JEFF SCOTT SOTO
Two and a half decades and multiple contributions to the entertainment industry later, spanning several genres from classic rock and several variations of metal to progressive and disco, Brooklyn-born vocalist Jeff Scott Soto maintains a strong international fan base, one that has grown significantly following the release of this year’s ‘Beautiful Mess’, Jeff’s 9th solo album. Well known by the AOR world as a singer for the mega-selling  Journey in 2006-07, Jeff’s previous solo success and countless* projects featuring his work have amassed a cult following in generations of music fans.
I recently had a chance to catch up with him during the first leg of a tour of Europe in support of  ‘Beautiful Mess’ , an eclectic collection of optimistically aware, here and now tunes.  Join us as Jeff brings us up to date on that as well as the re-release of Prism and Lost In The Translation, his future work with TSO, Talisman, and a band called WET…read on….

 

Blast: Hey Jeff, how’s it going?

Jeff Scott Soto: Going great, so far so good!

B: You know, I have to tell you, as familiar as I was with your history, you’ve done so much more than I realized in this business. Have you ever considered a biography or autobiography?


JSS: Well, autobiography not so much because there’s not much that I’d write about on a day to day basis, but maybe a biography in the sense of my musical career. It’s actually already been done by this guy in Germany who was a really big fan and he wrote a book that’s only available in German in Germany and we’ve been in contact with him. He was so thorough with so many different things and even some things that I’d forgotten about with things in my life and my career and he’d be like ‘Yeah, there was a session with this guy, or that guy,’ and I’d be like, ‘Oh my God, how do you even know about that stuff?’

 

B: That’s awesome, let us know if an English version is ever released. Congratualations also on ‘Beautiful Mess’. It’s a great album and you’ve probably heard this, like, eight thousand times, but it was not at all what I was expecting.


JSS: Well I gave as much, I don’t know if I want to call it warning, as possible. I know I have a lot of fans from the past listening that were expecting me to re-live my days with Talisman or Yngwie and that kind of thing and those are the ones I would consider for pre-warning, so to speak. I don’t want them to have the wrong concept of where I’m headed or where I am musically, so I put out as many sound clips and as many, I guess hints, that it’s not what you’re going to think it is and to listen with an open mind just because I don’t want people to think I’m cheating them or for them to buy the album and say they absolutely hate it. I’d rather they preview it and get as many clips and as many chances to listen to it as possible before they buy it.

 

 

B: Well, you do have a huge following of rock and metal fans and honestly, I’m one of them. I was completely sold on ‘Lost In The Translation’ and ‘Prism’, but I really do like this one, too. It’s got so many elements; it’s bluesy, it’s funky, it’s aggressive, but still melodic, and lyrically, very sign of the times on a particularly positive note which, when we’re talking society in 2009 isn’t easily accomplished from a lot of people’s perspectives.


JSS:  And it follows through to the music. You just said yourself, you’re a fan of the metal and classic rock and that type of thing. I wanted something that had a little more shelf life than just re-living the classic sound. I wanted more of a nostalgic sound than a recent classic sound. I wanted to reach back into, like, the 70s and such and give it a contemporary feel with something that’s still going to sound good and even contemporary ten or fifteen years from now, and that’s probably the hardest thing to do because once you start thinking too much about music. You’re thinking too much about direction and all that stuff and you start to lose focus on the concept of song and it starts becoming more of a science project and it’s like ‘Well let’s see, will people even listen to this in years to come?’, whereas there should be a way of doing it that should be just a natural thing. For example, if you listen to Boston’s first album from ‘75, that sounds as fresh to me today as it did back then and that’s cool.

 

 

B: Absolutely, and collectively it’s a beautiful presentation. But again, lyrically, it’s in a bit of a different place than your previous work.


JSS: Well, I have to give credit where credit is due because there are songs on it that I had nothing do with, either the songwriting or the lyrics. So where a lot of people would either credit me or ask where the motivation or inspiration for those lyrics came from, some of it actually had nothing to do with me personally, though it was ironic that certain parts of my life just happened to fit the lyrics at that point in time. 

 

B: Is there one track on the album that stands out for you, that’s sort of your baby?

JSS: I think ‘Gin And Tonic Sky’, that one mainly because I remember the first demo of it I heard, my producer gave it to me with him singing on it, and I just thought it was an amazing song. It was a crappy little demo with a lot of electronica and this, that, and the other, it wasn’t a proper recording of it like the version that ended up on ‘Beautiful Mess’ is. But I remember listening to it and I was drawn to it; it really just locked me in. For me to do that song myself, it was more of an honor. It kind of like someone saying they want you re-do an Elton John classic or something that you really grasped onto growing up in your life and you’re like, ‘Wow, that’s going to be my song, now!’ That’s how I felt about that one.

 

B: That’s cool, everybody’s going to grab their own reality check listening to it, it’s definitely got that soul-searching pull to it. I’m actually kind of partial to ‘Kick It’, too. In fact, that’s the first song on the album for me when I put it on.


JSS: Wow, ok that’s cool to hear, I think you’re actually the first person to mention that one as a favorite.

 

B: Oh yeah, love that song.  So, when did you decide on a title for this album?

 

JSS: I was actually in the recording studio with Trans-Siberian Orchestra and I didn’t have a title yet. I was throwing around a few ideas, and one of the singers that was there and I were talking and he said ‘Man, have you seen that new Rolling Stones movie that Sorscese did?’, and I hadn’t seen it and he said ‘Well it was amazing, I saw it in IMAX and it had all the old footage and everything, and just watching Keith Richards is like watching a beautiful mess!’  I don’t even remember anything he said for about the next minute and a half because I was just like ‘Oh my God, that’s my album title, ’Beautiful Mess!’ It just stuck in my head, and it was a natural title because my life for the last three years has been kind of a beautiful mess in the sense that, it’s been situations that have been messy and then turned into something beautiful. Like the whole Journey thing. Also, I’m recently divorced, and that can be pretty messy, but in the end it turned out great for the two of us and we’re in a great place with each other and our lives and such. And even my career, if you want to look at the whole introspect of it, it’s been messy when you think,

‘Was he a metal singer, a rock singer, and R&B singer?’ You know, it’s a been a bit of a mess, but then you put it all in one big compilation, and it’s been beautiful.

 

B: More power to you and your former wife. It’s great that you were both able to change with such positive feelings and outlooks, unfortunately it all too often works out to the extreme opposite.

 

JSS: Well, I’m a very peaceful person. I want peace and harmony, I want unity, I want everybody to get along, I want to laugh and smile every day. If you can take a negative and turn it into a positive, well, obviously ‘Positively Negative’ would have been a horrible name for the album, so ‘Beautiful Mess’ seemed to work better.

 

B: Yeah, well that was instant curiosity for me when I heard the title and then the album, it was like, did they lay down a bunch of tracks and say ‘Ok, genre to genre and topic to topic this is just a beautiful mess, or what?’

 

JSS: No it was entirely by accident, and I think the last title I had for it before I came up with that one was ‘Happy Ending’ and that one kind of had the same context as ‘Beautiful Mess’, the happy ending  from the Journey thing, like I’m kind of happy that I’m no longer affiliated or associated with that organization and the happy ending that came from my marriage and so many things in life. But, of course, everybody I told the title to, all they could think of was one of those seedy little massage parlors giving you a happy ending, so I didn’t really want my music associated with that.

 

B: Good choice. How long were you working on the CD?

 

JSS: We started at the end of 2005 at the end of the ‘Lost In The Translation’ tour and I was a bit bored, I guess, musically with what I was doing and where it was heading, or where it seemed to be heading, and Paulo Mendonca, my producer and co-writer of this album, I’ve been a fan of his for years and no one has really heard of him outside of his hometown in Sweden or certain countries in Europe where his albums and his career was focused in. Since I tour a lot in Europe, I’d heard of him and I had a couple of his albums and his second album was absolutely amazing, to this day I listen to it religiously, and it was one of those times that I was bored and I was listening to one of his album and I was just like, ‘Wow, musically this is so where I want to go, I wish I could make an album like this!’  From wishing went to the ambition of actually getting in touch with this guy and hoping that he’d either heard of me or would want to hear from me and luck was on my side, because he’d just given up being an artist, he’d done a few pseudo successful solo albums and he decided he didn’t want to be an artist anymore, he just wanted to be a writer/producer and bingo, I hit the jackpot. That was exactly what I was looking for. I wanted somebody who would write and collaborate with me, but also was good in the studio and knew how to produce.

 

B: So, a while in the making, but it sounds like the timing was perfect.

 

JSS: Absolutely, everything just lined up and he started sending me some ideas and some tracks at the end of 2005 and we finally met and started producing together and that’s been since early 2006. Before we knew it, I was in the studio recording a new Talisman album, and that put a halt on things and literally not even a month after I was done with the Talisman album, I joined Journey, so that put a longer halt on things, and obviously once we got into 2007 it was time to dive back in and get this thing done. But there was the Talisman tour and other things I had to finish first and we didn’t actually wrap up the album until the beginning of 2008. So it was a three year process, and it was one of those things I would have never thought would take that long to get a record done, but it was due to all the circumstances in between. I’m actually very glad I waited because there were some songs that came about later, more towards the end and the beginning of the recording process.

 

B: Wow, so it must feel great to get out on tour for it.

 

JSS: Oh my God, playing these new songs is a dream. It’s difficult because I know that not everybody’s going to grasp onto it, they’re not going to relate to a lot of the stuff, but at this point I kind of went with the F-you attitude. I’ve been doing this solo career for seven years now. I started in 2002 and everyone’s always come to my shows demanding that I do Talisman and Yngwie and it’s like, I’ve got four solo records out and this is a solo tour. Put two and two together, it’s time for me to focus on number one. When I first started the tours, it was kind of fun putting a montage of my career into one show, but at this point it’s time to really concentrate on my music.

 

B: What tracks are you doing live from this album?

 

JSS: We ended up doing six or seven songs from the album, which is amazing when the set is about sixteen songs long. For some reason it doesn’t seem like that. I remember going to concerts through the years like Scorpions or Iron Maiden or Van Halen, and they’d release a new album and they’d play one or two songs from it and you’d be like, ‘Ok, wait, wait, wait, ooh, here comes one I know,’ but for some reason it seems to work on this tour. It didn’t seem to drag or lull at all every time I played a new one, and everything just worked and operated like a well-oiled machine. I mean, it’s every artists dream to play the whole album and get away with it, but it’s mainly about pacing of the set, so there are no lulls, and it has a nice flow and kind of goes in and out the way it’s supposed to. But certain songs on it didn’t fit the grain for that reason.

 

B: Now you started this tour in Europe where the fans are still intensely loyal to the classic rock sound. How’s the overall response to the new material been?

 

JSS: It’s been very well received, especially live and that was my biggest concern because, obviously, going back out there, people expecting me to maybe play Yngwie and all the metal stuff, and there’s so little metal involved in the show now. The closest I get to metal in the show is doing ‘Stand Up’ from the Rock Star movie and some of the heavier stuff from ‘Lost In The Translation’, because I don’t want to lose them completely. But even the ‘Beautiful Mess’ stuff live sounds a lot beefier than it does on the album, and I think that helps, too, because it doesn’t seem like you’re just listening to an R&B show or a pop show. Like ‘Our Song’, for instance, has such a cool drive live, it doesn’t sound as clean and polished as the studio version does.

 

B: There is some pretty aggressive stuff on that album, too.

 

JSS: Yeah, for the most part they are good pop songs with an edge and that’s the best way to describe it. When people say ‘It sounds like he’s gone mellow,’ if they listen to the songs, pretty much every one has a nice beefy, edgy guitar and chorus that takes it to that next level. I’m not losing the edge, I’m concentrating more on the songwriting approach.

 

 

B: And are you planning U.S. dates, as well?

 

JSS: At the moment, no. It really was all a matter of timing and a lot of other things came about. Timing and schedule-wise the other guys in the band had things going on. Plus the U.S. is always a tricky one for me, because I don’t really have much of a career there. I have a large following, but it’s so spread out that if I did a couple of shows where everybody came to me, we’d have packed shows, but it’s really more spread out than that. It’s always been like that for me, that’s one of the reasons I concentrate on overseas shows. I can fill up a club or theater on my own out here where out there, most people are gonna go ‘Jeff who?’ and it’s really quite sad. I did it on a test back in ‘07 just after the Journey thing. Just so many people came and they were like ‘Well, Jeff’s not with them anymore.’ People figured I got a lot of recognition and would build a huge fan base from that, so I gave it a try and the turnouts weren’t really that great; I had, maybe, eighty people a night. Coming off a tour that I just sang in front of nine hundred thousand people, to not be able to get more than eighty at a gig, just reflects exactly what I got out of the Journey gig, which was a nice paycheck.

 

B: Wow, I’m a little surprised to hear those numbers, Jeff, because while everyone enjoyed your contribution to Journey, your solo work stands on it own, clearly. It’s amazing stuff that seems to sell very well here, and the response from to from the crowds to both, from what I’ve seen,  is equally intense. They’re singing every word to songs like ‘Drowning’ and ‘Soul Divine’.  I wouldn’t think, based on that kind of feedback, that the numbers at the shows here would be low.

 

JSS: Well yeah, and it really is more the fact that they’re just spread out so much. I might have twenty-five or thirty fans in Texas, and a handful here, a handful there.  Then there were shows in two or three regions where they all came to me and there were a couple hundred, but for me to do a full-on US tour, would be overall a lot of money loss and some really slow nights. It is pretty sad that I can’t play in my own backyard and draw them, but mainly it’s because I was never really in any bands that really broke in the US, with any major distribution or hit singles, and in Europe I had that.

 

B: What about some of the festivals, like Rocklahoma-type things? They seem to be popping up all over the place lately. Are you considering anything like that?

 

JSS: Well, I wanted to do it, and the organizers were going back and forth with the what they wanted and, what it came down to was that if I couldn’t do it on certain terms, then I just wasn’t going to do it. Those festivals are great because they appeal to the genre I came from, but as far as where I’m going with the ‘Beautiful Mess’ stuff, where I want to go in general, it’s not that I want to shut out my past, but I don’t really see that stuff fitting in with what I’m doing musically. I’m trying to open up a whole new genre to my music and I don’t think that audience would get my music, so therefore to push the focus onto that really wasn’t a big thing for me. I wasn’t going to do anything they wanted me to do to play that festival, and it got to the point where the offer they gave me was to go onstage with another band and do a few songs and then maybe I could do one of the smaller stages, and I was like‘Wait a minute, the first offer was for me to do something else and now it’s turning into Mickey Mouse, and it’s just not for me, no thanks.’ But if it did come through with the actual plan, then I would have done some U.S. dates as warm up dates, to get the band all fired up before we played a big festival. But that didn’t happen, so the U.S. dates didn’t happen.

 

B: Well, you’ll have to keep us posted on future events, a lot of the feedback we got when our readers sent in questions did have to do with wanting to hear the new material live.

 

JSS: Well, as of right now the only dates I’ll be doing there will be with Trans Siberian Orchestra again this year. Last year we did dates all over the western part of the U.S.

 

B: And what about more dates with Scrap Metal? Those shows have been incredibly successful, also. Will you be doing any more of those?

 

 

JSS: They called me for the one in June at Mohegan Sun, but I wasn’t available. Those are great, though, and whenever they call, I try to move things around so I can do them. I’m also involved with all-star band who does something similar call Pop Rock Masters with the band Orleans and we did a show in Florida with Joe Lynn Turner, Jimi Jamison and Mark Farner.

 

B: Yeah, they’ve done pretty well, too. You’ve got a bit of background in disco, as well, covering even more on the musical map.

 

JSS: Yeah, the original Boogie Nights did an album but it kind of bombed and they got dropped from the label. They were doing anything and everything to get a new deal and while they were doing that, they would put in a disco medley at the end of their set. Then one time, they were asked to play at a Halloween party, so they decided to just play their normal set, and they said  ‘Instead of doing a disco medley, when we learn some more disco covers, we’ll go on stage dressed for Halloween dressed as like a 70s afro band,’ and this was back in, like, the early 90s, and they did it and everybody loved it so much that they started getting booked as a disco band called Boogie Nights.  I used to see them all the time because they were buds of mine and every weekend they would play and you could barely stand in the place, there’d be a line around the block to get in and the whole thing just blew up. They were making so much money and doing so many gigs they forgot about their original gigs and just started doing Boogie Nights full time.  Their singer was their manager and it was just too tedious for him to be doing all their booking and dealing with everything as well as singing, and he came to me and asked if I’d be willing to join the band where I went to all the shows anyway, so I did for a while. It was perfect timing for me because it was right when grunge was pretty much killing everything that was going on in my life musically. So I decided while I waited for real music, or music that I liked, to come back, I could just do that and stay active, so I was with them for about five years.

 

B: Wow, I didn’t realize you’d been into it for that long a time.

 

JSS: Yeah, til 2001, then I did the Rock Star soundtrack, and I’ve really just been honing in on everything I’ve needed to do from that point onward.

 

B: You also mentioned that there will be future work with TSO?

 

JSS: Oh yeah, I’m on the new album, which is due out this year, and we’ll see if that’ll happen because they’re three and half years in the making of this album and  it has to be perfect for the producer of this band. He’s got such a strong vision about this thing and he’s constantly  reworking it and making it exactly what it has to be for him to say it’s done. I’m going to be in Florida next week finishing the final touches of my vocals and some things, and hopefully it’ll see the light this year and we’ll probably do a tour for it sometime next year, as well as what I’m doing with this.

 

B: Planning to get sleep in there somewhere?

 

JSS: Yeah, it’s funny, I work so much and when I look at the body of work it does make me wonder when I have time for even a social life but honestly, it seems to all coincide with my everyday life. Actually, before I called you I was just working on this duet with a woman in a band called Domino in Germany and they’re quite good and very popular out there and they asked me to do a duet with her, so I was just wrappiug up the vocals here when I looked at the clock and realized it was time for an interview.

 

 

B: Safe to say they’re not letting you get bored! So outside of your solo work, is there one project from your past that you loved enough to want to do future work on it, besides TSO?

 

JSS: Hmmm….Well, I guess nothing I’d really want to revisit. Talisman is the longest standing commitment I’ve had musically in my career and that’s the one that I constantly do come back to. Other than that, I’d love to continue doing work with Paulo on future solo stuff.  Between what I just did with him on ‘Beautiful Mess’ and my work with Talisman, those are really my only desires as far as revisiting.

 

B: Is there any particular project or album, of everything in your career, that stands out above the others?

 

JSS: Yeah, I would definitely say that ‘Beautiful Mess’ does. To me that stands out above a lot of things that I’ve done. It’s difficult for me to be one of those artists that says ‘Well, my new album’s the best thing I’ve ever done,’ because everybody wants to say that when they’re promoting their new stuff, but I really feel that way in that this album compared with everything else that I’ve done really stands above and holds the crown. It’s cool to have that feeling about a body of work that you’re proud of.

 

B: That’s great. As far as grunge, in your words, ‘killing everything’, what do you like as far as what’s being put out now?

 

JSS: Nothing I’ve heard recently. The last new band that I really liked a lot was Maroon 5 and they’re not really a new band. Honestly, I don’t really have much time to check out new bands right now. I might hear a sound here and there that grabs me, but I haven’t really listened to or gone to see anyone else because I’ve just been so busy. I’m either in the studio  or trying to remember my own stuff when I’m going out on tours, or learning new things for, like, the TSO tours. I’m constantly having to listen to things for what ever work is coming up, so it’s difficult to get into new things and get a feel for what’s really out there now.  And it’s funny because I have to listen to my own stuff so much, people will be like ‘Wow, you’re really stuck on yourself,’ and it really has nothing to do with that, it’s just I’m learning the stuff or I’m getting ready for something and I’m just totally focused.

 

 

B: You’ve had more than a little taste of the film industry, too, the best know, of course, ‘Rock Star’.  How did you end up doing that?

 

JSS: Well I had worked with the producer, Tom Werman, singing background on a lot of albums in the past for bands like Stryper, Babylon A.D., Steel Heart, and he always brought me back in because he liked my range and I could help with a lot of background vocals and stuff going on in the studio, and I became more resourceful for him than just a voice. So every time we worked together he was like, ‘Wow, I’d love to work with you in a proper capacity of you singing lead and me producing you that way,’ and Rockstar was the perfect vehicle for that. They brought him out of retirement to produce that soundtrack and I was one of the first people he had in mind to bring in to do the voice there.

 

B: It was really an intense combination of talent. Was there any talk of all of you getting together and doing something along the lines of a tour?

 

JSS: There was talk about a Steel Dragon tour, yes. It was basically the line-up in the movie and myself, and possibly two singers, Mike Matijevich (Steel Heart) and myself going out and switching off vocals on certain songs. So there was a discussion and I think it was based on the movie blowing up bigger that it actually did. It was unfortunate that it didn’t take off the way it should of because of when it came out, right before 9/11. It wasn’t until it was finally released on DVD that it finally found it’s audience.

 

B: That was an unfortunate time all the way around. Any chance we’ll see you associated with more films?

 

JSS: Absolutely, any time those things come to me, I’ll do them. I sang background vocals on the first ‘George Of The Jungle’ soundtrack, and when they were doing the sequel, I think the Presidents Of The USA, who did the original version, wanted more money or something, and it worked out that they couldn’t use the rights from the first movie. They brought me in to re-do all the vocals, lead and background, which was really cool, even though it was kind of a silly film. But it’s always cool to do movie and soundtrack work because it just adds to, not only my resume, but also to the challenge of who I am as an artist. If I can do this or I can do that and pull it off well, it’s great.  I absolutely love those challenges. I don’t want to just to one side or avenue, I want to do them all and doing that kind of stuff gives me that opportunity to open and expand more. 

 

 

B: I think you’ve done a pretty good job of redefining the concept of diversity, Jeff! You’re also involved in a project called WET, which sounds like it’s shaping up to be something pretty cool. What can you tell me about that?

 

JSS: Well, the name of the project comes from the members that comprise three Swedish bands. One of them is called Work Of Art,  Eclipse is the other band, and Talisman is my band, and that’s where we got the name, with the first letters of each of the band names. It was really a brainstorm of Frontiers Records. Instead of doing ‘Beautiful Mess’, they wanted me to do the kind of album that would cater more to Journey fans, the perfect AOR album to capitalize on the fact that I just sang with one of the biggest AOR bands in the world. I told them I wasn’t really interested in doing that, mainly because most people would be expecting me to do a solo album that sounds like Journey just to try and gain their fans.  I want to do something that gains my own fans on my own terms, so I’m wasn’t really interested in doing it just for that reason.  So they asked if I’d be willing to do an album like this as a project thing, having nothing to do with me as a solo artist. It fills that void and keeps the credibility on that side, but it also gives me the chance to do my own thing with my solo career, so I said yes. I didn’t realize I was going to love this album as much as I do and I’m very proud of it. I think a lot of people are going to be surprised by the way I’m singing and how high I’m singing, and how clean my voice is on certain things. It’s really got that edge, it sounds like a modern day Journey on a lot of the songs. It’s a little heavier times, but it’s something that a lot of classic rock and AOR fans are going to love; they’re just going to chew this thing right up. I think it’s going to be one of the albums of the year next year.

 

B: When will it be available?

 

JSS: We’re planning on releasing it at the end of this year, so it might even be one of the albums of the year this year. I would imagine it’s going to gain momentum and still sell well into 2010. It’s a very strong album. Everyone I’ve played it for has told me it’s the best I’ve sounded in years, singing that style, of course.

 

B: Is that something you’re considering touring for, as well?

 

JSS: Well that was the other thing. Talisman is actually reuniting and working on a new album in August and we’re planning a release early next year, so I had an idea of maybe taking these three bands out as a triple bill and at the end of each show, getting members from each band together to do songs from the WET album. We’re all going to be there, so we can do these songs together, but it also gives each individual band a chance to get the exposure for them, too.

 

B: Cool idea, so you’d have the whole studio line-up would essentially be the live-up and then some.

 

JSS: Exactly, and I’m actually going to be in Sweden at the end of the month doing videos for the album that they’re going to include on a DVD, like we did for the ‘Beautiful Mess’ thing. They’ll have a bonus DVD with some videos, so we’re really putting a lot into this thing.

 

B: We’re going to have to start traveling to catch all these shows. Now, Frontiers has actually re-released Prism and Lost in the Translation, with some additional material. How did that come to happen?

 

JSS: The people who run my store went to them because we were running low on stock on some of the earlier stuff and wanted to order some and they had actually run out of things. So we were going to go into another re-stock order from the manufacturer, but then they got me on the phone and asked me if instead of getting more stock of what we already had, if I’d be interested in a re-issue. Since we had to do it anyway, we could put a little more into it so people who don’t have them yet would get the bonus material, and the people that do would have a new addition to the collection. So I agreed, and it wasn’t really a thing where we wanted to make people go out and buy the album again, it was more just that we had to make more copies anyway, so we updated it a bit.

 

B: On a personal note, well worth it. ‘Again To Be Found’ just absolutely rocks, and Lost in the Translation’s got some great stuff, too. And you’ve got ‘Stand Up’ on there too, which, by the way, caused one hell of an uproar at the last Scrap Metal show when you threw a little teaser of the beginning of that song out there. People were freaking for weeks after that because they wanted to hear the whole song. So that should generate some pretty positive feedback.

 

JSS: Yeah that’s always a big one.

 

B: Ok, wow, so you’ve got more than your share going on…glad you’re getting a social life in there….doesn’t sound like sleep’s coming anytime soon!

 

JSS: Haha, yeah, I’ve got my share and then some!

 

B: Words for the world Jeff?

 

JSS: Words for the world…..well this is my silver anniversary of when I started my career and it blows me away that I can stand here twenty five years later and say I’m still going, and stronger than ever. I’ve got the most loyal fans in the world, and I’m constantly getting new ones, but the ones that have been there since the beginning, there really are no words. All I can say to every one of them is an unbelievable amount of thanks to all of you and I hope that you’ll all be around for the next twenty-five.

 

B: Well said. Jeff, thanks so much for taking time out to talk today and  best of luck on the tour and your upcoming projects, we’ll be looking forward to hearing more.

 

JSS: Awesome, thank you Meri!

 

 

 

And that, my friends, is Jeff Scott Soto. Not much left for me to write, I think he pretty much said it all! If you haven’t had a chance to check out ‘Beautiful Mess’ yet, stop by Jeff’s website to find out how you can grab a copy.  We’ll be back with more on the WET project as we get it, as well as future news from the JSS camp.  Thanks, as always for hanging with us here at Blast. Til next time….

 

 

 

LINKS:
www.jeffscottsoto.com

www.myspace.com/sewtoe

 

 

 

 

*note….we did say countless, but the numbers were too staggering not to actually count them….so check this out….

 

 

Discography

 

Solo albums

 

CD Singles edited with Talisman

 

Takara

 

Human Clay

 

Axel Rudi Pell

 

CD Singles edited with Axel Rudi Pell

 

Humanimal

 

Yngwie Malmsteen

 

CD Singles edited with Yngwie Malmsteen

 

Eyes

 

CD Singles edited with Eyes

 

Others Lead Vocals

 

Others Background Vocals

 

Various Artist / Tributes Album

 

 

(source: Wikipedia - http://en.wikipedia.org/wiki/Jeff_Scott_Soto)