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In early '93, Zeus began work on his next album. Along with several old and new friends, he set out on an ambitious project that culminated in the release of Bridging The Gap in late '95. It exhibited the philosophical direction that his music had been moving. Although most of the tunes had been written during that period, two featured songs, "Eldorado" (lyrics by Phil Zurawski) and "Shoot The Moon", were written in the mid '80s, but fit nicely into the mix. The lead song, "Ship In The Wind", speaks metaphorically to the "new order" in Eastern Europe; "Evil Weed" speaks to paranoiac fears of a misunderstood plant; while the epic finale, "Forever Love and Rock & Roll" offers a unique historical overview of a cultural, and emotional, phenomenon. In a time when most pop music shyed from issues and controversy (aside from those participating in obscenity, violence and shock), and folkies were mostly concerned with preserving the status quo, Zeus was one of the few artists to take a hard look at, and comment on, the social stasis and concerns of the times.

As a musician and songwriter without record label support- self-managed and of a working class background- Zeus found himself in various musical situations that could be described as jobbing gigs. Although one might not view these as important steps in career development, they kept him close to reality, and to the grassroots music community. Had he achieved commercial success at a young age, he may not have become the socially aware and perceptive writer that a more jaded lifestyle may have stifled. He may also not have had the opportunity to cultivate the unique and diversely interesting relationships and pursuits that have enhanced his experience and wisdom. Had he chose music as an avocation, instead of a lifestyle, his perspective would have surely changed, and his focus along with it. The influences upon his music had grown beyond the popular and accepted few because of that diversity. Those who became most influential were those who shared his "blue collar" and grassroot experiences and sensibilities.

One of the most interesting jobbing bands that Zeus organized was in 1984. He had been a Cub fan (Major League Baseball) for many years, and, in April of '84, attended a game at Wrigley Field on Chicago's North side. Walking back to his car after a thrilling, but sparsely attended, Cub win, he noticed Bluegrass music wafting from Murphy's Bleacher's, a tavern located across the street from Wrigley. Upon checking it out, he found an old colleague of his, bango wiz, Greg Cahill, gigging in a side bar with his band, The Special Consensus (they have since become one of the most respected Bluegrass ensembles in the U.S.; Greg had also played on Zeus' first album). He said that they wouldn't be able to keep the gig through the Summer due to their heavy festival schedule and suggested that Zeus take the gig. Accepting, MZ commenced to assemble a band. He called O'Brien, who joined in. The next step was a bassist. It was a no-brainer; "Let's get Dougie" was an almost simultaneous exhortation. Doug Mazique had been working with O'Brien in a local "all-star" band, Roca, and previously in the country rock band, Hot Spurs. He was a unique individual and musician. A prolific "song-man" (he carried volumes of lists and fake sheets containing every hit tune since the fifties), and an energetic and soulful singer and performer, he was arguably the best bassist in town. Dougie's "partner in crime",Dave "Boomer" Thornton (probably the only drummer with enough energy to keep up with the bunch) immediately joined the mix. Later, Dougie's good friend, Charlie Brill, completed the quintet on saxophone. They adopted the appropriate moniker, The Bleacher Creatures. Initially they played after every home game to moderate crowds of staunch Cub fans. But, as the Cubbies kept winning, the crowds grew (as it turned out, in '84,the Cubs made the playoffs for the first time since '45). The place got so packed that the band soon had to set up on the roof overlooking the beer garden. Many stories go along with these unusual, however inspiring, musical experiences. It was a season to remember in many ways. MZs dad, who had passed earlier that year, was a die-hard Cub and baseball fan as well.

Throughout the '80s and '90s, Zeus continued to job with these and several other area musicians. However, it was Dougie that he called if he needed leads for musicians, or advice in general. Sadly, Doug Mazique fell victim to a senseless crime that took his life in Sept. '92. The song, "Heavy Crosses" (Bridging The Gap), was written for the many friends that Dougie had- addressing their grief, and celebrating the love they still keep for him. Just a few days before his passing, another great friend of the Chicago music scene, singer/songwriter, Mike Jordan, died in a auto accident coming home from a gig on a rural road just North of St. Louis in his native Missouri. Although Mark was a fan and connected colleague of Mike's, he unfortunately did not embrace the scope of his music until after his death. Currently, MZ performs a number of Mike Jordan tunes. He recorded the lamenting "Whiskey and Water" on Fine Wine.

With the release of Bridging the Gap, the founding of the CSC, and his work with several other area writers and performers, Zeus was becoming recognized as a driving force and leader of the Chicago music scene. However, although he had always been, at his core, a "folk" artist, he was not embraced by the established folk community. He had not aligned himself with the established area folk venues and organizations, and did simply not seem to fit into the traditional "folkie" mold. But, with the emergence of Zeus and several other of the "new wave" of contemporary folk artists, the presence of a more inclusive audience, and the open-mindedness of several folk promoters and venues, the mold was being broken. It was important that the lyric-driven music of Mark and his peers be heard.

The intimate listening room venues began to replace the roadhouses and concert clubs on Zeus' schedule. It was not easy to break into a circuit that had been normally reserved for traditionalists. Someone had to give him a break. In fall of '93, Zeus attended an open mike at The Two Way Street Coffee House in Downers Grove, IL. It is a well established, and respected, listening room that has presented the finest in acoustic music every Friday night since 1970. Dave Humphreys has been its director since its inception. MZ played to a packed house of riveted listeners and was well received. Dave offered him a gig a short time later and helped him network into the area folk scene. Along with members of the CSC, Zeus also became an annual performer at The Fox Valley Folk Fest. In '96, he became a member of the Lake County Folk Club, and became acquainted with several of the performers who were also playing the circuit- most notably, Marv Zelonsky, who offered first hand knowledge of the vibrant Chicago folk scene of the '50s and '60s. Marv, who had become a big supporter of Zeus, is a dynamic singer and entertainer who still occasionally performs in the area.

Although much of Mark's recorded music to that point was folk-based, the eclectic nature of his albums represented the scope of his total influence. In '97, he thought it important to record an album that reflected the mood and content of his solo show. He began work on Fine Wine.

Reflecting the human condition has always been an underscore to Mark's lyrics. He recognizes emotion and individual differences as contributing to the scope of human interaction, and to resulting actions and circumstances. As frivolous, or intense, a lyric may seem, there is always a residual message that moves listeners to think about themselves and their relationship to the world and people around them. This has never been more evident than in the songs of Fine Wine. The title cut presents a reinforced metaphor, while telling a story of growth and understanding. "Meet Me In The Back", although a silly tale, addresses the pitfalls of mixing good intentions with careless actions. "Labor of Love", while telling one story of the Labor movement, and subsequent actions, in Decatur, IL, points to the emotional issues, History, and future of organized Labor as an important social entity.

This was also the first time Mark recorded instrumentals for an album. "Cruisin'" was written as a reflection of life's journey, as it moves through its very different, but intertwining, sections. "Tica" attempts to show the world through simpler eyes and a lonely mandolin.

As well as working with Dr. Caw, Mark included several tracks recorded with buddies, Mike Marnul and Steve Wozny, at Crooked Door Studios ( Mike's converted garage space). It lent itself well to the understated nature of the recordings. Thunderboltz, in its formative stage, began using the space as well, adding tracks to their initial recordings.

Fine Wine was eventually released in October of '98 at a solo performance at the Two Way Street Coffee House. It has since become recognized as Mark's signature album, identifying him as the thoughtful and socially aware songwriter he had become. However diverse his influences, this simpler collection seemed to reflect the heart and soul of the singer and songwriter, Mark Zeus.

Amidst the Fine Wine period, grew the desire to create a sound build upon strong rhythm reflecting the many cultural and stylistic influences of "American" culture- not solely the pervasive pop culture, but also vast numbers of ethnic and sub cultures that have dynamically affected music in the Americas. Zeus refers to the blend as "The Greater American Culture". It has been his intent to continue an undertaking that does not seek to reproduce or copy style conventions, but instead uses them to enhance the understanding of each peice, and, hopefully, meld the music of various cultures into one unique sound.This desire was the seed for the ensamble, Mark Zeus/Thunderboltz.

In early '97, Mark, who had then been living in the Ravenswood neighborhood on Chicago's North side, moved back to the family house he grew up in on the Westside- after it had since been vacated a year earlier ; his mother, Jane, after a long illness, had been hospitalized and moved to further convalescence in The Orlando area with his sister, Carole. Belmont/Cragin had become a changing neighborhood ethnically. Once dominated by Polish and Italian immigrants and their descendants, a new immigrant group of mostly Mexican and Puerto Rican descent began to dominate the demographics. Although socially it remained a working class neighborhood, the "great white flight" factor somewhat diminished the economic viability there (but that's another story). MZ, always one to recognize socio-political implications, began to observe, and sometimes experience, the dynamics of an area caught in the middle of changing culture and political alliances. He, conversely, also observed similarities and common experiences of the past, long-standing and new residents.

Coupled with his exposure to various indigenous, popular and ethnic cultures and music in an international city such as Chicago, Mark's experiences in his old enviroment brought new ideas. Although definitely not a stranger to using and exploring various musical styles in his music, bringing them together was now the mission. Thunderboltz would be the vehicle.

MZ cleared the 10' by 12' living room of his home and began rehearsing the band: Klicker ( long-time partner) on bass; John Kiscellus (TumbleWeed) on drums; and Gus DeLao on percussion (Gus had also worked with Zeus on several other projects and jobbing situations, including as drummer at The Past Time, a late night urban roadhouse where Doug Mazique and other honky-tonk "heroes" had nightly taken the stage for many years). John soon thereafter was unforunately not able to commit to the project. A search began for just the right drummer, who would need to become the back-bone for this rhythm ensamble.

Over the years, Zeus had also become a respected sound engineer. He was a house engineer at Excalibur and River West, two established music clubs in Chicago, and freelanced with several companies in the 90's. In '98, he took on the head engineer's position for The Ken Arlen Orchestra (Ken played on three cuts of the Thunderboltz album). Mark's keen ear and understanding of production and arrangement made him a formitable sound man. One by-product of these sound jobs was his exposure to many musicians and musical styles. While working the River West, he was taken by a drummer with a local rock band who seemed to have all the tools necessary to take on the challenges of a project featuring multiple styles. MZ eventually contacted him and asked him to join Thunderboltz.

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