Texas singer-songwriter and guitarist Marina Rocks has unleashed her new album S.O.S. Texas, a nine-track collection released in May that showcases both her sharp songwriting and her tasteful, expressive guitar work. The record blends rootsy storytelling with flashes of fiery musicianship, including two instrumentals—one channeling shades of vintage Stevie Ray Vaughan. From the gritty edge of “It’s All Messed Up” to the reflective textures of “The Hollywood Sign,” S.O.S. Texas captures Marina’s distinctive voice as an artist, while reminding us why she’s earned her reputation as one of Texas’ most compelling guitarists.
What was the songwriting and recording process?
I’m very fortunate to have a residence gig where I can try out songs that may have beginnings on the road, at home, etc. It can be tough to find that balance between being a human jukebox, paying the bills, and creating something worth recording.
I recorded S.O.S. TEXAS mostly at my Two-Fisted Pixie studio, with the exception of Lloyd Maines’ dobro, mandolin on “One More Song,” Pat Manske’s cajón on “One More Song” and “Slap Happy’,” Alex Rodriguez’ fretless bass on “The Hollywood Sign,” and Aden Bubeck’s bass on “It’s All Messed Up.” These great players were recording their parts long-distance, then emailing their WAV files. Gary Weldon’s beautiful chromatic harp was added at Lucky Run Studio in Houston on top of my already recorded tracks for “The Hollywood Sign,” which I had previously recorded in my own studio. It’s a different approach than everyone all together in the same studio at the same time, but for the tracks that I lay down, I like not having to worry about the meter ticking.
When I start recording a song, I start with a metronome. Then I add one track at a time: kick drum, snare drum, acoustic guitar, scratch vocal. I might add a high hat. No toms are added till the track building process is almost done. I use minimal cymbal crashes. I’m not a fan of a snare drum mixed out front, stepping on vocals; I’d rather hear detailed bass guitar instead. Pat Manske at The Zone mixed the nine tracks. Nick Landis, also in the Austin area, did the mastering. I often record multiple Godin acoustic guitar tracks. I played the Fender bass guitar on “S.O.S.” and also on “Mind’s Eye.” I also played the keyboards. On this album, there is one song that has a distorted Fender Strat, and that’s on “It’s All Messed Up.” Everything else is my vintage Godin A6 acoustic guitar.
What do you hope your fans/listeners take away from listening to your music?
Besides a copy of my new CD S.O.S. TEXAS ... (ha ha), I hope they can find some joy and a break from these complicated times, even if it’s just for 39:08.
When did you first start playing an instrument?
I was a little kid, around eight years old, when my mom bought me a parlor-size Stella acoustic guitar.
Who are some of your musical influences?
Hendrix, Lucinda Williams, Oliver Mtukudzi, Albert Lee, The Boswell Sisters, Lloyd Maines, Rodrigo y Gabriela, Jimmy Page, Chet Atkins, Bob Marley, Peter Tosh, Willie Nelson.
What’s next?
I’ve just started working on my next video and album. I’m looking to do a couple more co-writes with fellow Texan songwriters. I performed at the Hotel Cafe in Los Angeles in June 2025 and will be heading to AmericanaFest in Nashville this fall. I may possibly go over to the U.K. for the first time later this year.
S.O.S. Tracklist:
It’s All Messed Up
S. O. S.
The Hollywood Sign
I Don’t Know
One More Song
Mind’s Eye
Slap Happy
Starlight
One More Song (Rewind)
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Marina Rocks Releases Splendid New Album ‘S.O.S. Texas’
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