Note from Sully

Hi there,

As you’ll see from their timestamps, the posts in this blog are well over a decade old. Some links in the posts may no longer be functional. Sorry about that.

Curt's Journal Outtakes

Originally when I wrote the 'Journal', it was more than twice as long and after finishing it there were a lot of things that I felt at the time, were either too personal or not really worth including ...also it was so damn long and I wasn't even sure people would want to read the damn thing! Some of the sections were rambling and VERY long winded....Here's a sample chapter that was removed.

The Envelope

Robbin got an 'allowance' of sorts sent to him every month from his dad, Something around $400. Just some spending money....Robbin was vague about the reason for it...something about an old investment that was in his father's name. In his last year, Robbin finally was eligible and approved for Social Security and he began receiving checks in the amount of $1050....the only problem was....he was bedridden with no bank account and no way to cash them, so he just held onto them. 

One day in October of 2001 when he was finally able to go out on pass semi-regularly he called & said "Hey fuzznuts, can you come over & get me? We gotta take a ride" I was never much of a pushover, but he knew I would do anything for him sooo....I said "Sounds like we're gonna rob somebody, do you need a getaway driver?" He chuckled his low, scratchy chuckle & said "Yeah, actually I do!"

I wheeled him downstairs to the 4Runner and he says "Awww shit, the 'shoebox' again???" He didn't like the 4Runner because it was too hard for him to get up into it and once inside it was rather small for him. I told him "Hey, beggars can't be choosers!" He said "OK, Open the back, I'm gonna lay in there like cargo" ...and so he did and he was much more comfortable!

"Where to?" and the answer from the back "Head for North Hollywood, 101 to the 170, get off on Victory" We arrived about 30 minutes later at a strip mall check cashing store. I started to get the wheelchair out and he says "NO WAY....I want the crutches." Not a good idea but I had learned that you didn't argue with him when he had his mind made up.

We go in and some Armenian dude behind bullet proof glass looks up says "KEENG, you BEEG mutharfucka, wheer you been!!!" The next thing he's out the door and hugging Robbin. King introduces me to 'Koko' by saying "KK meet my new chauffer, Curt".

Koko has been cashing checks for Robbin for 10 years....because Robbin has no bank account and no ID....Koko was the only one he could turn to because he knew him. "So wheere the fuck you been??" Robbin says simply "I've been all over...you know" and then he whips out a small stack of checks....7 months worth of Social Security and 2 small royalty checks totalling over $8,500!

We get them cashed and we leave. About half way back while were on the 101 freeway in Universal City Robbin says from the back "Hey, you got the envelope , RIGHT??". I said "NO, I do NOT!" ...a long pause. "You bastard, tell me you're kidding...you got it RIGHT??"

"NO, Robbin I never had it, you took it from Koko". He starts cursing and and yelling at me so I pulled over into the emergency lane on the right shoulder and opened the back. Right away I see a corner of the envelope peeking out from under him...he's laying on the damn thing!!

I let him go on cursing and bitching with a smile on my face. Finally he says "This isn't funny, what the fuck are you laughing at!?!" I snatch up the envelope and wave it in his face like a dead fish, laughing.

His response was priceless. Deadpan he says... "OK, that's the last fucking time I take you to do a job with me!"

--------------------------------------------------------------------------------------

Here's another deleted entry. This one was really the first section written, the section before 'Meeting a King' but after the intro, at the Very beginning of the journal. It seemed rather irrelevant and kinda silly because of my extreme ignorance, so I cut it out...the first of many chapters to go...looking at it now I guess it lends some perspective to the overall story.

Like a Dream

After leaving Neil's I started getting excited, thinking about all of the things I wanted to ask Robbin. I might not get a second chance to talk with him and I wanted to make it count so I actually wrote a long list of questions so I wouldn't forget anything.

They were mostly things related to the guitars I had, but also some questions about that magical time between 1984-1987 when RATT was on top of the hard rock world...one of the biggest bands from my home turf of Los Angeles.

I felt sort of special because I had what I considered to be a 'special ticket' to go & see him. His close friend Neil Zlozower (whom I was also rather awestruck at meeting!) had just given me 'permission' to go & see him...Neil said it would be alright, so surely Robbin would take a few minutes to talk with me. Hopefully I wouldn't stick my damn foot in my mouth!

I had a plan, I would shamelessly drop Neil's name. You know, 'Hey Robbin, how are you? I talked to Neil & he said it would be OK to come & visit'

Even though I had been vaguely informed of his current situation, In my excitement, I pictured him just as he appeared on the cover of all those magazines back then, the larger than life presence and the leader of RATT. I figured he would look much the same....surely a little worse for wear because he had been ill....but still largely unchanged.

It was August and a typically warm day in Los Angeles somewhere in the mid 90 degree range...bright & clear with some scattered billowy white clouds and I remember thinking, 'Wow, what a great day to go & see Robbin, to finally meet one of my favorite guitarists of the '80's'.

Driving over, I checked & re-checked the address of the place 'Hancock Park Convalescent Hospital'. The Hancock Park area of LA is considered kinda upscale and 'riche' so my mind conjured an idyllic setting with well manicured grounds and lots of security. I initially drove right by the place, mainly because the area didn't match my mind's image of what it should look like!!

I doubled back and found parking on the street in front of the hospital...I was surprised to say the least. It faced a busy, noisy street and there were no 'grounds', just a plain looking entrance in a somewhat dingy looking building. This couldn't be the right place. Could it?

I went inside and a young, attractive Asian receptionist smiled and said 'How may I help you?' As I looked around the rather bare & plain lobby, I said 'I'm here to visit a patient, Robbin Crosby', half expecting her to tell me there was no one here by that name. Instead, she looked a little surprised and, handing me a clipboard to sign in, said quietly 'I'm so glad you're here, he hasn't had many visitors. Are you a friend or family?' At this, I felt my eyes shift slightly as I fought to comprehend what she had just said....I finally blurted out 'Uh, No I've never met him, he doesn't know me'. She said 'Oh, well OK the elevator is there and he's on the second floor, room 203'.

On my way up I thought to myself. 'Something isn't right, am I in the right place?', then the elevator door opened and I stepped out. I looked left & right and immediately felt disoriented because there were elderly patients everywhere I looked, crowding the narrow hallway. I had never been in such a hospital so I was completely unprepared. 
I walked toward a nurses station and I felt I was in a surreal movie....elderly ladies were grabbing at me from wheelchairs and old men were leaning up against walls seemingly catatonic or mumbling to themselves.

A nurse, without saying a word, pointed to a door near the end of the hallway when I asked where Robbin was. I walked over and with my heart jumping out of my chest, silently entered the room.

There were two beds, one was occupied by an elderly man with sunken cheeks who merely looked at me blankly...I looked to my left at the bed closest to the door and my knees went weak. My throat felt like it had suddenly closed & dried up.

I saw a man whom I didn't really recognize, a large man with long greasy, lank hair who was sound asleep and snoring gently. I stood transfixed slowly taking in the details. 
The darker hair, the sweaty bloated face, the dirty stained hospital gown, the enormous body, the messy small table cluttered with all sorts of stuff, the two get well cards taped to the dingy wall, the faint odor of human waste, antiseptic and sweat. It WAS Robbin Crosby but my mind could not process the reality...

Without realizing it, I had dropped the paper I had brought with my questions on it....I stood for what seemed like forever trying to figure out what I should do....should I leave? Should I cough? Should I wake him? Should I ask a nurse for help? In the end, I just stood there... looking from the quizzical look on the face of the man in the next bed, back to Robbin sleeping peacefully.

Robbin...... Is that really Robbin? How can it be?? This is not what I expected...I suddenly felt very foolish and utterly stupid at my naive notions of this man and his very real state. This was not what I expected...this is not what I expected!!

After a minute I silently placed the brown bag containing the bottle of Peppermint Schnapps on the table and left the room. I don't really remember leaving the hospital...I just remember the tears I felt on my cheeks and the helpless feeling that I had somehow intruded, seen something too private...yet he never knew I was there. 
To me it was like a dream. Did it really happen?

It took me a week to gather enough courage to go back...to try again. 
-----------------------------------------------------

Radio interview - Headbanger's Basement

Here is an interview that Curt did with an online radio show in Canada.

Magazine article - Young Guitar 1989 (Gear related)

RATT Equipment Check ‘89

ROBBIN CROSBY

Robbin Crosby and Jackson, who had both been neck through purists, are taking a chance with bolt on guitars. 

View fullsize

(Caption for Photo 1) 

It’s been a while since we’ve seen a “regular style” Flying V instead of a King V.  The pickups are Andersons.  The paint job is killer, too.

(Pink Portion) 

In last issue’s concert review, I wrote that the four members other than Stephen were all “regular guys”, because of page restrictions.  However, as could be seen during the television broadcast, Robbin had a smile on his face the whole time, and was exuding more of a “I’m digging being on stage” aura than the other four.  He doesn’t get to showcase his playing skills, because there are fewer solos for him to play now...  But, as can be seen from the following review of his new equipment, Robbin is always thinking forward when it comes to guitars, even if he plays fewer solos.

(Main Text) 

As usual, all of the guitars are “Jacksons”.  There are six guitars in total, including two of his “favorite bolt on” King V’s (photos 2 and 3), two so-called “non-reverse” Firebirds, based on the 1966 Gibson model (photos 4 and 5), a normal “Flying V” type (photo 1), and a “reverse” Firebird, based on the 1963 Gibson model (photo 6).  Note that the “reverse” Firebird has had a headstock repair.

Robbin had expressed much interest in “bolt on neck” guitars (guitars in which the neck and body are joined by screws/bolts; also called “detachable” by Fender) in a previous interview regarding his equipment.  He finally got his hands on two new bolt on King V’s, one with a blue and red dragon graphic, and one in plain white.  The pickups in both guitars are by Anderson, a newcomer onto the pickup scene, who Robbin praises to no end in this interview.

View fullsize

(Caption for Photo 2)

This red and blue dragon graphic King V is a new bolt on type.

(Caption for Photo 3)

This King V, with a solid white paintjob and dot inlays, is also a bolt on.  The pickup is a Thompson.

(Caption for Photo 4)

A reverse Jackson head on a non-reverse Firebird body.  Must be a custom order.

(Caption for Photo 5)

Perhaps a taste test between the regular Jackson sharkfin inlays and dot inlays?

(Caption for Photo 6)

This Jackson Firebird was resurrected, by repairing a broken neck.  The tattoo motif graphic on the white background is cool.

(Main text)

In the past, before the times of most of the younger Young Guitar readers, there was a conception that “set neck guitars, such as Gibsons, or neck through guitars, are better than bolt on guitars like Fender” in terms of sustain, and other qualities.  In this connection, Warren was always a “bolt on purist”, whereas Robbin was the “neck through purist” (I believe that it was Jackson’s policy to only make neck through or set neck guitars, at least until recently...).  However, Robbin is finally taking a chance with bolt on guitars.  It’s only two new King V’s this time, but supposedly he’s got a total of seven bolt on guitars, including other Flying V’s and Firebirds.  He picked out three of the seven for “stage use”, and brought two of them to Japan.  Robbin is currently using the Boss SD-1 pedal.  In fact, more guitarists are playing with a more overdriven sound then “in the past”.  Therefore, the sustain of the guitar itself is not that much of a factor to be considered.  In fact, there are now more high end bolt on guitars which are considered superior, because of their bright tone.  Ritchie Sambora is another guitarist who switched from set neck guitars to bolt on guitars.  However, Ritchie has recently acquired a Gibson Les Paul, which is “the” stereotypical set neck guitar, and Robbin’s guitars other than his new King V’s are all neck through guitars.  So apparently, “there are good points for both types of guitars”.

We want to know more about the Thompson humbucker, which Robbin found he liked after hearing one in Dweezil Zappa’s guitar.  As far as outward appearance goes, the pole pieces look just like what they are, magnets, which is reminiscent of Seymour Duncan’s “Mag” pickup...  Supposedly, the Thompson is far superior to the Duncan “JB”.

Although the rear view of all of the guitars except for that of Photo 1 are omitted, take a close look at the rear view of Photo 1...  Pay particular attention to the tremolo unit and the cavity thereof.  Recent Floyd Rose and Jackson tremolos have thin sustain blocks, to enable players to pull up on the arm.  However, Robbin’s guitars’ cavities are shaped such as to make it difficult to pull up.

View fullsize

(Caption for Photo 1)

Robbin’s Marshall amps.  The upper two are probably actually used, while the bottom two are spares.  In this pic, there is input into only one of the amps.  But, on stage, a stereo output configuration using two amps is used.  The first and third from the top are the Marshalls with Master Volumes, and the second and fourth are older Marshalls, circa 1970.

(Caption for Photo 2)

Robbin’s rack effects.  From the top: a Yamaha wireless unit; a hand made effects programmer, into which a Boss SD-1 is incorporated; a Rockman (not an X100); a Nady; a HUSH; a PQ3; an SPX90; and a PCM42.

(Caption for Photo 3)

Robbin’s On/Off pedalboard.  Because it’s hand made and not a manufacturer’s model, the appearance is old fashioned.  However, this pedalboard creates high quality sounds, by controlling digital effects such as the Yamaha SPX90 and the Lexicon PCM, as well as the HUSH and the parametric equalizer.

(Caption for unnumbered photo)

Robbin’s guitar tech, Mr. James “Catfish” Wingert

(Caption for Photo 4)

Warren’s rack effects, designed by Bob Bradshaw.  The purple Soldano preamp is apparently not in use.  The rack includes a light module, a Sony wireless system, an SPX90, and Lexicon delays PCM70, PCM41, and two PCM42’s.

(Caption for Photo 5)

The well organized Bob Bradshaw effects On/Off pedalboard.  A world apart when compared against Robbin’s.  However, it’s doubtful that Warren is using the effects to their full capacity.

Magazine article - Burrn!!! 1992

SPECIAL INTERVIEW IN JAPAN

ROBBIN CROSBY - The “King” who has just started his new band talks about his “love-hate relationship” with his former bandmates of Ratt

By KAZ HIROSE / BURRN!

Ever since we heard the shocking news of Robbin Crosby leaving the band, Ratt fans around the world have been anxious to find out what’s going on. With only 4 members left, the current “Ratt” is on a “Contraband tour”, in which we can’t make out what it’s all about, and they are receiving unfavorable criticism.

On the other hand, no one knew what Robbin was up to, and in time, we started hearing negative gossip, such as Stephen and Robbin ripping on each other in the press, or the disbanding of Ratt, or Robbin suing Stephen, and so on. Each time we hear these rumors, Ratt fans are heartbroken and are thrown into the abyss of despair. And to top if off, we read this “interview” of him saying unspeakably abusive things about his ex-bandmates in a Japanese magazine…. Oh lord, what’s it gonna be with Ratt and Robbin…?

Just when we were seriously starting to wonder, the person in question – Robbin Crosby comes to Japan. I don’t know much about the rock bands in Japan, but what I heard is that he came here to have a jam session with somebody called Shake(salmon), or Maguro(tuna fish), or was it Sazae(turban shell)?? …whatever his name is. (* the artist’s name is “Shake” http://www.myspace.com/kogureshaketakehiko , and he was a friend of Robbin. This interviewer is being disrespectful and making fun of that person’s name.)

Well, anyways. If he came to Japan attempting to join a heavy metal band, I would think as if he wants to be Neil Murray #2 (*Neil Murray is a British bass player, best known for his work in Whitesnake and Black Sabbath, who once joined a Japanese heavy metal band called Vow Wow.), but according to what I’ve heard, it seems like it’s nothing like that, so hopefully we don’t need to worry about this. Still, we have some anxiety, as Robbin made some lame comments in the above mentioned interview about himself planning to mainly focus on marketing in Asian countries…??

For these reasons, I had so many things I wanted to ask this man, the “King”, who came to hang around at our editorial office. Despite the negative rumors about him that I have been hearing, he appeared to be in good health, so I was somehow relieved. And that’s not all – “Do you want to listen to my new stuff?” he said, and handed me a demo tape he has been working on lately, and man, it was some high-quality, cool stuff with some hard rock taste in it! (There were 3 songs – 2 of them were new songs, and the other one was a cover of “We’re an American Band” from Grand Funk.) Now, this was a pleasant surprise. Seeing our “King” rockin’ to the killer tune blasting from the player was a real pleasant view as well…he looks so different compared to how he looked the last time we saw him during the Detonator tour in Japan last year – looking pale and totally burnt out.

By the way, I’ve noticed that the voice of the singer sounded familiar…and guess who it was? It’s Parramore McCarty (known for his work in Warrior / Rough Cutt / Steve Steven’s Atomic Playboys). Well, it seems like our King is ready to set off… Ok now, before we go any further, let’s start up with our interview.

Q: Well, there’s so many things I would like to ask…

A: Before we start, can I talk a little bit about the story of an interview of mine which was in a Japanese magazine a little while ago? The person who did that interview, Ms.S, is someone who used to work at our (Ratt’s) management office as a secretary. She asked me if I could do an interview with her, so I went to this meeting place. She showed up 3 hours later than the appointed time. While I was waiting for her, I had more than a couple of shots.

Now this, was a bad idea actually, because on that very same day, I had just read a magazine article with one of the Ratt members bad-mouthing me. Right after we started the interview, she goes like, “You know what? Stephen was always so mean to me…” or “I like you the most out of all the Ratt members.” By that time, I was totally drunk, and my mind was bewildered after reading that kind of an article that morning…you know, all the guys from Ratt are like brothers to me, and I love them.

All the more, sometimes you hate them…you know what I mean? Isn’t that how brothers are? Anyway, under those circumstances, I blurted out way too much, and what she did is to put in every single piece of our conversation, and made it into one whole interview. Whoever read that interview might get the impression that I have very bad feelings about them, but it’s not like I’m wishing them bad luck. They are my friends and my brothers, and I do care for them and wish them luck.

I don’t have any hostile feelings against them. I’m even hoping that maybe someday we could work together again. But right now, I am looking forward to doing my own project which I’m about to start. Imagine this: suppose there’s a brand new white canvas sitting right in front of you. First, I take a paint brush and draw some pictures on it. Then, Warren takes his turn and draws something on it as well. Then comes Bobby, then Stephen does the same thing. After the whole picture is done, it may not be something that makes everybody satisfied. So, I decided to draw a picture by myself on my own canvas. Anyway, I assume that there’s a lot of fans who were disappointed to read that interview of mine, in which I’m unduly dishing on the other members, but I want them to know that I didn’t mean it, and I do still care about them.

Q: Well, I feel so relieved to hear that. So, you’re planning to form your own band, then?

A: That’s right. I’ve been working with Ratt for… what, about 13 years? From now on, I would like to go through things step by step by taking plenty of time. First release our album, then go on tour. If it doesn’t work out, maybe I’ll try something else, but who knows? The best thing for me would be being able to form a band which would last for 5 or even 10 years. That demo tape which I just gave you a listen, I made that in 3 days. I worked my ass off to finish this, so that I could bring it to Japan this time. I have been thinking that I want to pursue my own career in the Asian market.

For me, the Asian market is as important as the market in U.S. Plus, I have this love for Japanese culture, and my Japanese fans really give credit to my music. As for my next band, I’m hoping that it first breaks in Japan, and increase its popularity spread among the whole world. You know, I’m really excited about that demo tape. If we work real hard & concentrate, I think we’ll be able to make a great album in a short period of time. As for our singer, Perry (Parramore) McCarty, I’ve been working with him in the past 5 bands we’ve been in, and we used to live together in San Diego for years. I’m so thrilled about forming a new band with my old friend.

Q: As I know how much Perry McCarty is someone who has great talent, I’m sure that if you are going to work with him, your new band will be really something. Can you tell us more about your new band?

A: Well actually, at the moment, he (Perry) is still a member of Warrior. When I was about to make this demo tape, I asked him if he could work with me, and he willingly accepted my offer. I’ve also asked him, “If we got a record deal & are going on tour, are you willing to join us?” and his answer was, “Of course, I’d love to!” He sounded like he’s really up for it. He as well have interest in doing the ‘70s-ish kind of heavy rock we played in this demo tape. So currently, Perry is the vocalist, I’m playing the guitar, and a guy called Dino is playing the drums. The thing is, we don’t have a bass player yet. On that tape, I played the bass guitar. Right now, I’m looking for a bass player who’s also a good singer.

Q: So right now, It’s not fully lined-up as a band yet?

A: As soon as I get back to the States, we’re starting the rehearsal. Actually, there’s one bass player who I’d like to ask him to join our band. As for the name of the new band, I’m thinking of calling it Call of the Wild. Although, I’ll have to go check if anyone else has the trademark registration for that name before we make that official.

Q: Who came up with that idea (of the band name)?

A: Me, of course. The titles of the songs you just heard are “Number One” and “Waiting So Long”.

Q: Those songs sounded to me like Led Zeppelin-ish heavy rock.

A: I’m glad you feel that way. As it’s not easy to find a good vocalist like Perry, I want to make something which makes the most out of his talent. I have a feeling that many of the bands we see on the scene these days have a dry sound like AC/DCand The Cult. As for my new band, I want to create a psychedelic groove like Jimi Hendrix, by using special effects.

Q: When you were in Ratt, the musical potential may have been limited because of Stephen’s voice, but this time, you will be able to try various kinds of new stuff, huh?

A: Exactly. It’s not easy to write a song when there’s no melody, I’m telling ya. His voice range is limited, and he has no melody. That’s why we had to have Beau Hill helping us out. (lol) We used to put the melody to the songs by adding the backing vocals. It wasn’t an easy thing to do. Of course, I’m still proud of the songs I wrote when I was in Ratt, but right now, I’m really looking forward to what I’m about to start.

Q: I remember when Sammy Hagar joined Van Halen, Eddie said something like “Things are much easier now that we have a singer who has a wide vocal range”..

A: Yeah, that’s true. Although, things are little different from that case. Van Halen replaced their singer. On the other hand, Robbin Crosby has decided to leave a band called Ratt, and is going to form a new band. Anyway, I still don’t understand why the boys keep on playing as Ratt, because Ratt was originally my band…

Q: There must be a lot of fans who think that “Ratt is not the same band anymore without Robbin”, just like when Ritchie Blackmore left Deep Purple?

A: Yeah, just like UFO without Michael Schenker or Aerosmith without Joe Perry…after they left the band, there’s nothing left.

Q: So basically, after you left Ratt, you’ve been working on preparing for this new band?

A: Correct. I left the band on the very day we came back to the States from the last Japanese tour. For the next 8 months, I’ve been writing 3 or 4 songs a month, I have been writing with our drummer, Dino, and 3 weeks ago, Perry joined us, and we recorded that demo tape. You know, carrying out an audition can sometimes be difficult. No matter how talented the singer or guitarist who passed the audition might be, there is always the possibility that you find you are incompatible with this person 6 months later.

Meanwhile, Perry and I have known each other for a long time, so there’s nothing for us to worry about. As for Dino, despite the fact that I didn’t know that much about him before, we get along pretty well. He understands my perspective very well, and we fully respect each other. He’s a wonderful drummer. You know, Bobby Blotzer is one of the best rock n’ roll drummers I know. I feel very fortunate to be able to play with someone like him for 12 years.

Though, I am going to play with different members, I think my new music will not sound like Ratt. My playing style itself may be different as well. As you know, most of the earlier songs from Ratt which made us huge had a lot of my influence, so I’ve been a bit concerned that the songs I write may sound like Ratt. That’s because what we are looking for is not something that sounds like Ratt. However, I have a feeling that we will be successful in making our own kind of music, and it will be something extremely exciting.

Q: Well then, we could think that currently you’re really satisfied with what you’re doing as an artist, right?

A: Oh yeah. I feel like a young boy once again.

Q: As you know, any time we hear bad rumors, we fans worry about you…

A: What kind of rumors? I would like to know.

Q: I’ve heard that there’s been a lot of bashing on each other between you and the members of Ratt…

A: As for me bashing on the Ratt members, You’re talking about that interview of mine in that Japanese magazine Viva Rock, right? I explained that to you in the beginning. As you may know, the members of Ratt have been ripping on me a lot. Like they had to fire me…the whole thing just sounds like a joke. They said that I’m a drug addict and an alcoholic… I mean, when did anybody ever think that Ratt was a group with bunch of angels for Christ’s sake? As you can tell from us calling ourselves Rat(t), we never were angels.

Q: I’ve also heard something real bad like Stephen making disparaging comments about you, and that you are taking legal proceedings against him…

A: Lately, I haven’t talked with Stephen in person. All I know is…he really hurt my feelings. When I left the band, we all made a promise not to speak ill of each other. We spent 12 great years together, and we had agreed that there’s no need to ruin it…. and then, you see all of the comments they made… Stephen & I have been bosom buddies for 15 years. This whole thing cuts me down to my bones….. (gets choked up with tears in his eyes)

Q: Uh....., are you okay…?
A: (dabbing his eyes with his fingers,) I’m sorry…., let’s continue.

Q: All of your fans know that you two are good buddies, and I’m sure that they won’t believe all these horrible rumors. Don’t worry….

A: If you could print the whole thing and let them know my damn feelings about it, I would be grateful. Thanks, I really appreciate it.

Q: Um…., if you don’t want to talk about Ratt anymore, then we could just….
A: No no, it’s okay! I’m fine.

Q: Did you listen to their ‘Best Of’ album which just came out? (*Ratt & Roll 8191)

A: Personally, I don’t think that should be called as the ‘Best Of’ album of Ratt. The choices of the songs are real bad. My best Ratt song from that album is “Tell the World”.

Q: That’s just what I’ve guessed!
A: Ha ha…you knew it, huh?

Q: Well, that song has the real early Ratt-ish sound, so…
A: That’s what Ratt is all about! The real heavy tune.

Q: I agree. In my opinion, the substantial part of Ratt is Heavy Metal
.
A: I mean, why did they even think about having that song “Givin’ Yourself Away” on their ‘Best Of’ album? Gimme a break! (lol)

Q: I’ve noticed that it doesn’t have all the great songs like “I’m Insane”, “The Morning After”, and “Sweet Cheater” as well…

A: For me, the song “Tell the World” represents us the most. I also love the song “Wanted Man”. Personally, I don’t think most of the songs from “Detonator” are well worthy for our ‘Best Of’ album.

Q: To be honest, I can’t believe the fact that they put 5 freaking songs from “Detonator” on their ‘Best Of’ album. And those 5 songs does not include “Top Secret” for Christ’s sake…

A: As for me, the only songs that might well be considered as our greatest hits are “Round and Round”, “Wanted Man”, “Lack of Communication”, “You’re In Love”, “Lay it Down”, “Dance”, “Slip of the Lip”…as for the latest ones, it will be “Way Cool Jr.” and “Lovin' You's a Dirty Job”. And of course, “Tell the World” and “You Think You’re Tough” are some of the best tunes as well. Those are the songs I could call Ratt’s greatest hits. There are so many songs that are not good on that so-called ‘Best Of’ album”. Whoops…sorry if I sounded offensive. (lol)

Q: Do you feel rather disappointed with the fact that Ratt’s best of album does not seem to be as good compared with Motley Crue’s best album “Decade of Decadence”, which was released around the same time?

A: Let’s see how the sales turn out, and we’ll know that the whole world thinks the same way as I do. (lol)

Q: Did you ever go see any shows of the current Ratt line-up? The one with Michael Schenker as their guest…

A: I believe that Michael is on tour with Ratt as a member of Contraband. It’s not like he became a new member of Ratt. He came on stage after Ratt played all their set lists, and played the song “All the Way From Memphis” along with like 3 other songs with them as a Contraband. Anyway, I haven’t seen the show. I don’t think I would ever go see their shows. That is NOT Ratt…they are merely just a small mouse. (lol)

Q: Well, thank you so much for joining us today. Probably this will be the last time we will be asking you questions about Ratt, and next time, hopefully we could hear more from you about your new band, and we will be sincerely looking forward to that.

A: I hope so too. Please tell my fans that I’m really looking forward to performing in Japan again soon.

So now as you see, Robbin seems to be all excited about forming his new band. There was a time when we heard rumors about him choosing the backseat role and planning to set his main occupation as a producer, instead of being in the limelight…but that appears to have been false information. Currently, he is working very hard to embark on a new chapter in his life as a musician. It will be a tough road for him. Regardless of how tough it may be, he has taken the first step towards facing that bumpy road ahead.

When I saw those tears falling down from the eyes of that big man while he was talking about Stephen, I was in great bewilderment and totally shocked. At the same time, I realized once again how deep and strong their bond used to be, and could not get rid of sentimentality as I felt my tears welling up a bit as well.

I suppose that his feelings for Ratt at the moment have both affection and hatred. It is almost impossible to imagine the heartache he is suffering and how shocked he was, feeling betrayed by his closest friends who he has been with for over 12 years, working together in that band Ratt, which he loved dearly and had been proud of. Just imagine how he felt when at some point he found himself shoved in the corner from what he used to believe he played a significant role, then eventually having their new album recorded mostly without him, and then the following break up…

I do not want to blame him for dishing the dirt on Ratt while he was corkscrewed right after being crushed reading an article which hit him when he was down. He seems to be upset and having feelings of regret right now, but I hope that time will be on his side and things will be smoothed over.

As we have mentioned many times before, (and I think that there’s no need for me to repeat this again, but) Ratt is a great band which once reached the top of the L.A. metal scene and also played an important role in bringing prosperity to the whole heavy metal scene. Even though their influence may have been declining as time went by, it doesn’t mean that their great achievement will be obliterated.

Let’s put it like this - No matter how much Jimmy Page’s guitar playing sucked at some reunion concert, it does not change the greatness of Led Zeppelin. No matter how disastrous the show Deep Purple had during their Japan tour, and later ended up having their U.S. tour cut short, the great work they have done in the whole rock history is never to be denied.

Both Ratt and Robbin Crosby are shit-hot musicians, and I’m sure that they will both keep on playing their active role in the music business. For this reason, we fans sincerely hope that they would stop dissing at each other, tarnishing their reputation and leaving a shadow on their glorious history.

As much as I wish him the best of luck and every success in working with his own band, to be honest, I still cannot give up all my hope on him rejoining Ratt…..

BURRN! magazine, April 1992

Magazine article - Viva Rock 1991

From: VIVA ROCK magazine, December 1991

EXCLUSIVE INTERVIEW
WHAT'S LEFT AFTER THE TURMOIL...
Rumors have been heard in LA. that RATT is very close to a breakup. Robbin Crosby has withdrawn himself from the band before the crisis.

One day I ran into him, and the first words that came out of his mouth were ; "Hey, I've got so many things I want to say!" Sure we would love to have an interview with you, Robbin. Let's hear what he has to say - what he has been up to lately, what happened to RATT behind the scenes, the real story...if that helps him discharge his pent-up emotions and makes him feel any better.

Interview & Photographs by Keiko "Ginger" Suzuki

AFTER THE RATT N' ROLL / ROBBIN CROSBY (ex. RATT)

So here we are at the Mexican Restaurant (El Compadre in Hollywood, CA). It's no wonder he seems so friendly with the waiter, as this restaurant is his favorite place. But, wait - when I listened to him carefully, I realized that he's speaking in fluent Spanish. He said, "I learned how to speak Spanish before I was able to speak English..that's because my baby sitter was Mexican." Okay, now I see why his Spanish is so fluent...although, I'm still amazed how fluently he could speak it. "Well, there's one problem...I don't know how to describe the difference between the past/present/future, so I always speak in a present participle." He ordered lunch in fluent Spanish as well, and says…

"SO-where should we begin?"

(The rest of the interview is all in his words)

Okay - I think I should start the story with what happened when I was still a member of Ratt. When we were recording Detonator, I guess that's when I started having these doubts in my mind about being in that band...well, do you want to know the truth? Or should I just tell lies? First of all, I'm a person who always tries to think positive, and giving effort to make things turn out best. To tell you the truth, during the Dancing Undercover era, I started thinking that something's gotta give.

When we started the band, everybody were real good friends. We all lived in a small apartment together. Then we became successful, and everybody was happy. Although the Invasion of your Privacy album didn't sell as much as our previous record, still we went on a huge tour with Bon Jovi opening for us. During that tour, Stephen was bitching about them the whole time. I think that was just because he was jealous of them but anyway, I was tired of listening to that so I used to visit Bon Jovi's dressing room every night and having a great time with them. At that point, I was already getting a bit tired of Stephen. We (Ratt) are us, and Bon Jovi is Bon Jovi. Ratt is more Rock n' Roll than them. No matter what happens, we will never play such song like "Livin'on a prayer~ (singing in high note)". All we needed to do was to go out there, play, and kick ass, instead of wasting time getting jealous of others.

When we were recording the album Dancing Undercover, we already had this huge wad of money. Some got married, and everybody went on spending sprees for their girlfriends, luxury cars, and drugs. When we got into this business, it wasn't like we started this because we expected to make money, so no one actually knew how to spend the money we earned. Well, that's fine. That’s Rock N' Roll.

During the Dancing Undercover era, we rarely spoke to each other anymore. My zodiac sign is Leo, so I have this "leader" kind of personality, but at the same time, I'm emotional and sensitive. Therefore, if someone's acting weird, I feel uneasy. We had this album out, went on tour, received a platinum album, and we were rock stars. However, for some reason, I had this feeling of emptiness in my mind.

On the night we received the platinum album, we played a New Year's Eve concert in Indianapolis. I think Cheap Trick did the opening show for us. That night, I cried...and those were the tears of joy for receiving a platinum award for 3 albums in a row, just by doing what we loved to do. I wonder if there were any other members in the band who felt as thankful or grateful about how well we were treated?

It took us nearly one year for the recording of Reach for the Sky album. We were all disjointed, our producer Mike Stone did nothing but cause more problems. Everything was a disaster. Everybody was drinking heavily and doing a lot of drugs, including the producer. One day, while we still haven’t made any progress, Atlantic Records ran out of patience and asked us to give them the demo tape. Mike Stone got fired the very next day. We had to bring back Beau Hill as a replacement, or else we couldn’t finish anything. I mean, couldn’t START anything.

During that time, we were all using drugs. But look what Bobby said in his recent interview with RIP magazine…”We had to fire Robbin because he had serious drug problems…??” I would like to ask him, who’s the one who stayed awake for a week with the help of cocaine, and drinking Jack Daniel’s the whole time? Do you mean you’re the only one who’s allowed to do such things? That sounds just like what Guns N’ Roses did to Steven Adler.

When I left the band, we all made a promise not to speak ill of each other. But when I see what they say in the magazines...how can I keep my mouth shut? I would have to sue for slander! YES, I was an addict, but so were they. They said I was the bad guy, but at least I’m not a liar. When we finished recording Reach for the Sky, Stephen became an extreme alcoholic, and I was really into drugs. Warren was too. The tour for that album was okay, but it was cut short because of certain reasons.We used to be so close like real brothers, but during that time, I felt our attachment drifting apart.

Now….the Detonator album. To put it briefly, I hated both Arthur Payson & Desmond Child. As I had some private problems, there’s only 2 songs on that album which I wrote. And look how it turned out…they can make excuses as much as they want, but the sales of Detonator, which I was the least involved with, did not even reach half the sales of the others. It’s not about my ego that I’m talking about.

After we went on touring Europe, we came back to the states and did a couple of club dates. For me, it was really refreshing to play those small venues, but for Stephen, he seemed to be feeling strange about playing at a club after getting so used to playing large arenas.

Anyway, during our last Japan tour, I made up my mind that I no longer want to be in the band anymore. No one was talking to each other throughout the whole tour. Not even one of us! There was no “Good morning” nor “How’s it going?”. How miserable is that for a band? I didn’t say anything in public, but the Japanese fans were pretty observant. Even though they don’t speak our language, they seemed to sense that something’s wrong and say “Please don’t quit Ratt!” That gave me mixed feelings. Of course, all I could tell them at that time was “Don’t worry, everything’s fine”…because I didn’t want to make them worry any further.

You know, the song I’m Insane from Out of the Cellar album, that is a song which I wrote when I played in a different band before I joined Ratt. I didn’t know who actually owned the copyright of that song, and right after we released the album, we got sued. To settle that problem, we had to give away most of the money we made from that album. The band paid $200,000 to save us from the trouble of going to the court. I paid all the money for the lawyer. And you know what? After we came back from that Japan Tour, they went to an accountant's office to see if there’s a way they could get me to pay them back all the money the band paid to settle the case!!!THAT’S IT!! Who cares about Ratt? Fuck you!

I don’t give a shit about Stephen and Blotz anymore. I don’t have any bad feelings about Juan and Warren though. I like them both… But please don’t forget, Ratt was MY band. I’m the one who made that band. Just take a look at the EP, and you’ll find out that I’m the one who wrote all the songs (besides that cover song). The song Round and Round got huge because of You Think You’re Tough. I’m the one who used to be the leader, but in the past several years, Warren was trying to assume leadership of the band. Gimme a break, how can he take the leadership while he’s blown away like that and can’t even think straight? I mean, come on…he sleeps like 16 hours a day!

Anyway, I’m out. I’m going my own way. I’m proud of what I have done in Ratt, but there’s no bonds or miracles between us anymore. I read a review on the L.A. Times the other day about their show in L.A. and it was awful…they said it was “Their worst show, ever”. When I was in the band, we never got those kind of reviews. Well, without me, nothing’s the same… Without their first initial letter “R”, they’re nothing but just an “ATT”!! (lol)

From the moment Michael Schenker joined, nobody would care about the rest of the members…he’s the one who will get the attention. I think it's just a matter of time before the band is going to be disbanded. They’ve got so many issues and everybody hates each other…how could they possibly carry on like that? They may, if the record company required them to make another album, but that’s just hard to imagine because during the recording of Detonator, everybody was fighting all the time. Seriously, making another record with the same members would be like 5 people Sumo-wrestling all at once! (lol)

Talking about myself, I am so looking forward to performing in front of an audience again. I’m planning to form a new band and its marketing will be focused mainly at Japan, Thailand, Philippines, Indonesia, Australia and China. Honestly speaking, I have a feeling that Asian people appreciate the music more as an art.

I won’t mind if my new band doesn’t make it in the States, as I have once accomplished that goal already. Besides, I’m tired with doing business in States. Fuck that! This week everybody loves you, and the next week, they love another band. The rest, they don’t even care, or simply completely forgotten. On the other hand, Japanese fans care about the music and love it more. That’s the way I see it…I mean, I strongly believe so.

Currently, I’m looking for a singer. It's preferred that this person can work on writing songs with me. Oh, and I certainly want another guitarist. I don’t want to be egotistic and take all the guitar solos. Warren is undoubtedly a great guitar player. I do respect him a lot…but that’s as him being a soloist. The difference between him & me is that my playing style is as being a song writer. My playing approach is rather direct and to the point, a more bluesy & rock n’ roll style, don’t you think? It’s not too much “ Heavy Metal” style, nor does it sound like Van Halen. (lol)

I want my next band to be a real band, not an “Always-in-competition/Who’s taking the solo?” kind. I want the members to get along well, and have a mutual understanding with each other. When I was in Ratt, we were always arguing over every single thing that we do, and it made me sick. When on tour, we even had a fight about what we’re gonna eat! It makes me want to vomit recalling this shit. Stephen and Blotz are both self-centered egomaniacs. I’m not like that. I don’t even care if I never talk with them anymore. Stephen and I used to be best friends before we started the band, but he has totally changed…he thinks he’s a “true Rock Star” or something. Ha ha…you should not over-estimate yourself like that because you’re not the press. He thinks he’s far better than everybody else.

I am not playing rock n’ roll for the money or to get chicks. I’m an artist who loves the art which is called Rock N’ Roll, and I am proud to say this. I’m not a merchant who writes commercial hit songs. I dearly hope my Japanese fans would give me a warm welcome with their “true love”. I think all my fans and friends in the music industry know that I’m not an irresponsible person.

What Have I been up to lately? I‘ve just finished producing a demo for a band called Mail Order Brides.　What, you’ve seen them live? The vocalist is kinda like an alternative type singer, but don’t you think they have a cool Ramones-ish kind of thing, eh? In my personal life….I’m going to be divorced soon. Recently, I haven’t gone back home because of that. (lol) I’ve been crashing at my friend’s place.

So now that I have given my honest feelings about everything, one thing that I’m afraid is that I don’t want to be misunderstood. The reason I dished the dirt on Ratt is because I wanted to shut the door on the past and move on. I may have sounded like a cocky egomaniac to some people, but I’m not. Everything I told you is damn true, and I don’t want to live on by relying on whatever happened in my past. I wanted to make things clear & let people know what was happening.

~from the interviewer~
Robbin said that he does not want to look back to the past. The man who made Ratt has left the band and set out on his own. As a matter of course, he has the right to say what he has to say. Whatever happened, the truth will remain and should prevail in the end. It must have taken a lot of courage for him to tell us the story. Actually, being his natural self may be even better because we could feel his genuine humanity. As a man, making a fresh start over again in life must be like sailing out on the rough sea…

Translated from Japanese to English

Magazine article - Young Guitar 1989

ROBBIN CROSBY INTERVIEW. By Tak Yonemochi

From Young Guitar Magazine April 1989.

If only our various new approaches become the steps to our biggest record...

I basically believe that an interviewer’s job is to draw out the best portion of the person being interviewed, and work hard to achieve this goal. In order to do so, however, sometimes it becomes necessary to ask questions that I don’t want to ask. These cases become more likely to occur, particularly as I become more and more familiar with the person being interviewed...

I pulled no punches when asking Robbin about the problems that are currently plaguing RATT in this interview. This is only because I am a big fan... There must be many people who felt that they never want to see RATT as an opening act for Bon Jovi. For this reason, it is crucial for RATT to release another super album.

I seriously think so, because I am a big fan...

“I realize that I’m a guitarist without a choice”

Q: I’m sure that you’ve been asked plenty of questions about “Reach For the Sky”, but I’m going to ask you questions based on my honest opinions about the album.

A: Sure, no problem. It’s you and me talking here. What do you think?

Q: I may have said the same thing after the release of “Dancing Undercover”, but I felt that there weren’t enough songs that displayed YOUR personality. To be honest, there are too many “Warren-ish” songs. I like songs that reflect your personality better.

A: Like “I Want a Woman”?

Q: Yes. To me, songs like “...Woman” are true RATT tunes.

A: There were more people than ever involved in songwriting on this album. That is, each of the songs was a group project. People like you, who know us really well, can tell which are my songs, and who came up for the initial ideas for each of the songs. The tunes are all collaborations by all the members, who each input their ideas. This is the first album that I’ve recorded, in which group projects are at the forefront. If you look at the liner notes, you can see that all of the members have their names listed next to at least some of the songs.

The thing is, though, I’m not sure if all this collaboration was necessary. There are cases in which the songwriting became rough as a result. Maybe I should stick to writing songs that emphasize my personality, like you say.

Q: As far as the ultimate finish of the album, this one is a step forward from the last album. But, taking each of the songs into consideration, it feels as though there aren’t enough “Robbin songs”...

A: I’m glad that you feel that way. I will keep it in mind for the future.

Q: Anyway, that’s just my honest opinion of the album. I like the record, and particularly the B-side. My favorite tune is “I Want a Woman”. I thought for sure that this would be a single...

A: “I Want a Woman” is scheduled to be the next single. We are going to film the video next week in L.A. It’s a totally different type of song from “Way Cool Jr.” In the States, there’s demand for tunes like “Way Cool Jr.”, which is different from our usual music. I think that “I Want a Woman” will be a bigger hit, and not only in the States.

Q: I think so too. There can be no mistake about it being a RATT song. Maybe it’s got the traditional RATT sound?

A: Yeah. That’s actually what we were trying to avoid in the initial steps of songwriting for this album. We didn’t want the tunes to be too “RATT-ish”. As a result, though, people have come to know that we’re not limited, and thanks to that, the album’s gone platinum. We want more good reviews and praise, too. If only “I Want a Woman” becomes a bigger hit than “Way Cool Jr.”...

Q: I’m sure that it will be. It’s a catchy tune, and the melody and guitar solo scream out “this is RATT!”

A: Yeah, the guitars are cool, aren’t they? (lol)

Q: That’s the other thing that I was disappointed in, while listening to the album. I think it would be better if you played more solos. I discussed this before with Warren, too. I’m not talking about adding unnecessary solos to songs, but to write more solo parts for you from the beginning.

A: Maybe he’s scared? (lol) Actually, we spent way too much time recording this album. First we used Mike Stone, but he was no good. So we re-did the album with Beau Hill, which took two months. Then, when it was time to go back into the studio to record the solos and backing vocals, there wasn’t enough time. For almost all the solos, it was really mechanical, like “OK, you’ve got to record a solo here, and a solo there...” For example, the double leads with Warren on “I Want a Woman” and “City to City”.

Anyway, there really wasn’t enough time. I’m sure that you already know how I feel about Warren’s playing. I mean, it’s not like I can listen to a tape of his playing, and say, “Hey! I can do this better!” Besides, his playing is great, so there’s really no room for complaints anyway. Of course, I’m planning on playing more on the next record...

Q: I think there’s a recent trend for bluesy guitar playing in the music scene. You’ve been playing that way for the past 5-6 years already. For example, when you guys came out in 1984, everybody was playing guitar totally different from the blues, like Eddie Van Halen.

A: Yeah, the times are changing. Now there are players like Slash and Jeff Healy...

Q: These guys appeared on the scene and have become a big presence.

A: You’ve got that right. Really, I’m grateful.

Q: The era of Robbin Crosby has finally arrived. Shouldn’t you be playing all of the solos on the record now?

A: Tell that to Warren, willya? (lol) It’s difficult to push those kinds of demands, though. Particularly, we took too much time and money to make this record.

But I know myself that “I’m a guitarist without a choice”. I can only play bluesy guitar solos. On the other hand, Warren can play solos in many more styles than I can. As far as RATT’N’ROLL goes, I think that Warren’s broad guitar playing makes the music better.

Q: By the way, you are producing a band called “Lillian Axe”. They’re pretty popular in Japan. This side of you as a producer, will it become a big part of you in the future?

A: Producing is a fun job, and I feel it’s worth doing. But there are times in which I can’t schedule for it, you know, there’s not enough time. If I was to produce their record, I would pour everything I’ve got into it. So I ought to do it on my own time off. Otherwise, it would be take too much away from me. It’s really difficult for me to pour my energy into them, then head right to the studio to record “Reach For the Sky”. So, I won’t do anything like this again, at least not when RATT is busy. Probably never again...

Q: I see. But having been on the production side of a record, I’m sure that you learned a lot of things that you wouldn’t have noticed in your work with RATT.

A: Absolutely. I was able to see what needed to be done next, and what shouldn’t be done next (lol). It was an emotional roller coaster.

On the technical side of things, there’s a lot that can be done with today’s technology. For example, sampling is so easy now. It’s possible to make a high tech record, without having to spend as much money as you would have had to before. However, I did a lot of things old school on this record, that is, analog. We recorded real drums, not samples. If I were to do it again, maybe I would take greater advantage of technological advances.

Our new album, “Reach for the Sky” uses both real drums and sampled drums. But it’s a pretty basic style of drumming. I mean, we didn’t push the studio’s computers to their limits or anything like that.

Q: Let’s talk about guitars. You had a new flying V made for you? (refer to Equipment Check)

A: Yup. Although I brought it along, the guitars that I mainly use on stage are King V’s, which are a little smaller than the flying V.

Q: Any particular reason that you went back to the King V’s? Because they’re smaller? Lighter?

A: They are lighter, but that’s not the only reason. I’ve been playing V shaped guitars for over 10 years, so they fit me and my hands the best. That’s the real reason. Of course, Firebirds are easier to play sitting down...(lol)

Q: So these are the guitars that you had made for this tour, right?

A: Yeah. I had a whole bunch of guitars made, but the ones that I’m using now are bolt on neck guitars. I had a total of seven bolt on neck guitars made, including Firebirds, Flying V’s and King V’s. I chose three out of the seven for use on stage, and brought the dragon graphic (red and blue dragon) guitar and the white guitar to Japan. This guitar (editor’s note: the white Flying V with the dragon tattoo graphic pictured on Page 38) is used for the drop D tuning in “Lay it Down” and “You’re in Love”.

The dragon graphic bolt on has a much better sound, though. There really is a difference. The dragon graphic guitar has a really pure sound. I don’t know why, but both high end and low end come out strong, and it distorts pretty well too.

Q: Oh really. What’s the body material of this (Black and white Dragon Flying V) guitar?

A: Poplar. Actually, it’s a neck through guitar, so the maple neck extends all the way through the guitar, and the poplar wings are glued on to the sides. So this guitar can be either a Firebird or a King V (lol).

I’m using a Tom Anderson humbucker as the pickup. I had a chance to borrow Dweezil Zappa’s guitar while I was producing the Lillian Axe album. I played “Dream of...” in D tuning with it. His guitar’s got a special neck, and it’s always in D tuning. But as you know, the tune can also be played in a regular key as well. That is, just raise all the notes, for example, play E instead of F#, and transpose it in your head.

Anyway, so I borrowed his guitar, and it sounded better than any other pickup that I have in my guitars, say, a Duncan JB. Tom Anderson also sells strings, and these are far superior to Duncans. I’m sure that you’ll like it too.

Q: The guitar originally had Jackson pickups, though, right?

A: Yup. But I don’t like Jackson pickups, so I swapped them out for the Duncan JB (SH-4). I don’t know whether I’m going to keep on using Duncan pickups in the future, though.

Q: So about this Tom Anderson, is it a company based in L.A.?

A. It’s more like a guy who lives in the valley outside of L.A. who makes them at home, rather than a company. If you want, I can get you one.

Q: Please (lol) (editor’s note: this is a perk of this job) So who painted the dragon graphic?

A: A guy named Mark Rude. He painted all of my other graphic guitars too.

Q: Why a dragon?

A: Why? Well, first, the year that we started the tour was the year of the dragon. Second, I didn’t have enough balls to get it as a tattoo, so I got it painted on my guitar (lol).

Q: Your amps are Marshalls, right?

A: Yup. I’ve been using the same ones for three years now.

Q: But you do maintenance on them, like changing the tubes, right?

A: Of course. Every time that one of them breaks, I get them fixed and checked out. I think that I’m pretty lucky when it comes to amps, though.

I mean, Warren can’t seem to find “the one”. He’s always switching his amps, forever searching for the holy grail. He used to plug in direct to the amp, without using that many effects. But now that he’s using lots of effects, he doesn’t like using Marshalls on tour, because their sound changes from venue to venue. This probably has something to do with him not using the Master Volume... Anyway, the Soldanos that he’s got now are close to his ideal amps. Plus, I think that he digs the fact that they are stable.

Q: Soldanos have been imported into Japan, and they’ve gotten good reviews. What do you think?

A: Actually, all of the solos on “Reach For the Sky” were played through a Soldano. Because we had time constraints, we just plugged into the Soldano which was in the studio, and recorded the tracks.

Q: So that means all of your solos too?

A: Yeah. The double leads in “City to City” and “I Want a Woman” were recorded with the Soldano. As were the riffs.

Q: Wasn’t the distortion a little harsh?

A: The distortion may have been a little mushy. But I’m sure that it would have been much noisier and worse, had I used my own Marshalls. The Marshall sound would have been boosted higher, and the effect levels would be raised almost to the limit. The Soldano doesn’t yield a “stock sound”, because it’s a hot-rodded amp. I don’t think that they’re bad, though.

Q: There are popular products in which the attack becomes weak when the sound is overdriven. Soldanos aren’t like that, are they?

A: I guess you could say that. Every year, I think about trying a different amp. So the guys from Mesa Boogie come to my house with a new product, I play it, and it sounds good. But then, I play through my own gear, and think, “Hmm... This is for me”. I spend a whole lot less money this way, too (lol).

Q: I was thinking about using a Soldano myself, but they’re so expensive...

A: Even in the States, Soldano heads cost $2500 apiece. That’s so expensive that it’s ridiculous (editor’s note: used Marshalls sell for $500-$600).

Q: Anything new for this tour in terms of equipment?

A: Nah, it’s pretty much all the same as before. I’m using my Marshalls, a Lexicon PCM42, a Yamaha SPX90, a HUSH, and a Rockman X100. Basically, my sound is a little bit of echo on a Furman and the Marshalls, with some overdrive for solos. The rest is almost just direct. Well, the modulation effects are always ON in the SPX90, and I use the PCM42 a little, too.

I must be an old fashioned guy, to be using the same old gear that I’m used to, while everyone else is using fancy Bradshaw systems. Warren’s Bradshaw system’s got 50 presets. That’s definitely not for me. First of all, for me, controlling the guitar is hard enough as it is. I mean, in the studio, I can control the pickup selector and some knobs, and get a good sound with a digital delay like an A.M.S. But live? Forget about it.

Q: The sound that reaches the audience at concerts, and particularly outdoor shows, is pretty much a straight rock guitar sounds, no matter how fancy they become due to processing anyway...

A: You’ve got that right. Billy Gibbons (of ZZ Top) is amazing in this respect. It’s the same thing indoors, too. What with echo and reverb, the fine points of the sounds become indistinguishable, and fast playing is meaningless.

Q: By the way, do you check out what’s being played on the radio these days?

A: Yes. The radio is my entertainment when I have just a little bit of time. I check out tunes on the radio, then go out and buy the record, or just listen as a chance to discover new bands. My current favorite band, who suits my tastes to a tee, isGuns and Roses. They are a true rock ‘n roll band, with plenty of heart.

Q: What do you think of the recent revival of the blues scene? Although it might be just a fad...

A: Well, the blues were always here, so really it’s nothing new. It’s just that recently, there was a whole lot of music other than the blues, so maybe now listeners want to hear each individual note, one by one.

In this connection, I really think that Slash is a good player. He plays solid guitar with a real bluesy feeling. I hear his playing and it sounds a lot more convincing to me than a flood of notes.

Q: It appears that many guitarists are coming around to this way of thinking recently. I spoke with Yngwie last year, and he said that he doesn’t consider himself a “technical player”.

A: That’s bullshit! (lol)

Q: Well, apparently, he doesn’t like all of the younger players who are copying his style, so he’s going to try to play fewer notes.

A: I see. If you listen to Warren’s playing now, it’s a lot more melodic and bluesy than before. He plays with a lot more feeling now, right? His playing on “Wanna Love You Tonight” is amazing. It’s very Hendrixy. I get shivers up and down my spine and break out in goosebumps just listening to it. It’s not just a succession of notes.

Players like Warren and Yngwie can play that way, that is, play solos that listeners that don’t necessarily like them can dig. I can only play my style... Not that that’s a problem, but Warren and Yngwie can choose the style that they play. I can’t compete with that, now, can I... (lol)

Q: you may be right. A lot of players are going to go for elements other than speed. Although that in itself may cause some problems.

A: Yeah. That in a couple of years, everybody is going to be playing that way.

Q: While they all say “Blues is the best!”

A: Uh huh. And then, some guy named “Mr. Speed” will come on the scene, or a guy who’s got something new and different. Then it will just be a repeat of the same old same old.

Q: But Robbin, you have an advantage that you can write songs. Isn’t that the most important thing in any era?

A: Yeah. I think that songwriting is what I’m supposed to do.

Q: All of your albums are successful. I think that this is because RATT is always growing, to make the ultimate classic album.

A: I think so too. I fully agree with the direction and the new attempts that we made on this album. You know, like adding horns and arranging the backup vocals in a new way. These elements will be another step in our journey ahead, which hopefully will lead us to our biggest record. That is, I’m hoping for something like “Jump” off of Van Halen’s “1984” album.

Q: It took Van Halen a lot of time to get to where they are now, too.

A: That’s right. So it takes time, but just know that the best is yet to come.

Thank you very much

Translated from Japanese to English by QuantumRider.

Magazine article - Circus 1989

Ratt: Back for more

by Ben Liemer – from Circus Magazine / April 30th, 1989

    “Learning to play music shouldn’t be like visiting your parole officer,” Warren DeMartini asserts. Ratt’s lead guitarist, who began taking traditional, classical-style piano lessons at age seven, knows what he’s talking about. After a few years he dropped the unpleasant lessons and began fooling around on his brother’s guitar. Now this was fun --- making noise in the basement, worrying his mother.   

He has seen Jimi Hendrix’s feed-back-laden flipouts in the movie Woodstock --- and once, his older brother even took him to see the Who in concert (Maybe his brother was an ok guy after all.) Warren was hooked---a bona fide rock & roll junkie.

“No guitar solo has ever sold a song to anybody.” Ratt’s Robbin Crosby

   Today, four Lps, one Ep and millions of record sales later, fun remains what Warren and Ratt are all about. And nowhere is this enthusiasm more apparent than in the grooves of Reach for the Sky (Atlantic), the latest platter from DeMartini, Stephen Pearcy, Juan Croucier, Robbin Crosby and Bobby Blotzer.

   Yes, after almost a two year break, Ratt & roll is back---the L.A. quintet hit the road in late January with opening act Britny Fox, just about the time Reach was certified gold and heading towards becoming their fourth consecutive platinum Lp.

   And to hear lead singer Pearcy talk, he couldn’t sound happier. “I’m ready to go on vacation,” he declares. “This is my vacation, on tour. We can take our [individual] trips to Bora Bora and Hawaii and all these wild places, but for me, vacationing is seeing different people all over the U.S. and the world, touring and playing music.

   “We’re talking a long tour,” he continues. “We started New Year’s Eve at the Tokyo Dome in Japan---three shows with Ratt, Bon Jovi, and Kingdom Come. Three days, 50,000 a day. We began in ’89 and hopefully we’ll finish New Year’s Eve in Los Angeles, 1990.”

   If Stephen sounds like his batteries are recharged and he’s raring to go, it’s so. For the first time since recording their 1984 multi-platinum blockbuster, Out of the Cellar, Ratt stepped off the non-stop treadmill of album, tour, pre-production, recording, album, tour, etc. 

“Everybody surely needed it,” the frontman notes. “The [ Dancing Undercover ] tour was long, it was successful, it worked. I love all the other records but we wanted to sit down and concentrate on what we were gonna do for the new Ratt record. And the time allowed us to do that.”

   “It was a breath of fresh air,” agrees guitarist Crosby. “It was an opportunity we’ve never afforded before. We had six or eight weeks between [working with Mike Stone and Beau Hill, Reach’s co-producers]. We had to wait for Beau to finish another project, while we sat with the tape hot in our hands. And a lot of stuff changed quite a bit---we changed the choruses around, changed the titles around.”

   “We cut more songs for this record than any other album,” notes Croucier. “We wanted to make it special.” In fact Juan and the Ratt pack completed writing on 21 songs, before recording the basic tracks for 14 with Mike Stone. That number quickly became 15 tunes when Beau Hill and Ratt recorded “Way Cool Jr.,” the Lp’s first single/video.

   “Rather than just record it, put it out and [later say], ‘Gee, we could have done this or that,’ on this record we did do that,” Robbin states. “ We did do it all. This is the whole kitchen sink.” Adds Stephen, “We weren’t gonna stop because of a deadline the record company was gonna give us. They knew if they waited, they would get the best from us.”

   It’s not usual for an arena-headlining act to take an extended break as Pearcy and Co. have. Ratt’s close pals in Motley Crue are currently in the studio, having taken time to put their house in order. Both bands reassessed their musical directions after receiving criticism from some quarters for successful albums (Ratt’s Dancing Undercover, their rawest sounding to date, and Motley’s Girls, Girls, Girls, their most slick and commercial).

   “We got sick of hearing how we’re washed up or how Dancing wasn’t a success at a million and a half units,” Robbin emphasizes. “I’d like to talk to a lot of other artists that didn’t have a million-and-a-half sellers and ask them what kind of a flop that was.”“In the old days, Van Halen only went platinum,” defends drummer Bobby Blotzer. “Their first album kicked ass, but the next few went platinum. And they always did good business live. In 1988 everybody sells two million, [at least] of the top seven or eight bands. You have to be double platinum to be a headlining act. You’ve gotta have one album that’s mega, like Out of the Cellar, Appetite for Destruction, that [makes] you a household name, besides [being a hit] with the kids.”

   The time off has served Ratt well---they appear to have their priorities straight, as Pearcy explains: “This is all supposed to be about having fun---not making statements to change the world. I think Robbin had a good point: You know this isn’t the Olympics. You don’t have to get out there and beat everybody up just to prove you’re the hottest band in the land. There’s plenty of space for everybody in every style of music. We’ve pretty much found our place here.

   One thing is certain---in 1989, Ratt are more a band than they’ve ever been. “It’s like we’re married to each other,” Juan says. “This was more of a group effort than ever before. Everybody had ideas,” echoes Pearcy. A quick check of the songwriting credits bears out the singer’s statement. On the finished album, Warren and Juan had a hand in seven songs each, Stephen co-wrote nine and Robbin contributed to six.

   “We’re trying to feature the band---not one particular player,” Croucier maintains. “What counts is the full package.” Chimes in Crosby,” You can play till you’re blue in the face but no guitar solo has ever sold a song to anybody.”

  So as the song on Reach for the Sky goes, what’s the “Bottom Line”? We’ll let Juan have the last word: “You can’t base your happiness and integrity on how many records you sell. It’s music, it’s not just a popularity contest. It’s what you’re saying in your music that’s important---whether the record goes gold or sells 50 million. And really, [once the recording is over], the artist has no control over it. Everybody goes into the studio and does the best they can. And obviously the public is the final judge.”

   So far, the judge seems to be signaling approval. And Ratt’s “world infestation,” begun in 1984, continues.

Magazine article - Guitar Player 1987

With Magnificent Energy and determination, Ratt has gnawed its way straight to the top of the hard rock / heavy metal heap. Much of this success is owed to the fiery twin guitarmanship of Warren De Martini and Robbin Crosby.

Just six years ago De Martini, Crosby, singer Stephen Pearcy, drummer Bobby Blotzer, and bassist Juan Croucier were all sharing dreams of stardom as they slept on the floor of a converted garage in Los Angeles; their pillows nestled against Marshall stacks. Their self-funded Ratt EP caught the attention of Atlantic Records, which released Out of the Cellar in 1984. Spurred by the hit “Round and Round,” the album sold more than 3 million copies. During that year’s World Infestation Tour the band played 205 concerts for “1,537,534 screaming rodents.” 1985’s Invasion Of Your Privacy scored a Top-10 hit with “Lay It Down.” Last year the band issued Dancing Undercover and made its motion picture debut performing in Eddie Murphy’s The Golden Child. At press time “Dance” was well on its way to becoming a major hit.

What makes Ratt’s guitar sound special? “Warren has a good sense for a big flurry of notes, whereas I go for nice, clean, melodic solos,” explained Robbin in the Aug. ’84 Guitar Player. “He can blow their minds out with the full guitar-hero speed trip, and I’m a slowhand who can pretty much cover what he doesn’t do.” “That’s true,” Warren concurs: “He’s more of a feel player, where I’m an ‘if it ain’t fast, it ain’t got class’ kind of guy.” To date, Ratt has never recorded anything even vaguely resembling a ballad.

Magazine article - Guitar Player 1987

ROBBIN CROSBY by Jas Obrecht – from Guitar Player / April 1987

    Gentle Giant Robbin Crosby, 26, took up guitar in his youth, and then abandoned it in favor of sports. Influenced by Billy Gibbons and Jimi Hendrix, he returned to the instrument in the mid 70’s. His bluesy lines, side-of-the-pick harmonics, and wild vibrato antics are a cornerstone of Ratt’s sound.

Is there much give-and-take involved with being in a two-guitar band?

Yeah, but it certainly has never been a problem for us. We have always known who should do what when, and we have never fought over a solo or anything like that. On Out Of The Cellar I was probably trying to play faster, sort of competing with Warren a little bit, whereas on the last two records we’ve both found ourselves and our places within the band.

Are you comfortable with your role?

Oh, definitely.

What’s your approach to writing songs with other Ratts?

Usually either Stephen or myself will come up with the initial riff on guitar, and then we take it through the assembly line from there. Sometimes we have new ideas we can Tinker Toy together with other songs from the past, or sometimes a whole song will be created new on the spot. Stephen is a pretty good guitarist, so he comes up with some of the initial riffs. Warren and myself come up with them, too. That’s why we have all the multiple songwriting credits.

Onstage, who do you listen to for cues?    

Bobby and I work together totally. I listen to the drums only. The biggest appeal of working with Juan and Bobby is the fact that they have been playing together forever and a day. They really know each other’s style, which is a lot better than having a bass player that goes do, do, do, do, and a drummer that goes boom-shoo-bop, bup, bup, bup. We got a good punchy live sound because they really know how to work together. A lot of rock rhythm sections are a little but too simple. Not that we do anything mindblowing, but it just really locks in.

“Warren is really flashy with his new style, and I’m concentrating on keeping that big groove.”

  Do you ever have trouble hearing the bass?

No, I stand right next to him (laughs), so I don’t. The only time I really notice Juan is when his gear goes down or he drops a note or something, and then I really feel how much you rely on that. When it’s just guitar and drums, the whole bottom end drops out.

What’s the best way to get a good guitar sound on record?

Go back to basics. At first we tried plugging everything into everything, and running it through this, that, and the other. On Dancing Undercover we went through about 20 Marshall heads and as many old bottoms as we had. We tried vintage Celestions, the 30 watts, and Electro-Voices. Finally we came up with three or four good amps and really only one cabinet—an old, beat up funky Marshall with 25-watt Celestions. It just has that twang to it, that classic Marshall sound. So rather than the high-tech stuff, we both plugged straight into a good little Marshall amp for most of the album. We didn’t over-process, over-equalize, or do anything to it.

Do you use many effects?

In the studio, not really – we use a little bit of echo. On the new record it’s basically dry. Live, I sometimes use a little bit of echo and chorusing, and that’s about it. The echo is from a Lexington PCM-42, and the chorus is from a Yamaha SPX90. I’ve got one side of the SPX90 going down slightly and the other side going up, so it’s full stereo imaging. I used to use the PCM-42 for chorus, and it just had that whoosh-whoosh sound, so this is definitely preferable.

Are you a guitar collector?

I own a lot of guitars, but only a few that are of any value. My ’58 Gibson Flying V is my pride and joy; I got that last year. I just bought a left-handed, candy-apple-red ’62 Strat from [drummer] Bun E.Carlos of Cheap Trick, who got it from Elliott Easton of the Cars. It’s a real nice guitar. I’ve got a real nice white Gibson Firebird VII that I used in the “Dance” video, and a clear Dan Armstrong guitar. My other guitars are Jacksons, a few Guild acoustics, and some Gibsons that I’ve either picked up or they’ve made for me. I had them make a couple of Firebirds with Floyd Roses and humbuckings, and I’ve got a Les Paul reissue. 

Which do you use for recording?

I use the same guitar that I use live. In the past and on this record, it’s always been the Jackson. I used to prefer my red Flying-V shaped one, but I switched over to the Firebird-style body. For some reason, it just sounds a whole lot better. I use Seymour Duncan’s Allan Holdsworth pickup, but they don’t make it anymore. It’s got a double row of screws in it. If I can’t get those, I use a regular Jeff Beck model.   

Do you have other special requirements for your guitars?

In the past I leaned towards wide necks, just for the spread of the strings. But my new guitars have a little more standard neck size, and I think that I play them better. I don’t mind if a neck is a little bit flat, as long as it’s wide enough. I don’t like my action too low, and I only use Floyd Rose whammies. The Kahler is too flimsy for me. I tend to be a bit of an animal on stage, and I also rest my hand on the bridge sometimes, so I can’t really have it floating. I have the Floyds butted down so they can’t go up.

Can you describe how you attack the whammy in your “Drive Me Crazy” solo from Dancing Undercover?

It starts with a regular stretch and I pull-off on the G string between the 12th and the 14th frets. I pull the bar back and forth with the motion of the string. 

Did you multi-track part of that solo?

Yeah, the part that sounds like harmony. But we didn’t mix it for harmony sound; we just wanted to give it some texture because live I just do it myself. We didn’t want to break there for a double guitar solo, because the song is so pumping. At that point you don’t want to lose that rhythm guitar sound. 

Do you open your “Looking For Love” solo with side-of–the–pick harmonics?

Yeah. As a matter of fact, I listened and listened to that rhythm progression, and I thought of a lot of ways of approaching it. But that technique---striking the note and having it really count---just seemed to fit the opening best.

Dancing Undercover’s liner notes spell out who plays which solo on the LP. What are your best solos on earlier releases?

On Out of the Cellar, “Wanted Man”--- Warren does the first half and I come in when it changes the key to E. I also play the solos on “She Wants Money,” “Scene of the Crime,” and “Lack of Communication,” which is total Gibbons city [laughs]. “I’m insane” is split up: He does the fingering and I do the wang-bar noise. On Invasion Of Your Privacy I solo in “Never Use Love” and “What You Give is What You Get.” “Closer To My Heart” is all mine---the intro, the acoustic, all that stuff. In “You Should Know By Now,” I do the intro and the out, and we split the middle solos which come together for a harmony. I did more soloing on Invasion than on anything we have ever done before. I think that’s why I took a back seat to Warren on the new record, which doesn’t bother me at all. In fact, a couple more of the solos----as always with us---were intended for me, but I went in and said, “Know what? He can do this better.” And he did. I don’t have a problem with that.

Do you and Warren swap parts or stretch out certain solos in concert?

No, we always try to do things as close to the record as possible. So whoever did it on the record always does it live. I definitely try to do the same solo.

When do you play your best?

Live and when I’m in a good mood. When things are right, I don’t even feel like I’m standing on my own two feet. When the crowd is happening and we’re rocking, I get to smoking. Sometimes when I’m sick or feel the presence of the stage, it’s almost like a weight. That’s the only time I feel hindered. I like playing in the studio because I can take it over [laughs]. For me, once I get a part the way I want it in the studio, that’s the way I do it live, because that’s what I hear.

Do you differentiate between practicing and warming up?

For me, warming up is warming up, and practicing is really songwriting. Like if I just want to blow some chops to keep my licks up, that’s swell. I’ll do that at home. Otherwise, I’ll sit down to create something. Before the show I just sort of have at it---a little bit of everything, just to loosen up my fingers.

Does the band ever jam before a show?

Yeah, but not a whole lot. A little bit of blues or boogie or something.. 

What would you most like to improve about your playing?

I would like to have it so that people would say when they hear it, “Hey, that’s Robbin Crosby.” I suppose every guitarist wants that. I can stand to work on my technique. I tend to let my slowhand side dominate, which is probably just out of laziness. Plus, Warren is so hot and flashy with his new style that it would be silly for me to try to do that. We have got the best of both worlds. I’m trying to concentrate on keeping that big groove, sort of Gibbonsy-with-a-twist type sound. I mean, if we both played like him or me, we’d be boring.  Most bands that have two “guitar player” guitarists---God, that gets old. Two Yngwie Malmsteens in a band or something---can you imagine?

Do you sense competition among hard rock guitarists?

Between myself and the rest of the world? Absolutely not. I have removed myself from the competition. I refuse to compete. I play the way I play because I like it and I want to. A lot of these hotshot guys think, “I’m better than he is.” Where the hell is that at? These rock pukes don’t impress me.

Is being a good musician enough to make it these days?

I would have to say no. We all know that there are plenty of hot musicians out there not working, so there’s got to be another element. I can’t put my finger on what it is though. If I could, I’d set up a patent. These days you have to be a recording artist, a live performer, and a performer in the sense of videos. You have to be a persona more now than in the past.    

How does the reality of life in big-time rock stack up to MTV images?

Any real musician would tell you that that’s all pretty much bullshit. When you are on tour, you can’t party all the time and stay up all night screwing or whatever they think we do, and then perform at your best the next day. From that respect, it definitely is different from the glorified MTV portrayal. But it’s not disillusioning for us at all; we are doing what we want to do.  

What advice can you offer aspiring guitarists?

First of all, they should be doing it for the right reasons, and not because they want to get laid, or whatever they think it’s gonna be like. Make sure you’re doing it because you like the art. Keep at it. If your heart is in the right place, you’ll end up in the right place. I truly believe that. Like Warren and myself, we never wanted anything else; this was not a second choice. So if you work hard and your heart’s in it, you’ll get there, too. 

Have you done much playing outside of Ratt?

No. We don’t have time to turn around. We are basically always on tour or recording. This year was the first time we really ever had a break. I had about eight weeks off, and my guitar was not the first thing on my mind. It’s good to take a break from it for a while sometimes, because otherwise you stagnate. Sometimes I get inspired by seeing a player who has something different or new to offer. I saw a guy like that last year in a seedy little blues bar in Chicago. I believe his name was Dion Payton, and I couldn’t believe the way the guy played. Man, this guy was smokin’. I talked to him for a while and then talked to a record company, but it was like beating a dead horse. Blues records---they’re just not interested. As far as pro guys go, Steve Vai is certainly a monster. I like Steve Stevens a lot, too. He doesn’t show off too much, but he can do it. Great guy, too.

What would you like to accomplish?

I just want longevity for the group. Whatever course we take will always be rock and roll. I’d like to see the band grow with it’s fans and be around to entertain for a long time.

Magazine article - Burrn!!! 1986

RC.Net note: Please note that this has been translated from Japanese, and some of the english may be a tad compromised.

by Atsuki Fukatami / BURRN!!!    Pix: Koh Hasebe / BURRN!!! MUSIC LIFE

An interview by an international phone call is easy but only if the person is at home and is staying close to the phone.

This time, the record company set up the interview and even though the band has been busy doing rehearsals, they were told he was at home and believed it would be so easy but the reality is that it isn’t that easy.

This scheduled time, the person who answered the phone was Robbin’s brother.

Robbin left the rehearsal and said he will be at a party and has been out since then, so our search for Robbin has started.

The translator, Mr.Yonemochi, the director of Warner Brothers records and the publishing office; after more than 30 international phone calls, I was wondering “He is not this irresponsible”,” He must have forgotten the interview.”

After one week, finally we were able get in contact with Robbin.

According to Robbin, when he found out he would not be able to do the interview as scheduled, he tried to contact us, but he had lost his phone index that had our contact #, so he too was worried about it.

Finally we were able to do this latest interview but it was right before he was about to enter the recording studio. If it was two days late, we would have never made it and he would never been on the cover of this latest magazine….

Interviewer(I): How is the rehearsal going?

Robbin(R): We’ve been having meetings about the sound and it has been pretty good so far.

I: Have you done most of the songs?

R: Yea. Mostly.

I: How many songs?

R: So far we’ve done rehearsals for six songs. We’ll be adding some more.

I: How many songs will be on the record? Ten songs?

R: Maybe nine or ten songs I think.

I: Then you guys have to write four more songs and do more rehearsals.

R: Right, and two of them are about to finish writing so we just need two more besides those.

I: Who is writing the songs? Stephen and you?

R: Not all true. Stephen doesn’t write songs much and I wrote about two songs….

I: All your fans are waiting for your new record. Could you tell us what it will be like?

   What’s the difference from “Invasion of your privacy”?

R: There are many things to tell. Basically these are all new songs on the record.

    The last record had a couple of older songs but this time it is so fresh.

I: So this time, there are no old songs and they are all new?

R: Yea, there were some ideas I had for a long time, but I’ve never played them to my band members before so they have never heard them and they’re real new songs.

I: What about you’re playing? Is it also different from the last record “Invasion….”?

R: The biggest difference is that I didn’t try to make up these solos. Everything went so naturally.

I: So you didn’t think too much.

R: I wanted to do it that way.

I: This record, did the record company tell you guys what to do with this and that?

R: No, that will never happen to Ratt!

I:  So Beau Hill will be producing this time again, right?

R: That’s right.

I:  So everything has been going so well this time.

R: YEA! Now I can’t wait to do the recording!

I: That sounds great!

R: Yea! It’s great!

I: How about musical instruments, have you bought anything new lately?

R: Not really but I am thinking of buying one. It’s a 1958 Gibson Flying V. I haven’t checked how much it is.

I: 1958? So it’s a vintage guitar.

R: Yea! Vintage Gibson. The condition and sound are good. But like I said, I don’t know yet .I think I will buy it.

I: But the recording, you are using the White Firebird (It has been seen in ‘live’ photos. It has the Chinese letters.) aren’t you?

R: No, I usually use a Stratocaster.

I: For the basic tracks, you mean?

R: Yea.

I: Stratocaster… with the normal single coil pickups?

R: That’s right. I haven’t changed the pickups yet….

View fullsize

View fullsize

View fullsize

I: By the way, right now we are doing this interview with you and you are in your new house you just moved into. How do you feel becoming an owner of a house?

R: Yea, Finally! But I haven’t bought furniture yet. It feels like camping, only I got the better roof.

I: Where is it located?

R: Laurel Canyon. West L.A.

I:  It’s in the valley?

R: No, closer to West Hollywood.

I: But also closer to the mountain?

R: Yea but it is more close to the town. Only five minutes to Sunset Blvd.

I: How big is your house?

R: Well… it is quite small…

I: How many rooms?

R: Three bedrooms. It’s not that big. I would say it’s a small house.

I: You have a garden, don’t you?

R: Yes. I have a small pool and it’s a cool house. Come visit me!

I: Sure! Is the pool located in the back yard?

R: That’s right.

I: How did you find the house?

R: I checked about sixty different houses and I found this one.

I: Sixty houses!?

R: Yea, I have checked so many houses.

I: Does anyone live near by?

R: mmm.. I am not sure. I think Stephen lives about fifteen minutes from here. Warren too.

I: So now you have to buy your furniture.

R: Before loading furniture, The house needs some repairs and fixing.

I: How do you want to do it?

R: I want to paint the whole house and put new carpet. I need to organize it.

I: When was this house built?

R: 1960. So I want to make it more comfortable.

I: Who are you going to live with, your brother? (He works at a movie production company in Hollywood?)

R: I will live by myself.

I: Really?! When I called you last time, your brother answered the phone.

R: Is that right? He comes to visit sometimes but he doesn’t live here.

I: How do you like living now compared to when you used to live in hotels?

R: Great! Before when I was in L.A., I used to stay at hotels. So after the tour, I got depressed.

I: What was it like?

R: For example, at the end of the year, I came back to L.A. from off the Tour, then went to the UK, then came back to the hotel, then to Japan, and again back to the hotel. I didn’t like leaving my stuff at the hotel.

I: So you had all your stuff in your bags when Touring around?

R: Yea, I couldn’t wait to move in here!

I: So far what do you have in your house? Like amplifiers? Guitars?

R: I’ve got five guitars, a TV and a bed. That’s all.

I: That’s all??

R: That’s all.

I: Do you cook by yourself?

R: Yea! I have been trying by myself.

I: Let’s change the subject. You just finished the tour, How was it?

“The breaks between the tours were too long and I got depressed.”

R: Are you asking about the Japanese tour or the whole tour?

I: About the World tour, “Invasion Tour”

R: It was a bit long. Before we headed to the UK, we took a long break after the U.S. tour.

    It was like torturing me. When I was taking the break, I was at home and I was relaxed and regained my energy. It was like, “OK, let’s go now!”. Then we went to the UK for one month, came back to the U.S., and again we had a break of six weeks before the Japanese tour. We were moving around and I was so depressed.

I: How long was the break before you went to the UK?

R: Five to six weeks. It would’ve been better if we went to the UK right after the U.S. tour and then to Japan. It could have been much better than always waiting.

I: Was all this ‘cause of the tour booking agency?

R: Yes. Only the Japanese tour was scheduled by our meeting.

I: Well, the Japanese tour was very successful!

R: Oh yea, it was great!

I: Everything was great.

R: All the members of Ratt were happy about it.

I: As you’ll were getting close to the end of the Japanese tour, all the members of the band caught a cold. How do you guys feel now?

R: Yea, the last stop was the ‘City of Sendai’, it was so cold.

I: Which show did you like the most from there?

   Shinjuku Kosei Nenkin, (in Tokyo, a capacity of about 3000 seats)?

R: That would be a tough question I enjoyed shows in Tokyo and there weren’t any bad shows. I enjoyed it wherever I went but yea,Tokyo was the best.

 Sendai and Fukuoka. I was so excited and wild.

I: U.S., UK, Japan? Where did you have the most people attend the shows?

R: Japan was terrible. Because of the small places and a lot of people were packed in (Laugh).

I: How was the United states?

R: Meadowlands (?) Arena. 20,000 people.

I: How about  L.A. Forum?

R: L.A. Forum was 15,000 people. Also It was a festival in Oakland. ”The day on the Green”, Monsters of Rock in the UK, we played for 60,000 people.

 I personally think we played perfectly in Oakland.

When we played at Castle Donnington,
there were 60,000 people just standing on the ground. On the other hand, Oakland was a stadium full of people surrounding us.

I: Any interesting story from the tour? What was the highlight of the tour?

R: L.A. Forum was the highlight of the tour. Great show. Also NY and Oakland.

I: And what was the worst ?

R: We moved from Miami to Puerto Rico by airplane. Our Tour bus went from Miami to Dallas. That was where we were supposed to get on the tour bus again but someone broke in our tour bus and stole our personal belongings.

I: Is that a true story?

R: Yea, that was the worst thing.

I: That is really bad.

R: My brief case was stolen. Money, books, My address book. All my personal belongings.

I: Has anything been returned?

R: Nothing.

I: Did you also break a bone in one of your legs on the tour?

R: That was terrible too… I had to get on stage during three weeks of that time, every night was terrible.

I: Have you learned anything from your experience on the tours?

R: I went out every night drinking, hanging out with women, playing. The first tour, I was so excited and I didn’t know what was going on.

I: Every night after night?

R: Yea, even the last tour, the beginning of the tour I was doing the same thing then I realized; “That’s no good!”, and I got myself back to reality.

I: So you are taking care of yourself.

R: Yea, I am trying.

I: It must be hard sometimes…

R: Very hard.

“On ‘Invasion’, there were many songs that sounded similar to each other.”

I: Are you looking for someone to take care of you? Any plans?

R: No. I understand that someone can take care of cooking and stuff but no one can really take care of other people.

I: What do you think of Warren and Cathy (Kathy?)?

R: Even Warren is not a person who spends time having a beautiful life but he wouldn’t drink or play with women.

I: Do you still drink a lot?

R: During the tour, but not much. I didn’t drink that much in Japan and I didn’t go out. In the U.S., I was drinking a lot as the tour was coming to an end. I drink Beer at home but on the tour, I drink Vodka.

I: By the way, did you go to Tommy Lee’s wedding?

R: Yea I did. It was beautiful.

I: Where was it?

R: It was in Santa Barbara

I: Is that where he lives?

R: No. It was one hour from there and beautiful by the ocean so they decided to have the wedding there.

I: Did any musician friends go to the wedding?

R: Of course. The members of Motley, Jack, Brad and Jeff from Night Ranger were there too.

I: How many people were there?

R: There were about 500.

I: 500! No kidding! Besides Musician friends, who were there?

R: Friends, people from the church…

I: After attending your friend’s wedding, does it make you feel like getting married?

R: Even you would think about it for minutes but I didn’t. Getting married, having children, having a family. But it isn’t that cool at all.

I: Have you ever wanted to get married?

R: I have a girlfriend but never think of getting married.

I: So you are not thinking of getting married soon.

R: For now, no. I don’t know in the future. I am not thinking about it...

I: What’s your hobby now?

R: My house. I want to fix my house and live here. That is my hobby.

I: Cars?

R: 59’Cadillac, 65’Mustang, and a Isuzu Trooper….. Do you know about it?

I: No, I don’t.

R. It’s a jeep. 4WD. This is my car to drive around. I have to tune up the Mustang. The Cadillac is too big. I bought the mustang a year and a half ago. Then I bought this house. It’s on the hill so it is too hard for the mustang to go up and down 2-3 times a day.

I: By the way, your birthday is coming up. What is your plan?

R: I don’t know….. My girlfriend has been asking me what I want to do but we are recording now. Maybe after the recording, we’ll take a trip somewhere.

I: Where will you go?

R: Maybe we’ll go to Mexico for 2-3 days.

I: Last year, your birthday was during the tour…..

R: Yea, it was at the California Irvine Meadows Amphitheater. During the show, all the lights went out. It was terrible and I will never forget that.

I: So this year you are recording. Where are you recording at? The Village (The village recorder)?

R:  That’s right.

I: The whole album? Also mixing too?

R: Yes it will be.

I: So it’s like when you guys recorded “Out of the Cellar”(Actually the Mix was done at Atlantic studio in NY)?

R: Yea, we don’t have to move around or go to NY.

I: How long will it take to finish the recording?

R: 6-8 weeks

I: Do you have a time limit to complete the recording?

R: No we don’t.

I: This year, Ratt came to Japan and many people started paying attention to ‘Robbin ’Crosby. Last year, it was Warren that many women were watching. This year was like “Robbin ”Ratt is Crosby and people were looking up to you. How do you feel?

R: I am not sure how people look up to me….

I: Everybody is wondering who wrote these songs, who is organizing the band?

R: I am glad to know but why? I want to ask them questions. I really don’t understand why.

I: It started when all these women started to watch Warren. Then people were paying attention to the band this year. You must had more interviews this year than the last year.

R: That’s true.

I: You deserve that. You are the main character of the band.

R: Is that true? If so I am really happy about that.

I: When will the next tour begin?

R: We don’t know until we finish the recording… maybe September or November…

I: Have you decided the album title yet?

R: We have some ideas but haven’t decided yet and can’t say now.

I: You guys came out with the 1st album “Out of the Cellar”, then the 2nd album was “Invasion of Your Privacy”, what’s next?

R: We had this idea but found out there was a movie with the same title (it could be “Fine Mess”..) so we didn’t use it. I had to find something else.

I: Will you have a self titled track on the album?

R: No. It will be the title of the album and then the song titles are all different.

I: The songs you will be recording, could you give us any titles?

R: “Drive me Crazy”

I: What type of song?

R: It’s a fast rock ’n’ roll. Also “”avenue7th , Funky and dance Rock. It’s like Aerosmith’s ‘Walk this way’. Also there is a rock ’n’ roll song called “One Good Lover” and so many more.

I: Will it be different from the last album?

R: Yea, with more variety. We might do a slow song too. Each song has a different feeling. The entire ”Invasion …” album had the same feeling.

“Tommy Lee’s wedding was fantastic but I…..”

I: Any plans of using a keyboard?

R: We are using a Synth Guitar but not a keyboard.

I: Does warren play that?

R: I used it last year.

I: Which songs will you be using it ?

R: “Closer to my Heart” and 1-2 more songs. But we never use that on the hard sounding part. Only backing tracks.

I: OK, good luck with the recording and hope you make a great album!

R: Thank you!

From our latest information that we have, while we are printing in early July, the band is about to enter the recording studio. We will probably be able to hear "the variations" as Robbin told us by the late fall. Ratt may take a huge step forward, stay as they are or step backward....

In all the band's history, this will be one of the most important milestones they are about to reach.

Go Ratt! Don't look back Robbin! Well, did I sound weird? ▪▪

Very Special Thanx to:   TAK   “OVER WORK’”  YONEMOCHI

Magazine Article - Hit Parader 1985

Ratt -  out of control by Steve Gett

From the pages of Hit Parader magazine, March 1985

(Text in picture has been transcribed below)

    No doubt about it, 1984 was a phenomenal year for Ratt. Spurred on by the multi-platinum triumph of their debut LP Out of the Cellar, the rocking rodents rapidly established themselves as America’s hottest new metal act. Touring with the likes of Motley Crue and Billy Squier allowed the band tremendous road exposure, and they also gained strong TV with the videos Round and Round, Wanted Man and Back For More.

   
Although they are generally recognized as a product of the Los Angeles HM scene, lead vocalist Stephen Pearcy, together with guitarists Robbin Crosby and Warren De Martini originally hail from San Diego. However, it wasn’t until they set up base in the City of Angels that they were able to make their mark.

   An early formation of Ratt had featured Stephen Pearcy singing alongside Ozzy Osbourne axe star Jake ‘E.’ Lee, but the current lineup which also includes drummer Bobby Blotzer and bassist Juan Croucier, came together toward the end of 1981. After amassing a strong following on the American club circuit and independently releasing their self-titled EP, the group scored a deal with Atlantic Records in the summer of ’83, from   which point they’ve never looked back.                 

   In an exclusive interview with fret-burner Robbin Crosby, conducted shortly before Ratt began work on their eagerly awaited second album, Hit Parader was able to trace the band’s meteoric rise to the top.

Hit Parader: Looking back, why do you think you were forced to leave San Diego to get a break?

Robbin Crosby: Well, there was nowhere to play unless you were doing Top 40 material. Nobody wanted to hear original music, which made it tough on rock groups. The last band I had in San Diego played all original stuff, but the only gigs we could get were for kids at dances and things like that. Even worse, though, we’d probably only play once a month.

HP: Was Stephen the first to make the move?

RC: Yeah, but it wasn’t long after that I came to L.A. with another group. That lasted a while and then we broke up, with all the other guys migrating back south. Stephen was already playing with Jake ‘E.’ Lee and so I joined up with them. I guess we played four or five gigs together and then Jake left to join Ronnie Dio. When that didn’t work out for him, he ended up going with Ozzy. Meanwhile, as soon as Jake left Ratt, I immediately called up Warren, my long time friend, and persuaded him to join us. We also went through a couple of other changes and when Warren arrived from San Diego we went straight into rehearsals.

HP: How did you actually come up with the name Ratt?

RC: We needed a name because we had gigs to play. At the time, we were rehearsing and living in this basement hole, and one night this big greasy rat came running across. Steve said, “ Hey we’re a bunch of rats!” so we decided to call ourselves Ratt. We were going to change the name but our following grew so we stuck with it. I think it’s pretty funny – I mean, I wouldn’t name my band Queen either!

HP: Once the band was together, did you concentrate on playing the L.A. clubs?

RC: Yeah that’s all we did; we never went anywhere else for ages. But then our following grew to the point where we figured we might as well put out a little record for our fans. We recorded an EP, which we released independently ( on the Time Coast label ) and suddenly we started picking up loads of radio airplay. We never thought that it would amount to much and, like I said, it was basically just for the fans. But we ended up selling about 50,000 copies.

HP: Did the success of the EP precipitate the deal with Atlantic?

RC: NO, it didn’t. Some of the labels were interested in us because of the EP, but Atlantic had never heard of it, knew nothing about it and signed us strictly on the strength of our live show. We did a showcase at the Beverly Theater in July ’83 and got the deal.

HP: How did you go about selecting the material for Out of the Cellar?

RC: We pulled everything we were doing and picked out the ‘for sure’ stuff. In Your Direction was one of Stephen’s older songs and Warren had actually come up with Lack of Communication before he was in Ratt. I wrote I’m Insane andScene of the Crime in another band; Warren’s got credit on Scene because we changed it around a little. Those four songs were pre-Ratt, but they worked. The other stuff was done by Stephen, Warren and myself collaborating. The next album will be more cohesive because it’ll be all new material. We’ve got tons of new numbers which we’re really excited about recording.

HP: Do you think that the so-called heavy metal explosion helped Out of the Cellar to take off?

RC: I’m not so sure about that. It’s safe to say that our time was going to come. You’ve got to consider that Out of the Cellar was a pretty strong record and had quite a few catchy songs.

HP: Were you at all surprised at how quickly the album raced up the charts?

RC: Well, we always wanted success and knew we’d get it, but the speed of things was quite amazing. When we hit Top 10, it was almost like, “Where do we go from here?” All in all, I’d have to contribute Ratt’s success to a hit song (Round and Round) and the fact that we don’t look like all the other bands.

HP: Going on the road with Motley Crue obviously helped – can you tell us about Ratt’s close ties with the Crue?

RC: We’ve always been on their heels and played quite a few gigs together, even before the 1984 tour. They were bigger than us in the beginning and got signed first. But there was never any rivalry and we were always good friends. Their music’s totally different, so I don’t think anyone can compare us. I see them as being a little heavier and us more melodic. Oddly enough, they actually sound more like we used to sound, and we sound a little more like they used to.

   Nikki (Sixx) and I are real good friends. Originally we were just bums around the Hollywood area; we decided we liked to get drunk together and ever since then we’ve been the best of pals. The way that we became roommates was that I was once going on vacation to Mexico and I asked him if I could drop some things off at his pad for a couple of weeks – when I came back, I never moved out!

HP: Did it seem at all strange to still be an opening band, even though you had a Top 10 album?

RC: Well, as an opening band, you almost short-change the kids. Because things happen so fast, I think a lot of people were coming to see us and we had to work extra hard to give them the full impact of our show. When we go out and headline properly next year, it’ll be more exciting to have the right lighting and stage act together. As we expand in the future, you’ll see more lights and bigger production. We’ll never blow up cars on stage or anything like that. We’ll never get away from the music because that is what we’re here to play. This ain’t no freak show – this is Ratt ‘n’ roll.

HP: On the whole, were you satisfied with the first phase of Ratt’s plans for world infestation?

RC: To hell with world infestation – we want inter-galactic super stardom!

Magazine article - Hit Parader 1985

RATT - Leaders of the pack

Ratt Patrol Go For Broke with 
Invasion of your Privacy

by Paul Hunter

    In many ways, Ratt is the perfect band for the mid 1980’s. Mixing an unerring pop feel with solid riff-rock foundation, this West Coast quintet has developed a sound, as well as a look, that’s instantly caught the fancy of rock fans everywhere. Now with the release of their second LP, Invasion of Your Privacy, vocalist Stephen Pearcy, bassist Juan Croucier, drummer Bobby Blotzer and guitarists Warren DeMartini and Robbin “King” Crosby have solidified their foothold in the rock stratosphere. We recently had the opportunity to talk with Pearcy and Crosby about the ingredients that led Ratt to instant stardom.

(Please note, only Robbin Crosby’s interview portions are included below.)

Hit Parader: Is there one particular quality that you believe has made Ratt successful?

Robbin Crosby: Everyone can tell we’re having a good time. People pick up on that. They see you having fun and they say to themselves, “Hey, I want to have a good time too.” When the fans come to one of our concerts we do our best to make it a big party, and that carries over to the records as well.

HP: It’s been said that Ratt parties about as hard as any band around. How true is that?

RC: We like having a good time, none of us are going to deny that. But we take making music very seriously. Making music that has a “good time” feel to it can be hard work. We didn’t just walk into the studio and crank the new album out in a couple of hours. There was a lot of preproduction work, and a lot of time spent in the studio. Of course, with Ratt that preproduction time was spent in Hawaii, so even when we work we know how to do it with a little style.

HP: But come on, guys! What about the stories about Robbin being kidnapped by Motley Crue and being “forced” to party with a busload of women all night?

RC: The guys in Motley Crue are good friends of mine. Don’t get the idea that we’re trying to be saints. It’s just that we’ve seen too many stories written about other bands, which talk only about how wild the guys are. We’d like the stories written about us to concentrate more on the music.

HP: Okay, I can take a hint Robbin, tell us about the new music.

RC: I have absolutely nothing to say (laughs). Really the new album is great. It’s a lot more exciting than Out of the Cellar was. There’s a cohesiveness to the music that’s different from last time. When we did Out of the Cellar, we were a fairly new band and we were still trying to find out how we could work with one another and who would have to assume what responsibilities in the songwriting and recording process. This time we pretty much new what our strengths and weaknesses were, and we did our best to eliminate the weaknesses. 

HP: Ratt has caught a bit of heat over the last year from people who say that you’ve “borrowed” a lot of your sound and style from other groups. How have you reacted to that?

RC: It’s never bothered me too much. Just because we’re successful, people naturally want to take you apart and find out what makes you tick as a person and as a band. We’ve never been troubled by that.

HP: I notice you avoid using the term heavy metal when you talk about your music. Why is that?

RC: I don’t think we’re a heavy metal band, that’s why. There are elements in the music that are metal-oriented. But I don’t think that Ratt plays like Judas Priest. We don’t have the look and we don’t have the attitude. To me, heavy metal often has very little melody. Our music is very melodic. It’s Ratt and Roll, and that’s all we ever want it to be.

HP: How has success changed your life? Has fame been everything you’ve imagined?

RC: It hasn ‘t changed my life that much. I still have the same crummy little one room apartment I’ve had for years. The only thing I have of real value is a 1965 Mustang that I keep in a garage. Maybe if this album does as well as the last one, we’ll have a little money to buy new homes, but that’s not important. We’re planning on being on the road for nine months a year for much of the foreseeable future, so what’s the point of investing a lot of money in a place you’re never going to live in? As long as I have my guitars and amps, I’m happy. Right now, Ratt is the central force in the lives of everyone in this band. Virtually everything else is irrelevant. ÿ

Exclusive interview - Krys Baratto

Interview with Krys Baratto for RobbinCrosby.net:

Hey all, here's an interview with Krys Baratto, a former member of Robbin's post-RATT band, Secret Service. Krys recently did a 20 questions with Metal Sludge and was nice enough to take some time to answer a few questions about his time in Secret Service. Not a lot of info is readily available about the band, and we're really greatful to Krys for his time. 

Q: You were the bass player for Secret Service; a post-Ratt project of Robbin's. How did you initially meet him? Had you known him previously? How did the band come together? I don't imagine you saw an ad in guitar center and went from there...

A: Indeed I was the bass player for Secret Service. That’s funny about the Guitar Center add. No he didn’t post an add there. I honestly can’t remember how I was introduced to Robbin. I think it may have been through Dino the drummer. He, Robbin, and the other guitarist Mark Lewis had been working on some songs. 

Q: Besides you and Robbin, who were the other band members of Secret Service?

A: There was Perry McCarty from Warrior and Steve Stevens Atomic Playboys on vocals, Dino Guerrero from The Hangmen on drums, a great session guitar player by the name of Mark Lewis on second guitar, and of course yours truly on bass.

Q: Was the music in the same general vein as Ratt, or were you guys going in a different direction? Did you and Robbin write together, or did the material come from other guys?

A: The music had a bit of a RATT feel to it as Robbin wrote petty much all of the RATT material. With Perry’s voice it was a bit heavier, and with me and Dino there was a bit more of a groove with an edge to it. It was really some great stuff. Robbin came in with a song idea and we all put our two cents in to make it it’s own special little ditty.

Q: How long was Secret Service together? Did you guys gig at all? Was anything ever recorded, and if so, does any of that music still exist somewhere?

A: The band was pretty much together for like about two years. There were never any gigs done, although we were offered quite a few, but we never played out. We focused on writing and recording. There are existing recordings probably at the studio where we were recording. I don’t think it can really come out only because of rights and all of that fun legal stuff. 

Q: In your opinion, what brought about the end of the band? Had you and Robbin kept in touch at all after the band split up?

A: The band just kind of fizzled mainly because of Robbins addictions. Nothing could get done in the right time frame. You could not really count on him to follow through with his end. That’s not saying he wasn’t a great guy and a great friend, but, it is really hard to work with someone who is an addict. So, everyone in the band just started, or kept on, doing their own thing. We did keep in touch right up until the end. We were always close friends. I believe he is in a better place and probably much happier now. Rest in peace my friend...

Q: You mentioned in your 20 Questions with Metal Sludge that Robbin had lived with you for some time. How was he as a room mate? Any anecdotes come to mind that you'd like to share?

A: Robbin was, well, nice to have around at times- other times it was a nightmare !!!. You know, there are quite a few things that come to mind, but out of respect I will kinda just keep them to myself, sorry, but that’s just the way I am about my friends. Nothing bad don’t get me wrong. He was a really kind soul as I’m sure if you talk to anyone who really knew him would tell you. When he had money he was very generous, he would take me to some really cool places to eat- he liked to do that- and always knew just what to order. We had a lot of great times. 

Q: Robbin had a habit of giving nicknames to everyone. Did you have one?

A: That’s funny because it’s so true. But you know, he never “dubbed” me anything. That’s kinda too bad- I feel left out!!

Q: Is there anything that you'd like to add? I know I'm not really Barbara Walters or anything, so feel free to add whatever you'd like!

A: Well, I would just like to add that it was great knowing Robbin and great to play with him. Always a friend..................

Thanks again for taking the time to chat with us, we really appreciate it!

Exclusive interview - Juan Croucier

Juan Croucier Interview for RobbinCrosby.net

Today marks the second anniversary of Robbin's passing, and we at RC.net have something very special to mark this day. Below is an exclusive interview with Juan Croucier. Juan, we can't thank you enough. So, without further delay, enjoy the interview! We hope you enjoy it!

Q:Juan thanks for taking the time to share your thoughts & remembrances with us.

A: No problem, my pleasure! Robbin was a very good friend of mine, always. I loved him a lot. I do want to commend you guys for creating such a nice site for Robbin. He would have loved it! I'm sure he would have thanked you very much for what you have done. Keep up the great work.

Q:Way back in the beginning, do you remember meeting Robbin for the first time? What was your first impression?

A: The first time we met, I was at my apartment in Redondo Beach , CA . I had a wanted add out looking for musicians to form a band and he responded to it. He came over for a meeting and when I opened my front door, I remember smiling right away because I had to look up, way up. He was a pretty big guy. My first thought was, “a football player sized guitar player? Okay, this guy can double as a body guard!” He was decked out in new leather pants, a leather biker jacket and cop/Gestapo boots. We hit it off from the beginning. I remember playing him my tape and him saying, “man, you sing better than my lead singer!” Then he played me a tape of him and his band with Steve Pearcy singing. I told him I thought his tape was cool. The songs on his tape were Scene Of The Crime, I'm Insane and another one that I can't remember the name of. He was looking for a bass player for his band. It's ironic, that a year or two later I would later go on to become his bass player.

Q:Touring the world, you & Robbin spent a lot of time together. Can you share a couple of your favorite Robbin Crosby tour/war stories?

A: I have so many memories of great, fun times. He was such a cool person. It would be really hard to just pick one. We went from dreaming about being a huge band to living it. That in and of itself is almost a miracle these days. We lived the dream. I know that Robbin felt like he had lived a full life, even though it ended so soon and so tragically. He really made a big impression on anyone that ever met him. He had an awesome presence. On stage, he definitely held his own. He was a pleasure to play with even on bad nights.

Q: Everyone knows Warren is a brilliant & gifted lead player. What is your opinion of Robbin's abilities on lead guitar and his contributions overall to RATT's music in that area?

A: Robbin was a very solid player, as good as Warren in his own way. He could have been much better if drugs and alcohol had not gotten in the way of his creativity. He had a cool style that complemented Warren 's style. He contributed a lot to the band. One way he was very effective was defusing arguments among band members. He was the diplomat/peacemaker. He was an intense but gentle person. Heart of gold.

Q: Which of these do you think was Robbin's greatest strength: Songwriting, Guitar playing, Leadership, or was it something else?

A: Robbin was the tiebreaker in the band. Ratt never had a leader; it was made up of 5 very different personalities. In the early days, Robbin was more influential with the songs and the band over all. He had good ideas as a songwriter. He was also very aware of the bands image and cared a lot about the band in general. Towards the later years, he became depressed because of many issues, but one of the main factors was that Warren was taking more of the solos and more of the guitar work on records as well as on stage. It became harder for him to come up with as many song ideas as he had done in the past. He wanted guitar duties to be more evenly split between Warren and himself but it never was and it only got worse. Sadly, his guitar playing as well as his song writing kept slowly deteriorating as a result of his depression and substance abuse. Ironically, those issues were also among his many excuses for his continued drug use. It was a vicious downward spiral. It was hard to see him doing that to himself but at the same time, we were powerless to stop him. We tried to help him, as best we could, many times. Even though I feel we went about it the wrong way. When you're in a band like Ratt and make big money for a lot of people, it's been my experience that managers and other professionals try to get in the middle of the band members' personal relationships to the point of making the money more important than the people that are earning it for them. It's my feeling that we didn't really give him a chance to get better. Hell, we never even had a meeting with him about the urgency of his problem and the fact that he was about to be fired from the band! I guess, in hindsight many of us were too concerned with our own personal agendas.

He was finally asked to leave the band after the Japanese leg of the Detonator tour. After he left it became painfully obvious that he kept us from fighting a lot and the chemistry of the band was distinctly different without him. He was just calm and sensible; too bad some people didn't listen to him more. The band could have had a much longer carreer had we done so. When he left the band it was truly the beginning of the end for Ratt.

Q: I gotta ask....Robbin was really big on nicknames....did you have one!?!

A: I can't remember, other than “a—hole or f$#king a—hole.” Just kidding. He may have come up with “Juan-hour-late.” I'm not sure. He may have also bee the one that came up with “Cube,” that would be short for Cuban. He had a great sense of humor. He did have names for everyone. Even roadies had nicknames. He named his own roadie Jimmy Wingate “Catfish.” Don't ask my why, he was named Catfish…there was usually some kind of story behind it. First time, I heard him call Jimmy "Catfish," I thought he was really losing it…come on, “Catfish?” But that was his sense of humor at work. Our first road crew, when we were playing clubs had all reptilian names given to them. I'm not sure if that was originally Robbin's idea but that is an example of how things worked in Ratt; we really did have some good laughs.

Q: He was also quite the 'quotemeister' with seemingly an endless supply of one liners! Got any to share??!

A: “I know what side the bread is buttered on man.” “That guy is a little wet behind the ears.” “Fucking Hazel, man…we're in Chicago not Denver!” Things like that… “Hazel” was a nickname we had for Steve and Steve hated it. And the more he hated it, the more we used it when he would blow it. I believe Robbin came up with that one also or was that one Bob…I'm not sure, it was 22 years ago.

Q:It's often been said that Robbin was a kind & gentle person and very approachable in almost any situation. He always seemed to have time for the fans. Your thoughts?

A: Robbin loved the fans. He took a lot of time out to sign things and even get people into shows and so on. To this day, I have a friend that I met through Robbin that he got into a show in Duluth, MN and he went on to become not only good friends with the guy but Robbin let the guy live with him when he first came to LA and had no place to stay. That's the way Robbin was. He would do things for people and not want anything in return. He really did have a very loving heart and was a very sensitive person too. Personal problems within the band really got to him; he always wanted to keep the peace and was very appreciative of how successful we became. Robbin was one of the more intelligent ones in the band. He always wanted us to get along well, but ironically did things to single himself out and distance himself from the band. I'm sure he would have said the same thing about me.

Q: Robbin didn't get the nickname 'King' for nothing...can you remember who came up with that moniker and why?

A: I think it was Nikki Sixx that came up with that one and Robbin liked being called King. I believe that came from The Gladiator days in Hollywood. Obviously, it was because he was so big. He was 6'5” and he wore boots that gave him two more inches and his hair gave him about three more inches so, that would make him about 7' tall on a given night out in Hollywood or on tour with Ratt.

Q: Rhythmically, It all starts with Bobby naturally, but you & Robbin, musically, seemed to be locked together very tightly live...almost like a 'siamese rhythm section' !!! You guys appeared to feed off of one another and complement each other nicely. Is that accurate in your view?

A: Yes, that is an accurate assessment. The bass and drums are the foundation of any good rhythm section in any band. I always tried to play as tightly as I could with Bob and Robbin. The bass and drum groove were king (no pun) in Ratt. Robbin was very good at playing “in the pocket” with us; he knew about rhythm grooves. He was a good rhythm player. Keep in mind that Bob, being the great drummer that he is, was hard to play with in many ways; often times, he was more concerned with what he was playing on drums, as opposed to what we were doing as a rhythm section within the songs, but we were very tight, that much is for sure. Live the drums were always an issue at sound check. Bob ran his monitors so loud that it was hard to hear ourselves on stage. In spite of that and the fact that I moved a lot on stage live, we still we managed to keep the rhythm section tight.

Bob and I played together in many bands, long before Ratt and we were also best friends. We did a lot of fun things back in those days before we “made it.”

Q: Any particular live show stand out in your mind as special?

A: The first show we did opening for ZZ Top in San Antonio Texas has always stood out to me. That was the first “on a real tour,” show. It felt like it was my first time on stage, when I heard the roar of the crowd after the lights went out and we were about to walk up to the stage, it was dream like to me. It truly was, a dream come true for all of us. I'll never forget being on that stage that night. The Los Angeles Forum and Madison Square Garden shows were also special. Monsters of Rock tours and the Tokyo Dome shows also stand out. Summer festivals here in the US were always a blast to do too. Awesome times. You should have been there!

Q: I've heard several stories but, what REALLY happened in 1991 when Robbin left the band? Was he fired? Did he decide to leave?

A: He was fired, because his drug problem was not getting better; he had been blowing it for a long time. The last straw was the last Japanese tour for the Detonator record. He got really drunk before going on stage, one night too many over there and it took its toll on the band very quickly. But you could also say that (from his point of view) he was strongly influenced “by management,” into stepping down by lies about a future carreer as a major record producer and solo artist. What we did to him was wrong and I've always felt bad about it. There were better ways of dealing with it, as opposed to the way we went about it. For example, we could have offered him “time off,” and given him a chance to return to the band once he got his personal issues together. On the other hand, it is up to you to keep it together when you're part of a band. Let me leave it at that.

Q: You & Robbin collaborated on a lot of the songwriting together. Any particular songwriting or jam session stand out as memorable?

A: The way we worked most of the time was he would show me something (a riff or a music track) that was unfinished and I would try to help him finish it by adding words, melodies or additional sections. He used to get mad at me because when I would show him one of my song ideas; they were already finished songs. All in all, we had a lot of successful co-writes, in that fashion. I think overall the songwriting balance was skewed largely because Steven would not work with him or others in the band on songs. It was a very disjointed way of writing together. No matter what I came up with vocally, it was stymied by the fact that it was always very hard to get Steve to sing something he didn't “get” or understand. (To Beau Hill's credit, he did get Steve to do much more than he would have been able to do without him). Now I can see that it was just an insecurity thing Steve had going on.

The last song I helped Robbin with was a jam that he showed me in his car while at the demo studio and I turned it into Can't Wait On Love, for the Detonator record. He played me tape of the riffs and I came up with the vocal phrasing, melody and some of the words in the verses as well as the chorus of the song, in his car and on the spot. He would just ask me, what would you do over this and I would show him. One good memory I also have is when I re-wrote Scene Of The Crime, in the studio minutes before we recorded it for Out Of The Cellar. I re-wrote all the music, the vocal melody in the verses, added a pre-chorus, a new chorus, chorus tag and re-wrote the punches in the beginning and added them to the end of the song. I still really like that song a lot it's still one of my favorite Ratt songs. What we went into the studio with and what we came out with was totally different and much better.

Q: One of my favorite songs is 'Scene of the Crime' from 'Out of the Cellar'. It's got some great backup vocals on there. My favorite RATT songs all feature good, catchy backup vocals and you seemed to be the one doing most of them, much like Michael Anthony of Van Halen did for them. Did you have a lot of input as to your backup vocal role in RATT?

A: I started off doing most of or all of the backup vocals in the studio for Ratt. Beau Hill, our producer, pressured me into letting him sing with me in the studio, starting with Out Of The Cellar and sang along with me on many parts. We would both sing the same parts in unison over the same mike. He was such a scammer; over time, he systematically became overbearing in the studio, wielding the “producer advantage” against the members of the band. (Big mistake) I would walk into the studio and he would be in the studio room, sitting at the piano “working on vocal harmony parts.” What a joke. Since it was just Beau and I, he only had me to challenge or question him on vocal ideas so, he would do his best to intertwine his vocal harmony ideas over the Ratt records. Ironic, because he mixed them so far back in the mix many times but that's another story all together. He also cleverly isolated Steve from the band in the studio too. Isolating individuals was a production technique Beau would often use. The song, Nobody Rides For Free, is a good example of me doing all the vocal harmonies alone. It's the last one we did as Ratt so, maybe that's why that one comes to mind.

Q: I heard somewhere you had left Dokken's touring band to join RATT, then left RATT for awhile & then came back. True? If so, why was that? Did you go back to Dokken?

A: I was in Dokken for many years before Ratt. In 1979, Don, Greg Pecka and I toured Europe as a three piece called Dokken. We went on to get George Lynch and Mick Brown in our band. I never left Dokken to join Ratt. I was in both bands Ratt and Dokken for about a year and a half. The reason for being in both bands was simply that Dokken was not playing very many shows, one of the only ones we did was with Motley Crue at The Roxy when they shot their video. Dokken was waiting for the Elektra deal to go through, remixing the Breaking The Chains record with Michael Wagner (we brought him over here from Germany ) and waiting on promises from management. Ratt was starting to play around town a lot, and I wanted to do live shows, not sit at home on Friday night. I had taken Bob to audition Ratt and for Ratt to audition him a couple weeks before Bob called me and asked me to come and play in the band. We went on to do very well on the Hollywood strip. Great shows and good times! Ratt was kicking ass in the clubs! Eventually, I was informed by Dokken's management, that I had to choose between Ratt and Dokken. Dokken had a record deal, Ratt didn't, but I was happier in Ratt. After we got George and Mick in Dokken, Don and George started fighting all the time and I could not get a song in edgewise. I remember showing them Lack Of Communication and George didn't like it cause the riff was too repetitive and not challenging enough on guitar for him. In retrospect, I guess, I just chose a different set of problems by going with Ratt but I don't regret doing so.

Q: To me, the video for 'Wanted Man' is still one of the most entertaining videos ever filmed. What was the video shoot like? Was it Robbin's idea for the premise of the video to be his 'dream' ?

A: That was a stand out video to make. Robbin and I both loved making that one. We were all very much for the idea of doing a spagetti western type of video for obvious reasons, after all the song was called Wanted Man. I think it was Marshall Berle's idea that we cast him in that “role.” Marshall and Robbin were very good friends. We were on tour when we made that video. The band had just done a show the night before, drove all night on the bus to the location for the shoot, shot the video and played a show that night too. God forbid that we take a day off touring to shoot a video! It was like being cowboy for a day. Riding the horses was too funny. Watching everyone unable to control the horses. No one (including myself) knew how to ride… We should have shot the making of that video. It would have been priceless today! Talk about out of your element! Ratt the touring band on horses! Too funny man… An interesting element about that video was that most of the people in the video were people that worked with us on that touring staff. We gave everyone parts to play in the video. We had a great time making it.

Q: What song / album / video are you most proud of and why?

A: The Invasion record was one that has always stood out to me. But that assessment was made a long time ago. I do trust my judgment but I'm not sure what record I would like best today. I would have to listen to them all again. Over the years, I have tried my best to forget about many of the painful things that happened to Ratt in the studio. However, The Cellar was a special record, but on Invasion… That record was made at a time when everyone in the band really wanted to make the best record we could make (within the limitations or handicaps that prevailed) and prove that we were not a fluke but a force to be reckoned with. I call it the “here to stay factor.” Among the best advice I can give any new up and coming band is to make sure you're aware of your “here to stay factor.” Sometimes it's referred to as “staying power.” And for the musicians reading this, if nothing else, remember this: Take every step in your carreer like it's your last, because if you're not careful, it may very well be your last step. 

Anyway, the tour for Invaison was a good one too. But unfortunately, reality soon struck, or “the cancer grew” and Ratt records started to have an overall inherent and steady decline in the attitudes and teamwork (if you can call it that) of the people involved in making them. Instead of records becoming easier for us to make, they became harder. Catch my drift? By the time we made the last record, Detonator, it had become unbearable, embarrassing and demoralizing. Having to write with people you didn't want to write with was a total drag. I knew it was soon going to be over at that point but I never thought that Steve would have quit Ratt after the Detonator tour. I didn't think he was that stupid. He really messed things up for us, he quit when we were in big debt and he f@*king knew it. As a result of his quitting Ratt we were sued and we ended up losing all our record royalties, publishing and other forms of income for over a decade afterward. Imagine, going from making a decent living to being totally cut off from your job and income. To this day the publishing issue he caused is still unresolved and it was only recently that Atlantic records started to pay us record royalties again.

Song wise, I like a lot of the songs musically, but many of the lyrics were very weak and lacked meaning and substance, therefore (to this day) make it hard for me to fully appreciate them simply for what they are, as opposed to, what I know and think they could have been. Talk about missed opportunities.

Video wise, it's hard to say because some of them were fun to make but ended up being silly or corny, Round and Round was good, Wanted Man was too, You Think Your Tough was corny, Back For More was okay, Lay It Down…I guess, they were all okay for that point in time. Body Talk, kicked ass. Shame, Shame, Shame and Lovin You were a waste of money and sucked. But I've seen videos from other bands in those days that were lame too. Breaking The Chains, by Dokken is one of them. Talk about corny! Don Dokken and I have had a few laughs about that one!

Q: You guys never put out a live album. Why? There's got to be a few live shows 'in the can' so to speak. Any chance the 4 of you guys will get together on the business side and eventually release one?

A: I remember all the live recordings not being very good performances, we never really prepared to record live shows correctly. Most of the time our front of house sound was never really technically that good from the live recordings I have. Live, the focus was always on stage performance and not so much the sound as a unit. That was a result of not stopping during rehearsals before tours and working on things like vocal harmonies that were off, etc. Shit, we were lucky if Steve even showed up for rehearsals before a tour much less work with us on things like vocal harmonies and stage logistics or moves! I did tape most of the shows we did on VHS tape from the sound and light boards. I also have some DATS of the last tours we did as well as VHS videos. Maybe, we will put something out or at least get the masters and listen to them at my studio someday.

Q: I've recently heard rumours that you are considering rejoining RATT. Any chance RATT's 4 remaining original members will reunite to give the people what they want?

A : That is always a danger! I recently went and jammed with Steve at a show and also jammed with Bob and Warren at another show. I guess we did get together again, just not on the same stage! Ok, joking aside, I'm doing just fine and I'm not in any big hurry to put the band back together. I would think that we are at least collectively smart enough to do that at some point (simple math) but it's obviously not up to me alone, the other remaining members or ex-members (whatever) have been in court fighting each other and are not on speaking terms at the moment. I guess when the bank accounts call out louder than the egos do, they will want to talk again. I am and have been very ambivalent about doing it. If it never happens, I'm fine with that too. I could never go back to the fighting and tension we used to have. Maybe, some would argue that it served us well and created a healthy tension. I just don't have any tolerance for that kind of crap anymore. You either get it or you don't and I have to be in a situation that is agreeable to the same pursuit of perfection or I'm out like a flash!

Q: In retrospect, give us your thoughts on RATT's incredible run of success during the 1980's....Just what WAS it like to be in one of the biggest bands of the era?

A: It was better than they say it was! It was everything you dream of and more, pure magic! Those times contain some of the best and some of the worst memories of my life. Beyond words… Oh okay, let me elaborate: headlining killer rock shows, hot looking women everywhere you looked ready to um “rock,” money to burn, parties all the time every where you went… What do you think? You would have had to be dead to not have had a sinfully fun time. Too bad we were not smart enough collectively as a band to make it work longer for us…

Q: I know you are incredibly busy these days and that you own your own recording studio 'The Cellar'....any exciting new bands recording there that we can look out for?

A: I just try to work with good bands. It's up to them to sell themselves. I have been annoyed in the past with some bands that just don't have songs. That's when it becomes a job. In the future, I plan on working with fewer bands and focus on my records more. Those are much more fun for me as an engineer, producer and artist. If you would like to see a list of most of the bands that I have worked with, go to www.juancroucier.com and look at the discography.

Q: Tell me about your current project 'Liquid Sunday', What's up these days? Got any live shows or a tour planned?

A : Liquid Sunday is not a band right now. I've been too busy to put the band back together yet. I had a three piece band about 3 years ago but the guitar player decided he wanted to play coffee houses and find a girlfriend. The drummer just sort of got lost at his day job. To this day, I don't think they have found him! I heard a rumor about a dumpster accident but it's not confirmed. I plan on checking out some new players soon, maybe after I make the next record. I really miss playing live with Liquid Sunday. It was fun band to be in.

Q: A million thanks Juan, anything else you would like to add about any subject we didn't cover??

A: You're very welcome. Robbin was not only a very special person that I had the privilege to share my life with, but he was also a musician I miss dearly and can never play with again. I lost so much the day he left us. My bro to the right of me, on stage with Ratt… Robbinson Lantz Crosby, my partner in crime. I guess if you ever see Ratt again (the real guys) my side of the stage is going to feature the big void Robbin leaves behind. I'm not sure I can let anyone take his spot again. It may become “covered by Juan.” But he told me to cover for him so… I guess the real question becomes who is this Juan guy and can he cover for Robbin? : ) Let's see what happens.

If it seems like I'm picking on someone from the band or bitter or what ever, I'm not, I'm just telling the truth as I lived and remembered it. I'm not going to cover up the truth for anyone. I don't care that much anymore and we were never that important… We were just a band that wanted to be loved by its fans.

I also want to tell the readers to stop by my website: www.juancroucier.com and pick up my Liquid Sunday record! I also have a new record of the demos I recorded while in Ratt that I'm about to put out in the very near future. You can also read a lot of messages Robbin wrote to the Ratt fans on The Cellar Message Board. Enjoy!

Thank you, 
Juan Croucier

Juan, thank you so much for taking the time with us, we really appreciate it!