History, Music, Mine

I am known by some as a hard rock vocalist.


My musical history is what I consider non-standard. The road to professionalism would begin at 19, but before that? Let’s just say I was not enrolled in a local “rock school”.


Sunny days, small bedroom, Brooklyn apartment. 1970s.

There I am sitting on the floor pretending to play keyboard using old Maxell cassette tape storage containers — my father brought them home from work.

The cases were empty, so the slots would be imaginary keys on a organ or piano, this is my earliest memory of personal music, my imagining being a performer.

A few years ago, I miraculously discovered rare evidence of my hidden childhood musicality and improvisational ability. It was on an old cassette tape, labeled “Mark – 3 Years Old”.

In retrospect I consider this my first recording “session” — where my mother had me repeatedly singing the alphabet. I did so many takes. After a while, I truly expressed myself, listen to file below.

 

      abc_go_out
If you did not listen to the file provided — I improvised and sang ” A, B, C, D…. I wanna go out!” This was received quite unfavorably.

1970s: My dad worked in New York City in the “audio-video” business, so we always had some piece of current technology. The cassette recorder we had was probably similar to the Panasonic RQ-413AS — it had an external handheld microphone.

That little recording and a picture of me performing in a nursery school play are the only evidence of early musical involvement.

My parents were convinced I was destined to be an artist. Relatives and friends would say that when I grew up I should/would/could be a “commercial artist”.

True, I exhibited an interest in drawing, however, no effort was made to encourage any other creative interests.  My sister received most of the “entertainment” training through dance and piano lessons.

In retrospect I was alone on a journey of musical discovery. I had no older sibling to introduce me to cool music — any music for that matter. I was left to my own devices and attentions. Radio, Vinyl and Cassettes.

My curiosity aided me in developing an appreciation of musical diversity. 1970’s radio would form the initial base of my musical foundation. Paul McCartney and Wings, Elton John, BTO, Hues Corporation, Del-Fonics….

Essentially Dan Ingram on WABC radio; the music that would become classic rock as well as pop, soul and period R&B. These were the sounds of my Brooklyn and trips in the car, that old 4 door Cutlass. Note: Not the one pictured, but very similar.

1975: my family moved from Brooklyn out to New Jersey and my musical discoveries would continue to evolve.

Radio and popular cultural music were all-consuming yet I also began to investigate the albums my father was bringing home.

I don’t know why my dad brought home this broad mixture of LPs, perhaps because they were free?

Did my Dad ever listen to Demis Roussos or Bonnie Bramlett? No.

But I discovered Rush in his take-home collection. When the US was in the state of KISS fever — my classmates raving about Peter Criss being the greatest drummer — I could not embrace that and as evidence pointed to “All the World’s a Stage”. Most 9 year olds did not know who Rush was back then apparently.

FACT: The first album I ever acquired for my own was a Beatles re-issue The Beatle’s, Rock N Roll Music, released in 1976. It can be found on eBay now for upwards of 16 dollars. It is a double album. “Hey Bulldog” was the tune that really gripped me.

As I grew older I would often refer to my father’s cache of albums and bit by bit discover overlooked treasures, such as Manu Dibango, Ray Conniff, Hair ( OST ) and Jesus Christ Superstar to name a few but for the most part harder classic rock would command my attention until practically the very end of high school.


My path toward music as profession could be called “service road less travelled”.


My main diet from 1975 to 1984 was what commercial radio served up, so I had a whole lot of classic rock, a side of pop plus a smidgen of alternative/new-wave and early rap. This was supplemented by college and freeform radio along with my parent’s eclectic vinyl. I discovered anything else via random chance, songs and albums:

Pink Floyd Animals, Hurricane by Dylan, The Ramones — all in summer camp.
A young neighborhood boozy acquaintance D. Blitzer introduced me to Floyd’s ” Piper at the Gates of Dawn”.

I owe my initial introduction to Metal care of A. Malawista. He turned me on to Priest and Maiden. At age 15, I walked around New Orleans, Iron Maiden “Killers” cassette playing over and over in my Aiwa “Walkman”. I was so taken by the song “Prodigal Son”.

Another summer, while visiting a friend in London, I had only two cassettes with me : Deep Purple, “Deepest Purple” and Iron Maiden “Piece of Mind”. Piece of Mind came with a shirt, which I wore until it fell apart in the 90s. I was tempted to buy Judas Priest Killing Machine — because in the US it was released as Hell Bent for Leather.

By the start of college I was primarily powered, inspired by metal: Metallica, Slayer and many others but I also had Theolonious Monk, Be-Bop,  WKCR, WPRB — plus fresh music I was exposed to by new people I had been meeting.

This mixture, these environments, formed my foundation, as I became a musician.

I was not a vocalist at first.


1985: I met a guy Andy in college. He was a drummer. He saw me tapping my hands and fingers and suggested I might try drumming. That was all it took. I embraced his suggestion.

I worked out the cash and eventually purchased a Pearl drum set at Manny’s in New York City. My family was not very enthusiastic. Long story short: I taught myself to play, reached a certain level of proficiency, jammed with friends and yet knew I was late to the game. Drumming would not be what I would do. Eventually I sold the set for much less than I paid for it.

How I decided to be a singer I cannot recall.


I just wanted to keep my hair long and long hair was synonymous with musician to me. I can’t recall the first music paper I bought… nor remember my moment of decision. I have to settle on accepting that it was such a deep, creative ultimatum that my conscious self was pushed forward by a mysterious, powerful, unavoidable energy.

I was 19 and I would begin the auto-didactic process that has never ceased. I didn’t even own a microphone or PA. I had a crazy persistence. I called all over and pestered people… Whirling, in the white water rapids that was Part 1 of my life, I simply dived into it.

Things took a while but eventually I got into a band. One band would lead to another. 

I was in bands located in the major “metal” locations of the day ( Old Bridge, Middletown, Paramus/North Jersey ).

And it started: my collecting what might be comparable to “merit badges”.

  • I remained for over a year in band that never left the basement.
  • I played in a battle of the bands — at a high school — Once.
  • I would perform at  various clubs on the Jersey Shore — ones that would eventually disappear.
  • I would experience opening up for larger bands.
    (Pantera, Suicidal Tendencies, Savatage, Trouble, TT Quick and more )
  • I “sold tickets” a few times, for gigs so far back I cannot recall the club that required this evil practice.
  • I would experience the “trip to the music lawyer”.
  • I would drink in the “command performance” ( Playing for 1 person ) Twice.
  • I would experience being booked on a Super Bowl Sunday. Twice.
    And actually I think the Riotgod gig in South Bend on game day could almost fit into the same category.

From the late 1980s and onward I would dedicate my time to bands, meaning being the vocalist for a band. I did not seriously consider solo performance as an option.

I would experience times of involvement and non-involvement, or fallow periods. However, I would always sing every day and I still do. It is simply unavoidable.

As of now, 2017 on the brink of 2018, I can divide my “musical career” into 2 main categories.

#1 Pre Riotgod


Before Riotgod, thus before 2007.

Following the feast/famine fluctuations in list form brevity.

    1. Late 1980s. Tried out for a band, did not get gig. First time ever as a singer.
    2. Met people through first tryout. 2 guitar players.
    3. One of two guitar players connected to the Year in a Middletown Basement.
      The guitar player was so hung up on his soloing perfection, that it prevented the “band” from ever playing out.
    4. Somehow found out about a Old Bridge NJ band needing a singer.
      Blown away upon seeing them practice —  rehearsing in the back room of kosher butcher shop.
    5. Joined Elysium, first live shows experienced. Opened up for various touring nationals. Local Tri-State Area gigging only.
      Recorded to demo cassette. 3 Demos. No label interest. No management. 1989-1991

      Beginning of end: Manic freakout had me drive right by the club we were booked to play, opening again for Pantera. Yes, incredibly I did such a thing. Awful. No show. Rotten.
    6. Somehow got in touch with a band from northern NJ, System Addict. Joined this band. A peculiar mixture of progressive metal, tinged with funk influences. Experimented with de jour rap influenced vocals. Opened up for various touring nationals. Local Tri-State Area gigging only. Recorded one demo cassette and demo CD. Rumored otherwise, but essentially no label interest. 1992-1994
      Add in Personal chaos.
    7. Fallow Period 1995-1999.
      First serious attention to solo music — led to creation of original Riotgod project which was a self-produced cassette created with the assistance of CJ Scioscia of Blood Feast. Because the name Riotgod would be utilized later by the hard rock group created in 2007, I call this first Riotgod, V1. 1998-2001.
    8. Rejoined some Elysium members to create a band called Peekabuddha. Considered Alt.Rock by some. No notable opening slots. Local Tri-State Area gigging only. Recorded one CD. No label interest. No management. 1999-2000.
    9. Fallow period 2001-2002.
      What would become a powerful interest, combining electronic music with rock via my own arrangements and ideas, led to certain lo-fi productions similar to Riotgod V1. Home recordings, no live act.

      Limited computer power, funding.
    10. Reconnected/Connected with drummer Bob Pantella via mutual connection.
      Started on contract work, per song basis. Arrangement became a group Billy Rubin. Also Involved Matt O’Ree and bassist Alexis Lehman. Music appealed to my developing stylistic interests. Music entirely created by Pantella via home studio. Shelved when Pantella joined Monster Magnet in 2004. Featured below, an example of the collaboration.
            Spectator

One CD recorded, two live gigs. One live performance at New York City’s Don Hill’s for the release party of Kiss This, released by Mainman Records.

Final show at the Acme Underground also in New York City.

After Pantella joined Monster Magnet, I would be involved super-briefly, via Pantella’s referral, with A Thousand Knives of Fire ( off shoot of Halfway to Gone ) during their early development period. I would play one show with the group at the Brighton Bar, Long Branch, NJ but would not record nor tour. Guitarist took over vocal duties, took the band to SXSW and I entered into a third fallow period.


#2 Riotgod & Beyond

In 2007 Bob Pantella got back in touch and informed me that he and Jim Baglino ( both in Monster Magnet at the time ) were putting together a band. The band was unnamed. The music was mainly a collection of riffs and ideas Pantella had put together, with some additions by Baglino. As well, guitarist Garrett Sweeny offered music from a prior band which, for this group, the lyrics and melody were changed by me. I also offered one song to the first CD. The band took the name Riotgod ( my prior solo project name ) after a long stretch during which names were considered and rejected.

Riotgod would start out the same way all bands had in the past: write, rehearse, record and gig. A self-produced CD was released in 2010. Two other CDs would be recorded and released under the Metalville label based in Koln, Germany. Pantella alone signed a contract with the label without consulting myself or anyone else as to the exclusivity or specifics of this deal.

Riotgod would open for touring national and international bands as well as experience limited North American and European tours, the Europe gigs highlighted by a few festival appearances: Baroeg (2010), Saupfitz and Wacken Open Air (2012).

A friend of mine once said that Riotgod wasn’t a true band ” You’re just four guys playing music.” This remark would prove prescient.

Riotgod, after years of playing third fiddle behind Monster Magnet and Atomic Bitchwax ( which Pantella joined in 2010, taking over for Keith Ackerman ) was offered an opportunity via direct contact, an e-mail from Earache Records. Pantella looked upon this unfavorably and ignored the issue, in essence rejecting it, having set his sites on another path. In 2014 Pantella would leave the Riotgod followed by guitarist Garrett Sweeny, who had taken over the lead guitar spot for Monster Magnet in 2010. Lack of communication, trust, line-up changes and all things considered had this band disintegrate.

Various different brief line-up configurations were considered as an option, with Riotgod playing a final live show in Atlantic City at the Boneyard in 2014. A crowd funding campaign, for music I created and recorded (assisted by past musical colleagues) prolonged the inevitable. Riotgod maintains a Facebook page and having never publicly thrown in the towel, I did so in 2017. I put in 7+ years with this operation and it made up my mind.

I would not allow myself to be involved with this paradigm anymore, where I relied on a band, was served up music, had to deal with practices of obstruction or overall mediocrity any longer.