Blessed with an excellent tone of voice and great guitar and piano chops, the multi-talented Susan Werner place everything together and was over the cusp of success with ever-larger U.S., Canadian and Western european viewers. Her major-label debut, Last of the nice Straight Young ladies (1995), on Personal Music, had been consumed up by adult choice record radio stations throughout the U.S. But 2 yrs afterwards, her record firm was unceremoniously merged into Windham Hill, another subsidiary of BMG, in early 1997, sending her discharge out of print out. Werner was raised near Manchester, Iowa and produced her first open public performance at age group five, playing electric guitar and performing in her cathedral. At 11, she started playing piano. In senior high school, she performed saxophone in jazz combos and sang in play productions. Werner went to college on the School of Iowa, where she gained a qualification in tone of voice. She continuing her research at Temple School in Philadelphia, where she also examined opera. After she made a decision to end her budding opera profession, Werner became motivated after seeing Tx folk vocalist Nanci Griffith. She was using a jazz trio when she started taking her electric guitar around to coffeehouses over the folk circuit in Philadelphia, NJ and NEW YORK. She documented and self-released her initial record, Midwestern Saturday Evening, in 1993, and begun to build a appealing profession as a modern folk vocalist. Her eclectic and offbeat group of affects produced her a relaxing face within a ocean of singer-songwriters over the Philadelphia coffeehouse circuit. Werner cites as affects people like Griffith, but additionally Jacques Brel, Thelonius Monk, Joni Mitchell, Sting and jazz diva Shirley Horn. After getting a supervisor in Philadelphia, Werner documented a second record, 1994’s Live on the Tin Angel. That record helped provide her to the eye of professionals at Personal Music/BMG. Werner’s solid but short-lived debut for Personal, Last of the nice Straight Women, was made by previous Lou Reed bassist Fernando Saunders. Guests consist of Mitchell Froom on keyboards (an excellent manufacturer in his very own right), in addition to Zachary Richard and Marshall Crenshaw. The tracks include cultural commentary, introspective personal diaries of romantic relationship troubles, and also an excellent reading of Paul Simon’s “Something Therefore Right.” TIME TAKEN BETWEEN Trains implemented in 1998.
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|Greetings from Pittsburgh: Neighborhood Narratives||2008||special thanks: short "Tommy and Me"|
|Great Performances||1996||TV Series||Herself|
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