MARSHALL GOODMAN
Producer, Writer, Remixer, Drummer, Percussionist, Turntablist 

Bordering South Los Angeles, Orange County and the Pacific Ocean, Long Beach has long been a multi-cultural city with various lifestyles melded together. It's no wonder that in the early 1990s, when urban LA was beginning to boil over with tension, rebellion was in the air in Long Beach as well. It was then that Sublime, a band of young Long Beach locals, started to experiment with a sound that today has become its own rock sub-genre – punk rock, reggae, and hip hop all rolled into one frothing, feverous release of angst and energy with a relentless fixation on rhythm and beats.

Marshall Goodman (also known as Ras M.G. and Field Marshall) was a driving force behind this new sound. At the time, Marshall was just a young drummer and turntablist from the LBC. He was enlisted as the drummer of Sublime in 1990 and played on their debut album. Marshall contributed a complimentary amalgamation of hip hop and hardcore with his writing and performing that lit the match for further creativity…inspiring Sublime to take their sound to a place where no artists had reached before. The new album, 40oz to Freedom, quickly became an underground hit with the Generation X youth in Southern California. Sublime, with relentless effort on their part, eventually won over the record industry as 40oz to Freedom went on to be multi-platinum. A couple of years later, Ras M.G. was brought back to work some magic in the studio for Sublime's follow-up self-titled album. His ear for hooks and poly-rhythmic style of percussion brought an artistic direction encapsulated in his performance and writing that contributed to their success and garnered them a multi-platinum album and several more radio hits.

After Sublime, Marshall co-founded Long Beach Dub Allstars where he played drums, co-produced, toured, and co-tour managed the band. Long Beach Dub Allstars released three studio albums (including two on Dreamworks), and played a blistering live set of Sublime favorites and their new compositions to a now large contingent of fans. They also earned the respect of the purist of reggae purists as they performed and recorded with some of the genres most beloved singers. From 2002 to 2003, Marshall toured the U.S. with Dreamworks recording artist Jessy Moss and appeared with her in the film Win a Date with Tad Hamilton.

As a performer and producer, Marshall has produced and worked with numerous contemporary rock, reggae, hip hop, and pop artists over the past two decades. This roster of diverse talent includes Good Charlotte, Slightly Stoopid, will.i.am, KRS-One, Half Pint, Barrington Levy, Pato Banton, Tippa Irie…as well as forming the bands Dubcat and Rickshaw. He’s also well-versed in engineering and mixing, and has been hired by legends such as reggae engineer Hopeton “Scientist” Brown. Coming from a background where his father was a Chicago blues session guitarist, Marshall digs deep when he’s producing and remixing. He does his research and looks for what really speaks to the artists he’s working with. He looks for the “soul” of the track and what inspired its creation in the first place. This process, along with Marshall’s unique ear and his training in the art of poly-rhythms, gives his productions a certain sound that has been successful in reaching significant audiences many times over.

Marshall is credited for co-writing, arranging, and drum programming Slightly Stoopid’s current radio hit “Top of the World.” This track is currently in rotation on Alternative radio, including the influential KROQ in Los Angeles. Most recently Ras M.G., along with most of the Long Beach Dub Allstars alumni, formed L.B.D.A. where he plays drums and is the chairman of the ensemble.


Gazilcher is a music project founded by Bob Kurthy (me) in 2007, and features occasional guests.

Although I am a drummer, most of the material here is midi-programmed (including the "drums") using a DAW on a PC, keyboard midi-controller and a hand-held digital audio recorder.

I program the beats, and generally avoid using prefab' loops. I occasionally use my own samples, including obnoxious macaw shrieks, various baby/toddler vocalizations, fetal heartbeats, toys, and accidental voice mails from people who "butt-dial" me.

Some influences here include, but are not limited to, most sub-genres & eras of Progressive Rock, 70s/80s horror/sci-fi/action film soundtracks, New Wave, Krautrock, cheesy Metal, etc.

Many of these songs are instrumental vignettes. A few have been expanded through collaboration with comedic vocals. I would like to collaborate further with other artists, in possibly a non-comedic way.

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