over the hump and slips you into a reassuring space with a rootsy rack
of original songs. His raw, thumb-bangin', foot stomp guitar reminds
me of Lowell George's train on Keith Richard's tracks: stockin' and
steamin', slippin' and slidin'. He's ripe and ready to rock 'round the
Gerry Fialka for Flipside
(continued from The Wild Blue Yonder)
My heart was set on finding an audience for my songs, so when the guys in The Wild Blue Yonder got busy with other projects I decided to develop a solo acoustic version of the tunes so I could go out and gig on my own. At the time I didn't know the band was in fact finished, I thought we might manage a couple of shows a year at least, and I thought that by going out on my own I could continue to generate an audience for the band. The problem turned out to be that it took me two years to develop a solo acoustic presentation that didn't feel completely lame. The results were a guitar style that keeps time with my foot (bass drum) and thumb (snare). I played the coffee house scene in LA for a few years before I was ready to make the record, again with the help of Barry Paul. In the meantime I was paying bills playing bass with Bobby Kimball (of Toto) and then later on, about the time I 'released' the KaliYuga Trail, I got the gig playing bass for Scott Henderson. You might say Scott saved me from a solo career. In the process of recording the acoustic album I messed up my arm. Some kind of tendonitus-like ailment that threatened my bass playing too, so I had to lay off the coffee house gigs. My arm is only now coming all the way back.