Magical Moment Photos

ULI JON ROTH ON GUITAR IN IDAHO ON 10-1-08. PHOTO BY BEN UPHAM.

ULI JON ROTH- “Guitar Fans Rock to Roth”
By SARAH DE CRESCENZO
The Porterville Recorder
Porterville, California
June 24, 2009

While Uli Jon Roth may not be a household name, Central Valley guitar enthusiasts gathered Tuesday night in droves at Exeter’s Orange Blossom Junction restaurant and events venue to witness his musical prowess. In true rock n’ roll style, Roth showed up late, but his fans were willing to wait.
Maybe his biggest fan – Orange Blossom owner and guitarist Doug Long – nearly vibrated with excitement as he discussed Roth’s legendary guitar skills.
“Uli is one of the greatest guitar players in the world,” Long said. Roth, previously the lead singer and songwriter for the ’80s rock band Scorpions, has had a long and varied career.
Following a stint as lead singer and songwriter with the Scorpions, Roth retreated from the music scene and explored different ways of using the guitar to make music, including playing sevenstring guitars in order to hit the highest notes. Roth has performed at the Orange Blossom before, most recently in 2008. That performance, while not a Hendrix tribute like Tuesday’s concert, also incorporated guitar riffs inspired by Roth’s favorite musical legend.
Roth strolled in casually one hour after the slated beginning of the show sporting a sequined black fanny pack, tight black pants, and a blazer and headband in bright red velvet holding back his long locks. Raucous applause and howls of appreciation greeted Roth’s arrival on stage.
Tuesday night’s show, called “In Celebration of Jimi Hendrix”, attracted a crowd of both Roth and Hendrix fans alike. The audience, while mainly made up of ’80s rock fans, incorporated people of all age groups. “We have people from 16 to 60 here to see Uli play,” Long said.
One of the people closer to 16 than 60 was his son, Christian Long, who attended with his friend Randall Shahan. Long – the younger – described his respect for Roth’s musical talents.
He described Roth’s prior performance as a mix between a “German war song” – in reference to Roth’s penchant for incorporating classical music from the likes of Wagner – and “serious hard rock.” When word got out that Roth had arrived, cries of “The king is here!” inspired an exodus of diners from the restaurant tables to the folding chairs set up around the stage. The audience, sitting closely crowded in a half circle around the small stage, were treated to an intimate, live experience as Roth sang and strummed on his electric guitar.
The sound of the guitar echoed warmly throughout the wooden building, as fans cheered and raved about Roth’s song selection. “This set is different [from my last performance] as you would expect from any self-respecting musician,” Roth said by way of introduction. “We’ll do some other songs too, but tonight is about Jimi Hendrix,” Roth added. His rendition of Hendrix’s lesser known “If Six was Nine” inspired a respectful silence as he sang throatily. But, when Roth dove into “All Along the Watchtower,” many members of the audience couldn’t help bouncing around in their chairs along to the catchy tune.
Even when Roth broke a guitar string, his band mates picked up the slack and entertained the audience with Hendrix melodies until the calamity was averted. As Roth returned to the stage, a full house held its breath to see what their musical icon would treat them to next. They weren’t disappointed.

ULI JON ROTH DISCOGRAPHY:
1974 Fly to the Rainbow (Scorpions)
1976 In Trance (Scorpions)
1977 Virgin Killer (Scorpions)
1978 Taken by Force (Scorpions)
1978 Tokyo Tapes (Live Scorpions)
1979 Earthquake (Electric Sun)
1981 Fire Wind (Electric Sun)
1985 Beyond the Astral Skies (Electric Sun)
1991 Aquila Suite
1996 Sky of Avalon
2000 Transcendental Sky Guitar Vol. I & II
2003 Metamorphosis
2008 Under a Dark Sky

CLICK THE LINKS BELOW TO SEE ULI JON ROTH PHOTOS:
ULI JON ROTH PHOTOS BY BEN UPHAM
and
ULI JON ROTH FINE ART AMERICA IMAGES BY BEN UPHAM

An Ad for a Mahogany Rush Concert in Seattle in April, 1978. Judas Priest cancled.

MAHOGANY RUSH -
“CONCERT REVIEW”
BY ANDY MELLEN
WINNIPEG FREE PRESS
WINNIPEG, MANITOBA, CANADA
SEPTEMBER 29, 1976

It’s always a pleasure to come across a Canadian group aspiring to international stardom. It’s even better when one encounters an act which possesses the ability to achieve such a lofty goal.
There are times, however, when I’m more than a trifle puzzled by the methods a group employs. A good case in point is my recent encounter with Frank Marino, founder and leader of a Montreal-based power trio called Mahogany Rush. At 21, he’s an amazingly gifted young guitarist and writer, as he has been proving the past few years on four albums.
Unfortunately, it’s doubtful whether anyone unfamiliar with Mahogany Rush’s records would have felt a great compulsion to rush out and purchase them following the group’s 35-minute set as the opening act for Nazareth’s Sept. 20 gig in the Winnipeg Arena.
Those who have heard all or most of the group’s recorded output were probably as perplexed as I was by its methodical, five-song set.
Save for the show-opening “New Rock and Roll”, Mahogany didn’t play one original song during its brief performance, a 15-minute version of Jimi Hendrix’s blues classic, Red House; an ancient blues standard called King Bee, Chuck Berry’s venerable Johnny B. Goode and an explosive rendition of the American national anthem, the Star-Spangled Banner, served up a la Jimi Hendrix with feedback and shrill, whining guitar passages.
As the group made its exit to a respectable round of applause from the 7,000 in attendance, I sat in disbelief, asking myself “Is that it?”
I was at a loss to understand how a group on the verge of earning a shot at the international spotlight with four albums of original material in its repertoire would even think about turning in the sort of set Mahogany Rush performed.
Following a 45-minute discussion with Marino, I was still having great difficulty trying to figure out this young musician. Although Marino — along with bassist Paul Harwood and drummer Jim Ayoub — still calls Montreal home, his attitude towards this country’s music scene could hardly be described as pro-Canadian. The fact that it has taken the group more than four years to play its first Western Canada dates (prior to the current tour, Mahogany’s only Canadian appearances outside of the province of Quebec were several Toronto gigs) is only one indication of Marino’s decided lack of interest in cultivating success in his native country.
Asked about the group’s show. Marino offered this explanation: “We were prepared to do our regular set tonight. Basically, that’s Dragonfly, The Answer and The Emperor off the new album (Mahogany Rush IV), a couple of things off the second and third albums and even a song, from Maxoom (the group’s three-year old debut effort).”
“After we did the first song and didn’t get any reaction, we decided to switch the set,” he said. “I can usually read a crowd, and this one just wasn’t receptive to the sort of music we play.”
Although I concurred that the group was somewhat mis-billed opening for Nazareth — a group which attracts a hardcore AM radio audience — I suggested the group’s ever-increasing following in this city came expecting to hear the group on Mahogany Rush’s albums. I won’t argue that much of Mahogany’s own music probably would have gone over the heads of many of the younger fans in attendance. But then, a 15-minute slow blues like Red House is probably just as alien to a young AM rock fan as some of the band’s spacier, jazz-tinged material.
Marino, however, expressed little regret for the group’s show. He seemed much more anxious to talk about the group’s success Stateside (the band is developing into a headliner in major centers such as Los Angeles and Chicago and is long-established in hard rock havens such as Detroit and Cleveland) and its first European tour.
Sadly, Frank Marino seems much more intent on making it in the United States and Europe than he is on satisfying his growing legion of Canadian fans.

FRANK MARINO & MAHOGANY RUSH
DISCOGRAPHY:
1973 Maxoom
1974 Child of the Novelty
1975 Strange Universe
1976 IV
1977 World Anthem
1978 Live
1979 Tales of the Unexpected
1980 What’s Next
1981 The Power of Rock ‘N’ Roll
1982 Juggernaut
1986 Full Circle
1988 Double Live
1990 From the Hip
1997 Dragonfly (Best of)
2000 Eye of the Storm
2004 Real Live

CLICK THE LINKS BELOW TO SEE MAHOGANY RUSH PHOTOS AND ARTWORK:
MAHOGANY RUSH FINE ART AMERICA IMAGES BY BEN UPHAM
AND
MAHOGANY RUSH ART BY BEN UPHAM
AND
MAHOGANY RUSH IN MISSOULA, MONTANA 1979 PHOTOS BY BEN UPHAM
AND
MAHOGANY RUSH PHOTOS BY BEN UPHAM

RANDY CALIFORNIA OF SPIRIT PLAYING LIVE AT THE GORGE IN WASHINGTON ON JUNE 22, 1986. PHOTO BY BEN UPHAM.

SPIRIT-
“RANDY CALIFORNIA HAS KEPT AN UPDATED SPIRIT ALIVE”
BY JIM WASHBURN
THE ORANGE COUNTY REGISTER
SANTA ANA, CALIFORNIA
MARCH 14, 1986

Back when one could say such things without being scoffed at, guitarist Randy California announced, “Music is our form of communication and love with the universe.”
Even in the heady days of 1968 such a statement might have been hard to take, except that California’s band, Spirit, backed it up with exceptional music that fans tended to describe in terms of magic rather than musical style.
One of the most innovative pop groups of an era bursting with innovation, the five-piece band took diverse influences — including modern jazz, blues, classical, country and rock — and produced seamless, hyphen-defying music ranging from the buoyant hit “I Got a Line on You,” the underground classics “1984″ and “Mechanical World” to live explorations of John Coltrane tunes.
California, then in his late teens, was central to the sound, writing and singing much of Spirit’s best material, and coaxing both Hendrixian fuzztone explosions and hushed Wes Montgomery like octave lines from his budget Silvertone guitar. Since the band split in 1970, California and drummer Ed Cassidy have retained the Spirit name and ethos, while other founders Jay Ferguson, Mark Andes and John Locke have moved on to less idealistic pursuits: writing commercial jingles, playing bass with Heart, and doing studio work in Montserrat, respectively.
Though hailed as a musical genius in Europe, where he still plays festivals and there are Spirit appreciation societies, California and his present band (Cassidy, keyboardist Scott Monahan and bassist Dave Waterberry) haven’t found the financial security of the ex-Spirits. On a U.S. club tour that concludes at the Coach House Saturday night, California claims he finds other rewards. “I have to look inside myself and say ‘What music is going to make me feel good — and everyone in the band feel good — while we’re doing it?’ And if that music becomes popular, all right. If not, at least we can feel good about what we’re doing. There’s no other choice for us.”
California began playing guitar at the age of 5. His uncle owned LA’s legendary blues-folk Ash Grove club, and many of the musicians playing there — including guitar greats Lightnin’ Hopkins, Doc Watson, Mance Lipscomb and Clarence White — would stay with his family and give him lessons. One frequent Ash Grove act was the Rising Sons, one of America’s first white blues bands, which featured Ry Cooder, Taj Mahal and Cassidy.
Cassidy fell in love with California’s mother and they married. Soon after, he began playing with the Red Roosters, a 1965 garage band that later grew into Spirit, making Cassidy and his new stepson perhaps the first father-son act in rock. Given rock’s rebellious nature, the notion of having dad sitting behind the drums might seem uncomfortable, but California said, “Actually, it was kind of fun. There was a great love and respect between us. We sort of got into rock ‘n’ roll together.”
Though Cassidy had played everything from symphonic music to country since his professional career began in 1939, most of his background was in modern jazz — having played with Chet Baker, Ornette Coleman, Zoot Sims and others. When Cassidy moved to New York for more jazz work, California came along, and found his music’s biggest influence. “I met Jimi Hendrix in a music store and he liked the way I played. He was doing his first gig as a solo artist at a place in-the Village called the “Cafe Wha”, and he invited me to play with him. I was 15 years old and I did that for three months, five sets a night, so he was a pretty heavy duty influence on me.” It was Hendrix who dubbed him Randy California (his original last name was Wolfe) to distinguish him from a Texas-born Randy also in the band. Hendrix was soon discovered and taken to England and stardom by manager Chas Chandler. The 15-year-old also struck Chandler as “a brilliant guitarist,” but California was too young to obtain a British work permit, and returned to LA with Cassidy.
There the pair ran into old bandmate Ferguson at a love-in in Griffith Park in 1967 and Spirit was soon formed. The title of Spirit’s eventual second album was “The Family That Plays Together,” and the group did indeed stay together communally for a time in a large old house in Topanga Canyon. California said, “I think the bottom line of what made Spirit special was the affection we had for each other, the fun that we had when we were together, and the creativity that abounded when we made music together. We didn’t sit down and say ‘Let’s write a hit song.’ We all did our own things, accepted each other’s styles — because we all came from different backgrounds — and we made music that came out the way it did. Everyone had the freedom to do what they felt they wanted to do; then we’d make it fit into one sound that was a culmination of it all “What mattered was the human side of it, that we weren’t just a music machine trying to make money. There was that magic there. This new band, I’m real happy to say, has that same creative feeling and the same kind of affection for each other that the old band had. We can do a sound check, and nearly come up with three new songs just jamming for 20 minutes. That’s what I’ve been looking for, and I think we’ve got it now.”
After residing in England for the past three years, California has moved back to the LA area. He recently released an album in Europe called “Restless” and is working on material for a new Spirit album with his band. Most of the current live set is revamped old Spirit staples, but California — now in his mid-30s — isn’t living in the ’60s, he’d like to see Spirit work with new wave producers Steve Lillywhite and Chris Hughes, and his current musical favorites include U2, Stanley Jordan, Eddie Van Halen and the Dream Academy.

SPIRIT DISCOGRAPHY:

1968 Spirit
1969 The Family that Plays Together
1969 Clear
1970 12 Dreams of Dr. Sardonicus
1972 Feedback
1973 Best of Spirit
1975 Spirit of ’76
1975 Son of Spirit
1976 Farther Along
1977 Future Games (A Magical Kahauna Dream)
1977 Live Spirit
1981 Potatoland II
1984 Spirit of ’84
1989 Rapture in the Chambers
1990 Tent of Miracles
1991 Time Circle (compilation of unreleased tracks)
1992 Chronicles ’67-’92 (compilation of unreleased tracks)
1995 Live at La Paloma
1996 California Blues
1997 Made in Germany (Live 1978)
1997 The Mercury Years
2000 Live at the Rainbow (Live 1978)
2000 Cosmic Smile
2002 Sea Dream
2003 Blues from the Soul
2004 Live from the Time Coast Live ’89-’96)
2005 Son of America
2006 the Original Potatoland
2007 Salvation, the Spirit of ’74
2008 Rock ‘N’ Roll Planet (Live ’77-’79)
2009 California Blues Redux (different than California Blues)
2010 The Last Euro Tour
2011 Tales From the Westside

CLICK THE LINKS BELOW TO SEE SPIRIT PHOTOS:
SPIRIT PHOTOS BY BEN UPHAM
AND
SPIRIT FINE ART AMERICA IMAGES BY BEN UPHAM

FRANK MARINO OF MAHOGANY RUSH ROCKING OUT IN MISSOULA, MONTANA ON 5-25-79. PHOTO BY BEN UPHAM.

MAHOGANY RUSH
“HARD ROCK AT A ROCK BOTTOM PRICE”
BY HUGH GALLAGHER
THE ALBUQUERQUE JOURNAL
ALBUQUERQUE, NEW MEXICO
SEPTEMBER 11, 1977

Frank Marino and Mahogany Rush will begin taping a live album in Albuquerque at a concert featuring hard rock at a rock bottom price.
Mahogany Rush, Rex and Trooper will perform at Civic Auditorium, Wednesday, at 7i30 p.m. The concert is being presented by radio station KRKE and tickets sell for $1.94.
“We’ll be doing a couple tunes that nobody’s heard before,” Marino said in a telephone interview. The new material will be in a jazz-rock vein. Marino and Mahogany Rush are known for hard rock. Marino said that in the beginning he was influenced entirely by Jimi Hendrix but has since come under the influence of jazzmen such as George Benson and Chick Corea. “The new material is a combination of jazz and rock. I want to create something of my own. It won’t have a definition,” Marino said.
Mahogany Rush was formed in 1971 in Montreal. In addition to Marino who plays guitar, sings and writes all the group’s material, there is Jimmy Ayoub on drums and Paul Harwood on bass.
“There’s a big rock scene in Montreal, a lot bigger than in any other
Canadian city.” Marino said. “At that time the biggest international groups were Pink Floyd, Genesis, Yes, that kind of rock group.”
Marino claims that at 14 he took 500 hits of LSD, he landed in the hospital and effects of the drug are still with him. The name Mahogany Rush was an attempt by Marino to describe his experience. “The name came from the experience I had using mind-expanding drugs. The name came before the band. It was what you might call a sensation or hallucination,” Marino said. That experience is the root of Marino’s music. “I’m trying to recreate them (the drug experiences). I’m trying to recreate the realizations I had from them,” Marino said. He hasn’t taken LSD since that experience at 14, He told an interviewer once, “One day I realized this was not good — there was no way I could take it.”
Rolling Stone calls the latest Mahogany Rush album “World Anthem”
(Columbia PC-3-1677) “an exercise in contradiction, and therein lies its major strength. On the one hand we have the sheer nastiness of Marino’s guitar, while on the other (somewhat buried underneath sheaths of unnecessary production) Marino’s lyrics proclaim eternal love and hope.”
The band’s name was changed from Mahogany Rush to Frank Marino and Mahogany Rush to avoid confusion with those other hard rockers Rush. Marino said the confusion was usually to the disadvantage of Mahogany Rush.
When not performing, Marino enjoys racing stock cars around Montreal. He said, “When I’m behind the wheel of a supercharged car, I can forget about everything.”

FRANK MARINO & MAHOGANY RUSH
DISCOGRAPHY:

1973 Maxoom
1974 Child of the Novelty
1975 Strange Universe
1976 IV
1977 World Anthem
1978 Live
1979 Tales of the Unexpected
1980 What’s Next
1981 The Power of Rock ‘N’ Roll
1982 Juggernaut
1986 Full Circle
1988 Double Live
1990 From the Hip
1997 Dragonfly (Best of)
2000 Eye of the Storm
2004 Real Live

CLICK THE LINKS BELOW TO SEE MAHOGANY RUSH PHOTOS:
MAHOGANY RUSH PHOTOS BY BEN UPHAM
AND
MAHOGANY RUSH PHOTOS FROM 5-25-79 BY BEN UPHAM
AND
MAHOGANY RUSH ART BY BEN UPHAM
AND
MAHOGANY RUSH FINE ART AMERICA IMAGES BY BEN UPHAM

JAMES PANKOW PLAYING TROMBONE WITH CHICAGO IN SAN FRANCISCO ON 3-30-76. PHOTO BY BEN UPHAM.

CHICAGO
“STILL A TODDLIN’ GROUP”
BY MARY CAMPBELL
THE BEDFORD GAZETTE
BEDFORD, PA.
MARCH 31, 1976

Chicago, an eight-man group without a superstar member, is itself a star. Concerts sell out. Records go gold. Every album is gold and the ninth one, “Chicago’s Greatest Hits,” is estimated to have sold about three million copies.
It became the No. 1 bestselling album in December, was 2 in January, 4 in -February and in March was still sliding very slowly, from 7 to 9. Two singles are gold also, “Just You ‘n Me” and “Saturday in the Park.”
Chicago has its original members plus one added later, Brazilian percussionist Laudir de Oliviera, its early benefactor James Guercio,
who has produced all the records, and its original record company, Columbia, an unusual history for a rock group.
Chicago got together, in Chicago, to play something now called jazz rock. Then its members knew they wanted to play rock plus horn arrangements. Some had gone to DePaul University and Robert Lamm, who acts as group spokesman and plays keyboards and sings, had gone to Roosevelt, across the street. Lamm writes about 60 per cent of Chicago’s tunes and is the only one who has made a solo album “Skinny Boy,” Columbia.
Guercio had left DePaul to play classical guitar, manage Chad and Jeremy and the Buckinghams and write songs for both. “We were playing clubs in the Midwest,” Lamm recalls, “and Walter and Terry called Jimmie in New York and said he should hear us. He heard us in Niles, Mich., and liked it and signed us up.” Other group members are James Pankow, Daniel Seraphine, Lee Loughnane, Walt Parazaider, Terry Kath and Peter Cetera.
Lamm also recalls where Chicago was when it heard the first album by Blood, Sweat and Tears, which also had formed to bring together jazz and rock. “We were playing Milwaukee, this pretty big show club, where we got fired. By that time we had enlarged our repertoire and were doing arrangements of Jimi Hendrix tunes with brass. At one set there were a couple of businessmen in the club and the owner came up and told us to play a couple of slow tunes.
We did ‘How Could I Be Such a Fool?’, which is really nice, in three-quarter time, by Frank Zappa. The owner freaked. He wanted ‘Moonlight in Vermont’ or ‘Misty.’ He came up and started yelling.”
With that incident recalled by the mention of the first Blood, Sweat and Tears album, Lamm says, ‘ “We were impressed by It. We were relieved that they were nothing like us, so no problem. We were perhaps a little disappointed a brass band combining jazz with rock had got recorded before we had a chance to. We knew we were going to record. It turned out to be a year and a half away.”
Guercio moved Chicago to Los Angeles, put them in a house and paid the rent, gave each member $35 a week spending money and took care of big bills for a year and a half. “He put up, and here we are,” Lamm says. “It’s a lot because of him. More than being a producer, he has been a friend. It gets to be complicated doing business with somebody who is your friend and who helped you, but the relationship has survived.” It’s also difficult sometimes for musical group members to get along. Lamm attributes Chicago’s success there to “everybody in the band really being like brothers and being an uncle to each other’s kids. Personally and musically, we’re a family.”
When they got lo Los Angeles, Chicago began performing. “We wound up as the house band at the Whiskey a Go Go on Monday and Tuesday nights. That was an important place for up-and coming groups to play. The owner was from Chicago; that may have helped.
“Jimi Hendrix came to see us. Kath was his favorite guitar player. That was our first tour, opening for Jimi, for $750 a night for the group.”
The first album was released jn 1969, “The Chicago Transit Authority,” then the group shortened its name to Chicago and albums since have been entitled “Chicago,” “Chicago III,” “Chicago at Carnegie Hall,” then all the rest have numbers. “Chicago/IV” doesn’t sound as dated in later years as if some catch phrase of that time had been used, Lamm says. Albums now are made at Guercio’s Caribou Ranch in Colorado. “Chicago X,” made there, will be released in April.

CHICAGO (FEATURING TERRY KATH) DISCOGRAPHY:
1969 CHICAGO TRANSIT AUTHORITY
1970 CHICAGO II
1971 CHICAGO III
1971 LIVE AT CARNEGIE HALL
1972 CHICAGO V
1973 CHICAGO VI
1974 CHICAGO VII
1975 CHICAGO VIII
1975 CHICAGO GREATEST HITS
1976 CHICAGO X
1977 CHICAGO XI
1996 THE INNOVATIVE GUITAR OF TERRY KATH
2005 LIVE AT CARNEGIE HALL (REMASTER W/UNRELEASED)

CLICK THE LINK BELOW TO SEE CHICAGO PHOTOS:
CHICAGO PHOTOS BY BEN UPHAM

FRANK MARINO OF MAHOGANY RUSH TURNING THINGS VERY ELECTRIC IN SEATTLE ON 4-14-78. PHOTO ART BY BEN UPHAM.

MAHOGANY RUSH
“MAXOOM REVIEW” BY ANDY MELLON
WINNIPEG FREE PRESS
MANITOBA, CANADA
MARCH 10, 1973

Mahogany Rush—”Maxoom”: Contrary to what you might have heard or read, Jimi Hendrix is currently alive and well and playing in Montreal. Actually, that theory might not be too far from the truth, and once you’ve heard Mahogany Rush, I doubt whether you’ll be too anxious to dispute the issue.
Mahogany Rush is a three-man group headed by 17-year old guitarist Frank Marino who, quite frankly, sounds like the reincarnation of Hendrix. No kidding, he’s got every one of Jimi’s licks down cold, and he even manages to expand on them occasionally. He even sings like the master, and I swear that it’s almost impossible to tell the difference between Marino and any vintage Hendrix side if you’re standing in the next room.
All of the songs were penned by Marino, although most of them are highly derivative ( “Blues” sound’s like “Red House”, “Maxoom” is really “EXP” and so on). One song, “Buddy”, is a touching tribute to Jimi, featuring the line “Rest easy Jimi, I’ll carry on singing.” What has to impress you is that at the tender age of 17, Marino not only plays guitar like someone twice his age, but he also produced and arranged the LP.
Mahogany Rush is currently the hottest thing going in Quebec and given time to mature and expand its musical horizons, I’m sure this group is capable of doing just about anything it sets its mind to doing.
***
Other Reviews:
I first heard this album almost 30 years ago… I’m a big HENDRIX fan this cat is a great guitarist and dedicates this album to him.It is great a must have for any Frank Marino fan.I was digging through some old albums (none witch are playable but I can’t get rid of them) and ran across this album just thought I would check and see if it was on CD well here it is . I’m going to order two copies one to listen to and one to pass on to my grand children so they can have some good music to listen to because they just don’t make music like this anymore. Buy it you won’t regret it!!!
-Howard Rager 3-24-03
***
And since Frank did pay tribute to Jimi Hendrix by “Dedicating” this first Mahogany Rush LP. It only seems fair to say that if Jimi did have a conversation with Frank he would no doubt have said to him “Frank, my whole life I wish I could have put together a band and recorded an album as tight and diverse as you did.” MAXOOM Stands on it’s own as a lp/cd. Nothing like it has ever been done before or since. From Rock, Jazz, Blues and all points in between. The first song BUDDY is a testimonial to a soul brother who touched a life, then passed away. And you want to live to make him proud of you. Going through a song by song review is fruitless. Get this lp/cd now!! Or better yet!!Get the 2 cd set that has Mahogany Rush’s first 3 lp’s on them.Sound is great!! Price is right!! Amazon.com deliver’s to you’re front door!! All you need is the Stereo up to 11, and a Funky Woman.
-James Lane 11-14-01
***

FRANK MARINO & MAHOGANY RUSH
DISCOGRAPHY:
1973 Maxoom
1974 Child of the Novelty
1975 Strange Universe
1976 IV
1977 World Anthem
1978 Live
1979 Tales of the Unexpected
1980 What’s Next
1981 The Power of Rock ‘N’ Roll
1982 Juggernaut
1986 Full Circle
1988 Double Live
1990 From the Hip
1997 Dragonfly (Best of)
2000 Eye of the Storm
2004 Real Live

CLICK THE LINKS BELOW TO SEE MAHOGANY RUSH PHOTOS:
MAHOGANY RUSH PHOTOS FROM 1975, 1976 & 1978 BY BEN UPHAM
MAHOGANY RUSH PHOTOS FROM 5-25-79 BY BEN UPHAM
MAHOGANY RUSH ART BY BEN UPHAM
MAHOGANY RUSH FINE ART AMERICA IMAGES BY BEN UPHAM