TAYLOR LOCKE, former member of the band, ROONEY, has been busy producing CULLEN OMORI‘s second studio album, ‘The Diet‘ (Sub Pop), LA buzzband BLOODBOY, and Bay Area indie-darling GEOGRAPHER. As a composer & producer, he recently contributed 25 original songs for the YouTubeRed network BRAT Productions, and is currently writing new score and theme music for more than 30 Ed Sullivan Show archival episodes. On top of all that, Taylor will be releasing ‘The Bitter End‘, his 4 song EP with Harbour Records on Friday, October 23, 2020.
Taylor Locke just released a new single “Dying Up Here” from ‘The Bitter End‘. Also produced by Locke, the song is a jaunty, tongue-in-cheek ode to entertainers who know the feeling of being run through the wood chipper of dreams that is showbiz.
For the music video to “Dying Up Here”, Locke broke into Burbank’s Starlight Bowl in full clown make-up; and in self mockumentary-style, he hammed the stadium up to crickets, singing his heart out in his own brand of ironic melancholy.
WATCH IT HERE:
Taylor’s creativity doesn’t just remain in the recording studio. He recently toured Europe and Japan as guitarist for art-rock legends, SPARKS. Taylor is also the head writer, co-creator, and co-star of “Don’t Stop! The Fleetwood Mac Comedy Musical”, currently in monthly residence at The Largo Theater in LA, in which he portrays LINDSEY BUCKINGHAM.
What first got you into music?
My parents played lots of Beatles, Beach Boys and Chuck Berry in the house. Also, at Hebrew school there were 2 female cantors with guitars. A blonde with a 6-string, and a brunette with a 12-string. They were like the Traveling Wilburys!
Who inspired you to make music?
I have 2 uncles who play music, and I was fortunate to have a couple of good guitar teachers. In my adolescent years, I was infatuated with Nirvana and lots of the adjacent grunge, punk and indie music of the time. Being in a band just seemed like a really fun thing to do.
How did you learn to sing, write, and play?
I took guitar lessons, but later on I learned a lot of music from being in the band Rooney, and having the other guys’ musicality rub off on me. I learned to write by studying songs I love, and collaborating with writers who were more developed than I was. Singing was trial by fire. I figured out how to shout in tune over the racket of guitars simply by doing it.
How would you describe the music that you typically create?
Most of my work is centered around live instruments, rather than programming. Guitar layering and vocal harmonies are generally quite prevalent in my stuff. I like strong, memorable titles. I like the old-fashioned chord changes that were more adventurous. Most of all, a melody and some words you can hang on to and remember.
What is your creative process like?
I’ve been working out of my own studio, The Velveteen Laboratory in Los Feliz for many years. I’m surrounded by all my gear, which is ready to go for almost any musical situation. When I was first in a band that started recording, it was the days of setting up to record drums for a whole album, then move on to bass, then guitars, etc. I later got hip to having a set up where you can bounce from instrument to instrument without any down time in between. I usually put down a little beat on a drum machine, then do a really simple keyboard or rhythm guitar, which gives me enough of a foundation to sing the vocals. With a good vocal in place, I start having fun throwing all sorts of stuff on the canvas, and seeing what sticks. I run around for a day or 2, completely losing track of time, as I try out drum parts, bass parts, piano, guitars, synthesizers, percussion, etc. Then I take a little break, come back and trim the fat, and try to highlight the most thematic bits. Once I’ve solved the puzzle, so to speak, I mix the track!
Is there a hidden meaning in any of your music?
You mean besides the subliminal Satanic Worship messaging I always include? Haha
I don’t think so. Most of my songs have a clear concept. I have dabbled in more abstract lyrics, but I don’t feel that it’s my forte.
Have you ever dealt with performance anxiety?
To be honest, playing live is really where I got my 10,000 hours as a musician. It’s very comfortable for me. The Covid pandemic has really made me long for it. I miss hanging around other musicians. I miss the smell of an amplifier that’s been left on too long. Waiting around to play is when I get a little anxious.
What’s an average day like for you?
I’m fortunate to have a nice bit of variety in my work. I produce other artists, I produce myself, I have composed for TV, and this year I will score my first feature film. Before Covid I performed live quite a bit too. I also have a brand new baby girl, so I spend much of my day staring at a tiny face, and taking care of her and my wife. I typically wake up early, read & write emails, clean up around the house, then get busy with the music making. It’s rare that a day would go by when I’m not in the studio for several hours. Recording never feels like work to me, and the studio is 20 from my back door.
Who would you most like to collaborate with?
I co-wrote the song Devil In The Deets with Tyler Parkford, of Mini Mansions. I want to write more with him, but he’s hard to pin down. Tyler, if you’re reading this, let’s finish our other song! I wish I could bring Adam Schlesinger back to life and work with him again. He was such a great talent. Its now 6 months since he passed away from Covid. Oh yeah — and JEFF LYNNE. I love him.
If you could go open a show for any artist who would it be?
ELO
What is one message you would give to your fans?
Thanks for listening. Let’s get together when the Pandemic ends.
What is the most useless talent you have?
Card tricks.
Do you sing in the shower? What songs?
Not really. My wife does. Mostly improv work, of an operatic nature.
What would you be doing right now, if it wasn’t for your music career?
I’ve got no Plan B.
Where have you performed?
In my 20’s I was doing over 100 shows per year. I’ve been across the US more times than I can count. I’ve toured Europe many times, plus China and Japan. I’ve played dive bars, upscale clubs, casinos, indoor and outdoor theaters, arenas, and one time in a stadium. (The Rose Bowl in Pasadena)
What are your favourite and least favourite venues?
The Troubadour in LA, The Melkweg in Amsterdam, Vega in Copenhagen, Irving Plaza in NYC, and lots and lots of amazing rooms around the country and the world who’s names I can’t recall right now, but I can picture in my mind. Least favorite? I won’t go on record insulting a music venue at a time like this. I want live music to survive the pandemic and thrive again soon!
Do you have any upcoming shows?
I wish. Does anyone? Only online.
How do you interact with and respond to fans?
I’m flattered that anyone cares about what I’m doing, and I’m always happy to take the time to chat. Most of my fans like the same music I like, so we have common ground.
How do you feel the Internet has impacted the music business?
This question is an entire article unto itself. The list of benefits and drawbacks are both immense. It’s simply the way it is, and there’s no going back. The one thing the web can’t replace is live music. Let’s hope that can return sooner than later. Seeing or playing a show after the Pandemic is going to be really special.
What is your favourite song to perform?
I haven’t had the chance to play these new songs live very much. All I can do right now is create and release music, and patiently wait out this socially distant time. My current single Dying Up Here is going to be lots of fun to perform some day.
Which famous musicians do you admire?
Where do I begin? I gravitate towards a lot of English stuff… the British Invasion: Beatles, Stones, Kinks, The Who, The Zombies. The glam and psych rock era: Queen, T Rex, David Bowie, Pink Floyd. I love the Clash, The Ramones, and Sex Pistols. I’m a big Pixies fan. I love arty 80s singer songwriter stuff like Crowded House, Elvis Costello, Nick Lowe, Joe Jackson. The 90s brit pop revival: Oasis, Blur, Supergrass, Pulp. I love Nirvana. I love the first 2 Weezer albums. I like the old-fashioned first wave of rock n roll: The Everly Brothers, Buddy Holly, Little Richard, Roy Orbison, Chuck Berry. My mind is also open to lots of new bands too.
What is the most trouble you’ve ever gotten into?
I was a knucklehead until I turned 30, which was only 6 years ago. I’m a reformed bad boy now.
What is the best advice you’ve been given?
Learn to do more than just play guitar in a band. If I hadn’t thrown myself into producing, engineering, writing, and dabbling in other instruments, my ability to sustain a career would be limited. I consider the producer John Fields my mentor. He made me realize that I didn’t have to wait until I was a disting
uished old George Martin type to start finding young bands to produce. Instead, he encouraged me to follow the Todd Rundgren path and just get busy learning the technology and processes of record making while you’re young.
If you could change anything about the industry, what would it be?
Streaming should pay more. There, I said it.
What’s next for you?
I’ve got an EP called The Bitter End out this month. I’ll be following that up with more music early in 2021. I’ll also be scoring a movie, and performing on various web concerts until live shows become a reality again.
For more information on TAYLOR LOCKE, visit:
www.TaylorLockeMusic.com
www.Facebook.com/TaylorLockeMusic
www.Instagram.com/TaylorLockeMusic
www.Twitter.com/IAmTaylorLocke
www.YouTube.com/TaylorLockeMusic
www.Soundcloud.com/TaylorLockeProd
Play.Spotify.com/TaylorLocke
