Artist description Former keyboardist for Prince & The Revolution

Music Style Electronic

Musical Influences Prince, Herbie Hancock, Keith Emerson, Jan Hammer

Similar Artists Prince, Herbie Hancock, Keith Emerson, Jan Hammer

Artist History With the release of his first ever, full-length solo CD, Ultrasound, Minneapolis’ Dr. Fink confirms that he hasn’t missed a beat since his days as keyboardist and co-conspirator behind Prince’s Revolution and, later, the New Power Generation. An accomplished and upbeat amalgam of dance, techno, funk, and pop, Ultrasound was written and produced entirely by The Good Doctor himself. While the sound and feel of older Prince gems definitely find new outlet in Ultrasound’s eleven tracks, Fink also asserts himself strongly as a stylist in his own right. Most noteworthy is his fluent synth/keyboard playing, which is strongly reminiscent of “old school” soloists of the ‘70’s, such as Herbie Hancock, Keith Emerson, and Jan Hammer. Nearly one-third of the record consists of purely instrumental tracks, which allow him to display mastery of his instrument in the sort of unrestrained fashion that may surprise fans familiar with only his past work. Throughout, the CD offers a diverse mix of mature, dance-oriented tracks with a modern production sheen that should satisfy even the most savvy of headphone enthusiasts. As a musician and vocalist, calling Matt "Doctor" Fink's talents and interests varied would be an understatement. Fink got his start in music early by studying classical and jazz piano for 10 years as a child. By the time he was 12, his first band, Odella, was playing Top 40 hits of the 60s and 70s in garages, church basements, and school gymnasiums throughout Minneapolis. At 16, Fink joined Spiff Cool and the Keeno Jets and toured the Upper Midwest playing 50s cover tunes at high school dances and nightclubs. Upon graduation from his Minneapolis high school, he played rock and pop with the band Zachariah, and R&B, funk, and disco with the B.T. Rockets. In the fall of 1978, he joined Prince's band, which would later be named the Revolution. Fink toured the world, rubbing shoulders with members of the Rolling Stones, jamming with Eric Clapton, hanging out with Bruce Springsteen and Sting, and -- of course -- collaborating with Prince on albums including Dirty Mind, Controversy, Purple Rain, Around the World in a Day, Parade, and Sign O' the Times. He co-wrote the songs “Dirty Mind,” “Computer Blue,” “America,” “17 Days,” and “It’s Gonna Be a Beautiful Night,” and also performed session work for The Time (1982), Lipps, Inc. (1982), The Jets (1986), and Mad House (1987). Since leaving Prince in 1991, The Doctor has spent much of his time in his Minneapolis recording studio, StarVu. He has written music for both soundtracks and video games, and has produced releases for promising independent artists. Currently, he is in the process of assembling a band to hit the stage with a live show in support of Ultrasound

Group Members Matt "Doctor" Fink -- vocals, keyboards, drum programming; Dave Barry -- Guitar; Star Williams -- Vocals; James Behringer -- Guitar; Sexy Vocals -- Nurse Andra; Vocals -- Connie Olson; Acoustic Guitars -- Bobby Schnitzer; Vocals -- Andrusilla Moseley

Albums Dr. Fink -- Ultrasound; Session credits on The 21st Century Kids (1999); Ana Voog (1998); Prince, Lovesexy (1988); Madhouse (1987); Prince, Sign O' The Times (1987); The Jets (1986); Prince, Parade (1986); Prince, Around the World in a Day (1985); Prince, Purple Rain (1983); Prince, 1999 (1982); Prince, Controversy (1981); Prince, Dirty Mind (1980); Lipps, Inc. (1982); The Time (1982)

Press Reviews ULTRASOUND – Fink's first solo album – came as a bit of a shock. I mean, the cat was super-sharp neo hi-fi back in the day, but ULTRASOUND takes the cake. Revolution die-hards beware: though a smidgeon of that good old school funk slinks in and out of tracks, this is no retro album. It's almost completely electronic, with some cuts verging on tasty techno vamp. Take the track Ecstasy for example. Ecstasy had me speed shifting after midnight down some futuristic desert highway in my brain. On the other hand, Nebulosity – the fourth piece on ULTRASOUND – has a slow, throbbing synth line that, layered with electronic swells and details, evolves into a sexy, rather cerebral jam. Save Me, a pop friendly love letter to his wife Andra (who secretly cameos on the album!) finds Fink operating on catchy riffs with passionate as well as polished male vocals. ULTRASOUND takes many turns and twists, meshes hi-tech with organic, electronic with good pop sense and a healthy injection of funk. (Brooke Aldridge, City’s Tone Magazine [Minneapolis], January 2002)

Location Minneapolis, MN - USA

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