The following discography of records I’ve played on over the last 25 years. Lots of CDs I’m sure you’ll recognize.


“Leave This Town” 2009:

Lots of magical overdubs all over this CD.


“Long Gone” Rock Version 2009:

All guitars.

OK.  if you were a huge chris cornell/soundgarden fan and you were tracking guitars with chris’ voice blaring through the speakers and the man himself standing right there cheering you on through the solo section, would you not be FREAKING THE FUCK OUT?  freaking in the “starstruck” sense, of course.  none the less, when mr. cornell tells you, “great job.  i told them to turn up the solo in the mix”, you gotta be pretty damn back-flippin’ ecstatic that you got the call.


“Believe” 2009:

Most Rhythm And Overdub Guitars Except Solos.

Ori is a killer guitar player AND singer but she wanted this album to feel like a band and loved my work on the first DAUGHTRY cd so i came in to rock the main guits so she could add her soloing magic on top.


“All I Ever Wanted” 2009:

All guitars on I Do Not Hook Up, Cry, Don’t Let Me Stop You, Long Shot, Ready, Can We Go Back

Kelly is the real deal.  Kick ass vocals and a down to earth hang.


“Just Like You” 2009:

All Guitars On  Don’t Waste The Pretty, Don’t Wanna Be Wrong


“Kick Your Ass In 17 Minutes” 2009:

All guitars and lead vocals. Wrote, engineered, produced and mixed all songs.


“Last Train Home EP” 2009:

Most guitars on all songs.

Actually, an entire album was recorded but to my knowledge this is all that came out.  Ryan is an amazing guy and one of the most passionate singers i’ve ever met.


“Self-Titled” 2009:

Lzzy is incredible.  She IS the quintessential ROCK front person in female form that has been missing in Rock Music for so many years.  We met in the studio and i invited Lzzy and the boys come out to a DRILLS show in hollywood and we blew their minds.  i was later asked to lay down a couple of solos for this record and was genuinely honored ’cause this band KICKS ASS.


“Patience” single 2009:

All guitars.


“Scars And SOUVENIRS” 2008:

Some Background Vocals.

This went down really quickly so i don’t remember which songs i sang on but if it doesn’t sound like tyler or chris daughtry, it’s me.


“Self-Titled” 2008:

Gavin is one of my favorite singers ever.  He just breathes soul into everything he does.  He came to a POWDER show on a night off and i think we scared him a little.


“Nothing” 2008:

My wife, Ninette Terhart, and I have written some really great songs since we met and for some reason, a select 12 didn’t get released on a POWDER cd until this release.  At the time of recording this album, I was doing sessions with some AMAZING drummers like Abe Laboriel Jr., Gary Novak, Randy Cooke and Rob Medici and i asked all of them to contribute to this cd and they all said yes.  it was one of the most incredible experiences ever.  And… as the barter wheel continues to turn, i owe them all a goat and a loaf of rye.  Other very talented friends helped mix this record but the one i have to mention is Greg Ladanyi because he mixed “wonderful world” and “funny girl” just because he loved us.  He loved POWDER and he loved Ninette and myself as people and he extended his world class talent and friendship and brought those songs to life.  Greg passed away in 2009 in a freak accident in Cypress but his legacy will live on with the artists he worked with from Jackson Brown to Toto to his incredible contribution to the POWDER “nothing” cd.


“Worlds Collide” 2007:

All guitars on “I Don’t Care.”

This song did really well at active rock radio and featured Adam from Three Days Grace on Vocals.


“The Flame In All Of Us” 2007:

I performed all the guitars on this album but the main riffs were written by singer, Trevor McNevan.

I freaking LOVE these guys.  Trev, to this day, is a great friend.


“Devils & Angels” 2007:

All guitars.

This was an exciting album to record.  The guys were really cool and Chris is so damn talented.  Great singer, superb pianist… i mean… we would break for lunch and he would practice Chopin on the piano in the live room.


“Anthology” 2007:

All Guitars on “Big Drum Tribe.”

This is LIVE, baby.  i went to italy with stewart copeland in the summer of 2006 to play in his world band GIZMO.  We played in 5 cities and i don’t know which city this performance is from but knowing stewart, it could be pieces of all 5 edited together.  this was truly an amazing experience.  i got to sing the police song “does everyone stare” which…  hello… this is THAT drummer… that was CRAZY.  aside from that, i LOVED italy and hey… italy loved me.  hahaha.  especially the 20 foot high guitar toss in the finale of the set.  only broke 1 tuning peg the whole tour.


“Self-Titled” 2006:

All guitars except for 1 cameo solo by Slash.

Chris is freaking awesome.  Great guy.  Insane singer.  He didn’t have a band when we recorded this record so it was Josh Freese, Paul Bushnell and me tearin’ these songs up.  All the crazy little guitar overdubs i did on this record became a calling card for me.  People wanted “that sound” so they called “that guy.” I was at the gym when i heard “Home” for the first time.  It’s like, “hey… that’s me on guitar.” and i kicked that eliptical machine’s ass.  5,000,000 units sold, baby.



All guitars on “Hangin’ On”/”Mr. Beautiful”

Cheyenne cowrote these songs with chantal kreviazuk and producer raine maida called me in to lay down some magic.  i really like the tones we got in the chorus because they’re pretty clean but still sound aggressive.


“Sunday Love” 2006:

All guitars on 3 songs?  (i should really keep tabs on this stuff)

Great record to work on.  Fefe is super talented and really fun to hang with.  “Don’t let it go to your head” was the first single to come out in 2005 and then “This is my life” (guits on both by phil x) in early 2006 but i believe the album failed to be released because of…. (drum roll, please)… more stupid label bullshit.  These were the first sessions i did with producer Howard Benson and his brilliant team.


“The Art Of Breaking” 2005:

All guitars.  main riffs written by lead singer, Trevor MacNevan, but masterfully executed by PHIL X.

My first effort with Trev and the boys that not only honed in our musical collaboration, but a relationship that led to working on the next CD.


“Tommyland: The Ride” 2005:

Tons of guits. Bigger names listed first but i did the majority.

Working with Tommy Lee is INCREDIBLY LOCO! He is a kid in a candy store every minute of his life.  Calls me his “greek brother.”  LOVE that guy.  I wrote the track “Tired” for The Drills and sent it to Tommy ’cause i thought he’d get a kick out of it and he emailed me back saying, “DUDE, THAT’S GOING ON THE RECORD”.  That was pretty exciting. Especially when i got my first writer’s royalty check.

I also played the single “Good Times” live in Tommy’s band on Ellen Degeneres, Jimmy Kimmel Live, on AOL Sessions and lip-synced the same song on 3 network TV shows all in one day in Amsterdam and Cologne, Germany.


“Self-Titled” 2004:

All guits, bass, programming bg’s.

This cd is a little confusing because there’s a few versions of it.  We put a CD together when the band started gigging and then switched out a couple of songs for the UK/European release then added a couple of tunes and a better cover for the US release and that is what this is.  I really LOVE this CD.


“Self-Titled” 2004:

All guitars. 

To this day, this is one of my favorite live-off-the-floor recordings.  With Gary Novak on drums, Chris Chaney on Bass and producer Scott Humphrey at the helm, we recorded 11 songs in 6 days and the vibe in the room was insane.  We all felt the music the same way and it went down that way to tape as evidence.


“Breakaway” 2004:

all guitars on “Where Is Your Heart” and “Walk Away.”

This was Kelly’s really BIG record with “Since You Been Gone” on it.  I remember producer Raine Maida wanting a “crazy” solo in “Walk Away” and i gave him 4 or 5 but while we were recording them, it was like a mini-concert in the control room ’cause hey… if you want a “crazy” solo, it comes with a show.  Hahahaha.  At the end of the day, Kelly and her brother freaked when they heard it but the label ixnayed it saying it was “too much for a pop record.”


“Under My Skin” 2004:

All Guitars On “He Wasn’t”, “How Does It Feel”, “Together”, “Forgotten”, “Who Knows”, “Fall To Pieces.”

This was a cool experience because Raine and Chantal are insanely talented as a producer and songwriter, respectively, and simply killer people.  Avril, at the time, was an 18 year old that just sold 20,000,000 albums which put a huge chip on one shoulder and an enormous amount of pressure on the other.  AND… she had never heard of me.  So at first, i might as well have been the coffee guy but when she heard i worked with Tommy Lee, i then was “cool”.  I went up another notch when Raine played her The Drill’s song “Beautiful Apartment” which she really liked proving me worthy of playing on her record.


“We’re A Happy Family” 2003:

All guitars and bass on Rob Zombie’s version of “Blitzkrieg Bop.”

Just when you think people don’t jam in the studio anymore, this happens.  Josh Freese and myself just mucking around with ideas for an arrangement of this song and yes…. jamming.    A halftime jungle/tom thingy and a low, growly Sabbath-esque guitar riff and, “HEY… That’s it!” I LOVE when that happens.  Later on, producer Scott Humphrey goes, “OK Phillie, time for a crazy solo.”  Showtime.   

So now i’m going crazy in the control room and when i’m done, i have this how’d-i-do? look on my face and Rob says, “I get exhausted just watching you play.”


“Soundtrack” 2003:

Nics And Nacs And All guitars on “Brick House” as covered by Rob Zombie

“Hey Phil, it’s Rob.”
–“Which Rob?’
“Rob Zombie.”
— “Hey Rob, what’s up?”
“Playing ‘Brickhouse’ with Lionel Ritchie on Jay Leno April 1st.  Can you play guitar?”
–“That would be awesome, dude.”
“There’s a catch… You have to wear full-on zombie makeup”
–“That’s not a catch…. That’s fucking wicked. Thanks.”


“Emotional Technology” 2003:

All Guitars On “Superfabulous” Featuring Rose McGowan On Vocals.

I love Scott Humphrey ’cause you’re over at his studio working on something and then he goes, “Hey Phillie, while you’re here, mind throwing some guitars on this track?” and then it ends up being a song like this that totally kicks.


“Never A Dull Moment” 2002:

The Majority Of Guits On This CD.

This was Tommy’s real solo effort since Methods of Mayhem was more of a band.  For this record, producer Scott Humphrey moved his entire studio to Elsinore Lake, CA so they could all wakeboard every morning before tracking.  Enter Phil X.  i would drive almost 2 hours, track as many guits as possible, have a bite, track more guits and drive home.  I only got one pleasure cruise on a party bbq boat out of 3 visits ’cause we were always pressed for time.


“Sonic Machine” 2002:

All guits, some bass, programming, some bg’s.

=The purpose of this CD was to have something to sell at the merch table at concerts.  The bulk of it was recorded in Ninette’s and my apartment den in Los Feliz, CA.  Drums were recorded in bigger studios when we could afford it or as a favor and vocals, guits, bass, programming and everything else in that tiny den on a Roland VS1880 harddrive recorder.  To me, that’s incredible but hey…. we were so driven and became such a force so quickly that no other local band could touch us so we were gonna make a cd, dammit.


“Sinister Urge” 2001:

A Bunch Of Guits (it’s hard to be specific on Scott Humphrey productions ’cause stuff gets chopped up and recycled after you leave.)

When I worked on Methods of Mayhem over at Scott Humphrey’s studio, Rob Zombie would come by periodically because his follow up project to “Hellbilly Deluxe” was next on Scott’s plate.  During one of these visits, he just walked up and said, “I love what you’re doing on Tommy’s record.  Would you play on mine?”  It took me a second to downplay my holy-shit-the-thunderkiss69/mr.dragula-guy-standing-right-in-my-face-asking-me-to-play-on-his-record enthusiasm and reply with a modest “hell, yeah.”


“I Get Wet” 2001:

Mostly Main Guits And Some Overdubs.

Andrew is actually an extremely talented pianist who can just play anything he hears.  Then there’s the other Andrew who is a party rock lunatic.  We did most of the record at Scott Humphrey’s studio in the Hollywood Hills but then i get the call.

“Hey Phillie, it’s Scottie.  We’re just mixing the Andrew W.K. record and need some last minute guitars.  By the way, we moved my whole studio to a chalet in Aspen.  Your flight leaves on friday.”  Why Aspen?  So Scott and the boys can snowboard every morning before mixing.  Now THAT’S stylin’.


“Christmas Don’t Be late” w/ POWDER 2001:

All guitars, loop construction.

We originally cut this cover in Las Vegas for a buddy’s Christmas compilation and somehow Jimmy Iovine from Interscope Records heard it, loved it and asked for the master.  We insisted on re-recording it and he gave us the studio, producer and a couple of different mixers to get it done.  i’m not dropping all the huge names that accompanied us on this cd.  That’s what google is for.


“Scum Of The Earth” by Rob Zombie 2000:

My first recording with Rob.  I was so excited and i have a terrible poker face so everybody’s walking around going, “What’s wrong with Phil?”  Once i settled i was fine but i think my nervous energy added to the track.


“Movement In Still Life” 2000:

All Guitars on “Never Gonna Come Back Down.”

A Scott Humphrey mix that needed some heavy guits and i just happened to be around.  Gotta love how that works.


“Brutal Planet” 2000:

All Guitar Overdubs

You know when someone says, “I gave your number to so-and-so so expect a call.”?  In this case, Rob Zombie gave my number to Alice Cooper.  I always thought that was wicked cool.  Alice didn’t call but Bob Marlett, the producer of this album did and asked me to come in and play on 2 songs.  2 songs turned into 9 songs, 1 afternoon turned into 2 full days and my at-the-time day rate got doubled so i think i made a great impression.  Did i mention that i LOVED Alice Cooper growing up?


“Self-Titled” 1999:

Most Guitars (Some of the biggest baddest riffs ever recorded.)

This is my “Hollywood True Story”:

Before i recorded guitars for Scott Humphrey on a regular basis, i was painting his garage.  So one day, Tommy Lee says, “We need a sick guitar player on this.”  Scott replies, “Let’s get Phil.” Tommy hesitates ’cause i’m the guy painting the garage but agrees to give me a shot.  I took the shot and that was it.  Tommy says, “Dude, you gotta play on the whole record.” and by day 5 he’s calling me his favorite guitar player.

Did i mention i LOVED Motley Crue growing up.


“Naveed” 2000:

The solo on “DENIED.”

Arnold Lanni produced this record and his thumbprint is all over it.  Arn is not a great guitar player but he thinks like a great guitar player and is probably more inventive than most players out there.  He basically shits great guitar parts (i really tried to think of a different verb for that sentence but none made the same point).  Great bunch of guys and really breaking new ground at the time as a band but one solo section came in the form of a brick wall.  Arn called and asked me to come in and do the solo.  I think i did 5 takes and then tweaked a bit and that was it.  The vibe in the room matched the intensity of that solo.  It was on FIRE.  I agreed to not be given proper credit on the cd liner notes and was only mentioned in the “thank you’s” because all involved believed it would take away from it being a “band effort”.  I am listed on wikipedia as “Phil X – guitar solo on “Denied” so there’s my bell toll.


“Edge Of Excess” 1993:

Really great guys and i needed a gig.  I wish i would have had a little more control over what i played but they kept saying, “That doesn’t sound like Triumph” and i knew deep down inside that I couldn’t stray too far.

I think we did 11 or 12 shows and the record got dropped .  I still meet people that say this is their favorite Triumph record which at first i thought they were just being kind but then i took a step back and remembered that MY favorite Triumph songs growing up were the songs Gil Moore sang and he was still in the equation.


“Shake Your Spirit” 1992:

All Rhythm Guits, Most Overdubs And Leads.

The reason i didn’t do all the overdubs and leads was because i left to tour with Aldo Nova during the making of this record and it needed to be completed.   I think it could have been a way cooler album than the actual finished product but pressure from the label led to rash musical decisions making the direction a tad scattered. “Something to Say” is a glimmer of Arnold Lanni’s genius.


“All guitars on LEVON by Jon Bon Jovi” 1991:

We recorded this at Jon’s house during 3 days off from the Aldo Nova ‘Blood on the Bricks’ tour.  One of the greatest rock songs ever written is “Livin’ On A Prayer” and i was in the room with Jon Bon Jovi and Tico Torres jamming one of my favorite Elton John tunes.   Pretty damn killer.


“Blood On The Bricks” 1991:

Not one note… but my picture is on the CD insert (nice)

Waist-length hair and leather pants got me this gig.  I swear Aldo didn’t even know how well i could play until 2 weeks into the tour when he said to take a solo.  This was my first US nationwide tour and 6 months i’ll never forget.  We learned Jon Bon Jovi’s then hit single “Blaze of Glory” so he could come on stage with us in select cities and sing it with the band.  In Houston, TX, not only did Jon come up and sing with us in front of a packed Summit Arena, but Paul Rodgers came up and they both rocked an “All Right Now” duet.  I couldn’t believe my eyes and ears.  FREAKIN’ PAUL RODGERS!


“Nice Place To Visit” 1987:

Most Electric Guitars.

1987? Just how freakin’ old am I?

Arnold Lanni walked into the Gasworks in Toronto, Canada to see my band and walked out after a couple of songs.  A short while later, i got a call from Arnold inviting me to his studio and we had a meeting which mostly revolved around me playing on the next Frozen Ghost cd.  I was green, man.  GREEN!  In fact, if he wasn’t such a fan of my “ferociousness”, he would have kicked me to the curb.  I had a shitty homemade guitar and a shittier amp and my musical timing was all over the place.   Arn worked with me in a good friend/mentor kind of way and found a way to harness the wildness.  I learned fast and the cd was complete and damn… i was on a record that was going to be released on a major label.  We toured to support this cd and it was amazing.  My first rock video, my first bus, my first nice hotel room, my first radio interview, my first television appearance… etc.  WOW!  I could get used to this.