Vernon Neilly

This next interview is with a true music legend, Vernon Neilly. As long as Skope has been in existence we have been covering Vernon’s work as a musician and as an entrepreneur. Vernon spends a lot of time working on his music and his love of the guitar. When he is not doing that he runs his impressive indie label, Boosweet Records. I wanted to talk with Vernon after finding out about his new tribute album to Stevie Wonder and see what he has been up to lately!

Stoli: Please offer a brief history of Vernon Neilly and your rise in the music industry?

Vernon Neilly: I come from a musical family in Nassau, Bahamas started playing piano at 8 years and became interested in guitars at age 9 when I saw the Beatles “Hard Days Night” movie. Started playing in bands at 14 years making money, started playing with major recording artist at 19, and producing recording artists at 21. Also at this age started working with the late legendary Motown producer Norman Whitfield for his independent label, played with more top artist like Etta James, Johnny “Guitar” Watson, Teena Marie, recording with Warren G, was the guitarist in a major independent label recording group. Started an independent label with a buddy in 1992 and we ran that label for 7 years together, left the label in 1999 to form my own label Boosweet Records, which was one of the first labels in the world to distribute music globally on the internet! I released my first solo CD project in 2000 called “Kaliedescope” a mixture of r&b, rock, pop, funk, and blues. Started to distribute the musical works of other indie artist through my label internationally. In 2003 released my second solo CD “G-Fire” which won a contemporary jazz award, songs from this project ended up being used on TV, and on other compilation discs that included George Benson, Hall and Oates, Lee Ritenour, and other major label artists! Went on my first Brazilian tour and became affiliated with Tagima Guitars, the company that builds my signature series model guitar, went back to Brazil a few months later to perform at Expo Music which is South America’s largest music trade show. Picked up some more major endorsements by companies there Meteoro Amplifiers, and Giannini Guitars and strings, they make my signature acoustic instruments, and my signature series “Power Strings”. 2004 received a call to participate in my first major motion movie “Along Came Polly” with Ben Stiller and Jennifer Aniston. 2005 I released my 3rd solo CD “G-Fire II” that also featured Kevin Chokan musical director of Diana Ross, and George Benson protege Mark Whitfield. This CD yielded a top 10 FMQB AC hit written by Kevin and Vince Hall called “Unconditional Love”, I also won my second consecutive contemporary jazz award for this CD. Songs from the CD were played on MTV’s “Made” program, as well as BET television’s “Jazz Impressions”. “G-Fire II” ended up on the Billboard Top 10 retail charts in it’s genre, which was a milestone accomplishment for me as an independent artist, and for me as an independent label owner. I was called to participate in my second major motion picture release in 2005 called “Starsky and Hutch” starring Ben Stiller and Owen Wilson, I also this year started digital downloading of products from Boosweet Records knowing that this would be the way of the future, so I was way ahead of companies like CD Baby who just recently started offering a digital sales format. I also started to get calls to participate in popular TV shows such as UPN Networks “Girlfriends” and “One ON One”. 2007 I did my first solo tour as an artist in Japan, and did radio and TV interviews during this tour, I was also called to participate in my 3rd major motion picture called “Walk Hard” with funny men John C Reilly and Tim Meadows former cast members of Saturday Night Live, and it was released late December of that year and is currently on DVD, and playing on cable stations internationally. The begging on 2008 I started to put the finishing touches on my recently released 4th solo CD “A Tribute To Stevie Wonder” which features in addition to myself tremendous musicians and producers such as, Greg Howe who has played with Michael Jackson, N-Sync, Enrique Iglesias, and who himself has had a 20 year solo recording career. It also includes Kiko Loureiro from the power progressive rock group “Angra”, Bill Hudson from “Cellador” and currently playing with both “Circle 2 Circle”, and “Power Quest”. Also Grammy Award winning bassist Juan Nelson who is a member of Ben Harpers group, sensational French guitarist “U-Nam”, and other top players and artists from the US, and South America.

Stoli: When you first played the guitar, was it love at first string?

Vernon Neilly: I saw the Beatles playing the guitars in the movie “Hard Days Night” and immediately fell in love with the look and sounds of guitars! Later I saw Jimi Hendrix and heard his music, and that truly sealed the deal. I just love the look of guitars, just like I suppose women love shoes and handbags…..ha ha ha!

Stoli: What gave you the inspiration to put out a tribute to Stevie Wonder?

Vernon Neilly: I have always enjoyed the genius musically, and voice of Stevie, but also I wanted to show how he has been such a big influence around the world on other artist, not just here in the US. I also wanted to do his works from a perspective that had not been done before, and that is by having artists from all different genres interpret his music, so it is an eclectic mix of styles and genres, and one of the reasons why I feel the recording has sold thousands already!

Stoli: What is it about Stevie’s music that you can relate & connect with the most?

Vernon Neilly: His creativity is so broad, and his songs are so timeless, so I truly appreciate that he can write rock, pop, r&b, funk, jazz, reggae, the fact that he can connect with so many people through his music around the world regardless of their musical preference.

Stoli: You have brought along your friends on this album. How did you decide who you wanted to have play on this album?

Vernon Neilly: Well for example Greg Howe is an amazing guitar player with a unique style that loves Stevie’s music also. He is very well known in the guitar world, and from playing with Michael Jackson, and N-Sync with Justin Timberlake. I knew that his presence, love and appreciation for Stevie’s music would help the project shine. Kiko Loureiro from the Brazilian power rock group “Angra” is also a tremendous guitar player, but because he is Brazilian it brings a different perspective to the project musically. U-Nam is from France and is also a tremendous guitar player and producer, and just by virtue of him being from France, again it brings a different perspective to the project. Bill Hudson from “Cellador”, “Power” is a shred master who did an amazing arrangement of “Superstition” in a heavy metal format. Having a Grammy winning bassist on your project like Juan Nelson, is just an incredible thing, he brings that same power and groove to the CD the same way he does with Ben Harper, he just understands the music and what it needs on the low end so well. There are some fantastic vocalists in Fabyan Irving from the US, who sounds somewhat like Stevie, Cris Clark from Brazil, and also former “Outworld” vocalist Carlos Zema, who just gave tremendous performances on the CD in their own unique way! The point was getting this super talent from different places in there world to show how they were influenced by Stevie. I am just very fortunate to have very accomplished and super talented friends who I can call upon.

Stoli: You are offering an awesome deal for fans that order the CD on www.Boosweet.com. Please explain what the people can end up winning?

Vernon Neilly: Well I always like giving something back to my fans, and new fans who support me and my music, so when a copy of the CD is purchased directly from the label website at Boosweet.com only, they are automatically entered into a drawing to win a brand new, custom hand made guitar from my personal guitar collection that is signed by the guys on the CD. The guitar itself is worth $1,500.00, but the signatures of these elite artist make the instrument a collectors item and truly priceless. The winner will also win some other swag from my merchandise collection.

Stoli: Has Stevie heard the album and if so what did he think about the music & the tribute to him?

Vernon Neilly: A copy of the CD was given to a good friend of mine who has played with Stevie for years to give to him to take a listen, but I do not know if he has had the time to listen yet because he has been touring this year, but of course I would love to know what he thinks about it, because it’s different.

Stoli: You are an incredibly busy musician and entrepreneur. Where have you been traveling lately and for what events have you played outside the US?

Vernon Neilly: Up to the moment of this interview, I have been to Brazil 2 times in the last couple months to do concerts and TV show appearances, like the “Programa Do Jo” which is the largest TV talk program in Brazil on it’s largest network Globo, seen by more than 200 million Brazilians. I have also been doing a few select dates here in the US. Japan and Australia are on the agenda for 2009 after the Namm Show 2009 where Bill Hudson, Carlos Zema, and I will be performing together.

Stoli: You are the man behind your label Boosweet Records. What made you decide to make your own way and start your own label?

Vernon Neilly: Honestly, because I have some incredibly talented friends who could not get their music out to the masses that deserved to have their music heard. It has also provided the vehicle to release my own solo projects internationally. My label is nationally retail distributed in the US and Canada, and we also control our own digital distribution internationally.

Stoli: From a musicians standpoint what was the advantages to starting up your own label?

Vernon Neilly: To have total creative control over what I release as a label. No one can dictate to me what I can include or not include on a project. For example the current “Stevie Tribute” project would never been able to be released through a major, it’s too diverse, they would not know how to market and promote it because it does not fit into their little nice neat classifications of music, but we have been doing it for a decade now, so at Boosweet we know how to market eclectic things because we have experience at doing it and being successful at it. To be able to work with unique artist and be able to give them the freedom to be creative, and express themselves artistically, without having to lock them down in one category. I have been blessed with a good ear for music and for knowing what will sell, also my history in working in radio as an air personality helps also, because it helps you to recognize music that will have an appeal to others.

Stoli: How do you choose what artists to have on Boosweet and are you currently seeking fresh talent?

Vernon Neilly: I look for artists who have a fresh approach, and unique sound to their music regardless of genre. We are always looking for talented hardworking aspiring artists who understand that this is a business, not music camp!
We have just developed a new program that will launch the first part of 2009 called Boosweet Indie, where a couple groups, solo artists a year can earn a record deal with Boosweet Records. It is a new an revolutionary approach to finding talent and giving them a shot. For those who read this interview and are interested in finding out more about this program, they can email the label at promodept@boosweet.com.

Stoli: In closing please explain to my readers why they should check out the new CD “A Tribute To Stevie Wonder” and what we can look forward to from Boosweet Records?

Vernon Neilly: Concerning the CD and why people should get the CD, simply because they have never heard the musical works of Stevie Wonder done in the way this way before, it’s amazing! We have sold out on amazon.com several times already, the distributor has sold out already and ordering more, so this is just an affirmation that we did it in a way that people are really liking!
I just kind of touched on it, the Boosweet Indie program, it’s going to give that shot to artist who are not afraid to work for it. A lot of independent artist hit a ceiling and do not know why they cannot get past a certain level on their own. Well their is a reason and most of it is financial, and having access to certain things that make certain wheels turn is another!

Stoli: Thank you Vernon!

Vernon Neilly: Skope it’s always a pleasure for me to speak to you, and the readers of your magazine.

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An Interview with Vernon Neilly

September 9, 2005

News, Vernon Neilly

Vernon Neilly

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I recently had a chance to talk with my friend Vernon Neilly and ask him a few questions about his G-Fire projects, some of the legends he has worked with and his take on the music business. – Chris Juergensen, Recording artist and Director of Education at Tokyo School of Music.

CJ: You have worked with some of the best in the business, names like Johnny Guitar Watson, “Charles Brown and Motown” hit producer Norman Whitfield come to mind. What did these experiences leave you with?

VN: Chris needless to say each experience was incredible, not only from the opportunity to play with legendary artists, but to be a part of their musical experience for a moment. Working with Charles Brown was very unique, he gave me a lot of room to express myself creatively on the guitar, as a matter of fact her really appreciated the fact that I took a less is more approach in my playing. He was very humble, and I learned that this quality takes you a long way in the music business. Johnny Watson was more energetic, a more upbeat type of person who loved to joke and have fun, but don’t get me wrong, he was very serious about the music. Johnny also gave me freedom to play, but within the confines of his structure. In other words he did not expect me to play the solos he had recorded, I was free to play, but he was a stickler for playing the other guitar parts as they were written in the recordings. If you listen to his music you will understand why, everything had a place, he loved space in his music. Johnny really taught me how to be expressive playing the Blues and R&B on the guitar, by showing me certain techniques to really make the guitar talk like a human voice. He was very cool, one of a kind! In the case of Norman Whitfield, Whit taught me how to produce, my production skills, how to hear as a producer. Norman did not read or write music, but he had incredible ears, creativity, and a nose for talent, he could hear everything. I remember late night in the studio with him where he would have his head down on the console with his eyes closed, I thought he was sleeping, but the minute that he heard something that he thought was not right, his head shot straight up. He would either tell the engineers to fix something in the mix, or if we were tracking he would give instructions to us of how he wanted something to sound, or what part to play. He could not play be he would hum the parts to us. Whit taught me how to hear every little thing in the mix at once. I have so much to thank him for, I was only 21 when I was writing and producing for him.

CJ: Unlike most musicians, you have one foot on stage and one firmly planted in the music business world. What made you decide to get into the business aspect of the music industry and how do you balance being an artist and businessman?

VN: Chris it’s funny because I never had a yearning to own a label, production company, or anything of that sort until about 1987-88, I always just wanted to play, write, produce music, and have some company or label put the music out. I was part of a major deal with a group in the mid 80’s, and the people that we were working with totally ripped us off, took the money and ran. After years of hard work, we got nothing, I mean, absolutely nothing. Well after that experience I said never again, and slowly but surely I started educating myself about the business of the business. I started attending every conference, seminar, that I could about the music business, and started to learn the ins and outs of how the system runs. I did this from both the major label side, and more importantly for me the independent side. In 1992 I got into a partnership situation as co-owner of a label called Chereese Records, and this situation gave me the hands on training that I needed to understand running a label, and the day to day operations of running a record label. In the 8 years of being in this situation, there was not a function that I did not do for the label, it being a small independent. But this was a very valuable education for me because I understood all of the aspects of what it takes to run a record label, from looking for talent, signing talent, developing talent, marketing and promoting talent, different aspects of writing, publishing, licensing, acquiring licenses, the whole gamut. By the time that my partner and I decided to part ways, I was ready to form and run my own label, which I did. After working with artists in the former situation, I decided first that I would concentrate on my own career first, because I knew that I had the dedication and commitment to see things through. It is a very tough balancing act Chris, very tough because it takes so much from the business side to run the label efficiently, and successfully, it is a huge job, and responsibility. It makes it tough on the creative aspect, because I don’t have as much time anymore to sit down and write like I use too, I am too busy developing business for the label, and making sure that the projects are getting the maximum amount of exposure that they can. I do find time to practice though, and write, not as much as I would like right now, but I do. I have more help in the label now, so I can delegate some responsibilities to others, and I subcontract certain things to other companies that are specialists in certain areas as well. I still work 14-16 hours a day though!

CJ: Your last release, “G-Fire” was a big success for an independent release and your newest project; “G-Fire 2” has just been released. Can you describe the whole “G-Fire” project?

VN: The success of “G-Fire” was amazing in that I got more out of it than what I expected when I conceptualized the project. The whole idea behind “G-Fire” was to give some very talented friends of mine the opportunity to be heard and seen as artists instead of top industry sidemen in the session, and touring vein. I knew that we had some very good material on the project because everyone brought their A game to the table, but what I did not know is that we had a commercial radio song that was going to factor in heavily for the project getting massive exposure internationally. I sent a few copies out to different radio promoters, and I was referred to a longtime radio promoter in the smooth jazz genre, Roger Lifeset. From the very start Roger believed in our project because it was different than the normal smooth jazz stuff you hear everyday, and that’s because it’s not really a smooth jazz project, it’s more of a jazz-fusion project. It’s very diverse musically with a lot of different styles of music contained on the project, and some great guitar playing. Anyway Kevin Chokan, who is the musical director for Diana Ross, and guitarist for R&B superstar Jeffery Osborne submitted a tune for the project called Passin Thru, and that song immediately took off. We were getting most added at commercial stations for about a month and a half. The song did so well at radio that it opened the door for my label to sign a multi-year national retail distribution deal for the US territory. The CD ultimately ended up being one of the most played independent songs at commercial radio, and won us a Smoothie Award, along with folks like George Benson, Michael McDonald, Hall and Oats, Peter White, Mindi Abair, and other top artists of the genre.
With the success of G-Fire I knew that I had to come right back with something even stronger, that’s the way it works in the music industry, because you are only as good as your last effort. I made one change in the lineup, and that was to bring on a talent who had already had prior radio success with his Warner Brothers and Verve Records recordings, and is one of the top Jazz guitar talents in the world today, that person being Mark Whitfield. So we all started recording for G-Fire II, and in the meantime G-Fire was still out getting radio airplay around the world and creating sales. After getting all of the material in for G-Fire II, I sent out some test samples to Dj’s in the genre, and radio promoters to get a consensus on what they felt that the first single should be, and the choice came back overwhelmingly for a song called LFO, which was written and composed by Mark Whitfield. The song actually charted in the top 40 on the smooth jazz charts, and recently we just won our second consecutive Smoothie Award! We just released a new single Don’t You Cry about a month ago to radio that is doing well, but really kicking at internet radio.

CJ: Can you describe some of the other guitarists appearing on both G-Fire and G-Fire II CDs?

VN: It would be an honor, they are all world class players in their own right. I will start with Kevin Chokan because I have known him the longest, we used to swap gigs, or fill in for each other on gigs back in the 80’s on the local Los Angeles club scene. Kevin is originally from Canada, but grew up in Sacramento California. I met Kevin at a famous nightclub in L.A. called the Pied Piper where we both use to play. This club is where all of the L.A. touring musicians would either gig or hangout when they were not out on tour. We just hit it off immediately and have been good friend ever since. Kevin is the current musical director for Diana Ross, a position that he has held now for many, many years, and at the same time is R&B superstar Jeffery Osborne’s first call guitarist. He has also been with Jeffrey for many, many years. Kevin has also worked with Chaka Khan, Phillip Bailey (Earth Wind&Fire), George Howard, The Crusaders, Stephanie Mills, and a host of other folks. Morris and I call him White Chocolate because he is a super funky rhythm player.
Next will be Morris O’Connor, who is just a tremendously gifted musician period. Out of all of the very talented gentlemen who have participated in the G-Fire projects, he is the most talented. Like myself, he plays keys, bass, sings, and guitar, but on a very high level. Morris is from Chicago, Illinois, and like myself grew up in a musical family. I met Morris at a Namm Show in 1996 where we hung out, and we became very close friends after that. Morris attended GIT with Frank Gambale, they were classmates, and band mates. Morris O’Connor currently works with Stevie Wonder, and has for many years now. He has played at the Super Bowl, Olympics, been on every major television talk show in the US with Stevie. He has also worked with The Crusaders, Booker T, Jody Whatley, EnVogue, Rick Braun, Gladys Knight, Ellis Hall, Teena Marie, and many more artists.
Next is the Brazilian guitar wiz Miguel Mega. It is very interesting but very true how I met Miguel. I was turned on to him by a good friend of mine, who also has one of the biggest guitar sites in the world called, The Shred Zone, Nick Martinelli. Nick suggested that I check out Miguel’s music, which I did, and was very impressed, so Miguel and I started e-mailing each other. This eventually grew into a very close friendship, and we started making plans to do something together, well that something turned out to be an award winning CD called G-Fire, and a Brazilian tour. One of the most gratifying things for me with Miguel is, that I was able to help him become a more recognized artist in his own country, to help him gain a level of respect for his incredible talents among the guitar industry in Brazil. Since G-Fire, he has been able to get many product endorsements, tv commercials, and a much wider fan base, not only in Brazil but around the world. I have to also tell you what his association with me has brought about for me too, a business relationship with the largest guitar manufacturer in Brazil called Tagima. Tagima manufactures my signature series guitar called the VN1, which was designed by me. All of Tagima’s instruments are handmade from beginning to end from Brazilian woods, no mass production of any kind, they are incredible instruments to play. Also my business association with Brazil’s largest amplifier company called Meteoro (The Meteor in Portuguese). Meteoro builds amplifiers like Fender and Gibson use to build in the US years ago. Their tube amps are some of the warmest, and musical I have ever played, and very much comparable to the top of the line Mesa, and Marshall amps. When I perform soundmen are always asking where I get my amps from, they are incredible, Andreas Kisser from Sepultura also uses Meteoro amps. Lastly my business association with Giannini, who is one of the worlds top makers of acoustic/acoustic electric instruments in the world, once again all hand made. They have an acoustic guitar called the Craviola that is to die for. My whole point for bringing all of this up is that Miguel and I have created incredible opportunities for each other, starting with just e-mails.
Last but certainly not least is Mark Whtifield, who is and has been recognized as one of the Jazz genres top young guitarist to come along. Mark is an incredible talent who has worked with Wynton and Branford Marsalis, Herbie Hancock, Dizzy Gillispie, Nicolas Peyton, Jimmy Smith, Joey DeFrancesco, and so many top jazz and R&B artists. Mark also is the the personal protégé of none other than the amazing, legendary George Benson, and you can really hear George’s influence when he is playing. Mark is an award-winning guitarist as well winning several Gavin and R&R awards for his CD on Warner Bro’s and Verve Records labels, and now a “Smoothie Award for G-Fire II. Mark had the first single on the G-Fire II CD called LFO which is still playing in re-current rotation at commercial jazz station throughout the US. It’s groove is infectious, and Mark’s playing is brilliant in the solo sections. Mark is a fun guy to hang with, but very, very serious about the music, and music business.

CJ: What are the shapes of things to come regarding the music business?

VN: The music business will survive, there is too much money in it not for it too, but there are some major changes that have come about, and that are coming about. The music industry of even 2 years ago no longer is, and never will be, and this is because of the tremendous amount of independent labels and companies, like mine that are laying claims to some market share in the business. It is a great time for independent companies and musicians/artists if they are wiling to work their butts off to establish themselves in the industry. Never has there been a time such as now where the resources and opportunities to independents in the music business been so plentiful. What has spiked this independent growth is access to technology, and information that was not accessible before, and taking advantage of these things before the big labels did! The mere fact that anyone can get their hands on a portable recording device, computer recording software that allows them to record master quality products, a digital camcorder with high pixel resolution, that they can produce their own music videos, and DVD’s is revolutionary within itself. Do you think that if the major labels and music corporations saw this coming it would have happened? No way, but it’s too late! Most of major label talent these days, has been acquired from independent labels in every genre, think about that. The major labels are taking on the role of brokers, another words if you have a hot talent that has proven itself, they will sign it and put it in the big machine and grow what that Indie label already started. Now lets discuss media, in a few years most physical music media with the exception of DVD will be put out to pasture. As technology continues improve the transferring of digital files through downloading, and streaming protocols will become more and more the norm. You can already see it happening with the portable pod and mp3 devices, and you are seeing it because it just makes sense, you can even download current box office movies. Why carry around 5 CD cases of music when you can carry 1 pod or mp3 player with thousands of songs loaded in it, and it is portable. You can stick these devices in your pocket, on a belt loop, and by all means lets not forget the cell phones who already have media players in them, games, etc! Terrestrial radio is also in big trouble, more and more people are listening to Internet and satellite radio than ever before. Listeners of regular radio stations dropped 33% over last year, because satellite radio can be accessed from anywhere in the world via your laptop or desktop computers. You will see more and more vehicles in the future with XM and Sirius satellite radios in them, why because it just makes sense. If you are traveling across the country by car, bus, train, you can lock into your favorite program and listen for the duration of your travels without changing the station, plus 135 stations of choice is going to beat 30-40 on your regular radio playing the same ole stuff any day! I just want to mention that sites like Abstractlogix.com, and Boosweet.com are going to be the wave of the future for releasing your music to the world, I want to congratulate Souvik and his staff at Abstractlogix.com on a incredible job with their business model. The revolution has already begun!

VN: Chris if I may, I would just like to thank my sponsors who have been so helpful and supportive to me through the years. Seymour Duncan, Tagima Guitars, Cakewalk, Digitech, Morely, Sony Media, Xotic Effects, Levy’s Leathers, Meteoro Amplifiers, Giannini Strings and Acoustic Guitars, Samson Technologies, Aphex, Jim Dunlop, and Antares.

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An Interview with Vernon Neilly

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