Rock and Roll

Formed: 1973 in Rockford, Illinois
Years Active: 1973 through present.
Group's Main Members: Rick Nielson, Robin Zander, Bun E. Carlos, Tom Petersson, Jon Bryant

Back in the 60s, rock n roll oddball Rick Nielson began collecting bizarre guitars and studying esoteric British bands like Family and the Move. Tooling around the world, he returned to hometown Rockford, Illinois, and wound up in various outfits with avuncular drummer Bun E. Carlos. With lies of success, Nielson fooled bassist-in-crime Tom Petersson into leaving Europe to join. Soon, young folk singer Robin Zander was on board and Cheap Trick was born. The band played anywhere and everywhere, soon opening for the Kinks, Journey and Kiss. Nielson amassed a huge song portfolio before legendary producer Jack (Aerosmith, John Lennon, Zebra) Douglas finally led the quartet into the studio for their self-titled debut in 77. Cheap Trick showcased the Trick throwaway aesthetics of brilliant stupidity ("Hot Love"), wily irreverence ("Daddy Should Have Stayed in High School") and high-voltage pop genius ("He’s a Whore," "Oh Candy"). Chicago murderer Richard Speck was the topic of "Ballad of TV Violence" while "ELO Kiddies" is the cleverest Japanese toy/nuclear generation/Jeff Lynne song ever. In-house producer Tom Werman cleaned up the follow-up, In Color (77), for the radio and polished their third, Heaven Tonight (78), into a shining AOR gem. Few bands could turn songs about barbiturates ("Downed") and suicide ("Auf Wiedersehen") into chugging arena anthems, so Cheap Trick prepared for world domination. Merging the lines of metal, punk and Top 40, this golden stage is encapsulated by the brilliant "Surrender." Meanwhile, the band was already on top in Japan, documented on the stopgap live release At Budokon (79), which pushed the band to platinum status though it was originally intended for Japanese-only release. Thundering versions of "I Want You to Want Me" and the oldie "Ain’t That a Shame" were actual hits, bolstered by the band’s pioneering visual sense and Live at Leeds propulsion. After the abrupt Budokan, much momentum was lost by the impending release of the studio-intensive Dream Police (79). Though the title track, "Way of the World," and "I Know What I Want" were well-crafted singles, the roaring energy circulated by the live platter seemed to evaporate with the heady 70s. Petersson grew disenchanted, pulling a Yoko move with wife Dagmar, and left after the underrated All Shook Up (80), ironically produced by George Martin. Tick lost its commercial footing, unobtrusively releasing over-looked movie songs (two greats on Heavy Metal) for overlooked USA "Up All Night" movies and even "starred" with Debbie Harry in the animated movie Rock & Rule. Jon Bryant replaced Petersson and Trick dropped three eclectic pop artifacts: the compressed One on One (82) with Queen’s uber-producer Roy Thomas Baker; the quality Next Position Please (83) with kindred spirit Todd Rundgren; and Trick reunited with their first boardman, Jack Douglas, for the guilty pleasure Standing on the Edge (85). But when the clanging and bizarre Doctor (86) also slipped under the pop radar, the ever-encroaching record company took over. Petersson returned for Lap of Luxury (88), a calculated commercial confection with 3D production from Ritchie Zito. Trick scored a number one record with the lighter-ballad "The Flame." And "Don’t Be Cruel" was the first Elvis cover to hit the Top Ten since his death. But outside songwriters distanced Trick from their own records, and the vacuous Busted (90) increased the polarity between the power-party stage band and their adult-contemporary schlock tunes. Still playing wicked shows at state fairs and barbecues, Trick seemed to lose heart. In 94, a fresh start at Warner Brothers resulted in Woke Up with a Monster which accelerated Trick’s descent into obscurity. But Smashing Pumpkin Billy Corgan, an Illinois native who cut his teeth on vintage Trick, installed a new life force. Trick released another record, reissued their first four classics and began selling out shows again. Through it all, Cheap Trick weathers on like always, rockin’ like big dogs night after night .

Rock's longest, strangest trip, the Grateful Dead were the psychedelic era's most beloved musical ambassadors as well as its most enduring survivors, spreading their


message of peace, love, and mind-expansion across the globe throughout the better part of three decades. The object of adoration for popular music's most fervent and celebrated fan following -- the Deadheads, their numbers and devotion legendary in their own right -- they were the ultimate cult band, creating a self-styled universe all their own; for the better part of their career orbiting well outside of the mainstream, the Dead became superstars solely on their own terms, tie-dyed pied pipers whose epic, free-form live shows were rites of passage for an extended family of listeners who knew no cultural boundaries.


The roots of the Grateful Dead lie with singer/songwriter Jerry Garcia, a longtime bluegrass enthusiast who began playing the guitar at age 15. Upon relocating to Palo Alto, CA, in 1960, he soon befriended Robert Hunter, whose lyrics later graced many of Garcia's most famous melodies; in time, he also came into contact with aspiring electronic music composer Phil Lesh. By 1962, Garcia was playing banjo in a variety of local folk and bluegrass outfits, two years later forming Mother McCree's Uptown Jug Champions with guitarist Bob Weir and keyboardist Ron "Pigpen" McKernan; in 1965, the group was renamed the Warlocks, their lineup now additionally including Lesh on bass as well as Bill Kreutzmann on drums.


The Warlocks made their electric debut that July; Ken Kesey soon tapped them to become the house band at his notorious Acid Tests, a series of now-legendary public LSD parties and multimedia "happenings" mounted prior to the drug's criminalization. As 1965 drew to its close, the Warlocks rechristened themselves the Grateful Dead, the name taken from a folk tale discovered in a dictionary by Garcia; bankrolled by chemist/LSD manufacturer Owsley Stanley, the band members soon moved into a communal house situated at 710 Ashbury Street in San Francisco, becoming a fixture on the local music scene and building a large fan base on the strength of their many free concerts. Signing to MGM, in 1966 the Dead also recorded their first demos; the sessions proved disastrous, and the label dropped the group a short time later.


As 1967 mutated into the Summer of Love, the Dead emerged as one of the top draws on the Bay Area music scene, honing an eclectic repertoire influenced by folk, country, and the blues while regularly appearing at top local venues including the Fillmore Auditorium, the Avalon Ballroom, and the Carousel. In March of 1967 the Dead issued their self-titled Warner Bros. debut LP, a disappointing effort which failed to recapture the cosmic sprawl of their live appearances; after performing at the Monterey Pop Festival, the group expanded to a six-piece with the addition of second drummer Mickey Hart. Their follow-up, 1968's Anthem of the Sun, fared better in documenting the free-form jam aesthetic of their concerts, but after completing 1969's Aoxomoxoa, their penchant for time-consuming studio experimentation left them over 100,000 dollars in debt to the label.


The Dead's response to the situation was to bow to the demands of fans and record their first live album, 1969's Live/Dead; highlighted by a rendition of Garcia's "Dark Star" clocking in at over 23 minutes, the LP succeeded where its studio predecessors failed in capturing the true essence of the group in all of their improvisational, psychedelicized glory. It was followed by a pair of classic 1970 studio efforts, Workingman's Dead and American Beauty; recorded in homage to the group's country and folk roots, the two albums remained the cornerstone of the Dead's live repertoire for years to follow, with its most popular songs -- "Uncle John's Band," "Casey Jones," "Sugar Magnolia," and "Truckin'" among them -- becoming major favorites on FM radio.


Despite increasing radio airplay and respectable album sales, the Dead remained first and foremost a live act, and as their popularity grew across the world they expanded their touring schedule, taking to the road for much of each year. As more and more of their psychedelic-era contemporaries ceased to exist, the group continued attracting greater numbers of fans to their shows, many of them following the Dead across the country; dubbed "Deadheads," these fans became notorious for their adherence to tie-dyed fashions and excessive drug use, their traveling circus ultimately becoming as much the focal point of concert dates as the music itself. Shows were also extensively bootlegged, and not surprisingly the Dead closed out their Warners contract with back-to-back concert LPs -- a 1971 eponymous effort and 1972's Europe '72.


The latter release was the final Dead album to feature Pigpen McKernan, a heavy drinker who died of liver failure on March 8, 1973; his replacement was keyboardist Keith Godchaux, who brought with him wife Donna Jean to sing backing vocals. 1973's Wake of the Flood was the first release on the new Grateful Dead Records imprint; around the time of its follow-up, 1974's Grateful Dead From the Mars Hotel, the group took a hiatus from the road to allow its members the opportunity to pursue solo projects. After returning to the live arena with a 1976 tour, the Dead signed to Arista to release Terrapin Station, the first in a series of misguided studio efforts that culminated in 1980's Go to Heaven, widely considered the weakest record in the group's catalog -- so weak, in fact, that they did not re-enter the studio for another seven years.


The early '80s was a time of considerable upheaval for the Dead -- the Godchauxs had been dismissed from the lineup in 1979, with Keith dying in a car crash on July 23, 1980. (His replacement was keyboardist Brent Mydland.) After a pair of 1981 live LPs, Reckoning and Dead Set, the group released no new recordings until 1987, focusing instead on their touring schedule -- despite the dearth of new releases, the Dead continued selling out live dates, now playing to audiences which spanned generations. As much a cottage industry as a band, they traveled not only with an enormous road crew but also dozens of friends and family members, many of them Dead staffers complete with health insurance and other benefits.


Still, the Dead were widely regarded as little more than an enduring cult phenomenon prior to the release of 1987's In the Dark; their first studio LP since Go to Heaven, it became the year's most unlikely hit when the single "Touch of Grey" became the first-ever Dead track to reach the Top Ten on the pop charts. Suddenly their videos were in regular rotation on MTV, and virtually overnight the ranks of the Deadheads grew exponentially, with countless new fans flocking to the group's shows. Not only did concert tickets become increasingly tough to come by for longtime followers, but there were also more serious repercussions -- the influx of new fans shifted the crowd dynamic considerably, and once-mellow audiences became infamous not only for their excessive drug habits but also for their violent encounters with police.


Other troubles plagued the Dead as well: in July 1986, Garcia -- a year removed from a drug treatment program -- lapsed into near-fatal diabetic coma brought on by his continued substance abuse problems, regaining consciousness five days later. His health remained an issue in the years which followed, but the Dead spent more time on tour than ever, with a series of dates with Bob Dylan yielding the live album Dylan & the Dead. Their final studio effort, Built to Last, followed in 1989. Tragedy struck in October of that year when a fan died after breaking his neck outside of a show at the New Jersey Meadowlands; two months later, a 19-year-old fan on LSD also died while in police custody at the Los Angeles Forum.


As ever, the Dead themselves were also not immune to tragedy -- on July 26, 1990, Mydland suffered a fatal drug overdose, the third keyboardist in group history to perish; he was replaced not only by ex-Tubes keyboardist Vince Welnick but also by satellite member Bruce Hornsby, a longtime fan who frequently toured with the group. In the autumn of 1992 Garcia was again hospitalized with diabetes and an enlarged heart, forcing the Dead to postpone their upcoming tour until the year's end; he eventually returned to action looking more fit than he had in years. Still, few were surprised when it was announced on August 9, 1995, that Garcia had been found dead in his room at a substance abuse treatment facility in Forest Knolls, CA; the 53 year old's death was attributed to a heart attack.

While Garcia's death spelled the end of the Dead as a continuing creative entity, the story was far from over. As the surviving members disbanded to plot their next move, the band's merchandising arm went into overdrive -- in addition to Dick's Picks, a series of archival releases of classic live material, licensed products ranging from Dead T-shirts to sporting goods to toys flooded the market. Plans were also announced to build Terrapin Station, an interactive museum site. In 1996, Weir and Hart mounted the first Furthur Festival, a summer tour headlined by their respective bands RatDog and Mystery Box; in 1998, they also reunited with Lesh and Hornsby to tour as the Other Ones. In spirit if not in name, the Grateful Dead's trip continued on.

30 Years And Counting…

From their first LP in 1973, to their powerful stage presence today, the Marshall Tucker Band has played countless concert venues around the world. With the success of the Volunteer Jam Tour, and 1999 release of Gospel, the good ol’ boys from Spartanburg, South Carolina remain as a powerful force in the world of music.

The year 2003 should provide even more excitement as the band has added a “new” member to its lineup. David Muse has rejoined the Marshall Tucker Band after a three year absence. As a founding member of Firefall, David took sometime away from MTB to reunite with his bandmates. David originally joined MTB in 1996. We are truly grateful to have such a tremendous talent return on flute, sax and keys.

Tony Heatherly, a native of Greer, SC, joined the MTB on bass during the summer of 2001. He brings with him over four years of experience playing with the Toy Caldwell Band from 1988 to 1992. Also in August of 2001, Chris Hicks, a former member of the Outlaws, brought a scorching third guitar (not to mention killer vocals) to the Marshall Tucker line-up.

Doug Gray, lead singer, is quick to credit the band’s current dynamic members with carrying on the everlasting Marshall Tucker Band sound. In 1989, slide guitarist Stuart Swanlund joined the lineup of talented musicians. They also added the highly respected B.B. Borden, who is a former member of both Mother’s Finest and The Outlaws, on drums in the early 90’s.

“The buying public never really cared whether we were country or rock and roll” says founding member Doug Gray. “They called us a Southern rock band, but we have always played everything from country to blues and all things in-between. We’re still playing all of the classic songs, but we are moving ahead into other styles as well. We’re also playing for a younger audience than we have in the past, perhaps to the kids of the fans we played in front of in the 70’s and 80’s.”

Gray also notes that people have gotten “married and buried” to classic MTB songs like “Desert Skies” and “Can’t You See”. After nearly 30 years, The Marshall Tucker Band continues to be played on classic rock and country radio, and they have never stopped touring.

“We never play less than 150 shows a year, and sometimes we play as many as 200 shows. We feel we owe it to the fans who have supported us through the years to deliver the music in person,” says Gray.

Years of rigorous tour schedules earned the band the respect of critics and countless dedicated fans. With hit singles like “Heard It In a Love Song,” “Fire On The Mountain,” “Can’t You See,” and “Take The Highway,” The Marshall Tucker Band earned seven gold and three platinum albums while they were on the Capricorn Records label. During the 90’s, the MTB scored four hit singles on Billboard’s country chart and one on Billboard’s gospel chart. Their music has also been featured on the soundtracks of movies such as Smokey and the Bandit, The Pursuit of D.B. Cooper, and Shipwrecked.

The Marshall Tucker Band got its start in Spartanburg, S.C. when Gray teamed up with Tommy Caldwell and Toy Caldwell, Paul T. Riddle, George McCorkle and Jerry Eubanks, borrowing the name “Marshall Tucker” from a piano tuner who’s name was found on a key ring in their old rehearsal space. In 1972, they signed with Capricorn Records, the same label that guided The Allman Brothers Band, Wet Willie, and others to national fame. The MTB opened shows for The Allman Brothers in 1973, and the following year, they began to headline their own shows across America due to the platinum-plus sales of their debut album.

In years to come, The Marshall Tucker Band would wow critics and influence major country acts like Alabama, The Kentucky Headhunters, Confederate Railroad, and Travis Tritt with its definitive blend of rock, rhythm & blues, jazz, country, and gospel. Now, thanks to the expanding scope of today’s music, a new generation of fans is learning what the rest of their fans have known for so long- that good music knows no boundaries.

“As we’ve become older,” Gray grins, eyes twinkling, “our Southern heritage seems to come out even more. But no matter how old we get, we can still rock your socks off.”

The Marshall Tucker Band is:
Doug Gray – Lead Vocals
Tony Heatherly– Bass Guitar
Chris Hicks - Guitars
Stuart Swanlund – Slide Guitar
B.B. Borden – Drums
David Muse – Keyboards, Saxophone & Flute, Vocals