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.