Check out SO LO on Crossroad Press, iTunes, Amazon and reverbnation!

I've sat down with Craig with 2 guitars & - to quote Joni Mitchell - "poured out the sorrow to the sound hole & the knee". He's a phenomenal guitar player -- try for instance, "Fade 2 Black" or "Lonesome Lullaby". But layered over that exquisite guitar, you'll find stunningly difficult & beautiful lyrics. Listen to "Cold Wind Blowing". A stunning song. And "2 Make 3 Make 1", "One 2 Go" are so marvelous & so delicate the way the guitar notes swim around an achingly human voice. The aptly named "Pain" honors any suffering you've ever experienced. "Love is Just a Word You Say" speaks directly to the modern addiction of throw-away relationships ("chemicals in the brain")... And yet, in his own voice, broken, even lacerated, he insists adamantly that Love is real. That's a heroic act. In these songs lies a willingness, an openness to say what is - to speak as a human. Sometimes that requires looking at our suffering - and refusing to stop there - turning them into delirious song. ~ John Terlazzo (renknowned musician, poet, playwrite, York PA)

From 1998-2009, Spector had the great and singular privilege of playing with two of the greatest musicians he has ever known -- Guitarist/vocalist/songwriter PRESTON STURGES, JR., and Drummer/Percussionist RICHARD CHRISTIAN MATHESON. There was an instant musical chemistry that only grew deeper as time went on.

The three became both fast friends and a unique powerhouse trio, the likes of which the world writ large never truly got a chance to see. But the music they created under their collaborative venture, SMASH-CUT, will stand the test of time.

Unique yet accessible, driving and nuanced, from the gestation of Sturges' brilliant song seeds they co-created something purely original, and ready to stand any stage with anyone and hold their own. Their live presence was instinctive and hypnotic, a sound that contained more layers of melody and counterpoint than any three musicians should be able to lay claim to.

In the eyes and ears of an artist, it was the negative as well as the positive spaces that they so richly and seemingly effortlessly inhabited. It was just simply, SMASH-CUT.

A true band of writers, and brothers -- all accomplished novelists, screenwriters, producers and directors in their own right, spanning stage, TV, and the big screen, and with cumulatively a hundred years of musical experience between them -- they forged a seemingly inseperable bond.

Some things only come with mileage. Pity though, that their shared road parted too soon. But for the better part of the decade that bridged the last century to this, they were there. And they have the songs to prove it.

Some of them can be heard here. With any luck, one day the world will hear the rest of them.

“Long before there was Craig Spector, Writer, there was Craig Spector, Musician, who, from an early age, had been weaving narrative webs of sound. Like his novels (the Skipp/Spector collaborations THE LIGHT AT THE END, THE SCREAM, et al; and solo works such as the emotional sledgehammer, TO BURY THE DEAD), his compositions were emotionally charged, visual, evocative and superbly crafted. Despite sonic collaborations with former writing partner, John Skipp (1992?s THE BRIDGE album, inspired by the novel of the same title), and the shamefully unreleased SMASH CUT CD, a decade long collaboration with fellow writer/musicians Richard Christian Matheson and Preston Sturges Jr), Spector’s impressive body of work has largely remained hidden away from public ears.

Until now.

Thanks to North Carolina-based Crossroads Press, who recently released the 25th anniversary eBook edition of THE LIGHT AT THE END, a long starved, faithful audience can finally feast on the works of Spector The Musician with the release of SO-LO, a rich, powerful eCD which is guaranteed to surprise the writer’s worldwide legion of fans and inevitably generate a new audience for the multi-talented storyteller.

After reading early SplatterPunk 1.0 horror classics from Skipp & Spector, no one could blame eager listeners for expecting mid-period Metalica Kirk Hammett frantic power riffs tempered with Journey melodies, but what we have here is the illegitimate love child of post-rehab Steve Earle and post-Velvets Nico wrapped up in a blues blanket of sorrow and loss and the endless search for love; Springsteen’s stripped down Nebraska era lyrics of longing, but without the Tobacco Road desolation. Surprisingly, some of these songs caress you like a lover’s lullaby. ”

~ Philip Nutman, Journalist [Rolling Stone, Fangoria, Dread Central]