There are two sides to every story, except when there are three.

Most musicians likely picture Andy Doerschuk wearing a green visor at a desk lit by a glowing banker’s lamp, tirelessly crunching copy during his 30-year career as former editor of DRUM!, TRAPS, How to Play Drums, Drums & Drumming, and Bass Player magazines. Many might not realize that throughout the years, once the sun set and the evening crept into the wee hours, his alter ego continued to play drums with such artists as Steppenwolf, Chet Atkins, Rick Derringer, The Pop, Leslie West, and Billy Vera & the Beaters, to name a few.

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Out of necessity, as well as a smidgeon of self-doubt, songwriting became relegated to an intermittent avocation, a private hobby I could pursue under two prerequisites: 1) when inspiration struck, and 2) when I had access to a piano. And those two commodities only occasionally found themselves in the same place at the same time. Looking back now, my output resembles more of a trickle than a torrent, measured by occasional bursts of productivity dotting long barren stretches. Nonetheless, after the years turned to decades, I accumulated a catalog of originals with no particular way to use them.