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WELCOME TO THE NOVEMBER, 2001 ISSUE OF MUSIC MORSELS Please note: For those who do not receive Music Morsels in its entirety or prefer Music Morsels in the text format, please send us an email and we well you send you Music Morsels as a text attachment. Thank you. Special offer for Music Morsels subscribers!
AND NOW... ATTENTION LABEL PR DEPARTMENTS, MUSICIANS AND SONGWRITERS! If Music Morsels is not on your mailing list for your new releases, please add us to your database. If you wish to send presskits, please include a full presskit - not just a CD. We do not review submissions without a complete presskit. Also, please include your return address on the envelopes of all submissions. We no longer open packages without return addresses on them due to increase security risk! Our readership has reached 35,000+. ATTN: A&R REPS - Please read our UNSIGNED/INDIE BAND SPOTLIGHT for information on up-and-coming acts. Mailing Address: Sandy Serge - Editor, Music Morsels, P.O. Box 2760, Acworth, GA 30102 USA To unsubscribe, just ask....and you will be removed from our list. Music Morsels is the award-winning monthly music industry newsletter targeting musicians, songwriters and music industry professionals. We are distributed via e-mail to all the labels, many radio stations, and music editors around the world. So if you want the latest educational information on how to develop your music career - or if want to know more about how national recording acts or successful industry professionals hit the big time - or if you want to read interviews about the latest up-and-coming unsigned or indie label bands plus tons more, you can read it all here. ATTENTION MUSICIANS & LABELS: SEND YOUR PRESS KITS (must send COMPLETE presskit, not just a CD) TO US FOR POSSIBLE UPCOMING REVIEWS OR INTERVIEWS IN MUSIC MORSELS. We cover all genres! To subscribe, just send an email to MUSMORSELS@AOL.COM with the word "Subscribe" in the subject field. Affordable classified advertising reaching thousands of people in Music Morsels! 3 months for 15 bucks! Classifieds can be up to 10 lines long and we place your gif or jpeg on our web site with your ad along with publishing it in the ezine. Money orders and personal checks accepted payable to Music Morsels/Serge Ent. Must receive your ad with payment by the 25th of the month for inclusion in the upcoming issues. Mail to: P.O. Box 2760, Acworth, GA 30102 USA Special thanks to all of our Music Morsels' Sponsors. Junior Sponsors Senior Sponsors Executive Sponsors Would you like to become a Music Morsels sponsor? To learn how, visit http://www.serge.org/NetMarketOp.htm ``````````````````````````````````````````````````````````````````````````````````````````` November, 2001 ```````````````````````````````````````````````````````````````````````````````````````````` My future starts when I wake up every morning....Every day I find something creative to do with my life. - Miles Davis TABLE OF CONTENTS 1. CROSSROADS - Ben Schigel of SWITCHED by Mark E. Waterbury 2. INDUSTRY PROFILE - VICTOR SOMOGYI of Wild Justice Management by Mark E. Waterbury 3. SPOTLIGHT REVIEW/ALBUM CAPSULES - Winger, Switched, James Kennedy, Town Hall, Tonefarmer, The Texas Governor, Cubic Feet by Mark E. Waterbury 4. SCOTT TURNER'S SONG PUBLISHER'S PERSPECTIVE - Daryl & Corey Lee 5. QUIPS & QUOTES - Stories & Sayings to keep you motivated in your music career 6. UNSIGNED BAND SPOTLIGHT - Guitarist JAMES KENNEDY by Mark E. Waterbury 7. MUSIC BIZ NEWS AND OPPORTUNITIES - compiled by Sandy Serge 8. MUSIC INDUSTRY MARKETING SHOWCASE - the latest and greatest music industry products and services 9. MUSIC MORSELS SUBSCRIPTION INFORMATION ````````````````````````````````````````````````````````````````````````````````````````````` 1. CROSSROADS.......... Ben Schigel of SWITCHED by Mark E. Waterbury by Mark E. Waterbury
It's like the search for the Holy Grail - that seemingly unobtainable goal that most serious musicians have for obtaining that elusive record deal. It can also be considered a pipedream for many, because they feel that once the label reps come calling with that contract, all they do is put their John Hancock on that piece of paper and they are on the fast track to success. But as nearly every band who has reaped the rewards of diligence and persistence (that elusive recording deal) will tell you, the work and dedication to your career does not even come close to ending there. In fact, the expectations for you to work harder and do more to gain a higher level of popularity will increase. The band Switched knows this. The Cleveland area heavy rocking fivesome had everything in place when the labels came calling. They signed in late 2000 with Immortal/Virgin Records, who put them in the studio to record their first release "Subject To Change." Since then, it has been the road warrior path for Switched, with various tours around the country to garner further notice for their music. The work may seem grueling to some, and there may be skeptical musicians who wonder why they have to toil so deliberately once that label deal has been obtained. I hope those skeptics enjoy their careers as a bar band. Now for Switched - they have the taste of success on their palettes and are hungry for more. Ben Schigel became interested in music at a very young age. With musically-inclined siblings, including brother Joe, Ben had a good idea where his life was destined about the time he graduated....kindergarten! "When I was three or four years old, my older brothers listened to bands like Rush," Ben recalls. "And they always had equipment like effects boxes and amps around. I was intrigued by the electronics behind it. I was around music my whole life and wanted to be a part of it." Ben actually started playing drums at the age of six in clubs jamming cover tunes with his brothers. Once he entered his teens, he started singing because none of his jamming partners in the neighborhood wanted to. He sang backup vocals while playing the drums and eventually started writing melody lines, which led to him switching completely to lead vocals. He and his guitarist brother Joe were in several Cleveland area bands that did fairly well over the next few years. A member of one of those bands was guitarist Brad Kochmit, and they also knew of a good drummer named Chad Szeliga who took over behind the drumkit in a band when Ben switched from drums to vocals. Ben also owned a recording studio, and bassist Shawn May was always in and out of the studio. The five musicians decided to form a band, eventually naming the project Switched because they had changed the band's name so many times previously. "Brad and I wrote songs for so many years in other bands," notes Ben. "We started to get a knack for writing decent songs, so we needed to get the other piece of the puzzle which was to get decent people around us. But I think we got the perfect mix. We all get along well. We jam out! It felt good." The early days of Switched were spent primarily writing and perfecting the songs that they wanted on their first album. They made free samplers of their band's music to send to fans in the area as well as people in the industry, and also constructed web site with music available for downloading. They also rehearsed their live show so it would be intense right from the beginning, and they only had four shows under their belts when the labels started to notice. "We had so much experience from our earlier bands that it was not like we were a new band. We weren't really starting from scratch. We had played a show at the Odeon with a band Vera that was pretty popular in the area. The record label Tommy Boy came to watch them and they had somehow heard our stuff on the net. So they watched us play and they loved us, and once you get one label interested, everyone finds out because the word gets around quick." Eventually a rep from Immortal/Virgin came to one of their practices and he like what he heard and saw. Switched landed their record deal. The label put them in the studio to work with producer Jason Beiler (Nonpoint) and mixing engineer Toby Wright (Alice in Chains, Sevendust). The debut CD "Subject To Change" was released in late February, 2001. "I'm a perfectionist. I'm always a kind of person who thinks everything could be better. But I'm pretty happy with it overall. Looking at it now, we did that record when we were first signed and it's been around for a year so I think we can do better. But it is a great collection of songs." As soon as the CD was released, the band hit the road and continues to perform in several markets of the country since the CD came out, including a stint on the Vans Warped Tour. "We were nobodies, but after the Warped Tour, we noticed that our fan base had really started to grow. We also do a lot of interviews, too - ten to fifteen a week, radio and press. When we aren't playing, we're getting out and meeting fans, and just hanging out with people." The CD is starting to gain momentum as the band tours more, often playing the same market a month or two after they played it before. But that started the buzz. Switched is also watching their fan base grow rapidly the more they get out into people's faces. Being on a major label is definitely a step in the right direction for the boys from that town at the mouth of the Cuyahoga. But they know that this is just the beginning, and it will take a lot more hard work and determination to reach stardom, even with the label in their camp. "If this ended tomorrow, I would be not completely happy, but I'd feel at least we got signed, put out a record, and toured the country. We'd like to see it get further than this. Put out a record that would sell maybe 250,000 copies. Of course, if we sold half a million or a million that would be crazy, and we're definitely shooting for that. You have to keep trying until it happens. But we have to keep doing promotion, especially on the radio, and just keep getting better at everything. Putting on a better show, that's the main thing." :-> *_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_* 2. INDUSTRY PROFILE - Victor Somogyi of Wild Justice Management by Mark E. Waterbury Victor Somogyi admits candidly that he did not have the talent to be a musician. Born in Austria but a resident of New York City since the age of two, Victor had plenty of friends in high school that did have that talent and formed bands as a result. Victor helped his friends by booking them to play at high school dances and events. In spite of this low level indoctrination, he did not choose a music career right away, pursuing instead a degree in mass communications in college. He aspired a career in the film business and enrolled in Brooklyn College's television and film program. "I did well enough there to be able to transfer to the (New York University) fine arts film program which was basically a fast track to Hollywood," Victor remembers. "Unfortunately, certain things intervened and I was not going to be able to leave New York. So I started working in video with one of the first non-network companies that had a mobile rig for videos. I started pitching business for them and most of the business I got was for music videos. It was pretty hilarious that I was sending out these letters to record labels saying music videos would be a good idea." This, of course, was pre-MTV/VH1 by a couple years. Through his music contacts, he began working for Georgio Gomelsky, who had an RCA label called Utopia Records. Georgio had a great pedigree as the original manager of the Rolling Stones, manager of the Yardbirds and owner of the infamous Crawdaddy Club in London. "That was my first actual music experience. I was his chief assistant. I didn't know any of the players, but I was pretty good at organizing because I'd already been producing video. So I was good at organizing events and did a little bit of everything." Victor was now well-indoctrinated into the music business so he then went to work for Mike Appel, who had just broken off as manager of Bruce Springsteen. Mike had a three record deal with whatever artist he wanted on ABC Records, so Victor began to tour manage one of Mike's acts Arlyn Gale. "That was quite an experience, because I had never been on the road before. But over the years, I made some good contacts with New York area musicians." Victor decided to go into management on his own and began to work with "The Legendary" Miki Buzz who started a band called The Bullets that would later become Vendetta, but it was a tough road for Miki and his manager. "At that point in the early to mid-80's, (Miki) was playing a style of very, very hard rock that nobody really wanted to play on the radio. And then there was the undercurrent of him being black. When we were trying to get him a deal an executive from a label was absolutely enamored with the tape we had given him, but had not actually seen the band. He came in, listened to a couple songs, looked at me and said, "Well, he is black you know." So he left after that song and we never heard from him again." Things continued to be tough because of the industry's general perception at that time before bands like Living Colour broke the color barrier. Vendetta was signed to Roadrunner and started touring in Europe instead, changing their name to M-80. That was tough as well, since, at the time, Roadrunner was a truly indie label without the financial clout to support their bands. The band returned to the states and released one of the first successful rock/rap singles called "The Alarm" that went on to sell several hundred thousand copies. Miki's bands were the highest level acts that Victor would work with for a while, as he spent the next nine years working primarily with local and regional acts in the New York area. In 1995, Victor became involved with a fledgeling band called Days Of the New. "We were doing everything for these (local/regional) bands. Managing, trying to do the label thing, put them out on tour. But at first we hit a wall with Days... because everyone was saying, "Acoustic? You've gotta be kidding!" But we got them to listen to it, and their response was, 'The kids can't sing, the songs are no good'. We tried to accept that." But Victor believed in the band and continued to look for someone else who would have that level of belief in them. Then R.E.M. producer Scott Litt, who would be one of the partners in a new label Outpost Records came along. He loved Days Of the New and released their first record on Outpost which sold over a million and a half copies. Victor also began managing a hard rock band from Atlanta, DoubleDrive, and made another acquaintance through Days Of the New that connected him with a very well-known client. "We had Days out on tour with Metallica and I made friends with Tony DiCiccio at Q-Prime. Brian Wheat from Tesla was starting a solo project and was looking for management. The Q-Prime guys were not really interested in his project Soulmotor so (Brian) asked Tony if he knew any managers who were interested. I was one of the names on that list and I liked what I heard." Victor obtained a deal with CMC Soulmotor. Then one day, Victor received a call from Pat Martin, the program director at KRXQ 98 Rock in Sacramento, California, Tesla's hometown. Pat wanted to know about the possibility of a Tesla reunion. Pat then spearheaded the reunion show with Victor's assistance. "I certainly wasn't managing Tesla then because I hadn't even met a couple of the guys. So I went in a couple of days before the show and got to know them. We talked about how we might want to do something down the road if they decided this was going to be an on-going project. And it worked." Tesla wound up touring coast to coast and released a live CD of songs cultivated from it. There are also plans for them to record an album of new music in the not-too-distant future. DoubleDrive, who Victor still co-manages with Rick Smith under the company name Wild Justice, is also about to announce a new record label deal. Rick also manages Days Of the New, who Victor is no longer actually working with. Working as an independent manager is very satisfying to Victor, and at this time he could not see doing anything else. "I couldn't see working for a label. After all these years working for myself, I would not be fit to be in a corporate environment. But I love what I do. To me, my bands are my kids. It's just great. Then there's the interaction with so many types of people. On any given day, I can talk to someone who does production, someone who programs radio or does press or promotes concerts or does internet. I can talk to creative artists, either in graphics or photography or music. It's great. It's a constant potpourri of people who are thinking, creating and trying as hard as they can to make their careers successful. It's a highly-motivated business and it's nice to be part of something where people are so enthusiastic." :-> *_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_* 3. SPOTLIGHT REVIEW/ALBUM CAPSULES by Mark E. Waterbury SPOTLIGHT REVIEW
ALBUM CAPSULES James Kennedy - Bits N Pieces Town Hall - Live at the Point Tonefarmer - Recreation The Texas Governor - Self titled Cubic Feet - Superconnector _*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_* 4. SCOTT TURNER'S SONG PUBLISHER'S PERSPECTIVE Daryl & Corey Lee A few years back, I received a tape from a writer/artist in Hawaii by the name of Daryl Keith Norman. The songs were well constructed and demo'd, and one song in particular was quite unique in that it was titled "Cinderella's Fella". The story line was based around the poor guy who had a date with Cinderella the night the Prince came along. I wrote Daryl and told him that he should look up one of my prior artists on Liberty Records who was living in Hawaii, namely Ray Sanders. He did, and they became close friends and working partners. In a previous column, I mentioned that a group of us 'old dogs' meets for breakfast at a local hotel to discuss the latest goings-on in the music industry only to discover that our waiter, a fella named Corey Lee, was a talented writer/artist. To prove that it's a small world, who should turn up as "the other waiter" about a year ago...none other than Daryl!! Naturally, Corey Lee and Daryl got together and wrote some powerful songs and I'm very proud of both of them because they are currently working on their own individual projects as artists/writerss and trust me, they will both be competitive. Daryl is also working for an old friend, Leon Russell, getting his catalogue in order and Corey, having a degree in education, is teaching school. As opposed to many who believe that you can hit Nashville with a bevy of songs and walk into any publishing house and come out with a handful of contracts the first day (not so!!), they intelligently took jobs for self-support, and to date, they have had 95 indie cuts. Nothing big - not yet - but that's coming - and soon. Someday, they will become known entities, but we'll hate to lose 'em, because they are both great waiters!! It only goes to prove that the old adage "A thousand mile trip begins with the first step" is true and both Daryl and Corey are at the 800 mile mark right now. :-> _*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_* 5. QUIPS & QUOTES Stories & Sayings to keep you motivated in your career The great dancer Martha Graham believed in the uncapped stream of creativity inside you. "There is a vitality, a life force, an energy, a quickening that is translated through you into action; and because there is only one you in all time, this expression is unique. If you block it, it will never exist through any other medium and it will be lost. The world will not have it. You must keep that channel open. It is not for you to determine how good it is, nor how valuable. Nor how it compares with other expressions. It is for you to keep it yours, clearly and directly." :-> _*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_* 6. UNSIGNED BAND SPOTLIGHT - Guitarist JAMES KENNEDY by Mark E. Waterbury
In the sleepy hamlet of Mount Vernon, Iowa there is a great weaving of musical styles that can rub the sleep from the eyes of the music world. Guitarist James Kennedy has been spending a number of years honing his talents and using a variety of musical influences to create a hybrid of contemporary jazz fusion that has folks on both sides of the Atlantic Ocean buzzing. Having played at various venues in his native Midwest, James has also performed at prestigious events in Europe, like the North Sea Jazz Fest in Holland, the Montreux Jazz Fest in Switzerland, and Euro-Disney Jazz Fest in Paris. His music has also done quite well in radio, in heavy rotation on several stations as well as NPR nationally syndicated programs. With several recordings under his belt on his own recording label Heart Consort Music, and talented players backing him up, James is working hard to increase the buzz, and grow his fan base far beyond the cornfields of his home state. This interview with James sheds some light on his musical path. MM: What inspired you to become a musician? JK: When I was about ten years old I used to go and hide by the windows and listen to the concert band in my hometown. And I guess I just lost it. (Laughs) Ever since then, that was all I wanted to do. MM: Was guitar the first instrument you played? JK: No, I went to guitar when I was about fourteen. I did the music journey thing you do when you're young, played in the symphony, I was a trumpet player. By the time I got to high school Herb Alpert was happening, and we had a small seven piece group that was doing that kind of thing and I kind of got into arranging. And then the Beatles and everything else happened so I picked up the guitar and that was pretty much it. MM: What types of music were you interested in then? JK: A big variety. There was a funk movement, there was a rock movement, there was a blues movement. At that time, there wasn't much available like books and things to learn from, so if you wanted to learn, you had to listen a lot. You'd learn a few chords, and then someone would learn a new part and you'd learn that from them. Or go over to where someone was playing and watch them and learn that way. But there were other different things going on - we did were the basic rock and blues thing first. Then the whole San Francisco Haight-Asbury movement began, so we went with that. College led to my first encounter with a symphony orchestra so I became involved with classical music. I've always been mesmerized with music so my tastes have always been real wide, I listen to everything. The jazz influence happened somewhere along the line in the mid-70's - Herbie Hancock and the like. The rock influence was going into fusion of rock and blues and jazz, and that's where I first tasted jazz. MM: With the type of music you are doing now, do you take your influences and weave them together? JK: I was on the road for about five years in the early 70's and I became tired of the whole bar scene, I wanted to do other things. What I wanted to do was write and create music - how all these influences go through your consciousness come out however ...(Laughs) I spent a whole year trying to figure it out and the more you try to figure it out, the worse it would get. But I get bored doing just one type of music so for my personality, it was a matter of trying to create my own voice so to speak, and there's a taste of everything in it. And what I do most of the time will be topical in nature. MM: When did you actually record and release your first CD, and what was the response to it? JK: In 1989, and it was somewhat bizarre because the new age genre had started to grow. And though there were a lot of different influences in the album, it got labeled as new age. But the new age market was not ready for that at the time either - it was too heavy. But it did fairly well and as time evolved, in the new age category, it did even better. We received a lot of run out of radio, with NPR using it for background music. MM: How did you get the radio play? JK: We have always sent all our releases to radio. It's also a matter of performing live, of course, but as a business we had three hundred or so stations our label supplied with CDs. We would send a copy to the stations and then do our follow-up. Two CDs had done really well for a couple months and then they fell off for a while, but came back for another six weeks. The way that worked out was quite unusual, especially for an independent label. But they did well on the radio, and they also did well in Europe. MM: Did the radio airplay in Europe help you get involved with the prestigious jazz festivals you've performed at over there? JK: Yes it did. The people who took us into the festivals did that because we were playing original music to begin with. There's a mindset in jazz in that the only really important thing is that you're able to improvise and so many of the groups that go over there would play standards and then do improvisation on those standards. And we went over there and performed original music, and different styles within that original music. The festival people thought that was really great. We were pretty nervous when we went to do the festivals because most fests are pretty setup where you go in and play the twelve popular jazz standards and improvise, and we didn't do that. We just did our thing and a lot of times we got two or three standing ovations. At North Sea, Bobby McFerrin was sitting in the third row and he was the impetus for a couple of the standing ovations, and then came up and talked to us afterwards. He thought it was cool that we did the original songs, too. MM: Is Europe ahead of the U.S. in that aspect, in being more open-minded to the original music? JK: The people in Europe love music and although I'm sure there are schools of thought on what is and what isn't, they just love music. They are more open to innovation and they appreciate music in a different manner than we do in the States. Because of radio being programmed and controlled in the States, there is a dictation here as to what is popular and what is not. It's a big difference. I think things have changed considerably in the States and people are more into the innovative part of it. I think that has to do with the ground work and momentum that the indie labels have gained over the years, They have done an incredible amount to break that barricade down, and people can access more stylistic types of music with the independent labels. MM: I know you are a member of NARAS and this year is the first time you have submitted your music to the Grammys. What made you want to submit music to the Grammys at this point in your career? JK: We sent music to three categories. We sent "Bits N Pieces" to the Contemporary Jazz category, and "Bits and Pieces" is a CD of some of the live music we do. We sent "Book of Branches" to the instrumental jazz category, which has a blend of a lot of different styles. We sent the CD titled "Luna" to the World Music category, which is kind of contemporary in nature with a Celtic root in some of it. Those particular CDs were manufactured within the timeframe to qualify for the Grammys, and then the quality of the playing, the quality of the compositions, the quality of the recordings and also the versatility to show what we do with the live show. Because in the live show, we do pieces from all three of those CDs. MM: Tell me about the players in your live band. JK: The bass player Matt Alles and I have been together about twelve years. We have been in a continuous process of writing music, and we work on the production with our own studio to expand and come up with new ideas and pieces. The main drummer I use now, Masa Iwasaki is originally from Japan. He did a lot of club work in Japan, was a percussion major at a college and was really into symphonic and concert music as well as jazz. He has the ability to play about anything. And Catherine Lawson has been playing the electric violin in the four piece for about two years. The people that I work with have their formal education. They've played many different styles. They are very competent musicians. MM: What is your plan to take your career to the next level? JK: We're doing radio promotion, media promotion and live shows collectively with another company that we are very pleased to be working with, and we are following their lead at this point. We keep doing radio promotion and promoting to retail stores in the area. :-> _*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_* 7. MUSIC BIZ NEWS & OPPORTUNITIES Music Morsels encourages all of you with opportunities for musicians to email your press releases to MusMorsels@aol.com for possible inclusion in this column. This column will be featured monthly. Deadline for inclusion is the 25th of the month for the upcoming issue. Attn: Musicians: Got Good PR?? For the first time ever, aspiring artists and songwriters can send their
demos to the most successful A&Rs in the world, A&Rs who don't accept
unsolicited material. HitQuarters is launching this unique feature in co-
operation with industry people like: Attention all song writers and publishers! WAMPUS SEEKS ARTISTS FOR LOU REED TRIBUTE CD INTRANSONIC & BB KING's NIGHTCLUB are seeking a few interns this fall
for marketing and promotions of its live events. www.remedyradioworld.com THE HOTTEST RADIO SHOW ON EARTH!! _*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_ 8. MUSIC INDUSTRY MARKETING SHOWCASE Looking for products or services to assist you on your path to success?? Then look here!
Ad rates are only $15. Your ad runs for 3 months and has visibility all over the world. For
complete ad rates, contact ====================================== Music Morsels' Own Scott Turner Chronicles His Life In Audio Cassette Series
Scott Turner Audio Cassette Series Tape #1, 2, 3, 4, 5, 6, 7, 8. 9 & 10 Are Now Available!
Scott Turner, renowned publisher/producer/songwriter and columnist for Music Morsels has begun
his audio cassette series chronicling his 47 years in the music industry. Each 90 minute tape
will highlight the important events in his music career from his first recording session and
how he landed a recording deal to his days with Buddy Holly, Tommy Sands, Guy Mitchell, Eddie
Fisher, Herb Alpert, Audie Murphy, Harry Nilsson, Phil Spector as well as his career at
recording labels such as Central Songs and the country division at Liberty which eventually
became United Artists. Each tape sells for $12 and will periodically include songs that have
never been heard along with rare photos. The first tape chronicles Scott Turner's "Early Years"
beginning in the mid-50's spoken by Scott Turner himself. Several publishers have approached
him to write a book, but guess what? Scott Turner has graced us with the honor of presenting
the treasured moments in his musical career on tape to you!
To order Tapes #1 - 10, please complete this form (copy and paste is easiest) and mail with
your check or money order for $12 plus $1 shipping and handling per tape ($13 total) to: Scott
Turner Cassette Series, c/o Serge Entertainment Group, P.O. Box 2760, Acworth, GA 30102 USA
.
You will receive ordering information for additional tapes when you receive your first tape.
Name __________________________________________
Address ________________________________________
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Please make checks payable to Serge Entertainment Group. Please allow 2-3 weeks for delivery.
Thank you for your order!
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For you cynics who have been using Winger as the whipping post for 80's hair metal bands, this
review is more for you than for the loyal fans of this band who will no doubt love this
collection of top songs from this melodic rock quartet. The lead track is a hopeful precursor;
a new song called "On The Inside". It's an interesting song, with a touch of edginess
particularly with Reb Beach's snarling avant-garde guitar solos and Paul Taylor's haunting
keyboard lines lending a prog rock flavor to the tune. Also evident on the new track is that
Kip's powerful, soaring voice has not lost anything. In fact, it rings stronger than ever. Rod
Morgenstein proves again why he is one of rock's most respected drummers. So this may be a
taste of new things to come, but the in-your-face to the Winger cynics comes next, as the next
six of the fifteen "Very Best Of..." tracks come from the excellent but overlooked last studio
album "Pull". Most of the overlooking can be blamed on bad timing, as the rock and roll crowd
was trading in their leather boots and spandex for checkered knickers and Birkenstocks when
"Pull" was released. But can any of you who enjoy good, solid, heavy rock and roll listen to
"Blind Revolution Mad" and tell me that this song does not kick some serious ass? That is the
lead track on "Pull", and the second track on "The Very Best Of....". It's indicative of what
you missed if you didn't bother to even give "Pull" the time of day. "Blind" is well-crafted
out of the mainstream with fiery guitar picks, exploding rhythms and emotive vocals. "Junkyard
Dog" is another fierce rocker from "Pull", but this album also had one of the best rock tunes
"Who's The One", a true acoustic-driven song dripping with fervent emotion without being a bit
sappy. After the "Pull" segment comes the more familiar "hits" off the self titled debut and
"In The Heart Of the Young". Driving hooky rockers like "Can't Get Enuff", "Easy Come Easy Go"
and "Seventeen" are interspersed with the lighter flicking sing-along ballads like "Headed For
a Heartbreak" and "Miles Away". And while you can take Winger's more commercial tracks at face
value, if you take a good listen, you will realize that Winger is a band with talent and PLENTY
of it. Winger had a chance to prove it with "Pull" - an album that showed a solid maturity in
songwriting and an ability to create intense music beyond the commercial market. Creatively,
they were on the rise when grunge pulled the rug from beneath their feet. With the increasing
rebirth of bands from their era as of late, "The Very Best Of Winger" may be the CD that
finally removes that snickering, cynical monkey from this talented and passionate band's back.
URL: www.rhino.com, www.kipwinger.com
