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My Kickstarter campaign was a huge success! Backers pledged a total of $15,390 toward the mixing, mastering and menufacturing of my new album Thank You Bethesda.

If you missed your chance to order Thank You Bethesda during the 30-day Kickstarter campaign, you can order the CD right now in the P. Hux Store.


New album 'Tracks & Treasure Vol. 1' brings hidden tracks to light

I recently rummaged through my collection of unreleased master tapes, and look what I found: a new album!  Well, at least a new album of old songs.

It's back from the manufacturer with a spiffy 8-page booklet and ready to be heard. I'm pleased to introduce Tracks & Treasure Vol. 1.

If you’d like to skip this front page blah-blah-blurb and buy the album now, please go HERE. Thanks!

Tracks & Treasure Vol. 1 has already received a great review from one of my favorite music mags, Blurt! Please read the 8-star review HERE.

If you'd like to read more about the album, please go HERE.

Or, head straight to the P. Hux Store >>


There's nothing cooler than having one of your heroes say nice things about you. Al Kooper recently singled out my song "Red Eyeliner" in his column New Music For Old People. That is just...the best. It's high praise when the source is of the calibre of Kooper--he has done it all and done it well. He's one of those guys I'd love to hang out with sometime just so I could hear his stories. You can read all about the madcap life of Al Kooper in the best rock book ever written: "Backstage Passes & Backstabbing Bastards." You will laugh out loud and marvel at the guy's chutzpah. A tremendously inspiring guy. And, of course, you can find Purgatory Falls with "Red Eyeliner" in the P. Hux Store here on this site.


I'm pained by the recent passing of John Carter, who was always known simply as "Carter." Like Al Kooper, Carter was one of those guys who lived his life for music and pretty much did it all. Among other accomplishments he wrote "Incense and Peppermints" and engineered the 80's mega-comeback of Tina Turner. I met Carter in the early 90's when he was managing E (Mark Everett of eels). I produced E's first album A Man Called E and co-wrote a couple of the album's singles, "Hello Cruel World" and "Nowheresville." The fact that those songs appeared on the album means that they were approved by Carter, which is saying something. Carter did not mince words when he wasn't impressed. I heard many a tale of E submitting new songs to Carter and getting phone messages in return as short as "Nahnnhh" when Carter wasn't thrilled. However, when he liked something he was an unwavering supporter, a fan 'til the end. Carter thought "I Loved Everything" and "Goldmine" from Purgatory Falls were hits, and that's as good as a Billboard chart for me. Carter was one of those guys who lit up a room--I loved being in his company. I'm pissed that I'll never get that opportunity again. I will never forget him.

L to R: Carter, E, P. Hux, engineer Jim Lang


Hey there, real person using the internet. My site's been quiet for a while, so I thought I'd write you a note that's bigger than a tweet or a Facebook post.

Before I get started I want to thank the cool people such as yourself from all over the world who come to to order my cds. That makes me feel great!  Thank you for supporting my music. It's awesome to know you're out there and it’s exciting to discover I have listeners in places like Japan, Australia, Maine, Spain, California, Canada, etc.

You may recall I started a band called Huxmonster last year with Jaime O'Connell on drums and Brian "Thumbs" Keating on bass. We did some gigs and a little bit of recording and things were going well. Then suddenly I didn’t really say anything more about Huxmonster on my site or anywhere else. Well, here's what happened.

Our bassplayer Brian (I prefer to call him "Spoons"…that’s another story) had been an in-demand bassist in the DC area for pretty much his entire 20’s, and he felt that, at 30 years old, he ought to make a change and go seek his fame and fortune in one of America’s music capitals, so Spoons decided to move to Nashville.

I completely agreed that he should do it. Spoons is really talented, a nice guy, a hard worker—he has all the qualifications of a great band mate, and I had no doubt he'd be recognized as such by someone pretty cool in Nashville. In addition, you don't want to turn 40 or 50 and say to yourself, "I wish I'd gone to (big city) and seen what I could do."

Within a few months, sure enough, Spoons was on retainer as bassist for an exciting young band and playing gigs around the southeast. He's since done work for other up and coming artists and word is getting out about his talent. I’m happy for him and he deserves to be seen and heard by a national sized audience.

But--I sure hated to lose my bassist! When tripods lose a leg, they tend to fall down, and that’s what happened to my trio, Huxmonster. I could've scraped around for a replacement bassist, but I didn't. I probably figured I wouldn't find anybody as good as Spoons. Instead, I decided to get back in the studio and focus on making a new P. Hux album. I've been working hard on it...and more on that soon!


P. Hux


Here's an excellent 10+ album! Two years later and I'm still listening to it regularly. Outstanding power pop from one of America's many under-appreciated songcrafters.

Parthenon Huxley makes writing a phenomenal song look easy. His ninth and latest album, Kiss the Monster, is crammed with eleven timeless songs that effortlessly capture the youthful awe of a summer day at the beach. It’s no wonder he’s been called the American Andy Partridge and spent the better part of eight years as the singer/guitarist for ELO Part II, capably filling the unfillable shoes of Jeff Lynne.

Speaking of E.L.O., "Yesterday" has the amazing power pop feel of this group with subtly distorted guitars and lyrics that expertly capture the tentative moments early in a relationship ("Now I don’t want to scare you / And say too much too fast"). In "Perfect" The Spongetones meet REM with a breezy and hopeful song that layers Parthenon’s relaxed vocals into harmonies the just beg you to join along. "Come Clean" is a song about confession ("And when I finally tell her everything / There might be nothing left between us"), starkly admitting that the line of "it was just physical" is poppycock ("effing really effing matters"), while some unorthodox bass noodlings adorns the subtle string orchestration. Frail vocal harmonies will squeeze your heart in “Better Than Good", a sunny summer day on the beach where an autumn breeze ominously intrudes. The album closer is "Everything's Different Now”, a gentle, beautiful lullaby to his daughter ("I'm under your tiny thumb”) filled with great lyrics every parent will understand: "Everything’s different now / There’s no more 'More of the same'" and "One day you’ll get me back for making you look like me."

As good as these songs are there are two that will simply drop your jaw, revealing why P. Hux is a songwriter’s songwriter. “My Friend Hates Me” opens with a creamy tube-drenched guitar that leads to a crunchy rhythm, poppy “Do Do Dos", an astounding melody and line after line of humorous lyrics as to why he lost his friend - “Maybe I’m just a loser / Maybe he’s back on drugs / Maybe I was an a$$hole / Maybe he needs a hug.” Do you remember that great A.M. radio pre-disco sound? P. Hux nails it in "Bones", a ballad full of Wurlitzers, light electric guitar, horns, real strings, and a romantic chorus set to a melody so achingly good mere mortals are unworthy: “I’ll take everything that you’ve got / Even the stuff you don’t want / Take the good and the bad / I want it all." Wings? Hall and Oats? Novices!

Kiss the Monster should come with a warning sticker- THESE SONGS WILL STICK IN YOUR HEAD. It’s obvious that this man has been drinking from the wells of Joe Jackson, Gin Blossoms, Elvis Costello, The Beatles, XTC, and Fountains of Wayne. There’s an enduring quality to these songs, a gentle truth free of musical clichés and trendy studio gimmicks. What else do I have to say?!?!? BUY THIS ALBUM!

- Uvulapie

'Dirty Girl' instantly becomes top pick by editors of CD Baby

Bethesda, MD/ Belchertown, MA -- Well, what a surprise. Five years after Parthenon Huxley and Kyle Vincent each migrated to the East Coast from Los Angeles the longtime collaborators have released their newest work. "Dirty Girl" (under the admittedly easy-to-google band name Huxley & Vincent) is an exciting slice of glam pop that evokes T. Rex, Bowie and the anything-goes-70's. The editors of CD Baby instantly made it their top pick. "Dirty Girl" is also available at iTunes and Amazon (see links below.)

Parthenon contributed the crooning vocal, an array of guitars as well as bass. Kyle handled vocals, did a bunch of the engineering and even brought out his trusty sax for increased oomph and authenticity. Orchestra/P. Hux drummer Gordon Townsend bangs the boxes with aplomb. "Dirty Girl" was mixed by Grammy winning engineer Jim Robeson.

Huxley and Vincent hold an ignominious place in the Billboard record books. Their 1997 collaboration "Wake Me Up (When The World's Worth Waking Up For)" stayed just outside the Hot 100 (at #101) for eleven weeks despite reaching #1 in several cities around the country. Can "Dirty Girl" break through?

Fans are invited to not only download the song (please!) but to review it as well (pretty please!) Fan reviews increase internet visibility. It only takes a minute, it's fun and Huxley & Vincent appreciate your time and effort!


CD Baby



The world's largest online musical community, Just Plain Folks, has once again nominated P. Hux for two awards. Kiss The Monster will compete for Best Album Male Singer/Songwriter and "Perfect", the lead track from Kiss The Monster, will vie for Best Rock Song. The Just Plain Folks Awards Show will be held in Nashville, TN August 29th.

Homemade Spaceship The Music of ELO Performed by P. Hux previously won Best Tribute Album in 2005.

JPF's award nominations are drawn from a staggering amount of entries: 42,000 albums and 560,000 songs. The judging process goes through several stages, with the criteria being "does the music move me?"

New Huxley-fronted trio to make live debut
July 3rd at American Music Festival

Parthenon has assembled a brand new band called Huxmonster featuring L.A. veteran/D.C. transplant/Cereal Eating Robot/Brother-In-Law James O'Connell on drums and D.C. bassplayer extraordinaire/niceguy/local legend Brian "Thumbs" Keating on bass.

Parthenon says the new band is called Huxmonster because it's "not exactly P. Hux. It's kind of a new mutation. We'll do a mix of my songs, favorite covers completely unrelated by genre and epoch, and some instrumental bits where I get to leave the mic and have some fun playing guitar. I'm thrilled to have a band together again."

Hux has mostly performed as a solo acoustic artist since relocating to Bethesda MD from L.A. four years ago.

Huxmonster makes its official debut at the American Music Festival in Harrisburg, PA on Friday July 3rd. The band will perform from 6:30 to 8pm on the Patriot News Market Street Stage.

Huxmonster will make its D.C. debut July 26th from 4 to 6 pm at The Bullpen just outside Nationals Stadium in downtown D.C.

I will miss you, Kel!
You were the heart and soul of The Orchestra.
Rest in Peace my friend.

In late 1998 I walked into a large, well worn rehearsal room in Birmingham, England for my audition with ELO Part II. I wasn't sure who everyone was, but immediately Kelly Groucutt positioned himself directly in front of me, tilted his head upwards and said, "You're TOO TALL!" We laughed. Leave it to Kelly to be the icebreaker.

Of course, Kelly needn't have worried about the new guy's height. Kelly was a giant.

He's rarely mentioned when rock media list Greatest Bass Players or Greatest Front Men, but he was among the best I've ever seen, much less had the privelege to work with. Kelly's voice was always front and center in our sound (he was louder than everyone else!) and the bass parts he commandeered while singing on every song were astounding. Try singing "Hey there Mister Blue/We're so pleased to be with you" whilst nailing the bass part of Mr. Blue Sky and you'll get an idea...

Kelly never had an off night. Sure, he'd throw a clam on the pile--we were all guilty of that--but he never phoned in a performance. No matter how sick, tired or jet-lagged, he always gave everything he had. "Never punish the ones who show up" was his mantra. He loved the fans and respected them. It didn't matter who they were or how many of them were in the seats.

Fans of ELO Part II and now The Orchestra will attest that Kelly was always available after a gig for an autograph, a photo, a cigarette, a drink, whatever was happening at the moment. Hours after a performance the last thing fans heard in the parking lot was usually a tour manager shouting, "Kelly! The bus is leaving!" He gave the fans every spare minute he had...

Kelly was a tinkerer, a gadgets freak, a student of puns, an expert Country & Western singer, a walking encyclopedia of music history (song title, artist, year released), a loving Dad, a smoker, a drinker, a traveller (China, Cuba, Chile...hmmm...never noticed how much he liked "C" countries), a joke teller, a tireless chatterbug, a generous friend, a lyrics freak, a willing accomplice. 

I saw Kelly in planes, trains and automobiles but my cherished memories will always be our time onstage. I don't know how many shows we did together, but it's many hundreds. Over the years, Kelly and I developed several moments in the set that were "ours"--just dumb little things that we acknowledged with a covert grin or an overt laugh. When I'd join him on his mic for the "George and Paul" vocals in the chorus of Twist and Shout, he'd move his bass neck out of my way in an exaggerated "showbiz" sweep; in Xanadu we'd mouth the words "people are wanking" during the four beats between the title in the chorus; in Shine A Little Love I knew he'd be looking over at me during the third verse, the lyrics of which I was prone to botch. Kelly would jump in singing if I missed one syllable...

It seems absurd that Kelly's gone. His spirit is that of a giant's. I wouldn't be surprised if, at Heaven's Gate, he has to duck to get in. Too tall, indeed.

All material appearing on this website is copyright Parthenon Huxley (unless otherwise stated) and cannot be re-published or re-distributed without prior written permission.

See Upcoming Shows for all the P. Hux tour dates

Read about P. Hux's overseas adventures in his new online column 'Passport, Please'.

February 2007

March 2007

April 2007

May 2007

Issue #1 - Jan 19 2006
Issue #2 - Feb 01 2006
Issue #3 - Mar 20 2006
Issue #4 - Apr 12 2006
Issue #5 - May 24 2006
Issue #6 - Jun 19 2006
Issue #7 - Jul 07 2006
Issue #8 - Aug 04 2006
Issue #9 - Nov 19 2006

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