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OK, so Im writing my own discography. I'll be the first to admit it. It will spare me the awkwardness of hyping myself up in the 3rd person and provide you, the reader, with the honesty you deserve. This method also allows criticism (of myself) which could not possibly exist from someone I would pay good money to pen an outline of my musical achievements. Onward . . . My name is Rob Taylor; Im a 34 year-old singer-songwriter from Connecticut. No discography of mine would be complete without starting with my first band, Safe Haven because that is where it all began. When I was in high school there were two groups of guys that inevitably got the girls: athletes and rockers. Since I was consistently pathetic at competitive sports, I bought one red guitar, one black amplifier and convinced a handful of guys that option b was our ticket. I was 16 in the early 90s, a couple years before the masses began to trade their black rocker jeans for flannels. We still had a little window in time to be, yes, Heavy Metal. With ambition rarely seen in youth dressed in black tee-shirts featuring skeletons in varying stages of decomposition, we learned how to really play and dedicated ourselves to the academia of learning to Rock. I wrote most of the material and played lead guitar, Matt Douglas played rhythm/lead guitar, Matt Ballingham played bass, Matt Allen was on the drums and Chris Allen on vocals and keys.
OK, so Im writing my own discography. I'll be the first to admit it. It will spare me the awkwardness of hyping myself up in the 3rd person and provide you, the reader, with the honesty you deserve. This method also allows criticism (of myself) which could not possibly exist from someone I would pay good money to pen an outline of my musical achievements. Onward . . .
My name is Rob Taylor; Im a 34 year-old singer-songwriter from Connecticut. No discography of mine would be complete without starting with my first band, Safe Haven because that is where it all began. When I was in high school there were two groups of guys that inevitably got the girls: athletes and rockers. Since I was consistently pathetic at competitive sports, I bought one red guitar, one black amplifier and convinced a handful of guys that option b was our ticket.
I was 16 in the early 90s, a couple years before the masses began to trade their black rocker jeans for flannels. We still had a little window in time to be, yes, Heavy Metal. With ambition rarely seen in youth dressed in black tee-shirts featuring skeletons in varying stages of decomposition, we learned how to really play and dedicated ourselves to the academia of learning to Rock. I wrote most of the material and played lead guitar, Matt Douglas played rhythm/lead guitar, Matt Ballingham played bass, Matt Allen was on the drums and Chris Allen on vocals and keys.
We were fantastically loud, wrote dueling guitar solos in harmony and banged our heads occasionally, (which was frustrating for me because I had short hair Taylor House rules). We gained a following, toured the tri-state area, and produced several studio recordings of our all-original material. Most notable of the recordings was the epic, Cries of Mercy which received some nice airplay and sold every last clear cassette tape. More importantly, it gained us strong friendships and some teenage glory days not to be forgotten. To answer your question, yes we did attract a certain big-haired class of females mission accomplished. After Safe Haven broke up (for every cliché reason), I felt a need to veer musically into a new place. Population 1 (released in 1994) was my first solo effort. I looked at the project as a way to prove myself as a solo artist and to write lyrics that had substance and truth that my previous works had almost entirely lacked. I had to unplug my amp once in a while, learn to sing and express some sincerity. When it came time to think about compiling my new music to make a recording, it became obvious that I either needed a new band or to learn how to play all the instruments myself. Since I was over the band idea at the time, I decided to try my skills as a one man band.
We were fantastically loud, wrote dueling guitar solos in harmony and banged our heads occasionally, (which was frustrating for me because I had short hair Taylor House rules). We gained a following, toured the tri-state area, and produced several studio recordings of our all-original material. Most notable of the recordings was the epic, Cries of Mercy which received some nice airplay and sold every last clear cassette tape. More importantly, it gained us strong friendships and some teenage glory days not to be forgotten. To answer your question, yes we did attract a certain big-haired class of females mission accomplished.
After Safe Haven broke up (for every cliché reason), I felt a need to veer musically into a new place. Population 1 (released in 1994) was my first solo effort. I looked at the project as a way to prove myself as a solo artist and to write lyrics that had substance and truth that my previous works had almost entirely lacked. I had to unplug my amp once in a while, learn to sing and express some sincerity. When it came time to think about compiling my new music to make a recording, it became obvious that I either needed a new band or to learn how to play all the instruments myself. Since I was over the band idea at the time, I decided to try my skills as a one man band.
I took the material into the studio and out came Population 1. I guess you could classify it as pop-based alternative. I couldnt let go of my steamy electric guitar solos from yesteryear, so most songs boast soaring passages that tended to push the bounds of traditional radio pop. I had developed a way to tell honest stories that were personal and meaningful to me and had completed something I was proud of: 8 songs that were played and sung from front to back entirely by me. I was on my way, but already wanted more.
Sleepless Lullabies (released in 1997) was my second solo release. I took several steps forward in refining the style I had established on Population 1 both lyrically and musically. I also felt I needed a change in recording studios. My search ultimately ended at Horizon Studios in West Haven, Connecticut. It was there that I met engineer/producer extraordinaire, Vic Stephens. He understood my vision instantly and we began work at once on the new material. Vics experience and knowledge about vocal expression and song structure is a guide for me to this day. Im actually one of the few people who possess an Inner Vic; let me explain: Since I constantly work alone, I find myself asking, What would Vic tell me to do? My inner Vic usually chimes in, but if it doesnt, I give him a call and we meet in person. Weird, huh? Cmon, you wish you had one. The general vibe of Sleepless Lullabies is the most hopeful and happy body of music Ive written. It was before a certain ironic, slightly bitter, and world-weary angst entered my artistic expression. Sleepless material also provided me with the road to explore new instruments like the B3 organ, the acoustic piano, a virtual horn section and even some harmonica. The style of the album ranged from the driving electric guitars of Silver Lining to the stripped down piano and strings of End? I also experimented with different styles from ska-like rhythms featured in Dreamland and Trouble in Paradise to a punk rock version of Earth Angel (included as a hidden track)
Sleepless Lullabies (released in 1997) was my second solo release. I took several steps forward in refining the style I had established on Population 1 both lyrically and musically. I also felt I needed a change in recording studios. My search ultimately ended at Horizon Studios in West Haven, Connecticut. It was there that I met engineer/producer extraordinaire, Vic Stephens. He understood my vision instantly and we began work at once on the new material. Vics experience and knowledge about vocal expression and song structure is a guide for me to this day. Im actually one of the few people who possess an Inner Vic; let me explain: Since I constantly work alone, I find myself asking, What would Vic tell me to do? My inner Vic usually chimes in, but if it doesnt, I give him a call and we meet in person. Weird, huh? Cmon, you wish you had one.
The general vibe of Sleepless Lullabies is the most hopeful and happy body of music Ive written. It was before a certain ironic, slightly bitter, and world-weary angst entered my artistic expression. Sleepless material also provided me with the road to explore new instruments like the B3 organ, the acoustic piano, a virtual horn section and even some harmonica. The style of the album ranged from the driving electric guitars of Silver Lining to the stripped down piano and strings of End? I also experimented with different styles from ska-like rhythms featured in Dreamland and Trouble in Paradise to a punk rock version of Earth Angel (included as a hidden track)
After the release of Sleepless Lullabies, I began to play out for the first time since the old Safe Haven Days. Of course I couldnt play all 10 instruments at once, so I decided to strip my material down to the naked song and go all singer-songwriter with just my voice and the acoustic guitar. I wrote some new songs most notably Sucker, and put together a set of all my favorite songs compiled from passed albums. I began playing the set at local cafés and received a great response. My favorite place to play was a coffee shop run by a super nice, mellow guy named Lazslo. I decided I wanted a representation of my live show and thus, Live at Laszlos (released in 1999) was born. Soon after the recording was completed, I decided to move out to Utah with the intent to try and learn something in college. The learning part didnt really take, but I did find that I fit very nicely into the music scene in Provo and began playing live shows at any café and bookstore that would have me. I built a loyal fan-base, and with the tips from the various shows, I was able to begin to save up for an engagement ring for my beautiful college sweetheart, Laurie, whom I had met at the beginning of the semester. As long as tips kept-a-comin, Live at Laszlos kept-a-sellin and she said yes, life was good. It wasnt long before I realized that Laurie had an absolutely beautiful voice and would be an incredible addition to my live act, so we began singing at shows together. At last I was not alone up there. To answer your latest question, she did say, yes and we road-tripped back to Connecticut where my day-job alter-ego could actually make some money as a photographer.
Sucker (released in 2001) is a true power-pop recording from beginning to end. It was, up to that point, my most radio-ready effort. The album was produced by Vic Stephens who gave the project tremendous support. For the first time, with the help of Vic's rolodex, I was able to call upon the talents of other musicians to add their talent to my tracks. The great John Peckman played drums on Sucker and Escapism, Eric Klaastad played tasty bass licks on Sucker, Kate OBrian and Tom Hudson played stirring string sections on Boston and My Secret Identity Scott Spray lended his smooth clean bass sensibilities on My Secret Identity. This is also the first recording to feature background vocals by Laurie Taylor who débuted her skill on My Secret Identity. It was very satisfying to let this album out of my hands and receive overwhelmingly positive reviews from both fans and critic/reviewers alike. Sucker won the Outstanding Achievement in Songwriting Award in the national Great American Song Contest (rock category) presented by Songwriters Response Network in 2002. On March 14 2003, I received the Connecticut Best Solo Artist award from Unsyned Artist at the Webster Theater in Hartford, Connecticut.
I chose Sun in a Box as the title of my first project in my new studio because the song not only serves as a true self-portrait, but it also conveys such universal truth. I think at one point or another everyone feels that their potential exceeds their current status. They feel as if they have something great inside of them that has yet to shine. I had written most of the songs on the piano and remember thinking that sitting at the piano was like being attached to a lie detector. I think honesty has everything to do with the crafting of a song that can be felt, rather than a song that can just be heard. Though the musical themes from track to track on Sun in a Box were unique to each other, I feel I Sun in a Box (released in 2009) was my first full studio album since Sleepless Lullabies in 1997. As a new home owner at the time, it had always been a dream of mine to have a professional recording studio in the basement. A good portion of my recording experience as a youth was recording in such spaces where one could descend a staircase from a modest kitchen and living room and be transported into a musical mission control station of sorts. This space would inevitably be glowing with mysterious lights, dials, knobs and of course the all important studio glass window. My brother in law James (who happens to be an engineer) helped me design and build the studio which would later affectionately be named, The Escape Hatch (a nod to my favorite TV show Lost.)
After more planning and work than I will ever admit to, the studio had been completed -- lights aglow, window installed! Luckily the equipment was not as mysterious as it had been in my youth due to my dedication to absorbing all I could about the science of sound engineering over the past decade. My new Escape Hatch along with my passion for recording led me to total freedom to create an album without any time or budgetary restraints normally associated with professional recordings. After the final cable was connected, I began immediately writing and recording my new album. established that honesty as a voice that with any luck I would be able to carry with me as a signature to new songs and albums. I also realized at the time that my music was gaining maturity and I was satisfied with that because I had no interest in regressing. "Reach Out" is one of the closing songs on "Sun in a Box". It was written as a warm welcome home to my newborn son. Im actually very thankful for the deepening inspiration I am given that can only be manifested through experience. I was overjoyed with the results of the collaborations I experienced while making this album. From the brilliant cover-art of MADART to the mastering of the recording by Hank Williams in Nashville, everyone loaned me the very best of their talents. I was pleased to have Jon Peckman on Drums, Matt Oestreicher on piano for 88 Keys, Damien Connolly on accordion for i Shine, Spencer Park on trumpet for 23 Summertimes, and of course the talents of my lovely wife Laurie Taylor singing her angelic vocal harmonies.
Without a doubt I will always look back on this chapter of my life as an inspiring, motivating and creative time in which I was able to envision, organize, and achieve something that seemed at first quite impossible. I couldnt wait to do it again!
Under the Star was released as a single in late 2009. After growing up listening to inspiring Christmas music myself, I thought it would be rewarding to share my feelings in song for others to enjoy at such a festive and meaningful time of year. I wrote Under the Star as a musical proclamation of the true meaning of Christmas. When I sat down with my acoustic guitar and penned the first lyrical passages, I realized that for my first Christmas song, I had little interest in writing about anything less than the birth of Jesus Christ. I thought it would be interesting for the voice of the song to be a witness of the event and tell the story through his eyes. Early in the project I was introduced to the talents of a young artist named Steven Corey Egbert. I was curious to see what his vision would be for the cover-art. When I first saw the cover complete I felt that, like the song, it simply and reverently testified of the birth of Jesus Christ from the perspective of an onlooker. It made me wonder what I would feel if I could have witnessed that sacred event.
Come Down Never was born in 2010! This new 4 song EP is my most recent release and I couldn't be more excited to introduce it to the world. Though it is a smaller collection of songs, I feel this EP effectively captures who I am as an artist while maintaining a fresh new feel from song to song. The driving anthem, "Where I Belong" leads the way to the upbeat groove-heavy, tongue-twisted lyrics of "Catching My Balance." I wrote "Fight to Wake" on the piano which always brings out the deep end of my lyrical pool. Its sweeping arrangement carries with it an upbeat edge that brings to life its inspiring message. Finally, "My Lullaby" is a sweet and whimsical acoustic love song I wrote for my ever-amazing wife Laurie (who was kind enough to arrange her vocal harmonies and sing with me on each of the 4 tracks.) I was lucky enough to work with Jon Peckman again who brilliantly played the drums for the first 3 tracks. For the final piece of the puzzle, artist Steven Corey Egbert and I collaborated on the vivid and enchanting cover-art featuring the imagery of the great anchored balloon. It is my hope that "Come Down Never" will meet and exceed expectations set by the music I am proud to have made throughout the years. Please keep your ear turned this way in the coming months. I have a great feeling about what is to come...
Come Down Never was born in 2010! This new 4 song EP is my most recent release and
I couldn't be more excited to introduce it to the world. Though it is a smaller collection of songs, I feel this EP effectively captures who I am as an artist while maintaining a fresh new feel from song to song. The driving anthem, "Where I Belong" leads the way to the upbeat groove-heavy, tongue-twisted lyrics of "Catching My Balance." I wrote "Fight to Wake" on the piano which always brings out the deep end of my lyrical pool. Its sweeping arrangement carries with it an upbeat edge that brings to life its inspiring message. Finally, "My Lullaby" is a sweet and whimsical acoustic love song I wrote for my ever-amazing wife Laurie (who was kind enough to arrange her vocal harmonies and sing with me on each of the 4 tracks.)
I was lucky enough to work with Jon Peckman again who brilliantly played the drums for the first 3 tracks.
For the final piece of the puzzle, artist Steven Corey Egbert and I collaborated on the vivid and enchanting cover-art featuring the imagery of the great anchored balloon.
It is my hope that "Come Down Never" will meet and exceed expectations set by the music I am proud to have made throughout the years. Please keep your ear turned this way in the coming months. I have a great feeling about what is to come...
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