Quiet Riot Albums (9)
What The Critics Say
It's become increasingly difficult to keep track of all the different lineup switches that have occurred in Quiet Riot over the years, with the speed of guitarists and bassists coming and going only increasing by the early 21st century. As of their 2006 release, Rehab, the most familiar bandmembers include singer Kevin DuBrow and drummer Frankie Banali, who are now joined by guitarist Neil Citron and bassist Tony Franklin. Despite the constant lineup fluctuation, the group's anthemic, party hearty metal style still remains. Album opener "Free" shows that DuBrow's voice still sounds identical to the group's Metal Health days, "South of Heaven" has an unmistakable Zeppelin-esque flair, while ex-Deep Purple member Glenn Hughes lends a hand in the songwriting and backing vocals on a few tracks. From front to back, all the trademark Quiet Riot elements remain in place on Rehab. ~ Greg Prato, All Music Guide
What The Critics Say
By the early 21st century, Quiet Riot's best-known lineup (from their Metal Health/Condition Critical era) had reassembled. And with nostalgia suddenly rising for bands from the bygone hair metal era, the group couldn't have picked a better time to get back together for live gigs, as well as an all-new studio outing, 2001's Guilty Pleasures. Compared to releases at the time from other similarly styled/reunited groups (Ratt, L.A. Guns, etc.), Guilty Pleasures is a cut above. In fact, it's easily Quiet Riot's strongest release in ages. You can't help but think that if this was the album issued as the follow-up to Metal Health (instead of the so-so Condition Critical), the group's heyday would have been elongated. While admittedly there's nothing here that will do battle with blink-182 and Britney Spears for the top of the singles charts (in fact, their obvious attempt at a single, "Rock the House," fails miserably), the first two tracks -- "Vicious Circle" and "Feel the Pain" -- are definitely Metal Health worthy. Also, you have to give Quiet Riot credit for sticking to their identifiable sound, and not going the route of Def Leppard and Mötley Crüe, who erroneously attempted to update their sound around this time. ~ Greg Prato, All Music Guide
What The Critics Say
Despite Quiet Riot being a veteran metal act that racked up a healthy amount of �road miles' over the years, as of the late �90s, the post-Randy Rhoads line-up had yet to issue a live set. With a title such as �Alive and Well,' you'd think fans would finally be getting their wish (also since the well known Metal Health line-up had just reunited). But the title turned out to be misleading, as the album is comprised of nine new studio tracks (one being a cover -- AC/DC's "Highway To Hell"), as well as six re-recordings of early hits. While long time fans will be overjoyed to see bassist Rudy Sarzo back in the group's ranks, there's no hiding the fact that the material here isn't nearly close to what made Metal Health such a party favorite back in '83. Few riffs are memorable, and the lyrics, well, a sample from "Slam Dunk (Way To Go)" goes something like this - "Slam dunk, way to go, what do you say, let's rock n' roll!" And as far as the re-recorded tracks, nothing comes close to topping the stronger original versions (singer Kevin DuBrow's vocals sound especially strained on quite a few of these selections). Interestingly, the second studio album that the reunited DuBrow-Cavazo-Sarzo-Banali line-up recorded, 2001's Guilty Pleasures, contained much stronger material. ~ Greg Prato, All Music Guide
What The Critics Say
Although not quite as disappointing as the 1993 release Terrified, Down to the Bone once again fails to capture the listener's interest. While it has an acceptable remake of the Kinks classic "All Day and All of the Night" and a catchy acoustic title track, the albums still lacks composition and songwriting. Fans of Quiet Riot can only hope that vocalist Kevin Dubrow will hire a more talented producer instead of relying on himself to create what he thinks fans will appreciate. It remains their heaviest album to date, but Down to the Bone is only for the dedicated Quiet Riot fans who weren't already turned off by their past few releases. ~ Barry Weber, All Music Guide
What The Critics Say
Condition Critical, Quiet Riot's follow-up to their number one, multi-million-selling commercial breakthrough Metal Health, is nearly identical to its predecessor. Not only do they repeat the hard-driving pop-metal hybrid to the last detail, they even throw in another Slade cover. Like on Metal Health, the Slade cover on Condition Critical ("Mama Weer All Crazee Now") is the finest moment on the record -- it's the only time the riffs have a solid hook and the melody is memorable. However, the rest of the record is well produced and sounds good, even if the quality of the songs is somewhat poor. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Quiet Riot seemingly came out of nowhere in 1983, racing up the singles charts with their over-the-top cover of Slade's "Cum On Feel the Noize" and crashing the Billboard album chart's number one spot with their multi-million-selling Metal Health LP -- the first heavy metal record to ever do so. Prior to their "overnight success," QR had been toiling in relative obscurity for years, so that by the time they finally turned the corner, Metal Health's meteoric success must have surprised the band even more than it did their critics and newfound fans. Though it has received its fair share of criticism, Metal Health isn't nearly as average as some would have you believe. Say what you will, but the album's title track continues to deliver after all these years. With its crushing guitar riff, inane lyrics, and goofy bravado, it's heavy metal personified in all its glorious, ridiculous excess. The surprisingly laid-back groove of "Don't Wanna Let You Go" follows the storming "Cum On Feel the Noize," which leads into the slightly '50s-ish "Slick Black Cadillac," a rehashed early band favorite. "Love's a Bitch" closes side one with plenty of venom and attitude, but despite a valiant attempt by the driving coulda-been-a-hit "Breathless," side two falls way short of the mark. Even though "Run for Cover" is quite a stomper, the closing triplet of "Battle Axe" (Carlos Cavazo's half-assed guitar showcase), "Let's Get Crazy" (downright embarrassing jock rock), and "Thunderbird" (painful sub-Journey balladry) tend to understate the hugeness of the occasion. Still unquestionably the band's best effort, Metal Health would eventually earn one-hit wonder status thanks to Quiet Riot's inability to deliver anything resembling a decent follow-up. ~ Eduardo Rivadavia & John Franck, All Music Guide
What The Critics Say
The second of Quiet Riot's virtually forgotten late-'70s albums for CBS Japan, the appropriately named Quiet Riot II would also be their last with founding guitarist Randy Rhoads. Released at the height of disco mania and very hard to find in America (the band's own L.A. fan base had to buy it on import at the time -- bummer), it was certainly a much more confident effort than their amateurish debut of a year before, but it still paled in comparison to the future sonic and commercial achievements of the mid-'80s QR, and especially Rhoads' work with Ozzy Osbourne. Ironically, QRII's explosive first track is none other than "Slick Black Cadillac," the only track from this period worthy of resurrection for their breakthrough Metal Health album five years later. The remainder of the album reveals the group as a work in progress, and is peppered with occasional bright spots, including the '70s glam rock of "Eye for an Eye," the competent ballad "Afterglow (Of Your Love)," and the especially well-formed "Trouble." Most interesting of all, however, these tracks show singer Kevin DuBrow and Rhoads truly coming into their own. The first displays growing confidence to go with his already potent pair of lungs, and the second is already developing his idiosyncratic six-string style with the first touches of the classically inflected virtuosity which would make him a legend two years later. Still, this album is a relic for devout musical archaeologists only. ~ Eduardo Rivadavia, All Music Guide
