchy subject, so that question
would be, what led to Rudy Sarzo’s
departure from Quiet Riot?
FB: Rudy didn't depart QUIET RIOT, we broke up in late 2003. He is now
the bass player for Ronnie James Dio and Kevin and I have continued QUIET
RIOT
with
neither Rudy or Carlos Cavazo and I continue to wish them both the best.
RIL:
If you care to tackle another touchy question, why is your relationship
with Blackie Lawless over?
FB: Because I choose to no longer work with Wasp.
RIL: What do you like
to do when you’re not playing music?
FB: Spend time with my family, continue my studies in Japanese history
and art, tend to my Koi pond.
RIL: What event in your musical career
do you see as your greatest achievement?
FB: That I'm still performing live and continue to record new music
and that I still enjoy the experience.
RIL: What would you say was
the lowest point in your musical career?
FB: Not being able to spend as much time with my mother as I would
have liked to because I was always working.
RIL: Despite all the
madness, the break-ups, the business crap, and the ever-changing
musical landscape, what do you think it is that keeps you
coming back to
Quiet Riot?
FB: My twenty-four years of musical, personal and business investment
in QUIET RIOT.
RIL: I saw Quiet Riot play live at Foxwoods Casino on
the current tour. I must say that your one of the few classic bands
out there that have managed
to maintain their sound (although Kevin forgot the second verse to “The
Wild and the Young”). Can you attribute that to anything?
FB: If you don't truly love being up there playing, be it a large venue
or a small venue, it's not only obvious to the audience, it's painfully
obvious
to the musician. We love what we do and will continue to do it as long
as we choose to and as long as there are enough fans out there that appreciate
the effort.
RIL: Did you hit the casino after the show & how did you
do?
FB: I don't gamble. Being a musician is gamble enough.
RIL: Last but
not least, what’s the deal with Kevin’s new Rod
Stewart inspired look?
FB: Kevin is Mr. Retro!
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FRANKIE
BANALI
