La Jolla Real Estate

Quiet Riot Vocalist
Kevin Dubrow
1955 - 2007

Kevin Dubrow was found dead
in his home on Sunday 11-25-07. Read More
FIB MUSIC:  How does the "Metal Health" line-up come together? How do find Chuck Wright?.......

Kevin:   Well, Chuck Wright and all those other guys were just the evolution of Dubrow.

FIB MUSIC:   Even Carlos Cavazo?

Kevin:  Even Carlos....The last guitar player was a guy named Bob Stefan, but Bob, who was a great guitar player and a good guy, but he had a hot temper. And I wasn't going to deal with anyone's hot temper. Because, Randy Rhoads was the best guitar player I had ever played with and HE didn't have a hot temper. I was going to be damned if I was going to play with anyone who had an attitude issue. So, Bob got fired and then we got Carlos......we got Carlos and then got a record deal. So, Carlos happened to be in the right place at the right time. It was really a timing issue more than anything. Because Carlos wasn't supposed to be the guy, it was a guy named Danny Johnson, who now plays in Steppenwolf. That's who I wanted and Frankie wanted Carlos. And I ended up saying, you know, I don't give a shit who it is at this point. I just want out of the bars and I want a record deal. Chuck Wright, who had been in Dubrow at the time, but when Randy died, we were in the middle of making the album that would later become "Metal Health". Rudy (Sarzo) was not happy being in the Ozzy (Osbourne) band and he asked if he could rejoin the band and we said "sure", because, we brought a lot of credibility to the table, he brought name value and he was a great showman.

FIB MUSIC:  Not everyone knows that a lot of the bass parts, on "Metal Health", were recorded by Chuck Wright.

Kevin:  Not all of them. It depends on what song. Actually, some stuff, like "Cum On Feel The Noise" was originally tracked by Tony Cavazo (Hurricane), Carlos' brother, then Chuck put the bass on there and then we replaced Chuck's part. Songs like "Don't Want to Let You Go", Chuck was on bass and then Rudy replaced it and the playing was not right, but we had erased Chuck's part, so we couldn't remix it and we had to use a demo version of the song on the album. We could never remix the song with Chuck's bass part, because the idiot (engineer) erased it.

They tried to do the same thing with "Bang Your Head", but I loved the way "Bang Your Head" turned out, with Chuck on bass. There were issues with Rudy in the studio....I'm not going to go into it, but they weren't good issues. So, I said, just leave it the way it is, don't touch a fucking thing on sounds great, you know, "Bang Your Head" the demo mix and that's what is on the record, with Chuck on it. I mean, we didn't remix it, we didn't redo anything, it was just Carlos, myself, Chuck and Frankie.
FIB MUSIC:  Wasn't Tony Cavazo in the band Hurricane?

   Yeah. That was after Quiet Riot. He was in Quiet Riot or Dubrow, one of the last versions of it all, so him and Chuck were in and out of the band at the same time. Carlos' brother was there out of convenience, he wasn't really considered. It just happened to be a time when Chuck was out. Chuck was in and out....there were issues there....not musical issues, there were never musical issues with Chuck...he was always really, really good.

FIB MUSIC:  So, were they drug issues?

Kevin:  NO!, no. Just loyalty issues. (laughs) Nobody had drug problems back then, nobody had any money. The punishment didn't come until after we became stars.

FIB MUSIC:  So Carlos joins the band and you guys immediately get signed?

Kevin:  Within a year.

FIB MUSIC:   Any memories stand out from the day you signed your record deal?

Kevin:  There were problems all the way down the line with the record label, Spencer Proffer and that Pasha label.

FIB MUSIC:  Yeah. I have heard some terrible things about him (Spencer Proffer).

Kevin:  Oh, it was a nightmare. Real greedy....real greedy guy, bad guy, not a good person.

FIB MUSIC:  He produced the Quiet Riot records as well, right?

Kevin:  Yeah. He did some nice things and some bad things, but overall, not a good person. He's a person I don't really have anything good to say about, no fond memories.

FIB MUSIC:   Any cool, sucked, or brilliant moments come to mind from the "Metal Health" recording sessions?

Kevin:   Well, it's pretty well documented when we were recording "Cum on Feel the Noise", that I was thrown out of the studio because I kept making faces, I didn't want to do it. I got a nice hamburger when they cut the basic tracks.

(L-R)Carlos Cavazo, Frankie Banali, Kevin Dubrow, Rudy Sarzo

FIB MUSIC:  You did what?

Kevin:  (laughs) I got a hamburger....I got an Astroburger, while they were cutting the basic track, because I was thrown out of the studio...I wasn't even there. But I hated the song. I still don't really like singing it.

But it was an interesting record to make. There were some nice moments musically. We were shown how to do things we didn't know how to do. It was the first time we had a big drum sound; first time we had a funky rhythm section. Spencer Proffer didn't know anything about hard rock guitars, so that was a nightmare trying to get them to get the sound on the guitar right and trying to get the guitar to be a dominant part of our mix, because Spencer didn't get it. "Having My Baby" by Paul Anka was his rock n roll background. So, you can imagine....that was the guys was difficult. So, I was never load enough. But, musically there were some nice vocal moments. That's where I really honed my style as far as that whole screaming thing I was doing then. I remember that it did like "Love's a Bitch" and "Bang Your Head" and remember hearing the sound of my voice and thinking it was a really distinctive thing that I really didn't have prior to that. Spencer definitely focused and helped me with that. I found my voice during the making of "Metal Health"...that's when I found that sound. I was encroaching on it during the making and then Spencer helped bring it out and make it happen.

FIB MUSIC:  Where did you record "Metal Health"?

Kevin:  Pasha studios. Melrose and Gower in Hollywood, right next to Astroburger, it's now like some sort of mini-mall. But it was basically a toy studio. I mean it was really not much in terms of a studio. But the guy who engineered the record, Duane Baron, was really, for the time, brilliant!! He managed to get a HUGE sound out of what was basically the barest, most primitive tools at our service, not much at all. Even compared to 1982 standards.

FIB MUSIC:  Was there much backing for the record? What was the recording budget?

Kevin:   It was done on available time. When no one was in there paying full rate, then we got in there when the studio was open.

FIB MUSIC:  So there was no budget at all.

Kevin:   No. There was no budget at all. But sometimes the best things come out of that. We had a big budget to do the third record and all we did was do blow and screw around. So, you know, there's a reason why people who are poor, sing the blues better.(laughs)

FIB MUSIC:   Once "Metal Health" comes out, how long does it take before it takes off.

Kevin:  It came out in March of '83 and entered the Billboard charts at #186 and by November 26th of '83 peaked at number 1.
FIB MUSIC:   So at that point it's just chaos for you, right?

Kevin:   Yes.

FIB MUSIC:  So when the record is done, do you guys immediately hit the road?

Kevin:  Yes. Absolutely, we hit the road right away.

FIB MUSIC:  Who did you tour with first.

Kevin:   The Scorpions.

FIB MUSIC:  How long do you guys tour supporting "Metal Health"?

Kevin:   We were on the road for the entire time, for a solid year. Scorpions, then ZZ Top, then Loverboy, then Iron Maiden, then Black Sabbath and then Judas Priest in England.

FIB MUSIC:   Any cool moments stand out from that tour?

Kevin:  Judas Priest was great....AMAZING!! The best band of all the bands we played with, that's for sure. No two ways about it. They were the best band....they kicked ass and blew everybody else away...there was no comparison.

FIB MUSIC:  Sorry, I can't remember, but did Def Leppard's "Pyromania" come out before, or after "Metal Health"?

Kevin:   Before.

FIB MUSIC:  After "Metal Health" is released and you guys open the flood gates, then comes the onslaught of bands that get signed from LA.

Kevin:   Yeah. (laughs)

Quiet Riot Live 1983
US Festival

FIB MUSIC:   Back then, it was public knowledge that you had resentments toward some of the bands and their success, but I read somewhere that the real reason you were upset was mostly because you guys had signed such a crappy record deal.

Kevin:  Yeah. That's true. Yeah.

FIB MUSIC:  Surely you guys receieved something for "Metal Health".

Kevin:   We received no money for publishing.

FIB MUSIC:  And still don't?

Kevin:  No. Still don't.

FIB MUSIC:  Unbelievable. You guys just signed it over?

Kevin:  Yeah. Our thinking was 10 percent of something was better than 100 percent of nothing.

FIB MUSIC:  Do you guys get to renegotiate before you start recording the follow-up, Condition Critical?

Kevin:  We wanted to, but we didn't have really strong management, so no, it didn't change. That was one of the reasons I was real pissy too.

FIB MUSIC:  "Metal Health" sells 6 million records in the States alone, right?

Kevin:   Yeah. That's correct. We also went multi-platinum in Canada and platinum in Mexico.....

FIB MUSIC:  You have any idea what worldwide sales were?

Kevin:  No I don't. I've tried to think about it. Not only were we not being paid on publishing that we signed away, then the mother label.....well, I'll put it this way, both labels, the Pasha label and the mother label, both did some creative bookkeeping and there's an old saying that says, once the books are cooked, you can't make them raw again. So, it was impossible to, without spending a hundred thousand dollars on a forensic accountant to comb through everything....I never think about this stuff, because it just makes me mad. But you know, Spencer Proffer has bought houses many times over on money that was basically off my black ass, if you know what I mean. (laughs) For lack of a better word.....Or mine and Frankie Banali's. Songs that Frankie and I wrote.

FIB MUSIC:   You still get your mechanical royalties though, right?

Kevin:   We still get our mechanicals, yeah. But now when the peak selling years are over....I'm going to be honest with have an album that sells as many records as "Metal Health", we never got a check for a million dollars. We never had the big bucks that everyone thought. Because listen, we did sign it away, it's not like we didn't know what we were doing. It was not a fair deal and when it came time to renegotiate, Spencer was not being fair about it and he didn't have to be. It was his option, but he could have, or he could have been the asshole that he turned out to be. It wasn't a big surprise to anyone that Spencer Proffer turned out to be the piece of work that he was.

FIB MUSIC:  So when you sign over your rights, it is simply to make sure you get a record out.

Kevin:  Yeah, because it was a deal breaker with him. He wasn't going to sign us. It was his available studio time, he had a little boutique label that was a part of was all his toys. There was really no negotiating. He tried to get a part of our merchandising too and that was a deal breaker for us. Why should you get a piece of merchandising when you have nothing to do with that? So, he was a bad guy. I have rotten apples about it, but I wouldn't even be thinking about it had you not brought it up.

FIB MUSIC:  Do you guys headline any shows during the "Metal Health" tour?

Kevin:  Yeah. With Queensryche & Axe opening. We tested the water, so to speak in 1983 in the States...maybe two weeks worth of shows...sold out most of them. Having only about one album's worth of material to pick from, that people know, we weren't really ready to headline, even though we thought we were. But yeah, we did some headlining shows.

FIB MUSIC:  But you guys are a headliner when Condition Critical comes out, right?

Kevin:  Yeah. Except for the occasional $100,000 festival date.

FIB MUSIC:  Surely, you guys are making a boatload of money at this point.

Kevin:  No. Not as much as you'd think, because we were stupid...we kept our expenses very high with the touring. We had a huge live show and the lifestyles weren't really ridiculous, but our expenses were getting stupid. Noboby could really reel it in, we were doing the same thing everybody else was doing back then, but we didn't have as long of a career as somebody like Motley Crue did, where they continued to.... the difference between us and Motley Crue really was the fact that Nikki Sixx was much smarter than we were, in the sense that he saw for them to have longevity, they had to have hit singles, so it was all about writing hit singles. We were raised on Led Zeppelin and Humble Pie, that we were an albums band and we didn't see the writing on the wall, that those times were long gone. Nikki was smart enough, because he knew those times were long gone. It wasn't about albums, it was about radio singles.

FIB MUSIC:  I remember reading somewhere a few years ago, where Nikki had regrets about the Dr. Feelgood tour. Saying that they could have gone without a truck or two, on that tour, and trimmed down the expense of their live show and pocketed a few million dollars extra.

Kevin:  It happens to everyone, it's a common thing. We all look back and regret.

FIB MUSIC:   Any moments stand out from your next release, "Condition Critical"?

Kevin:   It's where the rock started to set in. We had a real problem with Rudy (Sarzo), at that point.

FIB MUSIC:  What was going on with that?

Kevin:  Well, we didn't like the way he played on one of the songs on the album, so we took him off and he got really upset about it and we stopped talking to each other. He wanted to have co-writing credit on everything on the record, even though we hadn't co-written a single song and still to this day, has not co-written a single song. He told us that if he didn't get songwriting credit on everything off of "Condition Critical" then he was leaving the band. I told our manager, tell him to go fuck himself. I said, if he wanted a co-writing credit, he should have written something, but not make demands on something he didn't contribute to. So, that's where the problem set in.

FIB MUSIC:  But he completes the recording, right?

Kevin:   Yeah.

FIB MUSIC:  And then leaves before or after the tour?

Kevin:   After the tour and I don't think we spoke the whole time.

FIB MUSIC:   You guys don't speak for the entire tour?

Kevin: for him...I would have hurt him.

Quiet Riot Video
"Party All Night"
from Condition Critcal

FIB MUSIC:  Who were some of the bands that toured with you?

Kevin:   Whitesnake....I wanted Whitesnake and Chequered Past, because I wanted to have singers that kicked my ass and that would have been Michael Des Barres and David Coverdale, two of my favorite singers. We managed to get Whitesnake, because they meant more to the market than Chequered Past. But I was always a David Coverdale fan and a big Deep Purple fan....the David and Glenn (Hughes) thing. So, it was Whitesnake and I think Armored Saint, which Cozy Powell (played drums with Whitesnake at the time) used to call them Armadillo, or Armored Car.....Cozy Powell would make jokes about their name.

FIB MUSIC:  Is the studio situation the same as "Metal Health", did you have a bigger budget?

Kevin:   We had a bigger budget, but we did it quickly, because we had to. "Metal Health" was so big, we had to have an album out. Problem is, we didn't have time to do any songs, so everything was just left over from "Metal Health". If it's left over, it's left over. (laughs)

FIB MUSIC:  God, it seems that they would have given you a bit more time, considering the amount of records you sold.

Kevin:   Yeah, but we wanted to continue with the momentum and we didn't stop to realize it would have been best for everybody to slow it down and take time to write some better songs. Again, hindsight is 20/20. And also we could have realized that the issue with the bass player was not going to resolve itself, it was only going to get worse, to the point where we were going to have to cut the arm off, or it was going to get gangrene. So, combined with the fact that we didn't have the material, we had a bass player who wanted co-writing credit on a bunch of lousy songs he didn't write anyways. It was basically eating itself alive. There's an issue where the singer was not going to shut up and an issue where you couldn't tell any of us anything anyway.

FIB MUSIC:  The album still goes platinum, right?

Kevin:   Ummm. "Condition Critical" goes double platinum.

FIB MUSIC:  They recently remastered "Metal Health", didn't they?

Kevin:   Yeah. We could have added new songs, or we could have completed unfinished stuff, but they never contact us for anything. It's a shame too, because other bands, they do, us, they don't. It could have been a much better package. We are good friends with Tony Martell over there at Sony, but I'm not sure if he is really part of it anymore.

FIB MUSIC:  Why do you guys decide to do another Slade cover on "Condition Critical"?

Kevin:   It was a bad idea. That was the song that we wanted to do originally. So, we figured, it worked once, it will work again. We also had a problem, when the band Mama's Boys released their version of the same song (Mama We're All Crazy Now), at the same time we did. So, we should have just pulled it out and not done it at all. The problem was, not only did we do another Slade song, which was stupid, but, keep in mind, the Rolling Stones did more than one Chuck Berry song. So, I don't know why we were hacked up so bad for doing another one. But, our version of "Mama, We're All Crazy Now" is not cool...."Come on Feel the Noise" is much cooler. The production on "Condition Critical" is really shitty....I hate the production on it. The good things about the production on "Metal Health" are all missing on "Condition Critical". I think we exagerrated the goofier aspects of the group and a lot of the dumb ad-lib stuff on the vocals are just really exagerrated. That's one of the reasons that I think our version of "Mama, We're All Crazy Now" stinks so bad. It stinks the house up...I hate it. I hate the whole record. I think it just sounds rushed, it's one-dimensional.

FIB MUSIC:  Did you think that when it was originally released?

Kevin:   I thought that it sounded kind of one-dimensional. I knew the bass playing was not right on it. The rhythm section......, you can't have the bass playing be wrong and have the rhythm section be right....and I'm not saying he ruined the record, but it just wasn't right. I wanted him out and he wanted to leave, I'm sure.

FIB MUSIC:  When Rudy leaves, what was the state of the band?

Kevin:   We're in a state of confusion. We're basically rehearsing up in my guest house and I'm playing bass. We used to call me Starlet or Jerk-ass-Bastorious (not sure if Kevin really said that, hard to understand, but sounds like it. Anybody know? Please email us. - AI). My bass playing is pretty shitty. I've been around some shitty bass playing, I can tell you, I'm probably the worst.

FIB MUSIC:  And this is when Rik Fox comes into the picture?

Kevin:   Yeah. Because we had a South American tour. That's what that was all about, but he decided to open his mouth, as you reminded me, because I completely forgot about it.

FIB MUSIC:  And then Chuck Wright, once again, comes into the picture.

Kevin:   Well, he had problems with Gregg Giuffria, so it was an easy choice for him to make. He was the right guy to play in the band anyways, still is to this day. He is the best musical fit with Frankie.

FIB MUSIC:  Did Chuck quit Giuffria?

Kevin:   Punched Gregg in the face, I guess.

FIB MUSIC:  No kidding?

Kevin:   Yeah. It's happened a couple of times between those two. He felt about Gregg, the way I felt about Rudy. No love lost.

FIB MUSIC:  Did the record label consider "Condition Critical" to be a success?

Kevin:   No. It was considered a failure and we were.....they didn't love us in the first place over there, because we were a pain in the ass. We were always trying to get things, the way we wanted it. We had to fight for everything. Then when we all became big, they all thought we should be grateful for what we have, that we were lucky to get what we had. Instead of kissing the ring, they looked down and said you should be grateful for what you have, you little assholes.

FIB MUSIC:  That is amazing. It wasn't even common, at the time, for bands to sell the number of records you guys were selling.

Kevin:   It amazed us too. Especially, behind the scenes, we're playing to twenty thousand seats a night and we have a label that snubs their nose at us. No respect at all.

FIB MUSIC:  Nowadays, it seems that anyone can have a gold record....well, maybe not within the last year, but in 1982-83, it was still a big deal if you sold 500,000 copies and you guys sell 3 million records rather quickly.

Kevin:   I know. We sold a million records in one particular week. The week it went number one, we sold a million records that week. We were pretty knocked out. (laughs) Going number one was pretty neat, but not as neat as the best moment, which was when my favorite singer of all time, Steve Marriott of Humble Pie.....Humble Pie opened for us at the El Paso Coliseum and at the end of our show, Steve Marriott came out and we did the Humble Pie / Eddie Cochran's version of "C'mon Everybody". When Steve Marriott jammed with us, that was the best moment for me...the highlight of my career. It's always about the musical moments, not the business moments, they are very fleeting. What you aspire to be as a musician, the artistry reasons, the other things are just very fleeting.

We played a show in San Antonio and we sucked really bad, but it sold out. I thought we sounded so fucking bad and I remember Rudy asked the manager, "how did we do in t-shirts?". (laughs) I just remember I looked at him and said, "who cares, it sucked, we didn't play well". Definitely a difference in attitude.

FIB MUSIC:  How did you do in t-shirts?

Kevin:   I don't remember.

FIB MUSIC:   When you guys go in to record your next record, QR III, what kind of budget do you have?

Kevin:  He (Spencer Proffer) was charging us double rate on the studio. He was really fucking us that time. Because we were so fed up and the band was in disarray and the management wasn't paying close attention. When the management was supposed to be watching our hours in the recording studio, so we could compare the hours Spencer was clocking compared to what we really used. Management expected us to be doing it.....(laughs)....then what are we paying you for. So we got fucked. Spencer charged us $210,000 to record that album. Nobody had any proof, because nobody watched the hours. So, of course, he fucked us really hard. On the "Metal Health" record, Carlos logged everyday and every hour that we used, so we knew.

"Wild & the Young"
from QRIII

Frankie & Kevin when they
made up

FIB MUSIC:  But by that time, you just assumed you weren't going to get fucked like that?

Kevin:   Well, by the time we did "QRIII" we weren't paying attention anymore.

FIB MUSIC:  When the album is released, you guys have a hit with "Wild & the Young", right?

Kevin:  Yeah, but the problem was, we were battling against Bon Jovi and their album and in comparison, it wasn't doing anything. People were not coming in droves to see us live anymore. We were kind of like past our prime. Our "Use By" date had hamburger, or something. We were last years was a trendy thing... we were no longer the hip thing....Poison had taken our place. So, I was fed up with it and they were fed up with me, so they basically fired me. They stuck a plane ticket underneath my door in Hawaii and that was the last I saw of them for about five years.

FIB MUSIC:  Wow. But you still did the entire tour, right?

Kevin:  Yeah at the end of the tour. We did a show in Hawaii and the next day they all took an earlier flight and stuck my plane ticket underneath the door and that was the last time I saw them for four or five years.

FIB MUSIC:  What do you do at that point?

Kevin:  Uhhh. Sat around my house, partying, fucking women and doing cocaine...enjoying myself, generally (laughs).....Had a good time.....that's all. Then eventually, Quiet Riot split up with Paul Shortino (vocalist who replaced Kevin in Quiet Riot)....I put a band together called Little Women and the guitar player we had...we realized it wasn't going to happen, so we had some dates scheduled and I knew somebody who could cut the guitar parts, which was Carlos...and Carlos... I had heard was about to have the power turned off at his house. So I showed up at his house and asked him if he wanted to play and he said sure....and he came out.

FIB MUSIC:  And that's how Quiet Riot gets back together?

Kevin:   Yeah, sort of, we went out as a band called Heat. It was me, Carlos and the drummer and bass player from Little Women. Then we eventually started using the Quiet Riot name again. We changed drummers a couple of times, from Bobby Rondinelli who was going to join Black Sabbath and then we got Frankie back and we made up for all the shit that had happened. We realized that our friendship meant more than a bunch of business nonsense, or cocaine-fueled tantrums. So, we played the market quite a bit. Then, I think it was '97, and he said Rudy was available and would I consider playing with him again. And I said sure, thinking it would help draw for the band, but it was a bad idea. Me and him shouldn't be in the same room together. Some people are just not meant to work together....he's got to feel the same way about me.
FIB MUSIC:  I know this was more recent, but what happened with Tracii Guns joining the band?

Kevin:  Well, we jumped the gun. He was doing Brides of Destruction and we had been negotiating with him. So, we released a press release before we had played with him, just like the Rik Fox thing. We should have played with him, because different people have different rhythms in the way they do their own bands. Tracii had a whole other way of working a rock band than me and Frankie do....and I am not saying it's better or worse, it's just different. Then we realized that our ways of being in a band together were not compatible and it wasn't going to work.....We could have made it work, maybe, but it would have taken forever. I mean for-fucking-ever.

FIB MUSIC:  Does QRIII go gold?

Kevin:  410,000, just under gold.

FIB MUSIC:  What are the low points of your days in Quiet Riot?

Kevin:  Randy Rhoads being killed in a plane crash is the lowest point. Otherwise, I have been pretty fortunate to be in this band.

FIB MUSIC:  What are the high points of your days in Quiet Riot?

Kevin:  Steve Marriott. Headlining The Forum in September of '84. Me and Randy Rhoads always talked about headlining The Forum.....and I would say working with Glenn Hughes on a record. I got to jam with Glenn Hughes.....Glenn played bass at a charity function in Orlando, Florida....I think that was one of the high points. It was pretty fucking cool. He didn't play it like the record (laughs), he did a whole other thing.

FIB MUSIC:  Where were you when you heard that Randy Rhoads was in a plane crash?

Kevin:  I was at home, sleeping, and Michael Kenney, a guy who was a roadie for Iron Maiden, but I guess was playing with Foreigner....Ozzy was supposed to play with Foreigner in Knoxville the next day....he called me and told me and I didn't believe him. I went back to sleep. It started to bother me, so I got up and turned the radio on and they were playing Ozzy songs on one station and Slick Black Cadillac from the Japanese album on another station....and I went oh, fuck. My watch is stopped at the time he died. I was pretty traumatized by it, it took awhile to set in, because, at that point, I never knew anyone who had mom's mom, but I was just a kid.

FIB MUSIC:  Were you guys signed at that time?

Kevin:  Yeah. We were working on "Metal Health". He was supposed to come play on one song and the song "Thunderbird" is written about him. I had spoken to him a few weeks before.

FIB MUSIC:  Kevin Dubrow is transported back to the year 1983 and has been instructed to do two things differently. What would they be?

Kevin:  Not talk shit about other bands and not play one more note, until we renegotiated our record deal.


FIB MUSIC:  What is your most disgusting habit?

Kevin:  Picking my nose.

FIB MUSIC:  What is the most feminine thing you do?

Kevin:  I put a lot of skin cream on.

FIB MUSIC:  If there is a God, what is the first question you would ask God when you arrive?

Kevin:  How could you take Randy Rhoads so young and leave so many assholes here to hang out.

FIB MUSIC:  Greatest Rock band of all time?

Kevin:  The Who, the original Who with Entwistle and Keith Moon.

FIB MUSIC:  What were you doing 40 minutes before you sat down to do this interview?

Kevin:  I was at dinner with my girlfriends parents. It was my birthday yesterday.

Randy & Kevin
"Don't be dismayed by good-byes. A farewell is necessary before you can meet again. And meeting again, after moments or lifetimes, is certain for those who are friends." - Richard Bach

I didn't think it would be as odd as it was transcribing this portion of the interview after Kevin's death, but it was. It has made me focus on it and continually reflect on it throughout the week. It also reminded me, as I am sure it did you, everything comes to an end. I have wasted too much time focusing on the differences between us. I know I will forget again, but maybe if I'm reminded enough, I'll one day be able to grasp it completely. Thank you everyone for your patience &
thank you Kevin for your time & life. -AI

Just so you guys know and this is the absolute truth; as I was typing the last sentence of Kevin's interview, "It was my birthday yesterday", the lights and power flickered in my home, for about 5 seconds.......I'm not saying.
READ PART I of our interview with
Kevin Dubrow - The Randy Rhoads Era.

-Additional Reference-
Watch Quiet Riot Videos w/ Randy Rhoads

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