Mark Zeus was born and raised in Chicago IL. and lived there until April of 2000 when he moved to Houston TX. He still performs regularly in the Chicago area, but with a steady schedule in Southeast Texas. You may hear his recordings being played on various progressive and independent radio stations in the U.S. and abroad. His most recent releases: on CD and for download is Mark Zeus/Thunderboltz- The Sequel, the long-awaited follow up to the 2001 masterpiece, Mark Zeus/Thunderboltz, & The very latest acoustic album, Pardon Me, available for download exclusively on Bandcamp. This Bio will constantly be extended and updated as time permits.
THE MARK ZEUS STORY
Having grown up in a mostly Polish-Italian neighborhood on Chicago’s Northwest side ( MZ is the son of Aloysius and Jane Zurawski, attended St. James Grammar and Weber High schools, Wright CC, and Northeastern IL U. with degrees in Secondary Ed.,Speech and Performing Arts and Music Theory), Mark officially began his music career playing solo on weekends at The Let It Be Lounge (Belmont &Narragansett) as a youngster in 1976. Not long after, he started jamming with a couple of guys he met through school, Bob “Apollo” Abplanalp (bass and vocals) and Tom O’Brien (guitar, fiddle, and vocals), to form the band Clearwater Junction (soon after, it became TumbleWeed). They eventually added drummer John Kiscellus and began performing throughout the Chicago area playing their unique brand of Folk and Country Rock, and high energy Bluegrass. The band evolved when Mike Carney (drums and vocals) replaced John, and Andy Schwarz (piano) was added. They became one of the hottest acts on the circuit within two short years. TumbleWeed, in various evolutions thereafter, including bassist, John Breinig, was eventually playing the Midwest College circuit and was a featured act at Chicagofest ’79- ’83. In ’81 the young band’s run started winding down, falling victim to changing trends and tough economic times.
Throughout the TumbleWeed years, Mark continued to pursue a solo career. In 1981, he released his first album, Walkin’ Away. It included the romantic acoustic number, “Another Friend”, with a guest appearance by virtuoso harmonica player, Howard Levy, and a TumbleWeed recorded version of the “cosmic cowboy” tune, “Businessmen and Cowboys”. Both are still staples of current Zeus shows. That album, along with various TumbleWeed demo recording, marked the beginning of Mark’s long relationship with Craig Williams at Dr. Caw Recording Studios, where he has recorded a vast majority of his subsequent works.
’81 also saw Zeus become influenced by the Roots and Rockabilly revival of the period. Along with bassist, Terry Black, and guitarist, Danny (Lee) Santercola, The Westside Revolvers took to the Chicago club circuit. Performing songs of Dave Edmunds, Nick Lowe, The Rolling Stones, Carl Perkins, Elvis, Joe Ely, and other Roots-Rock legends and revivalists, they laid the ground work for the evolution of Zeus’ songwriting for the remainder of the decade. Although Folk and Country were still major influences, the back to basic rock and roll approach brought additional energy and power to the music.
In 1983, the Revolvers reformed under the name, Strange Arrangement, which also included new veteran bassist/vocalist, Curtis Bachman, formerly of the successful Chicago band, The Buckinghams, as well as other popular Country and Roots Rock groups. This band grew beyond the basics and began including more of the diverse mix of Zeus originals.
Since the break-up of TumbleWeed, Zeus continued to maintain strong friendships with its original members. In the winter of ’83-’84, Zeus, O’Brien, and Apollo began wood-shedding new material in Bob’s basement. Combining this new material with old “Tumble Tunes”, they contacted Carney and revived the band. Soon after, they changed the name to A2Z, which identified the diverse mix of music, and also identified the initials of its original members. Eventually Bob needed to leave the band due to work and family commitments, and a new member, bassist Scott (Klicker) Kassal (Thunderboltz), joined on. A year later, Keyboardist, Steve Wozny began jamming with the band, completing the line-up that to this day represents the guts of A2Z.
In 1986, A2Z released a six song EP, Fresh Cuts, which featured the Zeus/O’Brien Roots-Rock anthem, “I Like Women”. (Go to markzeus.bandcamp.com to hear the track) The tune was used as a theme song for the Chicago Championship Wrestling show, and received local air play. For years to follow, A2Z continually gigged, and has, over the years, reunited regularly to perform, while its members have gone on to also perform with a number of Chicago-based bands- most notably: O’Brien and Wozny w/ The Bad Examples; and Zeus and Klicker w/ The Excuses. Other members of the Excuses were Klicker’s old friends, Jeff and Mindy Weiss, and ex-Revolver, Danny Lee.
During this time, MZ decided to return to school- soon after the passing of his father, Al, in March of ’84. Al Zurawski was a fixture at Zeus gigs, and well-loved by friends and fans. His “old school” values, tempered with a progressive outlook on life, contributed to the “blue-collar” work ethic, persistence, and energy one might find in MZ. This was a turning point in Mark’s life, and music. As he broadened his horizons, and experiences, his writing eventually became more reflective and philosophical. It was to become evident in his recordings during the ’90s.
Zeus grew up a “jock”, having been co-captain of his high school and junior college football teams. He also played basketball and baseball. In ’83, he found out some old teammates, Rick Kalin, Charlie Petruzzi and Terry Coleman, were coaching the Freshman team at their high school Alma Mater. He checked out a practice and decided to join the staff as offensive-line coach. Though his buddies left, he remained on through ’91, eventually taking over as a head coach.
In May ’89, Mark graduated from Northeastern IL. U. with a degree in Secondary Education- Speech and Performing Arts (minor in Music). He acted in many of the school’s theater productions, landing a lead role in Enemy of The People during his final semester. He became a full time English/Speech teacher at Weber the following fall.
In addition to all this, he kept up a heavy gigging schedule, and continued to write and record. In ’89, he also took on hosting the open mike at the new location of one of his old haunts, The Clearwater Saloon, owned and operated by old friends, former Clearwater owner, Jim Erskine, and Willie Whitfield, former owner of another old haunt, The Iron Rail Pub. It became a gathering place for the new wave of Chicago singer/songwriters. It is where he met many of the artists he would eventually play with and/or produce. MZ also became editor of a local publication, The Pro/Am Guide, published by KC (Crystal) Wilkerson, whom he had met through The Clearwater. The magazine prided itself on providing initial publicity to emerging local artists. Mark’s brother, Phil Zurawski, also contributed to the mission by including poetry information and workshop articles. Phil is an established Illinois poet, and founder of The Arlington Poetry Project.
In 1990, Zeus recorded four new songs; finished some ongoing tracks; recovered some unreleased mixes; chose two representative TumbleWeed demos; an A2Z tune; and a cut from Walkin’ Away; and released the compilation album, Now and Then. The opening track, “Insecure Treasures”, was written for his students (the youth generation of the ’80s). The existential folk/rocker, “Middle of Your Life”, celebrates the continuing rites of passage. Both of these tunes revealed the more socially aware and philosophical direction that would become the signature of Zeus’ music in the ’90s.
In mid 1991, the frantic pace, and rock and roll life-style, of the past few years finally caught up with Zeus. Having experienced a bout with chronic fatigue, he was forced to lighten his schedule and focus on his health. He did not return to teaching and coaching that fall and, although he continued to work his “jobbing” gigs, did not perform regularly through most of ’92. However, he did continue to write, and network. In April of ’92, he organized a weekly “songwriters-in-the-round” showcase series at The Clearwater. It featured a diverse mix of songsters with whom Mark became familiar through his associations with the local band circuits, the Pro-Am guide, production and recording contacts, and The Clearwater, as well as other open mikes.. In his introductions each week, he began to refer to the mix as The Chicago Songwriters Collective.
The CSC, as it is sometimes referred to, was officially founded by Zeus in November of ’92. Monthly meetings followed, and events were planned and held. The first Songwriters Workshop Series was held in mid ’93, and various Collective showcase performances began popping up. The list of present and past members is much too long to include here, but writers at every level of experience and development, and every conceivable musical genre, would be represented. In ’98, the official website of the CSC, www.chicagosongwriters.com, was set up by Collective member, Greg Steele. Mark chaired the organization until shortly before his move To Houston in Jan. ’00. It had kept going and has remained an important “cog” in the workings of the Chicago music scene.
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 shied 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 local 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 grass-root 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, banjo 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 it. 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 an 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, and “Long Time” on Thunderboltz-The Sequel.
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 fully 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, was also a dynamic singer and entertainer in his own right. He has since passed away, but has left a distinctive impression on many of the emerging folk artists 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 had 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 piece, and, subtly meld the music of various cultures into one unique sound. This desire was the seed for the ensemble, 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 West Side- 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 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-economic and 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 environment brought new ideas. Although definitely not a stranger to using and exploring various 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 unfortunately 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 ensemble.
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 both the Thunderboltz album and The Seqel). Mark’s keen ear and understanding of production and arrangement made him a formidable 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 impressed 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.
Ron Barnes, a native Hoosier, become the Thunderboltz drummer and also played various percussion on the recordings that followed. He became an important contributor to the mission, helping to arrange the challenging rhythm parts essential to it. Ron, Klicker and Zeus continued to rehearse the act. In late ’97, Gus left the band moving with his family to Ohio a short time after. To replace him, Mark turned to a new colleague, Marlon St. John.
Zeus met Marlon at the Abbey Pub where MZ hosted the long-standing Tuesday night open mike. Also from Indiana, Marlon is a multi-talented musician who has had experience playing both percussion and guitar in a number of eclectic bands. He is also a fine singer and songwriter, who immediately fit into the Thunderboltz vocal harmony section. To complete that section, Mark searched for a compatible voice.
The Abbey open mike had attracted many of the best singer/songwriters in the area. One of those was Debe Welch, whose haunting voice seemed to fit the character of Zeus’ music. She and Marlon joined Thunderboltz in late ’97.
The band immediately began recording and performing live. Although the focus was on the studio, the live experience became an integral expression of the band’s energy. As the band developed, several other musicians became significant contributing forces.
Ralph (Rico) Russell had been a long-time friend and collaborator of Zeus. They played in various jobbing situations together, and Rico, woodwinds, lent his talents performing on several cuts on “Now and Then” and “Bridging The Gap”, also helping to arrange various section parts. He did the same for the early Thunderboltz tracks.
Tom O’Brien and Steve Wozny, A2Z cohorts, in addition to performing on the recording of “Top Shelf”, consulted on the sessions at Crooked Door.
Al Joseph, fiddle and keys, fiddled on “Austin City Girls” and performed occasionally with the live act.
Ken Arlen contributed his diverse talents on saxes and recorder to complete the tracks for “Sweet”, “All We Don’t Know”, and “Don’t Know What It Means”. He also joined the band on stage during the March “01 release party in Chicago.
Mark’s travels through Texas, and eventual move to Houston, yielded new influences and energy upon his songwriting, solo show and the Thunderboltz project. This chapter of his life begins in January of ’95.
Seeking to both approach another region in which to present his music and to get out of the snowy Midwest winter, Mark took off for Texas in mid Jan. ’95. He chose Texas for many reasons. Most importantly, he saw it as a place which embraces the grassroots sensibility of the songwriter and storyteller, and he also had friends through music and neighborhood who had relocated, or returned, there. He drove his old Chevy Impala down the interstates. When he finally reached Texarkana at 4 AM he thought, “Ah, Texas. Can’t be too long before I reach New Braunfels.” His first destination was to reach his friend, Joey Pogue, a songwriter whom he had met while Joey was living in Chicago a couple years previous.
9AM, somewhere on I-35, just North of Austin- Zeus, finally burning out from the seemingly endless drive, pushes on and catches mid-day traffic in Austin. He pulls over and passes out at a rest stop. Upon waking, he restarts the Chevy only to notice a grinding noise emanating from the AC compressor. At about 2PM the Chevy limps into Joey’s driveway.
Joey had returned to the area where he had lived for many years, after landing a teaching position (theater) at Texas Lutheran College in Seguin. He offered his hospitality to Zeus, putting him up for a couple of weeks so he could have a base from which to check out the San Antonio and Austin music scenes. Joey immediately introduced him to members of the newly formed San Antonio Songwriters Coalition. It became a mutually inspirational encounter.
In the mainstream, San Antone has never been thought of as center for working musicians. However, its rich history and diversity has brought together many musical influences indigenous to the Hill Country and Guadalupe River basin. Mark marveled at the unique blends and original approaches. Blues and Country took on new life as interpreted by the locals. He had his first exposure to Tejano in its original form which sprang from the meeting of German and Mexican folk music.
Zeus also seemed to have an effect on the Coalition and other musicians in the area. His strong, yet poetic, lyrical approach offered something unique and fresh. His own mix of styles added to the exchanges that followed. In his subsequent trips, Mark frequented the Songwriters Nite at Landa’s Station, New Braunfels (about 30 miles N. of San Antonio), where he met and connected with several of the San Antonio and Hill Country writers. Al Barlow was the regular host there. His songwriting wit spoke to the lighter side of Mark’s lyrics. They seemed to affirm each others’ ability to provide a message through humor.
Mark’s first reactions to the Austin scene were mixed. When he first arrived, he contacted a Chicago colleague, Steve Hepler, who had moved there two months previous. An established acoustic music venue, The Chicago House, seemed to be an obvious destination for an open mike appearance. Steve said he had played there and the only way to get on the list was to call in at exactly 7PM. He also said it was helpful to have redial and speed calling because about 30 or 40 people would be calling in at the same time. After about 20 dialings, they finally got through and found that the only available spots were at 8PM (first) and 11:45 (almost last). Taking the late spot, they entered the near empty room at about 10:45 (it seemed that due to the strange sign up protocol, most performers would show up a few minutes before their slot and leave soon after). They performed to an uninspired audience of two or three bored songwriters. The demand for slots was so great there that they held open mikes in both the upstairs and downstairs rooms; both were equally uninspiring.
The Cactus, a great listening room located on the University of Texas campus, also provided an uninspiring open mike experience. On a Zeus trip in ’97, Mark and Steve, decided to check it out. Slots were chosen by lottery. You wrote your name on a piece of paper and threw it in a bucket. However, you were not guaranteed to play- about 20 slots; 30 pieces of paper. Names were drawn as the night progressed. They decided to stick around for a while, see if either of them got called, possibly network and check out some of the acts. The atmosphere seemed tense. Although most of the performers were friendly, they sensed a somewhat competitive attitude in many (“MY three songs are better than YOUR three songs”). After about five folks had performed, the host decided to get up and do some tunes. After about 45 minutes of him, Zeus and Steve decided to get up and go to the Saxon Pub.
Austin has declared itself “The Live Music Capital of the World”. Zeus seemed to agree after checking out the total scene. Steve had been performing fairly regularly at The Saxon, an intimate club featuring a steady quality line-up of Texas singer/songwriters and Blues-Rockers. Zeus frequented the club during his travels, getting acquainted with the “Austin sound”. A number of quality music venues could be found throughout Austin- The Continental Club, LaZona Rosa, The Broken Spoke, Antone’s, and many other large and small venues that present a steady diet of quality live music of various genres. Zeus discovered two factors contributing to the development of this “phenomenon”. 1.) The local music media has continued to recognize it, embrace it, and organize scheduling and reports on the performers and venues within the scene; and 2.) Austin had become a “Mecca” for singer-songwriters – a place where many successful ones call home, and/or relocate to.
Steve turned Zeus on to a great open mike at Gino’s Italian Grill on Stassney in South Austin. A bunch of friendly performers and hosts welcomed him and his music. The management also offers a plate of pasta to each performer. A great benefit for the hungry road warrior. It became a regular stop of subsequent Zeus tours.
Houston was the final destination on Mark’s initial exploratory tour. An old neighborhood friend and friend of the family, Tom Gaseor, and his wife, Susan, had relocated there (for a second time) a few years earlier. Tom and Mark have also collaborated on a number of songs including the TumbleWeed epic, “Westbound Odyssey”, and the environmental parody, “Poof!”, which is included on the first Thunderboltz album. Tom and Susan, at that time, were actually living in Friendswood, a suburban community near Houston’s Clear Lake area (far Southeast side) where NASA and water related industries dominate. From this location Zeus found himself becoming interested in Galveston, a city and island 50 miles further down I-45.
Tom Gaseor introduced Mark to an ex-co-worker and musician, Tom Rodgers. Tom R. had been a regular performer on the Houston area scene, but at that time had been away from performing for a couple years. However, he did get out to several jams in Pasadena and Clear Lake, and found out about a unique location in Galveston, The Acoustic Cafe (which eventually became The Old Quarter Acoustic Cafe after it was taken over by Wrecks Bell, an established Texas singer-songwriter). Mark and Tom R. hooked up and began gigging at the Cafe and several other clubs and coffeehouses in the area whenever Zeus came through Texas.
Upon returning home, Zeus decided to make Texas a regular destination and began planning periodic swings through the Eastern half of the state. In the Winter of ’97, he executed a four night tour through Dallas; landed a couple small gigs in Austin; and began exploring the wide open music scene in Central Houston. In late Spring of ’97, he met a talented, aspiring singer-songwriter, Clay Farmer, at the popular open mike at Houston’s McGonigel’s Mucky Duck, an established acoustic venue.
Clay, at that time, was considering a career in music – singing at jams and putting together his own band. Zeus was impressed by his energy and original approach to his lyrics. Clay also became a fan of Zeus and they quickly became friends. They kicked around at various open mikes together and jammed often. In Spring of ’98, Clay came up to visit Zeus in Chicago, where the crowds at The Abbey, Lyons Den, and Circle Inn were energized by the combination of talent. They then drove down to Houston together winding up at Mary Jane’s, where Clay’s new band had a regular Monday night gig opening for The Good Luck Band (Zeus, with his mandolin, had sat in with, and eventually became a member of, The Good luck Band, who performed a steady diet of energized traditional Country standards).
While staying at Tom Gaseor’s in Winter of ’96, Mark found an old, beat up mandolin sitting around the house. He began playing it, teaching himself chords and scales, and figuring out the nuances of the instrument. He decided to pick up a mandolin of his own and began jamming with it at the song circle that followed each open mike at the Abbey. The circle was a loose ensemble headed by Zeus and his old buddy, singer-songwriter, Tony Callaghan. He and Mark had met at the popular Chicago folk venue, Earl’s Pub on Lincoln Ave. (at the time- the new location of the legendary Earl of Old Town). Tony’s music, which has been influenced by his experience in traditional Irish and Chicago Folk, lent itself well to the mandolin. It wasn’t long before many other performers were asking MZ up on stage to play with them. His experiences with his new instrument led him into several projects to follow.
As Mark continued his swings through Texas, he began to focus on Houston as a market where his talents could thrive. In Spring of ’97, he also met Ron Perry, another fine singer and writer, who was an established performer in Houston and had also been organizing songwriter showcases. Ron asked MZ to be a part of the series’ at Ovation’s and The Mystery Manor. Co-hosting the Mystery Manor events was Ken Gaines. Zeus quickly recognized Ken as a leader of the music community and an extremely talented singer, writer and performer. Ken would become instrumental in helping Zeus network into the Texas songwriter community.
Another reason for Mark’s lean toward Houston was the presence of his colleague, mentor and friend, Gloria Monroe, who returned to Texas City (Galveston County), after spending many years in Chicago via Nashville. Gloria had been an original member of the Chicago Songwriters Collective, contributing heavily to workshops and organizational meetings. Zeus had found her to be a good sounding board for his works in progress- pulling no punches, and speaking from a seasoned writer’s point-of-view. Gloria passed in the Winter of ’02 after a long illness.
It was in mid ’99 that Zeus began to see a move to Houston as a real possibility. He recognized a need to get his music heard in various markets. He also recognized that touring throughout the country without management was not an attractive option at that point. He had also approached Central Florida, having performed several gigs there while networking with The Friends of Florida Folk, a well organized and pervasive group of grass-root musicians and supporters. However, Southeast Texas seemed to be a place that might respond well to the scope of Mark’s music and talents.
Back in Illinois, Zeus found himself performing regularly in what one might consider an unusual town for “folk” music, Forest Park, a working class suburb near Chicago’s West Side. Forest Park is surrounded by mostly “dry” municipalities and has the most bars per capita in the state. Small bars like The Circle Inn and The Pioneer Tap, with their “regular folk” clientele, seemed a comfortable environment for the dynamic, and occasionally outrageous, Zeus solo show. He had made many friends in the area, and developed a solid fan base there. He still occasionally performs at various venues in Forest Park.
Also in mid ’99, Ron, Klicker and Zeus returned to Dr. Caw and Crooked Door to record the remaining rhythm tracks for the impending Thunderboltz album. The project was progressing steadily, and benefited from Mark’s travels through Texas. “Ghosts of Galveston”, had become one of the most requested tunes at live shows; and “Austin City Girls” promised to become a featured track on the album. As Zeus’ move became a possible reality, the band decided to continue the project in Chicago no matter where he may reside.
On January 2, 2000, MZ left for Houston on a three month excursion to possibly set up shop. He had set up a couple gigs, most notably a showcase spot in Ken Gaines’ In-The-Round feature at Anderson Fair. As he continued to network into the area’s scene, he began attending a Monday night open mike at The Brewery Tap hosted by The Tequila Cowboys, a fledgling acoustic band. Ray Cashman and Pat Neifert were its founding members and eventually asked Zeus to join the band. He also regularly attended a Wednesday night songwriter’s night at The Vintage Bar where he hooked up with a singer-songwriter originally from Corpus Christi, Mando Saenz. In both situations playing mandolin and guitar, and singing harmony. He joined up playing mandolin with The Good Luck Band, performing old Country standards, and also continued to perform with Clay Farmer.
As his solo gigging schedule began to take shape, combined with his various collaborations, Mark found it feasible to make a go of it in Houston. For those first three months he had been staying with his old buddy Tom Gaseor and his family in Friendswood. It was time to find a place in Central Houston. In April, he moved into a garage apartment in the Heights district. The small town feel of this urban neighborhood seemed to suit him well.
Mark returned to Chicago for a couple of weeks at the end of March to gig and pack the van with personal stuff and equipment. He would continue to return periodically, but his focus now was two-fold: to extend his musical influence into Texas, and to continue work on the Thunderboltz project.
Mando’s brother, Marco Saenz, had opened up Atzlan Studios. Zeus found it a comfortable environment and recorded several guitar tracks there. He and Mando also laid down some demo tracks at Atzlan.
Another significant, and unique, contact Mark made in Spring of ’00 was Joe Parsons. The self-proclaimed “Old Fud” was a grassroots supporter and promoter of Texas Roots and Country music. He refers to the loosely deemed genre as OKOM (our kind of music). He hosted The Redneck Jam every Wednesday nite at the popular Houston Honky-Tonk, Blanco’s.
MZ heard of the Blanco’s jam, and wandered in. Being a relatively new guy in town, he quietly observed the proceedings and introduced himself to Joe later in the evening. “Why the hell didn’t you tell me you were here? I’d have gotten you up!”, responded the Old Fud. Zeus immediately took to him and to the camaraderie of the jammers. The following week, he did get up playing some Johnny Cash, Merle Haggard and a couple country-based originals. Joe was significantly impressed and encouraged Zeus to get his own band to do a gig at the jam (the jam featured a different host band weekly). Although he had been considering to form an original band in Houston, Joe’s offer gave him a venue and environment in which he could nurture one quicker than he had anticipated. Although his collaborations and sideman situations gave him quality band experiences, he was itching to once again get out in front.
Joe annually had organized The River Oaks Music Festival at Blanco’s. In early June of ’00, after gigging with The Clay Farmer Band at the fest, Zeus noticed a bass player with great feel and chops playing with the band that followed. He approached him and set up a rehearsal. Robert DiBlanco was to become the bassist for MZ’s initial Houston band project. Zeus grabbed Clay’s drummer, Rod Robert, and Tequila Cowboy guitarist, Pat Neifert, and set up some gigs at Joe’s jam.
Also early that Summer, The Tequila Cowboys recorded a CD entitled Broken Glass, using various friends and studio musicians to complete the tracks. Zeus, who was at that time new to the band, played mandolin on a few of them. Soon after though, the basic trio of Ray, Pat and Mark added Jimmie Pitzitola on drums and began gigging regularly at various clubs. Utilizing his experience, Mark helped to arrange the tunes for live performance. They began to get noticed as an entertaining addition to the local scene.
Several friends would often come and sit-in or gig with “The Cowboys”. This is how MZ met Kristen Jensen. A classically trained violinist originally hailing from upstate New York, she had recently become interested in expanding her experience into Jazz, Rock and Country. Initially Zeus thought that she would fit well into the Mando project, but as he looked to solidify the line-up for his own band, he invited her out to jam with them at Blanco’s. He also started bringing her in to play at various solo gigs. She learned the material quickly and seemed to provide a unique energy. By the Fall of 2000, Kristen was officially in the band and regularly playing duets with MZ.
At about that same time, Mark and Clay started playing a late Monday night gig at The Mausoleum, organized by Clay’s friend, Eduardo, a progressive singer-songwrtiter who played the earlier slot. Eduardo often brought in his drummer, Johnny Cavazos, who instantly impressed Zeus. Johnny agreed to join up in the developing band project.
Originally Zeus called The band Texas Thunder, but after Joe Parsons found that there was already a Texas Thunder playing out in Montgomery County, he simply decided to keep the Thunderboltz name- the Texas representative of the project. In late November of ’00, the line-up of Zeus, Cavazos, DiBlanco, Jensen and Neifert went into the studio to record “Big Hair”, the tongue-in-cheek bashing of prodigious female fashion, and “Swamp”, a tune inspired by Zeus’ move to the sub-tropical Gulf Coast. He chose Bungalow Studios run by Mark Shannon, where Clay had just begun his album project. Those two tracks were to be included on the Thunderboltz album to represent the new band’s contributions.
Up until then, Zeus returned to Chicago several times to gig and complete other commitments , which included the mandatory A2Z and Thunderboltz performances at the traditional St. Stan’s Carnival in the old neighborhood ,and a continuing connection with his Forest Park fan base (The Old Fud would say, ” Well, there goes Mark Zeus off to Chicago to report to his parole officer!”). However, in early November of ’00, he returned with one thing in mind: complete the new album.
Zeus and Caw blocked out three full days- bringing in the musicians and recording mandolin, which finished all the tracking with the exception of harmonies on two tunes. Some mixing was accomplished, but it was evident that the Caw-Zeus team would have to work long distance. Two premixes and an agreement that they would mail and e-mail mixes and notes were taken back to Houston with Zeus.
Mark was impressed by an emerging singer and songwriter who was a regular at the Blanco’s jam, Melinda Mones. Her voice seemed to have the necessary presence and strength to match Zeus’ in order to achieve the harmony for the bluesy rockers, “Top Shelf” and “Sweet”. Lisa Novak was a new colleague whose vocals Mark heard on a CD of her band, Big Holiday. She added the haunting quality evident on “Sweet”. They were able to complete the tracks in a three-hour session. Mark Shannon prepared a CDR and they sent the tracks off to Caw. Soon thereafter, after some initial mixing, all tracks from “Swamp” and “Big Hair” were also sent off.
On the performance side, MZ landed a significant solo gig in November, opening for David Wilcox at a concert sponsored by The Next Door Coffeehouse, a relatively new, but very promising and active not-for-profit, acoustic venue. He had been a winner of the singer-songwriter competition there. He also performed at the popular Texas Nights House Concert Series that Fall. A free performance for Zeus’ friend, Carole Cline’s Special Ed. class at South Houston Middle School, was given by MZ; Christy Claxton of Austin; and Rene Lawence, Annie Benjamin and other members of the Bent Zen Circle out of Dallas. Carole commented that it’s probably the only time the kids ever got a chance to see and hear live music. MZ had periodically continued to return to perform at the school.
It was also at about this time that Mark received an E-mail from an interested DJ in Belgium, Ray Pieters, who asked him to send some music. This lead led to a connection with the Far Characters network of Grassroots and Country DJs through Eddie Russel in Columbus, TX. Zeus’ music was and is being heard on many European and Australian radio stations as a result.
The mixing phase of the Thunderboltz album continued through the Winter and into 2001. At least a dozen sample mixes were sent back by Caw, with corresponding mix notes sent back by Zeus. Finally in early March ’01, the final master was ready. The artwork and liners, also achieved through E-mail exchanges by MZ and Greg Steele ( Greg also did the artwork for Fine Wine), came together as well. The Chicago release had already been set for March 30 at The Abbey Pub.
Mark drove to Chicago on March 24, and although that final week before the release was, to say the least, hectic, the release event was successful (Due to printing errors, Zeus had to drive crosstown to pick up the final inserts and CDs the day of the release, getting caught in the worst traffic jam in Chicago history. On a Friday afternoon, some guy decided to park his truck in the middle of The Dan Ryan Expressway and threaten to kill himself. The cops had to block off traffic in both directions emptying highway traffic onto the already crowded streets.). That aside, it was an inspiring evening. Bob Apollo brought out his new band to open, and A2Z joined Thunderboltz in a massive final set.
Upon returning to Houston, Zeus commenced to organize and execute the Houston release party at Walter’s on Washington on April 21, ’01. This party was, of course, a bit smaller (and definitely less stressful), but the new band rose to the occasion. Several friends helped out on stage, including Ken Gaines and Melinda Mones. New bassist, Marius Fleck was also introduced at the celebration.
In the Spring of ’01 Zeus met Kim Carson, a honky-tonk singer from New Orleans, who also, coincidentally, had been a DJ at US 99, a Chicago country station. She spent a great deal of time in TX, where she is from originally . He began to sit-in on her gigs and performing with her regularly when she came through Houston. Kim also turned MZ & KJ on to a gig at The Kerry Irish Pub in the French Quarter in the Fall of ’01. Kim had at that time decided to relocate to Houston, while also keeping her home in New Orleans. Coincidentally, in ’02, Kristen had moved to New Orleans, although she returned in ’03 to continue work with Zeus, as well as her Celtic and Gypsy band-mates.
In Jan. of ’02, the Houston aggregation of Thunderboltz entered Bungalow Studios to record four of Zeus’ strongest efforts since his move to Texas. MZ wanted a representative piece for the Houston sound. The tracks went down over the following two months. A brand new piece, Blue Horizon, a ballad written exclusively for the project, was added, featuring the harmony of Lisa Novak. This five tune EP, Texas Thunder, was released in late March of ’02. The collection is an in-your-face Country/Rock and Boogie barrage. The themes represent different perspectives on love, lust and attraction. Although a quick detour off the progressive Zeus track, the EP also represents a Rock and Roll heart mixed with Country Roots- revisiting the past and understanding the permanence of the basics.
Also that winter, MZ played mandolin and sang harmonies on several cuts of Lisa Novak’s album release, Perfect Mess. Kristen Jensen fiddled for that project as well. As a result, Zeus had begun performing live with Lisa’s band. Through that experience, MZ met bassist, John Haddad, who would eventually become a member of Thunderboltz. Lisa and Melinda Mones, who had met through the T-boltz recording sessions, began to collaborate and perform live accompanied by MZ and John.
Later that Summer, Zeus picked up a sound engineering job with Toast and Jam, a local, upscale jobbing band run by Ernie and Barbara Wells. Ernie, an established sound engineer himself, become the primary studio engineer for One Magic Moment. Around that same time, MZ also began teaching guitar and mandolin at Band Together Music (currently Humble Music Center) operated by Rod Robert.
The Houston Thunderbotlz, having been on a hiatus due to an injury to drummer, John Cavazos, reorganized in early 2003. In addition to John Haddad on bass, they added a new guitarist, Anthony Klonaris, a veteran of the Houston scene. Kristen having since returned from New Orleans rejoined the band on selected gigs.
Two awards fell upon MZ in Feb of ’03: “Musician of the Year” from the River Oaks Redneck; and the “My Texan Award” from mytexasmusic.com. In early April, Zeus reconnected with the Chicago Thunderboltz for two big gigs in the Chi. area, and then again later that Summer. An A2Z reunion also was a big part of that trip.
In Aug. of ’03, MZ moved into a house in the Langwood area of Houston, a short distance from the Heights.
In both ’02 and ’03, MZ was nominated for a Houston Press Music Award in the category of Folk/Acoustic. In ’04 his partners, Melinda Mones and Lisa Novak actually won the award.
MZ finally returned to the studio in ’06 and, by Feb ’07, work was completed on his new acoustic album. The early fruits of that project had resulted in the ’04 release of The Single: two songs on CD. “Cried Enough” is an uplifting, “country-esque” piece with a poignant message ( It was eventually voted the ’08 Song of the Year by the Texas Music Academy). The cover of “Ring of Fire” has been recorded as a ballad- reflecting the version often heard at Zeus acoustic shows. Zeus and Ernie finished mixing and mastering all the tracks for One Magic Moment in March of ’07. The album also includes some favorite selections from live shows such as the groovy trash song,”Hole”, and a re-recording of an old classic, “Sarah Says” which opens the album. Some seldom heard tunes such as” One God,” “Invisible Bus” and “The Test” were beautifully recorded and included as well. Kristen Jensen (fiddle and harmony) appeared on several tracks. Other friends who contributed were Kim Carson (harmonica and harmony) , Anthony Klonaris (guitars), Jim Kam (Chapman stick) and Patti Sullivan (harmony) . Zeus proceeded to organize and execute a blow out release party at Blanco’s in April. Great music, food and friendship was enjoyed.
For several years, beginning in early 2002, Mark has hosted The Bayou City Showcase, a Tues. evening open format for singer/songwriters and other various performers. Its first location was the upstairs room of a 24-hour restaurant on W. Gray called The West Gray Cafe. It was a nice comfortable venue. Players and audience began to attend regularly. MZ even set up a couple weekend shows featuring some the best in Houston talent. It was looking like another quality acoustic venue was developing in the area. However, the venue changed ownership soon thereafter. A deal could not be struck to continue use of the space, so the event needed to find a new home.
MZ began his 5 yr.+ relationship with Cosmos Cafe when he moved The Bayou City Showcase there in May of ’02. He knew of the “Cosmos” from his attendance at Swing Kings shows on the 2nd Sunday of each month. Wayne Wilkerson, Ken Gaines’ (among others) guitarist sideman, was a member, along with legendary Peddle Steel man, Herb Remington and a fun cast of great swing and country musicians. (Wayne has since become a Thunderbolt and regular sideman on a quantity of Zeus acoustic gigs). Realizing that Cosmos did not have a regular event on Tuesdays, Mark approached ownership and made the move. Again, soon thereafter in Sept ’02, the venue hosting the BCS changed ownership. This time the new owner, Peter Pallas, agreed to continue Tuesday nights as is. It lasted for 5 more years at Cosmos, until Peter decided to sell the business. During that stretch, Mark was a staple performer at the club, as well as a sound consultant (MZ assembled and installed the house PA there) and hosted many other events besides the BCS. This time Cosmos was to be no more as it closed it’s doors on Nov 30, ’07, giving way to a newly-remodeled Yuppie Sports Bar.
The closing of Cosmos Cafe came in the midst of a very trying period for Zeus. For a very long time he suffered from osteoarthritis, a degenerative joint disease. Due to many years of sports, jogging, roadie work and more, the cartilage in his hips wore out and they basically began to lock up. Mark’s hips needed to be replaced. He underwent 2 surgeries on Oct 9 and 30 of ’07. The second resulted in complications yielding a much longer rehab period than expected. As a result of his pending lay-off, the Houston music community and his friends organized 2 separate benefit concerts. Both featured stellar lineups and were well attended and enjoyed. The one at Cosmos Cafe was initially organized by a long-time Houston area songwriting colleague and friend, Willie Atkinson. The second at JP Hops House, where Zeus has continued to be a regular performer since his move to Houston, was a brainchild of his good friend, Beverly Shirkey. In addition to providing much needed help to MZ, these events brought the Houston music scene, and it’s fans, together like few had before.
Thunderboltz had to be put on hold as a result of the lay-off. Although Mark had been able to return to “sit-down” acoustic shows, the energy and mobility it takes to execute band gigs had not yet been recovered.
After Cosmos closed, Zeus began checking out venues in order to find a suitable new home for The Bayou City Showcase. In the interim, a friend of Clay Farmer’s opened up a little club near the Galleria area on the near West side of Houston. The owner, a big fan of Texas music, wanted to start up an open mike and Clay sent him Zeus’ way. They agreed to begin The Richmond Chill Open Mike, held every Wed. night. Soon thereafter, Mark came upon a well-established and comfortable venue in the Heights, not far from the old Cosmos, which seemed to be the place to establish a new home for The BCS. The Bayou City Showcase, still every Tues, moved to 6th St. Bar and Grill at Studewood and White Oak in Houston. So, in Jan of ’08, MZ began hosting events in two new venues.
Much of the promotion, marketing and stuff for One Magic Moment had, of course, also been put on hold. Although, the few stations who have it have played it often; and the few critics who have mentioned it, liked it.
Originally, A2Z had planned for a reunion in Nov. of ’07. The surgeries, of course, put that temporarily on hold. However, on Apr 26 of ’08, Mark was able to return to the Chicago area and reunite with his old cohorts. Bobby Apollo (original TumbleWeed and A2Z) also was able to join in the festivities. Bob had a long bout with liver disease resulting in a liver transplant. Finally ,after various complications and close calls, he has been well on the road to recovery. His presence made the night that much more special.
Also in Apr. ’08, The Bayou City Showcase again moved to a new location, The Luling Lounge. It quickly became the ultimate gathering place for songwriters and performers that the Cosmos had once been. However, it was a fledgling business and couldn’t endure the mounting initial costs and debt that all new businesses must incur. Luling BBQ, along with the Luling Lounge, closed abruptly in July ’08. The BCS was again searching for a home, eventually finding one several years later at The Americana.
The Spring of ’08 also saw Zeus receive another significant songwriting award. The Texas Music Academy in conjunction with the online public, voted “Cried Enough” Song of the Year. MZ accepted the Texas Music Award at the annual awards ceremony held in Palestine TX. Mark’s good buddy, Big John Mills, joined him onstage to perform the song for a packed house at the Palestine Civic Center. The Academy continued to be an important vehicle for the promotion and recognition of Texas music artists.
In November of ’09, in his continuing attempt to promote new events and venues, found out about and attended a new open mike at small dive bar near his home, NJ’s. After playing a short set, one of the audience members approached him about starting up a Monday night open mike/showcase at Lynn’s Longbranch Saloon. That audience member, Dennis Locke, happened to be the relatively new owner of the the long-standing establishment near Pinemont and Antoine on Houston’s Northwest side. MZ began hosting the Monday night event, as well as performing there on occasional weekend nights with Thunderboltz. It was quickly becoming his new “home” venue. Bartendress, Debra Jardine, and MZ became good friends, working together there regularly.
As 2010 began, tough times befell MZ and several of his friends, although Springfest, a Celebration of Houston Music, held in the back yard of Lynn’s Longbranch, was a huge success. However, the open mike there folded. A2Z did reunite again in July. This time with Bob once again at full strength. In general Mark had needed to move in a new direction. The trip to Chicago for the reunion presented Mark an opportunity to re-center and rediscover his roots. Musically, he still performed regularly in and around Houston, although, due to some personal issues, his presence on the scene had been curtailed. That year marked a definite crossroads for MZ, both on a personal and professional level.
Annie Benjamin is a Dallas born and bred singer/songwriter/flutist who met Mark in ’00 at the Kerville Folk Fest. They quickly became kindred spirits and connected on several musical plains. Over the years they have performed together in various situations and venues, both in the Houston and DFW areas. In ’09, they began recording tracks toward a collaborative album. Most notably, a recording of Annie’s classic, “Glory”, was recorded as a duet. They performed regularly as a duo in ’10 and’11, completing a tour of the Gulf Coast and Florida in Jan. ’11. Annie and Mark were the first to appear at MZ’s Bare Bones Yard Concert Series in Sept. of ’10. In the Spring of ’11 they headlined several shows in Dallas and Houston, were showcased at Houston’s songwriter’s “Mecca”, Anderson Fair, and opened for Texas legend, Joe Ely, at the famous Old Quarter Acoustic Cafe in Galveston.
Thunderboltz added a new member over the winter of 2010-11. In an effort to improve the vocal harmonies of the band, Zeus became aware of a seasoned vocalist who fit the sound and direction of the band. Upon checking her out at a low-keyed gig in Katy TX, he asked her if she was interested in joining on. Kristi Heaton soon officially became a member of Thunderboltz, adding a strong lead and harmony vocal to the band.
Throughout the years, Mark has taught music- one on one, all levels. Since his surgeries, he has more fully embraced a much larger student base. He no longer teaches at Humble Music Center, nor any other public studio, music store or school. In order to set up lessons, he can be reached directly by emailing this website, and/or go to the lessons page on this site for more info.
2011 brought new beginnings for Zeus- both musically and personally. In addition to his work with Annie, and Thunderboltz, Mark established the monthly Special Showcase series at Waldo’s in Houston’s Heights district. His writing once again became more introspective, although one of his more memorable tunes from that year was the hilarious, yet poignant and politically-driven, “We Want Our Mummies Back”.
2012: Mark began assembling a portable, professional recording studio. It is still in the works, but promises to be a vital tool for future recordings. Although the Waldo’s showcase series ended, Mark continued his Wed. night open jam which brought in players from literally around the world, due to its convenient location and continued notoriety. However in November of ’13 the Chill lost it’s lease ending the 6 year run. Zeus’ old haunt, Blanco’s, also closed late that year falling to the wrecking ball, as it’s location on prime real estate eventually did it in.
In early 2014 MZ began the mission to open a live music venue/ restaurant/ bar in Houston featuring all American roots music. The closures of venues such as the Cosmos Cafe and Blanco’s, along with several other central Houston music establishments, left a large whole smack dab in the middle of a once thriving Americana scene. Although still in the planning stage, some money had been raised and a growing number of local musicians and fans alike had shown support for the idea and concept.
Throughout 2014 and ’15, Zeus continued a regular gigging schedule, which included more solo restaurant, coffeehouse and wine bar shows. Thunderboltz in various configurations continued as well, albeit less frequently. Jimbo’s Roadhouse, a fun biker-style bar in Hockley TX, has remained the only regular stop as the band entered 2017. Major developments though occurred in the quest for The Americana. Two major fundraising events in April and August of 2015 were organized by MZ and friends. Tons of great musicians were scheduled for both as the events continued to bring awareness of the project, as well as some much needed funding.
​In March of ’16, Mark got together with old A2Z buddy, pianist, Steve Wozny, and re-recorded the 1990 Zeus classic, “Insecure Treasures”. It is one of the bonus tracks included on the 20th Anniversary re-release of Bridging The Gap- Legacy Edition. The entire project was remastered by Craig Williams at Dr. CAW Studios, and released in Nov. of 2016.
Finally in the Spring of 2017, The Americana opened its doors, taking over an old bar in a strip mall in NW Houston, Spring Branch area. Some good friends helped out in the renovation and development, including Mike Casey, who consulted on most of the structural issues, repairs and improvements. Performers from across the country began showing up on the stage enhancing the already steady stream of local performers. Zeus’ Chicago Dogs became the favorite faire on the menu. It became a favorite choice to host many of the special music events and benefits.
Spring of ’17 through Jan of ’20 found MZ being consumed by the day to day managing of The Americana. Unfortunately, the venue had to close due to various financial issues. Mark did continue to keep some of his regular performance and jobbing gigs throughout that period. He had begun to resume periodic touring- most notably, back out to New Orleans and up into the Midwest before the pandemic hit. During 2020 MZ got together with the extended Thunderboltz family, both in Houston and Chicago, to record the 15 song album on CD, Mark Zeus/Thunderboltz- The Sequel. It was released in June of 2021. During that time he directed and released two video singles, “You Can’t Touch This”, and “You Might Catch Something”, starring MZ and his Houston musician friends, Kristi Heaton and Mitch Jacobs. Find those and many live videos on the markzeusmusic YouTube page.
In 2021, MZ experienced heart issues which eventually resulted in triple bypass surgery late Dec. of that year. Needless to say, those developments pushed back some of the projects that are finally came forward in 2023. In May of ’23 the new YouTube podcast, folk U zeus was launched. He has also since resumed a regularly consistent performance schedule. The latest acoustic album, Pardon Me, was recently released online exclusively at markzeus.bandcamp.com as well as Mark Zeus/Thunderboltz- The Sequel. Keep track of all his travels at the live events page of this website. Also, new videos to come in the Fall…
If you are one of those who read through this entire bio, you get an “A+” in Zeusology…..
MORE TO COME………