14. Mary Karlzen 1992–1995 (Fort Lauderdale/Atlantic)

The Mary Karlzen Band, 1992 (from left): Wayne Glass (drums), Chuck Anton (fiddle), Mary Karlzen (vocals/acoustic guitar), Mark Scandariato (electric guitar/vocals) and Tracy Wilcox (bass). Photo: Y&T Records.

So where did Mary Karzlen’s countrified alt-pop sensibilities fail where Meredith Brooks, Melissa Ethridge, and the Indigo Girls — as well as the younger alt-driven Abra Moore and Jill Sobule, and the indie-to-major label female-driven outfits Belly, the Breeders, and Letters to Cleo — succeed in the all-new “rock alternative” radio format developed in the early ’90s (those stations played “Cornflake Girl” by Tori Amos, after all). Where did Karlzen fail where country’s gold and platinum-selling Mindy McCready and Grammy Award-winning Shelby Lynne, succeeded?

The talent was there. So was the support from Y&T Records. A nationally recognized independent, the Miami-based label assisted in the career development of the multi-nominated and award-winning alternative-country outfit, the Mavericks — who signed with MCA Records, and the career cut-too-short For Squirrels — who signed with Epic.

Karlzen’s name-checked influences of biographical songwriters were there, as well. One could hear hints of Jackson Browne, Johnny Cash, Elvis Costello, Joni Mitchell, Bruce Springsteen and James Taylor shine on her major label debut single, “I’d Be Lying,” which became a “Hot Pick” (in its indie EP version) on the VH 1 cable-video outlet.

In fact, the cable channel’s support dates prior to Atlantic Records releasing her debut album, Yelling at Mary (1995), when her country rock meets folk rock wares from her independently-released, five-song EP, Hide (1993), appeared on VH 1 (again, that “hot pick”), crowning Karlzen as the network’s most played independent artist of all time. The video for the second single release from the EP, “A Long Time Ago,” was also programmed on the Americana TV Network, Country Music Television, and The Nashville Network. Music critics at major metropolitan newspapers were quick to (justifiably) rave about Karlzen’s songs; so did the music and broadcasting publications Billboard and Radio & Records.

Then, the raves, stopped.

Perhaps it was Karlzen’s outspokenness (cue Tampa’s Shadowland) against country radio as “a haven for plastic, cloned Barbie dolls; Stepford [Wives] singers with perfect hair and bodies who don’t write their own songs.” (That’s no way to book a beneficial opening tour slot with the career-hot Mindy McCready or Shelby Lynne.) Perhaps it was her antithesis-styled album cover — featuring her as a frumpy farmgirl clad in unbecoming denim overalls while slouching her shoulders (someone was “yelling” at her, after all) that turned away buyers and radio programmers.

Sure, Karlzen toured the U.S and Canada opening for the likes of Jackson Browne, Bob Dylan, John Haitt, Hootie & the Blowfish, and Warren Zevon — but the hit-making days and concert draw of those now “nostalgia” artists were in the past and not favorable to the younger, fickle alternative audience needed for chart placement. Yes, Karlzen charted in the “Top 20” on triple-A (Adult Album Alternative) stations in the U.S — but the never-commercially viable format failed to crossover-to-mainstream in the alt-crazy ’90s as result of its genre-diverse programming (from blues-to-folk-to-Americana-to-country-to-rock-to-jazz-to-rap) regulated to low-rated, non-commercial educational radio stations.

It all began for Mary Karlzen on the South Florida scene in the late 1980s as part of the all-female, Americana-styled outfit, Vesper Sparrow. A talent-to-spare, multi-instrumental quartet featuring Karlzen (primarily on bass) trading lead vocals with Kelly Christy, the band quickly became a top draw on South Florida’s alternative scene, complete with a local hit, “Highway,” from their label-shopped demo backed by Y&T Records.

The time came for the major labels to take notice.

Then, after a 1989 industry showcase at New York’s infamous CBGB’s during the CMJ (College Music Journal) Music Conference: Vesper Sparrow, imploded.

Vesper Sparrow, 1988 (from left): Rose Guilot (guitar), Mary Karlzen (vocals/bass), Carolyn Colachicco (drums) and Kelly Christy (vocals/guitar). Image: Y&T Records.

Kelly Christy of Vesper Sparrow back stage at a July 4, 1989,
show when the band opened for the Connells
at Respectable Street Cafe in West Palm Beach.
Image from "The Hard Report," pg. 34 #141, August 11, 1989.

Karlzen’s roots — and respect — on the South Florida local scene ran deep: Deep enough that she provided violin to the Marilyn Manson-fronted side-collective Mrs. Scabtree (during the early-1993 Portrait of An American Family sessions). The same holds true for her long-time, lead electric guitarist, Mark Scandariato.

Scandariato’s South Florida roots date the early ’80s when his band, the Terminals, shared the area’s stages with Johnny Depp’s the Kids and Andy Panik and Bobby Durango’s the Abusers (that collectively became the Rock City Angels); Scandariato was also a short-time member in a nascent version of Love Canal. Scandariato’s friendship with Depp ran deep enough that, when the Miramar, Florida, native returned to film his second feature film, Private Resort (1985), the Terminals were cast as the resort’s house band; two songs by the Terminals, “You” and “Miami Calypso,” appear on the soundtrack. Unfortunately, as with Johnny Depp’s the Kids making their soundtrack appearance on The Legend of Billie Jean (1985): the movie flopped, no soundtrack was issued, and provided no promotional upwind for the Terminals.

A 1989 gig by Vesper Sparrow opening for
locals Paragon at The Treehouse in Hallandale.
Known as a thrash metal stronghold for
the under-25 crowd, the venue jumped on the
then-trendy alternative scene by giving
a night to non-metal locals.

As for Mary Karlzen: She returned to the college rock indie scene where she got her start, releasing the albums Dim the Watershed (1999), The Wanderlust Diaries (2006), and Shine (2021). Y&T Records digitized the 15-song catalog of Vesper Sparrow under the title, What the Birds Say (2023). Mark Scandariato returned to South Florida stages with Satellite Six, which released a nationally-distributed album through Y&T Records, Love & Fear (1998), that failed to gain major label interest; the same unfortunate disinterest followed for the band’s sophomore effort, under their revised moniker, Plowman. In the aughts, Scandariato currently fronts the quartet Maypo Deluxe, which since released four albums: Weedzie, Going Steady, Home Coming, and Bad Dreams.

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You can listen to Mary Karlzen's self-titled debut and the Hide (EP), and Yelling at Mary, as well as the music of Vesper Sparrow and Satellite Six on Over the Edge Radio You Tube. You can learn more about Maypo Deluxe on Facebook, You Tube, and their official website.