In 2007 MICK MASHBIR released his first solo album, Keepin’ The Vibe Alive. Mashbir, from Phoenix is a guitarist/songwriter, who in the 1970s played on 2 ALICE COOPER albums, as well as accompanying tours (1973-74), as well as Alice Cooper bandmember solo projects, and later with Flo & Eddie, and The Turtles. Mick has a new album out, digitally only (so far), titled Strungout On Strings, which includes a few tracks from his previous album, a few new ones, and some written and recorded in-between. (I’m kinda hoping for a CD (:-)) in the future). You can check out Strungout On Strings on Youtube (see link at the bottom, and give the songs a like).

Can you give me the basics on your new album? (when songs were written and recorded, title…)?  I notice a few titles which were previously released as singles.

STRUNGOUT ON STRINGS is a compliation of songs recorded before and after KEEPIN’ THE VIBE ALIVE  was released. It is varied in styles because as a guitar player I have played many styles beyond what I did with the ACG.  I released “De La Vina”, “Now” and “Bottom Feeders” after KTVA because I wanted them to be available for all to hear.  My love for guitar is not about one style. The title says it all. That’s why I’m still playing. The 12 tracks are; NOW, AMERICAN WEIRDO, BOTTOM FEEDERS, POINT DOOM, BORN TO ROCK, FLOAT, HERE IN THE FLESH, DE LA VINA, 1-900-4AGOD, MEMNOCHS BLUES, COMPASSION and HOLD ON.

Are there any special guests on this one? 

“Born To Rock” featured my band the YARBLES. It was recorded at the Record Plant in LA.  The drums on that track are the only live drums on the album. I programmed all the drums on the other tracks.

Is Bob Dolin (RIP) on any other tracks (aside from “Hold On”)? 

Unfortunately no. The upside is that it forced me to upgrade my chops on the keys.

You included “American Weirdo” and “Hold On” from your previous album.  I notice that “Hold On” plays out til the end instead of fading out. Is there anything else you altered on either track? Both make great singles btw. I always thought “American Weirdo” would’ve been a cool AC song way back. 

“American Weirdo” was remixed, remastered and re-released because I felt it spoke to what is happening in America today.  At heart it is a blues song, relevant in the 80’s and still relevant today. 

The images in the accompanying video are symbolic of the political, economic, religious and social conflicts we as Americans are experiencing regardless of our race, chosen religion or political affiliation. The video shows it all.

“Hold On” was remixed, remastered and re-released as a tribute to Bob Dolin. His piano part in the coda was cut short by the fade out version on KTVA. I thought it was important for that to be heard in its entirety. His piano in the coda was one take. His overdubs..the cellos, violins and piano took about 3 hours. Funny thing about Bob, he really wanted to be a lead guitar player. The last time I saw him perform he playing lead guitar in a cover band!

“Hold On” is a song of struggle and hope. It helped a couple of friends of mine make it thru their dark and difficult times. 

Can you comment on a few of the tracks, such as “Now” (from 2013), “Here In The Flesh”, as well as instrumentals “Point Doom”, “Float” (who’s playing keyboards on this one?)

POINT DOOM is a nod to my first band The Jaguars. We were playing Surf Instrumentals in the Arizona desert. It was written in the 90’s while I was living on Point Dume’ (Doom) in Malibu, California. The video features old school skateboarding.

NOW is auto-biographical history. I had never played a solo using the whammy-bar on my Strat so that is my first attempt. The video reflects the philosophy and reality that NOW is all we really experience in our lives. The video is a psychedelic take on time.

The lyrics of HERE IN THE FLESH were written by Curt Phillips (RIP). When I first met Curt he was in an Alice Cooper cover band so I think that’s what inspired him to write those lyrics. The lead was cut in one take on my Fostek 4 track cassette deck with my 58′ Sunburst.

FLOAT was a track that I created to jam to. I played piano and B3 organ. That guitar was my first take on the first jam. I thought “this works, this is a keeper.” COMPASSION and MEMNOCHS BLUES were both done the same way with the same results. 

DE LA VINA was inspired by an Ayahuasca journey in the jungles of Los Angeles. Again, the video gives a little symbolic insight to the experience.

You’ve only put this out on Youtube so far. Will it be available on other streaming services.

It is available on about 35 other streaming services, some not available in the USA. Check out: Amazon, iTUNES, deezer, iHeart Radio, Pandora and Spotify.

 Will there be downloadable or physical copies (maybe in the future)?

That all depends on the reaction to the initial YouTube release. 

Who created all the videos?

All the videos were created by me. I wanted SOS to be an audio/video experience and that’s why “SOS” was initially released on YouTube. The videos are very symbolic in their nature letting the viewer interpret them as they wish.

Who created the cover art for this?

I created the art as well. It’s a nod to AI. I would never use AI for music, but since I’m not a  practiced visual artist, AI is a handy tool.

There’s been a lot of activity from the original Alice Cooper group these last few years, notably the deluxe reissues of albums you played on and a live album from your time with them. I notice you were included in the extended liner notes to Muscle of Love, but didn’t see much in B$Bs. What did you think about these releases?

I am not familiar with the B$Bs reissue so I can’t really comment. I was not asked to participate so no free copy for me. ..lol

How did your inclusion (interview?) come about for the Muscle of Love release?  

That was because Mike Bruce put me in touch with the incredible Jaan Uhelszki (founder/editor of CREEM magazine) who was doing the liner notes. She made sure I received a promo copy. I was impressed with the remastered sound and Alice not singing in character on “Crazy Little Child” isolated vocal…a real crooner.

In the Billion $ Babies release, Michael Bruce mentions your involvement in the early stages of what became “Raped and Freezin”. Do you recall that?

It was the first song we worked on at the first rehearsal…The Latin rave up at the end was our nod to the instrumental “TEQUILA”.

Have you kept in touch with any of the AC guys in recent years?  

I saw Mike Bruce about 10 years ago if that counts as recent. He is the only person in the band that made any effort to stay connected.

Have you heard the new AC band album (any thoughts on it)?

I thought the relaxed, not so polished production that killed the feel of most of ACs solo stuff, really made it sound like ACG groups early records.  I notice on Wiki there were 5 additional guitar players which dissapointed but didn’t suprise me.

What else are you up to these days? (still play live much?)

I’m writing and recording new material. I no longer gig.