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Speaker 1: Now Here's a Highlight from Coast to Coast am on iHeartRadio.

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Speaker 2: After playing drums since he was five, Frank Marino started

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Speaker 2: playing guitar around age thirteen or fourteen while in hospital

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Speaker 2: in Montreal. By the time he was sixteen, he was

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Speaker 2: given a record deal and allowed unprecedented artistic freedom. He

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Speaker 2: released his first album, Maxoom in nineteen seventy two, at

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Speaker 2: the tender age of eighteen. That album was followed by

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Speaker 2: Child of the Novelty in nineteen seventy four in Strange

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Speaker 2: Universe in nineteen seventy five. Those two album covers depict

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Speaker 2: Marino's tortured experiences while on acid, which were relayed to

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Speaker 2: album cover artist Ivan Schwartz. More recently, Frank released a

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Speaker 2: six hour live recording on CD and DVD Live at

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Speaker 2: the Agareth Theater. An open or an often repeated myth

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Speaker 2: is that Frank Marino was visited by an apparition of

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Speaker 2: Jimmy Hendrix after a bad acid trip, a myth Marino

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Speaker 2: has always disavowed, and continues to do so on his

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Speaker 2: personal website. His playing, however, is inspired by Hendricks. On

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Speaker 2: the Gibson website, He's described as carrying Jim's Psychedelic Torch,

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Speaker 2: and Frank is notable for often performing cover versions of

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Speaker 2: Hendrix's classes classics, such as All Along the Watchtower. Frank

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Speaker 2: has described Mahogany Rush's sound his sound as the Grateful

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Speaker 2: Dead meets jazz. Mahogany Rush played before three hundred thousand

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Speaker 2: people at California Jam two in nineteen seventy eight. He's

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Speaker 2: toured with Aerosmith and Johnny Winter. He's widely considered a

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Speaker 2: guitar player's guitar player. And it's a great pleasure to

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Speaker 2: welcome Frank Marino to Coast to coast, am Frank, climb aboard.

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Speaker 2: How are you?

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Speaker 3: How are you Richard?

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Speaker 2: I'm flying, I'm great, Thank you. How are things in Montreal?

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Speaker 2: Are you getting a typical Montreal a winter?

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Speaker 3: They they're very cold, They're very very cold. We had

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Speaker 3: a snowless December and part of January and now I.

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Speaker 2: Git a no burst water pipes?

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Speaker 3: I hope no, not yet.

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Speaker 2: Okay, that's good. You know, I'm just thinking about your

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Speaker 2: your childhood and you know, Ringo Star likes to tell

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Speaker 2: the story of how he learned to play the drums

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Speaker 2: or decided he was going to be a drummer while

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Speaker 2: he was in hospital. For you, it's kind of the opposite.

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Speaker 2: You were playing the drums at a very young age

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Speaker 2: and then you went into the into the hospital and

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Speaker 2: picked up the guitar. But let me ask you about drumming.

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Speaker 2: I understand like you wanted to be Buddy Rich. Like

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Speaker 2: were you an old soul? Like I can't imagine a

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Speaker 2: five or a six year old deciding I want to

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Speaker 2: be Buddy Rich.

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Speaker 3: Well, Buddy Rich. Guys like Buddy Rich. And you know,

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Speaker 3: when I was growing up, that's if you heard drummers

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Speaker 3: and you heard Buddy Rich, there was no other drummer

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Speaker 3: you wanted to hear a clipt Buddy Rich. There was

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Speaker 3: Elvin Jones, but I liked Alvin Jones because you know,

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Speaker 3: it was it was that same kind of jazz type

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Speaker 3: of playing. And yeah, I wanted to I wanted to

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Speaker 3: draw up and be a drummer. I wanted to be

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Speaker 3: Buddy Rich. And believe me, when I went to the hospital,

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Speaker 3: they'd had a set of drums in there. I'd have

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Speaker 3: played the drums all the time, but they're not going

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Speaker 3: to put a set of drums in a hospital. So

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Speaker 3: while they had was a guitar.

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Speaker 2: Can you tell us how you ended up in the

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Speaker 2: hospital at the age of thirteen for an extended period

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Speaker 2: of time.

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Speaker 3: Well, it was the sixties, and you know, I had

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Speaker 3: older brothers and sisters while an older brother and older sister,

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Speaker 3: and I was like the sort of mascot of the gang.

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Speaker 3: And LSD was being used, and you know, psychedelic drugs

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Speaker 3: were being used, and I guess I just used too

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Speaker 3: much of them, and at one point it just got

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Speaker 3: you get to a point on a psychedelic drug, especially

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Speaker 3: if you're young, where you sort of crossed a certain threshold.

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Speaker 3: It's like a kind of a rubicon, and once you

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Speaker 3: crossed over, it's not like you can unsee or unfel

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Speaker 3: or unhear what happens to you. And nobody really knew

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Speaker 3: what to do about that. I mean, you could call

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Speaker 3: it a bad trip, but it was more than a

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Speaker 3: bad trip. It was a it was a complete, you know,

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Speaker 3: psychedelic experience, to quote Timothy Leary. And all I could

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Speaker 3: do is end up in a hospital because I didn't

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Speaker 3: know what to do about it. I mean, it had

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Speaker 3: never happened before. I had done done those drugs for

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Speaker 3: a while as a young kid, and it just all

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Speaker 3: blew my mind one day and from the time that

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Speaker 3: I went to the hospital, I never touched another drug

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Speaker 3: again or or even a drink to this day.

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Speaker 2: When would we would you describe it as like a psychosis?

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Speaker 2: Did it induce a psychosis?

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Speaker 3: You know the story of Alice in Wonderland. Yes, imagine

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Speaker 3: that really happening like e more. I mean, it wasn't

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Speaker 3: just like because I had done acids for a while.

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Speaker 3: You know, so most people who do acid, they feel

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Speaker 3: high and they sort of stevid walls breathe, and you know,

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Speaker 3: just it's sort of a light experience. But when it's

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Speaker 3: like I crossed over into what you like you call

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Speaker 3: a psychosis. And I guess it's similar to when they

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Speaker 3: say that schizophrenic people hear voices. Well that's just one sense.

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Speaker 3: Imagine all the sense is doing that to you and

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Speaker 3: creating a whole trip. And those early album covers are

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Speaker 3: really really are especially strange Universe, really are indicative of

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Speaker 3: what the trip was like. And it didn't just end suddenly.

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Speaker 3: It went on for many many years while I was playing.

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Speaker 3: So in the early days when I was doing those

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Speaker 3: albums with those covers, I was always trying to express

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Speaker 3: myself with the music that I was doing, trying to

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Speaker 3: express that trip. And I know it's interesting to believe me.

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Speaker 3: It wasn't a nice experience.

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Speaker 2: You know, it's interesting because we people tend to romanticize,

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Speaker 2: you know, that that era and and the you know,

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Speaker 2: dropping LSD, and you know, the U with the Grateful Dead,

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Speaker 2: the electric kool Aid acid trip and all of that.

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Speaker 2: I mean, the way you're portraying it, it sounded like

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Speaker 2: an absolute nightmare. I can't imagine a young a young

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Speaker 2: child going through that.

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Speaker 3: Yeah, it wasn't. It wasn't a scout night. Now, it

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Speaker 3: wasn't a nightmare in the beginning. It was it was

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Speaker 3: what everyone romanticized, you know. It was that, Uh there's

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Speaker 3: an old joke about you know, what do the Deadheads

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Speaker 3: say when the acid wears off? They what's that noise?

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Speaker 3: So it was it was romanticized and it was cool

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Speaker 3: and everything, and everyone was like if you woodstock, It

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Speaker 3: was very much like that. But in my case, I

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Speaker 3: went that one little silly step further. It might have

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Speaker 3: been because I was only thirteen, Uh, it might have been.

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Speaker 3: Who knows why it didn't happen to a lot of people.

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Speaker 3: I know of two other people that it did happen

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Speaker 3: to and they never recovered.

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Speaker 2: That is tragic.

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Speaker 3: So, you know, I think it's a dangerous drug. I

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Speaker 3: think all drugs can be dangerous if you don't know

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Speaker 3: what you're doing, like anything else. Sure, once I once

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Speaker 3: I hit the hospital and came out of the hospital,

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Speaker 3: and I went in and out, in and out for

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Speaker 3: a while. It was like back and forth, back and forth.

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Speaker 3: You know. I'd go in the hospital and said I

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Speaker 3: don't like being in the hospital. I want to go home.

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Speaker 3: And I'd come home and say I better get back

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Speaker 3: to the hospital. It was. It was a really it

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Speaker 3: was a really awful time. But the guitar was what

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Speaker 3: I held onto. It was like imagine being imagine falling

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Speaker 3: off a boat in the middle of the ocean and

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Speaker 3: finding one piece of wood that you could hang on to.

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Speaker 3: The guitar became that for me. And they had an

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Speaker 3: acoustic guitar in the hospital, and it became the only

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Speaker 3: thing I would gravitate towards for what however, hour, every

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Speaker 3: hour of the day. And when I had to go home,

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Speaker 3: they wouldn't let me take it. So my mother bought

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Speaker 3: me a guitar, and that guitar that she bought me

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Speaker 3: actually ended up becoming the guitars that I did in

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Speaker 3: my career.

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Speaker 2: With That's the the the the Gibson, the sixty one

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Speaker 2: Gibson s g Well yourself taught. I mean, how did

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Speaker 2: you learn to play in hospital?

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Speaker 3: I thought I could. It's hard to explain. I believed,

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Speaker 3: like I believe the songs I was thinking of. I

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Speaker 3: was thinking I was writing they. I wasn't writing them.

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Speaker 3: They were they were Grateful Dead tunes. They were doors tunes.

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Speaker 3: They were they were tunes, you know, they were Jimmy

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Speaker 3: Hendricks tunes. They were toned from that era. And I

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Speaker 3: was thinking, oh, I'm just going to work on my songs.

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Speaker 3: Like I was crazy.

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Speaker 2: But how did you learn? You know, how to play chords?

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Speaker 2: And you just figured it out on your own?

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Speaker 3: That just came on, you know. I started with notes.

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Speaker 3: I started with notes, and I had always had good

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Speaker 3: rhythm because I was a drummer, so timing wasn't a problem.

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Speaker 3: And later on notes became you know, oh, these two

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Speaker 3: notes go together and they make a chord. And then

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Speaker 3: much later on after that, when I started to well,

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Speaker 3: I won't say come down but I started to be

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Speaker 3: more in the world. Then I started looking into what

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Speaker 3: it was that I was playing and asking other people

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Speaker 3: what is it that I'm playing, and they'd say, well,

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Speaker 3: that's an A, and that's a B and that's the

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Speaker 3: G sharp and I started learning about music. It was

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Speaker 3: a long process, but it all happened pretty quickly because

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Speaker 3: it started at thirteen, you know, well it started. I

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Speaker 3: had three experiences like that, and it was the third

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Speaker 3: one that put me in the hospital. And that all

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Speaker 3: started between July twenty sixth, nineteen sixty eight, and September

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Speaker 3: third and fourth of the same year. That's when I

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Speaker 3: ended up going to the hospital, right And I'm born

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Speaker 3: in November, so I was just turning fourteen, so I

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Speaker 3: was still thirteen years old when it happened to me.

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Speaker 3: And between that point and being in the hospital for

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Speaker 3: most of the early part of sixty nine, you know,

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Speaker 3: I was supposed to go to Woodstock and didn't go

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Speaker 3: because I was I was completely you know, my mind

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Speaker 3: was splited. But between the time that I did the

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Speaker 3: hospital and the time I was eventually at sixteen going

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Speaker 3: on seventeen, by that time, I made an album.

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Speaker 2: Yeah, this is astounding to me, it really was.

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Speaker 3: I look back at it and I almost don't know

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Speaker 3: who that person was.

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Speaker 2: How did that happen? Was at nine Records? Was that

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Speaker 2: the label that came to you and said, here's the

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Speaker 2: keys to the candy store, Frank, go record an album

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Speaker 2: and you can produce it.

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Speaker 3: They tried everything to get me to record, and I

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Speaker 3: kept refusing because it wasn't cool in those days to

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Speaker 3: be part of the quote establishment. And the way that

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Speaker 3: they finally talked me into it because I said, no, no, no, no, no,

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Speaker 3: I don't want to do that. I don't want to

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Speaker 3: do that. I just wanted to stay in the room

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Speaker 3: and play music with my friends, and that's what I

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Speaker 3: did for twelve hours a day. But crowds would come

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Speaker 3: and see us. And so these people saw these huge

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Speaker 3: crowds coming to see us. We'd play outside, we'd play

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Speaker 3: in parks, and so they thought, oh, we can make

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Speaker 3: a buck with this, and so they said, let's get

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Speaker 3: him to sign a record deal. And I wasn't even

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Speaker 3: of age to do it. I had to have my eventually,

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Speaker 3: when I did find me ag reading what my parents

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Speaker 3: had to sign the papers, and it was unusual for

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Speaker 3: someone that young to be making a record, let alone

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Speaker 3: producing it myself. Because that's how they got me to

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Speaker 3: do it. They promised that if I would do it,

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Speaker 3: they'd give me whatever equipment I wanted. And that was

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Speaker 3: like a magic word. Sure, equipment will put you in

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Speaker 3: a place called the studio and it's full of equipment,

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Speaker 3: and I'm like, equipment, Oh wow, and we won't even

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Speaker 3: we won't even show up. You do whatever you like,

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Speaker 3: you produce it. That was when heard us sixteen year

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Speaker 3: old kid produces own record.

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Speaker 2: And the band Mahogany Rush. I mean, did you have

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Speaker 2: to quit you had to quickly put together a band

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Speaker 2: or with these studs.

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Speaker 3: I had, whoever played with me, like the jamming that

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Speaker 3: I was doing, it was always Mahogany Rush, before the

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Speaker 3: Mahogany Rush that became Mahogany Rush and finally did that album,

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Speaker 3: you know, when I was sixteen seventeen, right, I had

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Speaker 3: played with a lot of guys before that, and it

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Speaker 3: was always known as Mahogany Rush because Mahogany Rush was

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Speaker 3: not a name of a band, it was the name

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Speaker 3: of the of the experience I had, almost like the

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Speaker 3: Alan Parsons project, you know, like it was like I

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Speaker 3: would say, I'm having a mahogany rush. So I would

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Speaker 3: tell the doctors. It made no sense to them, but

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Speaker 3: to me, it made a whole lot of sense.

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Speaker 2: You were describing the feeling you had while you were.

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Speaker 3: Wanting to describe my trip. Yeah, and so whoever played

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Speaker 3: with me was playing mahogany rush music. It was almost

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Speaker 3: a choke to people. Right.

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Speaker 2: It wasn't the name of a band, it was the

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Speaker 2: genre you were playing.

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Speaker 3: Yeah, Yeah, that's right. That's a good way to put it.

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Speaker 1: Listen to more Coast to Coast AM every weeknight at

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