MP3 Adrenalin 25 years - ROCK: 80´s Rock
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17 MP3 Songs
ROCK: 80's Rock, POP: 80's Pop
It is, without question, a landmark Detroit rock 'n' roll reunion. During their 16-year tenure from 1977-1993, the six musicians known first as Adrenalin and then as DC Drive created rugged, muscular, earnest working-man's music that was as much the epitome of Detroit as anything created by forebears such as Mitch Ryder or Bob Seger. That the group's brief moments in the national spotlight - three albums and a minor hit, "Road of the Gypsy" in the movie "Iron Eagle" - does not diminish the passion the groups displayed as they slogged through the trenches.
As drummer Brian Pastoria notes, "That's what we initially set out to do - make music. That was the whole goal. We didn't get the breaks like some people, but the music still stands up." Words like "Drama" and "intrigue" were used to describe this east side Detroit group as much as the terms "dynamic" and "exciting." They endured the suicide of their lead singer, the jailing of the owners of the record label, the loss of their master tapes and a revolving door of high-profile vocalists.
Still, Adrenalin - and its later incarnation, DC Drive - remains a legend in the Motor City. The group emerged from a club scene that boasted the likes of Strut, the Rockets and Nighthawk. "We always felt we were as good as any band out there, but we just didn't get the breaks," said Brian Pastoria, who now runs the Harmonie Park recording studio in downtown Detroit with his brother. "We knew it wasn't going to last forever, and we felt the moment had passed us by and we weren't going to fool ourselves, so we split up and put our lives together."
Adrenalin gained attention in 1979 with its independent single, "Gimme Gimme Good Lovin'" and followed it with "Faraway Eyes". Singer David Larson, who worked at Eastland shopping center in Harper Woods by day and rocked with the band at night, shocked his bandmates when he committed suicide in the winter of 1980. "We were at a show waiting for him and he never came," Pastoria recalled. "It wasn't like him to miss a show at all. After we found out what happened, it was hard to believe."
The group's personnel changed with the addition Marc Gilbert - brother of the late Rockets vocalist Dave Gilbert - and later, young vocal powerhouse Joey Bowen. More behind-the-scenes problems continued with record labels and lawsuits and the band changed its name. Each time, it appeared national success was near but elusive.
Four years of non stop touring and on the eve of their American tour Joey decided he "wanted to do his own thing". By this time the Pastoria and Romeo brothers had enough. After 16 years of slugging it out as a band was enough. The members got on with their lives and started families.
Nine years and 13 children later, the group is back.
WRIF-FM (101.1) program director and longtime band pal Doug Podell initiated the reunion after attending a recent Ritz reunion party at the Emerald Theatre in Mount Clemens. "I was thinking, Adrenalin is one of the best bands in Detroit, they need to hook it up," Podell said.
In lieu of the groups' four singers will be Chris McCall and Robb Roy's Graham Strachan; other guests include saxophonist Alto Reed from Bob Seger's Silver Bullet Band, Jazzhead percussionist Roberto Warren and the Hefty Horns. "We didn't think anybody (cared)," says Pastoria, 45, who was pitched the reunion by WRIF-FM (101.1) program director Doug Podell. "We thought we could get a few people there - a lot of our family, maybe. But this feels really good, and it's brought us back together from all the different things we were doing."
The Pastoria brothers now operate the successful Harmonie Park studio complex and record label in downtown Detroit. Jimmy Romeo is a producer while brother Michael Romeo runs a construction business. Schafer works for a technology company while Haggerty owns a plumbing firm.
Because of those commitments and young families, Pastoria doubts the Adrenalin/DC Drive will be a continuing concern. But, the group will perform two new songs, "Guilty" and "First Time," on Saturday and is issuing a 17-song anthology entitled "Adrenalin: 25 Years." So, he says, "It wouldn't be out of the question to perform now and then and have some fun. We might do some recordings after this, but nothing else in our lives can go on the back-burner for this. So we'll see what happens."
Album Review ****
ADRENALIN - TWENTY FIVE YEARS : 1977-2002 (2002, SELF RELEASED) Joey Bowen - vocals; Marc Gilbert- vocals; David Larson - vocals; Michael 'Flash ' Haggerty - guitars; Michael Romeo - guitars; Bruce Schafer - bass; Doug Kahan - bass; Brian Pastoria - drums; Mark Pastoria - keyboards; Jimmy Romeo - sax
Interest in Adrenalin has been rising since their reunion gigs earlier this year and to mark their 25th Anniversary they have finally released a compilation of their better known tracks. This 18 song set (17 omitting the Kiss interview opening) is slightly deceptive as nine cuts are of the offshoot band DC Drive who released a single album in 1992. For Adrenalin fans this might be a slight disappointment as they may have expected to hear more of Detroit's favorite sons. The disc covers Adrenalin's first single, 1979's 'Gimme Gimme Good Lovin' up until 1999's unreleased 'Let Me Be Your Car' (written by Elton John and Bernie Taupin). The running order is off putting - with Adrenalin tracks alternating with DC Drive ones every other song.
Of the nine DC Drive selections two are unreleased, 1993's 'All Day Sucka' and 'Let There Be You'. The latter is the superior song, mid tempo AOR with an easy listening feel and breezy chorus, a simple extension of Adrenalin's 80's sound. The plethora of numbers culled from DC's lone album almost ensures you own the album proper, with the inclusion of 'U Need Love', 'Outtabounds', 'All I Want', 'Get Up And Dance', 'Obsession', 'Streetcar Named Desire' and 'Into U'. The quality doesn't quite match the standards of Adrenalin, but there are standout moments. 'Outtabound' raises the hard rock with some steely riffs and 'Get Up And Dance' is a fine romp with the addition of the horns courtesy The Uptown Horns. 'Obsession' is by-the-numbers melodic rock with a charmless chorus but is obliterated by the fierce AOR of 'Streetcar Named Desire', which adds some synths and a hot sax solo.
The main reason to own this CD is for the mere eight Adrenalin choices, of far reaching excellence. The late David Larson, Adrenalin's first vocalist, is represented by the crunching 'Gimme Gimme Good Lovin', rock and roll to the bone with no hints of the future AOR direction. Larson contributes some textbook vocals, raw and cool, and aided by a dangerous combination of the dual guitars and sax, this is true Detroit rock. Elsewhere you get 1983's 'Don't Be Looking Back',to 'Faraway Eyes', 'Northern Shores', 'The Kids Gotta Will To Live' and 'Photograph'. Except for 'The Kids..' all are classic AOR, although the non-inclusion of 'The Pressures On' and 'Freedom Road' is a major letdown. The other notable inclusion is the 'Iron Eagle' anthem 'Road Of The Gypsy', a minor hit in 1985.
For newcomers to Adrenalin and DC Drive, you cannot go wrong with this. For those expecting more of Adrenalin, there may be cause for concern. As a time capsule it's fascinating to hear the bands evolution from a bar room type set of rockers, into smooth melodic rockers, while retaining the homegrown midwest feel. Hopefully this set will get proper distribution to present it to a larger audience who may have heard the names but never heard the bands. All that's left now is for a proper CD release of 'American Heart'. Surely some time soon guys?
Adrenalin Interview with drummer Brian Pastoria September 02
1: Run us though the origins of Adrenalin.
All right here we go...to set the record straight.
The origins of the band are deep in family and friendships. Most of the band grew up together on the east side of Detroit. My brother Mark and I, the Romeo brothers and Bruce Schafer all went to grade school together at St. Veronica's in East Detroit. I met Flash [Mike Haggerty] in high school at Grosse Pointe North.
The first incarnation of the band played at a basement party Halloween night 1974 while Flash and I were still in High School. We were a 4 piece then with Ray Spitzley (who is a partner with us now in the Harmonie Park Creative group) on vocals and Jeff Gerow on the other guitar. We did 10 songs, (Strutter, Can't Get Enough, Bad Motor Scooter, Personality Crisis, Mama Kin, Rock n' Roll Queen, Under My Wheels, Mississippi Queen, Got a Line on You...shit I can't remember that last one... c'mon Flash help me out). We put on a hell of a show in Jeff Lubecks' basement. They loved us so much we played the same set again cause we didn't know any other songs! It was all in fun but Flash and I really struck a chord about getting a band together.
In the fall of '76 after graduation I saw Flash driving down Mack Avenue in Grosse Pointe. He asked me if I'd like to come by and jam with his new band. I stopped by the following night and I knew right away that this is where I wanted to be. Flash was writing some great songs and it was the creative voice that I was searching for. The original band didn't have a name yet, but it was myself, Flash, Glen Young on bass, Kevin Derlon on vocals and Matt Barron on rhythm guitar. I then got a call from a good friend, Mike Smith (the drummer in the popular Detroit band "Figures on a Beach") who said his mom heard David Larson sing on a loading dock. She said this guy was great and that she gave him my number. David called the next day and said, "let's get together, I'm your guy, I'm ready to do this", we hit it off great right from the start. The first song he sang was "Stealin" by Uriah Heep and we knew right away this was our lead singer. He had the voice, the look, the attitude AND he was a great guy.
A couple weeks after David joined, we knew we had to bolster up the guitars. We were really looking for that 2-guitar attack like the Stones and Aerosmith. I suggested an old friend from grade school, Mike Romeo. Flash and I went over to Mike's house, [he was still in high school] and he played the shit out of some Aerosmith, Led Zeppelin, Hendrix and some old Chicago stuff. As a 16 year old Michael was amazing! We were searching for a name and settled on the name we used in high school, " ADRENALIN". We were a high-energy band and the name fit. We then started to play everywhere we could, high schools, colleges, backyards, anywhere we could. We were growing amazingly fast as a band but it was pretty obvious we needed a REAL bass player.
As fate may have it, we had to look no further than another grade school friend from St. Veronica's, Bruce Schafer. Bruce was and is one of the most solid bass player's around, and his chemistry with the band was great. We were getting a great reputation around town for our live shows and we were really starting to click. Bruce added that foundation we were looking for. We were doing more recording and we were starting to find our sound.
In '79 we were really getting serious about original material and recording. We needed a manager, someone to represent us. I ran into Jimmy Risk at his T-shirt store on the east side of Detroit. A rough tape I played for him in my van inspired Jimmy. After seeing us live, he said he thought he could get us a recording contract. We needed someone who believed in us like we did and someone to take us out of Detroit and into the music bus. Jimmy was the guy.
Another key element in the Adrenalin sound was Michael's brother Jimmy on sax. The heartland Rock n' Roll we were starting to write was crying for something different and Jimmy brought that to us with his sax and vocals. He was also a friend from childhood and again the chemistry was awesome.
Right after Jimmy Romeo joined the band we started to put on concerts in local Detroit bars with opening acts. It was a concept that the Rockets had started to do and it was right where we wanted to be. Jimmy Risk hooked us up with a producer named Jerry Allaer during this time. Jerry took us into the studio for our first real recording with a producer. Those were the sessions that produced "Gimme Gimme Good Lovin". We recorded some originals but it was the Crazy Elephant cover song that caught the attention of W4 Disc Jockey Doug Podell. Jerry played "Good Lovin" for Doug at a party on the east side the night after we recorded it. Doug said he wanted to play it on the air immediately. In August of ???79 I was driving down that same street that I met Flash when I heard "Good Lovin" on the radio for the first time...what a rush! We were officially one of the hottest local bands now. "Good Lovin" would become very popular song for the next 6 months on Detroit radio...thanks to Doug Podell.
At this time a production company from LA was hot on signing us to a deal with Warner Bros. Dino and John Barbas, both legendary record guys, and Peter Greene were very excited about the band and came to Detroit to see us at Fraser Hockeyland. We thought this was our big break. We then hooked up with producer Howard Steele (Lynyrd Skynard, Diana Ross, Rossington Collins), who rehearsed us for a week in February of ???80 before going into the studio to do some songs for WB. That week was to end with a gig at a local high school where Howard would see us live. Ironically enough Graham Strachan, who sings with us now, was at that gig. Well David never showed and 2 days later he was found dead. Needless to say we were rocked to the core losing our best friend and singer.
Giving up wasn't an option, and we hooked up a short time later with Marc Gilbert, who had recently auditioned for the Joe Perry Project and was working with Bob Seger keyboardist Robyn Robbins. Marc was the younger brother to Dave Gilbert, lead singer in the Rockets, another great Detroit band. Our first gig with Marc was at a sold out Punch and Judy Theatre late spring of '80. It was back to the live gigs to work out the new band.
Later that year we recorded a demo with Eddy Harris (who had a hit called "Hot Thang" in the early 70's). At this point my brother Mark went into the studio with us and played piano on some of the new songs. Mark then played his first gig with us at a packed club called Harpo's on Detroit's east side on Valentines Day '81. Mark was a natural fit for the band and rounded out our sound with his great keyboard work, songwriting and arranging talents. We had become a band of musicians and friends who had a common goal...to conquer the world with our music.
It was also during this time that Jerry Wexler took an interest in the band. He tried to get us signed with the WEA family but it didn't work out. He said we reminded him of the Rascals. The great thing was having lunch with him at his Manhattan loft. A great thrill.
Our next major release was an independent record called "Don't Be Lookin Back" in 1983. Howard Steele came back into town to produce us, but it was obvious we needed a new producer, and the hunt was on for major label deal. A Southwest tour for "Don't Be Lookin Back" landed us in Texas performing sold out shows. It brought us to the attention of MCA's Rocshire Records. Gary Davis and former all pro football player Cedric Hardman saw us in a club and basically signed us on the spot. The next move was to have Jimmy Risk track down a producer that we wanted to work with, Vini Poncia.
Jimmy delivered, and Vini came to Detroit and started pre production for American Heart at our Detroit rehearsal studio. A couple months later we were at the Boogie Hotel (Foghats old studio on Long Island in New York) recording our first big league record. This was the start of a great relationship with Vini Poncia and the band. He also produced DC Drive as well. The next 3 years we did nothing but play everywhere we could.
2:Who were your primary influences coming from Detroit? E.g. MC5, Bob Seger, Motown, Grand Funk etc.
Those plus Aerosmith, J. Geils, Bruce Springsteen & the E Street Band, the Stones and 70's rock as a whole.
3: What were the circumstances surrounding David Larsons suicide?
Let's just say it was a very tragic thing. David had his demons and in the end they won. He was a great guy. He was like our older brother. We all looked up to him. Of the 3 singers we worked with, David had the whole deal. The voice, songwriting, charisma, looks, the gift of gab, his stage performance, he had the whole package. He had a lot of pressure coming at him from some bad relationships. When the band first started to take off with the Gimme Gimme Good Lovin record, I don't think he thought he could handle what ever was about to happen...so he checked out. No doubt drugs played a part in his confusion. Sad story, we'll always miss him. His presence always seems to be with us. Thanks for remembering him.
4: You initially signed with Rocshire Records. What was behind their demise?
The owner Rocky Davis' wife Shirley Davis embezzled big dough from Hughes aircraft. It was kind of a Robin Hood deal where they stole from the rich (Hughes) and gave to the poor (his artists). The slogan for the label was "Home of the Artists". Nobody knew what was happening but it was kinda strange. Rocky was straight out of the Beverly Hillbillies. He was getting ready to drop some big time dough into us when he got popped. We missed out by a few weeks...Damn.
5:There is mention of the loss of your master tapes in your bio. Were they stolen?
No they went into receivership when Rocshires assets were frozen and we couldn't use them.
6:Was there a specific musical direction you were following in the early days? Or was it just straight rock and roll?
We were just trying to make music that we loved and music that would stand the test of time. Making that connection with our audience, giving them that night to remember and some kick ass songs. We certainly weren't following trends.
7: How was it working with Vini Poncia on your albums?
He was the best...our musical mentor, friend and teacher. He lived with us when we made our records; he was a real record producer and a gifted and schooled songwriter. One of the greats of all time, right out of the Brill Building. He knew, and worked with everybody. Vini took us to the "College of Musical Knowledge". He showed us how to make records and write songs. What can I say about the guy, we'd love to work with him again...or... just go to a great restaurant and laugh our asses off.
8: Were the songs off the debut written a long time before you actually recorded them?
Some were, but most of the songs came out of listening sessions with Vini and rehearsals at our studio on 8 mile in Detroit. We learned to really raise the bar with Vini.
9: I mentioned a similarity to Survivor in my review of 'American Heart'. Accurate or off base?
Way off. We weren't into them at all. We were actually more sensitive to being compared to Bruce and his band, & Seger. Vini Poncia helped us carve out our own identity in that regard. Live I think our shows had a little different feel with the audience interaction and energy and the accapella song we used to do. Also Jimmy Romeo's sax was always something that set us apart.
10: Was there a working class ethic to your style coming from the Midwest?
I hear a lot of tension in classics like 'The Pressures On'.
No doubt, working class is something that we related to...even today! HA
11: How did you eventually sign with MCA and how was your relationship with them?
MCA signed us after we recorded Road of the Gypsy for the Iron Eagle soundtrack. Jimmy Risk went to Don Grierson at Capitol Records to try and revitalize our career with another album deal, but Grierson basically passed in the office that day. 3
days later, however, he called saying, No album deal, but "Gypsy" could work
for a new Lou Gossett movie. Soundtrack only, but MCA trumped EMI by
Capitol did the soundtrack, but MCA (who distributed Rocshire) somehow got access to our American Heart masters (mmm). We were able to get an album release on a major and we thought maybe now those songs from "American Heart" could see the light of day. So doing "Gypsy", another new song called "Summer Nights" and 8 songs that needed just a remix was a quick way to get back out there. Unfortunately the Freedom Road and Gimme your Heart masters got lost. Richard Palmese, who now works with Clive Davis, signed us. We had a great relationship with MCA. Unfortunately they got caught in a payola scandal just after the release of "Gypsy" and all the independent money dried up. There wasn't much that could happen at the time without independent promotion, so we didn't have a shot. "Road of the Gypsy" is a great song though; I think it could have been a great radio anthem.
12:When you were included on the Iron Eagle soundtrack did you think this was the real break you were looking for?
Not really, we thought it was just another brick in the wall. A big brick, but yea we were excited about being in a movie. What we really wanted was a hit record.
13:Much is made of Adrenalin's bad luck. Was there a specific time when you knew it wasn't going to happen?
In 1986 after the MCA payola deal, Marc Gilbert's demons, the Rocshire deal, and David Larson's death...we needed a break and a change. Hooking up with Mark Farner gave us a both.
14:What led to Mark Farner's joining the band following the breakup and how the band came to be known as Mark Farner and Adrenalin?
It was actually Mark's band; he was just kind enough to give us billing. We did all Grand Funk material and it was great. We didn't mind at all. We traveled North America and got to think about what we wanted to do next. We had a ball with Mark. After a year and half we got thinking we wanted to do our own thing again. On the bus we had a conversation that if we could find a young guy who could sing like Farner we'd really have something. A week later Jimmy Romeo ran into Joey Hamady. We actually started out as Adrenalin and later changed to DC Drive at the request of our new manager Frank Rand.
15:Was DC Drive as satisfying musically as Adrenalin?
The band really rocked and a great time was had by all. It was very satisfying cause the band was really great at this point live and in the studio. We did a great video for "U Need Love" that featured Motown choreagropher Cholly "Pops Atkins". We had the experience of working with a new manager Frank Rand who regularly brought us down to reality, and brought a great A&R perspective to us. He was brutally honest with us and it helped us big time. Dean Cammerone and Tim Trombley signed us to
Capitol in Canada and we had a hit with "U Need Love". They were a great company. Tim Trombley is the best A&R guy we ever worked with.
But the camaraderie wasn't there that we had in Adrenalin. DC Drive could have blown up with "U Need Love" and "All I Want" but Joey had his own ideas of the music business and how he wanted to operate. Doug was extremely talented, but after Joey left to go on his solo trip, he moved to Nashville.
We were ready for a big time release in the US. On the eve of signing the deal Joey walked out. He said he was tired of singing soul music and he wanted to sing songs of hate. Whatever it was, I couldn't relate. Anyway he wanted to do his own thing. God bless him. But at this point it was 16 years running and we were ready to get on with it and focus on the families and start a new life.
16: How gratifying was the reunion show? More importantly does it make it worthwhile knowing people still care about Adrenalin and still love their music?
That show was a very special night for all of us. It was like the world's largest family reunion. We couldn't believe how many people showed up AND sang all the words. At the end of the day we did this to make a connection with people...to be a voice in some way. Knowing that we did that is very gratifying. If we could do it again that would be unbelievable. The biggest kick is that are kids get to see us now...all 13 of them!
17: Are you happy with the AOR label?
Yea, we had our focus on recording and writing great songs, not just singles. Album oriented songs. It works for us.
18: Is this the first time your music has been available on CD? Do you think with the right distribution Adrenalin might attract a new audience?
I think we could. We are getting great response from Australia, The Netherlands, Belgium, France, Poland, Sweden, and New Zealand. We had no idea that we would get this kind of response around the world. Maybe that old saying "Absence makes the heart grow stronger" rings true. It's inspired us to get back in the studio and come up with some new songs with Graham and Chris on vocals. We're very excited about the new songs. The Melodic Rock tag is something we didn't know about until recently. We would love to find a distribution partner to keep our music out there.
Although selling CDs directly has been way more profitable than ever!
19: How far back do the Pastoria's and Romeo's go?
We go back to grade school at St. Veronica's in East Detroit. We have been friends with the Romeo's since 1965. We played in the school bands together; sang in the choir, and we played sports together got in trouble together, but most of all we shared a common bond from the very beginning...playing music together. Our parents were also friends so we've been really close for 37 years. WOW! One thing I'll always remember is Mrs. Romeos cooking...she was the best. Her and Jack Romeo and my mom Eda have always been huge supporters of the band. All of our parents have been very special to all of us.
20: What was your most notable moment on the road?
Opening for Aerosmith and Bob Seger comes to mind right away. Any time you play with your heroes it's a trip. But there's lots of great moments and stories. The best part of the whole road experience was the people that helped our machine run over the years, the people we traveled with and were there for us night after night. The "Midnight Express". My brother David "Dangerman" Pastoria, Thom "Kuch" Kuchulan, Tony "Veal" Vitello, Bobby "Lites" Piva, "Flip", "Rooster", Rudy, Dave Bernas, "Hot Sam", Jimmy Pal, Jimmy Risk, Vini Poncia, Bobby Schaper, Frank Rand all helped make it happen for us. The memories are a lifetimes worth.
21: Last year we interviewed the band Sweet Crystal, also from your fair city. Who else is currently happening in Detroit?
White Stripes and a whole new generation of Garage bands are coming out of Detroit. Also the R&B and hip-hop and gospel scene are strong. Of course Eminem, who used to cook our hamburgers at Gilbert's on Harper in St. Clair Shores, Bob Ritchie, now known as Kid Rock, who we now call Rich Bobbie, the Winans, and D-12 who use our studio in Harmonie Park, Uncle Kracker who is the most under-rated songwriter in the bunch, Insane Clown Posse, the list goes on. The musical heritage in Detroit is awe-inspiring. The 60's rock scene with Iggy, the MC5, and what that inspired in the 70's. Little Willie John and John Lee Hooker, Berry Gordy and Motown, George Clinton, Grand Funk, Bob Seger, Ted Nugent, Alice Cooper, Anita Baker, Aretha, Stevie, the whole techno scene. Just think about the way these artist influenced popular music as a whole and it's unbelievable...no other way to put it. We're just happy to play any role in that legacy. Detroit is starting to really dominate again...and I think it's could go to another level.
22: Harmonie Park studio's is a thriving business in downtown Detroit. Any other notable projects to note for our melodic rock audience?
Not hearing to many bands striking that chord. Maybe somebody ought to do come up with some new shit!
23: Thanks for your time and answers. It's more than a pleasure.
Thanks for your interest. We should have something new to listen to soon. Please drop us a line in our guest book
And thanks again for you support. B
Adrenalin's David Larson...Requiem
His name was David Larson but affectionately known to his bandmates as Damone'. He was gonna be an 80's rock star. With movie star,curly hair good looks and a voice from heaven, David had an engaging boyish freedom and innocence that camoflauged his closely held demons. This was the kid who jumped off the back of a truck one summer day, with mic in pocket, and declared to a prospective bandmate he was "ready to rock".
David died 22 years ago this year by his own hand at the moment his star was beginning to rise. He fronted a 6 man rock band from Detroit called Adrenalin, who packed as mean a musical punch as the times called for. They were young, possessed gail force energy, and had the writing skills to
match. It seemed like "January 1980" was a given destination for these troubadours whose only hemisphere of life's experience was the late 60's and 70's.
Upon the local release of "Gimme Good Lovin", A&R people from LA and New York were taking notice at a fevered pace. This band was on it's way to the dream.
The story of Adrenalin is not the story of David Larson. For his dream ended on that day of Feb 16, 1980. A Hollywood producer flew in for three days of rehearsal and a get to know. This band was 'gonna make it' and Mr.
Producer was merely doing his job. No one could have forseen the ungodly pressure that must have been David's as expectations seemed to grow by the minute for what might be the 'next thing out of Detroit'.
David appeared fine at what was to be his last rehearsal. We all said goodnight and went home finally locating that hard to find feeling that bright lights were just ahead. The following night would find the band playing to an eager young crowd and a curious Hollywood producer who wanted
to see what all the fuss was about.
David did not show up that night for the show......... and we all knew something was seriously https://www.tradebit.com exhilaraton from a local hit record and curious industry watchers quickly turned to panic and fear.
Our Lead singer was missing.
Maybe he was sorting things out. Life was changing by the hour it seemed and just maybe......oh please let it be, that he needed some space.
A silent,peaceful but ominous snowfall followed for the next 48 hours. No word from police,friends,or relatives. Our lead singer was still missing.
One evening, during that anguishing personal trial, I recieved a phone call.............to a breathy silence. My caller wouldn't speak. I called out to him,half knowing....feeling......that it WAS David. Finally.... he
was this close......and yet so very far away. For that 60 seconds or so, the silence told me he was seeking, in his own way, to find a place, a balanced somewhere......between return and retreat. To our utter sadness, retreat
David was found dead by exfixhiation in a car, 24 hours https://www.tradebit.com devastation that followed was unbearable. And it truly was the end of the innocence for a group of guys from Detroit who would now find their way without him.
In 2002 we celebrate, the 22nd anniversary of his parting, his wonderful voice and music, his contagious, infectious vitality, and his enduring spirit. We will always think about who and what David was..............and what might have been.
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