Shitar -- History

Here it is!!! The history of the best rock band ever!!! So pull up a comfortable chair and a glass of milk and dig in. If you find yourself falling asleep, rest assured that the page will be there when you wake up. I will break up this page into sections/timeframes -- each with it's own page -- for your viewing pleasure, but I just don't feel like it now. Enjoy!!!

SHITSTORY

The beginnings

The year was 1986. Two young cousins with a little free time on their hands and a little bit of talent embarked on a musical journey which has taken them beyond their wildest dreams and changed the face of music forever. This is their story.

John Gorney was born into a middle class family in Maywood, NJ, at the end of the 1960's. It was a tumultuous time for the nation, at war in Vietnam, and just a few years away from the Watergate scandal. It was also a time of free love, long hair, and poor fashion. But young John was oblivious to all this. Instead he honed his creative skills and self reliance. At a very early age,
John fell out of his crib and onto a piano, his little fingers grasping for anything to break his fall. As luck would have it, he landed on the notes A,C, and E--the chord A minor. He felt safe here.

Two-and-a-half years later and a few miles south, Matt Gorney was born also into a middle class family. Even at an early age, Matt had a penchant for flamboyance and a need for attention. This need can largely be attributed to the birth of his sister, Kate, with whom he now had to reluctantly share the dwindling limelight. He took it upon himself to act out, each time having to be more funny, or more bizzare to get the desired attention. It was never enough.

A middle class family in Pottsville, PA, welcomed home a son, their second, in May of 1972. As a child, Mark Mistysyn's favorite hobbies were eating and sleeping. Mark also displayed a love of music at an early age. He would often listen to his father's Elvis albums, but he preferred the Village People.

The two Gorney cousins fortuitously met at an early age and have been related ever since. They would gather at family functions and shun their sibblings and relatives, instead opting for creative undertakings like the JMFL, Rock 'N' Time, and various film projects. They treated these projects as if they were the most important things ever. Come to think of it, they probably were.

A few years passed and John was becomming quite a piano player. Those lessons at the legendary Grandma Gorney piano school were starting to pay off. John would perform at small gatherings, first on the piano, and, later, on a state of the art synthesizer. It was around the same time that Matt Gorney discovered his father's old beaten up accoustic guitar. It had always been there, but never played. Matt picked up the old wood and dedicated himself to teaching himself to play it. It was a long and painful task (his mother will vouch for this). He experimented with various tunings and playing methods with little luck. Still, it was at this time that he realized that what he was playing was bad. Hence, the beginning of the tuning of a golden ear. Not
to long after that, Matt met with record mogul Joe Kazyck who, impressed with the youngster's enthusiasm, gave him his first electric guitar.

A One-time only gig

Flash forward to the fall of '86. The two cousins were set to do a one-time only gig at a small club in Jersey City. Despite limited technical ability, the duo put on a dynamite show, complete with dancing girls (sisters and cousins). The twosome performed a variety of cover songs including "Batman," "Jump" and the "Rocky" theme at the sparsely populated hall. Family members were in attendence. So was record executive Joe Kazyck, who immediately signed John and Matt to a record deal. "What I saw was potential. Really, really, really raw potential. But potential nonetheless," an elated Kazyck exclaimed.

Solitary Confinement

John and Matt Gorney holed up in a brand new studio in Wyomissing, PA, in the summer of 1987 with the intention of recording an album. Each of them had written a few songs, but none better than the written-in-the-studio ballad "My Baby's Not at Home." The song was simple in structue, but effective. At the time, this song was thought to be the ballad-to-end-all-ballads. "At the time, it probably was," quipped the humble elder cousin. The rest of Solitary Confinement was rather shoddily done, with few songs making much of an impression on the listening public.

In the following summer, the cousins' Gorney embarked on another album, this time with services of bassist Jeff Eskow, and percussionist Chris Mandrioli. The quartet recorded five songs during the sessions, "Dr. Faustis," Billy Joel's "You May be Right," "Polish Blues," "Childhood Dreams," and a remake of "My Baby's Not at Home." The tape was unfortunately erased. During a break, band members relaxed by watching the B-movie Blood Diner, about two cannibalistic cousins' quest to resurrect the ancient Sumarian goddess, Shetar. They adopted that name as their own, but changed the spelling to avoid copyright infringement lawsuits.

Jammin' in the Gutter

Undeterred, Shitar returned to the studio later that summer, this time without Mandrioli who was touring with Milli Vanilli at the time. Matt and John had each written quite a few songs, but instead decided to let the spontineity of the studio guide them creatively. What resulted was Jammin' in the Gutter, a five-song EP highlighted by the anthem, "My Mom is Such a Bitch," and the power ballad, "Never Meant to Be." Eskow proved to be an integral part of the band co-writing three of the five tracks and singing lead on "Bitch." Also included is a collaboration with pop diva Doreen Wexler, the 50's throwback "Mistaken Identity."

Shitar and the record company had hoped for an LP instead of an EP, so they returned to the studio in December to complete the album, which would be repackaged and also titled Jammin' in the Gutter. "I remember the confusion," Matt Gorney recalls. "We had two albums out with the same title. People didn't know which one to buy. Some bought 'em both, others bought neither. It was pretty unsettling."

This time around, Jeff Eskow was absent from the sessions. It seems there was a contractual dispute that led to his dismissal. "Jeff thought he was bigger than the band. He wanted a bigger cut of the profits, and that was his ultimate undoing," John reflects. "There's no place for selfishness in Shitar." Nonetheless, John and Matt recorded three new songs to complete
their second LP.

Shitar again returned to the studio in the summer of 1989, armed with a truckload of new material, mostly written by John. The increased song total made it clear to the two charming young cousins that a double album would be necessary. Matt Gorney remembers, "It's every bands dream to do a double album. And that includes us. We've gotten to the point where we've got enough good material to fill up all the vinyl. John's contributions have been tremendous."

John's contributions were leaps forward in quality as well as quantity. In all, John wrote nine-and-a-half of the fifteen tracks on the album. It is on Shades of Grey that the elder statesman of Shitar first exibits his penchant for writing epics. "Lost Without You," "Honor Above All," and "Childhood Dreams" all clock in at over seven minutes while utilizing the musicians' blossoming skills during extended jams. Shades also contains the band's first bonafide hit, "Dreaming," a tender ballad by Matt. John's Paradise Can't Last Forever" was also released to moderate success. It is also on this album that we hear the beginning of a Shitar staple: vocal harmony. Though in its infancy stage, harmonies are present throughout the album, most notably on "The Great Amen."

A Moment's Passing

Shades of Grey was also the first comercial success Shitar had experienced, and capitalizing on that success, they decided to release an album of leftovers, covers, remakes, and b-sides just weeks afterwards. The aptly titled A Moment's Passing left stores just as quickly as it arrived. The quasi-title track "One Moment's Passing" earned some time on the charts, as did "City Streets," which was even included on a movie soundtrack. O.K., the movie was written, produced, directed, and starred in by the two cousins, but it was included.

Unleashed

Shitar was entering the upper echelon of pop music. This success was the impetus for their first headlining tour of America. One of the shows for this tour was recorded and released as a live album. Unleashed captures the band at it's rawest, playing all of the hits from their first four albums in front of a capacity crowd at New Jersey's Brendan Byrne Arena. "You know it's funny," John said of the album. "When we were mixing it, we had to turn the crowd way down. They were so loud that we could barely hear ourselves playing."

Unleashed stirred even more interest in the band. They were booked on several TV programs including NBC's short-lived late night talk show, The Kate Show, hosted by Kate Gorney, now a reputed litagator. Matt explains, "They had this guy on, who had been burping for, like, a month straight. He was really great. We liked him so much, we had him come up and sing 'My Mom is Such a Bitch' with us. I don't remember his name, but he even did a few shows with us."

The Great Space Opera

Amid all the spectacle and hype, Shitar confounded the experts by putting out a concept album, The Great Space Opera. "We went into the studio with every intention of putting out a straight forward rock album," John told reporters. "It just wasn't working out. So I was fiddling around at the piano and came up with 'Climb on board, step inside, fasten your seatbelts, we're going for a
ride, on the great space op-per-ra. I knew I was on to something."

And John was on to something. Shitar defied the odds when GSO entered the charts in the top ten, a first for Shitar. The record company, fearful that Shitar loyalists would reject the concept, released "Nobody Knows," a song included on, but not really a part of, The Great Space Opera. But when DJ's around the country began flipping the single over and playing "Dusty," Shitar was vindicated. Matt recalls, "We put our hearts into this album. It (the recording process) all happened so fast, the music just seemed to write itself. And when you're dealing with themes of good and evil, the concepts seem to take on lives of their own."

Pain So Real

Still, record company executives were not pacified. They brought Shitar back into the studio to record another album, this time a rocker. They emerged with Pain So Real, a solid album. "The material on Pain So Real stands on its own," John said. "Songs like 'Jenny' and 'Second Fiddle,' songs that were originally overlooked, have been given second lives of late. We weren't really prepared to do another album and the result is predictable."

Long Way Home(I Left My Keys in the Car)

However, Pain So Real did well enough to keep Shitar flying high. And if they were approaching the stratisphere on Pain, they completely left it with their next release, Long Way Home(I Left My Keys in the Car). John explains the album's unique title: "You see, Matt and I, and one of my people, were out one night during the sessions eating Mexican food. Well, we finished eating, and when we got to the car, I realized that had actually left my keys inside. We had to walk home two miles after eating Mexican food. Let me tell you, that's not fun."

Semantics aside, Long Way Home is super. The album begins with a brilliant guitar solo by Matt Gorney, which segues into the first single, "Don't Need Your Love." If there were any thought that Shitar had gone soft, this song changed that quickly. Said Matt, "We wanted to get back to basics. We're always going to experiment a bit, but when it comes down to it, I'd rather
slam a guitar down your throat than sing about how pretty the flowers are."

Long Way Home is Shitar's second double album, a feat that is becomming a foregone conclusion. John continues to show growth in his writing on tracks like "The Baby Song," which deals with sudden infant death syndrome. "My Dog Mac," is another example of tongue-in-cheek Shitar, a song written as a tribute to Matt's cocker spaniel Mac. The dynamic duo also rocks out in epics "Coming Home" and "Forgive Me."

Long Way Home proved to be so successful that Shitar decided to embark on its first-ever world tour. Besides hitting the U.S., the cousins Gorney made stops in Europe, South America, and Japan, where they proved to be immensely popular. Shitar recorded one of the earlier shows on the tour at Reading's Municipal Stadium. Keyboard virtuoso John Gorney commented on the choice of venue. "Sometimes the fans in the smaller cities don't get a chance to see a band like Shitar. Why should they be treated any differently than big city fans? We wanted to show our thanks for the Berks County fans by rewarding them with a local show."

Good intentions aside, Releashed, a live album, was adisappointment in the eyes and ears of most Shitar fans. It seems the band was under ever-present record company pressure to put out as much material as possible, even though a live recording was released just a year ago.

"Releashed was a bad idea," guitarist Matt Gorney lamented. "We were behind the idea of a live album, but we had some equiptment problems and other mishaps...it was a bad show. The suits said, 'don't worry about it, it'll be like audio verite.'" The are a few bright spots on the disc, though. Shitar delivers rousing renditions of "My Dog Mac," "Dusty," and "My Mom is Such a Bitch."

Delusions of Grandeur

Following the tour, Shitar released Delusions of Grandeur, an album modeled after, but inevitably weaker than Long Way Home. Delusions is overloaded with sappy ballads and worse covers. Matt Gorney explains, "We'd had hits with love songs and it was an emotional time for me. I thought I was Billy Joel or some kind of balladeer. Not that that's bad, it just doesn't suit me."

One of those ballads, "One More Time," was a huge hit for Shitar and remains a fan favorite today. Again, the band scores with a humerous number, this time the foot stomping "Lost in Pennsylvania." But Delusions may be best remembered for resurrecting a now-Shitar classic."We were running out of songs to fill up the album," John recalls. "So I said, why don't we do 'Jenny?' I was never happy with the original recording and I think it never got a fair shake. So we did it and the rest is Shitstory."

Speaking of Shitstory, that's exactly the title of the next album the band put out. In the summer of 1991, Shitar released a two-CD greatest hits package that covers the bands first ten albums. "We felt it was a good point to get perspective of what we'd accomplished," the long-haired John Gorney admitted between bites of pizza. "Technology had improved to a point that we felt we needed to update some of our earlier songs."

Shitstory, Volumes I and II are exactly what you'd expect from a greatest hits collection from the greatest rock band ever. All of the hits are present with few modifications made. The greatest change is the addition of drums, a first on a Shitar album. Although uncredited, it's believed that Matt Gorney played most of the drums on the album. It was uncredited for a reason.

Drums, Bass, and the New Guy

In the fall of 1990, Matt Gorney packed his bags and said goodbye to the streets of Jersey City. His destination was The University of Scranton, a fine Jesuit institution of academic excellence and occasional inebriation. Martin Hall, room 206, would soon be home. Just one door down the hall was a quiet, skinny guy from Pottsville, PA--a mid-sized metropolis just off I-81.
As luck would have it, he turned out to be a guitar player.

"I remember first meeting Matt," Mark recalled. "Here was this guy--obnoxious and cocky--blasting his guitar while his parents and sister sat on the bed. I remember thinking his sister was cute." Not long afterward, Matt and Mark were recruited into a local cover band. Underground Draught consisted of Pat Spillane on drums, Mike Lyons on guitar, and Joe Walsh on lead guitar. Ironically, it was Mistysyn who became the bass player, while Gorney played keyboards, guitar, and assumed lead singer duties.

"We were all standing around playing, and no one was singing," chimed Matt. "So I got up there and sang. I was the only one not afraid to make an ass of myself. So it was fortuitous in a way." Underground Draft proved to be short-lived, but more importantly, it helped cement the friendship and musicianship of Matt and Mark.

Following the breakup of the band, Matt asked Mark to come to the studio to assist in recording the new Shitar album. Mark was happy to oblige. "Sure I'd heard of Shitar..I mean who hasn't," Mark reflected. "But I wasn't really a big fan of the band. I went there with the intention of helping out a friend and maybe gain some notoriety. I never thought it would be a full-time
gig."

Mark played on the first side of As Polish as they Wanna Be, adding melody in places where there been none. He even co-wrote three songs that made it to the disc, including "Waiting For You." "I think Mark gave us a needed kick in the ass," pondered John. "We were able to do new things, move in new directions, and--not to take anything away from Matt--add depth to the guitar playing on Shitar albums."

As Polish as They Wanna Be has proven to be an eminently forgettable album from the reigning kings of rock, but it was an important step in the evolution in the band.

In the winter of 1991, Matt again extended the invitation to Mark to sit in on Shitar's recording session. Mark again accepted, but this time with slightly more open arms. Mark remembers, "I needed the first experience under my belt. That opened a lot of doors for me. I was seeing this girl at the time, and she really loved what I played on the last album. To me, it's a totally different way of recording. Those guys are relentless madmen in the studio. It's non-stop work, but I think it pays off. Just look at the results."

Mark's contributions on We Use Our Hands were slightly less than on the previous record due to some undisclosed heinous obligations. Still, John and Matt pressed on to record on of the most solid, yet underrated albums in the Shitar catalogue. Few songs on Hands stick out, but there is unity and cohesion among the tracks. "I Guess I Like You," "Hide it Away," and "In Your Dreams Tonight" have been the most prominent tunes.

Feeling his presence not needed direly on guitar, Matt decided to add the bass to his musical repertoire. "Mark and I were going to start this band," Matt recalls. "There were already two guitar players who were better than me, so I figured 'why not bass?'" That band never happened, but Matt stuck with the bass nonetheless. Another fortuitous circumstance.

By the summer of 1992, there was no need to extend an invitation to Mistysyn. He was firmly entrenched as Shitar's lead guitar player. In preparation of the forthcoming album, Mark had co-written several songs with Matt, including the rocker "Anticipation." Mark comments, "We were just jamming one day, and I came up with this killer riff. We knew we were on to something, so we both cut all of our afternoon classes to finish writing the song. Looking back, it's not the greatest song, but it captured that moment, and eliminated any doubt whether I was an official member of Shitar."

With three official members, Shitar began recording in Jersey City, New Jersey, amid an entourage of fans and hangers-on in an electric atmosphere. That vibe helped produce Swoggled, a wild and loose album, packed with hype and fanfare. The elder statesman of remembers, "It was a wild time. We usually allow no one into the studio with exception of girlfriends or family...but we had invited some members of the New Jersey fan club in. I guess it was a little distracting, but not overly so."

Swoggled is pure power-pop, rich in texture and timbre. However, it does not rank among John's favorites. "It's not that I don't like Swoggled, it's just not the direction that I wanted to go at the time. I certainly think 'Crack the Whip' is a good song." Others that have stood the test of time are "When I'm With You," "Why Did We Hurt Each Other," and "Near the End," the first song penned, but not sung, by Mistysyn.

The record company was behind the band one-hudred percent and executed a driven marketing plan for the album. Camera crews filmed a large part of the sessions and conducted interviews with band members to edit and release as a home video. The album sold excruciatingly well and marks the beginning of the modern era of Shitstory.

Shitar had tapped into a vibe with Swoggled, and that carried over like a tidal wave with their next effort, Blow it Out Your Amp!!! Amp!!! has been referred to as the quintessential Shitar album, an album with a flurry of hits, and beneath that an amazing collection of 'B' tunes. In fact, "Could've Been Mine" and "Pizza" were voted numbers one and two in a nationwide poll of fans' all-time favorite Shitar songs in 1997. Beyond that, "With You," "Stay For Awhile," and "Angry Woman" proved to be immensely popular, the latter especially so in Japan. "I'm not sure why it was so huge there," reflects John, "maybe it taps into something inherent in their society."

Following Amp!!!, Shitar embarked on a world tour on which they shattered attendance records previously held by the likes of The Beatles, Elvis, and Kiss. One of the recording sessions for this tour has been widely circulated as a bootleg. John has said that he had a sore throat during this particular session.

Coming next: Polish sausage anyone???

In 1993, following the immense success of Swoggled and Blow it Out Your Amp!!!, Shitar embarked on its most ambitious effort--a double double album. Use Your Kielbasa, volumes Fresh and Smoked, was intended to give the members of the band room to stretch out musically, to explore new styles. John took to that notion right away. In addition to standard John classics like "Struck Me Hard" and "Memory to Keep," he also delivered experimentation in the form of "Fairy Dance," "Hip Trip," and the unique "Don't Mention My Love." "What we tried to do with this album," John explains, "is give the fans what they want. By culling music from different genres, we're growing as musicians. You might not like every song, but there's something for everybody."

Matt, however, primarily stayed focused on what he did best. Most of his tunes were rockers, loud and obnoxious. He also enlisted the help of his friend, retired football player Tim Hawkes. Hawkes had written the lyrics to heavy two songs, "Surrender" and the anti-anthem, "Pain." But it was in his soft side that Matt achieved his greatest triumph.

"'See You Around' is, was, and always will be my favorite Shitar song," professed a teary-eyed Mark Mistysyn. "From the first time I heard it, I knew it would be a song that would get us laid for years to come--no pun intended." In fact, Matt and Mark still get requests for, and perform, the ballad when they routinely tour clubs acoustically.

Mark continued to grow as a guitar player on Kielbasa, but still refused to sing, despite the opportunity to do so. "I sing with my guitar," Mark offered tersely. Mark did manage a few backing vocals and took a quasi-lead in "You're Not Funny," which is more of speaking role than singing. That soon would change.

Shitar ran into some problems in 1994 when Mistysyn failed to show up for a recording session. It has never been officially announced why he was absent, but rumors circulated that he was under pressure to leave the band. The guitarist sheds some light on the subject. "It wasn't anything like that. I did what I wanted to do when I wanted to do it. She wasn't the boss of me."

The handsome bass player remembers it differently. "It was a difficult time for us. You see your friends going through something--you know it's bad, but there's really nothing you can do. You just hope that the demons work themselves out, and things go back to normal. It was a tough fight for him. He still has scars."

With Mistysyn away, John and Matt used the studio time begin recording a boxed set. But when word of the package got out, pandemonium ensued. "Look," said John, "the plan was to redo our old material with the benefit of modern technology and release it down the line. But when fans heard about it, that became impossible. We do this for them; if they demand it they get it."

So in August of 1994, Shitar put out Boxed: Zucchini, the first in what would be a series of indefinite installments chronicling the history of the band. But with Mistysyn not in the mix and John Gorney sitting in on many drum tracks, the album failed to live up to the fans' high standards. Some songs sound great, but others sound like they need to be redone again.

Coming next......to the pond!!

Following the disappointment of Boxed: Zucchini, Shitar released Quack in late 1994. Guitarist Mistysyn called the recording of Quack the quintessential Shitar experience. "It was real cool. We rented this studio in Mount Gretna, PA--out in the middle of nowhere. There was nobody around but us...so for the entire time we lived, breathed, ate, and drank Shitar. We just got back to basics."

Quack is one of Matt Gorney's favorite Shitar albums. "Looking back, some of the recordings don't hold up... but then again that can be said of a lot of the Shitar catalogue. There's a cool vibe there. I think there's a very modern feel to the record."

Modern indeed. Songs like "Inside" broke new ground for the rock legends, eschewing standard melody and harmony for an indie-techno sound. John also favored up-tempo in "Don't Throw it all Away," yet still delivers a mellow hit for the ages with "Shelter Me." "Uncertain Destiny" and "No Turning Back" are yet two more examples of Matt's hard rock songwriting prowess.

But if it was business as usual for the two Gorney cousins, it was open for business for a budding new singer. Quack will go down in Shitstory as the first time Mark opened a microphone, making his lead vocal debut on "Time to Walk Away." Matt recalls the pioneering moment: "He was very nervous. He really wanted the song to go on the album--we helped him finish writing it in the studio. So anyway, John and I had to leave the room while he was doing his vocal. As a matter of fact, I think he learned that trick from John...You're a cat woman baaabaay!!!(singing)."

Coming up next: Shitar faces a possible breakup...when behind the music continues.

Like Matt Gorney's "Uncertain Destiny," Shitar's future was clouded. Keyboardist and co-founding member John Gorney was set to relocate to the west coast. That pretty much meant an end to touring. It was ironic that at the same time Matt Gorney made a move to be closer to the band. The events of mid-1995 set the table for No Dogs Allowed.

Mark came back to the band with four original songs, including the title track--still a favorite of fans and canines everywhere. But Mark's increased foray into the world of songwriting was not without controversy. Women's' rights groups across the country protested outside of Shitar concerts for what they felt were degrading lyrics. Former NOW board member Amber Smith remembers, "'No Dogs Allowed???' I couldn't believe they would refer to women as 'dogs.' It was so uncivilized. But when I met with the band, they assured me that the song really was about dogs--you know...pets. They're really quite attractive gentlemen."

NDA is jam-packed with 21 songs, including the Bare Naked Ladiesesque "Turkey and Cheese." Still, there was that lingering feeling that an era was about to end. "It was tough," recalls John. "I was very excited about California and at the same time sad about not knowing what was going to happen with the band. Deep down I knew we'd find a way to continue."

And find a way they did. With John away in California, Matt and Mark embarked on a grass roots campaign to promote the band. They left the stadiums, arenas, amplifiers, and drums behind, playing small clubs and parties with acoustic guitars. Matt remembers, "That was always Mark's thing. I'd always preferred the big stage...the spotlight, you know, the glamour of it. But Mark said, this is the way to go and he was right."

Shitar even played some venues unannounced. "We'd walk into these little open microphone places with baseball caps and shades on.. We looked real scruffy, so no one recognized us," recalls Mark. "Then they'd call up the M&M experience and we'd get up there and play Shitar stuff. The place went wild. It reminded me of the early days...that I heard about from John and Matt."

The acoustic gigs went well enough that MTV had offered the band a contract to appear on MTV Unplugged. But due to scheduling conflicts and legal issues, the show never came to fruition. Instead, Matt and Mark recorded one of their acoustic gigs and released it as Stool Samples.

"We sounded like crap," Matt lamented. "It wasn't the beer...wait a second...we did that gig sober!! Damn it. That's what went wrong." The album did moderate sales but fans were confused. If this was Shitar, where was John? Had he left the band? Was this just a ploy to fill a record contract obligation?

If the initial inquiries were whispers, the secondary remarks were shouted out loud. In December 1995, Shitar put out another compilation, Boxed: Thunder, the second installment of the band's boxed set. John's vocals were present on two tracks, but were suspiciously absent on "My Baby's Not at Home," "End of Time," and "Jenny." In a press release, Matt explained that the band wanted to get the album out, even if it meant substituting for John on vocals. According to Matt, John was still in Shitar and very happy being in the band.

But the Shitheads were not pacified. Rumors were abound on several Shitar-fan websites that the band had endured a power struggle resulting in John's departure. Others said that the band would simply put out compilations to satisfy their record contracts before embarking on solo careers. Others still suggested that John had faked his death and was drinking wine with Jim Morrison in Paris. Following the initial press release, the members of Shitar remained uncharacteristically quiet.

Shitar quieted all of the skeptics in the summer of 1996 with the release of two albums, Hairy and Sick and Tired. The songs spoke of abundant turmoil and the strength gained by going through it. "That which doesn't kill you," Matt plagiarized, "only makes you stronger. We'd all been through a lot, and nothing produces great music like personal tragedy."

Matt was only referring to a painful breakup. John, on the other hand, survived a near death experience. "It certainly gives you perspective," the hairiest of the hairy reflected. "Your priorities tend to change after something like that happens. I'm glad it turned out okay." John channeled those feelings into his most powerful songs in years. John's focus produced gems like "Bitch," "Dive," "Sky," and "Naked and Cold" to name a few.

The younger slightly less hairy cousin brought an astounding fifteen songs to the table, necessitating the double release. "Sweet Sobriety," "Error of My Ways," and "Pieces" stand out among the bunch.

Shitar seems to have put the majority of their strong material on Hairy, leaving the leftovers for Sick and Tired. "It wasn't on purpose," exclaims the guitar player. "We just got so run down in the studio that it wasn't our best effort on those songs. We really were sick and tired. I didn't want to rush it out, but Matt is such a taskmaster in the studio. He's gotta stop writing so many songs." The fans however didn't share Mark's sluggishness.Both albums went platinum in weeks and Hairy ranks as one of the highest selling Shitar albums of all time. The band felt vindicated again.

Coming next: Pucker up, I've got a monkey on my back!

P.S. Andrea, sorry this took so long. Hope it was worth the wait. I hope you're getting ready for the interview session.

One of the reasons Shitar put out two albums was the uncertain future of the band. With members inhabiting various cities on both ends of the continent, biannual recording sessions were no longer a foregone conclusion. But when John heard that his sister, Jennifer, would be marrying Rustin Glass, who's done some skins work for the band, he decided a trip to the east coast would be necessary. "It was a close call for me," John remembered. "But I figured, 'what the heck....she's one of my two sisters, and this hopefully won't happen again.'"

Shitar took advantage of the Glass' good fortune and released Big Long Lick in December 1996. Considering the proximity to the band's last albums, you might expect mediocrity. You would be wrong. While not regarded as a breakthrough album, Lick is solid. John Responded with ten songs in the five month interim, and Matt pitched in eight.

Mark's voice was also heard on two songs, both left over from the Hairy/Sick & Tired sessions. The songs, however, weren't week-old pork chops. Mark explained: "I don't like to rush my songs out. I like to really develop my songs--it's quality, not quantity for me. Matt and John are the primary songwriters in Shitar. My job is to lay a solid foundation musically and enhance what they give me with my lead work. I'm comfortable with my role."

There were no bonafide hits on Lick, but Shitar experienced moderate success with songs like "Now," "Again," and the perky "Tiajuana." The band played few shows in support of the album, then John was back to California, and Mark and Matt back to the club circuit. "The fans really responded well to the new songs," Matt interjected. "'New Year's Day,' 'Grown,' 'No Choice,' 'Divine'--they all went over real well in the clubs."

The clubs were fine for awhile, but Matt missed the spectacle of stadiums and arenas. Slowly, a rift began to grow between the members of Shitar, a rift--though barely palpable at first--that threatened to destroy the band.

A Break in the Action

Shitar took a break following Big Long Lick. The California lifestyle suited John well. His name was all over the tabloids and linked to various Hollywood vixens. Mark got a hobby as well, programming computers and designing web sites for Philadelphia area bands. He also continued playing acoustic gigs, sometimes with Matt, sometimes without. As for Matt, he continued writing and working on Shitar-related projects.

In early 1997, Matt Gorney began writing songs for a concept album and he found that the music was coming together very quickly. "I pitched the idea to the band, to do something very theatrical, but they weren't really interested," Matt recalled. The well-built bass player continued penning songs, and by summer, he had enough material for an entire album. But by the time summer rolled around, Matt turned his attention to another project.

The summer of '97 marked the ten-year anniversary of Shitar and to culminate the event, the band released a greatest hits package, Shitstory, volumes III and IV. Interestingly, neither the band nor the record company picked the songs. That responsibility fell on the fans. "We conducted polls of our fans through our website, magazines, and mailing lists. The response was tremendous. Originally, we had wanted to do an all-time compilation..." Matt offered,"...but the reality of it was that the three of us didn't have the time to redo some of the older material. I ended up remastering and remixing songs from 1991 on. I'm pretty happy with the results."

Shitar also played a special concert at Giant's Stadium in New Jersey to celebrate the milestone. The concert, televised worldwide, was a huge success. "It was great!!!" boasted Mark. "We did electric, acoustic, old stuff, new stuff, you name it...we did it! We played for like 6 hours! Man, I wish I had a copy of that show!!"

Like so many other great moments in Shitstory, that milestone coincided with a Gorney family highlight. John's sister Janice married Dermott Brennan in the afternoon of the show. "Yeah, it was weird," John reflected. "There was this great family atmosphere and I was very happy for my sister. But the damned paparazzi just kept snapping pictures of us. That was uncool baby."

The greatest hits package kept fans pacified as they waited for a new studio album. It would be a year after Big Long Lick before Shitar returned to the studio to record their next album, the album that would spark the controversy that threatened to destroy band.

Coming next: Too many songs

(Update on 1-14-2001 begins here)

In late 1997 Shitar embarked on yet another ambitious effort. Matt had written twenty songs for the project and John and Mark pitched in twelve songs between them. The recording sessions were long and arduous and often went into the early morning hours. A wedge started to form between band members with Mark and John feeling that Matt's goals were too ambitious.

"We've only got so much time to record," a frustrated Mark Mistysyn admitted. "Given the lack of time, I think it would serve Shitar better if Matt came in with fewer songs. That would ultimately make the album better."

Matt, on the other hand, was oblivious to this. "You pour your heart and soul into these songs--they become like your babies. And to see some of them not given the attention you feel they deserve kind of hurts. You can't turn off the artistic instinct. And you always want to see your songs make it to record."

Nevertheless, Shitar pressed on. They emerged in late December with Plaid, a somewhat disconcerted effort. There are several strong songs on the album, but it lacked cohesion. "Absence," "Blinding My Eyes," and "Don't Leave" are the strongest on the set.

With sixteen more songs still in the vault and John off sunning himself on the West coast, Matt and Mark labored in the studio to finish what would become Re-Plaid. "There wasn't really that much to do," recalls Matt. "We had to lay down a few guitar solos and backing vocal parts."

Shitar released the album in February of 1998 to more acclaim. While not in the class of Hairy or Blow it out Your Amp!!!, Re-Plaid is a more polished, refined work from the veteran rockers. The album went away from the norm by having a John-penned tune, "The Rush That Fills Me," open the set. The adrenaline heavy, beat-driven hockey anthem was enough of a change of pace to allow Shitar fans a fresh perspective. Also out of the ordinary is a 9-minute epic from Matt dubbed "Alive." Perhaps the biggest hit to emanate from the disk though is what has come to be Mistysyn's signature song, "Self-defeatist Attitude."

"That one's all about me and the bar scene in Philadelphia," Mark chuckles. "I wrote it so that my friends would appreciate it--kind of an inside joke. Next thing I know, it's a worldwide hit."

Still, there was some dissension within the band. John and Mark were feeling overworked and not looking forward to another album anytime in the near future. The two held a meeting and decided to tell Matt that he should do a solo album.

"I didn't think that he would really do a solo project," reminisces John. "It was really more to tell him that we didn't want so many songs next time."

But Matt took the advice and, for better of worse, began work on a solo LP. "It all came very naturally," said Matt. "The hooks and lyrics were flowing freely and I think I finished writing, recording, and production in about two months. Maybe the freedom and responsibility of burdening every aspect of the process allowed me to do my best work. It was a huge release and a labor of love"

In fact, Matt began the project while mastering tracks for Re-Plaid. He quickly emerged with fourteen new tracks for the album, Son of Ray. The album received critical praise but did not garner Shitar-like sales. Still, Matt was ecstatic about the effort, having played every note on the album. "Free," "Sister," and "Guilty Pleasure" have emerged as favorites among fans who own the disk.

"I have to admit," admitted John, "it's Matt's finest writing ever. I'm not sure if there are any bonafide hits there, but it's a strong piece of work."

Amid rumors of a solo career for Matt, Shitar returned with one of their most impressive albums to date. They released Excruciating! in December of 1998, announcing a return to the upper echelons of the music world. The album contains just fifteen songs, which is almost pedestrian for Shitar. The disk however is tight throughout, peppered with new types of music and classics. The feel of the set is also lighter than of those past, with more of an emphasis on pop texturing.

"We definitely had a better time recording Excruciating!" offers Mark. "Let's put it this way, there was a lot of dancing and singing during those sessions." That vibe is evident on John's "When it Comes to the Heart," which recalls the sly beat of N.D.A.'s "Hedgehog." Matt's selections are diverse with departures into jazz and bar room songs amid the usual flurry of pop and metal. Mark contributes only one song, but his impact is felt more in his guitar playing, which had on recent albums had suffered. Mark turns in inspired solos on "Mad Melody," "Underneath," and the outro to "Sex and Love."

Shitar's album and ticket sales also took a boost from the success of Excruciating as they band experienced a renaissance in popularity. Once again, Shitar had conquered new fans and brought old ones back into the mix.

Touring the clubs

In the fall of 1999, Mark and Matt toured several Philadelphia clubs under the name Bad Dog. The shows served as an opportunity to stay sharp musically and connect with the fans at smaller venues.

"We like to do that from time to time," announced Shitar guitarist Mark Mistysyn. "No drums, no amps, no pyro, just me, Matt, and our Takaminies. The duo played Shitar songs and covers alike much to the delight of the locals.

Matt Gorney also reflected on the club dates: "When you can see the reaction on someone's face--you don't get that in stadiums and arenas--it means so much more. You know right then and there that you're making a difference."

Shitar rode the tidal wave of Excruciating's success for nearly a year before returning to the studio for a followup. Blitz! proved to be more somber than the title would indicate. Many of the songs were more personal and reflective in nature. John was at the forefront of this movement.

"I had just moved into my Virginia Beach mansion, and it's a really big place. I guess spending all that time alone allowed me to get in touch with my feelings." Some of the keyboardist's most sensitive pieces in years were included on Blitz, especially "If I Could" and "Just So You Know."

Mark turned his attentions to a wayward friend in the form of the a capella "Mashed Potato Man." The upbeat song has been construed as a last ditch attempt to save an old comrade from a flight attendant addiction. Mark also further entrenched himself as Shitar's resident quirkmaster with the song "AB."

Matt also took a look inward on the album with songs about self betterment, loneliness, and mortality. He reflects: "Every album is reflective of the time that it was written. And at that time I was going through a very apathetic stage. You don't try to mask your emotions, so getting them out can be very therapeutic." Blitz's move to maturity alienated some fans of the band, but the album still cracked the top 10, peaking at #6 in January of 2000.

The move to maturity behind them, Shitar instead was moving into the new millennium. That meant state of the art digital recording equipment and a renewed dedication toward perfection.

Realizing that the higher sound quality would render some of Shitar's earlier releases obsolete, the record company ordered another greatest hits remaster, Shitstory, volume V. The project was overseen by Matt Gorney and contained songs recorded from 1997-1999. While some have admitted the update was unnecessary, the package sold fairly well and was well received by fans.

I only have room for 3 CD's in my player," barked longtime Shitar fan and occasional head of security Greg "Stinky" LeBron. "Now I can hear "Live for Today" and "Self-defeatist Attitude" without changing the disk. Long live Kodie-bears!"

With the greatest hits package released and selling Shitar began writing and preparing for the album that would become Exactly. Matt Gorney and Mark Mistysyn again ventured to John Gorney's spacious mansion in Virginia Beach. They also allowed for more time in the studio to alleviate the stresses of the recording process.

"We felt that we could make it a working vacation," Mistysyn remarked. "I like the beach. I like the bars. I like recording. Why not do it all?"

In fact, Shitar celebrated Exactly's release with a concert at the Virginia Beach Amphitheater. The band performed for over four hours, debuting several songs from the new album as well as classics like "My Mom is Such a Bitch" and "Second Fiddle" and rare gems like "Pain So Real."

The Pollish trio collaborated on 23 new tracks in the studio, polishing up the sound with more effects and production. The result is a tight collection evident from the album's first song and single, "Sweet Lolita." But the press misinterpreted this tongue-in-cheek look at aging as child pornography.

"I don't advocate anything of that nature," Matt Gorney commented. "I've never been convicted of anything."

Still, the controversy helped album sales. Exactly flew off the racks and reached platinum status in its first week of release. Shitar quickly followed up "Sweet Lolita" with the release of the equally controversial "I'm Not Breathing."

"I guess I'm reaching the age when...." John admitted,"....I've never been convicted of anything."

Much of Exactly is an upbeat return to Shitar's pop roots. Three of Mark's new songs--"I Just Will," "Buses and Revolving Doors," and "Not Moving my Car"--have remained Shitar concert staples. Similarly, John goes pop and punk with "Don't Say It" and "Polish Girl." Matt also offers hooky, contemplative songs like "Better Than Nothing," "Aftermath," and "Ground Zero."

In September of 2000, the band appeared on an hour-long interview show featuring the talent of preeminent journalist Andrea King, who coincidentally helped write "Not Movin' my Car." The interview was uproarious and informative with all three band members appearing on screen drinking beer.

In the fall of 2000, Matt and Mark began yet another Shitar side project with the help of highly regarded drummer Joe Anttell, formerly of the Doughboys. "When I got the call from Mark," said Anttell, "I was floored. It's not every day a legendary guitarist asks you to play drums on Shitar songs. I was talking to Nuno Bettencourt at the time, but c'mon, this is Mark Mistysyn...MARK MISTYSYN!!!"

The three began secretive rehearsals in the Manyunk section of Philadelphia to prepare their onslaught. On November 20th, Ground Zero made their debut at the packed Doc Watson's pub in center city Philadelphia. The band concentrated on songs from Exactly, but made time for standards like "Self-defeatist Attitude" and "Underneath."

"It's just another forum for us to expose...(pause)....our music to our legion of fans," boasted Matt. "Music is a living breathing organism. You've got to feed it, touch it, and care for it, if you want it to grow."

The Philadelphia fans were blown away by the raw sound and stage presence of Ground Zero with many clamoring for more. They returned to the stage for an encore of two covers, Blink 182's "All the Small Things" and GNR's "Sweet Child o' Mine" largely because they hadn't prepared any more originals. "Joe's still learning some of the songs," announced Mark. "But we rehearse all the time and soon we'll be able to play anything you wanna hear."

Matt and Mark triumphantly returned to Doc Watson's with Ground Zero for a Christmas party on December 23rd. After playing about three quarters of the set, Matt announced that they had a special guest in the audience. To the delight of the capacity crowd, John Gorney joined his Shitar bandmates on stage for four songs, taking leads in "Second Fiddle" and "Polish Girl." While John admitted to being a bit nervous for the gig (which sounds odd for someone with nearly a thousand concert dates under his belt), the crowd basked in the full resplendent glory of Shitar.