Gary & Donna Brown - Medusa (Chicago) Interview
This incredible band needs no introduction! Formed in Chicago in the early to mid 70’s, Medusa became an essential part to the proto-metal genre with raw sound and unapologetic tone. Pure, electric hell fire tunes and amazing pallet of beautiful ballads. This was a incredible honor, as is with every interview I publish, but Medusa is a special one for me as I imagine it is for you too. Sit back, spark up a joint and enjoy the journey and legend that is MEDUSA!
When and where were you born and raised?
We were both born and raised in Chicago, IL.
Donna was born in Logan Square in Chicago and I lived 13 minutes away. When Donna was in her late teens she had a friend who lived in the same apartment that I used to hang with some friends from elementary school. We eventually married in 1984 and moved to Colorado.
When did you first begin playing music? Was it something relevant in your household?
Gary: Maybe around 12 or 13. Mom bought a $25 General Electric guitar from Polk Brothers. I had a General Electric stereo that I discovered had a guitar jack. So, when we went back to the store I saw it hanging on the wall and that’s what started it. My mom played piano and was very good at it. Dad was a sax player in a local big band. So, let’s just say I didn’t have any choice.
Donna’s mom played piano and was quite good at it. Donna, one summer when she turned 17, went to Harand theater camp in Elkhart Lake, WI. She taught herself to play guitar and got her first taste of environment. She later took her guitar playing to Lincoln park in Chicago where groups of hippies would gather around and play bongos, flutes, guitar. etc.
What was growing up like?
Gary: I would walk the streets in his neighborhood listening to top 40 radio on my little transistor radio. WLS and WCFL were the top radio stations. Music always played in the house as my mom had a small record collection, Al Hirt, Boots Randolph, Herb Albert, Baja Marimba Band, Spike Jones, which I believe led to the liking of Frank Zappa.
Donna: There was always music playing in my house. My mom loved listening to Big Band music. Glenn Miller was her favorite. I also listened to a transistor radio, and WLS and WCFL were my favorite stations as well. I even listened late at night to the Top Three Most Requested Songs on WLS. They were almost always Beatles songs.
The band at Pepperhead Studios
Were you involved in any other outfits prior to Medusa?
Donna: I was not. Gary was and he’ll tell you all about it.
Gary: Kim, Lee and I were in a prior band called Poor Yorick sometime in the early summer 1972. Ed Paprocki was our singer and rhythm guitar player. We played songs by MC5, the Stooges, Hawkwind, Grand Funk, etc. We lasted about a year. Gigs are vague at best.
What was the local music scene like in your area growing up?
Donna: The Chicago music scene during the late sixties was incredibly alive and well! I recall seeing numerous iconic music legends such as Hendrix, Blood Sweat & Tears, Santana, Led Zeppelin, Jethro Tull as a backup band for Aorta, and many more at a venue originally known as Electric Theatre, that eventually became the Kinetic Playground. The “Kinetic” was at that time the equivalent of Bill Graham’s Fillmore East in NY, and was created by Aaron Russo, another famous concert promoter. I also spent a lot of time hanging out and playing guitar in Lincoln Park a popular gathering place where hippies and flower children congregated to attend weekly concerts to hear their favorite local bands. Old Town was another popular place to hang out and hear great music.
Gary: Lots of clubs. Rush street was neon lights and night clubs. Mr. Kelly’s was a famous nightclub that hosted Muddy Waters, Ella Fitzgerald, Sarah Vaughan, Barbara Streisand and the Smothers Brothers. The two brothers that owned Kelly’s also owned the London House at Wacker Drive and Michigan where in 1974 we saw B.B. King. Don’t remember the club but Donna and I saw the George Benson quartet take the stage around 1:00 am.
The Ivanhoe theater hosted acts like L.A. Express, Flo and Eddie, Kool and The Gang, Jean Luc Ponty. Wise Fools Pub we saw Freddie King and Brian Auger Oblivion Express. And there was the Auditorium Theater where we saw Frank Zappa, Genesis Selling England and Trick of The Tail Tours. Hawkwind with Lemme with support band Man the Welsh band, Blue Oyster Cult, and Nektar 1974. So yeah, we had a music scene back in Chicago.
Did you see, or look up to any groups of that time that made an impression on you, or maybe even helped to inspire what eventually became Medusa?
Donna: I was, and always will be, a huge Beatles fan! I saw The Beatles at the International Amphitheatre in Chicago in 1966 during their last world tour. I was all of 15 years old at the time, and could hardly see them from where I sat in the 35th row, much less hear them amidst all the screaming! They were definitely an influence, as was other legendary music icons such as Jimi Hendrix, Led Zeppelin, Jefferson Airplane, Santana, and the list goes on! I was also into Black Sabbath, and listening to European prog rock bands such as Epitaph, Hawkwind, Amon Duul 2, Lucifer’s Friend, Scorpions, and many more.
Gary: Hawkwind, Guru Guru, which I saw in a small club in Chicago, and Amon Duul 2 were very impressionable for Medusa. As a guitar player, if you listen carefully to some of my solo’s on First Step Beyond you’ll hear Johnny Winter. We had a radio station, WCFL, which played every Sunday night Ron Briton’s subterranean circus. One Sunday night I heard LeLand Mississippi Blues by Johnny Winter and I was hooked. His voice and guitar playing put me over the edge.
As a guitar player, if you listen carefully to some of my solo’s on First Step Beyond you’ll hear Johnny Winter
Donna playing rhythm on her Epiphone
When did you first meet your band mates and what initially drew you guys together?
Donna: I first met my Medusa band mates when I auditioned for them in 1973. The events that drew us together is a long story, but I will give you the “Readers Digest” version. I left my unsatisfying hospital nursing job and wasn’t sure what to do with my life at the time. I was relaxing one day at the beach and met a guy who introduced me to his roommate who played keyboards. We jammed a bit and he took me to see the guys play in Gary’s garage where our musical journey began.
Gary: Lee Teuber, the drummer, was in my division room in High School. Lee was rather dismayed by some of the musicians he played with so he came over to my house to hear me play. Lee remarked to me when First Step Beyond came out that when he heard me play like Jimmy Page and Hendrix he said that’s it. He had his guitar player. I met Kim Gudaniec the bass player through a mutual friend Don Witt. Kim brought Ed with him.
We jammed a bit and he took me to see the guys play in Gary’s garage where our musical journey began
Cemetery at the lakefront Chicago. Photo by Saul Smaizys of Triad Radio
Around late June a guy named John appeared at my garage and listened to the band, minus Ed, and he really enjoyed what he heard. He asked if we would like a manager and if we would like some other players to join us and we agreed. After he left, we started to play the intro to Children of the Grave by Black Sabbath. After the buildup which leads to the heavy part, a loud crack of thunder and lightning lit up the sky and we all stopped and looked at each other and had a “whoa” moment. So, in July of 1973 Donna auditioned for the future Medusa. Peter Basaraba joined sometime in 1974.
After the buildup which leads to the heavy part, a loud crack of thunder and lightning lit up the sky and we all stopped and looked at each other and had a “whoa” moment
Based on the 'Triad Magazine' article in '74, you were stated to have been performing together since at least '72. Can you tell me what the early days were like prior to recording the LP? What led to Medusa's conception? What were the performances like? Were you guys working on/performing original material in the years prior?
Donna: Medusa was originally formed in ’72 when Gary and Lee, our drummer, met and the band grew from there. I joined in 1973. Gary and I were the main creators of the original music we played. He and I spent numerous hours together in his basement creating and throwing complex guitar riffs at each other and sharing them with our band mates. These riffs became the foundation of our Medusa music. We played predominately original music when I was in the band for three years, and we played locally at small clubs, civic centers, and college parties. We were given a better reception at the clubs and civic centers, and largely ignored at sorority and frat parties.
Gary: Barely. I don’t remember much about the gigs with Ed on vocals and rhythm guitar. It was all cover tunes like I had mentioned before, MC5, the Stooges, Hawkwind, Grand Funk, etc. When Donna joined in July of 1973, I do remember her audition song was “Jesus Is Just Alright” by the Doobie Brothers. I remember Donna bringing a song to rehearsal that she wrote called “Seven Miles.” The whole song was acoustic and about four minutes until we all started pitching around ideas electrically, which eventually put it over ten or eleven minutes. When Pete joined in 1974, we started writing the basics for First Step Beyond. At the time, I was working for an electronics company called Switchcraft as a professional shit picker. They made xlr and guitar cables as well as stereo cables.
I bumped into Rex Bundy from a band called Gabriel Bondage. We started talking music and he asked if our band would be a support for his band at a place called the Post, which might have been somewhere near Old Town Chicago. I think it might have been a VFW hall type place. I remember we played “Seven Miles,” and I think we had some half bakes that weren’t completely finished, but we made them sound finished just to play out. That was one of the very few original sets we had done. Back then, they didn’t like originals from unknown bands, and I guess we fell into that category.
Peter Basaraba on vox
The record we all know as 'First Step Beyond' was recorded and self- produced by the band in '75 on a 4 track. What was the process of recording the music? Can you walk me through some of the details behind each of the songs that are featured on the LP? What was the song writing process like for the band?
Donna: Gary and I were the creators of the melodies and Pete, our singer, wrote most of the lyrics. I wrote the lyrics to Black Wizard, and another song, “Seven Miles” that was played on Triad radio. Gary and I wrote more proto-metal style songs with intricate timings such as Transient Amplitudes, Frustration’s Fool, and Unknown Fear. Pete was into a more Pop and love songs style. Kim, our late bass player, was responsible for recording the majority of our music on 4 track reel to reel. The recordings took place at either Kim’s house or in Lee’s basement. We played predominately original music when I was in the band for three years, and we played locally at small clubs, civic centers, and college parties. We were given a better reception at the clubs and civic centers, and largely ignored at sorority and frat parties.
Gary: The recording of the album took place in the drummer Lee’s basement. He had a four track Dokoder reel to reel. We all got our own track to play on. We recorded all of the instrumental tracks first for all of the songs. Fuck ups were not an option, or you do the song again. Then fed them through a mixer where Pete added his vocals to another reel to reel. And that was that.
How long did it take to lay everything down in the end? What was everyone's choice as far as gear and rig set-ups? Can you paint a picture of what a typical weekend was like in Chicago back in those days? What kind of activities or interests did you guys have outside of playing music together in Medusa?
Donna: Gary and I spent a lot of time together and when not playing music, we attended rock concerts and had endless conversations about music over dinner at various restaurants or hanging out in his basement or at my apartment. I spent a lot of time hanging out at Lincoln Park, yet Gary was more into hanging out at home. He really wasn’t into the Hippie scene at that time.
Gary: Maybe a full weekend. We were hot back then and after rehearsing and rehearsing we were ready. As time went on and the tapes just sat around there was an intro to Transient Amplitudes about a minute, or so which the tape broke. Also at the end of Unknown Fear the ending was cut short because, you guessed it another tape break.
Only the recordings, Temptress/Strangulation', made it into the physical realm by way of a single released by Pepperhead. Can you tell me how that deal came about? Was there ever talk with this label, or maybe others about releasing the full length LP? I've read that the label head disappeared due to a 'bad trip' and was never seen again. Is that true? How did you guys initially meet this person in the first place? What did it feel like to have something tangible in your hands?
Donna: I left the band in 1976 to attend nursing school, so this question I will let Gary answer. I do recall getting a box of 45’s and being quite excited to see my name credited for writing the melody for “Temptress.” It seemed a bit unreal at the time, as we had no idea of what was in store for us musically 40 years into the future!
Gary: After Donna had quit to back to nursing school, we got another guitar player, Art, in the band. We hooked up with Pepperhead to do some recording. We did and the recordings lacked life. After the First Step came out, Lee had talked to me about it and he was glad Numero picked the basement recordings because it had life in the sound. Since the session did not work, they cut us a deal. Each member got a box of 45’s and that was that. There was no other talk about an album deal and shortly after that the band was done, or so we thought.
Excerpt from Triad magazine
I've read that the label head disappeared due to a 'bad trip' and was never seen again. Is that true? How did you guys initially meet this person in the first place? What did it feel like to have something tangible in your hands?
Gary: It could have happened. Made for some cool press. And it was pretty cool to have a vinyl recording in our hands. Until 40 years later when the shit really hit the fan.
Kim, Pete, Art, Gary, Lee
How did the deal with Numero come about for the official release of your long awaited, proto masterpiece? What was your initial reaction when you found out someone was not only interested in your band after all these years, but also wanted to give you the opportunity to release your record which I understand was under one of the band members beds? The record has been out since the Fall of 2013. How have things changed for the band and its members since then?
Donna: I’m sure Gary will agree on this one! Our lives were turned upside down by a phone call that I received one day while working my nursing job at home. The call was from Rob Sevier a producer from Numero Group Records in Chicago, and when he informed me that he found our 45 at a record convention and wanted to release an album of our music, I was in shock, as you can well imagine! I couldn’t believe when he told me he was interested in the music we created some forty odd years ago, and thought I was being scammed. I almost hung up on him! I’m glad I didn’t. It was totally life changing. After the phone call, we were reconnected with our old band members, Pete and Lee, and were talking again about reforming the band.
Unfortunately, Pete and Lee didn’t want to be part of the reformed band. We found three new members, Dean McCall, drummer, Randy Bobzien, singer, and Phoenix Johnson, bassist, and were invited to tour the Midwest and West Coast with a band from San Diego known as JOY. It was absolutely mind-blowing that a bunch of “dinosaurs” in our sixties were touring with the JOY band members who were young enough to be our children! Everywhere we played we were mobbed by adoring fans! Our fans were worldwide. It was surreal!
I almost hung up on him! I’m glad I didn’t. It was totally life changing
Live at the Northwestern University
Donna, I read that you had left to go to nursing school while playing with the band. Can you tell me what was leading you in your life at that time to do that and where you stood with music as a whole? Replaced by Art on rhythm guitar, was this a bittersweet moment for you? Did you continue to support the group whether that was coming to rehearsals, or shows? Can you tell me about the books you've written, 'Finding Medusa' and One Moonlit Night'? When did you decide to pursue writing and being an author?
Beginnings in Schaumburg
Donna: At that point in time, I was confused about which career I wanted to pursue in my life, nursing or music. I knew that musicians don’t make much money unless you are The Beatles or other legendary music icons of that era. So, I decided to pursue nursing to generate income for myself, yet I missed playing with Medusa and creating music. I went to a few rehearsals and shows, yet I was so involved in my nursing studies that I had little time for anything else. Seeing Art was a bit bittersweet, but ironically, he quit the band about six months later and shortly thereafter, the band broke up. It was a surprising realization that I was ultimately the glue that held Medusa together.
I’ve always wanted to write a book, yet never sat down to write it until our first album, First Step Beyond, was published in 2013. This incredible event inspired and motivated me to write my first book, Finding Medusa – The Making of an Unlikely Rock Star.” It took six years to write this book because what originally was intended to be a musical biography eventually turned into the story of my life. This story recounts the emotional roller coaster ride of being a musician, coming of age during the tumultuous and historical ‘60s, getting second chances, and eventually reconnecting with my musical roots.
My second book, “One Moonlit Night,” is a fictional suspense/thriller and is my first attempt at writing in this genre. It’s almost ready to be published, and will hopefully be out this summer or fall.
This story recounts the emotional roller coaster ride of being a musician, coming of age during the tumultuous and historical ‘60s, getting second chances, and eventually reconnecting with my musical roots
Any new music from Medusa1975? Can you guys run me through starting up that engine again? You played your very first show since '75 back in 2014, correct? What did it feel like to be sharing the stage with both old, and new members? Are there any days, whether that's memories, shows that sound out to you till this day?
Donna: We actually reformed the band in 2013 after First Step Beyond was released. We went through several band member changes before solidifying the second incarnation of Medusa, aka: Medusa1975. We played our first show in forty years in June of 2014 at a place in Littleton CO. known as Toad’s Tavern. It was an interesting experience relearning the music we played forty years ago that was even more interesting for me relearning our songs on a different instrument. I started out playing guitar and eventually switched to playing keyboards because I hadn’t played guitar since leaving the band in 1976. Playing keyboards felt more natural.
The Toad’s show went well, although the audience was fairly small and composed of mostly friends. This show was also filmed by Channel Nine News in Colorado, and it was exciting and nerve-wracking to be followed around by the cameraman who was constantly shoving a mic in my face and asking me if I was nervous. It was a bit different playing with new members, yet we still kicked butt!
We also played a show in Chicago at the Cobra Lounge and Pete joined us for this show unrehearsed. The fans went nuts seeing three original members of Medusa playing together for the first time since ’76. It felt as though no time had ever elapsed. Pete looked the same standing onstage wearing a brown fringe vest, and shaking his tambourine, but with shorter hair. The crowd loved every minute of our show, and someone yelled out, “You guys are alright!”
What have you been up to during these 'Covid Days'? How has this strange time affected you as an artist and individual Are there any future plans for Medusa/1975?
Donna: Unfortunately, our band split up after our second album was recorded and released in 2017. We have since moved to a remote, rural part of Arizona, and it has been difficult trying to find new band members in this area. We played with a few local musicians for about a year until that band also broke up. Currently, Gary and I are playing acoustic music as a duet and we have been playing occasionally with a djembe drummer. Although we miss playing our old Medusa music, we still enjoy playing occasional local gigs at libraries, coffee houses, cafes and open mics. We’re still keeping our music alive!
Is there anything else you would like to further share with the readers?
Thanks for inviting us to share our story! Also, thanks to you and all our fans for digging our music and enabling us to play it forward!
Thank you so much guys for allowing me to do this! I recall the first time I heard Medusa, I thought holy hell... this is heavier than anything else. It was natural it seemed for you guys, but in all honestly my favorite numbers are the more mellow ballads. They are beautiful! 'Feelings of indifference' is absolutely stellar.
Gary: When First Step Beyond landed at record store in Arvada, Co called Black and Read. Entering the store I heard a voice from the back of the store, "Dude did you see your album"? Paul Reidle worked at the store, who became a big fan of the album showed it to me and my exact thought was Holy Hell. The way it was put together with black crushed velvet with red and gold foil stamping of the goat’s head, name and pentagram. It was the coolest. I went myself since Donna had pulled her back out earlier that day. I called her and told her I was coming home to bring her to the store. She too was amazed. So that was the first time we had seen it.
After we had sold our house in 2017 and hit the road with our keyboards and guitars and amps we hooked up with Crypt Trip in Austin Texas with Aryn Jonathon Black of Scorpion Child on vocals for the 2018 SXSW. We were the support act for Josephus 69 and did the First Step Beyond album. That was the first time that I remember doing Feelings of Indifference live. When I announced it to the audience Aryn politely replied, "Well thats Fucked Up Gary". It’s when it dawned on me it really is a great song.
Thanks Dakota for the interview and the patience.
When I announced it to the audience Aryn politely replied, "Well thats Fucked Up Gary". It’s when it dawned on me it really is a great song
The heavy underground’s true duo
