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│ METAL CLASSICS ARCHIVE │
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│ P R E S E N T S │
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│ + Riot - Archives Volume 2 1982-1983-(HRR 554 CD) + │
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│╔═════════════════════╗ │
│║ Release Information ║ │
│╠═════════════════════╩══════════════════════════════════════════╗ │
│║ ║ │
│║ Release Date.Apr-01-2019 Encoder......L3.100 -V0 --lowpass ║ │
│║ Genre........Heavy Metal Graber.......EAC ║ │
│║ Year.........2019 Khz/Bitrate..44,1/ Br ║ │
│║ ║ │
│║ Ripper.......anthem Songs........20 ║ │
│║ Covers.......Yes Url... www.areyoureadytoriot.com ║ │
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│╔═════════════════════╗ │
│║ Release Notes ║ │
│╠═════════════════════╩══════════════════════════════════════════╗ │
│║ ║ │
│║ Artist : Riot Rating : You Decide! ║ │
│║ Album : Archives Volume 2 1982-1983-(HLabel : High Roller ║ │
│║ ║ │
│║ ║ │
│╠════════════════════════════════════════════════════════════════╣ │
│║ ║ │
│║ Description : ║ │
│║ ║ │
│║ restored and mastered by Patrick W. Engel at ║ │
│║ Temple of Disharmony ║ │
│║ ║ │
│║ Rick Ventura was the second guitar partner in ║ │
│║ Riot for legendary axeman Mark Reale. Formerly ║ │
│║ active in a cover band in New Jersey, Rick ║ │
│║ joined the band in 1978 taking over from Lou ║ │
│║ Kouvaris. The first Riot album he is playing on ║ │
│║ was 1979Æs ╗Narita½. He comments: ôMost of the ║ │
│║ songs for that album were already written, when ║ │
│║ I joined, but I contributed to æWaiting For The ║ │
│║ TakingÆ. It wasnÆt very nice what they did to ║ │
│║ Lou.ö ║ │
│║ ItÆs almost impossible to overestimate the ║ │
│║ importance of Riot for the evolution of American ║ │
│║ heavy metal. The New Yorkers built the bridge ║ │
│║ between the first generation of hard rock and ║ │
│║ metal bands springing up in the early to mid- ║ │
│║ 1970s (Blue ╓yster Cult, Kiss and Van Halen) and ║ │
│║ the new wave carrying the torch in the late ║ │
│║ 1970s and early 1980s (led by Canadian proto ║ │
│║ speed metal merchants Anvil and Exciter). ║ │
│║ Formed in New York City in 1975, Riot recorded ║ │
│║ one of the best heavy metal albums of all time: ║ │
│║ 1981Æs ╗Fire Down Under½. However, before this ║ │
│║ landmark album finally saw the light of day, it ║ │
│║ took Riot six long years and two studio albums ║ │
│║ (1977Æs ╗Rock City½ and ╗Narita½ from 1979) to ║ │
│║ get the formula right. ║ │
│║ Although the main protagonists of Riot are no ║ │
│║ longer with us, singer Guy Speranza died on ║ │
│║ November 8th 2003 and main man Mark Reale, ║ │
│║ guitarist and principal songwriter, sadly passed ║ │
│║ away on January 25th 2012, itÆs second guitarist ║ │
│║ Rick Ventura who is able to give us some ║ │
│║ valuable insights into the workings of Riot Mark ║ │
│║ II. ║ │
│║ ôI lived two blocks from Mark Reale,ö describes ║ │
│║ Rick his first encounter with the bandÆs ║ │
│║ legendary guitarist. ôI would hear loud guitar ║ │
│║ playing coming from his house and would say æwho ║ │
│║ the hell is this?Æ I finally met him and we ║ │
│║ became friends. I wound up playing in Riot when ║ │
│║ they were doing covers.ö ║ │
│║ After having joined the band, Rick was ║ │
│║ contributing to the songwriting as well, also ║ │
│║ for 1981Æs landmark ╗Fire Down Under½ record: ║ │
│║ ôMy partnership with Mark Reale was good, we ║ │
│║ were always into getting a good sound and the ║ │
│║ music tight. He mostly wrote songs with Guy ║ │
│║ Speranza though.ö ║ │
│║ When ╗Fire Down Under½ was refused by Capitol ║ │
│║ Records in America, it was England that sort of ║ │
│║ became a second home for New York's finest. Riot ║ │
│║ played live in the UK a lot, for example at the ║ │
│║ inaugural ôMonsters Of Rockö festival in Castle ║ │
│║ Donington (on August 16th 1980) and also at the ║ │
│║ ôHM Holocaustö festival at Port Vale football ║ │
│║ ground (August 1st 1981), along with Vardis, ║ │
│║ Mot÷rhead, Frank Marino, Ozzy Osbourne and ║ │
│║ Triumph. ôYes, being in England was a dream come ║ │
│║ true,ö beams Rick Ventura today. ôAll my ║ │
│║ favourite bands came from there! I just remember ║ │
│║ a sea of denim at those festivals. It was a ║ │
│║ sight to behold.ö ║ │
│║ At the time, Riot also made some good friends in ║ │
│║ the English press, Garry Bushell for example ║ │
│║ championed the cause for Riot in Sounds magazine ║ │
│║ à Riot making some waves in England (at the ║ │
│║ height of the glorious NWOBHM) was probably ║ │
│║ instrumental in getting Elektra to sign the band ║ │
│║ and finally putting out ╗Fire Down Under½ ║ │
│║ (instead of Capitol Records). Rick Ventura ║ │
│║ thinks so too: ôYes, many thanks to all. We ║ │
│║ needed all the help we could get. There was a ║ │
│║ good buzz about the band in England, our live ║ │
│║ performances at the time were so energetic. No ║ │
│║ way did we know that ╗Fire Down Under½ would ║ │
│║ become such a popular album. We just wrote and ║ │
│║ played what we felt. It wasnÆt until decades ║ │
│║ later till it really hit me.ö ║ │
│║ Over the years, there have been quite a few Riot ║ │
│║ numbers that did not make it onto record. A lot ║ │
│║ of those were composed by Rick Ventura, like ║ │
│║ ôOne Step Closerö for example (to be found on ║ │
│║ ╗Riot Archives Vol.1½). According to Rick ║ │
│║ Ventura, ╗Fire Down Under½ was no exception in ║ │
│║ this regard: ôWe wrote quite a few songs and ║ │
│║ then selected what worked as a whole. I did get ║ │
│║ three tunes on ╗Fire Down Under½. I had more. ║ │
│║ Mark fought for what he believed and our ║ │
│║ producers had a say as well. There werenÆt ║ │
│║ really any bad songs.ö ║ │
│║ For ╗Fire Down Under½ Sandy Slavin and Kip ║ │
│║ Lemming had come new into the band on drums and ║ │
│║ bass respectively. How much of an input did they ║ │
│║ have on the album being so energetic, so fast ║ │
│║ and furious? ôSandy and Kip just had a great ║ │
│║ attitude and played with the same intensity that ║ │
│║ we did,ö answers Rick Ventura. ôThey had the ║ │
│║ same musical influences.ö ║ │
│║ After the ╗Fire Down Under½ album the metal ║ │
│║ world was shocked as Guy Speranza left Riot, why ║ │
│║ did he leave? ôI think it just frustrated him ║ │
│║ that we didnÆt break sooner,ö says Rick Ventura. ║ │
│║ ôAnd there were management issues as well. He ║ │
│║ always had it in him and I think missed it. If I ║ │
│║ remember correctly, there a few songs with Guy ║ │
│║ on vocals written for the follow-up album to ║ │
│║ ╗Fire Down Under½ lurking about.ö ║ │
│║ When Rhett Forrester finally joined Riot for the ║ │
│║ ╗Restless Breed½ album, the musical direction of ║ │
│║ the band changed quite drastically. Was this ║ │
│║ stylistic change only down to Rhett joining and ║ │
│║ contributing to the songwriting or was it rather ║ │
│║ some sort of ônatural progressionö for Riot in ║ │
│║ general? ôWell, he was a different singer,ö ║ │
│║ finds Rick Ventura. ôThere was no choice, Guy ║ │
│║ left, we adapted. Rhett had a bluesy side and a ║ │
│║ lot of swagger.ö Of course, Rhett Forrester ║ │
│║ joining Riot also changed the dynamics within ║ │
│║ the band. According to Rick Ventura, this had ║ │
│║ some effect on the actual songwriting process as ║ │
│║ well: ôIt did change a bit, not as much ║ │
│║ collaborating. I always wrote my songs and ║ │
│║ presented them to the band. I really like the ║ │
│║ ╗Restless Breed½ record. ItÆs a bit bluesier, ║ │
│║ stuff like æLoved By YouÆ and æRestless BreedÆ ║ │
│║ itself. We had a different singer and wrote what ║ │
│║ worked with Rhett.ö ║ │
│║ On ╗Riot Archives Vol.2½ there is a song called ║ │
│║ ôHot Lifeö, which did not make it onto any Riot ║ │
│║ album, Rick Ventura believes it has been written ║ │
│║ by Mark Reale. In addition to that, the record ║ │
│║ also contains the original auditions for Rhett ║ │
│║ Forrester, with him singing ôHard LovinÆ Manö ║ │
│║ and ôVigilante Killerö û a real jewel û plus an ║ │
│║ extraordinary 8-minute version of ôLoved By ║ │
│║ Youö. Rick Ventura comments: ôI know. ItÆs so ║ │
│║ cool! Just one of those things.ö ôYou Better ║ │
│║ Runö is another obscure song from the Riot ║ │
│║ archives, it has a bit of an AC/DC feel about ║ │
│║ it, the chorus though is quite AORish in nature, ║ │
│║ with nice guitar work all around. ║ │
│║ ╗Restless Breed½ from 1982 was followed by ╗Born ║ │
│║ In America½ in 1983. ôI liked ╗Restless Breed½ a ║ │
│║ bit more,ö compares Rick Ventura the two ║ │
│║ records. ôI felt some of ╗Born In America½ was a ║ │
│║ bit contrived, though I do like 'Where Soldiers ║ │
│║ Rule' and 'Vigilante Killer'ö. ║ │
│║ Comparing the different eras with Guy Speranza ║ │
│║ and Rhett Forrester on vocals, Rick, whose last ║ │
│║ album with the band was indeed ╗Born In ║ │
│║ America½, concludes: ôWell, certainly the Guy ║ │
│║ era was decisive, thatÆs what got the fan base. ║ │
│║ I enjoyed both. Rhett was fun to work with. In ║ │
│║ the end I left Riot because of frustration, ║ │
│║ overall direction and management issues. No ║ │
│║ major label wanted us. It just wasnÆt the same ║ │
│║ Riot anymore.ö ║ │
│║ Matthias Mader ║ │
│║ ║ │
│║ ║ │
│║ ║ │
│╚════════════════════════════════════════════════════════════════╝ │
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│╔═════════════════════╗ │
│║ Release Tracklist ║ │
│╚═════════════════════╩══════════════════════════════════════════ │
│ │
│ 01 - You Better Run (Rough Mix) [03:27] │
│ 02 - Hard Lovin Man (Rough Mix) [02:50] │
│ 03 - C.I.A. (Rough Mix) [03:48] │
│ 04 - Restless Breed (Rough Mix) [05:17] │
│ 05 - When I Was Young (Rough Mix) [03:13] │
│ 06 - Loanshark (Rough Mix) [04:13] │
│ 07 - Dream Away (Rough Mix) [04:00] │
│ 08 - Over To You (Rough Mix) [03:52] │
│ 09 - Violent Crimes (Rough Mix) [02:38] │
│ 10 - Showdown (Rough Mix) [04:28] │
│ 11 - Loved By You (8 Minute Version) [08:12] │
│ 12 - You Better Run (Instrumental Rough Mix) [04:04] │
│ 13 - Violent Crimes (Instrumental Rough Mix) [02:37] │
│ 14 - Hot Life (Rough Mix) [02:59] │
│ 15 - Born In America (Rough Mix) [04:37] │
│ 16 - You Burn In Me (Rough Mix) [03:44] │
│ 17 - Vigilante Killer (Rough Mix) [03:00] │
│ 18 - Gunfighter (Rough Mix) [04:31] │
│ 19 - Hard Lovin┤ Man (Rhett Forrester Audition [02:34] │
│ 20 - Vigilante Killer (Rhett Forrester Audition [02:49] │
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│ Total Length : [76:53 minn │
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│ ╔═════════════════════╗ │
│ ║ Greetings To: ║ │
│ ╚═════════════════════╝ │
│ │
│ Too all people who contributes to make this │
│ archive of good music in a exceptional conditions │
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