What began with a homemade drum groove on Matt's front porch in Nashville sprang into a varied ten-song album that is equal parts a dip in the electric blue waters of the 80s and a testament to the artistic breadth Wertz has developed at this point in his career.
The year was 1987. Reagan was in the White House, Bill Cosby was the king of Thursday nights, Dirty Dancing was selling out theaters. And on stereos across America, singer-songwriters like Bryan Adams, Richard Marx, and Kenny Loggins were rocking the airwaves with hits that would go on to do the near impossible: cater to popular demand and stand the test of time.
It was 1987, and Matt Wertz was an eight-year-old kid in Liberty, Missouri. He went to Louis and Clark Elementary, he took piano once a week from his Nana, he rode shotgun in his mom's Oldsmobile station wagon. And on those lucky afternoons when he could tune in to Casey's Top 40, Wertz listened to songs that would become the soundtrack of an era – Don Henley's "Boys of Summer," Steve Winwood's "The Finer Things," Lionel Richie, Peter Cetera – classics set to drum machine and Stratocaster.
He didn't know it then, but those radio waves were settling into Wertz's memory and slow-curing his own songwriter sensibility. And after a decade of commercial success, seven studio albums and thousands of miles touring, they were the songs Matt found himself going back to over and over again – "Footloose," "Mandolin Rain," "Hold on to the Nights" – music that was flat-out fun to listen to.