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Pictured to the left is Matt Senatore, the producer for Blessid Union Of Souls on the first 5 Cds. 6 counting Play Ball. Things started clicking with Matt and I (Jeff Pence) right away. We would try anything musically holding nothing back. If we both liked it we kept it, if we didn't like it we let it go. It was a lot of fun writing those first songs for our demo that all but 1 got on the Home CD. When we added Eliot to the mix we continued to roll right along. At that time Eliot was a dream to work with. It was just like our previous band Slamm but with a better suited producer for Eliot's voice.

The three of us continued on every Tuesday and Thursday of every week during the summer of 1992. If Eliot didn't show up Me and Matt would meet anyway. If Matt didn't show up Me and Eliot would keep on writing. No pressure. Just write a bunch of songs and record them in my studio. We did something then that not many bands do successfully. That was we split all the songwriting 1/3, 1/3, 1/3. We all brought a lot to the table. Matt could write lyrics and melodies and hum parts to me for the guitar, bass or sequencer, and was a great producer. I could write lyrics, melodies, play guitar, bass, sequence, sample and engineer. Eliot could write lyrics, melodies, sing and play the keyboards. That was the most fair situation I have ever experienced for a writing team because it worked for our team and if it wasn't for all three of us equally we would have never been signed to a major record deal.

I think what really brought us together with such a close bond was we felt all alone down the hall from the big studio and we were free to write and record anything we wanted and no one was really paying much attention to us so it was the three uf us against everyone else that was getting the attention of management. All three of us would bring ideas to the studio to play for the other 2. Sometimes it was just a few lyrics and a little melody, and other times it was a song almost complete. It didn't matter. We split it 3 ways so no one ever felt cheated for all the support we weould give for all the songs. Sometimes bands spend a lot of time producing and recording songs and they just want to work on the songs that is mostly their idea but not us. We each had a third no matter what and we all poured everything we had into the complete process.

Every week we completed more songs and had them all in demo form that some were actually used onrecords right from that little studio. We had enough material for a cd but wanted to keep writing because we all know that it's not over till it's released, and sometimes we even did repackaging and inserted different mixes of a CD like we did with HOME. Then we did the first demo of I Believe. It was just a sequenced piano and Eliot's voice. I remember the 3 of us listening to the song in the car on Central Parkway in Cincinnati, and looking at each other after replaying it about 29 times and saying....This is a smash!

Check back for chapter 5 and find out what we did next.