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Leading the way in melodic percussion, composer / drummer / vocalist Curtis Young helped to spearhead abstract music in the early '90s. Frustrated by the limitations of prescribed, formulaic style and bored with the simplicity of conventional rock music, his compositional approach developed without the restrictions routinely imposed on artists by large record companies. Defying any fixed categorization while encompassing a broad range of styles, Young released his second CD, "ART", in 2003.

His focus on stereo imaging is meticulous, volleying a dense array of precise sounds between speakers, as amply demonstrated on pieces such as "Couldn't You Just Love Me", "We Gotta Save The World", and "Control". Digital sampling technology has made Young's sound production virtually unlimited. Diversity of harmony that normally would not be possible during live performances with the use of conventional drums is realized as a result of these electronic innovations. These relatively new technologies, requiring more than one hundred hours of digital programming on the electric kit, allow him to play the equivalent of roughly forty drum sets in the course of a concert. Often changing percussive key four or five times within the same song, Young has expanded the scope of possibility during live performance. More than simply providing drum beats beneath music and vocals, Young's syncopated percussion cascades over polyrhythmic melodies, accentuating chordal harmonies. But Young's musical innovation doesn't end behind the drum kit or at the keyboard.

Whether with the hard rock approach of "Cold At Heart" or the delicate intricacies of "Here We Are Again", Young's distinctive vocal style is at once eloquent and idiomatic. Considering his extraordinary ability to sing and drum simultaneously, Young elevates musicianship to the next level, taking his place beside talents such as Phil Collins, Don Henley, and Terry Bozzio.

Being perhaps the next logical step in the evolution of progressive music, Curtis Young's daring abstract approach to popular music has broken new ground. The listener is virtually forced to rethink his preconceived notions regarding the often inflexible boundaries partitioning our music culture. The nexus of Young's imagination crashes through those barriers, uncoiling before you as his music wends on the wings of creativity, virtuosity and ART.

Daniel Howard

Hi Everyone. WELCOME TO THE REVOLUTION. The situation is simple. Most musicians get dropped by their record label. They were all obviously good or they never would have been signed to a contract.

Musicians have caused their own agony by signing these unfortunate contracts (for the vast majority). The answer is simple. NO MUSICIAN SHOULD SIGN WITH ANY LABEL. This will make those well produced Independent Recordings Valuable. Of course it will take a couple of years, however, the record labels do NEED new talent to promote. When everyone refuses to sign into a business where the vast majority lose out, the record company will HAVE NO NEW TALENT TO PROMOTE. This will give the independent artist the respect and dignity and power that musicians deserve.

This is what the musicians union should have done long ago.

Good quality producers and recording equipment were not available to the average person 30 years ago, but that is not true any longer. Digital technology and the Internet have made it possible for dedicated people to record and promote their Independent Music. If you are tired of being manipulated like sheep, DON'T SIGN! I hope YOU ALL have common horse sense. Like any other union, a few foolish people can "break the picket lines" and ruin the integrity of our business making it worse for everyone. STICK TOGETHER and WE ARE INVINCIBLE!

My deepest empathy and compassion,

Curtis Young