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A Man of Many Different Parts – New Music from Andrew Sheron

13 Jan

Andrew Sheron

 
Andrew Sheron is a multi-instrumentalist from Brooklyn, NY who refuses to be bogged down by genre constraints. What do I mean? Sheron’s nine-song debut release Travelling Time which he released with his band Everyman of Parts is an excellent example of musical diversity. I cannot label it because each song has its own distinctive flavoring. The album is like a layered dip – you scoop the concoction up with a chip and, is that guacomole?
 
Travelling Time , which can be streamed in full for free on Everyman of Parts’ bandcamp (click Travelling Time), features a wide gamut of influences. We move from conventional folk to funk to alternative metal to classic rock to jazzy piano. When an artist attempts to tackle so many influences in nine songs the result is usually disastrous, but Sheron and his band delicately interweave these influences back-to-back so listeners are able to follow along and enjoy the music.
 
The best way to review an album like this is to just get to the music. The curious bunch has already clicked on the link above and are listening to some of the songs. If you haven’t, no worries, I am going to highlight a few tracks from the album that I am enjoying on my first listen.
 
Before I get to this, some long-time readers of the Music Court may recognize the last name Sheron. You are not losing your mind. He is related to Daniel Sheron of Balto who we featured way back in April of 2011 (okay not really way back). You can read that post here.
 
Now let’s move on with the show.
 
 
We are starting with an upbeat tune called “Display Case” that infuses indie sensibilities with pure funk. I think the funky, skillful guitar is well done by Sheron. The piano, which is also played by him, carries this 60’s Hammond organ theme that I not only enjoy, but also respect. I love tangible hearing classic rock influences in modern music. The backing horns in the culminating choruses are excellent – credit to Joseph Peterson – Trombone and Marc Plotkin – Alto Saxophone  as well as the horn arrangers Anne H. Goldberg and Sheron himself. This is a treat.
 
 
“Are you Cold” begins with a simple Cat Stevens’-like acoustic guitar riff. This song features Sheron’s voice which is smooth, tender, and emotional. He is clear and concise. The lyrics are able to shine through and gems like the lyric, “I wonder if she’s beautiful to me because she’s frail, and if under her distrust and pain I’ll find my holy grail,” shine. The song rises with strings and bravo to Christopher Marion – Strings & String Arrangements – the strings are perfect, especially the end. The harmony that creeps into the song before Andrew Sheron’s awesome falsetto is wonderful. The song is itself a beautiful portrayal of insecurity.
 
 
I am bouncing between tracks. This is track three on the album and, wow, a bit of a difference right. This was what I labeled alternative metal. It seriously sounds like Rage Against the Machine. And it is so unexpected. The grunginess in the vocal is actually well done. There is an interesting harmony that meshes well with the highlighted blues. There is also a wall of sound effect that the heavy guitar and drums (excellent in every song – kudos to Alex Raderman) fosters.
 
 
The last song on the album, “The End of the Rope” is my favorite. There is an obvious soberness to the sound but that does not mean that the song is downright lachrymose and depressing. No. I feel that it is more just an introduction to the neat jazzy part that you are about to experience. Wait for it. Yes, there is the piano. Sheron is a great musician. This airy solo features so many influences. There is an element of bassy grunge, acoustic folk, jazzy piano, and vocal honest. It is a perfect close to an excellent debut release.
 
Visit the band’s website, Facebook, Twitter 

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Ramblin’ with the Acoustic Bluesy Tunes of Jacob Miller

25 Oct

Jacob Miller

 When I interviewed Jacob Miller I asked him what I ask every musician that I interview. If you were stuck on an island with only access to three albums what would you choose to listen to for an extended period of time. Miller, a 21-year-old blues/country/ragtime acoustic fingerstyle technician originally from Wisconsin, answered, “Townes Van Zandt’s Flyin’ Shoes, Tift Merritt’s Another Country, and Ton Van Bergeyk’s Lulu’s Back in Town.  And I thought, wow, how diverse and fitting for his cited musical genres. We have Van Zandt’s country croon, Merritt’s twang, and Van Bergeyk’s insane finger-picking guitar skill. “All on vinyl,” he completed his list with a laugh.

Miller is a member of a special breed of modern musician, one who does not do a disservice to his inspirations, but rather carries on the warm tradition of their music. His unique brand of bluegrass and ragtime inspired finger-picking is peaceful and the tunes emit an effortless Nick Drake-like relaxation, but they also are effervescently folksy in the vein of Dave Van Ronk and early Bob Dylan.

“That Same Old Feelin'” is a great song to open Miller’s collection with. This, and 12 other tracks appear on Miller’s debut album Blue Ridge Ramble, a hearty, mature career opener and a great buy. “That Same Old Feelin” encaptures the sunny afternoon, on-the-porch, feel; so acute, you almost feel that you are there sipping a cold beer.

Fittingly, this is exactly what Miller was going for with the album.

“Laid back is definitely the feel I’d like to portray with my music,” Miller said. “The majority of my time West was spent on the porch playing and drinkin’ with friends. The old time style just seems to paint a simple picture; something that’s easy to fall into.”

Miller, who first picked up an acoustic guitar (his aunt’s) when he was 12, moved to Portland, Oregon, at 18, with intentions to pursue music. “I moved into a house of phenomenal folk/blues traveling kids,” Miller said. “I became enthralled with old time, backcountry blues, and bluegrass from the early-mid 20th century. A good friend and housemate of mine, Cliff Mitchell, introduced me to finger-style ragtime and things just seemed to escalate from there.”

Miller continues to put in the time and effort to study the genre and better his ability. That is refreshing. He is only 21 years old and the talent simply oozes from him. Let’s check out another tune from the album.

“Bone Orchard Blues” is my favorite song off of the album. The verse is obviously carried by the creative, repetitive guitar hook that is so reminiscent to traditional blues that it is like someone reincarnated Mississippi John Hurt (whom Miller cites as an inspiration) and put him in the recording studio. Miller does not have Hurt’s deep croon, but his droning, one-tone vocal style fits the depressed blues lyric well. It’s impressive sophistication. And, in the style of his blues inspirations, Miller is currently traveling with no particular destination in mind.

“As far as touring, my plans are ever-changing. I’ve spent this last year traveling around without a clear destination.  But it’s nice, as I seem to stumble upon shows to jump on rolling through the various towns I’ve stayed in. I’m currently in Arizona for another week or two and plan on catching a greyhound to California to stay with some friend for a bit.  I plan to busk some while in San Fran. Afterwards I’ll be making my way back up to Portland to visit some family and play as many bars/venues as I can find.  From there, it’s pretty open-ended.”

To check out and buy Miller’s first release visit his Bandcamp – http://jacobmiller.bandcamp.com/. You can also friend him on Facebook – http://www.facebook.com/jacobaaronmiller

 

The Up and Coming: Foster the People

16 Oct

So I’m sure based on last week’s SNL that many of you have already heard of Foster the People. Now touring with sold out shows across the country, the band is a perfect example of Indie resonating with the masses.  Based in Los Angeles, California, Foster the People is composed of the trio Mark Foster, Mark Pontius and Cubbie Fink. With the break through single “Pumped Up Kicks”, the band’s sound is sort of an effortless cool. Not quite hipster but not quite mainstream, Foster the People manages to appeal to a variety of audiences. What I like most about the group is not only their catchy lyrics or calming electronic beats. Rather, despite their alarming popularity, Foster the People has not appeared to sell out. No longer under the radar, the band has risen to the ranks organically with zero pretension.

Heres the band performing my personal favorite, “Houdini” on SNL

Enjoy Every Sandwich – Warren Zevon and his Werewolves of London

28 Sep

In yesterday’s post, Aaron mentioned Warren Zevon and included an embedded video of Zevon’s most well known song, “Werewolves of London.” The sardonic and hilarious song was released on Zevon’s breakout album Excitable Boy in 1978 and it reached the #21 spot on the American Top 40 charts in mid-1978. “Werewolves of London” was Zevon’s only appearance on the chart, but let’s ignore popularity charts and just discuss the wonder that was Warren Zevon and the utmost joy that others will always have when they listen to “Werewolves of London” and any of his other lyrical masterpieces.

Zevon’s grasp on lyrics was strikingly apt and vivid. David Letterman, who was Zevon’s good friend before Zevon died of cancer in 2003, described his music as “evocative,” and I think that is a good adjective to use. Zevon’s folk was not classic, but edgy. His lyrics were unconventional and enjoyably morose. He also had the ability to turn off the playful and upbeat hits and bathe listeners with soft melody and heartbreaking lyrics. The man truly had it all and his talent is often overlooked. And it is a shame that Zevon had a life-long aversion to doctors. He died at the young age of 56.

“Enjoy every sandwich” comes from Zevon’s last appearance on Letterman. Like I mentioned, he developed a close relationship with Letterman and band-leader Paul Shaffer. So much so, that Zevon would often fill in for Shaffer when Shaffer was unable to perform during the show. On Zevon’s last appearance on Letterman, when his sure-death prognosis was already known, Letterman asked him if he knew more about life and death now that he practically knew that death was an immediate certainty. Zevon said, “enjoy every sandwich,” a simple, but profound response that fit his character well. Zevon was Letterman’s only guest for the full hour and he performed several songs. The day after Zevon’s death (months later), Letterman annouced the sad news to the national audience:

I’ve written about Zevon before on this blog. The Wind, the last album he recorded prior to his death, is a tour de force. Zevon performances are invigorating and “Keep me in your Heart” is a tear-jerker. But, since I have already written about those songs before, I want to feature “Werewolves of London,” a song that has a “surprising fact.”

The song has been covered SEVERAL times, but that is not the surprising fact. Accompanying Zevon on the song is bassist John McVie and drummer Mick Fleetwood of Fleetwood Mac fame. I always thought that was an interesting tidbit of knowledge. To finish off this Zevon post, I am going to include a cover of “Werewolves of London.” Take it away Adam Sandler:

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Landau Eugene Murphy Jr. Did it His Way

15 Sep

Landau Eugene Murphy Jr. did it his way and today, he is $1 million dollars richer. Yes, the congenial crooner took home the title of Season 6 champion of America’s Got Talent last night, and, in my opinion, it was well deserved. Two weeks ago, I previewed the singers in the top 10 of the show, and wrote this about Landau:

Landau Eugene Murphy Jr. is a crooner. The purpose of America’s Got Talent is to find a potential Las Vegas act. It is difficult not seeing a man with his immense talent on a Las Vegas stage. I say this because there seems to always be a place for a 40′s/50′s throwback. I don’t think the crooner act is tired or antiquated. Murphy’s delightful voice can help restore the genre to Vegas. Murphy, a car washer from West Virginia, has blown away the judges week-after-week performing classics by crooners like Sinatra. And, on top of it all, he is so wonderfully humbled by the praise that it almost seems that he doesn’t realize the talent he has. You can’t help but root for the guy, and it is not difficult to because he is both genuinely talented and perfectly kind.

Besides his unquestionable talent, it was his kind, good-hearted nature that propelled him to the top of the show. Americans always vote for the underdog with the story about overcoming life’s difficulties. Landau, who was homeless at a point of his life, represented this picture, but, he did not lean on it. No, instead, he performed with gusto every time out and always seemed to appreciate the applause and comments. He worked hard and his hard work paid off. And, now, after the end was near, he will start a new life as a professional crooner, headlining an act in Las Vegas. I couldn’t be happier for him.

This performance above of “My Way,” originally by Paul Anka (but, of course, made famous by Mr. Frank Sinatra), “sealed the deal,” as judge Howie Mandel said. It wasn’t only the pure perfection of the notes that did it for me, but also it was a noticeable emotion that pushed out the most powerful and passionate notes in the song. Landau sang it like he meant it. And, he did mean it. Congrats to Landau Eugene Murphy Jr. and I am looking forward to buying an album of Murphy standards.

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