Scott Wilson

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Scott Wilson
Bringin’ Psychedelic Back
..www.bestofbands.com..


With a mind-altering catalog of music, Scott Wilson magically overdoes one with his intense talent. His personality can be felt in songs like “Coffeehouse 101” and “Psychedelic Lullaby,” while in “These Are The Days” his compassion is sweltering throughout the track. Not a neophyte to writing, performing, singing, playing instruments, Scott Wilson proves through his work that he is constantly being initiated into different levels of serious and excellent music making.

Revolt in Style - Spring 2006 Issue

Scott Wilson: Kaleidoscope’s End
Genre: Modern Rock, Pop, Blues and Alternative

Anyone who likes the progressive sound of Dave Matthews is going to dig this cd. Don’t get me wrong. It is not Dave Matthews by any means but it has that edgy back beat and is unpredictable lyrically. It’s CD’s like this that make me love my job. It’s fun to listen to and touches the psyche and has a good vibe about it. I would really like to put a face to this sound but I wouldn’t do it any justice. Scott Wilson has accomplished the one thing that all musicians strive after. There is a guitar riff on the song “Van Gogh’s Ear” that totally fucking rips. On top of that Scott has an amazing vocal range. It is a CD that is eclectic by nature but maintains a constant good vibe. I hope the live show is as hot as his CD.

by Michael West
CD Reviews page 64

Computer Edge Magazine 1/12/2007

Hot On the Web - - “Heading Into a New Year”
by Jim Trageser

Before we get too far into 2007 (and as I write this, it's a few days before Christmas 2006), it might be good to take a quick look at some neat things going on online, as well as bring a few stories from the past year up to date.

Video to the World

San Diego musician/songwriter Scott Wilson may not be on MTV—but that doesn't mean he doesn't have a following for his new music video.

With a savvy head for online marketing, Wilson has used links from his MySpace and Yahoo! pages, plus his own Web site, MetaLogic Music, to get 14,000 views of his music video "Coffeehouse 101."

It's a pretty fun folk/rock song, with the appeal of having more than 50 local musicians sing along and make cameos in the video.

I can't claim to know every San Diego musician, but I did recognize folks like Gregory Page, "Doctor" Dave Sawyer, Chuck Schiele of The Grams, Carlos Olmeda, Sven-Erik Seaholm and the Wild Truth, Sirens Lure and Marcia Claire, among others.

What makes this different is that the video is both very well produced, and yet made locally—but still able to find a global audience.

Lattes and lyrics at Starbucks

Scott Wilson opens eyes via
By Damien Sutton, Contributor
Published: Monday, September 4, 2006
Updated: Sunday, October 12, 2008

While sipping your coffee at Starbucks, what could better set the mood than a song that has your location in its title, "Coffeehouse 101?"

Scott Wilson, who sings "Coffeehouse 101," will make his second appearance at San Diego State as a part of the Coffeehouse series. The event will be held from 4:30 to 5:30 p.m. on Sept. 6 at the Starbucks in the Aztec Center. Admission is free to the public.

As a member of the rock scene for many years, Wilson has played with bands such as Cruel World and VFX. When he was a member of VFX, Wilson made two successful records.

Aside from his work with various bands, Wilson put out a solo album titled "Kaleidoscope's End" in 2005. Since releasing his solo album, Wilson has gone on to perform in various smaller venues around the San Diego and the Los Angeles areas.

Although Wilson used the electric guitar for much of his solo album, he said that the songs were written for an acoustic guitar. Wilson said that when using the acoustic guitar, he is able to take a more intimate approach to his music, and he can "focus on delivering the vocals."

On his MySpace, Wilson wrote that some of the bands that have influenced his music are Nirvana, The Beatles, Yes, Jimi Hendrix and Jellyfish. He said his music is rock; however, if you were to pigeonhole a genre for the music, you could label it as alternative or modern rock.

Performing alongside Wilson at the event will be guitarist Tim Orrahood. Wilson said that Orrahood has guitar solos in about six songs on "Kaleidoscope's End."

Wilson said he enjoys performing with other artists because he "really likes the interaction involved with music," which is why he first got into music.

After the Coffeehouse series event, those interested in hearing more music by Wilson can head to the San Diego Music Awards Acoustic Festival where he and 32 other local acoustic bands will perform. The event will take place at the Clare de Lune Coffee Lounge and will be $10, which will give you access to both stages.

Past performances at the Coffeehouse series include The Northstar Session, Will Edwards and Pete Thurston.

Edwards, who performed last Wednesday, said there was only a "segment of the audience that connects to the music," and that many others are there to talk with friends, but still enjoy listening to the music.

January 2006 issue of San Diego Troubadour Magazine

The Way Scott Wilson Looks at the World
by Chuck Schiele
Scott Wilson likes to talk about the weather.

But I’m not talking about clouds and stuff. No. What he’s about is a different kind of weather altogether. And the weather in his forecast is more about the state of the world – the state of the soul itself.

I’ve had many chats and long conversations with Scott over the course of the last few years. We played in the Gandhi Method for a bit, and even though we made some different choices with regard to our music paths, we’ve become better friends by it. And in turn, I’ve shared many opportunities discussing music, life, love, God, and politics to great extent at heightened levels that are not only challenging but are also completely open to discovery and exploration.

Scott is about exploration in an enormous way. He’s not satisfied with mediocrity nor casual exchanges about the rain expected for this evening. There are more important things to talk about, and, with all there is to do in this lifetime, it’s better to be busy than to settle for idle chit chat.

Maybe you’ve seen him lately. You can find him on stage every so often, either solo or with his band. He’s also the guy who shows up with an Ipod at everyone’s show, sharing the progress of a video he’s been producing, which not only promotes his latest CD release Kaleidoscope End, but it also overtly features well over 50 San Diego artists in the video! Along with being a real triple threat artist who excels at writing, playing (guitar and bass), and singing – Scott is also up to his neck in video production. His video and documentary credits include Lenny Kravitz, J-Lo, the Goo-Goo Dolls, Foo Fighters, the Beach Boys, Melissa Etheridge, the Rolling Stones, John Mayer, Mariah Carey, Fleetwood Mac. The list goes on and on.

Meanwhile, Scott’s been working on his current release for the past several years, respecting the patience of his musical quest and holding out for what he feels is “right,” meaning “the most truthful expression of what he feels is his divine mission.”’

We held this interview – intermittently – over the Christmas holiday.
While most of the rest of us saturated ourselves with food on Christmas night, Scott remained engaged in theological discussions with my father-in-law. I stayed on the perimeter in order to give them room while remaining within earshot. Eventually I got a chance at Scott’s ear.

“Tell me how you got started with music. When did you know it was in you?” I began. “Tell me where you’ve been.”

Scott flips quickly through the filing system of his own mental recall. “I got a guitar from my father for my ninth birthday. He taught me a bit when I was about five. One of my earliest memories is of him playing electric guitar while I was playing in a nearby playground and hearing his blaring Gibson 335 from a distance. One of the first songs I played by ear was the song I heard on the playground that day. I took some lessons when I was nine or ten and couldn’t quite figure out the whole sight reading thing. I could do it, but not fluently. At the school I was going to, there was a woman who taught guitar as more of a chordal/song approach rather than a note/reading approach, and I took to that a lot better. I discovered the Beatles in high school, and learned as many Beatles tunes as I could from the Beatles Easy Guitar Book [the white one]. I played acoustic guitar pretty much as a a hobbyist until I was 18, when I picked up the bass guitar in my freshman year of college at USC. I came back to San Diego in my sophomore year at San Diego State and started jamming with a next door neighbor named Larry, and started discovering the blues at that point.

I went back up to L.A. for my junior year of college and studied motion picture/television at UCLA. I joined a top 40 band that we called First Impression, and the drummer and guitarist eventually joined a progressive-rock band that I formed later called VFX. I played bass in VFX and produced our CDs. We released two CDs and had some success with radio play in America and CD sales as well as good reviews in Europe. I realized while I was mixing the CD for the next step that this is what I wanted to do for a living, and the seed was sown.

After VFX, I formed a band called Cruel World. I sang lead and played bass in that band, and we played a lot of gigs in Los Angeles, and briefly toured Europe, to promote a self-titled CD that was released in Germany. We did some more radio interviews and performances, and had some pretty good gigs in places both large and small in Germany, Holland, and Belgium.”

People are running around with new presents and cookies. Christmas music is filling in the silences of our home. I wonder and ask, “So, what inspired you to make the “Coffeehouse 101?”

Scott moves his legs to the side of his chair as to let a few kids overdosing on cookies run by, flips his hair out of his face, and continues, “Because I’ve done so many videos [over 100], I’ve seen more than a few that missed the mark. After 20 years of [producing] music videos, they’ve become incredibly repetitive and formulaic. They’ve evolved into little more than commercials for hit singles, and they’ve lost their edge from what music videos were in their early years, when they were much more innovative and creative. I was looking for a way to do videos without necessarily being in them.

“You certainly managed that objective,” I said. “Tell me about the video. You have a lot of locals represented here.”

“My original idea for “Coffeehouse 101” was going to be a state of the world newsreel type video with clips from CNN. It was conceived as being very hardcore and heavy, and dark. There were two problems. The first was budget. It costs a fortune to get footage from CNN. The second was that I didn’t necessarily want to make a heavy video. I came up with the idea of making a video with all my friends doing the lip syncing, and I ended up getting almost everyone that I wanted for the video.”

“What are you gonna do with the video, when its completed?” I ask.

“I do plan on trying to get it out there in the public eye. I hope to make it available on my website and on iTunes, and I will seek every avenue that I have available on the Web to play the video. I also plan on taking advantage of whatever contacts I have in the industry because of my work to get the video aired on television, but I don’t want to be too specific about that, because it’s all a long shot anyway — releasing the album, and therefore the video, independently.”

By now there is a crew of people on the living room floor, fire blazing away, ripping paper from presents. Scott and I are looking around, taking in the action.”

After a minute I keep the interview going. “Cool. How did you get into making videos in the first place?

“I tried for awhile to get into the music video business, but it was a difficult nut to crack. I had sent out a ton of demo reels, and nothing took, so I was working on a series of video press kits, which are documentaries for motion pictures. I ended up getting a job on a low budget jazz video for a drummer who used to play on The Arsenio Hall Show, named Terri Lynn Carrington. The song was called “Message True.” Next door to the editing bay a pretty successful rock music video director was working on a video, and when he found out I was a musician, he asked me to edit his next video, which was Headed for a Heartbreak by Winger. That video was a huge hit, and I didn’t stop working for the next year. It eventually financed the recording of the next step, an ambitious17-song cd by VFX. I worked on a bunch of hard rock videos, including Kiss, Skid Row, and LA Guns. I also did a bunch of different styles, including videos for Melissa Etheridge, Amy Grant, Wynonna Judd, and Babyface among many others. Recently I’ve done videos for the Rolling Stones, Sting, the Goo Goo Dolls, the Dixie Chicks, and John Mayer. I’ve also been editing a lot of television lately, and my most recent job was on Rock Star: INXS during the summer. Basically I split my time between L.A. and San Diego, earning money in L.A., and spending it in San Diego.

“Nice! So you sorta go between L.A. and San Diego a lot?”

“I grew up in San Diego and then moved to L.A. to go to college, and I eventually started working up there. I came back to San Diego in September of 1997.

“You’ve been pretty darn involved with the scene here for a while now. What do you have to say about the San Diego scene?” I wonder.

“The thing that’s great about the San Diego music scene is the community aspect of it, and that’s what I’ve tried to achieve in the video. Something’s brewing down here, and I do feel privileged and honored to be a part of it. I have a group of friends who are all musicians, and we hang out at each others’ shows and support each other, which has been very rare in my experience, especially in L.A.”

Scott elaborates further. “There’s a line in The Artist’s Way by Julia Cameron – I think that’s where I came across it – that says ‘leap and the net will appear.’ When I decided to stop editing, this is where I ended up, back home where I started. I’m not sure if it’s a net or a noose, but I’m here in San Diego, doing what I love to do and enjoying most every minute of it.”

“Your new CD kicks booty. What is it about? Tell me the story if there is one.”

Scott continues, “I started writing songs for the album in 1997. At that time, there was a lot of talk in the media about the Y2K bug, a general fear of the year 2000, the Hale-Bopp Comet, and the end of the world, and that was the original inspiration for the album. I started to think about a spiritual perspective of the world, and the idea that reality is an illusion of matter and light, much like the patterns formed by a kaleidoscope, which was the inspiration for the song and album title. I started looking at the idea of the end of the world from a cultural perspective. Movies like Armageddon. TV Preachers like Jack van Impe. Cults like Heaven’s Gate. Books like the Left Behind series. People drop the idea about the end of the world like a joke in a fake newscast, yet I don’t find anything to laugh about in the Book of ..Revelations.It..’s pretty serious stuff from what I can tell. Heaven’s Gate inspired the song “No Body’s Home.” Look at Herb Applewhite’s eyes in the Heaven’s Gate videos and it might be apparent what I’m talking about. A lot of the songs on the cd are related to the subject of the end of the world. I was trying to talk about the reasons why the world seems to be degenerating into chaos, with songs dealing with celebrity worship [“She Won’t Stop”] to alienation [“Van Gogh’s Ear”]. There’s a loose thread connecting all the songs, and most of the songs on the cd bridge together, a remnant of my Pink Floyd influences. I remain hopeful that this end of the world phenomenon is only a cultural trend, but only time will answer that question. It is a very dark album lyrically, but there is a ray of hope that we’ll find a way out of the mess that we’ve created. Albert Einstein said that no problem can be solved from the same level of consciousness that created it. There is a possibility that somewhere within that idea lies hope for resolution.”

And on that note he refuses a suddenly offered late night dessert, citing a long past few months of decadent eating, which is coming to an end on the very next day. Somehow we decide we’re gonna start an exercise routine out of all this.

You can find out more about Scott Wilson – his creative doings and musings at ..www.metalogicmusic.com... Kaleidoscope’s End is reviewed in this issue.

January 2006 issue of San Diego Troubadour Magazine

Scott Wilson - Kaleidoscope’s End
by Craig Yerkes

A funny thing happened to me on the way to work the other day. I popped in Kaleidoscope’s End, the latest release from Scott Wilson, and my reaction surprised me. I had been keeping my eye on my cell phone for an important call and about 20 seconds into the music, I involuntarily reached for the phone and turned it off. It was as if my musical sensibilities alerted my subconscious that this music merited my full attention.

The word “craftsman” comes to mind when I think of Wilson’s work on this disc. Not one aspect of this recording sounds like it was phoned in or rushed. Wilson is an artist who understands how to bring his songs to life, fully realized, through the hard work of matching creativity with meticulous attention to detail.

“Coffeehouse 101” starts it all off with a sly, catchy alt-pop rocker, featuring everything you want to hear on a tune like this. The driving guitars, powerful vocals, and grinding bass and drums provide the meat and potatoes that you would expect, but the sneaky chord changes, spacey breaks, sardonic lyrics, and funky production touches provide unexpected audio candy. “She Won’t Stop,” “Too Tired,” and “Nobody’s Home” follow a similar alt-pop rock template with equally pleasing results. In particular, “She Won’t Stop” packs a serious lyrical and musical wallop with a highly insightful take on the dangers of human ambition. “Marielle” and “Shade of Eden” stand out as the most effective softer offerings. Both feature beautiful melodies and hook-laden chord changes, which serve to bring the reflective lyrics to full life. Kaleidoscope’s End had me trying to decide if it reminded me of something I heard in the ‘70s or just last week on alt. radio. “Van Gogh’s Ear” provides a fascinating juxtaposition between a confident, almost arrogant sounding musical background and a highly vulnerable lyric (“I feel like Van Gogh’s ear, a useless appendage, stashed behind the mirror”). I love the choice of chords used as a backdrop for the guitar solo, which is itself a masterpiece of blistering aggression.

My only beef is a subtle point regarding the lyrics. While the CD’s heady, sometimes poetic approach works very well, the overall effect is somewhat impersonal. I would have liked to hear a tune or two that took a more personal, emotionally accessible approach in the lyrics.
The musicianship and vocals throughout this recording are stellar, highlighted by the fretless bass work on a few tunes, the consistently exciting guitar solos, and the powerful lead vocal on “Shade of Eden.” Wilson’s hard work make for a very compelling recording. Turn off your cell phone and take a listen.

'Coffeehouse 101' debuts

POP MUSIC: A resident of San Diego since 1970, singer-songwriter Scott Wilson earns his living in Los Angeles as a music video editor for such star clients as Foo Fighters, Sting and Jennifer Lopez. But his latest video, “Coffeehouse 101,” is an all-San Diego affair that features more than 50 musicians from the local indie scene. Approximately one-fifth of those musicians – including Gregory Page, the Cathryn Beeks Ordeal and The Grams – will celebrate the premiere of the video tomorrow night at 8 with a marathon concert at Humphrey's Backstage Lounge, 2241 Shelter Island Drive.

“The song 'Coffehouse 101' came about because there was an 'open mike' night at Java Joe's in Ocean Beach that I used to go to,” said Wilson, a founding member of the Ghandi Method and the former bassist in Beeks' band.

“People like Gregory Page and Carlos Olmeda used to play at these 'open mike' sessions, and the quality of their music forced me to up my game. The song was designed to be played at 'open mike' night at Java Joe's, and I did play it there, in 1998.”

The former site of Java Joe's is now home to a Starbucks, so Wilson shot his video around the county, from Sunset Cliffs to Oceanside. The four-minute-plus song features dozens of local bands and solo artists, all lip-syncing to the lyrics. Wilson makes a brief cameo near its conclusion. Performers at tomorrow night's premiere party will each play sets of 20 to 30 minutes, and the “Coffehouse 101” video will be shown throughout the evening. A full list of performers is available at ..www.metalogicmusic.com...

“The video is kind of a snapshot of what's going on in San Diego now,” said Wilson, whose best-known video editing credits include the Goo Goo Dolls' “Give a Little Bit” and the Dixie Chicks' “Landslide.”

“I think there's something really good happening with the local music scene that's on the verge of breaking out to a wider audience, and I wanted to document that.”

– George Varga

Video DeMille

By Jay Allen Sanford | Published Thursday, March 9, 2006

'I bought my first bass at age 18 for $99 at a pawn shop," says singer/songwriter Scott Wilson. "It was a piece of crap, but it was a good thing to learn to play with and to realize that it was worth investing in better equipment."

Wilson cites his main musical influences as the Beatles ("seventh chords"), Nirvana ("grooves"), and Yes ("harmonies"), but nowadays the founding member of the Gandhi Method -- and former bassist for Cathryn Beeks -- would just as soon plug into a video editing board as an amp. He's worked on music videos, concert films, and documentaries.

This filmmaking savvy served Wilson well when it came time to shoot a video for the song "Coffeehouse 101" from his latest CD Kaleidoscope's End. "We ended up with around 50 performers in [my] video, many of them local, each one lip-synching a different line from the song," says Wilson. Footage was shot at Lestat's, Twiggs, the Hot Monkey Love Café, and other local spots. Cameo appearances include Gregory Page, Dave Howard, Bart Mendoza (the Shambles), and Mark DeCerbo (Rockola, the Steely Damned).

"Some people -- for instance, Robin Henkel and Carlos Olmeda -- were very comfortable with the camera. Some weren't, and I include myself in that bunch. Everyone brings their own personalities to the table, and people relate to the camera in such different ways that it becomes sort of a sociological experiment in overcoming embarrassment."

Scott Wilson appears as part of the "Coffeehouse 101 Music Video Premier Party" at Humphrey's Backstage Lounge on Thursday, March 9.

WHAT'S IN YOUR CD PLAYER?

1. Nine Inch Nails, With Teeth ("Trent Reznor makes records that are heads and tails above his peers, which are few.... He put on a fantastic show at Cox Arena in November.")

2. Gregory Page, Love Made Me Drunk ("There are at least two accordion-only songs -- I wish I had the courage to make a CD like that! This is one strange leap into the unknown.")

3. Sheryl Crow, Wildflower ("I love 'Good Is Good' from that CD. It has something I call the super chorus, which is a bridge that's even bigger and catchier than the chorus, which is something I like to do now and then.")

4. Green Day, American Idiot ("A punk-rock concept album? How can you beat that?")

DESERT ISLAND DVDs?

1. Dig!("It's a documentary about the Dandy Warhols and the Brian Jonestown Massacre...a textbook example of what not to do when you make records or go on tour, especially in Texas.")

2. Almost Famous ("There's a bootleg version that I used to have with a director's cut and a CD from the band that played in the film. One of the great music films of all time.... Parts were shot in San Diego.")

3. Apocalypse Now ("The montage in the hotel room to 'The End' by the Doors has always been an influence on my [film] work.")

WORST GIG?

"The Aztec Coffeehouse at San Diego State. I went for a high note, they suddenly turned [the mike] down...I never recovered. It's funny how something can go wrong and ruin the whole experience. Sometimes it works to drop your defenses, and great things are allowed to happen, but not in this case. I screwed up songs I had known for years, and I was ignored, which I can't stand. I tend to avoid solo acoustic gigs for this reason...it's a little too much like being naked in front of a bunch of people, which is something I try to avoid if possible."

BRUSH WITH FAME?

"I worked with 'J-Lo' on a video in New York. She was very nice, and she smelled great. This was in 2002, and it was very interesting to see how a person handles the kind of success that she was experiencing at that time. Lots of telephones ringing, lots of commotion, bodyguards, assistants, managers, record label people...."

MAIN INSTRUMENTS?

"My Alvarez 5088C acoustic guitar cost about $650 in 1993. I've written at least a hundred songs on it, and it's starting to show its age. I like the way it plays, but it's hit or miss through the P.A. Sometimes it sounds amazing.... The next time, if you can hear it at all, it sounds terrible. I went to the 'Taylor Friends and Family sale' to get a Taylor, but it was a free-for-all there, like those news pieces you see of people rushing into Wal-Mart on the day after Christmas. The bass I own now only cost me $130, but I've added a few things to it. It's a Yamaha BB300. In fact, the body and the neck and the knobs are the only original stuff on it, but I love this bass."

FAVORITE CARTOON?

"I've always been a big Simpsons fan, although this year it seems to be taking a dive...it's kind of funny that the only real political humor that we're getting right now is from prime-time cartoons. There used to be shows like Politically Incorrect, but this does not seem to be the time and place to be putting your ass on the line for matters politic."

San Diego CityBeat

March 8, 2006 Locals Only Section
Gossip from the local music scene
by Scoop Stevens
..www.sdcitybeat.com..


Coffeehouse 50

It’s said there’s strength in numbers, but “Coffeehouse 101,” a new video from singer-songwriter Scott Wilson, takes that theory to extremes. Rather than make a standard video for the tune from his album Kaleidoscope’s End, Wilson invited 50 of his musician friends to each lip-sync a line or two.

“I wanted to approach the whole video idea as a filmmaker rather than as a performer,” Wilson said. “I think that the artist performance concept has pretty much been done to death in music videos, so I thought it might be an interesting way to turn it on its head.”

With so many musicians, Wilson described the project as a puzzle, trying to line up the right musician with the right line. For the most part, performers were given lines to sing at random, though there are a few exceptions.

“I intentionally had Doug Meyer in a cowboy hat and accordion sing ‘Guess I live slightly east of Eden,’ since I did live in El Cajon at the time it was written,” he says. “I would have people sing a whole stanza, and then pick the best line of the performance.”

Due to conflicting schedules, he wasn’t able to get certain performers he really wanted for the shoot. For example, he said, “The Locust would have been particularly great.” As it stood, the shoots for the video were time-consuming.

“I had to do a lot of driving to get as many people as I did in the video. But in the end, it lent an extra dimension… to have so many different locations and gave a bit of the feel of San Diego by traveling around to different clubs, studios and stages.”
On March 9, Humphrey’s Backstage Lounge will host the release party for the “Coffeehouse 101” video, featuring many of the acts who participated in the filming, including Jeff Berkley and the Citizen Band, The Grams, Dave Howard, Will Edwards, Cathryn Beeks Ordeal, Gregory Page and Deadline Friday. If you can’t make the show, the video will be available later this month on Wilson’s website, ..www.metalogicmusic.com...

East County Herald

May 11, 2006
by Adam Paul, Staff Writer

It is not every night that an all star cast of local musicians gather together to perform on one stage for an evening of music. Well it happened back on March 9th at Humphrey’s Backstage lounge in support of local musician and East County resident Scott Wilson and his music video entitled “Coffeehouse 101”. The local musicians who had performed in the video itself by lip-synching to the song “Coffeehouse 101” all performed. Musicians included in the evenings festivities were Carlos Olmeda, Gregory Page, Bart Mendoza (the Shambles), Citizen Band, The Grams, The Cathryn Beeks Ordeal, Dave Howard, Deadline Friday and The Wild Truth and many others.

Scheduled in between the music was the world premiere screening of the music video itself, which included many of the musicians who performed that night. Hearing so much about the production and the quality of the video I couldn’t wait to see it and after the screening of the film I was very impressed with the final product.

The concept of the video according to the concept part of the DVD was to gather as many of the local talent in San Diego as possible and have them sing along with the song CoffeeHouse 101 and than edit all the pieces together.

The editing of the film was done perfectly with all the lip-synching matching the lyrics. Production of the video itself was done very professionally and not that of some amateur musician taking a video camera and shooting a music video on a cheap camcorder. The video is shot all over San Diego at various locations such as Lestats Cafe, Twiggs Coffee House, and the Hot Monkey Love Café.

As a person who is into film making/editing as well as audio and sound engineering I definitely appreciate the time and effort that Scott Wilson put into making this film. The quality is great as well because a lot of today’s videos just don’t appeal to me because of all the extras that are in the videos such as flashy cars, dancers, etc. Scott made his video simple and easy to watch with no extra flashy stuff and also the song itself is very catchy as well.

That was just video itself that was really good. The evening at Humphrey’s was just insane with all the wonderful talent who came out and performed. Everyone who attended had a great time as well and also had a chance to mingle with fellow friends and musicians as well. I know I definitely had a great time at the event and was able to mingle with musicians whom I had not met before.

After attending this event I went home and popped into my music player Scott Wilson’s album entitled “Kaleidoscope’s End”. The first song on the album is Coffeehouse 101, which is a very catchy tune with great melodies and riffs, and the drumming is great as well.

Listening to the album you can definitely tell the passion of the music as well as the technical aspects that went into the album such as the sound of the album. A lot of time and effort was put into the making of this album so if you are a audiophile you can appreciate this but if you are not than you will definitely appreciate the quality of the album.

Wilson definitely accomplishes everything he set out to do on the album with nice ballads as well as great guitar sound. The hooks are very catchy in my opinion as well. The album is easy to listen to as well meaning you can actually understand the lyrics and also tap your feet to the music and also sing along with.

I highly recommend this album and going to check him out at a live performance in San Diego because not only is it Scott but he plays with his band as well and also you will have a great time. Scott Wilson is definitely one of the gems of the music scene here in San Diego and is definitely not to be missed. If you would like more information about him, his album or his music video you can check out his web site at ..http://www.metalogicmusic.com.. or his myspace page at ..http://www.myspace.com/metapunk...
North County Times August 11, 2010

By JIM TRAGESER


SD songwriter Wilson sees future in online music videos

Scott Wilson is doing something a little unusual at this year's North Park Music Thing, the two-day music festival and trade show: He's putting together a band and playing a show (10:35 p.m. Friday at Claire de Lune Coffee Room on University Ave. in San Diego).

OK, that's not entirely fair. It's not like the East County-based Wilson is a hermit.

But by his own admission, he doesn't play out a lot.
What he does do a lot, though, is create videos for his songs and post them online.

And though MTV's format features hardly any music videos anymore, Wilson isn't buying talk that they're passe.

"I kind of think it's the golden age of music videos, myself. If you see what's going on, there's a huge explosion of creativity. If you look at someone like Lady Gaga, she's got like a billion views on four videos.
"MTV went very reality-show 10 years ago. It's been quite a while since they've been showing videos. But that doesn't mean there isn't an audience for them."

He points to his own videos as evidence of the viability of online sharing as a distribution and viewing model, via sites such as YouTube, MySpace and Facebook:

"The 'Cofffeehouse 101' video got 40,000 views ---- for someone who edited it in his bedroom, I consider it a triumph."

Not that Wilson, who plays an engaging folk-rock hybrid reminiscent of '70s Top 40, is an amateur in the video-making craft: In fact, video editing is his trade, and he said he's worked on videos by everyone from Kiss to Sting, Jennifer Lopez to Lenny Kravitz. So he knows what he's doing.
At the same time, as a full-time musician in San Diego County who works as a video editor in Los Angeles only enough to support his music career, Wilson hardly has the same top-of-the-line tools at his disposal for his own projects as he does for the above-mentioned stars. And yet, he sees even that as an opportunity.

"There's a certain amount of sharpening of the skills, because I'm using new software. There is a certain amount of learning ---- in fact, it's quite a steep learning curve. It's just a matter of executing your ideas."
What draws Wilson to the whole concept of issuing his music in video format is that he feels popular music is more suited to individual songs.
"It's kind of an ideal way to release songs, because music is very single-oriented right now. ... It's kind of rare that there are album-oriented artists. I definitely think the album is a great form, but at some point you have to acknowledge the reality of how people listen to msuic: It's about an item on an iTunes playlist.

"For me as a songwriter, I have a lot of songs, and it takes a long time to do an album. I like the idea of kind of blasting something out and having it be a more spontaneous thing."

And for an unsigned independent musician, the singles approach also makes more sense financially, Wilson said.

"It costs $9 to release a single digitally on iTunes. Basically, I can release a single and do a video for a very small amont of money. It's a way of getting my music out there without the expense of making a CD."
Having said that,Wilson said he's working on his next CD, which will be his fifth going back to the 1980s, when he was in a hard rock band called VFX. He said he's got 45 to 50 songs finished, and is trying to get them recorded before he writes any more.

"I'm definitely writing songs, but not at the same rate, because I'm trying to focus on arranging the albums I'm working on right now."

Working in L.A. but living in the San Diego area, he said he far prefers life in this region.

"It's a good place to be a musician, in my opinion. It's not a great place to be a rock star ---- but that kind of model has kind of gone away."
Wilison said younger bands don't even dream of the big-label contract anymore. "A lot of the major labels are only surviving because of the legacy bands."

Not that he's bemoaning the collapse of the label model for the music business.

"There's a lot of great opportunities out there. A lot of people are crying about the end of the music business, but I've never seen a more prolific time!"

North Park Music Thing
When: Aug. 13 and 14
Where: Various venues in North Park and surrounding neighborhoods of San Diego (see Calendar section at ..nctimes.com/entertainment/events-calendar..)
Tickets: $20 pass for one day; $30 for a two-day pass
Info: ..sandiegomusicfoundation.org/npmt..