ABout Me


Lamond Scott Turner (Born November 10th 1966) is an American Music Producer, Songwriter, Audio Engineer, multi-instrumentalist, DJ, entrepreneur, and artistic visionary. Professionally known as LST, Turner has been in the music writing and production space since 1990. Throughout his career, he has become well known for his willingness to take risk. Turner has always been motivated to produce unique, never-before-heard sounds; something that it not common in the current music industry. As his career quickly progressed, the Minneapolis native decided to start his own production company called LST Music. Throughout his career, LST’s biggest inspiration has come from his desire to create something different and special for his audience. His fascination with sound, music and electronics allows for a scientific approach to creating innovative music. LST continues to be involved in the musical space by producing and writing for labels and independent artists alike. As a professional, Turner’s goal is to preserve the art form of invention and creativity through original music-making. His lengthy experience in various aspects of the industry sets him apart from others in the space. 

 Occupation: Music & Sound creator- music & song arranger- Songwriting – Record producer – Mix engineer – Artist guidance. 

 Music Projects: Indie & Major recording artists & groups- Film- TV- Cable- Commercials – Advertisement. 

 Genres: Funk – Jazz – Neo Soul – R&B – Pop – EDM – Rock – HipHop/Rap. 

 Instruments: Keyboards – Synthesizer – Sampler – Drums – Percussion – Guitar – Bass Guitar – Brass. 

 Years Active: 1990 – Present 

 Website: Lstmuzic.com 


 Email: 21stcse@gmail.com 

 Instagram: @Lstmuzic 




No two songs alike. LST is known for risk-taking for the sake of invention.

 A huge inspiration for LST is to create something different and special for the listener.  

Ongoing success is found with independent artists and labels LST has composed and produced for.  

Turner says. A great reward for a recording artist is to actually be excited about their own songs and creations. 

Turner’s fascination with sound, music & electronics allows for a scientific and experimental approach to creating inventive music.


Turner’s composing and recording career began on a local level in 1990. Turner began with his production tag name as LST. He then named his new production company under the assumed name of LST Muzic established in September 10th of 1990. LST first became involved in producing “3 song demo” packages for local artists seeking major label deals, management & investors. 

In the fall of 1994. LST began working with Prince New Power Generation member Tony M aka The Deacon. Tony M and two other members from NPG started an indie label called MPLS Records. The record label now defunct, was set to release the debut album from Tony M in 1995 and then followed by other exciting supporting artists on the label such has Lil’ Buddy McClain and others. 

As more local indie labels began to surface. Many of the label owners hired LST to do full production on their album projects. Taking on the total responsibility of a professional music producer. LST began to not only compose, arrange & record the tracks. He also became more involved in the engineering and mixing process of making records. 

In 1995. LST found himself producing projects on a heavy schedule. Taking projects from studio to studio and working with numerous engineers. Turner was seeking to find one exclusive engineer to help develop and improve his sound. Turner connected with a young, ambitious, and innovative musician/engineer from Coon Rapids Minnesota named Christopher Blood. At the time. Mr.Blood was mainly recording and mixing Rock & mainstream projects. He however was open and welcoming to different styles & sounds that LST was currently producing. Learning, developing, and improving from each project that came in. Mr.Blood was instrumental and collaborative at advancing the LST sound into a more major & competitive sound. 

In the later 90s.Turner became connected with Los Angeles talent scout and casting director Trynell Williams. Ms.Williams, CEO & owner of Illsis Entertainment became a longtime supporter, advisor and agent representative for the music producer. Ms.Williams has advised and assisted LST on his work relationships with a huge variety of artists/labels & other worldwide prospects seeking his production. 

In 1999. One popular west coast indie label that took interest in LST’s sound and production was Skidog Records owner Jamerson Holloway. Working on location at Skidog Records recording studio in North Las Vegas Nevada. Mr.Holloway & LST spent numerous days & hours together composing and recording material for artists “2Sense,West Coast Anthem, Wildcard & Criminal Trigga B”. The energetic street sounds from these artists became quite a hit in the Las Vegas area. 

In 2000. LST connected with A&R guru and management giant Romello Moore. Mr. Moore was well known for his skills in connecting new names with big names. Moore is recognized for working with Death Row, Bad Boy, Universal Records and many other big names in the entertainment industry. Creating big opportunities and aggressively consulting artists. Moore would personally groom potential talent for success. He would coach and advise them on the truth and expectations involving the entertainment industry. For a period of time. Moore became LST’s manager and business mentor. At the same time. Moore also managed Mr.Cheeks from the popular group “Lost Boyz”. Moore first introduced the two while setting up a performance show with Mr.Cheeks for the annual BET Spring break event in Florida. From there the tour landed in Atlanta, DC, Tennessee, Maryland, Boston, and wrapped up with a final show in New York. While on the road. LST performed music production and mix engineering for various projects involving Mr.Cheeks. Other artists involved while on tour included Royce Da 5’9, Hannibal Lec, Shadow, and other guest artists. During this time. Moore also brought major label and management interest from Bad Boy Records, Universal Records and Violators Management team owners Mike & Chris Lighty to the table for three different acts LST was actively shaping and did production for back in Minneapolis. These names include WolfPack 1, Kardel, Young & Restless. Moore later began to pitch LST’s sound to major artists in the industry such as Mary J Blige, Common, Snoop Dogg, Mike Jones, KC and other names that took a serious interest in his sound. 

In 2000. LST bumped into music mogul “Master P” at Bernie Grundman Mastering house in Hollywood Ca. While LST was waiting for his scheduled session with mastering engineer Brian Gardner. LST and Master P began chatting in the lobby about life, making music and future projects. After the introduction they both exchanged contacts. A few weeks later. Master P gave LST a call and inquired about potential tracks for his son “Lil Romeo’s” album project called Gametime. Provided with a short description of what he was looking for. LST sent over three potential songs for consideration. Master P and the No Limit staff selected the first track submitted which later became titled on the album as “Feels Like Dancing”. With the upmost courtesy and hospitality. Master P flew LST out to personally record the session at the No Limit studio located in Sugarland Texas. Since the album was released in 2001. One Wikipedia page reports that the Gametime album has sold over 2.4 million units which awards it as over double platinum. 

In 2004. LST continued to invest long hours molding and recording new potential indie artists. He also took an interest in composing music for commercials, TV & film projects Working with pitchman Luke Eddins from Hollywood Ca. Eddins began to pitch and lock in several successful placements for some of LST’s projects. One track LST produced was for a popular Twin Cities rap artist named Kardel called “Club Rich”. This successful song placement played in the series “ER”, “Las Vegas” Mini series, NBC series “Jonny Zero” and “Barbershop II” movie trailer. Eddins also placed another LST produced track recorded with a popular local Twin Cities hip hop group called “Stereotype”. The song “Friday Night” became a trendy addition for the Lifetime network TV show “For One Night” starring Raven Symone’. 

In 2010. LST connected with one of the great pioneers of rap “Keith Murray”. Around this time. Keith Murray began to network with various producers & engineers to explore new and different sounds. LST and Murray connected and immediately began with a couple of unfinished mix projects that Murray needed to complete. Impressed with LST’s work ethic. Murray began to write rhymes to LST tracks and created some fascinating sketches. One of Murray’s amazing verses appeared on the LST produced dance track called “Give me the Beat”. The 2015 single also featuring the legendary female MC from Alabama named “Tam Tam” was a promising single that found itself popular in dance clubs and internet radio stations. 

Tam Tam and LST first met from networking on Myspace back in 2006. With Tam Tam residing in Huntsville Alabama and LST residing in Minnesota. This became the first of many projects in which the vocal recording and producing was all remote. The method of remote recording created a great opportunity to record songs with anybody anywhere in the world that knew how to record and send files. 

In 2015. LST wanted to experiment with Electronic music more. EDM styles and software synth creations were on the agenda. Coming up with the project title “LST Electronic Music Collective #1”. He quickly began composing and assembling electronic beats & grooves with arpeggiated synth chords, one-shots and modular synth fill-ins. Tracks like “The Future ft DJ Dime” & “1 Take ft The Kamillion” were definitely punchy club tracks while the song “Feel your body ft Demonica Flye” had a house/disco feel to it. The 3rd track on the project called Work It featuring Cleva & The Kamillion has a midtempo EDM synth groove feel to it. The arranged stutter vocals on this tune is reminiscent of the 80s character Max Headroom. Track #5 “Gotta Do Me” is an empowering strong arpeggiated groove featuring Tam Tam on rap vocals and amazing singer/songwriter Amanda Silvera from Vancouver BC on lead vocals. 

In 2016. LST decided to take a break from the hard driven Hip hop rap producing he was doing and wanted to reach back to the more soulful and funky styles he also enjoyed composing. Coming up with the project title “Organic Material”. LST visualized using more live instrumentation and invited some of his great musician friends to participate on the project. The project encompassed a mix of funk,jazz, electric fusion, spoken word, soul & P-funk. Some of the players involved in the project were Maurice Alan Jones(bass), Duane Smith(bass), Aaron Bellamy(drums), Bill Zahn(drums), Eric Leeds(sax), Demonica Flye(vocals), John Heinen(vocals), Rob Rogers(vocals), Gerald Cox(vocals), Tam Tam(rap), Jeson(rap), Truth Maze(spoken word) and Kimberly Remus(spoken word). LST himself played trumpet, guitar, keys, piano, organ, bass and percussion on the project. The Organic Material project release celebrates music freedom. Putting together grooves and being pure with creative ideas.

Production Influences

Nile Rodgers, George Clinton, Prince, Jimmy Jam & Terry Lewis, Quincy Jones, David Foster, Hank Shocklee & The Bomb Squad, Dr.Dre, Rick Rubin, Diane Warren, Daryl Hall, Imogen Heap. 

 Musical Influences

Stevie Wonder, Jimi Hendrix, Led Zeppelin, Prince, Parliament/Funkadelic, Rufus & Chaka Khan, EWF, Tower of Power, Gap Band, Fleetwood Mac, Jeff Lorber Fusion, George Gershwin, Thelonious Monk, Herbie Hancock, James Brown, Roy Ayers, Hans Zimmer, B.B. King, Bob Marley.

Early Life 

Lamond Turner is the youngest son of Winfield & Gladys Turner. Born in Minneapolis Minnesota USA on November 10th 1966. Lamond’s mother Gladys was a local flame room jazz singer back in the 50s & 60s. She performed under the known stage name “LaMay”. Gladys biological father Harry Chatmon was a member of the famous 1930s blues group “Mississippi Shieks” .  The Mississippi Shieks from Bolton Mississippi was a violin & fiddle ensemble that first became popular in the Mississippi Delta. Their 1930’s blues single “Sitting on top of the World” was inducted into the Grammy Hall of Fame in 2008. Lamond grew up with two older siblings. His sister Zara Turner studied piano at MacPhail Center for Music under the guidance of Martha Baker. She soon went on to study music theory at Oberlin college in Ohio. Zara went on to play a modest but professional career as a pianist and organist. Brother Tyra Turner along with Lamond both studied classical violin in their adolescent years. Under the guidance of professional violinist Edward Horack from the local famous ensemble “The Golden Strings”.While practicing violin. Lamond also began to study clarinet & bass clarinet at St.Helena grade school orchestra & band. Interested in playing other instruments. Lamond also studied trumpet, flugelhorn and percussion. At the age of 13. Lamond became involved playing synthesizer & guitar in amateur rock/funk bands around the Twin Cities area. Also at 13. Lamond was introduced to DJ’ing & Turntablism from his older cousin Randy J. Demmings aka “The President”.  Beginning a young life filled with music. Lamond became well involved in learning electronics, audio recording, sound, and the basics of becoming a young business entrepreneur. One influential person that came in to assist Lamond in learning business & promotions was a relative on the other side of the family named Frank Jackson. Frank saw great potential in Lamond’s anticipated skills in business and music. Mr.Jackson began to start finding local venues and halls to book Lamond to do DJ shows for local crowds and community events. Spinning under the name “LST” which stands for Lamond Scott Turner. His popularity grew under the name “DJ LST” in the local Twin Cities area back in the 80s/90s and early 2K. 

 Early Life Pt 2

While the DJ part of Lamond’s music endeavor quickly took off. The live band adventure didn’t do so well. Having issue with other band members not dedicated and not showing up to rehearse. It became difficult to get something going strong with the live band idea at that time. Back in the 80s. A small local band may be expected to play 5 or 6 cover songs and then maybe one or two original songs. The band usually was well rehearsed with the cover tunes but they would come up short writing and composing the original tracks. Most of the time. The band would rehearse upstairs in the South Mpls home Lamond grew up in. The band members would often leave their instruments and equipment behind so they didn’t have to carry them back and forth. While some of the bandmember would skip rehearsals and original songwriting sessions. Lamond found himself creating, playing & recording on each instrument that was left at the rehearsal space. Drums, synths, guitar, bass guitar, etc. Lamond would create and record each instrument part onto a 4track recorder. He would then bounce & layer each part, manipulating the 4track recorder to fit everything in that the whole band would play. After the instrumentation and arrangement was recorded. Lamond would then begin to craft the lyrics and vocal parts for the band. While frustrated with the band not working out. Lamond discovered a new and independent side of creating and making songs on his own. A mentor/friend of Lamond’s named Shahied Nuriddin became interested in Lamond’s skill to create and produce songs on his own. Shahied asked Lamond one day.. Hey’ Do you think you could put together a music demo for a girls group I’m starting? Lamond gave it some thought and reluctantly answered.. “Sure I guess so”. Shahied mentioned. “ I can get funding and pay you good money for producing the demo”. This was a great opportunity for Lamond to start making money in his new calling as a music producer. At that point. Other local managers and aspiring artists began to reach out to LST for production and creative songwriting.  

 Early Life Pt 3

Another big influence on LST’s venture into music production was heavily inspired by Jimmy “Jam” Harris. One half of the world famous FlyteTime production team of Jimmy Jam & Terry Lewis.  Lamond’s mother Gladys Turner owned/operated a beauty shop out of the family home. One of her clients and good friends was Jimmy’s mother Ms. Bertha Harris. Both mothers always encourage their sons and others to pursue what they were after and make the most of it.  Jimmy jam back in the late 70s to early 80s was a popular and very innovative club DJ/musician in the Twin Cities area. Knowing that Lamond was younger and deep into music & spinning. Ms. Harris thought it would be a great idea if Jimmy could show Lamond a few things about spinning records.  Being under age and not able to get in the dance clubs where “Jam” was working. Jimmy invited Lamond to come down to a local neighborhood spot for urban teens and younger people called YASSAM. Jimmy Jam and his band The Time (1981) was rehearsing for a show performance they were doing at YASSAM that weekend. Lamond walked in while the band was rehearsing and saw Jimmy on keyboards along with Morris Day, Jellybean Johnson, Monte Moir, Terry Lewis & Jesse Johnson all working their butts off. There was another young man in the middle rehearsing with these guys and that would be Prince. At the time Prince’s first album “For You” was out and “The Time” was just about to release their first album “The Time” (1981). Lamond & Jimmy Jam chatted for a great length of time in between rehearsal breaks. In 1984. Lamond was a junior at Washburn High School in Mpls. He would walk home after school down Nicollet Ave. After fired by Prince. Jimmy Jam & Terry Lewis started Flyte Time studios in a small building on 43rd & Nicollet Av ins South Mpls. Quite often Lamond would pass by the studio on the way home from school and see “Jam” outside the building. Jimmy sometimes would invite Lamond inside just to look around and chat about production and the music business. Each of those small chats & visits were highly inspirational and valuable to Lamond. To be able take in the knowledge of studio equipment, the recording & mixing process, publishing & negotiating deals. Jimmy ”Jam” Harris was a very influential part in the beginning of LST’s introduction into the major production business.

DJ Life 

Turner started making mixtapes while in the 8th Grade. Using two cassette decks with pitch control and a 4channel Radio Shack mixer. Turner would sell a 60minute tape for $6 bucks and a 90minute tape for $9 bucks. Most of the neighborhood kids and school classmates would buy and enjoy Turner’s mixtapes on a regular basis. Feeling the need to make better quality mixtapes. Turner explored the world of turntables and DJ’ing. 

He discovered a distant relative that was a DJ on the southside of Minneapolis named Randy Demmings. (DJ name“The President”). Demmings had a huge collection of vinyl and owned a set of turntables along with a complete sound & lighting system. Demmings was quite popular and would spin at all the local spots. He would DJ outdoor events and at various community centers in the Twin Cities area. Turner would periodically hang out in Demmings basement and would learn the skills of blend mixing and cutting vinyl from Demmings. As Turner quickly became more skilled at spinning. Demmings brought Turner to his shows to be the backup DJ and the opening act in many cases. Turner later saved enough cash to buy his own setup and began to do his own shows around town. Wanting to stand out and make a statement. Turner practiced many hours learning how to do advanced blend mixing, cutting & scratching on a professional level. One DJ skill LST would perform would be spinning on three turntables at the same time. He effectively mastered the skills of beat-juggling, innovative scratching and unbelievable long blend mixing. 

As the locals started to notice what he was doing. Turner decided he needed to have an identity for his DJ image. Taking the initials from his name “Lamond Scott Turner”. He assumed the DJ name“LST”. As LST began to expand his brand. He would perform at many of the local and regional spots in the Midwest area. For the Hip hop and breakdance events. LST would feature local MCs and DJ’s that would join the set and perform, making it more of a Hip hop street cultural gathering. 

At 18yrs old. LST met a new friend named Matthew Zimmerman who was also a musician, DJ, audio engineer and tech guy who worked at the famous local club “First Avenue”. On the other side of the main club was another smaller club called the “7th Street Entry”. Every Saturday afternoon the Entry would host a Hip hop gathering for young people under 21. There would be a DJ spinning Hip hop/breakdance music. There was also open mic, pop-lockers and breakers at the spot. One Saturday there was an open invitation for someone to guest DJ. So LST decided to jump in and do a short set. Impressed with his cuttin’ & scratchin’ skills. Matthew exchanged info with LST and invited him to come back down the following week. After a few weeks guest spinning. Matthew introduced LST to Paul Spangrud who was one of the main figures running First Avenue at the time. Both Paul and Matthew were quite impressed and supportive of this young aspiring DJ. Paul and Matthew gave LST the unique opportunity to guest DJ once in the First Avenue main room for the over 21 crowd. A little different from the normal club DJ. The crowd enjoyed LST’s performance and this became a new inspiration for LST to respect and learn more about club DJ’ing and the challenges of spinning in a dance club. 

Toggling back and forth between Street spinning & Club spinning. It became mandatory for LST to expand his record collection to stay ahead of the curve. He joined a popular local DJ pool called Wide Angle records. Owned and operated by Jerry Sylvers & Walter McClean. LST would stop in every week to pick up his order of vinyl to cover both Club & Hip hop. In time. Jerry got to know LST better and would always assemble a nice custom stack of vinyl to cover various styles of music he was spinning. Jerry would also introduce and encourage LST to check out other unique styles and variations of music to spin which he later found to be a good reference when producing his own music. 

In 1993. LST also got into the business of running a Mobile disc jockey service. He established a licensed professional business called Showtyme Entertainment. This mobile disc jockey service would do weddings, school dances, private parties and corporate events. The business relied on several other DJ’s and employees to run successfully which became a failed challenge for LST. While juggling this business, expanding in music production projects, and living an active life. LST decided to close down Showtyme Entertainment and focus more on music production and just do some local spinning. In 1995. LST joined in with fellow DJ friends Todd Hunter aka DJ Cowboy, Troy Foster aka Rockit T , Ray Seville and Al bell who ran DJ teams that would covers various bars & clubs each week. They would spin at local spots like (Williams Pub, Gatsbys, Chi-Chi’s, The Riverview, The Warehouse and other spots). LST would also spin at other local places such as Glam Slam, Quest, and Knickers Pub located in southside part of Minneapolis. In 2000. LST eventually retired from spinning to focus full time on music production and the music industry. The humble beginnings and the love for entertaining. LST still practices and keeps up his DJ skills today.

Childhood facts: 

Turner attended private school from K-8. He then attended Washburn High School 1981-1985. In high school Turner studied all basic classes along with intermediate electronics and advanced English. In 1982 he studied radio broadcasting at KBEM North high school for two semesters. Post high school. He took courses in electronics and circuit building. Turner also grew up with an interest in martial arts. He began his study in Karate & Taekwondo at age 13. He later moved to the style of Chun Moo Quan and soon after studied Wing Chun & Southern Praying Mantis under Gin foo Mark in St.Paul Mn.

Turner also did some boxing training at age 14 with Bill Kahan from the Golden Gloves boxing team at U of M college in Mpls. In his younger years. Turner was involved in many recreational activities such as football, baseball, basketball, BMX biking, roller skating, fishing and more. Turner also began earning money at 12yrs old by delivering newspaper, cutting lawns, shoveling snow, odd jobs and selling his own DJ mix tapes at school. At 14yrs old he would work summer youth jobs and would do dishwashing at local restaurants for extra cash. His father Winfield Turner was a hard working construction laborer and carpenter. He would teach Lamond how to build small wood projects as well as fixing and repairing practically everything around the house. In his late teens to early 20s. Lamond enjoyed the exciting hobby of building custom cars and lowriding.