Here's the deal: I'm sitting here trying to write a biography about....myself. You see, in the music business, it's standard issue that you must have a "bio," for a few reasons:

First, so people can read a written description of what your music is like.
??????
Have you ever tried to describe to somebody what your favorite song sounds like, in written words, without having the benefit of even humming them the tune? Inevitably you end up doing the dreaded "sounds like this band" or "kinda like this song" comparisons, which musicians hate, because, you know, we are all so damned original that we couldn't possibly sound like anyone else, especially nothing like the bands we listen to all the time.

Second, so people can find out where you're coming from. You know.....learn about the person behind the music (now that it's been so accurately described to them). This is where you talk about your childhood, your musical influences, loves, losses, trials and tribulations, all the things that shaped the artist that is you! See, most bios (and I know this from experience) are actually written by the artist themselves, only in third person, to hopefully fool the reader into thinking it was written by some journalist or the whatnot. Most indie-artists can't afford a publicist, so they're forced to write it themselves. Or there's the ever-popular "written by a friend of the band" option.

Next, so people can get a feel for what your live shows are like. This is the dead giveaway portion of the written-by-somebody-in-the-band-or-one-of-their-friends bio. This is where the adjectives and superlatives run wild!! Things like "hard rocking-yet danceable," "emotionally charged but technically flawless," "instantly familiar yet totally original"--this is where you really pour it on!!! And don't forget to mention that every show is packed full of rabid fans who are always, always, left screaming for more.

Finally, and most importantly : SELL! SELL! SELL! It's all about the bling, yo! I'm tryin' to make some coin up in here!! If you're writing your own bio, you probably don't have management or a label yet, and you'd like to have those things, so you can just play music and not have to worry about things like writing your own bio. You want to sell yourself to the prospective "buyers," so you have to talk yourself up on every level and make yourself appeal to anybody offering the million dollar contract. It would suck if you didn't get the contract because of a badly written bio. "We loved the music, but the bio sucks! We're gonna pass..."

Look - I totally understand why artists have to do this I've written the self-aggrandizing bio many times. But I've decided to take this approach: Right now, I have no management and no label, i.e. nobody telling me what I can and cannot do, so why not take advantage of it? I'll just say what I want to say and skip all the selling points. Hopefully, you'll listen to the CD, come see a show, and decide for yourself.

I've been playing guitar since I was seven years old. I taught myself by playing along with my older brothers' Led Zeppelin, Stones, Kiss and Cheap Trick albums. I started writing songs around that same age. I played my first club gig at fifteen, and continued playing in rock bands for years, as a guitarist, background vocalist, and songwriter. In 1994, I released my first CD, Kajun Kelley Project-"Moods," a guitar-based, all instrumental CD. In 1995, I started playing with the Deanna Bogart Band. Playing with her has been, and still is, an incredible experience. She and the band ROCK!! With Deanna, I have toured all over the United States, Europe, and Canada and played with many big name artists. I've played on 4 CDs with her, the latest being "Timing Is Everything," which was released in September 2002.

I recorded my latest CD, "StaleStoriesFreshEars" in between touring and recording with the Deanna Bogart Band. I sing and play all of the instruments, except for the drums and some of the percussion, which were masterfully played by Mike Aubin, drummer extraordinaire and all-around cool muv. I recorded, mixed, and produced it all in my bedroom on a desktop-sized digital studio, except for Mike's drums, which were recorded in his basement. The great thing about doing everything myself, and again, not having a label or producer telling me what I could or should do, is that I was free to record the songs exactly how I wanted to hear them. I didn't have to worry about "that song's too long" or "we need a single" or "no guitar solos." The way I see it, if a record label thinks one of my songs has the potential for radio play, but it's too long, THEY can shorten it. But right now, I might as well take advantage of having full artistic control. There may come a day when Mr. Deep Pocket Label Guy says, "We're interested, but we think we'd like to take you in a slightly different direction. We're thinking an NSync for adults kinda vibe" and I'll say "No way! That's not what I'm about!" and he'll say "10 million dollars?" and I'll say "Lance Bass is a musical genius!"

I've got to get to work on my choreography.......

Kajun

PERSONAL

Answers to Frequently Asked Questions:
Kajun is my given name. Yes, it's on the birth certificate
I was born in St. Louis, Missouri, not Louisiana
I am not "hot & spicy," and that is not an original comment (also see: "as in chicken?" "...shrimp" etc.)
My Dad named me. No, he wasn't high at the time. And, no, my parents weren't hippies
My brothers' and sisters' names are: Debbie, Bill, Kevin, and Sherry...then Kajun. Don't ask me...I was too young to fill out my paperwork
5'10", blue eyes, hair color: optional

TOURING EXPERIENCE

1989-1993 - Jester (original/cover rock band) 50-75 dates per year in the Mid-Atlantic Region
1993-1995 - Kajun Kelley Project (instrumental guitar trio) 50 dates per year in the Mid Atlantic Region
1995-present - Deanna Bogart Band (blues/jazz/r&b) 150-200 dates per year, extensive U.S., Canada, and European tours; Major festivals (Monterey Blues Fest, Chicago Blues Fest, Clearwater Jazz Fest) and clubs (House of Blues-Boston, Chicago, New Orleans, & Orlando; Buddy Guy’s Legends, Chicago; B.B. King’s, Los Angeles & New York; 930 Club, Washington DC)
Oct/Nov 1999 - Trish Murphy (rock) U.S and European Tours
Have made live guest appearances with such acts as: Guitarists Monte Montgomery, Chris Duarte, Gibb Droll, Bill Kirchen, Tom Principato, Linwood Taylor, and Michael Fath; Rock band Everything; Blues legend Joe Louis Walker; and jazz saxophonist Ron Holloway
Opening for such acts as: B.B King, James Brown, Little Feat, Stevie Nicks, The Neville Bothers, Brian Setzer, Robert Cray, Dr. John, The Radiators, The Subdudes, Clarence “Gatemouth” Brown, Luther Allison, Bo Diddley, Marshall Crenshaw, Robin Trower, Yngwie Malmsteen, Pat Travers, and Tony MacAlpine

RECORDING EXPERIENCE

Kajun Kelley "StaleStories FreshEars" (2003-Independent) - Vocals/Guitars/Bass/Percussion; Produced by Kajun Kelley
Deanna Bogart Band "Timing Is Everything" (2002-Independent) - Guitars/Vocals; Produced by Jim Ebert (Marvelous 3, Meredith Brooks, Everything)
Deanna Bogart Band "Live" (2001-Independent) - Guitars/Vocals; Produced by Bill Plummer
The Scott Paddock Electric Band “From Within” (2000-CScott) - Guitars; Produced by Bill Plummer & Scott Paddock
Deanna Bogart “The Great Unknown” (1998-Shanachie) - Guitars/Vocals; Produced by Dennis Walker (Robert Cray, B.B. King)
Deanna Bogart “New Address” (1996-Viceroots) - Guitars/Vocals; Produced by Jon Carroll
Kajun Kelley "Moods" (1994-Independent) - Guitars/Bass/Keyboards; Produced by Jim Ebert, Kajun Kelley and Buster Morgenstern
Various session work with independent artists including: H.R. (Bad Brains), Everything, Niki Barr, Fidel, From The Desk Of Sally, Divine Static, Kyle Glass

EQUIPMENT

Endorsements: Paul Reed Smith Guitars, Line 6 Amplifiers, Godin Guitars
Guitars: Paul Reed Smith Custom 22; Paul Reed Smith McCarty Hollowbody II; Fender Strat Plus; Ibanez 540 Radius; J.C. Penney Skylark; Taylor 814 acoustic; Charvel 325C acoustic; Godin A6
Amplifiers: Line 6 Flextone II Plus combo; Fender Prosonic 2x10 combo; Fender Hot Rod Deluxe 1x12 combo; Fender Blues Deville 2x12 combo; Marshall JMP-1 pre-amp; Mesa Boogie 50/50 power amp; Marshall 2x12 cabinet; Crate 4x12 stereo cabinet
Effects: Boss (CH-1 chorus, DD-5 digital delay, GE-7 EQ, DS-1 distortion, BD-2 blues driver, CS-3 compression/sustainer, PSM-5 power supply); Jim Dunlop (535 Cry Baby Wah, Tremolo); Digitech Whammy Pedal