Plus by FST


Four Stories Tall



As promised, FST has been hard at work on our third release; Plus

This is our first release with the newest member of FST, and current embodiment of Huehuecóyotl, a.k.a. Phil Bush.



A tale about the human condition; focusing on our insatiable quest for energy and the illusion of security.


Winds of Fortune

The greatest fortune is realizing that you are fortunate.


Broken Switch

Have a plan? Think again.  

Think you have a problem?  It’s probably pretty minor compared to what others are facing.

A reminder that expectations are future disappointments.  


20 Years

Sometimes you can return home.  Sometimes it’s best to not give in to the desire to do so.


I Can’t Stay Too Long

Time is a precious commodity. Whether it is time you want to spend or time you are obliged to spend, spend it wisely. You only have a limited amount, but keep your chin up. Once you’ve spent all you have here, there is hope you will have more to spend elsewhere.


The Band

Phil Bush – Guitar, chaos

Mark Matos – Basses (too many damn Basses), Topo Chico enabler

Mark Murray – Keyboard, vocals, programming, mixology, signal processing, button pusher

Mark Turner – Guitar, philanthropy

John Wilson – Drums, two keyboard notes, acoustic and electronic percussion


Guest Musicians

Tara Allison – Vocals on Flame

Greg Gibson – Vocals on Flame

Gina Roberts – Vocals on Flame



Broken Switch, 20 Years and I Can’t Stay Too Long were written, produced and performed by Bush, Matos, Murray, Turner and Wilson

Flame and Winds of Fortune written, produced and performed by Bush, Matos, Murray and Wilson

Mixed by Mark Murray and FST

Engineered and Mastered by Mark Murray

Artwork by John Wilson

Minus – Four Stories Tall’s latest EP release.

Four Stories Tall is proud to announce the release of the Minus EP. This offering is our first release since The Road West and takes listeners on a musical rollercoaster ride that is disturbing one moment, peaceful the next and even provides a bit of humor here and there. Minus is currently available for download at all major digital music retailers (iTunes, Amazon, CDBaby) and is streaming on every streaming service that is worth your time.

Sonic Biscuit

Music aficionados!

FST’s own Mark Murray has launched his own record label!

Why would he do this when the traditional record label is going the way of the dinosaur and sales of physical recordings is virtually gone?  Well, you are going to have to check out his website to find out!

Also, for the sake of all things sacred, or to merely cement the fact that you are generally an all-around good person, please follow Sonic Biscuit on Twitter and like it on Facebook

Stay tuned for info on Four Stories Tall’s latest music release!

Live From The Field



Four Stories Tall EP Release

FST has decided that instead of releasing a full length album, we’ll release two EPs!  The first EP, tentatively titled Minus, will have four songs on it, they are:



A short ditty on the daily challenges of dealing with the Ideal Gas Law.  FST would also like to recognize Boyle’s LawCharles’s Law and Avogadro’s Law.



Nothing funny here.  A commentary on the Globalization and Social Mediatization of Terrorism.



A treatise on whether the place with the guy with the pointy stick is Exothermic or Endothermic.  Features Electronic Percussion, Upright Electric Bass and Allen Wrench.  And for the record, FST’s stance is that Hell is Exothermic.  Side Note – the melting point of Sulfur is 115.2°C


The Storm

A nod to the Narrator’s realization in Poe’s Descent into the Maelström, that the Maelström is a beautiful and awesome creation.  Also an acknowledgement that U K’ux Kaj is doing a hell of a job.  Alternate title is Welcome To Texas!


Due to each band member’s involvement in Lepidopterology and Coleopterology we often find that our schedules are at odds with each other.  But our dedication to our fan base demands that we be productive even when the entire band is not available.  This EP is the result of that unwavering dedication.  All of the songs on this EP were recorded minus one of the band members; most of the songs were written and recorded in a single day.  Of course, we then went on to spend countless hours debating mixes, additions, subtractions, redactions and various minutia.  All unresolved debates were resolved by a combination of Rock, Paper, Scissors and Leg Wrestling.

We hope y’all enjoy the new EP!


Read More News

All FST music is available to stream or purchase on pretty much all music sites.

Here are some links to popular sites:

Spotify | Amazon | YouTube | Napster

Four Stories Tall would like to recognize the talented people who performed on The Road West.  Gina Roberts and Tara Allison also perform on the EP release, Plus.

Dustin Ballard – Fiddle

Dustin began playing violin when he was 10. Though he began with classical music, his father played steel guitar in a country band and encouraged him to jam and improvise whenever possible. It took many years before Dustin could bring himself to call his cherished violin a “fiddle," but after hearing Bob Wills’ legendary fiddler Johnny Gimble play in concert back in 1999, the transformation was complete. Dustin donned his cowboy hat and never looked back. Today Dustin plays primarily in the western swing band Shoot Low Sheriff. He also has a love for early jazz, country, and blues.

John Sprott – Guitar

John Sprott grew up on the same block as Mark Murray in Lubbock, Texas, in the sixties. He took up guitar in 1970, played his first gig in '74, and went on to play in a few local rock and country bands before forming the band that would become "The Nelsons" in 1982, along with Dennis Jones, Greg Galbraith, and in 1983, Donnie Allison. The Nelsons won a semifinal round of MTV's "The Basement Tapes", recorded an 8-song EP, a full length CD, and a 45 rpm record which as fate would have it was engineered by one Mark Murray. The band toured America from 1985-1990, opening for major acts in 15,000 seat venues and headlining in clubs. They backed up John David Souther at Farm Aid II, and later in the day performed their own set to 45,000 people. Playing a club gig in Kansas City one night the band was joined onstage by Led Zeplin guitarist Jimmy Page, who played guitar with the band for the last songs of the night's performance. The Nelsons broke up in '91, and Sprott began playing blues, soul and rock with Elvis T Busboy and the Texas Blues Butchers, and as of this writing, 23 years later, is still playing with that outfit, as well as doing various acoustic gigs and playing electric guitar with other bands on a regular basis. In 2004 Sprott was one of 5 Texas guitar players to be designated "Texas Tornado" status by Dallas-based Buddy magazine. 2005 saw the release of Sprott's only solo project to date, a rather eclectic hodgepodge of 14 of his own compositions on compact disc entitled "Ain't Worried". He still resides in Lubbock, and still travels to various regional destinations including Dallas to play guitar.

Gina Roberts – Vocals

Gina Roberts hails from Buffalo, NY. She sang in Carnegie Hall before she could vote, and lived the a cappella lifestyle during college as a founding member of the Miami University Misfitz. She minored in music composition, and still writes what her friends call “sweet, sweet love songs” today. Though a copywriter by day, she’s a torch singer at heart.

Tara Allison – Vocals

Tara has been singing since she was two years old. The daughter of traveling musicians, she's no stranger to performing seven nights a week, sleeping on a tour bus, crashing on friends’ couches, and going wherever the wind takes you. But unlike most musicians, her wild groupie life ended at age 5 when her parents settled down and got steady nine-to-fives. Since then, she’s learned how to sleep in a real bed and she grew up to get a real job in advertising, where she gets to watch other people sing for a living too. But having a full-time job hasn’t stopped her from singing every chance she gets. She’s been in country bands, 80’s hair-metal bands, and even blues and jazz bands, and she’s not planning to stop any time soon. When she’s not using her vocal chords, Tara likes to cook, travel, and watch horror movies. Music will always be her first love, but her husband Ben is a close second.

Lloyd Maines – Pedal Steel

Maines was born and raised in Lubbock, Texas and is now based in Bulverde, Texas. Arguably best known as a pedal steel player, Maines is a multi-instrumentalist who has also performed and/or recorded playing dobro, electric and acoustic guitar, mandolin, lap steel guitar, banjo and bell tree. He toured and recorded as a member of the Joe Ely Band and has also played with Jerry Jeff Walker, Guy Clark, Butch Hancock, Terry Allen, Jimmie Dale Gilmore, Golden Bear, and other Texas musicians. Maines was a member of The Maines Brothers Band in the late 1970s and early 1980s and has contributed to alt-country releases, including Uncle Tupelo's Anodyne and Wilco's debut, AM.









The glue that holds us here has come undone
The thread once tightly woven has come unspun
The land that once was rich has gone to blight
We struggled many years, but lost the fight

The gaunt grey face before me used to be my wife
Starvation stole her vigor, soon will take her life
Just like it stole our daughter, tries to take our son
We have to leave this place, the famine’s finally won

We traded all we had for passage from this place
Seems half the countryside has joined the race
To find another life where hunger is stayed
The children pack their things, their mother is afraid

Tell me why must we sail so far away
Row, row, put your backs in and row

Tell me why must we sail so far from home
Row, row, put your backs in and row

It’s time to leave the ship, take the boat ashore
We carry hopes and dreams, and little more
The mast has disappeared behind the waves
The people left behind are in their graves

Tell me God, what’s our plan, so far from home
Row, row, put your backs in and row
Row, row, put your backs in and row



Rolls nine hundred miles from her head to her mouth
From the Llano Estacado to the Freeport south
Winds along

As you peer in her waters, what you think is mud
Something deeper than that, it’s the salt and the blood
From back home

Brazos de Dios, the arms of God
Reach up to take me
Carries me over ten thousand years
Under the prairie

The tribe of Comanche rode her shores in the past
They were building reputations that were bound to last
Years long

When the white men came, The People swept from the West
Took whatever they desired and they burned the rest
To the ground


As time moved on, the white men conquered her soil
The People disappeared amid the battle and toil
For their home

A century passed, a group of Army Engineers
Tried to dam up her waters, tried to hold back the tears
Of times gone

Chorus X 2



Trouble follows me – like a river to the sea

Hopped on a train outbound for Toyah
Just to see what lies out west
Bought the ticket, damn near broke me
What I’ll do there’s anyone’s guess

Watched the tress turn into sage brush
Then watched it all burn to grey
The rails flowed into a flat horizon
Like a river lost its way

Where the hell is my companion
Salvation she didn’t bring me home
This is where the river brought me
Out here all alone

Spent my last dollar in the cactus coach
Threw back a couple of drinks
The scenery was growing tiresome
Perhaps it’s made to let me think

The car was filling with the upper crust
It made me feel like I might choke
I stepped outside between the boxcars
Tried to roll myself a smoke

Suddenly we snapped a corner
Lost my balance as we jumped the track
I found myself going over
Then everything went black

I woke to something warm and friendly
A gentle stroke across my head
It might have been consoling angels
Kindly telling me I’m dead

But it was just Trouble bringing me back
A dirty stray without a home
He wagged his tail as I brushed myself off
Suppose I’m no longer alone

I guess I found my companion
Hardship delivered him to me
This is where the river brought him
To walk forever with me



In the heat of the day
Not even a cat should be treated this way
I’ve got no pedigree
Just driftin’ along

And the rails roll on forever
And somewhere at the end of forever
Is a home
It’s my home

When I find a shade from the heat
I’ll rest my weary feet
Till I feel good, feel good like a dog again,
Feel like a dog again

I follow the steps of a man
A drifter out wandering the sand
He’s got no place
To call his own

But he treats me pretty special
Gives me half of everything
That he has
Half what he has

When it’s time to jump that train
I’ll throw caution to the wind
And I’ll run fast, jump
Into his arms again

As we ride along the track
I roll over on to my back
And this bumpy ride
Beats walkin’ in the heat

And my closest friend
Gives me a pat on the head
And I’m loyal to a fault
We’re loyal to a fault

When God calls me to my end
I’ll lift my weary feet again
Till I feel good, feel good, feel like a dog again,
Feel like a dog again



A thousand feet below the ground
Our elusive quarry sleeps
Still as a shiny snake that hides
And slithers beneath our feet

We pound steel into the earth
To set the serpent free
If we get it done in time my friends
The drinks will be on me

A church to the east, a bar to the west
Each provides a comfort on the day of rest
A preacher on the right, a bondsman on the left
Both in the business of saving the bereft
One prays for forgiveness, the other pays bail
Don’t take them for granted, they are destined to fail
If you get caught on the wrong side of telephone road

A hundred feet above the ground
The planning committee meets
They make designs to rape the land
While a chef prepares their feast

The chairman talks of what they’ve gained
Of treasures not yet found
Let’s plant another hundred wells
To drill into the ground

A brothel on the left, a social on the right
Each provides action on a Saturday night
A wife to the east, a hooker to the west
One likes to party, one feathers her nest
One’s paid to be a lover for just one night
The other collects it for the rest of her life
Don’t let them catch you on the wrong side of telephone road

The kick can be felt miles away through the ground
The suits in the boardroom are aware it’s been found
The roughnecks smile wide when they hit their pay
Through all the commotion they hear the driller say
It’s raining money on the west side of Telephone Road
We’ve hit a gusher on the west side of Telephone Road
It’s raining mud west side of Telephone Road
It’s raining money west side of Telephone Road



The wind pushes earth into the sky
And the cracks round the windows let dust inside
It falls from the sill to a freshly swept floor
And she asks herself why she puts up with it anymore

A rust covered hinge announces he’s home
But she knows all the same she’s still here alone
He’ll quietly eat the meal that she has prepared
And scarcely acknowledge that she’s even there

She’ll endure any hardship he brings through the door
For a Saturday night gliding ‘cross the dance floor
To a waltz, while he’s holding her tight
All at once she remembers why
She loves him

The sun falls below horizon flat and bare
She ties back the bow on a ribbon in her hair
Dons a worn cotton dress of checkered whites and reds
Though the patterns have faded, she can still turn some heads

When he takes her out dancing on Saturday night
They glide ‘cross the dance floor beneath the spotlights
To a waltz, while he’s holding her tight
All at once she remembers why
She loves him

And they dance the night away…

A rust covered hinge confirms she’s arrived
At the place where her dreams keep her alive
As the sounds of the dancehall fade from her head
The silence overwhelms her as she falls into bed




Plans made, plans broken
All beyond our control
Expectations turn to disappointment
There’s just no way to know
In a maze of destinations
Endless places to go
Now we wait in aggravation
Our dark sides begin to show
I’m on a train going nowhere
Frustrated woman just loses control
A broken switch, all of the sudden
Ten-thousand people just can’t get home
Three men in a capsule
Spinning high above the sky
Indicators flash to warn them
Navigation’s gone awry
Signal distress over the airwaves
Concerns are mounting at Ground Control
A broken switch, all of the sudden
Three astral travelers may not come home
I’m sitting back in my recliner
I push the TV remote control
A broken switch, all of the sudden
My entertainment is put on hold


One might strike his rock against another rock and make the spark that ignites the flame
And the fires of the imagination burn most bright when they’re fanned by every
member of the village in sight
And when they take that flame another mile down the river to share with their rivals
as they stumble and shiver
In the dark no more, their smiling faces bathed in the golden light of the fires this night
One then harvests the fire, runs it down a wire that terminates a hundred miles away
To power the lights in the village at night and allow them to press on and pray
Keep me warm, keep me bright
Keep me safe from the danger this night
Lift the flames into the air
The ashes fall I know not where
So they pray for more oil and gas and coal to warm their hearts and deliver their souls
From the evil that lurks in the shadows and dark – they claw at the Earth and gouge out a mark
Then one releases the fire at the heart of the atom, harness its power to light great
cities of people who scratch and struggle
To find more oil to burn in their quest to acquire, to tame and to conquer their rivals down the river
When at last they hurl their nuclear weapons into the sky to leave their impression in one final fire
That consumes all humanity their faces frozen in perpetual screams a split second
before their shadows are etched into the streets of their city
Forever and ever and ever
Keep me warm, keep me bright
Keep me safe from the danger this night
Lift the flames into the air
The ashes fall I know not where


Duty calls, itinerary set
Got plans I didn’t make
Things not done yet
Didn’t leave on time
Guess I deserve what I get
I can’t stay too long, got to go
City crawls, it’s order is upset
The builders lost their way
Plans not done yet
They had to leave behind a billion dollar debt
They can’t wait too long, got to go
In a dream I am rising, climbing away from my rage
As I seek my salvation, soaring away from the cage
Past the void, beyond the other side
Still have my sense of humor
That part never died
Look back across the chasm, growing ever wide
I can’t stay too long, got to go
Voices call, a comforting request
Felt hands embrace my soul at last
They carry me up to the door
No need to worry anymore
I shall rise, yes I shall rise


I bought the house I grew up in
Sits on the corner down from the school
The paint and the carpet are different colors now
Not quite how I remember them
But it feels right
I feel right again
Right at home where I belong
Right as rain, right where I belong
Now I wait in the living room
I peer through the blinds into the front yard
The kids from the school are walking home now
I wish somehow they would stop and play
But it feels right
I feel right again
Right at home where I belong
Right as rain, right where I belong
Right here again


I put my boat onto the water
Hoist my sail into the air
Carried by the winds of fortune
Far from shore I know not where
I dream in technicolor voices
They sing about the words I cannot say
Their images have such a pungent flavor
I carry in my touch throughout the day
A siren’s song drew me toward her
She climbed aboard my boat to stay
Became my eternal companion
Since then I’ve never lost my way
I dream in technicolor voices
They sing about the words I cannot say
Their images have such a pungent flavor
I carry in my touch throughout the day

About us:

Four Stories Tall is a collective endeavor comprised of core members Mark Matos, John Wilson, and Mark Murray. We assemble regularly for the purpose of making music, enjoying brotherly fellowship and indulging in the sampling of fine spirits. To call us a band in the traditional sense would be a misstatement. We prefer to think of ourselves as a drinking club with a bad music habit.

For the past several years we have focused our efforts into developing a creative process by which we can write, record and produce music. Our process is somewhat backwards of the traditional band approach of writing and rehearsing songs to prepare for live performance. Our approach allows us the freedom to capture ideas immediately, to manipulate arrangements on the fly and to throw away entire productions without regret.

Mission statement:

Our goal is to produce music that conveys imagery and story, is free from the boundaries of genre and is crafted to the highest standards of production quality within our means.

Mark Matos would like to thank:

Lena Levario – for her endless support and love, and for helping me to be a better man.

Anna Matos – for raising me to be a good man.

My bandmates John, Mark M. and Mark T. – for their creativity, dedication, honesty and for their Friendship, Love and Truth.

Jeff Gilbert – for his love and friendship.

All of the people that helped pull me up while I was growing up. But especially Jennifer Matos, The Komkov family and the Ray family.

Tom Blackburn and Johnny Ray. If I hadn’t started playing with these guys in 9th grade I wouldn’t be the Bass Player/Musician that I am today.



Matos’ Supper Nerdy Bass Stuff

Famine was played on a 2006 Pedulla Pentabuzz with D’Addario XL Nickel strings.

Brazos de Dios was played on a Warwick Thumb SC NT 5 string with Dean Markley Blue Steel strings.   The Bass during the Guitar and Keyboard leads was played on the Pedulla Pentabuzz.

This Is Where the River Brought Me was played on a 2007 Breedlove ABJ250/SM4 with D’Addario Acoustic Bass Guitar Phosphor Bronze strings.

Mutt was played on a 2005 Ned Steinberger CRM4 Electric upright with old D’Addario NS Electric Traditional Bass strings. The last note, a low B, was bowed on a borrowed Ned Steinberger CRM5 Electric upright.

Train from Toyah was played on the Ned Steinberger Electric upright tuned to E G# D G#. When playing the song live the Bass is tuned to E A C# G

Telephone Road was played on a 1978 Rickenbacker 4001 with Rotosound Swing Bass 66 Stainless Steel Strings.

Cotton Farmer’s Wife was played and recorded as two track on the Ned Steinberger using standard tuning.   When playing the song live the Bass is tuned to E A D A

The Basses were recorded direct using various combinations of a Demeter VTBP-201S, Avalon U5, Mesa Boogie M6 Carbine, Radial JDI, Aguilar Tone Hammer Preamp/Direct Box and a Jule Monique Dovecage.

For live sound I use a Bergantino IP 310 1000W powered cabinet with a Demeter VTBP-201S preamp and/or a Mesa Boogie M6 Carbine amplifier with a Bergantino AE410 cabinet.

For Four Stories Tall artist management, please contact Mark Murray @

For booking or any other information, feel free to get in touch!

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