Classic Songs to Be Discovered, Music

Marcie Free’s Hidden Fire: The Soul Behind Ready to Strike

It’s 1985.

The Sunset Strip is still a religion, and every kid with a can of Aqua Net thinks they’re destined for MTV.

Out of the chaos comes King Kobra’s debut “Ready to Strike”.

Led by guitarists David Michael-Philips & Mick Sweda.

David Michael‑Philips briefly joined Keel before being recruited by drummer Carmine Appice for King Kobra in 1984. Mick Sweda had been doing East Coast cover/punk stuff, moved to L.A., and was also tapped by Appice for Kobra.

After Kobra he co-founded Bulletboys with Marq Torien.

Johnny Rod held the low end here and after King Kobra he joined W.A.S.P., appearing on “Inside the Electric Circus”, “Live…in the Raw”, “The Headless Children”.

The season veteran here was drummer Carmine Appice, coming from Vanilla Fudge, Rod Stewart, Ozzy Osborne and the architect behind King Kobra. Post-Kobra he went on to other projects (including Blue Murder with John Sykes).

And a singer named Mark Free, the kind of vocalist who could level you with a single held note.

And now, that voice is gone. Marcie Free (Mark transitioned in the 90s), passed away. No reasons given. Maybe there doesn’t need to be one. Sometimes the world just loses a frequency.

Listen to “Ready to Strike” today and tell me you don’t feel it. That impossible range. That clean, surgical tone cutting through Spencer Proffer’s slightly overcompressed mix.

“Ready To Strike”

Co-written by the band, Proffer, and the mysterious H. Banger, a name that appears on six tracks and nowhere else. Ever. Believed to be a collective pseudonym representing members of Kick Axe, whose fingerprints are all over the Pasha Records era.

“Up here on this tightrope / Tryin’ not to fall / The spotlight is on me tonight / I want to have it all.”

It’s a metaphor for the rock life, hunger, exposure, the weight of wanting everything. The guitars duel, the drums explode, and Free prowls through the mix like a panther who’s just discovered the cage door’s open.

“Hunger”

Written by Kick Axe and Proffer.

“When I see what I want, I’m gonna take it / If it’s against some law, you can bet I’m gonna break it.”

The tempo drops, the groove thickens. Free’s voice walks the line between desire and desperation, the sound of ambition burning too hot to contain.

“Shadow Rider”

“Midnight is my time / I’m the Shadow Rider / I come from the other side.”

It’s the nocturnal anthem, the loner archetype on a chrome horse, riding between light and dark.

“I’ll stand beside you and take the blows” isn’t just a lyric; it’s a code of honor. The song rumbles like an engine idling in a back alley.

“Shake Up”

“You grew up on rock ’n’ roll / So why deny it now?”

This is the youth call, the defiant reminder that rock isn’t fashion, it’s DNA. It’s a fist-in-the-air track, bright and rallying. The message is simple: don’t outgrow what saved you.

“Attention”

“You just want attention, baby, that’s all.”

A riff built for smoke machines and strip lights. But listen closer, there’s bite in Free’s delivery. Sarcasm, empathy, truth. It’s a mirror held up to a scene that fed on validation. Every artist in L.A. wanted the same thing: to be seen, to be loved, to matter.

“Breakin’ Out”

“I’m breakin’ out, gonna make my stand…”

The liberation song, before anyone knew how literal it would become. Appice’s drums hit like battering rams. Free’s vocal swings from defiance to freedom, warrior to wounded bird.

“Tough Guys”

“Tough guys never cry…”

The façade song. What sounds like macho posturing becomes, in Free’s phrasing, heartbreak. The mask slips. The world tells men not to feel; what does it cost to fake it.

“Dancing With Desire”

“I’m losing control tonight…”

The silk thread between danger and devotion. The groove is sleek, the vocal magnetic. Desire becomes identity, the moment you stop pretending and start existing.

“Second Thoughts”

“I had it all planned, then I changed my mind…”

It’s the sound of someone questioning the script.

Behind the arena sheen, it’s a confession: the fear of choosing the wrong version of yourself. Free sings like someone tearing up a contract with fate.

“Piece of the Rock”

“We all want a piece of the rock…”

The closer. It’s ambition reimagined as reckoning. You can hear the disillusionment under the triumph, the realization that success and happiness rarely share the same stage. It ends not in celebration, but transcendence.

King Kobra never quite made it to the top. The songs were there, the image marketable, the talent undeniable. But the breaks never came. One more album, and the curtain fell.

Yet “Ready to Strike” remains, a document of promise, power, and prophecy. The record of a voice that burned too bright to be ordinary.

Mark Free sang like someone fighting for air. Marcie Free lived like someone who finally found it.

RIP.

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A to Z of Making It, Music, My Stories

1986 vs 2013

BON JOVI

In 1986, Jon Bon Jovi was all about the music. He was in debt to his record label and still living with his parents. The “band” Bon Jovi released their biggest seller, Slippery When Wet.

Now, Jon Bon Jovi is all about the money. The band Bon Jovi released their biggest dud, in What About Now, Richie Sambora has been booted because of money and Jon Bon Jovi cancelled a New York Fair concert for an intimate Government concert that paid more.

 

BLACK SABBATH/OZZY OSBOURNE

In 1986, Black Sabbath released Seventh Star with Glenn Hughes on vocals and Ozzy Osbourne released The Ultimate Sin.

Seventh Star was originally intended to be the first solo album by Iommi, but due to pressures by Warner Bros. Records and the prompting of band manager Don Arden, the record was billed as Black Sabbath featuring Tony Iommi.

The Ultimate Sin featured songwriting contributions from Bob Daisley and Phil Soussan, however due to Sharon Osbourne (Arden) trying to keep as much money as possible in Ozzy’s corner, Bob Daisley was not credited on the initial release and Phil Soussan had an accounting disagreement with Sharon. Everyone got shafted by an Arden.

In 2013, Black Sabbath released 13, their first album with Ozzy since 1978, that also featured the talents of Rage Against The Machine drummer Brad Wilk. Bill Ward said he would not participate until he was offered a “signable contract.” One B.W is out and another B.W is in. Again, someone was shafted by an Arden.

RECORD LABELS

The major labels wanted their artists to have careers. They spent a lot of money to convince the public that they should pay attention to their new artist or the latest release of an existing artist.

The marketing was from the label down to the streets. The labels had so much power and they set the bar. Either a band was signed to a label or they didn’t matter. Major labels were plentiful and the most powerful person in the music business was the Record Label head. Artists could live off the money from their record deal as people had to buy the expensive record to listen to it. Because it was expensive, we played it over and over and over again and eventually became a fan.

Now the marketing is from the streets and the record labels want the hit singles. They have shareholders to please, a board to please and all the label heads are interested in bonuses and short term profits. There is no long term vision anymore as the Record Labels do not have the same power.

The major labels have been reduced to 3, with Sony, Universal and Warner Bros.

In 1986, record companies were cool. In 2013, HBO, Netflix, Showtime, Facebook, Apple, Samsung, Twitter and Amazon are cool. 

 

LIVE

In 1986, all the acts did the arena and stadium tours because demand was high. If a band opened for a major act, they believed they had made it. The public discovered new acts when those acts opened up for our favourite bands. Look at the list below;

Metallica and Ratt opened up for Ozzy Osbourne.

Anthrax opened up for Metallica.

Marillion opened up for Rush.

 

Loverboy opened up for Van Halen.

King Kobra, White Lion and W.A.S.P opened up for Kiss.

 

W.A.S.P also opened up for Iron Maiden.

Cinderella opened up for Bon Jovi in the U.S and Queensryche opened up for Bon Jovi in Europe.

 

Queensryche also opened up for AC/DC.

Cinderella also opened up for David Lee Roth.

Honeymoon Suite and Glass Tiger opened up for Journey.

Dokken opened up for Accept.

Keel opened up for Dio.

Krokus opened up for Judas Priest.

Now only the classic rock acts of the Seventies and Eighties can sell out the arenas and the few modern superstars. The majority of acts play the club circuit. If bands have a small hard core fan base, they can raise enough money to make an album and own everything about themselves. No one cares who the opening band is.

RANDY JACKSON

In 1986, he played bass with Journey. He appeared on the Raised on Radio album and also toured with them. People judged him on his abilities.

In 2013, he is a judge on American Idol.

CHARTS

Back in 1986, the charts meant everything and albums sold in double digit millions. Slippery When Wet from Bon Jovi went to Number 1 for 1 week in October and then it re-appeared at number 1 for 7 weeks in 1987.

Now the charts are useless and artists are lucky to sell a million units. There are a few, like Adele that go into double digits. Bon Jovi’s What About Now went to Number 1 for 1 week and it didn’t reappear again.

ANTHEMS OF A GENERATION

In 1986, we had Addicted To Love from Robert Palmer, Sledgehammer from Peter Gabriel, Dreams from Van Halen, Livin On A Prayer and Wanted Dead Or Alive from Bon Jovi, Peace Sells from Megadeth, Battery from Metallica, Raining Blood from Slayer and The Final Countdown from Europe.

In 2013, nothing lasts.

THE MUSIC BUSINESS 

In 1986, it was all about the music and if a band was all over traditional media, it meant they had traction and that people would be hearing their music.

Now, our favourite bands are playing to the masses who just don’t care and now it is all about marketing. Look at the marketing campaign for the new Dream Theater album. It looks like the label is trying to monetize every little bit of it. If a band is all over traditional media, it doesn’t mean that they have traction and it doesn’t mean that people have heard their music.

In 1986, everything was expensive and the cost of music was different at every store. Due to the high prices of music, everybody had a little bit of it. We had to buy it to hear it, or we used to tape it of someone who purchased it.

Now, music costs the same everywhere, and it’s cheap and everybody has more than they want. Music is available to hear for free, whether on YouTube or streaming music services like Spotify.

In 1986, albums from our favourite artists would normally come out every two years. Due to this lack of new material, music was scarce, so when we purchased albums we played them to death. We became fans by over playing the music we purchased as it was all about the music.

Now, music is released constantly and it is plentiful. Due to these riches of new material, we don’t spend as much time with the albums we purchased. We become fans by looking for the song that grabs our attention on the first listen.

LADY GAGA

In 1986, Lady Gaga was born. In 2013, Lady Gaga is just Born This Way.

METALLICA

In 1986, Metallica released Master of Puppets and lost bass player Cliff Burton in a bus accident while on tour.

In 2013, Metallica will be released Through The Never a live/concert film and will be losing a lot of money when it doesn’t set the world on fire.

MEGADETH

In 1986, Megadeth released Peace Sells.. But Who’s Buying, which in their case, everyone was buying.

In 2013, Megadeth released Supercollider and no one was buying.

KISS

In 1986, Gene Simmons from Kiss produced and co-wrote songs for the Black N Blue album, Nasty Nasty, that had a certain Tommy Thayer on guitars.

In 2013, Kiss released Monster, that has Tommy Thayer on guitars, as well as lead vocals on one song and a major co-writer of material.

STRYPER

In 1986, Stryper released To Hell With The Devil.

In 2013, Styper will release No More Hell To Pay. It looks they still have hell on their minds.

SLAYER

In 1986, Slayer reigned in blood.

In 2013, Jeff Hanneman’s reign ended. RIP.

QUEENSRYCHE

In 1986, Queensryche was one band that released the a superior album in Rage For Order.

In 2013, Queensryche are two seperate bands that ended up releasing two inferior albums in Frequency Unknown(Geoff Tate version) and Queensryche (Todd LaTorre version).

The fans are screaming for order.

CINDERELLA 

In 1986, Cinderella released Night Songs and proved to the world that they are nobody’s fool.

In 2013, Tom Keifer the singer from Cinderella released The Way Life Goes, an album 9 years in the making with a song called Fools Paradise.

VINNIE VINCENT

In 1986, Vinnie Vincent invaded the charts, with a point to prove.

In 2013, Vinnie Vincent is …..

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