A ‘Blast From The Past’: Acclaimed bassist Chuck Wright (Quiet Riot, House Of Lords, Alice Cooper, and Ted Nugent, to name only a few) was kind enough to speak with us regarding, among many other things, the songwriting process for what would be the final Quiet Riot release Rehab…

Todd: What ultimately prompted your reunion with Quiet Riot?  Considering your past experiences with the group, I had assumed such a reconciliation wouldn’t have been possible…
 
Chuck Wright: “It all started with a couple one off shows I did with (late Quiet Riot frontman) Kevin (DuBrow) and (ex-Quiet Riot drummer) Frankie (Banali) and then the Bad Boys Of Metal tour this past summer.  Kevin contacted me and said he was going to do it, but I’d have to play bass for everybody.  I said ‘Hey great’ (laughs).  I ended up playing for over three hours backing Bang Tango, (ex-Guns ‘n’ Roses drummer) Steven Adler, (ex-Warrant frontman) Jani Lane and then Kevin.  We’d do some of his solo material and a lot of Quiet Riot tunes.  It was quite a long evening for me.  When you do something like that, you have to be at 110% for each set, so at the end of the night, I was wiped.  Then there was the traveling.  We had a thing we called the ‘Daily Tidbits Of Buffoonery’ with that tour.  There was always something going wrong like the trailer coming off of the bus on the freeway, the drivers always getting lost, Adler almost setting the bus on fire by falling asleep with a lit cigarette...there was always something.  We went through four busses in three weeks.  …Once they were able to get back the use of the name Quiet Riot, the next logical step for me was to rejoin the group.  We actually had our first gig with (ex-Beautiful Creatures guitarist) Alex (Grossi) on New Years eve.  It was so much fun.  Playing again with Kevin and Frankie is just awesome.  We have something that I call the psychic connection (laughs).  We’ve been playing together for so long...off and on since 1981.”
 
Todd: In hindsight, what led to your departure from the group prior to the recording of Metal Health? 

Chuck: “I had been playing with Kevin for quite a while in a band that really was Quiet Riot but was called DuBrow.  I did all of the demos, I did all of the club dates; I did all of the showcases.  I sang on every track on the album and I played bass on a lot it too.  But when (original guitarist) Randy (Rhodes) died, Rudy wanted back into the band and it made sense on a business level for him to rejoin.  They could legitimately call it Quiet Riot again.  Plus, he was there before me.  I kinda replaced him.  Plus, I had my own band at the time.  The effect for me was a lot more dramatic once they started selling so many records and became so popular.  ...You might know, I’m playing bass on the tracks “Bang Your Head” and “Don’t Wanna Let You Go” as well as singing with Kevin and Carlos on every song on Metal Health.  …It’s a great record and is still selling...it was a lot of fun to make.  I had a strong feeling that “Cum On Feel The Noize” was going to be a really big song for them because of how commercial it was.  One morning Kevin called me.  He actually woke me up and asked me how it felt to be part of the number one record in the country.  …It was a really mixed feeling, ya know?  I was really happy for them, but it was definitely a double edged sword for me.  That’s just the way things went down back then.  I totally understand why things went the way they did.”

Todd: Overall, how would you describe your tenure with Giuffria?  Retrospectively speaking, it’s an era of you career that seems to be frequently overlooked.  

Chuck: “This was another highlight for me.  Basically, they just asked me to come in a re-do the bass tracks on their record and then they asked me to join.  We had a hit and ended up doing sold-out arenas with Deep Purple and Foreigner and then we went and headlined in Japan.  I got a call from Kevin about Rudy leaving.  They offered me an equal cut.  Plus, I could write with them, which wasn’t possible with Giuffria.  It was just (keyboardist) Gregg (Giuffria) and (vocalist) David Glen Eisley.  They didn’t even let anyone else try to contribute.  That’s part of the reason why (original guitarist Craig) Goldy left to join Dio, too.  …Sometimes, certain people have delusions of grandeur (laughs). Gregg is definitely one of those people.  His ego is way bigger than his talent.”
 
Todd: Taking you previous experiences with Gregg into consideration, were you surprised he chose not to participate in the House Of Lords reunion?

Chuck: “The new House Of Lords record (The Power And The Myth) was really arduous to put together because of the logistics of getting everybody together.  We all live in different parts of the country.  The label (Italy-based) Frontier Records was unbelievably difficult.  In fact, while we were in the studio recording the new House Of Lords record, they released an album with thirteen songs on it, nine of which featured Gregg, myself, (guitarist) Lanny Cordola, (drummer) Ken Mary and David Glen Eisley which were the demos for the first House Of Lords album.  …And it was our own label that did it.  I just couldn’t believe it.  Then they told us if we didn’t like it, talk to Dave or we could come to Milan and sue them.  …We had a lot of problems with Gregg right from the beginning. Gregg originally agreed to do the record.  I kept sending him E-Mails and calling him asking him to send us some songs or some ideas...anything.  Nothing would come.  He’s a busy business man in Las Vegas.  …I don’t know.  He’s involved in the gaming business in Las Vegas.  I hear all sorts of different rumors about what he’s been doing.  He built a state of the art studio that ironically burned down on my birthday…  The rest of the band recorded some tunes together that the label finally agreed to accept.  I sent him the tracks and he said ‘Okay, I’ll got to Ken’s studio and do the keyboards’.  Everything was on line and ready to happen.  Then, I get this E-Mail from him saying he wasn’t going to do the House of Lords album because he had just signed a solo deal with the label we were on.  ...It was just bad business on the labels behalf.  They came back to me and said ‘You told us you would have Gregg Giuffria.  Now that you don’t, we are not going to pay you the rest of the money we owe you’.  So we ending up having to finish the record with their staff engineer.  He’s a nice enough guy and talented, it’s just that we wanted to finish the record at a real studio, not in a garage studio using Pro Tools.  But we had to do what they wanted or there would never be a new House Of Lords record and after all that effort to make it happen.  …Over two years, we just went along with them.”
 
Todd: That’s terrible!  It’s amazing that the ‘…finished product…’ sounds as good as it does…   

Chuck: “Well, we know what it could have been.  That’s the difference.  We had plans to add more vocals and more production.  The actual mixing would have been much different.  I’m happy with the song composition and the performances, though.  They’re both really good.  It’s just that we know what it could have been and with how that all went down, it just kinda leaves a bad taste in your mouth.”
 
Todd: Stylistically, how do you feel The Power And The Myth differs from previous House Of Lords releases? 

Chuck: “We’ve all grown as writers and players.  We’re all constantly doing new records and tours.  …Ken’s become an award-winning producer in his own right.  I think the album shows a lot of maturity, especially lyrically, but we did try to keep some elements of the House Of Lords sound together when we did it.  We tried to make a record that sounded like we had been together for the last decade.  I couldn’t go back that far.  Some guys can go back and make an ‘80’s sounding record.  I just couldn’t do that (laughs).  I don’t think that way anymore.  ...Our full intention was to have the debut line-up of the band, which we had until Gregg cut his own deal with Frontier.”
 
Todd: Admittedly, I wasn’t sure what to expect.  I had heard rumors that The Power And The Myth, due to the drama that surrounded the sessions, was musically akin to (1992’s) Demons Down…

Chuck: “That version of House Of Lords...that happened after we all went out separate ways.  They should have called it something else.  It’s sounds totally different than the other records, and it really was only two guy with a lot of outside writers.  To me, it was kind of like the Quiet Riot record that was done with (ex-Rough Cut frontman) Paul Shortino.  They would have been better served to have called it something else.  ...Paul’s a great singer and there’s good songs and Frankie is stellar as usual, but I just think they would have had a better chance if they had gone out as a new band.  I think a lot of that had to do with the label feeling there was a built in audience with the name.  There always seemed to be outside pressure on us from the label and management in those days.”

Todd: What led to your departure from House Of Lords?  I remember being quite surprise when it was announced that (future Great White veteran) Sean McNabb had joined the group…
 
Chuck: “I got ripped off for a lot of money by the bands manager and we lost our deal with Simmons Records. There was a lot of bad blood floating around then.  …It was pretty blatant.  When your expecting a check for over forty grand and your manager hands you a check for five hundred dollars, you get pretty pissed off, ya know?  Management was a lot of it.  Gregg was aware of what was going on.  He’d already gone in and taken
more than his cut.  The rest of it was just gone.  …Supposedly used for extra tour support, which we didn’t need.”

Todd: At this point in your career, how many individual releases have you played on?  Your reputation as a perennial sideman has certainly afforded you a variety of different opportunities…
 
Chuck: “I just finished working on a new Pat Travers record with (legendary drummer) Carmine (Appice), which was a blast to do because we were hitting analog tape.  It was a real Rock ‘n’ Roll record...real old school.  I did half of it and (former Blue Murder/quiet Riot bassist) Tony Franklin did the other half.  I also have a compilation just released on Cleopatra Records from the Odd Man Out projects that I played bass on, co-wrote everything and co-produced.  It has killer performances by (Toto co-founder) Steve Lukather, Matt Sorum (ex-Guns ‘n’ Roses/Velvet Revolver), Paul Gilbert, Billy Sheehan and Pat Torpey from Mr. Big, Lanny Cordola, (The Cult guitarist) Billy Duffy and (ex-Dream Theater keyboardist) Derek Sherinian along with producer Pat Regan (Deep Purple, Kiss) engineering, playing keys and co-producing.  This record makes it seventy four.  I could be wrong, but I know I have worked on well over seventy records at this point.”
 
Todd: Musically, what are your influences?  Is there a particular genre or ear that has provided you with the most inspiration?
 
Chuck: “I’m all over the map.  I listen to all kinds of music.  I attribute a lot of that to my best bud Lanny Cordola.  He’s an audiophile.  He knows detailed information about every kind of style and can play it from Blue Grass to East Indian music.  We’ve done a lot of different projects together.  We actually produced two Reggae records together.  We did an Ambient Trance record together...that one’s kind of like Enigma.  We did a Rock/Rap record with Sen Dog from Cypress Hill and Everlast.  I’m really into all kinds of things.  I’m known primarily as a Rock bassist, but what I listen to and what I am into...there is a little bit of that in what I do when I play my bass.  It all adds a special and unique feel to the music.  Rock is fun for me to play live.  I love it.  I love being onstage.  We just played Monterey, Mexico with Dio, Dokken, Twisted Sister, and Cage for a crowd of twelve thousand people and it was such a great feeling.  The band was smokin’ and the crowd was so into it!”
 
Todd: Overall, how is the song writing process for the next Quiet Riot release progressing?  Any idea what label the group might be working with?
 
Chuck: “This is some of the best stuff yet.  I’ve heard some of Frankie’s ideas and I’ve heard some of the stuff Kevin and Alex have been working on in Vegas.  I’ve been working on my own as well.  If it turns out like I envision it will, it’ll be the best record we’ve ever done.  There’s going to be some really great music on it.
…The vibe is unbelievable. I know Kevin said the last few years of the reunited Metal Health era were hell for him, but this line-up is just great.  I just wanna get out there and start playing.  We’re going to Spain and South America soon...at that point, I just hope the ball keeps rolling fast and hard.  …All of the business is now being handled by Frankie.  He’s the man...he’s the best.  I’ve been with a lot of different managers.  Guys in suits with two briefcases and five phones and he surpasses them all with his attention to detail and knowledge.  He’s been around and he’s seen it all.  There’s nobody better to look out for your interests than somebody that’s right there with ya.”
 
Todd: Have you ever felt your work(s) with Quiet Riot, while certainly noteworthy in their own right, were overshadowed by the accomplishments of the Metal Health era?

Chuck: “It probably would have been like that if I had been more of a noticed member of the group.  People don’t normally read the fine print and realize that I played bass on the song “Metal Health”.  I don’t think it’s really been a problem.  …House Of Lords was more ‘my’ band.  Back then in ‘87, I was basically a sideman with Quiet Riot even though I was able to contribute musically. We’re more like a band of brothers in this 2005 version.  It’s a good vibe...definitely a good vibe.” 

Todd: What are your current touring plans with Quiet Riot?  I’m assuming the group will be touring as much as humanly possible in support of the forthcoming release…
 
Chuck: “There are a lot of things on the table at this point.  We’re still working things out.  Right now, the biggest thing that is solid is the Rock Never Stops tour with Cinderella, Ratt and Firehouse.  I have friends in Cinderella and Ratt, so it’s going to be like a bunch of good buddies going out on tour together.  It’s going to be a blast (laughs).  It’s going to be great.  I just wouldn’t want to be the band following us (laughs).  The thing that makes Quiet Riot different is that we actually jam.  We’re not just going through the motions.  We improv and it’s a new experience every night, it’s fresh.  …We’re doing all kinds of things.  Plus, we have that new energy of young Alex on guitar.  He brings that hunger.  A lot of guys are jaded now.  He just turned twenty seven and he’s just got that energy, you know what I mean?  It’s definitely inspiring.”

Todd: Any truth to the rumors that you’ve been playing “Bass Case” (from 1986’s QR III)  live?
 
Chuck: “I do a version of it.  It’s impossible to do it live because there is twelve tracks of bass going on  Not all at the same time, but there is at least two basses playing at all times.  Frankie joins in with me and fills it up nicely.  It’s a set up to “The Wild And The Young” and it’s been very well received thus far.”

Todd: Taking into consideration all of the different groups and projects you have been involved with, is there a particular situation that you regret being involved in?
 
Chuck: “I think anytime your making music it’s good.  The only times I regret are when I’ve been ignorant about business matters.  When someone says ‘Hey, we’re doing this demo’ and it turns out to be an actually record...things like that.  Not making sure I’m covered business wise in things so if it becomes huge I can participate.  I think I’m one of the richest guys in the world in experience.  I’ve been around the world many times and was lucky enough to have worked with some legendary artists.  I’ve been able to do things and see places that most people only dream about.  I’m very rich in that regard. I’m glad to be still be doing this.”
 
Todd: What equipment are you currently using?  Do you record and tour with a similar set up?
 
Chuck: “Studio and live are different.  Live, I play Schecter guitars.  I’m endorsed by Schecter Guitar Research, Dean Markley Strings and Ampeg (amplification).  I basically just use a chorus pedal from time to time.  I don’t go through racks of compressors and EQ’s.  I’m old school.  I don’t use a five string.  I use a Hip Shot if I need to play lower, but in the studio, until this last Pat Travers project, I used my Spector bass.  It always sounds awesome.”
 
Todd: Looking back, have you found it difficult to consistently recreate the ‘…studio experience…’ of a recording within a live setting?
 
Chuck: “Live it’s different every night.  You’re dealing with all of the different acoustics of the venue.  Sometimes, your on a hollow stage, sometimes your on a solid stage...then there’s the monitors (laughs).  There are so many different things that come into play.  Your in a controlled environment in the studio.  It’s consistent.  I use a Bass Pod instead of an amp when I’m in the studio.  It gives me a little extra drive.  I use two channels.  One is clean and one is the pod channel that gives it the sound.  It gives it the effect of distorted speakers pushing air...that grind so the bass cuts through.”
 
Todd: Where do you see yourself in ten years?
 
Chuck: “Oh, my god (laughs).  I’ve actually been pondering that question lately.  I’m also into graphic designing.  I’ve been doing that now for almost ten years.  I’ve thought about learning editing, DVD authoring…  Different artistic and creative thing that I could do that didn’t necessarily involve getting out and playing live.  I want to play music as long as I can.  I’ve gotten into film scoring, but that’s a whole different world.  Believe me, it’s really political and really crazy, but it can be rewarding...  Ten years from now, I’m not really sure.  I don’t really think anyone knows for sure unless they have the whole retirement thing planned out.  I live in the moment.  Now is all there really is.  I hope I’m talkin’ to ya about it in ten years.  Everyday you can wake up and enjoy the day, being creative and getting things out of it, is a blessing.  Unfortunately, I’ve lost some really close friends and loved ones unexpectedly.  It makes you appreciate everything a lot more.”
 
Todd: How did you initially become involved in graphic design?
 
Chuck: “I’ve always been into drawing.  I hit the books and taught myself.  Word got out and people liked my work  .I never advertised.  I’ve done magazine ads, T-Shirt designs, banner ads...tons of CD packaging.  It’s something I do when I’m not out on the road and not in the studio.  It’s a creative outlet for me.  anyone can contact me about it if they want.  I’m open to anyone.  Depending on how much time I have and what they want to accomplish.  …I took my laptop out on the road with me, but there wasn’t time for it.  But it’s nice to have something like that to do.  I try to be busy.  You have to.  The music industry has changed so much.  The budgets aren’t there anymore.  It’s not even close.  You’d be shocked (laughs).  I think the public at large would be shocked.  They probably still think it’s the same when in reality, it’s like ten percent of what it used to be.  …That’s why you don’t see as much quality out there on records, there’s a lot of home recording going on and it’s so expensive to tour nowadays...the money just isn’t there anymore.”

Select Discography
Stop The World (2007) ***********
Live And Rare, Vol. 1 (2005) **
The Power And The Myth (2004) ***
Have A Boom Boom Christmas (2002) ***********
Milkweed (2000) **********
Better Than Dreams (2000) ********
Down To The Bone (1995) **
Answer To The Master (1994) ******
Afterlife (1993) *******
Grin And Bear It (1992) *****
Doro (1990) ******
Sahara (1990) ***
Stand In Line (1988) *****
If You Can’t Lick ‘Em, Lick ‘Em (1988) ****
House Of Lords (1988) ***
QRIII (1986) **
Giuffria (1984) *

* as a member of Giuffria
** as a member of Quiet Riot
*** as a member of House Of Lords
**** with Ted Nugent
***** as a member of Impellitteri
****** with Doro Pesch
******* as a member of Blackthorne
********  with The Christian Tolle Project
********* with Freddy Cannon
********** with Milkweed
*********** with Jeff Eaton

chuckwright.com