Spin Doctors guitarist Eric Schenkman’s third solo album, Who Shot John, showcases the many sides of the artist’s vast repertoire.
Whether it’s the colloquialism of the album’s title track, the unbridled anarchy and groove of songs like “Agent Orange” and “Locked in the House All Day,” or the hard, Chicago blues feel on tracks like “I’m All Right,” Who Shot John is radio-friendly enough to draw listeners in, while his guitar wizardry reveals a dynamic, effervescent complexity.
Guitar World recently spoke with Schenkman about Who Shot John, the Spin Doctors and more.
How would you describe Who Shot John in terms of its sound and maybe how it relates to some of your previous work?
Sound-wise, it leans heavily on my working with a trio, which is something that I do a lot, and how I’ve been understanding music through the blues these last several years. It’s a good representation of where I’m at now and [looks] at a lot of different angles and perspectives that I’ve come to terms with.
What’s your writing process like?
It happens very differently for different songs. Sometimes a song can be melody-driven, like “Fortune Teller” and “Far Away.” A song can also be very immediate and other times could take years to write. “Agent Orange Blues” is an example of a tight, visceral response to a situation, whereas a song like “Who Shot John” came from a lyric I started about 20 years ago and just recently finished. I had that one in my head for years trying to figure out what the lyric meant.
Theresa Caputo’s “Live! The Experience” is a one-of-a-kind event that connects the Long Island Medium with legions of loyal fans and skeptics from across the country. Each show is uniquely different in that it brings people from all walks of life together for an evening that’s spontaneously spiritual and, at times, beyond belief.
The New York Times Best-Selling Author and star of her acclaimed series, “Long Island Medium,”is about embarking on a whole new round of dates that will take her across the U.S. to deliver messages of hope while challenging cynics to believe that anything is possible. One of those stops will be a two-night stay at The Sands Event Center in Bethlehem, PA on Friday and Saturday, Feb. 1 and 2.
Caputo’s been sensing Spirit since she was a small child, but it wasn’t until she was in her twenties that she began to hone her intuitive, sixth-sense ability to put pieces of the puzzle together and help others to heal. Her “Live! The Experience” is certain to be an unforgettable evening.
AXS recently spoke with Theresa Caputo about her Live! The Experience event and more in this exclusive new interview.
AXS: What can fans expect from your upcoming “LIve! The Experience” events at The Sands Event Center in Bethlehem, PA?
Theresa Caputo: With the live show, I always tell people it’s just like watching “Long Island Medium,” but without the shopping [laughs]. I’m so proud of what we’ve been able to create and bring to the live show. Whether there are five people in the room or five-thousand, it’s all spontaneous. I start off the night like any other reading by coming out and giving a quick speech about what people can expect over the next two hours. Then Spirit starts communicating. I’ll leave the stage and whether it’s in the front row, back, or balcony, I’ll stop and deliver the message right in front of the person. We have big screens set up and cameras that follow me around so everyone feels a part of it. No matter where you’re seated you’ll be able to see the messages being delivered up close and personal. Every message provides so much healing. Spirit allows us to continue to go on with life no matter what we’ve been through. It lets us know that there’s more to life than just here in the physical world.
AXS: What do you think attracts people to your live events?
TC: One of the main things is that when a tragedy happens or when we lose someone we sometimes don’t understand why and lose our faith. This show restores that faith and gives hope. Another thing I’ve learned is that people come to the show because they’re skeptical or intrigued. But it doesn’t matter if people believe in what I do or not. I want them to believe in themselves and have their own connection. I want you to believe that all of the things you are feeling are real.
AXS: Was there ever a “wow” moment for you during these live events?
TC: It may sound cliché but with every reading, there are those moments. There are always things that happen where you’ll say, “There’s no way. How could this happen?” But what I do is so much more than just communicate with someone who has died. It reunites families and gives people a sense of peace they can’t get through anything else.
Read the rest of my
Interview with Theresa Caputo by Clicking Here!
The new track, which features the powerful rhythm section of Billy Sheehan (Mr. Big, Winery Dogs) and Ray Luzier (Korn, KXM) continues the dynamically gifted artist’s trend of delivering infectious melodies, hard-hitting rhythms and soaring vocals.
AXS: How did your new single, “Broken,” come about?
Madame Mayhem: It’s always cool when you can collaborate with people who hold you accountable and can bring something of their own to the table as well. I’ve written a bunch of songs with Keith Wallen and “Broken” is one that came out of those sessions. I always like it when listeners can relate to a song in their own way. For me, “Broken” is a song about the feeling you get when you’re in a relationship with someone and both of you know it’s over, but both of you are afraid to admit it.
AXS: What was the writing process like?
MM: I always say this but it’s true: there’s really no one set way to write. I could go in with a bunch of lyrics and Keith may have a bunch of riffs. Sometimes we may use them and other times we may just scratch it all together and talk about what we’re feeling right now. We’ll both come prepared but sometimes it can all go out the window and we’ll start with something new. It’s very organic.
AXS: Where do you draw inspiration for your lyrics?
MM: The lyrics usually come from the struggles and frustrations I’ve been through. It’s therapeutic to get the song out, and when I hear people say that they feel the same way it makes me feel that I’m not alone. It’s writing from truth.
Read the rest of my
Interview with Madame Mayhem by Clicking here!
When Harrison Smith agreed to co-write and direct the action/horror thriller, “Death House,” the filmmaker had one goal in mind: to make Gunnar Hansen’s intertwined vision of good and evil a consummate reality. The film’s premise, which brings many of the greatest horror icons together in one film, is a rollercoaster funhouse ride of scares and screams as well as a nod to the best of 80s horror.
In “Death House,” Agents Toria Boon (Cortney Palm) and Jae Novak (Cody Longo) are given a tour of a state of the art, government prison where medical and mental experiments are carried out on the worst of humanity by Drs. Eileen Fletcher (Dee Wallace) and Karen Redmane (Barbara Crampton). But when an unexpected power outage releases the monstrous inmates Boon and Novak, who are beginning to learn more about their own dark pasts, have to fight for survival through a labyrinth of horror. It all culminates in a final, violent showdown in the prison’s deepest level with a face to face encounter with The Five Evils.
In addition to a fun story and stellar cast, which includes Kane Hodder (“Friday The 13th”series), Tony Todd (“Candyman”), Sid Haig (“House of 1,000 Corpses”), and Felissa Rose (“Sleepaway Camp”), “Death House” also features a plethora of Easter eggs guaranteed to please even the most ardent horror fan.
I recently spoke with Harrison Smith about “Death House” and more in this exclusive new interview.
How did this project come about?
Gunnar had brought the idea of creating a movie with a who’s who of horror names to his agent, Michael Eisenstadt. His original script, called “Death House,” was about a group of college kids who create a documentary about going into an abandoned asylum. But when they get down into the bowels of the building, they discover that the patients have never really left. Instead, they’ve been living there as subterranean beings. Michael eventually got the script into the hands of Rick Finkelstein from Entertainment Factory, who then brought it to me.
How did the script evolve into what would become the final film?
I met with Gunnar and the two of us started going over it. The whole documentary idea had been done before, but the one thing Gunnar really wanted retained was his vision that good and evil are intertwined and need each other. He told me he had this Biblical concept of these “Four Horsemen” so I suggested we change it up by adding a woman to finish out the points of a pentagram and calling them The Five Evils. Around that same time, the Super Bowl was airing the world debut trailer for “Jurassic World.” That’s when it hit me: why not make “Jurassic Park” without the dinosaurs? And instead of it being an asylum, let’s make it a prison. We’ll have a young group going on a tour when the ride breaks down and the monsters get out. That appealed to Gunnar. I took even more inspiration from the film, “Escape from New York.” Now we were able to put horror names in as real characters.
The sad thing was that during all this time, Gunnar never let on that he was dying. No one actually knew until a few weeks before he passed [Hansen died in 2015]. That was why he was emphatic about getting it done. I wanted to make sure I preserved his vision, and after reading the final draft Gunnar gave Rick his blessing.
Was there ever any thought given to having the horror icons reprise their famous character roles for “Death House”?
Never. When that idea was first pitched I made it clear I didn’t want to make anything like that. Just look at “Freddy Vs. Jason” as an example. That film went through fourteen drafts and took ten years to make, and that’s what we got? Just because you can do it doesn’t mean that you should.
What was the casting process like for “Death House?”
All of Gunnar’s friends had already told him they’d be on board, so it was a matter of finding a place for them. Robert Englund was also set to appear, and even went out of his way to try to make it happen, but by the time the money moved for filming he already had other commitments and just couldn’t do it.
What can you tell me about the addition of Cortney Palm to the project?
We originally had cast Bianca Bradey, from Wyrmwood, as Agent Toria Boon. She loved the script and we loved her. She’s Australian and we had everything set up with her visa, but it wasn’t going to carry over when it finally came time to shoot. I’ve always been a fan of Cortney’s work in “Sushi Girl” and it was also around the same time “Zombeavers” came out. She and I were Twitter friends so I reached out to her about it. She has charisma and a great look and delivery. She gave everything she had and is absolutely terrific in this film.
How would you describe the story of “Death House”?
I would describe it as a roller coaster ride through the fun house. It’s also a “flipping around cable in 1983 at 2 o’clock in the morning” kind of film. One where you come across it and you say to yourself, “Man, I’ve got to finish this!” That’s what I was going for. It’s very “Escape From New York” / John Carpenter-esque and a tip of the hat to that great 80s cheesy action horror. What’s interesting is that there’s also lot of stuff in the film that’s in the headlines again today, like Transhumanism, which is the idea that mental illness is contagious and can be spread through social media. It’s a smart script that ends with you asking questions, which is what every good film should do.
Are there plans to do a sequel?
“Death House 2: The Farm” is already written and in it we’ll start answering some questions. Like the shower scene where Agents Boon and Novak are asking about each other’s tattoos and the possibility of having memories erased. It all takes place on a farm that’s being used for human trafficking.
Are there any other projects you’re currently involved in?
“Spilled Milk” is a screen play I wrote that’s based on the novel by K. L. Randis, which is her true account of surviving sexual abuse from her father. I was attracted to the story because of this woman’s plight and the whole #MeToo movement. I wanted to write it from the standpoint that it really is a horror movie because it’s real. The script is in the hands of a female director, which is where it should be. Most of all, I’m excited for Kelly to get her word out.
I’m also getting ready to shoot a quiet, horror film noire called “The Special,” which stars Damian Maffei [“The Strangers: Prey at Night”] and Sarah French playing the wife. It’s a story that was brought to me by Mark Streensland and James Newman. There’s dark elements, a little bit of revenge and some things you don’t see much of anymore. It also has some great practical make-up effects. I’m very excited about it.
What would you like people to take away from watching “Death House?”
Gunnar wanted this film to be for his fans. He didn’t care about the critics or a Rotten Tomatoes score. What he wanted was for all the people who came to see him and paid money for his autograph to have something to be excited about. So, look at the crazy creatures that are in the freezer, enjoy Kane Hodder and watch for all the Easter eggs—especially the ending post credits sequence which features the best Easter egg ever. It’s Larry Zerner, who played Shelly in “Friday The 13th: Part 3.” And for people who may not know much about classic horror, hopefully watching “Death House” will make them want to go back and learn more. “Death House” is for the fans, so have fun and enjoy it.
“Death House” is available now on Digital, Streaming, DVD and Blu-Ray.
During an exclusive tour of a nine-level, secret prison known as “Death House,” agents Toria Boon (Cortney Palm) and Jae Novak (Cody Longo) become trapped inside its walls after a power outage frees a ruthless army of the world’s most dangerously maniacal prisoners. Trapped in the labyrinth of horror, the agents must push to the facility’s lowest depths, where they’ll come face to face with a supernatural group and discover a dark secret about themselves.
The premise for the B. Harrison Smith directed feature was originally based on a concept by the late Gunnar Hansen (“The Texas Chainsaw Massacre”) intended to bring as many horror legends together in one film. That’s why, in addition to appealing performances of Palm and Longo, “Death House” features a plethora of iconic horror stars from the mid-70’s to present day, including Kane Hodder (“Friday The 13th”series), Dee Wallace (“Cujo” “The Hills Have Eyes”), Barbara Crampton (“Re-Animator”), Tony Todd (“Candyman”), Bill Moseley (“House of 1,000 Corpses”), Michael Berryman (“The Hills Have Eyes”) and Felissa Rose (“Sleepaway Camp”).
As an actress, Cortney Palm has a knack for playing strong, female characters (just check out the beautiful artist’s work in 2012’s “Sushi Girl”) and Agent Boon is another convincing role that’s right in her wheelhouse.
“Death House” is more than just an “Expendables of Horror” film. It’s a gripping tale of good versus evil, the dangers of experimentation, the macabre, and how things are not always what they appear to be.
I recently spoke with Cortney Palm about her role in “Death House” and more in this exclusive new interview.
How did this project come about for you?
In this age of social media people have different ways of reaching out and giving you information about opportunities. In this case, the original lead for the film had to unexpectedly drop out. They were going to start filming and I received a Twitter message from [director] Harrison Smith telling me they were looking for someone. I read the script and was immediately excited. It was a fun, in-depth story about good and evil. About finding what it takes to face your inner demon and coming out on top. I called my agent, flew out a few days later and we made it happen.
What was it about the script that intrigued you the most? Was it the idea of having so many horror icons attached to the project?
Originally, I didn’t know it was being pitched with a lot of horror icons attached to the screenplay. What drew me to the story the most was the strong female lead. I’m always attracted to characters who don’t take anything from anyone else and who can stand on their own two feet.
How would you describe your character, Agent Toria Boon?
She’s a very by the books kind of person. She’s a daddy’s girl, but daddy really wanted a boy. As a result, she’s had to step up her game and trained hard for what she’s doing. As the story unfolds she realizes there’s something she hasn’t been told. Everything is snowballing all at once and she’s not really sure who to believe or trust. She has to follow he intuition and think things through as they happen. She’s figuring out how to survive while at the same time, visions of “Who Am I” keep racing through her mind. There’s also a dynamic, female power trip going on within the film. It’s about who’s on top and who’s going to be the manipulator. The women all have to fight for a place. They all have to be there for each other but it’s still about who’s bite is bigger.
How would you describe the story of “Death House?”
It’s a crazy roller coaster ride, so stay in the cart and keep your legs and hands inside at all times. The story goes into the idea of what happened back in the Fifties and Sixties when the government was performing tests on people. It also dives deep into what it means to have good and evil in the world. The yin and the yang.
What was it like working with Harrison Smith?
Harrison was once a history teacher and was such a good mediator at getting us all to the table and keeping us on the same page. For any issues we had to overcome he was the hub and teacher who kept everyone grounded. He also gave us the freedom to innovate and try new things. Some of that inspiration took the story deeper than what we originally expected.
What did you enjoy most about making “Death House?”
I loved the prison location. There was a lot of energy there that was indescribable, but not necessarily good or bad. People have actually been burned and murdered there and there were also riots. It was dark and there were some really cold, long shoots. It was a lot of work but the prison made it magical.
Are there any other projects you’re currently working on?
A film I shot a few years ago, “Sunflower,” is getting distributed in the middle of 2019. I also recently wrapped a father-daughter drama called “Two Cents from a Pariah” as well as a voice over for a psychological thriller called “Purple.” Another film, “Herringbone,” just won the online Sydney Lift Off film festival and is in the festival circuit. It’s a touching tale about two women struggling to survive captivity and torture, as it represents the dairy industry. I’ll also start filming a movie called “Bleed Millions,” that’s directed by Sam Koze, in January. It’s an interesting story about a psychopathic individual who uses the blood of his victims to paint works of art.
Have you ever thought about getting on the other side of the camera someday – either as a writer or director?
I’d definitely consider it. It’s really a matter of finding the right projects. I have a few ideas for a film about unity and casting children as leads. We’ve gotten away from our innocence and the nature of just accepting and being present. That’s something I’d like to explore.
What are you looking forward to the most in 2019?
I’m excited about expanding my horizons and meeting people who are more about the human condition and how it’s represented in film and in our daily lives. Instead of being caught up with unsubstantiated hate towards one another or victimizing ourselves or others, I want to focus on waking up to a collective consciousness. Having people realize their true selves and the beauty the world has to offer. I’m looking forward to helping to influence people in positive ways to make changes so our world can become better place.
“Death House” is available now on Digital, Streaming, DVD and Blu-Ray.
As a musician and writer, 2018 has been the best of year of my life. Not only did I complete more than 124 interviews for this blog, GuitarWorld.com and AXS.com over the course of these last twelve months, but 2018 also marked a trifecta of amazing milestones for me.
I began this whole writing journey with a single, simple Facebook resolution I made to myself on New Year’s Day in 2011. If you’ve been a regular follower of this blog over the last seven years, you’ll know that its the same one I post every January 1st to remind me of how it all began and just how far I’ve come:
Keeping that promise to myself over these last seven years has been an amazing ride, but 2018 saw three of the biggest, pinch yourself moments ever. Things I only ever dreamed about doing. So, as this year comes to close, I’d like to revisit them one more time.
2018 started out with a trip to Los Angeles in February for a once in a lifetime experience at Rock & Roll Fantasy Camp. Not only did I get to jam with two guys from my all-time favorite band, REO Speedwagon, but I also had the rare opportunity to perform on stage with Night Ranger at The Whisky A Go Go! Joining me that night were Craig Goldy (Dio) and three guys, Bobby, Rik and Tom, who I’d never met before but who quickly became friends and bandmates I’ll never forget.
I’ll let you in on a little secret: all the while I was in L.A preparing for Rock & Roll Fantasy Camp, I was also busily putting the finishing touches on something I think every writer dreams about doing, and in May of this year that dream finally came to fruition with the release of my first novella, “Neapolitan Sky.”
The story about Nica Mitchell’s journey actually began in the Summer of 2017 and took nearly six months to complete. It was a labor of love, pain and constant rewrites and second guesses. When I finally put the pen (or in this case, the lid of the laptop) down, I had the good fortune of having more than a dozen of my friends help me by being test/proof readers and editors. Their input and experience was invaluable in getting the story ready for publication. Following the release of “Neapolitan Sky,” I also had two amazingly successful book signings in Bethlehem and New Hope, PA.
Equally as surreal as the physical book was the release of an Audible version, which was read by one of my favorite artists and actresses, Ashley Watkins. Where I had brought the words of Nica Mitchell and her friends to the page, Ashley literally brought them to life!
But perhaps the biggest, and most exciting, event of the year came just a few weeks ago with the release of my first two interviews in the pages of Guitar World magazine. As a guitarist, I’ve been absorbing this magazine like religion every month since 1985. It’s a bible for any aspiring guitarist. Having already been blessed (religion – bible – blessed, get it?) to write for the website for nearly six years, getting the opportunity to contribute content to the physical magazine was another dream come true. When you open the magazine and see your name printed on the page right next to some of your guitar heroes its not only poweful, it’s humbling. Moreover, it’s proof that hard work, networking and kindness pays off.
Next year will mark another major milestone as I’ll be turning fifty years old. But as I look to that day with both fear and wonder I’m reminded that each and every day is part of the journey. Collectively, I look back on these last seven years and can’t believe some of the things I’ve accomplished. I’ve met so many amazingly talented people along the way. Not just actors, musicians, artists and filmmakers. In many cases, these are people who’ve become dear friends to me. Friends I’m proud to have in my life and ones who inspire me to do better.
Here it is in a nutshell: Since 2011, I’ve done nearly 2,000 interviews and articles, released three children’s books with one of my dearest friends, wrote my first novel, and have rounded out 2018 with two interviews published in the pages of Guitar World magazine. Even with all of that it still feels like I’m just getting started. There’s so much more to do, and I can’t wait to get started. As a preview, I already have an interview on deck with Def Leppard, who will be inducted into The Rock & Roll Hall of Fame in 2019. I’m also halfway through my new book, a prequel to “Neapolitan Sky” that’s set in the year 1986!
Please don’t read that last paragraph and think I’m tooting my own horn. I’m nobody special. What I’m trying to say by writing it down is that if I can do it — so can you. Dreams don’t just fall into your lap. You have to go out and make them happen. And sometimes, all that can start with just a simple resolution:
“I’ve resolved to do some writing. So here goes:”
I hope reading this blog will inspire you to do the same thing I did on January 1st, 2011, and that is to make a promise to yourself for 2019. A resolution to do something you’ve always dreamed about. Take the first sentence of my resolution and change the word “writing” to something you’re passionate about. Then go out and make it happen.
Here’s wishing you peace, love, music, art, writing….and all the best for the New Year.
It’s been another incredible year for multi-talented artist, Rudy Sarzo. Not only was The Guess Who bassist involved in the band’s first album of new material in more than two decades, The Future Is What it Used To Be, but Sarzo also contributed his musical prowess to friend (and fellow former Dio bandmate), Craig Goldy’s Dream Child project, Until Death Do We Meet Again.
You may be surprised to learn that Sarzo, whose lengthy musical career as an artist includes work with Ozzy, Quiet Riot and Whitesnake, was also once a mass communication major in college. An experience that serves him well is his newly launched radio show, “Six Degrees of Sarzo.” A three-hour, nine-segment show on Monsters of Rock Radio that airs Sundays from 4 – 7 p.m. PST (7 – 10 p.m. EST). The show is an eclectic mix of music and interviews and is part of the 80+ original station line-up on Dash Radio, available commercial and subscription free.
I recently spoke with Rudy Sarzo about “Six Degrees of Sarzo”, his work with The Guess Who, Dream Child, and the 35thanniversary of Quiet Riot’s monster Metal Health album in this exclusive new interview.
Where did the idea to do a podcast originate?
Recently, I’ve been attending a lot of memorials for musicians and friends of mine who’ve passed away. I heard so many nice things being said about them that I started thinking wouldn’t it be nice if they could be here to hear all of these things being said about them? It inspired me to create the Dash Podcast, with the “dash” being that line between the birth and death date on a headstone. The idea was for me to bring in people I admire from all walks of life and talk about their journey.
One day, I was contacted by Harlan Hendrickson, who owns the Monsters of Rock brand. He has a station on Dash Radio (ironically enough) called Monsters of Rock Radio and asked me about doing a show. I now have a program on Sundays from 4 -7 p.m. PT called “Six Degrees of Sarzo.” It’s a nine segment, three-hour show that has a bit of essence of the original podcast where I interview musicians, talk about their journey and mix it up with music.
What are your plans for “Six Degrees of Sarzo”?
I recently interviewed my friend Frankie Banali from Quiet Riot and dUg Pinnick from King’s X and also have the NAMM show coming up in January where I’ll be doing short interviews with people there. I also want to use the show as a tool for what’s happening now and to get more exposure to the new bands like The Struts, Greta Van Fleet and Rival Sons. They’re all great musicians, songwriters and performers. There’s a bright future for the next generation.
Let’s discuss a few other projects you’ve worked on this year, starting with The Guess Who. The band released a new album in 2018, The Future Is What it Used To Be. How has the reaction been?
There was emphasis on keeping the spirit and legacy of the band and what the sound is all about with the new album, and the response has been phenomenal. We play a few of the new songs every night and have three videos for the songs “Playin on the Radio,” “Haunted,” and our new one, “In America.”
What was the writing process like?
I’ve only been in the band for a years but the process started even before I was on the radar. There are two producers / songwriters in the band—Derek Sharp and Will Evankovich. Will is also the co-writer and co-producer, along with Tommy Shaw, on the latest Styx record, The Mission. They had been working on material to submit to other artists and one day they said, wait a minute. Why should we give these songs away? Let’s make a new Guess Who record!
What can you tell me about your involvement with Craig Goldy in the Dream Child project?
What was interesting about that album was that there was a clear vision: Craig was going to produce and write. Goldy already knew Wayne Findlay and Diego Valdez and the label asked him about getting Simon Wright and myself, who played with Goldy in Dio. I did recording and engineering in my home studio and Wayne and Diego did their parts in their studios. Simon went into a studio to record and engineer the drums with Goldy. It’s record I was very proud to be a part of.
This year marked the 35th anniversary of Quiet Riot’s Metal Health album. When you look back on that whole era now, what thoughts come to mind?
I recently talked about this with Frankie Banali on my radio show. I was on the same circuit as Kevin [Dubrow] and Frankie in the Randy Rhoads version of Quiet Riot before I joined Ozzy. After Randy passed, I wasn’t mature enough to know how to deal with loss and needed to get away. I had gotten a call from Kevin to come in and play on one song, “Thunderbird.” It was a song Kevin wrote when Randy left Quiet Riot to join Ozzy, but after Randy passed, it took on a whole different meaning. I went into the studio to do that one song and by the time I left the session I’d recorded almost half of the record. When I officially left Ozzy a few weeks later, I came back and finished the songs. I played on everything except “Metal Health” and “Don’t Wanna Let You Go,” which was recorded by Chuck Wright. I found emotional refuge playing with my friends again and re-discovered the joy of playing. That’s what that record means to me. It was a place where I felt comfortable.
Did the band have any idea of how special that album was going to be?
We actually felt it might do the complete opposite. I remember at the time, no one wanted to manage the band. We had to beg the original Randy Rhoads-era manager to come out of retirement, and even he was skeptical. I was aware of the new wave of metal and the possibility of how the band might be accepted outside of L.A. because I’d been touring with Ozzy for a few years and we had Motörhead, Def Leppard, UFO and Starfighters open for us. I thought we might sell 50,000 albums, which was the watermark for a young band to make a new record. Then MTV happened and they started playing “Cum On Feel The Noize” every half hour. That made an incredible difference.
Of all the highlights of your career, is there one thing that stands out to you as most memorable?
Every single one has its own special memory. I can’t say that one was more memorable than another. Whether it was with Ozzy, Quiet Riot, Whitesnake or Dio, each one had a very beautiful arc –a beginning, a middle and an end. It’s more about the journey than anything else.