I was born to two working musicians in the coastal mountains of Oregon in the early seventies. Back then, it was all about vinyl — you went to a record store, picked about a few, and took them home to unwrap and enjoy. It was an experience that isn't really around much anymore, so I consider myself fortunate that I came up in that era. In 1979, when I was five years old, my mom brought home a .45 of "My Sharona" by The Knack. I played the intro drum groove over and over again for weeks on end until she yelled at me to stop… then I played it some more. A few months later, Santa showed up with my first drumkit - A Pearl cocktail 4-piece in Yellow Flash finish. My folks were both constantly playing various genres of music through the house and in the car, so I was exposed quite early to everyone on the radio from Jim Keltner to Mickey Curry, Paul Leim, and JR Robinson, as well as Billy Cobham, Tony Williams, Vinny Colaiuta, and Phil Gould on record. When I was eight years old, my dad took me to see the legendary Al Green, who invited me up onstage to play with him and his band. Al then invited me to play two more nights at other stops on the tour. I was hooked. I decided then and there that music would be my life.
Upon moving full-time to Los Angeles after school, I worked for a while just filling in around town for various drummer friends on sessions and on stage until I was offered a session at the famed Sound City studio in Van Nuys with Andrew Love of the Memphis Horns. As a lifelong Steve Winwood fan, I was super nervous and stayed up all night, afraid I'd be late for the session call. I was immediately enamored with the wonders of the recording studio and dedicated myself to becoming a recording drummer, specifically a recording drummer who could "nail the one", arrange drumset parts for an artist, and play for the song. I slowly gained traction around LA, and eventually Nashville and New York, too, with a handful of producers who kept me busy for years. At some point during the mid-2000s, I got "homesick" for the live stage and started taking touring stints during longer breaks from the studio. In hindsight, going back out on the road was one of the best moves I've ever made because it gave me the opportunity to play with a lot of my musical heroes like Stevie Wonder, Kenny Loggins, Seal, Jewel, Robbie Williams, George Duke, Al Jarreau, and to work for legendary producers like Phil Ramone, David Foster, and Kenneth "Babyface" Edmonds. I've also been fortunate enough to record and tour with several of my contemporaries like Britney Spears, Gavin Degraw, Selena Gomez, Dido, Mary J. Blige, Mandy Moore, Duncan Sheik, Jessica Simpson, Leona Lewis, and more.
As a composer, I started scoring primetime TV in 2002 and have written the music for numerous feature films for some wonderful directors and producers. I still write music for NBC and CBS primetime network television to this day, and from 2002 to 2006, I wrote and produced the music for ABC Sports’ Emmy Award-winning Monday Night Football. That was a great gig and I loved working with that team, several of whom I still collaborate with all these years later. NBC Sports has commissioned my original work for all of its Olympic Games telecasts since 2008. During the 2012 US presidential election run-up, my music was featured in both the Republican and Democratic National Convention telecasts.
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Around the turn of the Millenium, I got hired to play drums for an independent artist who was demoing up a solo project for her label in Nashville. Once we got in the studio, she and I hit it off and she asked me to produce the sessions for her. I had no idea how to do that at the time, but I took the job figuring "How hard could it be?" Famous last words! I knew how to engineer drums, but I'd never done much else behind the glass, so I learned quickly. From those demos we turned in to Mercury, I started to get more offers to produce artists in the singer/songwriter and adult-oriented rock genre categories. Nowadays, record production has eclipsed all else as my main love and focus. Producing mainly from my studio on the tropical island of Bali, I work with artists from all over the world, some who fly in to make records the old-fashioned way and others who prefer to work remotely.
In 2020, my close brother and friend, British promoter Graeme Storr, and I founded SOULsvc, a full-stop entertainment company, artist management agency, and label imprint to develop and launch rock, blues, soul, and singer-songwriter acts from SE Asia that are internationally focused. Starting with bands and solo artists transferable to mainstream American and European markets, SOULsvc is committed to transforming national outfits into inter-continental organizations capable of theater, festival, shed, and full-scale sponsored runs.
To learn more about working with SOULsvc, click here.