Growing up in a musical household and exposed to his parentsโ eclectic record collection that included the likes of Eric Clapton, Ry Cooder and Dire Straits, he was particularly drawn to the guitar โ being taken by his parents to an Eric Clapton concert left the young Sayce awestruck and in no doubt about which was the instrument for him.
By the time he was 15 he was playing guitar in his first band; he was up and running. He soon became a regular fixture on the Toronto club scene, where his fluid soloing and mesmerising overall musicality turned heads an earned him many fans. With an insatiable appetite for jam sessions at the likes of Grossman's Tavern in Toronto, Sayce began rapidly distilling his own singular guitar style and tonal palette from a melting pot of influences that included such greats as Clapton, B.B. King, Buddy Guy, Jimi Hendrix, Robert Cray, and in particular Stevie Ray Vaughan, to whom he is, understandably, probably most often compared.
While still a teenager, Sayce was held in such high regard that, after jamming on stage with one of his heroes, guitar player and fellow Canadian Jeff Healey, he was invited to join Healeyโs band. Sayce was now living the dream. He can still remember the first time he heard Healey โ and the effect it had: โIt was in a supermarket car park. I was 11 and my parents had gone into the store. This song, See The Light, came on and I was just overwhelmed. I literally punched the radio.โ
After three-and-a-half years with Healeyโs band, playing with them at the Montreux Jazz Festival and at gigs around the world, Sayce, the apprentice having learned well from the master, felt it was time to move on.
Looking to further expand his musical horizons, in 2001 he moved to Los Angeles. He joined Uncle Kracker, and was with the band when they had their massive US No.1 hit song Drift Away. He starred in and wrote the music for the short film Cockroach Blue, directed by the award-winning Robert Crossman, which received high acclaim when it was shown at the Woodstock Film Festival. Then, in 2003, Grammy and Oscar winner Melissa Etheridge came calling (โvery talented โ like Stevie Ray Vaughan,โ she enthused), and he enjoyed an โawesomeโ time playing and recording with her band until 2008.
During his stint with Melissa, Sayce released his debut solo album, Peace Machine, using what he describes as Etheridgeโs โshit-hotโ band and producer Michael Nielsen. Recorded live in the studio in just a couple of days, itโs full of raw, high-energy, low-maintenance retro-blues delivered with startling punch and real style, and showcases Sayce as a soulful, powerfully expressive vocalist as well as a supremely talented guitarist and all-round musician. The album also includes a crunching version of the Neil Young classic Cinnamon Girl, the song often a resonant inclusion in Sayceโs thrilling live shows.
And live is where Sayce, his jam-club years in his pocket, shines brightest, he and his band performing with a potent mixture of power and finesse, the guitarist regularly pulling the trigger and unleashing visceral, mesmerising solos. And while theyโre checking out the hot licks, itโs clear that many of the girls in the audience are equally taken by the good-looking guy with the swept-back blond hair and charisma to spare. If youโve got itโฆ
May 2010 saw the release of, INNEREVOLUTION, recorded with his live band - keyboardist Fred Mandel (Queen, Supertramp, Elton John, Alice Cooper), bassist Joel Gottschalk and drummer Ryan MacMillan (Matchbox 20). This collection of songs, some co-written with Richard Marx, busbee, Mike Bradford, Dave Cobb and Marti Frederiksen among others, further establishes Philip Sayce not only as one of the finest blues guitarists around, but also as a musician, singer and songwriter with tremendous talent and potential.
โRichard came out to a show and we immediately hit it off,โ Sayce explains of how he came to write with Richard Marx. โHe's a massive talent and to have the opportunity to collaborate and learn from him is something I am grateful for. Anyone I collaborate or co-write with, the goal is to be open and learn, and I've been blessed to work with some of the best of the best.โ
More varied than Peace Machine, and overall more sophisticated and more polished in terms of songwriting, sonics and performance, Innerevoltuion is a stylish, engaging and thrilling album that should bring Philip Sayce to the attention of a bigger and wider audience.
With Peace Machine, Innerevolution, Ruby Electric, Silver Wheel Of Stars, and Steamroller, Philip Sayce continues to write his own chapter in the long and continuing history of popular music. And itโs clear that this gifted young musician has many more pages yet to write.
Out Of My Mind
Philip Sayce Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Don't know your name
But I can't get you out of my mind
A rollercoaster
Drive me insane
But I can't get you out of my mind
Can't get you out of my mind
Can't get you out of my mind
Can't get you out of my mind
You make me rumble
You make me sick
But I can't get you out of my mind
Girl you bit me like a rattlesnake
But I can't get you out of my mind
Oh, can't get you out of my mind
Can't get you out of my mind
Can't get you out of my mind
Can't get you out of my mind
(Uh huh, uh huh)
(Uh huh, uh huh)
Yeah
Let's Go
Can't get you out of my mind
Can't get you out of my mind
(You know what I want)
Can't get you out of my mind
Can't get you out of my mind
Can't get you out of my mind
Can't get you out of my mind
Can't get you out of my mind
Can't get you out of my mind
Can't get you out of my mind
Can't get you out of my mind
Can't get you out of my mind
Can't get you out of my mind
(uh huh, uh huh)
(uh huh, uh huh)
Let's Go
The lyrics of "Out of My Mind" by Philip Sayce talk about being completely infatuated with someone despite not knowing their name or even how to contact them. The singer is frustrated by his inability to stop thinking about this person, likening it to being on a rollercoaster ride that is driving him insane. He admits that this person may be bad for him, making him feel sick and bitten like a rattlesnake, but he still can't shake them from his thoughts. The repetition of the phrase "can't get you out of my mind" throughout the song highlights the obsessive nature of the singer's thoughts and desires.
This song captures the all-consuming feeling of infatuation, where even the smallest interactions or moments leave a lasting impression on the mind. The rollercoaster metaphor also represents the highs and lows of a relationship, with the singer acknowledging that the person may be bad for him but still unable to let go. The chorus's repetition shows the extent to which this infatuation has taken over the singer's thoughts and mental space.
Line by Line Meaning
Don't know your number
The singer doesn't have the contact number of the person he's thinking about
Don't know your name
The singer doesn't even know the name of the person who has been on his mind
But I can't get you out of my mind
Despite not even knowing the person's name or number, the singer is unable to stop thinking about them
A rollercoaster
The singer is experiencing a tumultuous and unpredictable emotional ride
Drive me insane
The emotional turmoil is beginning to take a toll on the singer's mental state
You make me rumble
The person the singer is thinking about is causing physical and emotional sensations within him
You make me sick
The strong emotions the singer is feeling towards the person are overwhelming and making him feel physically ill
Girl you bit me like a rattlesnake
The singer is comparing his experience to being bitten by a venomous snake, indicating the intensity and pain of his emotions
Oh, can't get you out of my mind
The singer reiterates that he is unable to stop thinking about the person even though they are causing him emotional distress
(Uh huh, uh huh)
Vocalizations/musical interlude
(Yeah)
Vocalizations/musical interlude
(Let's Go)
Vocalizations/musical interlude
(You know what I want)
Vocalizations/musical interlude
Can't get you out of my mind
The singer reiterates that he is unable to stop thinking about the person despite their negative effect on him
(uh huh, uh huh)
Vocalizations/musical interlude
(Let's Go)
Vocalizations/musical interlude
Writer(s): David W.Cobb Jr, Philip Owen Sayce
Contributed by Gavin W. Suggest a correction in the comments below.
Jason Polen
He just attacks that strat on every lick. He's a monster.
Clark Engelbert
Some of the best guitar playing in the world. Pure, raw emotion, and weirdly enough, total control at the same time. Also whoever mixed this at the radio station deserves a medal. This is some of the best live recording Iโve ever heard.
Jones
Stevie RV would be proud if he could see this guy shredding!
Billie Pulera
He's untouchable, he gets the SRV comparison a lot but for me i prefer Philip Sayce all day long.
Diana Rein
So freaking good! Goosebumps the whole time. Jaw dropping performance! You guys are an amazing trio.
WV
This guy is like a well oiled machine. Incredible.
Rob Leon
Diggin' the Hendrix vibe on this one. Philip is amazing!!!
Joshua York
Phillip Sayce straight up channeling Hendrix when he plays. Amazing!
Joseph Etherton
damm i cant stop watching this video over and over. its friggin awesome. i get chills at around the 3:15 mark
Ramon Velarde
This is pretty awesome!! I loved that he quoted The Beatles (Tomorrow never knows) at the beginning of his solo! Badass!