Frank Marino Real
David Reisman/Real Estate MillionsFrank Marino spiffed up his garbage can with a Louis Vuitton logo wrap. “Every time I put out the garbage that’s when I get the most knocks on the door by men saying their wives want it.' When Frank Marino’s Realtor took him to see a home for sale in Summerlin’s Eagle Hills, it reminded him of his native Long Island and of California, where his partner, Alex Schechter, hails from.“You can have the glitz of the Strip and then come home to a neighborhood that feels like New York and California,” said Marino, longtime Las Vegas female impersonator and star of “Frank Marino’s Divas” at The Linq. Nestled in a twelve-acre gated enclave of seven homes, 2850 South Mojave is located in the historic Winchester District. The Kellner’s property features two (of the seven) distinct, modern-designed single-story homes. The main home showcases 6,143 square feet with three bedrooms and four and a half baths.
The guest home is 4,750 square feet with five beds and four baths. Kellner’s journey from Cape Town to Las Vegas is an authentic rags-to-riches story. His parents passed away when he was young (his mother when he was 13 and father at age 17). When he was 18, Kellner immigrated to southern California as a tribute to his late father. A 1963 Paradise Palms home.
Originally called the Monterey, the open floor plan features a living, dining and kitchen area in main living area, original hardwood flooring, original central vac system, both master bathrooms have original starburst tile and vanities, fully renovated kitchen with quartz counters and new appliances, waterfall edge island with counter seating, ‘Cosmos,’ a Soviet-inspired lounge with fog machine, laser lights, sound system and full bar, fresh paint, retro furnishings, new carpet, pool, pool deck with seating and covered bar, lifetime block and steel construction. Golden Knights goalie Marc-Andre Fleury has put his custom Southern Highlands home on the market for $2.5 million.
The single-story home, built on a.63-acre lot in 2015, measures 5,285 square feet and has a 717-square-foot casita and three-car garage. It has five bedrooms and six baths. Fleury bought the home from former NHL player and fellow Canadian Sheldon Souray, according to public records.
When he signed his three-year, $25M contract extension over the summer, Fleury told the media he and his family love Las Vegas and cited its great schools and neighborhoods with a lot of things for kids to do. Fleury said he and his family love their home in Southern Highlands, but wanted to be “closer to the Summerlin area.' Home photos courtesy of Ivan Sher Group.
Aninterview with Frank Marino - 2003Stillgoing StrongEarly80's.I was bored and had a beer in a local pub. 'Areyou coming?'
, asked a friend, who just came in. 'We're goingto Paradiso(Amsterdam) to see Frank Marino and Mahogany Rushand we've got a ticket left', he said. , Ididn't know that name. Atkv vakansie program hartenbos.
I went to the show and a fan wasborn. Impressed by this great show I started to collecteverything I could get from his hands and every time I wastouched by his music.Otherinfo about the band was hard to find until I found a site onthe Internet. A site called withalmost everything you would want to know about Frank Marinoand Mahogany Rush.
This site is maintained byand can be found on.Here I learned that Frank Marino was born in Montreal,Canada, on November 20th 1954.Hebegan recording his first album Maxoom (KoTai records) inlate 1971, just prior to his 17th birthday. The fact is thatafter a musical career of more than 30 years, he's stillgoing strong. Soif.?Hello Frank, thanx for taking some time to answer afew questions. When did you pick up the guitar?' Ifirst played guitar when I was 13 years old. I learned toplay while I was in hospital recovering from psychedelicdrugs.
I was just a kid and I needed some type of therapy tokeep my mind off the trip, which was not a nice situation.There was a guitar in there for the kids to use, so I beganto use it as much as I could. By the time I came home, Iwould only want to play all the time. My mom bought me aguitar and that's how it all started'.You started as a drummer.
Any advantages to that whenyou did pick up the guitar?' Ibelieve the ability to play drums was a very definiteadvantage, yes. I feel that understanding rhythm is a key tounderstanding phrasing on guitar or anyinstrument'.Which type(s) of guitar and amps do you use?' Asfar as guitars go, I use mainly SG guitars and occasionallyI'll use a Stratocaster for a track or two. But I've have afew custom made SG's, some with different kind of pickupsand even one that is hollow.
For many years I only used the1961 SG Les Paul. I have a couple of those. Lately I've beenusing more of the custom made ones, which are all basicallycopies of the original one anyway with a few modifications.I basically build pre-amps that are tube type, based on across between a Fender Twin and a Mesa Boogie, and with thatI'll use any kind of high-powered amp like a Crown orsomething like that. The majority of sound is in the pre-ampthough and it really doesn't matter what power amp you giveme, it'll sound pretty much the same as anyother'.You like to construct a lot of the material you useyourself. Can you tell us what you've constructed and whatyou would like to construct to use on stage?' Well,like I said,there's the amps. But also the pedals and thepedal board, the speakers just about everything is made byme.
I take a pedal from the old days and I modify it till Ilike the sound a bit better. I try very hard to make itnoiseless as possible and hum-free if at all possible. Butthe bottom line is that it absolutely must sound musical tothe ear'.Lots of amps and effects nowadays are digitally based.Do you prefer the digital or the analogue versions andwhy?' I'vealways preferred analogue, and I still do.
Digital is onlyOK for doing editing really. Anything else sound betteranalogue. I could go into a dissertation here explaining thetechnical reasons,but space probably won't allow it. Sufficeit to say that with digital,what you get is a representationof music that is based on momentary 'snapshots',whileanalogue is more like reality. Listening to digital is likelooking at a 'flip-movie', and listening to analogue ismore like looking at 'real life'.
But the problem withanalogue is the noise level. It's not as quiet as digital,somany people think it's not as good.
Analogue can be madevery quiet if you take the time to fix itproperly'.If you could choose to release your music on LP or CD,what would you choose?' WellI still like CD's better than LP's, even though they'redigital. The best way of listening to analogue music wouldbe to put it on 1/2 inch 30 inch- per- second analogue tape,but nobody will do that. For all that digital does wrong tothe music vinyl is in some ways even worse, for a whole setof different reasons. So, like I said, the best is largetape, then CD and then vinyl'.Any tips to sound better for low-budgetplayers?'
Budgetreally hasn't got a lot to do with sounding good. I know alot of high budget situations that sound awful and lowbudget ones that sound great. The basis of a good sound isreally the amount of work put into it by the producer or themusician. The fact is, if something sounds 'bad' to someoneand then they take the time to tweak it and fix it till it's'good',the result is more a measure of their care than their'talent' or money.
But if you simply accept second best inyour own heart, then you'll probably give that impression tothe listener. The best thing to do is LISTEN, because that'swhat it's there for. Music is all aboutlistening'.Can you train a musical ear and is it important haveit, when you just listen to music?' Amusical ear is something I believe that most people have,but I don't really know it. For instance, if there's abirthday party and someone begins to sing happy birthday,usually you can chime in and be in key with the melody. Mostpeople are not out of tune in such an instance, but if youask to sing a song they don't know very well and if theyfeel there are people watching them, suddenly they thinkthey haven't got an ear.
Even at sporting events, whencrowds of thousands chant 'We will,we will rockyou.' ,you can make out the melody and the tuning as becorrect. So, while it's a 'gift', it is also a gift that Ifeel everyone has but doesn't realize. A bit of confidencein one's self usually helps. That's the beginning oftraining a musical ear'.Playing and singing together seems extremely difficultto me.
How did you practice it?' Playingand singing, for me, is extremely natural. I've never had toget used to that. It just works. Kind of like walking andsinging. I don't feel the need to walk in step with thetiming of a song in order to sing it and most people can dothat. But when they get on an instrument.
Frank Marino & Mahogany Rush Real Live
They begin towatch themselves play and then the timing gets screwybecause of the watching. If you treat it like walking,you'll find it's really easy to do'.How do you keep your voice in shape?' Myvoice isn't what it once was because I smoke a lot and I'mgetting older. I didn't believe I actually could sing untilI was quite a bit older. In the beginning, I did a lot of'talking vocals', if you know what I mean, because I was shyabout singing. By the time the 80's came around, I began tobelieve I could sing OK, but I haven't done too many albumssince then'.How do you practice? Do you've a favorite chord orroot?
Any tips, tricks or licks?' Thetruth is, I don't practice at all and never did. Certainly Idid a lot of jamming with people, especially early on, butI've never sat down to practice in my life and quitehonestly, I don't believe in it. I feel that is the way foreveryone,not just myself. If I was training a student ofguitar, I would tell him not to practice in the classicalsense, but to use the time to play with people and hopefullywith people better than himself, especially early in theirdevelopment. As for favorites, I don't because it's just thelowest string!' .How do you compose a song and can you express freelyon the guitar?'
Icompose a song mainly in the head, without a guitar. I thenplay it on the guitar and, yes, I can express rather freely.That is, I usually am able to simply transfer the idea fromthe head to my hands, without too much getting used to,although sometimes I'll tend to compose something that is abit more technical and then I've got to get used to thefingering and stuff'.Do you see any advantages in the Internet formusicians?' Well,the advantages are that they can get their music to thepeople directly. The disadvantage is they can't promote itwidely, and that a lot of people will just download it andwon't pay them for it, so they may find themselves unable tocontinue to afford to make records. It's a viciouscircle'.The last cd you released in 2000 was Eye of the Storm.Can we expect more musical projects in the future?'
Youwill see a double cd, recorded live in Montreal on September8th 2001. This is ready to go as we speak, but I don't knowexactly when it will be available. My stuff has always beenreally hard to find, even when I was on Columbia becauserecord companies have never believed in our kind of music,so they don't promote it. But whatever happens, my stuffwill always be available through the website( ), even if it is ona label somewhere and in a store'.Do you have other creative hobbies?' Many.I design and build stuff, invent stuff.
I used to be arace-car builder and driver, but I stopped that awhile ago.I write Theology and I draw also. Just about anything that'sa challenge I try to do and I hope to do itwell'.You play a lot of instruments (drums, guitar,mellotron etc.). Is there any other instrument youparticularly fancy to play on?' I'dlove to play tenor saxophone, for one, and I wish I was abetter piano player. But at my age and with the fact that Inever practice, I'll probably just remain where I am withthose instruments'.Your impressive career lasts now for over 30 years.What lessons did you learn from that long time you're on theroad?
Ilearned a lot about the way people in this business can be.There's a lot of pettiness, rip-offs, and general danger tothe young inexperienced musician. I wish I knew then what Iknow now, but that's all water under the bridge. Somememorable highlights would be the shows I did for BillGraham and some of the large festivals, not because of theirsize, but because I got to meet some people I had longadmired as youth including Bill'.You recently did the Legends of Rock-tour in the UK.Can you give a short impression?'
Well,it was very different for me. First of all, I haven't playeda short 40 minute set for almost 25 years. So that wasreally hard for me. I had a hard time really playing well insuch a short time. But I got a bit used to that afterawhile. Also, I only had my drummer(Josh Trager) and had toget a bass player and guitarist over there and teach themthe songs in about one day.
Now, for a jam-band like us,that's hard to do, because it isn't about 'songs', but it'sabout feel. But Francois Garny (bass) and JJ Marsh(guitar)did such a great job and were so friendly and professional,I felt that they really saved me, especially JJ. I loved tohang out with Uli Jon Roth, Jack Bruce, Glenn Hughes, JJMarsh and Clive, well just about everybody. We had a lot offun, although there were some behind the scene things thatwere a bit of nuisance, but nothing too serious.
All in all,I had a great time, mainly because of the feelings offriendship. And I love touring anyway and haven't been tothe UK for 20 years or so. The only other problem was that Iwas only added to the show very late and they didn't get alot of time to promote the fact that I was there, or to tellpeople that Michael Schenker was not, so we ran into a fewsituations where some fans felt upset about Michael notshowing up, and might not have known I was there not tomention that we went on so early that there was usually veryfew people when we began. But after we played, it usuallyturned out OK, and the halls filled up before wefinished'.So if anyone wants to bring you back to Holland/Europeto do a tour with your own band. How can they contactyou?' Man, just say the word and I'll be there!
Frank Marino Real Live
If anyone overthere wants to contact me to get us over there, they onlyhave to go to our page( )and write medirectly. We'll do whatever we can to make it all happen,ifit's at all possible'.Frank, thanx for answering the questions!
The lastlines are for you.' Well,I'd just like thank you for taking the time to talk to me. Ido this because I like to meet people and so it's alwaysrefreshing when people such as yourself take the time totalk to me, and when fans take the time to readit'.Interview by Eric enLinda(return to ).