This song was honored by peers at RPM in '07 by being voted into inclusion on an all-RPM compiliation originally intended for HEAR! music. The lyric is about the inevitability of bad times. It's good to live optimistically, but let's face it…

This track replaced the one in this position which was on the orginal RPM album. Based on some tales from real-life Houston Bail-bondsman (and frequent collaborator) Jay Lindsey.

I co-wrote the lyric with Bill Liggett, and the music with Michael Kardoff. Don't do business with Ms. Calamari.

Additional instruments and arrangements by Thom Polimeros.

Thou Shalt not Kill. Stripped down Tangmo.

Everybody loves the Good old Days. Instrumental and production help from Phil Close

Instrumental assists from Michael Kardos, overall arrangement by Phil Close, additional vocals from Lee Cusenbary. Envisioned as a cheesy Costa Rican Tourist Board jingle framing a love song.

Don't call me the dog's name.

With Phil Close on multiple instruments/production. A song mainly about my disrepect for celebrity culture.

The Intro track for my/our RPM '07 album.

A personal anti-war song...or something like that !-) " I wrote this song, It came from the inside, Because of that, I can make it stop. " Gear used: Dark Energy, Micron

Matter Of Fate- This song started as a riff I was doing while tuning my guitar. It sounded cool, so I happened to record it on a small dictation recorder I have so I wouldn’t forget it. When I listened to the riff it just screamed Sticky Fingers…

Figure Out- There are about 4-5 takes of this song, all different. The song started off in the key of D, but I couldn’t hit the notes in the chorus. I then tried it in A, but it was lacking drive and energy. I tried it in G, but I couldn’t get…

This Lovin’ Cup- I was watching the idiot box and just holding my guitar when this little vamp on a B chord came out of nowhere. Using the same recorder, I recorded about 20 seconds of the riff. The lyrical idea came on the trip to Chicago, while…

Love’s Standing- A good change up for the flow of the album, this one is vaguely, very vaguely, country-esque. That’s mainly because of the heavily reverbed slide underneath the acoustic in the verses. I love pounding the strings on the acoustic…

Allelujiah-This was supposed to be a completely different song, but this one just wrote itself instead. It’s almost all first take, except for the bass, which took a while to get straight so that it wouldn’t overwhelm the song. It has this tone…

Summer Grass- I didn’t originally intend for this to be the title track, but since most, though not all, of the songs on this album sound like summer to me, I decided, why not? The guitar even sounds humid and warm, but in that nice July way…

Derivative- This one was not supposed to be on the album, but I changed my mind and worked on it. The reason for the intended omission was because the riff, which I have been playing with for a few months, just sounded so derivative of Dear Prudence…

Sweet Tomorrow- Well, after the previous downer of a lyrical journey, how about a song of hope? Except, after a big downer, you may bit a bit leery, a bit closed off and nervous about taking a chance. So this song is a conversation between two…

Don’t Talk Much- Perhaps it’s time you got over your big, bad self and moved on.