Albums

From The Wood (1995)

This was my first crack at writing and recording my own music. I booked the studio in the winter of 1994 and had only written two songs and they didn’t even have complete lyrics…”Rebecca” and “Haven’t Seen For A While”. I was fairly certain yet completely clueless about songwriting and what my plan was. I went into the studio in the winter and started tracking songs with a backing band that consisted of Eddie Hartness, Mike Clem and Julie Murphy. That’s pretty much all the members of national recording group Eddie From Ohio. They all happened to live in VA and were kind enough to loan their talents to the project of a wide-eyed college kid trying to make his mark on God knows what.

My friend and local musician Travis Allison rocked the keys while Stuart Ridgeway manned the console at Cue Studios in Falls Church, VA. Feels like it was just yesterday that I was singing and playing in that tiny little room, belting out vocals to a velvet Elvis hanging in the booth and using a magic wand toy to hold as my security blanket while I attempted to sing without smiling. I recall always asking to have the lights lowered to near blackout so I could sing and not feel like an idiot doing the 80’s-Bandaid-“Do-They-Know-It’s-Christmas”-hold-one-ear-and-concentrate-on-the-pitch thing. I was terrified I would not pull it off.

My brother Hugh joined in on vocals, John Small crushed the bass and best bud Chris Bashista joined me for extra tracks “Girl From Athens” & “Pride”. I’m listening to the record now while writing this and I cannot believe how young I sound. I used pretty much every acoustic guitar lick I had ever learned from The Allman Brothers Band and Eric Clapton on this record. I was a big fan of hooky guitar lines, can ya tell? Um, what is going on at the beginning of” “Rebecca”? Guess I was feeling very rainforesty. Eddie and Mike nailed their parts and made my music come alive. I am forever in their debt. Thanks EFO!

That record changed everything for me. It took me out of bars and rescued me from playing “Brown Eyed Girl” at the local pub where nobody listened. That May when 10 boxes of my CD showed up at my nasty off-campus house in Farmville, VA, I was pumped to hold an actual CD with my name on it, but also fearful that my friends would laugh at it. I skipped my exams and went door to door—in and out of every dorm room. I sold all 1,000 copies in one weekend and the following Tuesday my house gig was one of the best shows of my life. People were singing MY songs, jumping up and down to “Rebecca”—for once, not the cover songs. I got a taste of being original and I was instantly hooked. Thanks to Longwood College for investing in me! You guys made it all happen.

 

Revel (1997)

From the opening sounds of “Passion”—the acoustic guitar, the sax and the drums—this was a band record. I was so pumped to record this album. I had aligned myself with the best musicians in Richmond: John Small on bass—c’mon honestly nobody plays like that—what a talent; Chardy McEwan on percussion—his overall presence lit up a room, a stage, a cave, whatever; without Chardy the early PMB would have been downright boring; Al Walsh and his soaring vocals—I knew his talents were gonna blow people’s minds when they merged with Jonathan Williams’s redunkulous pipes and keyboard chops to the backdrop of my music (they were already a band called Two Flights Up and I had heard them do their thang many times—they were the best acoustic duo I had ever heard).

I handed Al and Jonathan a copy of From The Wood and asked them to join the band. I am quite certain they never even opened it. Our first practice in Al’s living room, we looked at each other and we pretty much knew we had something very special. Chris Williams was the last to join the group in March of ‘96. John suggested we give him a look and it took one bar of one song. CW rocked it night after night and was always the guy who made us keep life in perspective. If this is possible he was an even nicer person than he was a kick-ass drummer. We miss him still very much and can’t wrap our heads around the fact that he’s gone. I am now and was then honored to share the stage with those guys every night.

On Revel I really wanted to add some new flavors to the sound. I enlisted JC Kuhl from the local jazz/rock group Agents Of Good Roots to blow sax on “Passion” and “All Around Us” (this is pre me knowing Michael Ghegan). We were huge fans of AGR and were stoked that JC tracked with us. I brought in Ira Gitlin on banjo to give it that porch-roots vibe. I recall being back in the same room I tracked From The Wood but this time we were a band. Chardy and I stayed up to the wee hours and pretty much lived at that studio. He came up with the album title: we were in fact “reveling” in what we were accomplishing. I recall driving back to Richmond with CW and Chardy in his crappy car and jamming out to the record before it went to press. CW was so pumped about his drum tracks and Chardy and I knew we were onto something. We had CD release shows at a frat house at VA Tech (this was no joke, tickets were sold and it was 110 degrees in that basement packed to the hilt), at Trax in Charlottesville and at the Flood Zone in Richmond. The big daddy release was at The Bayou in Georgetown for several nights. It was such an exciting time for us.

 

 General Admission (1998)

This album was recorded live over 4 nights at The Bayou and The Birchmere in 1998. I recall having a rule that we couldn’t fix anything in post-production. So whatever we did those nights was the final product. I wanted to capture what the band was sounding like at that time in our career and I think we did just that. I had just started playing electric guitar and we were stretching out songs like some of the hippie bands I grew up loving. You can hear me making up the words to “Can’t Miss What You Never Had” as I went along (as I did most nights). The 12-minute plus “Rebecca” was a staple of our sets during that era of PMB (in addition to lots of whiskey). This album, I think, turned some heads in the jam band world and opened up some doors for us for sure. It was the last PMB independent record. We signed to Warner Brothers just as this record was coming out and as we were heading out to California to record Shine.

 

Shine (2000)

Ah, the major label debut of PMB. It was a thrilling time for us. I recall being out on Alcatraz Island on one of our many trips to the Bay Area to play shows in San Francisco. It was out there on that tourist trap that for some reason I got the call to sign on the dotted line with the mighty Warner Brothers Records. Fitting since we were officially at that moment in the “prison” of the music business. We no longer could be in 100% control of all things PMB, but damn did we try!

On Shine we had the fortunate opportunity to record at legendary studios in Sausalito, CA and NYC. We worked with the elite team of Jerry Harrison (founding member of Talking Heads), Karl Derfler (engineer bad ass) and Andy Wallace (produced Jeff Buckley’s Grace and mixed pretty much everything awesome on the radio). It was truly a dream come true experience. During the recording sessions we met lots of celebs, used the best of equipment, stayed in sweet accommodations and generally just wined and dined ourselves silly. I recall being at BB-Q in Marin and pumping keg beer with Bob Weir. James Hetfield was just down the street. CSN&Y were rehearsing around the corner and we got to use a bunch of Neil Young’s amps. It was ridiculousness.

We had a blast polishing this new batch of tunes I had written for the record. This was the first time I had written with anyone other than myself. I was introduced to Marti Frederickson, a very well-known songwriter living in Monrovia, CA. He had worked with legends and I was slightly intimidated yet totally ecstatic to get the chance to create something new for PMB. I went on to write “Runaway”, “Anybody”, “What Ya Got”, & “Hero” with Marti. He pushed me to sing higher, louder and generally rock harder—essentially not be such a pansy. I can still recall phoning Chardy and could hardly hold back the excitement after coming up with “Runaway”. I could envision the band all over that song and couldn’t wait to track it. Co-writing for me is always a touchy thing. I’ve co-written songs that I never felt the connection with mainly because they were not my ideas to begin with. Those songs don’t make the records. But writing with Marti was different. We did it together and he always let me steer the ship, even if he had his foot on the brake and gas.

Looking back on the recording process, Jerry really let us be us. I’m still very proud of that record. It’s pretty much an airtight version of what each guy musically brought to the table. I very rarely listen to these recordings so hearing it now during this reflection is a time warp for me. I can remember sitting in the studio cutting the guitar for “I Know” and tracking “Shine” with a ton of candles around me. I felt like Sting in the “Wrapped Around Your Finger” video. I also remember when Ghegan flew in to cut sax on the record. Karl was thinking we would “cut and paste” his performance, basically taking his best riffs and make a great performance out of many different takes. Michael politely said, “Just press record, I got this.” He nailed it in one take and even these seasoned vets in the studio were in awe.

Same thing went for Fechino when he came in to cut a few solos. Brian just has an endless amount of riffs and tone for miles. The producers were like, um, ok then, I guess we’re done here! Brian would join us for our next record and join the band for many years.

Another personal highlight for me was having Warren Haynes from Allman Brothers Band play slide on “Anybody” and “Shine”. While we were tracking in NYC I was in full-on Wayne’s World mode, silently chanting to myself… “I’m not worthy, I’m not worthy!” Warren was an absolute pro to work with and what really struck me as special was that he genuinely cared about what the song was written about and if what he was doing was OK by me. He could have played a solo over the entire song and I would have said, print it! All in all an amazing experience, to say the least. It was also our first real deal photo shoot. We were attempting to look cool in the streets and subways of San Francisco by big time photographer Jay Blakesburg. If you ask me, we failed. Why do you think there isn’t a photo of the band on the cover of the record?

 

Save Me (2004)

We had survived the breakdown of Giant records and were asked to make a follow-up to Shine with Warner Brothers. We stayed on mainly because we were the band that didn’t need that much attention and, in the end, with WBR that’s just what we got with the release of Save Me—the ole’ “Sure, we’re going to push your record, trust us!” Hmmmm…

I recall being considered for a big time NASCAR event/campaign that was going to thrust us into the limelight. Well… at the last minute that went to the Goo Goo Dolls (we got nuthin’ but love for Rzeznik, we tore it up one night in NYC, as well as shows with GGD on the road). Then there was something to do with “Don’t Give Up” being the Olympic theme song for NBC. That, too, went to someone else. I recall hearing, “Of course we are going to release ‘You and I.’” Well that never saw the light of day. Please don’t mistake this info as some whiney rock star crap—it’s simply the reality of what we experienced while at WBR and all the politics that go along with the music biz. It had its highlights for sure; but, equally, it had its lows (sadly, lows that send parties packing). Hey, we got our shot; but in the end it’s not totally up to the artist if he or she is going to get that extra love that it takes to send it over the top. I heard a ton of amazing records from bands you’ve never heard of that didn’t get released or sold poorly for lack of attention from the company. I still am thankful for the experience and all the perks that came with our time spent on WBR.

Ok, so about the record… I went back to Marti’s pad outside of Los Angeles. He had upgraded his living situation since we last worked together. He had installed a full studio at his house along with a sweet-ass saltwater pool for down time. The week I spent with him he was booked day and night in writing sessions. One day when I showed up, Steven Tyler had just left and after my session he was scheduled to work with Faith Hill. The next day was Backstreet Boys in the morning, Paul Stanley of Kiss at night and lil’ ole Pat McGee in the afternoon. Um, what? He was and still is a very established songwriter and one amazing musician and producer. I am proud to say I wrote with him. We cranked out “Annabel”, “Wonderful” and “At It Again” in a matter of days. I can still remember CW hearing “At It Again” (the first song I wrote for Shine w Marti) and high fivin’ me so hard that he nearly broke my hand while screaming, “Fuck yeah Pat McGee, THIS is the song I want to crush every damn night!” For some reason CW enjoyed calling me by my full name.

The band flew into LA and we tracked right there at his house. It was so easy, so simple with no drama. Chris crushed the drums, John was laying down bass tracks on a Hofner (McCartney style bass) that were epic, Brian was having a field day of tones and killer guitar parts and JW, Chardy and I drank in the pool and stuffed our faces with Mexican food planning out what kind of mischief we were gonna get into on the Sunset Strip later that night…. Just kidding, we did our thang on tape too. What a great time. We have such good memories from that period in our career. We had 3 tracks in the can and we knew we had gotten off to a great start with this one. It was off to NYC to finish the record…

I spent a few days holed up in some swanky-ass hotel suite then Chardy and I would go out at night and raise hell all over NYC. In the morning he slept it off while I got up to write tunes with our other producer on Save Me, Gregg Wattenberg. Gregg was somewhat of a newcomer from a producer standpoint but he was young, excited, crazy talented and as driven as a pack of hellhounds. We met when he toured with Five For Fighting as their guitarist after producing their record. (FFF opened for us a few times on the west coast and joined us on various radio shows.) Anyhoo, Gregg and I wrote some great stuff together—basically the remainder of the record aside from “Now” which I wrote with Jamie Houston and “Beautiful Ways”, co-written with John Baxter.

That recording session was intense. We were basically living at Avatar Studios, the exact place where some of the biggest rock records were tracked in the 80’s. That continues to this day. It was pretty rad, I ain’t gonna lie. We had a symphony come in to track “You and I” and “Don’t Give Up”. I’ll have to post that footage. What a rush to hear players on that level bring such beautiful arrangements to our music.

I know some fans see this record as the “rock” record. It might have turned off old school fans who loved that pure acoustic sound, but I was really proud of it. I was always more concerned with the songwriting than anything and this batch of songs felt like the best stuff I had written to date. If you don’t feel that way as an artist, I say you shouldn’t press record. It’s not a cocky thing but I learned long ago that recorded music will never go away, so don’t track something you are not 100% proud of in that moment. My great grand kids have to listen to these albums! I can’t have them thinking that Pop Pop McGee wrote lame songs. By then music will be some sort of thought that you can beam into your frontal lobe. Just give me my brother’s 8-track in my parents’ basement. You couldn’t even fast forward that thing. Just pick chapters and deal with it. If you want to hear “Another Tricky Day” off of The Who’s It’s Hard, you just gotta wait through the deep cuts. Nowadays if you don’t have the song you crave, you download it by the time you’re done thinking of why you don’t already have it on your phone. Anyone seen my cane?

 

Vintage Stages Live (2006)

We taped this sucker at Workplay Theater in Birmingham, AL in the spring of 2006. We had wanted to release a DVD for so long and we finally got around to it. I owe Jeremy Shultz big time for this one. He was a longtime friend/photographer/supporter of PMB and offered to take on this monumental task. He worked with our then label Kirtland Records and somehow made us look like a real deal arena rock band on tape. I remember it being kind of a weird vibe that day because we were in the middle of an acoustic tour with Stephen Kellogg and The Sixers and hadn’t played as a full band in months. In the end I think it helped us out, having not been rehearsed. We played with a sense of excitement that you can’t really get after months on the road.

CW and Crix were flown in and we got right to work to a packed house of very talented extras. Just kidding. They were real fans and we got real reactions out of them; it lightened the mood of the high pressure situation we were in with the cameras rolling at all times. We also caught some great footage at The Barns of Wolf Trap as the acoustic portion of the DVD, which showcased the other direction the band has taken over the years.

The only regret I have is that Chris Williams passed away before seeing any footage. He kept saying, “Man, I just want to see it when it’s all done and I can watch it in its entirety.” Sadly, that was never realized. When it came out, we watched it with a very heavy hearts and tearful eyes. I’m extremely happy that we have such a high quality show to document how truly great CW was. Thanks Jeremy and Kirtland Records.

 

These Days (The Virginia Sessions) (2007)

This album was recorded in the wake of losing Chris. Todd Wright, a longtime friend and touring member of PMB at the time, and I had a plan. We wrote every song together and spent long days and nights tracking into the wee hours at his home in Virginia. We wanted to make something that was a bit more personal for me and also honor CW through each track. I think we accomplished that. Todd’s wiener dogs, for some reason, never seem to recognize me, even after knocking on the door nearly every day for months. The barking was a guarantee to go along with the sound of 12 little feet on a wood floor scampering every which way. I’m amazed you actually can’t hear them on the recording. I remember one time I strutted into the vocal booth with confidence to nail a certain part where I found a “present” that one of those lil guys had left for me. As if to foreshadow that my singing was going to be as horrendous as that pile of dung. Thanks a lot, buddy.

The record came out great if I do say so myself. Todd was as focused as I’ve ever seen someone. He was determined to make the best PMB record to date. We brought in Al and JW to sing on a few tracks, had Brian rip solos that are still some of the best I have ever heard caught on tape at any level while Chardy and Ghegan tore it up as well. Overall we captured the spirit of CW and released what I thought was a very heartfelt record with some of the best songs I had ever been a part of writing. “Come Back Home” still honors our nation’s armed forces and I hope brings a ray of hope and peace to those hurting during these tough times overseas. I am forever grateful to Todd and know his talents are sprinkled all over those recordings.

 

Live From The Southland (2008)

This was not a planned release. It just so happened that during a two show stint at Eddie’s Attic in Decatur, GA, unbeknownst to me, the tape was rollin’! When listening to the tape on the way back home, I felt that we had something unique. It was just Brian, Chardy and I doin’ our thing. I think because we didn’t know we were recording, it allowed us to not over think how we played each tune. We just went with the moment and played for the room and not for the recording device. We decided to let the fans who weren’t there that night check it out online. I love playing Eddie’s Attic. It’s Mecca for a singer-songwriter, the proving ground, if you will. I’ve played Eddie’s since 1995 and still do to this day. The shows there are always special to me and from now on, we always press record, you never know what you might just catch.

No Wrong Way To Make It Right (2011)

No Wrong Way To Make it Right . . . yup, that sums up lots of things in my life, but it’s also the title of my new album.

I am so proud of this record for lots of reasons. It is by far my most personal record, touching on subjects I formerly shied away from and at the same time staying true to what comes naturally to me. It has my heaviest and most delicate moments ever caught on tape. It truly is a reflection of all the music I grew up loving and couldn’t hide from–it’s all there in these tracks. The album represents the perfect blend of all my influences.

The album is produced by Doug Derryberry, a longtime friend and someone that I admired as a wide-eyed 17-year-old taking in the local bands in the DC music scene. I wrote some of the songs alone at home and some on the road with friends such as: Jason Mraz, Stephen Kellogg, Ryan Newell of Sister Hazel, Keaton Simons, Mike Daly from Whiskeytown and Emerson Hart from Tonic.

My Journal–The Scoop on The Songs
At the end of the day each song is very close to my heart and is a very truthful extension of me. The title track, “No Wrong Way To Make It Right” could be the most upbeat and carefree song I ever wrote. The song reflects back on me as a teenager, driving my “grandmother’s 70 convertible Cadillac” to the NJ Shore to have the time of my life. I envisioned what it would be like if put into current day and I even give a shout out to all you Down The Hatchers!

“Juliet” is a song named after my 5-year-old daughter who has an extremely strong, independent personality. One day she said to me that she didn’t “ever want to relax” so I started there. The song turned into me musing of my hope and dream that she will one day deny all courting that comes her direction. It is written from the mindset of a broken-hearted and frustrated 15-yr-old boy attempting to sweep her off her feet.

For a change of pace I thought it would be fun to put a campfire-sounding spin on Hornsby and Henley’s “End Of The Innocence.” We used a very simple approach to make this perfectly written song have a different feel by using instruments that are usually reserved for folk and bluegrass. I haven’t recorded a cover song since my first CD in 1995 and felt it was time to pay my respects to the greats.

There are some fantastic guest appearances with musicians I have known for over a decade and some I just met. Keaton, Stephen and I wrote the light-hearted and upbeat “See You Again” in the spirit of The Traveling Wilbury’s. I really loved that vibe of three lead singers, and, dare I say, we knocked it out of the park on this one. On “How We Got Here,” the tune I wrote with Jason, I had always thought a female vocal part would really tell the story of the couple as they travel across the country and try and keep their relationship intact. Mraz and I were chasing a “Simon & Garfunkel” when we concocted this one. Lucy Woodward, a longtime friend and amazing artist nailed the part.

In “They Think We’re Not Gonna Make It”–possibly my favorite song on the record for personal reasons–you can hear the sweet sounds of Tim Warren of Alternate Routes fame, crushing the high harmonies like only he can. His voice is unmistakable and just cuts through like no other. This song tells the story of being with the person that you know is right for you, and it’s just gonna have to take others some time to accept it. I dig the Led Zeppelin drum sound we got on this one to go along with orchestral sounds of the pedal steel– courtesy of Jon Graboff from Ryan Adams & The Cardinals.

Throughout “Done To Me,” written with Stephen and Emerson, you can hear Tim’s and SK and the Sixer’s vocals soaring and blending like we were meant to form our own band.

The opening track “Release” showcases the undeniable slide guitar tone of Ryan Newell when he rips a solo that says it all in just a few notes that seem to go on for days. Lyrically it conjures up the moment in the relationship when you know it’s painfully coming to an end and you are afraid to face it, then down the road you have a release, an exhale.

“Take a Bow,” a song I dreamed up one night down in Georgia with Ryan and Mike, fuses country, rock and Latin grooves with the help of the smokin’ percussionist and longtime friend, Eddie “From Ohio” Hartness and a stellar brass arrangement from Michael Ghegan and the Jersey Horns. Both Eddie and Michael have been with me since the inception of my career, both in special ways. I am honored to share the stage with Ghegan night after night. I knew I’d want to work with Eddie again when he played me his drum idea for my demo of a song called “Haven’t Seen For a While,” and here we are 18 years later, still rockin together. Patrick McAloon’s pristine backing vocals are present throughout this body or work. He delivers a sweet tone through a powerful range that has been missed in my more recent recordings, and now you can hear him night after night with me on stage.

What Else Went Into the Album
Throughout this album you will hear instruments that I always wanted to include on previous recordings but never felt like they would serve the songs properly. Well, this batch of songs begs for the warm, rich tones of mandolin, banjo, dobro, fiddles and pedal steel guitar. These were sounds that I heard growing up listening to–a boatload of classic rock, jam bands and singer-songwriters. Grateful Dead, James Taylor, Crosby Stills & Nash, Tom Petty and Led Zeppelin all intertwined these musical flavors on their records, and I found the sound so captivating. I sought to do the same on No Wrong Way To Make It Right.

The Guest Artists
I was blessed to have the raw talents of some amazing musicians on this project. From The Punchbrothers, Gabe Witcher laid down some of the most inspiring fiddle playing on two tracks that I have ever heard. Jon’s ethereal pedal steel work can be heard on four songs, each one with a totally different take on the typical country western tones–it nearly sounds like a symphony. Brien Brannigan’s dobro work is the perfect match to the bouzouki and mandolin parts cut by Doug, all while keeping my acoustic guitar up front. I really feel like we captured some very authentic guitar tones across the entire album, sometimes using old amps with every knob turned all the way up. I played my Gibson, Fender, Duesenberg and PRS guitars on songs, each of which called out for a distinctive tone that brought the ultimate vibe to the song. The warm acoustic tones are from my vintage Gibson, Martin and Lowden guitars, all with just a single microphone in front of them to give you that “I’m sitting right next to you” feeling.

The Producer & My Studio Mates
Doug rocked so many things on this record it would be hard to list them all here. He is truly a madman with anything with strings, keys or knobs– which I’ve known since I was 15 watching his band tear up clubs in Georgetown and later as the guitar player for Bruce Hornsby. His work with Dave Matthews and John Mayer has earned him platinum records for his walls, and I hope this record does the same. We both sunk our teeth into this one for sure. We wanted to make an album that when listened to on head phones, brought you to a special place and offered you surprise musical treats along the way. From the hidden handclaps on “Juliet” & the slipping in of my brother Hugh’s backing vocal, to all of the creative harmonies throughout this CD, I hope you discover something new with each listen.

The rhythm section for this album consisted of two gentleman, both Virginians, that I have watched rock stages since I was 15, wishing that one day I could do what they were doing. Nate Brown, the drummer from Everything, worked with me on “These Days” (2008) and I knew he was the perfect man for the job . . . nobody lays it down quite like Nate–it’s a beautiful and nasty thing. Nate was friends with my late drummer Chris Williams so he knows how much it means to me to have the “right” guy behind that kit.

Long before we were label mates at Warner Brothers, Andy Waldeck was the first “rock star” I had ever been able to get close to. Watching him play bass in the DC-based band Egypt, I learned more than he could ever realize. Those shows inspired me to take up the guitar and give it a go myself. Their guitarist Joe Lawlor, now employed by Dave Matthews Band, offered to give me guitar lessons in 1989 (OK, I begged). I was allowed to enter the Egypt lair in Fairfax, VA and it was there I met Andy and tried to soak it all in with a few lessons. I was learning WAY more than guitar scales, trust me. Coming full circle, Joe was the assistant engineer at the beginning of this album, which was wild for me to have him make ME feel like the star for a change.

The Rough Beginning–Losing A Friend
The road to recording this latest album started on an exciting path that suddenly turned to a very dark place and eventually came to a cradle of comfort that I previously had never recorded in. The original producer slated for this project was my old friend and accomplished musician, Will Owsley. We had recently reconnected after being label-mates at Warner Brothers in the late 90’s, and we were now focused on working together on a project. We were both newly divorced and shared the understanding of being a proud dad while being a working musician. We both knew the struggles and challenges that came with that gift of this profession. A few weeks had gone by, and I hadn’t heard from Will, which was out of the ordinary. I was heartbroken to learn that Will took his own life and left so many of us with endless questions and deep sadness. I am grateful for the time we had just spent together and look back on the WBR years as such a hopeful time for both of us.

Back Home To Virginia
Knowing I had a batch of tunes that must see the light of day, I picked up the pieces and moved on. I needed a producer. I called the one man I had always wanted to work with since he pressed “record” on my first demo in 1991–Doug Derryberry. Doug agreed to take on the project, and weeks later we were at the Dave Matthews Band studio, Haunted Hollow in the hills of Charlottesville, VA. This amazing studio offered a relaxed vibe & calming support. It felt like I was making a record with my family. I thank the entire DMB camp for playing host to me and my gang. We finished the record in Brooklyn, NY at Doug’s home studio, which I have named “Jane’s Justice Studio” after his adorable children, who you might hear on the vocal track if you listen really closely. I am already planning on recording a few more tracks for the Internet release of this album. So I’m sure I’ll be back down there soon! A special thanks to David Bergman who took all of the photo’s you see here and in the record packaging.

So, as you can see on this album, I worked with many people I had long admired and who had over the years become my peers and friends who I greatly respected. I am a very fortunate man, and I hope you enjoy this album half as much as I did making it, Pat