Born in Montreal in 1952, Jerry Doucette was exposed to music literally from the day he was brought home from the hospital, as his father and uncle had a band which did the local bars and coffee houses. His family moved to Hamilton when he was four and by the age of six, owned his first guitar. Incredibly, he was in his first band, The Reefers, at age 11. Though he probably didn't know what a 'reefer' was, he did know pop music. He packed his bags and moved to Toronto five years later, where he was already making a living as a musician, working in several local groups over the course of the next few years.

He moved to Vancouver in '72 where he starred in more local groups over the next couple of years, including The Seeds Of Time, featuring Lyndsey Mitchell, and The Rocket Norton Band. Norton and Mitchell would coincidentally wind up working together in Prism a few years later. Tired of the bar scene, Doucette became a recluse in his basement, writing material with John Hadfield, who would also serve as his manager. After releasing a demo to Mushroom Records in '76, he was quickly asked to write more material and was subsequently signed to a deal.

MAMA LET HIM PLAY was released in November of '77, with fellow guitarist Brent Shindell, drummer Duris Maxwell, Don Cummings on bass and Robbie King on keyboards. The record went platinum practically overnight, riding the success of the title-track, "Down The Road" and "All I Wanna Do". Opening for the likes of Bob Welch and Meatloaf, Doucette quickly made a name for himself south of the border, touring The United States for most of 1978.

Following an extended Canadian tour, Doucette went back into the studios and emerged in late '78 with THE DOUCE IS LOOSE. Though it failed to live up to critics' expectations considering the success of his debut a year later, it still made evident Doucette's amazing guitar prowess, as well as his keen pop sense. The singles"Nobody" and "Run Buddy Run", as well as the sleeper hit "Someday" and the tender ballad "Father Dear Father" did however push the record gold. Internal and financial problems were plaguing Mushroom Records by this time however, which he felt hurt TDIL. Doucette was making a name for himself as a gifted musician though, via his live performances opening up for such acts as The Atlanta Rhythm Section, The Doobie Brothers and The Beach Boys, during a year and a half on the road. Unfortunately even the tours weren't going smoothly though, as their seemed to be a revolving door for band members.

By the time COMING UP ROSES was put out in the summer of '81, the only member remaining from the first album was bassist Don Cummings. Released on Rio Records, it probably didn't stand a chance, considering Rio's less than stellar support of a guitar great stuck in a tide of new wave hitting the airwaves. With synthesizers dominating the music scene, Doucette found himself like the proverbial fish out of water and, after a brief tour, went back into seclusion, coming out to do the occasional gig or mini-tour for practically the next decade, preferring to do session work with the likes of Aldo Nova and Prism.

Legal battles over control of his music were finally laid to rest in the early '90's and Doucette re-emerged with PRICE OF AN EDUCATION in '95. His return was unfortunately met with lacklustre interest, despite the sheer genius of his comeback. Backed by the tracks "Big Government Man", "Miracles" and the title-track, his trademark raucous blues style of guitar was back, but wasn't being heard. He did however do limited mini-tours in support of the record, and was met with raving crowds. Young and old, they knew who he was and were glad he was back.

Jerry Doucette is perhaps one of Canada's most gifted and influential, yet under-rated performers. Though hindsight is 20/20, it's quite likely Doucette's career would have gone slightly differently, had he not been involved with a label in financial woes so early in his recording career. Still all in all, he proved with PRICE OF AN EDUCATION he was back. And proves it again each time he hits the stage that he hasn't lost his edge, delivering clean melodies and slick pop each time out.

TEXAS FLOOD

A masterful guitarist, Paul has been playing since the age of ten.  Drawing

upon the influences of guitar legends such as Jimi Hendrix, Eric Clapton,

and Stevie Ray Vaughan, Paul has honed his skill to near-perfection.  He

honours the songs of the greats by playing them with amazing precision and

at the same time, investing them with his own intense feeling.  After his

solos, it is not uncommon to see people cheering jubilantly while shaking

their heads in disbelief and awe.

Originally from Chilliwack , BC , Paul played with his first band, 'Legal

Tender', for 3 years before he began touring with various cover bands

throughout western Canada .  When Paul brought Texas Flood together for the

first time in 1993, its original members included Jerry Adolphe (of

' Chilliwack ') on drums and Simon Hardman on bass.  In 1998, the band began

recording an album released in 2001 featuring both studio and live tracks.

In 1999, 'Texas Flood' became a regular Monday night feature at the Yale

Hotel in Vancouver , BC .  Their success at the Yale kept them there for three

years during which time they also toured throughout BC, Alberta and

Saskatchewan .

Continuing his work with Texas Flood, in 2000 Paul became the sideman for

Jerry Doucette – traveling across Canada with the band to much acclaim and

success.  Paul continues to be featured, when possible, with the Jerry

Doucette band – try and catch them together -- these two guitar masters are

a formidable duo on stage.  Other side-ventures which Paul undertook include

a full festival tour with slide player, Freddie Roulette, in the summer of

2000.

In 2002, Paul relocated to Lethbridge , Alberta where he began working on a

duo project with Leah Marie King.  The result was 'Blue Shift' – a

successful guitar duo that continues to be featured throughout Alberta and

BC.  As Texas Flood matures, Paul continues to draw on his original

influences: the 3 "Kings": Albert King, Freddie King, and BB King, and of

course, the late, great Stevie Ray Vaughan who first inspired Paul to form

Texas Flood.

Leah has been playing the acoustic guitar since her teenaged years, but it

wasn't until the age of 22 that she completely devoted herself to music and

the electric guitar.  Prior to joining Texas Flood, Leah formed 'Blue Shift'

with Paul Kype in 2002.  This successful guitar duo continues to perform at

local clubs throughout BC and Alberta .  In her role with Texas Flood, Leah's

rhythm guitar playing is fully rooted in the Texas blues style: heartfelt,

chunky and solid.

Leah's haunting, melancholy, yet forceful vocals will take you back to the

blues roots of Fleetwood Mac and Buffalo Springfield.  Perhaps Leah's

biggest influence is Neil Young who affects not only her guitar style, but

vocally and lyrically as well.  It is almost eerie how often she is compared

to this legendary artist, especially in her delivery of his classic songs

such as "Helpless".  Balancing her rock influences, however, are the blues

sounds of Albert King, Buddy Guy, and Stevie Ray Vaughan.  In her intense

guitar solos, the blues influence of these masters truly shines.

Leah's vocals tend toward a looming, mysterious sound loosely reminiscent of

Jim Morrison mixed with the beautiful, yearning cadence of Stevie Nicks.

 Her original songs remind us that the music industry used to be made of

poets.  In her work with Texas Flood, Leah brings the intensity and the

heart of  'old school' rock and blues to the modern audience.