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1.      When did you start drumming and who were your influences.

I started taking lessons when I was fourteen in Queens, NY at the DeBelli's School of Music. My teacher at that time was Ernie Grace who had played with a jazz group called The Dukes of Dixieland.

My first influence was Ringo Starr through the Beatles as well as Charlie Watts of the Rolling Stones and Dave Clark of the Dave Clark Five.

From there I went on to listen carefully to Buddy Rich, Tony Williams, Terry Bozzio, Dennis Chambers, Vinnie Collaiuta, Simon Phillips, so many others I can even begin to list them. There is something to learn from so many great drummers both past and present. Without a doubt, my biggest influence is Led Zeppelin's John Bonham. I can't say enough as to how much his drumming and musicality has left an indelible impression on my drumming. He was and is the greatest rock drummer of all time.

2.       What were some of your earlier bands that you were involved in?
The first time I ever got paid for playing drums was with a local band in Queens called "A Pound of Flesh" when we played at a Catholic church social. I actually still have the first dollar that hit my hand. We made $13.00 each, the big time! I use to go to the corner deli and saw a dollar bill framed on the wall. I asked the owner, Mr. Giannini, why it was framed. He said it was the first dollar he ever earned with the deli. I took my first dollar from the show and framed it. I still have it in the same frame.

I was in and out of a lot of local "basement" bands, the East coast version of garage bands, but my parents left New York to live in south Florida. I was in various bands in the Ft. Lauderdale area, the one that I enjoyed the most was a band called first Coventry Carol, then just Coventry. I am still in touch with all the members.

3.       How did you become involved in session drumming?
While living in Florida and still in school, I started doing small session dates. I actually played drums on a B-side to a single for a funk band on the Bang Label which I think was the label KC and the Sunshine Band were on at the time. I never got paid for it. My first lesson of many in the music business.

When I moved to LA I started auditioning for everything even if I knew I was the completely wrong drummer for the situation. It was a way to keep playing and try to get known around LA. This eventually led to a few minor small label sessions, which then led to my recording tracks, most notably "Mony Mony" for Billy Idol's debut release EP "Don't Stop."

From there I audition for a new group being put together by ex Deep Purple bassist/vocalist Glenn Hughes and ex Pat Travers band guitarist Pat Thrall. I was already a huge Glenn Hughes fan from his work with the English band Trapeze and was aware of Pat's phenomenal guitar work with the progressive "Stomu Yamashita's GO." I participated in the cult favorite self titled "Hughes/Thrall" release.

My next recordings were a series of sessions, some memorable, some not, with the likes of Billy Thorpe, Randy Bishop, Rod Falconer in LA and odd sessions in Europe with Swiss heavy metal guitarist Vic Vergat's for his record "Muscle of Love" in Scotland, and sessions with ex Blackmore's Rainbow keyboardist Tony Carey in Germany.

Besides QUIET RIOT recordings, these are some of the recordings I played on from that period:

Hughes/Thrall: Hughes/Thrall (1982) Epic
Billy Thorpe: East of Eden's Gate (1982) CBS
Randy Bishop & Underdogs: Dangerous Infatuation (1982) CBS
Noel and the Red Wedge: Peer Pressure (1282) Scotti Bros.
Billy Idol: Don't Stop (1983) Crysalis
Danny Spanos: Passion In The Dark (1983) CBS
Danny Spanos: Looks Like Trouble (1984) CBS
Randy Bishop & Underdogs: Underdog (1985) CBS
Andy Taylor: American Anthem Soundtrack (1985) Atlantic

There are others, but these are the ones that immediately come to mind.

4.       What were some of your early sessions and what were they like?
Like anything else in life, some were musically rewarding, some were not. My drum set and style was sometimes problematic! From early on I used a very basic drum set with a 26" bass drum with nothing in it but air and a solid front head. It rang, and rang, and rang. A recording engineer's nightmare. I have always been an aggressive player, a loud player and totally committed to what I played. These were qualities that most people want as part of their band, but oddly enough when the artist got you in the studio, they generally wanted to change the reason they wanted you on the session in the first place.

It took me a long time to realize that sometimes you should just play what the artist wants even if you don't agree. That's session work.

5.       You played with some big international Names like Billy Thorpe and Hughes/Thrall, what was it like working with these musicians?
Billy Thorpe is a very creative songwriter with a unique vocal style. His sessions were musically very productive and adventurous for their time. After recording the "East of Eden's Gate" record I agreed to tour with him for a limited basis as DuBrow, the future QUIET RIOT, were already putting into motion our own recording sessions. When I had to leave Billy's tour, we were at odds and it ended my relationship with Billy. I still have a lot of respect for him but we've not communicated since that time. We once enjoyed many a good conversation over many bottles of Jack Daniels.

Working with Glenn Hughes was a dream come true. I have nothing but good to say about Glenn, one of the greatest singers in any genre. Still today the track "Hold Out Your Life" is one of the best written and exciting tracks that I had a pleasure to be a part of.

6.       How did you meet Kevin and get involved with DuBrow/Quiet Riot?
I used to go to a Hollywood club called the Starwood. Probably the best but lesser known rock club of it's time. QUIET RIOT were a staple of that club and Rudy Sarzo who I had played with in Florida and later Chicago was by then the bass player who replaced the original bassist Kelly Garni. I would go to see them for two reasons. One, Randy Rhodes, because he was hands down the best guitarist on the scene and an amazing showman, and two, QUIET RIOT drew the biggest all female audience. Their shows were the ones to go to. Rudy would invite me to the shows and put me on the guest list. From there he introduced me to Kevin who initially didn't know what to make of me! But shortly after we began playing together we became fast friends. There has been very little that Kevin and I have not experienced together both good and bad in the music business and as friends. Through it all we have managed to stay the best of friends in spite of many obstacles.

After Randy left to join Ozzy Osbourne and then Rudy followed, Kevin put together his own band "DuBrow." At the time I was working with a band called "Monarch" with ex Steppenwolf and Detective guitarist Michael Monarch. Monarch was a great band. A musical combination of Led Zeppelin and Free. By it's own musical definition, it was doomed to fail. That band still has a fond place in my heart. When Kevin wanted new drummer, he remembered me from Monarch and we began to work together.

7.       A. What was recording the first QR record like and what are your best memories?
It was far less glamorous than one might imagine. We were only allowed to record piece meal on available time, usually late night into dawn sessions. After the initial tracks received attention from CBS Records, we had slightly better recording conditions.
Having said that, we were ecstatic that we had a deal, we were recording and we would have a release. I think the best memories were to finally be able to hear the songs that eventually became the "Metal Health" record over the playback monitors in the studio. It validated the band's hard work up to that point. And because I was a member of the band, my big green sparkle 26" Ludwig bass drum and my heavy handed style were an asset rather than an oddity. "Metal Health" went on to hit #1 on the Billboard charts with Cum On Feel The Noize hitting at #5 and Bang Your Head at #31.

B. How much input did you have on the recording process?
We were very well prepared when we started those session and we were very self contained. My forte for those rehearsal and subsequent recordings were in the arrangements of the songs and choosing the best recorded tempo for the songs. There were musical ideas that I brought to the sessions, but for the most part were not credited as many of the songs were already written and issues become diluted when it come to song writing credits.

8.       What was your reaction to the way the public accepted QR?
Frankly, I was very surprised, pleasantly surprised. I knew the songs were good, the music was solid and unique for it's time, but no one had any idea that it would be so widely accepted. We were fortunate enough to have been at the exact right place at the exact right time for our initial success. We also worked very hard for it.

9.       What was the first tour like and give some of your better memories.
The "Metal Health" tour began at the Roxy in Hollywood upon the release of the record on March 18, 1983. From there it was a long haul first traveling in two rental cars and a rental truck for dates in the San Francisco area opening for Dutch rock band Vandenburgh. From there we moved up to a Winnebago and rental truck when we got the opening spot with Scorpions. We were the darlings of the opening slot for that year's premier rock tours. We opened for everyone from Z. Z. Top to Iron Maiden.

Two high water marks that I remember vividly were opening the "Rock" day at the US Festival. We went on at 11:00 AM and gave the crowd exactly what they wanted. Even though technically everything that could go wrong around us indeed went wrong, we could do no wrong for that audience on that day. That one show put QUIET RIOT in the center of the rock world at that moment in time.

The second memorable moment was in November of that year. It was around my birthday and we were opening for Black Sabbath on their "Born Again" tour. Just before show time we were told that "Metal Health" would hit #1 in the Billboard charts the following week. In the many years that have passed since that hallmark, none of the detractors of QUIET RIOT can ever tarnish or take that moment away.  

10.  

A. With all of the success of the first record, was it hard to go back into the studio for record number 2?
Very much so. The Metal health tour lasted three days shy of a year with it's start in Hollywood in March of 1983 and ending in Germany the following March of 1984. The only "breaks" we had were to do videos.

The label wanted to follow the old adage of "strike while the iron is hot" and wanted a follow-up release immediately. We were not physically, mentally or musically prepared to make Condition Critical. Also, with the newfound success, tensions in the band were already beginning to surface.

B. What was the Vibe like during the recording process?
At times funny, at times disjointed. The demands from the label, producer, managers, agents, all contributed to what was already becoming a band held together by the success of the first record and the hope of continued success. The relationship with the producer became strained and that strain was taking it's toll on the band member's relationships with each other.

11.   QR were criticized for the Slade covers. What is your take on that?
It's widely known that we did not want to do the Slade songs, particularly "Cum On Feel The Noize," but the fact remains that without that song perhaps QUIET RIOT would not have existed beyond it's humble beginnings. I don't make too much of criticism aimed at us for the Slade songs. We got the success, they got the money. Fair enough.

12.   During this time, Kevin was criticized for talking about other bands in interviews. What did this do to you personally?
Personally it had no effect on me because they were not my opinions. From a business point of view it was detrimental because in the fans eyes those opinions pitted QUIET RIOT against that musical world. In the end, Kevin was voicing his own personal opinion which was his right, however, he certainly picked the wrong forum to do it. I am always surprised that there are still people out there that hold it against him.

13.   What was your feelings about the public not accepting CC the way they did Metal Health?
That was inevitable. "Metal Health" far exceeded everyone's expectations and is still selling well for an album that was release twenty years ago, CBS, now Sony, has been minting coins from that gold mine for years.

There was no way for Condition Critical to compete with the first release and especially because we were so ill prepared to make that record. Still, it sold well over a million units and not that many rock bands do those kinds of numbers today. The much maligned "Condition Critical" still manage to hit #15 on the Billboard Charts, but "Mama We're All Crazy Now" didn't break the Top 40 charts topping at #51. Still, not too bad all things considered.

14.   What were your feelings about Rudy leaving?
I was sad but not surprised. He was unhappy with many aspects of the band and would have not served well for anyone including himself to have stayed. I think Rudy was more affected by the negative press that surrounded the band at that time, more so than anyone else. He probably wanted to distance himself from the controversy as much as possible. It was a shame as Rudy was the best "arena" bass player that I had worked with up to that time.

15.   A. Going into QR 3 with a new bass player and a lot of expectations, how do you think that record stacked up against the first 2?
Once you change any member of a band, it's never going to be the same. It's not about quality or lack thereof, it's about the public's perception of the original "Metal Health" lineup. Chuck Wright had been in and out of the QUIET RIOT picture and was an obvious replacement. I enjoyed working with Chuck musically. He brought a lot of musical chops to the table.

Professionally, the rot had already set in. The relationship with the label and producer was reduced to nothing more than a business venture and very impersonal. The band members by then had all become islands unto ourselves, myself included.

I had no expectations for the third release. With a few musical exceptions, it was a means to a way. A reason to continue, a necessary evil. QR III did manage to reach #42 in the Billboard charts, but the "single" The Wild And The Young never charted to my knowledge.

B. What was the effect of the producer on that record?
Very one sided. By then we were relegated to little more than indentured servants with little actual control over the situation. Each time we wanted to do anything musically creative that did not follow what was perceived as correct for the record, the producer and label would put us under suspension and we could do nothing until a reluctant minimal "middle ground" was met..

16.   After the tour, Kevin was fired. What is your take on what happened during the time that led up to this.
No one was getting along at all by then. We were still suffering from the public's perception of things that were said by Kevin to the press. That coupled with a fractured lineup, sagging record sales, and pressures from the label, producer and management made the situation very difficult.

With the past success of the band, those associated with the band through business wanted to place blame somewhere, and the obvious place was to start with the plethora of media related problems that surrounded Kevin. You have to understand that a singer in a band is generally the focal point and therefore the one who is given the forum. If that forum turns ugly, that person is also the focal point.

There were discussions as to what to do. Stay as we were, break up and call it a day, or to no longer continue with Kevin. Since we were close to the end of the year and the end of the tour, I thought it would be best to just finish the tour and then take up the matter. We were in Tokyo when Kevin heard a rumor that started in Los Angeles that he was going to be asked to leave. From that point there was no convincing him that was not the case because no decision had been made. By then the relationship between the band as it was and Kevin was all but over. We finished the Japanese tour, did our final concert in Hawaii and parted company then and there.

17.   After the departure of Kevin, you hired Paul Shortino to front the band, how did this come about?

We were looking for someone to fill the void and no one we auditioned really worked. We had heard a tape of Paul Shortino doing a rendition of Janis Joplin's classic "Piece of My Heart" and knew he was talented. It seemed at the time a reasonable choice.
To this day I think that Paul's vocals on that track cannot be improved upon.

18.   Why did the record come out under QR and not another name as the material was different?

We actually wanted to change the name of the band to have a new beginning. When we were unceremoniously informed that if we did change the name our recording budget would be cut in half because we wouldn't get a "QUIET RIOT" size budget, we decided to keep the name. It was also a sense of pride. We had worked very hard as QUIET RIOT to just abandon the name and the hard work that had been put into the band. I used to wonder if changing the name would have made a difference, and I don't think so. Also, there were two factions within the band with Carlos and I being managed by WEM Management and Paul by Niji management. I remember that Paul thought that with a different band name he would be able to have more control of the situation. The reality was that he was joining QUIET RIOT, not QUIET RIOT was joining Paul Shortino, and that name still had some value. When issues would arise that Paul and his management didn't agree with Paul would quit, then come back and quit again. The fourth album was a really good record, not a QUIET RIOT record as might be perceived by the audience, but a good record nonetheless. By then the music scene and taste were already changing and the record wouldn't have found an audience no matter what you called the band. I'm still glad we did that album and I think Paul did a terrific job. But by then it was obvious that the public at large was not interested in the recorded QUIET RIOT. The "QR" album never entered the Billboard Top 100 only reaching #119.

19.   A. What happened after the record came out and toured?

The record came out and was ignored. We toured South America and Japan and were ignored. At the end of the tour in Tokyo I let the band, management and the label know that I was leaving the band. I think Paul threatened to quit again and I just didn't want to deal with it any further. Everyone else got on the bus at the Tokyo Hilton to go to the airport, I stayed in Tokyo.

B. Why was there not another release with this lineup?

It was pointless. The QUIET RIOT that I knew, that the audience knew was over. Kevin was gone, Rudy was gone and Carlos and I by that point were practically strangers to each other.

20.   After QR split, you joined W.A.S.P to record and tour for the Headless Children. How did you get this job?
Blackie and I had known each other for a long time and had talked about working together even before I was in QUIET RIOT. It just never came together because Blackie was still looking for his niche and I was more interested in playing with a lot of different musicians, getting sessions, improving as a drummer and, well, having fun. Hollywood back then was one long party that you went in and out of.

When QUIET RIOT were recording the fourth album, Blackie asked me if I would be interested in joining W.A.S.P. and recording. I declined because I had my hands full trying to bail the rushing waters of discontent out of the S.S. QUIET RIOT with two new members. Blackie was very persistent, so I told him if he didn't find a drummer he liked to record what would later become "The Headless Children" that I would try to work out my schedule to record with him. At the end of the QR 4 sessions Blackie asked again if I could do the record and I agreed. I would finish the end of the sessions with QR and commence rehearsals and then the sessions with W.A.S.P. in the evenings.

Recording "Headless" was one of the best experiences I had had in a long time. Blackie is totally committed to his brand of music, I mean, the guy is certifiable he's so into it. I had known Chris Holmes for years and he really is a good guitar player, much better than he's given credit for. He is so left of center that he goes full circle and is still out of control! Johnny Rod was great to work with musically. He has one of the biggest vocabulary of playable rock songs I've ever seen. Sometimes though, he made Chris look calm!
We finished the "Headless" session and Blackie asked if I'd be interested in touring, but I explained that I still had my QR commitments and were getting ready to tour South America. Before leaving for Columbia I did participate in the video shoot for the Who's "The Real Me" which was a long shoot but a lot of fun.

After returning from South America I did the W.A.S.P. video for "Forever Free" which lasted late into the evening, went home packed, showered and went to the airport to leave for Japan and what would be the end of the QR 4 version of the band. I called Blackie when I had made my decision to leave QR and he suggested I stay in Tokyo to do press for "Headless" as he could send Chris to do press there with me while he tackled the press in Europe. We tore up Tokyo and the press with Chris as Godzilla and me as a Samurai. Really a fun time after all the QR stress. We partied that city dry!

From Tokyo, Chris and I flew to London to begin rehearsals for what was to become the year long tour to support the "Headless" release. It was musically a great year for me.

21.   A. Still on W.A.S.P., you stayed on with Blackie to record The Crimson Idol, what was it like making such an intricate concept record?

Difficult. It was a complex set of ideas set to music and constantly changing and evolving. Blackie can be very experimental within the confines of that particular project. Rehearsal went on forever as did the recording process. I pride myself in making any musical idea work regardless of how abstract that idea may be. Blackie always pushes the musical envelope with me because he knows I can fill that envelope with ideas from such a different place that he wouldn't have thought of. Then in turn he embraces that idea and makes it part of the whole. It's and interesting and challenging process.

B. Why did you not tour with W.A.S.P. to support it?

I was going through a very bad period of my personal life. My Mother was dying of cancer and I just didn't care about anything or anyone other than my mother. My thoughts were always with her and music was becoming a necessary inconvenience in my life. When my Mother died my world stood still and no one could console me or fill the emptiness left by her absence. Nothing mattered then, not QUIET RIOT, not W.A.S.P. not me. I became very moody and difficult to work with. I had already completed all the recordings for "Idol" with the exception of "Chainsaw Charlie" which was all but done. Blackie and I butted heads on a musical issue and I left the studio with both fully knowing it would be best.

22.   A. What brought you back to QR??

I had just finished two years of rehearsal, recordings and a few live dates with a band called "Heavy Bones" that was signed to Reprise/Warner Bros. I was unhappy in that situation and had made up my mind to leave the band around the same time that Kevin DuBrow called me. He and Carlos had resurrected QUIET RIOT once more and were doing dates. They needed a drummer to fulfill a commitment for about a half dozen shows. I had not spoken with Kevin or Carlos in nearly five years but it was really natural for me to get together with them. I had put all the bad blood behind me after my Mother passed away and had put my life back into a rational perspective. I agreed to do the dates but nothing more. They had already started recording what would become the "Terrified" record and needed to record the remaining half of the record. I agreed to record the tracks and they asked if I would join. I turned them down three times for no other reason than I was not sure what I wanted to do. In the end, Kevin persuaded me to rejoin and I've been here ever since.

B. What was it like being back in the studio with Kevin and Carlos after so long?

Very easy. Kevin is a real music guy. He lives for the stuff if he's having fun. We always enjoyed the recording process and I have always been able to bring something to the process. No matter what anyone says about Kevin or what Kevin does or doesn't do, I still consider him my friend. End of story. They also had a bass player at that time name Kenney (Kevin) Hillary that brought that whole "English" bass paying mentality that we love.

23.   QR did 2 great indy released CDs right off the bat, Terrified and Down To The Bone. What was it like to do those and tour for them in such a different musical climate?

Touring for both those releases in the early 90's was nothing short of walking on splintered glass barefooted. The grunge/alternative market was in full swing and we were not any part of it. Fans came to the shows, but it was a tough time. Every day it was like the Christians going into the Roman Coliseum. You know you're going in, but are you coming back out?! We basically said the hell with it. You like us, great. You don't? too bad!

24.   What else did you do musically besides QR and W.A.S.P. during the 90s?

Mostly odds and ends, as well as being part of all those "Tribute" releases:

Thunderbolt/A Tribute To AC/DC (1998)
Humanary Stew/A tribute to Alice Cooper (1999)
Not The Same Old Song And Dance/A tribute To Aerosmith (1999)

25.   You also did the W.A.S.P. CD Still Not Black Enough, what was it like being back with Blackie?

I was actually surprised that Blackie tracked me down and asked if I'd be interested in recording "Still Not Black Enough" when he did. A lot of time had passed and Blackie had a better understanding of what I was going through when we last parted company. He was having difficulties finishing the tracks with the drummer he had for reasons that I was not interested in knowing. I have always enjoyed working with Blackie, always will. I had the time and gladly lent a couple of musical hands.

I have participated in whole or in part on the following W.A.S.P. recordings:

W.A.S.P. Headless Children (1988)
W.A.S.P. Crimson Idol (1993)
W.A.S.P. First Blood/Last Cuts (1994)
W.A.S.P. Still Not Black Enough (1996) Drums
W.A.S.P. Best of the Beast 1984/2000 (2000)
W.A.S.P. Headless Children w/Bonus Live Tracks (2000)
W.A.S.P. Crimson Idol w/Bonus Tracks (2000)
W.A.S.P. Unholy Terror (2001)
W.A.S.P. Unholy Terror - Japanese w/Bonus Tracks (2001)
W.A.S.P. Dying For The World (2002)
W.A.S.P. Dying For The World - Japanese w/Bonus Tracks (2002)

26.   To set the record straight, how much of your drumming is on the W.A.S.P CDs CI and SNBE?

I'm pretty sure I am on all of "Crimson" with the exception of "Chainsaw Charlie" which part of which is me with additional drumming added after I left. Blackie took the political choice to list his new drummer first in the credits and myself second. I think partly because the new drummer would be touring and partly because he was still unhappy about our falling out at the end of the sessions. He claims I am only on half, and that's OK, maybe so, but I don't think so.

On "SNBE" probably fifty-fifty. I don't remember how he credited the drum tracks.

27.   What was it like having Rudy back in the band?

Rudy and I had already been working on a few sessions together, mainly with ex Dio guitarist Craig Goldy, so there already existed a continuation of our musical relationship. QUIET RIOT were doing a set at the request of Marylyn Manson for his after show party at a club in Hollywood. I asked Rudy, who was not yet back in QR, if he would like to play that night on "Cum on Feel the Noize" and "Bang Your Head." He did, he never left! When the four of us were playing those songs together again after so many years, it was QUIET RIOT. I washed away both time and some of the problems from our collective past.

28.   A. QR have released two indy CDs since Rudy came back, Alive And Well and Guilty Pleasures, what are your feelings on these and were you happy with the way there were received?

"Alive and Well" for the most part was recorded to get product out and let people know that the four of us were working together. Beyond tracks like "I Don't Know What I Want" and the "Ritual" I don't really embrace that record.

"Guilty Pleasures" is the first time in a long time that we really cared about writing and recording. Generally I am very happy with the way the songs were written and performed. I think they could have been better recorded technically, but overall I think it was a good record.

As to how these two releases were received is another matter. "A&W" fell on deaf ears, fair enough, it was just and OK release. "GP" was critically better received but the market for this type of music has been so narrow for so many years that I am happy if people like it and if it sells. If not, I am the last to be surprised.

B. Why was the old material covered for the Alive And Well cd?

The label would only do the deal if we agreed to re-record the old material to comprise half of the record. We did it reluctantly and with misgivings. The label wanted to capitalize on the cash cow that CBS/Sony have been milking for years. In the end, the laugh was on the label as it didn't sell very well. Just deserves.

29.   What was it like going aback into arenas with Poison?

The general perception outside of the band is that if you are doing a "arena" tour, you must be important. That may be the case for the headliner, but not for the opening acts in this day and age. Poison were absolutely great to us. I can't say enough as to how well we were treated and respected by Bobby, Rikki, CC and Brett as well as their crew and touring personnel. The fans were absolutely the best to us. In that respect I have no regrets. The actual process of that type of touring can be far less enjoyable than an outsider might imagine. Having said that, work is work and I'm happy QUIET RIOT had the opportunity to be a part of that insanity.

30.   A. What brought on the idea for the DVD?

We were approached to do the DVD last year and it seemed like a good time to do it. Everyone else has, why not us. We made a conscious decision that if we were to record a live show for a DVD, that it would be a "live" show. No studio overdubs, no fixing parts, just a live show. Nothing more, nothing less. It will be a true representation of the band live. I realize that everyone is a critic these days and with a band like QUIET RIOT you are bound to offend someone no matter how hard you try. If there are no overdubs on the recording and there are mistakes, people will say we suck. If we fix the mistakes to make it more agreeable to the collective ear, then they will say we suck because we fixed it and it's not "real." Anyway you look at it, some will like it, some will hate it, some will never see it.

B. What will be included on it?

It's our usual live set composed mostly of songs from Metal Health and a few from most of the other releases. We are including some songs that we've not played in 15 or 20 years. A good cross section of QUIET RIOT.

C. Who is releasing it?

2RS Productions, Los Angeles, CA.

31.   What does the future hold for Frankie Banali??

QUIET RIOT! W.A.S.P.? Sessions? Website: www.frankiebanali.com Coming February 2003....

32.   The last few W.A.S.P. releases had you drumming on them. Why were you contracted to drum on them when W.A.S.P. already had a full time drummer?

Apparently there were some problems with their current drummer. It's really not my place to comment on it. I was just happy to be included in the recordings.

33.   A. How did Heavy Bones form?

The band was initially put together by Joel Ellis the singer, and Gary Hoey on guitar. They had a bass player at that time but was later replaced by Rex Tennyson. I knew Joel from his Cats & Boots band. They were looking for a drummer and I auditioned like everyone else and they asked me to join.

B. What was it like working with Gary Hoey?

Gary Hoey is a brilliant guitarist. One of the best I've had the opportunity to work with. Besides Heavy Bones, I recorded two of Gary's solo records, as well as bits and pieces ending up on several other of his releases:

Gary Hoey Animal Instinct (1993) Reprise
Gary Hoey GaryHoey (1995) Reprise
Gary Hoey Hocus Pocus Live (1998) Hollywood
Gary Hoey Hocus Pocus Live (1998) Surf Dog

  C. Were you happy with the way it came out?

Working with producer Richie Zito was a good experience for me. He's a good New York Italian boy. Jimbo Barton mixed it and he did a very good job.

D. It was a great cd, do you think the timing was wrong with it's release?

The timing couldn't have been more wrong. It was actually a far worse time to release a record of that type than when QUIET RIOT released the "QR" record. Nobody cared. And the production which was very lush was completely the opposite of what was the flavor of the month at that time. When everyone was releasing bare minimum productions, the Heavy Bones record was full of layer upon layer of guitar overdubs, multiple track vocals with huge room an reverb effects, and big drums. Everybody hated it. I liked it. What do I know?

34.   How did you get involved with the Hear N Aide project and what was it like working with such an incredible bunch of musicians?

It was great. I had received a call early on from former Dio guitarist Vivian Campbell about the then unnamed project. He came up to my house and played me the basic song and told me if it came together he would like for me to be involved. I was flattered. Nothing happened for a long time, but I let him know that I'd be there if and when they might need me. As it turned out, the session for the backing track was booked for the day after I was to return from a QUIET RIOT South American tour which we aptly titled "The Just Say No Tour" with a picture of Nancy Reagan on the laminates. I returned to LA late the evening before and had my drums taken to the studio early the next morning. It was great to essentially be in Dio for one day alongside of Vinny Appice. The band was Dio plus myself. We rehearsed the song and there was a break for Vinny and I to each do solo drum fills. Much to Ronnie Dio's annoyance, Vinny and I would just keep playing well after everyone had finished the song each run through.

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