Steven R Trent

Hello my friends!

It’s been a tough few years for me in the music business, but for the first time since 2018 or 2019 I’ve been able to spend time on doing this thing that I love to do.

Between life get too busy for me to do anything but work and exist, and then the dreaded Covid 19 virus shutting everything down for a few years, I had very little time or resources to put into any artistic endeavors.

And, it was pointed out to me that I hadn't even taken the time to update my website in years, and some of the posts and info were 5+ years out of date!

But since my last website updates, despite there being some down years, there were also some exciting new developments.

For one, Mrs. Trent is not only the one woman road crew, but has joined the Flat Broke One Man Band as my percussionist and stage foil — perhaps we should now be called the Flat Broke Duo!

I have updated my green screen area in the studio and upgraded my studio gear.

We’ve written some new songs

We’ve booked a few more shows than we have been booking since 2019

I’m looking to do a bunch of recording this fall after we get past the summer gig season

We’ve done a photoshoot and came out with some good pics

And last but not least, I have had some time to update this website.

And I have some goals set for the immediate future, and have been working towards them, like getting more content up and running online, more videos created and posted, more music streaming, new shirts and merchandise created and manufactured, and things like that. 

The creative fires are stoked once again, my health is better than it has been since 2019, and we are very excited to get out there and see all of the friends and fans that we have made over the years!

~SRT 2023

  I saw my friend Ray yesterday at a fantastic Hot Rod Show where I was performing at, (put on by the Artists of the Rustbelt and the RoadhoundsCar Club at the B&O Station in Youngstown Ohio.) 

   Seeing Ray yesterday, and as always, is such a great pleasure for me because my friend Rockabilly Ray Kollar is one of my favorite people ever.
   And to anyone who likes the music I perform today, I have to tell you, Rockabilly Ray is one of the biggest influences and inspirations I have had.

   You see, I met Ray back in 2007, but first a little back story…
   By 2007, I considered myself completely retired from music at that point of my life; I had just gotten married a few years earlier, I had just turned 40 years old, and I just felt like music was a closed chapter for me
   Now, I was still playing a little music with an all original hard rock/ alternative style band with some friends of mine, but we were basically just parked in a basement.
   No one really expected it to go anywhere; just some friends hanging out and making music once a week in a rented space in an old warehouse.

   As I was hiding myself and my playing away from the world in those old brick walls, I started thinking about how much music had meant to me all my life, and how much it had given me in the form of opportunities, life experiences, and lifelong friendships.
 
   I started getting the bug to do something more with the music.
 
   But I was also looking towards the future.
   My 40^th birthday had already passed…I had a fast food physique, and a construction workers hands and schedule.
   I couldn’t see myself continuing on playing the kinds of loud rock I had played up until that part of my life.
   My heart wasn’t in it anymore, I wasn’t inspired by those sounds any longer, and I also felt increasingly undignified clinging onto music styles best left to younger people than myself.
 
   I talked to my wife Jean about all of this, and had been telling her about how much I really liked vintage music, especially old time blues.
   Jean could tell I was in a real rut, so she started picking up some CD’s for me and bringing them home... Muddy Waters, Robert Johnson, etc. (yes, you used to be able to buy music in a store in the good old days of 2007)
 
   Well, the bug was really in me then, but the guys that I was playing with had no interest, or ability to play this kind of music.
   So I started looking around for a side project to my side project (that’s how we musicians do it)
 
   So I’m digging into all of this vintage music, and I’m scanning Craigslist and BackPage everyday looking for like minded musicians, when I run across an ad in the Youngstown Craigslist- “Wanted- Rockabilly Guitar Player”
 
   Well, I thought to myself, I have always loved rockablly. I had saw Reverend Horton Heat way back in ’93 or ’94 and I’m not sure why I didn’t start playing rockabilly way back then.
  I had grown up with all kinds of rockabilly and country western music via my parents, who were both born in the ‘40’s and grew up in the ‘50’s and ‘60’s.
 
   So, I see this ad in a city only about an hour away from me, and think “what the hell, I’ll give ‘em a call, it’s not Lightning Hopkins, but this may be even more of what I've been looking for."
 
   Well, that is when I met my friend Rockabilly Ray Kollar.
 
   I went out to Youngstown and met up with Ray and an upright bass player named Fred (whom Ray had found in a previous Craigslist ad) and the rest is history.
   The three of us eventually turned into a band called RumbleDaddy, which jump started my music career into what I am doing today.
 
  Ray is, and was when I first met him, a retired Auto Worker.
  He built Chevy’s in Lordstown Ohio for 30 years, and when I ask him what he did at the plant, he tells me he was a Robot.
  (upon further questioning, Ray eventually told me stories of how when he was working in the plant, he'd have the Cramps and The Blasters, The Paladins, and great bands like that blasting away on a boom box at his work station; he was a rockabilly apostle to all of those auto workers long before he met me)
 
  When I met Ray, he had this enormous collection of rockabilly and blues music; cassettes, records, CD’s, MP3’s, you name it.
  Ray was obsessed with all of the music that I wanted to learn about!
 
   Every time I went to Ray’s house for a rehearsal or just to hang out, he loaded me up with CD’s that he made for me out of the tons of music he loved and thought I’d dig.
 
   In fact, at one of our first rehearsals, he gave me both Hillbilly Hellcats albums, a bunch of music by Fort Wayne’s Kenny Taylor, and a Legendary Hucklebucks CD.
   He said, “Just play like these guys, and you’ll be fine” ...(I still can’t play like those guys!)
 
   Ray knew everybody, and introduced me to a lot of great people and music.
 
   Seeing Ray at my show the other day, it occurred to me how many of the songs that I still cover, were songs that I had played with him, or songs that he had given to me for my listening education.   

  He taught me how rockabilly is supposed to sound, how an Upright Bass player should play and sound, and how this music can be carried with simple drums played on a two piece kit. (Ray only occasionally set up a floor tom back then, he mostly used just a bass drum, a snare drum, a hi-hat cymbal and a ride cymbal)

  These days, Ray is playing in a traditional country band with a bit of rockabilly thrown in.
  They are called the Muleface Brothers and I can’t wait to get out and see them soon.

 


God bless you Ray!
   I’ve never met anyone who loves a fart joke, or old Hoolihan and Big Chuck skits, or vintage music as much as you.
 
  And thank you for the part you played in steering my life to where it is today!
 

   In a few weeks I’ll be performing at the Rally in the Valley for the 4th year in a row
  This fantastic event is hosted by the Street Lordz Car Club, and held at the Bullskin Township Fairgrounds in Bullskin Township Pennsylvania!
 
   This is something that we look forward to every year.
   The first year I played at the Rally in the Valley, I had just gotten the One Man Band up and running and this was one of my first really big shows with it.
   I did pretty good I guess, because they keep asking me back!
   We met so many great people and made so many friends… it’s really great to get out and see everybody every July
 
   All of the cars there amazingly fantastic, and the people ever more so.
   It’s always a thrill for me to be amongst people who have such a strong passion for something, and car people definitely have a passion and dedication (obsession?) which I love to be around.
 
   One of my favorite things about this show is that all of the trophies are hand made, one of a kind, original pieces of art.
   You all know how much I love that DIY spirit in action.
 
   And, as a huge bonus for me personally, every year The Legendary Hucklebucks are on the bill as well.
   When I first got into playing rockabilly, years ago, I joined a band put together by my awesome friend Rockabilly Ray Kollar.
   At the first rehearsal, Ray handed me several CD’s one by the Hillbilly Hellcats, and the other by the Legendary Hucklebucks.
   Ray told me, just play like these guys and you’ll be fine!
   Well nearly a decade later, I still can’t play like any of those guys!
   Ray was setting the bar pretty high!
   The Legendary Hucklebucks are gritty and raw, they play sort of a dirty blues-a-boogie, urgently rockin' psychobilly, with a twist of punk and metal...the kind of music that just says Pittsburgh, (which is a city that I LOVE by the way)
   Piddles is a legend on the upright bass, and Ted is truly a one of a kind front man; a terrific singer and a fantastic harp player. (Johnny and the rest of the guys are great too!)
   I can’t tell you how much I LOVE the Hucklebucks
 
   And, I’m not sure about this year, but usually my friend Memphis Mike is on the bill as well.
   Memphis Mike is a one of a kind rockabilly guitar legend.
   He’s met and played with everybody.
   Do yourself a favor, if you love rockabilly and country blues guitar, find Memphis Mike, and start up a conversation with him.
   He loves to share his knowledge, and you will love listening to him converse as well as listen to him play
 
   Anyway, this is really about the car show that The Street Lordz put on.
   It’s a fist class event, and if you love vintage cars and vintage music, and you live anywhere within driving distance of Bullskin township PA, you owe it to yourself to come on out and spend the day with a bunch of folks with a passion for cars and music!
 
Saturday July 19^th 2014
Show starts at noon

Bullskin Township Fairgrounds
895 Pleasant Valley Rd, Mt Pleasant, PA 15666   

   

What is Slapback Echo?
   I often get folks asking me about how I get my guitar and recordings to sound the way they do.
   Or I hear them remark that my stuff sounds so authentic, or how much they love that certain sound from the 50’s, but they can’t describe it.
   Well, a big part of what these folks are hearing is Slapback Echo.
   What is Slapback Echo you ask? Well, that’s what I’m about to tell you…
 
   It started out in Memphis, way back in the early 50’s when a young guy named Sam Phillips started The Memphis Recording Service.
   Sam recorded anything and anybody back in those days, weddings, funerals, and amateurs… whatever paid the bills.
   But what Sam really loved was off the wall, raw authentic music, so he started up Sun Records to release music by some of the acts that he discovered
   I have not yet been to the Sun Studios, (and yes, it still exists and from what I hear the room is pretty much the same as it was back then), but from what I understand it’s a big open room with high ceilings and lots of corners for the sound to bounce around in.
   Through trial and error, Sam knew where to stand the musicians to get the sound he was hearing in his head.
   In fact, I hear that there is still an X on the floor where he had singers like Elvis Presley and Johnny Cash stand to record their vocals. (Sam discovered both of these fellas along with an army of other legends)

  Here's how it went,  the band set up and played, and Sam’s microphones would capture those instruments bouncing off of the walls. (They played all together in those days, no overdubs)
 
   But that is not totally the magic secret to Slapback Echo; and it WAS a big secret at first, because none of the New York, LA, and Nashville Big Shot studio and recording engineers could figure out HOW some backwoods cat way down in Memphis could get a sound like this. He was making 2 or 3 musicians sound like an 8 piece band!
 
   Well the secret was this, Sam had rigged several tape machines up so that they recorded the sound of the room in real time, but when it played back, he had set up one of the playback heads to play the tape a fraction of a second later.
   So basically you would hear the sound of the voice or music, and a split second later you would hear it again. But the tape heads were so closely synced, that it was not discernible to the ear that it was two different recordings. It was just a thick fat sound that made everything sound HUGE.
   It was a studio trick or gimmick, but it still sounds FANTASTIC!
   (trivia, the story goes when RCA bought Elvis contract, they could not figure out how to get the Sun Sound, and they eventually recorded Elvis singing down a tall stairwell)
 
   Nowadays, there a zillion ways to get a digital slapback echo, but back then you had to do it with magnetic tape.
   There were tools like an Echoplex, or amplifiers like the Echosonic. All of which used magnetic tape that ran in a loop and was manipulated mechanically.
 
Now, for some of my tricks to get a good Slapback Echo

Live- I just use a Danelectro Dan-Echo pedal that I bought about 12 years ago. These things are purple and ugly, and very cheaply made (and cheap to buy too). But they have a little toggle switch on them specifically for Slapback. It sounds awesomely crappy and perfect for what I do.
 
*Tip- the key to good slapback is getting it to repeat just once.
You don’t want a Slapback that keeps bouncing and echoing. That just doesn’t sound right at all.
And it should not be in tempo with the song, unless it just accidentally falls on the beat.
Remember, you’re trying to emulate Sam Phillips modified dual tape heads
 
When recording digitally- there are several ways to do this while recording digitally.
   The simple way is to plug in a delay and set the parameters.
   You basically want to set it up for one repeat (or not more than 10% on Cubase) and the delay time should be between 60 and 120 milliseconds.
   As far as volume or the mix of the delay, you should leave that up to your ear, but if its too loud it sounds cluttered, and if its too quiet…well, why bother?
   At 60 Milliseconds, you don’t hear much doubling, but everything sounds a little thicker and fatter
   At 120 Milliseconds you are REALLY starting to hear the distinct doubling of the sound.
 
   I once read an interview with The Reverend Horton Heat, and he sets his Slapback at 113 Milliseconds, which sounds awesome of course with Mr. Heaths amazing playing
But 113 sounds a little busy when I try it on my sound, so I keep everything around 100 Milliseconds
 
  Now for MY big secret….
  The coolest Slapback I get, (and I don’t use this trick all the time) goes like this…

• Record the vocal or guitar part that you want to effect with Slapback Echo.
• Next, what I do is, I will use at least two mics, going to 2 separate tracks…even on my voice.
• Now, pick one of these tracks, and manually move or drag it to the right, somewhere between 60 and 120 milliseconds from where it started.
• Now you will have a very cool MONO slapback echo, which you have complete control over.
• I often will pan the Slapback track farther to the right or left than the other one, pull the volume down on it, and EQ it so it has a little more high end and maybe even overdrive it a nudge...I know I just said mono, and I'm talking about stereo panning. But when you use a digital effect, it pretty much shoots the delay across the stereo spectrum. But with this method, you are keeping the actual slapback panned to the left or right like it would be in a room if the sound was bouncing off of the back wall or something

* Tip, if you can’t, or don’t want to, use two different mics for two different tracks, you can record your take on one track, and simply duplicate the track digitally.
By EQ’ing and panning it slightly differently you can get a similar effect

Here's a link to one of my songs, where I use the above described Slapback Method... Blue Collar Man
 
One last note- to all Live Sound Engineers
   Most of the places I play, the live sound engineer rarely even asks me what, or even if, I want any kind of delay or reverb on my voice.
   But on the rare occasion where they do ask me, I’ll say “a little Slapback on my voice would be fantastic”, and they usually say, “what is Slapback”
   I will briefly explain it to them, but they usually don’t quite get what I’m saying.
    Which is understandable, since we are usually covering this in about a 30 second conversation…
   But the end result is usually I end up with a huge delay on my voice that would sound right at home at a Pink Floyd concert LOL
 
   So to any live sound engineers that may be reading this, I hope that this explains everything a little more clearly than our 30 second conversation before the show
 
Disclaimer, you a should all know that the information contained in this blog is in my own words, from my memory and my own understanding of the facts, without any further research before I started writing this, so any music nerds out there that want to correct me on the facts, please feel free to start a dialog!
 
* One other piece of random trivia, Sam sold Elvis Presley’s contract to RCA for $35,000 back in the late 50’s, which at first seemed like a terrible idea. But Sam invested this money and started up the Holiday Inn hotel franchise, which obviously made him super wealthy.
Sam Phillips never let anyone tell him how to do things, and neither should you if you believe in something
 
Thanks
~SRT
 

  So here’s my newest song…Mr. Bad Cat
  Mr. Bad Cat is a brand new song for me.
  While I was recording the Smoky Mountain Encounter, Mr. Bad Cat popped up unannounced with his claws out, grabbed on to my earholes and wouldn’t let go.
   In fact, I had trouble not dropping what I was doing on the other song, because I wanted to dig in to this one right away.
   But, I think it was better that I waited a few weeks to work on it.
   I had my first two shows of 2014 last weekend, and I played this song at both shows, and I think it helped for it to ferment just a little… although, it is still pretty raw and ragged!
 
  Now even though the song is brand new, I’ve had several of the components floating around for a while.
  In fact, I remember exactly where and when I first made up the guitar part for this one.

  Every year, I play a party for my friends Wendy and Victor Ing; they have a big old southern boil, and it’s just a great time out in their backyard every summer.
   Well, I usually end up playing for about 4 hours, and I do a lot of improvising because it’s a pretty laid back event.
   I ended up making this guitar part up off the cuff, and it stuck with me ever since last August (2013).
   It’s been my sound check riff for sure haha.
 
   The other component I had was the title... I’ve had that for quite a while too. (In fact, many of my songs start off as just a title waiting for some words)
   Ya see, we have a cat…and his name is Mr. Biscuit…but I usually end up calling him Mr. Bad Cat, because that’s what he is.
   At least that’s what he thinks is… a real tough guy haha.
   Well, that title finally clicked together with this guitar part; after that, the words came pretty quickly.
 
   So, I debuted the song at the Buzzbin Shop, a great live original music venue in my hometown.
   Also on the bill that night was the incomparable Matt Woods, with Larry Fulford on the drums.
(Larry’s one of my favorite drummers and musicians, but that’s for another blog)
   So Larry comes up to me after my set and tells me that he and Matt were floored by Mr. Bad Cat, they were cracking up over the lyrics, especially where a go… “with a capital BAD…C-A-T”.
   Larry was like…”not just bad…but capital BAD”

   I told Larry that I have an actual Bad Cat at home, and he asked (with some disappointment)… “It’s about a cat?!”
   I said, “well, it’s about a cat… or a dude…a bad dude”
   He said, “No, it’s definitely about a dude!”
 
   That launched us into one of those great conversations I love having with another well-versed musician.
 
   You see, I have always loved those old 40’ and 50’s Blues, and Rhythm and Blues, songs where all of the lyrics have a double meaning.
   So me and Larry were throwing all kinds of examples of these types of songs back and forth.
   For example; Big Joe Turners Shake, Rattle, and Roll … “I'm like a one-eyed cat peepin' in a seafood store”…have you ever THOUGHT about those lyrics before!!!
   Or the song, Little Bitty Pretty One…I’m not even going to talk about that one…Yikes
   How about Big Mama Thornton… “You ain't nothing but a hound dog… Been snoopin' round my door… You can wag your tail…But I ain't gonna feed you no more”
   This could easily turn into a three hour discussion, because I love those double meaning kind of lyrics.
   But, to wrap things up for you all, and for my friend Larry, Mr. Bad Cat is about a dude…a very bad dude indeed.
 

   To record this one, I used my brand new, sea foam green, Fender Vaporizer amp.
   So far I LOVE this amp.
   Just stick a mic in front of it, and that’s it.
   No EQ, no BS, no pedals…BAM!
   One take and done!
  
   For the vocals I used my Shure-55.
   The vocals are really, really overdriven on this one; (by design).
   Whenever I get up in a higher register with my voice I tend to overdrive a mic, so I left the volume cranked up and let it all happen
   Also, Jean shot video of me tracking all of the parts, so I pulled the audio from the video camera and mixed it in with the guitars, vox, and drums.
 
   That’s about it for this one…stay tuned for the video of the actual studio performance, coming soon!
~SRT
 
Update…heres the video!

 

This next release is called The Smoky Mountain Encounter
 ...Listen to it here
 
Well we packed up all our luggage in our ragtop Ford
The first thing you should know is that we’d made this trip before
Cuz we love them Smoky Mountains; we don’t even need a map
We put the top down and point our nose towards the Cumberland Gap
But things were gonna get just a little weird this time around
 
Darkness fell fast with no moon up in the sky
The trees were hanging low; the road was strange on this eerie night
Weird lights tailing us: headlights failing us
We wanna put the top up, but I can’t risk a stop
Slowed it down to a crawl on that mountain as time stood still
 
The next few hours was a jumble of events
Vague recollections of a kind that make no sense
Dashlights flickerin’, the clock took a backwards spin
Static cross the dial as we’re flooded in unearthly light
Stopped dead in our tracks as memory fades into black
 
We finally came around as we were heading down
The other side of that mountain 
With the sun sitting high in the sky
The only souvenir we’d picked up on that ride
Was a subconscious dread of objects unidentified?
That’s about all I recall, nothing much more I can say
Now I got a good tale, to pass to my grandson one day
 
   The lyrics to this song are loosely based on a story my grandma had told me on many occasions over 40 years or so.
   Now, when she first told me this story, about a trip through the smoky mountains in the late 1950s in their convertible, I was probably 7 or 8 years old, maybe younger...and I asked her to tell it to me many times in the following years, up until last year, when she told it to me for the last time.

   But, when I first heard her tell this story it was the 1970’s, and movies like Close Encounters of the Third Kind were in my mind, as well as TV shows like Leonard Nimoy’s In Search Of, which seemed to frequently feature stories about UFO’s and Alien Abductions.
   Now, my grandma was such a terrific story teller, that as she was telling me about what happened to them on that dark and eerie night in the smoky mountains...
   -where they couldn’t get the top up fast enough on the car
   -and they felt as though something was following them…watching
   -and they stopped for fuel in the middle of the night in a place that shouldn’t of even had a store, let alone all of the weird looking people that were in the store staring at them silently...

   Well, my imagination filled in a lot of blanks!

   So this is the story she told me, processed through the filter of 1970's pop culture in the mind of a 10 year old
 

  
   Now, I’m sure that you noticed; I had a guest star sit in for the intro to this track, none other than OUR grandson, Mathias.
   It makes me pretty happy to pass along a story from my grandma down to him.
   And he did a great job getting up in the mic and doing his part, especially since he’s not even 3 years old yet!
 

   This is a fairly new song for me, and I have only played it live once or twice. It’s a fast one and its hard to play, so I had to rework the arrangement a little before I recorded it.
   I did however play it at a show at the BuzzBin Shop in Canton Ohio, and my friend Bill Locke who is the drummer in a fantastic band here in Canton called The Said So, grabbed me after the set and said, “What was that fast one? I like that one!” so I knew it was a keeper!
 
  The music itself actually came about in sort of an unusual way. I adapted and borrowed the main guitar riff from some music I had created for a documentary that one of Jean’s friends had put together …read more about that here if you’d like
 
   I used my late 30’s Kalamazoo on this song. I split the signal, running one side direct into the board with a couple of cheap transducer pickups that I taped together, and the other side I mic’ed up with my Shure 55.
 
   The whistle track at the beginning was me, and A LOT of reverb and slapback delay
 
   This song is one of the first I have recorded that reflects how much old time and mountain music I love and listen too.
   It’s not really a rockabilly song; but what is rockabilly anyway, but a mixture of hillbilly music, rhythm and blues, jazz, and great American Music.
   So hopefully you will all bear with me as I explore some more sounds in the future
 
   I’ll be playing this one at my first two shows of 2014.
   The first show being Thursday March 13th at the BuzzBin Shop …click here for details
   And the next being Sunday March 16th at Sadie Renes in North Canton  …click here for details
 
See ya soon
~SRT
 
 
  
  
   

   A couple of years ago, a friend of Jean’s, asked her to be a part of a documentary that she was putting together.
   Leah is an elementary school art teacher, and the documentary focuses on how art, and creating art, continues to impact us as adults.
   She was interviewing Jean on her photography, and jean may possibly end up in the film when it’s complete.
 
   She asked Jean if I would be interested in contributing some music for the soundtrack.
   I said sure, that sounds like fun!
   Well, I had about a month to put some stuff together. So in true SRT fashion, I waited until the last day. (I work well on a time crunch I guess)
 
   So Jean tells me, Leah is coming over today around two o’clock to pick up the music.
   That was about 10 am.
 
   Now, even though I had been procrastinating, I had been giving the project some thought. I had just got a 1937 Kalamazoo Archtop, and had made a brass slide, so I decided to see if I could come up with some dark Appalachian meets swampy blues stuff.
 
  I went down into the Flat Broke Subterranean Studio and flipped on the power to see what would come up. I set everything up and hit record and improvised a bunch of stuff for about 2 hours.
 
   Then… I started going through the entire session, and cutting out stuff that actually sounded like something.
   Since I wasn’t concerned with entire songs, I was able to in some cases, just pull out some minute long vamps and parts, and trim off the rough edges and call them “something”
 
   Since then, some of these parts have made there way into my set as actual songs, like “Smoky Mountain Encounter”, and “Motorhome Deluxe.”
 
   Well… I was still editing by the time Leah got to our place, but that gave her and Jean some time to visit.
   She had brought her son Alex along, who was probably around 8? years old at the time.
   He came down to see what was up and wanted to help, so I asked him if he wanted a job.
   He of course said yes, so I asked him if he wanted to lay down a track, and it was a YES! again.
   I have these little shakers lying around, so I set up a mic, slapped some headphones on him and told him to just shake the shakers in time with the song.
   I figured if it was out of time or whatever, I could edit them into some kind of part.
 
   Well, I hit record and he locked right in and laid down a solid part on one take!
   I just sort of edited out the some unnecessary noise at the beginning and end and called a song.
 
   That about wrapped my session, so I had the girls come down and take a listen, and when Leah heard her son playing the shakers on that one song, well she looked so happy I thought she might cry.
  
   She took a CD of the stuff with her, and I’ve seen a couple of preliminary drafts of the movie, and I think my stuff sounds pretty good in it.
 
   Now the movie is still not quite finished and ready for release, and who knows if my songs will make the final cut, but it was a fun project and a fun day anyway.
   When the film comes out, I’ll post some links to it, and until then, here are some links to the songs I made for it
 
   Until then, here’s a link to the tracks that I spontaneously created and recorded that day if you would like to check them out
 
 
Cheers and have a great day!
~ SRT

   So, I’ve never really been the kind of guy to keep a journal, but it seems like these days you have to “blog” if you have a website or anything you want or need to promote.  
   Now, the problem is, I don’t really like the word BLOG. I never have.
   To my ears, the word sounds like the noise that is made when someone is leaned over the toilet after a night of too much booze and tacos.
   So I looked up some synonyms and kicked around some ideas
 
Journal
Chronicles
Bulletin Board
Memoirs
Archives
The Pipeline
The Scoop
Dear Diary
Confessions (of a One Man Band?)
(Flat Broke Steve’s?) Almanac
Annals from the Road (sounds too much like Anal !)
The Adventures of…
For the Record...

  All of these are actually worse than the word blog!
 
  In the underground roots music scene, a One Man Band is often referred to as OMB…
so here it is, Steven R Trent’s OMBlog

~SRT