His music tastes stretch the universe including "U2, Oasis, MGMT, The Kooks, Elton, Rod, Kings Of Leon, Robbie Williams, Coldplay, The Killers. I can stick on Bocelli and be good too. Or ABBA. I love a great bloody song. Doesn't matter where it came from."

When you ask Max how long he has been playing music, he gives you a sly answer, "three weeks. Its been Milli Vanilli to this point. I decided to go straight so I'm learning to play guitar an hour a week". In reality, Max Morgan picked up the guitar at 14 and dabbles in the drums and piano. After discovering that being Slash "wasn't working out", he concentrated on being a singer, "the easier of the two". From there, he received plenty of training from Ron Anderson on vocals and self taught the instruments, claiming, "I don't bode well with instruction".

Splitting his formative years between England and California, and finally making his home in LA at age 19 Morgan found a niche for himself. The album is about his move from Orange County to LA and a couple of lost loves, "they're the inspiration for songs like 'Suffer', 'Don't Stop' and 'Sold Out To The Scene'. Some crazy people out there."

After spending time trying to get three or four similar minded twenty-something's married to the same destiny to commit to a lifelong pursuit of rock and roll stardom came up empty, he got himself a deal and became a "solo" project. He had a little easier go at it as the session musicians who played on his album Interrupting the Silence had "been playing on demos I had been making since I was 17. They helped me to get where I wanted to be." He also credits "my brilliant sounding board/partner in crime Marc Tanner" for helping with the creative process. According to Morgan, "he's worked with a load of people before but what he did was help me find what I wanted to say and helped me say it.."

To date, in support of his album, Morgan has performed a number of radio tours and is looking forward to touring the States. He has found himself on the same bill as "Master P.
and Slikk The Shocker" an experience he describes as "different".

While Morgan doesn't have a favorite place to play in the States. "I've got a wish list I got to try out before I can be the connoisseur on concert halls", through his travels, Morgan enjoyed playing in Atlanta and Houston and admits, "there are some really unglamorous parts of the country but I'm going to be really careful about bashing places when I'm from the industrial towns of England". Smart choice.

Along the same wish-list lines, he forecasts some future experiences for himself starting with the illustrious groupies, those beautiful creatures who inspire desire and make the dwindling economic return all worth it. Though some have claimed they no longer exist, Morgan is adamant about his preference, "they bloody better still exist. Stories are coming. I've been in L.A. They're not groupies here. they are 'aspiring actresses' apparently."

Morgan displays a laid back, cool and relaxed style, which immediately places you at ease. Of course, being referred to as sunshine throughout the interview helps. He has a boyish and mischievous sense of humor which is immediately endearing (damn Brits) which came out in the telling of his successes to date, which include primetime placements on Grey's Anatomy, Private practice, Animal Planet, NFL Network and ESPN. He claims though all this that "I'm slacking. So I've yet to climb Mt. Everest but I'll keep you informed."

Coming off the recent production of his solo album, Interrupting the Silence, antiMusic caught up with the busy wanderlust to ask a few questions.

aM: What do you like most about playing in the States?

M: That when you come outside after the gig it could be midnight and still be 90degrees. I also love the potential of what can come next. general potential. anybody could be at the gig that could give you another, bigger gig. Or invite you to ride a bull (has happened), or go snowboarding, or play for the president (not quite happened yet). none of these things would happen in England. If they did, be wary. very. I think I'm talking about the American dream aren't I? [Everything is] bigger. More.

aM: is there a difference connecting with fans around the world versus the States?

M: Ill find out soon as a performer. as a fan, the difference between 'cracking' England and 'cracking' America seems to be that the English will latch on to something new far quicker. Whereas with the general American public, it may take a lot longer to earn their long term support. Flipside is that you may have a huge moment in England but it will die more quickly as they move onto the next 'cool' thing. Whereas in America, because you earned their support, you'll keep it for longer.

aM: what's one of the best memories of growing up in California that helped shape you as a musician?

M: There is a tunnel with great reverb for a singer that you had to walk through to get to this famous southern California beach from the parking lot. I would go and sit in there most days through my junior and senior years of high school and just play. My tunes, covers, anything. I had a bottle or two thrown at me, a $100 bill. Some phone numbers. So many people walked through that bloody place. You learn what works and what doesn't quickly.

aM: What would you be doing for a thrill if you weren't playing music?

M: robbing banks. Genuinely looks tremendous in terms of thrill levels doesn't it? If I could do it Robin Hood style. I could rationalize the thieving I think. Heists in general. Yes, I'm a bit turned on thinking about it.

aM: Where do you see yourself in the near future?

M: I really like not knowing. But I could be on a vespa, with a Victoria's Secret model wrapped around me, while on a break from touring. Doesn't have to be the Italian countryside. Could be Spokane, Washington in December. I'm ok with it. Other than that I'll be writing. I'll be touring, telling as many people around the globe as I possibly can about 'Interrupting the Silence'. Getting away with as much as I possibly can.

aM: Whom do you respect in your industry?

M: Bono, for connecting with me through my speakers in my bedroom when I was wanting to connect everywhere elsewhere. A pop producer like Timbaland, the Phil Spector of today, who can affect the entire soundscape of what's popular for a time. Jimmy Iovine who can go from assisting on recording a seminal record like Born To Run, to building an empire based on quality music (plus he's got U2). Oasis, a band who, for better or for worse, really do not care about doing absolutely anything to get ahead, other than what they want to do, when
they want to do it.

aM: How about the lady musicians? Whom do you respect?

M: The ballsy nature of Katy Perry. The vocal chords on Pink. The debut record by Alanis. Rihanna because she's so very saucy. Linda Perry for staying current and adapting after all these years.

aM: What is your opinion on social media?

M: Absolutely brilliant. There is such thing as over use though. Over exposing yourself. Too much information. I don't want to know what toilet paper Lenny Kravitz uses. But the connection to the fans old and new, its incomparable. Very personal. I like that. Good work intranets.

aM: What do you think about digital distribution?

M: I love the ease of digital. The ability to get a hold of any music you want in a few clicks is amazing. The drawback is the sound quality lost when you don't buy a CD. If I really dig an album or one of my favourite bands releases their latest disc, ill go get the CD for my car when you turn it up. You can hear the difference.

aM: What inspires you creatively?

M: Music. Creativity. Freedom. Energy. A quality entertaining rock show. All the bloody wonderful cliches. But I tell you, it's damn true. I'm inspired by those who go beyond the norm, beyond comfort levels. My album is about doing that. Going beyond. Wanting more.
The challenges that you face when you go for it.

aM: What is the top lesson you have learned through all of this?

M: Be real. Have fun. I've discovered so far about myself has been through music Listening to this record since it has been finished, I can look back at songs like 'Loneliest Man in the World', or 'Feel (whoever you are)' or 'Don't Stop', or any of them really, and I can see all the things I know, and what I'd like to know. What I want to change.

aM: any anecdotes on experiences recording the record at Capitol Studios in Hollywood?

M: I like history. I love music history. If you're the same, try and be a lucky bastard and record somewhere like Capitol. So much history of legendary musicians recording and partying in that very same room. I think something translates and connects you to that history if you're open to it. By that I simply mean it makes you feel bloody good and inspired. Another story, Glen Campbell was in Studio A while we were in Studio B at Capitol. He was hanging in the hallways, I didn't know who he was being from England. I didn't even know he was well known here. He said 'sounds pretty darn good in there'. He told some quality stories. A quality man.

aM: What sort of advice would you give other musicians just starting out?

M: Keep writing. If you're not f*cking around, a career in music is really what you want, you can never do enough. Write. Play. Record. Reach out. Then do it again. But the thing that will connect you will be the fun you're having doing it. So clich� it up and have a great f*cking time.