Eddie Kramer produced it. Ron Nevison mixed it. Bob Halligan Jr. wrote the hits. So why did Capitol Records’ next Quiet Riot disappear during the mastering process? The 1985 mystery that still haunts
Hey guys, thanks for doing the Icon album. Just had some more bits of information not covered in the show that might help clear up some of those unanswered questions for you.
David Philip Henzerling (aka David Michael-Philips) was with the band during their Schoolboy days, a name then chosen because the group’s five members - Henzerling, Stephen Clifford, Dan Wexler, Tracy Wallach and then drummer John Covington - were all high school friends that decided to form a band. They self-released one EP titled, SINGIN’ SHOUTIN’, in 1980 on their own Attendence Records which is now a sought after collectors item among fans of the band. Henzerling and Covington later left to form their own group (an early incarnation of what became King Kobra), while John Aquilino and Pat Dixon replaced them, respectively.
It was also around this time that Mike Varney came into the picture, having discovered the band by way of The Schoolboys EP. He originally intended to sign then to his own Shrapnel Records imprint, but he wasn’t alone in his interest in the band. Legendary Capitol Records A&R John Carter (generally just known as Carter in the industry) was also scouting the band, and when the two met at a show, they struck up a deal where Carter would sign them to Capitol, but that Varney would get to produce their debut. One of the only caveats of the deal was that they had to change their name. It was thought that Schoolboys might be too easily confused with the rising UK act of the time, Girlschool (even though the members were of a completely different sex), so Icon was chosen as their new moniker, after their initial choice, Martial Law got vetoed.
Icon’s self-titled debut performed respectively enough, just cracking the Billboard 200 album chart, and getting some radio and MTV play with the song "On Your Feet". It was enough to get them a second album, although just barely. Carter, who has signed them, was in the process of leaving the label, and the higher up execs didn’t necessarily share his same love of the band. They almost got dropped, but since money had already been allocated for the follow-up, the band’s manager convinced the label to give them another chance. However, it was under the condition that the band create material that could potentially produce hits. Thus the team of Eddie Kramer, Ron Nevison and Bob Halligan Jr. were brought in to help that happen, and also accounted for the dramatic shift in style between the debut and NIGHT OF THE CRIME.
The band demoed around 30 songs, ultimately using three of their own compositions, one co-written with Mike Varney (“Rock My Radio”, clearly a hold over from their debut), three they collaborated with Halligan on, as well as three written solely by him. Another Dan Wexler original, “Hang Tough” was intended for inclusion, but was ultimately left off. It would later be covered by Danish band Pretty Maids in 1990. Halligan got the gig because he was friends with the band’s manager, who also thought he had just right finger on the pulse of what would work commercially. Kramer was originally supposed to mix the album as well as produce and engineer it, but it was felt his original mix was too raw and rugged, and not the radio friendly sound that everyone else was after. That’s when Ron Nevison got brought into the picture, to add the high-gloss finish that he had built his career on.
With everything now seemingly back on track, and the album all but ready to be put to bed, that’s when Stephen Clifford dropped the unexpected bombshell that he was leaving the band. Immediately. During his time on the road touring behind the debut, he had gotten just a little too caught up in living the “rock & roll lifestyle”. In an effort to clean up his act, he had become a born-again Christian, and decided he could no longer go on the way he had, and didn’t feel comfortable being in a situation that might sabotage his new life choices.
Shocked, but not dismayed, the rest of the band felt they had put too much into the album to just give up, so they did in fact set about auditioning for a new lead singer. They reportedly saw nearly 40 people - including Mark Slaughter (they thought his voice was too high) and Terry Lee (of early Pantera, and later Lord Tracy), but ultimately settled on newcomer Jerry Harrison. A showcase was set up with Capitol Records, in hopes of showing the label that all could still be right, with the new lineup having the same potential. The band’s set was going well, but during one in-between song break, Harrison got it in his head that it would be funny to bad mouth the label and execs in attendance. Maybe he was just nervous and/or had a bit too much to drink, but let’s just say the brass at Capitol did not share his sense of humor. Two days later, the band’s manager got the notice they were being dropped by the label. NIGHT OF THE CRIME would still be released, but only because it was already in the scheduled pipeline to do so. However, that was it, and there would be no further marketing or promotion put behind it other than what little already had been.
I remember finding my copy as a promo of the album for sale at a local record shop I frequented, that often had some of its stock supplied by the employee of some radio station or local publication. A fairly standard practice at the time, which while somewhat unethical, allowed a teenager like myself the chance to get records really cheap, as they were usually only a few bucks. I discovered a lot of new music that way, and sometimes even got records before they were officially released on street date. Anyway, I was shocked to discover that Icon had a new album out, and when I got home and listened to it, was blown away by the album. I loved the new direction the band had taken their sound in, and thought they delivered on the potential they had shown on their debut - which while good, was still not quite ‘there’ to my ears. Even many of those synths you’re hearing are guitar synths, and not your typical keyboard ones. (There’s also a loose, almost concept like through line in many of the song’s lyrics, especially amongst the ones co-written or written by Halligan, that do play in with the album’s title - with Love, lust and relationships being aspects of the ‘crime’ that inspires the stories being told in them.) Yet as the weeks and months rolled on, I couldn’t help wonder why I wasn’t hearing any of the album on the radio, or seeing any videos on MTV. After all, this was material just dying to be presented on either format, and ready to break the band huge. Of course it didn’t happen, and it wouldn’t be until decades later that I finally found out why.
Even after the band came back with another major label release, there was no mention in the press about what has happened with the shakeup in lineup changes. A MORE PERFECT UNION never made it to my ears, or in any press I read. On top of that, I was none too impressed with RIGHT BETWEEN THE EYES (initially at least, I’ve come to terms with it now), when that finally came out. I had no idea what happened to Stephen Clifford, who was an essential element of the band to me, and in his place was this guy Jerry Harrison, who was nowhere near of the same caliber. (More a poor-man’s David Coverdale.) Once again, the group’s sound had shifted, with the material most likely being tailored more to fit Harrison’s singing style, but I just wasn’t as enamored of it.
Knowing what I do now, I’m actually surprised he got to keep his gig with the band, seeing as he was the nails in the coffin to their deal with Capitol, but obviously the band saw something in him. Also troubling to me was the loss of John Aquilino, and with him, that glorious dual guitar sound the band had between he and Dan Wexler. The band got the Megaforce Records deal due to a young Eddie Trunk (who also served as co-producer), and also through his connections, tours with label mates Ace Frehley and Kings X. Not that it helped, as the album did not sell, and they found themselves dropped yet again.
Ok so finishing off this lengthy tale, after a couple more lineup/singer shifts over the ensuing years, the first two album lineup reunited in 2011, and slowly (very slowly) have been working on making new music ever since. According to Dan Wexler, progress has been delayed for a number of reasons, mainly being that all the members live in different areas, have day jobs, and can only get together to record occasionally. Recently, though, he’s said on the band’s Facebook page that a new album is all but finished, and they are now figuring out how to market and release it, as well as setting up potential tour dates to support it. I continue to hold out hope it comes out in the not too distant future, and that it lives up to what I loved about the band to begin with.
Also, if you’re going to seek out a version of NIGHT OF THE CRIME on CD to get, the Rock Candy version is the way to go. I’ve got about four different pressings on various labels, but sound wise it’s the clear winner. It also has a great essay with it, which is where a lot of this information comes from. Their debut is also available from them.
Hey guys, thanks for doing the Icon album. Just had some more bits of information not covered in the show that might help clear up some of those unanswered questions for you.
David Philip Henzerling (aka David Michael-Philips) was with the band during their Schoolboy days, a name then chosen because the group’s five members - Henzerling, Stephen Clifford, Dan Wexler, Tracy Wallach and then drummer John Covington - were all high school friends that decided to form a band. They self-released one EP titled, SINGIN’ SHOUTIN’, in 1980 on their own Attendence Records which is now a sought after collectors item among fans of the band. Henzerling and Covington later left to form their own group (an early incarnation of what became King Kobra), while John Aquilino and Pat Dixon replaced them, respectively.
It was also around this time that Mike Varney came into the picture, having discovered the band by way of The Schoolboys EP. He originally intended to sign then to his own Shrapnel Records imprint, but he wasn’t alone in his interest in the band. Legendary Capitol Records A&R John Carter (generally just known as Carter in the industry) was also scouting the band, and when the two met at a show, they struck up a deal where Carter would sign them to Capitol, but that Varney would get to produce their debut. One of the only caveats of the deal was that they had to change their name. It was thought that Schoolboys might be too easily confused with the rising UK act of the time, Girlschool (even though the members were of a completely different sex), so Icon was chosen as their new moniker, after their initial choice, Martial Law got vetoed.
Icon’s self-titled debut performed respectively enough, just cracking the Billboard 200 album chart, and getting some radio and MTV play with the song "On Your Feet". It was enough to get them a second album, although just barely. Carter, who has signed them, was in the process of leaving the label, and the higher up execs didn’t necessarily share his same love of the band. They almost got dropped, but since money had already been allocated for the follow-up, the band’s manager convinced the label to give them another chance. However, it was under the condition that the band create material that could potentially produce hits. Thus the team of Eddie Kramer, Ron Nevison and Bob Halligan Jr. were brought in to help that happen, and also accounted for the dramatic shift in style between the debut and NIGHT OF THE CRIME.
The band demoed around 30 songs, ultimately using three of their own compositions, one co-written with Mike Varney (“Rock My Radio”, clearly a hold over from their debut), three they collaborated with Halligan on, as well as three written solely by him. Another Dan Wexler original, “Hang Tough” was intended for inclusion, but was ultimately left off. It would later be covered by Danish band Pretty Maids in 1990. Halligan got the gig because he was friends with the band’s manager, who also thought he had just right finger on the pulse of what would work commercially. Kramer was originally supposed to mix the album as well as produce and engineer it, but it was felt his original mix was too raw and rugged, and not the radio friendly sound that everyone else was after. That’s when Ron Nevison got brought into the picture, to add the high-gloss finish that he had built his career on.
With everything now seemingly back on track, and the album all but ready to be put to bed, that’s when Stephen Clifford dropped the unexpected bombshell that he was leaving the band. Immediately. During his time on the road touring behind the debut, he had gotten just a little too caught up in living the “rock & roll lifestyle”. In an effort to clean up his act, he had become a born-again Christian, and decided he could no longer go on the way he had, and didn’t feel comfortable being in a situation that might sabotage his new life choices.
Shocked, but not dismayed, the rest of the band felt they had put too much into the album to just give up, so they did in fact set about auditioning for a new lead singer. They reportedly saw nearly 40 people - including Mark Slaughter (they thought his voice was too high) and Terry Lee (of early Pantera, and later Lord Tracy), but ultimately settled on newcomer Jerry Harrison. A showcase was set up with Capitol Records, in hopes of showing the label that all could still be right, with the new lineup having the same potential. The band’s set was going well, but during one in-between song break, Harrison got it in his head that it would be funny to bad mouth the label and execs in attendance. Maybe he was just nervous and/or had a bit too much to drink, but let’s just say the brass at Capitol did not share his sense of humor. Two days later, the band’s manager got the notice they were being dropped by the label. NIGHT OF THE CRIME would still be released, but only because it was already in the scheduled pipeline to do so. However, that was it, and there would be no further marketing or promotion put behind it other than what little already had been.
I remember finding my copy as a promo of the album for sale at a local record shop I frequented, that often had some of its stock supplied by the employee of some radio station or local publication. A fairly standard practice at the time, which while somewhat unethical, allowed a teenager like myself the chance to get records really cheap, as they were usually only a few bucks. I discovered a lot of new music that way, and sometimes even got records before they were officially released on street date. Anyway, I was shocked to discover that Icon had a new album out, and when I got home and listened to it, was blown away by the album. I loved the new direction the band had taken their sound in, and thought they delivered on the potential they had shown on their debut - which while good, was still not quite ‘there’ to my ears. Even many of those synths you’re hearing are guitar synths, and not your typical keyboard ones. (There’s also a loose, almost concept like through line in many of the song’s lyrics, especially amongst the ones co-written or written by Halligan, that do play in with the album’s title - with Love, lust and relationships being aspects of the ‘crime’ that inspires the stories being told in them.) Yet as the weeks and months rolled on, I couldn’t help wonder why I wasn’t hearing any of the album on the radio, or seeing any videos on MTV. After all, this was material just dying to be presented on either format, and ready to break the band huge. Of course it didn’t happen, and it wouldn’t be until decades later that I finally found out why.
Even after the band came back with another major label release, there was no mention in the press about what has happened with the shakeup in lineup changes. A MORE PERFECT UNION never made it to my ears, or in any press I read. On top of that, I was none too impressed with RIGHT BETWEEN THE EYES (initially at least, I’ve come to terms with it now), when that finally came out. I had no idea what happened to Stephen Clifford, who was an essential element of the band to me, and in his place was this guy Jerry Harrison, who was nowhere near of the same caliber. (More a poor-man’s David Coverdale.) Once again, the group’s sound had shifted, with the material most likely being tailored more to fit Harrison’s singing style, but I just wasn’t as enamored of it.
Knowing what I do now, I’m actually surprised he got to keep his gig with the band, seeing as he was the nails in the coffin to their deal with Capitol, but obviously the band saw something in him. Also troubling to me was the loss of John Aquilino, and with him, that glorious dual guitar sound the band had between he and Dan Wexler. The band got the Megaforce Records deal due to a young Eddie Trunk (who also served as co-producer), and also through his connections, tours with label mates Ace Frehley and Kings X. Not that it helped, as the album did not sell, and they found themselves dropped yet again.
Ok so finishing off this lengthy tale, after a couple more lineup/singer shifts over the ensuing years, the first two album lineup reunited in 2011, and slowly (very slowly) have been working on making new music ever since. According to Dan Wexler, progress has been delayed for a number of reasons, mainly being that all the members live in different areas, have day jobs, and can only get together to record occasionally. Recently, though, he’s said on the band’s Facebook page that a new album is all but finished, and they are now figuring out how to market and release it, as well as setting up potential tour dates to support it. I continue to hold out hope it comes out in the not too distant future, and that it lives up to what I loved about the band to begin with.
Also, if you’re going to seek out a version of NIGHT OF THE CRIME on CD to get, the Rock Candy version is the way to go. I’ve got about four different pressings on various labels, but sound wise it’s the clear winner. It also has a great essay with it, which is where a lot of this information comes from. Their debut is also available from them.