Three songs from the feature documentary film Commit to the Song: The Joe Thomas Jr. Guitar Pull (from Terrible Master Films.)
Recorded live at Seville Beauty & Barber Shop in Montgomery, AL in late January 2017. Special thanks to C. DeWayne Cunningham, Sylvester K. Folks, Jen Powell, Malerie Bussell, and the Seville Beauty & Barber Shop staff.
I was recruited to write the theme song for the “Riverside Falls” podcast.
This two-song EP is the score for the short film Four Thousand Wings by Terrible Master Films.
This is the new version of a song that originally appeared on my first solo album Note from the Georgian Hotel in 2008.
This two-song EP is a collaboration between me and my friend Alex, a.k.a. Tequila Nylon.
This EP is the score for the short film City Federal by Foolish Henry Films.
The second EP from my Glorious 70mm project. Just like the previous EP, pay what you want for private use. If you’re a filmmaker and want to use any of this for a film, contact me for licensing.
This project was started to combine my love for music with my love for film (hence the name.) I’ve got the download set up as a “pay what you want” option on Bandcamp for private use. If you are a filmmaker and are interested in using anything from this project (or, really, anything that is part of my discography), please contact me for licensing. I would love to provide score music for your film.
This is my third solo, acoustic album. Like the first two solo albums, I handled the writing, production and recording. This one actually includes some instruments – trumpet, mainly, but one song has a small violin part – that weren’t on the previous albums.
This EP, exclusively available through NoiseTrade, features one song from each of my solo albums – “Ghost of a Town,” “Ocean” and “Sirens and Street Lights,” followed by a live version of each of those songs.
Along with acting in the film, I was asked to write some original music for the Gut Munchers score. I was also asked to write a cheesy, acoustic song for use in the film; that is the last track, titled “Zombie Gingivitis.”
We did drum tracking for ‘fig.’ at Adam’s house, some bass at Joe’s house (the recording engineer/mixer) and guitars, synth and violin at my house. Once mixed, it was mastered by Gregory Dunn of the band Moving Mountains and released on limited-edition ‘coke bottle green’ vinyl as a 12″ EP at 45 rpm.
This is a piano version of the song “Ocean” that originally appeared on The Final Scene. It was recorded on an old, out-of-tune piano that has seen better days. In fact, the cover photo is of the actual piano.
The drums for Hymns of Mare Nostrum were actually recorded in an office building. The guitars, bass, keyboards, theremins, tambourine and other very random noises were recorded at my house. I handled some of the guitar, some keys, some tambourine and some of the random noises on the album.
These demo versions to some of the songs that would later appear on Hymns of Mare Nostrum were recorded live in our practice space. The cover photo was taken by Pint Bottle Photography at a show we played at Bottletree in Birmingham, Ala. with Maserati and the Great American Breakdown.
This was actually the sound check prior to the live recording of Six Victims, and it serves as a prequel to the story line. This band was always an improvisational duo, so the songs are were always made up as we went.
This is my second solo album. I handled all aspects of the writing, production, recording and performing of this. Rather than the somewhat minimalist approach used on my first album, I decided to expand the recording a bit with more backing vocals, piano, organ and some lead guitar work.
This album is all improvisational, live and written on the spot. As a two-piece, we switched instruments about mid-way through it, but did so without letting anything go silent. I started on guitar and keyboard, switched to drums, synth and Kaossilator, then back to guitar and keys.
These demos were improvisational, but tracked. We recorded drums first, then added guitar on a separate track. It wasn’t pre-planned though; it was more of a “go play drums for a few minutes” followed by “let’s add some guitar now.” I played guitar on the first track and drums on the second.
This was my first solo album. I went with a minimalist approach, limiting each song to six recorded tracks. The title track was inspired by a post in Found Magazine where someone had found a bottle washed up on shore with a note inside, written on a notepad that came from the Georgian Hotel. The actual note is pictured in the physical CD version of the album.
This album included the band as a four-piece. I handled lead vocals and rhythm guitar. It was recorded by Andy Jackson and features pedal steel by “Spacey” Casey Prestwood.
This was recorded back when the band was a three-piece (also recorded by Andy Jackson, with assistance from Kevin Palmer). I handled guitar and vocals on this recording.
I wrote the lyrics and provided lead and backing vocals on this album. Live, I took care of the rhythm guitar parts.
I only did vocals and screams on the self-titled album. Yes, screams. Teenage angst. Or something. I think we wanted to be a hardcore band, a punk band and a hard rock band at the same time. Maybe.