Craig hails from the sun stained-dark corners, desert dream paradise-land of illusion, road rage, and earthly delights, Los Angeles, CA and is the founder of The Sixties Show. Craig honed his songwriting and playing prowess on the LA scene writing, touring and recording with several bands that didn’t just play shows — they left crater marks. Most notably psychedelic au go -go stoner core favorites Hal Lovejoy Circus {Universal Music Group} that can be described as 70’s inspired AM gold dipped in stoner FM grime while listening to the radio in a '73 El Camino. They scored a Top 10 Hit on the Billboard Alternative Album Charts.

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He was also a founding member of the Hollywood,CA 90’s kingpins Annapurna {Warner Bros Records}

{ “ There is a dark glamour and intrigue to their look and sound, they have the whole package!”} SPIN MAGAZINE } They shared
stages with everyone from Smashing Pumpkins, Stone Temple Pilots, Oasis, Sublime and Weezer.

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Craig was also the co-founder of Echoback. Their lone album, Paper Spaceships You Can Fly (Acid Ceiling Recordings), became a cult classic — hailed by critics for its ambitious songwriting full of hooks, lush production, and a sound that felt equally rooted in Revolver-era Beatles ,the glam-fuzz swagger of T. Rex and drawing comparisons to Sparklehorse, The Soft Bulletin-era Flaming Lips and haunted beauty of early Bowie. The record blended vintage psych-pop sensibilities with late 90’s indie vulnerability. Pitchfork called it “An exquisite detour into the sublime, the sound of emotional architecture collapsing in slow motion — gorgeous, deliberate, and impossible to ignore.” While The Wire praised its “grit, beauty, and emotional clarity in equal measure.” The record
found its way onto best-of lists.

 

Craig has also worked frequently as a session bass player, singer and as an arranger. He has had coveted artist endorsement deals with G&L Guitars, D’Addario and Ampeg. His song writing /producing credits have been heard all over radio and TV such as ABC Television’s Smallville, the opening musical theme for TNT Network’s Saturday Night NBA Game of The Week, in store music for the Gap, Burger King, Nike, Starbucks and others as well as various compositions heard on HBO, Cinemax, Showtime.
Craig attended Northeastern University in Boston, MA where he studied History and English, and also has a Bachelor of Science Degree in Liberal Arts from SUNY -Albany.

Tom Licameli is a lysergic pop architect, building sonic cathedrals from distortion, texture ,melody, and memory. He doesn’t just play guitar, sing, and write songs — he builds sonic worlds and sets them on fire. 

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As the guitarist and one of the main creative forces behind NYC cult icons The Knockout Drops, he’s spent decades shaping songs that hit with both grit and grace — power pop missiles wrapped in vintage glow. Since the early ’90s, the Drops have toured relentlessly, releasing a string of sharp-edged, harmony-soaked records and sharing stages with everyone from The Beach Boys and Mick Taylor from The Rolling Stones to The Violent Femmes , Soul Asylum, and John Fogerty,  Rhett Miller, Richie Havens and Bonnie Bramlett.

In 2005, Tom was a part of the popular Off-Broadway genre-bending theater piece Escape from Bellevue — part confession, part concert, part hallucinational downtown NYC transmission from a blown-out jukebox. The show drew critical acclaim and sold-out crowds in New York City, with production by Westbeth
Entertainment and direction by Alex Timbers. Tom co-scored and sound-designed the show fusing raw storytelling with a kaleidoscopic soundscape, as well as playing guitar in the band.

A devoted Beatles acolyte, Tom was invited to take his beloved Rickenbackers and Vox AC-30 across the Atlantic to play the Cavern Club in Liverpool — chasing ghosts and melodies where it all began. When he’s not on stage or deep in tape hiss and fuzz tones, Tom is behind the board producing artists, playing with
NYC’s Mad Staggers, and of course channeling vintage voltage with The Sixties Show.
 

Originally from Michigan—where kids are issued guitars and snow shovels in equal measure, Jim spent his youth learning to play guitar and dodge frostbite. For decades, Jim has been quietly — and powerfully — carving out a space all his own. A master of emotionally resonant, melodically rich songwriting, his music
feels like memory and momentum all at once. Nostalgic without ever sounding stuck, timeless without chasing trends, Boggia’s songs are built to last — and they do.

His critically praised solo catalog — Fidelity Is the Enemy (2001), Safe in Sound (2005), and Misadventures in Stereo(2008) — reads like a pop purist’s dream: tightly crafted, sonically adventurous, and emotionally dialed in. His
influences show, but they never overshadow.

As a collaborator, Boggia has worked alongside a jaw-dropping list of musical icons and cult heroes — including Emitt Rhodes, Big Al Anderson (NRBQ), Tony Asher (Beach Boys), Wayne Kramer (MC5), Pete Thomas (The Attractions), Aimee Mann, Joan Osborne, Juliana Hatfield, Mike Viola, Fastball, Tracy Bonham, Bernadette Peters, David Poe, and Amanda Marshall. And If that sounds eclectic, it’s because Boggia fits anywhere great music is being made.

 

Onstage, Jim doesn’t just show up — he alters the temperature. He doesn’t just perform — he transmits. His guitar work is sharp and expressive, his vocals always unmistakable and powerful cutting straight to the nerve. His stage presence lands somewhere between preacher, trickster, and rock-and-roll mystic.  And on ukulele? He doesn’t just play it masterfully; he plays it like it stole his car.

Scott was born in LA, CA. The city that breathes in smog and exhales juice cleanses. 

 

You don’t just watch Scott play drums, you witness it. You don’t just hear him—you feel the air shift when he hits. Like velvet & thunder in technicolor. His groove doesn’t knock—it walks right in, lights a smoke, and makes itself at home on your couch.

If the late Keith Moon was still with us we’d like to think that he
would still be driving cars into swimming pools, demolishing
hotel’s presidential suites, touring with The Who and making time
to play drums with The Sixties Show . While Scott to date has not
driven any vehicle into a swimming pool or made use of a
sledgehammer to reimagine the décor of a hotel room, he was the drummer for The Who on previous USA and European tours. Scott has also been the drummer for the legendary vocalist for The Who Roger Daltrey since 2009.  

 

Scott has also played with Don Felder (The Eagles), Speaker (Capricorn Records), Oleander (Universal Records), and performances with Steve Winwood, Ron Wood, Eddie Vedder, Dave Grohl, Jimmy Buffett, Joan Jett, Dave Stewart (Eurythmics), Richie Sambora, Simon Townshend, Rob Trujillo, Joss Stone, members of The Eagles Band, Becks Band, Toto, Styx and Rival Sons on tour with Black Sabbath.

Kevin hails from the frozen yet fertile musical tundra of
Minneapolis, where it all started for him. Not the polished version—the weird one. Very long winters, broken gear, basements lit by Christmas lights in July.  Kevin cut his teeth in these basement temples trading solos and tape loops at 3AM, chasing moments that felt like transmissions from somewhere else. That city taught him to shape music with his hands, ears, and his core.
 

Flash forward and now a long time Greenwich village , NY resident , Kevin isn’t just part of the scene—he’s orbiting somewhere both inside and outside of it, in his own handmade universe of tone, texture, and time. A world renown and in -
demand multi-instrumentalist in the truest sense, he doesn’t “switch” between instruments—he dissolves into them.
 

He’s been summoned to record and do world-wide tours with many music greats including; John Fogerty from Creedence Clearwater Revival, Donald Fagen and Walter Becker -Steely Dan, Boz Scaggs, Phoebe Snow, Joan Osborne, Dweezil Zappa and The Spin Doctors.

 

In the studio, Kevin’s a builder of worlds. He’s produced platinum and gold albums, including a deep catalog with German rock icon Marius Müller Westernhagen. - His process is more séance than session—pulling ghosts out of crackling tubes and haunted preamps and sculpting arrangements from silence.  He doesn’t just capture performances—he channels them.

Kevin is classically trained and received a degree in music composition from Indiana University, but the real education came from records played backwards, from feedback loops and analog weirdness, from listening so hard he started hearing what wasn’t there yet. The spirit of the ’60s isn’t a retro trip for Kevin—it’s a live wire. He remembers the day as a little boy when the Beatles broke up like a psychic fracture, and he swears that he’s still NOT over it!

Peter grew up on Long Island, NY. He didn’t just hear music—he decoded it.  Peter taught himself piano as a kid , drawn to the keys like they held codes to some other language. Turns out, they did. What began in childhood became a lifelong excavation into the heart of music itself that included classical studies at Stony Brook University and jazz apprenticeships under Andy LaVerne (Sinatra,
Getz, Corea, Brecker, Elvin Jones).

Peter is the Orchestrator / Keyboardist AKA sonic alchemist for The Sixties Show.  From Mellotrons that whisper in reverse to Hammond organs that feel like weather systems along with lush spectral strings, cinematic swells of horns, sparkling piano and Indian instruments that shimmer, whisper in spirals, and hum like cosmic engines, are all a technicolor flare from a distant 1960s satellite.

The 1960s' orchestral arrangements he rebuilds from scratch sound so precise they might as well have come from the original session tapes. He rebuilds entire soundscapes from a decade where music exploded into color and never came back.
 

These spot on sounds for The Sixties Show don’t sound like homage—they sound like transmissions from the other side of the tape.

 

People say his playing has a “distinct personality.”  But really—it has presence. His work isn’t imitation. It’s re-animation. And when he’s not reshaping soundwaves, Peter teaches. He calls it “The Masters.”  Bach. Beethoven. And The Beatles.  He knows they all come from the same cosmos.