Angie Bowie "OBSESSION"

Lyrics by Paul Zone & Angie Bowie
Written & Produced by Paul Zone & Man Parrish

"My homage to the 1970s disco classics of Amanda Lear
performed by the Sensationally Fabulous Angie Bowie" -PZ
Original Recording Released on MEGATONE RECORDS 1989

OBSESSION (edit) by Angie Bowie

OBSESSION (Disco Version) by Angie Bowie

THE FAST
"The Fast For Sale" (1980 LP)

1. KIDS JUST WANNA DANCE (1979)
2. SIZZLER
3. CONEY ISLAND CHAOS
4. LOVE ME LIKE A LOCOMOTIVE
5. IT'S LIKE LOVE*
6. MAX'S KANSAS CITY (AD)
7. BOYS WILL BE BOYS*
8. THESE BOOTS ARE MADE FOR WALKING
9. T SHIRT & TIGHT JEANS
10. B MOVIES
11. WET 'N' WILD
12. CARS CRASH

THE FAST
Paul Zone: Vocals
Miki Zone: Guitar/Vocals
Louis Bova: Bass Guitar/Vocals
Joe Poliseno: Drums

THE FAST*
Paul Zone: Vocals
Miki Zone: Guitar/Vocals
Mandy Zone: Keyboards/Vocals
Tommie Moony: Bass Guitar
Peter Hoffman: Drums

Kids Just Wanna Dance (1979) THE FAST

MAN 2 MAN featuring JOHN SEX
“1986 EP”

1. The Jet Set
2. World’s Best Lover
3. Unisex Haircut

Written & Produced by Paul Zone & Miki Zone
Co-Produced by Man Parrish

Unisex Haircut (John Sex with Man 2 Man)

MAN 2 MAN featuring JOHN SEX
“1986 EP”

1. The Jet Set
2. World’s Best Lover
3. Unisex Haircut

Written & Produced by Paul Zone & Miki Zone

World's Best Lover (John Sex with Man 2 Man)

MAN 2 MAN featuring JOHN SEX
“1986 EP”

1. The Jet Set (John Sex with Man 2 Man)
2. World’s Best Lover (John Sex with Man 2 Man)
3. Unisex Haircut (John Sex with Man 2 Man)

Written & Produced by Paul Zone & Miki Zone

The Jet Set (John Sex with Man 2 Man)

MANDY ZONE
"A Little Bit Of Soap"

Produced by Paul Zone (London 1988)
Written by Bert Berns (1961)

Lead Vocals & Keyboards: Mandy Zone
Programming: Paul Zone
Photo: Emile Greco

A Little Bit Of Soap (MANDY ZONE)

BLOW-UP featuring Dee Dee Ramone
"You Can't Make Me Do That"

Written by Paul Zone, Claudio Camaione & Dee Dee Ramone

Lead Vocals/Programming: Paul Zone
Backing Vocals/Programming: Claudio Camaione
Lead & Rhythm Guitar: Dee Dee Ramone
Programming: Man Parrish

Produced by Paul Zone, Claudio Camaione & Man Parrish
Recorded in Hollywood & Brooklyn: 1999

Photograph by Lydia Lunch

BLOW-UP featuring Dee Dee Ramone "You Can't Make Me Do That"

Mandy Zone & Ozone Live At Max's Kansas City: “Shotgun,” included as a studio bonus track, is a glorious, menacing slice of dark power pop. Producer BOBBY ORLANDO utilizes the octave sequencing that would make him a dance legend as Bobby O in the 80s (producing classics for Divine, The Flirts and Pet Shop Boys) and Blondie’s Gary Valentine handles guitar with the precision and restraint expected from a converted bass player. 
SHOTGUN: Produced by BOBBY ORLANDO 1979 
Performed by:
Mandy Zone - vocals, keyboards 
Bobby Orlando - sequences, keyboards  
Gary Valentine – guitar  
Tommie Moonie - bass guitar  
Tedd Dolhon – drums

https://mandyzoneozone.bandcamp.com/album/live-at-maxs-kansas-city-1981?fbclid=IwAR0pO7rVccZSEIdVnmEdQMFTNVrjag62eq8qjFJNh0G_LTHGUo4PQXZvxYU

Mandy Zone & Ozone "SHOTGUN"

The Fast were a footnote to New York’s already-peripheral 1970s proto-punk scene, so Ozone, their offshoot act, were a footnote to a footnote. But unlike tax codes and textbooks, in rock n roll the most fascinating stuff is in the margins. The musical underground has always been the tiny-font subscript giving meaning to the mainstream, and Ozone were absolutely magnifying glass-worthy marginalia. Raised in Brooklyn by a doting matriarch, the three brothers who would become Miki, Paul, and Armand Zone defied borough boy expectations and became absurdist, flamboyant, glam rockers, led by the 1960s Who-obsessed Miki’s Technicolor power pop vision. Baby brother Paul was an eager social butterfly tagging along with his siblings’ band (fronted by middle child Armand, Mandy to his friends, singing guitarist Miki’s lyrics), and his photos documented the Fast’s rise from talent show rejects to fixtures at Max’s Kansas City. But in a blow to Armand’s ego, the ambitious Miki decided the younger Paul should join as lead vocalist, bumping their brother to keyboard and back ups. Though he favored pirate/noire/proto-Goth fashion that suggested darkness, Armand Zone was no recluse, and loved being the center of attention. “He had such an exaggerated personality,” Paul recalls. “Mandy had a kind of regal air about him, like he was the king of the room, rising above everyone. But he was a sweet, generous king.” Being a frontman fit this personality, but submitting to Miki’s direction did not, and being demoted to backup was certainly a problem. The band thrived with Paul in front, eventually drawing the attention of Ric Ocasek who helped record remarkable demos, gaining major label interest (scuttled by greedy management). But to some old fans missed the Fast’s original, more unconventional vocalist. Frustrated by his demotion, and lack of input, Mandy left the band, and created a suite of his own songs that demonstrated a precise, controlled sense of craftsmanship. Ozone played their first show November 5, 1979, also recording their first song before the decade’s demise. “Shotgun,” included as a bonus track, is a glorious, menacing slice of dark power pop. Producer Bobby Orlando utilizes the octave sequencing that would make him a dance legend as Bobby O in the 80s (producing classics for Divine, The Flirts and Pet Shop Boys) and Blondie’s Gary Valentine handles guitar with the precision and restraint expected from a converted bass player. As demonstrated on this collection, bass player Tommie Moonie (who’d been in the Fast, leaving because live performance demands were too much) and drummer Tedd Dolhon made up a manic rhythm section, providing ridiculous energy. Guitarist Jon Pilkington channels Johnny Thunders’ spirit, with sprinkles of Ramones (and on “Lay Away Plan” even a little Misfits), but best yet, he often brings to mind a bar band Priest/Maiden cover act. Though they mostly shared musical tastes, Mandy was the only Zone with an affinity for the New Wave of British Heavy Metal. Ozone played Max’s, CBGB, Zappa’s in Brooklyn, Coventry in Queens, and other clubs, paired with like-minded weirdos like Von Lmo, Jayne County, Alan Vega, and The Fast. Ozone earned a couple hundred followers, and developed into a solid live act. Mandy had not been the last musician to quit the Fast, and after Spinal Tap-worthy attrition whittled the band to a duo they made a tongue-in-cheek transition to electronic dance music and, as Man 2 Man, bizarrely became pop sensations in Mexico, the UK and through out Europe (where “Male Stripper” became a legit hit single). Paul became, by default and his own nature, the archivist of the family’s musical escapades. Despite Armand’s Freddie Mercury-esque love of the spotlight, Ozone rocked in the margins. But these joyful noises, finally reaching new ears, should help secure Mandy’s throne, where sits the regal ruler of his own weird, wonderful footnote.
-Jake Austen

"I Could Have Been" by Mandy Zone & Ozone

Brothers Paul Zone, Miki Zone & Mandy Zone formed THE FAST in the mid 70s somewhere between glam & punk and soon became an integral part of the Max's/CBGB scene along side Blondie & The Ramones with their blend of power pop & garage punk. In the late 1970s Mandy went on to perform and record with his band OZONE. As MAN 2 MAN, Paul & Miki went on to composed, produced & perform songs that would come to define an era in 80s Euro dance/pop and their club sensation "Male Stripper" became a 1 pop hit throughout Europe, Austalia, South America & Mexico. 

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THE FAST: 

In 1975, with New York punk just around the corner, The Fast were already a headlining act at Max's Kansas City & CBGB in New York right from the start and by 1976 their first single "Boys Will Be Boys" for CBS Records UK produced by Bobby Orlando (Pet Shop Boys / Flirts / Bobby O / Divine) was released. Their sound & style was developed with 60s mod pop elements and the use of synths years before they became a staple for 80s New Wave. Their second single "It's Like Love" produced by Richard Gottehrer (Raveonettes / Blondie / Go Go's / Strangeloves) in 1977 was again a blending of electronic synth sounds and bubblegum pop. Throughout '78 & '79 The Fast toured the US and caught the eye & ear of Ric Ocasek who brought them on a tour of stadiums with The Cars and produced 50% of their first LP In 1980 "The Fast For Sale" and in 1981, their second LP, "Leather Boys From The Asphalt Jungle" would be the last time Paul & Miki would record with a live band. In 1982, The Fast go electronic, Paul & Miki tour up & down the east coast now with two back-up keyboard players. In 1983, for the first time as a duo they performed at New York City's Harrah, s.n.a.f.u., The Pyramid & The Mudd Club with keyboards, electronics & backing tapes. 

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MAN 2 MAN: 

In 1983 they recorded a few tracks with the first Fast producer Bobby Orlando (one being an early version of Male Stripper) and got bookings in bigger dance clubs like The Fun House, Limelight & The Saint in New York City and at Heaven in London. At this time they started calling themselves Man 2 Man, recorded self produced 12inch dance singles and would have popular chart topping club hits world wide by 1985. They continued as a live act, touring alongside Sylvester & Divine in clubs and venues holding up to 5000 people in the UK, South America & Mexico. A re-recording of Male Stripper co-Produced with Man Parrish was released as a b-side in 1986 and DJ's around the world fliped the record over and it shot to number 1 on the dance charts. In March of 1987 Male Stripper went on to become a break out, cross over number 1 pop hit and landed them on the most important music TV show in Europe, "Top Of The Pops" in England.

"I Could Have Been" by Mandy Zone & Ozone

PAUL ZONE: THE FAST/MAN 2 MAN/MIKI ZONE/MANDY ZONE