After years of playing together on gigs as well as getting numerous sideman calls for studio
work as an in-demand rhythm tandem, electric bassist Amanda Ruzza and drummer Mauricio 
Zottarelli have joined forces on their provocative new release Glasses, No Glasses on Ruzza’s 
Pimenta Music label. A radical departure from the buoyant sambas, bossa novas and choros 
that the two principals have been closely associated with in past outings, including Ruzza’s 
2012 solo debut This Is What Happened and Zottarelli’s 2009 samba-jazz release 7 Lives, this 
spontaneous jam in the studio defies all stereotypes while revealing different musical sides of the two Brazilian compatriots now living in New York City.
A no-holds-barred effects-laden jam that recalls aspects of P-Funk, Medeski, Martin & Wood 
and Weather Report, Glasses, No Glasses was recorded in just two days with guest keyboardist-
saxophonist and Esperanza Spalding sideman Leo Genovese. The first day was essentially 
a spontaneous collective improvisation in the studio. The three seasoned musicians - Ruzza 
graduated from the New School in New York while Zottarelli and Genovese both graduated
from the Berklee College of Music in Boston - met ostensibly to record a two-minute video for 
Dunlop demonstrating the company’s latest batch of effects pedals. But in road testing the analog 
gear, they became so swept away by their loose-tight trio chemistry in the room that they ended 
up playing totally for an hour straight through. That first day yielded five tracks - “Soundcheck,” 
“Glasses,” “No Glasses,” “Sugar” High” and “Everybody’s Talking.” As Zottarelli explains,
“The first track of the recording was our actual soundcheck to the studio engineer. So we played
that track as it is and then when we heard it back in the control room we were all looking at each 
other, thinking, ‘Let’s keep going! We have time. Maybe this will be a record, who knows?’”
On the heavy-hitting, clavinet-fueled “Glasses” and “No Glasses,” Ruzza reveals the influence of 
her funk bass forefathers Larry Graham and Bootsy Collins with her deep grooves and slap bass prowess while keyboardist Genovese doubles on an ‘out’ tenor solo on the latter piece. Ruzza’s 
creative use of analog effects as an arranging device is fully on display on the mood-shifting
“Sugar High,” which segues from a Tony Williams Lifetime-syled organ jam to calm rubato 
exploration with Genovese on melodica to a super-uptempo jam fueled by Zottarelli’s power-
precision traversing of the kit. Ruzza’s ultra-deep bass tones on the dub flavored “Everybody’s 
Talking,” is a nod to Luizão Maia, acknowledged as the father of modern Brazilian bass for
his acclaimed work during the 1970s with famed singer Elis Regina. Zottarelli’s facility and 
dexterity on the kit is largely at play on this aggressive funk-fusion-dub jam, which yields 
influences from some of his drum idols: Dennis Chambers, Vinnie Colaiuta and Simon Phillips. 
This track also features some audacious stretching on Farfisa organ by Genovese.
“It’s not just music, it’s a reflection of our friendship,” says Ruzza of her gifted colleagues and their inspired, telepathic work together on Glasses, No Glasses. “We have a good chemistry
together because we’re such good friends. I’ve known Leo for a long time and have played 
together with him many times. And Mauricio is like a big brother to me.” She adds that the very 
nature of this spontaneous session runs counter to her natural instincts. “As a bandleader, I am 
a control freak,” she confesses. “My first album was a control freak record. I composed and
arranged everything. But this album is like having a whole different persona because it’s the
opposite of what my usual tendencies are. There was no controlling. We didn’t say anything. We 
just played. And I think what happened between the three of us on the recording was a magical
moment. For me, it was a historical thing those two genius guys finally got together, and I was
the lucky one that got to play bass with them.”

Because this freewheeling outing was done with no expectations at all, the three principals 
have no immediate plans to play this music live. “I think we’re taking the same approach for
gigs as the actual recording of the album,” says Zottarelli. “We’re just letting it take its life and something will come out of it. I would love to just go and play and not plan anything. I think that’s how music comes out in its purest form, when we’re just playing for fun with no
compromises or preconceptions, just trying to listen to each other and arrive somewhere.”

Stay tuned. This could be one of the most exhilarating live trios of 2014. Until then, listen to this daring triumvirate in their maiden voyage together.
---------------
Após vários anos tocando juntos em shows e inúmeras gravações em estúdio onde são frequentemente convocados como uma requisitada sessão rítmica, a baixista elétrica 
Amanda Ruzza e o baterista Mauricio Zottarelli juntam forças no provocante novo álbum 
Glasses, No Glasses, que sai pelo selo de Ruzza, Pimenta Music. 
Um radical desvio dos sambas animados, bossas e choros com os quais os dois músicos 
são normalmente associados, como por exemplo no disco de estréia de Ruzza “This is What Happened”(2012) e no álbum de samba-jazz de Zottarelli “7 Lives”(2009), essa espontânea jam no estúdio desafia todos os estereótipos enquanto simultaneamente revela diferentes lados desses dois artistas brasileiros que atualmente residem em Nova York. Glasses, No Glasses revela uma livre e descontraída jam improvisada e recheada de efeitos sonoros, e sugere influências de grupos como P-Funk, Medeski, Martin & Wood e Weather Report. O disco foi gravado em somente dois dias com o convidado especial Leo Genovese, tecladista e saxofonista que é também membro da banda de Esperanza Spalding. O primeiro dia de gravação foi essencialmente uma improvisação coletiva no estúdio. Os três experientes músicos - Ruzza se formou na New School em Nova York 
enquanto Zottarelli e Genovese se graduaram na Berklee College of Music em Boston - se reuniram com a finalidade de gravar um vídeo de dois minutos para a Dunlop, demonstrando os mais novos pedais de efeitos da empresa. Mas ao testar o equipamento analógico, o trio ficou tão impressionado com a química e a comunicação entre eles no estúdio que acabaram por tocar por uma hora sem parar. Cinco faixas do disco foram 
concebidas nesse primeiro dia - “Soundcheck,” “Glasses,” “No Glasses,” “Sugar” High” e “Everybody’s Talking.” 
“A primeira faixa do disco foi a nossa passagem de som para o engenheiro do estúdio,” 
explica Zottarelli. “Ao ouvirmos o play-back na sala de controle logo após termos tocado, 
nós nos olhamos simultaneamente, pensando, ‘Vamos continuar! Nós ainda temos tempo 
de estúdio. Quem sabe isso não vira um disco?’”. 
Nas pesadas faixas “Glasses” (que contém um clavinete contagiante) e “No Glasses”, 
Ruzza revela a influência de seus antepassados do baixo-funk Larry Graham e Bootsy 
Collins com seu groove profundo e domínio da técnica do slap, enquanto Genovese 
dobra com um solo ‘out’ de saxofone tenor na segunda música. Ruzza demonstra com 
criatividade o uso dos efeitos analógicos como uma ferramenta de arranjo em “Sugar 
High”, que é uma faixa repleta de mudanças de clima: começando como uma jam de 
trio de órgão lembrando o Tony Williams Lifetime, a música passa por um momento 
calmo e melódico com Genovese tocando escaleta, e se transforma em uma seção super-
rápida e cheia de energia conduzida por Zottarelli e seus toques e solo precisos na bateria. 
O baixo ultra-profundo de Ruzza na faixa de estilo dub “Everybody’s Talking” é uma homenagem a Luisão Maia, conhecido como um dos pais do baixo brasileiro moderno pelo seu trabalho acompanhando Elis Regina. A facilidade e destreza de Zottarelli na bateria está também muito em evidência nessa agressiva Jam de funk-fusion, que sugere influência de alguns dos ídolos do baterista, tais como: Dennis Chambers, Vinnie
Colaiuta, e Simon Phillips. A faixa também conta com solos audaciosos de Genovese no órgão Farfisa.  “Não é só música, é um reflexo de nossa amizade,” comenta Ruzza, sobre seus dois talentosos colegas e o trabalho inspirado e telepático do trio em Glasses, No Glasses. 
“ Nós temos uma boa química juntos porque somos grande amigos. Eu conheço o Leo há muito tempo, e já tocamos juntos muitas vezes. E o Mauricio é como meu irmão mais velho.” Ela explica também que a própria essência dessa sessão tão espontânea é contrária aos seus instintos naturais de trabalho. “Como líder da minha própria banda, sou super controladora,” ela confessa. “Meu primeiro disco foi um álbum de alguém muito controlador. Eu compus e arranjei tudo. Mas nesse novo disco é como se eu tivesse uma outra personalidade, porque ele é o oposto das minhas tendências naturais. Nós 
não falamos nada, e não controlamos nada. Nós somente tocamos. E eu acho que o que aconteceu entre nós três durante a gravação foi um momento mágico. Para mim, foi uma coisa histórica ter esses dois gênios finalmente tocando juntos, e eu tive a sorte de ser a baixista a tocar com eles.”
Devido à grande espontaneidade desse trabalho, e por ter sido criado sem nenhuma pré-concepção ou expectativa, os três artistas não têm planos imediatos de tocar esse material ao vivo. “No que se refere a shows, eu acho que temos a mesma filosofia da gravação do disco,” diz Zottarelli. “Nós vamos deixá-lo seguir seu curso natural, e algo vai acontecer. Eu adoraria sair por aí, tocar, e não planejar absolutamente nada. Eu acredito que, dessa maneira, a musica é criada em sua forma mais pura – quando estamos tocando e nos 
divertindo sem comprometimentos ou pré-concepções, apenas tentando escutar uns aos 
outros e chegar em algum lugar.”
Fiquem ligados. Este trabalho pode ser um dos mais emocionantes shows ao vivo de 
2014. Mas até que isso aconteça, ouça esse ousado trio em sua primeira viagem juntos.

JD Carroll has been writing music since before paper was invented. Originally, he carved his lyrics into wood tree limbs and etched them onto slabs of soft stone. This was a durable but extremely time consuming way to record his music. Unfortunately, most of his early writings were destroyed in the second apocalypse. Luckily, his music had become very popular within the Neanderthal community and was held in great esteem by that promising species. It was passed along though word of mouth for centuries; it evolved as it was passed down from generation to generation. Somewhere in the past his music crossed over to the homo-sapiens and moved on into the more modern world.

When his good friend, Johannes Gutenberg, started fooling around with his new printing press JD suggested to Johannes that he turn out some of JD's music to test the usefulness and practicality of the new gadget. Much to JD's dismay, Gutenberg decided to go with the money and print Bibles instead. This caused a major riff in their relationship which still resonates today. Some slights are hard to get over.

It is rumored but not substantiated that JD was working with Ludwig Von Beethoven on the "Ode to Joy" and JD suggested he change the name to "Come on People, Lets Get Happy" but Ludwig thought the name was a little too long. Everyone is thankful.

As the industrial revolution took hold JD found himself palling around with Charles Dickens. It was at one of their late night, cigar chomping, whiskey drinking gabfests that Charles mentioned he was looking for a career change. That Counting House thing was not working out for him. JD suggested that he try writing. Maybe something involving social reform. The possibility of serializing was discussed. Maybe even a short story about some mean old guy who finds redemption through a dream or something. Dickens found great success soon after and helped JD move to America.

JD landed in Menlo Park working in Edison's Lab when he mentioned to Tom that a wax cylinder might work better than Tom's original leather cylinder in the early prototypes of Tom's phonograph. He also tried to get Tom to record "My Father's Son" instead of "Mary Had a Little Lamb" as his first recording. Tommy stuck with "Mary" and the rest is history.

During the 1950's JD moved to East Farewell and wrote the album of the same name. His experiences there shaped his later work. While working with the Everston Brothers, JD mentioned perhaps if they tried some tight harmonies and shortened their name they may have better luck with the rock & roll genre that was starting to take hold. Don and Phil would always laugh about the time JD and his girlfriend, Kathy, fell asleep in the movies and were scared her parents would think something was going on. They even wrote a tune about it but changed her name to Suzy to protect Kathy's reputation. East Farewell was a small town, words spread quickly.

As the 1960's and 70's came around JD moved to outside Philadelphia, PA and worked on refining his sound and learning to record his music on analog tape. He produced the vinyl 45 "I Can Make You Smile" b/w "Brand New Lover." Both received lots of play on juke boxes all over the city.

In the new millennium, as this Internet fad thing took hold, JD has been re-recording his music into the MP3 format and has made it available to all on this site and at www.creativeventuresmusic.com. as well as on I-Tunes, TuneCore, Jango and CD-Baby.

Check it out, enjoy.


‘I had to keep a look-out for the signs of dead wood we could cut up in the night for the next day’s steaming. When you have to attend to things of that sort, to the mere incidents of the surface, the reality – the reality, I tell you – fades. The inner truth is hidden – luckily, luckily. But I felt it all the same; I felt often its mysterious stillness watching me at my monkey tricks, just as it watches you fellows performing on your respective tight-ropes for – what is it? half-a-crown a tumble –’

Call To Attraction (C2A) is a pop/rock/alternative band from Pittsburgh, Pennsylvania. THE BAND RELOCATED TO NASHVILLE IN 2013. Ryan Wood (Lead Vocals/Guitarist/Songwriter) formed the group in mid 2008 with his brother Dylan Wood (Drums/Vocals). “My signature is combining catchy melodies with tight harmonies in every single song.” says Ryan. Memorable songs and a strong rhythm section solidified the name Call To Attraction in the Pittsburgh music scene. Through many line-up changes, the band came together with members, Josh Perrone (Lead Guitar/ Vocals) and Joe Mahoney (Bass/ Vocals). Together, the four members put on an amazing live performance and have the audience singing their songs well after the show.   Call To Attraction’s latest EP, "What Comes Next", has sky-rocketed the band’s popularity nationwide. The 4-track EP, released on February 20th 2012, showcases C2A’s unique and addictive songs for listeners of all ages. This EP was recorded and produced by Zack Odom and Kenneth Mount (ZK Productions) in Atlanta, GA. These fantastic producers have worked with bands such as Mayday Parade, Cartel, Every Avenue, All Time Low and We Are The In Crowd. This release is a follow up to This One's For You (Jan '11), Shout It Out (Jan ’10) and Something Like This… (Jan ’09). All albums are currently available on iTunes. Various tracks from all releases have made it to regular rotation on 105.9 The X in Pittsburgh and many radio stations across the country.  Call To Attraction has shared the stage with national acts such as: Cash Cash, Breathe Electric, Cassadee Pope, Stephen Jerzak, The Bigger Lights, For The Foxes, Hawthorne Heights, The Scenic, Breathe Carolina, Artist Vs. Poet, The Red Jumpsuit Apparatus, Valencia, Mest, Amber Pacific, Houston Calls, Fight Fair, Farewell, Justin Young, Darling Parade, The Unseen, Mercy Mercedes, Runner Runner, The Dangerous Summer, Between The Trees, Single File and Rookie of the Year. The band also earned an EIY slot on the Kevin Says stage at Warped Tour ‘09. Call To Attraction has completed 3 successful summer tours (2008 and 2009 and 2011).  The future is looking extremely bright for Call To Attraction! “The best part about playing in this band is seeing the excitement and happiness our music gives to people. That is what makes this worth every second.” Says Ryan Wood.

From the dirt roads of the Delta to the avenues of Tokyo the blues have come a long way, and while rock 'n' roll moved from a log cabin made of earth and wood into a multi-million dollar penthouse of glass and steel its country cousin left the rustic backyard to roam the highways of the globe.

The Slaves Of Habit thicken their personal gumbo of rhythms and rhymes with a healthy dose of those American roots and serve it with a reverential tip of the hat to the British Invasion and the Swingin' 60ies. Sporting a no-frills, in-your-face attitude their songs are telling heartfelt tales of tall dreams, tough luck and tiny victories.

 Turn up the volume and explore the Slaves' own little universe of pleasure and pain. You'll discover tight, relentless grooves, earthy tunes and plain-speaking lyrics recounting real myths and imaginary truths. With their debut album of eleven original tracks in the can the Slaves Of Habit are all set to become seriously addictive!

MUSICIAN / AUTHOR.

2013 TRUTH STORY ~ RESTING IN PEACE ON EARTH IN LIFE @ http://www.musivine.com/blogs/312 

http://thedorisalloyword.blogspot.com/2013/02/resting-in-peace-on-earth-in-life-first.html

http://outsideout.blog.com/2013/02/26/resting-in-peace-on-earth-in-life-part-one/

The Doris Alloy Sound began experiments in 1995 with a Sampler, a 4-Track recorder and Synth. Backward tapes. Occasional sampled voice. Drones. Elements of contemporary styles such as Jungle and Drum 'n' Bass crept into later recordings.
An early track (82 Eridani + Zeta Reticuli - edit) was included on the 1996 Spliff Tapes compilation 'Sensible People Live In Free Fish Tanks 4'.

A series of DIY cassette EPs followed (The Unpopular EP, The Lure Of Space, In Discordance With Doris, Old Wounds Torn Open, Doris Alloy, Devastation This Way, The Winter Collection, New Styles). 
A Drum Machine joined the line-up and the beats became harder and faster.

Emotive as I might be
As cold as I can be
This is a frozen wasteland
I'm caught in the ice

We're all frozen embryos
Waiting to be claimed
Waiting to be thawed out
.... Waiting

(FROZEN 1996) 

Original 1997 recording of Robots Rock released on In Yer Face Sampler 'And Then Some' in '98.

Doris Alloy also recorded as part of 3-piece bedroom-studio artists Peter, Paul And Doris from '95 to '97 (w/ Pauly Wauly and Andy D).

Recorded London Broil And Potatoes with producer Dave Ball (The Grid/Soft Cell) in '98. The track was eventually released in 2003 as the opening track on the Matthew Glamorre-compiled Kashpoint CD. 
Doris Alloy reluctantly participated in a video for the recording. Channel Five show UK Raw did a feature on the making of the video and The Offset, Glamorre's gang of fashion, music and artist hoodlums.

Terminate all bars
Terminate all beaches
Terminate all cars
Kill the drivers / teachers
Press the rest
The cherubs are speeding
Accidental orgasms
I always regret the waste

(TUNE INTO A NEW STRAIN 1997)

Debut 6-track CD titled Doris Alloy was recorded in the late autumn of 1998 nocturnally in a small eight track studio situated in the middle of a field of cows in Bedford. This included 3 instrumental and 3 vocal tracks; Frozen, Radical Chic, Razor Fish, Flanking The Tide and Lonely Rooms That Lock You In, as well as a self-produced version of London Broil And Potatoes. 
The CD was favourably received by some and totally over-looked by others. One review suggested Doris Alloy was almost good enough to have been signed by 4AD in 1980.

The follow-up CD Nattercan released in '99 featured the digitally recorded Better, Stronger, Faster (which combined the themes to TV series The Six Million Dollar Man and Charlie's Angels), and the low-budget Apoptotic, Samizdat, Nattercan, Something Futuristic and She Was Radioactive.

Everywhere I Go I Am Under Surveillance
Everyone Is Looking At Me Programmed To Transmit
I've A Feeling My Movements Are Recorded And Beamed ....
To Central Control.
Your Vision Is Blurred
Your Vision Is Bent
And Far Too Illogical
To Send As Your Agent.

(METAL FOR ROBOTS 2000)

Third CD collection Metal For Robots in 2001 was of 8 track studio recordings inc. Sex Somewhere, Deathcentric, Pornographonic, Pedestrian Rage, Latitude 50 / I Just Want That Doris, Metal For Robots, Jaunt and What You Think You Think Is Real. 
An enthusiastic reviewer raved that 'Doris Alloy is worth a 1,000 mini-moogs'.

During the six years Doris Alloy was recording on a daily basis he amassed an enormous catalogue of material. Some tracks were lost or recorded over when tape space became scarce but over 150 recordings have survived. From self-indulgent wonky beginnings to tight dramatic thematic instrumentals and songs; always original, unique, challenging, authentic and synthetic.

If You Drive A Lousy Car
It Doesn't Matter Who You Are
Your PM10's Are A Disgrace
We Shall Wipe That Smile Off Your Face
We're Separated By Metal And Glass
These Mobile Death Machines Will Never Last

(PEDESTRIAN RAGE 2000)

During the period 2002 - 2012 there has been one new recording by The Doris Alloy Sound - the 16 minute Bizarre Construct (formerly 'Lost To The Machine'). 

Bizarre Construct was composed Nov/Dec 2011 recorded Jan/early Feb 2012. It was based upon lyrics written while living in a tent, in a wood for seven weeks. 
However once arrangements of the music began and creative juices stirred and flowed again after a decade of abstinence from recording artistry and four minutes became eight and eventually sixteen. The original lyrics, The House Is A Machine, is now a fully formed song in its own right, but only exists in the mind of The Doris Alloy Sound at present. 

http://www.musivine.com/thedorisalloysound

Read ~ RESTING IN PEACE ON EARTH IN LIFE by The Doris Alloy Sound.

http://www.musivine.com/blogs/312

Oakland’s Engine 88 released two critically acclaimed albums on Caroline Records – “Clean Your Room” (1995) featuring the modern rock radio hit “Mangos” and “Snowman” (1997) featuring the live fave “Manclub”. Both albums are appearing digitally for the first time on September 18, 2012 and each comes with a bonus track – “Duck” and “Baboon” respectively.

The band – Tom Barnes (vocals, guitar), Damon Wood (guitar, vocals), Eric Knight (bass) and Dave Hawkins (drums) - played prolifically and loudly between 1992 and 1998. In addition to their two Caroline albums, “Engine” (as they were first know) released numerous 7″ singles and other miscellaneous releases. During this time they toured extensively across the US, into Canada and the UK, sharing the road and stage with bands like Jawbreaker, Jawbox, Counting Crows, Buzzcocks, Gang of Four, Ben Folds Five, Nada Surf and Spoon. They enjoyed support from San Francisco’s Modern Rock powerhouse Live 105 and recorded a session for LA mainstay KCRW, and were frequently compared to Pavement, Fugazi and the Pixies. However with members hailing from musical backgrounds as diverse as punk, soul, and soft-rock, Engine 88 retained a quirky, almost perverse edge all their own thanks to Barnes’ voice, at times laconic and plaintive, at others manic and urgent, and the band’s always thoughtful arrangements, crisp driving beats and muscular guitars. By 1998, disillusioned by the state of play at rock radio, they called it a day, but not before releasing a posthumous collection “Flies ‘N’ Death ‘N’ Stuff” on the local Wingnut label, which showcased the tight, musical invention they had developed in their brief but illustrious time together.

For the full history and discography visit the band’s official blog, maintained by guitarist and songwriter Damon Wood : http://www.damonwood.com/engine88/

Engine 88 on Facebook: http://www.facebook.com/Engine88

Download “Clean Your Room” on iTunes: www.smartURL.it/Engine88CYR

Download “Snowman” on iTunes: www.smartURL.it/Engine88Snowman

Download "Flies and Death 'n' Stuff" on iTunes: www.smarturl.it/Engine88FDS

“Mangos” video: http://youtu.be/2Uap9Xbl4xo 

Biography
Award winners of the Urban Inspirational Awards as well as South Florida Gospel Music Awards Nominees. NeXt EpiSode is a music duo of VELL P & LATILLIA J. They create music filled with a blend of soul, r&b, jazz, & a touch of hip hop all under the umbrella of christian music. They aim to encourage their listeners with messages from real life issues point of view which captures the essence of encouragement that all can relate to. Latillia J sings with great melodies & vocal enhancements while Vell P writes music and raps or spoken word. Musically they blend well in writing and flow and seek to reach many with this different type music. 
"VELL P" is a christian rap recording artist, songwriter, & poet. Vell always strive to uniquely connect the word of God with rhymes and use trials in life to connect with masses. Pair with a smooth flow, tight beats, rhymes & anointing, he continues to hit his target.

VELL P's TESTIMONY :
In march of 2011 Vell was in a diving accident at the beach. The water was too shallow when he dove in and he hit his head on the bottom. He was temporarily paralyzed and was underwater. He could only ask God to save him. In that very moment he began to rise above the water & the waves turned him over. He then was able to call for help because he couldnt move at all. It was a miracle of God that saved Vell. He was in the hospital a few weeks and had to learn how to walk,eat & function all over again. Thankfully, he had no neck break or permenant damage to his spine. Only nerve damage that he is has mostly recovered from.

“LATILLIA J” is a Christian recording artist who sings with great passion. You can really feel the release of anointing mixed with her testimony of overcoming within every note that she sings. She is known for he strong voice & soulful sound.“LATILLIA J” has recently recorded her 1st official track “VALUE OF PAIN”(2011) & featured on VELL P’s track “STRESS NO MORE” both from “THE VALUE OF PAIN” SOUNDTRACK which is receiving many great reviews. She is also currently working on her debut album with Vell P in a group called NeXt EpiSode. With LATILLIA J’s strong dedication to God, music, & drive to reach others, she will become a great success with anything she touches. 

LATILLIA J's TESTIMONY:
THE CHANGE 
In Latillia’s own words – “I ended up loosing everything I thought was dear to me until I allowed GOD back into my life.He delivered me from my sins and addictions that had me bound. I have since made a commitment to never turn back no matter how tough the situation may seem I will use my GIFT to uplift the name of JESUS. Through the storm n rain I will forever give him praise.”

NeXt EpiSode is currently performing at many concerts, touring and accepting bookings while working on their new Full length LP due 2014

Discography: 
VELL P - MARCH 2010 "HIGHWAY" (ALBUM) 
VELL P - "COLOGNE" & "LIGHTS, CAMERA, ACTION" FROM THE "WELCOME TO HOLY-WOOD" COMPILATION 2011 (# 22 NATIONAL BILLBOARD CHARTS) 
LATILLIA J - "VALUE OF PAIN" 2011 "THE VALUE OF PAIN" SOUNDTRACK
LATILLIA J & VELL P - FEBRUARY 2012 NeXt EpiSode "THE INTRODUCTION" EP 
Music available from Next Episode , Latillia J & Vell P on Itunes, Amazon.com & Cdbaby
Description
What do you get when you connect Vell P with Latillia J ? - 
You get "NeXt EpiSode"
www.facebook.com/VELLP
www.facebook.com/LATILLIAJ
Band Interests
MAKING NEW MUSIC, ENCOURAGING OTHERS & MINISTERING/PERFORMING. REACHING THE LOST AND DYING
Artists We Also Like
VELL P , LATILLIA J , KEIF THA PROFESSA, KIM BURRELL, CANTON JONES, , MALI MUSIC

Trout Cake is a fun eclectic stew playing primarily progressive and original jazz/rock, including a fair amount of live improvisation.   Our influences include Frank Zappa and Medeski, Martin and Wood amongst others.  Trout Cake is tight, and certainly out of the box. 

Colbert Louise is following