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Steve Connelly and the Lesser Gods | Every Monster

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Roger McGuinn The Byrds Tom Petty

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United States - Florida

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Folk: Folk-Rock Rock: Americana Moods: Solo Male Artist
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Every Monster

by Steve Connelly and the Lesser Gods

As a producer and guitar-slinging sideman extraordinaire, Steve Connelly may be "the lynchpin of the Tampa Americana scene" (Thank you, Creative Loafing) but this collection of crafty folk-rock originals exposes his songwriting prowess for all and sundry.
Genre: Folk: Folk-Rock
Release Date: 

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  Song Share Time Download
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1. Kingdom Come
3:50 $0.99
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2. It Takes All Kinds
4:14 $0.99
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3. Every Monster
4:11 $0.99
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4. Judgment Day
4:30 $0.99
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5. Underachiever
3:05 $0.99
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6. Time To Fly
3:37 $0.99
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7. They Killed Love
3:07 $0.99
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8. Crowded In Here
4:52 $0.99
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9. The End of David Watts
4:40 $0.99
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10. Inside Today
4:55 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Long hailed as a leading light of the Tampa music scene, Steve Connelly has spent the
greater part of the past decade-plus helping other bay area musicians realize their
sonic ambitions. Whether lending his legendary guitar prowess to a live performance
or utilizing his expert production and mixing skills in his studio, Zen Recording, Connelly’s
special touch can be heard gracing the work of dozens of the central Florida region’s foremost
acts, including Ronny Elliott, Have Gun Will Travel, Rebekah Pulley, Uncle John’s Band, The Ditchflowers, and many
more. Yet Connelly’s own music has been in frustratingly short supply.
That hasn’t always been the case. Throughout the 70’s and 80’s
and into the early 90’s, Connelly’s band, The Headlights, were a
mainstay on stages throughout Florida and the southeast. Though
Creative Loafing would later dub Connelly the “lynchpin of the
(Tampa) Americana scene,” The Headlights were Americana
before the term had even been coined. Markedly influenced by
the jangling folk-rock of The Byrds, it was fitting that ex-Byrd
Roger McGuinn would invite them to tour America and Europe
as his backing band in support of his well-received Back From Rio
album. Back from the tour, though—and such heights as playing
The Tonight Show and opening for ZZ Topp in Helsinki—the
band members decided to part ways and Connelly began his
career behind the recording console.
Connelly largely kept to his studio endeavors, along with frequent
generous appearances in clubs as a sideman for clients and friends.
When one such client, Vance Borland, casually asked him about
plans for recording his own music—or the lack thereof—the ses-
sions for what would become Every Monster began. Borland of-
fered to man the controls himself so that Connelly could take his
place on the artist’s side of the control room window for a change.
“We had no plan,” says Connelly. “When [drummer Dave Ru-
dolph] came in for the first session, I didn’t even have a song list,
no direction...I just picked a song.”
The song turned out to be an old Headlights standard, “Crowded
In Here,” with its comfortable, rootsy lope and lyrics that deal,
fittingly, with Connelly’s lifelong love affair with the guitar. Add
a dash of gospel-tinged background vocals courtesy of Borland’s
friend, Madelyn Adams, and a handful of barn-burning guitar
breaks, and the album was officially off and running.
Connelly and Borland stuck with the “No Plan” plan. Adams
contributed more background vocals throughout the CD, and
along the way Connelly invited in two other A-list drummers,
Marc Dupuy and Bryan Thompson, to help out. Connelly played
and sang the rest, bouncing ideas back and forth with Borland,
as the song list emerged track by track. Some, like “Crowded In
Here” (Track 8, 4:51) and “Kingdom Come” (Track 1, 3:49)
are longstanding Connelly rockers that had never been recorded.
Elsewhere, Borland adds his cryptic lyrical touch to two of the
newer, more atmospheric songs “Every Monster” (Track 3, 4:10)
and “The End of David Watts” (Track 9, 4:38). “Judgement
Day” (Track 4, 4:28) updates an earlier Headlights recording
that had won the band a trip to Willie Nelson’s recording studio
back in 1986, and the album-closing ballad, “Inside Today”
(Track 10, 4:55), is seemingly channeled directly from Connelly’s
soul through the wires of the old piano at the back of his studio.

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