Quiet Riot
Metal Health

THE REVIEW

Fate is really strange! Quiet Riot, hailing from Los Angeles and founded by the late Randy Rhoads, whose importance in the guitar realm is undisputed, managed to carve out a place in rock history and gain success and fame with this "Metal Health", their first platinum record, only after his tragic death in a disastrous plane crash. In fact, at the dawn of the recordings for the album in question, the relationship between Randy and the band members had already soured due to Rhoads' desire for new experiences (the auditions for Ozzy Osbourne's new band), although they weren't completely broken. Proof of this is the continuous contact with Dubrow and Randy, who, alongside the project with Ozzy, was also working on some pieces for Quiet Riot.

The album was eventually released under Pasha Records with the following line-up: Kevin Dubrow (vocals), Carlos Cavazo (guitars, backing vocals), Frankie Banali (drums, backing vocals), Rudy Sarzo (bass, backing vocals) and marks an almost physiological stylistic evolution of their sound, starting from the distinctly American hard rock bases of the first two albums to land in decidedly more heavy metal territories. A balanced mixture of what will be defined as Hair metal with headbanging, anthemic choirs, and raw power chords will allow Quiet Riot to sell a million copies in just eight months.

The opening entrusted to the title track "Metal Health" (which in single version is instead "Bang Your Head") immediately lets us understand the intentions of the platter: melody and a gritty, dirty, and darn raw singing supported by a very valid and substantial rhythmic base. The next song "Cum On Feel The Noize", a cover of Slade's (from "Sladest" in 1973) reinterpreted in a heavy key, is a burst of liveliness with an energetic and carefree riff. It is said that it was producer Spencer Proffer who suggested this track to the band as a cover, although until the end Quiet Riot remained not very convinced of the choice. "Don't Wanna Let You Go" is among the most beautiful tracks on the LP: the classic hard rock ballad supported by a very robust and romantically clean sound with the rhythmic section creating a square groove, embellished by an elegant and determined solo. It is followed by "Slick Black Cadillac", introduced by a full-throated choir as few are, already present in the previous Quiet Riot, which benefits from the overall heavy imprint making it even more roadworthy than the other version, with Cavazo providing a decent solo performance that holds its own against Rhoads' on Quiet Riot II.

A very delicate melancholic arpeggio and a heart-wrenching voice introduce the desolate atmosphere permeating "Love's A Bitch", another of the most successful moments of the platter, torn by a heartfelt solo that vibrates to touch you. Deeply. And the melody and riffs flow impetuously, captivating with their immediacy and versatility, moving from the gallop of "Breathless", strengthened by Cavazo's usual compositional finesse on guitar, to "Run For Cover", properly 100% metal, and "Let's Get Crazy", a classic hard rock piece. In short, two more pearls, bursts of notes, and lots of power, preparing the ground for "Battle Axe", Cavazo's guitar tribute to Rhoads, the first chapter of the nostalgia section, culminating in "Thunderbird", too sweet and rhetorical. Possibly the least successful track in the entire package.

Lastly, I like to dwell on the cover art: a madman strapped in a straitjacket justifying the album title's play on words (mental vs. metal health) and I like to think that the group’s reaction to Randy's tragic departure could only be a foaming reaction, of madness indeed, restrained yet veering at the last from a sound cliché, ready to take risks.

See Ya!