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Martin Zellar
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Key Information
Martin Lee Zellar[1] (born June 14, 1963) is a Minnesota-based musician and songwriter. Martin Zellar is the brother of writer Brad Zellar.
Early career
[edit]Zellar grew up in Austin, Minnesota. While still in high school, Zellar formed his first band, Fallout, with childhood friend and bassist Nick Ciola. Zellar and Ciola have played in bands together for more than 30 years.[2] In the mid-1980s, he was a member of the Take It to the Limit Band, which would become the supergroup Golden Smog.
Gear Daddies
[edit]Upon graduation, Zellar moved to the Twin Cities and in 1984 joined fellow Austin, Minnesotans Ciola, guitarist Randy Broughten, and drummer and fellow songwriter James "Billy" Dankert as the Gear Daddies. The band enjoyed much regional and some national success, and released three albums. They officially broke up in 1992, but began playing enthusiastically attended reunion shows a few years later.[3]
Solo Career and Hardways
[edit]With the dissolution of the Gear Daddies, the songwriter began making albums and performing with a band that would become known as Martin Zellar and The Hardways, including at various times Nick Ciola, Scott Wenum, Wilson Zellar, Jesse Duke, Luke Kramer, Whelan Keenan, Dan Neale, Adam Levy, Noah Levy, Jon Duncan, Marc Retish, Patrik Tanner, and Randy Broughten.[3]
Other projects
[edit]
In the late '90s, Zellar began singing with a Neil Diamond tribute band that remains popular into the present. Neil! includes musicians Ali Gray, Patrik Tanner, Scott Wenum, Nick Ciola, and JJ Benson.[4]
In 2007, Zellar's song I Wanna Drive the Zamboni, which appears in various movies and television shows, and is ubiquitous at hockey games, was released as a single. The song was originally a hidden track on the Gear Daddies album "Billy's Live Bait".[5]
On February 10, 2012 Martin Zellar and the Hardways kicked off a tour in support of new album Rooster's Crow. Pat Maske produced, and it includes the talents of Kelly Willis, Lloyd Maines, Kevin McKinney, Bukka Allen (Bodeans), Chojo Jacques, Brian Standefer (Alejandro Escovedo), Billy Bright (Peter Rowan), Michael Ramos (John Mellencamp), and Terri Hendrix. Chris Riemenschneider of the Minneapolis StarTribune calls it "the best record of his 25-year career."[6]
Discography
[edit]With the Gear Daddies
[edit]- 1988: Let's Go Scare Al (Steve's Pizza Music, BMI),
- 1990: Billy's Live Bait (Polygram)
- 1992: Can't Have Nothin' Nice (Crackpot)
With the Hardways
[edit]- 1995: Born Under (Rykodisc)
- 1996: Martin Zellar and the Hardways (Rykodisc)
- 1998: The Many Moods of Martin Zellar and the Hardways (Owen Lee Recordings)
- 2000: Two Guitars Bass & Drums (Owen Lee Recordings), recorded live
- 2002: Scattered (Owen Lee Recordings)
- 2003: Live From the Mercury Lounge (Legal Bootleg)
- 2003: They Even Use The Hooves (Owen Lee Recordings), B-sides and other rarities
- 2011: Martin Lee Zellar (Owen Lee Recordings), limited edition
- 2012: Rooster's Crow (Owen Lee Recordings)
- 2017: Fan-Selected Sampler 1998–2014 (Owen Lee Recordings)
- 2023: Head West (Owen Lee Recordings)
References
[edit]- ^ "A THOUSAND LITTLE THINGS". ASCAP. American Society of Composers, Authors and Publishers. Retrieved March 13, 2023.
- ^ Baenen, Jeff (July 28, 1991). "Rock group stays in 'Gear'". Lawrence Journal-World. Retrieved March 29, 2017.
- ^ a b Harr, Dan (December 8, 2011). "Martin Zellar Returns With First New Album in Ten Years". Nashville Music News. Archived from the original on March 30, 2017. Retrieved March 29, 2017.
- ^ Lawler, Christa (June 28, 2012). "Fireworks cap day of all-American rock 'n' roll at Fourth Fest". Duluth News-Tribune. Archived from the original on March 31, 2017. Retrieved March 29, 2017.
- ^ uncredited. "Americana Showcase welcomes back Martin Zellar". Southern Minnesota Scene. Retrieved March 29, 2016.
- ^ Riemenschneider, Chris (February 9, 2012). "The Big Gigs for the week of 2/10". Star Tribune. Retrieved March 29, 2017.
External links
[edit]- Official website
- Martin Zellar at AllMusic
- Martin Zellar discography at Discogs
- Gear Daddies at AllMusic
- Gear Daddies discography at Discogs
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Martin Zellar
View on Grokipediafrom Grokipedia
Early life
Upbringing and family
Martin Zellar was born on June 14, 1963, in Austin, Minnesota.[2] He grew up in a large and active working-class family in the rural Midwestern town of Austin. His father owned and operated Zellar Tire, a repair shop in nearby Hollandale where he worked as a mechanic.[6] Zellar is the brother of author and journalist Brad Zellar, who also hails from the same family background in Austin.[6] From an early age, Zellar was immersed in the sounds of American music broadcast on local radio stations, absorbing influences ranging from country icons like Johnny Cash to rock acts such as Foreigner and Styx.[7] These diverse listening experiences, combined with the rhythms of small-town life in Austin—a community marked by its meatpacking industry and Mexican-American population—helped shape his distinctive honky-tonk-inspired style.[8][7] Zellar's childhood in this setting instilled a deep appreciation for everyday Midwestern experiences, which later informed the heartfelt, self-reflective themes of small-town existence, loneliness, and personal struggle in his songwriting. As a kid from a modest background, he initially doubted that songwriting was a viable pursuit for someone from such roots, yet the town's unpretentious environment fueled his creative perspective.[9][10]First musical endeavors
Zellar's musical journey began during his high school years in Austin, Minnesota, where he started playing music with childhood friend Nick Ciola and fellow student Billy Dankert. The trio initially performed at local events such as wedding dances, VFW halls, and American Legion functions in the Austin area.[11] At age 16, Zellar began developing his songwriting skills, a practice that would define his later career; one early composition, "I Wanna Drive the Zamboni," was penned at 18. During this period, he drew inspiration from artists like Neil Diamond, covering the singer's songs at informal gigs in Austin, including at the Down by Iowa festival.[12] Following his high school graduation in the early 1980s, Zellar relocated to Minneapolis to immerse himself in the burgeoning music scene. There, he encountered the vibrant mid-1980s Twin Cities environment, which emphasized alt-country and country-rock elements, shaping his evolving style through exposure to local acts and venues.[13][3]Gear Daddies
Formation and breakthrough
The Gear Daddies formed in 1984 in Austin, Minnesota, a small town in the southern part of the state near the Twin Cities area, when Martin Zellar joined forces with longtime friends Nick Ciola on bass, Randy Broughten on electric and steel guitar, and James "Billy" Dankert on drums and vocals to create a roots-oriented rock band.[14][15] The lineup evolved directly from Zellar's high school band experiences in Austin, where he and the others first played together informally before solidifying the group post-graduation.[16] From the outset, the band honed a distinctive sound in the vibrant late-1980s Minneapolis music scene, characterized by Zellar's raw, honky-tonk-inflected vocals and harmonica work alongside gritty guitar riffs and driving rhythms.[17] Zellar served as the band's lead singer and primary songwriter, crafting lyrics that blended alt-country storytelling with rock energy and honky-tonk swagger, drawing inspiration from Midwestern life and drawing early comparisons to acts like the Replacements and early Uncle Tupelo.[3][18] The Gear Daddies quickly built a grassroots following through relentless local performances at key Twin Cities venues, including the Longhorn and First Avenue, where they captivated audiences with their high-energy sets and Zellar's charismatic stage presence amid the burgeoning alternative rock and roots music ecosystem.[19][20] These gigs, starting with their debut shows in 1984, helped establish them as fixtures in the regional scene, leading to an initial recording deal with the independent Gark Records in 1986 before signing with the major label PolyGram Records in 1988, which provided broader distribution and resources for their growing ambitions.[3][21] Their breakthrough to national prominence came in the late 1980s and early 1990s through three years of exhaustive touring across the Midwest and beyond, which transformed their regional cult status into a dedicated nationwide fanbase eager for their blend of twangy rock anthems and Zellar's poignant narratives.[22] A pivotal moment arrived in 1991 with their television debut on Late Night with David Letterman, where Zellar and guitarist Randy Broughten performed the track "Stupid Boy" with the show's house band—bassist Nick Ciola and drummer Billy Dankert did not participate, as was common for guest bands at the time—exposing Zellar's songwriting to a broader audience.[14][23] This exposure, combined with their road-warrior ethic, marked the Gear Daddies' ascent from local heroes to a band with coast-to-coast appeal, though they remained rooted in their Midwestern authenticity.[24]Albums, tours, and dissolution
The Gear Daddies signed with PolyGram Records in 1988, releasing their debut studio album Let's Go Scare Al independently on Gark Records that year before Polydor (a PolyGram subsidiary) reissued it in 1990. This album, featuring Zellar's raw songwriting and the band's blend of rock and country influences, positioned them as early alt-country pioneers in the Minneapolis scene. Their follow-up, Billy's Live Bait, arrived in 1990 on Polydor and garnered critical acclaim for tracks like "(I Wanna Drive the) Zamboni" and "Stupid Boy," which showcased their humorous, heartfelt take on Midwestern life. In 1992, amid tensions with the label, the band issued the compilation Can't Have Nothin' Nice on the independent Crackpot Records, collecting outtakes, live recordings, and rarities that captured their evolving sound.[3][22][25][26] From 1989 to 1992, the Gear Daddies embarked on extensive national tours supporting their PolyGram releases, expanding from regional Midwest audiences to broader U.S. venues and building a dedicated fan base through high-energy performances marked by Zellar's charismatic stage presence and the band's rowdy, interactive style. Their roadwork included a notable appearance on Late Night with David Letterman in 1991, which boosted visibility and drew crowds eager for their mix of twangy guitars, driving rhythms, and witty lyrics. These tours solidified their reputation for delivering engaging live shows that fostered a sense of community among fans, contributing to steady growth in attendance at clubs and theaters across the country.[22][25][27] Internal challenges, primarily disagreements with PolyGram over creative control and direction, led to the band's amicable dissolution in 1992 after three years of major-label activity. Their final concert took place on August 23 at Lounge Ax in Chicago, a fitting end in a city that had become a key stop on their touring circuit. The breakup allowed members to pursue individual paths, though the Gear Daddies' influence on alt-country endured through their recorded output and live legacy.[28][29][30] The band staged initial reunion shows in the late 1990s, including a one-off gig in 1995 and another in 1999, marking a return to performing amid growing nostalgia for their music. These sporadic appearances evolved into occasional performances through the 2000s, often limited to a handful of Midwest dates annually, keeping their catalog alive for longtime fans without committing to a full revival.[28][31]Solo career
Transition and initial solo work
Following the Gear Daddies' dissolution in 1992, Martin Zellar began performing solo gigs in small Minneapolis venues to sustain his career as a musician.[32] These intimate appearances allowed him to reconnect with local audiences in a more personal setting, often featuring acoustic elements that highlighted his songwriting without the full band's energy.[33] The shift from fronting a band to solo work presented challenges, including adapting to performances without the collaborative dynamic of a group and navigating the uncertainties of independent touring, such as variable attendance and lack of financial security.[33] Zellar's early solo material emphasized themes of personal independence and the everyday struggles of Midwestern life, reflecting a more introspective approach compared to the Gear Daddies' rock-oriented sound.[34] This evolution culminated in his debut solo album, Born Under, released in 1995 on Rykodisc.[35] The record marked a deliberate turn toward personal, narrative-driven songwriting, with tracks like "Lie to Me" and "Problem Solved" exploring deferred hopes and working-class resilience through a raspy vocal delivery and understated arrangements.[34] Critics praised the album for its catchy yet smart compositions, blending influences from Bruce Springsteen and Bob Dylan while capturing a distinct Midwestern sensibility.[36] Initial reception was positive among roots music circles, helping Zellar cultivate a dedicated local following through continued intimate shows in the Twin Cities area.[33] These performances, often in bars and clubs, fostered a sense of community and loyalty among fans who appreciated the raw, unaccompanied authenticity of his sets.[32]Martin Zellar and the Hardways
Following his initial solo efforts in the early 1990s, Martin Zellar formed the backing band Martin Zellar and the Hardways in 1995 in Minneapolis, shortly after the Gear Daddies' dissolution.[37][4] The group featured a rotating lineup of musicians, including long-term collaborators such as guitarist Marc Retish, drummer Dominic Ciola, and bassist Dan Neale, allowing flexibility in instrumentation while maintaining a core roots-rock foundation.[37] This configuration enabled Zellar to transition from unaccompanied performances to a fuller band dynamic, emphasizing his role as lead vocalist and primary songwriter.[13] The Hardways' debut album, the self-titled Martin Zellar and the Hardways released in 1996, exemplified their blend of rock, country, and Americana influences, with Zellar's lyrics drawing on themes of everyday struggles and emotional vulnerability.[38][13] Subsequent releases, such as Scattered (2002) and Roosters Crow (2012), continued this stylistic evolution, incorporating alt-country elements and deeper narrative songcraft that highlighted Zellar's dominance in composition.[39][40] The band's sound matured over time, shifting toward more introspective and textured arrangements while retaining an accessible, heartfelt energy rooted in Midwestern traditions.[4] Zellar and the Hardways toured extensively from the mid-1990s onward, covering regional circuits in the Midwest and expanding to national and North American venues, which supported album promotions and built a dedicated following.[41][42] These tours, including a promotional run for their 2012 album, allowed for experimental live sets that deviated from studio versions, incorporating extended improvisations and covers to engage audiences dynamically.[41][43] The collaborative format of the Hardways amplified Zellar's songwriting, providing a platform for raw, unpretentious performances that captured the immediacy of his narratives on stage.[13][43]Later projects
Collaborations and side ventures
In the late 1990s, Zellar formed and began performing with NEIL!, a tribute band dedicated to the music of Neil Diamond, featuring musicians such as Ali Gray and Patrik James Long from his other projects.[44] The ensemble delivers faithful renditions of Diamond's hits like "Sweet Caroline" and "America," often incorporating rock-infused energy that aligns with Zellar's roots in alt-country and rock.[45] NEIL! quickly developed a dedicated regional following, becoming a house band at Minneapolis venues like the 400 Bar and drawing crowds for its nostalgic appeal and Zellar's charismatic stage presence.[44] Performances have continued periodically, with events frequently described as "back by popular demand," underscoring its enduring cult status among fans in the Midwest.[46] A notable side release came in 2007 with the single "I Wanna Drive the Zamboni," a humorous track originally written as a novelty song for a friend and first appearing on the Gear Daddies' 1990 album Billy's Live Bait.[12] The standalone version, released in February of that year, celebrates Minnesota's deep hockey culture, imagining the simple joy of operating the ice-resurfacing machine at local rinks—a nod to the state's "State of Hockey" identity.[12] It gained traction beyond initial expectations, becoming a staple at hockey games and appearing in films and TV shows, which highlighted Zellar's knack for crafting relatable, lighthearted anthems outside his core songwriting style.[47] Zellar has also made various guest appearances and shared stages with notable acts throughout his career, contributing to festival lineups and one-off bills that broadened his exposure. Over four decades, he has opened for or performed alongside artists including Neil Young, Cheap Trick, the Eagles, REO Speedwagon, Soul Asylum, and Bob Mould, often at regional festivals and venues in the Midwest.[48] These engagements, spanning rock, country, and alt scenes, occasionally included informal collaborations, such as duets or joint sets, though specifics on album contributions remain limited to local circuits.[48] Through NEIL! and releases like "I Wanna Drive the Zamboni," Zellar explored cover interpretations and whimsical themes, offering creative respite from original compositions and allowing him to connect with audiences via shared cultural touchstones like Diamond's catalog and Minnesota sports lore.[12][44] These ventures diversified his output, emphasizing performance variety and fan engagement without tying into his primary band work with the Hardways.Recent activities and reunions
In the 2020s, Martin Zellar has maintained an active presence in the Minnesota music scene through performances with Martin Zellar and the Hardways, alongside sporadic reunions with the Gear Daddies that build on the band's earlier gatherings in the 1990s and 2000s. The Hardways have sustained a robust touring schedule, emphasizing Zellar's roots in Americana and rock, with notable appearances including a December 14, 2024, show at the Turf Club in St. Paul.[49] This momentum continued into 2025, featuring a free outdoor concert as part of the Silver Bay Music in the Park Concert Series on August 8 at City Center Park in Silver Bay, Minnesota, where the band delivered heartfelt rock anthems to a community audience.[50] Further engagements included the Rhythm of the Rapids fundraiser on September 18, 2025, along the Mississippi River in Coon Rapids, supporting Anoka-Ramsey Community College with family-friendly music and local food trucks.[51] Zellar's creative output remains evident in live recordings shared online, such as the 2025 performance of "Sonic Boom"—a track originally from the Gear Daddies' catalog—captured during an October 11 show at The Parkway Theater in Minneapolis and uploaded to YouTube, showcasing his enduring songwriting vitality.[52] These efforts highlight Zellar's focus on fan engagement through intimate venues and regional festivals, adapting to the evolving Americana landscape while prioritizing authentic live experiences. As a Minnesota-based performer, he continues to draw dedicated crowds with sets blending solo material and band classics, fostering connections in an era of streaming and niche gatherings.[53] The Gear Daddies' reunions have added to this period's highlights, with full-band performances like the May 4, 2024, appearance at First Avenue in Minneapolis, reviving their signature sound for nostalgic fans.[54] In 2025, the group scheduled additional shows, including November 29 at First Avenue, underscoring Zellar's role in sustaining the band's legacy amid his solo endeavors.[55]Discography
With the Gear Daddies
The Gear Daddies' discography from their original active period (1984–1992) consists of three studio albums and one EP, primarily released through independent and major labels, which helped establish their role in pioneering the alt-country genre by blending rootsy rock with twangy Americana elements in the Twin Cities scene.[3][56] Their releases emphasized Martin Zellar's songwriting, featuring witty, narrative-driven tracks that influenced subsequent alt-country acts.[10][57] Their debut album, Let's Go Scare Al, was released in 1988 on the independent label Gark Records, marking their entry into the regional music circuit with raw, energetic recordings produced by the band alongside local engineer Brian K. Harris.[56] Following their signing to Polydor (a PolyGram subsidiary), they issued the EP Color of Her Eyes in 1990, which included the title track—a melancholic ballad that showcased their emerging blend of country and alternative rock—and served as a bridge to their major-label full-length output.[22][58] The band's breakthrough major-label album, Billy's Live Bait, arrived later in 1990 on Polydor, produced by Ed Thacker and featuring standout singles like "(I Wanna Drive the) Zamboni" and "Stupid Boy," which captured their humorous, heartfelt alt-country style and garnered regional radio play without significant national chart success.[56][59] Their final album during this era, Can't Have Nothin' Nice, was released in 1992 on Polydor, produced by Don Gehman, and included tracks like "Wear Your Crown" that further refined their sound amid growing industry pressures, though it did not achieve commercial breakthroughs.[18][25] Notable singles from the PolyGram period also encompassed "She's Happy" (1988, PolyGram), an early promotional release that highlighted their pop-inflected roots rock.[58] These works collectively positioned the Gear Daddies as early innovators in alt-country, prioritizing storytelling and genre fusion over mainstream polish.[5][60]Solo and with the Hardways
Following the dissolution of the Gear Daddies, Martin Zellar's solo work retained the raw, roots-rock edge of his earlier band efforts while exploring more introspective themes.[3] His debut solo album, Born Under, released in 1995 on Rykodisc, featured 11 tracks blending alternative country and rock, including the single "Lie to Me," and received positive reviews for its heartfelt songwriting.[61][62] Subsequent solo releases included They Even Use the Hooves in 2002, a collection emphasizing Zellar's guitar-driven narratives, and the limited-edition acoustic album Martin Lee Zellar in 2011 on Owen Lee Recordings, limited to 2,500 signed copies and recorded live in-studio, which included tracks like "Sonic Boom" and "Stupid Boy."[63][64] In 2017, Zellar issued the compilation Fan-Selected Sampler: 1998-2017 via Bandcamp, drawing from his post-1998 output to highlight fan favorites such as "East Side Boys" and "Wear Your Crown."[65] His most recent solo effort, Head West, arrived in August 2023, marking his first full collection of new material in over a decade, with 10 songs exploring themes of reflection and resilience, released independently and praised for its polished yet authentic production.[66] Zellar also revisited the song "Sonic Boom"—originally from the 2011 acoustic release—in live performances with his band in 2025, including a notable rendition at The Parkway Theater on October 11.[52][64] In parallel, Zellar formed Martin Zellar and the Hardways in 1994, a backing band that supported his shift toward a fuller rock sound infused with country elements. Their self-titled debut album in 1996 on Rykodisc showcased energetic tracks like "Haunt My Dreams" and "Ten-Year Coin," establishing the group's dynamic live presence.[38] The Hardways' follow-up, The Many Moods of Martin Zellar and the Hardways, came in 1998 on Owen Lee Recordings, offering a varied palette of ballads and uptempo numbers, including "Everything We Had."[63] A live recording, Two Guitars, Bass & Drums: Live 2000, captured the band's raw energy during a Minneapolis performance, released to highlight their touring prowess. The studio album Scattered followed in 2002, delving into personal storytelling with songs such as "Wore Me Down" and "Running on Pure Fear."[39] After a decade-long hiatus, the Hardways reconvened for Roosters Crow in 2012 on Owen Lee Recordings, a critically acclaimed return featuring tracks like "Took the Poison" and "Give & Take," reaffirming Zellar's enduring songcraft.[40][3] Among notable singles, Zellar released a solo version of "(I Wanna Drive the) Zamboni" in 2005, a reworking of his earlier composition that appeared on compilations and gained cult status for its humorous, hockey-themed lyrics.[67]| Release Type | Title | Year | Label | Notes |
|---|---|---|---|---|
| Solo Album | Born Under | 1995 | Rykodisc | Debut solo studio album |
| Hardways Album | Martin Zellar and the Hardways | 1996 | Rykodisc | Self-titled debut |
| Hardways Album | The Many Moods of Martin Zellar and the Hardways | 1998 | Owen Lee Recordings | Studio album |
| Hardways Live Album | Two Guitars, Bass & Drums: Live 2000 | 2000 | Independent | Live recording from Minneapolis |
| Solo Album | They Even Use the Hooves | 2002 | Independent | Studio album |
| Hardways Album | Scattered | 2002 | Independent | Studio album |
| Single (Solo) | "(I Wanna Drive the) Zamboni" | 2005 | Independent | Re-recorded version |
| Solo Album (Limited) | Martin Lee Zellar | 2011 | Owen Lee Recordings | Acoustic live-in-studio, 2,500 copies |
| Hardways Album | Roosters Crow | 2012 | Owen Lee Recordings | Studio comeback album |
| Compilation | Fan-Selected Sampler: 1998-2017 | 2017 | Bandcamp/Independent | Fan-curated tracks |
| Solo Album | Head West | 2023 | Independent | Latest studio album |