Jackie Ramos of Huricane Alice, Bangalore Quire and Bad Moon Rising on L.A. Scene and more

Bad Moon Rising (with Doug Alrich DIO, Whitesnake, Dead Daisies

RRI: Tell me about growing up and what gravitated you toward wanting to play drums?

Jackie Ramos: I come from a musical family; I was surrounded by it. My dad played guitar, bass, and piano. My brother Toty plays guitar and bass and my sister Glo plays piano.

Everyone sings. My mom and dad used to sit on the couch with the acoustic guitar and they’d sing for hours.My uncles on my dad’s side of the family were all musicians as well as my cousins. I remember going to visit them in East Moline. There’d be huge parties with cookouts and jamming all night.

I remember picking up the guitar first. I played it for a bit but then just got disinterested in it. It wasn’t until many years later after my wife Cori rekindled my interest in it that I picked it up again. I actually had originally wanted to play violin, but my dad didn’t take me seriously.

As far as the drums I recall being in 7th grade and going to my friend's house after school to check out a new album he had gotten by Led Zeppelin. When we got to his room, there was a blue sparkle Ludwig kit sitting there. It looked just like Ringo’s! Anyhow, I walked up to the drum kit, sat down and started playing beat. It really was effortless. I could just play. So suddenly my friend walks up, grabs the sticks and says, “Don’t play, because you can’t.”

Well, several months later he was selling that kit and I begged my dad to buy it for me and he did. Weird decision because of the racket compared to a violin but, ok.

I used to have it set up upstairs in the bedroom right above the kitchen. Why that was better than the basement I don’t know but one night I was up there bashing away when I went down to the kitchen to grab a glass of water. My dad was watching the small tv in the kitchen and the volume was blasting loud. He had it cranked as loud as it would go. I have no idea why he was there when obviously I was playing ridiculously loud but the thing is, he and my mom never complained. My mom and dad were one of a kind and I miss them dearly.

Right around this time I was approached by someone I knew from high school about drum and bugle corps. I blew it off but decided to go check it out one day and I joined up with the Cedarburg Pioneers. They marched in DCI and I figured I’d learn my rudiments there.

I took what I learned in corps and applied it to the kit. It advanced my playing incredibly. I mean it was crazy how fast big changes happened to my playing on the kit as a result of my time in the corps.

RRI: Do you recall the first band you played in and the feeling you got playing in front of a live audience?

Jackie Ramos: The first band I was in was my dad's polka band. I was in my teens and making pretty cool money doing that on the weekends here and there. I remember one of his horn players used to give me shit when I was a little kid. He’d say, “Get off the stage kid huh? Off the stage.” Now I was in the band.

As for rock music? Well, that’s a weird one. I don’t even remember if we had a name to be honest, but it was this kind of jam thing I did with this guitar player that was, well…eccentric. It’s hard to explain but it was like this: He’d say, “Let’s play Detroit Rock City.” I’d count it in, and suddenly after the intro he’d go straight into the guitar solo! I’d stop and go, “Wait!! What about the verse?” and he’d say things like, “Ahh we don’t have to play it exact.” Honestly it was insanely frustrating!

We ended up playing some park for a talent show and won! I have no idea how but we won. To be fair, the little kids that played before us were way better.

As I got older and was able to move up with better players, I really started to appreciate the live audiences. The feeling playing live was intoxicating for me.

 Next, I joined a band called Bad Habit when I was around 21 years old and we went on to win the big battle of the bands that was held at the Electric Ballroom on State Street in Milwaukee. Part of the winnings was a cut on the 93 QFM Hometown Album Project released in 1981. Shortly after recording that and thinking we were big shots; I got a call from Scott Stephan who had been playing guitar in a band called Snap Shot. He told me he was going to audition for a gig with Bad Boy and asked if I was interested in the drum spot.

RRI: Fast forward a bit to the early 80's. By this time, you were slamming it out with a band called Moxy Roxx out of Milwaukee Wis. What was the metal/rock scene vibe like in the Midwest?

Jackie Ramos: The Milwaukee scene was happening. There were bands everywhere. I remember Moxy Roxx literally played 25-28 days a month for years. We had sound, lights and crew. All the working bands did. When you’re in that scene, in a happening band, it’s easy to lose focus on the end goal because you’re working so much that the days and then years go by fast. You suddenly realize you’re still there, in basically the same place you started. Toward the end of that band, I had begun to get restless and once that happens things have to change. For me the change was Los Angeles and what a change that was.

RRI: L.A. was the hot spot in the early 80's. Everyone was moving there with their band or relocating in hopes of starting a band and getting signed to a label, yet you guys decided to stick it out where you were. Am I correct?

Jackie Ramos: Well, to be honest I think we were trapped in a smaller mind-set. I mean we were big fish in a small pond but that pond was our entire world. We could have juggled cats on stage and our fans would have loved us. It spoils you and you just get complacent as a result. Looking at it honestly, I can say that. I don’t recall ever looking for the next step in that band. Should we have? Yeah, absolutely. I think we would have done great with a real producer for instance but it didn’t happen.

RRI: Moxy Roxx had a huge following by 1984 and packed the clubs to max cap every weekend it seemed. Did you guys ever have any real label interest?

Jackie Ramos: No, we never had label interest because nobody knew we existed at the big labels that could have made a difference. We were managed by Ken Adamany who was Cheap Tricks’ manager. He’d put us out with them and we’d be happy. Like I said before we were on a treadmill.

Looking back, I can say we also didn’t quite have the tunes. I mean, we had some really cool tunes for back then but hits? After moving to LA you learn really fast about strong songs. If you don’t have them, you’re finished. If you do have them, even if they’re written for you by a superstar, you might be finished. It’s a game that gets tougher the deeper you’re in. Lots of people thought that if you got a record deal that you were set. In reality, that’s when the work begins.

RRI: In a previous conversation with guitarist Chris Rossiter of the band Raven Bitch, he said that Moxy Roxx was always very polished, professional and always brought the ROCK. Thoughts?

Jackie Ramos: Those are kind words indeed. Raven Bitch always gave us a run for the money! Those guys were insanely good. I remember when I saw them, I was like, “Holy shit these guys are heavy!” We were prancing around for the chicks and these guys were ripping heads off left and right. I loved those guys.

Moxy did rehearse our show meticulously though. Brook (guitar) suggested that the guitar player should end the tunes by bringing the guitar down kind of like an ax and we nail the ending with the guitar. That way nobody is looking back at the drummer. He got that from Kiss I believe. It was one of the things we’d do to make the show as tight as we could. Moxy Roxx also had the advantage of having 4 lead singers. We should have gotten a name producer to slap us around. Oh well.

RRI: Where was the Moxy Roxx EP "Victims of the night" recorded?

Jackie Ramos: I think it was recorded at Purple Cow Studios. Honestly, I don’t remember the name of the studio! (Laughs) It was a long time ago man. I do remember that I tracked that record solo. No music, just drums and a click. Don’t ask why we did it like that but it’s true. I just went in there, fired up the click track and blasted it out. It was weird but it got done.

After that was done, I hung around waiting for vocals and got into trouble. I have a vague memory of getting into a car outside the studio with my tech Mark Martinez while Brooke was tracking leads. It had a heavy clutch and I had never driven it. I think I was high on weed but I let the clutch out too fast, the thing took off like a fucking rocket, jumped the curb across the street and slammed into the studio wall. I quickly backed up and hauled ass down the street with Mark hanging out the window yelling “Help!!!” at the top of his lungs. Good times.

RRI: Tell me what happened after Moxy split up. You were involved in a couple very big projects after that.

Jackie Ramos: Joey La Vie (Guitar, vox, keys) had lived in LA for a few years before moving back to Milwaukee. One night after a show, while we were driving back into town he said, “Hey you guys wanna go to LA? We should go out there for a week or so. Just the band.”

So, we fly out to LA and our heads exploded. Once I was on the Sunset Strip, I was completely culture shocked into reality. It was just amazing and really beyond words. Kids everywhere. Bands flyering, rock stars, chicks. It was rock and roll decadence. I fell in love with it. We were at the Rainbow Bar and Grill one night and I ran into this dude walking by. We clacked foreheads, I look at the guy and its David Lee Roth from Van Halen!

I ended up meeting this woman there named Lucy Forbes. She had a company called Rock Congress. She found musicians gigs. She invited us over for a turkey dinner at her place in Venice. While there, I pulled her aside and said, “ Hey Lucy, do you think you could find me a gig out here?” She goes, “Are you any good? Look kid, you gotta get out of the Midwest. Go to the East Coast or West Coast but you’ll never make it there.” So I took her card and sent her a video tape of my drum solo. A couple of months later I answer the phone and it’s this Australian guy that says, “Is Jackie there? My name is Ray Brown and I manage a band called Fire here in Los Angeles. We’re showcasing for the labels. Our guitar player got your video tape from Lucy Forbes and he wants me to fly you out for an audition.” So, I got the gig and moved to LA.

Now Ray Brown was the guy responsible for the stage clothes all the big rock stars wore. I mean he made clothes for everybody! Motley, Guns, Judas Priest, Bon Jovi, Stryper and everyone else you can think of. I was living at Ray’s house in Westchester. The first week I was out there I was chilling on the couch watching MTV when the doorbell rang. I answered it and Alice Cooper was standing there. That doesn’t happen in Milwaukee.

Ray used to let me take his ’68 Camaro into Hollywood. I remember hanging outside the Whiskey one night. It was dead on the strip. I think it was mid-week. Anyway, I’m leaning against the wall when this dude crosses the street and stands next to me, leaning on the wall. He lights a cigarette and says hi. I looked at the guy with the big red beard and realized it was Axl Rose. It’s just us out there so I ask him if he’s spoken to Ray lately. He says, “Ray Brown?! How do you know Ray?” It was a cool hang.

Fire didn’t end up getting signed but we showcased at Mates in the valley. I remember looking out during a drum check and seeing Slash next to the board. You’re not in Kansas anymore!

I left Fire and hooked up with guitarist Craig Goldy who had just left Ronnie Dio’s band. We started a thing we called Ritual. One morning shortly after starting that project with Craig, I got a call from my friend Ian Mayo. He asked if I had wheels and told me to come get him. He offered me the gig in Hericane Alice. I jumped aboard and, wouldn’t you know it, a week later I get a call from Dave Reece. He says, “Rat, It’s Reece. You wanna join Accept?” (Rat is an old nickname btw.) I told him I was already committed to Hericane Alice but I went down to Leeds anyway to hang out while they rehearsed. Man, they were insanely tight. So Hericane Alice released the record, shot a video, hit the road and stayed out there. Those were cool days because our manager lived on Stevie Nick’s property in the guest house. We got to hang out with Stevie and I have to say she was always super cool and down to earth.

As Hericane Alice was getting ready to track the second record, Atlantic dropped us the weekend before we were going in to track. We got shopped to all the other labels and they all passed. Ian and I had this house in Encino and we fell into a crazed party phase. I mean it was insane. We’d wake up and the car would be in the middle of the street. It was ridiculous. During this time David Reece hired us as the rhythm section for Bangalore Choir. By that time though, the climate had changed in music and Seattle was beginning to happen. We were short-lived as a result.

 After Bangalore Choir I basically laid low and partied with my soon to be wife Cori.We’ve been together from the first date we went on. We just hit it off like two partners in crime. Ian, Cori and myself were all living at the party house in Encino.

Ian auditioned for a band called Bad Moon Rising and got the gig. Ken Mary was in the band on drums at the time and he had suddenly quit. I get offered an audition and go in.

After a few days I hear from Kal Swan the singer who says, “I don’t know if I want to get married yet. We want you to come back for a second audition.”

So, I agree and wouldn’t you know it, the night before my second audition my better half thinks it would be a great idea to go to Star Garden, a seedy strip joint to shoot pool.

Well, we got wasted drunk. The next morning she’s elbowing me saying, “Your audition, your audition!!!!”

So, I go to Mates where the audition is and Doug  Aldrich (DIO, Whitesnake, Dead Dasies), Kal Swan and Ian Mayo are there waiting for me. I’m absolutely sick, hung over and just cannot play! It was horrible. I mean Ian was yelling “ COME ON!!!!” at me during the songs. After about 4 or 5 tunes we stop and Doug Aldrich walks out.

I’m lying on the floor in front of my bass drum and I see Kal walk up. He says, “We’re going to take a break and go get a beer.” That’s the last thing I want but we head to…wait for it…Star Garden! I’m sitting in the corner embarrassed and he walks up to me with a beer in his hand. I’m apologizing and he cuts me off and says, “ Here man, welcome to the band.”

Bad Moon Rising did great in Japan, South East Asia and parts of Europe. Kal and I terrorized many underground malls in Tokyo and the band had a Beatles-like reception every time we went there. I absolutely love Japan and would have moved there but it wasn’t meant to be.

RRI: Those stories are absolutely priceless! What have you been up to these days?

Jackie Ramos: I’m laying very low these days and am pretty much retired. I write all the time. I break out the acoustic and just let it flow. Ian and I also still write together. We’ve got some stuff up on youtube. Search for “Deeper than Blood Ian Mayo” and you’ll find his channel. That’s stuff we wrote a few years ago but we’ve got more where that came from. My idea of a perfect day lately is being home with my wife and our two precious fur kids Zoey and Chiquis.

RRI: Do you stay in touch with any of your former bandmates?

Jackie Ramos: Life being the way it is Todd; I haven’t seen some of the guys in a while. The Hericane Alice crew contacts each other from time to time and of course Ian and I are still best friends.

RRI: Anything that you would like to plug before you go? Website, recipes, etc?

I’m a certified Karuna Reiki Master Teacher, learn more at holyfirehealer.com

RRI: Thanks Jackie it was a pleasure speaking with you again.

Jackie Ramos: Likewise Todd!

Huricane Alice