Well, here’s a whole bunch of stuff.

Blues/Shuffle & Funk

So Low – 001 – Down Time


Last Jazz Blues

Red Hot

Rock Socks



Shuffle n’ Funk

Jazz / Smooth Jazz

Funky & Smooth – 001 – Struttin’

Funky & Smooth – 004 – OK George

Music For Dentists – 001 – Drifting

Smooth & Saxy 001: Auditory Vision

Smooth & Saxy 002: Saxing Nostalgic

Smooth & Saxy 003: Brighter Skyline

Smooth & Saxy 004: Taxi


Life is Flowing – 001 – Life Is Flowing


Prog/Metal: Beneath The Skies


Squirrels As Leaders

Machine Gun

Steel Maiden






Pop/Acoustic – Acoustic and Coffee

Pop/Acoustic – Tall Grass

Reggae – Rag ‘n Bone

Reggae – Drop 4

Country: The Nashville Sessions – 2020

1. In Calmer Times

2. She’s A Country Girl

3. The Hill Song

4. Home Sweet Nashville

5. Driving Down That Old Dirt Road

6. Just A Rodeo Clown

7. Needle In A Haystack

8. All Tucked In

9. Texas Hold ‘Em

10. Twang

11. Take It Easy

12. Poppy

13. Rollin’ On Fours




Evening In Rio

Un Mate

Noche en Brazil

Ipanema Chillin’

100 Note Samba

Bluesy Bolero

Jurgen Kumlehn’s Green Bossa

El Niño

Newer Bossa


Fine Wine

September Leaves

Kletz Dance

Finding music from young bands that only existed on cassette is hard to do in today’s world. I’ve managed to dig up and rescue some sound-bytes of bands I played with in my teens and early 20’s, as well as some recordings I’ve been part of, most of which never saw completion or release outside of “demo” releases. Along with them, I’ve listed some of the gear I used during my time with those artists. It’s a fun walk down memory lane.

2011: Project V

Project V was the brainchild of Filipino guitarist Louie Villadolid. During his earlier career in Manilla, Louie released three rock CD’s celebrated in the islands and toured the region as a profession with the band Zeny Scarlet. During a reprieve, he spent time writing in Los Angeles and asked me to record his “instrumental demo” to share during his industry meet-ups. These three songs were the result, recorded on separate dates in Studio 5 during the Autumn of 2011.

The Scarlet Dance

Arkane Ozone


During this session, I rehearsed on a Spector 5-string and recorded using the gear below. An Ibanez SR506, An Uli Behringer Ultrabass Head and a Hartke XL115 cabinet.

Ibanez SR506
Behringer BXD3000H Ultrabass head
Hartke XL115

2010: Owen Parker / Judgement Day

Libra and 4-Fourty guitarist Owen Parker was looking to assemble a band and asked me to work with him on a four song demo. We did write 4 songs, including the one heard here. The issues arose in the band when the drummer wanted to be the singer and eventually when Owen took a short lived gig with the LA based Deathriders. The project never re-assembled upon his return.

World At War – Early Demo (No Vocals)

Writing/Rehearsal Outtake Samples: GC Studios, Woodland Hills, CA

During this project I used a Spector Euro 5LX, An Uli Behringer Ultrabass Head and a Hartke XL115 cabinet.

Spector Euro 5lx
Behringer BXD3000H Ultrabass head
Hartke XL115

2009: Wild Ride

I spent a few months sitting in for this band Wild Ride, a husband/wife duo from the San Fernando Valley. We played some local area shows and I cut a bass line on a demo track for them called Running Man. The husband of the duo was a former guitarist in a semi-popular hard rock band from France in the 1980’s, though he was from Poland. Live, we split vocal duties and performed a split set of their songs and a few of mine.

Running Man – Basic Demo

During this project I used an Ibanez Soundgear 4 String, An Uli Behringer Ultrabass Head and a Behringer 2×10 cabinet.

Behringer BXD3000H Ultrabass head

2007: Excitals

In 2007 I played with a punk type outfit from Simi Valley called the Excitals. It had a thing at the time. The singer pressed his own wine. I ran into him in Burbank in the early-to-mid 20-teens, he was still making wine … didn’t have a band. This was that band’s CD release.



Natural Disasters

Maybe I Don’t

During this project I still used a Schecter C-4, An Uli Behringer Ultrabass Head and a Behringer 2×10 cabinet.

Behringer BXD3000H Ultrabass head

2006: The Weazels

Ah, my first experience with the LA scene – I joined the Weasels. (Actually found a pic over there from that era, weird.) After a series of live performances, the band began booking shows with the former bass player and not telling me about it, eventually the phone stopped ringing. We played everywhere for a while, regulars at the Cat Club, and like all bands in LA – it simply dissolved.

Screamin’ Like A Bitch


Smokin’ and Drinkin’

During this project I used a Schecter C-4, An Uli Behringer Ultrabass Head and a Behringer 2×10 cabinet. (I gave in and sold the Crate stack).

Behringer BXD3000H Ultrabass head

2005: Mikal

In 2005, before Detroit born Mike Gurry became Mikal and recorded his infamous debut solo CD, landed slots on Fox Sports, Scrubs and FM radio – we had a stint simply performing under his name as Michael Gurry, as a trio. His was the last show I’ve ever played in the Harvard Square area. I should go back and visit.

The 4am Wake Up Call

Jane Jane

I used a Spector NS standard 4 string – and yes, I was the guy who refused to sell his old Crate stack and I pulled it out for this project, it was damned punchy. That is a man-killer BT-350 Head, only weighed 702 pounds, which is why it had two huge metal handles on the front – and a 2×15 cabinet. Simply tasty.

crate cab

2004: Silhouette

In 2004, Boston area songwriter was experimenting with new music from his personal side, influenced by artists like Marillion and the softer side of his musical favorites. He turned on a drum beat and hit record and I made up a bass line on the spot. The original one-take line under the song “Love and Emotion” was just Sting influenced groove over beat to get ideas rolling but it was enough for him. Below are a few of the pre-studio demos we recorded to get ideas down for the project. Take note of the Casio-style drums … we’ve all laid down bass over those at one point or another. In the end, we wrote and recorded a dozen tracks for Silhouette. Sadly, it never made it through the pro-studio phase.

4 track demo: Love and Emotion

4 track demo: Feel the Fire

4 track demo: Deeper

I used a Spector NS standard 4 string direct to the recording device.

1996: Company of Strangers

Company of Strangers was the brainchild of guitarist/songwriter Dave Simmons in the Boston area. Dave’s multiple incarnations of Company of Strangers included two singers and three bassists, with me performing with the band through 1996. The vocalist, Drew Carey still performs a solo acoustic act throughout central Massachusetts.




War Pigs (Live)

Heroin (Live)

With COS I played through an old Kustom bass amp, something I acquired after seeing an old Creedence Clearwater Revival concert video. I played the Yamaha Motion Bass III and my first Spector bass.


1992/1993: Pozer

Fun, loud, way after the game had ended for glam. Played shows in New England and enjoyed it.

Stop Messin’ With A Broken Heart

Shoot From The Lipp

Bad Apple

Nothing really changed here in the gear department. When you aren’t making money with the band, you don’t really buy new gear.

crate cab

1991/1992: Outta Bounds

With a 2-song demo recorded with Bob St. John, Outta Bounds played concert venues around New England, opening stages for major label acts. Here are a few tunes from the band. We had 22 tracks but I only have a few left for prosperity.

Can’t Fight Love

Payin’ The Price

Say Goodbye

At the time, around ’89-’90 I came into a couple bucks and bought one of my all time favorite amp set-ups, the Crate BT-350 head and cabinet stack, of which I only ever used the 2-15 cabinet, because it was heavy and the 10’s just weren’t necessary. I also somewhere acquired a Yamaha Motion Bass III that mysteriously disappeared recording a singer under the name Silhouette in the late 1990s. That bass would be worth almost $179 today on Reverb!

crate cab

1990: Airborne

A great story over coffee, it was Dan Brady, the guitarist in Airborne whom, after a studio writing session, had handed me a cassette of a band called Bittersweet – who 13 years later I launched Retrospect Records with. In the meantime, as a band, we had near 20 originals, 14 recorded in Brady’s “Studio 7” in Framingham, MA and we performed everywhere and anywhere. When we departed, we had three new songs in the works, two of which are below – recorded on a single mic during rehearsals. I can’t apologize enough for how bad the demo sounds after years of degrading on a cassette.

I Need A Woman (severely degraded audio)

Bull In A China Shop (severely degraded audio)

Call Of The Free (severely degraded audio)

Stuck In The Middle (found on a rehearsal recording)

Long Way (found on a rehearsal recording)

During this band I used the Yamaha Motion Bass III and a Fernandes early demo “Space Bass” (cannot find an image) and the world’s most perfect amplifier, the SWR RedHead.