Dive deep into the mind of Randy Rhoads, the iconic guitarist who redefined rock with his neoclassical shredding and innovative techniques. This exclusive interview, originally conducted in August 1981, offers a rare glimpse into the thoughts and philosophies of a true guitar legend. Discover Randy’s unique journey, from his early influences and teaching experiences to his groundbreaking work with Ozzy Osbourne on “Blizzard of Ozz” and “Diary of a Madman.” Explore the insights of a musician who, despite his meteoric rise, remained grounded, humble, and perpetually striving for artistic growth.
Early Influences and the Spark of Guitar
John Stix: Rarely do I hear someone on first listening that knocks me out.
Randy Rhoads: Thank you, that’s great.
Randy Rhoads’s journey with the guitar began at the tender age of seven. Unlike many aspiring musicians who idolized rock stars and meticulously copied their heroes, Rhoads’s path was uniquely self-forged. Surprisingly, he confessed to never owning a stereo in his formative years, a detail that profoundly shaped his approach to music. This absence of readily available recorded music meant he couldn’t simply replicate the licks and styles of popular guitarists. Instead, Rhoads’s early development was rooted in pure exploration and organic discovery.
“I never copped licks off records,” Rhoads explained. “I started when I was really young, when I was 7. I never got to cop records because I didn’t even have a record player.” This forced him to develop his own voice and technique from the ground up, a factor that undoubtedly contributed to his distinctive and innovative style later in his career.
Randy Rhoads pictured teaching guitar, showcasing his dedication to musical education and the development of unique guitar styles.
The Teaching Years: Honing Skills and Discovering Style
Before achieving international fame, Randy Rhoads dedicated himself to teaching guitar. This period proved to be unexpectedly formative, not just for his students, but for his own musical evolution. Teaching forced him to articulate and dissect musical concepts, leading to a deeper understanding of theory and technique. More importantly, it pushed him to develop his own unique style.
JS: Where did you get your licks from?
RR: From playing.
JS: Before teaching, You must know what you are about to teach.
RR: I’ll tell you something, I learned more than ever by teaching.
Rhoads elaborated on this symbiotic relationship between teaching and learning. “People wanted to learn everybody’s licks, and at first it was okay. Then I thought, ‘Wait a minute, you’ve got to get your own style.’ So I started combining what they wanted to learn and just a bit of technique.” He discovered that by guiding students through various musical styles and techniques, he was simultaneously refining his own approach. The process of explaining and demonstrating musical ideas solidified his knowledge and sparked new creative avenues.
The diverse questions and challenges posed by his students further accelerated his learning. “Every day, from every student, I’d learn something,” Rhoads admitted. “I’d learn so much, it was great.” This constant interaction and the need to find solutions to student queries kept his mind engaged and his skills sharp, laying a solid foundation for his future virtuosity.
No Guitar Idols, Just Favorite Players
When asked about his guitar heroes, Rhoads offered a surprising answer: he didn’t have any. While he admired many musicians, he consciously avoided fixating on any single “idol.” This independent mindset aligns perfectly with his self-taught beginnings and his drive to forge a unique path.
JS: What was the dream? Who did you want to be?
RR: Nobody. To this day, I don’t have a guitar idol. I have people that are my favorites.
Instead of imitation, Rhoads focused on inspiration. He acknowledged “favorite” players like Leslie West, Jeff Beck, Michael Schenker, and Ritchie Blackmore, drawn to their individual strengths and musicality. He admired West’s “feel,” Beck’s versatility, Schenker’s classical influences, and Blackmore’s expressive playing. These were not figures to be copied, but sources of inspiration to fuel his own artistic development.
This discerning approach to musical influence is crucial for any guitarist seeking originality. Rhoads understood that true artistry comes not from mimicry, but from absorbing diverse influences and synthesizing them into something personal and unique.
Embracing Classical Music: A Foundation for Innovation
Rhoads’s musical palette extended beyond rock and blues. He revealed a deep appreciation for classical music, recognizing its technical complexity and melodic richness. This influence became a hallmark of his playing, setting him apart from many of his contemporaries in the hard rock and heavy metal genres.
JS: Why classical?
RR: I just like it. I think it Is a real technical thing.
JS: Are you an accomplished player?
RR: No, I wouldn’t say that at all. Again, I never had the patience to go through it. I wish I could be good.
Although he humbly downplayed his classical proficiency, the impact of classical music on his style is undeniable. He incorporated classical scales, arpeggios, and compositional techniques into his solos, adding a layer of sophistication and melodicism rarely heard in heavy metal at the time. Tracks like “Mr. Crowley” and “Revelation (Mother Earth)” from “Blizzard of Ozz” are prime examples of this fusion, showcasing his ability to seamlessly blend classical elements with high-energy rock.
His interest in classical music wasn’t just about technicality; it was about emotion and depth. He recognized the “feeling” that could be conveyed through classical lines, particularly in players like Leslie West, whom he admired for incorporating classical nuances into his blues-rock style. This understanding of musical depth beyond genre boundaries is a key to Rhoads’s lasting appeal.
The Quiet Riot Years and the Call from Ozzy
Before achieving global stardom with Ozzy Osbourne, Randy Rhoads honed his skills and gained valuable band experience with Quiet Riot. Formed in the mid-1970s, Quiet Riot was a significant part of the vibrant Los Angeles rock scene. Rhoads co-founded the band and developed his stage presence and songwriting abilities during this period.
JS: You were teaching up until this band with Ozzy?
RR: Yeah. We were in a band called Quiet Riot. Rudy was in it as well. He was the bass payer. We used to gig pretty often in L.A. It was all originals. We had two albums in Japan, on CBS/Sony.
Quiet Riot, featuring Rudy Sarzo on bass (who would later join Rhoads in Ozzy’s band), released two albums in Japan and built a strong local following. However, Rhoads felt a ceiling in terms of their potential. He described Quiet Riot as “something to do,” suggesting a lack of long-term vision.
The turning point came unexpectedly. A bass player auditioning for Ozzy Osbourne’s new band mentioned Rhoads as a potential guitarist. Ozzy, having reportedly auditioned countless guitarists in Los Angeles, was intrigued. Rhoads, initially hesitant and loyal to Quiet Riot, eventually agreed to audition.
JS: How did this offer, as you call it, come up?
RR: Strange enough, one of the bass players (Dana Strum) in a local L.A. band auditioned for Ozzy on bass. They were looking for a guitar player. […] So Ozzy auditioned a lot of guitar players, and this guy called me and said Ozzy’s heard everybody and he liked my playing. He said, “You should go down and audition.”
The Audition That Wasn’t: Securing the Ozzy Gig
Rhoads’s audition for Ozzy Osbourne is legendary for its brevity. He arrived with a small practice amp, contrasting with the Marshall stacks and elaborate setups of other auditionees. He barely had time to tune his guitar before Ozzy declared him the new guitarist.
JS: You didn’t even play?
RR: No, I just tuned, up and did some riffs, and he said, “You’ve got the gig. I had the weirdest feeling, because I thought, “You didn’t even hear me yet.”
The reason for Ozzy’s immediate decision remains somewhat enigmatic. Rhoads speculated that it might have been his unique sound, his quiet personality compared to the “show-off” attitudes of other guitarists, or simply a gut feeling on Ozzy’s part. Regardless, this unconventional audition marked the beginning of a pivotal partnership that would reshape the landscape of heavy metal guitar.
Ozzy Osbourne and Randy Rhoads performing together during the Blizzard of Ozz tour, highlighting their dynamic stage presence and musical synergy.
Blizzard of Ozz: Inspiration and Spontaneity
Within months of joining Ozzy, Rhoads found himself in England recording “Blizzard of Ozz.” The album was created in a remarkably organic and spontaneous manner, reflecting the fresh energy and collaborative spirit of the newly formed band.
JS: Are you happy with what you have on Blizzard?
RR: I really am. It wasn’t planned out. It was very day-to-day. If we were into it, we would do it. If we weren’t, we wouldn’t, because none of us knew what we were looking for. We were just thrown together. Whatever came out was purely inspiration.
“Blizzard of Ozz” is hailed as a landmark album, not only for re-launching Ozzy’s career but also for showcasing Randy Rhoads’s groundbreaking guitar work. Tracks like “Crazy Train,” “Mr. Crowley,” and “Suicide Solution” became instant classics, defined by Rhoads’s virtuosic solos, neoclassical influences, and powerful riffs. The album’s success was a testament to the raw talent and creative chemistry within the band.
Rhoads himself favored “Revelation (Mother Earth)” and “Mr. Crowley” from the album, specifically because of their classical elements. These tracks exemplify his signature blend of heavy metal intensity and classical sophistication, solidifying his unique guitar voice.
Diary of a Madman: Rushed but Still Brilliant
Following the whirlwind success of “Blizzard of Ozz,” the band quickly recorded “Diary of a Madman.” Rhoads felt this second album was more rushed and less organically developed than the first, yet it still contained moments of brilliance.
JS: The guitar playing on Diary felt a bit rushed.
RR: It did. To be honest, that album, to me, was a bit rushed. In other words, we didn’t have as much time to write it. The material came out shining, but I was a bit lost for licks, what to do on it. I didn’t have enough time to think what I wanted to do. I didn’t have time to think of ideas.
Despite the time constraints, “Diary of a Madman” delivered further evidence of Rhoads’s exceptional talent. Tracks like “Over the Mountain,” “Flying High Again,” and the epic title track showcased his evolving style and technical prowess. While he felt some parts were “ordinary,” he acknowledged highlights like “Diary of a Madman” and “Over the Mountain” as representing his best work on the album.
The pressure to quickly follow up a successful debut album is a common challenge for artists. Rhoads’s honest assessment of “Diary of a Madman” reveals his relentless pursuit of artistic growth and his critical self-awareness.
Gear Talk: Guitars, Amps, and Effects
A significant portion of the interview delves into Randy Rhoads’s guitar gear, offering insights into the tools he used to create his iconic sound. He discussed his preference for Les Paul guitars, including a ’64 cream Les Paul and a ’57 black Les Paul, as well as his custom-made Flying V by Carl Sandoval.
JS: Let’s talk guitars.
RR: I’ve got a ’64 cream Les Paul and a ’57 black Les Paul, with three pickups. The Flying V was made by Carl Sandoval.
Rhoads favored smaller frets, a detail often overlooked but crucial to his playing style. He also experimented with different pickups, using DiMarzio and Seymour Duncan models to achieve his desired tones. His amp setup, while not overly complex, was meticulously dialed in to deliver his signature high-gain sound. He mentioned using a Peavey amp in his early days and later employing distortion pedals like the MXR Distortion Plus and MXR Equalizer, along with a Crybaby Wah and other MXR effects.
Interestingly, Rhoads emphasized that “half the sound comes in the way you play,” highlighting the importance of technique and touch over gear alone. He described practicing with muting techniques to achieve a consistent sound, whether practicing quietly or performing at high volumes. This focus on fundamental technique underscores his grounded approach to guitar playing.
Technique and Practice: The Keys to Virtuosity
Rhoads offered practical advice on guitar technique, emphasizing the importance of consistent practice and focused exercises. He shared a specific exercise he used to teach his students: hammering up and down the neck, using all four fingers across all frets and strings.
JS: Give me a short guitar lesson. What helps your technique?
RR: I used to have my students practice hammering up and down the neck, going through all the frets with the four fingers and picking each string once. Going from the first fret, all the way down the strings, then up the next fret then down the next. If you do that every day, you build up a lot of strength.
This exercise, focused on building left-hand strength and dexterity, reflects his methodical approach to practice. He also recommended practicing double picking and syncopation to develop right-hand technique. His core message was to “take it as it comes,” avoid rushing progress, and prioritize developing a personal style.
Rhoads’s emphasis on fundamental techniques and consistent practice dispels the myth of overnight success. His virtuosity was built on dedication, focused effort, and a deep understanding of the instrument.
Musical Philosophy and Future Aspirations
Beyond technique and gear, the interview reveals Randy Rhoads’s thoughtful musical philosophy and his aspirations for the future. Despite his rapid ascent to fame, he remained humble and self-critical, constantly seeking ways to improve and evolve as a musician.
JS: What’s your strength and what’s your weakness?
RR: Great question. I’ve never been asked that. My weakness is insecurity. I don’t go up there every night with a lot of confidence. That’s a weakness.
He identified insecurity as a weakness, admitting that his confidence fluctuated, particularly if his sound wasn’t right on stage. However, he also recognized his determination and his constant desire for self-improvement as strengths. This blend of humility and ambition fueled his artistic drive.
Looking ahead, Rhoads expressed a desire to be recognized as a respected guitar player, beyond the “guitar hero” label. He envisioned a solo album where he could explore his instrumental and compositional ideas more fully, hinting at a musical direction that might have diverged from the heavy metal genre that made him famous. He mentioned interests in “light jazz things,” suggesting a broader musical palette than many might have perceived.
Tragically, Randy Rhoads’s life and career were cut short just months after this interview. His untimely death in March 1982 robbed the world of a truly exceptional talent. However, his legacy as a groundbreaking guitarist and a thoughtful musician continues to inspire generations of players. This rare interview provides invaluable insights into the mind of Randy Rhoads, revealing the dedication, innovation, and humility that defined his extraordinary musical journey.
