Austin-based trio Fastball [ tickets ] faces the unforgiving glare of sophomore scrutiny with the follow up to their 1998 debut "All the Pain Money Can Buy," an album that produced the runaway radio hit "The Way." To their benefit, the band spent the better part of two years touring behind the record, honing their sound and songcraft in the process.

Don Harvey of liveDaily sister site austin.citysearch.com recently caught up with Fastball Drummer Joey Shuffield--who has played in many popular Austin bands including Big Car and Magneto--a few moments after he checked into his hotel room in Chicago. Shuffield and bandmates Miles Zuniga (guitars/vocals), and Tony Scalzo (bass/vocals) are currently doing a whirlwind round of promotional appearances surrounding the release of a new album titled "The Harsh Light of Day."

LiveDaily: When you have a huge success, like your first major release "All the Pain Money Can Buy," how do you deal with the pressure of following it up?

Joey Shuffield: First of all, there's no way we're going to repeat what "The Way" did. "The Way" took on a life of its own and became this international thing, you know, not just in the States; it was all over the world. That's not to say we won't have success on radio or with record sales, because we certainly will. The difference between this record and the last one as far as radio, is there's not going to be a huge monster hit. I think there will be three or four big songs that do really well on the radio. I don't want to make predictions, but I think we'll do fine as far as sales go.

As far as the whole stress thing, the only stress or pressure we felt, we generated in our own minds. We were trying new stuff and trying to grow as a band. After touring for two years on that last record, you can't help but be a better band.

What kind of role do you play in the band's dynamics? Both writers are bringing songs in separately, so how do you fit in there?

This record was a little different with Miles, because he and I messed around with a sampler together working on his stuff. I played some drum patterns and we'd sample them and then hook them together. We used that more as a tool than as a big part of our sound. Just on a general level, my role is to come up with the best drum part I can for the song. There are a few more drum loops on this record, so on those songs I had to come up with a part that complemented both the drum loop and the song.

Are you suggesting tempo as well as groove?

Oh, yeah. I mean, you know, with Tony's songs--tempo, feel, groove and vibe--a lot of that comes from what I'm laying down and kind of grows off of that. And to a certain extent, some of Miles' songs. He's a little more particular and has a little more defined idea of what he wants everything to sound like, and I defer to the songwriter. The three songs that got a lot of airplay off the last record--"Out of My Head," "The Way" and "Fire Escape"--those were all parts I wrote myself.

Do you think being from Austin contributes to the band's sound or credibility?

It definitely contributes to the sound in that Miles and I were in a bunch of Austin bands together. The only bands I've ever been in have been Austin bands, so it certainly had an effect on how I play and approach music and my attitude about being in a band. I know Miles feels the same way. We have this kinship with the Austin music scene, and Tony has managed to immerse himself in it. I think he's even closer to the scene now than I am, 'cause when I'm home, I don't ever go out.

It doesn't matter where we are, what country, who your talking to, you say you're from Austin and ... everybody always says, "Oh God, I love that place. I remember one time when I was blah blah blah," and they tell you an Austin story. Or they say, "I heard so many good things about that town, I can't wait to go there."

Are you listening to anyone in particular lately?

There's this band called the Honeydogs. I just listened to their record a couple times recently and it's really good.

What's your defining rock star moment?

"Austin City Limits." ... That's the crowning jewel in my career. That was so amazing to do and it was such a magical night for us. Billy Gibbons (of ZZ Top) was there. It was great. I mean that with all sincerity.

Do you ever think beyond Fastball?

Yeah ... I think I'm going to get a job with UPS. We're going to hang on to this thing as long as it goes.

Do you see yourself recording with any other bands?

Oh, yeah. All three of us did a song with John Wesley Harding, "Stealer's Wheels." That was a lot of fun. We did that in Franklin, Tenn., right outside of Nashville.

Who would be your ultimate dream artist to play or record with?

I'd love to play something with Neil Young. I'd love that. Hopefully, music will be part of my life as long as I can pick up these sticks.