NEW: MINOR PRODUCTIONS VIDEO CHANNEL!
Text of Austin
Academy of Music Lecture
UT Music School
Hey everybody, thanks for coming to class today. I've always maintained
that attendance is the number one most effective technique to learning,
more so than note taking, homework, group study or anything else.
In the music business, just showing up is often the most important part.
My name is PAUL MINOR. I'm a local musician. I'm 41, and
I'm told I am a typical Virgo. I have a small production company
that provides the sound systems for local events, and I currently book
a couple of small but esteemed local clubs - the Hole in the Wall and
Flipnotics. This weekend my PA systems were working for Willie
Nelson, the Gourds, Skyrocket and the legendary soul singer
Barbara Lynn. I was in San Antonio Saturday night DJing for the
Class of 1966 Laredo High School reunion. This is what I do.
I want to talk to you today about being OPEN. Those of you brave
or foolish enough to stick with a career in music very long, are going
to learn sooner or later that you need to make yourself, your heart and
your mind, wide open to all of the unpredictable twists and turns
that a career in music will bring you. Every bump in the
road is a learning experience, and every setback is an
opportunity. And drastic changes come with the territory.
I also want to talk about COMMUNITY. The relationships you build
and the friends you make in this business are more valuable than any
stock options or insurance benefits you will ever earn. Friends
are life's greatest reward.
I'm just curious, how many of you, by a show of hands are interested in
a career as a performing and recording artist?
Well so was I. If I have learned anything at all, I have learned
you have to roll with the changes and be flexible in this
business. How many of you are wanting to be in some area of the
music business as a career? Now is the time to take
whatever job or internship you can to get in the door. I am a
poster boy for the part time job, and I can tell you about dozens of
ways to make money on the side as you pursue your dreams. Austin
has as many types of job opportunities as it has types of music.
If you will indulge me, let me just tell you how I ended up here
today. It has been quite an adventure, and I might drop a few
names so look out below.
If you have a question at any point, I would love to answer it during
the speech while you're thinking of it and maybe let this be more of an
interactive dialogue, otherwise I might just ramble for
Also, at the end there will be a quiz. Not really, but I have an
unusual exercise for you. I'm going to ask people randomly
to ask me a question, whether your hand is up or not. So everyone
needs to have a question ready for me later. I'm also going
to ask you to not use the following words in your question: Who,
what, when, where, why, or how. What other words are
there? Compare, Contrast, Consider, Recommend, Predict, Suggest.
My e-mail address is email@example.com if we don't get to your question or you think of something later you would like to ask me.
I grew up in Houston, in the 4th ward inner city, off of Telephone
Rd. We got H-town in the house? My family was part of a big
born again religious community there doing an inner city
ministry. We had artists, musicians, poets and all kinds of
wandering souls living under one roof. The first live music
I ever saw was the church coffee house folk music group called The Way
We took a three year detour to the Louisiana Delta, where I first
picked up guitar and played my first gig for a junior high pep
rally. My family moved to Austin in 1980. I started out
playing my first gigs in Austin clubs in 1982 at the age of 16.
My band was called The Urge, and one of our first shows was in a big
lecture hall here at UT for the History of Rock and Roll class.
We also played 6th street, the Continental Club, Hole in the Wall and
tons of west campus fraternity parties. They really liked our
selections from the 60s like Louie, Louie and Shout because it was like
Still in high school, I released my first 45 single on vinyl, and I
also became the very first intern that the Austin Chronicle ever took
on. My band started opening for bigger acts like the Skunks and
Joe King Carrasco, and doing some regional touring. When I
entered St. Edward's University I had already played CBGB's in New York
Playing music was hurting my grades at college, so I took some time off
from serious academia. I switched to UT for one
I told my advising professor at St. Edward's if I was not going to excel as a student I wanted to be more anonymous about it.
In my late teens and 20s I toured the country as a player and road
manager with several more bands including Roman Candles, The Neptunes,
the Wagoneers, and Big Car. I also worked as a doorman, soundman,
manager, and bartender at several local clubs including Steamboat,
Continental Club, Electric Lounge, and Hole in the Wall. I held
down many diverse day jobs including real estate research associate,
state school security guard, legislative proofreader, print shop clerk,
guitar salesman, and delivery driver.
I worked briefly for Texas Monthly, interested in pursuing journalism,
but I overslept once to get the mail for the publisher and got to ride
the corporate elevator down and out the door.
After graduating from St. Edward’s University In 1994, I co-wrote
and recorded an album with Beaver Nelson at Ardent Studios in Memphis
and Sony Studios in Santa Monica. Recording where so many
of my heroes had made their names was a big career highlight, but the
record was eventually shelved by Lightstorm Records. The owner was a
famous film director who had started the company as a tax write-off for
his soundtrack albums. He directed the Terminator movies and was
working on a new one called Titanic. Our project sank like
a ship. After the band broke up, two members of this band
formed a new band called Fastball. I was not one of them.
Every SETBACK = OPPORTUNITY.
In late 1994 I was playing solo gigs and spending a lot of time at the
Greenbelt and Barton Springs. A UT friend of mine knew the
Beastie Boys and we went to Lollapalooza in Dallas. We spent the
whole show in their dressing room jamming, and I was swapping songs
with a green haired kid named Billie Joe, months before Green Day went
platinum. The next night I asked some friends to join me at
the Hole in the Wall for a Sunday night jam session. The owners
dug it and asked me to play every week.
I had a brainstorm for a free weekly variety show and new band
showcase. The Rock and Roll Free For All at the Hole in the Wall
became a focal point of the local music community. Bands
that played some of their very first shows there are Fastball, Spoon,
the Scabs, Trail of Dead, and Rilo Kiley. During this time,
the local media, especially the Chronicle and Statesman, made the Hole
in the Wall into a local phenomenon, and I became a spokesman for the
The management of ZZ Top recruited me to assemble bands for an indie
rock compilation. Free For All Vol. 1 was co-produced by Mike
McCarthy, who moved here from Nashville, met me working the door at the
Electric Lounge and asked me what bands to check out. Today he is
still working with Trail of Dead and Spoon after first recording them
at those sessions.
In the late 90s, Austin became the live music capital of the world, and
new clubs started popping up all over the map. Many new places
were interested in my expertise as a local music promoter. I
production managed, ran sound, promoted shows and booked bands for Dick
Clark’s American Bandstand Grill, the Texas Music Saloon and the Hard
I produced several independently released albums, including 5 albums by
my own band Superego, 2 Rock and Roll Free For All compilations and a
live album by Fastball. I also bought a video camera and directed
music videos for Spoon, Deep Sombreros, Fastball and others to be
played on the new Austin Music Network. I've got them on my youtube
channel now if you're curious.
In 1996, I was working full time as a security guard at the TX School
for the Blind. One day, the head of the technology department
asked me if I had ever used the internet. He invited me into his
office and showed me how it worked. I had a lot of down time at
my job, so I bought a laptop and started learning how to make a website
with basic HTML code. I started e-mailing, blogging and promoting
my events and shows. A year later I was fired for personal use of
state computers. I still have the website. How many of you
have myspace pages? How many music myspaces are here today?
Please let me be your friend.
Around that time I was asked to join a band that played mostly
weddings, and I needed the paycheck. I also took a job at a
corporate music store. I became a wedding singer and a
salesman. I worked full time at the store, played receptions on
Saturdays and I continued to play every Sunday at Hole in the
When Mars the music store went bankrupt a few years later, I was
thinking about what to do next, and I decided to try working as a
soundman, which I had been learning to do for years at the club and
with my bands. I bought all the PA equipment I could afford while
it was marked down for clearance, and immediately began picking up jobs
around town. I started doing sound every Friday across the
parking lot from Mars at Jupiter Records. I went from Mars to
Jupiter, get it? I'll let you guess what planet we named the
liquor store in between after.
In 2002 I received a master’s degree in Human Services Management from
St. Edward’s University and a state certification in conflict
resolution. It was also the year the Hole in the Wall shut
down. I was inducted into the Hall of Fame at the 2002 Austin
Music Awards, and in 2003 I had the honor of organizing and performing
in an all-star tribute to the Hole in the Wall at the music awards
ceremony. When the Hole in the Wall reopened under new ownership,
I consulted with management about booking and promotion and eventually
was hired to book it full time.
In graduate school I did several case studies on a local non-profit
organization called the SIMS Foundation, which provides low cost mental
health services and counseling to Austin musicians and their
families. The organization was named for a musician I knew who
had committed suicide, and his friends and family started a foundation
in his honor. After grad school I worked for SIMS as Public
Relations & Event Coordinator, and I saw first hand how difficult
it is to keep an organization like this running. They
burned out 5 executive directors in as many years, and although they
are a high profile local media presence, they still barely get by with
as much fundraising as they can afford to do. Non-profits are a
very tough business.
While at SIMS, I learned some very valuable lessons about
self-promotion. I had earned a reputation as a tireless
self-promoter, winning over the public one fan at a time with my grass
roots efforts. Working with SIMS I discovered that my
communication skills were increased when I was working for a cause
greater than myself, and seeing the big picture instead of just feeding
my ego. My fundraising campaign slogan "I'm with the Band" and
the newsletter I started are still being used to gain support at SIMS.
I worked for SIMS as a private contractor. I have not been
officially employed by anyone but my own company since the music
store. Self-employment has many great rewards. No boss, no
regular hours, and every day is a new challenge, every gig is different
from the last. It helps keep me interested. I'll never work
in an office again, but I sure spend a lot of time at my
computer. I get around 100 e-mails a day about upcoming gig
details and bands that want to play for my clubs and
When I started doing sound, I needed a name for my company and a new
website domain name. My name and the names of my bands were
taken. When I finally tried to register Minor Productions, it was
available, and I really liked the ring to it. Finally the name
that had been made fun of all my life had a good connotation. FOR
A MAJOR SUCCESS, MAKE IT A MINOR PRODUCTION. All of the hats I
wear- musician, wedding singer, promoter, producer, soundman - are now
under one logo.
Another client of mine is the Austin Chronicle. I deliver their
papers once a week to the Lake Travis - Bee Caves area, and I provide
production for their office events. I lead my own wedding
band these days, and I just started a new project called Texas Tycoons,
an all-Texas music cover band. As a working musician,
in my many years of experience in organizing, leading and motivating
musicians and dealing with the special needs and sensitivities of
artists, I have become intimately familiar with the challenging
emotional complexity of pursuing a music career, and I'm fully
committed to the mission of keeping Austin music alive and well.
Looking back, I think I’ve always been trying to re-create that sense
of community in my music career that we had in Houston at the born
again church. I'm still friends with the journalists I worked
with at the Chronicle and Texas Monthly. When I was at UT for one
semester, the group of guys I partied with on west campus are still
some of my dearest friends and collaborators today. I guess we
had our own fraternity in a way.
As the man said, "The life I love is making music with my friends."
I just made it home from an adventurous weekend. The El Cosmico
festival was simply great, I worked sound and stayed up late in the
outdoor hot tub. I built a campfire and played guitar for
the festival crew on Sunday night in Marfa. Monday I camped out at the bar and in the campground at La Kiva
in Terlingua and talked to the owner about producing a new
festival. Tuesday the van overheated in Chisos Basin, it rained
on me at the summit of the Lost Mine
trail, I stopped for a late lunch at the Gage Hotel in Marathon, and I
was chased by a nasty thunderstorm between Ft. Stockton and Ozona.
I got home late last night to another big quarterly check from the Veronica
Mars royalties. I guess there's real money in music after
all. Now I am laying around procrastinating unloading the
van, it's due back at 5.
Barbara Lynn was amazing at El Cosmico. Here's a video of her in 66 with Gatemouth.
7 p.m. Zane McWilliams
8 p.m. Savage Trip
9 p.m. Gulf of Mexico
10 p.m. The Pleasures
11 p.m. The Steps
7 p.m. Rebecca Gates
8 p.m. Amy Cook
9 p.m. Adam Bork
10 p.m. Tift Merritt
11 p.m. Barbara Lynn
12 p.m. Lil Cap’n Travis
It's been busy around here. I saw two Bob Dylan concerts on my
41st birthday weekend and did sound for four great acts at ACL:
Sahara Smith, Mario Matteoli, the Steps, and Kara Grainger.
Stubb's Waller Creek Outdoor Amphitheater
September 15, 2007
1. Leopard-Skin Pill-Box Hat
2. It Ain't Me, Babe
3. Watching The River Flow
4. You're A Big Girl Now
5. The Levee's Gonna Break
6. Spirit On The Water
7. Cry A While
8. Tangled Up In Blue
9. Workingman's Blues #2
10. Honest With Me
11. Beyond The Horizon
12. Most Likely You Go Your Way (And I'll Go Mine)
13. Nettie Moore
14. Summer Days
15. Ballad Of A Thin Man
16. Thunder On The Mountain
17. All Along The Watchtower
Austin City Limits Music Festival
September 16, 2007
1. Rainy Day Women #12 & 35
2. It Ain't Me, Babe
3. Watching The River Flow
4. Spirit On The Water
5. The Levee's Gonna Break
6. Tangled Up In Blue
7. Things Have Changed
8. Workingman's Blues #2
9. Highway 61 Revisited
10. Nettie Moore
11. Summer Days
12. Ballad Of A Thin Man
13. Thunder On The Mountain
14. Like A Rolling Stone
15. I Shall Be Released
If you like great food and sweet live music, this Minor Productions
update should make your mouth water. I am helping celebrate
the opening of another awesome new restaurant on the drag, bringing you
another dynamic month of live music at the Hole in the Wall, which
enters its 33rd year of rocking Austin in June, and debuting a new
all-Texas music tribute Band, the Texas Tycoons.
Friday, May 25, 7:30
2604 Guadalupe (next door to 7-11)
Paul will play a duo set with Cory Glaser from Sheboygan on piano in an
intimate setting with a superb Asian menu and very reasonable counter
service pricing. This place is going to be slammed soon, so check
THE TEXAS TYCOONS
is an all-star 8 piece band with horns playing nothing but Lone Star
country, soul and blues classics. The rotating line-up includes
drummer David Beebe, Bassist Chris Johnson, organist Matt Hubbard,
guitarist Gary Newcomb, saxophonist Steve Johnson, and many of Texas'
best sidemen. The band is now officially
available for functions. The debut private engagement is
this Monday at Continental for the State Legislature and their staffs,
passes are limited but let me know. Check out the new website
with some of Texas most entertaining party bands: www.allenhillentertainment.com.
HOLE IN THE WALL
The Hole is still rocking Austin after 33 years, holding strong and now
featuring a beautiful covered beer garden and full menu restaurant with
the juiciest burgers and tastiest tacos of any bar in
town. The June calendar observes another anniversary
with the stunning reunions of Doctor's Mob and the Real Heroes,
the return of Grand Champeen, surf legends 3 Balls of Fire, a new and
improved Weary Boys, and stellar weekly spots for Rex Moroux, the cajun
blaze, and Soul Hat's Kevin McKinney. Superego has stepped down from hosting Sundays to try some new blood.
Bring Your Pop to Monterey Pop!
THREADGILL's WORLD HQ
Sunday, June 17th, 6pm
40th Anniversary Father's Day Tribute
featuring members of
LI'L CAP'N TRAVIS, FASTBALL,
CAT SCIENTIST, TRISH & DARIN,
TED RODDY, McLEMORE AVE, NAKIA,
RAJAMANI, THE CONRADS,
SHEBOYGAN, SUPEREGO and more...
ULTRA RARE DYLAN PHOTOS!
In my continuing research of Bob Dylan history, especially related to Austin, and my interest in great vintage concert photography,
I came across never printed or published photos of his press conference
in Austin on Sept. 24, 1965 on the eve of his first ever show backed by
the Hawks. I am currently working with some local high profile
music magazines to get them published in conjunction with Dylan headlining the Austin City Limits Festival on
Sept. 17. They are part of the Stateman archives and high quality
prints are currently available very inexpensively from the Austin
History Center. This xerox sample features figures in the
background who could be members of the Hawks, student journalst Gilbert
Shelton and or legendary Texas promoter Angus Wynne.
Well I survived another
SXSW Festival. I am so fortunate to be able to work for such
cool parties every year. The music was exceptional at all of my
production gigs and I am so glad not to be stuck at some metal showcase
or high maintenance label party every night. I got very little
sleep for several days because I was rising at dawn to load in gear
every morning, but all my shows were through by 10pm, and even though I moved equipment
around every night for a couple of hours I still got home by one or
made it to the Hole for last call.
The best acts on my production schedule
starting Tuesday with the Swollen Circus were Jud Newcomb, the Silos and Chuck
Prophet, the Tiny Adventurers, The Salvi Family,
Octopus Project, David Garza, Allen Oldies, Johnny Bush, Doug Moreland,
Spain Colored Orange, Billy Harvey, Mother Truckers, and Ian
McLagan. Hands down the finest sets I mixed all week were Hacienda
Brothers, Dale Watson, Li'l Cap'n Travis, & Susanna
Choffel. Friday night's Weary Boys show at the Hole with new banjo player Tater was a real barnburner.
Sunday night we collectively summoned up our 4th and 5th winds and blew
the roof off the Hole again with another
all-star tribute show. We raised exactly $1000 for SIMS, and we
have been scheduled once again for another encore performance Friday, June 15
at Threadgill's World headquarters, on the actual Monterey Pop anniversary weekend.
40th Anniversary Tribute
9:15 - Rajamani - eastern music intro
9:35 - Trish and Darin Murphy - Homeward Bound, At the Zoo,
59th St. Bridge Song (Feelin Groovy), Punky's Dilemma, Mrs. Robinson
10:00 - Ted Roddy - Look Over Yonder Wall, Double Trouble, Born In Chicago
10:25 - McLemore Ave - Time Is Tight, Green Onions
10:40 - Nakia - Shake!, I've Been Loving You Too Long, Try a Little Tenderness
11:00 - The Conrads - Ripple, Bertha, Truckin'
11:20 - Li'l Cap'n Travis - Burned, For What It's Worth
11:45 - Sheboygan - California Dreamin, If You're Going to San Francisco
12m - Cat Scientist - Piece of My Heart, White Rabbit, Somebody to Love
12:30 - Superego All-Stars - The Kids Are Alright, Summertime Blues, My Generation
1a - Tia Carrera - Foxy Lady, Can You See Me, Wild Thing
1:30a - Darin, Paul English, Johnny V. and Paul M - A Quick One (While He's Away), Substitute
1:45 - Darin, Paul English, Johnny V, Paul M and Landis Armstrong - Hey Joe!
Many thanks to cow-punk pioneer Jason Ringenberg for letting me play a harmonica solo and sing harmony on "Absolutely Sweet Marie" this Friday night at the Hole.
The Festival is upon us.
I've been racking up my gear, organizing my cables and
accessories, and planning logistical details all week. I'll be
at the Scoot Inn tonight with Etta Vendetta, at a wedding tomorrow
outside Kerrville, and the Free For All on Sunday. Please check my
full festival production schedule on the Minor Productions calendar,
and drop by next week and say howdy at Jo's, Scholz or Big Red Sun, or
after 10 at the Hole. These are all no-cover, no wristband shows
with awesome line-ups.
My Chronicle connections tell me that Pete Townshend is definitely performing with Ian MacLagan at the Austin Music Awards,
which has an incredible bill already. New music awards host, News 8
reporter, and radio DJ Andy Langer really has his hands
I can't wait until April when I am planning another Marfa, TX
sabbatical. I will see the site of the new club Padre's that
David Beebe is opening later this year, and which I hope to invest a lot of time,
energy and other resources in.
Check out this article from the Marfa Sentinel.
and the Hole in the Wall's awesome new website.
I'm very excited to announce that my two latest CDs Shadow Figure and Low Overhead are now available on Apple I-Tunes,
which is where I get most of my music these days. I've got tons
of production jobs for SXSW this year, and Superego will perform as The
Who at the Monterey Pop tribute at the Hole on Sunday, March 18.
I am just recovering from a whirlwind weekend of gigs with the Allen Oldies Band
in Houston and Galveston. Allen plays one hit wonders and
bubblegum radio classics of the 50s and 60s. 70 tunes on CD
in the "oldies care package" were delivered a couple of weeks ago, and
I have been fully immersed in oldies non-stop ever since.
We played a chilly Mardi Gras cruise in the Spirit of Texas riverboat along the Kemah Boardwalks,
then a cold and sleepy 7 am fun run for infant health, and later a
Mardi Gras party on the Strand that was pure mayhem, starting out on
the balcony and then later moved indoors. There was much revelry
and lots of ladies dancing onstage, even some clogging. Allen is
the most energetic and dynamic frontman since his godfather and mentor
Roy Head. Galveston Mardi Gras is all plastic beads and
cheap beer, without any sign of the Louisiana Creole culture and New Orleans
voodoo vibe. Just a good old South Texas trashy good time.
They ate up the Oldies with hot sauce and washed it down with lots of
cold silver bullets.
3 shows in 27 hours, 9 hours of music, 62 oldies performed, 0 clams, 0
trainwrecks, no breaks. Allen does a great job on organizing the
Oldies. His care package made the learning process quite painless, and his bandleading skills are good natured and upbeat. I
can tell that he has great respect for the material. Superego
with guest bassist Cory Glaser closed our Hole in the Wall show with
"What's New Pussycat" last night, so the Oldies are coming in handy
already. Thanks to Allen for another memorable weekend.
In other news I am back at the Hole in the Wall booking the bands after
a 3 month hiatus. The new terms of my association are very
agreeable and I have even recruited a college intern to help keep the
calendars current. The listings are now fully updated through
March on Myspace, the Hole website and in the XL, Chronicle and Onion.
Today I installed some new dimmer rheostats for the stage lights and
fixed some broken mic stands, so things are ship shape from a
production standpoint at the Hole.
So 2007 is off to a good start. We had an awesome show at the Continental Club
on Dec. 29th with Etta Vendetta's Eyeful Tower
show. Bill Anderson, Matt Hubbard, Chris Grady, Marcus
Cardwell, Kevin Remme and I learned 10 bump and grind numbers and had
rehearsals at Matt's place with the girls before playing the gig to a
great crowd. Looks like we are in store for some more
naughty fun March 9 at the newly made over Red's Scoot Inn.
NewYear's Eve, I danced my tail off and helped pour some fine champagne
at the Horsies and Pong at Hole in the Wall. It was the final
Minor Productions presented show at the Hole and we celebrated with a rowdy
crowd and a highly-successful box office. Matt Meshbane is
the new booking agent for the club and really has his hands full
booking 3 or 4
bands a night., including some excellent new weekly gigs. Kevin
McKinney every Thursday and Ethan Azarian & the Passed Out
Flyers every Tuesday are some of the must sees.
Superego is confirmed for the following Sundays in January at the Hole in the Wall:
Sunday, January 7 - Superego All-Stars (10:00) Tucker Livingston (11:00) Rock & Roll Free For All (12:00)
January 14 - Superego All-Stars (10:00) Mistress Stephanie & her
Melodic Cat (11:00) Rock & Roll Free For All (12:00)
Sunday, January 21 - Superego All-Stars (10:00) Grub Dog & the Modestos (11:00) Rock & Roll Free For All (12:00)
Sunday, January 28 - Superego All-Stars (10:00) 2 Guy Trio (11:00) Rock & Roll Free For All (12:00)
got a whole new batch of jukebox favorites to unleash in the midnight
hour jam, including more classics by the Kinks, Dylan, Chuck Berry and
Neil Young. Neil's new live archive album from 1971 at Fillmore
East with Crazy Horse is a staggering sample of an unbelievable band in
its full raging glory.
I got an e-mail last night inviting me to play at New Orleans Jazz Fest Friday, May 4 fest on bass with
Louisiana delta blues legend Rip Wimberly, who I first met at Mike
Foster's Pigroast a few years ago. Rip is the real deal in the
John Lee Hooker style.
My pal Mario Matteoli
and I are also putting together an east coast tour this spring where we
hope to share an all-star road band and see some sights including Levon Helm's Midnight Ramble in New York.
Today's Austin Chronicle listed my latest CD Shadow Figure in the "Top Ten Local CDs" picked by esteemed music editor Raoul Hernandez not to be overlooked.
2002's release Low Overhead is now available exclusively on I-tunes.
Shadow Figure is now available for purchase at CDBaby.com.
sure and ask me about the new Minor Productions truckers hats that I
was stuffing the stockings of all the good boys and girls with this
holiday season. I hope to have a new batch in time for the next
Free For All.
I am currently reading and savoring the biography of underground Memphis power pop legends Big Star, which chronicles the mythically unbelievable career of Alex Chilton, who at the age of 16 sang
lead on the 1967 number one single "The Letter" by the Box Tops, which
sold 4 million copies. Whenever the book describes a great
obscure classic like "Neon Rainbow," or the Box Tops version of "I
Shall be Released," I can download it on the computer and hear it
firsthand, making it a true multi-media experience.
gave me an I-pod Nano at his wedding and I have been going crazy on
I-Tunes and You-Tube. The mp3 player was coming in real handy on
my production jobs, but then just when I was starting to get attached,
the little bastard disappeared. I picked up one brand new
on Craig's List for half of retail so DJ I-pod is officially back
on the January Free For Alls.
and I just wrote a song called Out of My System and I hope to get it
out soon as an enhanced CD single with a complete set of MP3 bonus
tracks from the out of print Superego catalog. You'll be able to
play the new song on your CD player and put the entire back catalog on
your I-tunes and I-pod.