RANDY'S VERY FIRST
GIG (Before Kevin Dubrow)
(Randy Rhoads, Guitar, with Kelly
Garni, Bass, & (brother) Doug Rhoads, Drums)
"Katzenjammer
Kids"
October 5,
1973 - Kennedy High School, Granada Hills, CA
ORIGINS OF
"QUIET RIOT" NAME
Kelly Garni
- original Quiet Riot Bassist:
"
Kevin came up with the name "Quiet Riot".
As I recall he heard a guy say that if he ever had a band, he would call it
Quiet Riot. He shouldn't have said that in front of Kevin because Kevin said
”I'm going to have a band and I am going to call it Quiet Riot!”. So, he did.
That same guy is probably going, ”wow, you know I said that once. Now it's a big
name!”
*Author
note: Somewhat accurate, but here's
the whole story:
British
rockers "Status Quo" had evolved from London pub bands "the Spectres" and "the
Highlites" in the early '60's. "Pictures of Matchstick Men," the group's debut
single, was released toward the end of 1967, and quickly shot to number seven on
the UK charts; and within a few months, it was number 12 in the US as well. When
the psychedelic music scene faded towards the end of the 60's, They changed to a
rockin', boogie sound and remained quite popular in England. America basically
ignored Status Quo; however, their eponymous album did managed to chart in the
states at #148 during 1976. This was the chance for the band to finally attempt
a US tour. Kevin Dubrow, a huge Humble Pie fan and that rockin' English style,
and never one to shy from any opportunity, became acquainted with "the Brits"
when they hit LA. He befriended
the British band's guitarist,
Rick Parfitt (principle songwriter, and, at times,
bassist and keys). As Kevin tells it, he became their photographer and
even traded faded
blue jeans with them for English leather jackets which he couldn't
find in L.A.
Kevin explains: "We became quite good friends and when they (Status Quo) were
in Los Angeles once, we started talking about names for bands. He said if
he had a group he'd call them "Quiet Riot", which, with an English accent sounded
like 'quite right'.
I think Status Quo were going to call one of their albums
Quiet Riot at one stage and I told him I thought it was a great name. So I went
back to Randy and everyone, told them and they all thought it was a great name."
FIRST GIG -
AS QUIET RIOT
(Randy, Kelly, w/ Kevin
Dubrow, vocals, and Drew Forsyth, Drums)
June 14 -
La Canada Country Club, La Canada, CA
- Randy and Kelly's High School Prom
October 31st - Machinists
International Hall, Burbank, CA
- Private Halloween Party
November 6th -
Los Angeles Valley College, Van Nuys, CA
- Outdoor Afternoon Chili Cook-off
December 3rd - The Cabaret, Los
Angeles, CA - w/ The Boyz
December 4th - The Cabaret, Los Angeles, CA - w/ The Boyz
Quiet Riot - 1977
April 3rd - Troubadour, Los
Angeles, CA - with: Sister - The Dogs - Kid Sapphire - Trash Teddy & Dog Star
April 23rd - Glendale College
Auditorium, Glendale, California - w/ Van Halen
*
May 29th - Longhorn Theatre, Hollywood, CA - Legs Diamond w/ Quiet Riot - Rockicks - Backstage Pass
July 5th - The Starwood, Hollywood,
California - w/ Hollywood Stars
July 6th - The Starwood, Hollywood, California - w/ Hollywood Stars
July 15th - Ramada Inn, Beverly Hills, California - w/ Hollywood Party Boys & Pop
August 29th - The Starwood,
Hollywood, California - w/ Bad Axe
August 30th - The Starwood, Hollywood, California - w/ Bad Axe
August 31st - The Starwood, Hollywood, California - w/ Bad Axe
November 19th - The Starwood, Hollywood, California - w/Eulogy
December 28th - The Starwood,
Hollywood, California - w/Eulogy
December 29th - The Starwood, Hollywood, California - w/Eulogy
December 30th - The Starwood, Hollywood, California - w/Eulogy
During 1976, the band
had signed with producer/manager, Warren Entner, who
eventually lined up a
potential record deal with Neil
Bogart's Casablanca Records. By early '77, Entner had
the band in the studio and recorded the 12 sides that would eventually
become
their
eponymous album, known by fans as "QR I".
Quiet Riot (QR I)
Released:
1978 (Japan only)
Tracks:
"It's Not So Funny" – 3:22
"Mama's Little Angels" – 3:04
"Tin Soldier" – 3:33
"Ravers" – 3:08
"Back To The Coast" – 2:49
"Glad All Over" – 3:09
"Get Your Kicks" – 2:49
"Look In Any Window" – 3:41
"Just How You Want It" – 2:45
"Riot Reunion" – 2:08
"Fit To Be Tied" – 3:27
"Demolition Derby" – 4:23
Personnel:
Kevin DuBrow - Vocals
Randy Rhoads - Guitars
Kelly Garni - Bass
Drew Forsyth - Drums
However, (and
most unfortunately for the band members) the album would never be released by
Casablanca. For reasons which deviate, depending on who tells the story,
Casablanca soured on the group and the record deal fell through.
The circumstances at the time (around June, 1978) suggest a few alternatives.
The most
common stories are usually tied to Quiet Riot. Several theorize it was tied to
Kelly Garni's drinking problems. This I find is the least plausible. I'm sure,
if indeed true, it played a part in his decision to leave (or being fired by the
band) scheduled after the biggest concert, thus far, in Quiet Riot's young
career. I can't imagine the need to change bass players would negate a record
deal. A much more viable explanation would be lead singer and band leader, Kevin
Dubrow's abrasive personality. There is no doubt the success of Quiet Riot is
thanks to the talents, and even more, the tenacity, of Kevin Dubrow. His drive
and determination closely rival his songwriting, vocal skills, and stage
presence, as his contributions to the overall record-setting success of his
band, Quit
Riot. However, whether due to his driven ambition, outrageous ego, or just his
general repugnant personality (I believe in today's politically correct world
the term would be "Alpha" - in those days we used "Asshole"), he managed to
repulse a large majority of the people, at every level, of the music business.
Even in the early days of Quit Riot, when his band followed in the footsteps of
"Satyr" and "Van Halen", headlining weekends at Starwood and developing a rabid
local fan base, he exhibited the personality traits which almost led to his
professional demise.
* See http://www.allmusic.com/cg/amg.dll?p=amg&searchlink=QUIT|RIOT&sql=11:5mfjzffheh3k~T1
I am inclined to believe that it was more a result of a combination of factors, most importantly, the financial circumstances surrounding Neil Bogart and Casablanca Records. Even with KISS, now peaking as one of the biggest rock acts in the world and the overwhelming success of the label's many disco artists, Bogart was still besieged with financial pressures. For close to five years, Casablanca was known throughout the music business for its extravagance at every level. Bogart lived by a philosophy that was often difficult for money managers and financial analysts to embrace. When projects failed, he countered by pouring even more money and effort into it. This business method was contrary to Bogart's financial backers, Warner Brothers, and then Polygram, thus, Casablanca, contrary to the perception, was always in a fiscal crisis.
*See
I suspect it was no doubt related somehow to Casablanca's failed involvement with "white satin New York glam rockers, "Angel". Casablanca was doing an all-out national promotion push behind the band, in hopes of duplicating the huge success that they finally achieved with label blockbuster group, "Kiss". "Angel" featured elaborate staging and all, but their angelic image contrasted with Kiss's cartoonish, demonic show.The label had been hugely successful during the last three "Disco Years" and was now topping the charts with "Kiss" as well. They were heavily behind their new "Glam" band and the scheduled (June 27, 1978) Santa Monica Civic Auditorium concert was designed as a huge PR industry showcase. Quiet Riot was put on the bill, both as a showcase and to boost ticket sales with their growing local following. Stories differ, but Casablanca backed out of the record deal sometime during this period.
Quiet Riot - 1978
February 23rd - The Starwood,
Hollywood, California -
3 Nights
February 24th - The Starwood, Hollywood,
California - All
February 25th - The Starwood, Hollywood, California -
Cancelled
Rebooked (Two Weeks Later):
March 9th - The Starwood,
Hollywood, California - w/ Xstatic
March 10th - The Starwood, Hollywood, California - w/ Xstatic
March 11th - The Starwood, Hollywood, California - w/ Xstatic
June 1st - The Starwood,
Hollywood, California - w/ Continental Miniatures
June 2nd - The Starwood, Hollywood, California - w/ Continental Miniatures
June 3rd - The Starwood, Hollywood, California - w/ Continental Miniatures
June 27th - Civic
Auditorium, Santa Monica, CA - w/ Angel
*
END OF THE ORIGINAL "QUIET RIOT" LINEUP
Whatever the cause of the break with Casablanca Records, the "Angel" concert at Santa Monica Civic Auditorium on June 27, 1978 ended the first era of "Quiet Riot" history. This date had been the pre-arranged last gig for the original four man line-up of "QUIT RIOT". The schism with Casablanca was a crushing blow for the young members of Quiet Riot. The parents of the band members were especially displeased; they wanted their boys to get real jobs and pursue more realistic careers. Fortunately for the group, Entner retained rights to the master tapes and, once again, he searched for a record deal. Armed with a finished album, Entner was in a good position to find a decent, and ideally, lucrative record deal. For no doubt some sinister reason, the band was signed to Neil Bogart's old label, Buddah Records; unfortunately, company bankruptcy followed soon after. Entner now set his sights higher and aimed for the biggest powerhouse in the record business, CBS/Sony. The music conglomerate agreed to distribute the already completed album "Quiet Riot" ("QRI") with a Japanese subsidiary of CBS/Sony, to measure market response. The first Quiet Riot album hit Japanese markets in early 1978 and it (plus a single release) was an immediate hit and the band soon set to work on it's follow-up, "Quiet Riot II" ("Q R II") during April & May, 1978. Despite the hugely successful first releases, and subsequent large fan base for Quiet Riot in Japan, CBS decided once again, against releasing the future second album in the US, and worse, withdrew their 'Tour Support' for a scheduled Japanese tour by the band. It was during this point in Quit Riot's struggling history that founding member, Kelly Garni, decided to leave the band. Whether it was Garni's drinking problem, music biz frustration, parental pressure, or his desire to pursue a career as a paramedic, it marked the end of QR's original line-up.
QUIET RIOT II (QR2)
Released:
January,
1979 (Japan only)
Tracks:
"Slick Black Cadillac" (DuBrow) – 5:10
"You Drive Me Crazy" (DuBrow/Rhoads) – 4:17
"Afterglow Of Your Love" (Marriott/Lane) – 3:37
"Eye For An Eye" (DuBrow/Rhoads/Sobol) – 4:02
"Trouble" (DuBrow/Rhoads) – 5:10
"Killer Girls" (DuBrow/Rhoads/Sobol) – 4:50
"Face To Face" (DuBrow/Rhoads) – 4:38
"Inside You" (DuBrow) – 4:49
"We've Got the Magic" (Rhoads) – 4:40
"Highway to Hell [Bonus Track]" (DuBrow/Rhoads) – 4:00
Personnel:
Kevin DuBrow - Vocals, Vocals (bckgr)
Randy Rhoads - Guitars, Organ, Vocals (bckgr)
Drew Forsyth - Drums, Syndrum, Vocals (bckgr)
Rudy Sarzo - Bass, Vocals (bckgrd vocals)
The Killer Bees - Vocals (bckgrd)
Warren Entner - Producer
Lee De Carlo - Producer
* Kelly Garni - Uncredited for all the bass tracks
THE "RANDY AND
RUDY" PERIOD
Garni
was soon replaced by Rudy Sarzo
on bass. Rudy
arrived in Quiet Riot shortly after the completion of Quiet Riot II's
recording. Since the second album
wouldn't be released for awhile,
the band decided to put Rudy's name and picture on the back instead of Kelly's,
despite the fact that he didn't do any of the songs.
July 15th - Ramada Inn, Beverly
Hills, California - w/ Hollywood Party Boys & Pop
A Beverly Hills "warm-up gig" with Rudy showcased a new level
of energy for the group and established his position in Quiet Riot.
The following months
were devoted to the band's attempts
to land a U.S. record deal. Other local LA Bands, like Van Halen, were
making it in the U.S., which really
angered Kevin Dubrow and his
band-mates. Unable to find tour support money, the guys decided they might as
well return to live performances in Los Angeles and wait for their "Big Break".
The obvious venue was their "LA Home" - the 1,000 capacity Rock Emporium
.
1978
October 5th - The
Starwood, Hollywood, California - w/ The Word
October 6th - The Starwood, Hollywood, California - w/ The Word
October 7th - The Starwood, Hollywood, California - w/ The Word
December 26th -
The Starwood, Hollywood, California
- w/ Pretty Poison
December 27th - The Starwood, Hollywood, California - w/ Pretty Poison
Quiet Riot - 1979
January 24th -
Whisky a Go
Go,
Los Angeles, California - w/ Eulogy
January 25th - Whisky a
Go
Go, Los Angeles,
California - w/ Eulogy
February 9th - The Woodsound,
Monrovia, California
February 10th - The Woodsound, Monrovia, California
February 14th - The Starwood, Hollywood, California - w/ The Dolphins
March 7th - The Starwood,
Hollywood, California - w/ Pegasus
March 8th - The Starwood, Hollywood, California - w/ Pegasus
March 17th - Hollywood High
Auditorium, Hollywood, California - w/ Axis, Smile & Neverland
March 31st - Pasadena Auditorium,
Pasadena, CA - w/ Smile & A La Carte
April 19th - The Starwood,
Hollywood, California - w/ Suite 19
April 20th - The Starwood, Hollywood, California - w/ Suite 19
April 21st - The Starwood, Hollywood, California - w/ Suite 19
June - 7th - Whisky a Go Go, Los Angeles, California - w/ Eulogy
June 8th - Civic Auditorium, Culver City, California
June 9th -
The Woodsound, Monrovia, California
June 10th - The Woodsound, Monrovia, California
June 17th - The
Palomino, North Hollywood, California - w/ Xciter
June 26th - Whisky a Go Go, Los Angeles, California - w/ Yankee Rose
July 12th - The
Starwood, Hollywood, California - w/ Snow
July 13th - The Starwood, Hollywood, California - w/ Snow
July 14th - The Starwood, Hollywood, California - w/ Snow
July 21st - Squeeze's, Los Angeles, California - w/ Badmoon & Rampage
August 22nd -
Whisky a Go Go, Los
Angeles, California - w/ Smile
August 23rd -
Whisky a Go Go, Los
Angeles, California - w/ Wink
August 25th - Civic Auditorium, Oxnard, California - w/ 707
August 30th - Star Baby's, Northridge, California - w/ Electric Warrior
September 21st -
Whisky a Go Go, Los
Angeles, California - w/ The Bobby Romero Band
September 22nd - Whisky a Go Go,
Los Angeles, California - w/ The Bobby Romero Band
*
*
First appearance of Randy's polka dot "Flying V"
October 25th - The Starwood,
Hollywood, California - w/ A La Carte
October 26th - The Starwood, Hollywood, California - w/ A La Carte
October 27th - The Starwood, Hollywood, California - w/ A La Carte
The End of the
'Randy Rhoads/Rudy Sarzo' Era Quiet
Riot
(July, 1978 - Nov. 1979)
When the second Japanese album, Quiet Riot II, was released in '79, the boys were still optimistic for the band's success. It was understandable that their minor-league, foreign CBS/Sony subsidiary label couldn't provide tour support for the band to expand its US fan base outside of Los Angeles, considering the 2 albums (plus 1 EP) weren't even available outside of Japan. Consequently, Quiet Riot was still restricted to live dates in LA, which only had two decent clubs, the famed, but dirty, little "Whisky" on the Sunset Strip, and the lesser nationally known, "Starwood" , located at the corner of Santa Monica Blvd. and Crescent Heights (a couple blocks south of Sunset Blvd. where the legendary "Pandora's Box" once stood). The frustration level within the band grew throughout 1979. At one point, after a short trip with the group, new bassist, Rudy Sarzo, cut his hair and threatened to quit, saying that he thought heavy rock was out. They appeared at Starwood a dozen times throughout 1979; yet, despite the enthusiastic embrace of their legion of fans, they realized their career was at a stand-still. Randy's buddy, future Slaughter bassist, Dana Strum, had been jamming with ex Black Sabbath front man, Ozzy Osbourne, who was in Los Angeles trying to assemble a band for his upcoming solo career. Dana had told Randy about the potential of joining Ozzy, but Randy was determined to see his original band, Quiet Riot, secure a real record deal and expand their Japanese and Los Angeles popularity worldwide. It was during Quiet Riot's final three day gig at the Starwood in October, 1979, that Randy received the call to audition for Ozzy.
*Author's note:
I've read at least 5 versions of this
meeting/audition, and heard countless fantasies from drunken roadies,
groupies, BS record execs, and such. Wherever it took place - Ozzy's hotel
room (Sunset Marquis. Continental Hyatt House,?) rehearsal studio (SIR, "a dingy
place in No. Hollywood where Joan Jett rehearsed), or the bar at Barney's
Beanery - for starters - or who was present (by my count, hundreds) - they
all agree on the result.
IN A NUTSHELL:
He walked in with a Les Paul guitar and a
Fender practice amp and started warming up; Osbourne immediately gave him the
job. Rhoads recalled later, "I just tuned up and did some riffs, and he said,
'You've got the gig.' I had the weirdest feeling, because I thought, 'You didn't
even hear me yet.'" Osbourne described Rhoads' playing as "God entering
my life."
It wasn't long before Randy Rhoads packed his bags and headed off to the UK. The response from Kevin Dubrow when his good friend, Randy Rhoads, was offered a job with Ozzy Osbourne: "I couldn't blame him for leaving". It was just a matter of time before Rudy would follow Randy to join Ozzy (hired along with ex-Black Oak Arkansas drummer, Tommy Aldridge, 2 days after completion of "Diary of a Madman").
Randy and Rudy
returned to LA at the end of May to join with Dubrow and drummer,
Forsyth, for a
triumphant 3 day farewell appearance at
Quiet Riot - 1980
* * *
May 29th - The Starwood, Hollywood, California - w/ Dokken
May 30th - The Starwood, Hollywood, California - w/ Dokken
May 31st - The Starwood, Hollywood, California - w/ Dokken
* Last performances w/ Randy Rhoads
* Music Ads from a great Randy Rhoads Fan Site:
http://home.flash.net/~ulknatme/
Check it out!
Kevin
recognized the inevitable and sadly announced: " This
is the end of Quiet Riot".
DuBrow and Forsyth
tried to keep the band together following Rhoads' departure. From 1980-1982 the
band's name was changed to "DuBrow".
*
The story might continue...
Fan summation -
" Kevin went out and found new members and released an album
called Metal Health but the Quiet Riot sound will never be as good as the first.
"
* Author's Note: I must take this moment to interject one previously unrecognized role that I (Steve Eastwood), played in this part of Quiet Riot history. In early 1977, as Quiet Riot was getting ready to play LA clubs, I was managing an LA rock band, "Satyr", a group that would play a pivotal role in Quiet Riot history. Avid long-time fans of Quit Riot no doubt recognize the symmetry between QR and Satyr. Together with Van Halen, the three bands ruled the Starwood in the late 70's and spearheaded the subsequent LA Hard Rock Music Scene in the early 80's, spawning such bands as Motley Crue, Poison, Great White, Dokken, Warrant, and many other notable "Glam", "Hair" rockers of the era. These three pioneering LA rock bands sustained during the Disco craze and the later Punk movement, when the music business declared "Rock is Dead". The three bands featured the triumvirate of "LA Rock God" guitar heroes, Randy Rhoads, Bob Steffan, and Eddie Van Halen. Their lead singers (Kevin Dubrow, Willy Witten, David Lee Roth) were all dynamic front men who shared many of the same talents and styles. Backed by solid rhythm sections and sporting the swagger and look (hair, clothes, a little makeup) they persevered through musical hard times to see their influence spread from the Sunset Strip to the entire Rock World. Quiet Riot insiders already know that Satyr co-founder, bassist Chuck Wright, has contributed more to QR's success than better-known QR bassist, Rudy Sarzo. Wright has written several of Quit Riot's songs, played bass on all their biggest albums (backing vocals on "Metal Health" and "Condition Critical") and toured with the band all over the world. More importantly, he played an important role in the formation of Quiet Riot's break out success. When Satyr disbanded, Wright joined Satyr guitarist, Bob Steffan (replaced Randy Rhoads when he left for Ozzy Osbourne), and drummer Frankie Banali, in Kevin Dubrow's transitional band, "Dubrow". The four recorded the 1981 demo "Dubrow" featuring Dubrow songs, "Thunderbird", "Love's a Bitch", and "Let's Get Crazy" (available on Quiet Riot's "Live & Rare" CD). Satyr's keyboard wizard, Pat Regan, (Producer/Engineer - Kiss, Deep Purple) also augmented QR/Dubrow's early efforts. When guitarist Steffan left the group, it was Wright who suggested another Starwood veteran, Carlos Cavazo from the band "Snow". After completing most of the tracks for "Metal Health", Rudy Sarzo, out of work due to the untimely, tragic death of Randy Rhoads, wanted to return to QR. Wright exited to join "Giuffria" (ex-Angel keyboardist Gregg Giuffria) for their MCA debut album, featuring the hit "Call To Your Heart", and their following world-wide tour. By the end of the Giuffria tour, Kevin Dubrow was requesting Wright's return to Quiet Riot, offering a full partnership and writing credits on future recordings. He has continued with the band, off and on, for many years, finally exiting at the conclusion of their 2005 tour.
Banali, Cavazo, Dubrow, Wright-1987
Now that the
Satyr influence on Quiet Riot has been shown, the reader might be asking "But
where does Eastwood figure in?" Granted, the following bit of Rock History
Trivia might seem quite trivial (hence the term "trivia") but I'll bet even
Kevin Dubrow is unaware of this bit of "Music Minutiae".
When the ultimate Satyr line up was complete in 1976 and we had 2 full sets of
original material, we wanted to avoid the local rounds of beer bars, and decided
that Starwood would be the best venue in Los Angeles to showcase our expanding
stage show. While discussing my intentions with my buddy, Billy (now Bill)
Gerber, he made me a proposition. He was working with David Forest's Fun
Productions, an up and coming LA concert promotion company. I might add that
Billy has gone on to manage "Devo" and "The Cars", and is now a very successful
movie producer, first at Warner Brothers and now independent with a right of
first refusal deal equal to Clint Eastwood's WB deal. Billy had been out to
"Eastwing Productions", my studio in the Valley where Satyr rehearsed. Although
he enjoyed a close relationship with Gary Fontenot and David Knight, the manager
and the booking agent at Starwood, he had been unable to secure a gig for his
band "Bishop", the first group signed in his budding management career. We
agreed to ally in our presentation to Starwood booker, Dave Knight; if Satyr is
booked to headline, Bishop will open the show as part of the package deal. Satyr
and I decided to scale down our elaborate stage presentation, retaining just a
fog machine, smoke pots, and custom lighting and audio effects. The show was a
tremendous success (Satyr enjoyed a fast growing fan base of lovely young
females and hard drinking males, both attractive to club management). I now sat
down with Dave Knight and refused his offer of another one night booking. I
wanted a weekend, a position that had heretofore been reserved for national
touring acts, or at least groups with strong record company backing for
advertising and promotional support. After a conference with manager, Gary
Fontenot, he reluctantly acquiesced, on the condition that we add our first of
its kind laser show and I mount an extensive co promotion with the club. The
success of that weekend engagement proved that an unsigned local band was
capable of headlining a weekend at the 999 capacity club. Not only was that
barrier overcome for the future benefit of numerous rockers, I then boldly
seized the moment of success to take it one step further. When Knight offered a
follow-up weekend booking, I pointed out that our laser equipment
(Merlin/Veiwsic) reduced the capacity of the upstairs VIP section (The "Hot 100"
- capacity 99) in addition to areas around the floor of the main concert room,
thereby reducing the club's profits. I added that my personal costs in
labor, promotion, transportation, additional lighting, rigging, etc., exceeded
the band's salary for the two nights. I stuck to my position that the only way
for me to avoid financial losses was to add a Thursday show to the Friday and
Saturday booking. Now, 30 years later, I still vividly remember Dave Knight
leaping from his chair (accidentally smashing his left knee to further dramatize
the act), shouting "Even the Rolling Stones wouldn't get 3 days!" When my
laughing and his hysteria subsided, I returned to the logic of my proposal. I
pointed out that my equipment rentals, transportation and 'load in & out' labor
costs, as well as both of our promotion expenses would remain the same and be
spread out over an additional day of added revenues. This suggestion surpassed
the authority of club manager Fontenot, and I was told they had to run it by
club owner, Ed Nash.
Imagine my
surprise when I arrived at Starwood the following afternoon to find the infamous
recluse, Eddie Nash, waiting for me in Dave's office. Understand that Nash was
recognized by those in the know, as a man befitting his reputation, which was
exposed to the world by the gruesome "Wonderland Slayings" a few years later.
Knight was quietly standing in the corner of his office with Nash positioned
behind Knight's desk slowly pivoting back and forth in his chair. Dumbfounded
might not properly define my state of mind, but I'll readily confess to being
totally unprepared for the situation and a bit speechless. I had arrived
expecting that the proposal was a "no-brainer", or at the worst, Nash had vetoed
the proposal. Understand that even at this point in my music business career, I
was accustomed to meetings with attorneys, managers, agents from ICM and William
Morris, plus A&R guys at major labels. I'll confess to still being nervous
depending on the individual involved and, most important, the purpose of the
meeting. However, these meetings were always scheduled appointments for which I
could prepare. Additionally, by this time, I had spent so much time in the
Starwood offices, both day and night, that I often brought my girlfriend,
Madeline, with me, a definite no-no for a business meeting. (Coincidently, we
lived together in Laurel Canyon, just a few houses up the hill from the scene of
the Wonderland Murders). So, there I stood, suddenly much more aware of my
throbbing headache, an aftereffect of the prior night's lengthy 'talent search'
along the Sunset Strip. It seemed to me that Dave Knight was cowering in the
corner of his own domain. That perception might be an exaggeration, either way,
I knew he wasn't there to assist me on any level. Nash halted his nervous
rocking and looked into my eyes while he waited for an introduction from Knight.
I knew damn well that wasn't going to happen and leaned forward, slowly
beginning to extend my hand while my brain stumbled for the proper words.
Nash ignored the uneasiness of the moment, ignored my extended arm, and began to
launch into a topic for which he was obviously prepared. With his creepy Middle
East accent, he coolly explained to me that Starwood was financially successful,
a rarity for LA rock clubs, due to following an established, stringent system of
operations, a system which he created over many years of club ownership and
management. He sternly pointed out that his methods had been proved successful
to the point that as the club owner, it was not necessary for him to intercede
in the club's management. He then looked deep into my eyes and said that he
wanted to know why I thought that he should agree to deviate from his
established methods, solely for my benefit (stressing the words "I" and "You").
Wow! That certainly wasn't the way I looked at this proposal (I must point out
that I'm sugarcoating the story somewhat. My use of the word "proposal" was no
doubt more accurately considered "Demand" or "Deal Breaker" at that time. Never,
in the furthest reaches of my imagination, did I envision a little deal
negotiation between my new pals at Starwood would result in a face-to-face
confrontation with "The Godfather", sporting an attitude under the impression
that I had challenged everything he stood for. So there I stood, barely past the
office doorway, a personification of the oft-used, seldom experienced,
expression - "Didn't know if I was going to shit or go blind".
Friday, October 06, 2006 02:02:48 AM
