"MIDNIGHT AT THE LOST AND FOUND"
I got the Meat
Loaf gig because of Bob Clearmountain (although I had been asked
years earlier to join Meat Loaf’s band, so I knew he and
Jim Steinman were aware of me.)
I was at a rehearsal with The New York Flyers in Syracuse, and
the phone rang and it was Clearmountain. He asked what I was up
to, and I said that as it happened I was headed to New York in
the morning to audition for Foreigner as a keyboard player.
He said he had been sitting with Meat Loaf mixing his Dead Ringer
album and overheard him talking about needing a guitar player.
Bob said, “If you need a guitar player, I know this guy,
Mark Doyle…" Before he could finish the sentence, he
said Meat jumped over the console and said “You know Mark
Doyle? Get him on the phone!!”
So Bob handed the phone to Meat and he said, “Foreigner,
what the hell d’ya wanna play with them for, boy? Come play
with me! What’re they offering you?”
Well, it wasn’t a done deal yet but I knew what the offer
was, so I told him. He asked “Are they givin’ you
per diem on top of that?” I said yes, they were. He said,
“Well, we can come close. Come to the office after your
When I got back from the rehearsal I called my best friend, Joe
Whiting, and ran it by him. His words of wisdom were, “It’s
always better to go with someone who DOES want you than with someone
who MIGHT want you.”
So I made up my mind that night that I would go with Meat. I went
to the Foreigner audition anyway and gave a perfunctory performance
just to check it out. The vibe was cold (although Lou Gramm couldn’t
have been nicer, being a Rochester boy) and the keyboard player
(which would’ve been yours truly) was to play a football
field away from the band and not even be visible on stage.
So afterwards I went to the office, where they said “Welcome
to the family, we just need to buy out the other guitarist’s
contract that we signed before we knew you were available.”
Thus began a three year saga of thrills, spills, and high drama
that are better left for a book (maybe someday).
But the high point of this record was definitely working with
Tom Dowd, who was yet another of the legendary Atlantic Records
team that had figured so prominently in my past.
Unlike Arif, Tom loved to tell stories about all the sessions
he had done, and proceeded to regale us with tales of recording
Coltrane, Lennie Tristano, Aretha, Ray Charles, Cream, Rod Stewart,
etc. We loved it, and I learned so much from him. After starting
recording at the Columbia Studio that I recorded Resolution in
(which was now so run down that we had to leave, especially after
me and Max Weinberg, the drummer on the album, staged a protest
that got us into Power Station), we continued on to Power Station,
and then I was the only one that they took to Miami with them
to finish the work at Criteria. It was my first and only Christmas
in Florida, and Meat gifted me with an Atari and all the games
we had been playing on the big screen TV in the lounge at Criteria.
A song I co-wrote on this record, Razor’s Edge, became the
single and video and still pays me royalties to this day.
EPIC/CLEVELAND INTERNATIONAL- 1983
PIANO, BASS, VOCALS, CO-WROTE 1 SONG