* Greg’s longtime guitarists Joe Gentile and Tommy Aboussleman, the core of his recording and live bands

* Matt Pinfield, the legendary East Brunswick-raised, California-based DJ/VJ who has been friends with Greg since their days in Churchill Junior High School and has been spinning ‘Tragicomic’ and its holiday follow-up, a cover of The Kinks’ classic “Father Christmas,” alongside a cadre of his broadcast peers.

All helped make 2025 a tsunami of a year for Greg, who’s lining up shows with a crackerjack band, as well as a sophomore solo album with much of the same team involved in “Tragicomic.” The new year is likely to be even better.

I spoke with Greg about his talent, history, inspiring comeback, and equally impressive plans. Enjoy!

While growing up in East Brunswick, did you play in bands in New Brunswick?

I was a jock in high school, and only started to take guitar lessons when I was 18. Soon after I was able to play a few barre chords, my friend Kevin Hennelly and I formed a band called The Clergy that became the house band in my basement. We made a demo when we were about 19. The only record label response we received was from the legendary Jimmy Ienner -- when he was at Millennium Records -- who said that we ‘showed a lot of potential,’ and that he ‘especially enjoyed my vocal style,’ but that he ‘must pass for now.’

Met him again years later. Great guy. But that was the end of The Clergy. Having filled our coffers with a flood of unannotated rejections, we lacked the fortitude to continue.

What other bands have you been in, when, and did they accomplish anything of significance?

There was an ’80s, sort-of-alternative band called Junk, which did better than The Clergy, though again, we lacked fortitude. Then in the 1990s and early 2000s, I had a band called Big Honey that included vocalist/guitarist Joe Gentile, a friend I’ve worked with ever since and who sings and plays guitar on ‘Tragicomic.’ We were doing well on the New York circuit and building a fanbase, but all that ended when I got a polyp on my vocal cords that was discovered when my voice turned to a croak while performing at The CMJ Music Festival around the turn of the century. I rested it for months, but ultimately it required surgery. By the time I recovered, the band was gone. But at least up until then, for a few years, we demonstrated fortitude.

Greg Amici, No. 74, is pictured on the East Brunswick High School Football Team coached by George W. Pinfield, top far right, the father of legendary DJ/VJ Matt Pinfield, a childhood friend of Greg. PHOTO COURTESY OF GREG AMICI

How and when did you become friends with fellow East Brunswickite Matt Pinfield?

We met at Churchill Junior High School. Matt’s father, George W., was my football coach, and Matt was the guy who turned me on to all things rock.

Coach Pinfield was the greatest. He made Vince Lombardi look like a pussy. Loved that man.

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What impact has Matt had on your music?

Well, he helped expand my musical palette, that’s for sure. He put Junk’s version of Max Frost and the Troopers' ‘Shape of Things to Come,’ on a compilation album of New Jersey bands covering 1960s tunes called ‘The East Coast Rock ‘n’ Roll Experiment.’ He’s currently playing my music on The SoCal Sound Los Angeles. Matt’s always been there to help, but I’ve kept my requests to a minimum. And after all he’s gone through the past year, with the stroke, the last thing he needs is me bugging him about my music. Of his own volition, he’s been playing ‘Father Christmas,’ which is most appreciated. I’d like to add that Matt’s courage and work ethic in recovering from a truly near-death experience have been amazing to witness.

Greg Amici, far right, is pictured with East Brunswick childhood friends Matt Pinfield, center, a celebrated DJ and VJ, and Gary Kaplan, a member of such acclaimed New Brunswick bands as Dandelion Fire and Rotator Cuff. PHOTO COURTESY OF GREG AMICI

Why did you take a 16-year break from releasing and performing music?

The demise of Big Honey took the proverbial wind out of my sails. And I had other creative interests. I’d written some screenplays and acted in some indie films, so I packed up the truck and moved to L.A. to seek fame and fortune. I had an interesting run, won some awards, and got a couple of things optioned. Unfortunately, the only money I made out there was as a bouncer -- that wasn’t exactly the fulfillment of my Hollywood dream, so I hitched up the wagons and headed back East. Music had definitely been on the back burner, but then, a few years back, when a producer I knew gave me a small role in a film, I told him I had some song ideas for the soundtrack. He liked them. And thus, Rip Van Winkle awakened. I always wanted to work with James Mastro, so I called Jim, and the rest is, as they say, music history.

What inspired you to write, record and release your solo debut LP, ‘Tragicomic’?

I recorded two of the album tracks, ‘Spin That Ball’ and ‘Jennifer,’ for that movie, a sports film called ‘Black Jack: The Jackie Ryan Story,’ and found that my mojo had seemingly returned after its long hiatus. I decided I was going to record or re-record every song I’d ever written, along with any new ones as they filtered through my mind and fingers. So far, we’ve finished two full albums. I hope to do 20 more before uttering my last breath, which would need to be around 2055.

Where did the album title come from?

‘Tragicomic,’ specifically, came together when I realized that we’d recorded almost an equal share of comic and dramatic songs, loosely categorized as such. When I say ‘comic and dramatic,’ I basically mean happy ending versus sad ending for the respective protagonist. The speaker in ‘No Fool’ is a sad-sack doofus, and the song’s supposed to elicit some chuckles. On the other hand, the protagonist in ‘Girl Next Door’ seeks redemption, and may, eventually, get it. So, I file both of those under ‘comic.’ Meanwhile, ‘In Like a Lion’ is written from a serial killer’s perspective, and people die, so I would categorize that as tragic.

Did your Italian ancestry and Italy’s rich circus history influence your clown persona, why and how? If not, what did?

Well, I’d always been interested in Commedia del’Arte, though I never really immersed myself in it. I’ve enjoyed clown-oriented opera, like ‘Pagliacci’ and ‘Rigoletto,’ Fellini films, like ‘La Strada,’ and the carnivalesque in general.

Perhaps that interest stems from my Italian soul. More likely, it’s because I prefer the theatrical in performance, ala Mr. David Bowie.

What did you enjoy most about working with James Mastro as your producer and why?

I’ve known Jim for many years and always wanted to work with him. To begin with, he’s such a nice, modest guy. But then, the number of great ideas he had for taking the songs to the next level was off the charts. He can play any instrument, and he understands my sensibilities to the point where I don’t really have to say a lot, and he gets it. He’s very considerate of my ideas, but my confidence in him is such that I never worry that a new song may not come out the way I want it. If it does, it will probably come out better.

Did you know or at least know of James back in the days when you were playing in bands?

I was always a fan of The Bongos, and I loved the ‘Nuts and Bolts’ album he did with Richard Barone. I did an oral report on the history of Italo-American Rock in my Italian class in college and concluded the presentation with the fine Italian-Americans who created ‘Nuts and Bolts.’ When I met Jim, I told him about that, and he said that I was spot-on with Barone, but that he was Greek, not Italian, though he appreciated my effort to include him. Unfortunately, it was too late to go back and redo my report.

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How did you connect with him?

I was referred to Jim back in the late ’90s, when I was with Big Honey. It might have been through Matt. Probably was. After years of just making demos, I had an investor who was going to finance my first ‘radio-ready’ album. Jim was going to produce it. And then, believe it or not, the investor disappeared. I’ve heard that happens in show business sometimes.

What have you enjoyed most about Magic Door as your studio and label and why?

It is such a relaxed atmosphere, and the equipment is great. Ray Ketchem is an exceptional engineer, as well as a fantastic drummer, so between him and Jim, there was never a need for additional musicians, though I was happy to have the likes of Tony Shanahan (bass, keys) and other great players on board when they were available.

Pictured is the all-star band that recorded ‘Tragicomic.’ PHOTO BY MARK JAWORSKI

What has ‘Tragicomic’ achieved for you?

Great joy. I’m just really happy that I made an album, wherein there are relationships between the songs, and some thematic consistencies, musical and lyrical -- we didn’t just release a bunch of singles. It’s also great that people like it, particularly musicians whom I greatly respect. I always wanted to be the musical equivalent of a comedian’s comedian.

Why did you want to cover ‘Father Christmas’? How and why does that song have meaning for you?

I took an acoustic version that Joe Gentile and I recorded years ago to Jim and Ray. I love The Kinks’ original, but I thought I could do something different with it that wouldn’t just ape their version. The fact that I didn’t butcher a Ray Davies song is what means most to me. I guess that’s not a fact, but an opinion. Wonder what Ray would say ...

What did ‘Father Christmas’ accomplish for you?

It’s gotten radio play from Matt, from Jim Monaghan, and other DJs whom I really respect. I also receive a lot of indie station play. And it’s helping me build a larger audience. It’s much easier to get people to check out something they recognize.

Who’s in your live band, and did any of them record ‘Tragicomic’ and/or ‘Father Christmas’?

I have a cadre of all-stars in my band(s). The cream of the New Jersey crop. I have to maintain an army because these guys are in demand, and it’s very difficult to get them all in one place at the same time. I’ve worked with Joe Gentile (rhythm guitar, vocals) and Tommy Aboussleman (guitar) for half a century, so I would say that they are the core of my band, and both play on ‘Tragicomic.’ I have my Long Island contingent with Joe, Pat Vertucci (drums), and Arron DiCesare (bass). Otherwise, we’ve got Dennis DiBrizzi (keys), Larry Heinemann (bass), and Jair-Rohm Parker Wells (bass) on board — all fantastic players and great guys.

When and where will you be performing?

Hopefully, we’ll be gigging a lot in ’26. I’m still in the planning process with that.

Have you started writing a follow-up to ‘Tragicomic’? If so, when and where will you record it?

Yes, it’s called ‘Songs for the Lads to Sing.’ It consists of songs I’ve written from a younger man’s perspective, one that takes him from junior high school to fatherhood. I should say, ‘younger MEN’s perspective’ because it could be perceived as one individual with multiple personalities or just multiple individuals.

Has your wife’s concern about antisemitism inspired you to write or at least incubate a song?

Actually, I wrote one years ago that I plan to follow up on. It’s called ‘Now, God,’ and it’s inspired by the ‘Book of Joshua.’ I try to take a Socratic approach to political and social issues and look at things from several sides before coming to any conclusion. The older and, hopefully, more mature I get, it seems like the right way to go. But when my girl has to worry about being harassed for wearing her chai on the streets of New York, fuck Socrates, it’s time for the walls to come tumbling down.

What other 2026 plans can you discuss?

I just want to play and play and record and record until I drop dead. In all seriousness, I’m aware of my mortality and have a lot of creative ideas I need to act on while I’m still around. I will execute as many as possible in 2026.

Is there anything I didn’t ask on which you would like to comment?

I think these were very incisive questions, Bob. I think you covered all the bases. My one hope is that your readers are so inspired by my answers that they rush to gregamici.com and buy all my merchandise.

Bob Makin has produced Makin Waves since 1988. Follow Makin Waves on Facebook and Instagram and contact Bob at [email protected].

New Jersey Stage is proud to be the home of Bob Makin's Makin Waves column since 2017. His Song of the Week column comes out every Friday. He also writes an Album of the Month and Interview of the Month as well.

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