(1998 - 2004)
Sweet Motha' Child formed a four piece funk/rock/R&B band in February of 1997,
but historically can be described best as a rotating funk ensemble oftentimes as
large as between thirteen and nineteen musicians and vocalists. The group was
led by Producer/Keyboardist/Lead Singer/Frontman/Manager Danny Bedrosian,
and was cofounded by bassist Alex Rodriguez, guitarist Josh Baribeau, and
drummer Chris Monty. The group was initially formed to win a local Battle of
the Bands. They not only won first prize at their first ever show, but they went
on to win three more consecutive Battle of the bands concerts in a year’s time.

The band shifted and evolved constantly, and quickly attained a proper amount
of interest in the local communities around the Merrimack river valley area of
Northern Massachusetts and Southern New Hampshire. Band members were from
cities and towns such as Lawrence, Lowell, Dracut, Methuen, Haverhill, Boston,
and Tyngsboro, all in Massachusetts, and Pelham, Salem, Windham, Hudson,
Nashua, Durham, Dover, Portsmouth, Newmarket, Manchester, and Lebanon, all in
New Hampshire.

The group played shows at the local high schools, community and school
dances, city concerts, churches, and battle of the bands', until recording their
first album entitled Unhealthy Groove Music in June and July of 1998 in
Wilmington, Massachusetts. This first album was actually produced by the
elder statesman of the group, bassist Rodriguez, who was at least ten years
older than the rest of the band at this time, and had a professional music
career already, engineering for New Kids on the Block on their first album. The
band’s first ever album was of a simply put, happy nature; it did have a couple of
social statements in songs like Easier to Put on Slippers, and Future Verse and
sexual symbolism in Dirty Water, but most of the album spun a pop inflected,
almost bubblegum tip with the opener Wild Runnin, and other cuts like Have,
Lightness and Darkness, and Slinky Sally.

Sweet Motha' Child went on to record 6 albums total in it's 6 years of existence
as a band. Between February 1998 and August 2004, over 30 musicians, vocalists,
visionaries, artists, and innovators joined, left and oftentimes rejoined SMC's

The albums were raucous parties, huge concepts, magical stories, myths,
legends, social treatises, and political statements, sexual fantasies, humorous
outtakes, and so much more, from this point on, produced by Bedrosian, who was
always interested in taking the band in a new direction. The group’s versatility
and unique structure was its advantage in an area which had virtually no
other funk groups at the time. The New England music scene in the late nineties
contained an established partisan ‘modern rock’ genre governing everything
else; an innovative Hardcore/Metal underground group which had formulated
the genre early on and then disappeared, having destroyed itself from within; a
vital, freestyle driven hip hop community; a handful of Phish derived jam bands
and folk groups, claiming to use “funk styles”, but not really playing true funk.

Sweet Motha’ Child was not only innovative, it was also instrumental in TEACHING
many who were unaware of what FUNK was, where it came from, the meaning of
the “ONE”, the vital infiniti inside (Free your mind and your ass will follow via
Funkadelic), and the importance of the pocket, to an unsuspecting and until then
wholly unfunky audience.

Sweet Motha’ Child’s second album, Soul Servant, was Bedrosian’s first ever
production, and was a blessed combination of sounds and styles. It all
maintained a consistent thought, however, and was Bedrosian’s first dark
album opus; he would return to this theme at other times later as well. The
album was also the first of many to have something for everyone: Dance Music
(aint gonna do that to me), Funkadelia (Marblemaker), Country (Mr. Sandman),
Psychedelic Rock Opera (Ladybug), Reggae (Don’t Give Up) Pure FUNK (So Groove
Me), Rock-Funk (Funkyland), a touch of Radiohead (Living For A Time), and
Baroque (Burn). The album liners were written by Mr .Gregg Albach, who had a
penchant for the written and spoken word. Overall, and especially for
Bedrosian’s first production ever; An amazing album from start to finish.
To this day, many members hold this as their favorite SMC album.

The band continued playing venues and selling their CDs, Bedrosian continued
producing for other acts as well, such as the Alternative/post industrial/Rock
group Better Days, and his collaboration with SMC second guitar Marc Munoz
entitled the Cloudquakers.

Around this time, The band’s third LP, Who Is Mr. Grooveytunes, was being
recorded and subsequently released. It was Bedrosian and the group’s first
REAL concept album, with Bedrosian, Baribeau, and Monty acting out the roles of
a number of funk aliens that were being experimented on after an accidental
crash landing. The liner notes contained a story written by Bedrosian, dealing
with the entire space aged, cartoon concept. And the band delivered on the
music, by this time, over 12 people strong, and punching with hard, Parliament-
influenced Funk and Hard R&B. Average Mans’s World, Sickest Gas Station
(original guitarist Baribeau’s tour de force), Love Massage, Is It Glee,
Whatchoogot, Mid Show Funny (featuring rapper Josh Maldonado), There Was A
Man, and Dat Reel (the band’s most famous live closer, which they closed shows
with from late 99-mid 03 consistently) all exhibited this style. The only turn
away from the dancefloor was the Rock ballad I Still Stand, which had a
classical spin on it as well.

The album did well on the radio, especially among hard rock stations (strangely
enough) in the Massachusetts area. The group’s song Dat Reel was being played
alongside Godsmack and other hard rock groups local to the area and new to
big time rock radio. Another tune, Mid Show Funny, was being played at a couple
of strip joints in the area, just improving local opinion of the deep stanky funk
that these KIDS were playing. Sickest Gas Station was playing on a station in
Vermont, and Average Man’s World was being played on college radio in New

The band delivered the album live just as well; complete with theatrical
imagery, costumes, character voices, and a big sound to match, Sweet Motha
Child started playing larger and larger gigs, such as The Rockingham Park Race
Track at New year’s eve, and the IceCenter, both in Salem, NH. Bedrosian at this
time donned the outfit of Mr. Grooveytunes himself, complete with duck bill and
eyeball-tipped wigs. Bedrosian and Munoz often donned a sheet instead, and
Munoz also dressed as a Samurai. Elise Bedrosian had a number of sparkly
outfits, died her hair orange, and sometimes dressed as Robin from Batman.
Drummer Chris Monty was a deranged Uncle Sam, Guitarist Baribeau was a
hillbilly with overalls and a HUGE rubber cowboy hat, bassist Normandin
switched between fatigues, and a Colonial Revolutionary War costume,
trombonist Larry Nguyen dressed as Where’s Waldo,  trumpeter Steve Casey
often wore silk shirts and straw hats, trumpeter Adam Trull switched between
a cross dresser and a zombie, and Maldonado donned more traditional hip hop
gear, fused with bizarre hats and glasses.

After 2000, the band started changing even more, with members leaving, being
fired, and coming back, and other newer members joining the ranks as well. After
producing the debut album for funk band (and SMC fans) Red Fish, Blue Fish,
Bedrosian decided to hire the band en masse into SMC. Guitarist Baribeau had
gone to school with the RFBF band, and thought it a good idea as well, given the
recent firing of SMC’s horn section, and the quitting of guitarist Munoz and
bassist Normandin.

With the new members in tow, the band’s third album, another concept
masterpiece entitled Doubtful David Diffendorff, was the band at a slightly
more scaled down level (8 people) with already senior members Bedrosian, sister
Elise, Josh Baribeau, and Chris Monty remaining on, and newcomers John Deming
(gtr), Matt Soucy (sax), Mike Blancato (perc, 2nd drum), and Mike Ricci (tpt)
coming into the fold. Other members had joined the band at this time, such as
bassist Sean Carmichael, trombonist Matt Maynard, and DJ Dan Forberg, but they
did not yet appear on the albums.

This album was a return to darker moods, with the apocalyptic face of David
Diffendorff (a made up astrological pattern in the sky whose face, when turned
downward, indicates the coming of Armageddon, due to humans own misdeeds)
donning the cover, painted by Boston artist Erin Pipitone. The songs had a lot of
FUNK on them on this album too, with a newer jazz feel as well, in hard hitting
songs such as Tip Your Hat to the Side, Negative Brain, Evopollution, Funk Me Fo
Free and the title track. More of Bedrosian’s liner notes stocked the inside of
the album, detailing this sad but poetically apropos story. Newsflashes dot the
audio inserts on the album, with prophetic doomsday notions being spun by the
crazoid news casters, played by original members Bedrosian, Baribeau and Monty.

Other songs on the album take the mood into different directions, such as
drummer Chris Monty’s metal infused jazz piece, Three-Fourths of Montigua,
Bedrosian’s mentalcase doo-wopping in The Horse Hop, and absent bassist Sean
Carmichael’s collaboration with Bedrosian and co, the Dave Matthews
influenced Man & Girl. The title track is another Bedrosian composition, a
diverse two part song, with the opening funky dance section masking the
brooding, dark, inflective second section, with amazing musicianship and vocals.

This album propelled the band into more radioplay, especially in the college
circuit, where Bedrosian was leading the band into more and more. In Boston,
other parts of Mass, NH, VT and Maine, Tip your Hat to the Side, Negative Brain,
and the Horse Hop were in regular rotation on college stations.

The college crowd was taking a real liking to SMC, and the band was playing at
dormitory festivals, Basketball court concerts, Union Building Theaters, Frat
Parties, Local Bars and Clubs, House Parties, and anywhere on campus they could
get their show, which was already starting to grow again, with the inclusion
of the aforementioned newer members, as well as backup singers Andrea Quigley,
Ken Wilk, and Violinist Carolyn Kokko, the return of Adam Trull, a brief respite
for Normandin and Maldonado, and the writing of even more new material.

In late 2000 the band began work on their most ambitious album yet. The large
concept masterpiece entitled Histories. This album took the style bending tones
of Soul Servant and expunged upon them in an even deeper and more progressive
fashion. The music was starting to get very technically deep at this time, and
the lyrics were, as always, bending the limits of all things social, political,
sexual, natural, technological, scatological and cosmological. The album had it
all, and worked in a similar way to Soul Servant. It opened with the funk-dance
of Everybody’s Rich on the Dancefloor, but then has a HUGE jazz streak in it,
with the jazz ballad Nameless Song, the hilarious one part elevator jazz and one
part hard rock Good Shopper/Bad Shopper, the four part acapella
MeetGreetStealFeel, Bedrosian’s amazing fusion Sonata Horizontal Insomnia,
Baribeau’s Rock/Jazz Fusion tune Forever, and Monty’s modern Jazz/Pop/Rock
monster Sender. The classical sound also is prevalent especially in inserts like
the intro, the funny Nostradami, and the outro, but also in the Bedrosian/Monty
collab Timeline, which features a mix of Classical, Jazz, Funk and Hip Hop. The
Deming/Carmichael/Bedrosian collab Aritificial Insmelligence is a hard
rock/funk ass kicking nightmare about cloning. And  then there’s Slave 6, based
in Armenian modes, and dedicated to the victims and survivors of the Armenian
Genocide. Keeping the consistency with the last album, Pipitone painted the
cover again, which appeared in two different versions.

The album itself was worth playing in one listen; The only songs to be played on
any radio from this album were on college radio, and were few and far between.
Of them all, Everybody’s Rich on the Dancefloor saw the most college radioplay,
mostly in Lowell, MA and Durham, NH. Although the album wasn’t as commercial
as any of the previous SMC undertakings, it proved to be by far the most overtly
artistic of SMC’s albums, and most conceptually spacious, as well as grandiose in
design and arrangements, as Bedrosian incorporated even more genres into the
fold of SMC’s already wide stylistic reputation. Despite the lack of airplay,
Histories proved to be SMC’s best selling album by far.

The album was really an experimental foray for the band, and was intended
more to prove to the competition that SMC was not just another dance band or
another jam band; It was to prove that they had much more. Danny and Elise
Bedrosian were classically trained on piano for over 20 years already by this
point by their master pianist parents, and Baribeau later trained in nylon
stringed Classical guitar, and played the Mandolin. Newer guitarist Deming,
trumpeter Ricci, and percussionist/2nd drummer Blancato had significant jazz
chops as well, and current bassist Carmichael was starting school at Berklee in
Boston. Combine that with the incorporation of Kokko’s Violin and the largest
SMC horn section to date, and adding melodica and turntables, this created a
bizarre symphonic section that Bedrosian manipulates well with his
arrangements on Horizontal Insomnia and Nostradami, to name only a couple.
Main drummer Chris Monty is also in devastating form on this album, amazing to
all who hear and see him play. His polyrhythmic, menacing style was a
determined, consistent, and important part of the overall group.

The band's concerts were famous by their third year, playing all the major clubs
in the New England area, extending to places like Vermont, New York City, and
Long Island, to name but a few. The band started receiving many acolades in the
college circuit especially, but tended to play as many different types of venues
and crowds and they did genres. Just about any type of music could be found in
SMC's VAST, VAST catalog, and just about any type of person could be found in
SMC's extensive Northeastern Fanbase.

The shows were exceptionally exciting, full of musical, artistic, and technical
talent amongst the band. The group always left an impression with their look;
never conservative, always looking a bit crazoid; influenced heavily by the look
and sound of P-funk music. They tended to use costumes, theatrics, and antics of
various kinds to initially draw the listener in. This could be anything from
starting the show with everybody on the wrong instrument, where the
suddenly switch to correct positions, to hiding band members in the audience,
to having backup singer Wilk play the trombone and do a comedy bit to open the
show (keep in mind Ken Wilk does not really play the trombone). All of these
things captivated the college audiences and slowly brought them in. Then, once
they had them, they turned on the juice and hit the audience with the FULL
sound of a 19 piece funk orchestra.

Every show was a new challenge for the band, especially honorary sound guy
Josh Baribeau, and Bedrosian, who were afforded the daunting task of
organizing all of the amps, drums, percussion, keyboards, guitars, basses,
turntables, microphones, mixers, power amps, cables, horns, and other various
pedals, bells,  whistles, and thangs on many variably sized stages, and ‘staging
areas’ (sic). This also of course included mixing all these things once they were
set up, and making a consistent on stage sound. Special mention to Chris Barrett,
Mike D’Angelo, Mike Sawicki, Kevin Hogan (one of SMC’s main Engineers), Jarod
Winters, Gregg Albach, Nick Ricciardi, Jon Picken, and countless others who on
more than one occasion helped the group with equipment, sound,
transportation, and help at the venues.

In late 2001, former members Munoz, Normandin, Robidoux, and Maldonado all
came back into the fold. Drummer Chris Monty left at this time and was replaced
by Mike Blancato, then Dave Smith, and finally drummer Seth Ceders, who held
down the drum chair from late 2001 until Monty’s return in mid 2003. At this time,
Bedrosian, Munoz, Normandin, Robidoux, and Ceders formed a five piece hard
rock/funk/fusion group called Dr. Sloptapus. The band recorded a killer album
that year, and toured extensively in Massachusetts and New Hampshire.
Eventually the band became a section of the ever expanding Sweet Motha Child
show, and it was this combination (as a 17 piece) that played SMC’s first ever
tour outside New England, in Long Island and NYC in 2002.

Many of the best shows were at Bedrosian’s alma mater, UNH, in Durham and the
surrounding seacoast area. When SMC moved their base of operations from the
Merrimack River Valley, to more coastal northern regions in late 1999, the group
started really growing in popularity; this was the period between 2000-2003
when SMC was in full swing, playing all over the northeast to sizeable crowds in
clubs, bars, schools, frathouses, festivals, and house parties. They still hold
the record for the largest ever single gathering off campus in UNH’s history. It
was a show during a HUGE party at SpringFling 2002. The crowd exceeded 4,500,
and teamed out into the streets of frat row, encroaching the main campus area
itself. The police could not contain or control the crowd, so they left SMC
alone, because shutting down the concert would have been a bad move, given
UNH’s penchant for rioting at the drop of a hat during Springtime.

To top things off, this historic show, just one of the hundreds SMC played, was
a whopping 9 hours long!! The band had such a huge catalog at the time, that
Bedrosian and crew only had to repeat two songs, and they were at the request
of a tardy fan, who had missed the first few hours of the marathon show!!
This was around the time that the band was peaking to a 19 piece ensemble,
complete with guitars, keyboards, drums, percussion, bass, brass, woodwinds,
strings, a dj, two rappers, two female backup singers, and a GIGANTIC sound.
The group had challenged the supremacy of other groups in the area, and had
managed to struggle their way to the top of the hearts of the local music
loving population in and around UNH, the campus community, surrounding major
cities like Portsmouth, and the greater collegiate area of New England in
The group achieved a vast radio network, receiving a smattering of airplay,
mostly in the period from 1999-2003.

With an exceptional growth of interest, Sweet Motha Child repackaged and re-
released their first two albums in new anniversary editions. This gave an
opportunity for all of SMC’s newest fans to hear music that had been sold out
for years, in a time when digital downloads were not yet happening.

Sweet Motha’ Child’s last album, Monofunksitism, was a new funk party album,
with an amazing combination of all the era’s of SMC’s history. You had some class
of 98 (Bedrosian, Baribeau, Munoz, MoonChild, Trull) from the Class of 99
(Robidoux) from the Class of ’00 (Deming, Soucy, Wilk, Quigley) Class of ’01 (Kokko,
Ceders, and late arrival trumpeter Nick Winslow) Class of ’02 (new bassist Jeff
Bonhag) and Class of ’03 (Dr. Sloptapus Rhythm guitarist Matt Lemieux). The
album opens with the classical tinged intro, and commences to Funkin and Rockin
some hard Soul encroaching anthems like the title track itself, Wilkshake,
Kitchen Stink, OneInfiniti, and the closer, Bump N Da Nite. The Rhythm section,
Horn Section, Vocal Section and String Section all pulse between each other on
these tracks, and sear the way good funk should, but don’t be mistaken. There is
nothing regular about SMC’s sound.

The album also had a lighter side, with the John Deming penned prostitution-
themed jazz number Kitty, the Pop flavored Co-Writer, and the vocal swapping
R&B of Tabernacle. The album does SMC proud as it’s final farewell on record, a
whopping Funk trek with some of the most difficult arrangements in the band’s
catalog, but it swings hard.

In June of 2003, Bedrosian left his sister Elise and co-founder Baribeau in charge
of the group, so he could travel to faraway Tallahassee, FL to pursue work
with P-FUNK master George Clinton and Parliament-Funkadelic. Accompanying
Bedrosian initially was SMC first Trumpet Adam Trull, and SMC Second guitar
Marc Munoz.
In less than nine months, Bedrosian landed a gig with George Clinton and
Parliament Funkadelic, after much time as a studio musician at George's studio.
In June 2004, Bedrosian became George's newest P-Funk All-Star, as the new
Keyboard player in the current touring P-Funk group ever since, touring the
world with George Clinton, Fronting his own band Secret Army, and heading up
his production and publishing company, BOZFONK MOOSICK, which handles many
new up and coming Funk, Jazz, Hip Hop, R&B, Rock, Fusion, and World music groups.

Munoz went on to work as the Guitar technician and Stage Manager for The P-
Funk All-Stars, starting in late 2007. Starting in 2008, he also began working as
guitar technician for Enrique Iglesias, touring the world with both groups.
Virtually all the members of the group have been featured in some way on some
of Bedrosian's newest Secret Army material, but Marc is a full time member of
Secret Army, both on record and live on stage.

Elise Bedrosian and Josh Baribeau continued to hold the band together and
they played one or two more shows before officially disbanding in mid 2004. Elise
continued on with a lucrative solo career, and a brilliant album Sweet
Dalliance. Elise currently plays with brother Danny's band Secret Army as well.

Josh Maldonado moved to NYC, and went on to start a very successfull career in
casting for major cable stations, as well as some commercial work, and video
game and music reviews for major publications. He also fronts his own comedy
troupe which is based in Brooklyn.

Onetime SMC drummer Seth Ceders continued playing drums with a number of
bands, including Somn Fierce, Secret Army, Asphalt Panda, Red Flag, and the
Soular System. Other SMC members such as Troy Normandin, Steve Robidoux, Ken
Wilk, and Matt Lemieux reunited with Bedrosian and Munoz for a time and
revamped Dr. Sloptapus in Florida. They also did some studio work with
BOZFONK in 2004-2005 as well, and played in P-Funker Jerome Rodger's band The
Church of High Voltage. Normandin and Lemieux still play music together,
Robidoux still plays and sings, having done intermittent work with producer
Jon Picken and Secret Army. Wilk currently plays in a Funkadelic cover band, and
trumpeter Trull is still in the music business, with his Boston-based bands, as is
John Deming, and Mike Ricci, who are cousins and play in a band together in the
NYC area. Another former SMC bassist, Sean Carmichael, currently resides in
Denver, and continues to play music. SMC D.J. Dan Forberg is still playing music,
and has a couple of electronic and funk music projects in Springfield,

The music of SMC will live forever, as fans keep springing up post mortem all over
the globe; from Denmark and Germany to Japan and China. Covers, samples, and
remakes of SMC songs have been redone by Danny Bedrosian himself, as well as
sister Elise’s band Soul Hole, erstwhile jam band Liquid Sand Band, and Florida
jazz singer Teresa Jimenez. Everyone who listens to the old albums, or hears old
audio or sees old video of shows is won over by the sounds and the sights of
the group, and their enormous concepts.

This site was founded to remember the great times that the group was around,
and is primarily for the musicians in SMC. It is dedicated to the following
amazing musicians and vocalists.

Danny Bedrosian-1998-2003

Alex Rodriguez-1998

Josh Baribeau-1998-2004

Chris Monty-1998-2001 & 2003-2004

Josh Maldonado-1998-1999, 2000-2001, 2002-2003

Omar Brahim-1998

Elise Bedrosian-1998-2004

Marc Munoz-1998-2000 & 2001-2003

Adam Trull-1998-1999 & 2001-2004

Troy Normandin-1998-2000, 2001-2003

Larry Nguyen-1998-1999

John Plouffe-1999

Steve Casey-1999-2000

Steve Robidoux-1999-2000 & 2001-2004

Chris Irvine-1999

John Deming-2000-2004

Sean Carmichael-2000, 2001

Mike Blancato-2000-2002

Mike Ricci-2000-2002

Matt Maynard-2000-2001, 2002

Matt Soucy-2000-2004

Dan Forberg-2000-2002

Ken Wilk-2000-2004

Andrea Quigley-2000-2003

Carolyn Kokko-2001, 2002-2004

Dave Smith-2000-2001

Nick Winslow-2001-2003

Seth Smirk/Ceders-2001-2003

Jeff Bonhag-2002-2004

Matt Lemieux-2002-2003

Jeff (last name unknown)- 2003-2004


Kevin Hogan-1999-2003

Jon Picken-2001-2003

Mike D'Angelo-2000-2002


Sweet Motha’ Child Albums

Produced by Alex Rodriguez
Engineered by Clint
Recorded at Kasmire Studios, Wilmington MA.
Studio Owner-Bruce Bennett
Copyright 1998 Danny Bedrosian

Produced by Danny Bedrosian
Engineered by Gary Agresti
Recorded at The Sound Studio, Amherst, NH
Studio Owner-Gary Agresti
Copyright 1999 Danny Bedrosian

Produced by Danny Bedrosian
Engineered by Kevin Hogan and Gary Agresti
Recorded at The Sound Studio, Amherst, NH
Studio Owner-Gary Agresti
Copyright 1999 Danny Bedrosian

Produced by Danny Bedrosian
Engineered by Kevin Hogan
Recorded at The Sound Studio, Amherst, NH
Studio Owner-Gary Agresti
Copyright 2000 Danny Bedrosian

Produced by Danny Bedrosian
Engineered by Kevin Hogan
Recorded at The Sound Studios, Amherst NH, and Nashua, NH
Studios Owner-Gary Agresti
Copyright 2001 Danny Bedrosian

Produced by Danny Bedrosian
Engineered by Kevin Hogan
Recorded at Digital Sound Audio, Nashua, NH
Studio Owner-Gary Agresti
Copyright 2003 Danny Bedrosian

Affiliated Group Albums (all produced by Danny Bedrosian)

1999-Better Days-Underground Playground

2000-Cloudquakers-What The---?

2000-Red Fish, Blue Fish-What’s The Difference (unreleased)

2001-Dr. Sloptapus-We Are the Product Of What Should Not Be

2002-Danny Bedrosian-Rockefeller Roskar  (unreleased)

2003-Liquid Sand Band-Liquid Sand Band  (unreleased)

2005-Danny Bedrosian-Som’n Fierce

2006-Moon Child-Sweet Dalliance

2006-Incompetence Video and Secret Army Live (DVD)

2006-Danny Bedrosian-Secret Army

2006-The Soular System-All the Way Out and All the Way In

2007-Asphalt Panda-Pandalism

2007-Danny Bedrosian & Secret Army-The Sleaziest of The Greaze

2008-Teresa Jimenez-Get Stereo

Gil & Charlotte Monty-1998-2000
Dina Smith (1999)
The Baribeau family-(2000, 2001)
The Maldonado family (2001, 2002)
The Forberg family (2001)
The Sloptapad (2002)
Charles St (2002)
The Admiral Akbar Initiative @ the Barn (2002-2003)
Elise Bedrosian & Steve Robidoux (2003-2004)