Band

History

In the late 1980s, revisionist history might suggest, life was simple and good: two suburban-bred, Philadelphia-based bands of college students and recent grads, The Bensons and Tornado 5, who debuted within months of each other (in 1987), scratched out respected local followings while attempting to follow the indie do-it-yourself model that bred success to their half-generation older contemporaries/heroes (R.E.M., Translator, The Reivers, etc.), and earlier new wave giants (Nick Lowe, et al.). The Bensons oriented themselves in the refrain-chorus-refrain pop song model of English pub rockers and American power pop, with splashes of '60s harmony and psychedelia. Tornado 5 mixed intertwining guitar-bass rhythms with an overlay of poetry from a female art school student and were on the forefront of an emerging style that created powerful moods, often with an effective use of tempo builds and shifts.

In an era where cover bands commanded the dollars and ruled the suburban landscape, these bands went against the grain, headed into town, and showcased their way up the ladder of J.C. Dobbs, Bachannal, Khyber Pass, the Caberets, Trocadaro etc. and populated any stage from 3rd and South to Penn's campus where they could maintain artistic integrity and some self-respect... or get free/cheap beer. They were part of the McGlinchey's scene where a small group of mutually-admiring, similarly situated original bands (including Flight of Mavis, Napalm Sunday, the Wishniaks, Red Herring and Fjord Rangers) padded the meagerly available live calendar opportunities by opening for each other. Despite their just-over-the-city-border, suburban roots, they rarely ventured out of the city...if they did, it was to places where the Philly indie band scene existed beyond the city's borders (Lancaster's Chameleon; a Jersey shore show; New Hope, into Delaware or a rare N.Y.C. showcase at the Lismore Lounge, Kennys's Castaways or CBGBs).

The band members spent as much time going to shows as performing them. They had their favorite local bands and stuck by their sides. When the Smithereens, the dBs, They Might Be Giants, or Hoodoo Gurus came to town, these guys were there. A real coup was had when the bands were asked to open for a favorite or emerging band (Miracle Legion, the Beautiful South, The Silos, Glass Eye, Poi Dog Pondering, The Wild Seeds, Big Dipper, Yo La Tengo, Dumptruck), thus playing for a new slew of fans and saving them the cover charge. The bands forged reputations filled with local critical acclaim through self-released recordings (sadly, cassette and sub-LP vinyl was the budget of the day) that they peddled at shows, the Record Cellar, Siren Records, 40th Street Music and Third Street Jazz, while attempting to get them played on the radio during the precious few minutes of daily airplay devoted to local bands on local college radio and commercial radio programs.

By late 1990 (for The Bensons) and early 1991 (for Tornado 5...though they persisted briefly as a "power" trio, Tornado 6, until 1992), the reality of life's harsh responsibilities had settled-in for the two quartets. While some of their peers went "all in" and committed their lives to their craft and their music, The Bensons and Tornado 5 abruptly ceased to exist.
Live at Auburn Road Vineyard and Winery Differences around creativity, personalities, committment and direction hastened the dissolving of both bands. However, such differences easily could have been overcome if not for the stark reality that the bands had reached, at best, "Double A" level in this indie race to the majors...and the reality that these minor leagues were ceasing to exist and these bands had no place in the majors. So, everyone just moved on. Matt Maguire, Jeff Smith (from The Bensons) and Keith Marlowe (from Tornado 5) quit playing live (and for periods of time, quit playing period) for more than 15 years. Andy Shahan (from Tornado 5) continued to drum for a while.

In 2007, through a series of "kick the tires" discussions, Matt, Keith, Jeff and Andy found themselves back where they started in the '80s ... in the suburbs looking for something to do with something they like to do. After a rocky start as a result of their first gig being cancelled due to the club closing, The Miners, through the help of an old friend, secured a weekend slot at the now-closed Grape Street. The first show brought a huge crowd and lead to more Grape Street shows up to its closing. Their live show success landed them shows at venues such as the Tin Angel and NXNW with the large crowds continuing, comprising a mix of fans from the Tornado 5/Bensons days as well as many new fans who never saw the earlier bands. In addition to live performances, The Miners hit Matchup Zone Studio (aka Keith's basement) to record some of their newly penned tunes. A sampling can be heard here and on The Miners Myspace page.

In early 2009, Matt sadly decided to leave The Miners and Jeff soon followed. With the early success and fun Keith and Andy were having, they decided to push on moving Keith to lead vocals while Andy took on more vocal duties as well. Deciding to lead The Miners deeper into the alt country sound they have become know for, they employed Reckless Amateurs lead guitarist, David Thornbugh, to play pedal steel and lap steel guitars. To replace Jeff, they called on former Hogan's Goat bass player Scott Donnini, thus reuniting the Hogan's Goat rhythm section.

The Miners are the excavated remains of some prized and valuable resources from a past that is both a lifetime away, but not so far gone. Like past efforts, The Miners pan for success on their own terms - playing music they like, for people who share their love of music they perceive as great.

Can YOU dig it?