Blues Society of Western PA - Newsletter

- Jonnye Weber

Gil Snyder, founding member of the Mystic Knights, recently agreed to chronicle his part in the Pittsburgh Blues scene. Known as a stellar keyboardist, Gil has graced many stages with his sometimes tender toying with the keys and other times romping, furiously over the same keys. Either way, the audience is never disappointed. I first saw Gil at the finals of the First Annual Blues Challenge. Gil and his band “owned” the stage that night with a tremendous, overwhelming presence. It was a searing, charismatic performance. Gil, dressed stylishly in a suit from the forty’s, tilted hat, and spectator shoes, rocked the house. All I could think was, …Wow, who was that well dressed man who had just brought the house down?

Jonnye: Gil, when did you first become interested in music?
Gil: I was just thinking about that the other day. When I was very young, I went to my Uncle’s house and he had an upright piano. While my family was talking, I was pounding away on the piano. They must have seen something, because I started taking lessons soon after.

J: How old were you when that happened?
G: I am not sure, about 9 or 10 years old. Here’s something…my first paying job was being an organist in church.
I played the 11:00 mass at St. Regis in Trafford. You could say that I had my own mass. (laughing) I was the head alter boy and the nuns kept giving me pamphlets to go into the priesthood. I was outgoing and friendly so I guess they thought that I would be a good candidate. (We both laughed.)

J: You were with the Iron City Houserockers from the beginning when they made their best records: “Loves So Tough,” “Bricks,” “Have a Good Time But Get Out Alive.” How much did you contribute to the writing of the material?
G: I played on the album, “Love” but did not write the songs. My name does appear on six songs on “…Get Out Alive.” We worked with Mick Ronson and Ian Hunter (Mott the Hoople) who were English. Little Steven, from the Springstein band, was there, too. Steve Popovich was the producer. At one time Steve had been with CBS Records. He then formed Cleveland International Records. Actually, we found his name on the back of a Southside Johnny album. We just sent him a cassette that we made in our basement. (Laughing). It was truly a “Cinderella” story. People do not think that it will happen but it did…. once. (Sighing, while remembering) Wow, it happened to us.

J: The Houserockers is still considered by many to be the best “bar band” …ever. What is your take?
G: (Thinking for a minute) Actually, I thought that we were better than a “bar band.” I think that we should have been called a “theater band.” I guess that is better than being a garage band. (Laughing) It was a regional thing. We played blue-collar music. Actually, it is still in my veins and I still do that.

J: What happened that the group broke up?
G: There was a change in the regime. After having been there ten years and four records later, the Japanese bought the label and cleaned house. Unless you were Elton John and making lots of money for them, then you were out. After touring, traveling and some plane rides, we were back in the ‘Burgh like nothing had happened. (Gil was silent for a moment)

J: There has been a lot of talk recently about the Houserockers…the film, the articles, interviews: how has that affected you?
G: I was there for the party before the Joe Grushecky Documentary. I had to leave for a gig and did not get to see it (the showing of the documentary). I hope to.
(I then pulled out an old album, “Bricks” that Jim Weber had found at the Exchange in Squirrel Hill and a recent newspaper clipping. Both had old pictures of Gil. He signed both while he reminisced about those times.) (He laughed and said that he had a bold “posturing” back then. Laughing, he added that he “had hair then”).

J: What was the name of the group you were in before the Mystic Knights?
G: Bon Ton Roulette. Jeff Ingersol of Bone Daddy Records approached me after the Houserockers broke up. He had already put a band together and offered me the job. It was a “horn” band and played R&B, Soul, and 30’s and 40’s music. We used Bone Daddy’s extensive collection of ‘78’s (records for those who do not remember). In fact, Bone Dog Records is the best studio in Pittsburgh. We are currently working on some songs in the studio.

J: What led you from Blues/Rock to Blues?
G: I was always into the Blues. Porky Chedwick, who spun records on Wamo, was the single person who was the most responsible for my playing the blues. He played Roots music and introduced me to the music of Muddy Waters, Hounddog Johnson, and Howlin’ Wolf.

J: You have won four People’s Choice Awards in Pittsburgh and have been inducted into the Pittsburgh Hall of fame. Is it hard to live up to that? Do you wish to be judged and/or remembered from your past adventures or from your current or future ones?
G: I do not even think about those. I just do the best that I can do. I just play music. I would (seriously) like to be remembered for being a Pittsburgh player and that I have never had a day job. I work five nights a week and hustle during the day to get those dates. I try to take Monday off but that does not always happen. The phone rings and I am back to working. (Laughing with his famous Gil Snyder laugh!)

J: Do you book everything alone or do you have booking agents?
G: I work with General Talent who helps a lot. I also work with Full House Entertainment. They both work hard for me.

J: What is your wish for the future?
G: I wish that the people who run the venues would know more about the music, the history of the music in our town and what bands are in our town. It is a tough town to book jobs in at times… When you call someone after playing in the area for over twenty years and they say, Mystic Knights …who???

J: With over twenty-five years in the Pittsburgh music scene, you have many stories to tell. You have met many national acts. Tell me about those that stand out in your memory.
G: We warmed up for Lou Reed once. His people actually carried him into the club. They started the music and suddenly Reed popped into the “Gig Mode”…The show must go on. That happened with several others and the same thing happened…(laughing uproariously). I had the most fun with Mick Ronson who worked David Bowie. He died in the past few years.

J: Do you want to share the “most fun”?
G: Laughing …Mick Ronson was always worried about being known as gay. He had done a promo picture with Bowie that looked suggestive. He walked around carrying Playboys and reading them so that people would not think he was gay. He was a very down to earth guy…and he was not gay!!!! Gil then added, “not that there is anything wrong with that.”

J: Anybody else come to mind that you would want to share with us?
G: Steve Cropper from the Booker T and the MGs. He was a cool guy. He would have us over at his house. Come to think about it…. he came to a picnic at my house when I lived in Regent Square. He produced “Blood on the Bricks.” He works out of LA. I was a “little shy” financially once long ago and he lent me $50. (Laughing uproariously) I still owe it to him. I saw him at the Point (Pittsburgh) three or four years ago and I did not bring it up. I forgot that I still owe him. (Laughing) …Maybe you should him a copy of this and remind him. (Laughing)

J: I read on your site’s bio that you worked at the Decade with Bon Jovi.
G: At one time, everyone played the Decade. I was standing in the kitchen during a Houserockers’ gig when a guy shorter than me came up to me and said that he loved my “Old Man Bar” song and liked that he liked the reasoning behind it. It was John Bon Jovi. I think I met him earlier when we (the Houserockers) were in New Jersey. The house was packed. He asked where the bathroom was. I wanted to avoid his being trapped in a busy club in the public bathroom. We had one in the dressing room. To get to the dressing room, we had to walk up the stairs and walk across the roof of the Decade to get to it. The door to the dressing room was kept locked because you never knew what “activity” was going on in there. (Laughing) Well, we got there and the door was locked. He had to go and I really had to go. . So…. we went to the side of roof and both took “direct aim” into the parking lot below. There we were, Bon Jovi and I both relieving ourselves off the roof. (Laughing, uproariously)

J: Many feel that the Decade was the backbone of the music scene in Pittsburgh. I guess you have a lot of memories. Is there anything that you want to share about that well-remembered landmark in Pittsburgh’s music history?
G: (Thoughtfully) Dominic Desalvo owned the Decade. He was the best club owner in the “entire universe!” He was a friend to musicians and treated “talent” with the respect that those individuals deserved.

J: I understand that you play the accordion. Is it a hobby or something that you include in the act?
G: I play an Italian accordion. There is a hole in the bellows. You will see it soon. I used to do 3-4 songs with it in the second set. I need to buy another one or get it fixed. Anyone out there got one for me to use???? (Laughing)

J: At Halloween you showed old black and white, reel-to-reel horror flicks. Is that a hobby?
G: (Quietly) I have a degree in cinematography. I had an academy award nomination in 1976 for an “animated short.” Basically, it was a cartoon.

J: What was the name of it and the subject? Who did you lose to?
G: It was a cartoon named “OOZE.” It was a “mish mash of incredible mayhem.” Well, I lost out to a Disney production. I was really upset at losing. …Groucho Marx was giving out the award! (Laughing!)

J: So you have an extensive library of old films? What do you do with them?
G: (Seriously) I like to have an excuse to bring them out. I have 16mm, 8mm, and super 8 films. I would like to do a film night somewhere if someone would allow me.

J: If someone were to make a movie of your life, who would be most likely chosen to portray you and why?
G: Wow! Soupy Sales…. because…(laughing uproariously).

Gil Snyder: the man, the musician, the interview…. a man who plays the blues in Pittsburgh. Thanks, Gil!