“When the economy tanked I became hyper focused and decided to do what I should have done ten years ago, which is to make my record,” says singer – songwriter and producer Sarah Taylor and she is right, because although music fans have enjoyed listening to Sarah Taylor sing backup vocals with an iconic array of artists spanning numerous genres this is the first time that Sarah Taylor’s vocals have been showcased when she has been a solo artist. She has recorded and performed with an iconic array of artists that include; Chaka Kahn, Melissa Etheridge, Burt Bacharach, Olivia Newton John, LL Cool J, Quincy Jones, Joe Cocker, Brian McKnight, Tanya Tucker, Kenny Loggins and Kenny G.  Her vocals and original songs have appeared in film and on television and along with her husband Paul Horabin she forms one half of what is considered to be a prolific production team, recording out of their own studio ReadMix Music, located in the NOHO district of Los Angeles.

 Earlier this year Sarah Taylor collaborated on an album with Paul Horabin and her longtime friend, musician, songwriter and actor Bill Mumy to create The Cure To Everything, consisting of thirteen songs, which range from the downright swampy feel of “Bad Medicine,” to the southwest rock – bluesy feel of “Don’t Give A Damn,” and a cover of the Lennon / McCartney “I’ve Got A Feeling,” featuring incredible instrumentals and highlighting the soulful, yet edgier side of Sarah Taylor’s vocals, as she is gritty and at times her wails are reminiscent of Janis Joplin in her prime. At times, on “I’ve Got A Feeling,” Taylor trades verses with Mumy and Dave Pearlman’s guitar growls, while Gerry Beckley plays Wurlitzer electric piano and Fritz Lewak is on drums and percussion.

 “For everybody who played on the record, it was really about what was going to serve the final product. I know a lot of musicians and musicians who are jaw dropping great and then you ask what is it that we are trying to do here? Well it is this; this is the color and these are the hues of what I want this to be, so you think about it. I think to really be successful on music projects, the name of the game is listening to yourself, being true to yourself and also trusting the people around you and letting them do their thing. I don’t have to go out and hyper manage and second guess them. These guys know, they know more than I do, so I let them do their thing. Doug Hamblin and I have known each other for a long, long time and he is a fantastic guitar player. I didn’t know David Sutton really well, but if you love Lucinda Williams and you are trying to do a record that you want that vibe pulled in, wouldn’t it be really smart to play with Lucinda’s bass player? Then David said Fritz Lewak is a great drummer and you will love this guy. He is perfect. He brought Fritz in, who plays on “Man Of Pride,” and “I’ve Got A Feeling,” and another one that isn’t on this record, but it will be on the next record. Bill (Mumy) and Weird Al Yankovic have been friends for years and years and years and I had met Al at Bill’s house socially, but I didn’t know him well and I never played with him. Bill thought that he would be perfect for several of the songs and so he played accordion on (the album). Gerry Beckley co-wrote “Man Of Pride,” with Bill so Gerry was happy to come down and play. He brought his Martin (guitar) down and played. Gerry also played the Wurlitzer and the keyboard part on “I’ve Got A Feeling.” Steve Baxter the trombonist is a great session player and he was recording next door with Paul’s uncle on his own CD and I liked him so much.  He played on “Great Domain,” the first song that we recorded.  He walked in from the studio next door, with his trumpet, he walked into the booth, did a couple of takes and they were both fantastic,” says Sarah Taylor as she recalls the recording of The Cure To Everything. 

The connection between Sarah Taylor and Bill Mumy goes back many years. “Bill (Mumy) and I met a bajillion years ago. We liked each other right away and we became friends.  We remained close friends ever since and I introduced him to his wife.  We have worked on a lot of projects together, we have written together and I have recorded a lot of songs for him and with him. We have played on each other’s (albums) and we are joined at the hip. He called me up one day and he said that he had this idea that he thought we should do together. He said he had this handful of tunes and that some of them went way, way back and some were more current. He thought we should get together and work on something that was more acoustic driven or organically driven, kind of like Raising Sand, the Robert Plant and Alison Krauss CD. I said that is brilliant. Paul and I had just got ReadyMix (the recording studio) and it was still being renovated, so the idea was to do it in the studio, as the first project that we would do. Paul thought it was a great idea, because it would be a great project and a great christening party and it would also allow him to iron out bugs, while getting to know the room acoustically. When the studio was ready to go, we started working on The Cure To Everything,” she says.  Read more