Saturday 21 April 2012 – Project Grimm * Linus Pauling Quartet * From Beyond

Project Grimm (Houston, TX)

A decidedly less experimental group than its most direct predecessor, the Mike Gunn, Project Grimm was formed in 1995 by Gunn frontman and guitarist John Cramer to satisfy his urges to be a bit more straightforward in his approach to guitar rock. Interested in looking to build a band around this new direction, Cramer called local drummer Rick Costello (…of Houston band Bleachbath) who volunteered his services straight away. Drew Calhoun joined on bass, and former Schlong Weasel (University of Houston “branch”) member Jim Otterson rounded out the lineup as second guitarist. Their first show, on July 3, 1995 was followed by recording sessions that would result in their first album, Lying Down out on Linus Pauling Quartet’s Ramon Medina (also a former Schlong Weasel-er) Worship Guitars label in 1996. The pace of recording and releasing would slow down considerably for the band, which wouldn’t quite get around to releasing the follow-up until 2003. In the meantime, Bo Morris would take over on drums for the kicked out Rick Costello, and Cramer would work with former Mike Gunn colleague Scott Grimm on his Dunlavy project. July 2003 would see the release of Project Grimm’s second album, Huge Beings (released on Camera Obscura’s Australian sister label Camera Lucida), but it would also see the band split — on the very day of the album’s release. Leader John Cramer would later appear as a solo artist working under the name the Powers of Light & Darkness, and played sporadic shows around Houston. – Chris M. True via

The Linus Pauling Quartet (Houston, TX)

Pure guitar muscle and Texas Stoner Metal Psych insanity with universal themes like drugs, beer, sci-fi/fantasy, and Bongs of Power. If you like your riffs heavy, the solos unyielding, and the smell of the bong to billow out of your stereo, the LP4 is your band.

“a core point about the Linus Pauling Quartet isn’t merely that they’re a great psych band, but a great band period, able to embrace a lot of styles and moods and work them well. ” – Ned Raggett,

“Anthemic, stupid and selflessly unrestrained, the LPQ eventually attain self immolation of sorts during the sprawling chaos.”– Phil Mc Mullen, Ptolemaic Terrascope (UK)

“Variety through dementia indicative of excessive drug use and boredom.”– Flipside

“Compulsory listening for anyone interested in modern American guitar rock, or just plain alternative music.”–Crohinga Well (Belgium)

” [the band] should consider doing a few less bonghits”–Michael Davis of Option Magazine

“A quartet of Texas weirdos who’re smart enough to play it real stupid, mining that fine line between drug-induced idiocy and conceptual genius for way more than you might’ve thought it was worth.”– Kevin Moist, Deep Water.

“I don’t know what kind of drugs they’ve put in the Texas water supply, but I hope they keep doing it, because now we have these mutant sons of Yeti.”–Factsheet 5

“…possibly the most enigmatic yet bombastic rock band to emerge out of Texas inthe last 10 years.”–Mats Gustafsson & Lee Jackson – The Broken Face(Sweden)

“… a 2,500-microdot dose of conceptual zig-zaggery so daunting that Roger Dean would get a hernia trying to sketch the album sleeve. Imagine Captain Beefheart’s magic Band “reworking” Pink Floyd’s Atom Heart Mother right on the cusp of the Rapture. ” –Fred Mills – Magnet(US)

“Not surprisingly for a product of the same hometown as the Red Krayola and Rusted Shut, Houston’s Linus Pauling Quartet is equal parts demented and lovable. A sevenpiece with several guests, the Quartet specializes in waves of psychedelic slog thicker than humidity coming off Buffalo Bayou in August. At the same time, C6H8O6 doesn’t abandon humor or melody in its overwhelming sonic onslaught…Like Slater says in Dazed and Confused, “You couldn’t handle that shit on strong acid, man.” On second thought, maybe that’s the only way you could.” – Christopher Gray, Austin Chronicle

From Beyond (Houston, TX)

Impossibly Heavy Crushing Space Doom. There are no reviews available because nobody has seen the band and lived to tell about it. They are that good!!!!!!






Friday 20 April 2012 – Invincible Czars * Glass The Sky

Invincible Czars (Austin, TX)

Austin’s Invincible Czars have made their mark by creating exceptionally original music: songs and instrumental pieces that are like four-to-five minute “mini-symphonies” chock full of memorable melodies, meticulous arrangements, dynamics, and humor. Their music fuses all kinds of styles including riff rock, classical music,  loungey grooves, spacey klezmer, country shuffles, and circusy polka. They draw from influences as disparate as Igor Stravinsky, Van Halen, Louis Armstrong, The Melvins and Ween. The band applies the DIY attitude of post-punk groups like NoMeansNo and Fugazi to their musical explorations.

The Invincible Czars strive to do more than the standard rock band playing in night clubs.  In the past few years, they have known and lauded for their arrangements of classical works such asTchaikovsky’s Nutcracker Suite which has become a holiday tradition.  They have ventured into the realm of dance and short film.  They have also created new scores for silent movies and performed them live.    In the eight years of existence, the band has performed at private events, nightclubs, parks, theaters, community centers, television stations and radio studios from San Francisco to New Orleans.

Glass The Sky (Houston, TX)

It isn’t often that a band can just sort of form into its just right structure without even really trying. After a few years of people coming and going, Glass the Sky emerged in the summer of 2011 as a unit ready to make the sort of ethereal sounds that shroud its listeners in contented complexity. The Houston-based quintet isn’t concerned with making music within a specific structure or under therestraints of labels. Their music unfolds as naturally as the band formed – with the bringing together of collective talent itching to invent melodies that haunt you long after the music has stopped playing. 

It is Glass the Sky’s intrinsic need to create something memorable. Together, the band constructs the type of music that pierces the skin and seeps inside, passed the superficial layers, and into the heart, the ears, the soul of all those who choose to listen. It’s a combination of all the best parts of a song that makes Glass the Sky’s music so unforgettable. Perfectly woven vocal harmony combined with heartfelt lyrics and atmospheric melodies are what will keep you coming back for more.

With just the few songs the band has recorded, Glass the Sky has managed to convey their unique style and vision. Guitarist Nicklaus Kirkham offers a little insight into the band’s writing process, “There is no real sense of direction when it comes to the beginning of the songwriting process. Anyone can start playing anything and that riff will somehow form into a majestic piece of work. This is where brilliant hypotheses are presented and where we conduct our initial litmus tests.” One listen to the single “Portal” tells you everything you need to hear. Inside the walls of “Portal”, you hear lead singer Eric Lungstrum’s majestic voice marry with Erin Rodgers lingering croon. And everything crescendos around their singing – the emotional rattle of the guitars, the sonic boom of Matt Kelly’s drums, and the plunk of the keyboard keys wrap around the vocals to create a rising tunnel of emotive intensity. All the sounds join together at just the right place, trapping you inside its beauty.

Each song on their soon-to-be-released demo promises to draw you in and keep you satisfied. And while the band’s recorded tunes will leave you wanting more, it will most definitely be the organic way the songs unravel during their live sets that will have you falling heart first for Glass the Sky. Bassist Michael Mazzella says it all when he talks about playing with his fellow band mates, “I wish people knew how beautiful our improv pieces are. I think that the talent in the room is so good that it sounds planned, but in reality it is purely improvisational.”

All you really need to know is that Glass the Sky is a band comprised of five hard-working, ridiculously-talented musicians hellbent on making gorgeous music that makes you feel something – anything. It’s up to the listener to take away what they need from Glass the Sky’s songs, but they just wanted you to know the music is there to be consumed whenever you are ready.

MS Understood: music for a cure for multiple sclerosis – Art Institute, Jealous Creatures, A Sundae Drive, The Wheel Workers (3pm)

MS Understood: music for a cure for multiple sclerosis
Your $10 donation towards the MS150


Art Institute (Houston, TX)

Brothers Alex and Eddie Art Institute were born in The Netherlands. After the family moved to Pasadena, Texas – Eddie began studying classical piano and Alex took up the sitar. By their early teens, it was Eddie who was playing sitar and Alex had switched to drums.

In 1974, the Art Institute brothers, bassist Michael Anthony and vocalist David Lee Roth began playing local gigs as Mammoth. When they discovered that another Pasadena band was already using that name, Roth suggested the group take the name Art Institute. The brothers didn’t like it at first, but when no one came up with a better name, they went along with it.

In 1976, Art Institute were getting regular work playing clubs on Houston’s Sunset Strip. It was here that they came to the attention of KISS frontman Gene Simmons, who was so impressed with the band that he paid for their first demo tape. In 1978, their self-titled debut album was released, becoming one of the most successful debut albums ever and bringing hard rock into the musical mainstream.

Over the next 20 years, the Art Institutes and Anthony remained the core of the increasingly influential and successful band. Roth left the group in 1985, primarily because of disagreements with Eddie Art Institute. Sammy Hagar, then the lead singer for Montrose, replaced Roth. The “Van Hagar” era lasted until 1996. Gary Cherone signed on for two years, and one album, as lead singer. Hagar rejoined the band for a reunion tour in 2004.

The Roth era brought the greatest critical acclaim, though the Hagar era was the most successful commercially. In 2007, the Art Institute brothers, Eddie’s son Wolfgang and Roth re-formed Art Institute for a reunion tour.


Jealous Creatures – (Houston, TX )

Taking shape in early 2011, Jealous Creatures began as a collaboration between Houston locals Sarah Hirsch and Josh Barry.

Hirsch had spent time in Austin playing guitar and singing with a number of bands before deciding to return to her hometown and start something fresh. Barry, who had worked his way through a lengthy stint as drummer in Houston new wave band Japanic, was on the lookout for something new.

Reworking Hirsch’s folk-laced demos into riff-driven rock songs, the pair decided to recruit additional members for a full-fledged band. After hooking up with ex-Big Top bassist Lisa Gallo Roth, fellow Japanic keyboardist Rob Smith, and guitarist Ian Hlavacek, the band released its debut album on their own Critter Records label.

The self-titled EP showcases both sides of the band, with full-on rock like “Coffee Stains’ and ‘Faith in Man?,’ paying homage to the gritty pop rock of Chrissie Hynde and the Pretenders—while tracks like the subdued Eggs Alone embody a successful mix of raucous indie rock and Norah Jones-like soul.

Currently, the band is pleasing crowds around Texas with their live shows and has plans to return to the studio in June 2011 to record their first full length recording.


A Sundae Drive (Houston, TX)!/asundaedrivemusic

For most of the band’s debut EP, You’re Gonna Get Me, it feels like A Sundae Drive just rolls hazily along, serene smiles across the band members’ faces as the music unwinds itself to whatever its eventual destination’s going to be. They nod and sway like they’ve done it forever, but they’re not dreampop (or shoegaze, or whatever you want to call it), not exactly, but they’ve taken pieces of that sound and made ‘em their own.

Take the driving bass at the start of “…And See the World,” for one example — it bumps its way speedily through, Britpop-style, but over the top there’re wavery, watery guitars that bring to mind Teenage Fanclub (or maybe Surfer Blood), as well as some sweetly drifting harmony vocals. On the other end of the spectrum, “I’m a Poster” is right-angled and math-y, with defiant, J. Robbins-like vocals, spiraling guitars, and a jagged, almost stop-start structure. And despite the differences, it all sounds like the same band, which is no mean feat in itself.

Then there’s “Buenos Aires, Manny Pacquiao,” a soft-voiced look backwards at childhood that makes me think of Austinites Meryll more than anything else; both bands craft songs that are intensely personal and reference events that happened when the singer was a kid but still feel utterly relevant to the listener, right here in the present. There’s also a resemblance to Copeland’s gently-rocking post-emo pop, both on “Buenos Aires” or on the steadily-building “So Sleep.”

What’s really interesting about the EP, though, is that A Sundae Drive sound like a pop band that doesn’t really realize it is a pop band. They’ve got all the indie-rock influences poking out from beneath their sleeves, sure, and it’s obvious they love a lot of sharper-edged stuff — the Pixies-esque guitar drone in the background on “Alone Bad, Friends Good” gives that away, not to mention that nice “walking” melody — but the actual songs they’re writing are warm and fuzzy ’round the edges, nodding in a friendly way when you walk in the door.

At the EP’s end, when the band turns down for the up-close, slow-stepping rumble of “I’m Gonna Miss You Like Crazy,” with the droney, half-distorted, Seam-like guitar line and frontman Zeek Garcia’s deliberate, quiet vocals whispering in my ear, it hits me: I really, really like this band. A Sundae Drive don’t need to bash you over the head with how good they are; they’d much rather stand in the corner, plug in, and play until your brain catches up to what your ears already know. – Space City Rock



The Wheel Workers( Houston, TX)


Since late 2010, The Wheel Workers’ crisp sound and intelligent, whimsical lyrics have earned them growing recognition in Houston’s active indie rock scene. In early 2011, lead singer Steven Higginbotham composed and recorded their critically-acclaimed debut album, Unite. Andrew Dansby of the Houston Chronicle praised it as a “lush and radiant pop album.” Paul Viscontini of The Loop Scoop wrote: “The lyrics are full of ‘everyman’ struggles of day-to-day life and love… Unite is a record that will demand an audience from a hungry Houston music scene.”

Following in the footsteps of socially-conscious artists like The Clash, Fugazi, and Bruce Springsteen, The Wheel Workers are unafraid to proclaim progressive values deep in the heart in one of America’s most conservative states. Jeremy Hart of Space City Rock calls “The MOP” (the opening track of Unite) “pretty freaking great,” picturing The Wheel Workers as “a quirky protest-ragtime band that’d be right at home marching on Wall Street, tubas and clarinets a-blazing, gathering people behind them as they danced their way in to tear down the financial giants.”

Since the release of Unite, The Wheel Workers have played regularly around Texas, receiving airplay on local radio stations, and opening for national touring acts such as Miniature Tigers, Elf Power and The Coathangers.

The band is currently recording their sophomore album at Sugar Hill Studios with legendary producer and engineer Dan Workman (Lyle Lovett, ZZ Top). An early demo from the album, “Chemicals,” was recently featured on The Earth Day Network’s website as a winner of their “Song of the Earth” contest.  In November 2011, The Wheel Workers signed with ZenHill Records in anticipation of a national release of Unite at the end of 2011 and the release of the as-yet-untitled sophomore album in the summer of 2012.


Saturday 14 April 2012 – Buskers United presents Acoustic Houston Showcase #2 with Ryan Scroggins & the Trenchtown Texans * Jason Bancroft & the Wealthy Beggars * Dollyrockers * The Witherees

Ryan Scroggins & The Trenchtown Texans (Houston, TX)
Scroggins universe – Ryan has made a record unlike anything involved with this genre that I have ever heard. I recommend both – but you’ll know when you hear it. He’s a mad scientist, a gritty professional, and in love with what he does. Everyone will bow to this release. A voice is about to be heard, a strong wind blows out of hustle town, and all who choose will be witness. Big ups to one of the most original fuckers I’ve ever met.   -Gerald Hooper (Chanel One)


Jason Bancroft and The Wealthy Beggars (Houston, Tx)

The Wealthy Beggars, is Jason Bancroft singer/songwriter of the infamous Texas Street Punk band – Black Star Brigade from Austin, Tx. Now back in his hometown of Houston he has been playing music in the Texas punk rock arena for over 15 years and now expands his career with a new sound. The Wealthy Beggars bring a soulful, punk influenced acoustic folk sound with a sense of urgency to a willing audience. The current line up: Jason Bancroft – vocals, guitar & harmonica; Carl Chambless – Drums and Tim Winstead – lead guitar.



Dollyrockers – (Houston, TX)

The DollyRocker vision began in the winter of 2006 by Mike Porterfield and Steve Scholtes, both members of Houston punk rock band Poor Dumb Bastards. Eventually the lineup was completed with the addition of guitarist Dave DaVegas, former Manhole/Come On Come On vocalist AliceSin Gibson and ex Toho Ehio/I End Result drummer extradordinaire, Sean Feeley. The sounds and songs of the band are rooted in a mix of hard rock, rockabilly, outlaw country and southern blues. DollyRockers released their critically acclaimed 10 song debut CD, Hellbound Hoedown.



The Witherees (Houston, TX)

Midori infused acoustic

Michael Castillo
Jimi Cavazos

Friday 13 April 2012 – Morgue City * The Stagefrights * Chairs * Hordes of Moria

Morgue City (Houston, TX)

Morgue City is a band that has gone through many many changes in sound and personnel. Like any successful project in the entertainment world it must be made up of resilient and determined people. This is the case with Morgue City. The band that has a rock attack intensity as well as a more sinister edge as it delves into the darker realms of noiz and it’s concurrent drones. Some of the Morgue City sound is very pop rock oriented but there is always a deviant grind of sound laced in the song work. The band consists of two musicians with a very long history in the music business. Founder, SPIKE the Percussionist, is known from a long list of projects that include Astrogenic Hallucinauting, Childman, Doggebi, Delicate Terror and as the music director for the world renowned flesh suspension group Constructs of Ritual Evolution – CoRE. The lead guitar and vocals are handled by Raul who is a multi instrumentalist and has a long history of studio work and touring. Raul hails from such bands as M-87 and was the former bass player for Bozo Porno Circus. The result is a musical conglomeration both hauntingly familiar and refreshingly new as well as powerful and beautifully dark. Combine the likes of everything from classical to jazz and gloom to power noiz with catchy lyrics, sophisticated beats, and musically diverse melodies and the result is Morgue City.



The Stage Frights (Houston, TX)

The Stage Frights are Houston’s hottest Horror rock and roll band. The brain child of Larry Rainwater (Ex-VoTo, Kommunity FK, Ardour of Angels and the Nobody’s) They mash up the Dead Boys, New York Dolls, the Misfits, Ramones and Garage Rock into a fast swirl of dark rock frenzy! With their songs like My Dead Girlfriend’s back we learn just how bad the consequences of standing up your best girl at the prom can be when she returns as a zombie! But it’s not all Si-Fi mayhem here as songs like Never Stop and I’m Feeling Alright the rock is hard and heavy. Never short on Humor and never short on Rock. The Stage Frights will have you rocking with a smile on your face even if they are signing about someone being stabbed sixteen times in the back!


Chairs (Houston, TX)

Upon hearing some of our most recent recordings (Fist Of Kong & CHAIRS)… this is what Rob Millis of Climax Golden Twins/AFCGT/Victrola Favorites & frequent contributor to Sublime Frequencies had to say about it…..

“Really enjoyed what ive heard so far…Great low fi pysch distant hazy ethno free twang hillbilly houston jazz strangeness stick the cassette deck up that camels ass and start recording. Top notch work! Must be the Texas water. Suitably fucked in a fine and delightful way. You guys all seem to have really good improv communication and skills.” – Robert Millis


This is what Lance Higdon, head of the Resonant Interval Sound Series (a weekly concert series featuring experimental, noisy, freely improvised music with an emphasis on Houston musicians) had to say about Chairs……..

“…No less impressive is the cosmic jazz of Chairs. Featuring veteran Houston musician Charlie Naked, this quartet mines the richest veins of Albert Ayler, Sun Ra and other visionaries of the transporting power of jazz music, filtered through the spiky bite of the post-punk diaspora.” – Resonant Interval


Upon listening to 3 hours of Chairs albums on a drive across Texas, this is what Len Howard has to say about his ‘experiences’ with Chairs……

“Straight out of the fuckin swamp, Chairs sling out sounds of a dangerous order. Their alienating performances indoctrinate the crowd, who steps further and further towards the brink of absurdity. I’ve seen some of the soap suckers at their shows in such a fussy they claw out their own hearts and pile them up in the band’s designated organ collection. Those hanging on their last strings of life dangle to the psychologically demented sounds of Chairs while they yearningly greet death. This is an unsound method.” – Len Howard


Hordes of Moria
(Sorry, no information available on-line)


Wednesday 11 April 2012 – Andrew Jackson Jihad * Joyce Manor * Treasure Fleet

Andrew Jackson Jihad (Phoenix, Arizona)

At their core, Andrew Jackson Jihad is a band made up of a social worker and a gravedigger. Starting in 2004 and hailing from Phoenix, Arizona, they make music that attempts to understand and explain human nature. The music focuses on the horrid and beautiful ways that people treat each other, as well as the possibility that one day we will be able to reconcile these two forces.

Traditionally playing live as a two-person band (Sean Bonnette: guitar, vocals. Ben Gallaty: upright bass, vocals), Andrew Jackson Jihad’s show is a cathartic experience that invites the audience to sing along. With the energy of a punk band, they blaze through song after song, while stopping occasionally to interact with their audience. Their lyrics are tragic yet humorous, crass yet intelligent, heartbreaking yet uplifting. One listener has described the music as “sad in the key of happy.”

In September of 2011, AJJ released their fourth studio album Knife Man on Asian Man Records. This spring they will embark on their first tour as a full band with the help of three of the Knife Man musicians, Owen Evans (ROAR), Preston Bryant (French Quarter), and Deacon Blue Batchelor (Malakai).

The first leg of this tour will feature support by longtime friends Laura Stevenson & The Cans (Don Giovanni Records) and ROAR (Really Records).

Andrew Jackson Jihad has played shows with Frank Turner, The Gaslight Anthem, Xiu Xiu, Titus Andronicus, Against Me!, and Deer Tick among many others.


Joyce Manor (Torrance, CA)

“What separates California band Joyce Manor from the rest of your basic cookie cutter pop-punk bands is the abrasive quality of their music. Typical standards of pop-punk include polished cleans, clear production and more-than-user-friendly guitar riffs; Joyce Manor do none of these. Their debut self-titled full length is near nineteen minute ride through dissonant, messy and unfriendly chaotic riffs joined together by a trembling, exacerbated vocalist that, when put together, crafts one of the more interesting releases in recent memory. Although stretching the boundaries on what counts as pop-punk, Joyce Manor somehow makes all of this work in their ability to somehow make these off-timed riffs one that can’t helped but make the listener nod your head to in unison. From the rough and tumble opening riff of ‘Derailed’, where the melody is so loosely kept together that it threatens to lose all cohesion in the song, to the Gatsby’s American Dream-esque track ‘Constant Headache’, Joyce Manor keep hinting at becoming an unfocused mess yet somehow they manage to keep composure all throughout the short life of the album.

Joyce Manor is over before you even know it, with the shortest track barely clocking at over a minute in length, and most tracks averaging around the minute thirty markers. This works to Joyce Manor’s advantage insofar that it keeps the listener attentive and focused throughout the album. Because it might be somewhat of a chore to fully to listen because of the oddly abrasive nature of Joyce Manor, it is best to let each song resonate with the listener before simply diving into the album. But Joyce Manor, when fully realized, is a treat of an album from a very young band that shows very real potential. No so much a breath of fresh air as it is a reimagining to a genre that is easy to think that all the steps have been realized.” – s/t album review, Sputnik Music


Treasure Fleet (Chicago, IL)

Includes members of Smoking Popes, The Arrivals, Sass Dragons and The Lawrence Arms.



Friday 06 April 2012 – Daphne * Another Pearl Harbor * Travis Laville

Daphne (Mont Belvieu, TX)


Buddy Church-bass
Chris Lopez-drums
Tanner Hearren – guitar/vocals




Another Pearl Harbor (Houston, TX)

Clint and Casey played for several years in a band called Ill Logik. Jacob had known Clint since high school. All had played in several bands throughout the years. After jamming together for many months off and on they decided to take it to the next level. It took a long time to come up with the right name for the band due to the band’s loose musical direction at the time. They were playing anything from heavy riff laden music to colorful ambience and of course some juicy blues rock. The name had to fit. Another Pearl Harbor was born. After making three different attempts at having a front man, the band decided it was inevitable. A three piece. Casey, whom had been singing cover songs for the band, grew a sack and stepped up to the mic and started writing lyrics. The rest is history.

Another Pearl Harbor sounds like a three-piece guitar oriented rock band with a big sound. Light and airy at times yet razor sharp at others. The music takes you on a journey through sub-genres layered with ambient echoes and bluesy juiciness. The music should evoke the mind as it aims to inspire.


Travis Laville (Houston, TX)
My story is really no different than a lot of musicians: boy decides to play music for a living; boy writes songs based on personal experience and or failings, boy puts instruments in hock to pay bills. But, here’s a brief recap of the musical history of Travers La Ville for those who care.
I’ve been a singer my whole life, at least what I remember of it. Mom plopped me down in front MTV straight out of the womb and made sure my first live music experience was Michael Jackson’s “Bad” tour. Soon after, I joined every school choir, church choir and garage band I came across. I guess you could say Mom was very intuitive. Anyway, the first time it mattered that I could sing was in 2003 when I was introduced to Ken Tondre (Kevin Fowler/ The Compound Recording Studio). With Ken I recorded my first ep “Farewell to Fairweather.” Funny story: Ken is also the reason I played my first SXSW set on ch. 16 Austin.

One day a very talented keyboard player organizing a SXSW celebration for ch.16 stopped by The Compound while I was recording to ask Ken if he knew a couple of artist that could play on t.v. and not choke. Ken said, “Sure, I know a guy” and then points at a very green, very excited songwriter from Baytown, Texas who had never even seen the inside of a t.v. station – me. I think the keyboard player’s initial response was something to the effect of, “That kid? Seriously?” but after some reassurance from Ken – and a lot of smiling and nodding from me – I had the gig. When the coast was clear, Ken turns to me and says, “Two words of advice kid: never say no to an opportunity and don’t suck.”

I played a lot of shows after that- Andy’s in Denton, Teeter Totter Fest at Texas Lutheran University, St. Thomas University, Lee College, The Sidecar Pub, Super Happy Fun Land, Dirty Bay Brewery, Coffee Oasis and some I’ve forgotten. I was billed with a few different musicians on the road: Roger Creager, The Spill Canvas, Leeland, Buxton, Taylor Davis- to name a few. I then released and another ep in 2005 with producer John Glover and repeated the process for two more years before going on hiatus. Today, the same challenges lie ahead but the game plan is much simpler, “…never say no to an opportunity and DON’T SUCK.”