Mark Croft

Artist Information

Biography

Mark Croft, Award-Winning Singer/Songwriter, is one of the most distinguished musicians to ignite the Acoustic Pop/Roots scene. A seasoned performer, Croft has been serving up exciting and emotional performances to unsuspecting audiences throughout the nation. His ability to navigate his six-string with superiority, wrapping frantic acoustic riffs around unforgettable melodies, has garnered him praise from press outlets, industry professionals, club owners, and fans alike.

“[He] isn't afraid of strong rhythms, which is part of the reason his polished singer-songwriter material is ready for prime time. Funk, blues, folk - it's all here. Croft is NOT just another guy with a guitar in the corner of a coffeehouse.” - Isthmus Magazine

“This is one of the best musicians we’ve heard in a long time. Definitely check out his music.” - Roy Elkins, BROADJAM Founder & CEO

Croft began his musical journey at the tender age of six, plunking out melodies on his parent’s piano. Recognizing his potential, his parents quickly enrolled him in lessons. He continued his study of the piano for more than a decade, composing some of his first original works while still in his teens. A self-taught guitar player, Mark’s love affair with the acoustic began in college; rarely traveling without his guitar and practicing 3 to 4 hours a day. After taking a songwriting class in 2002, Croft began seriously pursuing music; honing his songwriting skills and regularly performing live.

"Croft's skill as a rhythm guitar player distinguishes his music. His up-tempo strumming and rapid-fire chord changes fill his songs with energy." - Katjusa Cisar, Capital Times

Since turning his attention to music full-time in 2005, Mark has claimed 1st place in the Midwest Song Contest and the Inaugural American Idol Underground Rock Contest, and was designated “Favorite Singer/Songwriter” by Isthmus Magazine’s Reader’s Poll. A nine-time Madison Area Music Award winner, he was again honored in the spring of 2010 with five awards for his EP The Possibility of Disaster (Slothtrop Records, 2009), taking home “Pop Album”, “Pop Song”, & “Pop Artist” of the year, as well as “Best Male Vocalist” & “Best Music Video”. More recently, his song "One Mississippi" earned him 3rd place at the Great Lakes Songwriting Contest, and in March, he was selected to be the featured performer for the Broadjam Acoustic Showcase at the 2011 Country Radio Seminar in Nashville. A popular guest artist on numerous local network news affiliates including NBC, CBS, ABC and Fox Morning News in Chicago, Croft’s tunes are being spun on the Clear Channel Radio Network, Pandora, college campuses, and Triple-A & non-comm. stations across the United States and Canada.

In the fall of 2010, Croft released his latest CD, Evening Flood, to rave reviews; raising his songwriting and studio work to a new level of sophistication. Recorded and mixed at Masters Recording Studio (formerly Flyte Tyme Studios), under the guidance of producer Anthony J.W. Benson and Grammy AwardTM winning engineer Tom Tucker (Prince, Sting, Lucinda Williams, Bonnie Raitt), Evening Flood was mastered by mastering wiz Dominick Maita (Herbie Hancock, Glee Soundtracks, Curtis Stigers, Til Tuesday, Billy Joel) and features a bevy of talented musicians and vocalists including drummer Noah Levy (BoDeans, Five for Fighting, Peter Frampton, Brian Setzer).

Always unafraid to break the genre barriers, Croft takes inspiration from a variety of musical styles and blends them into his own Pop/Roots approach to songwriting. The CD features the rousing funk-infused single “The Gas Is On” written in the wake of the gulf oil spill and reflects on its global impact and aftermath. In a repertoire brimming with memorable pop singles, Local Sounds Magazine called the title track, “Evening Flood”, “the best-written, most succinct pop song he’s done yet", while his Top-40-Country-tinged, "Good Enough", "comes in a close second." Croft incorporates genres like southern funk (”If She’s Gonna Shake It”), swampy blues (”One Mississippi”), gospel (”Amen and Hallelujah”), and gypsy swing (”The Crow and the Raven”), in the process, he demonstrates his versatility and maturity as a songwriter, storyteller and performer. Mark also recorded one of his favorite Peter Gabriel songs “Washing of the Water”, which closes the album and will surprise many fans, old and new, as he gives a profoundly intimate and emotional performance of this moving song. Peter Gabriel himself, upon recently hearing Mark’s version exclaimed, “Great version - wonderful voice”.

”Croft hit one out of the park with Evening Flood. It’s not very often you find 10 songs on a CD of this caliber! [Evening Flood] shows his best work to date and deserves to be heard by the masses.” - Andy Zielhi, Americana Gazette

As someone who loves to perform live, Mark plays more than 120 live shows a year, and has taken the stage at a variety of prestigious venues across the country including festivals, theaters, and music clubs. Continuing to build on his professional music foundation as an exciting recording artist and gifted songwriter, Croft balances studio time with touring and performing live as a solo act, or with his full band.

“Croft can hold his head high on the basis of his solid reputation, four fine albums, and a loyal fan base…” - Local Sounds Magazine

Instrumentation

Dan Kennedy - Electric
Jaye Barbeau - keyboards
Matt Rodgers - Bass, Upright Bass
Robert Boyd - Drums & Percussion

Discography

Evening Flood - Released Oct. 16th, 2010 on Mere Poet Records

The Possibility Of Disaster EP - Released April 11th, 2009 on Slothtrop Records

Madison for World Health - Dec. 6th 2008 featuring "Break My Heart"

Permanent Ink EP - Released June 1st, 2007 on Slothtrop Records

Sympathetic Groove - Released May 24, 2005 on Abacus Music

Made at Home - Madison Songwriters Group Compilation CD featuring Mark's recording of "She's a Landslide" on Slothtrop Records

Made at Home 2 - Featuring Mark's Demo Recording of "Juliet" on Slothtrop Records

More Barn - Neil Young Tribute Album featuring Mark's version of "Heart of Gold" 10/07

Live From Studio M; Volume 6 - Featuring Mark's in Studio Perfromance of "She's A Landslide" - 3/07

Madison Made Music Project Porchlight CD - Featuring "Is It Gonna Be Funky?" 9/07

My Music; The Best of the Urban Theater - Featuring The Mark Croft Band's in-studio performance of "Don't Speak".

Links

• Facebook
• Twitter
• MySpace

Audio

• The Gas Is On
  Listen  
• One Mississippi
  Listen  
• Cripple Me
  Listen  
• If She's Gonna Shake It
  Listen  
• In My Defense
  Listen  
• Good Enough
  Listen  
• Permanent Ink
  Listen  

Lyrics

• The Gas Is On
• One Mississippi
• Cripple Me
• If She's Gonna Shake It
• In My Defense
• Good Enough
• One Mississippi

Video

The Gas Is On - Urban Theaer - JOHN URBAN MIX

Photo Gallery

Press

• CD Review, "Evening Flood [+ Show ]
  

  Mark Croft ????? Evening Flood Style: Pop/ Americana Self-Released This is one of those ...Mark Croft ?????
  
  Evening Flood
  
  Style: Pop/ Americana
  
  Self-Released
  
  This is one of those CD’s that once you put it in your CD player you will not want to take it out! It’s not very often you find 10 songs on a CD of this caliber! Mark Croft has risen to new heights on this, his fourth release.
  
  Evening Flood is a collection of wonderfully written songs that lyrically and musically stand up to any songs written today in L.A., Nashville, or New York. The CD kicks off with the title cut and gets right to the heart of what you can expect on this record. I listen to lots and lots of music and I have to say that this CD is sonically one of the best CD’s I have heard from a local artist here in Wisconsin.
  
  Croft’s story telling in his songs are mini novels. You can shut your eyes and see everything in his songs play out in movies in your mind. His chord choices and rhythms are just icing on the cake to his fantastically written lyrics. Croft’s voice is a special treat. Full, deep, and smooth, a perfect listening experience.
  
  My favorite cut is Good Enough. The guitar and organ are coolly played. The groove is inescapable. I’m a sucker for great Hammond organ and this song has it. The Gas is on is a hip R&B song that will have you stomping your feet and clapping your hands right along. Cripple Me and One Mississippi are Southern grooved funky tunes; slide guitar swampy backbeat and greasy just like a hot night in Louisiana.
  
  The Crow and the Raven is almost World Music style in its form and style. It reminds me of Bill Miller and his styling. The last cut Washing of the Water is a gospel tinged song that is a perfect end to the CD. It’s soothing imagery and flowing lyrical context is both relaxing and spiritual.
  
  Mark Croft is one of the Madison area’s finest singer/songwriters. This CD shows his best work to date and deserves to be heard by the masses. Croft hit one out of the park with Evening Flood. Hopefully this will be a huge step towards the big time for him. It’s that good!
  
  Review by: Andy Ziehli
  

• CD Review, Mark Croft, "Evening Flood" [+ Show ]
  

  MARK CROFT – Evening Flood (2010 Mere Poet Records) Mark Croft took several bold moves on hi...MARK CROFT – Evening Flood
  
  (2010 Mere Poet Records)
  
  Mark Croft took several bold moves on his way to completing Evening Flood, his fourth recording. Not one to be caught sleeping on the best and latest music industry trends, especially those relating to indie artists, Croft formed his own independent record label, Mere Poet Records. Then he hooked up with Illinois-based publicity company Carrie On Productions who also handle Madison-based songwriter/performer Michael Brandmeier. Also on the roster at COP is Anthony JW Benson, who runs Injoi Music where he functions as a manager, advisor, life enhancement coach, marketing/communications consultant and producer. A Londener now living in the Southwest, Benson became the producer (and no doubt a lot more) for the Evening Flood project.
  
  There’s more. Croft makes no bones about making these moves to elevate his career to the next level. You can read about more of that in this profile/interview.
  
  The enlistment of an entirely new set of professionals to surround him, including the band members who played on the sessions, has benefited the resulting album in several ways, most notably the sound. Recorded at Masters Recording Studios (formerly Flyte Tyme) in Edina, Minnesota, Evening Flood sounds absolutely fantastic. Whether or not great production values matter you, this record sounds as good as anything out there. Enlisting Grammy-winner Tom Tucker (Prince, Sing, Lucinda Williams, Bonnie Raitt) to mix surely had a lot to do with that and gives you some idea of the prolific company Evening Flood keeps on the production level.
  
  Croft breaks new ground on the opener. “Evening Flood” may be the best-written, most succinct pop song he’s done yet. Everything gels here, the melody, the hook, the vocal performance and the accompaniment. “Good Enough,” co-written with Brandmeier, comes in a close second. A heartfelt song about moving on, this one also has a distinct Top 40 Country aspect. The funk gets turned up for “The Gas is On,” a song inspired by the Gulf oil spill events with rousing vocal harmonies, snarling guitar and a punchy bass line.
  
  While last year’s The Possibility of Disaster hinted at darker emotions and deeper subject matter, “If She’s Gonna Shake It” and “One Mississippi” sound awfully safe, though littered with catchy lyrical phrasing and expertly played. “Amen & Hallelujah,” a gospel-infected tune with choir-like backup vocals is another example of well-crafted pop that doesn’t cut very deep.
  
  A couple of other songs work better in terms of propelling Croft forward and investing more of himself into his music rather than simply funking-out or storytelling, particularly “In My Defense,” a mid-tempo ballad that lays a lot of his frustrations bare. “Cripple Me” features Croft’s deft acoustic guitar playing, though the scatting sounds a bit carefree and at odds with the tone of the rest of the song.
  
  While Croft does a great vocal interpretation (the vocal performances are excellent throughout the entire album), the inclusion of Peter Gabriel’s “Washing of the Water” seems at odds with his purpose of raising the bar for his own music and taking it to the next level. That being said, Gabriel has heard the version and commented positively on it so that can’t hurt.
  
  In a way, it seems that Croft is poised to move on from Madison. Whether that’s true at the moment or not, those who rise above the bar have a hard time getting up to the next rung here. And while he’s been met with a fair amount of indifference in Madison (WORT doesn’t like “that kind of music” for instance), he has also achieved a large amount of commercial radio play on Triple M and draws consistent crowds to his gigs. Croft can hold his head high on the basis of his solid reputation, four fine albums, and a loyal fan base that will follow him, wherever that may be.

• Mark Croft - Wisconsin Troubadour [+ Show ]
  

  Mark Croft - Wisconsin Troubadour Mark Croft is a hell of good songwriter and performer! I wou...Mark Croft - Wisconsin Troubadour
  
  Mark Croft is a hell of good songwriter and performer! I would even say that he is a great songwriter and performer! Croft is lucky enough to make his living doing what he loves to do. A troubadour from Columbus, Wisconsin he has been playing as a singer songwriter solo and with a band since 2005. His music has been described as Pop/Rock, but I hear a tinge of Americana in his lyrics and song styling’s. In fact I would call his music Pop Americana. It is laden with classy hooks both lyrically and instrumentally, fantastic story lines, and especially on his new CD “Evening Flood” a tinge of Southern Gothic styling’s. He is a multiple MAMA’s award winner, a fantastic guitar player, and probably one of the nicest people you will meet in the music business.
  I met with Croft at one of his favorite hangouts Cool Beans Coffee House on Eagan Road on the East Side of Madison for a delightful conversation and laughs.
  AG: This CD is incredible! Besides the fantastic collection of songs the recording and sound quality is right up there with CD’s that are coming out on major labels.
  Croft: Thanks. I am really proud of this CD. I recorded it in Minneapolis at Master’s Recording Studio, formerly the famous Flyte Tyme Studios. This is the same studio where Mariah Carey, Boys II Men and Janet and Michael Jackson cut tracks back in the 90’s. The gear and musicians were the best Minneapolis had to offer. It was such a cool experience to make music in a place like Master’s. It was the first time I ever stepped out of the co-producer role and handed the reins over to a producer, but it was a great experience. Anthony Benson, Tom Tucker and the whole staff were great to work with. The musicians that played on this record were phenomenal and I couldn’t be happier with the work they did.
  AG: Your songs are so well constructed. The chord changes, lyrics, hooks, everything just flowed. I do have to ask though how does a guy from Columbus Wisconsin write such authentic Southern influenced songs (Cripple Me, One Mississippi)?
  Croft: It’s funny, I don’t think I realized until I went in and started recording these songs that they had that kind of influence to them. A lot of my writing is roots based anyway and I’ve had more than one person tell me that I write Country songs with an edge. I guess in some ways I have kind of fought against that, but as I listen more to my songs I hear that influence myself. I don’t know where that comes from, but I’m a big fan of southern music styles and I’m just glad they found their way to this CD.
  AG: The song The Gas is On is really different than most of the songs on the CD. It has a real R&B flavor to it. How did you come about to write it?
  Croft: The Gulf Oil spill had just happened and I was shocked and frustrated by what an environmental disaster it was turning out to be. So when I was writing songs for this record, I was really inspired to write something to vent my frustration. In constructing the song, it was just a feel I had to start with and the lyrical ideas I wanted to express. The rhythm just came alive once we were in the studio. Sometimes that just happens. You have an idea how a song will go, but when you get in the studio or with the band it takes on a life of its own. That was one of the most exciting songs to record and the groove and overall feel were right there when we started tracking it.
  AG: How long have you been doing this?
  Croft: I started playing piano as a little kid and did so exclusively until I was about 17. I picked up the guitar when I went to college and it was a love affair right away. I didn’t go anywhere without my guitar for about three years. I really started seriously writing and gigging in about 2003. I went full-time 2005 when I put out my first CD and have been doing it ever since.
  AG: Do you travel the whole country or just regionally?
  Croft: In the past just regionally. This year though I’m going to be spreading out and working different parts of the U.S.
  AG: Were you ever in a band before you undertook this solo gig?
  Croft: In High School I played in Garage Band playing Rock music covers with some friends and my next door neighbor. I played keyboards. But since I picked up the guitar I have been a primarily a solo artist, though I do play live with my band or as a duo depending on the venue or event.
  AG: How do you approach songwriting?
  Croft: A lot of times I get my inspiration while driving around in my car or listening to music. I don’t listen to music as much as I used to but when I’m in writing mode I really start to listen to get inspired and find ideas for songs. I especially like to find new artists or styles I’ve never heard before. Many times a rhythm or melody gets stuck in my head and I build a song around it. Sometimes I come up with the hook or a great lyric and then construct the song around that. In the end there aren’t any hard and fast rules about songwriting and each song has its own way of revealing itself to the writer.
  AG: Do you write on guitar and piano?
  Croft: Mostly guitar, it is my go-to instrument, though in the past I have written a couple of songs on the piano. My language on the piano is not what it used to be, so I feel much more at ease with the guitar, and it’s a lot easier to pick up and carry with you than a piano.
  AG: How do you categorize your music, or how would you like to be categorized?
  Croft: That’s a tough question. Though I’m an acoustic guitar player, I’m not really a strictly a folk artist nor am I a rocker. I tend to write from more of a POP approach because of the hooks and melodies I use. But I really like to pull from a lot of different genres and styles and try to put my own stamp on them. So, much of my writing seems to be Rootsy, which incorporates mostly American styles of music like Blues, Funk, Country, and Rock n Roll. So when it comes to the MAMA’s the POP category seems to fit me best, but I like to say I’m Pop/Roots.
  AG: I think you’re Pop Americana with all those flavors running through your music. You have great stories, rootsy rhythm and chord structures, and your voice really fits into it.
  Croft: I guess you’re right. It’s so hard to say where one belongs in today’s music, but I can live with Pop Americana.
  AG: What do you wish you would have known about the music business before you went into it full-time?
  Croft: I wish I would have gotten my degree in Marketing because I spend the bulk of my time marketing and promoting myself. I had no idea when I started that I would be spending as much time on the computer and the phone, booking, networking, and selling myself as I am doing currently but I guess that is the job.
  AG: What’s the worst thing about your career and the best thing about it?
  Croft: As an independent artist I don’t have a huge team of people working for me and getting me work, so the majority of that falls on my shoulders. It really is a full-time job and it can be trying. But being able to perform in front of audiences that really appreciate what I’m doing and the freedom of being my own boss make it worthwhile.
  AG: If you could give some advice to someone who is thinking about being an artist today what would you tell them?
  Croft: Take marketing classes!!! Be true to yourself and your music. Learn as much as you can from other songwriters and bands and network with them. I have been very lucky to have met great songwriters and musicians around here and they have been very helpful. Networking is so important in this business. Connecting with your audience and with folks that can help you make it a lot easier than trying to do it all by yourself.
  AG: Mark thanks for your time and for the great music. How can people hear and check out your music?
  Croft: They can go to www.markcroftmusic.com and there is everything there to find out about where I am playing and what I’ve been up to. Thanks so much for the opportunity.
  You can catch Mark Croft at the songwriters in the round at Puempel’s Tavern in New Glarus on Friday March 4, 2011 at 7:00 p.m. This is a free concert put on by the Americana Gazette. Mark and Matt Belknap, Marc Barnaby, Rob Kosmeder, and myself will be opening for Eric Brace, Peter Cooper, and Phil Lee. Please join us and check out this wonderful night of songs and songwriters.
  
  Andy Ziehli
  

• Mark Croft - Doing The Work [+ Show ]
  

  Mark Croft: Doing the Work Posted by Rick Tvedt on 12/19/10 • Categorized as Features Mark Cro...Mark Croft: Doing the Work
  
  Posted by Rick Tvedt on 12/19/10 • Categorized as Features
  
  Mark Croft: Doing the Work
  
  We first interviewed Mark Croft in the April 2006 of Rick’s Cafe. he had just won his first awards at the Third Annual Madison Area Music Awards. Re-reading that article amde me realize how far things have come for Croft since then. In the interview he sounds like a relative newcomer, which he was. Croft has lost none of his humility and congeniality since then but it is clear he’s travelled a road that seems much longet than four-and-a-half years. Having just released his fourth CD, Evening Flood (read the review here), and making substantial changes to his methodologies both musical and businesswise, we felt it was time to catch up with Croft.
  
  LS: How do you feel having your own record label benefit you?
  
  Croft: I talked to more than a few industry professionals including some former A&R reps, and even consulted my former label before making this decision, and they all essentially said the same thing; “Don’t bother with a label. Put it out yourself, do the work, and continue to build on your own.” I’ve had my brushes with some major labels in the recent past but never found a deal that was going to be really beneficial to me. The music industry is in a state of transition, and the internet has opened up the industry to the point that being signed to a record label means less and less and is riskier than it used to be. Much of what they used to do for artists can be achieved with a little extra legwork on the artist’s end and some savvy internet use. This being my fourth CD, I felt like I gained enough experience from the past three releases that if I could take what I learned and continued to build my following with a great product, I’d have more ammunition to take to a label if and when I decided that was the right move. There’s definitely some risk with this kind of model, but retaining the rights to the masters and having the freedom to decide what direction I take was worth it at this point.
  
  LS: How will you achieve distribution?
  
  Croft: My main concentration for distribution is through the web. Evening Flood is available through iTunes, Amazon, Napster, and many of the most popular digital delivery sites, and you can order physical copies through my website (MarkCroftMusic.com), at CDBaby.com as well as Amazon.com. I’m looking into a few “physical” distribution companies at the moment but haven’t made a decision about that yet. That being said, as always, it seems to best way for indie musicians to get you’re music out there is to be performing regularly, connecting with the audience, and selling CDs personally at shows.
  
  LS: Can you give a brief recap of who the musicians are on the album and how you found them?
  
  Croft: By and large, the musicians who played on this record were brought on board by producer Anthony JW Benson. Most of them were based out of the Minneapolis area where he has close ties to the music scene, having lived and worked in the area for several years previously. I had 16 different musicians lend their talents to the project, which is a new record for me. It was quite a change from my last record where I used a more stripped down approach and kept it to five musicians, including myself.
  
  The main band was comprised of Chicago-based guitarist Nicholas Markos, who played lead on most of the tracks, bassist Cody McKinney, Jason Craft, who’s an absolute monster on the keyboards, and drummer Noah Levy, who’s been touring with The BoDeans for a number of years. Noah’s also toured with Five For Fighting, and played on Brian Setzer’s latest CD shortly after mine. Jennifer Grimm lent her huge voice to the backing vocals on several tracks, as did Andra Suchy, Stacey K, and Aaron Keith Stewart, and former Minneapolis artist of year, Mary Jane Alm, sang the harmonies on “Good Enough.” I was also fortunate enough to have violinist Jim Price and slide guitarist Randy Casey sit in on a few tunes.
  
  I was really excited about having Tom Tucker mix this record. Tom has worked in the business as an engineer and producer for decades. Back in the day he headed up Prince’s studio Paisley Park, mixing several of his records, and over the years has worked with artists like Sting, Bonnie Raitt, and Shaka Khan. He also won a Grammy for his work with Lucinda Williams. Watching him mix and listening to him share stories was one of the highlights of the experience. All in all it was an incredibly talented group of artists and I was fortunate to have them all on the project.
  
  LS: These musicians are not the players you’ve used on previous recordings or for performance. How does all this sit with your Madison band members?
  
  Croft: Yeah, it was a really tough decision not to use my Madison band members. I spoke with all of them before making that choice and explained what I was trying to accomplish. Thankfully, they were all really supportive and felt that it was the right move. I’ve been playing with them for years and they’ve always done a fantastic job playing with me live and in the studio. They’re a really talented and professional group of musicians and I’m fortunate to be able make music with them. The producer felt strongly that it would best serve the project to use musicians that could take a fresh approach to my songs and that he knew and trusted. He also emphasized that getting me out of my comfort zone would force me to rise to the occasion, escape the distractions of home, and give a performance that would match the level of the talent he was bringing in. From the beginning the goal in bringing on a producer was to end up with record that was a step up from anything I’d done before, and I hoped that taking his recommendation would benefit the recordings. I think we definitely accomplished that goal and it gave me a chance to meet and work with some really talented musicians.
  
  LS: How much influence did Benson have on the proceedings and the music? Was he more than a producer?
  
  Croft: I think Anthony did a good job of staying in the “producer” role. He arranged for the studio and musicians and handled negotiations on that end, and arranged a pretty tight recording schedule…recording and mixing ten songs in six days. We recorded at Masters Recording Studio in Edina, which is part of the Minneapolis Media Institute and was the former site of the famed Flyte Tyme Studios. It’s now primarily a teaching facility and they don’t open it up for private recording projects that often, so we were really fortunate to be there, working with a first class staff and having the students to pop in from time to time to take a listen to the mixes.
  
  Anthony also helped me sift through the songs I had already finished or was still in the process of writing. I had about 20 songs I was initially considering for the record but we quickly shaved them down to 10 or 11. His goal for me was to create a cohesive group of songs that could all fit on a record together and would showcase the songwriting and my performance. We had also been considering recording a cover tune for this CD and after a week of deliberation we decided on Peter Gabriel’s “Washing of the Water.” I’ve been a fan of his for a long time and was glad to that I could cover a song that I resonated with musically and thematically. I got word back a couple weeks ago that Peter Gabriel had gotten a chance to hear it himself and liked my version, which is quite an honor.
  
  Once we were in the studio he took the reins and kept us on schedule. I’ve played a ‘co-producer’ role on all my previous CDs so it was definitely difficult handing over my songs to a producer and saying, “Here you go.” There were some moments of terror and frustration during the recording process, but once Tom got his hands on the tracks and I could hear the mixes I was really happy with what we had laid down. We had some moments of “butting-heads” but I think they were beneficial to the project and a good learning experience. I knew that I would have final say in the end, but I was really pleased with the job Anthony did.
  
  LS: There seems to be more religious references on this album. For instance, the opening track’s reference to Seven Revolutions (what exactly does that mean anyway?) and the frequent references to being saved, as well as the track “Amen & Hallelujah.” Are you becoming more of a religious person and is this becoming a bigger part of your music?
  
  Croft: You’re not the first person to ask me that question, so I guess those themes must be prevalent in these songs. But, no, I’m not becoming more religious, and I don’t consider myself a religious person at all. I’ve certainly become a more spiritual person in the last decade and I’ve been more concerned with finding purpose and making the most of my life. But, I was raised Catholic and went to parochial school as a kid, so I have that religious background to go off of. I think that’s where a lot of those references come from, and I think it’s also in knowing that they’re very relatable ideas to a lot of people. Most people have at least some idea what “Amen” and “Hallelujah” mean and can pretty easily figure out how I’m using them in the context of the song. Oddly enough, that song doesn’t have any religious meaning behind it other than the words in the title. They’re used more to express a feeling of relief or exasperation than anything else.
  
  Being saved does seem to be a continuing theme in a lot of my songs. I’m not sure if that’s something in my sub-conscious that keeps rising to the surface when I write, or something that I just think makes a compelling theme…probably some combination of the two. In some ways we’re all looking to connect with something bigger than ourselves as a way to escape the difficulties of life or to find an expanded view of reality. So it’s also a reflection of me wanting to make the most of this life and having a new and changing view of what “God” might be.
  
  LS: Can you explain a little bit about how this album was funded through the Chipin In campaign? This is pretty unique!
  
  Croft: When I was trying to figure out a good way to help fund this project, Anthony mentioned that he knew some artists that had success with this type of campaign. It was a scary proposition, and I really felt like I was hanging it all out there and taking a big chance on it. What I did was to start a campaign where fans and friends could contribute, through PayPal, whatever they could to help me make the record. I created various levels of donation for people to choose from and each level had different kickbacks, like free copies of the new CD, free T-shirts, or a private house concert. In addition, I donated a percentage of the contributions to two charities I believed in strongly. The earthquake in Haiti had just happened, so I donated a portion to the Red Cross Haitian Relief Fund and another portion to help fund cancer research through the UW Carbone Cancer Center. My sister is a nurse there and I’d played a couple benefit shows for them as well. It definitely felt like a good thing raising some money for these charitable causes and I think the contributors appreciated it. In the end I raised over three thousand dollars toward the record, which was a big help. People really stepped up, and the outpouring of support for me and these causes was really inspiring, and I continue to be grateful for their support.
  
  LS: I was curious about your song “In My Defense.” Is this a reaction to your reception from the Madison music community? And how strong do you feel the Madison music community is and what do you see lacking for artists such as yourself?
  
  Croft: “In My Defense” was a song that I had started writing in early 2009 but never got more than a verse and a chorus finished before I forgot about it. I remember that when I started writing it, I was in a pretty low place and was feeling really worn out personally and professionally. When I started working on new songs for this record I found the lyrics in a folder on my computer and, thankfully, remembered the melody I had started with. I wasn’t prepared to step back into those old feelings that inspired the song, but I knew it was definitely worth finishing. The song expresses such a sense of frustration and hopelessness, and I know that in this day and age there’s a lot of that going around, so I felt that people could relate to it. So that’s what the song is really about.
  
  I didn’t consider how I was being or had been received in the Madison music community when I wrote the song. I’ve always tried to be true to myself and write what I’m inspired to. Hopefully you find the people that are going to like what you’re doing and be able to connect with them in some way. People are going to like what they’re going to like and whether or not EVERYONE likes my stuff is less of a concern to me than making those connections and trying to stay true to myself. I’ve been at this full time since 2005 and have been grateful to make a living doing it. It hasn’t always been easy, but I guess that’s the nature of the business. Madison obviously has a strong music community for a city its size, and there are a ton of talented artists here. I only wish more people knew that. I’d love for Madison to become “The Austin of the North” with live music venues lining State Street, and it would be great if there was a larger industry presence here, but that’s probably wishful thinking right now. Maybe we’ll get there but even if we don’t, I’m confident Madison will keep pumping out talented musicians.
  
  LS: What’s next for you – are you expanding your touring – what else?
  
  Croft: So much of my time and energy over the last year went into making this record so I’m looking forward to getting out there and performing these new tunes. Right now my concentration is on continuing to expand my touring base and making travel a larger focus. Being a musician full time, I always have to find a balance between being able to pay the bills and being out on the road, which can be a challenging place to make a living. I’ve been working with my booking agent for about a year, and now that the record is done, we’re working on hitting the road more in 2011. I’m finalizing dates for a trip to the west coast early next year where I’ll be touring with LA based singer/songwriter Holly Long.
  
  We both made records this summer at the same studio with Anthony and many of the same musicians. We also did a short Midwest tour together in September, so this time I’ll be heading out there for what should be a cool trip Aside from that, I’m continuing to hone my skills on the performance side. This record has really helped me find my focus and gotten me inspired to continue playing music. I knew when I started, that making music was what I loved doing more than anything and that continues to be case. I’m really proud of this record and hopefully big things are on the horizon.

• Local Tunes 101 [+ Show ]
  

  Singer/Songwriter Mark Croft has recieved a mountain of praise since the release of his 2005 debut a...Singer/Songwriter Mark Croft has recieved a mountain of praise since the release of his 2005 debut album, Sympathetic Groove. He won "Best New Artist" and "Best Male Vocalist" at the 2006 Madison Area Music Awards, and Butch Vig named Croft as one of his favorite local artists last January in Madison Magazine.
  
  Croft's skill as a rhythm guitar player distinguishes his music. His up-tempo strumming and rapid-fire chord changes fill his songs w/ energy. Like any respectable singer/songwriter; Croft pines about the trials of love ("She's a landslide, and I'm at the top of the hill"), but there's more, including the anti-war song "America."
  
  Funk, blues, folk - it's all here. Croft is not just another guy with a guitar in the corner of a coffeehouse.

• Broadjam Review [+ Show ]
  

  "Some of the Broadjam staff and I were at Mark's CD release party recently, and we were blown away! ..."Some of the Broadjam staff and I were at Mark's CD release party recently, and we were blown away! This is one of the best new musicians we've seen in a long time. Definitely check out his music."
  - Roy Elkins, Broadjam Founder and CEO

• Urban Theater [+ Show ]
  

  “Not only is it my favorite local album of 2005, I think it's my favorite album of 2005, period.” - ...“Not only is it my favorite local album of 2005, I think it's my favorite album of 2005, period.” - John Urban, Host of Urban Theater, WISC-TV3
  

• Smart Studios [+ Show ]
  

  "...easily some of the best songs and one of the best performers I've worked with in the past 10 yea..."...easily some of the best songs and one of the best performers I've worked with in the past 10 years."
  - Mike Zirkel, Chief Engineer, Smart Studios
  

• CD Review [+ Show ]
  

  Wisconsin State Journal Rhythm Section - by Rob Thomas CD Review – “Sympathetic Groove” Put a li...Wisconsin State Journal Rhythm Section - by Rob Thomas
  CD Review – “Sympathetic Groove”
  
  Put a little more meat on Jack Johnson’s musical bones and you might hear something like Madison singer-songwriter’ Mark Croft first album “Sympathetic Groove.”
  Croft’s songs have the kind of playfulness one associates with Johnson or fellow travelers like John Mayer or Dave Matthews. But while some of their songs have such a light touch that they almost drift out of view, Croft’s sound has just enough grit and substance to keep even the simplest of the grounded in the listener’s mind.
  “Don’t Speak” kicks off sounding a lot like a Dave Matthews Band song, with likable acoustic guitar, soft percussion, even a touch of soulful organ. But the song quickly becomes Croft’s own thanks to his slightly weathered voice and his terrific acoustic guitar playing (balanced by muscular electric guitar from Keith Pulvermacher).
  “Angela” is a breezy pick-me-up to a friend who has fallen on hard times, and “Don’t it Make You Feel Like Coming Home” has the kind of put-the-top-down rock sound that seems tailor made for adult contemporary radio. “She’s a Landslide,” a woman-done-me-wrong song that most musicians would play as a blues rocker, benefits greatly from Croft’s decision to arrange it as a back-porch acoustic tune, with acoustic slide guitar and lap steel.
  Croft slows things down effectively on the solo acoustic “Just the Same” and the closing song, the haunting “Stayed Too Long.” Overall, this is a welcome debut by a local musician, and the perfect sort of CD to star the summer with. – Rob Thomas
  
  

• CD Review - Rick's Cafe [+ Show ]
  

  CD Review from Rick's Cafe I'm so fake," is the first thing Mark Croft tells us on his debut full...CD Review from Rick's Cafe
  
  I'm so fake," is the first thing Mark Croft tells us on his debut full-length "Sympathetic Groove." "I'm so jaded," is the second, but after a couple of listens it is obvious he doesn't really mean either of those things. In fact, his songs are never less than genuine. The Madison singer/songwriter has seen his popularity explode in the last year, culminating with a sold-out CD-release party last month that left some standing on the sidewalk and had the Cafe Montemartre bursting at the seams with partying frat boys, their skinny, pretty girlfriends, and grooving hippies. With his insistent melodies and smooth voice, Croft has found an automatic market. The appeal is obvious: all the head nodding, danceable listenability of those artists, but on a local level. After all, you're not going to see Matthews or Johnson playing the Momo for a $7 cover.
  
  "Don't Speak (not a No Doubt cover) stretches into Santana's "Supernatural" territory on the strength of Keith Pulvermacher on electric guitar and the Gomer's Dave Adler (who is absolutely terrific throughout) on organ. Occasionally the worldly rhythms done so well by bands like Rusted Root infuse songs like "Salvation Train" and "She's a Landslide" with another earthier, organic dimension (compliments of percussionists Bob Boyd and Pauli Ryan). The former tunes is a carefree, playful romp that evokes the feel of the title's train with its percussive drive. The latter displays some of the best songwriting, using lines like, "She's been walking around with a cold and an old broken heart" and the punch line "She's a landslide and I'm at the top of the hill" to tell of a destructive relationship, but one from which the narrator ultimately escapes. The final track, "Stayed Too Long," is a James Taylor-esque reflection, with its mournful cello (by Matt Turner) and simple lyrics creating a fitting closing statement.
  
  "Talk is cheap, and so are all my Weezer T-shirts," he cleverly states at the start, so it is good to see him take some action. With these ten original songs, Croft makes a strong case as a songwriter who could move beyond local-hero status. "Sympathetic Groove" should be able to shoulder its way into a genre that always seems to be welcoming new members. As long as the Bonnaroo festival crowd encompasses such a broad swath of the music-buying population, there's always room for one more. Kiki Schueler
  

• MSG's B-Side Newsletter Record Review [+ Show ]
  

  Sympathetic Groove - Mark Croft When I first met Mark Croft a few years back, he was "the guy wit...Sympathetic Groove - Mark Croft
  
  When I first met Mark Croft a few years back, he was "the guy with the great
  right hand." He was a human metronome, a scrappy popster with a
  radio-friendly voice. All he needed was a little polish, a chance to find
  his groove.
  
  After making his bones at the Kimia, the Cheeseburger and other fine area
  venues, here it is: a CD that is required listening. This is an all-out
  studio production that hits the right notes and gives bright, crisp tunes
  the big, bold production they were meant to have.
  
  This CD is every bit as catchy and listenable as anything John Mayer has
  done, with songs that are concise, hook-filled and radio-friendly. There is
  a priceless moment during the second song, Don't Speak, when he goes into
  the bridge. With that chord change, it becomes apparent then that this
  record is something special and unique in this cluttered music stratosphere.
  The album simply doesn't let up. The tune, by the way, is clearly the
  (first) single on this album.
  
  I especially enjoyed the raw sound of Landslide (and it takes quite a bit of
  chutzpah to call a song "Landslide," much less "Don't Speak.") I was happy
  the supercool Salvation Train was on this disk, showing off his guitar
  chops; and if you didn't know Mark Croft plays piano, check out the soothing
  epilogue, Stayed Too Long. I have always enjoyed the song America, which
  contains some of his best lyrics and message. I was glad he gave it a full
  production here.
  
  I wasn't wild about the percussion at the beginning of The Highway, but it
  evolves into a warm, full, lovely sound. I might have stripped down Coming
  Home a little more at the beginning and let it build.
  
  These are quibbles. This album is poised to make a big sound, heard far and
  wide.
  
  Sympathetic Groove was released on the Abacus Music label, and was produced
  by Kelsy Boyd and Mark Croft.
  

• Mark Croft Shows His Sensitive Side [+ Show ]
  

  Mark Croft is one of those performing songwriters whose music is difficult to categorize. Although ...Mark Croft is one of those performing songwriters whose music is difficult to categorize. Although he’s not exactly a folk musician, his lyrics carry the depth of folk music. And although his music is not entirely blues, it contains obvious blues influences. Some hear Croft and think funk. Some hear rock. Croft combines so many influences into his songwriting and performances that categorizing his music into a tidy genre can be a challenge.
  
  “You know at first when we started out I was calling it ‘blue acoustic’ music,” Croft said of his work. “Now we’re calling it ‘new acoustic’ music.”
  
  A fitting title. Drawing comparisons to Jack Johnson and Dave Matthews, this laid-back singer/guitarist is part of a movement of modern male songwriters who draw from numerous influences and create accessible music that appeals to a large audience. He wraps compelling melodies and heavily rhythmic guitar riffs together to form songs covering topics ranging from heartbreak to soul searching to politics. His lyrics reflect a depth and emotional intelligence that is found in contemporary male songwriters like David Gray and John Mayer.
  
  “I think it’s becoming more socially acceptable for men to show softer side,” croft explained. “And it’s a huge commodity because women find it so attractive.”
  
  Croft, a Wisconsin native, currently lives in Madison and plays mostly local shows, like his weekly gig Tuesdays at the Kimia Lounge. When he’s not performing, he’s racking up hours at Smart Studios, recording an album slated for release early this spring.
  
  “I would have never in a million years guessed that that would happen so quickly – or at all, by any means,” Croft said of having the opportunity to record in the city’s most prestigious studio. “It’s very exciting; it’s a very cool experience … you look up and it’s like, Garbage is upstairs recording. Or like there’s Nirvana’s Nevermind album up on the wall.”
  
  After completing the album, he’ll launch an extensive tour of the Midwest. Though a newcomer to the experience of touring, he’s looking forward to life on the road and a schedule that will allow him to be playing outside of Madison “hopefully two or three weeks a month.”
  
  While Mark Croft may be part of a modern songwriting movement, his philosophy toward music dates back further. It’s best summed up by a passage from Bob Dylan’s memoirs.
  
  “Bob was saying that back in the day everyone was calling him and saying things like ‘What’s it like to be the voice of a generation?’” Croft explained, “And he’s like, ‘I wasn’t thinking about writing songs, I was just writing songs. I wasn’t thinking about being a voice for a generation. I was just taking care of my family.’
  
  “I think that’s what makes a great songwriter great,” he said, “It’s when you’re just sitting around, and you’re just taking the emotions that you’re feeling and not trying to be something but just being something.” -by Kris Adams
  
  

• CD Review - The Possibility of Disaster [+ Show ]
  

  Croft has pared down the bigger band-and-horns approach of 2007’s Permanent Ink, going to a fi...
  Croft has pared down the bigger band-and-horns approach of 2007’s Permanent Ink, going to a five-piece with Dan Kennedy on electric guitars, Jaye Barbeau on keyboards, Matt Rodgers on bass and Croft’s faithful drummer Bob Boyd. He may have hit on a winning combination as this quintet really grooves together. The addition of Rodgers is especially potent. Just listen to the bubbling bass line on “Mama Don’t Come Around” as Rodgers perfectly matches the movement of the percussive acoustic guitar and Barbeau’s barrelhouse piano. Along with Boyd, this makes for one hell of a rhythm section. Kennedy shines as well, adding some killer slide guitar to “The Edge of the City.” The tone is so exquisite it’s enough to frustrate a legion of budding guitar players. This song appears to be the compass for where Croft’s music is headed; way more Richard Thompson and much less Dave Matthews.
  
  The subject matter is darker, too, with Croft jettisoning his nice-guy image to tell tales of bad boys, hit-men and lost souls. Nowhere is this more striking than on “The Edge of the City,” where the protagonist gets his revenge by shooting his brother’s killer. Another case in point is the closer “Never Going Back,” a stark acoustic ballad with eerie overtones similar to Stephen Stills’ “4+20.” Here Croft sings, “Now the buildings look like gravestones / And the wind blows scattered bank notes / And the church bells sing their lonely three notes songs. / I searched all around the darkness / But I found every fire spark-less / and I pray to God they don’t realize I’m gone.” Whatever he’s breaking free from, he’s making damn sure he’s never going back; slashing truck tires and capsizing boats in the process.
  
  “Spinning Rhymes” is another standout and as close to rocking out as Croft has been known to get. He lets loose on the vocals, even adding harmonies and the acoustic guitars add driving urgency.
  
  At times Croft’s lyrics are difficult to pin down. Maybe he gets his ideas from movies. Whatever the case, it leaves the listener to draw conclusions much of the time. What makes the exercise complete is that the music is equally engaging.
  
  Rick Tvedt - Local Sounds Magazine (Sep 29, 2009)

Setlist

Originals:
Evening Flood
Good Enough
One Mississippi
Amen & Hallelujah
Cripple Me
The Gas Is On
The Crow and the Raven
If She's Gonna Shake It
In My Defense
The Edge of the City
Superheroes
Never Going Back
Momma Don't Come Around
Angela
Forgive Me
Coming Home
Salvation Train
Don't Speak
She's A Landslide
Spinning Rhymes
Permanent Ink
Strangely Enough
Just the Same
America
The Highway
Momma Don't Come Around
The Edge of the City
Molly Brown
My Little Crime
Is It Gonna Be Funky?
Drink It Dry
Crooked Line

Covers:
Washing of the Water - Peter Gabriel
Shattered - O.A.R.
Superstition - Stevie Wonder
Ain't No Sunshine - Bill Whithers
In a Daydream - Freddy Jones Band
Into the Mystic - Van Morrison
Banana Pancakes - Jack Johnson
Jimi Thing - Dave Matthews
What I Got - Sublime
Dancing in the Dark - Bruce Springsteen

Typically 1 to 3 sets at 45-90 min. each
Shorter sets consist primarily of originals with a cover as a closer or encore

Basic Requirements

Calendar