Saturday, October 29, 2011

Turpin headlines Nov. 5 benefit to honor fallen niece


When Atlanta rocker Will Turpin takes to the stage next week to headline a benefit concert, he'll be playing for someone who can't be there - his recently deceased niece, Kensley Grace Kirby.

The veteran bassist for Collective Soul will top the bill of The KG Music Fest on Saturday, Nov. 5, 2011, at Southside Steve's, 715 Industrial Blvd., McDonough. The 2 p.m. show also features Collective Soul guitarist Joel Kosche, Abel, Rawls & Hayes, Reluctant Saints and Eleven Standing Still.

Turpin will be using his celebrity status to help to raise funds for the Kensley Grace Aquatic Center. The proposed swimming facility is named after his 5-year-old niece, who died June 8 after she was taken to a McDonough family medical clinic to get treated for a broken arm. She died after a lethal dose of local anesthesia was given to her at the clinic, an Atlanta coroner confirmed.

"Kensley’s death was a big blow to our entire family and it has changed all of our lives. She loved swimming and we're going to use the money we raise to build a nice aquatic facility in Henry County," Turpin said. "The sadness that Kensley's tragic death has exposed will never be repaired but we are trying to put energy towards something that is positive to balance out all of the negative."

Turpin said Kensley enjoyed both soccer and swimming and had expressed an interest in joining the S.M.A.R.T. (Smart Motivated Athletic Respectful and Teammate) swim team. Her eight-year-old sister, Avonlea, is also a member of the team.

A Facebook group called Kensley Grace Aquatic Center has been created and a fund-raising team has been established. Tax-deductible donations may be made to the Kensley Grace Memorial Fund at Ameris Bank, located at 135 North Park Place, Suite 250, Stockbridge.

Turpin said competitive swimmers in Henry County currently don't have a proper sized pool to train and must travel to neighboring counties to compete. He hopes to rectify that situation by raising money through Saturday's benefit.

"A local land owner has approached us about donating land for the aquatic center," Turpin said. "We've turned a major corner and the rest is up to us to come through for these kids."

Fans will be treated to a rare solo appearance by Turpin, who will be playing songs from his new EP, The Lighthouse (Gooey Music, 2011) and a few from Collective Soul. He added that the other musicians on the bill would be joining him for an all-star jam at the end of the evening.

For more information on the Kensley Grace Aquatic Center, visit www.kensleygrace.com

For more information about the KG Music Fest, call Southside Steve's at 678-814-4126 or visit www.southsidesteves.com


What: KG Music Fest benefit featuring Will Turpin
Where: Southside Steve's, 715 Industrial Blvd., McDonough
When: Saturday, Nov. 5, 2 to 8 p.m.
Cost: $10
Information: 678-814-4126 or www.southsidesteves.com

Thursday, October 27, 2011

Turpin's Halloween Show Will Be Sweet


Multi-platinum artist Will Turpin will headline the annual Halloween Rock Review at the French Market, 3840 Highway 42, Locust Grove. The show starts 9 p.m. on Saturday, Oct. 29.

Turpin will appear with his three-piece group Will and The Way, which includes Jason Fowler (guitar and vocals) and Scott Davidson (drums). The trio fuses pop and classic rock to create a dynamic sound Turpin describes as “mega sweet rock ‘n’ roll candy.”

He recently gave me an interview regarding the "spooktacular" extravaganza.

Q:You're getting ready to headline the Halloween Rock Review on Saturday, Oct. 29 at the French Market in Locust Grove. It's a place you're quite familiar with having played there a few times before. What do you like about the venue?

WT: It's close to where I live, and my buddy Rick Weaver owns the place. We often get together and dream up events and the Halloween Rock Review is just one of those grand ideas that came to fruition. Rick usually hosts solo artists on weekends, but they're usually smaller setups. But the event we're setting up is a big rock show and it'll be cool. It's a very intimate venue but we're going to pack the place and kill it with some great sounding rock 'n' roll.

Q: I hear you've got some clever things going on for this gig...can you give us a taste of what's to come?

WT: We're fusing Halloween and rock 'n' roll. So we'll open with "Helter Skelter" by the Beatles, perhaps play Ozzy Osborne's "Crazy Train" and I think we're picking up "Ghostbusters" by Ray Parker, Jr. A couple of musician buddies in costume will join us on stage - Elvis is dropping by for a couple of tunes; Willie Nelson will play a little harmonica and sing "You Were Always On My Mind,"; Angus Young of AC/DC might also stop by to jam on "Highway to Hell." And of course, I'll be doing a few songs from my new EP, The Lighthouse. It's going to be a fun evening.

Q: This is a Will and the Way billed show, which includes Jason Fowler on guitar and vocals and Scott Davidson on drums. You've already played a few shows together. Are you pleased with how the group is coming along?

WT: Real pleased. Jason and Scott are accomplished musicians and guys I've known for a long time. We've actually played and jammed with each other and it's been great fun. The Way has been an evolving thing and we hope to do some more shows and start headlining a few bills. I think we're going to have to add one more member of the group because I just can't play piano and bass. However, the three-piece is a nice solid core and we can easily add another member and fill out the sound as we progress.

Q: You just did a large show in Detroit with Collective Soul. The French Market show is going to be a much more intimate affair. Which do you prefer?

WT: It depends on the evening, but I like having both options available to me. The Detroit show was great and it was a venue I've never playhttp://www.blogger.com/img/blank.gifed before, so I liked that a lot and would go back there and play anytime. The French Market gig is going to be more of a big party and I'll be surrounded by a lot of friends. I can promise it will be a great evening.

The Lighthouse is available on iTunes and in physical form through CDBaby.com. For more information visit wwhttp://www.blogger.com/img/blank.gifw.willturpin.com.

For more information about the Halloween Rock Review, call the French Market at 770-914-9312 or visit http://www.frenchmarkettavern.com/

What: Halloween Rock Review featuring Will Turpin
Where: The French Market, 3840 Highway 42, Locust Grove
When: Saturday, Oct. 29, 9 p.m. to midnight
Cost: $15
Information: 770-914-9312 or http://www.frenchmarkettavern.com/

Tuesday, October 25, 2011

Turpin navigates his way in "The Lighthouse"


Will Turpin is quite possibly the most laid back guy in rock ‘n’ roll, ironic considering it’s an industry based on a lot of noise and hype. On his new EP called The Lighthouse, the humble musician has cleared his throat and finally discovered his voice.

Turpin is the bassist for Collective Soul, a super group who charted an astounding seven No. 1 hits in a seven-year period. They received more airtime on the radio than any other band of its era - Nirvana, Pearl Jam, R.E.M. and Oasis weren't even close.

Their hook-laden guitar anthems and powerfully melodic songs propelled them to international stardom, multi-platinum status and were the soundtrack for millions of lives.

Nearly 18 years after the group's formation comes this first solo effort by Turpin, who navigates his way through this this five-song set of catchy and infectious tunes.

In between his duties for Collective Soul and Soccer Dad, Turpin found time to write, record, produce and distribute this work on his indie label, Gooey Music.

The Lighthouse features collaborations with former Collective Soul drummer Ryan Hoyle as well as current band mates Ed Roland (who co-wrote two of the songs), guitarist Joel Kosche, and musician Peter Stroud (electric and 12-string guitar).

Turpin sings as well as plays piano, bass, acoustic guitar and drums. He describes his sound as "mega sweet rock 'n roll candy" and offers listeners a handful of tasty treats as well as some food for thought.

"60 Seconds" - This rollicking and upbeat opener showcases Turpin's piano and bass skills while summoning the spirit of Paul McCartney and Wings. Turpin says the song is about a foolish but life-changing act that takes no more than "60 Seconds." "It's hard to wear a heavy crown. You've gotta keep your head from falling down. But if I were the King of Attributes, then what would I be to you?" cleverly hints that Turpin learned a trick or two over the years from Roland, who is an ace songwriter.

"Sailor" - Co-written with Roland, "Sailor" is a moody and introspective piece about friendships with people who need help but won't accept sound advice. When Turpin sings, "I can't save the sailor from the storm," he admits the line is in reference to Shane Evans, Collective Soul's original drummer, who was ousted from the group in 2004.

"My Star" - Turpin sings his heart out for the entire 4:35, making this The Lighthouse's most emotionally charged track. It's dedicated to his wife Donna, who has been Turpin's better half for 17 years and is “his star.” Turpin also says the song is about him when referring to "the guy who couldn't be stopped, who shoulda been shot."

"Her Name" - Written about a woman who is the constant center of attention and "everyone knows her name." Kosche's classical guitar lends a Spanish aesthetic to the tune and complements Turpin's falsetto. The second of two songs co-written with Roland.

"Sanity" - Epic and ambitious, Turpin's rails about the pitfalls of substance abuse and appeals to lost souls not to give up hope but rather find a solution. "I had a lot to lose, so I had to find another way. I found it easy to choose when I saw there was another way." The song aptly closes out The Lighthouse and promises greater things to come from Turpin.

The Lighthouse is available for download on iTunes.com and in disc form through CDBaby.com. For more information, visit www.willturpin.com

Monday, October 24, 2011

Q & A with Will Turpin on "The Lighthouse"


Q: How does The Lighthouse differ musically from Collective Soul?

WT: Well, all of the melodies and music came out of my head as opposed to Ed Roland's. Obviously Collective Soul works as a band when we make records and this is all me. I play piano, acoustic guitar, bass, vocals and singing harmonies. It's more from one person's brain rather than five who comprise a group called Collective Soul.

Q: Why did you title it The Lighthouse? Does it have any significance?

WT: It does. There's a track on the record called "Sailor" and that song is about the fact that you can't help people unless they want to be helped. "I can't save the sailor from the storm" is the lyric and when talking about a lighthouse, if you don't follow the lighthouse you can't necessarily be saved.

Q: What made you finally decide to do solo project outside of Collective Soul after 18 years?

WT: That's somewhat true; I have produced some stuff here and there, singer Michael Tolcher for one. Collective Soul has pretty much been a full-time job and we've stayed busy over the years, so there hasn't been much of a chance to go out and experiment on our own.

Q: It seems like this is the year that everyone in the group has a solo project going on - Joel Kosche has released Fight Years; Dean Roland partnered with Ryan Potesta on Magnets and Ghosts and Ed Roland is heading up The Sweet Tea Project. Was that a conscious decision the band made or something that just evolved?

WT: We pretty much sat down and decided we're going to take some time off from Collective Soul and recharge our batteries. We did it before in 2001 but this time it's a totally different set of circumstances. This time was a lot more thought out than our first break.

Q: Why an EP of five songs as opposed to say an entire album?

WT: I started off with 14 tunes and as I got into it, I realized how much I wanted to do. I simply didn't have as much time and resources as I wanted, so I picked fives tunes to represent a little bit about what's going on musically with myself and wanted to get it out as soon as possible. That's really the thought process behind it. The songs I chose were the ones that came together the easiest and the best in terms of representation.

Q: How long did it take to produce The Lighthouse?

WT: Eight months but some of the songs have been around for a few years. I know that "60 Seconds" and "Her Name" are at least three to five years old. Some of the songs and lyrics had been written but from the time I whittled the list from 14 to five songs, that process was about eight months.

Q: Let’s talk about the studio where you cut most of these songs – Real 2 Reel Studios – a studio your father founded and where acts like .38 Special and Wet Willie once recorded. It must be a second home for you?

WT: It felt very natural and my father raised a family on that studio. I've recorded there so often throughout the years, I'm now 40, and the last 18 years have gone by in the blink of an eye. I'm glad I did my first solo work at Real 2 Reel because of the comfort level and the crew helped the songs get to be where they needed to be. The room is just beautiful, amazing. When you're there you're hunkered inside and working. It's a very functional place that I just so happen to have a key.

Q: You’re known for your bass playing, but most of songs on The Lighthouse are piano-based. That's going to be a bit of a surprise to your fans.

WT: I started off on the piano and received lessons starting at eight and continued until I was 12. I was also a music major in percussion in college when I went to Florida State University and Georgia State University. I was playing percussion in many different ways between private lessons and hand drums with Jimmy Buffett cover bands to marimbas in symphonies. I was doing that when we got signed to Atlantic Records back in the early 1990s. Music is pretty much all I've ever done and it's always flowed through me. My friends say I can pick up any instrument and make it sound good, so I guess there's something to that.

Q: And that leads to my next question: is melody something you're born with or something you have to work at?

WT: That's sorta like the evolution question...which came first, the chicken or the egg? I think that might an intrinsic quality you're born with. I certainly believe there's an aptitude for it and perhaps it is something in the genes.

Q: Melody seems to flow naturally out of Collective Soul and you on this new EP.

WT: Right. It has always felt natural to me and I hope it feels that way to everybody else. And of course, the Beatles have always been a big influence on me when it comes to melody.

Q: Let’s talk about the five songs on the EP, starting with “60 Seconds.” Tell me what the song's about?

WT: That song is about making a small but very bad decision. The kind of decision that's crucial and yet not affecting the entirety of your life. Maybe more specifically when someone chooses to have random sex with someone they don't know (laughs).

Q: Going back to “Sailor”, it almost sounds as if you were describing a person who needed saving, perhaps a person with substance abuse problem?

WT: There's a tinge of that in the song. I have a very close friend, Shane Evans, our former drummer, and I saw some of that in him. It's about not being able to save someone even if you're showing them the way, they still have to come to that decision on their own.

Q: "My Star," is the real standout track in my opinion. The song is very emotional. Who is it about?

WT: That's about my wife, Donna. She's my star. We've been married 17 years and have three boys. The song is also about me. I'm the guy, who "couldn't be stopped, who shoulda been shot," all that stuff.

Q: "Her Name" is the second song you co-wrote with band mate Ed Roland ("Sailor" was the first). What was that experience like?

WT: They were just songs we wrote when hanging out together. The exception being the songs were my ideas, not Ed's and so he helped me flesh them out. "Her Name" is about someone who's always the center of attention. Everyone knows that someone who walks into a room or party and it becomes lively, thus "everyone knows her name." Then when they get home, they're just the opposite. They're quiet, maybe a little depressed and find it hard to deal with themselves. Joel Kosche plays classical guitar on that and gives it a real Spanish, Julio Iglesias vibe.

Q: You also called upon former Collective Soul drummer Ryan Hoyle to drum on the tracks. You obviously have a lot of musicians in your circle of friends, so why did you go with Ryan?

Q: Ryan's a very musical drummer and that's very hard to find. He's a perfectionist and he takes it to the most finite detail as far as how he approaches drums as an instrument. He's a great player and he's got a helluva studio. He's got every drum you can think of and his studio is like a toy store. Ryan can play it, engineer it, and got all the drums and microphones ready to go. I'd say the songs were about half-way done when Ryan got them and he's so smart he knew exactly where the direction of the songs were going. Some keeper vocals were on there and some he received with scratch vocals, it just depended on the song. But Ryan's drumming just enhanced whatever I did and gave it the full power it needed. The amazing thing was we didn't spend a whole lot of time talking about the arrangement of the song. He just played and he found the most important parts real quickly.

Q: "Sanity"?

WT: "Sanity" is more specifically about substance abuse or getting into any kind of rut and using something as a crutch. It's the most ambitious track on The Lighthouse and bridges the gap to the next batch of songs I'm working on. I wanted to give everyone a taste of where I'm heading. There's one song I'm working on that's pretty epic. In fact, the working title is "The Fall and Epic." I'm trying to find more resources and outlets for my music and continue to put out the songs.

Q: What did you learn about yourself after producing, distributing, starting your own label and now promoting The Lighthouse?

WT: It's kind of daunting when you invest and promote yourself as an artist, so that's the first thing I learned. It's a lot of work, but the experience has been rewarding. Luckily, the reaction has been really good. I've learned I want more for myself and I feel good about finishing the songs and I want to finish more.

Q: Does this mean we might see more Will Turpin songs show up on Collective Soul releases in the future?

WT: Possibly. I'd like that.

The Lighthouse is available for download on iTunes.com and in disc form through CDBaby.com. For more information, visit www.willturpin.com

Saturday, October 22, 2011

Will Turpin on "The Lighthouse"


Cold wind, blowin’ down the street the sun is not out today
All night, thinkin’ bout a way to put things back in their place
I can’t put the fire out alone,
I can't save the sailor from the storm

The Lighthouse
Gooey Music, 2011

Rhythm, harmony and melody’s been a theme in my life as far back as I can remember
—and I’m 40. Having a sense of melody is sorta like the evolution question...which
came first, the chicken or the egg? It’s an intrinsic quality you're born with. I
certainly believe there's an aptitude for it; and, perhaps it’s something in the
genes.

My father, Bill Turpin, had those genes. He was a touring musician before opening
Real 2 Reel Studios back in 1976 in Jonesboro, Georgia. He raised his family there
and that’s definitely where part of my aptitude for music grew. It just felt
natural. I'm glad I did my first solo work at Real 2 Reel because of the comfort
level. The crew helped me get the songs where they needed to be.

I’ve worked hard to make my new stuff on The Lighthouse very personal, textured and rich in melody. They’re songs of love, hope, friendship, vanity, addiction, despair, bad decisions and positive solutions—you know, Tree of Life stuff.

My three boys are very musical and have great rhythm. They’ll learn that Tree of
Life stuff as they get out into the world. Right now we just play a lot of soccer
and spend a lot of quality time together. They think Dad’s being a rock star is
just one of those things you can do in life. I’ve started a little band with them
and we’ve even written a song together. We jam together. If my boys decide they
want a musical career, I’ll support them. My wife, Donna, and I facilitate anything
positive that they want to do and help them learn the tools to accomplish those
things. We’ve been together 17 years now. She’s “My Star.”

In the meantime, I hope that everyone enjoys The Lighthouse. The EP was hard work
and took eight months to whittle 14 songs down to five. It’s highly personal,
representing what’s going on with me musically and personally. When all’s said and
done, I’ll keep doing what I always do, try to be a good dad, put food on the table,
keep making music and count my blessings.

Look around and let the world explain...

Will Turpin
www.willturpin.com

Will Turpin's thoughts on "The Lighthouse"


Cold wind, blowin’ down the street the sun is not out today
All night, thinkin’ bout a way to put things back in their place
I can’t put the fire out alone,
I can't save the sailor from the storm


The Lighthouse
Gooey Music, 2011

Rhythm, harmony and melody’s been a theme in my life as far back as I can remember
—and I’m 40. Having a sense of melody is sorta like the evolution question...which
came first, the chicken or the egg? It’s an intrinsic quality you're born with. I
certainly believe there's an aptitude for it; and, perhaps it’s something in the
genes.

My father, Bill Turpin, had those genes. He was a touring musician before opening
Real 2 Reel Studios back in 1976 in Jonesboro, Georgia. He raised his family there
and that’s definitely where part of my aptitude for music grew. It just felt
natural. I'm glad I did my first solo work at Real 2 Reel because of the comfort
level. The crew helped me get the songs where they needed to be.

I’ve worked hard to make my new stuff on The Lighthouse very personal, textured and
rich in melody. They’re songs of love, hope, friendship, vanity, addiction,
despair, bad decisions and positive solutions—you know, Tree of Life stuff.

My three boys are very musical and have great rhythm. They’ll learn that Tree of
Life stuff as they get out into the world. Right now we just play a lot of soccer
and spend a lot of quality time together. They think Dad’s being a rock star is
just one of those things you can do in life. I’ve started a little band with them
and we’ve even written a song together. We jam together. If my boys decide they
want a musical career, I’ll support them. My wife, Donna, and I facilitate anything
positive that they want to do and help them learn the tools to accomplish those
things. We’ve been together 17 years now. She’s “My Star.”

In the meantime, I hope that everyone enjoys The Lighthouse. The EP was hard work
and took eight months to whittle 14 songs down to five. It’s highly personal,
representing what’s going on with me musically and personally. When all’s said and
done, I’ll keep doing what I always do, try to be a good dad, put food on the table,
keep making music and count my blessings.

Look around and let the world explain...

WT

Friday, October 21, 2011

Will Turpin headlines Halloween Rock Review


Multi-platinum artist Will Turpin will headline the annual Halloween Rock Review at the French Market, 3840 Highway 42, Locust Grove. The show starts 9 p.m. on Saturday, Oct. 29.

Best known for playing bass guitar in Collective Soul, Turpin released his first solo work earlier this month, a five-song EP called The Lighthouse (Gooey Music, 2011). Turpin will appear with his three-piece group Will and The Way, which includes Jason Fowler (guitar and vocals) and Scott Davidson (drums). The trio fuses pop and classic rock to create a dynamic sound Turpin describes as “mega sweet rock ‘n’ roll candy.”

Turpin’s other band, Collective Soul, has released eight studio albums, one live album, one greatest hits compilation, one EP, 27 singles and 19 music videos. Their hook-laden guitar anthems and powerfully melodic songs propelled them to international stardom, multi-platinum status (12 million and counting) and were the soundtrack for millions of lives.

The Lighthouse features collaborations with former Collective Soul drummer Ryan Hoyle as well as current band mates Ed Roland (who co-wrote two of the songs), guitarist Joel Kosche, and musician Peter Stroud (electric and 12-string guitar). Turpin sings as well as plays piano, bass, acoustic guitar and drums. Songs include “60 Seconds”, “Sailor”, “My Star”, “Her Name” and “Sanity.”

The Lighthouse is available for download on iTunes.com and in disc form through CDBaby.com. For more information, visit www.willturpin.com
For more information about the Halloween Rock Review, call the French Market at 770-914-9312 or visit http://www.frenchmarkettavern.com/


What: Halloween Rock Review featuring Will Turpin
Where: The French Market, 3840 Highway 42, Locust Grove
When: Saturday, Oct. 29, 9 p.m. to midnight
Cost: $15
Information: 770-914-9312 or http://www.frenchmarkettavern.com/

Saturday, October 15, 2011

Coffee Talk with Laurence Juber


Two-time Grammy-Award winning guitar artist Laurence Juber will make a rare and intimate appearance this weekend at the Cave Creek Coffee Company, 6033 E. Cave Creek Road in Cave Creek, Arizona. The show starts 7:30 p.m. on Saturday, Oct. 15. Often considered most famous for playing lead guitar in Wings from 1978 to 1981, Juber, known as ‘LJ’, has since had a distinguished career as a solo finger-style guitarist.

LJ graciously granted me an interview to promote his upcoming Cave Creek appearance. As always, the virtuoso was in rare form.


Q: You’ve been on a mini-tour of our lovely state. What do you think of Arizona?

LJ: I enjoy Arizona, especially the northern portion. Last year I played in Flagstaff and right now I’m headed to Cottonwood. I like the audiences here, too, because they are not only enthusiastic but actually show up. That’s always a good thing!

Q: In between shows, you also do guitar workshops. What are those like?

LJ: They’re definitely more on the technical end of the spectrum of what I do. It’s usually a group lesson between eight and 20 people, showing them tips, tricks and ways to improve their playing. I also explain my process for arranging and playing the solo acoustic guitar, how to get sound, resonance and character from the instrument. I pass on my knowledge and experience on how to create a solid musical experience.

Q: It’s been a while since you’ve played at the Cave Creek Coffee Co.? How do you like the venue?

LJ: I remember it being a really cool place. When I first played there, it was a smallish coffee house and I played indoors. The last time I played they had moved the stage to the outside and there was a much bigger crowd. It’s a great vibe being outdoors and in the desert. It’s a great evening.

Q: At your concerts, you play all styles of music, including a nice sampling of the Beatles. Why are their songs so magical?

LJ: (laughs) Every time I hear a Beatles record I gain a new appreciation. Above and beyond the analytical part of it and creating the arrangements, when I start deconstructing Beatles songs, I find unexpected things. I can never listen to a Beatles record twice and hear exactly the same thing. There’s always something that I’ve missed, or a new discovery where you say, “Wow, what was that little guitar lick?” Or the way in which the backing vocals come in…there’s always something new to discover in their work.

Q: Did you hear that Cave Creek is hosting a running of the bulls hours before your gig?

LJ: I heard about it…No bull at my show.

For more information, call the Cave Creek Coffee Company at 480-488-0603 or visit www.cavecreekcoffee.com/


What: Laurence Juber
Where: Cave Creek Coffee Company, 6033 E. Cave Creek Road
When: 7:30 p.m. Saturday, Oct. 15
Cost: $20 advance; $23 at the door
Information: 480-488-0633 or www.cavecreekcoffee.com

Friday, October 14, 2011

Laurence Juber interview Pt. 1


In anticipation of Laurence Juber's concert at the Cave Creek Coffee Co. at 7:15 p.m. on Saturday, Oct. 15, I dusted off this candid and definitive two-part interview. Juber discusses the influence of the Beatles on his life, his career as a studio musician in London, the making of Back to the Egg and how he earned his musical degree from ‘McCartney University.’

Daytrippin’: I heard a curious story about you that almost seemed too good to be true, and so I have to ask – the first week that “I Want to Hold Your Hand” was released in Britain, it was also the same week you first picked up a guitar…true or false?

Juber: That’s essentially true. I had been wanting to pick up a guitar for some time, but there was a period in the summer of 1963 where Beatlemania came into full force in the UK. As a result, you really couldn’t get away from the fact that everything was all about pop music, especially at such an impressionable age. I really wanted to play the guitar, not specifically because of the Beatles, but because of The Shadows, who were Cliff Richard’s backing group and they performed all of these instrumental hits – that was just wonderful stuff. Then at the same time it was the start of the James Bond films, which had great twangy guitar sounds, which also influenced me.

In England music lessons started in junior high, so that was right around the start of my musical journey. My dad had wanted me to play the saxophone and at the time, I didn’t want to play the sax, so I compromised and said I’d play the clarinet. It turned out there weren’t enough clarinets to go around, so I got a guitar for my 11th birthday, which was in November of 1963. “I Want to Hold Your Hand” came out about a week later. So it wasn’t specifically the Beatles as much as it was the entire pop scene and all the energy that was going around at the time.

The Beatles were a significant part of the whole thing happening in music. It was like jumping into a river and being carried along by the current because it was all going in that direction. I went into my teen years being swept along in this amazing Renaissance that was happening in pop music in England at the time.

Daytrippin’: And so who are the other musical influences you had as a youth?

Juber: It’s an extremely long list, too long to detail here because I was listening to everything. I was not only into rock ‘n’ roll but jazz and folk too. By the time I had turned 13, people were paying me to play. It was then I realized that this was something that I wanted to do for a living, but I also recognized that I had a certain kind of versatility. I was interested in a lot of different styles of music. I learned to how finger-pick Bob Dylan tunes, learned to play the Bossa Nova, taking jazz records and slowing them down from 33 1/3 to 16 so I could figure out what the guitar was doing. There were also a lot of West Coast jazz and studio players like Barney Kessell and Howard Roberts, as well as the Belgian gypsy jazz guitarist Django Reinhardt, who was very popular in England. There was also the English folk scene with people like Bert Jansch and Martin Carthy, who are still great folk singers, and finger-pickers.

I also had a band with a group of friends, and we’d play every Saturday night. We were always buying the latest Beatles records, the Stones, the Who and we’d learn it, rehearse it, play it and that was our Saturday night thing. Then I got into Clapton, Beck, Page — the English blues-driven players. There was also Radio Luxembourg, which played all the Top 40 tunes before the BBC got hip. I guess they had to because of all the pirate radio stations. They played all the big American hits as well as Motown, which of course, was great. I’d listen at night, focus in on what the bass player was doing, what the drummer was doing, and really deconstruct the music. I also started listening to orchestral music and became very analytical about how I listened to that too. So, a lot of influences, way more than I could repeat.

Daytrippin’: I assume your parents must have been quite encouraging?

Juber: There was some encouragement up to a certain point. Both of my parents grew up in London in World War II during the blitz and the evacuations so they never had much of an education. My dad left school at 14 and my mom at 15. They were encouraging to the point where they thought it was great I kept myself occupied with a hobby but they wanted to make sure that I had something to fall back on. They had visions of me being a doctor or at the very least a pharmacist or accountant or something like that. I told them at a very young age I intended to make my living as a guitar player, so they were supportive to a point. I also didn’t grow up in a very musical household, so that level of nurture really came from inside. I was very self-directed.

[Photo courtesy Laurence Juber]

Daytrippin’: After you graduated from London University with a Bachelor of Music in 1975, how did you start getting booked as a studio musician and where were some sessions/albums you played on pre-Wings?

Juber: My ambition in life was to become a studio musician, so after high school I took a year off, which is what they now call the “gap” year. I was a pioneer of the gap year (laughs). What I did was work professionally for that one year, and I was playing jazz and folk clubs and demo sessions, generally making myself available as a musician and paying dues in London. I also joined the National Youth Jazz Orchestra, which was something of a training ground for studio musicians. I then attended London University but I was still gigging, playing clubs and being the substitute guitarist for the West End production of Jesus Christ Superstar. I was supporting myself with music and learning as much as I could, but more importantly, making those connections to be able to transition full-time into a studio musician when I graduated. My reputation got around and I eventually was introduced to various record producers and arrangers.

One of the albums I played on was Alan Parson’s Tales of Mystery and Imagination. I had no idea at the time what the session was for. I found out from a magazine interview that Alan did 30 years later. I played on the score for The Spy Who Love Me, which was a James Bond film. I played on a cool record that Rosemary Clooney did in London. I also worked with Shirley Bassey, John Williams and Jimmy Rafferty. One of the first album sessions I did was for Cleo Laine, who is a great English jazz singer and the producer was George Martin. Sessions for European artists too: Charles Aznavour from France, Lucio Battiste from Italy. A lot of stuff that didn’t necessarily make an impression on the US market. I played on a lot of records for a French artist named Cerrone, who was the ‘other’ Euro disco king, sort of like Georgio Moroder. Again, I had no idea how successful the releases were until many years later. I was very busy in that period.

Daytrippin’: Tell us how you got the gig for Wings?

Juber: I was working in the house band for “The David Essex Show” and Denny Laine was as guest on the show. Denny played “Go Now” and liked how I played the solo. We bonded musically and that was it. About six months later I got a call from Paul’s office MPL – ironically I was playing a session at Abbey Road Studios 2. They said, “Denny wants to know if you can come jam on Monday, and, oh by the way Paul and Linda will be there…”

In the period between when I first met Denny and the audition, I actually ran into all of them at Air Studios. I was early for a session and they were in there mixing the soundtrack for “Oriental Nightfish,” Linda’s tune for an animated film. They were running late and invited me in to see what was going on, so I got to meet everybody and hang out. Jimmy McCullough was already out of the band at that point, but it really wasn’t on my radar that they were looking for a guitar player. I do remember that around that time I was working on a TV show in Manchester, which was a weekly pop show and it was the first time that I had seen the video for “With a Little Luck.” It was the first thing where Steve Holly was visible and I remember someone saying, “That’s the new Wings drummer and I hear they’re looking for a guitarist.” Then I got this call from out of the blue.

Daytrippin’: From what I understand, the audition process was very informal, jamming and playing a bunch of rock (“Johnny B. Goode”) and reggae songs, and hanging out.

Juber: Very much so. I really didn’t know much of the Wings’ repertoire and I had to borrow a bunch of albums from my brother the previous weekend. I tend to do well at cold auditions and I was lucky. Really, I was quite busy with my session work and I had a big choice to make: do I continue along with my career, that I had been working on since I was a teenager or do I join Wings? I thought about it for a nanosecond. It seemed like one of those gigs that you shouldn’t turn down and I’m glad I didn’t, because I learned so much from that experience.

Daytrippin’: What was your first official gig for Wings?

Juber: The first official gig was when we recorded a song at RAK Studios in London called “Same Time Next Year” and I believe that was in May 1978. (Editor’s note: Curiously, the song was released on the final credits of the 1985 Ann-Margret film, Twice in a Lifetime) I had another gig playing on a variety show, so I couldn’t be at the session for the string overdubs. Then we went up to Scotland (at McCartney’s farm) getting to know each other. During that period is when we filmed the video for “I’ve Had Enough” (the second single from London Town).

Daytrippin’: I always thought it was strange that you had to mimic a guitar part that Jimmy McCullough recorded. Did it seem strange to you?

Juber: It wasn’t strange at all. That’s kind of par for the course as a musician because you often find yourself playing someone else’s part, especially if it’s a famous song. To be honest, I knew I was stepping into Jimmy McCullough’s shoes and it was a perfectly reasonable transition. I really didn’t give it much thought, but what was interesting was the filming of the video. We shot it all night and it was a one-camera shoot with film that was transferred to video. I had never done a video before because I had only done live TV shows up to that point.

Here’s a funny story: years later I played a guitar part for Eric Carmen on a song called “Make Me Lose Control”, which became a hit. As the record was about to come out, I got a call from a company who wanted me to be in the video. Well, they had no idea I had played on the record and thought I would be mimicking someone else’s performance. So I got to mimic my own.

Daytrippin’: Back to the Egg was a big concept, had a big sound and certainly was an ambitious undertaking (i.e. Rockestra, videos, touring, promotion). Do you think that was tied to the fact that McCartney had just signed a new multi-million dollar contract for Columbia or that he had felt it was time to do something bigger with Wings?

Juber: There was no perception in the doing of it that it was ‘bigger’ than normal. I think what happened with that album, and the title was reflective of the fact, was that Paul had been heading in a softer direction and this was a change. After Wings Over America, he recorded “Mull of Kintyre” and “With A Little Luck” and the London Town sessions. There wasn’t really as much of a rock component to those sessions. “I’ve Had Enough” was about as heavy as things got at that point. Steve Holly was a heavier and more rocking drummer than Joe English, which is not a jab at Joe, it was just a matter of styles. Steve had more of a British backbeat.

Producer Chris Thomas (Pink Floyd, Elton John, Roxy Music, INXS) had already been brought on board to co-produce the record. If you look at Chris’ timeline, he did Back to the Egg between the Sex Pistols and The Pretenders. He tends to raise the concept level of his projects and is a Beatle insider going back to the White Album. Phil McDonald engineered, who was one of the Abbey Road-era people too. We knew from the get-go that it was going to be a more basic vibe. There’s certainly a significant rock element to that album especially in the “Rockestra” bits, and there’s also, which was typical in the 1970s English rock scene, a folk element. I mean, you saw that a lot with Led Zeppelin and Jethro Tull, but of course, Paul articulates it in his own way. So yes, it was going to be a rock-flavored album, but it was still just an eclectic bunch of songs.

There was a richness to the Columbia record deal that had given Paul a substantial publishing catalog and the label certainly had ambitions at the time. It was overseen by Walter Yentikoff, Bruce Lundvall, Don Devito, Paul Atkinson and other people who were quite legendary figures in the record business. Certainly there was an expectation that putting Paul McCartney on your record label would have a certain kind of size to it, but by the time it was released in June 1979 the economy was not doing that great and the record business hit the wall. All of the labels had gotten it into their heads that somehow every album that was released should do better than Fleetwood Mac’s Rumors or Saturday Night Fever. That was a phase and sales went back to normal, relatively speaking. Just the ebb and flow of things. Nevertheless, Back to the Egg did quite well and could have done even better had he put “Goodnight Tonight” on the album.

Daytrippin’: Agreed. I’ve always felt that was a major mistake on his part and the difference between going platinum and triple platinum had he included “Goodnight Tonight” (a Top 5 hit in America) and “Daytime Nightime Suffering” on the album.

Juber: Absolutely, it would have made a significant difference. But that goes back to the Beatles and the mentality about singles and albums. The Beatles deal with EMI was two albums a year and and four singles, A and B sides. So, with very few exceptions, in the UK you didn’t get the singles on the albums. But we had talked about it…he said, “They want to do this but I’d rather give more value for money…” So it didn’t get put on the album.

Daytrippin’: And the same thing happened again with “Coming Up,” which Paul was later forced to put on McCartney II as a 7-inch single.

Juber: That was interesting, too, because what happened with Back to the Egg, and continued through the UK tour was that we kind of forged ourselves as a rock band. You can hear it on the Last Flight CD (a bootleg CD from their last live show) from Glasgow, Scotland, and the released live version of “Coming Up” came from that show. There was a dichotomy going on where we were a tight rock band and Paul had just done the solo album McCartney II, which was kind of quirky and a bit left-field. And quite truthfully, Columbia didn’t know how to market Paul’s music like Capitol did. But they did take notice when US rock radio started playing the live B-side of the single and it went to No. 1 for three weeks in the Summer of 1980. Columbia were obliged to add the 7-inch single to the McCartney II album as people were expecting the single to be on there. Paul’s video was cool though.

We did the UK tour with the Japanese tour lined up right behind it, and the intention to tour the US in the summer of 1980. So when you listen to the live stuff, there’s this rock band, a certain kind of heaviness that evolved out of the Back to the Egg sessions. The problem was that where Paul was going in terms of his writing was a different direction, which ultimately turned out to be Tug of War and Pipes of Peace. It was a body of material that wasn’t as well suited to a rock band, and neither of those are rock albums. Tunes like “Ballroom Dancing” and “Average Person” are coming from a different place. It’s more of a mature sound and it’s an artist who is settling down into a true solo career, who has his kids settled in school and has moved out of London. After John Lennon died, which had to play some role in all of this, Paul didn’t tour again until 1989.

Daytrippin’: So Wings had actually rehearsed the material for the Tug of War sessions?

Juber: Yes, but most of those sessions were unproductive because we were working on songs that were more mature and not reflective of Wings. We had evolved a band identity and this was feeling more like a Macca solo project; I would have been happier developing the tunes in the studio rather than rehearsals. It was a step back in a way for me, because, working within the band context, Paul gave me a great deal of latitude on Back to the Egg. There I’d offer up an idea and he’d either nod or he’d kind of raise an eyebrow and then I’d tweak it. I remember very specifically when we were mixing “After the Ball,” I’d played an acoustic slide part and sat there just thinking, “I’d like to get my hand on that fader.” I’d never been an engineer at that point and Paul noticed my discomfort and said, “Laurence, you run that fader.” Not only did he accept my contribution but encouraged me to put it to the forefront.

Daytrippin’: Your personality certainly shows on Back to the Egg, which is interesting given your versatility and adaptability.

Juber: It’s interesting because at the time I was being my chameleon self as a studio player. In the course of time, and this is something you don’t recognize at the time, I can listen back and say with some objectivity, “Hey, I had a sound and style back then.”

Daytrippin’: And it was a nice fit in that particular incarnation of the band – each of you had roles within the band and you not only played them perfectly, but there was room enough for everyone to shine and let your personality show through.

Juber: I think so, certainly in the musical sense. Obviously there were other dynamics going on within the band in terms of where Paul and Linda were at in their lives, what was going on with Denny in his life, the more personality-driven aspects of the band.

Daytrippin’: You’ve stated before that watching Paul in the studio was an eye-opening experience because you were able to see him as a composer and how he fleshed out songs. So with that said, did he come into the studio with the finished song in his head and you just laid down the tracks, or was it a situation that he fleshed them out with your help?

Juber: A lot of the time it was a finished song, but not always. In the case of “Old Siam, Sir,” we were jamming one day and Steve Holly was playing keyboards and had this chord sequence. I’m not sure if Paul was playing drums or if it was Linda because we’d trade off in a jamming situation, but what ended up happening was that ended up in the instrumental section of the song. I always felt that Steve should have received some sort of nod for that. Unfortunately, that’s the nature of the process in that you don’t always get full credit for what you contribute as a musician, especially as the song-writing is traditionally words and melody, not chords, licks and grooves. If you could copyright a rhythm, Bo Diddley would have been very happy.

Daytrippin’: But was there a time when you did see Paul flesh out a song that was half-finished or not a full idea?

Juber: Yes, Denny had written two incomplete songs and Paul suggested he merge the two, and that turned out to be “Again and Again and Again.” That was Paul kind of wearing his producer hat at the time, but to the best of my recollection, most of the songs he brought in for Back to the Egg were complete to the extent where there might be a minor change to a lyric, but the song itself was pretty much there.

“Getting Closer” and the unreleased song “Cage” were off of demos, the latter being one that Paul and Denny did together. There were times when there was a demo aspect to the sessions, and in some cases we created demos to see how the tune was shaping up. We did a version of “Love Awake” that wasn’t a final version, as well as a demo of “Rockestra Theme” with just Wings so that everybody else could hear before the big session. Typically the song was there, but in terms of production, getting the sound and arrangements right, that mostly took place in the studio. I remember “Daytime Nightime Suffering”, which he composed over the weekend and came in with that on a Monday morning and we went right to work on it. Paul was always very concise with his writing and was usually complete by the time we came to record it. So the fleshing out was always on the production end of things, and occasionally we’d hear something that he was working on and then the next time he played it you could hear the progression. “Ebony and Ivory” comes to mind.

Daytrippin’: The group recorded “Back to the Egg” in several different places – McCartney’s farm in Scotland; Lympne Castle in Kent and Replica and EMI Studios in London. In your opinion, did your surroundings have any influence on how you played or recorded a song?

Juber: I certainly think the surroundings impacted the sound of the record. For example, we were recording “We’re Open Tonight” at Lympne Castle and I was sitting in the middle of a spiral staircase in a 13th Century castle with a 12-string acoustic guitar. There’s certainly something to be said for the ambient aspect of your surroundings. Being on the farm in Scotland definitely added to the rawness of “Spin It On” “Old Siam, Sir” and “To You”.

Daytrippin’: Wouldn’t it be fair to say that Back to the Egg is a British-sounding album?

Juber: It is very British. Other than the Fender, Gibson and Martin guitars, there’s nothing American about the sound of it and some of that is purely technical. Amplifiers sound different at 50 cycles than they do at 60 cycles. Just the AC power makes a difference to the sound of the equipment, the way the record was produced, the way the drums were miked, was more English than American; the players were English. Look at Ram…it sounds so much like a New York album. It was recorded in there and the players were all from the area, and there’s kind of a New York energy to it. Denny Seiwell shines on that record.

Conversely, we did a lot of stuff at Abbey Road, which is about as English as it gets. We created Replica Studio in the basement of Paul’s office Soho Square primarily for mixing, but we did some recording there too. The track for “Daytime Nightime Suffering” was all recorded there. The drums were placed in a room where the coffee machine was. That’s where I also did the acoustic solo for “Goodnight Tonight.” It’s a different kind of vibe.

Daytrippin’: Back to the Egg was not only a big and powerful album, but it was eclectic. The range of songs from full on rockers (“Rockestra Theme”; “Spin it On”; “So Glad to See You Here; “Old Siam, Sir”) to mid-tempo (“Arrow Through Me”; “Again and Again and Again”) to ballads (“Winter Rose/Love Awake”) to original standards (“Baby’s Request”) to instrumentals (“Reception” and “Rockestra Theme”). I recall seeing a Brian Wilson interview on television saying how much fun and wild Wings were because he never knew what to expect.

Juber: I had no idea he said that…that’s great because, if anyone is equally eclectic to Paul in terms of the production process, it’s Brian Wilson. And, of course, Brian was revered in England. Pet Sounds was not a huge hit in America but it was the Sergeant Pepper precursor in England. I’d have to say Paul was the most eclectic artist I’ve ever worked with. It’s in his nature. This goes back to the Beatles. They were a very eclectic band. How many bands can you look at and say this was an incredible live rock ‘n’ roll band, before they ever made a record! They were also an incredible R & B band…look at their R & B influences, especially John. “All I’ve Got to Do” is proto-Al Green. Take that song and look at it, it’s in that Smokey Robinson kind of area. In fact, it was one of the songs I did for LJ Plays the Beatles Vol. 2. It was so cool to do because it had such an immediate vibe about it. Their version of the Shirelles “Baby, It’s You” is as good, if not better than the original version. Fantastic R & B group, but you add that to the fact they were the most phenomenal pop group and the greatest bunch of studio musicians. What they did in the studio as musicians was amazing, beyond the obvious progression as recording artists and songwriters.

It really hit home when I listened to Let It Be…Naked a few years back and what was going on in terms of the guitar parts. Quite often John and George would really work out these cool two-guitar parts – “And Your Bird Can Sing” for example – sometimes you don’t even realize that it’s two guitars, but they were very much into that. Paul was always eclectic because he was so versatile. I believe Back to the Egg exemplifies a rock album, a folk album, a pop album, and certainly less geared to an American consciousness by comparison let’s say to Venus and Mars. It was also a blessing and a curse. At the time, that eclecticism wasn’t appreciated. It was a two-star album in 1979 and it’s a four-star album in 2010. As time has gone on, I think people have come to re-evaluate it in terms of Paul’s body of work and what was going on at the time in the music scene.

When you deconstruct the music, for example “Arrow Through Me”, harmonically it is almost like Duke Ellington could have had written it. I think “Again and Again and Again” was one of Denny’s more immediate and interesting contributions…

Daytrippin’: And speaking of Denny, I know it’s a rather obvious thing to say, but in doing my research for this interview, including watching a lot of videos, it really hit home for me that Denny was quite visible and a major presence in this band. I know there are reports from him that he felt like a sideman at times, but his face was out there front and center.

Juber: Absolutely. There is no question that Wings as a core group is the Paul, Linda and Denny ensemble. This is where it carries over into getting Wings into the Rock and Roll Hall of Fame. Wings was not just Paul McCartney post-Beatles. Wings was Paul McCartney’s group post Beatles, if that makes sense. If you go see Paul now and when he does a Wings song in his set, it’s great but there is something missing. You’re not hearing Linda’s voice; you’re not hearing Denny’s voice; you’re not getting the qualities that they brought to Paul’s work. It was a tempering. I think Paul recognized that he needed a foil, without John being around. Obviously, no one could fill in for John Lennon but Denny has his own eclecticism with his gypsy/folk sensibilities with an R & B voice and rock guitar prowess. And Linda was kinda the glue. Things just worked better with Linda there in the room because she was Paul’s soulmate and the female balancing part of his creative energy. There was a dynamic that happened and, as much as Paul will perform a Wings song and you tap your foot and sing along with it and think, “What a great song,” it doesn’t sound like Wings. I do appreciate the fact that he plays some of those tunes though.

Daytrippin’: I’ve always felt that he personally never gave Wings enough credit despite the fact they had 14 Top Ten hits in America (six of those going to No. 1) and eight Top Ten albums (five of those at No. 1). Today they’d be considered a supergroup.

Juber: Well, Wings was a supergroup. I remember listening to Kasey Casem’s American Top 40 on the radio and they had the top groups of all-time. The Beatles were No. 1 and Wings was something like No. 3. I had no idea we were quite that big.

Daytrippin’: I guess my point is that I get the feeling that Paul never viewed them as a supergroup…that they were just his little band and they were forced to live in the shadow of the Beatles. Wings’ music was the soundtrack of many young lives in the 1970s, including mine, and I don’t believe he’s ever reconciled that part of his musical career. Look at Wingspan (the CD) – he padded it out with solo material that simply didn’t belong on there.

Juber: Wings were simply above and beyond Paul’s solo career. But I think Paul, in the nature of writing his own legacy, he’s certainly entitled to write his version of history or how he perceived it, but the fact is there are other factors in the scenario and other people have their opinions, too. I too was a little disappointed with Wingspan (the documentary) that so much time was devoted to the breakup of the Beatles and not enough time was spent on Wings and the progression of the band and what it really represented from a musical point of view. But that’s just water under the bridge. For me, Wings was a great experience and anything that happens in the history books is sort of a bonus thing. I got my Master’s degree from McCartney University and that’s good enough for me.

Look for Laurence Juber at the Cave Creek Coffee Co. Saturday, Oct. 15 in Cave Creek, Arizona or visit www.cavecreekcoffee.com

Will Turpin talks live to Red Velvet Media


Join Red Velvet Media host Holly Stephey live as she talks to bassist Will Turpin of Collective Soul about his days and nights with the band and his new solo project, The Lighthouse.

Fans, admirers and music buffs are encouraged to call in and talk to Turpin or ask him questions. The call in number for the show is (347) 677-1036.

For more information on The Lighthouse, visit www.itunes.com, wwww.collectivesoul.com or www.willturpin.com

Thursday, October 13, 2011

Former Wings guitarist plays Cave Creek


Two-time Grammy-Award winning artist Laurence Juber will make a rare and intimate appearance this weekend at the Cave Creek Coffee Company, 6033 E. Cave Creek Road in Cave Creek, Arizona. The show starts 7:30 p.m. on Saturday, Oct. 15.

Often considered most famous for playing lead guitar in Wings from 1978 to 1981, Juber has since had a distinguished career as a solo finger-style guitarist.

A world-class guitar virtuoso solo artist, composer and arranger, Juber fuses folk, jazz, pop and classical styles and creates a multi-faceted performance that belies the use of only one instrument.

Juber has released 19 critically acclaimed solo albums since Wings folded. His latest Wooden Horses showcases Juber's compositions for solo guitar while LJ Plays The Beatles Vol. 2 is a solo acoustic guitar arrangement of 15 songs by John Lennon and Paul McCartney.

As a studio musician, he can be heard on recent albums frohttp://www.blogger.com/img/blank.gifm artists as diverse as Barry Manilow, Rod Stewart, Rosemary Clooney, John Williams, Shirley Bassey, Cleo Laine, Alan Parsons and Dan Hicks & the Hot Licks. Plus, he is also featured on the soundtracks to hundreds of TV shows and movies including the Academy Award-winning Good Will Hunting and the James Bond thriller The Spy Who Love Me.

For more information, call the Cave Creek Coffee Company at 480-488-0603 or visit www.cavecreekcoffee.com/


What: Laurence Juber
Where: Cave Creek Coffee Company, 6033 E. Cave Creek Road
When: 7:30 p.m. Saturday, Oct. 15
Information: 480-488-0633 or www.cavecreekcoffee.com

Laurence Juber makes Cave Creek appearance


Two-time Grammy-Award winning artist Laurence Juber will make a rare and intimate appearance this weekend at the Cave Creek Coffee Company, 6033 E. Cave Creek Road in Cave Creek, Arizona. The show starts 7:30 p.m. on Saturday, Oct. 15. Tickets are $18-$22.

Often considered most famous for playing lead guitar in Wings from 1978 to 1981, Juber has since had a distinguished career as a solo finger-style guitarist.

A world-class guitar virtuoso solo artist, composer and arranger, Juber has released 15 critically acclaimed solo albums since Wings folded. His latest, LJ Plays The Beatles Vol. 2 (Solid Air Records), is a solo acoustic guitar arrangement of 15 songs by John Lennon and Paul McCartney.

For more information, call the Cave Creek Coffee Company at 480-488-0603 or visit www.cavecreekcoffee.com/

Tuesday, October 11, 2011

Will Turpin finds way in "The Lighthouse"


Bassist Will Turpin of Collective Soul has a solo EP, "The Lighthouse" that will be available on Oct. 11 on Itunes.com and CDBaby.com.

The five tracks, which Turpin describes as "sweet rock 'n' roll candy" includes:

1.) 60 Seconds
2.) Sailor
3.) My Star
4.) Her Name
5.) Sanity

For more information, visit www.itunes.com, wwww.collectivesoul.com or www.willturpin.com