1. (00:06:02) Frank Marino & Mahogany Rush - Requiem For a Sinner
2. (00:04:51) Frank Marino & Mahogany Rush - Hey, Little Lover
3. (00:04:52) Frank Marino & Mahogany Rush - Broken Heart Blues
4. (00:06:13) Frank Marino & Mahogany Rush - In My Ways
5. (00:03:10) Frank Marino & Mahogany Rush - The World Anthem
6. (00:04:06) Frank Marino & Mahogany Rush - Look at Me
7. (00:04:38) Frank Marino & Mahogany Rush - Lady
8. (00:11:28) Frank Marino & Mahogany Rush - Try For Freedom
Playing Time.........: 01:06:14
Total Size...........: 295.57 MB
NFO generated on.....: 01/04/2009 19:00:52
:: Generated by Music NFO Builder v1.20 - www.nfobuilder.com ::
Q: Hello Frank, thanks for being with us! Are you still working under the band name Mahogany Rush, or is it strictly Frank Marino?
FRANK: Well, so many people refer to me as both Frank Marino and Frank Marino and Mahogany Rush, that I kind of let the fans dictate what to call us. I really have no preference as to one or the other, and the two names are kind of synonymous. The album coming up will probably be Frank Marino and Mahogany Rush. I would use strictly Frank Marino if and when I get into music projects that bear no resemblance musically to what I do now, like for instance, if I do a complete blues or jazz album.
Q: What happened with your original longtime band-members, Jim Ayoub and Paul Harwood? Are they still musically active?
FRANK: Jimmy and Paul are still active musically, and I see them from time to time. We've been kicking around the idea to maybe do some stuff together, but we don't really know when or what . . . we'll just have to wait and see. We speak now and again. Paul is in a blues band and Jimmy does different things.
Q: Can you tell us about the history of the 1961 Gibson SG/LP that's been with you throughout your career?
FRANK: Well, it's actually my third guitar. At the time it cost me about $400. I had, as my first guitar, an identical one to the one I have now, and that one only cost $150. But that got broken very early on...before I even played pro.
The second guitar was an SG Special, which I used professionally in the early days of high school gigs, and even on part of Maxoom, I believe. But that guitar was stolen from the stage of a gig I did near Montreal, while we were all running for cover from a rainstorm. I was pretty devastated by that, and I learned then to never develop a love affair with any particular instrument. As it turned out, I got that guitar back from a 16 year old fan 12 years later. He had bought it from a local pawnshop, and everybody knew the guitar's history, and he wanted to right a wrong. I was impressed by his honesty, so I gave him my Limited Edition Flying V and took back the SG, even though the SG was, by then, completely broken up and really quite unplayable.
I kept it more as a memento than anything else, and I felt really good about the fact that at least it came home. The kid was also overwhelmed with the fact I gave him the V, which was in impeccable condition. I never saw him again, but I hope he got good use of it. He was a good person.
Q: What is your current preference for amps and effects?
FRANK: I make my own pre-amps and I use any strong power amp available. For effects, I use mainly a Rev-7 for reverb, an SPX-90 for delay and flange, and assorted pedals like wah-wahs, fuzz-tone, and stuff like that. I'm not into high-tech guitar gear. I save that for the studio.
Q: Frank, about the new CD you're working on, is there a release date for it, and what label will it be on?
FRANK: No release date yet . . . first I've gotta get it finished. As for the label, I haven't shown it to anyone yet but I hope there will be some interest in it.
Q: Do you have your own recording studio, and how much time do you spend writing and recording?
Frank...I built a beautiful studio some years back, but I couldn't afford to keep it up, so some friends bought it and outfitted it with newer gear, and I use the old gear in my basement studio now. I haven't had too much time to get into writing and recording, at least not like in the seventies, cuz I've got three baby daughters and I'm involved in a number of things. But I try to keep it up and soon I'm hoping to be able to do nothing but write and record.
Q: Are there any new artists on the guitar scene that you're listening to?
FRANK: None that really excites me. There's a lot of great players but, for me, it's a bit more than the playing that gets me going. I'm kind of longing for that special guitarist that is so innovative that it makes me want to learn it as well. I haven't really felt like that for a long time.
Q: Do you have CDs in your personal collection that we might be surprised that you listen to?
FRANK: Yeah, I do. The most surprising one is the Tony Bennett collection. I've been into this guy for almost fifteen years and it's only recently that people have come around to listening to him. I know it's nothing like what I do, but somehow this guy gets to me. It's probably some long lost childhood thing, what with my Dad being Italian and coming from that era. I guess the record player in those days must have put the music deep into my brain somewhere . . . hehehe. . . .
Q: Some of your earlier albums are out-of-print now, is there any chance that they may be re-released at some point?
FRANK: I really couldn't tell you that since I have no control over my earlier material. I hope they'll be released someday.
Q: Is there one particular artist, living or dead, that you would like to perform, record or write with?
FRANK: One guy? Well, there's a few...quite a few...but if I have to pick one, it would be Hendrix.
Q: What's a typical day like for you, when you're not recording or touring?
FRANK: Good question. There is no typical day. Every day is a completely different thing, other than the kids and stuff. It seems like there is always some crisis or other. I find as I get older, that the days are way shorter and I haven't got time to get nearly as much done as I used to. That's kind of why I like touring...because the days are a bit more predictable when you tour.
Q: When you're at home in Montreal, do you ever perform locally, or do you have musician friends that you jam with?
FRANK: I haven't for awhile, but it used to be something I did do quite a bit.
Q: What's your impression of some of the guitars that have come out in the last few years, like the Paul Reed Smith, Parker Fly, etc?
FRANK: I'm not impressed by them. It seems that they're all too heavy, too much lacquer, a lot of eye-candy and fancy electronics. If these guitars were really as good as some people would have us believe, there would be no market for the old ones. The fact that the old ones still command such prices today is a testament to the fact that they provide something unique and untouchable...a kind of intangible feel. Those instruments were built by people who simply wanted to build a better instrument, it seems. But today, builders are trying to build a more popular one, and somewhere along the line they either go too far on the features and not far enough on the simple feel. I've used some guitars from smaller companies with no name that virtually smoke the competition, but they don't get the ink. . . .
Q: Do you play any acoustic styles?
FRANK: Only what feels natural. I couldn't tell you a style name like bluegrass or something like that. Mostly I just fake it, if you know what I mean. I'm not what you'd call a "schooled" musician. I'm just a guy who likes to play the guitar, as well as the drums.
Q: Which Mahogany Rush album do you feel is your personal best?
FRANK: Hard to say . . . "Juggernaut," "Mahogany Rush IV," "World Anthem," "Strange Universe" . . . but all for different reasons. Some of them are about songs and writing, some about performance, some about production. But all are about feel, so it's hard to pick that category cuz it depends on my state of mind when I hear them. . . .
Q: Frank, I've always loved the instrumental "World Anthem." It seems very appropriately titled. Listening to it conjures up visions of a large procession of people moving from one place to another, but I've never figured out where we were all going. What inspired that song, and what does it mean to you?
FRANK: Well, it was actually inspired by the fact that some people were talking about the need for an anthem for the '76 Olympics, and I got to thinking about a worldwide anthem. From there it became important to me to try to create something along that line. I submitted it to the record company with the lyrics written in every language of the world as an accompanying printout. I kept the music instrumental so it could be sung in all languages, but the record company trimmed off most of the languages when they printed the cover. They said it took too much space, but I don't buy that for a minute. At the time, there was a lot of heated politics in the world, and they left out Russian, which clearly demonstrated to me that they had a different agenda. If you recall, those were the days that Russia was the "Evil Empire." I guess they thought it would be too politically incorrect to include that "Empire" in a call to peace. They even released some copies with the complete lyric sheet conveniently "forgotten," so there's a bunch of copies with no inner sleeve. I had to fight to get them to put the sheet back in subsequent copies, but I couldn't get the Russian included. I guess it was the case of "The Golden Rule" . . . "He who has the gold, gets to make the rule." And they had all the gold, believe me . . . it's many things like that that finally made me quit the scene the way it was and look for alternative means. And with today's Internet, I believe we've finally found the means.
Thank you, Frank Marino, for sharing your time and thoughts with us!
Review from Amazon.com.
I bought this album for one song: "Requiem For A Sinner". Many moons ago when I graduated high school back in 1977 I had started to listen to Hendrix almost religiously and felt no one could touch him. At this time Ozzy left Sabbath, Blackmore left Deep Purple, and within a couple of years Bonham died. This meant the end of Led Zeppelin,Deep Purple and Black Sabbath. I began to listen to Hendrix, Cream and the Doors rather than the "new wave" of "formula" metal bands from the late 70's and the early 1980's.
I remember my brother's 8 track of FM & MR Live with that rendition of "Purple Haze" as the encore. Suddenly, Jimi had company. I was tempted to go out and buy every FM album I could find but my funds were limited so I bought and 8 track of "Tales of The Unexpected" but was mildly disappointed by too many slow songs and covers. My brother who was gainfully employed at the time I wasn't apparently did buy all the FM albums he could find. I heard the "World Anthem" and was hooked from start to finish. I have hear many criticisms over the years of FM but mainly My own is that he sould do more originals and less covers (except for Hendrix). It was always the originals that were better.
Again, most classic rock tunes are heavily identified with the original in some personal way that is hard to equal, let alone top. An exception to this rule is Heart performing Led Zeppelin. The Wilson Sisters perform Zeppelin with such zest and enthusiasm as to make their versions hold up as worthwhile classics in their own right and also because it's an open honest tribute to their influences. Same with Frank covering Jimi.
Anyway, WA is all Frank playing originals and not just covering others. The songs are great and done uniquely his own way, going beyond the influence. It does take a little getting used to that FM just wants to play guitar and isn't out to sell you soul to Satan, or corrupt the morals of teenagers, or commit lewd acts onstage. This is pure guitar and nothing but the guitar.
Now I realize that my last sentence in the previous paragraph isn't very original or colorful ot anything like that and what I'm driving at is that there is when a guitarist reaches a certain level in his playing it may strike some as bland or lacking personality. If you want punk rock, trendiness, bands that wear make up then go elsewhere but there is nothing you can say because the honset truth is that this is a guitarist's guitarist. It's more easily appreciated by guitarists than by non-guitarists. Guitarists will be able to see what puts FM above the rest. It's basically that it's difficult to imagine FM coming across any music that would be difficult for him to play, whereas other lesser guitar players admit their limits and try to work around them Frank doesn't have nay limits. Frank belongs with Steve Vai and Uli Jon Roth as true virtuosos. Take my word this is great, but it won't sound trendy.