Kev Rowland Frankie Banalli is the only member of the current line-up to be considered part of the classic band, and in recent years he has not only been the drummer and manager but on this album, he is also the producer. Bassist Chuck Wright actually played on a couple of tracks from the ‘Metal Health’ album while guitarist Alex Grossi has also been in the band for some 15 years. There has been a rather revolving door of singers in recent years, and although this features James Durbin he has since been replaced by Jizzy Pearl who has returned for his second stint with the band. The founders of Quiet Riot were Randy Rhoads and Kevin DuBrow, and when DuBrow decided to reform the band in 1982 he asked Rhoads if it was okay to use the name without him. Well, neither of them are there now, and to me it would be far more honest if the current band stopped playing on a legacy.

Even without checking on who had produced it I would have guessed that it was Banalli as the drums are way too high in the mix, something I also complained about when I reviewed their last live album. For the most part this is simple straightforward hard rock, with virtually nothing of major interest within. However, there is a blues contained in the middle of the album called “Roll On”, and that’s actually not bad! Quiet Riot were the first hard rock band to ever have a #1 in the States, yet somehow, I can’t see this having any impact whatsoever. They are also now in a position where to tour this they are going to have a singer who was not even involved with the recording. Try as I might, there is little on here to get me excited, and I am sure that when fans go to see them they will be waiting for material from ‘Metal Health’ and ‘Condition Critical’ with some Slade covers thrown in for good measure. Hopefully, there won’t be too much from ‘Hollywood Cowboys’.

Kev Rowland One night in 1981, I made my way to a hotel, to see the band who was playing there. When I got in I walked up to the incredibly small stage, looked at the complete backline of floor to ceiling Marshalls, looked at the size of the amps either side of the stage, then checked again just how high the ceiling was (not very), and knew it was going to be loud, very loud. At 11pm four ex-skinheads from Wolverhampton took to the tiny stage, and promptly tore it up. There will only ever be one Slade, a band that wrote hit after hit, and were metalheads through and through. Quiet Riot have made a career on trying to be Slade, and within the 15 songs on offer there are two Slade covers, but neither are as good as the original. To be honest, Quiet Riot aren’t as good as Quiet Riot used to be, and then with a sound engineer who has gone missing in action the result is a mess.

The line-up features both Frankie Banali on drums and bassist Chuck Wright, who both performed on ‘Metal Health’, guitarist Alex Grossi, who has been in the band for 14 years and new singer James Durbin, who was on 'American Idol' during the tenth season. This doesn’t feel like a live album, more like a good quality bootleg, and it is obvious there has been no “cleaning up” whatsoever. The drums are way too high in the mix, so much so that Banali is often more to the fore than Durbin. Durbin has a good rock voice, just needs to understand his stage patter was out of date in the Eighties, let alone now, and I could quite happily go without hearing him shouting to the crowd, saying how amazing Franke Banalie is etc.

There aren’t many highlight to be fair, as this is an album to be endured as opposed to enjoyed. “Thunderbird” is performed with a piano for the first time since it was recorded, but the Slade songs don’t hit home as they should, “Bang Your Head” doesn’t have the power it deserves (I still have the single I bought at the time!), and the rest are, well, not something to be proud of. The sound is not nearly as clear as it should be, the audience microphones are missing in action, as are the backing vocals, but the drums are always there. Pass.

siLLy puPPy QUIET RIOT is one of those band’s with enough messed up history to create an HBO mini-series drama mostly thanks to singer Kevin Dubrow. The band was started as far back as 1973 by the guitar god Randy Rhoads who would only reach full potential and glory by pairing up with Ozzy Osbourne after the exodus from Black Sabbath. While many members came and went throughout the 70s including two mediocre albums before Rhoad’s readiness for prime time, several things went down in the 80s that led to the recording and release of QUIET RIOT’s third album METAL HEALTH which is the album everyone knows as the single release that catapulted heavy metal into the mainstream popular culture. This album, mostly with the help of the fledgling MTV’s heavy rotation of “Cum On Feel The Noize,” shot up to the number 1 position on the Billboard chart as well as having the aforementioned Slade remake hit the Top 5 and the title track cracking the Top 40.

After two albums, Rhoads got wooed away to audition for Ozzy and ended up getting hired on the spot while warming up for an audition. After that sobering reality, the rest of the band called it quits but after the untimely death of Rhoads in an airplane crash in 1982, the band members who had been writing material for the prior years suddenly found themselves with a renewed surge of energy that was rekindled. After deciding to reunite and record all these songs, the band ultimately settled to reemerge as QUIET RIOT in honor of Rhoads and after finding a suitable guitarist replacement with Carlos Cavazo, alligator mouth Kevin DuBrow, bassist Rudy Sarzo and drummer Frankie Banali found instant success of the greatest magnitude with METAL HEALTH.

Musically this is pretty much similar to all the glam metal of the 80s that you’ve all heard before. It is basically bluesy metal with teenage hormone induced lyrics screaming and celebrating the mindless pleasures of life whether it be the art of insanity (title track), the love of extreme decibelage (“Come On Feel The Noize”), love of cars (“Slick Black Cadillac”) or inability to find love (“Love’s A Bitch”) but this album certainly has attained the honor of becoming a milestone in history as the entry point for metal music to become a majorly hot selling phenomenon and able to generate chart hit singles as well. Granted it’s all very catchy pop rock but everything is amped up with plenty of attitude and distortion to create some veritable noise within the popular music scene of the early 80s when new wave, synthpop and AOR were reigning supreme.

Listening to this in the 21st century is rather amusing. It is very much a product of its time which is basically an updated 2.0 version of 70s glam rock as heard by bands such as The Sweet. However, DuBrow had quite the set of pipes and could belt out those adolescent lyrics like nobody else in the biz. The band successfully adopted the glam image which along with a give no middle fingers attitude that propelled them up the MTV ranks and into Generation X’s highest ranking of “bug-yer-parents” music. To be honest, this music is quite silly in all its faux pomp and swagger, but i have to admit that the tracks are pretty catchy as pop metal goes and the sound of the vocals and instruments together is quite well performed. While the band would continue their musical soap opera with DuBrow continuing his tasteless antics and band members sifting through the lineup like sand grains through an hourglass, the band did hit it huge for this brief moment in time and cemented their name into the history books. There are some strong tracks (title track, “Love’s A Bitch,” “Battle Axe,” “Slick Black Cadillac”) as well as some lesser ones on this surprise hot seller but unfortunately the moment waned quickly and QUIET RIOT who was neither QUIET nor a RIOT but somewhere in between would simply be a catalyst to allow the much more talented underground bands behind the scenes to step into the limelight leaving QR to be a footnote, albeit significant one in the metal archives.

Stephen If there's a band that's quickly shot to the stardom and then fell hard on the ground in no time, then perhaps Quiet Riot is the right name. Imagine how they woke up from the ashes in 1983, spawned a 6-million sales breakthrough album, "Metal Health", and then were forgotten in the blink of an eye. Thanks to the huge hit of Slade's cover, "Cum On Feel The Noize", Quiet Riot etched their name as the first American heavy metal debut to ever reach Billboard #1 chart in 1983.

Aside from that big hit, there are quite a lot of great tracks to listen inside. From the catchy riffage of the title track, the invitation to bang your head raucously shouted on the great chorus, and this track secured them a prestigious opening slot for Scorpions. "Slick Black Cadillac" which was recycled from their second album is a fun party tune that will blow your roof away. "Run For Cover" has a nice solo performed by Carlos Cavazo, and the instrumental track, "Battle Axe", is also worth checking out. The ballad "Don't Wanna Let You Go" and "Thunderbird" are both good though I think they're better with the uptempo tracks.

"Metal Health" is an inventive release and considered as one of the most important releases that influenced the early growth of glam metal. This album is full of flaming riffs, bodyshaking groove, brilliant vocal performance by the late Kevin DuBrow, and highly recommended for fans of glam and traditional heavy metal.

AtomicCrimsonRush 1983; what a year for metal and this was the year when Quiet Riot became mega stars. Their album "Metal Health" lauched them into the stratosphere. Even non metalheads grabbed this as it was spawning a new generation of listeners with seductive radio play of the quintessential singles Cum on Feel the Noize and Metal Health.

Slick Black Cadillac is a great track with awesome riffs and the lead work is fabulous. Love's a Bitch is a fun satirical thrash out, and Run for Cover was melodic metal at its best. One of my most favourite and a well played tune was the guitar solo fretmelting missile blasting Battle Axe, which served as a nice lead guitar transition to Let's Get Crazy.

A nice way to be introduced to Quiet Riot, quite a commercial sound but still peppered with lead breaks of screaming string bending action and raucous vocals. This was a loud album and was meant to played loud at parties. Dated as it is today it is an historical look at the birth of the new metal onslaught of the 80s.