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What's new in iJamming!...
Tue, Oct 23, 2001
ECHO & THE BUNNYMEN: "Flowers is Echo & The Bunnymen's finest hour since Ocean Rain."
An intrigue of early 90s New York nightlife.
NEW CHAPTER now online
From the Jamming! Archives:
U2 interviewed in 1984.
"It's not U2 that's creating this great art. . .There's something that works through us to create in this way."
My immediate reaction to September 11
PART 2: Messages from friends & family overseas
PART 3: Observations & quotes from others.
PART 5: COPING - 2 weeks later
iJamming! Wino/Muso:
"New world wines are just too techno for me."
Featured albums
(Hub, Slumber Party, DJ Harry, Spearhead, The Who tribute
Albums that sound different since September 11
(Charlatans UK, Arabian Travels, Cafe del Mar, Sugarcult)
Featured wine region 3:
Featured wine region 4:
iJamming! interview:
Jesse Hartman, aka LAPTOP
"Every New York band knows the meaning of failure"
MIX Albums:
Who, what and why you should bother (DB, Spooky, Jody, RSW, Bad Boy Bill)
FEATURED Wines (Langlois Cremant de Loire, Honig Sauvignon Blanc, Campbell's Muscat, Brumont Gros Manseng, Dr Frank Gewürtztraminer, Daubree CoteRotie, Dry Creek Chenin Blanc, Mas Saint Laurent Picpoul, Quivira Dry Creek)
"I don't think people realize that life can become so exciting and interesting that it can draw you away for long periods of time from creating music - & why not?"
From the Keith Moon archives:
the JEFF BECK interview .
From Homework to the Disco:
grows up and dumbs down
The iJAMMING! chat:

"If I was asked why Sniffin' Glue was so important, it was the way we conducted ourselves, the style of it, just the attitude. It had attitude in abundance didn't it?"
The Return of Shoegazing:
DOVES take New York by swarm
Forgotten Classics:
THE CHILLS: Brave Words
THE iJAMMING! Book Review:
SNIFFIN' GLUE: The Essential Punk Accessory
Musing with SALLY TAYLOR:
"I'm not interested in what the major labels have to offer."
From the JAMMING! archives: PAUL WELLER ON POP
Featured wine region 2:
From the JAMMING! archives: ALTERNATIVE TV
interviewed in 1978
Fran Healy explains why "you cannot own a song." (And why Liam Gallagher "is going to turn into a really great songwriter.")
Featured Artist Web Site:
From the JAMMING! archives: The Story That Spawned Creation
Featured vine:
Finally, a worthy rival to Chardonnay.
The iJAMMING! interview:
"Once you've had your go, what-ever it may be, they want you to piss off, and they can't bear it if you come back, they can't bear it."
They love rock'n'roll but they don't want to deal with the hassle
From the JAMMING! archives: RAYMONDE in 1985
The full iJamming! Contents
Measuring "Appropriate Success" with SALLY TAYLOR

Continued from Part 1

-My response would be, they're not going under, they're consolidating. But still, marketing teen music is not different than marketing a movie or a candy bar. If you're Macy Gray who makes it on a major, great, but there's all the others who don't.

There's a not a lot of happy stories in the industry. My parents just happen to be two of them! But the majority of artists who get involved in the industry, especially after 1980, are all... I mean, just watch VH1 for half an hour.

My brother Ben signed to the same label as Jamiroqaui, Eagle Eye Cherry, Fiona Apple [I assume she means Work], at the same time as I was making my first album, almost three years ago [as of summer 2000]. As I was starting that project my brother was starting a bidding war, basically. He had lots of heavy hitters on his side, which was great. I was watching and I was interested, and I'm sure it had something to do with my decision not to go to a major label. What they did was they gave him some dough to make an album, he went over to Europe and made a pretty expensive album and by the time he finished making the album, the record company had gone under. So my brother was waiting for his album to come out for three years, the label got absorbed into Epic then they finally dropped him from Epic [without releasing the album]. Believe me, my stomach turned inside out. I can't tell you how horrified it made me, to watch somebody that I loved and somebody so great to be suffering through this. And by this point I'd already formed a team and formed a record company. I had all the information on how to do this independently, and I asked him "how about doing this independently?" but by this time my brother's heart is broken. How can you write when you're so discouraged about what happened to the last project? The debut?

It's not something exceptionally bad that happened to my brother, it's what's average. And that gave me even more conviction to create an avenue for artists. To help create a place where artists can create their art and create their own paths to success. There's no formula that says if you sign a record deal, or if you do it independently, or if you do it on an indie label. . .it just has a lot to do with luck. Luck and compassion and hard work. But I want to at least give people the options of not going with the formula that has been the end-all for the past fifty years. That's sort of what I've been driven to do, besides just loving to perform, and loving to create and loving to travel with the guys I'm travelling with, and loving the adventure of all this. I think that at a the end of the day what I really want is to help find artists find a way to create their own success. And that's why the album has the title it does.

-Which is?

When I was a kid, we lived in apartment 6S in New York, and my mum used to tell the delivery guys ring apartment 6S when you get there. Being a kid, I used to think she said "apartment success," so when my teacher asked me where I lived, I said "apartment success."

-Was that because you felt you were living somewhere nice?

I didn't know that it was a number. I didn't know people lived in numbers, and I didn't really know what success meant either. It could have been apartment corndog. So when I realized that wasn't the case, it became a running gag. So when I decided to make the album, I was already set in my conviction, which was sort of a hacking process through the back woods, creating my own path with a machete, instead of taking the obvious path. To a lot of artists who are in debt or who don't have the money to start up or don't have the drive to learn or don't have the desire to create their own thing without other people around them. . . for those people the major label industry might be the right thing for them. I'm not criticizing them, to each his own, completely. But to me my success was determined on this path of discovery, breaking new ground, creating new ideas, creating grass roots organizations and empowering artists, so Apt is "apartment" but it's also "appropriate" or "apt." "Appropriate success" is what I'm geared towards.

-Meaning all success is relative. Success is in the eye of the beholder?


-You're talking about writing songs from a young age. Were you actively encouraged to take up music?

I can't really recall. I did take piano as a kid which I remember not liking, so maybe I was pushed into it. I was always writing songs. At the end of the album there's me singing a song about a pumpkin. I used to make up these long elaborate songs about these differently items that were lying around the house. I used to tape over my parents' mix tapes because it was just too easy, there was a record button and a pause button and I knew just how to start talking.

-so you wiped out a few of their demos along the way?

Oh, most definitely. I still have the majority of them, they'll say 'Demo track 976, 1975, James Taylor' and then it will be me, going "lalalala" and then every once in a while you'll hear a voice coming through where I've hit stop and then you hear mine again!

-Your parents broke up when you were six, after which you and Ben (who is three years younger) spent weekdays in Manhattan with your mother and weekends in Martha's Vineyard with your father. Did you feel a problem with that?

If I look back on it now, I think it probably was pretty difficult. But nobody ever said, "Are you having a difficult time?" and then I'd start crying. It's almost like when a little kid falls down and only when you acknowledge that the blood is coming down their shin do they start crying; nobody ever acknowledged that there was blood coming down our shins. So I don't think we ever got to felt like we were damaged, or victims. Our parents were both very apologetic. They didn't want to make it hard on us at all. And I don't think either my brother or I felt it was our fault, which sometimes happens to kids whose parents were divorced. I think there were tough things about it. My stepmother and I did not get along. I think....there was friction, but it's not something that I dwell on at all. They needed to break up, we needed to have the lives that we've had so far and I don't think that I'm damaged as a result of it.

Sally Taylor as a child with father James Taylor and mother Carly Simon . "I used to tape over my parents' mix tapes because it was just too easy, there was a record button and a pause button and I knew just how to start talking."
(photos taken from

-When growing up in NYC, did you go to public schools or private?

We did both. I think we went to eight different schools in eight years, and there was a mixture of everything. That's probably why I went into anthropology, I'm fascinated by the socialization of young minds and stuff like that. I love being thrown into different situations, and given the tools that I've developed from the last school I was at, been able to reform my personality in a new context. And I think that might be what makes me excited about performing, that I get to a different place every night and I'm thrown into a new situation and with the skills that I have, I have to relate to and be related to by an audience, and that's thrilling to me. But we went to all different kinds of schools: everything from public, private, Catholic.

-Why so many?

I think my brother hated school so much that I think my mum wanted him to find a place where he could love school, which makes sense. In the meantime we were changing very year. Like I said, everything has a cost and it depends where you pay. I might have lost something by not being at one school for any one period of time, but I may have gained something in the wanderlust, and feeling comfortable in chaotic situations.

-Why Boulder?

I moved back to New York city from college, and I was living with my boyfriend who was moving back out to Colorado, so I decided I would move out too. Go back and maybe go back to school. But then I decided he wasn't really the right person to be with so I broke up with him. The reason that I stayed, it's not that I feel rebellious or that I need to be finding a way to break the rules. But I want to question the rules, because I don't think they're alright in this industry. When people say I have to sign a major record deal to be successful, I don't think that's true. Or when people say I have to live in LA or new York or Nashville to be a success, I have to say that I disagree. It's not that I'm staying in Colorado to prove a point, it's that I'm staying there not only because I can, but it requires me. When I go home I'm relaxing and resting and I'm being cracked in the arms of these gigantic mountains in the sky, and that to me is huge. And also, I need to be able to laugh at this. I take this job very seriously., and when I go out on the road I work really really hard, but when I get home I need to be able to laugh hysterically. I need to be able to laugh that this is what I do for a living. I need to not take myself so seriously.

-And Boulder gives you that opportunity?

Yeah, because everyone is doing what they love out there. It's not about stepping on someone else's heels to get to a greater point of lift-off. It's about people there doing what they love. They're not so obsessed with the fame or the glory. Nobody's looking at what your resume is.

-And it does have a good music scene.

Definitely. It's got a great music scene. And the thing which makes it great is, it's got support. The thing about LA is that it's got no support, everyone's shooting everyone else down so they can have their slot. Whereas in Boulder, I play with this group of women who get together every month. We call ourselves the Women from Mars, we have a CD, and we just go out there and laugh nd play each others songs once a month, at whatever local venue and play for a couple of hours and it's great. It just reminds me that everyone there is really supportive of what everyone else is doing, whether or not it's their cup of tea stylistically.


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