New York City is currently re-establishing itself as the most exciting and dynamic rock 'n roll scene in the country. In fact, not since the Rascals, the Velvet Underground, and the Blues Project literally exploded the 'New York sound' across the country, has there been such a concentration of young, talented musicians living and working in this

New York City is currently re-establishing itself as the most exciting and dynamic rock 'n roll scene in the country. In fact, not since the Rascals, the Velvet Underground, and the Blues Project literally exploded the 'New York sound' across the country, has there been such a concentration of young, talented musicians living and working in this city. CAROLYNE MAS figures prominently within that group. In a very short time, she has gained a solid reputation among her peers as a very talented young woman with a promising future.

Born and raised in New York, CAROLYNE MAS was introduced to music at a very young age. By the time she had graduated from high school she had ten years of classical piano, seven years of vocal training, and experience in numerous theatrical productions behind her. After attending the American Musical and Dramatic Academy (1972-73), Carolyne applied to and was accepted by Julliard... but then something happened that would radically alter her approach to music and, eventually, lead her to the rock clubs of New York City.

In the fall of 1974 Carolyne accepted an invitation to join a week-long rock music festival in Pennsylvania. Suddenly, and for the first time in her life, she found herself immersed in a highly-charged creative musical environment that inspired her towards possibilities that her classical training had ignored. Following her instincts, Carolyne decided not to attend Julliard. Instead, she set out across the country with her guitar and a singular objective... to write music and find audiences that would listen. After traveling through countless small towns playing bars, small clubs, and college concert halls, Carolyne finally ended up in Los Angeles where she was offered 'special guest' status at The Troubadour as the leader of the Midnight Band.

Not surprisingly, Carolyne grew restless in California and soon returned to New York City where she began performing at small clubs. Once again, her instincts seem to have pointed her in the right direction; word spread quickly on the street and, before she knew it, Carolyne had found herself integrated into a small and extremely talented group of artists who were just beginning to generate a good deal of attention in the Village. Now, with a clear sense of purpose, very strong material, the support of a management organisation, and with an exciting new band CAROLYNE MAS is ready to make her mark. Those who have heard her are unequivocal in their conviction that she will go all the way.

CAROLYNE MAS BAND

RAY AGCAOILI - DRUMS Touring and/or recording credits include Leslie West, Doug Sahm, the Jon Paris Band, Lynn Kellogg, and Arlen Gayle.

MARTY DAVID - BASS Touring credits include Van Morrison, Dr. John, Kate Taylor, Jesse Colin Young, LaCosta, and Jackie Lomax. Recording credits include Van Morrison ('Hard Nosed The Highway'), Warren Zevon, Jackie Lomax, and, Jesse Colin Young.

DAVID LANDAU - GUITAR Touring Credits include Jackson Browne (1978), Warren Zevon (1978), James Montgomery Band, Chris Rhoades. Recording Credits include Stormin' Norman and Suzy, Desmond Childe and Rouge.

JIM SATTEN - GUITAR Touring credits include Eddie Kendricks, Undisputed Truth, Ecstasy, Passion, and Pain, Dana Gillespie, and Lou Courtney. Recording credits include Steve Goodman, Lou Courtney, and The New York Community Choir (R.C.A.)

HOWIE WYETH - PIANO Touring credits include Bob Dylan (Rolling Thunder Revue), Robert Gordon, Kinky Friedman, Roger McGuinn, Don McLean. Recording credits include same as above.

Whether it's her voice, her songs or her eyes that grab you first, the message is clear from the outset: Carolyne Mas is a street-elegant rock n' roller whose time has come.

The people who've seen her perform have gotten the message and it's jarred more than a few out of their 'whither rock?' cynicism. She's so in command on the stage, so

Whether it's her voice, her songs or her eyes that grab you first, the message is clear from the outset: Carolyne Mas is a street-elegant rock n' roller whose time has come.

The people who've seen her perform have gotten the message and it's jarred more than a few out of their 'whither rock?' cynicism. She's so in command on the stage, so determined, tough and vulnerable; so diminutive in appearance but gifted with a very big and distinctive voice. Carolyne Mas IS a star and that piece of information is about to explode on the American rock conciousness.

There is a bit of a mystery as to her origins but there is no doubt as to who Carolyne Mas is now. For while she 'lives the life she sings about in her songs,' her characters and situations are just oblique enough - and just universal enough - to suggest the past, chronicle the fleeting present, and hint at the future.

Everything is happening fast for Carolyne - which is what the fleeting present is all about - precisely because her readiness is so apparent. 'I hate waiting,' she says excitedly. 'When I was ready and knew what I wanted to do, I figured it didn't matter how fast it happened. I just didn't go through my phases in front of people. If I'm going to be getting my act together, I'd rather do it at home, inconspicuously.' To see her on stage today is to witness the emergence of a great rock and roll talent, and it is in that sense - and that sense only - that comparisons are valid.

But Carolyne is more than a great rock and roll singer. Her songs are about her life and the lives of those who people it. With them she creates characters - and, on stage, dramatic characterizations - to tell her stories. And like Carolyne herself, the songs, the characters are full of life, emotion, humor, pain, love and joy.

Carolyne's readiness allowed her to compress her 'present' into a matter of months. In fact, the speed with which she entered the spotlight to virtually unanimous public, press, industry, and - yes - radio acclaim in the Northeast was unprecedented. To have gone from being well-known amoung a small circle of friends on Bleecker Street to having your demo tape played on five major radio stations and selling out shows from New York City to Syracuse in three months was quite an achievement. Carolyne did just that through her music.

September, 1978: Carolyne meets Faris Bouhafa, her manager and former Artist Development executive at CBS; her producer, Steve Burgh, who had just completed the production of Steve Forbert's debut album; and, guitarist David Landau who had recently come off the road with Jackson Browne and Warren Zevon (Landau would later become her musical director, on-stage foil, and co-author of three of the songs on her debut album.) The next three months are spent in extensive rehearsal with occasional forays into low-visibility clubs outside of New York City. The objective is simple... to be ready for January when Carolyne will do her first serious showcase.

January 17-21, 1979: Carolyne opens for Sonny Terry and Brownie McGhee at a New York club called The Other End. Glowing press reports start surfacing with concurrent record company interest.

February 20-12: Carolyne opens for The Persuasions... again at The Other End. The club fills early with industry types out on official scouting missions and others who want to see if they can believe what they heard the first time.

March 14-15: Carolyn headlines The Other End. By now word has spread, on the street and in the papers, so that the regular customers outnumber the invited guests. New York's WNEW-FM breaks format and airs Carolyne's demo tape. Vin Scelsa features her in a half-hour interview. Soon college radio stations throughout the area are also playing the tape. Mercury Records' new president, Bob Sherwood, flies in from Chicago - the deal initiated on that trip is signed, sealed and delivered in three weeks.

April, 1979: Carolyne tours the Northeast. The excitement is repeated in Boston, Asbury Park, Albany, New Haven, and, most notably, in Syracuse where 5,000 people demand several encores. WOUR-FM in Utica tapes the concert and broadcasts it a week later. The station receives more than 150 calls from listeners asking for more information about Carolyne.

May, 1979: Carolyne starts recording her first record.

Sprung from nowhere? Hardly, of course. But the 'past' is simple: born in Bronxville, New York, 1956. Vocie lessons (opera) at age 11. Jazz, rock, and folk bands in high school. On to the American Music and Dramatic Academy on Bleecker Street in Greenwich Village, then the Light Opera of Manhattan singing Gilbert and Sullivan. Accepted at Julliard but opts to perform at a folk festival in Pennsylvania in 1974 when classes were to begin. Resurfaces in New York City in the summer of '76, sporadically hitting the club circuit and developing her rock and roll persona.

There is one more matter - the eyes. Carolyne's are big and dark and round - wild and innocent. They, too, speak of command, determination, toughness, and vulnerability. They speak loudly and convey one simple, yet powerful, message: Carolyne Mas is most definitely a talent ready-made for the present.

On stage, Carolyne Mas pushes herself and her band to the limit. The feverish energy level and raw excitement of her music has left audiences in the U.S., Canada, and Europe standing on their feet asking for more.

With 'Hold On,' her second album, produced by Steve Burgh, Carolyne has captured the dynamics of her power live performance on vinyl.

On stage, Carolyne Mas pushes herself and her band to the limit. The feverish energy level and raw excitement of her music has left audiences in the U.S., Canada, and Europe standing on their feet asking for more.

With 'Hold On,' her second album, produced by Steve Burgh, Carolyne has captured the dynamics of her power live performance on vinyl. Her debut last year promised what this record delivers: the intensity and honesty of a talented young artist whose self-confidence has not diminished her ability to project a very real sense of vulnerability.

All the songs on 'Hold On' were written by Carolyne with the exception of 'You Cannot Win If You Do Not Play,' the first recorded interpretation to date of a Steve Forbert song.

Much of Carolyne's new material was written at a time when she was touring extensively. As a result, many of the songs are personal expressions of a young artist facing the often-strange circumstances of her chosen lifestyle for the first time.

'A song like the album's title track was written with no instrument on a train.' Carolyne points out. 'But it wasn't until a couple days later that I was able to work out the parts. It's almost like I have a radio in my head, because I can hear the completed song while I'm working on it.'

Carolyne was born in Bronxville, N.Y., and first came to the attention of the music industry in early 1979. However, prior to then, she had been active in a wide range of musical activities which included taking voice lessons at age 11, playing with numerous bands in high school, enrollment in the American Music and Dramatic Academy in Greenwich Village, and membership in the Light Opera of Manhattan where she starred in several Gilbert and Sullivan productions.

In 1974, Carolyne was accepted at the Julliard School of Music, but opted to perform at a musical festival in Pennsylvania just when classes were to begin. What followed was a period of development as she traveled around the country working on her music. She resurfaced in New York City during the summer of 1976 and began playing small clubs, piano bars, and coffeehouses. It was during this time that Carolyne organized the Songwriters Workshop, an ongoing, weekly dialogue that included some of the most talented, young songwriters in the city.

The story picks up in the fall of 1978, when Carolyne meets her manager-to-be, Faris Bouhafa, and her eventual producer, Steve Burgh. The next few months are spent getting a band together, rehearsing, and playing some low visibility dates around New York City. By mid-January of 1979, Carolyne and her band were ready for the first showcase.

The 'official' debut for Carolyne was January 17, 1979, at the Other End, opening for Sonny Terry and Brownie McGhee. From that point on, things started happening very quickly for Ms. Mas. Rave reviews started appearing in the New York press and a return engagement one month later drew reps from every record label in the city.

All four shows sold out after WNEW-FM broke format and aired her demo tape, followed by a number of local college stations doing likewise. Shortly thereafter, Carolyne signed with Mercury Records.

The positive reception to her first LP, 'Carolyne Mas,' resulted in extensive touring which included the United States, Canada, and Europe. Her live performances consistently gained her new fans. And the second LP, 'Hold On,' should give her the wider recognition she deserves.

It was all the touring that allowed Carolyne and her band to enter the studio still brimming with energy. All the tracks were recorded live in the studio with Carolyne on lead vocals, electric 6 and 12-string guitars, piano; Bobby Chouinard on drums; Ivan Elias on bass guitar; Charlie Giordono on piano and organ; David Landau on electric quitar; and Cris Cioe on alto, tenor, and baritone saxophones. Cioe was also heavily involved in the mixing of the album.

'A live performance almost makes having a record secondary,' Carolyne says. 'When the audience is really responsive, then you can get into little experiments where the music goes somewhere it's never been. You push yourself and feel confident in taking chances.'

On this impressive record, Carolyne Mas has taken the chances -- and won.

New York native Carolyne Mas' third and latest album, 'Modern Dreams,' shows her musical maturity coming to the fore, as she channels her galvanizing energy into some superb material. Now utilizing her synthesizer for a welcome experimental effect, Carolyne's music soars on tracks such as 'It's Important,' Moon Martin's 'Signal For Help,' and

New York native Carolyne Mas' third and latest album, 'Modern Dreams,' shows her musical maturity coming to the fore, as she channels her galvanizing energy into some superb material. Now utilizing her synthesizer for a welcome experimental effect, Carolyne's music soars on tracks such as 'It's Important,' Moon Martin's 'Signal For Help,' and 'Laurielle,' with PolyGram's own A & R ace, Chip Taylor, contributing some tasty b. g. vocals. Moving, original ballads like 'Little Baby of Mine' utlilize Carolyne's double-tracked harmonies to create powerful dramatic tension, a wonderful surprise. 'Modern Dreams' turns out to be the definitive Carolyne Mas album--the one she's been promising to make from the very beginning.

Raised in Woodbury, Long Island, Carolyne was introduced to music practically at birth by her pianist father and guitarist mom. She played piano from the age of 6, guitar from the age of 11. As a child, she used to fiddle with toy flutes and maracas. 'I used to think water towers were the biggest maracas in the world,' she recalls.

By the eighth grade, Carolyne was joining rock 'n' roll bands formed by the guys from her school, the only girl around who could actually play electric guitar. 'The only other people who played were guys, so I just naturally gravitated toward them,' she explains. After earning straight F-s in high school ('I forged my parents' signature on the report card.'), Carolyne hitch-hiked all the way to Hazelton, PA., of all places, with only her very first electric guitar, a 'pea-green Gretsch Country Gentleman,' slung over her shoulder.

The time was 1974 and it still wasn't too cool for a woman to be rock 'n' rolling, especially leading a group of guys, so Carolyne contented herself with singing the odd song and playing bass, guitar and piano. A few cross-country-and-back exoduses later, our heroine settled in New York's Greenwich Village, where it all began to come together musically. 'I was always influenced by the musicians I came into contact with,' admits Carolyne. 'I met a harp player in California who turned me on to improvisational, blues-type singing.'

A stint with the aptly-titled Last Chance Blues Band led to a solo spot in a piano bar, with Carolyne earning $10 nightly, plus food and tips, working from 7 at night to 3 in the morning. 'That was the low point for me,' remember Mas, 'I did that for five months until I began using Jon Paris' band as a back-up for gigs at a place called Kenny's Castaways, which had just got their cabaret license, so we were able to bring in a drummer.'

Press interest began to grow for this diminutive rock 'n' roller, a skinny local girl with vitality and pipes to spare. A subsequent headlining show at the legendary Other End at the beginning of 1979 led to a flurry of offers from most every major record label. At that time, Carolyne's band included drummer Bobby Chouinard, guitarist David Landau, piano-player Robbie Condor, sax-player Cris Cioe and bassist John Siegler. With local radio stations airing the band's self-made demo, Carolyne Mas' career was about to be launched. She inked with Mercury/PolyGram Records, and went into the studio with producer Steve Burgh and drummer Andy Newmark to cut her debut album in May, 1979, to be released two months later. Carolyne and the group torued extensively for a year and a half, hitting the East, Midwest and South, as well as Canada and Europe, where they were greeted enthusiastically. 'Stillsane,' the first single, cracked the charts in both Canada and the United States.

In three weeks during February, 1980, Carolyne recorded her second LP, 'Hold On,' again with producer Steve Burgh, as Charlie Giordano replaced Robbie Condor on keyboards and Ivan Elias remained on bass. After the completion of 'Hold On,' guitarist Rick De Sarno replaced David Landau.

With consistent touring and acclaimed live performances, Carolyne Mas' legacy has carried overseas. This past winter, a live promotional album, culled from a performance by Carolyne and band at My Father's Place on Long Island, was released in Germany. Originally not intended for commercial use, the album took off like a skyrocket, and popular demand resulted in the record getting re-pressed four times, and now it has even begun to sneak into some of the European charts. 'Mas Hysteria,' as the album was dubbed, has now even been released in France and Scandanavia as well.

As anyone who has seen Carolyne Mas perform can tell you, she is all boundless kineticism on-stage, constantly in motion, pouring her heart and soul into each song. 'Modern Dreams' manages to capture this electricity with remarkable precision. Produced by Jon Astley and Phil Chapman, two Englishmen who have worked with some of the biggest names in rock, including the Who, Eric Clapton, and David Bowie, 'Modern Dreams' was recorded at New York's Media Sound Studios during April, 1981.

Utilizing the studio and the experimental risk-taking associated with English rock 'n' roll, Carolyne Mas has finally created the work she's capable of, from the driving intensity of 'It's Important' to the biting sarcasm of 'Dirty Lying;' from the 'songs of the humpbacked whale' echoes of 'Little Baby of Mine' to the artful 'Laurielle.'

The waiting is over. Carolyne Mas' 'Modern Dreams' has finally transformed her immense promise into present realities.