STEVE LUKATHER

* Your musical inspirations?
 
The Beatles, Hendrix, Jeff Beck, Genesis, Yes, Jimmy Page, Miles Davis, Larry Carlton etc. etc.
 
* Any CD's or songs which are meaningful to you?
 
Meet the Beatles, Stg. Pepper's, Deep Purple Machine Head, Are you experienced-Hendrix, Led Zeppelin I ( or all of them really), Jeff Beck Truth, Pink Floyd -Dark Side of the moon, Van Halen I, Genesis Selling England by the Pound, YES Fragile

I could go on and on...

* How has music inspired you?

Well, this is a VERY hard question to answer as it has been my whole life! Since I was 7 years old! Every memory I have includes music... It has been the single thread of happiness from boyhood to manhood and I thank God EVERY day for the blessing I have been given...to live my dream! Not to many people can actually DO that. I have been honored to work with the many legends that inspired me in my youth and still continue to inspire. I guess the only thing left for me to do is keep learning, practicing and trying as f-ing hard as I can to get better and keep raising the bar..I like to GO to the bar too but you know what I mean. HAHAHAHAHAHAHA!

I wish you all happiness and love and I hope to see you along the way
Peace
Steve Lukather June 2004

Versatile musician, guitarist, vocalist, composer, producer and arranger Steve Lukather was born in Los Angeles on October 21 in 1957. Before his father bought him a guitar (a simple Kay acoustic) and a copy of Meet the Beatles at the age of seven, Luke started to play drums and keyboards. "I love keyboards, I write all my songs on keyboards except for the real obvious 'burn' tunes. I find it much easier, you have all these great synth sounds and you play a C chord and it's sounds like God, and you start thinking melodies as opposed to chops." (Lukather, 1986).

The guitar and the Beatles album changed the life of the young boy. "Just the sound of it overcame my whole soul, if you want to call it that. I knew that's what I wanted to do. I remember George Harrison played a solo in I saw her standing there and just the sound of the guitar bending and the reverb struck a nerve inside of me." (Lukather, 1993).

In the years following Lukather taught himself how to play the guitar. He hung out with older friends who showed him how to play and how to set the chords. At high school he met the Porcaro brothers who were a couple of years older than him. Jeff Porcaro and David Paich were already doing session stuff. "I was selftaught until about 15 and then I started taking lessons with (classical/jazz/country player) Jimmy Wyble. He taught me how to read and I took a lot of other classes, like orchestration. I wanted to learn. At that point i was really intrigued by the whole session thing. It wasn't something I wanted to do since I was a little kid. I didn't know anything about it until I was in high school. I always thought it was kind of cool to be able to play on all these great artists' records." (Lukather, 1993).

During his high school period especially Jeff Porcaro turned out to be like a brother and mentor for Steve Lukather. "Jeff was like my mentor; he was a guy I looked up to. He and the whole Porcaro family had so much to do with my getting a break in the music business. Jeff was already in Steely Dan when I met him. That was 1972, and growing up in that whole environment was a gift. We learned the whole Katy lied Steely Dan record before it ever came out. In my high school band I was playing with Mike Landau, John Pierce, Steve Porcaro and Carlos Vega. Everybody else has since gone on to do really well. Growing up in that environment ..." (Lukather, 1993)

After playing and touring with Boz Scaggs, David Paich and Jeff Porcaro asked Steve Lukather, Bobby Kimball, David Hungate and Steve Porcaro in 1976 to join for their own band Toto. In the meantime David Paich, Jeff Porcaro and people like Jay Graydon involved Lukather more and more in the session business. In the late seventies and the eighties Lukather showed himself a first class and first called session musician, who played with everybody on the planet (check out the discography).

In September 1977 Toto released their first album Toto that generated the hit singles Hold the line, I'll supply the love and Georgy Porgy. With the album David Paich and Steve Lukather started a more than 25 years Toto career. As the diagram in this website points out Lukather did some minor contributions to the songwriting in the first years of the Toto career. However his contributions increased by degrees. "I've been writing songs since I was a kid, but I kind of stopped writing when I joined Toto because Dave had all these incredible tunes. Every day he'd come in and say 'Dig my new tune' and when he played it, it would be a killer tune. To my ears anyway. But towards the second album, like the song Hydra, which was a group written tune and I came up with the riff parts. So it started with that album and on the third album I wrote three tunes and the fourth also had three or four tunes, and then gradually I'm writing more and more. And then there were a couple of hit records with other people, like with The Tubes I wrote Talk to ya later and She's a beauty and also the Benson tune Turn your love around with Jay Graydon and Bill Champlin. So I started writing different weird things for other people and that made me a little more confident about my song writing. Then we started co-writing in the band a little bit more, and by the Toto IV album we were really writing a lot together." (Lukather, 1986)

The year 1982 turned out to be the most successful (commercially) in Toto's and Lukather's career. Lukather, Paich and Jeff and Steve Porcaro contributed heavily to Michael Jackson's Thriller album, that turned out to be the most successful album in music history ever (over 50 million copies). The album Toto IV went platinum and the hitsingles Rosanna and Africa became all time classics. A year later Toto received six golden grammophones at the Grammy Awards in relation to Toto IV and Lukather gained a Grammy for best rhythm & blues song Turn your love around, co-written with Jay Graydon and Bill Champlin.

Although the next Toto albums were less successful than Toto IV, Lukather was (co-)writing more than ever and appeared to be more and more selective in his session work. "We did the sessions for a long time but we're not doing that anymore. It kind of bugs me that people still go, "Oh yeah, those studio guys." I'm tired of that label. I'm proud of a lot of the work I did and I'm ashamed of some of the other work. You know, sometimes you have to polish a turd. That's the bottom line. That's what it is, man - get out the brown polish, man, here we go. I just didn't want to do that anymore. I wanted to play music that I liked with people that I respected." (Lukather, 1993).

After touring with Jeff Beck, Simon Phillips and Carlos Santana in Japan, Lukather released in 1989 his first solo album Lukather, music wise a very heterogeneous album with contributions of lots of musical friends he respected and had worked with: Michael Landau, Danny Kortchmar, Randy Goodrum, Eddie Van Halen, David Paich, Steve Stevens, Jeff Porcaro, Richard Marx etc. In the same year he released the first (self-titled) album of his side project Los Lobotomys, live recorded with the cream of westcoast musicians like David Garfield, Jeff Porcaro, Vince Colaiuta and Will Lee for example. "I like to be making records or playing live. That's why I play with Los Lobotomys. We don't rehearse; it's just fun to get together and play in a club just to keep the chops up. I like to feel the tips of my fingers and it makes me feel like I'm doing something." (Lukather, 1993)

In 1991, right after the departure of Toto's fourth lead singer Jean-Michel Byron, Steve Lukather takes over the role of lead singer in the band. "There's certain techniques that you can learn from professional vocal coaches. I never lost my voice in the all the shows that we did. It was amazing to me. But I warm up properly. It takes me 20 or 25 minutes just to sing along with this tape while I'm getting dressed. Then I'd play the guitar for 20 minutes, have a beer and shoot the shit, stretch out and I was ready to go. It's like anything else. It's like playing guitar, man. If you haven't played for a while and you pick it up and you start playing all this stuff, after a while your muscles feel tight." (Lukather, 1993).

In 1992, right after the Kingdom of desire recordings, Lukather had to cope with one of the most heavy losts in his life, the sudden death of his brother and mentor Jeff Porcaro, who died of a heart attack after an allergic reaction to a pesticide he was spraying in his garden. "How can I equate this? It's so hard for me to actually come to grips with how to put how I feel into words. It's so hard. I'll never be the same without him. But he'll always be with me. I have pictures of him over at my house. I feel his presence." (Lukather, 1993).

A few weeks before the Kingdom of desire tour the three Toto members Steve Lukather, David Paich and Mike Porcaro decided to go ahead with the tour and asked Simon Phillips, who toured with Lukather before in Japan, to replace Jeffrey. This decision turned out to be a 'lucky' one, because Simon developed himself as an integrated member of Toto and a very stimulating musical partner for Lukather and his band Los Lobotomys. "But I'm still here to play and we've been playing. At one point of course we thought we should break up. We haven't had a record out in the States in five years. This record, Kingdom of Desire, is the last piece of work that Jeff did with us. He had something to do with the writing and the whole spirit of the four guys who went to school together, without the three lead singers who for various reasons just didn't last. That was always a big problem with Toto as far as identity. We started out as a hard rock band and we ended up with the record company getting way too involved with the choice of singles. Since we have a new record company it's like a new lease on life. Then Simon Phillips came out and played with us." (Lukather, 1993).

After the Kingdom of desire tour Lukather apparently had to change his mind, on his life and on his musical career. On the Toto album Tambu he and his musical mates did a lot of personal reflection in the lyrics of the songs. "Where do I go from here? How do I find my way? When is it loud and clear, that there's no turning back? No looking back. Where do I go from here? Nobody gets away. It's a new kind of fix, for the poor and the rich. You never know what's coming next..." (The turning point, 1995).

What's coming next for Lukather is a second solo album, Candyman (1994), actually a very coherent and heavy Los Lobotomys project with Simon Phillips, David Garfield and Fee Waybill, his third solo album Luke (1997), a very personal and musical journey through the past, his fourth solo album Santamental (2003), with very hazardous fusion and rock interpretations of classic and new Xmas songs, five new Toto projects culminating in the return of Bobby Kimball as lead singer on Mindfields (1999), Livefields (1999), Through the looking glass (2002) and 25th Anniversary Live in Amsterdam (on dvd and cd), and lots of interesting musical side projects. Contributions to projects of David Garfield, Richard Marx, Mike Terrana, Pat Torpey, Gregg Bissonette etc. and touring with his friend and musical mentor Larry Carlton and his mate Edgar Winter.

During their Japanese tour in 1998 Carlton and Lukather recorded a couple of shows. In 2001 they released a selection of songs recorded in the Blue Note in Osaka, in November 1998, on their live album No substitutions. They finally got their honour on February 27th 2002 in L.A.: Larry and Luke are the winners of the Grammy in category 11 Best Pop Instrumental Album for solo artists, duos or groups with their album No substitutions. Luke stated that this award was particularly meaningful for him because of who his winning partner is. "When I was just starting to play, Larry was my hero. To be standing here 25 years later on stage with him with awards in our hands, it's a dream come true."

In view of his musical development, Lukather became more and more open, sensitive and pure. His voice developed strong and warm and his guitar sound became more and more direct and sharp, no matter if he's raging or playing tender ballads. All these developments seem to come together on Lukather's contributions to the album Inertia (2001) by Derek Sherinian, with Simon Phillips, Zakk Wylde, Jerry Goodman and Tom Kennedy. "Derek's cd is probably my best recorded work in my whole career. Simon got the best outta me. It's just me playin thru a 1/12 Marchall with my guitar, no efx, just a little delay from the board. Great cd! I'm very proud of it!" (Lukather, 2001).

In the 1993 duologue with his good friend Eddie Van Halen Lukather sighed that he would have been more respected as a guitarist if he had just done Toto. That statement has got everything to do with the mind setting of the critics who tried to shadow the musical development of Steve Lukather. How easy and comfortable is it to get a musician into an explicit corner of the musical history? And how much trouble do you want to give yourself to sift out the versatility, the importance and the delight of the musical capacities of Steve Lukather?
www.stevelukather.net
Toto website

KINBRIA

1. How has music inspired me?

It seems like the same topics have been written and sang about, over and over, in millions of songs. We add a few different words, but its like we just keep repeating ourselves. I dont know how many numerous times I've heard about how "He loved me...He hurt me...I am crying now and want to find an answer to the pain..." I am impressed with poetry. When Someone can take a subject and make the words so original, that you seem to hear an idea for the first time. Music is even more important to me than words. If you hear two chords being struck together in a certain way, or particular instruments playing together, then this music can have more healing power than anything else on the planet. You can loop these sounds over and over, and they will give you an intense healing experience. I have read about Indian music, and how notes, or a number of beats per measure are able to invite trance. These are taught by the indian masters and a person is considered spiritually evolved when they are able to recognize the healing powers of music.

2. My musical inspirations:

I have a pretty open mind about music. I either like something or I dont. I would say that there is at least one song from every musical style that I like. Even if people consider my music Celtic, Ambient, or Folk...that doesn't mean that I like every song that is Celtic, Ambient or Folk. I have heard many songs that I like that are Country, Rap, Reggae, Punk, Techno, Rock, ect. I would never limit myself to music, I just either like or dont like a song. Simple.
 
3. Any cd's or songs that are meaningful to me?

O plenty! Ummm... Too name a few...Ill always be a fan of Tori Amos, Sarah McLachlan, and Bjork. I suppose I am particular to female vocalists. I think that these three ladies are beautiful poets. They turn words, beautifully and unpredictably, like the sea. They are honest. Perhaps, their life experiences are not unlike others, but they are able to write about them in a very foreign and unusual way. In my own music, I try to write and create in a way, where I might sit on the same musical grounds as these ones who have inspired me.

4.Has music helped me thru a difficult time in my life?

Yes. If you read any of my lyrics, you will be reading my diary. I know I shouldnt tell my secrets to the whole world...but music is the easiest way to heal and realize. When nothing makes sense...a song will explain it. It can be a song with or without words. Sometimes there are no words that can help a situation, but there are harps and pianos, and Bells and drums. Drums that cant beat along with the excited heart, the broken heart, the confused and crazy heart. Harps that are the fingers that will stroke the shattered soul. A piano that invites your feet to turn around and around in a crazed circle, releasing all the pain, until you fall, exhausted and empty, down to an embracing earth. Bells that play with the confusion in your head, tickling the unknown and the "It doesnt make any sense - why did it happen?!" bits of debris floating around in the brain...tweaking, tickling, teasing, and twanging their sweet and playful notes, until you just dont care about anything else than playing with those carefree chimes. Its best to not ask questions and just listen...and wait. The healing is quite easy to acquire if we know where to look.

Kinbria

Kinbria is an ancient soul in a modern world. Her voice rings down through the ages with directness, power and clarity. Kinbria’s music crosses cultural and musical boundaries with a touch both strong and serene.

Her inspirational roots are Celtic and drawn from the ancient Bardic traditions of music and song. Her lyrics are poetic, and state their truth both clearly and distinctly.

Kinbria is found in her home of Ireland travelling, writing, performing, and absorbing the unique landscape of the Irish countryside. Her live appearances have included Dublin’s RDS, The Temple Bar Music Centre in Dublin, The Royal Hospital Kilmainham in Dublin, The Westport Arts Festival, The Harcourt Hotel in Dublin, The Cliffs of Moher in County Clare, and numerous pubs throughout the country.

Kinbria has worked in theatrical circles, toured with Professional orchestras and performing companies throughout the USA, Europe, and Canada.

Kinbria writes original music and poetry, sings and plays the guitar, lap dulcimer, tin whistle, bodhran, ocarina (An antique German wind instrument), synthesizer, cello, piano, and various percussion instruments. With her powerful yet understated vocals and startling multi-instrumental abilities, Kinbria’s music is a distinctively original spin on Celtic, Traditional, and Ethnic folk styles and idioms. Her albums “Song Secret” and “Dreaming” are a unique artistic statement. Kinbria’s music is blessed with both a dynamic flair and a glorious sense of understatement.Poetry, original songs including one written in Irish, mixed with new tunes in the traditional vein, all are mixed together to create a rich tapestry of ancient wisdom and lore. Kinbria’s voice radiates a pure wisdom earned through life’s experiences, and blessed with the optimism of hope and opportunity. Kinbria’s voice is a new, precious, and powerful instrument in the folk music cannon…listen and listen well, there are wells of musical and inspirational riches here.
www.kinbria.com

SHANNON DAY~ILLUMINE

* How has music inspired you?

I believe that everything has a vibration or frequency.  From colors to feelings, even environments to structures.  Music is the highest form of vibration, other than light, becuase it infuses the body with it's vibration invoking emotion and gives us an experience we wouldn't have otherwise.

* Your musical inspirations?

My family - they're all accomplished musicians.  Classical music - Rachmaninoff, Debussy, Chopin, Eric Satie.  Dead Can Dance, The Cocteauu Twins, Sarah McLachlan, Peter Gabriel, Loreena MsKennit, Kate Bush, the list goes on and on!

* Any CD's or songs which are meaningful to you?

Currenly I'm listeing to 1 Giant Leap - a collaboration of global artists.  It's been blowing my mind.  Such a moving and prolific body of work - Production is AWESOME!  I go with the moment.  I sing so many different genres of music that it's difficult to pick only a few... ! Giant Leap is where I'm at today..  :0)

* Has music helped you thru a difficult time in your life?

Absolutely - I've been known to listen to a song over and over that helps me move into an emotion.  Whether it be celebration, sadness, love, sexiness,or releasing anger music aids in the transformation of feeling to healing..
What a blessing!

Illumine

It is not often that a new band hits the music scene which could truly be identified as unique, but in the case of Illumine, unique only begins to describe their sound. Two extraordinary musicians have found their way into each others lives, and began a collaborative effort which is sure to leave their audience demanding more. Shannon Day and Stephen Brown are Illumine.

Their sound is an eclectic mix of acoustic electronica the likes of which have never been heard in today's vast music arena. Begin with Steve thumping an extremely tribal djembe beat, layer with an electronic landscape, complete the mix with Shannon soaring above with beautifully angelic vocalization, and you begin to understand the term unique. This phenomenal duo has created a new genre in music, as yet defined only as Illumine.
www.illuminemusic.com/

Shannon Day

Born the daughter of an award winning operatic soprano, Shannon Day was literally raised in the arts. As an accomplished musician and composer, Shannon has been playing the piano since the age of five, and began writing her own songs when she was in her early teens. She was awarded her first gold record at the age of seventeen, for her harmony vocals on the Atlantic Records release, "Poolside" by the Grammy nominated band, "Nu Shooz". After a recent sojourn to Paris, Shannon was inspired by the beauty and romance of the magical city, and refined her musical talents into a one-woman show featuring her favorite "Torch Songs".

She combines her charming flair and beauty with her sultry voice, in performing some of the most beloved songs from the most soulful composers of the 20th century. This show is guaranteed to inspire romance in the hearts of even the most stoic of listeners, as she gracefully presents a performance that is sure to take you from the modern world to a time when glamour and beauty were truly a work of art.
www.shannon-day.com

ROBIN FREDERICK

* Your musical inspiration?

All the songs I write for my own albums (as opposed to projects I'm hired to write for) are inspired by a muse. I write a lot about the relationship between the poet and the muse. I keep coming back to that theme over and over; it resonates for me like a magnificent, deep bell. This is my source of inspiration. I write both to and about the muse figures in my life.

A lot of people have had an encounter with a muse though they probably don't call it that. It's what you feel when you meet someone for the first time and you are speechless, you feel something fly out of you and into them; that person suddenly takes on a luminous quality in your mind's eye. Their image fills your thoughts and your heart with yearning and an ache you know you will feel forever. Sometimes it's your first experience of love, years later you still think about that person, their image still lives inside you. There is something magical and transformative about it, something that releases you from the trap of time and the grayness of everyday life. This is the face of the muse.

When you encounter a muse, you want to hold onto them, speak to them. The only words that come to you are poetry because that is the language of the muse. You enter a parallel world that is better than the everyday world; you feel as if you are floating free. Then you reach out to take hold of this person but - and here is the poet's eternal dilemma - like a mirage, the muse always eludes your grasp.  There is tremendous emotional pressure to unite with the muse but the shining, ethereal quality of the image can't survive the rigors of a real relationship. I've had relationships with two muse figures in my life and, although I eventually loved both men for themselves, they did not survive as muses. The mystery fades, the light dims, and reality sets in.  But if you don't unite with the muse, then you are condemned to a long, long period of yearning. The only way to deal with that is to write it out. This is what poets and artists have always done - from the ancient Greek poets to the troubadours to today's songwriters. The Unobtainable Other is only reachable through one's own art, and then only for brief moments.

It took me a long time to recognize the muse for what it is: a way in, a doorway into the deep underground of the psyche. A muse is created when you project your own shadow side onto another. It happens in an instant and it isn't something you can choose to do or not to do. Nor can you consciously choose the person who will become your muse. But on some level beneath awareness, your psyche has chosen for you. The yearning for the muse is the yearning to reunite with that part of you which you have projected outward onto another, a part of your inner being you otherwise cannot see or touch. The muse embodies the artist's soul - that's why it shines with such an unearthly and beautiful light. We are really seeing ourselves - the most beautiful and mysterious part of ourselves -  and we are driven to reunite with it.  Look closely at your muse's image, explore it deeply, follow it wherever it goes - this is your soul leading you. For me, as an artist, this is the highest and deepest calling, the path with heart and energy.

For more about poets and muses,  read "Love & Longing: the World of Poets and Muses" at
http://www.robinfrederick.com/poet.html

* Any CD's or songs which are meaningful to you?

I am drawn to visionary singer-songwriters, particularly those who create a powerful, muse-like persona. Bob Dylan  wrote for a muse figure in magnificent songs like "Sad-Eyed Lady Of The Lowlands" and 'Visions Of Johanna." He also cast himself as a muse in the role of the Romantic Poet-Rebel.  Like Dylan, Stevie Nicks played the muse in songs like "Rhiannon" and 'Gypsy" and wrote of the Unobtainable Other in songs like "Dreams." She came to personify a powerful female muse figure for hundreds of thousands of fans. I think she is a vastly underrated visionary songwriter. I've written a lot about Nick Drake. He very clearly paints a portrait of a luminous Other in songs like "Northern Sky," "Cello Song" and "Fly." He also portrayed himself as a muse in the roles of Eternal Outsider and Wounded Poet. Music, lyrics, and artistic persona mesh seamlessly in all three of these artists in a way that I find deeply moving and inspiring.

"Robin Frederick has written and produced over 500 songs  for television series and record albums. She is a former Director of A&R for Rhino Records, and a recording artist with releases on Virgin/Higher Octave Records and Sound Experience. She is currently teaching songwriting in the Los Angeles area and working on a new album.”  For more information visit Robin's web site at:
 http://www.robinfrederick.com

www.cdbaby.com/all/robinf /Buy Robin’s CD’s
 

BEAUTY’S CONFUSION

photo by Dan Ross

* How has music inspired you?

Jenna: Music for me is a kick in the ass when I get too comfortable, it's my temporary vacation from the 40hr. a week rut, it instills faith and hope, smooths out the bumps in the road, it's my partner for life.

Skip: When I was a little kid, something just clicked with me when I first heard Blondie and The Doors, and all the early 80s new wave one-hit wonders when MTV first came out. I just loved the way music sounded, and I loved the way it made me feel. Music has always been there for me during the hard times, like dealing with heartbreak or rejection... it's quite simply the most important part of who I am.

* Your musical inspirations?

Jenna: I discovered Madonna when I was 6, and that's when I knew I wanted to sing. Vocally, Sheila Chandra, Tori Amos, Sarah McLachlan, Loreena McKennitt and Ann Wilson. Lyrically, Tori and Bjork because of their use of imagery and story telling. Non vocally, Spanish guitar, because to me it represents the fire and passion within and Eastern Indian music for its enlightenment.

Skip: There are countless, literally countless artists. I started out playing drums when I was 10, and I'd say the biggest influence at that time was Niel Peart of Rush, or any of those hair-metal drummers because that's all that was on MTV at the time. Then, when I got into playing guitar, Joe Satriani and Eric Johnson were huge influences on me, and still are. As far as bands as a whole, or songwriters go...... Juliana Hatfield and Blake Babies, Heather Nova, The Sundays, Sarah McLachlan, The Album Leaf, Ben Lee, Jets To Brazil, Portishead, Moby, Antarctica, Ivy, Led Zeppelin, The Doors, Tristeza, Stan Getz/J. Gilberto/Antonio Carlos Jobim/Astrud Gilberto (the whole 60's bossanova thing), Chet Baker, Miles Davis, John Coltrane, My Bloody Valentine, The Smiths (a huge influence), Garbage, Lush, VNV Nation, Esthero, Crustation, Splashdown, Baxter, Spylab, Van Halen- but only the stuff with David Lee Roth, Cranes, Sunny Day Real Estate, Anticon, Aesop Rock, Buck 65, Alias, Jurassic 5, Morcheeba, MC 900 Ft. Jesus.... the list is truly endless.

* Any CDs/songs which are meaningful to you?

Jenna: Madonna's "Ray of Light", Portishead's "Dummy", The Sundays' "Reading, Writing & Arithmetic", Cranberries' "Everyone Else is Doing it...", Sarah McLachlan's "Fumbling Towards Ecstasy", Catherine Wheel's "Ferment", "Chrome" & "Like Cats and Dogs", everything by Bjork, Tori Amos' "Under the Pink", Morcheeba's "Who Can You Trust", Loreena McKennitt's "Book of Secrets", anything by Sheila Chandra (just for the enjoyment of her singing).

Skip: My top 10 all-time favorite albums are probably (in no order):

1 The Album Leaf- One Day I'll Be On Time

2 The Sundays- Reading Writing and Arithmetic

3 Sarah McLachlan- Fumbling Towards Ecstasy

4 Juliana Hatfield- Become What You Are

5 Heather Nova- Oyster & Siren (tie)

6 Archive- Londinium

7 Portishead- Dummy

8 Moby- Play

9 Jets to Brazil- Orange Rhyming Dictionary

10 Antarctica- 81:03

There are so many others, though. Jimmy Eat World's "Bleed American", Sage Francis' "Personal Journals", Sebutones' "50/50 Where It Counts", Buck 65's "Vertex", Curve's "Gift", Garbage's first album, Vanessa Daou's "Zipless", MC 900 Ft. Jesus' "Welcome To My Dream", My Bloody Valentine's "Loveless", Lush's "Split", Coheed and Cambria's "The Second Stage Turbine Blade", Ben Lee's "Something To Remember Me By", Satisfact's self-titled album and "The Unwanted Sounds Of Satisfact", Sonic Youth's "Murray Street", Joy Division's "Closer", The Smiths self-titled album and "Meat Is Murder", Pennywise's "Unknown Road", Black Flag's "In My Head", Minor Threat's "Complete Discography", and Van Halen's self-titled album.

* Has music helped you through a difficult or traumatic time in your life?

Jenna: It's definately a key player in post-relationship periods. In the moments when you start to doubt yourself, you look for acceptance in all the wrong places. You struggle to find a quick means to happiness. Giving up is an option because it seems as though nothing can extinguish the rage. And at last, you'll have an urge to listen to something to kill the silence in the room, when in turn, it kills the noise in your head. Then clarity takes its place and you wonder, "what the hell was I so upset about?" Another lesson learned.

Skip: Music's always been there... during dysfunctional family problems (my parents fighting), during heartbreak, rejection, feeling lonely in general, feeling like an alien compared to so many people (I still feel that way).... when I performed on stage for the first 10 or 15 times with my first band, I felt so transcendent. I felt important, like I was finally giving something to someone else, the way other writers of music have given to me. Those first few times performing were enough to tell me that this was the path I had to choose. I am generally a melancholy person, but when I think about music, write it, record it, or perform it, it is the happiest I can be, aside from being with my girlfriend. Little hints along the way of my life have always told me music was the thing I had to do, no matter what. Whenever there were hard times, or boring times, I always had music to listen to or write, and it's kept me going. It will continue to do so... it's the one thing that really truly gives me a sense of purpose in life.

Beauty's Confusion make music that rides a fine line between electronic pop and gloomy indie rock. Influenced by a myriad of sound, from underground hip-hop (Sage Francis, Anticon), and the "Bristol Sound" (Portishead, Massive Attack), to modern shoegaze and indie rock (The Innocence Mission, Catherine Wheel, Coldplay), the duo has created music and words that break the hearts of those who listen. BC is comprised of Moxx and Jenna. They formed in 2001 on a mutual love for movie scores, independent filmmaking, and the vast indie rock/punk and trip-hop music realms: music with heartfelt meaning.

They are extremely down-to-earth, hard-working people who strive to create music that defies the generation gap, as well as the gap between electronic music enthusiasts and indie rock fans.

BC released an EP in spring of 2002 (and an updated version in late 2002), and are currently working on their full-length CD (June 2004 release), as well as several independent films and scoring projects.

Beauty's Confusion have remixed several independent and well-known artists, including Daughter Darling, Kosheen, and Tori Amos. BC have also been remixed by legendary electronic artist Bitstream Dream.

If the sounds of Esthero, Dido, Sarah McLachlan, Sneaker Pimps, Puracane, and Portishead interest yoIf the sounds of Esthero, Dido, Sarah McLachlan, Sneaker Pimps, Puracane, and Portishead interest you, you may enjoy the music of Beauty's Confusion. If you haven't heard of the group yet, chances are you'll be hearing about them in the future.
www.beautysconfusion.net

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