Hello Rail Rockers!  Glad you came on over and checked out this page, which is where you'll get the real inside scoop on Whisky Train's debut CD, Automatic Sin.  Essentially this page will tell you the story of the making of the album, from the songs to the cover shoot to post-production, and the CD release party! 

I figured I would use this space to give a little background into each song’s creation and the actual process of writing and recording the song from my perspective.  And it is indeed a process, not simply just strumming along on your handy acoustic guitar or bass and calling it a song (though the initial ideas often come from such mischief!).  Lots of thought went into some of these songs at times, from instrumentation to lyrics to song structure.  The final product after the arduous process is hopefully a nice cohesive song.  Remember, it's all about the song-the sum of the parts-not simply just the lyrics, solos, etc. 

Dave and I have also included some bonus behind the scene photos on this page of the three of us at work recording and producing the CD at Green Venetian Studios.  Also, we have included the story behind the all-important cover shoot of Automatic Sin, which is after all the real selling point of the album. You should enjoy this story quite a bit!!!!

Enjoy the stories and pictures and roll on Rock Soldiers!

Backseat Romance

I actually was driving around one day in my car back in 2002 and the chorus lyrics and pop melody, as simple as they are, came to me: “She needs a little bit, little bit, little bit of love”.  I had already thought of calling a song “Backseat Romance” but I had no lyrics and no song structure.  I wrote the song with the chorus I came up with and decided to add in the backseat romance part.  As for the guitar riff, its only A major and C major, a good AC/DC kind of riff, although I was indirectly and unconsciously  influenced by a chord progression of Brain Setzer’s on an album I was listening to at the time.

It’s a simple chord structure but its catchy. That’s the idea. It’s about feeling, not virtuosity on this song.  Some of the lyrical phrasing and the double-tracked vocals are reminiscent of Kiss’s “All the Way” off of Hotter Than Hell.  Dave's lower octave recitation of the first verse is a more common theme found in some hard rock songs.  The ending round between Dave and me was an idea I’ve always liked on songs by Kiss (“Nothing to Lose”) and ZZ Top (“Beer Drinkers and Hell Raisers”).

Gotta Find Out

Not much to say about this song really.  I was looking to write a catchy kind of pop tune, in the style of Tom Petty during his really good early years (but hey he still rocks out now too!)  I really wrote the song around the bass line, which uses octaves as the key component of the bass line.  I kind of wanted a big fat McCartney-esque tone and bass sound….like on “Lovely Rita.”  I used my Epiphone "Beatle bass" which has  that phat round tone I was craving.  I had an earlier written but unrecorded song called "Out of Time" that had a similar bass line, so I copped it from myself I guess.  Dave plays the acoustic guitar on the intro to the song.  This song is featured on a national CD roots-rock sampler that has been sent to radio stations nationwide!  John Entwistle of The Who appears just two tracks prior to this one. This song is our best chance at a modern radio hit I think.

When we play the song live, it is a tad bit longer with a guitar break between the first chorus and the third verse.  It was eliminated from the record due to the fact that we were running quite low on the reel tape (ah, analog!).  Dave and I quickened the pace on the song as well to fit the song onto that reel.  It turned out to be a blessing.  The song comes in at under three minutes which helped it to land on the sampler, and the quickened pace gave the song some much-needed energy that the original demo was lacking.

Girl of My Dreams

When you are in Graduate School and have three hour classes, your mind somehow tends to wander a bit and you start writing some lyrics in your notebook.  In fact I would say 90 percent of all songs I have written have occurred in college classrooms!  As Springsteen says “I learned more from a 3 minute record than I ever learned in school."  Anyway, I wrote the lyrics to this song in class and finished it on one of my breaks in the lobby of the Administration Building at UMBC.  Lyrically, this is my favorite song.  It’s semi-autobiographical.  The first line “I just can’s seem to find my way into your busy day” is me reflecting on how busy the lives of me and my girlfriend really are.  The “every time I speak I seem to ruin a perfect thing” line is oh so true in relationships sometimes.  I’m better off with my mouth shut (ironic for a singer eh?).

The song structure is reminiscent of The Smithereen’s “Behind the Wall of Sleep.”  The vocal and drum break may also draw parallels with Smithereens songs like "Girl Like You" and "Blues Before and After."  The vocals were double-tracked on this song to give it not only depth, but also that mystical dream-like quality.  Catching that dreamlike atmosphere was imperative to creating the atmosphere of a song that talks about the girl of one's dreams.  The chord progression may keep you guessing at times, as opposed to a usual progression.  We also included extra measures of instrumentation in there just to fool around with the typical song structure a bit.  Again, this song is more of a pop, radio-friendly song as opposed to a raunchy rocker like “Backseat.”

Set the Nite on Fire

I specifically wanted a more modern type of song, a kind of  Sublime-type song with an Aerosmith edge.  So I sat down with my trusty Boss BR-532 and picked out a “Hip Hop” drum beat and came up with a crunchy guitar riff.  The bass line is very close to Sublime’s “What I Got”.  It keeps the song moving along.  Dave added some electronic drums (gasp!) to it as well to spice up the big beat during the instrument break.  The lyrics were written one night in the Formstone Palace (also known as my old basement).   Some of the lines are intentionally funny and quite suggestive ("rocket in my pocket when my baby comes a knockin").  The song almost didn’t make it to the CD because there was a glitch in the recording.  Dave and Oasis managed to bring it up to snuff and the song was saved.

Some may say that I sold out when writing this song. Yeah, I probably did.  I wanted a song that my peers/friends would hear and say…”hey, didn’t see that one coming from those guys!”  Then again, I never try to write to please anyone else.  So the song had to be heavy with a good groove and it had to have a hard rock vibe even though the song is about going out clubbin' (brings back the memories of many drunken nights with my friends at Bohagers and Power Plant Live!)  Interestingly enough, this song has become a live staple and one of the better-requested songs on the album.  Music Monthly noted this song in their review of our album. The instincts on writing and recording this one have proven to be right!

She Runs With The Night

What do you do when you have one half-written song and another song that fits the key and the vibe of that song?  Easy: combine the two and create one solid song.  Dave had an unfinished song titled “Remember the Face” for about three years.  Really cool song, with a 70's Steely Dan influence, with some cool verses but no chorus.  I helped add some lyrics to the song but it was still needing something extra.  I had a song called “She Runs with the Night”, a kind of  mix between The Kinks and the middle break a la The Who.  But the song didn’t cut it by itself.  Yet it worked well when combining it with Dave’s tune.  So, the final product was the song on the album and it turned out quite well we think - a good retro feel.   It was fun recording the vocals.   Dave and I both took turns singing into the single microphone which made us pontificate what it must have been like to be an Everly Brother.  Now if only we had their voices!

Additional Trivial Tidbits:

• The “backstage at the Garden” lyric refers to Madison Square Garden in NYC.  It's every band's dream to play MSG!

• Dave plays acoustic guitar at the guitar break.

• Dave sings the dual lead vocals on the verses and then we switch off on the leads when it segues into "She Runs with the Night."  Mike double-tracked the vocals during the bridge.

I Don’t Know

Some of the better song ideas come to me while I am driving in my car.   My girlfriend Jenn and I were driving around one night in January 2002 and the lyrics from the final verse (“Maybe somewhere down the road someday”)  just came to me…I liked how the “some” words fit nicely together into one phrase. I told her to write down the lyrics on a napkin for me and I stuck it up in my visor and forgot about it for about a week.  When I finally cleaned out my car I found the lyric and started adding to it soon thereafter.  I wanted to capture the idea of a musician losing his grip on his girl...that’s why I put the "I wrecked the backstage lounge” part in the song and why I alluded to playing a show.  Kind of like Kiss' “Beth” "…me and the boys will be playing all night.”  Or a too bad for you girl, I got my guitars and that’s what I need!

I decided to write the song in C-sharp (or enharmonic equivalent of D-flat).  Why?  Because not many songs are done in C-sharp/D-flat!  Everything is guitar-oriented in A or E most of the time and I simply just wanted to do something a little different which would give the song a different timbre.  The key gives it a darker edge, matching the angry lyrics to the first two verses.  The “happy” keyboard strings at the end reflect the hope of renewal that is mentioned in the final verse.  In case you are wondering, yes, these things are actually thought out this way when writing and preparing a song.

Lyrically this is one of my faves.  John Taylor provided the keyboard parts to the song.  The keyboard sound throughout the song is a very 80's synth sound, or perhaps it also recalls Rush's "Subdivisions."  The end string section is also John on the  keyboard.  It's a nice way to end the song; the melody tends to be on the sunny side of life, which shows a ray of hope and redemption that contradicts the earlier expressed lyrical sentiments (and chord progressions) in the song.

Devil Undercovers

I wrote this song specifically for the old band I was in, The Agitators.  We even recorded it for a CD that was produced by Andy Bopp (of Love Nut and Myracle Brah fame) but was never commercially released.

For the Whisky Train album, we needed a good simple straight ahead rock ‘n roll number and this one fit the bill.  The song wrote itself:  I-IV-V…three chords and the truth!  The lyrics talk about a fictional devilish, hot woman….hey, that’s what rock ‘n roll is all about!

Brian Comotto played the hell out of the keys on this one all in one take.  He’s a two-time Emmy Award winner and it shows on this track why he is the best keyboardist around Baltimore and the East Coast.  I had fun picking up my first love, the tenor sax, and ripping through the song.  I fondly recall recording the sax part in the living room of my old empty house at 3AM.  The fact that the room was empty provided a nice natural reverb to the sax and though it wasn’t The Coasters by any means, it turned out alright.  This song has pure energy.  The bass line is one I used to play sometimes on Chuck Berry’s “Betty Jean”, a song Dave and I used to do in The Agitators.  The middle break allows all of us to take a solo for a couple of measures. 

Nothing But Rainbows

Okay, this song originated lyrically way back in 1996 during my business class at Calvert Hall College High School.  I still have the original lyrics, though some of them were later changed.  I proceeded to get the melody and the final lyrics written after I came back from Senior Week in 1996.  The song’s about a girl, part fictional/part non-fictional, who won’t give you the time of day due to the fact that she doesn’t recognize that you really dig her.  At the time I wrote this I was really into the alt-country sounds of Wilco and Son Volt.  Son Volt’s “Drown” proved to be an influence on this song.  The phrasing of how Dave and I sing the word rainbow in the chorus purposely should evoke the Rolling Stone’s “She’s a Rainbow” from Your Satanic Majesty's Request, and “Blinded By Rainbows” from Voodoo Lounge.

The song was originally recorded by Dave and I for the Deuce “Instant Classic” CD in 2001, a side project the two of us formed while still in The Agitators.  The song really remains unchanged on Automatic Sin.   John Taylor added the Hammond B-3 organ sounds to the middle section of the song.  Actually, listen closely and that organ solo bears a resemblance to some Beach Boys tunes. That was done intentionally. You need the sun to have a rainbow, and the "happy" solo really lightens up the song a bit and gives it a cool sunny flavor so to speak.  We only hope Wilson and Love would be proud!

I’m Not Yours

Came up with the intro part first, with the melodic bass.  I also used a bass processor filter on the beginning and ending of the song as well to provide discomforting atmosphere.  Lots of delay on the vocals to give it that Ozzy/Sabbath-type sound.  Basically the song says to someone that you may not in fact be their knight in shining armor; that you are looking for a one-nighter and not to be the be all and end all of someone’s life.  The lyrics are mean and they need to be to fit the angry/aggressive/heavy tone of the song.   

The backward voices in the intro are mine.  It was recorded on a Fostex 4-track tape recorder and then was bounced backwards onto the Boss BR-532.  A good trivia question for those of you who read this and come out to the live shows (answering this will get you a free drink courtesy of Whisky Train):  What song is Mike singing backwards here?  Answer: Some King of Wonderful.  I thought it would be ironic singing such a happy little ditty for such a depressing song.

The outro is heavily  influenced by Sabbath, Kiss, and Rush.   

Snake Eyes

Dave and I broke off from The Agitators in April 2002.  We were primarily a roots rock band.  We love old rock 'n roll, rockabilly, and Americana music.  But part of us wanted to expand our sound and include some of our 60's, 70's, and 80's influences to any future performances.  Thus, The Agitators disbanded.  Between April 2002 and October 2002, I began writing a lot of original songs, many of them heavy and slanted towards the hard rock genre.  Part of the reason for this is that I totally love the hard rock sound.  The other part of me was writing these songs as a way to break from my Agitator past.  That's why Automatic Sin is a pretty heavy album.  Our next album probably will be a bit more rootsy/pop (at least the songs I'm writing right now tend to be more reflective of how I usually write...but don't worry there will still be heavy stuff on there as well).

"Snake Eyes" is a heavy song, owing its sound to AC/DC,  Def Leppard, KIX, and The Black Crowes whose album Lions I was listening to quite a bit when I wrote this in the early Summer of 2002.  I love the cowbell in the beginning.  MORE COWBELL, MORE COWBELL!!!!  The lyrics I think are kinda cool as well - some kind of humorous that might make you smile if you listen to them.  The end laugh is a great way to end the album as well - a jeering sinister laugh, a sign of a losing cycle and "rolling them snake eyes again."  This song is fun to play live and it got a great response when we opened for KIX at the Thunderdome.  It fit the night perfectly!

Don’t Knock It (Til YOU Try It)

On gigs I usually preface this song by saying that this is the “Just Say Yes” tune.  Yep, this song is about the holy trinity of debauchery:  sex, drugs, and rock ‘n roll. It has Def Leppard-influenced vocals and AC/DC feel to it.  I kind of wrote it as a followup to Buckcherry’s  “Lit Up”,  a song we sometimes cover at our live shows.  Dave begins the song with off-beat drum hits that cause a certain level of uncertainty for the listener.  It was originally recorded this way on the demo (on a drum machine) and Dave liked the feeling it created, so he kept it as part of the song.  It's cool when he goes into that one at live gigs. 

Some of the lyrics are sexually suggestive which is good rock ‘n roll (“I’m just looking for a little love/from a party girl that’s down on her knees”).  And no. I am NOT saying ” f-----n’ good time”…it is indeed “rockin’ good time”...although there is a double-entendre there for sure! 

The wall of voices on the chorus chanting “Don’t Knock It” is Dave and I multi-tracked about 6 or 7 times.  Producer Mutt Lange uses this effect a lot with AC/DC, Def Leppard, and (gulp!) even Shania Twain.  It gives a three-piece band a really big sound which is important on a song like this which harkens the memory of the hard rock 80s.   The end vocal ("Knock It!") is a nod to Josh Todd of Buckcherry.

Tearin’ Out My Heart

Dave wrote this song in 1999.  I suspect he may have been influenced a little bit by Kiss's "Psycho Circus" in terms of chord progression and also by Billy Joel in the chorus section (oh oh oh).  Hey you can't go wrong being influenced by those two artists!  Dave had the first verse and chorus written, but did not have a completed second verse.  He and I collaborated and wrote the second verse.  Listen to the lyrics and you'll see that often the lines show contradiction.  For example, "She's the source of all my pleasure/she's the cause of all my pain."  Dave liked the juxtaposition of the differing sentiments that the lyrics presented...a cool little literary method that can be found in poetry and music.  It makes the listener want to hear what the speaker is going to say next and makes one wonder how the speaker really feels about the subject matter.

Dave sings all of the vocals on the album track.  The recorded bass and drums sound particularly good on this track.  I used the Fender P-bass which gives the song a much bigger bottom than my Jazz bass does.  Dave's kick drum punctuates that big bottom sound and keeps the song rolling along.

Dave chimes in:

"I actually wrote most of the lyrics to this about five years ago before Whisky Train ever even existed.  At the time, I was writing with more of a roots-rock feel in mind and the original melody had the same rhythm and similar chord progression as Credence Clearwater’s “Down On the Corner” (try it - you’ll see that it fits!)  In fact, it was so similar that I rendered the song unusable because of those pesky ol’ copyright laws and what not.  So I shelved the idea for a few years and it sat in my notebook of many song ideas, phrases, and unfinished lyrics that have yet to see the light of day.

When it came time to start writing material for Automatic Sin, I remembered these lyrics.  I always liked how each line contradicted the previous one, and always thought that the premise was pretty cool.  Now I just needed to rework the music and phrasing a bit in order to fit the harder-rock style of Whisky Train.  As I sat bored one day at work in my pretty little cubicle, I started having a melody run through my head and realized that it could work with the lyrics I had written.  The result?  You got it - “Tearin’ Out My Heart”.  I always loved hard songs with a minor key motif and a darker sound.  If you follow the progression you can definitely hear the influence of Kiss’ “Calling Dr. Love” and even Guns and Roses’ “One In A Million”, but I kept them different just enough to avoid any legal issues!  Besides, as far as I am concerned, there really are NO original ideas anymore in rock and roll... just regurgitated and rearranged ideas from whatever influenced you in the first place!!

A few reworded verses by Mike (due to my mental blocks) completed the song and the song was recorded.  Nothing fancy, complicated, or terribly original, yet catchy just the same.  I like to have a song that is singable and memorable for the listener.  That’s what sticks with someone.

And by the way (just to keep the peace at home) the words are purely fictional!  The tale of an evil temptress who is evil and at the same time impossible to say no to, are not based on any living character!!"

Ride

Thank you Bon Jovi, Gene Autry, Tesla, Roy Rogers, and  Poison! Now that’s a group of people you thought you’d never see mentioned in the same breath huh?  Actually, a lot of hair metal bands had this image for cowboys which I always thought was cool.  Jon Bon Jovi obviously went all the way with it for “Wanted Dead or Alive” and Young Guns II soundtrack. Well, I like hair metal and I also love old cowboy and western songs as well.  I wrote the lyrics first with the music in my head.  I wanted to tell a story so I would call this the ultimate “story song” of the record.  Of course its sad since both men die and the women is left crying for the loss of her two loves.  But it’s a good little rocker anyways and it pays tribute to the old western movies and performers (anyone remember the Sons of the Pioneers?) as well as those 80's bands we love so damn much. 

The song was originally going to be a little more punk but I liked the feel it has here better.  Dave really came through singing those high backup vocals on this one.  Quick Trivia for another free beer:  Dave and Mike play the dual lead guitars on this song…a clear inspiration came from Thin Lizzy on this structured guitar solo.  Thin Lizzy  also  wrote “The Cowboy Song.”  So there is a nice intentional parallel and a way for us to pay some homage to some of our influences as well.

Destination Ahead  (NOT ON CD)

A song called “Destination Ahead” was first written by Dave and I way back when we were but wee little lads in 1982-83.  Back then we called ourselves The Demelteww Brothers; an amalgamation of the names Dave, Mike, and Walsh.  Suffice to say when you are 10 and 3 years old, the song is not really a song.  Skip ahead to 1995.  We spent an afternoon recording a blues song for fun, which was inspired by Fabulous Thunderbirds blues, as well as Grand Funk’s “Time Machine.”  I wrote the lyrics and “Destination Ahead” was completed.  This song, along with a cover of Kiss’s “Nothing to Lose”, turned out to be our first real collaborations in recording (not counting our childhood shenanigans!). 

“Destination Ahead” was originally recorded on the 1998 Loyola College CD by Flight 505 which was a duo of James MacIntosh on guitar and myself.  Recorded at Order Studios in Baltimore in November 1997, Dave filled in and played drums on the number and the CD was released in Spring 1998.  The song was first played out live by Flight 505  at the Garden Garage on Loyola’s campus in 1998.

When I joined up with Dave and Pete Baker in The Agitators in April 1999, the song became part of our repertoire as well. It was recorded for the never-released sophomore effort by The Agitators.  Dave and I also recorded and privately released it on Deuce’s “Instant Classic” CD.  When Whisky Train was formed, we added the song to our live shows, but because it has been around for so long  and recorded on numerous discs, Whisky Train elected not to release the song on Automatic Sin.  Perhaps it will be released on future CD down the road.

 Naming the Album

You could have the best set of songs in the world, but it's often the name of the album that helps sales the most.  We considered an eponymous CD, but since Whisky Train's band name comes from an old Procol Harum song, we thought that was probably not the best idea.  We wanted an album name and album cover that would help sell the album.  Our motto is that music is entertainment, half style and half substance.  Many bands miss the style aspect of the music business.  Whisky Train, always looking at our 70's glam rock idols, is determined to have both the style and the substance!  We will never be a Dave Matthews, flannel-wearing (Lumberjack style), or preppy band.  The more outlandish, the better.  People will remember you not only for your songs but for your look.  The Beatles, the greatest of all time, had a distinctive look as well as the music.  And they were FUN, which is the bottom line.  With those ideals in mind, we wanted an album name and cover that was representative of our philosophies.

I came up with the  title AUTOMATIC SIN.  We had already decided that "Backseat Romance" would be the lead off song on the CD.  Thinking of romantic interludes in cars, and the endless double meanings involved between sex and cars, led me to coming up with the name of the album.   We thought the title presented a hard rock title with a little sinister, outlaw-type vibe which characterized the music quite well.  On a whim, Dave and I then began coming up with ideas for the cover.  A great looking girl sitting in a sports car, nylons, cigarettes, a seductively placed hand on the gear shift, etc.  BAM, we had the idea for the cover.  Now we had to make it a reality!

Cover Photo Shoot

Ladies and Gentleman, Whisky Train presents to you, our good friend Miss Shelly Krulock......

Shelly is a good friend and former co-worker of my girlfriend, Jenn.  Shelly models around Baltimore and was named Baltimore Babe 2003 by B104.3 (before they went to the Smooth Jazz format).  She agreed to be the cover model for our album.  Now we had the great-looking girl, but we didn't have the great looking car yet, and none of us own sports cars!  Dave put in a call to his friends Pat and Rose Lange, proud owners of a black Monte Carlo, a car that would prove to be just sporty enough to fit the idea we were going for.  We were all set.  Jenn, Dave, and I picked up Shelly and drove over to Pat's house for the photo shoot.  Shelly was already dressed in her sexy clothing and we did the photo shoot, taking about 40 pictures in total.  Jenn was of great help, effectively being the photography director and telling Shelly which way to pose and what not.  It helped having another girl there so we didn't feel like we were ogling (too much) over the poor girl.  As you can tell from the cover shot on the album, the shoot went quite well.  Thanks again to Shelly, Pat, and Rose for their time and participation in the album cover.  Believe me, the cover gets a lot (and I mean A LOT) of notice!

Post-Production: Oasis Takes Control

With the cover shot completed, Dave worked his ass off to get the paperwork done so we could send the CD off for mastering, cover art, and duplication.  We had done a great deal of the post-production ourselves already, but we needed to have the CD mastered to bring it up to radio quality.  Dave and I designed the album cover, liner notes, and back cover and set it all up to send off for production.  We chose Oasis Manufacturing to do this work, a great company in Virginia which offers a lot of perks when they master your CD, and do one hell of a job in general.  Easily, the best mastering I have heard done on the local scene.  We sent it all off around April 1, 2004 and got everything back within 4 weeks.  Incredible job.  Thank you Oasis!

Several of the perks involved include having your song considered for cinema soundtracks (we chose "Backseat Romance") and placing your song on a nationally distributed CD sampler.  We are on the Roots/Rock sampler and the song is "Gotta Find Out."  It is on Disc 2, track 13.  Track 11 is by The Pioneers, and has The Who's late John Enthwistle on bass!  What a thrill to be but two songs away from the legendary bassist.  Whisky Train loves The Who and I consider "The Ox" to be my biggest influence on bass.  It is a great sampler CD, with lots of great music.  We are proud to be a part of it!

CD Release Party - May 29, 2004 Champion Billiards and Cafe

We decided to have the CD release party on Memorial Day Weekend at Champion Billiards and Cafe.  We could have chosen many places to release the CD, but we chose Champions for several reasons.  First, Champions gave us our first gig back in March 2003 so we felt it was only right to try to pack the place and thank them for taking the chance on us back in 2003.  Secondly, Champions was a huge room in which we could pack in the crowd.  Most importantly, the staff at Champions had always treated us with respect and also treated our fans with great respect as well.  That's sometimes hard to find in a restaurant or a club.  Champions was and is a first class establishment!

We did end up having a really big crowd that night. In fact, up to that point, excluding the Towsontown Spring Festival, that was our biggest crowd yet in a club...nearly 100 people in attendance, most of whom bought the CD!  We started the night out by showcasing all the original songs on the CD in one set, and then finished out the evening playing some of our favorite covers.  We also raffled off several CDs and gift certificates to Champions and Record and Tape Traders.  Shelly, Jenn, and Dave's wife Karen served as the official emcees for the raffle.  It was a lot of fun and something different to do at a gig.  We also managed to capture the historic night on video.  It will be good to have that night on tape for posterity. 

Unfortunately, Champions has stopped having bands play at their many venues throughout the state of Maryland.  We are indebted to Jodie and her staff at the Towson/Parkville Champions for giving us our first big break and for letting us have our BIG PARTY there in May.  Once again, thank you!

(Jenn and Shelly raffling off prizes at the CD Release Party)

Conclusions

All in all, the total experience in writing, recording, producing, and releasing our CD could not have gone any better.  We pulled it off and released the CD to great success.  The next step was to keep up the sales and keep up the gigging.  That's what we are doing right now.  Advertising the hell out of the CD and gigging all over the Baltimore-metro region.  Since then, the strength of the CD has procured us opening slots for national recording artists such as EDDIE MONEY, KIX, LA GUNS, and UFO.  We thought the CD was pretty good and now we're letting the music on the CD and our gigs do the talking.  We hope you purchase this CD if you haven't already.  Crank it up loud and rock out!  Thanks again for reading these ramblings and getting a closer look at the inner circle of Whisky Train.  See y'all at the next station!  AND GET READY FOR THE NEXT ALBUM...SOME DEMOS ARE ALREADY COMPLETED!

Long Live Rock!

--- MIKE "BASSDOG" WALSH