A long time ago in a galaxy known today as Bowling Green, Kentucky, two like-minded individuals, dare I say soulmates, met each other at Western Kentucky University through a mutual friend. Jason Clark, songwriter/vocalist/guitarist in a group called See Rock City, was looking to replace his drummer. The drummer was adequate but not really into the music the band was playing nor all the music Jason was into. Enter me, Kelly Minnis. I was a slightly more-than-adequate drummer and, most importantly, Jay and I agreed musically. The old drummer was jettisoned and I, Jay and his old pal Troy Brown emerged as See Rock City reborne. In 15 months we wrote and recorded three albums, 1996's self-titled album, and 1997's Eiffel Towering Inferno and double album Modern Angel Mascot. In May 1997, I left Bowling Green to move to the west coast to get married and go to work. Jay stayed in Bowling Green. 1998 saw a posthumous release of leftovers from SRC entitled 20,000 Leagues Under Me. There were three key ingredients to See Rock City's sound: 1. Jason pushed his Tascam four-track cassette recorder to its very limits, coaxing an ultracompressed, tape-saturated rock sound. With a limited number of tracks and analog technology, the SRC albums had a definitive sound that was able to heighten the high energy rockunroll contained on those master cassettes. 2. Kelly began writing songs and playing guitar with much encouragement from Jason and inspiration derived from other drummers- turned-songwriters like Dave Grohl, J Mascis and Lenny Kravitz. To record these songs I began using the then-new Akai hard disk recorder to forge drum loops for my recordings and subsequently Jay's songs too. 3. Although, with Troy on bass SRC was a live band (though everyone in neo-hippy Bowling Green hated our loud power pop) Jason and I evolved into recording the songs as a duo, my guitar and drums, his guitar and bass, sometimes drum machines and loops. By the time I moved away, SRC was really just Jay and I. When I moved away, See Rock City dissolved. Instead of just remaining good penpals, Jay and I decided to be a good penpal band. Under the name Vast Massive Satellite, Jay and I began recording albums through the mail. From 1997's Patron Saint Strike through 1998's Planetarium, 1999's Bend Sinister, 2000's Over In the Infinite and 2001's roBot, VMS were then reunited by geography and began doing it live with the addition of Jason's wife Marigold on vocals. VMS became the culmination of the rock that Jay and I did together with SRC with a new emphasis on subtlety and texture. We released a new album and EP in early 2007. Then I blew it all up by quitting. Why? I'd had my fill of being in a band. I realized I'd just spent the past 20 years always in someone else's band. So I struck out on my own.