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Suicide consisted of Martin Rev keyboards and Alan Vega vocals. There was nothing comparable to this debut release which is why so many rock critics failed to grasp what had just happened.

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Martin Rev : I think I was a fairly happy child as far as possible, you know, with all the ups and downs. I was very lucky to have the family I did. We all played music as it turned out, non-professionally. My brother played, was given lessons.

My father played. My mother played, she had lessons as a young girl so she played in the home. They wanted their kids to definitely learn music.

He played song after song on a guitar or a mandolin. Never read or studied a note. He was incredible that way. So, it was a musical family. That added to the richness of my childhood.

Otherwise, it was all the usual growing pains and doubts and dreams. It was a fairly lucky period to grow up in between war kind of thing. After World War Two and before Vietnam.

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America had probably reached its pinnacle of affluence. That whole generation for a while, well, a couple of generations, felt an incredible sense of future potential that anything could happen or be done and the whole future was wide open with possibilities.

A little different than it is now. I was a bit of radical rebel already as a teenager. I grew up hearing all the great songs coming off the radio as a kid. I was bitten, smitten by them as so many kids my age were. I mean you can go on and on but a lot of them had only one great song and a few of them had many—the Flamingos, the Students, these were the groups that were really happening. That was the music of the times. Were you downloading records at this time?

MR: There was 45s. The price of a 45 then was 45c to a dollar.

When did you first consider the possibility of a career in music? MR: I got serious about music about ten or eleven. At eleven I started figuring out the songs I was hearing on the radio on piano.

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I started improvising around that time or soon after like boogie-woogie and improvising towards jazz. I think about by twelve, I was pretty much set on making music my life.

I just wanted to play and make music. I just saw myself as playing live. I envisioned it as a beautiful way to play in clubs and meet girls. The vision of coming off a bandstand in a nightclub and how attractive that could be to girls. I guess the idea of whoever I have evolved into as an artist took shape and form over the years after that but I guess it was all there innately at that time.

I just wanted to play, everything around me was great and exciting to me—rhythmically, vocally. I started hearing jazz a couple of years later and I just wanted to learn how to play that stuff and play in bands. When I was about fifteen, I started playing in little rhythm and blues groups doing one-nighters and things like that.


Musically it was ecstatic. The agony and the ecstasy. It was just finding a way to make ends meet and have the time to be free to make music which meant everything What happened next, how did you meet Alan Vega, and when did you decide to form Suicide? MR: I left home when I was eighteen.

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And that was kind of the way I am, the way I approach music, my energy. Otherwise, it was all the usual growing pains and doubts and dreams.

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