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History - Pages


Before they formed Mr. Mister, Richard Page (°1953) and Steve George (°1955), both grown up in Arizona, Phoenix, were already highly respected studio musicians. They have been hired by a wide range of artists, from all possible music styles, to do some session work on their albums; as song writers, musicians and mostly to do some backing vocals.

It all started at high school, were Richard and Steve grew up together. So they often played together in a lot of high school bands. At the age of 19 Steve was playing in Los Angeles with a group called Andy Hardy, named after the movie character played by Mickey Rooney in the late '30s and '40s. After a time Richard joined the band, replacing the only black member who had left the band. He had also begun writing his own material. So he started a new band called Joyce, named after it's guitarist's girlfriend. He began as a drummer, later playing the lead guitar. In search of fortune and fame they moved to Hollywood, but soon enough Richard came back to L.A., broke but unbowed.He joined Steve again, and soon they found themselves playing funk in "The Red Onion", a black club somewhere in L.A.

They even moved further to Las Vegas, and immediately found work in some clubs, sometimes playing seven or eight sets a night. This was of course very exhaustive and Richard's voice couldn't take it any longer. So they decided to end their collaboration. While Steve continued to work in Vegas, Richard moved to San Diego to attend a music school for performing arts, take composition and theatre lessons. So he still was able to play occasionaly in some school bands. When he had no more money left to cover his studies, he relocated to a tiny apartment in Studio City, Los Angeles to earn some money by playing in different bands. He even played in a country and western band, but that lasted only for a few weeks.

Richard called up Steve again, to record a demo of original material. This tape ended up on the desk of A&R-man Bobby Colomby (the former drummer of Blood, Sweat & Tears), who offered them to sign with Epic Records. It was 1977 and Pages was born. The bass player, not Richard, named the group! Bobby Colomby said about the album: "Pages represents the mainstream of contemporary music. They utilize various elements and combine them into an original and tasty mixture that will appeal to all formats of radio".

They played mainly jazz/fusion. A first album entitled "Pages" was released in 1978, followed by the single "If I saw you again" (b/w "I get it from you").

Pages was not like any average band. There was Richard and Steve, who wrote most songs together with Richard's cousin John Lang (he can't play an instrument, he calls himself "tonedeaf"). Joe Manfredi (bass) contributed to the songwriting on 5 tracks. Next to Peter Leinheiser (guitars) and Russ Battelene (drums) - they played on every song - a whole range of sessions musicians and artists did some contributions to the album. Such as Philip Bailey background vocals - remember him from his #1 duet with Phil Collins entitled "Easy lover" and "Walking on the Chinese Wall"), Steve Forman (percussion), Bobby Colomby (background vocals, percussion, producer), Dave Grusin (strings), Claudio Slon (percussion), Victor Feldman (vibes), Michael Brecker (sax) and many others. On this album Richard did lead and backing vocals, clavinet and grand piano, Steve did backing vocals, Fender Rhodes, Mini-Moog, synthesizer (Yamaha CS-80 and Oberheim) and grand piano. He even did lead vocals for two songs: "Let it go" and "Listen for the love" (together with Richard). The line up on the debut album had strong personal bonds between them, but signs of internal strain on the musical end were surfacing. Thus, during sessions, Peter Lennheiser and Russell Battelene left the band.

A remarkable fact is that from this very first album till present time (from Pages, over Mr. Mister and 3rd Matinee, to Richard's solo career) management is in hands of George Ghiz Management & Entertainment.

Their first album wasn't a commercial breakthrough. But they didn't give up and a year later, in 1979, a second album titled "Future street" was released, containing the single "I do believe in you" (b/w"Two people") (which has been covered by Frank Stallone - yes, the brother of the actor Sylvester - in 1983 on his album "Far from over") which appeared on the Billboard Hot 100 Charts on December 1st 1979 and peaking at # 84. Again the album was produced by Bobby Colomby. With the release of of their second Epic LP, Pages went in a harder direction and was well on the way to blazing a new trail on the rock frontier. Richard Page recalls: "Jerry, Steve and myself were writing all the music but it just didn't sound right. Everybody knew it, but it was left unspoken for a long time because of that lingering bond. With Charles and George everything went perfect for the first time. The potential was just staring us in the face". Pages bassist, co-composer Jerry Manfredi, and Chase bassist for two years, comments: "It's difficult to describe our music because it crosses a lot of areas. Somebody can listen to our first single 'I do believe in you' and say, "These guys play great rock", but within it there seems to be some sort of rock-R1B-jazz-fusion style happening. I think music has evolved to the point where people can appreciate all these different styles. We like it all, too, and that comes through in our music. It's so much its own thing that it's not even fusion anymore". However, their music still wasn't that popular at that particular time. It didn't seem to fit in anywhere. It was the era of disco, or on the other hand progressive rock. There was nothing in-between ...

According to the inner sleeve credits, Pages increased their line-up, with Charles "Icarus" Johnson (acoustic and electric guitar - former Stanley Clarke member), Jerry Manfredi (bass and fretless bass - former Chase bassist) and George Lawrence (drums - whom Colomby caught playing in a San Francisco club one night and mentally marked as the ideal Pages drummer). Most lyrics were written by Richard and John Lang. One track, titled "Who's right, who's wrong" was co-written by Kenny loggins. This song has also been recorded for the 1982 "Casino Lights - Live in Montreux, Switzerland" album and has been performed by Al Jarreau and Randy Crawford.

Additional musicians and artists on "Future street" are Kenny Loggins (backing vocals and songwriting), George Hawkins (backing vocals), Joey Trujillo (guitar), Bobby Colomby (percussion and production), Claudio Slon (percussion), Jay Winding (Fender Rhodes), Jerry Hey (strings and horns), Russell Battelene (drums), Michael Brecker (sax), Steve Lukather (technical support - Toto's lead singer and lead guitar player),... . Once again Steve George did some lead vocals ("Two people"). Another detail is that the cover sleeve was designed by John Lang.

Success failure brought them to switch to another record label, Capitol Records. They also found a new producer: the awardwinning musician/composer/producer Jay Graydon. Pages now turned to a Toto-like pop/rock style and in January 1981 a third album titled "Pages" saw the light of day, producing two singles: "You need a hero" (b/w "Midnight angel") and "Come on home" (b/w "Sesatia"). These singles were the two Bobby Colomby-produced tracks on the album.

At that moment Pages consisted of Richard (lead and background vocals), Steve (backing vocals, Fender Rhodes, synthesizer: Yamaha CS-80 - Oberheim - ARP 2600, Mini-Moog, clavinet, electric power oboe and grand piano) and John Lang (co-writer). Despite of the fact that some of L.A.'s best musicians like Charles Johnson (guitar), Neil Stubenhaus (bass), Ralph Humphrey (drums), Steve Khan (electric guitar), Jeff Porcaro (drums - the late Toto drummer, who is considered as one of the world's best drummers ever), Paulinho DaCosta (percussion), Vince Colaiuta (drums), Tom Scott (sax), Jay Graydon (guitars, synthesizer programming, producer), Mike Baird (drums) and Al Jarreau (vocal flute) contributed to this album, it didn't sell either ...

So by the end of 1981 they decided to end this project. After all, it wasn't such a good idea to form a band without a steady line-up.

Richard and Steve returned to the session circuit. Page was part of the well-known back-up vocal trio of Richard Page, Tommy Funderbeck and Tom Kelly (Bob Carlisle was invited to take Richard's place after he formed Mr. Mister). Unless their lack of success with Pages, they earned a lot of musical respect and they became highly recommended songwriters and backing vocalists. Many well-known producers like David Foster and Quincy Jones appealed to them. So they performed on albums of Al Jarreau, Donna Summer, Chaka Khan, REO Speedwagon, Kenny Loggins, Pointer Sisters, ... and even Molly Hatchet and Twisted Sister. Richard and Steve also did the vocals for Village People, together with Chicago's Bill Champlin and Tom Kelly (songwriter of Madonna's world hit "Like a virgin"). This playback-band was very popular by the end of the seventies and the beginning of the eighties, with their big hits "Y.M.C.A.", "In the Navy" and "Go west". Many American Top-20 hits featured Richard and Steve, but of course who knew this? This started to become frustrating and annoying. In 1982, when Richard and Steve were on tour as backing vocalists with Andy Gibb (one of the Bee Gees brothers), the idea grew to create a new band with regular members. So they started searching for a guitarist, a bass player and a drummer. This was the very beginning of Mr. Mister ...


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History - Mr. Mister


After Pages broke up in 1981, Richard and Steve continued working as session musicians. it was during a concert tour as backing vocalists of Andy Gibb (Bee Gees-member), that the idea rose to form another band, but this time with regular members. It was 1982 when they began auditions. They searched for a guitarist, a bass player and a drummer.

After a time they met Steve Farris (°1957), born in Fremont, Nebraska. Richard and Steve heard his real tough, raw, immediate edge to his guitar playing, and they liked it very much.

This sophisticated, learned guitar player already had a lot of experience. After playing in clubs in the Midwest for about three or four years, he moved to L.A., at the age of 18. He rented an appartment and tried to find some work as a session musician and to meet interesting people. The first three years in Los Angeles were very hard. Bit by bit it started getting better, having better calls, doing more work and learning the skills of recording. In 1979 he got a gig with Eddie Money. Steve played with his band for about three years, until he finally met Richard Page and Steve George.

The three of them organised some rehearsals at Studio City to find a drummer. When they auditioned Pat Mastelotto (°1955), born in Chico, Northern California and San Fernando Valley-bred, they already had auditioned about eight or nine drummers, and they liked a lot of them. But then Pat came in, simply introducing himself with the words: "I play drums. Hard!" Pat got a phone call from Kim Bullard telling him to go there. He had built a reputation as a monster drummer through playing with numerous Southern Californian bands as well as in the studio for the likes of producer Mike Chapman. His last group before he joined the Misters was called Shandi. He was also supposed to bring a bass player, because at that time the idea was that Richard was just going to sing. But the bass player had to get some dental work done and couldn't make it. There happened to be a bass guitar and an amplifier in the rehearsal studio. So Richard, who could play some bass lines, plugged in and they started to play. At the end of the rehearsal they were thrilled and they looked at each other and said: "Let's make it a four-piece. It sounds pretty good, and we don't have to pay a fifth guy or worry about a fifth attitude." There was indeed a real chemistry. Farris' distinctive guitar talents and George's mystic-filled keyboard textures melted into an enticing layer that fit perfectly over Page and Mastelotto's solid rhythms. Richard would be singing lead vocals, Steve had too much stuff to do playing keyboards. However, the vocal harmonies of Richard and Steve would become one of the band's trademarks. Mr. Mister's birth was a fact in Spring 1982.

The songwriting took off, each member bringing in his ideas. They set about to develop material with lyricist John Lang. Soon thereafter, they started playing showcase concerts in L.A. for all the major record companies. Supertramp even lent them their sound and light systems for their showcase! There were three or four record companies seriously interested in signing the band. One of these showcase concerts in Spring 1982 at S.I.R. in Los Angeles led to the fact that RCA signed them that June.

They started to record their material, and the first album was finished by the end of 1983. They started to prepare for a release, but the only thing they didn't have was a name. The record company came up with a name list about a mile long but nothing stuck. But all of a sudden they had it: Mr. Mister! It started off as a bit of a joke. They used to call each other "Mr. This" and "Mr. That" when they were working together. So they decided to call themselves "Mr. something", but they didn't know what that "something" would be. Pat came up with "Mr. Mister" and everybody just liked the way it sounded.

Their first album "I wear the face" was released in the U.S. early in 1984. In March 1984 they released their first single "Hunters of the night" (b/w "I get lost sometimes"), a made- for-audience pleaser that rose to the #55 spot on the Billboard Hot-100 charts. Their second single was "Talk the talk" (b/w "32"), followed by a third single "I'll let you drive" (b/w unknown so far). "I wear the face" made a mid-chart appearance peaking only at #170. They also received some air play, but allover the album was a flop. "It went double carpet", as Steve Farris once said in an interview.The album was produced by Peter Mc Ian, who worked together with Trevor Rabin and Men at Work.

The group members conceded that if they made any mistake with the debut, it was in being too hit-conscious. As Richard said in an interview: "We've played it safe, we've done it everybody else's way. Now we're gonna do it our way.". Pulling in an outside producer and listening to what others were saying wasn't the right way after all. There was no tour and minimal promotion behind the band either. Somehow the band managed to get some touring gigs as support act for other bands. For instance a Westcoast run with Madness and another one with Adam Ant & The Ants. Later on, they went through the Midwest opening for Berlin and also did a few gigs with Eurythmics. The audience response was mixed, most people knew nothing of the band. Pat Mastelotto recalls: "Our first gig with The Eurythmics was in Cleveland and our gear was late, so they probably incurred union overtime. In any event, their crew must have hated us. We got one spotlight, and that was always on Farris. Once we figured that out, Steve would stand behind Rich as he sang, so he could be lit. When Slug's rental amp blew out, they refused to help us, so Slug played through the bass amp with Rich. It would not have mattered much except we only had 16 inputs (my drums and machines took more than that) at the desk, so ... let's say keys were soft that night".

At that moment it was getting too much for Richard. It was the fourth album in a row that flopped. Richard developed a foundness for cocaine and other recreational drugs, but he kicked drugs before his wife give birth to their first child in August 1984.

Shortly after the release of "I wear the face" Richard got a tempting offer to replace Toto's lead singer Bobby Kimball, who had just left the band.

For their follow-up, they determined that they were going to only worry about pleasing themselves. They began looking around for an engineer who could share their ideas. In the summer of 1984, at a Yes-concert in L.A., they found him: Paul DeVilliers, who was the house mixer for Yes. He quite impressed them with his live sound engineering.

In October 1984, they went into rehearsal and production. The chemistry flowished and the music stretched and grew. Once again John Lang assisted writing the lyrics. "The lyrics were quite improved on our second album.", Steve George said.

Somewhere in the beginning of 1985 they wanted to test their songs to the audience and they asked Tina Turner to be support act on her concert tour. Tina agreed, but her management said no.

In May 1985 their second album "Welcome to the real world" was released. The album title is about responsibility, about becoming a functioning adult and about waking up. It was also a new welcome to themselves. It was the first album they were totally responsible for. The album contains 10 splendid songs, such as "Black/white" (a song that started from a groove and which has a racial kind of tasting to it), "Into my own hands" (about following your own instincts), "Broken wings" (named after Kahlil Gibran's book "The broken wings", a book John Lang read, about picking up the pieces of your life and moving on, and which also inspired Paul McCartney for a song some years earlier), "Kyrie" (Kyrie eleison, which means "Lord have mercy on us", a song with a spiritual experience which confused a lot of people who related Mr. Mister to Christian rock - the story that connects to this song is of Page being assaulted by some Rednecks (unemployed cowboys) back when he still had long hair, and subsequently spending three weeks in intensive care, swaring in the face of death that he would write a song when he had lived through it), "Welcome to the real world" (the album's title song which came from the birth of Richard's daughter Alisha in August 1984; crying tears of joy and tears of pain, worrying about what could happen to her in this big, awful, ugly world). The album cover was made by air brush artist Jonathan Owen, whom Richard called up after seeing his work on display at Laguna Beach, California.

The band's urge to experiment was clear. The noisy, banging sounds in the middle eight section of "Is it love" (called 'Sparticus') inludes a screw driver tweaking pots. The fils at the end part of the title track has Pat hitting a ladder, ashtray, pie plates and a wall. The 'psssh' sound intro to "Broken wings" is a backward crash cymbal. "Tangent tears" was in fact thought of as a shuffle beat, but Pat didn't know, so they went for the straight version. The half-beat on the title track was accidental during taped rehearsals, but they heard it later, liked it and stuck to it ...

Just after the release of  their second album, Richard got another tempting offer. Peter Cetera had left top band Chicago, and they were looking for a lead vocalist to replace him. Richard let them down, he didn't want to sing their old tunes all the time and of course Mr. Mister was just taking off and he believed in this project.

Somewhere in the summer of 1985, Pat pulled up to an L.A. stoplight and heard his group's song "Broken wings" wafling from the radio of the car next to him. He thought this man had their production cassette and he was somehow related to the band. But when he fiddled with his own dial, there the tune was, actually getting airplay. Pat reminded that at the end of the song the anouncer said "That was Mr. Mister, playing Broken arrow". Indeed, the first choice of a single fell upon "Broken wings" after a three hour long meeting with the RCA record company. They had key radio people listen to it and also used the response from an ordinary audience.

The next months Mr. Mister would get a lot of airplay. You could hear them on both A.O.R. (Adult Orientated Rock) and CHR (Contemporary Hit Radio) radio stations.

"Broken wings" (b/w "Uniform of youth") was released in August 1985. It took the song 12 weeks to take flight and appear on the pop charts on September 21st 1985. Right after the release the Misters started touring with Don Henley on the summer leg of his 'Building the perfect beast tour'  and Heart, which was indeed a good promotion for their single and album. Then Mr. Mister finally toured with Tina Turner, as supporting slot on her nationwide, 33-date, American tour. That tour helped propel the song to the top. "We thought if it gets into the Top-20, it would be fine. It would mean that our career had started.", said Richard in an interview. It was not the first time a support act on a Tina Turner-tour became very popular. Before Mr. Mister, there was Bryan Adams, and also Glenn Frey and John Parr. Tina once asked them: "Can't you guys write me a song like that "Kyrie"-song?". They wrote her a tune, "Stand and deliver", that would end up on the Misters' third album.

By the end of the tour, in December 1985, "Broken wings" reached the #1 spot on the Billboard Hot-100 Charts. Their video was kind of special. Although it was the time of colourful, eyeblinding and dizzy video clips, "Broken wings" was filmed in sober black and white, so it was striking on the MTV.

In December 1985, a second single was released: "Kyrie" (b/w "Run to her"). The video was most spectacular because there was no script. The director, Nick Morris (the creator of the video to "Everytime you go away" by Paul Young), hang out in the bus with the band for a couple of days, and did a lot of random shots on the road. It also contains some live shots done at The Sportitorium in Miami, Florida using Tina Turner's lights. This song would become the band's best selling single, hitting the #1 spot on March 1st 1986 and holding down the slot for two weeks. That same day their album also reached #1. They had their first certified platinum album, which sold more than 10 million copies worldwide. It was more than a decade ago that an RCA-record topped the album charts! Meanwhile, Mr. Mister was conquering Europe, Japan and Australia, having Top-10 hits all over the world. This success also led to the re-release of "I wear the face" in Europe and Japan in 1986.

In March 1986 a third single was taken from the album. "Is it love" (b/w "32") climbed to #8 in June 1986. The single also appeared on the soundtrack of the movie "Stake out". The video was shot in L.A. and was directed by Oley Sassone, who directed "Broken wings" as well.

The Misters had really hectic months, with a very busy schedule. In the autumn of 1985 they were already recording new songs: "Something real (inside me/inside you)", for the soundtrack of the ice hockey-movie "Youngblood", starring Rob Lowe and Patrick Swayze. This soundtrack was released in 1985. "Watching the world" was written for Chaka Khan and would appear on her 1986 album "Destiny", staring Phil Collins on the drums for this song. Both songs would also end up on their third album. In December 1985, a showcase at The Ritz, New York was recorded live and was broadcasted by D.I.R. for the King Biscuit Flower Hour radio show.

In January 1986, they appeared at the American Music Awards. They were the first band to play. To his big surprise, Richard noticed that the famous soul & funk singer Stevie Wonder was right in the front row, he was like dancing and was singing all the words of "Kyrie" with them (Richard is a real Stevie Wonder fanatic, his album "Inner visions" is considered to be one of the best records ever, according to Richard. On his 1996 solo album "Shelter me", Richard did a cover of a Stevie Wonder song entitled "Heaven is 10 zillion light years away"). They also flew to England to appear in 'Top of the Pops' presenting "Broken wings" which climbed to number 8 in the charts.

In February 1986 Mr. Mister started a European promotion tour. They would be visiting a lot of countries, giving lots of interviews, performing in T.V.-shows and playing small gigs. They even did a promo stop in Belgium where they promoted "Broken wings" in the T.V.- talkshow " Mike". The next stop was in Holland were they visited Erik De Zwart and Tom Mulder in the studios of broadcasting corporation TROS.

On February 19th they arrived in England. They immediateley rushed to the B.B.C. studios, they had an invitation to appear on Terry Wogan's show, which confirmed their new success status. The next day, the 20th of February, they played at The Marquee in London and gave a splendid concert. On the 22nd of February they appeared in the Saturday Night Live Show.

In March 1986 they were nominated for a Grammy Award for 'Best Pop Group Vocal' for "Broken wings". The same month they also did a concert at Daytona Beach, Florida with Starship which had broadcasted by MTV for Springbreak '86 featuring VJ Martha Quinn. MTV also engaged the guys to appear on MTV's Guest VJ Hour which was recorded on March 24th and aired on April 22nd.

In the beginning of 1986 a new song had been written, originally for Tina Turner: "Stand and deliver". Mr. Mister first played it during the Japanese tour in April 1986. Another soundtrack from a movie was released, containing a Mr. Mister song: "Run to her" was on the track list of "American Anthem".

On April 26th of 1986 Mr. Mister contributed to the 11-hours Anti-drugs benefit gig "Concert that counts", together with Toto, Bangles, Marillion, Bon Jovi, Madonna, George Michael, Sheena Easton, Beach Boys, Aretha Franklin and Poniter Sisters. The concert at the Rose Bowl (Los Angeles, CA)  was broadcasted worldwide by satellite and was organised by Hal Uplinger and Tony Verna.

By the end of April they went to Japan for a small but successful tour, from April 26th till May 1st.

In May 1986, they returned to their home base in L.A., working on a new album for a late 1986 release (the release date would be postponed due to a new concert tour and a delay in recording). Meanwhile they were doing some dates close to home at Disneyland from May 23th till June 20th. They also did promotional work for the 'Hands across America' project on May 27th.

Medio 1986, Richard wrote "Across the midnight sky" with Al Jarreau and Jay Graydon, a song which appears on Al Jarreau's 1986 album "L is for Lover". Patti LaBelle recorded "Beat my heart like a drum", a song written by Richard, Steve George and John Lang.

After that they prepared their first headliner tour; a 55-date tour visiting every major city in America and Canada, starting off in Minneapolis on July 19th and ending in Phoenix on October 24th.

On September 5th of 1986 they interrupted their tour to appear on the 3rd Annual MTV Video Awards night. They also did the announcement of the nominess at the Hard Rock Cafe together with The Bangles, whom they've played with on August 22nd in Birmingham (USA).

In spite of the success, Mr. Mister had to deal with the lack of respect from the critics. They were disregarded by the critics because of their sudden rise to popularity, erroneously taken as a sign of commercialism and lack of substance. They always felt that people labeled them with an inaccurate image of a candy-coated, goody-two-shoes kinda band. Though the band didn't care. On their live shows, the Misters used lots of hi-technological gear to create a powerful sound. Suspicious critics accused them of using tapes during these shows. Steve Farris once commented: "We never used tapes. We play all the instruments, except for when we do "Broken wings", where Steve handles Richard's bass parts on his synthesizer".

Needless to say the Misters could count on the support of innumerable fans. The idea grew to start a fanclub magazine. It was impossible to answer all the letters and questions individually, so in November 1986 they came up with their first "Mr. Mister Communiqué"-issue, a three-monthly newsletter with the most necessary information.

After the American tour, in November 1986, Richard produced a song entitled "One woman" for Kenny Loggins. The song was written by Richard, Kenny Loggins and John Lang. Steve George, Steve Farris and Pat Mastelotto all played on it, and it appears on his 1988 album "Back to Avalon".

In November 1986, the band went on writing songs for a new album. The idea was to record in December, so the album should have been out in March 1987. In April 1987, a worldwide tour would be the perfect promotion for the album.

However, it didn't turn that way. During the making of new songs, drummer Pat developed a terrible back problem and a sciatica down his right leg, so he couldn't sit. The doctors adviced surgery, and suggested a clinic out in Pasadena. So Pat stopped going to the sessions, and recovered some time in Pasadena.

In March 1987 Richard Page once again showed up at the American Music Awards. "Videos from the real world" had been nominated as Best Home Video, Long Form by the National Academy of Video Arts and Sciences. And together with Robert Kool Bell (lead singer of Kool & The Gang) he presented the award for Best Pop Video by a Female Artist, won by Madonna.

By the end of March 1987 all songs were written and a selection had been made. By that time John Lang moved to New York working on a Master degree at Columbia University. The band went into the studio for recording. The idea was to explore new ways, instead of making a duplicate of their bestselling album "Welcome to the real world". "Compared to our old albums the new one is more soulful and less calculated in production. It came more from the heart - although we always strive for that - and it's more inspirational." Steve Farris described. They also pulled in a new producer Kevin Killen (engineer of Peter Gabriel's million selling album "So", Howard Jones and some early U2 albums). Steve George said: "Lyrically and musically, this might be the best stuff we've ever done.". Steve Farris mentioned: "Compared to our old albums the new one is more soulfull and less calculated in production. It came more from the heart - although we always strive for that - and it's more inspirational. It's new, it's artistically different and it's a change for us, but there's more depth to it. We weren't following any formula this time." And Pat added: "It's less machiney and the lyrics are great on this record. We've really come a long way.".

By that time most critics had to change their mind about Mr. Mister's qualities. They first disregarded them as an empty, emotionless pop band, but soon they had to think twice. It became obvious that their initial judgement had been a superificial one, more based on their sudden rise to popularity than by objective analysis and appreciation. Even the Rolling Stone magazine featured an article where they fully re-established the band as a real rock band.

The next months the band spent in the studio recording and mixing their new album entitled "Go on...". The album title expressed the band's urge of instinct to grow and progress as human beings and as musicians. Recording itself  didn't go smoothly, considering Pat's back problem. He had to do tracks in little sections, mainly kneeling and standing instead of sitting. Prior to the release, Steve Farris got an offer to replace Ace Frehley from Kiss on their "Creatures of the night" album. He submitted a demo tape to Paul Stanley, and they met in rehearsals. However, Steve decided not to leave Mr. Mister for Kiss. He does play the solo on the album title track though.

On September 1st of 1987, their third album "Go on..." was finally released, containing 10 tracks such as "Stand and deliver" (- originally written for Tina Turner, but she decided not to record it - about encouraging people to take a stance in life), "Control" (about the wish of mastering one's own destiny), "Watching the world" (- also appears on Chaka Khan's 1986 album "Destiny" - bemoaned those who observe the world from a safe distance), three ballads which speak of a spiritualistic quest: "Healing waters" (a group-written song), "The border" and "Man of a thousand dances" (where Philip Perry added some gospel flair to it and with a contribution by Chicago's Bill Champlin and his wife Tamara on backing vocals - the chorus was originally a B piece and the decrescendo at the end had evolved from a jam session where Pat may have lost a stick), "Power over me" (was written about the birth and near-death of Richard's second daughter Aja in a Los Angeles hospital in Spring 1986), "Dust" (a haunting Third World- accented tune about Amerasian children who were fathered by American soldiers in Vietnam, who stranded there when the war was ended and now ostracized and orphaned in large numbers), 'The tube" (making folly of TV-addicts - the quasi string solo was sampled, thought backwards and then reversed) and CD-only bonus track "Bare my soul" (recorded without the use of a click track - a device used in the studio to help musicians maintain a steady pulse).

In August 1987, a first single already had been released: "Something real (inside me/inside you)" (b/w "Bare my soul"). This single was formerly written for the ill-received "Youngblood"-movie soundtrack and had been rearranged. By the end of August 1987 "Something real" entered the Billboard Hot-100 Charts as highest newcomer at #73, but only peaked at a #29 spot. The song was also used in one of the Miami Vice (featuring Don Johnson) episodes.

Several 'Go on tours' were planned and cancelled. The one month long tour in Europe, Australia and Japan was originally supposed to start in Munich on June 27th, but Pat had fallen from a chair while mounting a light bulb and hurt his arm so badly that the promotion tour was postponed. In August 1987, another tour schedule had been made. They would be starting out in Europe in Den Haag, Holland on October 28th. The European part of the tour would end in London, England on November 29th. The actual tour dates were November 8th to November 23rd. As support act for their European tour they contracted the British group T' Pau (they scored world hits with "Heart and soul" and "China in your hands"). Plans were made to start touring in the U.S. in January 1988, supported by Heart, and after that they would be heading for Australia and Japan.

In October 1987 a second single was released, but only in Europe: "Healing waters" (b/w "Control"). The video was shot on October 29th and was directed by Meiert Avis. There was some other news from the Mr. Mister front: their European tour had been cancelled. They found it too early to start a European tour, so shortly after the release of "Go on...". They wanted to do some promotion in the States first.

Around the same time "The border" (b/w "Control") had been taken as the third single from the album, but this time only released in America. The video was shot on October 23rd and was also directed by Meiert Avis. By that time, it was already clear that the album would never be as successful as the predecessor. The band members were more than disappointed with the lack of radio play on this album. The fact that their successful American-Canadian 1986-tour resulted in a firm studio session went down the wrong way. They didn't know the reason why this album didn't sell well. Six tracks had already been played live during their tour, and the audience's response was always quite good. Pat commented: "Yes we were disappointed. There are a lot of reasons why a record doesn't do well, and you never know which is the biggest reason. It could be the songs, or the drum sounds, or the performance, or the fact that the label had just changed from being owned by NBC to BMG and everybody we knew was gone - so many things. Did we piss somebody off while we toured the year before? You just don't know."

In November 1987 Mr. Mister accepted the offer to play a gig at the International Festival of Song in Vina del Mar, Chile, a seaside resort 70 miles from Santiago. The band knew little about the government-sponsored festival and less about Chile. Then, in a January Rolling Stone interview with Sting, they read that his album "Nothing like the sun" had been banned in Chile because of the track "They dance alone", which described the plight of the wives and children of political opponents of the Pinochet-government who had "disappeared". As the event grew closer, Richard and John Lang read about the members of Sidarte, which is the Chilean Actor's Union. Many of them were being threatened with death as a result of a performance which the government considered subversive. So Page and Lang decided to make a brief statement in Spanish. That night, on February 18th of 1988, after they had played three songs, Richard stepped to the microphone and said "Hello" in Spanish. Although he noticed the military officers and Pinochet's wealthy civilian backers, he nervously tossed off his setup lines: "We salute all of you!". The crowd, about 5000 spectators, went wild. "We also salute the Chilean actors who are frightened to death. The artists of the world are with you.". The band immediately played "Healing waters". Meanwhile there was a lot of yelling going on backstage by displeased uniformed officials who passed Richard a note to read retracting his statement, which he didn't do. The concert promotor was furious and screamed to John Lang that their safety could no longer be guaranteed. Although the next evening Mr. Mister played again, and in spite of the official reaction they were even awarded the gold torch which was given to the audience's favorite performer. John Lang however was not permitted to leave his hotel. That night the band left Chile under heavy security.

Also in the beginning of 1988 Richard and John Lang wrote the lyrics to a song called "Shadow & Light", which Richard also sung on Joe Zawinul's 1988 album entitled "Zawinul Syndicate".

In March 1988 "Healing waters" was nominated by the National Academy of Recording Arts and Sciences for a Grammy Award for Best Gospel Performance by a Duo or Group. Grammy contenders Mr. Mister were going up against such Christian artists as Mylon LeFevre, Broken Heart, Petra and Stryper. The 30th Annual Grammy Awards event was aired live from the Radio City Music Hall on March 2nd 1988.

Also in March 1988, a fourth single had been released, "Stand and deliver" (b/w "Power over me"). The song was also used in the movie of the same name. The movie, with Eddie Olmos, Lou Diamond Philips and Andy Garcia, was originally to be called "Walking on water", but when Warner Brothers Pictures heard "Stand and deliver" they decided to change the film's title.

From about March till June 1988 they did a tour on a small basis. Among their last gigs were a beneficial concert in Phoenix for a police officer widow and kids. The "Go on..." tour officially ended with a TV-performance on "The Late Show" with David Letterman in June 1988.

It was during this concert tour that irritation and jealousy grew between Richard Page and Steve Farris. They were constantly argueing about who was supposed to be the band's leader. They got so carried away with it, that the two of them regularry fought in the dressing rooms. Then, the rumour goes,  there was that particular concert show, where they screwed up their gig when Richard cut off Steve's guitar cable when he did a solo that seemed to be too long for Richard. After the concert tour, in July 1988 Steve Farris decided to leave Mr. Mister to pursue other things. The other guys wished him the very best...

In July 1988 Richard and Pat started writing new stuff, while Steve George was working on a new house for about two months. By the end of August 1988 Richard and Steve were getting together more frequently to write new songs for their upcoming effort. Meanwhile Pat got an offer to play on XTC's new album. Of course Pat was thrilled about it, since they are one of his favourite bands. After this project would have been done, they would start recording for the new Mr. Mister album. The collaboration between Pat and XTC resulted in their 1989-album called "Oranges and lemons".

By the fall of 1988 the Misters were heading back into the studio to start recording with Paul DeVilliers, who co-produced "Welcome to the real world". They went into a cave and made a pledge that they wouldn't release the album until everybody would be pleased with the result.

The idea was that they would try to stay away from the hybrid of half-machine/half-person music. They would also try to stay away from percussion, just to keep more air and acoustic in the tracks. Throughout the project Paul DeVilliers stressed pushing Pat and Steve forward, experimenting with more piano, organ and real percussion (with the help of Luis Conte). Again Stev showed his talent on soprano sax.

In November 1988 Paul DeVilliers and Pat worked a week at Oceanway and kept the other guys away, and did five drum tracks. They did a lot of experiments. For instance, they spent a whole day setting up drums in every corner of the room, just listening and seeing what could be done with one microphone. For instance, some of the percussion of the instrumental song "Way oh" was done in the closet.

The Misters also auditioned and talked with a lot of guitarists, but they never found the right guy. Pat tried to bring in some of Robert Fripp's 'League of crafty guitarists' like Adrian Belew, who was with David Bowie at that time. So they decided that they would use session guitarists for their new album, because there was also still a possibility that Steve Farris would rejoin the band. They started out with James Harrah doing demo recordings only. Most guitar playing was done by Buzzy Feiten, the guitarist of the Stevie Wonder Band and the Larsen Feiten band. They also hired the Canadian Doug McCaskill, Trevor Rabin and Peter McCrea (Stan Ridgway band). Along the way, Richard also did lots of little parts - mostly acoustic. Even Paul DeVilliers strummed a bit. This would indicate how confused the band was at this point. Even Steve Vai had been in question.

In an interview Pat told that the music on the new album wouldn't be a Broken wings-part 2. There's some stuff like Van Halen, and some like the old Beatles. Every track had something special. For one track, they loaded a truck with a set of speakers playing the intro of a song while passing by. This was recorded and created a sort of Dopler-Fussau effect.

The Misters really took their time to record this album. In the spring of 1989 Pat accepted the offer to play the drum parts of the new Cock Robin album entitled "First love/Last rites". In the fall of 1989, Pat even joined Cock Robin to play on their European promotion tour. By that time Mr. Mister had already written about 30 songs from which 8 had already been recorded. Producer Paul DeVilliers thought of a way to describe the new record: "It'll be like a Christmas present wrapped in newspaper". Although it seemed that they really enjoyed recording their new album - for a long time they took notes of what everybody was doing, they were even dressed in white laboratory dust-coats, wearing white plastic gloves to incite one another and in-between they even spended some time on vacation - the unit decided to break up! The day they got noticed they were dropped off the label was on Monday, September 25th of 1990.  Their record company RCA was taken over by BMG Ariola. By the time the record was finished, they didn't recognize anyone at the label anymore. It seemed like everyone that had been there when they first signed was gone. BMG thought the record to be too adventurous and experimental, and most of all not commercial enough. They didn't give the permission to release it. The band's efforts to solicit other record labels were fruitless. Basically labels were more interested in doing a Richard Page record. So one thing led to another and the Misters decided to disband. "We felt that we had enough, and that it was time to move on.". Up till now "Pull" hasn't been officially released yet. The only thing needed was the final mixing. It will never see the light of day unless some record company would take interest in it.

In 1994 two compilations were released: A Japanese release entitled "Best Selection" and a U.S.-release entitled "Kyrie", both containing 14 of the best songs out of their three albums.

In March 1998 another compilation, U.K. originated, was released. "Broken wings - The Very Best of" contains 16 tracks. Yet another compilation entitled "Best 22" was released in Japan only on November 21st 1998. And on March 30th 1999 a fifth compilation was released in the U.S.A., entitled "Broken wings: Encore Collection".


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history - 3rd matinee


After Mr. Mister called it a day in 1989, the Misters went back into session work. Richard appeared on Elvis Costello's 1991-album "Mighty like a rose" and on Toto's 1992-album "Kingdom of desire", sometimes still working together with Steve George.

Richard's career slowed down, which gave him the chance to raise a family, ride his bike, do some surfing and other things he had been missing out on for so long.

Nevertheless he continued his songwriting. One of the highlights was Madonna's 1994- smash single "I'll remember", written and produced together with Patrick Leonard and Madonna.

Back in 1992 Richard received a phone call from superproducer Patrick Leonard (Madonna, Pink Floyd, Rod Stewart, Roger Waters, Julian Lennon,...), insisting on getting together to see what they could come up with. Doug Butlleman, Patrick's manager, knew Pat was looking for someone to do a new project with and suggested he should call Richard. They had lots of things in common, for instance they used about the same nucleus of session players. Patrick and Richard got together and started writing songs. It connected really well, so Richard agreed to work together and they formed 3rd Matinee, which evolved from Patrick's former collaboration with the late Kevin Gilbert, a group called Toy Matinee. Toy Matinee consisted of Kevin Gilbert (lead vocals, guitars and keyboards), Patrick Leonard (keyboards and background vocals), with the help of Guy Pratt (bass), Tim Pierce (guitar) and Brian Macleod (drums and percussion). They released one self-titled album in 1990, featuring Julian Lennon (remember him from the hits "Too late for goodbyes" and "Valotte" in 1985) on a couple of tracks.

Third Matinee members were: Patrick Leonard (keyboards and background vocals) and Richard Page (lead vocals, background vocals and guitar). Additional musicians on the album are Guy Pratt (bass), James Harrah (guitar) and Brian Macleod (drums and percussion), Vinnie Colaiuta (drums), Jimmy Johnson (bass), Luis Conte (percussion), Tim Pierce (guitar) and Toto's Steve Porcaro (synthesizer).

Patrick and Richard's collaboration took off delivering about 12 songs in the first two weeks they got together! Richard commented: "Well, there's definitely an electricity about this,there is something really happening here". Finally, after about 2 years they decided which songs would make it on their first album. Songs like "I don't care" (is in fact an amalgation with another song entitled "Garden wall"), "Family tree" (a sort of apology from Patrick to his wife), "Meanwhile" (the title song which is about how people get distracted by things that seem so awfully important at the time, while real life just continues on) and "All the way home" (a tribute the one of the world's best drummers, the late Toto-drummer Jeff Porcaro; they song was inspired by what took place during the memorable funeral).

The next problem was the band's name. They felt they couldn't use Toy Matinee again, although there were simularities. They kicked around about changing the name completely and tried miscellaneous names they didn't like. Patrick:"We couldn't use Leonard/Page because of Coverdale/Page". Finally the label spoke up and said:"Guys, we hear enough of Toy Matinee in this. You should try and connect the two". Patrick continued:"We were going to call it 2nd Matinee and then we thought that 3rd Matinee sounds better".

On April 26th 1994 they released the album "Meanwhile", followed by the single "Family tree". The album was produced by Patrick Leonard and co-produced by Richard Page. They also wrote all lyrics with the assistence of Nick Laird-Clowes (The Dream Syndicate) and Marc Jordan on a few songs. The album never got the label support it deserved, but was picked up by more than 300 radio stations, simply because it was bristling with great, hook-laden music. Richard once commented: "It was discouraging in one way, but in another way it was great that it found an audience in spite of the odds.".

They did some live appearences at radio shows, also did some small concerts, there were even plans for a follow up, but by the end of 1995 3rd Matinee disbanded.

In 1997 Pat Leonard proposed Richard to make a second album, but Richard refused.


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By the end of 1995, shortly after Third Matinee ended, Richard received a call from Amos Newman, A&R representative from Blue Thumb Records. He was looking for tracks for a new George Benson album. Richard recalls: "I sent him some demos. Just me and a piano, and he called back and asked if we could get together.".

That resulted in a contract with Blue Thumb Records. They liked the demos and proposed Richard to record more material for a solo album. By the summer of 1996 Richard started recording assisted by co-producer Kim Bullard (who previously worked with Cheap Trick and Eddie Money). Practically all songs are written by Richard, assisted by Marc Jordan and Jon Lind on a few songs. A well-selected group of musicians was chosen: John Pierce (bass), Jerry Marotta (drums), James Harrah (guitar), co-producer Kim Bullard (Hammond), Luis Conté (percussion), Michael Thompson (guitar), and many others. Richard did, beside lead and background vocals, acoustic guitar and grand piano. A remarkable fact is that the former Mr. Mister members all did a contribution: Pat Mastelotto with additional percussion on "Just to love you" and "Heaven is 10 zillion light years away", Steve Farris played electric guitar on "Heaven is 10 zillion light years away" and Steve George did the bridge on "Even the pain" and backing vocals on "Heaven is 10 zillion light years away".

Finally Richard began to work on his long-delayed solo album. He reveals: "At first I was afraid that I'd made a terrible mistake. I thought this is Van Morrison, this is James Taylor, this isn't me. But after a few days I started to get a feel for where I was going and it was a good feeling.".

On October 26th of 1996 his first solo album entitled "Shelter me" was released. The album contains 10 songs, like "The best thing", "Shelter me", "Even the pain" and "A simple life". Richard also did 2 covers: Stevie Wonder's "Heaven is 10 zillion light years away" and Nik Kershaw's "My oxygen". In the U.S.A. "Shelter me" was accompanied with "Acoustic", a free limited edition 5-track bonus CD, containing 5 acoustic versions of songs. Amongst them, an acoustic version of "Broken wings"!

In November 1996, a first single "The best thing" was released. Some promotion was made in the Far East (Korea, Taiwan, Hong Kong, Bangkok, Malaysia and Singapore) and he also did a TV show and interviews in Germany.

By that time Richard Page severed ties with his manager George Ghiz.

Currently there are no plans of a second solo album yet.

The rumour has been spread that before Richard agreed to make an album with Pat Leonard, under the name 3rd Matinee back in 1994, Richard was recording for a first solo album. The work title of this album should have been "Oxygen". I know from hearsay there should exist a demo containing six songs. Three of them made it on "Shelter me": "Just to love you", "Dependence" and the Stevie Wonder cover "Heaven is 10 zillion light years away". The titles of the three other unreleased songs were "Falling into place", "That's love" and "Love, rescue me now". Apparently the album work title was based on the Nik Kershaw song "My oxygen" which also appears on "Shelter me".

In 1998 John Lang relocated from New York to Los Angeles. He and Richard began writing songs again, waiting to be picked up by some artist.

In September 1998 he completed an album of Tibetan Chants and Mantras with a Bhutanese nun named Anirinzang.

Richard did backing vocals on the 1999 Toto album "Mindfields".

He also contributed to the Malibu Charity Event for Malibu High School in California on May 15th, 1999 (sponsored by Peavey Electronics). The event was held to raise money for music
and athletic programs, which get kids involved in a positive atmosphere around
peers with the same interest.

Appearances this year included: Chicago, Toto, Eddie Money band, Boston,
the Bonnie Raitt band, Mr. Mister (Richard Page and session musicians), Tower of Power, Airplay, the Brian Setzer Orchestra (ex-Stary Cats) as well as Gary Busey, Pat Benatar, Rick Springfield, Ben Stein, Neil Giraldo, Tommy Funderburk, and Lenny Goldsmith. (see image)

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After Mr. Mister broke up John relocated to New York and got more and more interested in forming his own band. In 1991 he formed Langsters consisting of John Lang (vocals and guitar), Russell Battelene (drums and backing vocals), David Battelene (guitar and backing vocals) and Rob Page (keyboards - Richard Page's brother). They recorded a demo but never took off.

In 1995 his current band Djinn saw the light of day, evolving from Langsters with band members John Lang, the Battelene brothers and added in 1997 by Gregory Carson (bass).

Here's a band bio bass player Greg Carson wrote:

"What is djinn? Technically speaking, djinn are genies, supernatural beings that can take human form and influence human affairs. Spooky, huh? As Americans, you may want to think of us as four of Barbara Eden's bosses, and you may recall several episodes where she had to report to her djinn because she did something bad and needed a spanking. That would be us. As Non-Americans, you
may know what djinn is from other literary sources because you received an education.

In either case, why djinn? Although we are loathe to admit it, we need all the supernatural help we can get. After John Lang's (lead voice) consecutive number #1 hits with "Broken Wings" and Kyrie" with
80's pop sensation, Mr. Mister, John decided to go it alone, to create his own sound and sing his ownwords. We like to call this sort of thing "moving on" & "developing as an artist." Much of the public calls it "going underground" or "disappearing from the face of the earth". Whatever you want to call it,
it has been difficult to get arrested. It seems that most of the avenues open to the public eye come
from a negative or base place. Of course, we could have always picked up transvestite hookers and
paid for sex in conspicuously parked cars on sunset blvd until the cops picked us up or have been guests on the Jerry Springer Show, but these paths are inherently un-djinn.

So without the support of the media, djinn has been making music from a place deep within our souls and and from deep within a studio that we built in Jersey City, NJ. Call it a spiritual quest; call it what
you will, but please call.

The sex, drugs and rock 'n' roll clichés are past baggage; the palimony suits are beginning to wind
down. It isn't who we are anymore.

Ultimately, our songs are supplications to a higher power, perhaps the higher power within us all.

We will now step down from the soap box

very truly yours,




DJINN, a rock band based in New York City, is comprised of:

JOHN LANG vocals/guitar

DAVID BATTELENE guitar/cuatro/bass/vocals

RUSSELL BATTELENE drums/percussion/vocals





John, a singer/songwriter, was responsible, along with singer Richard Page of MR. MISTER, for that band's Billboard Magazine Number One hit records BROKEN WINGS and KYRIE, and the Double Platinum RCA album WELCOME TO THE REAL WORLD as well as its follow-up, GO ON. He has also written movie theme songs such as STAND & DELIVER, for the movie of the same name, and IS IT LOVE for the movie STAKEOUT. Other writing credits include MEATLOAF, JOE ZAWINAL, CHAKA KAHN, KENNY LOGGINS, GARY WRIGHT, THE POINTER SISTERS, PATTI LABELLE, AL JARREAU, AIR SUPPLY, GROVER WASHINGTON JR., DONNA SUMMER, LAURA BRANIGAN, TOM SCOTT and HERB ALPERT. whew!


David, an accomplished guitarist, played and toured with the COMMODORES before starting DJINN
with his brother Russell and John Lang. David is also a gifted studio producer and engineer. Some of
his engineering and recording credits include BLACK 47, BOB MOULD, LENNY KRAVITZ, and VIC CHESSNUT.


A remarkable percussionist, Russell was the original drummer in the Epic/CBS Records recording
group PAGES, the precursor to the band MR. MISTER. He has also played with Vanguard Records world music recording group A DIFFERENT WORLD, as well as various underground Los Angeles
punk groups and jazz ensembles.


At 34 years old, Gregory is the baby of the group. All the projects he was in prior to djinn he swears were great, but that you probably have never heard of them. He was founding member of ABSOLUTE ZERO, a nyc based avant-funk jazz-hop unit, NEW MOON TRIO, a nyc based jazz/space trio and has played in off-broadway shows and every manner of skanky watering hole in downtown new york.
Along with DJINN he also wields bass for the nyc rock band, SMOKING BUDDHA.

". (01/20/99)

They released a first album in 1995 entitled "Radio Beirut" with a Live!- and Pearl Jam-like alternative music style. Two songs have been released as singles: "I will" and "Rain".

In September 1998 they released a second album entitled "All-time" on the German label Labor Records - Dogo Bros. The album got good reviews in Germany and in Dave Marsh's mag 'Rock & Rap Confidential".

Former Mr. Mister member Steve George did some keyboards in his home studio. The Buddha sculpture on the picture sleeve is from the hands of Aino Russo and Linda Page (Richard Page's wife).

Official Djinn website @ :    http://www.djinnworld.com

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After Mr. Mister disbanded in September 1990 Steve George became Kenny Loggins' music director from 1991 till 1997. After he stopped working for Kenny Loggins he finally had the time to pursue the idea which had been on his mind for a long time: recording a solo album.

Steve started recording in the second half of 1998. The album should contain all self written material and should be released in 1999. The album will be quite varied: jazz, rhythm & blues, classical, rock, both vocal and instrumental.

In 1999 Steve toured with Jewel, so the recording for his solo album has been postponed. The release should be in 2000.

I hope to bring some more news in the near future.


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HISTORY - Gum - pat mastelotto - mastica


In 1994 another dream came true. Pat Mastelotto managed to join his all time favorite band King Crimson to form a double drummer concept with Bill Bruford. A friend told him King Crimson members Trey Gunn and Robert Fripp were doing a project with David Sylvian (ex- Japan) and were looking for a drummer. Initially Jerry Marotto would do the job. Pat called the manager who wasn't really into his proposal, but he persisted and arranged a meeting for an audition in England. Apparently Robert Fripp was surprised by Pat's time feel. So Pat joined them on David Sylvian's The First Day-tour. During this tour Robert fripp considered to reform King Crimson. After the tour he called Pat. While he was touring in Europe with Jay Graydon's band (with Steve Porcaro and Joseph Williams from Toto and Bill Champlin from Chicago plus Sherwood Ball and Kenji Sano) he went over to Bill Bruford's place in England. They managed to get along quite well and the new King Crimson was established and released a series of albums: "Vrooom", "Thrak", "Thrakattak" and "B-Boom".

From October 23rd till November 2nd Pat toured with ProjeKCt 4 ('KC' stands for King Crimson). Togther with King Crimson members Robert Fripp, Trey Gunn and Tony Levin he did a few gigs in Boulder (CO), Vancouver (BC), Seattle (WA), Portland (OR) and San Francisco (CA).

In October 1998 he was solliciting with his project GuM for a record deal. GuM is a trio: Monkey is a 24 years old girl who plays sax, clarinets, bassoons, guitars, keys and sings. Her 'old man' Gumby plays bass, cello, mandecello and sings too. Pat does the production, knob turning and drumming stuff. The favorite comment Pat heard was "That's strange, I've never heard anything like that before. I need to listen to it again." . In November 1998 Pat was shopping for a label.

Frank Achmann (Danish "Go on ... Mr. Mister Fansite") was assigned by Pat and manager George Ghiz to design the label art for the demo CD. For images check out his website.

In 1999 Pat started up a project with Cenk Eroglu (Turkish producer and friend of mine) under the name Mastel@ottoman. An album release is scheduled by the end of the year 2000.

By the end of 1999 the GuM album was ready to be released, though there was a major change: the band's name changed into MastiCa.

The album is entitled "MastiCa '99" and contains 11 tracks. A big part of the songs was recorded in Pat's garage in Austin. The album is available through First World Music and CD Street.

Official MastiCa website @ :    http://www.mastica.net
Official Pat Mastelotto website @ :    http://www.pnc.com.au/~wallison/pm.htm


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HISTORY - steve farris - on golden blond


After breaking up with Mr. Mister medio 1988 Steve did lots of session work jobs.

In 1997 he agreed the offer to join Whitesnake on their Last Hurrah-tour. After the tour (spring 1998) he went back to his hometown Fremont. He contributed to the Nicolette Larson benefite tribute concert in February 1998. He also played a gig with Gary Wright. Steve is still very much into painting, a gift from his late mother who was known through the Midwest as a famous watercolor artist.

In September 1998 he started a tour with Gary Wright. Steve will also perform on Gary Wright's album "Human love".

In December 1998 he contributed to the "Tribute to Carlos Vega Concert".

Steve has plans for a solo album, but nothing's sure yet.

A Steve Farris website is currently under construction. You can already see a preview of the start page. Check it at: http://www.stevefarris.com

From time to time Steve Farris gets together with Julian Raymond and Andy Gutierrez. They don't overthink the process, they let it unfold and just make music and record it. There inspiration comes from the fact that there is no pretense of having to create the music for any particular project or job within the recording industry. That's why they appeal to MP3.com which enables them to bring their music to the outer world. In the beginning of 1999 they released a first album entitled "Velvet Elvis" containing 6 tracks. Julian Raymond (vocals, bass and song writing) was the lead singer and writer of the glam-pop band Bang Bang and Dear Mr. President in the mid and late 80's. He has since gone on to become one of the most influential producers in the business with his most recent Grammy-nominated artist 'Fastball'. Andy Gutierrez plays drums on this record.

The rumour goes that Steve will be touring with Don Henley in 2000.

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