HISTORY

LIFE’S BEEN GOOD TO ME SO FAR...

2009-2010: A few things going on. I just started writing with Dave for what may become a possible New Machine follow up. We’ve had some material we’ve written since the debut album that has been sitting around due to being wrapped up in our every day lives. It’s great that we can pick up where we left off and be excited about where we are headed...

Also in the works is a solo album (actually, 2). One is a rock/pop, and one is instrumental acoustic guitar/mandolin new age-ish (mellow music!). I can’t even say which will be released first. Either way, I am excited by both prospects.

Change Of Plans

1993: We received numerous responses to our ads. One was from a band called 'Sinnocence'. They actually were not calling to respond to our ad. They had seen us at a show and really liked Dave's drumming and wanted him to join the band. Dave and I sat down and talked about it and I knew it was an opportunity he couldn't pass up being as they had management and were in the process of recording an album with lots of connections and professionalism. So, as apprehensive as I may have been, I supported his decision and wished him well.

The Idol Dream

1995-1996: Mystery Bloom was a musical monster. We were all big Beatles and Kiss fans and it showed! With 5 guys writing, 5 part vocal harmonies and a different 'look' to us, we definitely made an impression. We solidified a management deal with Majestic Entertainment and soon after, finished recording our debut album "Frame of Mind", which was released on Teichiku/Panasonic Records in Japan. We had done a video for the title track, which was played on video shows throughout Japan and our posters were in major record stores like Tower Records in Tokyo.

Things happened very fast for this band. Actually, too fast for our own good. We were playing around the tri-state area clubs in anticipation of a promotional tour of Japan, and things seemed to be going well. However, as we were writing for the 2nd album, personal problems, ego clashes, and musical differences destroyed the unity of the band. 3 of the guys wanted to go in a retro direction, while Dave and I wanted to combine it all including the progressive side and create something very unique. There was a lot of bad blood, and we all met in New York with our management to discuss everything. After a few hours, Dave and I left the meeting and the band. It just wasn't going to work with the way things were going, which was hard because we really loved what Mystery Bloom had. It was a segregated situation and for all parties involved we did what we had to. We walked away from our record deal.

A Little Help From My Friends

1994: I became friends with all the guys in the band. I would jump onstage with them and jam at the end of shows and we all had a lot of fun. They let go of their singer which halted live performances, and I was asked to fill in so they could continue to write and rehearse as a full band in the studio, while going through lots of press kits that singers were sending them. We did 2 shows for fun, just to play the material out that we were writing under the name "Low Fat Milk”. It was just to see how people would respond to the music and to possibly gain a singer. Throughout this time I was recording a demo of my own at their studio to hopefully land something. On New Years Eve 1994, I checked my messages and Dave had called to say their one guitar player left and they'd like me to join the band, which at this time was now called 'Mystery Bloom'. I was ecstatic!

The Past

My original music career started in Shattered Image from 1988 thru 1992. We were progressive rock, which made us stand out amongst the spandex and leather clad bands we played shows with. It was the trend at the time, but it just wasn't our thing. We had some management deals, and then in 1991 a financial backer located in California became interested in us. Not necessarily a music industry person, but he loved the band and he was intent on helping us and eventually getting us a record deal. We were constantly sending him demos and press shots, and the usual marketing materials. We were still on a club level, but things were going in the right direction. As time went on, our keyboard played left the band to pursue other musical avenues and the bass player then followed and joined another band. Needless to say, things fell through which left Dave (my longtime drummer/writing partner and friend) and I writing music together and placing ads in local music magazines looking for players to start something new.

Pictures Above:

MYSTERY BLOOM: “Frame Of Mind” album cover

BURRRN Magazine article (Japan)

“Frame of Mind” album release poster

MYSTERY BLOOM listening Booth in Tower Records, Japan

Just Like Starting Over

Dave and I went right into the studio to start a new project under the name "Brave". We recorded a 3-song demo a few weekends later and presented it to our Mystery Bloom management since Japan was hot on the progressive side of Mystery Bloom. Each of us sang a track and we had our friend Colie Brice, singer of Phantom's Opera, sing the 3rd. The management did NOT want us singing and insisted on a front man.

We wanted to get back out there and find a singer, but time was of the essence and we had to do all we could to keep or get the ball rolling. In a nutshell, we ran around doing everything we could, but due to 'conflicting interest' of the 2 bands, the result was our project being ignored. Dave was fed up and decided to take a break from music, and I played here and there in venues doing cover songs with various bands and acoustic performances. I needed a break from chasing the 'brass ring' for so long as well.

I Need Some Time To Ease My Mind

1996-1997: Sometime after, Colie called me and asked me to fill the vacated guitar spot in Phantom's Opera. I initially said no. It was nothing against them or the music. I would be "the guitar player" (essentially a ‘hired gun’) since the keyboardist, Jack Young, was the primary song-writer. It was a fantastic opportunity, but it was all too soon for me, being jaded from my Mystery Bloom experience. Colie invited me down to the studio to hear what they were doing and where they we going. It was a low-pressure situation and I joined Phantom's Opera. We recorded their 3rd album 'Following Dreams' throughout 1997, and it was released in 1998 on Escape records. It was my first time working with a producer, which was very different for me but nonetheless, a great experience. It was grueling and challenging making this record, but also very enjoyable for us.

It Got Weird, Didn't It?

1998-early 1999: I still kept in touch and was good friends with Nick Clemente, the bass player from Mystery Bloom. Nick and I would write from time to time and we decided to form an acoustic trio. We found a singer and recorded a song for the Weird New Jersey compilation entitled "The Sounds of Weirdness". Weird NJ was a magazine that was based on Jersey myths and legends. Nick found a story on a woman called Mary Ellis, a woman who used to live on a farm in 1827 that was located close by where we live. Sometime in the 1900's, it was renovated into a flea market and then most recently, a movie theatre…except one thing. Her grave is still there! When they had excavated the land twice they needed to preserve the grave and so in the recent renovation, they had built a platform with a fence around the grave, which is located right in the theatre parking lot (see promo photo). It might sound morbid, but it really is beautiful being as it has remained her resting place through time and construction. So we wrote a song called "A Place For Mary (1827)" which wound up on the CD. From there we continued to write and play around the village in NYC. It was a lot of fun, but I was missing playing with a full live band.

Welcome To The 'Bergs, You Must Be This Naïve To Take This Ride

1999: I answered an ad in the Village Voice for a guitar player with all the usual "cd, management, tour pending, etc". This was a pop band in the style of The Posies and Foo Fighters called The Rosenbergs. I thought that the EP they sent me was decent, and I felt it was something I could add to, as did they. I was itching to write again, so before I accepted the position I said, "I know I'm the new guy and I don't expect to come in and start writing right away. I just want to know if you'll accept other writers down the line when it comes time to write for the studio in the future." Of course they said, "Absolutely!" and so I joined the 'Bergs.

Elsewhere In A Studio Far, Far Away…

Simultaneously, Phantom's Opera had also started rehearsing for the 4th album. The drummer spot needed to be filled and Colie suggested Dave. Much to my surprise, Dave was receptive and we were back rehearsing and recording together again off and on. It wasn't our material, but we were having fun and playing music again!

Disband Of…Acquaintances?

In the 9 month period I was in The Rosenbergs, we toured the US twice, England twice, and Canada. We would pack up and leave for a month, come home and take a few weeks off, and do it all over again on our own dime. We weren't relying on anyone but ourselves. The tours were great. It was exciting to travel and play music. Some shows were packed, some we were playing to crickets! Either way, I was doing it, and meeting people from different parts of the world and doing what I loved to do. We were in Spin Magazine, Time Out, Billboard, etc. We opened for Duran Duran at Jones Beach, and other shows with numerous pop acts. England was the highlight and I've been dying to get back there ever since! There really is respect for all types of music there.

One thing that was an adjustment for me was that all the bands I had been in had a brotherhood bond. This one did not. This was a different situation entirely. I had been warned by someone before joining to be careful of the Rosenbergs because of 'this and that'. I had to judge for myself though.

As time went on I realized that the singer was writing all the songs and had no intention of letting anyone else do so. I viewed it as a Beatles evolution with the music. It did not happen this way. The singer started bringing sugarcoated fluff pop tunes to the table, which didn't do anything for me.

We released a 45 (yes a 45!) of a song, which was a parody on Puff Daddy. Though it was essentially a joke, I could sense that this was the direction the band was heading. I actually played drums on this track being as we all switched instruments. The B-side was a cover of "BBC", from the first Austin Powers soundtrack which I sang lead on and played guitar. After a very unprofessional experience recording with the band in the studio for my first time, I started thinking that it was time to move on. Touring is incredible, but a musician needs to write and create in addition to performing. I gave my notice, finished the gigs that were booked, and in December of '99, I took my leave. To say there were ill feelings on the Rosenbergs end would be an understatement. We played Canada one last time on my birthday, and needless to say, all the negative things I had heard about the band from day one were true. I won't get into it as it is now all water under the bridge, but the attitude was "you're either with us or against us."

Afterward I was slammed in interviews and different types of press (which I had seen them do before to previous guitar players). I do have to say that my absolute FAVORITE quote about me leaving was this: "When it came time for us to do our next record, the one we're working on now, our guitar player said he didn't like the music and having acquired a bit of an ego from all the attention we were getting said he was off to make a 'Rush meets Kansas' album…oy vey…prog rock still lives and we're one [member] down".

"Awesome!" I thought. And at that moment I knew I made the right decision. They always had a way of twisting words around like they were so persecuted when in reality they were just using and stepping on anyone they could to try and get ahead. Oh well, it's a sleazy business…but hey, Prog rock still lives!

"So I'm Going Home Now…"

Dave and I were writing one day and as usual talking about the album we never got to do. We finally said, "Let's just do it ourselves. We'll worry about releasing it later." So in 2000, we went into Trax East and recorded the album and did it the way we wanted to. It was the best recording experience ever. We had so much fun. We took our time, changed some dates because the studio needed some extra time for projects that were running behind…and we thought, "What do we care? It's not like we have a deadline." The album was recorded over a period of months, but mixing it that September was bittersweet because of 9/11. It was difficult since the news coverage was on every channel for the next few months. New Machine was completed and mastered by October 2001.

Mystery Bloom Reunion?

In late November 2001, Nick Clemente received a call from Chavis Records. It was a new record label that would be dedicated to hard hitting melodic rock music. The gentleman at Chavis had received a copy of Mystery Bloom's music from a friend and he wanted Mystery Bloom to be the first band on his new label. Nick told Chavis the members of Mystery Bloom had been out of contact with each other for over 5 years. Chavis told Nick he loved the music and he would find each member no matter what. And he did.

We all started communicating through emails, but there was still unresolved issues and bad blood. We all worked through everything, did some press interviews, and realized that life is way too short to hold grudges.

In December of 2001, all 5 original members of Mystery Bloom signed with Chavis Records and "Lifetime In The Heart" was released in early 2002. It was technically our first album plus bonus tracks and much better packaging and artwork than "Frame of Mind" originally had, but that was just fine. We were all involved in other projects. It was great that someone liked our music enough to want to re-release it! Besides, we weren't going to play or tour again…or were we?

"Isn't It Ironic, Don't 'cha Think?"

In the early summer of 2002, I received a call from Nick stating that there were festivals over in England and Germany that wanted Mystery Bloom on the roster. It was called "The Gods Festival." This was hysterical! "We're not even a band and festivals want to book us?" So once again we all talked and everyone was on board except the other guitarist/keyboard player. So we made some adjustments, the singer would play guitar in addition to singing, and we would pull it off as a four-piece band. Just like Kiss. The four of us got together for the first time in six years and had a relaxing day of barbecuing, talking about the possible future, and playing some music. Very therapeutic. We were all casual about it so if it didn't happen no one would be disappointed. There was also talk of writing since Chavis was already interested in another Mystery Bloom record.

The festivals never happened, time went on, the label screwed us in numerous ways, and we terminated our contract. If nothing else, we all walked away with another disc and some renewed friendships. Either way it was totally worth it.

An Unexpected Surprise

Colie Brice was now living in California, but in New Jersey for the holidays in December of 2002. We always kept in touch over the years and would get together whenever he was in town on business. He was starting his own label, which was a division of Song Haus Music.

We met at the bass player for Phantom's Opera's place, reminisced and had a few cold ones (not necessarily in that order). I made Colie a copy of the New Machine album (as I did all my friends), which I was sending around trying to gain some interest. After all, it had been a year that this was sitting on the shelf! We listened and he said it was good, but that was also after talking and laughing all night. It was pretty much background music. A few days later I received a call from Colie. He was driving back to the west coast through the week. He said, "I can't get your album out of my disc player. I've listened to it over and over and every time I like it more. I think it's a phenomenal album and I want it to be the first release on my label AERIA - (Artists Empowered Record Innovative Audio)”. I was stoked. This sounded good. It was underground. On top of everything else, Colie has always had a great talent for marketing. He had always done an incredible job promoting both Phantom's Opera and his solo album, so I knew we were in good hands. It was also an "all hands on deck" situation being as we were starting from the ground up here - new label, new band. Both sides needed to promote. Within just a few months time, New Machine was released on AERIA Records on March 11, 2003.

You Want Me To Fill In For WHO?!?

March 2003: Nick Clemente owns a management company called Commodity Oddity Entertainment. He always had a dream of putting together an all dwarf or little person band and he did just that! Aptly named "The Little Kingz, they were the first all dwarf (or little person) band. Nick calls me and says "The Kingz guitar player had to leave the band for health reasons. They have some great shows booked and I don't want to cancel them while we're looking for another little person guitarist. Can you fill in?" Now THIS, my friends, had to be THE most bizarre musical situation I've ever been in. Here I am playing on stage at major shows with guys all under 4 feet tall! I was a little worried because I didn't know how they would react to me playing music with them, but they were all appreciative, very cool and great people. It was also very educational for me. I was extremely comfortable and could ask them anything I was curious about. I learned that they should always be referred to as "little person" or "dwarf", never "midget".

The first "gig", CBS flew The Kingz out to Portland, Oregon to play on a pilot reality TV show to be aired in the fall of 2003 (It now goes under the name “Little People, Big World”). It was really quick. Nick and I flew out in the morning, met up with everyone and hung at the hotel for a bit, went to play on Matt Roloff’s farm for the show in his living room, closed out the bar at the hotel doing karaoke, and we were on a 6 am flight back to Jersey. This was a great experience for both Nick and I being as we never got the chance to pick up and tour as Mystery Bloom, so it was the closest thing to us actually playing together on the road.

The second show we played with Saliva and Hed PE on the Jagermeister MusicTour at Metropol in Pittsburgh. I had always wanted to play this place since I had been there years ago. The Kingz were very well received. People were asking for autographs. It was nuts! We all had a great time. VIP passes, the whole 9 yards. We hung out with Saliva on their bus at the end of the night. Great bunch of guys and a PHENOMENAL live band. These guys really put on a show!

The last show was Livestock 2003 in Tampa, Florida. This was the big one. 3 day festival featuring Godsmack, 3 Doors Down, Saliva, Seether, Oleander, Stone Sour and Def Leppard. This was The Little Kingz last live performance ever. We played on the last day and closed the festival. The Kingz could've and should've done something. Had they kept on going, who knows where they'd be. I was happy to fill in and become a part of their world for the few months that it lasted.