Frankie Banali

Frankie Banali, born November 14, 1951, is an American drummer best known for being the former drummer of the heavy metal band Quiet Riot. He was also the band's manager for their final decade. He also played drums in the heavy metal band W.A.S.P. and on several Billy Idol albums, among others.
He was also briefly a touring drummer for Faster Pussycat and Steppenwolf.

Banali recently confirmed the death of Quiet Riot lead singer Kevin DuBrow in an email to Spain's The Metal Circus. Banali wrote:

"Please respect my privacy as I mourn the passing and honor the memory of my dearest friend Kevin DuBrow."

Quiet Riot permanently disbanded in January 2008.

FRANKIE BANALI LUDWIG DRUMS INTERVIEW

The legions of drummers spawned by the Heavy Metal Heyday of the early-to-mid 80’s came a dime a dozen; each sporting huge set-ups, huge hair-dos, and enormous egos. While many of these denizens of the double-kick sect have disappeared into the “Where Are They Now” file, there is one that continues to “…hit the drums like they owe (him) money.” Frankie Banali is of a different breed from among these players. A true aficionado of the music and slave to the groove, Frankie’s drumming echoes the sound of many of his influences (which, as you will see in the following interview, he wears proudly on his sleeve.) Candid and outspoken, unabashed and yet a true gentleman, Frankie has seen it all and lived to tell the tale; which he does –much like his career- writ large.

Ludwig HQ: What is your schedule like for the next few months?

Frankie Banali: I continue to do sessions. I expect the usual slow-down in November, and then the habitual music industry grinding to a halt in December for the holidays; which invariably continues through January. Then, slowly, the industry resuscitates itself back to some abnormal sense normality in February.

Ludwig HQ: What do you have planned for your clinic at the Hollywood Vintage and Custom Drum Show?

Frankie Banali: I want to focus on the “Power and the Groove” as it applies to drumming. The majority of my career is based on recording and playing live with various groups and musicians. My focus has always been on the importance of the song first, and how the drums enhance the song and the band. Unlike many drummers who are known for the expertise in soloing, if I am known for anything at all, it is for what I have contributed to the songs from the drummer’s perspective. To me it’s always been about the groove rather than the individual as a drummer. Personally, I’ve always tried to play with authority and individuality, but not at the expense of the song or the musicians. It’s all about the groove.

Ludwig HQ: Quiet Riot was the first metal band to break through to the mainstream with a chart-topping single and album. What was it like for you to reach this level of success so early in your career?

Frankie Banali: I was fairly realistic when we reached the pinnacle of success, with the “Metal Health” record reaching #1 on the Billboard Top LP’s and Tapes chart, and #5 with the single “Cum On Feel The Noize” on Billboard’s Hot 110 chart on November 26, 1983. To put into perspective how historic this was, Metal Health had to climb over albums by Lionel Ritchie, Michael Jackson, The Police and Billy Joel -all established hit makers- which no one would call an easy feat. I also understood that the elusive elevator of success travels both up, and eventually and invariably down.

Having said that, I had already been fortunate enough to have recorded the hit single “Mony Mony” for Billy Idol’s debut EP “Don’t Stop”, as well as drum tracks for the Hughes/Thrall record (which featured Glenn Hughes from Deep Purple and Pat Thrall from Automatic Man and the Pat Travers Band.) I had just returned from Germany where I recorded with keyboardist Tony Cary (fresh out of Ritchie Blackmore’s Rainbow.) I was already both somewhat experienced and very fortunate. Perspective was somewhat easier for me to comprehend.

Ludwig HQ: Where there any drawbacks?

Frankie Banali: No more than there are in life in general or any other profession. With success comes a lot of demands, which are to be expected. You can’t dream of being a successful musician and then complain about the constant touring, which feeds the industry and your career. Yes, the touring was exhausting early on, because we toured under the worst possible circumstances. First in two station wagons and a rental truck, then a Winnebago, then a low end Eagle bus that spewed more exhaust inward than outward. But we were touring! It improved as we earned more money, and time off from the road usually meant that we would fly to LA to shoot a video or a TV show. But it was great, it was wonderful and I would not trade one single experience --neither good or bad- because I achieved many of my dreams as a musician along the way. If you look at life as neither being fair or unfair, you get the sense that life is just life; so do the best you can while you can and make the best of it. Enjoy the ride, as much as the ride and you allow it to.

Ludwig HQ: What were you doing when you were asked to join Quiet Riot?

Frankie Banali: I was in five bands all the time, playing all the LA clubs and doing a number of sessions, some of which were released and others that were not. I played around LA a lot, which worked as a showcase for my drumming style. This led to working on production demos in 1980/81 with Roy Thomas Baker, who was one of my producing heroes for his work with Free and Queen (to name just a few.) Roy would later hire me to record drum tracks for Andy Taylor (Duran Duran,) for the soundtrack to the film “American Anthem” in the mid 80’s (which featured the single “Take It Easy” the video of which has Terry Bozzio playing to my recorded drum tracks. Around the same time I recorded drum tracks with Roy for Yes vocalist Ian Anderson‘s “3 Ships“ release. I also worked early on with Andy Johns who is famous for recording Led Zeppelin, in 1980 when he recorded a band that I was in and loved called “Monarch” at the Record Plant with Michael Monarch the guitarist from Steppenwolf and Detective. That was a great band and it was the band that Kevin DuBrow first saw and heard me play with and then asked me to join QUIET RIOT. This was on January 30, 1980 at a small club in the LA suburbs, but it was a number of months before I took up Kevin’s invitation. Monarch only did a few more shows before breaking up, one was opening up for the newly formed Missing Persons with Terry Bozzio which was a free drum lesson for me. At the final Monarch date I met guitarist Trevor Rabin and he asked me to record tracks with him. Trevor later joined “Yes” and a great number of the tracks on the Yes landmark release “90125” I recorded the demos with Trevor and I still have those tracks in my archives. It really was such a musically creative and exciting time for me then. The LA music scene was so alive!

Ludwig HQ: What were the “Metal Health” sessions like, and what are your drumming recollections of those sessions?

Frankie Banali:When we started the Metal Health sessions, it was all on available time at the studio, so no real recording schedule. The Pasha studio had a small drum room that was fairly dead acoustically. I went out and acquired about eight sheets of 4 X 8 plywood and stood those up against the walls to create some reflection. The room had a low ceiling and further complicated by a dropped acoustic tile ceiling. I removed the tile to get even more reflective surfaces and it also allowed for the overhead mic’s to have more height. This is something that I had also done when I hade previously recorded there for the Billy Thorpe’s “East Of Eden’s Gate” Randy Bishop and the Underdog’s “Dangerous Infatuation” and a couple of Danny Spanos records all released by Pahsa through CBS records before the Sony moniker change. For the QR sessions we used my personal Senheiser 421 microphone for the kick drum, it was a really old model, the gray ones with the hardwired cable, and I still have that mic. The drum set I used for the Metal Health record and everything else at that time was my 1969 Ludwig green sparkle set, 14 X 26, 12 X 15, 16 X 16, 16 X 18 and my 1976 Supraphonic 6.5 X 14 snare drum. I later stopped using the 15” rack tom and went down to a 10 X 14 tom. I still have that set as part of my ever growing collection. Engineer Duane Baron and I were instrumental in the development of what was a huge drum sound for 1983. Duane knew how to record me in the way I played and the drum sound I brought in which was very, very live with no dampening or muffling whatsoever.

In mid sessions we parted company with bassist Chuck Wright, although he appears on the tracks “Metal Health/Bang Your Head” and “Don’t Wanna To Let You Go” those already having been recorded. This was around the time that Randy Rhoads passed away as the result of the tragic plane crash, and Rudy Sarzo left Ozzy Osborne’s touring band to join QUIET RIOT. A lot of people think that Kevin DuBrow wrote “Thunderbird” as a tribute to Randy, but in actuality he wrote the song when Randy left to join Ozzy and Randy had agreed to and was scheduled to come in and record “Thunderbird” with us for the Metal Health record. Randy is missed. He was a great talent and a great person. May he rest in peace.

Ludwig HQ: It has been said that Slade liked QR’s version of “Cum On Feel The Noize” better than their original. Is this true?

Frankie Banali: If that is true, they never told us! I think they were a little bitter about our success with their song. They had a hit with it in other territories but not in the US and later our version overshadowed theirs worldwide. Any real success in the US always seemed to elude Slade, so QUIET RIOT having a major hit with “Cum On Feel The Noize” was bittersweet for them. When QUIET RIOT played the Hammersmith Odeon in London opening up for Judas Priest in 1983, we offered them an invitation complete with a limo service to attend the show, but they never responded. Later I was shopping in Kensington Market and ran into (Slade bassist,) Jimmy Lea, who co-wrote of the song. I wanted to shake his hand and thank him for writing a great song. He looked into my face, and walked away leaving me with nothing in my hand but air! I look at the situation like this: QUIET RIOT received a great measure of success with the help of that song, and Slade received a great deal of money for their trouble. Fair enough!

Ludwig HQ: It is also rumored that you and Kevin Dubrow were against covering it; true or false?

Frankie Banali: True. I really didn’t care either way. To me it was a good song, but just another song. Kevin, on the other hand, hated the song! He thought “Mama Weer All Crazy Now” (another Slade song we later recorded for Condition Critical,) was a better choice. But the producer thought that “Noize” was the one. Kevin wanted nothing to do with it. I understood that we could not avoid the issue, so we decided to not work on the song or rehearse it. When asked to record the song, it would sound so awful that it would be set aside. On the morning of that particular session, the producer asked for us to play the track. I had already privately confided with Duane, the engineer, of our plans for not recording “Noize”, so he was ready to push RECORD anyway for comedic value. I didn’t even have an intro for the song, so when the producer said “Let’s hear it!” I counted it off and for the first time played that intro and just kept going. I made it through the entire song, and the producer said “Great, Duane recorded it and we have the drum track!” Meanwhile, Kevin is sitting across from me glaring, smoke coming out of his ears! He took me aside and said.... “What was that? What am I supposed to do now?” I replied “Sing it poorly; you know how to do that, don’t you?” It took a few minutes, and though he started to laugh at the joke, he was still clearly angry. In the final analysis, we both agreed that it was the right song, the right performance, the right time, and if not for that song, who knows how my own personal career might have evolved! I am very grateful for that song, QUIET RIOT, and yes, grateful to Slade for having written it! Ludwig HQ: QR’s version has recently seen a resurgence in video games (Grand Theft Auto, NHL 2K8, Rock Revolution,) and movies (Tropic Thunder.) Why do you think the track has such staying power? Frankie Banali: The two most representative tracks from the Metal Health record are “Cum On Feel The Noize” and “Metal Health/Bang Your Head”, which seem to have captured a sense of what the music of the period was. These tracks have become iconic representations of a time and place in music history and could arguably be called part of the soundtrack of that generation. The fact that they have endured over 25 years, and have crossed over to a couple of new generations is a testament to what QUIET RIOT accomplished; it really needs no further justification. We were very lucky, and we worked very hard for those accomplishments. Metal Health has gone on to sell well over 10 million units worldwide as of 2003. We must have done something right!

Ludwig HQ: What goes through your head when you hear it now?

Frankie Banali: It’s been so long since I recorded the tracks that I don’t think about it, other than taking pride in them. I will admit that to be at a sporting event, or watching one at home, and hear it being played to unanimous approval from the crowd is really beyond description. Also, my 11 year old daughter takes a lot of pride in letting her friends know that it is her daddy playing drums when it comes on a video game, which puts a smile on my face!

Ludwig HQ: Everyone hears about the decadence of the Heavy Metal Heyday of the early-to-mid Eighties. As a member of a band that pioneered that kind of image, are the “Behind the Music” stereotypes true?

Frankie Banali: With regards to the VH1 generated “Beyond The Music” shows, you really need to view those as a set format, in a way a tried and true plot, which every show follows. They all have the “Humble Beginnings” portion, the “Rise to Success and Excess” portion, the “Personal Tragedies/Road to Redemption”, and the end of the story…for now! Sensationalism at every level sells interest, so the story line is directed toward and feeds off of that. While the stories are generally true, there are many aspects of the story, the interviews, etc., that are unused simply because it’s not titillating enough to include; but therein you loose a lot in the progression of the stories. Understand that this is not criticism, but an observation as an overview. There is just so much time to cover a story, and I am just happy that they chose to include QUIET RIOT!

As to the stereotypical portrayal of the bands from the 1980’s, let’s just say that if you get a 50 gallon drum and fill it with dog food, the dog will eat until it explodes if he can get to it! Much is the same for the bands and musicians from that genre. We all had a great time, it was a great ride! For the most part, we all got whatever we wanted, a few have managed to retain their success (or part of it,) and a lot did not. Many fell to the wayside, or worse, through lifestyle choices. Every ride has a beginning, a middle, and an eventual end; no matter how many tickets you have.

Ludwig HQ: What did this demand from your drumming, and what did you do to prepare yourself for it?

Frankie Banali: I think that the most difficult part of it was knowing when to end the party. You spend the greater part of 24 hours either traveling to some place or leaving some place to travel to another place, only to arrive and wait, wait, and wait. The great motivator is that hour and a half onstage -often much less if you are the support act- and when you finish playing you don’t want the excitement or the adrenalin to end! So the music ends and the party continues! You do this day in and day out, and it takes its toll. It’s difficult enough just to get any measure of uninterrupted sleep on the road; but if you allow the party to continue day-in and day-out, your playing suffers, your health suffers, your personality changes and your performance suffers. You rarely get sound checks as a support act, so I always had my drum set available and set up somewhere deep in the recesses of the venue, just so that I could play them at some point during the day between interviews, in-store appearances, etc. My drums have always been the safety zone, albeit a very bombastic oasis.

I am very matter of fact about the daily routine on the road now. I get on a plane or a tour coach to go to whatever the destination will be, sleep when I can, thoroughly enjoy the performance aspect (regardless of all the inadequacies of touring,) make time to meet the fans and thank them whenever possible (because they make it possible,) and then continue on to the next city, state, country and show. It’s not that I don’t appreciate it. I do and more so now than ever because I am still doing it, but I just don’t let outside influences dictate my behavior one way or the other. I don’t know if I credit this to maturity, longevity, or the fact that I also managed QUIET RIOT -in every sense of the word- for the past 13 years, until the untimely passing of Kevin DuBrow.

Ludwig HQ: What was the strangest thing that has happened (or that you have seen,) during a tour?

Frankie Banali: There have been so many surreal experiences that I would be hard pressed to relate even one or two of them while ignoring so many others, and because they all involve multiple individuals, I really prefer to let those rest in the mist of the experiences. You know what they say: “You had to be there!”

Ludwig HQ: Most people know you simply as “Quiet Riot’s Drummer,” but your resume goes much deeper than that. What other projects have you been involved with?

Frankie Banali: I think to date I am on some 88 or 89 releases -not counting the ones I am currently working on or have recently completed. Everything from major label releases, independent releases, tribute projects, live recordings, video, DVD performances; it runs the gamut. I am an equal opportunity drummer and I love to play! A release that I am really proud of was also a pet project of mine. I had some rare time off in late 2006 and early 2007 from the QUIET RIOT schedule (which generally consisted of anywhere from 160 to 230 shows a year,) and decide to call on my musical friends to record my own tribute to Led Zeppelin. I recorded all the drum tracks and produced the record, 24/7/365 THE TRIBUTE TO LED ZEPPELIN - Frankie Banali & Friends, which includes Vocalists Bobby Kimball (Toto), Glenn Hughes (Deep Purple/Black Sabbath), Don Dokken (Dokken), Kevin DuBrow (Quiet Riot),Jeff Scott Soto (Yngwie Malmsteen), Alex Ligertwood (Average White Band/Santana), Robin McCauley (Michael Schenker/MSG), Mark Boals (Yngwie Malmsteen), Paul Shortino (Rough Cutt/Quiet Riot), Chas West (Bonham) and Guitarists Doug Aldrich (Whitesnake), Gilby Clarke (Guns N Roses), Bruce Kulick (Kiss), Reb Beach (Winger), Bill Leverty (Firehouse), Steve Fister (Lita Ford), Neil Citron (Hero) and Michael Lardie/Keyboards (Night Ranger/Great White).

Ludwig HQ: Have any of these projects been keeping you busy lately?

Frankie Banali: Earlier this summer I contributed drum tracks for a session that included “Guns & Roses” man on the keys Dizzy Reed. The tracks also had Alex Grossi on guitar and Chuck Wright on bass, which were both part of the final “QUIET RIOT” touring lineup.

In the early part of July I recorded drum tracks for a new artist called Ashes and Acid, which I also enjoyed because my rhythm section partner was none other than the great Billy Sheehan on bass. Billy is a monster! It was also very rewarding for me since the producer of the project is the talented Neil Citron, who engineered and contributed the guitar tracks for my 24/7/365 THE TRIBUTE TO LED ZEPPELIN CD. Neil was also the guitarist on the "Rehab" QUIET RIOT release.

Late in July I recorded one song for a "Metal" Christmas CD, which is slated for release this fall. I don't believe that the track I played on will be included in the US release, but it will be a bonus track for the European version. It's a great line up with Doro Pesch on vocals, Michael Schenker on Guitar, Tony Franklin on bass and yours truly pounding out some holiday cheer!

On August 16, I played a set with the Big-Ball Stars at the Key Club in Hollywood. The lineup for this version of the BBS is scheduled to include Robin McAuley/Vocals (ex-MSG and Survivor,) Brent Woods/Guitar (ex-Vince Neil Band), Phil Soussan/Guest Bassist (ex-Ozzy Osborne), Neil Turbin/Guest Vocalist, Dizzy Reed/Guest Keyboards (Guns & Roses), Chris Holmes/Guest Guitars (ex-W.A.S.P.), and I was the guest drummer for the evening.

I am currently in discussions for possibly recording and or performing live with the LA based trio Bridge of Sighs, as well as other pending sessions. I’m just happy to still be in the game and to be playing.

Ludwig HQ: Having backed so many –shall we say- STRONG rock personalities, what does it take as a drummer -and a band-mate- to keep these kinds of egos at bay?

Frankie Banali: I think that for musicians in general, it is important to understand that the music industry -and particularly musicians- are fueled by egocentricity on various levels and to varying degrees. Understanding that in rock music, the emphasis has always been on the singer and guitarist first, it makes it easier to balance out the personalities. That’s not to say that a drummer should be subservient to the other personalities in the band. But rather make your worth known by doing your best, be musically supportive, and understand the personalities that you are working with. It’s not easy being a member of a band, and you really need to decipher what the intent of each member is, if your work is appreciated, your cooperation noted, are your contributions rewarded. As hard as it may be, you have to separate the music from the business, the musician from the friend, and always pay attention to all of these factors, because they all commingle. No job is perfect. And for anyone who would cite “my art” versus “it’s not a job”; well, it’s called “music business” for a reason...... Excel in both to the best of your abilities, only fight the battles that are worth fighting, and ignore the many skirmishes.

Ludwig HQ: What’s your Ludwig set-up like currently, and what do you dig about it?

Frankie Banali: My current Ludwig set up consists of a Classic Maple 14 X 26 bass drum, 16 X 18 and 16 X 16 floor toms, 10 X 14 tom and a 6.5 X 14 Supraphonic snare drum. The “live” set is in silver sparkle, the “studio” set is maple finish and they are both from the Super Classic line. I also have quite a number of vintage Ludwig sets that I use to record or play live with. They range from 1946 WFL sets through the late 70’s. Most of these sets are in the same size configuration as above, and this setup is the same as I have been using since I was 18, when I bought my first 26” bass drum set. Before that it was the same setup but with a 22” bass drum, 13” tom and two 16” floor toms with a 5 X 14 Supraphonic. Most of the records I have recorded have been with the five piece setup, and it was only after Metal Health was released in 1983 that I went to the huge setup, to go with the excesses of the era. I went back to the five piece set up on and off in 1987. I only use a larger set when requested to do so for sessions, or live shows if the music requires it.

I have a lifetime love affair with Ludwig drums. My first drum set was a set of blue sparkle Kent drums, bought for me by my parents at the Debelis School of Music in Astoria, Queens, where I studied. Kent were locally made in New York when I was growing up in Queens. My parents made a deal with me that if I worked hard and earned a good drum set, they would buy me a Ludwig set, which they did. It was a red sparkle “Big Beat” set up. I still own that first Ludwig 5 X 14 Supraphonic!

I bought my first Ludwig drum set with a 14 X 26 bass drum when I was 18 years old. I was working after school giving lessons to younger drummers at Brown's Music store in Ft. Lauderdale, Florida. I saved every penny from that joband with my employee discount (and with money saved from my summer construction job as a roofer,) I ordered my first John Bonham style kit in the Maple finish. It was the best sounding drum set I had ever played.

I have come full circle through the generosity of Ludwig Drums, Mr. Jim Catalano, and most of all with the kindness of Todd Trent. I now have the 2006 version of my original maple set. The sizes are 14x26 bass drum, 12 X 15 tom (with an optional 10 X 14 tom,) 16 X 16 and 16 X 18 floor toms, and a 6.5 X 14 Supraphonic snare drum. This new set is as beautiful as my original, and sounds just as amazing. There is nothing that compares to that great Ludwig sound!

Ludwig HQ: The Metal community, and indeed the music community at large, was saddened by the passing of QR front man Kevin Dubrow in 2007. At the risk of getting too personal, how did this affect you?

Frankie Banali: I was devastating on a personal level and life changing on a professional level. I knew and worked with Kevin for nearly three decades. We had our up’s and down’s (all well documented,) but we managed to remain friends through it all. That friendship was resuscitated when he asked me to rejoin the band in 1993, after QUIET RIOT had been largely dormant since late 1989. Our friendship continued to grow until the very end.

Ludwig HQ: What did you do to get through such a heavy personal blow?

Frankie Banali: I’m still not through it, I am in disbelief at the reality and finality of Kevin’s passing. Kevin and I shared a twenty-seven year personal and musical friendship, that encompassed both great triumphs, as well as difficult and hard times. We were like brothers in many ways, which sometimes found us at great odds with each other. One of Kevin's most endearing qualities was also to his detriment; as he was outspoken, and you always knew where you stood with him. This quality made for close friends, but also many critics of his point of view. Kevin had so many sides to his personality that few saw beyond his stage and professional persona. Musically, he knew more about the bands we loved from the musical periods we grew up with than anyone I've ever known. And if you were one of his close friends, he always made you feel like you were the most important person in his life. He was always incredibly supportive of my drumming, more so than anyone I've ever known.

I find comfort in knowing that the last three years of Kevin's life he was the happiest I had seen him since the glory days of QUIET RIOT. I am also comforted in knowing that the last time we saw each other at the airport for our respective flights home I said "I love you my brother. Have a safe flight and please call me when you get to Vegas so that I know you got there all right." He replied "I love you too my brother" and we hugged. We shared similar sentiments on our last phone conversations, e-mails and text messages. In this, I have no regrets.

Ludwig HQ: How important to you are the drums you play and how do you feel it affects your playing?

Frankie Banali: In my musical life, there has never been anything more important than the drums that I play, and how they sound. This began for me very early when I heard, then saw, The Beatles with Ringo playing his Ludwig black oyster pearl “Downbeat” sets (and later with his maple finish “Big Beat” set.) Even Charlie Watts with the Rolling Stones had that “Ludwig” sound early on, with his blue diamond pearl “Downbeat” set; which also made a huge impression on me as a young hopeful drummer. Both of these groups dominated the early 60’s airwaves, and Ludwig was representative of the sound and era.

If you then fast forward to the late 60’s and into the 70’s, the Ludwig “sound” became even more explosive with the great Mitch Mitchell, with his first silver sparkle set, and then his natural maple set. Just listen to the first three Jimi Hendrix albums; that drum sound, and playing, are undeniable. Then there was Ginger Baker with Cream, with his innovative jazz/rock styling’s on his double bass drum champagne sparkle set. Ian Paice with Deep Purple and his various Ludwig sets. Carmine Appice, who opened the door for those big bass drum with his double 26” and single 12 X 15 tenor drum as a rack tom, early on with the Vanilla Fudge.

This brings us to the man, the mighty John Henry Bonham, who rewrote the book of rock drumming on his many sets of Ludwig drums; running the scope of material from wood, to plexi to stainless steel! If there was one single drummer that got all the ingredients working marvelously right, it was John Bonham. It was the power, the tone, the execution, the bombastic to the sublime, and all on Ludwig drums. I think he said it and did it all behind the drums and no one -I mean no one- comes even remotely close.

This is not to ignore Buddy Rich, Joe Morello, Ed Thigpen, Ellis Tollin, Hal Blaine, Mowtown drummer Bennie Benjamin, John Densmore, Bill Bruford, all of these great drummers and so many more were playing and recording with their Ludwig drums when they were at their most musically productive bands and eras. Don’t take it from me, just go listen to these various drummers in so many different styles and music. It’s all there if you take the time to listen, and what you will hear is the Ludwig sound!

So, now that I’ve gone on and on about the Ludwig sound, all of these artists tuned my ear to what I considered a great drum sound, and they were my measuring stick. I always feel that I sound better and play better when I’m playing my own Ludwig drums, or an event provided Ludwig drum set. It’s not psychological; but rather the combination of all the factors, the tone enhances my performance! If it sounds good, then it feels good; and if it feels good, you are playing more at ease, and the performance is natural because you are feeling the moment rather than being distracted by something that does not sound right to you. It takes very little time for me to get a Ludwig set to sound how I like it. Live or in the studio, it takes me far longer -if at all- to do so where it is impossible for me to use my own drums, and have to play other brands. That’s not to say that other drums don’t sound good, they do; they just don’t sound like Ludwig. I speak from experience, having endorsed other major drum companies in the past, they were great drums and great companies to work with; but they were not Ludwig. Not even close when it came to the sound.

I tried to get a Ludwig drum endorsement in 1983 at the winter NAMM show -just two months before the release of the Metal Health record in March- but was unable to achieve that goal. But if you look at the credits on the Metal Health jacket, you will see that I gave credit to Ludwig Drums, because I had recorded the record with my personal Ludwig set. I finally achieved my lifelong dream to become part of the Ludwig family, a week after the 1995 winter NAMM show; through the efforts of Todd Trent and Mr. Jim Catalano. They made the dream that I had as a kid, laying down on the carpet in front of the stereo, listening to Meet The Beatles while lost in the pages of the Ludwig catalog, come true!

Ludwig HQ: Can you describe how you tweak your drums to get your personal sound?

Frankie Banali: My father, who was not a musician, was a big fan of jazz, swing, big band music. So I naturally listened to what he listened to on the radio or on records, which my father would bring home from Europe. My first real recollection of noticing the drum sound, were on those records; especially the sound that Buddy Rich got on recordings with Eddie Condon, Artie Shaw, Harry James, Tommy Dorsey, etc. Buddy tuned his set high, which made sense to me because he was competing for “frequency” space against all the instruments in a big band setting; so his tuning sat above the lows of some of the instruments, and below the highs of the horn section. Joe Morello tuned similarly, even though he played in a smaller band setting; it allowed the drums to “speak” on their own. This really was the beginning of my tuning apprenticeship and habits. I tune all my drums higher than many rock drummers, especially my snare drum and kick drum. I just like knowing that my tone can sit comfortably below the all encompassing wash of multiple - and often distorted- guitar tracks, while staying above and out of the way of the bass tracks, keyboard pads, etc. These are the lessons that I learned from Buddy Rich early on. Thank you, Mr. Rich! The exception to this oddly enough came with the recording of some the 80’s records, when all producers of the genre insisted on their idea of “fat” drums. That was of it’s time, but I still managed to keep the tuning up a bit anyway.

Ludwig HQ: Who are your major drumming and musical influences?

Frankie Banali: Some are mentioned earlier, Buddy Rich, Ringo, Charlie Watts, Louie Bellson, Joe Morello, Bill Bruford, Mitch Mitchell, Bernard Purdie, Chick Webb, Papa Jo Jones, Max Roach, Elvin Jones, Ginger Baker, Ian Paice, Tony, Tony, Tony Williams, Art Blakey, Carmine Appice, Dino Danelli, Billy Cobham, Terry Bozzio, Simon Phillips and of course my personal favorite rock drummer, John Henry Bonham.

With regards to bands it runs from anything Miles Davis did, especially when the lineup was Miles, Wayne Shorter, Tony Williams. Ron Carter and Herbie Hancock, Led Zeppelin, Jimi Hendrix, The Beatles, Mahavishnu Orchestra, and on and on. I have a massive collection of vinyl, cassettes, CD’s, just ridiculous! I listen to everything!

And these are just the tip of the iceberg. There is something to learn from every drummer, every band, every song, and not all the lessons are the same. There is what you can learn to play, and what you may never learn to play. There are things that you learn to do and you also can learn what not to do as well. Less is more, more or less!

The important thing is to keep listening, keep learning, keep playing and always remember that while you might be a better drummer than some, you are not as good as others. There is always room for improvement.

Discography (as a member of bands)

His hard hitting, deep pocket, heavy rock drumming was a mainstay of the 80’s LA rock scene, but Frankie Banali – the person and the drummer – goes much deeper than the grooves he plays with Quiet Riot, W.A.S.P. or any number of bands you may have heard him with. Citing early influences including Ringo and Charlie Watts, Frankie got heavier via the influence of John Bonham, then deeper into technique through the likes of Terry Bozzio and other progressive players. This combination of influences set him up nicely for session work with everyone from Billy Idol (‘Mony, Mony) and guitar whiz Gary Hoey, to Billy Thorpe, Monarch, and super-duo Glenn Hughes and Pat Thrall on their classic ‘Hughes/Thrall’ album. “Still today the track ‘Hold Out Your Life’ is one of the best written and most exciting tracks that I have had the pleasure to be a part of,’ says Frankie.

FRIENDS QUOTES:

Kevin DuBrow: "Frankie is an amazing drummer and a wonderful human being."

Glenn Hughes: Deep Purple/Hughes/Thrall (From Modern Drummer Magazine Interview) "Frankie is a powerhouse, very much influenced by Bonzo. He played on the Hughes/Thrall album in 1982. His musicality and fat grooves are second to none on that record. I saw Frankie play recently in his band QUIET RIOT, and he completely floored me."

Joel Ellis/Heavy Bones "What can I say that hasn't been said about Frankie Banali? He's got to be one of the single greatest drummers to bless the airwaves. He's got the most amazing work ethic and focus when he's 100% into it. He's unbelievable when he's in the same room with you behind his kit...it's like bombs and thunder in an extremely musical way. I can't say enough about his playing."

Blackie Lawless/W.A.S.P. on Frankie: "The man made enormous contributions! There's never a record that him & I have done where I've felt that we haven't broken some sort of new ground, it's miraculous to watch his mind work. With him, I really try to push the envelope."

Gary Hoey/Heavy Bones "Thanks for great laughs and great drums in 8 hours" Line notes: Gary Hoey/Gary Hoey CD.

Ken Pierce/Piercing Metal (Review of 24/7/365 The Tribute To Led Zeppelin - Frankie Banali & Friends CD) "....over the pounding backbeat of Banali who really proves to be calling on the spirit of John Bonham as he plays each note. He manages to keep the same subtlety that he had while at other times dropping the thunder and fury around the kit and snare drum. Those who know Zeppelin music pretty good also remember how intricate the footwork on the bass drum was from John and on the album Banali does not disappoint and seems on the mark across the board."

Rudy Sarzo: "QUIET RIOT became heavier, the second time around. I have to give a lot of that credit to the way that Frankie (Banali) plays his drums. Frankie gave it more a heavier edge to it, more of a drive. More of that John Bonham (LED ZEPPELIN) feel and sound to it, and made it heavier."

Neil Citron/Guitarist/Producer and Grammy Award winning recording engineer: "I was fortunate enough to work with Frankie on a few projects, and all I can say is WOW! A drummer who brings energy and excitement to a project while being more positive than the law allows. Unheard of. He's everything you'd want in a drummer and then some. He knows music inside and out and has an arsenal of feels and grooves to choose from."

Chuck Wright: "Frankie and I have a killer chemistry together and no one I know puts more gusto into his drumming than Frankie."

Equipment:

Ludwig Drums and Sabian APX Cymbals

With Hughes/Thrall

• Hughes/Thrall (1982)

With Quiet Riot

• Metal Health (1983)
• Condition Critical (1984)
• QR III (1986)
• Quiet Riot (1988)
• Terrified (1993)
• Down to the Bone (1995)
• Guilty Pleasures (2001)
• Rehab (2006)

With W.A.S.P

• The Headless Children (1989)
• The Crimson Idol (1992)
• Still Not Black Enough (1995)
• Unholy Terror (2001)
• Dying for the World (2002) (With Stet Howland)
• The Neon God: Part 1 - The Rise (2004)
• The Neon God: Part 2- The Demise (2004) (Uncredited)

With Heavy Bones

• Heavy Bones (1992)

With Blackthorne

• Afterlife (1994)

Appears On: Hughes / Thrall (Vinyl, Album) Epic 1982 Bang Your Head (Metal Health) / Bang Your Head (Metal Health) (Live) (7") Pasha, Pasha 1983 Metal Health (Album) ◄ (5 versions) Epic ... 1983 Metal Health (LP) Epic 1983 Metal Health (LP) Pasha 1983 Metal Health (LP, Album) Salud Metálica (Metal... Discos CBS 1983 Metal Health (LP, Album) Epic 1983 Metal Health (CD, Album, RM) Metal Health Portrait, Epic, Legacy 2001 Passion In The Dark (MiniAlbum) ◄ (2 versions) Excuse Me Epic 1983 Passion In The Dark (12", MiniAlbum) Excuse Me Epic 1983 Passion In The Dark (12", MiniAlbum) Excuse Me Epic 1983 Condition Critical (Album) ◄ (3 versions) Condition Critical Pasha ... 1984 Condition Critical (LP, Album) Condition Critical Pasha 1984 Condition Critical (LP, Album) Condition Critical Discos CBS 1984 Condition Critical (LP, Album) Condition Critical Epic 1984 3 Ships (LP) Elektra, Asylum Records 1985 Two Hearts The Loose (7") Victoria 1986 Quiet Riot (Album) ◄ (2 versions) Pasha 1988 Quiet Riot (LP) Pasha 1988 Quiet Riot (CD, Album) Pasha 1988 Attack Of The Neon Shark (Album) ◄ (3 versions) Enigma Records (3) ... 1989 Attack Of The Neon Shark (CD, Album) Enigma Records (3), Metal Blade Records 1989 Attack Of The Neon Shark (LP, Album) Metal Blade Records 1989 Attack Of The Neon Shark (LP, Album) Metal Blade Records 1989 The Headless Children (Album) ◄ (5 versions) Capitol Records ... 1989 The Headless Children (LP) Capitol Records 1989 The Headless Children (LP) Capitol Records 1989 The Headless Children (CD, Album) Capitol Records 1989 The Headless Children (LP, Album) Jugoton 1989 The Headless Children (CD, Album, RE) Snapper Music, Original Masters 1998 Hughes / Thrall (CD, Album) Epic 1991 Hold On Tight (CD, Album) Pony Canyon Inc. 1992 The Crimson Idol (Album) ◄ (2 versions) Parlophone ... 1992 The Crimson Idol (CD, Album) Parlophone 1992 The Crimson Idol (2xCD, Album) Recall 2cd 1998 First Blood Last Cuts (CD, Comp) The Real Me, Forever F... Capitol Records 1993 Terrified (CD, Album) Moonstone Records (2) 1993 80s Rock (CD, Album, Comp) Bang Your Head (Metal ... Sony Music Special Products, Platinum Disc Corporation 1998 Super Hits (CD) Epic, Legacy 1999 Unholy Terror (Album) ◄ (2 versions) Metal-is Records 2001 Unholy Terror (CD, Album) Metal-is Records 2001 Unholy Terror (CD, Album) Metal-is Records 2001 The Neon God: Part 1- The Rise (CD) Noise Records 2004 Tracks Appear On: We Wish You A Metal Xmas And A Headbanging New Year (CD, Comp) O' Christmas Tree Eagle Rock Entertainment, Armoury Records 2008

24/7/365 THE TRIBUTE TO LED ZEPPELIN- TRACK BY TRACK

Check Out Frankie Banali & Friends New Zeppelin Tribute with Commentary By QUIET RIOT'S Frankie Banali

"24/7/365 THE TRIBUTE TO LED ZEPPELIN" has been a labor of musical love and affection for the music created by Jimmy Page, Robert Plant, John Paul Jones and John Henry Bonham. Why do a Led Zeppelin tribute CD? For all the right reasons. No one can top Led Zeppelin and I didn't try to. No one is John Henry Bonham, so I didn't try to play the drum parts beat for beat. I wanted to perhaps capture the essence that was John Bonham, so it really does pay homage to his great talent.

I did it because of my love for the music of Led Zeppelin and the talent that was and is John Henry Bonham. Led Zeppelin has played a prominent role in my musical life with the release in 1969 of Led Zeppelin I and the opening chords of "Good Times Bad Times, through 1982 and the closing chords of "Wearing and Tearing" from the Coda release, and continues to play a significant role in my life still to this day through subsequent releases of both audio and visual mastery which was clearly evident with the release of How The West Was Won set and DVD.

Frankie Banali & Friends has been a dream come true for me because it has made it possible to not only to be able to play and record with old and new musical friends, but also some of my musical heroes like Glenn Hughes, who I first heard singing and playing bass on the Trapeze record "You Are The Music We're Just The Band" and Glenn is my favorite singer in the entire world, and Alex Ligertwood just knocked me out with his wonderful voice and vocal range on the Brian Auger record "Second Wind" both of which I first discovered on vynil in 1972. I could not have accomplished any of my goals for these recordings were it not for the great musical talents of all who participated.

Having Tony Franklin on bass as my rhythm section partner on the entire record is nothing short of wonderful for me. He is by far my favorite bass player to play and record with. He is a gifted and talented bass player and one of the most wonderful people I've ever had the pleasure of knowing, playing with and calling my friend. I have had the opportunity to record with Tony on various projects but this one has been the most special one on a personal level.

TRACK BY TRACK

1. THE WANTON SONG - 4:06 Alex Ligertwood/Vocals - Doug Aldrich/Guitar

I was really impressed with the vocals that Alex had done on the "Second Wind" record and especially on the track "Freedom Jazz Dance" and I also very much enjoyed his work with The Average White Band. I think that Alex's vocals on The Wanton Song are spectacular and he breathed new life to this classic Led Zeppelin groove.

I've known Doug for over twenty years and we've talked about working together for all those many years but the situation never presented itself. I have a lot of respect for Doug as a musician and as a person. I knew that he would be the perfect guitarist to bring his fiery guitar style to this track and he made it his own.

2. FOUR STICKS - 4:37 Glenn Hughes/Vocals - Steve Fister/Guitar

Glenn, as everyone knows, is my favorite singer and it was natural for me to think of Glenn when it came to Four Sticks because this song is so different from your typical rock song, even by Led Zeppelin. It is a very special song that required a very special and dynamic vocal. Special, atypical, dynamic are all words that also describe the wonderful talent that is Glenn Hughes. I was blessed to have first recorded and played live with Glenn for the "Hughes/Thrall" record and this was a wonderful opportunity to work with Glenn once more. And let's face it, Glenn could sing from a Chinese phone book and make it make sense!

Steve Fister is somewhat unknown to some people, but he is likely best remembered for working with Lita Ford in the 1980's. Steve is by nature a blues guitarist and an excellent one at that. I had recorded a number of drum tracks for Steve's record "Dodging' Bullets" and was impressed with the genuine feel of his blues roots and guitar style as well as being very capable on a variety of stringed instruments, so he was a natural to play on a number of these tracks, namely Four Sticks, Kashmir, Ramble On and Gallows Pole. Steve has been invaluable to these recordings from it's grass roots onward.

3. KASHMIR - 8:23 Don Dokken/Vocals - Michael Lardie/Keyboards Steve Fister/Guitar

I think most people are surprised at my choice of Don for the vocal on "Kashmir" until they hear him sing it. I've known Don since before I was in QUIET RIOT. Don and I were in a very early version of Dokken, along with Juan Crocier (ex-Ratt) when Don also played guitar as well. I knew the subtle characteristics of Don's vocal style and knew he would be the ideal choice for Kashmir. His vocal turned out very much as I had envisioned it and I am so happy that he was willing and able to record this track.

Michael Lardie was the instant choice to play the multi keyboard tracks for this song. He is keenly aware of the music of Led Zeppelin and really brought a certain authenticity of sound layers which this track required. Michael is fabulous on this song and a key element in the overall sound of this track. The perfect choice.

4. OUT ON THE TILES - 4:03 Robin McCauley/Vocals - Reb Beach/Guitar

Robin is a wonderful singer with arguably one of the best vocal ranges in the business. Robin came in completely prepared to sing this track and his pitch was absolute perfection. Like most of the singers on this record, I had to find singers that could hit all those high Robert Plant vocal lines and melodies, and Robin did not disappoint. He was the only choice to sing this wonderful Led Zeppelin track.

I had the opportunity to hear Reb play a number of times with Winger and knew that he is one of the best shredder's in the business. I also knew that while working with Whitesnake, he had to understand the blues. Although Out On The Tiles is not a particular blues based song, it is definitely a riff oriented song and Reb is one of the best riff guitarist in music today. Although the original version of this song does not have a guitar solo, I asked Reb to add one to the ending section of this track. He blew me away with his psychedelic like solo on this one.

5. RAMBLE ON - 4:23 Paul Shortino/Vocals - Steve Fister/Guitar

Paul and I have known each other since we worked together on the fourth QUIET RIOT "QR" release. When I first heard Paul sing the Janis Joplin classic "Piece Of My Heart" I couldn't believe that he had done such a wonderful interpretation of the original. Paul was my obvious choice for this vocal. His smokey Jack Daniels and cigarette tone was perfect for the verses but he also has the range to carry the upper register vocal on the choruses which this song demanded. Paul was wonderful on this track.

6. THE OCEAN - 4:29 Mark Boals/Vocals - Bruce Kulick/Guitar

I knew of Mark through his work with Yngwie Malmsteen, but I did not know him personally. Engineer/guitarist Neil Citron knew Mark and I jumped at the opportunity to have him sing on this track. Again, this song really required those high vocal gymnastics that Robert Plant made famous, and Mark really did a fantastic job on this song. I was very fortunate to have him on this track and he became one of the new friends.

Bruce is world known through his participation in KISS, but I had also heard Bruce on the "Scream" record where his blues roots where very evident. I knew that he would be perfect to play on this track and he brought a very authentic guitar style especially on the solo section of this track. Bruce is also a great guy with solid musical knowledge.

7. THE IMMIGRANT SONG - 2:41 Bobby Kimball/Vocals - Gilby Clarke/Guitar

Bobby has impressed me year after year with his wide range of vocal styles throughout his career with Toto. Bobby is a genuinely wonderful singer and person and here again I needed someone that could handle the high vocal style and range. Not only did I get that, but he put his own Louisiana blues sound on this vocal. Absolutely wonderful. It was a privilege to have him on this record.

Gilby is an all out rock and roll guitar player, so who else would I get but Mr. Clarke to play on this track and Royal Orleans. Gilby brought some of the Guns and Roses magic to these two songs by delivering great 1970's style guitar solos because he understand that style of music intimately. I was very fortunate that he was available and wanted to play on these tracks. He is also a new friend and a great guy to hang with.

8. ROYAL ORLEANS - 3:01 Jeff Scott Soto/Vocals - Gilby Clarke/Guitar

I've known Jeff for likely twenty or more years. Jeff is immensely talented and he has great rhythm and blues roots. He was the first singer that came to mind for Royal Orleans and the logical vocalist for this track. To me Royal Orleans has always been a sort of funk Led Zeppelin track and Jeff really brought out the funk and the rock on this one. He is a very underrated singer and you'd be hard pressed to find a nicer person.

9. GALLOWS POLE - 4:16 Kevin DuBrow/Vocals - Steve Fister/Guitar/ Mandolin /Banjo

Everyone knows of my longtime musical association and friendship with Kevin as members of QUIET RIOT. As in the case of my choice for a vocalist on Kashmir, for Gallows Pole I instinctively knew that this song was a perfect vehicle for Kevin to sing on. Most people only associate Kevin with a very aggressive vocal style and no one really knows that Kevin can also sing strongly in lower registers. Kevin did an amazing vocal on this track and was able to cross between the lower register of the intro and verses and then kick it into high gear for the chorus section. I am really proud of the vocals Kevin did on this one even though he thought it to be the wrong song for him to sing. In the end, he was the right and only choice.

10. CUSTARD PIE - 4:11 Chas West/Vocals - Bill Leverty/Guitar

I didn't know Chas very well prior to asking him to sing on this track, but I knew of his work in the Jason Bonham band and especially his experience at singing some of the Led Zeppelin classics. He was the obvious choice for this track because he could interpret the lyrics where the written words are far different than the sung words as was the case in the original. He did a wonderful version of this vocal. Another new friend.

Bill is likely one of the most underrated and one of the most deserving of recognition. I've had the pleasure of knowing Bill for a number of years through a lot of dates that Firehouse has done with QUIET RIOT. Bill's guitar talents are boundless and endless. I was very happy to invite Bill to play on this track and he really brought a lot of life and passion into the track and particularly the solo section. He was also able to double some of Tony Franklin's bass riffs on the vamp section solo at the end of the track. Bill is also another wonderful person as well and a good friend.

11. WHEN THE LEVEE BREAKS - 9:06 The 24/7 Overture- Levee Guest Vocalist: Joan Fraley

This particular piece was really a wonderful fun adventure. While is starts with the iconic John Bonham drum groove and also ends with that same theme, the center section is a group of edits of all the tracks that came before it on this recording. Neil Citron did a masterful job at editing all the selected sections and in a sequence that made sense because they were all done in real time. That is to say, we did not alter the tempo from track to track to make the edits work, it is all as the tracks where recorded in the original tempo for each. Neil weaves editing magic and this track is a testament to his talents behind the board.

Joan Fraley is a truly great local California but a somewhat unknown talent. She is a bona fide blues based bass player and vocalist. It was really wonderful to have her sing on When The Levee Breaks because she brought the vocal style of Robert Plant to the track while not sacrificing her laid back vocal sensibility. I really think that her vocal is as good as any of the great vocalists that are on this record.

12. (THEY WERE) THE EYE OF GOD - 4:04 Frankie Banali/Drums & Hand Percussion Neil Citron//Guitar/Bass/Keys/Stringed Instruments

(They Were) The Eye Of God was a title that I think captures a little bit of the spirit of the Led Zeppelin phenomena that continues still today, and I hope that the listener will understand that this song pays homage to Jimmy Page, Robert Plant, John Paul Jones and the late great John Henry Bonham.

This is a very special instrumental track. Before recording this song Neil and I discussed at length what some of the musical qualities that made Led Zeppelin so unique. Things like that wonderful John Bonham drum sound and feel, the different colors brought into the songs by the keyboards of John Paul Jones and also the chord structure and tunings of Jimmy Page. I also wanted to bring in a little of the "world music" influences of some of the later Robert Plant recordings by using a rain stick, shakers, djembe and doumbek hand drums as well as subtle use of a mandolin and synth to this track. We hoped to capture just a little of the elements that make Led Zeppelin's music so unique, but did not try to write a purely "Led Zeppelin" type of song.

So, why do a Led Zeppelin tribute CD? Because it's music worth remembering and honoring. Jimmy Page, Robert Plant, John Paul Jones and John Bonham have left the world a musical legacy that is to me unequaled and unparalleled.

Personally, a lot has been said about John Henry Bonham. To me, John Bonham as a man was human, John Bonham as a drummer is immortal. These recordings are dedicated to his memory with love and respect. God Bless you Mr. Bonham.

External links

• '06 Frankie Banali Interview - Shipwreck Island Studios