Jim Testa, Jersey Beat
The Mike Tichy Disaster
When The Sun Went Down (2005)
Mike Tichy continues to impress me. I’ve been lucky enough to watch his progress firsthand here at Jersey Beat, from his humble beginnings in a high-school funk band to his current status as one of the most accomplished and talented singer/songwriters in the state.
Tichy’s debut full-length was cobbled together from several different demos and, frankly, sounded like it.
With When The Sun Went Down, he continues to dabble in a variety of different genres; but since this entire record was recorded with his current backup band, it’s far more organic.
Yet dabble he does, from funky cannabis-flavored jams to rootsy Americana, Nebraska-like folk-blues to lysergic Sixties folk-rock... with the occasional detour in Technicolor music-hall pop.
The one constant remains Tichy’s natural soulfulness; no matter what the style, that voice and guitar retain a natural ease and presence that’s hard to come by.
Throughout the CD, Tichy marries the natural pop feel of a young Elton John with eclectic guitar parts and a buttery groove supplied by his superlative band.
Maybe they’re all hippie-length tresses, facial hair, and the fashion sense of a lumberjack on the outside; but inside, this is one smooth radio-ready pop band waiting to be discovered. – Jim Testa
Mike Doktorski, New Brunswick Underground
November 2003
Mike Tichy
(self-titled) 2003
When ex-Mooney Susuki bassist Mike Tichy left the MS to pursue his own muse, he logged some time playing around the metro area as a one-man acoustic act.
Now, he's got a band together and on their first CD, these guys prove their mettle by ably tackling Tichy's workingman's pop for the musician's musician.
Make no mistake, Mike Tichy is the real deal.
If I had to guess, I'd say he has Elton John's Greatest Hits, the White Album, and Heavier Things in his car right now and his music pays homage to these influences unabashedly.
But Tichy's also one hell of a guitar player…the real standouts here might be those featuring just him and his axe.
The acoustic fretwork on "Bottom of the Hill" and "Palatine" is nothing short of amazing.
Strong honorable mentions must also go out to a few of the full-band numbers: the slow builder "Crisis," the dreamy/groovy "Only Looking"(with a way cool snakearound bass line) and the Elvis raveup "747."
Tichy's finest vocal delivery is reserved for closing track "Out Of Control," where he pulls off a plaintive falsetto against a sitar-driven acoustic dirge.
In the end, a quality disc by some extremely talented musicians that would be worth your while to acquire.
Tris McCall, The Tris McCall Report
November 2003
Mike Tichy -- Self-Titled
Obvious musical ineptitude isn't a requirement for indiepop recording, but it sure doesn't hurt.
Mike Tichy intends to make an indiepop record here -- or at any rate, something bedroomy and intimate, beholden to a personal logic -- but his virtuosity presents him a challenge.
Tichy is, technically speaking, an ace guitar player: he does things with his electric and acoustic six-string that you don't expect to hear on an independent release, and throughout Self-Titled, he displays an easy, comfortable versatility on both instruments.
Hell, it sounds like he even hauls out the sitar on a track or two, and instead of just twanging away idly at it like Apples In Stereo might, he actually has the balls to play the thing.
It's a strangely courageous decision, but then Tichy is all about making musicianly choices without apology: whether he's soloing (as on "Come Home") or just picking ("Palatine") he does so with a facility that betrays evident training.
In many New York City circles, these rock-school moves would be considered uncool, but Tichy is a Jersey music hero precisely because it would never occur to him to dumb down his playing for the sake of some mistily-conceived punk-populist virtue.
Jerseyans don't shy away from talent on display: as I've written many times before, in aesthetics we cling to a rust-belt meritocratic value system that elevates hard work, practice, and the institutional legitimacy of lessons and schooling over big city glitz, fashion, genre, and politics.
Now, it's fair play for New Yorkers to call us naïve, or to make fun of our style-choices.
What isn't fair is damning every Jersey artist with an unrepentant desire to show off his musicianship by comparison to the Dave Matthews Band.
Tichy won't be the last Jersey-music-student-turned-champion-rocker to be so tarred, but in his case, it's particularly cruel --
before the release of Self-Titled, the guitarist was doing hard time as bass player in NYC-based mod-revival act Mooney Suzuki.
Now, whatever Mooney Suzuki's virtues are, it's hard to deny that they're the very caricature of the willfully stoopid three-chord NYC stomp approach.
Nominally, Tichy left Mooney so he could make indiepop records like Self-Titled, but playing the same reductive blues progressions over and over again must have made a musician of his caliber positively ache for the door.
Wanting to flex stylistic and creative muscles does not make you a Dave Matthews wannabe, and room must be made for expressions of talent in independent rock music -- otherwise we'll only get records from people who have none.
Matt Mrowicki, Chorus and Verse
October 8, 2003
Success is something everyone needs to personally define for themselves. For some, money is their measure, for others it's reaching the top of their profession and others achieve success through the love of their spouse and family.
There is no greater futility than attempting to define another's view of success. Sometimes, simply being and doing something that one really loves, that brings fulfillment into one's life.
Mike Tichy's musical path has been set since he was a little kid. The northern New Jersey native has spent his life honing his craft as a songwriter, recording and performing in whatever styles caught his ear at the time, and blending them together into a unique sound.
He gravitated to the New York City scene, playing for several years with the band Scooby Groove. After that band broke up, Tichy was unsure of where he would to go next, but knew that he wanted to continue to expand on his musical horizons and gain greater experience with music theory. He set off for Boston to study at the Berklee School of Music.
After completing his studies, he returned to New Jersey to continue his musical development. He began recording music and reacquainting himself with the local scene. Along the way, he met and joined Moony Suzuki, a up-and-coming act generating a great deal of industry buzz. They needed a bassist, and Tichy fit the bill.
For about two years, Tichy toured with the increasingly popular Suzuki, who were getting mainstream music attention in the likes of Rolling Stone and Spin, and well as television exposure on Mtv and the Late, Late Show.
While the band's work ethic and devotion to constant touring were admirable and bringing the band increasing national recognition, it didn't allow Tichy to do the two things he loves the most: songwriting and playing guitar.
After leaving Moony Suzuki, Tichy returned to the recordings he had made on his own, and developed them into his debut full-length CD, self-titled. The bare-boned production and recording style serve to show off the complexity and diversity of the music itself. Tichy's talent and appeal as a songwriter are evident.
But even that recording, however recent, is a but step on the road of Tichy's creative development. He has put together a full band, consisting of Joe Vigliotti on bass, Mike Catapano on drums and Low on guitar, who have given the music a move lively and rocking feel when performed live.
With his experience as a solo performer and on tour with a national act, coupled with his formal training, Tichy has the wisdom needed to build on these steps to achieve musical success.
With his first formal album, and the "coolest band in the world" to back him up, he's doing so on his own terms. And that, truly, is success.
Q: The CD booklet for self-titled doesn’t say much about when and where the tracks were recorded. Give us a little background on how the album was put together and what sort of equipment was used to record it. Did you do your own engineering?
A: I had actually made two CDs before this. The first, which I titled "pop core", I recorded in 2000 on my computer (I'd never used a computer before this, so these recordings were my learning experience.) Then, in 2002, I finished my second CD, which I left untitled.
I'd burn copies of these at home and hand them out to every person that I could when I'd play.
Self-titled is a combination of those two CDs, with the songs that we are still playing out live, and the first one to have a cover, lyrics and artwork. I had to make something more professional-looking to get to the next level and be taken more seriously.
I recorded and mixed it all myself, in my bedroom using Cakewalk, and then had it mastered by Chris Haggertty at Battery Studios in NYC. I also played all the instruments aside from the upright bass on "UFO," which was done by my bass player, Joe Vigliotti, and the tablas [an Indian drum] were played by my friend Subir.
Q: How did you first become involved with performing, and make the decision to pursue music as your life’s work? How did you make a decision to enter the Berklee College of Music and what was your career ambition upon entering school?
A: Up until I was, like, 13 I was positive that I'd wind up being a baseball player. I'd practice pitching, hitting and fielding all day. My logic was that there was no way that I wouldn't succeed if I was playing at all times.
In 7th grade, I focused that attitude toward the guitar. Two years later, I started playing in my first band called Scooby Groove, a real technical, funk, groove band. I played in that band for six years and then I really thought that's what I'd be doing for the rest of my life.
When we split, I didn't know what to do so I decided to go to Berklee. I don't think I really went there thinking too much about a career in music. I just wanted to learn everything that I could. I got really into the Beatles, Elton John and Otis Redding at that time and being that it's a heavy jazz school I was turned onto guys like Wes Montgomery and John Coltrane.
Q: As a teenager, you performed with several bands around the area, and spent a lot of time learning the business in New York City clubs. How did you adjust to a formal structured environment at Berklee, and did you find yourself with a different attitude from other students there who perhaps didn’t have the street experience that you did?
A: Honestly, I think there were a lot of kids in the same boat as me at Berklee. It was really hard at first cause I'd gotten really comfortable playing a certain style, and being the "good" guitar player in my little town. When I got to Berklee, within like two weeks, I realized where I was at.
There were hundreds of better guitarist than me, a ton of kids doing the style I did, but better, and a lot of people who'd been playing out since they were kids; so anything that I'd done wasn't really that unusual there.
After I adjusted to the environment, I adapted to the formal training pretty quickly. I was so interested in it at that time so it didn't feel like work at all and it was just very inspiring.
Q: Looking back on your formal education at Berklee, and your informal experience playing clubs around and area and networking, which do you feel has been more beneficial towards achieving your musical goals? Do you feel that you have an advantage of having both types of experience to build upon?
A: Well, since my real musical goal is to just make music that I'd like to hear, I'd say that Berklee was more beneficial. The more understanding I have of music "theory," the easier it is to make the sound that I want.
Personally, I feel that I have an advantage 'cause I have a good understanding of music and am pretty well-rounded in being able to play different styles, at least if I work at it for a little bit. At the same time, in this business, that is somewhat of a disadvantage.
It's very hard for me to make music that fits into a specific category without feeling so repetitive and getting bored.
People say that self-titled switches styles too much, but, honestly, this is the most relative thing I've ever done.
There are some many songs that I didn't put on the record 'cause they didn't fit at all. Other bands I've been in where I wrote, wound up having some ten-minute instrumentals, some be-bop songs, as well as a strict blues song, a heavy Soundgarden-ish thing, and some pop songs. Kinda whatever I was into that week.
Q: One of your early breaks upon returning to the local scene was meeting Andy Gesner of Artist Amplification, and having your music included on their compilation CDs. How have you benefited from your relationship with Artist Amp, and what are its contributions to musicians on the local scene?
A: I've totally benefited from Artist Amp. Andy Gesner was working at the door the first time I ever played my songs out. It was at Doll's Place in New Brunswick opening up for a band called Barbuda that I was a fan of.
After I played, Andy asked if he could use my song "Dr. Said" on his first compilation CD and had me play some shows with other Artist Amp bands. I was so excited. Since then I've played some of the really good places in the area like Maxwell's, in Hoboken, Arlene Grocery, and The Fez in NYC, and become somewhat friendly with a lot of people and other cool bands all because of Andy Gesner.
Over the past few years Artist Amp has become this big family of bands playing together and being friends. It's kinda its own little scene. It is the organization that every band wishes was around, but it usually doesn't exist where they are. Here it does, though, at 2 Dreager Place in South River. Andy is the guy I call when I have questions and want advice.
I can do a whole interview just talking about him. Maybe another time. (Laughs.)
Q: You had quite a ride when you toured for several months with The Mooney Suzuki. What lessons about the music industry did you learn during your time with the band? Did you learn anything about yourself looking back on the experience?
A: The main lesson is to be nice to everyone. Every little connection helps. You never know who you're gonna run into again down the road or who knows who.
About myself, I guess I learned that I really don't want the fame for the sake of being famous. I think I already knew that though, but it was reassuring. It'd be great to be known for what I do.
Q: Some would question why you would leave a band getting TV exposure and media buzz. When you say that you wanted to pursue your own music and your “own trajectory”, are you indicating a certain aversion to media attention and “rock star” success, or was the way that success was coming about what made you uncomfortable?
A: When I read that I said "I wanted to pursue my own trajectory" I honestly had to go look that word up in the dictionary. (Laughs.)
The truth is that I wasn't happy not playing the guitar and writing music. That's what I've always done, so I wanted to get back to it.
I can't say that I don't want media attention or "rock star" success 'cause I've never really had much of it to complain about. Right now, I want all the attention that I can get for what I do. I'd like to be as successful as possible, while still playing what I consider to be good music.
Q: Now back on your own, you’ve put together the “coolest band in the world” and are back to supporting your own music. Did working with The Mooney Suzuki make you feel that being part of a band was where you wanted to be, as opposed to strictly a solo performer? Do you enjoy being part of a more collaborative unit?
A: The "coolest band in the world" thing comes from me hearing the band start playing on top of my new songs in rehearsal and me saying "oh, that sounds so cool". We used that phrase on a flyer once 'cause it looked funny to us.
The band consists of Joe Vigliotti on bass and Mike Catapano on the drums. Us three have been playing together for a long time. We were in a band called "Patel" from '98 to 2000. On second guitar is Low, who was actually a guitar student of mine 'til he began playing in the band. Yes, it is three Mikes and a Joe.
I've always loved playing in bands. I did self-titled by myself for the fun of it. I'd come home from work everyday and record. It wasn't originally supposed to be an album.
If it was, I probably would have done it with the band.
At first, I only played out as a solo performer 'cause it just happened to be at a time when no one was around. Joe was in school, Mike Catapano was playing with another band, and Low was just the guitar student I had that could help me with computer problems.
Q: Has your songwriting style changed at all now that you’re writing music to be performed by a group? How do you feel your songwriting has progressed from your solo days to self-titled?
A: I don't think my songwriting has changed too much because of the band. It has changed, but I don't think it's from being in a band. It is constantly changing. I'm always going through different phases for whatever reason. It may have to do with what I'm listening to, who I'm spending time with, or whatever may be going on in my life.
I usually have the songs completed before the band starts working on them, though. The overall arrangements are different now. They tend to be more energetic than before because we are arranging the songs as a band rather than me laying instruments on top of the acoustic guitar.
Q: Have you continued to write new music, and are there songs that have been worked into your live set that are laying the foundation for a follow-up album? Have you formulated any new recording plans?
A: Yes, we have been playing new songs for a while now. "Oh However" and "Gloria" are more upbeat and rhythmic songs that we've been doing in the live set for like six months or so. "Utah" and "Anonymous" are the titles of two on the softer side. We have started the recording already.
This album will be a band collaboration. Its going to have a more country-blues side to it, similar to "UFO" on self-titled. Joe and I have been doing a lot of listening to Elton John's Tumbleweed Connection over the past year, which has a similar feel. We are still recording and mixing at my house because we'd like to spend as much time as possible experimenting.
Q: Being an underdog is a recurring theme in your songwriting, yet you clearly show persistence and an idea of what you’re looking to achieve. Do you feel that you’re doomed to remain an underdog for your career, or that you’ll achieve a level of stardom on your own? How far do you hope to take your music?
A: The underdog theme is not necessarily referring to myself. I always liked the story of the underdog defeating the odds and I'm always rooting for the underdog. I don't know why. When I turn on a boxing match I always want the guy losing to win. Two of my favorite movies are Rocky and The Karate Kid.
I guess in relation to the music industry I am the underdog. I do so many things that are frowned upon. For one, the songs don't follow the basic verse, chorus, verse, chorus format. I have this thing that I've learned to really like of putting the bridge of the song after the first chorus rather than the second. Examples of this are in "Palatine" and "Picture Perfect."
Also, the lyrics are more to make the song sound good or set a mood or image of a situation rather then to tell a story. A lot of times I'll choose certain words over others just because the syllables flow better. If I were telling a story or writing a book I'd do it differently, but for writing a song the sound is more important to me.
Also, my songs sound very different from one another which is a no-no in the music industry. I can't help it, though. I get bored doing the same thing over and over again.
I don't feel like I'm doomed to remain the underdog. What sells in music is changing so much nowadays. I hope to think that what we do somehow relates to what is considered "cool" soon. I think our music is catchy and commercial enough to attract a big audience. We'd like to be as big as Elton John, James Taylor or Bruce Springsteen.
If not, we'll remain the underdogs trying to beat the odds and love doing it.
Chris Jordan, Pulse | Home News Tribune
September 26, 2003
Boonton's Mike Tichy is no stranger to New Brunswick, having played city venues such as
the Harvest Moon and Doll's Place numerous times.
However, Tichy has been vacant from the city for much of the last two years, instead
choosing other pursuits, such as becoming a member of hipster New York City rock band
Mooney Suzuki.
Tichy played bass for the Mooneys while the band toured, recorded "Don't Fence Me In"
for a Nike commercial, and appeared on CBS' "The Late Late Show with Craig Kilborn
Show." However, Tichy found life as a Mooney unfulfilling, left the band, and has
released the solo CD "Self-Titled." On it, the Berklee College of Music-trained songster
unveils a gentle-yet-explorative musical personality. Quirky, yes, but more so exquisite
and tuneful.
Tichy recently came by the office to chat about his music and career:
Q:
The CD is really good, very melodic, a little bit quiet, and it almost reminds me of
(lo-fi) bands like Elliott (Smith) and the Softies. Is that where you're coming from?
A:
I have to remember what you're hearing as opposed to what it's become. The recording was
me sitting in my bedroom, doing it soft with acoustic guitar, then I would add the
instruments and it winds up that way. When we play with the band, it's loud and very
energetic, and its soft and melodic at the same time.
Q:
I was once at a show at Irving Plaza (in New York City) and I saw a band, the name of
which I can't remember, but I was talking to my friend kind of near the stage and I was
shhhh'ed. So that proably won't happen to me at a Mike Tichy show?
A:
No, I'd say not. I expect you to talk, anyway.
Q:
I noticed that you studied at Berklee, and listening to the work ("Self-Titled"), I was
happy to hear that what I assumed was disproved. Whenever I hear music by somebody from
Berklee, it's maybe technically proficient, but it doesn't touch me. It seems that there
is an element that doesn't touch the soul.
A:
I guess that's a misconception about Berklee. Back in the 1970s and early 80s, it was
strict jazz. Then by the early 1990s, shred music by Steve Vai was big, and everyone was
doing that. But when I went there, we were studying Sting, Elton John, analyzing Sting
songs as well as the jazz stuff.
Q:
Tell me about your tenure with the band Mooney Suzuki?
A:
I played bass for the Mooney Suzuki. I didn't play guitar and I didn't want to play
bass. It was the only band I've been in that I wasn't writing for or contributing to in
anyway except for the fact that I was a fan of the band beforehand. I was a fan and they
needed a bass player and I was kind of friends with the singer and I liked everything
they did. I was kind of sitting at home and I made my CD and nothing was really
happening and it was getting boring so they asked me if I wanted to go on tour.
Q:
It was just a year in Mooney Suzuki. So maybe Mike Tichy in Mooney Suzuki can be called
akin to Glen Campbell in the Beach Boys?
A:
That is right, yeah.
Bob Makin, "Courier News"
June 26, 2003
Mike Tichy, who hails from Boonton, has received national attention as a member of the buzzing Williamsburg band The Mooney Suzuki.
The singer-songwriter mellows out immensely from that R&B-inflected garage-rock unit with meaty, meaningful songs that pleasantly pop and groove a la The Beatles, Brian Wilson and Big Star.
His self-titled/released effort should continue to expose him to a large audience, especially the soulful, organ-driven ditty "UFO."
Eugene Mulero, "The Hudson-Current"
June 26, 2003
Not too many musicians would leave an up-and-coming promising
modern-alternative garage rock band to seek a relatively solo career
as a virtual unknown. But that's just what singer/songwriter Mike
Tichy did. He left New York City's The Moony Suzuki more than a year
ago to pursue a solo project that so far has seen its share of
adversity.
Tichy walked away from a band that is hip, exciting and on the
verge of stardom. Suzuki has been featured on MTV, Rolling Stone
and Spin, and they are playing in the second-coming of
Lollapalooza this summer. Tichy was Suzuki's bassist. He was with
them during their media blitz, which included a performance on the
Late Late Show.
"The kids I teach guitar lessons to think I'm cool because I was
with Suzuki," Tichy said. "I don't regret leaving. I find it funny
when people are surprised to hear I left them. The fact is I want to
make my own music."
His young students may think their 28-year-old instructor is cool
because he was with The Moony Suzuki, but Tichy did not see it that
way. The band's business-like attitude and relentless touring
suffocated Tichy's creativity, he said, and his desire to pursue his
own musical interests was too strong to ignore. When he departed
from Suzuki, he took some time to write and record melodies in his
apartment in Boonton. Last winter he recruited friends to start a
band and make a record. The result was Self-Titled. An
independent effort consisting a dozen tracks of mellow acoustic rock
with a whole lot of melancholy, Tichy's lyrics evoke pain, struggle
and despair. There are some catchy hooks in songs like "Picture
Perfect" and "Palatine," but they are unintentional. Tichy's
philosophy is to be non-pop and a deep poetic singer/songwriter. His
sound is a bit like Nick Drake, and Tichy said he finds inspiration
in early Elton John and Otis Redding music.
"Helplessly stranded on an island of time misery greets me as I
climb rising occasions, leading to endless ends further increasing
my decline once I was empty...so won't you please baby come home,"
he writes in "Come Home."
The songs persevere in making the listener believe the singer
will eventually find happiness. A self-described underdog, Tichy
inspires his audience to root for him in Self-Titled.
"I have a better chance at succeeding in life doing this than
anything else," Tichy said. "This is what I do best."
Young and at clubs
As a teenager, many of Tichy's peers joined clubs and athletic
teams at Parsippany Hills High School in Parsippany, but Tichy
played guitar with friends at New York City clubs. He joined a
couple of bands and was out and about almost every weekend earning
little money and meeting people. He learned about the music scene -
the business, fans, touring, and performing aspects.
After high school, Tichy enrolled in the prestigious Berklee
College of Music in Boston. He graduated with a jazz
performance/songwriting degree. The jazz took a backseat after
graduation, while Tichy focused on his singer/songwriter career. He
moved to Boonton and recorded songs, engineering them with a
computer. Before joining Moony Suzuki, he toured the tri-state area
and met Andy Gesner from Artist Amplification in South River. Gesner
helped Tichy land gigs and he even promoted Tichy's music on his CD
compilations. In 2000 he met The Moony Suzuki.
"They told me they needed a bass player. I rehearsed with them
all summer and toured with them," he said. "It was a good learning
experience, but I wanted to pursue my own trajectory."
He left Suzuki after several months. Tichy then formed a band and
recorded Self-Titled. Tichy's "coolest band in the world"
includes Joe Vigliotti (bass), Mike Catapano (drums) and Low
(guitar).
Lately Tichy is feeling more and more like the underdog in the
music biz, he said. As an independent artist, Tichy lacks the
support of a record label. He has to front and manage the band,
something he does not enjoy.
"I hate calling booking managers. Many times they don't want to
deal with you," he said. "I wish I had the pull. I don't have pull
right now."
Music industry pull may be on its way if Tichy continues
recording meaningful hard folk melodies for a new generation. His
primary goal is to spread his music to as many people possible. On
June 27 he will headline a Maxwell's show that includes Particle
Zoo, Speedsters & Dopers and Stereo Generation. The show starts
at 9 p.m. and tickets are $7.
Maxwell's is located at 1039 Washington St. in Hoboken. For
information call (201) 653-1703 or visit www.maxwellsnj.com. For
information on Tichy visit www.miketichy.com.
©The Hudson-Current 2003
Jim Testa, "Jersey Beat"
MIKE TICHY - Self-Titled (www.miketichy.com) This debut full-length from
NJ-based singer/songwriter Mike Tichy is like going out for dim sum. There’s no
logic or set menu, but rather a wide variety of tasty tidbits that vie for your
attention. That’s a fun thing to do in Chinatown but it’s problematic for a
folk-rock CD. The explanation for Self-Titled’s diversity lies in the fact that
it consists of a dozen demos recorded over a span of several years, with an
ever-changing case of backup players in Tichy’s home studio. Now, Tichy can
sing and he can play guitar; there’s no argument about that. But he switches
styles like a chameleon from track to track here. The giddy UFO, with its
circus-parade organ and Elton John-ish falsetto, is soon followed by the delicate
Palatine, with its lush Simon & Garfunkel harmonies and finger-picked
acoustic guitar. There’s a tad of James Taylor here, some Donald Fagen there, a
little Squeeze and Beatles too. For my money, though, I’d can the
mimicry and more gimmicky songs and stick with solid folk-rockers like
Where Do I Go and Picture Perfect, where Tichy’s ear-pleasing vocals, elegant
guitar style, and strong ear for melody all play to his strengths.
Alex Kennedy, "generation20something.com"
April 6, 2003
In the world of popular music it's getting hard to escape describing bands by their more successful contemporaries.
This band sounds a lot like Boys to Men and Oingo Boingo with a little Twisted Sister to make it rock. I had
the good fortune to be at the Lion's Den in NYC to see Mike Tichy play on Friday night. The greatest flattery I can
give him is that it is impossible to describe his music by citing his influences. Sure, it's a mix of blues, country, pop
and rock, but he puts it together like no one I've ever heard before.
He started his set with 747 and UFO. The former was a testament to the honky-tonk rock from the time of Carl
Perkins and his like. UFO was an up-beat pop tune with an infectious hook. What is remarkable about these two
tunes is that even though they have a strong commercial element they are not cliche in the least. Mike then
launched right into a dead on cover of Elton John's, Amoreena. Mike is one of the few artists on the
scene that can take a cover and truly make it his own. His voice was extremely dynamic as he gave a very soulful
rendering of the song. This was the turning point of his set. As he began his fourth song, Out of Control, I began to
see that Mike was a very unique songwriter. The song began with a lush and lilting melody, sung by Mike in falsetto
over some exotic scale (possibly of Indian or Middle Eastern origin). Halfway through the song it evolved into some
incredible straight-ahead rock and roll. At this point of the show Mike shows us why he deserves the band's title. His
guitar solo was inventive and reminiscent of the long forgotten guitar giants of the seventies. Where other guitarists
may be timid due to lack of skill, Mike lays it all out on the table and does so with conviction and authority. From
there, the rest of his set remained explosive.
It's very clear that Mike doesn't take his audience for granted. His songwriting skills are complex enough to
be interesting without being abstract. His voice is very strong although at earlier times in the set it seemed a little
disconnected. Joe Vigliotti (bass), Mike Catapano (drums) and Low (rhythm guitar) comprise the remainder of
his band. It is abundantly clear that they are all exceptionally accomplished musicians with sensitivity enough to
homogenize themselves into a tight unit. Mike Tichy (the band) is an extremely polished and professional group.
They obviously take the process and performance of making music very seriously while it is evident that they love
what they do on stage. All of these qualities make them incredibly appealing to watch and listen to. From where I was
standing in the crowd it was clear that the only direction Mike's music is going is up.
Al Muzer, "The Aquarian" "Jersey Talk"
Featuring the gloriously luminescent harmonies and hook of "Dr. Said," the mid-70's AM radio sheen and Elton-esque sway of
"Come Home," and a catchy cut called "Where Do I Go" among its many standouts, former Scooby Groove guy, current Monney
Suzuki bassist and all-around multi-instrumentalist Mike Tichy's sweetly sungsolo effort is a classic collection of Beatles-to-Beach
Boys pop perfection that diserves a worldwide audience.
Andy Gesner, "Artist Amplification"
Establishing himself quickly as one of New Jersey's brightest and engaging new singer-songwriters, Mike Tichy (pronounced
TISH-ee) is a humble, skillful, 20-something wandering minstrel with chops, hooks, and tenacity. Tichy's commitment to music is
all consuming and his life experience is fodder for his poetic and prophetic odes to lost love and broken relationships. His songs
are stories told from the deepest chasms of his soul and sung in an instantly endearing way, placing him at the top of the ever
increasing heap of singer-songwriters vying to be heard.
Like nearby neighbor Pete yorn, (tichy is from Boonton, Yorn from Montville), Tichy plays all the instruments himself in the
studio, and employs a top notch backing band for live performances. There are musical similarities as well; both owe a great debt
to the musical vision of the Beatles, with the emphasis on stellar song structure and intelligent hook filled pop arrangements.
With the experience he gained attending Berklee College of Music and playing in numerous bands (Scooby Groove and
Patel), Tichy is able to utilize a plethora of musical sounds and sonic landscapes. Tichy's debut release "Popcore", is a galloping
romp through the spectrum of human emotion. "Dr Said", Popcore's" lead off track is a brilliant tribute to the genuis of Brian
Wilson and explores the awful taste of regret and all of it's destructive trappings. Damn near the perfect pop song, Beatle and Big
Star comparisons are inevitable, but not discouraged. "I can't hide my love and respect for the music the Beatles made in their
career. Hearing them and discovering the uncanny ability they possessed to construct songs, was a big inspiration for me", tichy
muses.
Another stand out track on "Popcore" is "Come Home", a song where Tichy unabashedly gives props to another of his
song-writing heroes, Elton John. The keyboard alden vibe is laid back, but urgent in it's message of desperation and apathy.
"Only Looking" explores Tichy's obsession with the south (a place he tours regularly) and the isolation and despair of a wayward
soul who is always searching to be in a new place, away from the reality of the current situation.
Throughout "Popcore", Tichy flexes his musical muscle not only with his abilty to play very instrument, but in his abilty to
combine carefully crafted hooks with thoughtful self-realization and youthful exuberance. When tichy is not playing with his band,
he helps outhis fellow musicians and friends by being able to fill in on any instrument. He is currently helping out local heroes The
Mooney Suzuki as their bass player, and recently recorded a CD with them in Detroit.
Tichy will continue to help out his friends The Mooney Suzuki, but insists that his solo career is his main priority. With new
songs in the can, a southern US tour just completed and a new CD ready for release by the end of 2001, Tichy is poised to
graduate to the next level. Its only a matter of time before Tichy's awesome talents are discovered by those outside the immediate
environs.
Chris, "Drips" Hickory, NC ... Mar 2nd, 2001
I remember thinking how great it was to hear Mike's first CD, and ever since I've been looking forward to having him here at Drips.
The most impressive aspect of his recording is that he's done it all himself; all the music is written, performed, and produced by
Mike. And it is phenomenal. It's like intellectual pop meets home-grown folk music. Every tune tells a story. Hes coming a long
way to play for us so please support this woderful live music by a truely talented musician.
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