Kevin Michael McMahon (born September 21, 1953 in Cleveland, Ohio) is a musician, singer, and songwriter for the long-standing bands Lucky Pierre and Prick.

McMahon began recording with his pop group Lucky Pierre in 1974, releasing a number of vinyl singles though 1981. Lucky Pierre initially consisted of: John Guciardo- Lead Guitar, Brian Dempsey- Drums, Dennis DeVito- Bass and McMahon on Guitar & Lead Vocals. In 1976, Tom Lash joined the band on bass guitar, and DeVito moved to guitar. Tom Miller played keyboards at this time. In 1977, Dempsey left the band and was replaced by drummer Gary Shay, and then drummer Dave Zima. After many live shows, both Tom Miller and John Gusciardo left Cleveland for California and DeVito switched to lead guitar. Many showcase concerts, radio broadcasts, and a few 45RPM singles followed. Lucky Pierre continued as a four-piece outfit, sometimes augmented by horns and vocalists to perform the array of song styles McMahon was developing. McMahon then went on hiatus until 1988, when Lucky Pierre recorded the Communiqué EP with Guciardo, Lash, Zima, and friend Trent Reznor making guest appearances. The 1988 line-up of Lucky Pierre included Trent Reznor (then of the Exotic Birds, later of Nine Inch Nails), and was managed by Exotic Birds/NIN manager John Malm, Jr.. Lucky Pierre disbanded again after the recording of Communiqué, but McMahon remained in contact with Reznor and Malm.

During the early 1990s, McMahon began his second musical project, the industrial rock band Prick. Prick was eventually signed to Reznor and Malm’s Nothing Records label. The band’s debut self-titled album was released in 1995, with Reznor producing four of the album’s ten tracks. Prick’s lead single, “Animal,” received high rotation on MuchMusic and MTV, and Prick opened the US leg of Nine Inch Nails and David Bowie‘s Outside tour. Nothing’s parent label, Interscope Records, dropped Prick before McMahon could record a follow-up. [1]

In the wake of this setback, McMahon went on another years-long hiatus from music. Prick reemerged in 2002 with The Wreckard, independently released by McMahon over the Internet, and featuring many songs once slated for the second, canceled Nothing Records album. Two years later, McMahon released Lucky Pierre’s first full album, ThinKing, again selling the album independently online.

In October 2008, McMahon re-emerged with the hard-rock track “Runaway Brain,” this time under the moniker ( sic ). The song was available from the fansite for a limited time, with a note in the MP3’s metadata noting, “prick or treat – derailing things to come from luckypierremusic – THIS NOVEMBER (or …it all depends on the speed of green)”.

In an interview released in March 2009 on the fansite , McMahon talked about possible future releases, and also announced that will be online again, with merchandising an re-releases of The Wreckard and ThinKing (in new packagings) for sale, and maybe re-mastered tracks of Lucky Pierre.

On June 21, 2009, went live, offering digital downloads, new and vintage shirts and hats, and new CDs. As alluded to previously, The Wreckard and ThinKing are being reissued, and the Fear of Blue and (sic) album and EP are also being released. All of the music can be obtained through a six-CD package which features a Prick Live CD only available as part of the package.

Communique’—-This comes out of the quiet at you like a swarm of bees and settles on you like Murray Head singing from Chess. The music becomes even more aggressive, while the vocal retains a quaint style of theatrics that is incredible. There are lots of electronic manipulations, but in the end, you know that you have enjoyed one of the most underappreciated tracks of the last decade and a half. The sexual overtones are everywhere….awesome!!!

River Head—-Beginning right off with the quaint lightly accented vocal, the song is heavily manipulated vocally except for the magnificent chorus that allows you to hear how wonderful Kevin’s vocals really are. This is yet another sexually charged song that has some really interesting and layered instrumental excursions. There are so many blips and beats in the background you think there must be a thousand robots running around the studio. This is freakin’ magnificent.

Tough—-Electronically aggressive, the backdrop of actual guitars needed moved more to the front of the mix, but beside that I have little complaint…Kevin sings in an almost unmanipulated vocal which is really nice…he comes across sounding incredibly like Marilyn Manson….sweet!!! The music remains manic in the backdrop…this really opens up at about the two-minute mark and the result is incredible….just as quickly all the lush sounds disappear and you are left again with the manic electronics…this is almost orgasmic!!!

Other People—-Is there such a thing as electronic Blues? If so, the onset of this song is a great Industrialized blues song. The vocal is mostly a talk through until the chorus when Kevin tends to holler. I like this…there are some nice hi-points in the song. When he insists that he needs to get to know you first….you are like …ok…one of those!!! This is nice…not a favorite but pretty damn intense.

No Fair Fights—-For me, this is the high point of the release. This is a gut-wrenching, angry, gentle, confused, sorrowful, maniacal track. To try to describe it is almost impossible…the track has a theatrical element to it…an emotional level that digs deep into my heart…an anger that I feel at least twice a day. And a remarkable sense of joy at realizing the fragility of ourselves….I could NEVER ask for more.

Animal—-With nice subtle electronic noises in the backdrop, the gentle guitar gives way to a gentle vocal. the lyrical content is full of sexual innuendos and the music provides that nice sensual build up as the song leads you on the journey to release. The entire song is an orgasm trip and it works so well you will relive it time and time again. This is tremendous!!

I Got It Bad—-The music comes out at you from the silence like a German police car…the vocal is gentle and the guitar enters and takes a nice line. The drums…real or manufactured are really powerful. the vocal goes back and forth from natural to manipulation. the chorus has this irresistable melody that sticks in your head for HOURS after you hear this. This is just really great stuff…why this band, or man, was not huge is beyond me..I think he did not want to be!!!

I Apologize—-Full of self-deprecating lyrics, the surprisingly jangly guitar is a nice surprise. Of course, Trent gets his hand in the mix and adds some noise to a song that could have been rather nice just as it was. The lyrics are so revealing and introspective. This is really great!!! At times, this becomes an almost white noise affair…one extreme to the other…remarkable.

Crack—-Underneath all of the noise and effects, there runs a melodic instrumental line that makes this song almost addictive…this is great rock….fantastic noise and even better music. Kevin delivers this layered, introspective, baring music and lyric that makes you feel guilty for eavesdropping…until you find out he is talking about YOU!!!

Makebelieve—-Beginning rather avant-garde, the vocal enters sounding like the last song in a musical…..the sound enters a plush sound and the lyrics are even more present…making you listen for every word. There seems to be a gentle flute floating around in the mix and Kevin sings of the things that we only think about when we are by ourselves. There are intermittent noises throughout the song, but the main constant is that piano chord…more masterful than Numan’s Down In The Park. This is incredible…latered, emotional and intense in every note. Truly a masterful track to reach for time and time again. This is a tale of life coming apart!

*****+ out of 5  [!!!!!+]


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