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Early four-track and analog experiments in Ohio basements led eventually to full-fledged proto-garage tracks produced in New York while studying film at NYU.
From the late 80's mid-nineties, he played various gigs in New York and read original poetry at notable Lower East Side and East Village venues, including Save the Robots and the fondly remembered Gas Station on Avenue B & 2nd.
Gone Marshall later relocated to Southeast Asia, and commenced playing with a range of local colleagues in Bangkok, Rangoon, and Phnom Penh. While in SE Asia, he penned his first tracks during this 2nd wave of music making.
Gone Marshall is described as a neo-psychedelic blend of Johnny Cash, Lou Reed, and a 'Trippy Leonard Coh
I was playing in the subway in Manhattan back during my New York City days and got in to a few shouting matches with the A train.... that's about it :)
As a kid playing violin with the youth concert group. I spent way too much time watching re-runs of 'Sanford and Son' in the leadup to the big Christmas show (instead of practicing).
The big day rolls around, and my solo comes up - and all I could do was think of Fred Sanford saying 'You Big Dummeh!' to his son, Lamont.
Totally flubbed my part while everyone was staring at me in the hushed chapel... violin bow creaked and groaned across the strings. Finally the solo ended and the rest of the group kicked in.
Lesson learned: practice makes perfect!
I have a hand made Dreadnought, made in Burma by a famed luthier there. It includes some pretty exotic wood, including jackfruit braces and waterbuffalo bone, with mother of pearl inlay in the shape of a Naga (magical snake)
I call it the 'Dragon Dreadnought'. I don't have it here with me now, it's down in Florida at my folks.
Basically, when I'm playing out and about, open mics, coffee shops, etc, I play the best 'budget' guitar I can find just in case it gets broken or stolen etc. For that purpose, I usually rely on Cort, which has a decent solid top for not too much money.
