|2||Find A Way||4:32|
- Bass, Music By – Ruy Oliveira
- Drums, Music By – Angelo Cario
- Guitar, Music By – Andy Averbuch, Martin Bak
- Lyrics By, Music By – Mark Byrnes
In between tours they went back into the studio with producer Dave Durr in 1991 and recorded ‘Last Laugh’ and ‘Find A Way’. The songs were never released but shopped heavily. ‘Last Laugh’ also became a WSOU favorite.
StalkerNj ~ Hits and Misses
Despite regular appearances in national magazines across the world including, Rip, Powerline, Metal Edge, Live Wire, Japans Burrn and Italy's Fireball, we were destined to miss the big-time and miss it big.
We received our first record contract when we were 17 years old. This was well before the boy band craze and there weren’t any 17 year old kids dominating in the metal world. Azra Records was an American independent label founded in 1978 by David Thomas Richards who sent us a record contract. It was a deal where we provided the Master recordings and they would distribute the album. At 17, we didn’t have that kind of money to put together a full-length album not to mention we had no idea who Azra Records were. Turns out they launched bands like Overkill. We passed on the offer.
We were offered a recording deal of which I can’t remember the details, but it was with a producer associated with The House of Music in West Orange, New Jersey. The House of Music Recording Studio had a number of major artists that recorded there: Eric Clapton, Joe Cocker, and Patti Smith. Meat Loaf recorded his hit album "Bat Out of Hell." Kool and the Gang recorded most of their biggest hits including "Celebration" at The House of Music. For whatever reason, we passed on the offer.
The infamous Dave Derr, designer of the instant-classic analog Distressor recorded and produced our "Vol 1" EP. Dave really believed in our work and recommended his buddy at Eventide, Gil Griffith to work with us by making some connections in the biz. Gil came through and had us meet Vinny Vincent in LA. Vinny was in the process of wrapping up the new Invasion record and was going to produce some tracks for us to give to A&R reps at Chrysalis Records.
Later in 1988, Vinny and the band was released from their contract with Chrysalis Records. Having grown annoyed with what they perceived to be Vincent's domination of the project. Pyro Messiah (aka Guitars From Hell) was never released. Our session was also canceled and the one deal that we did accept was dead. Rumor has it that Vinny produced the record and the label thought it was too guitar heavy. The label remixed the album and removed half of his guitar tracks. Vinny went ballistic. He broke into the studio and stole the masters. Done, done and done.
Later on that year, Kerry Livgren from the band Kansas contact us and wanted to sign us to his own Christian label, Kerygma Records, distributed by Sparrow Records. The catch was he wanted to turn us into a Christian rock band by the 2nd or 3rd Album. We passed on this offer.
I want to say it was a Z100 battle of the bands contest, but I'm not quite sure, but we somehow won a spot to audition to be included in a live TV performance on the Soap Opera 'Another World.' We show up at SRI Studios in New York to audition in front of a bunch of suit and ties. We kicked off with 'Fire' by Jimmy Hendrix and we’re all sweating by the end of the song. There were nice parting words, but we obviously didn't get the gig. Instead, they asked if they could use the song "Goodtime Gypsy" in an episode. This would be a hit. When we watched the episode with the live band they picked, we instantly realized why we weren't hired. This band was the picturesque cocktail band of the 80’s. We blasted them with "Fire" and never had a chance.
While out in the Midwest on one of multiple U.S tours (if you want to call it that) we received a letter from then Interscope leader Tom Whalley. Saying he'd be in New York City and wanted to meet with us. In 1989, Ted Field began to build Interscope Records as a division of his film company, Interscope Communications. To run it, he hired John McClain, who had played a central role in Janet Jackson's success at A&M Records, and Tom Whalley, who had been the head of A&R at Capitol Records. Separately, Iovine, who had produced records by U2, Bruce Springsteen, and John Lennon, among others, was trying to raise money to start a label. "I thought, 'Music is going to change,'" Iovine said. "'Young bands aren't going to be asking for me.' But I love working with the new thing. I always liked the part of the business that's the first time you hear something, and I knew I wasn't in that business anymore." You need to remember this was before the internet and we just had no such access to all this information of who was who. All we saw was another independent label wanted us to drive halfway across the country back to NYC for a meeting. It didn’t happen and we blew the Tom Whalley meeting off. I'd say that was a big fcking miss!
MCA Records was fresh off signing another NJ alumni Trixter. We received one letter from their NYC office and one from their LA office requesting a demo in the same month. After careful consideration, both offices passed. I believe the NYC office cited the singer was too abrasive and the LA office cited the band was too green. A big loss x2
This one doesn't technically count but contemplating the logistics of it all makes me realize it was a miss. A good friend of ours, Dave Rumohr was working at Megaforce Records in Old Bridge NJ. We would go there sometimes to hang out. Megaforce had a hardcore music roster at the time and we didn't fit their bill by any means but if we had used some charm on Jon and Marsha Zazula, we probably would have had a chance. Although the Metallica residuals were all that they needed anyway. In my book, it's a miss.
We were approached by 2 lawyers who were representing All-4-One at the time. They offered some shitty deal, the details are a blur but we passed on the offer.
I'm sure there are other hits and misses I'm forgetting about. My memory has blocked out a lot of details. Obviously, this is how the entertainment business works. You're destined to fail more times than not. We threw in the towel by 1996 even though at 26 years old we were still kids.
Later on we rubbed elbows with producer Warren Riker, Christina Aguilera and Robert Hoffman along with countless of other local NJ and NY bands that went on to semi-national fame. But all in all, it only amounted to more misses.
And for what it's worth, no one really gives a shit anymore.
Nj's Hottest Bastards (R.I.P)