Musical inspirations:

Well, my first musical inspiration was my brother. Growing up in his
musical shadow, watching him rehearse and play in bands since I was a
little kid gave me the desire to write songs and play them for people.

Favorite musicians:

I guess Bob Dylan and the Stones and the Beatles and Springsteen are
my favorite musicians. The ability to write a simple tune with a Lyric
that your audience either gets or feels like they get. To tell a story
and transport people to another world for a moment is an amazingly
powerful thing.

Has music helped you thru a difficult time in your life?

Every tough time in my life, death, loss of love, career downs has
been saved by music. Both the music that I listen to and the
therapeutic act of songwriting. Just letting all the shit spill out in
a song.

Kevin Bacon BIO

Kevin Bacon's strongest musical memories are of listening to his brother and the music he brought home. As a teenager, he decided to pursue an acting career, rather than music. Today, though he is recognized around the world as one of the film industry's most enduring and respected actors, Kevin's love of music and the influence it has had on his life is as strong now as it was back then. He has always retained his love of music and throughout his acting career has continued the musical collaboration with Michael that was formed back in his early teens.

Kevin has appeared in such diverse, and award-winning, films as Apollo 13, Sleepers, and Murder in the First, for which he was voted Best Actor by the Broadcast Critics Association and received Best Supporting Actor nominations from both the Screen Actors Guild and the London Film Critics Circle. He was nominated for a Golden Globe for his searing performance in The River Wild, opposite Meryl Streep and, over the years, has appeared in such diverse films as Animal House, Friday the 13th, Diner, Footloose, The Big Picture, JFK, A Few Good Men, Wild Things, Stir of Echoes, My Dog Skip, The Hollow Man and Novocaine. Kevin Bacon’s next big screen feature is the critically acclaimed Warner Brothers film MYSTIC RIVER, directed by Clint Eastwood, and co-starring Sean Penn and Tim Robbins. Kevin can also be seen in IN THE CUT, co-starring with Meg Ryan and Mark Ruffalo. Kevin recently completed filming THE WOODSMAN, where he stars with his wife, Kyra Sedgwick, Benjamin Bratt, and Mos Def.

Michael Bacon Bio

After a musically diverse childhood, Michael Bacon joined the folk-rock band, Good News, which toured extensively in the 1970's and recorded for Columbia Records. After moving to Nashville, he recorded two solo albums for Monument/CBS. Jerry Lee Lewis, Carlene Carter, Perry Como, Peter Yarrow and Claude Francois are just a few of the artists that have recorded songs written by Michael.

In 1985, he moved to New York City to compose music for films and television. In 1993, Michael won an Emmy Award for his score for the documentary The Kennedys, an ACE Award nomination for "The Man Who Loved Sharks," and both the Television Music Award and the Chicago International Film Festival Gold Plaque Award for LBJ. The television shows he has scored have won numerous awards, including three Academy Awards ("The Johnstown Flood" in 1993, "A Time For Justice" in 1995 and "King Gimp" in 2000) and several Emmy Awards. Michael also provided the score for Kevin's directorial debut, the Golden Globe and ACE -award winning film Losing Chase. Additonal scores include the critically acclaimed ABC television series, "The Century," and PBS documentaries "Abraham and Mary Lincoln: A House Divided", and "Napoleon". Michael has just received another Emmy Award nomination for his score to “Young Freud”. Michael Bacon has a degree in music from Lehman College where he studied composition and orchestration with John Corigliano.

 The Bacon Brothers

Michael Bacon – vocals, guitar, cello
Kevin Bacon – vocals, guitar, harmonica, percussion

“What you see is what you get.” – The Bacon Brothers

Kevin and Michael Bacon have been writing songs and playing music together since about the same time they may have been fighting over Lincoln Logs or little green Army guys. In fact, the cover of their first album, Forosoco, shows as much; the picture, taken in 1972, shows Kevin and Michael onstage playing congas and guitar, respectively. The look of communication between the two is telling: although the Bacon Brothers have only been a working band since 1995, they too, run decades deep.

“[In that picture], we’re singing and playing songs we wrote together,” says Michael, “and now we’re doing the exact same thing. Nothing has really changed. We haven’t gone astray from what our original intention was with music, which is communication.”

This has been their hallmark; writing songs that, through bare self-expression and humor, echo the lives of others. It’s an art they’ve refined over three albums and in the 50 to 60 shows they play each year. And with each album and tour, the Bacon Brothers move further away from perceived “don’t tap on the glass” sideshow to a “raise your lighter and sing along” rock band, garnering fan after fan and shattering the obstacle of perception.

The band began when Michael received an invitation to play a one-off gig at a local club in their hometown of Philadelphia. It went off well, and Kevin and Michael decided to explore its potential. Sold-out gigs in New York, LA, Nashville, Chicago and San Francisco followed, as well as a high-profile show opening for The Band at Carnegie Hall and appearing alongside the likes of Shania Twain and Wyclef Jean on the TNT Network’s “The Gift of Song” special. In eight years of recording and touring, the band has become a top live draw and continues to build momentum.

"When we first started, the people who attended our shows came strictly to see Kevin Bacon, the movie star," says Michael. "Now people come to see and hear The Bacon Brothers."

This much is starkly evident with The Bacon Brothers Live, a double-disc CD and single-disc companion DVD recorded at Englewood, New Jersey’s John Harms Center for the Arts on February 18, 2003, the night after the biggest blizzard in 30 years. The CD is the Bacon Brothers’ fourth, following Forosoco (1998), Getting There (2000) and Can’t Complain (2002) and documents one hot night with 35 inches of snow outside.

The 20-track set showcases The Bacon Brothers’ earthy harmonies and road-honed rapport, and includes “Woman’s Got A Mind to Change” and Kevin’s hilarious “Guess Again (The KJ’s Song)” (from Forosoco), “Ten Years In Mexico” and Michael’s touching song about letting go of his son “Don’t Lose Me Boy” (both from Getting There) as well as “I’m So Glad I’m Not Married,” “Grace” and “Summer of Love (Woodstock ’99)” from Can’t Complain. The band also renders the most exuberant performance of “Footloose” you’ve seen since, well, Footloose.

“There are gonna be people out there,” says Kevin, “I don’t care what we play, they’re gonna start screaming “Footloose! Footloose!” So you can do two things, you can say “Dude. That’s a movie. I’m a musician. Or you can say, “Okay, that’s part of my life” and embrace the beast. But ultimately, we play it because it puts a smile on people’s faces. And in a funny kinda way, it puts them at ease and it makes them go, “Hey…he’s not trying to be something that he’s not.”

The DVD features the entire performance—not a song was cut—and interstitial interview footage in which Michael and Kevin discuss the Bacon Brothers’ beginnings, creative philosophy and influences, and tell the stories and inspirations of their songs. It is a candid glimpse of a supremely talented band that is neither a side project nor indulgence—knowledge that resonates with audiences after they witness a Bacon Brothers performance.

Says Michael, “I feel pretty secure that, in just about any venue, when people walk out of there, they feel they’ve heard real music.”

Both brothers are proud that the DVD will bring that feeling to a wider audience. “It’s not created in a studio by some producer,” Kevin says. “What you see is what you get.”

The Bacon Brothers are backed by Paul Guzzone on bass/vocals, Marshal Rosenberg on percussion, Frank Vilardi on drums, and Ira Siegel on electric guitar.

Update: The Bacon Brothers' new album "White Knuckles" (Forosoco/SpinArt) is currently in stores!
Bacon Brothers store


* Your musical inspirations?

When I was quite young I would love to sit and listen to my mother play
piano, even if I was in the other room, just knowing that music was
somewhere in the house was very comforting for me.  It was the first place
that I could loose myself but at the same time know exactly where I was.
So my mother took me there when I was a child with all the classic tunes
and Broadway songs.  For some reason I thought all musicians wrote for
their instrument, so it felt very natural to make up my own little songs
at the piano and it quickly became my personal haven.  The tone of the
piano spoke to me unlike any other instrument.  I knew I had an ally.
When I started to experiment more with the piano, composing more and more,
I was drawn to mostly alternative music but I found I still had time for
the classics.  When I moved out west from Miami I really found great
inspiration in the desert and mountain landscapes of Nevada and Utah.
These places gave me the space and time that I hadn't seen properly
before.  The land seemed to breathe deeply and engulf me in the windy open
skies.  My songwriting shifted when I made that move.  I was starting to
allow the music to be my guide.  When I found Anthropology it also made a
huge impact on the songwriting.  Researching the relationship between us
all, why we do the things we do and what we do to each other.  Cultural
identity plays a large part of this.  At the heart of music and
songwriting is allowing yourself to be open to what is trying to be said
to you.  This subconscious energy can be great a teacher if we let it.

* Favorite CD's, songs, or musicians?

Depeche Mode was the first group that really kick the door down in my
mind.  They took me to places I didn't know existed.  I wanted to be in
Depeche Mode.  I just recently saw them and it was like coming home for
me.  It was a electric time when I found Depeche Mode.  When I first heard
Tori Amos play I knew I was in for a life time of love.  'Little
Earthquakes' transported me like no other album ever had done.  I deeply
respect and admire Tori as a musician, as a woman and as a pioneer in
music.  She gives so much and is full of the most transcendent energy.
This is a woman who is connected.

* Has music helped you thru a difficult time in your life?

When I made the move out west the music seemed to pull me in directions.
I would allow the music to speak to me through the tones of the piano.
Just to sit at the piano and listen to whatever there was to offer was a
real catalyst and remains to be in my life.  It does not matter what
troubles or conflicts arise ~ because like everyone, there will be ~ music
takes my hand and shows me the truth.  When the sun dies on relationships,
or eras in time, the music seems to always know what is at the heart of
it.  I find that I have to be open to this, to 'give it up' and let it be
my guide.  Because I found that it never steers you wrong.

    * Your thoughts on the connection between music and healing--

Knowing you possess your own power is very important for me.  When I was
gathering the music for 'Every Thought' this idea became very apparent.
'Every Thought' for me is ~ Every Conscious Thought ~ being aware of
yourself and your ability and using it.  Finding and unlocking your own
potential. This can be extremely healing I think.  Letting go and allowing
the music is transport you to where you need to go.  Music has done this
for me for as long as I can recall.  Bringing me back to this comforting
place where I can find and distinguish what is truth.

Shauna Burns ~ Biography

Inspired by her mother's love of the piano, Shauna Burns began playing as
a small child in her native home of Miami. By the time she was 15, she had
discovered her own talent as a singer and was already composing.

After moving west for college, Shauna found a whole new level of
inspiration in the high deserts and mountains of Nevada and Utah. She
poured her emotions into her music and began playing regularly at a coffee
house in Salt Lake City. Shauna's unique fusion of alternative rock, folk
and Celtic sounds soon won fans and rave reviews.

The die was cast: After graduating, Shauna began concentrating on her
music full-time. After a year in Europe putting together her first
collection of songs, she recorded "Every Thought." The debut album,
released under the record label Red Rock Music, LLC, is both intense and
soothing, a complex blend of sounds and lyrics that resonates within the

"Music has always been there for me," Shauna explains. "It's been a close
 friend and teacher, drawing me in like this unexpected force, pulling me.
 It's the journey, how I view everything around me. It comes from the
purest place I've ever known."


 * Your musical inspirations?

My father, who was a trumpet player and my first teacher. My earliest influences were: Stan Getz, Duke Ellington, Woody Herman, Maynard Ferguson, Dexter Gordon, Charlie Parker, Miles Davis, John Coltrane, Stevie Wonder and Aretha Franklin.

* Favorite CD's, songs, or musicians?

Favorite CD’s: Anything by John Coltrane, Wayne Shorter, Miles Davis, Charlie Parker and Bud Powell. Composers such as Stravinsky, Berg, Bartok, Bach and Mozart have also had a significant impact on my development as a musician/composer. As for songs and musicians, I love Afro-Caribbean, Brazilian and Argentine music. Specifically, Elis Regina, Astor Piazzolla, A.C. Jobim, Ivan Lins, Milton Nascimento and Joao Gilberto.

* Has music helped you thru a difficult time in your life?

Yes. Music has always been my saving grace. Most of my compositions are dedicated to my family, friends or a specific event in my life that inspired me to write. Performing is a trance-like state, similar to meditation or prayer. Music makes a very chaotic world worth the strife.

* Your thoughts on the connection between music and healing—

Without the healing process of composing and performing, I can’t imagine how I would handle life’s passage. As they say, it soothes the soul. Music keeps us young. I have three children and I really love putting them to sleep so I can sing a lullaby or two. Children will move to the music when there is a groove or drift off in a pleasant dream when melodies are fluid and soft. I see everyday how music touches them. Music is life.

Tim Ries   12/12/05


A versatile and thoughtful saxophonist and composer, Tim Ries has collaborated with such jazz artists as Phil Woods, Tom Harrell, Al Foster, John Patitucci, Dave Liebman, Danilo Perez, Maynard Ferguson, Red Garland, Badal Roy, Maria Schneider and Donald Byrd. A Verve release with The Joe Henderson Big Band won a Grammy Award. Having just returned from a second world tour with the Rolling Stones playing saxophone, keyboard and organ, his other recording and performance credits include work with such diverse talents as Donald Fagen, Paul Simon, Sheryl Crow, Lyle Lovett, Stevie Wonder, Incognito, Blood Sweat & Tears, Bob Belden and David Lee Roth.

Having already released five original jazz compact discs, Tim now will channel his energy into creating interpretations of rock and roll standards. The music of Jagger and Richards, Tim’s recent employers, serves as the inspiration for his most recent recording project, soon to be completed.

Tim has written over one hundred compositions in both the jazz and classical idioms. This fusion of styles is evident in his work with PRISM, a saxophone quartet which presents a diverse repertoire in both acoustic and electronic environments. Prism performed William Bolcom’s Concerto Grosso with 13 orchestras, including Detroit, Dallas and Cleveland. Tim also performed the American premiere of Takashi Yoshimatsu’s Cyberbird Concerto with the Brooklyn Philharmonic at Carnegie Hall.A graduate of the University of North Texas and the University of Michigan, Tim has served on the faculties of The New School, City College of New York and the Mannes College of Music. Tim is currently teaching saxophone and jazz combo at Rutgers and New Jersey City University. He frequently travels to other universities, jazz festivals and clinics as a teacher of saxophone, composition and improvisation. Tim uses Selmer saxophones exclusively, Francois Louis mouthpieces and Rico Reeds.


 * Your musical inspirations?

All good music

* Favorite CD's, songs, or musicians?

All the various flowers living or dead

* Has music helped you thru a difficult time in your life?

When a person plays music God has given them something extra not a curse

* Your thoughts on the connection between music and healing-

Music does have a therapeutic quality


by: Howard Mandel

Over nearly half a century, composer - pianist - ensemble leader Andrew Hill has gained international jazz renown for his uniquely original music and recorded ouevre, which is by turns dark, fragile, funny, stark, unforgettable tuneful, percussive, insightful, oblique and mysterious.

With the release of "Dusk" (Palmetto Records, May 17, 2000), his first album in ten years, Hill reaches another peak, equaling high point of composition and collaboration he achieved in the 1960's with innovators as Eric Dolphy, Kenny Dorham, John gilmore, Roy Haynes, Joe Henderson, Bobby Hutcherson, Elvin Jones, Sam Rivers, Tony Williams and Reggie workman, most often commissioned by Blue Note Records.

A folio of songs for sextet loosely inspired by Cane, Jean Toomer's classic volume of stories and poems published during the Harlem Renaissance, Dusk features Hill's new Point of Departure sextet of virtuosi and the mature vision of an artist who has always flourished just beyond fame's spotlight, the better to see, hear, feel and create without its insistent glare. At age 63, Hill is especially gratified that there's plentiful new interest in his impeccable, elusive music - his teasing, just beyond - grasp lyricism, his improvisations that simulate processes of thought, his themes that come together as naturally as night falls toward the end of a long day.

Hill was born in Chicago (despite mistaken information which prevailed for years that he arrived there is early childhood with his parents from Port au Prince, Haiti) raise in the heart of that city's black South Side and discovered playing according and tap dancing outside his neighborhood's nightclubs and theaters by the great Earl "Fatha" Hines who liked what he heard and told young andrew "I should be your master." Stan Kenton's arranger - trombonist Bill Russo also encouraged Hill and introduced him to German composer - music theorist - in exile Paul Hindemith who corrected the notation of the youth's nascent yet intriguing compositional style.

Hill began gigging in 1952, and in the summer of '53 accompanied alto saxophonist Charlie Parker at the Greystone Ballroom, in Detroit. In the mid '50's he rehearsed with Miles Davis, worked with Dinah Washington and Cole Hawkins, then organized his own trio and recorded "So in Love, his debut (featuring bassist Malachi Favors, a founder of the Art Ensemble of chicago, and drummer James Slaughter) in 1955.

Upon arriving to New York in 1961, hill performed with Rahsaan Roland Kirk before being contracted as a leader by Alfred Lyons, the founder of Blue Note records who proclaimed Hill his "last great protege" at the 1986 Mount Fuji Festival celebrating Blue Note's legacy. Hill's Blue Note sessions from November 1963 through March '66 were released as the albums; Black Fire, Smokestack, Judgment, Point of Departure, Andrew!, Compulsion, One for One, and Innovation, recently compiled in the seven CD boxset The Complete Blue Note Andrew Hill sessions (1963-66) on Mosaic Records. Hill returned to Blue Note in 1989 and '90 to record Eternal Spirit and But Not Farewell, both of which featured saxophonist Greg Osby, and again late in '99 as a guest on Osby's album The Invisible Hand. He also released albums on the Arista-Freedom and BlackSaint/Soul note labels during the '70s and '80s (see discography) but spent most of these years (until the death of his wife La Verne in 1989) on the West Coast, offering solo concerts, classes and workshops in prison, social service and academic settings, also playing occasionally at international Jazz Festivals.

Hill was a tenure - track associate professor of music at Portland State University, established its successful Summer Jazz Intensive, and has performed, conducted workshops an/or attended residencies at Wesleyan University, University of michigan, University of Toronto, Harvard University and Bennington college. However in the past four years since re-marrying and relocating ('for love," as he says) to New York city environs, he has been rediscovered by a new generation of reverent musicians, q jazz aficionados and general yet appreciative audiences.

Hill's new Point of Departure Sextet, named for one of his best known Blue Note albums, was convened for the Texaco Jazz Festival of 1998 at the suggestion of Michael Dorf of the Knitting Factory, with advice from James Brown of the club Sweet Basil; the New York Times call Hill, "one of the 1960's jazz heroes," said the sextet's first concert was a triumphant return." The sextet has since held weeklong engagements at New York's Jazz Standard and Birdland, and performed memorabley at the Lincoln Center Out of Doors Summer in 1999. Besides Hill at the piano, its members included saxophonists Marty Ehrlich ( a veteran "downtowner" and musical associate of Muhal Richard Abrams, Julius Hemphill and John Zorn among others) and Greg Tardy (a new but already much in demand tenor soloists), trumpeter Ron Horton (a stalwart of the Jazz Composer's collective), backbone bassist Scott Colley and drummer Billy Drummond, one of the most imaginative post-bop swingers.

Hill has also formed a trio with bassist Colley and drummer Nashied Waits. He recently performed at Jazz at Lincoln Center's Duets on the Hudson series with vibraphonist Bobby Hutcherson Spring 2000 and in a 60s all stars session with saxophonist Jackie Mclean at City University of New York, Aaron Davis Hall in June 2000. Hill has performed at Lincoln Center's Alice Tully Hall, opening the World Music Institute's Interpretations series, and also concertized at the studio Museum of Harlem. Columbia University's WKCR-FM has broadcast Hill's entire discography (lasting more than 50 hours), and in 1997 for his 60th birthday, he received a Lifetime Achievement Award from the Jazz Foundation of America.

This summer, Hill intends to enjoy a fellowship at Civitella Ranieri Center, a medieval castle in Umbertide, Italy. He has written more than 40 new works since recording Dusk and was awarded The 2000 best Composer Critics' Choice Award by the Jazz Journalist Association and is among the first recipients of the newly created Doris Duke Foundation award for jazz composers.


* Your musical inspirations?  

 “My musical inspiration comes from classical music, jazz music, delta blues, and Chuck Berry.”

* Favorite CD's, songs, or musicians? 

“My favorite CD’s are:

Tenderness, by Kip Hanrahan

Are you experienced, by Jimi Hendrix  

High tides and green grass, by The Rolling Stones”

* Has music helped you thru a difficult time in your life?

“Music always helps…Music gives me something to think about that is more than words.  If you have any worries at all in this world, you can play or listen to music and float away…you can forget what is bothering you. To me, music transcends language.”

Eric Schenkman

Spin Doctors BIO


Nice Talking To Me (Ruff Nation/Universal) is the first new studio album in eleven years by the original Spin Doctors: Chris Barron (lead vocals), Eric Schenkman (guitar, vocals), Mark White (bass), and Aaron Comess (drums). But that's not all.

Nice Talking To Me is the Spin Doctors' most musically accomplished album-a mature work that sums up their individual artistic growth over the past decade. It's the end product of a three-year period during which the band renewed their dedication to songwriting, live performance, and the creative process. Finally, it's the best-sounding album the Spin Doctors have ever made, with Matt Wallace's state-of-the-art production framing band performances that have the freshness and energy of first takes.

This exciting new chapter in the Spin Doctors' unfolding story began in September 2001 during the closing week of Wetlands. This Lower Manhattan club had been like home to the band in the early years, and was the scene of their debut live recording. As he arrived to rehearse for the Spins' 9/7/01 show, Chris Barron admits to having had "all these feelings of trepidation, of not knowing what the payoff was gonna be."

"I had a list of all the songs from our first two albums," he recalls, "and the first one I called was 'What Time Is It.' Eric went into that signature riff of the intro, I started singing-and it was like wow. The synergy of this particular ensemble just came flooding back, and to be a part of it was indescribable."

"I'd left the band on Labor Day, seven years before [in 1994]," Eric Schenkman notes. "So it seemed like the circle was coming complete. The chemistry of the ensemble is unique-that was instantly apparent-and together we started clawing our way back."

Reuniting for an ecstatically received one-off show was one thing, whereas a joint commitment to renewed touring and writing was something else again. But gradually, one thing led to another…

"In the spring of 2002," says Aaron Comess, "we did a two-week club tour and had a really good time. Then we got another bigger tour offer for that summer, and Chris and Eric started writing a little bit in hotel rooms…We took our time, worked some gigs, got together every few months for songwriting sessions-and eventually began playing those new songs live."

He continues: "There's an old saying that a band has its whole life to write the first album and about two weeks to write the second one. This isn't our first album, of course, but Nice Talking To Me has had the longest gestation period of any album we've made since Pocket Full of Kryptonite. An individual song may have been written by Eric, or by Chris and me, or by all four of us-but this album contains the best material from all those sources."

Nice Talking To Me was recorded at Sound City in Van Nuys, CA-the classic "old school" studio where Fleetwood Mac made Rumors and Tom Petty & the Heartbreakers created Damn The Torpedoes. The process began with ten days of intensive rehearsal spearheaded by producer Matt Wallace, whose credits includes production and mixing for everyone from Faith No More and the Replacements to Sheryl Crow and Maroon 5.

"Matt's thing was to break the songs down to acoustic guitars, rather than just going into the studio and start pounding away on our instruments," Aaron explains. "He wanted to hone in on the melodies, the chord changes, the real nuances of the songs. We had to feel sure that the song and the arrangement totally held up with just acoustic guitars and voice."

Mark: "That was a mind-blower. But Matt was totally into it."

Wallace had booked 12 days in which to cut basic tracks but "we finished in just about half that time," says Chris Barron proudly. "We came home, then went back to do overdubs, then I went back once more just to finish a couple more things.

"Matt would mix a song each day and email each of us the rough mix for our input…it all felt like a continuous effort, with not a lot of down time between stints in the studio."

Nice Talking To Me will be available as a Dual Disc (CD/DVD) containing live performance footage from the Spin Doctors' UK/European tour in March 2005.


Formed in 1988 in New York City, in 1990 the Spin Doctors were signed to Epic Records/Sony Music by a&r executive Frankie LaRocka. The band's Epic debut EP Up For Grabs was recorded live at Wetlands in Lower Manhattan and released in January 1991. (In 1992, these EP tracks were remixed and supplemented by additional live recordings to form the album Homebelly Groove.)

In August 1991, the Spin Doctors released their full-length debut album Pocket Full Of Kryptonite, co-produced by Peter Denenberg and Frankie LaRocka. Relentless touring and a wave of positive press kept the album alive into the next year, when sales began to increase dramatically. …Kryptonite was certified gold in September 1992 and received an additional boost from the band's October appearance on "Saturday Night Live." Reaching the one million mark in January 1993, …Kryptonite entered the Billboard Top Ten one month later.

By June 1993, the album was triple platinum and had breached the Top Five among Billboard Pop Albums while spinning off two major hit singles: "Little Miss Can't Be Wrong" and the No. 1 Rock radio song of 1993, "Two Princes." Ultimately, Pocket Full Of Kryptonite sold over five million copies in the US and another five million overseas.

"[Their] popularity is based on universal rock & roll virtues," said Rolling Stone, which put the band on the cover of its January 7, 1993 issue. "The Doctors aren't trying to blaze new trails-they know we've been down this way with the Stones, Curtis Mayfield, and a few of their other touchstones. But the proof-plenty of it-is in the party."

In June 1994, the Spin Doctors released their second Epic album, Turn It Upside Down. Once again co-produced by Peter Denenberg and Frankie LaRocka, the album featured new originals like "Biscuit Head," "Bags Of Dirt," and "You Let Your Heart Go Too Fast." The band set out on a three-month headlining tour, and played to immense crowds at the Woodstock and Glastonbury festivals. Their cover of the Creedence Clearwater classic "Have You Ever Seen The Rain?" was a highlight of the multi-platinum Philadelphia soundtrack.

Deeply weary of the road, guitarist Eric Schenkman left the group in September '94-just as Turn It Upside Down was certified gold-and was replaced by Anthony Krizan for their fall tour of Europe. In November-December 1994, the Spins opened for the Rolling Stones on a series of eleven North American stadium shows. In March 1995, their album hit the one million (platinum) mark in the US, moving an additional million copies overseas.

The Spin Doctors' next Epic album, You've Got to Believe In Something, was produced by Danny Kortchmar and released in May 1996; more touring followed. After Anthony Krizan's departure, the band soldiered on with a new guitarist and a new label (Uptown/Universal) for the 1999 album Here Comes the Bride. But during these sessions, Mark White left the band. Later, Chris Barron lost his voice to an attack of vocal cord paralysis-and soon the Spin Doctors called it quits. (In October 2000, Sony Legacy released the 17-track retrospective Just Go Ahead Now.)

Mark White moved to Houston, Texas to practice and teach bass. Eric Schenkman earned two degrees from the New School University in New York before moving to eastern Canada. He has played and/or recorded with Natalie Merchant, Carly Simon, jazz composer Kip Hanrahan, Canadian songwriter Jimmy Rankin, and his own groups Cork (with drummer Corky Laing) and High Plains Drifter (with the late Blues Traveler bassist Bobby Sheehan).

Chris Barron undertook what he calls "a journeyman songwriting experience," composing tunes with Blues Traveler's Jon Popper and with former BMI executive Jeff Cohen. Aaron Comess produced and/or recorded with Joan Osborne, Chris Whitley, Mark Cohn, Rachel Yamagata, and Bilal, among others. He is one-third of the New York Electric Piano Trio, and appears on the albums New York Electric Piano Trio, War Oracle and Citizen Zen.


Chris Barron: "There's something really authentic about this band. It's partly that those guys are amazing musicians who've all worked hard at their individual craft. But there's another element that emerges through the combination of these four people…Everybody's seven years older and-for lack of a better analogy-it's like the way that a wine matures. There's an added complexity and richness to everybody's feel in playing these songs."

Mark White: "I've been playing music for 25 years in over 50 bands, and I've never been in a band like this one. I feel like I'm in the Navy SEALS-these guys will never let you down. I'm doing something I love to do, with people I love to do it with."

Eric Schenkman: "Nice Talking To Me represents a lot of work in writing and gigging, the kind that you can't do right away on the heels of a huge success. It's a tremendous achievement to write and record an album like this-one that sounds like the Spin Doctors but is not a remake of Pocket Full of Kryptonite and shows amazing growth on the part of all the musicians involved."

Aaron Comess: "We're entering the next phase. We're not a revival band, just going out there to play our first two records and milk the cash cow. I think we've all come back into this with a greater appreciation for each other and for the band as an entity-I know I appreciate what we have now, more than ever.

"If we can continue to write songs, to play great shows, and to keep the music fresh and alive-I think we can be around for a long time."

June 2005
Spin Doctors Store

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