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admin | I Want My Ex Back Now | 25.01.2014
The Heart of the Matter: What Does America Really Know about Coronary Artery Disease Treatments? In the late a€™90s, out of all the players who showed up to the open mic at the Fast Folk Cafe, he was one of the very few who stood out and lasted. As a child, barely beyond his toddler years, Marc intuitively would sing songs around the house.
Marca€™s brother, four years older, introduced him to a mix of things like Bob Marley, Crosby, Stills and Nash, The Eagles and The Beatles. Hansmann used a standard Mel Bay system, teaching sight reading of melodic passages and chord formations at the same time with some music theory mixed in.
After a year and a half, Marc came to class and confessed that he hadna€™t practiced that weeka€™s lesson.
Before he got his first guitar, Marca€™s father actually rented a guitar for over a year for him to use. When he got to the eighth grade, he collaborated with other young musicians, finding a drummer and bass player. The music Marc was playing at the time was a mash-up of Beatles, Pink Floyd and Yes, who he also liked.
Late in his junior year of high school, Marc dropped out of the band and concentrated on solo guitar, preparing for a college music school. Marc applied to The Hartt School of Music, Dance and Theater in Hartford, Conn., The New School in Manhattan and the Ithaca College School of Music.
Hea€™s still friends with the bassist of that college band, John DeCrescente, who played bass on Crash Boom Pow. For the first five years after getting out of school, Marc didna€™t care how he made money. He did a stint in a cover band, which made money, but he found it wasna€™t getting nearer his goal of being an original solo artist.
Around 1997-98 he wanted to start finding himself and performed solo at a number of venues including The Fast Folk Cafe open mic, where I first encountered him. Although he played a lot of rock music, he continued to expand his skills with the acoustic guitar, using it for his songwriting. Life took a quantum leap upward when Marc was asked to be a backup singer and guitarist for Rob Thomas, the lead singer for Matchbox 20. Crash Boom Pow fuses an intensity of rhythm and melody to create a groove that is impossible for the listener to ignore. Marc likened a€?Who Are All These Peoplea€? to a€?Crash Boom Powa€? in its kaleidoscope of imagery.
He always had that something extra, that power in the vocals, a sharpness in technique on guitar, an assuredness that rendered him memorable. His brother took a few guitar lessons but didna€™t like his teacher and didna€™t stick with it. At 13 he got an amplifier for Christmas so he bought an electric pickup for his acoustic guitar.
He got a distortion pedal and experimented with a€?throwbacka€? rock stuff, a lot of covers by a€™60s groups like Led Zeppelin. Chords his guitar teacher taught him using the Mel Bay system would get used, perhaps by moving fret positions.
There were the typical college entrance requirements and, in addition, a music school audition to prepare for. Marc was exposed to a student community that was eclectic, comprised of a mix of suburban, Midwestern and hippie types.


He sang in choral and a cappella groups in college and got general advice on breathing from the choral director. One of them, McHale Barone, liked the sound and brought the band in to rearrange a Budweiser jingle, getting the Von Em sound on a€?This Buda€™s for You.a€? It premiered during the 2000 Superbowl broadcast and aired for two years. He also felt the desire to work solo tugging at him and had been mixing in solo gigs during that time. Marc credits Hudson Valley performer Kathleen Pemble for turning him on to early childhood music.
It seems to make use of everything in Marca€™s very deep toolbox and has the best examples of the vagaries of human interaction.
He got a distortion pedal and experimented withA  a€?throwbacka€? rock stuff, a lot of covers by a€™60s groups like Led Zeppelin.
He sang in choral and a cappella groups inA  college and got general advice on breathingA  from the choral director. It seems to make use of everything in Marca€™s very deep toolbox and has the best examples ofA  the vagaries of human interaction. Crossing 8th, in the crush of bodies around me, I feel someonea€™s toe against my left heel. His fathera€™s record collection included classical, blues and soul music, and that made an impact as well. Marc, who was burnt out on the mechanical repetition of exercises, was actually convinced he was going to quit and said so.
Hea€™d find that certain changes would create similar sounds to the aforementioned groups, and hea€™d use them in his banda€™s material. During that time, Marc experimented with a wah-wah pedal and played around with progressive, blues and traditional progressions.
On top of his natural ability, he finally took voice lessons in his late 20s, which helped with a€?placinga€? his voice, he said. He worked a variety of jobs, including as cashier in an A & P, and as a roofera€™s helper. While Von Em had played to 500-1,000 concert-goers, the Rob Thomas tour was a whole other beast. The title track, a€?Crash Boom Pow,a€? conjures up cinematic imagery, but not so specific that it dictates a story line. Over a funky guitar line, hea€™s rapping: Did I say that Ia€™d spray you with mace?A  All I meant was I needed my personal spacea€¦ Ita€™s the very apropos track a€?Personal Spacea€? from his new CD Crash Boom Pow. The strings on mine were so high off the fret board, I quit (much to my regret later) because my fingers hurt. They played in a couple of bars to enthusiastic reception until the owners stopped it to avoid problems with under-age laws. The national touring acts that came through included the Spin Doctors, Blues Traveler and, early in its career, Phish.
Carrying hundred-pound batches of shingles up long ladders was perilous, and protruding nails on stripped rooftops were hell on the flimsy shoes he wore. They toured the East Coast and opened for acts like The Mamas and the Papas and The Young Rascals.
Marc laughingly agreed, joking that he might have thought, a€?I can buy FIVE falafels today!a€? He also wrote a jingle for HIP insurance and a few others. At this point, Ia€™d been playing it for about three weeks, dropping into a groove each time. The national touring acts that came through includedA  the Spin Doctors, Blues Traveler and, early in its career, Phish.


It presents a a€?collage of imagesa€? gathered from Marca€™s time in New York City.A  It allows listeners to have their own reactions and pictures. He developed a long-term friendly relationship with his teacher, Bob Hansmann, who still occasionally shows up at Marca€™s gigs. They did a couple of a€?battle of the bandsa€? competitions in school a€” one each in his sophomore and junior years.
He remembers a course in sight reading where, in the final exam, the student was expected to see and play sharp and flat notes placed in odd places in a random test piece. For larger, special-event, multi-band shows with groups such as No Doubt and The Black-Eyed Peas, sponsored by Z-100 fm, there were audiences of 30,000. His robust playing style leaves him particularly suited for ruminations on the fragmented human condition, especially that of New Yorkers. I wanted to learn something cool like a€?Lucy in the Sky With Diamonds.a€™a€? He told Hansmann about this. He continued learning from early Beatles albums like Rubber Soul, experimenting with chords and guitar runs.
They also played at some block parties, outdoor flea markets, an Ossining fair and a birthday party.
Unlike some of his classmates, Marc liked a movement class where the student had to clap and step in different rhythms, ingraining the music on a physical level. When they played Live 8 in Philadelphia, counting cable viewers, the audience was more than two million. His stuff is not exactly folky, but ita€™s definitely wooden music and it sure generates excitement. Demonstrating an astute sense of timing, she fled Germany before the Nazi Holocaust could claim her. Hansmann told Marc, a€?It took a strong kid to hold out for a year and a half.a€? He immediately switched gears and prepared a blues song for Marc to learn and worked out a Beatles song as well.
Marc wrote songs all through high school, though many were not suitable for the rock group he was in.
His sense of rhythm is so strong that it would seem hea€™d have a real affinity for this class.
Therea€™s a syncopation that captures the uneven nature of relationships and a minor key melody expressing a pessimism in outcomes. It breathed new life into Marca€™s dedication and he left feeling that he wanted to study and play music forever. Then WFUVa€™s John Platt picked him for one of his monthly On Your Radar acts at the Living Room in New York City in August of this year.
I hadna€™t seen him in the flesh since the long-gone Fast Folk days, but we quickly got reacquainted before his set. Coming down off of that high perch, though was necessary for Marc to realize his dream of being a creative solo act. The intensity of his guitar and vocal attack sold me and I offered him a cover feature on the spot.



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