Behind the Velvet Curtain with Mark Leo | In Conversation

Whether it be studying history, liking the music, or participating in the fashion of another era, it always feels easy to say that you were born in the wrong generation. Despite his greased-up pompadour and eclectic taste in music, Mark Leo isn’t one of these people. In fact, Leo believes he was born in the right generation. From the suburbs of Macomb, Michigan, Leo is a rebel with a cause, looking to break barriers and create a sound uniquely his own with the help of his band Lyons. With a modern heart and 1950’s inspired soul, Leo serves as the frontman and manager of the group. Starmaker Machine has known Leo for a while, so it was only a matter of time before we joined creative forces and sat down together for an interview.

There are several ways that artists first become acquainted with performing— some fake it until they make it, and others are naturally born with it. Though being a natural-born performer isn’t an accolade that many can claim, Leo can almost recall exactly when he fell in love with the spotlight.

KITTY QUINN: In 1972, Elvis said, “The first time that I appeared on stage, it scared me to death. I really didn’t know what all the yelling was about. I didn’t realize that my body was moving. It’s a natural thing to me. So to the manager backstage I said, ‘What’d I do? What’d I do?’ And he said ‘Whatever it is, go back and do it again’”. So, for you, what was the exact moment when you realized you were meant to perform?

MARK LEO: It wasn’t a moment on stage that made me realize that it was what I was supposed to do. It was some kind of thing that was handed to me. The earliest I remember thinking about performing and playing guitar or being an entertainer was when I was about three. I remember that it was just what I wanted to do. And then obviously as I did it more and more, I started loving it— it was really exhilarating. It’s almost unexplainable. Like, how did me at three years old know I was going to enjoy it so much? It’s in the universe or something.

QUINN: How important is it for you to be writing your own songs rather than performing someone else’s?

LEO: I feel it’s very important. I mean, if we were just performing covers, we’d just be a tribute act. The fact that we are writing our songs with various influences is what makes it actually a serious thing, you know? And when we perform a cover, we never perform it like the original artist did. I like to keep a couple covers in a set to show what we do to them and what I hear. The songs I listen to feel like they have a lot of blanks to be filled in, whether it be stuff from Sun Records or basically anything from the 50’s really— especially the rock and roll. You don’t really understand how wild it is just from listening to it, your mind has to fill in the blanks and you really have to get used to it. That’s when you really realize how it’s supposed to sound. Whether it be the recording equipment not being as good or it just not translating well on the recordings back then, I want to play it how I hear it. On first listen to a song like “Whole Lot of Shakin’ Going On” by Jerry Lee Lewis, it sounds kind of tame. Once you understand it, it becomes one of the wildest rock and roll recordings ever made— including everything after it. It’s crazy how it works and it’s why people don’t have the respect for 1950’s music that they used to. So much has to be filled in because of how it was recorded, but I feel like with modern recording equipment it could be captured better.

QUINN: I know you write a majority of the songs for Lyons, so what inspires you to write? Take me through the process.

LEO: Right now we’re starting to get more collaborative with songwriting, but a lot of songs still start out with just my ideas. For me when I’m writing a song by myself, it always just starts when my mind is clear or when I’m doing something that doesn’t take much thought— like when I’m at work or driving. It always starts with a melody or hook and then I build it around there. It’s usually melody and lyrics first and then I figure out music later on guitar or piano or whatever’s closest to me. If I’m out and about, I’ll make a voice memo on my phone to make sure I can remember the melody. No matter when inspiration strikes, I always make sure I get it down because after a week it’s forgotten, it’s gone.

Coming with almost any act inspired by prior generations, comparisons to any icons even slightly reminiscent are inevitable. Leo has especially been compared to Elvis Presley, but there’s more to it than what meets the eye. While Elvis is one of the most well-known icons of all time, there are so many others who came before and even after that have since been forgotten. Leo’s musical and stylistic inspirations are quite diverse, having references ranging from prior to the 1950s to modern ones such as Bruno Mars. Unlike his contemporaries, he is not mistakenly copying a specific person or aesthetic, it’s refreshing to see someone who embodies the spirit without being entirely derivative. Those who really stand out are the ones who make an effort to stay true to themselves by interpreting their inspirations in a way that is entirely individual to them. The most telling thing about someone who considers themself an artist is how they can interpret and mold another artist’s work into something entirely brand new and unique to them.

QUINN: Speaking of songs other people wrote, is there a song that you wish you wrote?

LEO: Oh, so many, oh my gosh. Even out of the 50’s vein, I wish I wrote so many Bruno Mars songs. Bruno Mars’ songwriting style is just so good. I wish I wrote “Fuck You” by CeeLo Green, “Cornerstone” by Arctic Monkeys, “Locked Out of Heaven” by Bruno Mars and I wish I wrote so many other Bruno Mars songs. Like “Treasure”, “If I Knew” from his second album— which is borderline a doo-wop song. It’s like “God, why didn't I write this?!”. It’s just so relatable. And then, when I was first seeing Mac Saturn live, so many of these songs are like, “Why didn’t I write that man?! These are so good!”. It’s hilarious because it was the first time that there was actually a band making their name locally where I wished I wrote some of their songs. It’s a really supportive thing. But as far as other songs go, I think that a lot. That’s just outside of the 50’s vein. Obviously there are many doo-wop and early rock and roll songs that I wish I wrote, but I’ll hear a lot of pop and be like “Damn, why didn’t I think of that?”. It has to do with subject matters. It’s like, I’ve experienced the same thing and I didn’t think to write a song about it. It always makes me go “Damn!”— but it's okay because I like the songs anyway. [laughs]

QUINN: Aside from the artists you’ve mentioned, who or what inspires you the most? Generally or musically speaking.

LEO: Well, musically speaking I’m inspired the most by Dion. So much about Dion is what I want to be. He’s got grit but he’s also got classiness. He’s been described as the link between Frank Sinatra and rock and roll. I was inspired by Dion from the first time I heard him. I was inspired by his voice, I was also inspired by his doo-wop influence in there. I am also musically inspired by Gene Vincent and his guitarist Cliff Gallup, I also love Gene Vincent’s style and manner of singing. I also love the way old jump blues singers sing, like Wynonie Harris and Roy Brown. I try to sing like them. As far as dance moves go, I’m really inspired by Jackie Wilson. I try to really study up on Jackie Wilson. And of course Elvis Presley inspired that as well.

Something very interesting to be learned about Leo is that he is not one to discount the complexity of pop music. A lot of musicians who are outside the realm of pop music tend to write it off as unsophisticated because it can be enjoyed by a wider audience. While not all pop music is groundbreaking or even multi-faceted, Leo gives credit where it’s due. He understands the importance of having an open mind as an artist because being confined to one vision tends to be a blatant disservice to the artistic process. In Leo’s case, without the meshing of several different sounds, new genres could never be born. He was a teenager in love with the fun danceability of rock and roll and wanted to be able to create music that would make anyone want to dance. It’s people like Leo who make the simple act of listening to music into a more immersive and compelling experience— an experience that leaves you desiring more.

QUINN: I think that as a group, you guys are very unique sounding and that you don’t really hear music similar to Lyons. What went into curating a sound that feels very unique to you as a person and Lyons in general?

LEO: I always knew that I didn’t want to be a rock band, you know? I realize not many people really know the difference between what rock is and what rock and roll is, and how rock and roll was originally meant to be dance music and how that evolved into rock. I wanted danceable music that was more inspired by pre-Beatles than post-Beatles. I mean, it was hard not to come up with a unique sound because I was a teenager that only listened to 1950s and early 60’s music, like religiously. So when that’s all my influences and I want to add a pop sound, it’s going to be unique because nobody’s been like that before. When Lyons started it was strictly a rockabilly trio. It took a while before we found what makes us unique. At first, it was just a Stray Cats wannabe thing and then it was an Arctic Monkeys wannabe thing, and then there became a point where we were no longer a wannabe and actually came into our own sound. That just took a while to hone in.

QUINN: Yeah, you have to experiment and imitate first before you find yourself in the end.

LEO: Yeah, exactly. I always wanted to be a pop group but could never get rid of what makes me, “me”. I was always greasing my hair and being 1950s, that’s just the stuff I love. Sometimes you hear it in pop music, like for example “All About That Bass” had a very early 60’s influence. You’ll hear a lot of these backing vocals on modern pop records that really sound like 50s or early 60s, so I decided to just take that and really run with it.

QUINN: Would you ever consider venturing into other genres?

LEO: Honestly I don’t even know how I’d describe our sound to begin with.

QUINN: Your genre is pretty hard to pinpoint but in a good way. Like, you guys are making your own way with it in a sense.

LEO: Yeah, I remember that being what I wanted to do when I was fifteen. I remember thinking, “I really want to do something that hasn't been done before”. What The Beatles did was draw inspiration from The Everly Brothers and Elvis Presley and ran with it in their own direction. Then everyone was doing what The Beatles were doing and that’s where it stopped; nobody looked before them again to make their own branch of the tree. Not to say that we’re doing it yet, but at least that’s the goal. As far as another genre for the future and more sounds, I don’t know. I feel like a lot of different sounds come up. I’m a pretty big James Brown fan, especially 1960s James Brown. I love that “Papa’s Got A Brand New Bag” type of sound— That early funk, you know? I love experimenting with that. There are Lyons songs now that have that kind of influence that we’ll be showing. It’s pretty much whatever sounds good, I guess.

Your audience finding you as a musician can be just as challenging as finding your own sound. There’s a lot of uncertainty when it comes to being an artist in general. When you put your work out into the world, there’s no way of knowing how others will interpret it. There’s a lot of bravery that goes into it, you cannot guarantee everyone’s satisfaction even though it’s something you desperately crave more than anything else. Leo takes on a lot of responsibility when it comes to Lyons— being both the manager and frontman takes a lot of effort, so when that is finally reciprocated with support and excitement from others, it can be highly gratifying. Having shows, especially starting out, there’s always a 50/50 chance that the turnout may or may not be what you expect. If there is a large turnout and others receive your work well, it can be a satisfying moment where you can directly see that all of the work you’ve been doing has finally paid off. Though any artist can say that they’re exclusively producing work for the love of art, there’s no denying the sense of achievement that comes along with others appreciating what you do.

QUINN: Despite being pretty young and relatively new on the music scene, what would you say your biggest accomplishment has been thus far?

LEO: I would say The Loving Touch show. I booked it, I marketed it— I did so much for that and I was just so glad that so many people showed up. That’s kind of big for me. A week before that show, I didn’t know how many people were going to show up, you know? it’s something you don’t know until the day of. When I’m doing all of the management stuff and being the frontman, sometimes it takes a toll. [laughs]

QUINN: That show was great, by the way. I remember seeing you guys in 2021 at your first “real” show at The Hot Rock, and I could see how much you have evolved and gotten tighter as a band. If you can think that far, where do you hope to see yourself or Lyons in five years?

LEO: Thank you. I mean, I don't want to jinx anything, but in five years I hope to just consistently grow. As far as the live show, I would like a touring live show with a saxophone or a small horn section and two female backup singers. That would be ideal for our sound. Going back to Bruno Mars, I’m really inspired by his live show because it’s highly energetic and has a lot of instrumentation. Despite its retro influence, the top audience could still get down with it. I’m very much inspired by him.

As a musician, there are so many avenues to be explored when trying to make a name for yourself. On Leo’s journey, he has and will continue to reroute when roadblocks present themselves in his creative endeavors. Though he’s not exactly where he wants to be yet, he offers some wisdom to those looking to get a jumpstart on any type of artistic path.

QUINN: What advice would you give to someone who has a passion for writing music or performing but aren't quite sure where to start?

LEO: Really it’s the same advice for anything— just get started and figure it out along the way. You can’t just lay out a bulletproof plan. I hear a lot of people say that they’re just going down a road with no destination and trucking forward, but you’ve got to find a destination. And when there’s a road closure, you have to find a different road. There are plenty of roads to get somewhere and if there's a road closure, you’ll be able to find another way to get there. The best thing to do is just start because there’s never going to be a time where every light is green.

QUINN: That’s pretty solid, I like that analogy a lot. I have one more question for you. If you could pick one album, book or movie to represent your life or how you want to live your life, what would that be?

LEO: Runaround Sue by Dion. It’s pretty much my favorite album of all time. Everything about that album is just “me”.

QUINN: Is there a specific thing about that album that you can pinpoint as quintessentially you?

LEO: I don't know. Some people see the album as a narrative. You’ll see YouTube commenters that say different things turn the story a certain way. I don’t think it’s supposed to be like that but I do see it. I do draw parallels to my life with the lyrics on that album, whatever it may be. Just the whole sound of that album. It came out in ‘61 and has a lot of what came before it and also what comes after it. I’ve always been very inspired by his voice, his coolness, and the doo-wop influence. That album is just really big for me on my list.

It’s an art within itself to become an artist. There’s a fire you have to have— a drive, a passion, a spark that must constantly be stoked in order to achieve anything paramount. While this was the first time I’ve formally sat down to talk with Mark Leo regarding his artistry and what goes into it, it’s clear to see that he has what it takes to become even more extraordinary. It’s not always easy; there are projects set aside, rejections, and a requirement for immense dedication among the many other responsibilities that present themselves. Leo is someone I’ve seen persist through these struggles and continue down his intended path, time and time again. It’s rare to meet people that hold so much potential and are willing to do what it takes in order to maximize it. Even in the many moments where things may seem stagnant, like tasting the sourest part of candy, sweetness follows shortly after. Take Leo’s advice and go, even if the lights aren’t all green.