the past ...

The Early Years - 1999 Reissue
This record spans a ten-year period from 1978 to 1987, and involves 5 groups that I was associated with during that stage of my career.  Even though I had been playing professionally for many years before that time, including a year's tour in the national R&B act Peaches and Herb, 1978 marked the time that I actively writing and creating in the hopes of becoming a national act.
Wizzard was a 5-piece rock and roll band that could be "artsy" when it wanted to, but could rock just the same.  All five members sang lead and we utilized that whenever we could.  If these two tunes are reminiscent of Queen, Styx, Todd Rundgren, etc., there's a reason; they were huge influences of mine in the early days.  In fact, the guitar that I am playing on the first two cuts was a custom designed Gibson Les Paul Junior (by the infamous guitar builder Paul Reed Smith), with three single coil P-90 pickups, wired in series and parallel, identical to Brian May's.
Orphan was a power trio with the fabulous front singer Kris Pettit-Fath.  We had tons of original tunes and were often described as a "Van Halen with a girl."  There were three versions of this band, with the first and third being the most significant.  We had a huge East Coast following and did a couple of records, and came very, very close to a major deal.  But, as all of us who are in the business know, close does not even count!
King Dazzle was another power trio with the bass player and me doing all of the lead vocals.  The band was designed specifically for pop radio.  All of our songs were under four minutes, and rocked!  We were on the fast track to success, and this was probably the closest I got to being "commercial/vocal," but my dad got sick and, instead of continuing with the band, I chose to spend his last days with him.  Such is life!
Meyerriecks and Fath was modelled after the incredible instrumental acoustic duo Al DiMeola and Paco de Lucia.  The project was very brief in its existence, but nonetheless, very important to me.  Jeff was my classical guitar teacher for five years and I still feel, to this day, that he is one of the very best nylon string players in the world!
The Michael Fath Band was my attempt at commercial heavy rock, whatever the hell that is.  This band had three versions with, once again, the first and third being the most significant.  Do I detect a pattern here?

Profile  (1985)
This record was a parallel solo project during my time with Orphan.  I strongly felt the need to display all of the "other things" I was intensely focused on at the time.  My one and only flute track in existence is featured here, along with many classical guitar and steel string acoustic pieces, and very sophisticated electric guitar orchestration.  This record got me my very first "big time" endorsement deal with Kramer Guitars, thanks to Karen Iamelo, who absolutely adored my playing even when Eddie VanHalen was shaking up the world.  Thanks to Mike Joyce of the Washington Post for a steller review.

Flick of the Wrist  (1988)
This was my first record for a national label.  This one "put me on the map", and thrust me into the company of the very best instrumentalists of the 1980's.  I did everything on this one; metal to jazz, to neo-classic, with my requisite acoustic adornments.  Thanks to Buzz Morrison of Guitar Magazine for a most gracious and wonderful review.

Shake  (1989)
This was my second record as a national act.  At this particular time my writing reflected the four or five minute heavy metal instrumental, in hopes of radio play, which was a mythical thing to most of us.  You will begin to see here how I let my country and bluegrass influences start to creep out of the "closet".  Thanks once again to Buzz Morrison of Guitar Magazine for the fabulous review.  This record also got me my first nomination for instrumentalist of the year!

Sonic Tapestries  (1990)
"Sonic" was my third record as a national act. Many thanks to Mark Mitchell, for he and Guitar World Magazine not only gave this an incrediable review, but deemed it worthy as their main feature selection of the month!  The songs on this one are some of my favorites, once again covering many styles of music, but more importantly, showcasing a maturation of technique and composition.  This one really boosted my career!   We sold out the Roxy in L.A ., The Bayou in D.C., The Cat Club in N.Y.C., and had the best Thursday night of the year at the infamous Hammerjacks, in Baltimore,  D.C.

Suspended Animation  (1992)
"Suspended" was my first record on a European record label and forth as an national act, and later to be released on an American label. This one contains The Animals' "We Gotta Get Outta This Place", which I surely would be a hit in England (We even did two tours over there). Yeah! fat chance! This record was the last one Corey, Dave and I would do together. Our relationship had run its course, but we did manage to contiue to impress everyone with our studio and live performances. Thanks to James Rotondi of Guitar Player Magazine, for the wonderful review and praise!

Country Squire (1995)
This was the debut of The Virginia Rangers, modeled after Steve Morse's amazing Dixie Dregs. We had the same instrumantation (drums, bass, keyboard, fiddle and guitar, but were probably more country/jazz. Still, this band could rock when we had enough single scotch malt in us. The violinist, Robert Spates, is world class. He's one of those muician's which give you a run for your money every time he steps on stage. This also marked the debut of Chris Neubauer, who was later to join The Michael Fath Group, and drummer Menzie Pittman, who later joined Michael Fath's Le Jazz.  I had extreme high hopes for this project. And except for the criticts at several country magazines and at Guitar World and Guitar Magazine, no one gave a damn! This did, however, established me as a critically acclaimed country player, something that had been waiting in my closet for years! Thanks again to Mike Joyce of The Washington Post.

Baptism By Desire (1997)
My very first record that was entirely solo acoustic, suggested in concept to me by John Stix, former editor of Guitar Magazine. These nylon and steel strings pieces cover myriad of what ever the hell that means. I recieved many great reviews, in particular from The Washington Post. Once again, many, many thanks to Mike Joyce.

Songs for Marie (2000)
My second solo/acoustic disc, with most American roots styles represented. Much the same concept as "Baptism", compostionally more mature.

Yesterday's Child (2001, re-release 2005)
This disc was the 5 th release of The Michael Fath Group (my 3-piece jazz/rock fusion project); 11 original radio-ready progressive tunes. This one is very, very special!

All of Me (2002)
“All Of Me” was the debut of my “legitimate” solo/jazz career and has 12 solo tracks: nine classic jazz standards, and three original compositions. I received much critical acclaim from the top jazz magazines, and even more importantly from some of the world's best guitarists of that genre!

In My Life (2003)
“In My Life” was my 2 nd solo/jazz release. As before, 12 solo tracks: seven classic jazz standards, two pop gems, and three original compositions; the reviews were (again) fabulous!

The Chase is On (2004)
This record was an experiment down an avenue I'd long since wished – that being a kick-ass instrumental horn band that could cover any style of music. Featuring some of the mid-Atlantic's finest trumpet, sax and trombone players heralding from the Air Force, Army and Navy bands, and Berklee School of Music! Pedal steel wiz Casey O'Neal and I wrote all of the tunes, with tenor sax virtuoso Geoff Thaler writing the horn charts, which make this record even more special. Short lived, this band's fate was sealed when Geoff suddenly passed away, and I could not continue without his spirit. Such is life!

Video
Progressive Classical Rock Guitar - Hot Licks (1990)
Fretboard Range and Extension - Hot Licks (1992)
Beginner Metal Guitar - Hot Licks (1994)

Multimedia
Private Lessons Series/Rock Guitar - Phillips Interactive Media (1993)