Todd Carey

This kid is funky. At 24, he shows the influence of a lot of quality stage time. His writing is eclectic-blues, reggae, pure pop, you name it. He doesn't have a commanding voice -- he sings as part of the ensemble, not over it. Some may want a stronger vocal performance, or maybe a more vocal mix. Or maybe we're just used to studio-hyped vocals. Check it out. You be the judge. "Daydream" opens the CD with a funky groove that bristles with live energy behind a crack band in this syncopated uptempo shuffle. Then, in "Sing Me Home," he moves from delicate acoustic guitar to simmering stew, recalling a young Willie Porter. You feel this also in the inventive "Fireworks," with its Zappa-esque horn section. It really is good. The standout track is "Photograph," which features a guitar performance of Les Paul-style jazz played on a throaty Strat. It's a Hendrix-inspired ballad with a lovely melody. Just beautiful. "Crazy Fools" is layered pop over a Joe Jackson-style build-up of interlocking riffs. Other notable songs include the reggae "Honest," and "Simple," with its vocal hints of Canadian Greg Hoskins. He closes with a belt-it-out big band blues number that showcases still more guitar chops. The song features Elyse Branch on vocals. She tears it up and seems to kick Carey's vocal up a notch or two as well. What can I say, he's... eclectic. And he's funky. © Steve Klingaman - Minor7th.com

Isuue No 33. June 2005
www.singermagazine.com

It's effortless to listen to Todd Carey's solo debut, Revolving World. With a sound belonging in the melodic singer/songwriter realm, Todd sets himself apart by adding various dashes of jam-rock, improvisation, and a little poppy-flare or reggae vibes. His songwriting skills are well beyond his 24 years, possibly due to the fact he spent six fo them performing with his band, Telepathy, before moving to Chicago and going solo. Vocally, Todd is at times hauntingly comparable to other young guitar slinging singer-songwriters John Mayer or Ryan Cabrera. His laid-back, island vibe brings up thoughts of Jack Johnson. But no matter how many similarities Todd Conjures, his unique, fresh style will surely make him a household name. All in all, "Revolving World" is a great summertime pick: relaxing enough to enjoy at the pool or beach, and uplifting enough on a cool, rainy day. And working with engineer Paul Du Grey (Tracy Chapman, Mike Gordon, Leo Keottke, Los Lobos) and producer Jim Tulio (Los Lonely Boys, the Band, Staple Singers) on "Sing Me Home", conffirms even more firmly to hear more from Todd Carey in the future. -KS - Singer Magazine. June 2005

Nov 2. 2006

By the time Todd Carey’s new album comes out early next year, fans will likely know the lyrics to the songs.

That’s because the Winnetka native is testing out new songs while he is touring.

“The response has been great,” Carey said. “There’s a lot of fresh energy in the songs. I grew up listening to a lot of Phish and Dave Matthews Band, and those guys were really famous for road testing their songs before their record came out.”

Carey will perform Thursday at the Beat Kitchen, 2100 W. Belmont Ave., Chicago.

The Malcolm Palmer Band also is on the bill. The show starts at 9:30 p.m., and tickets are $8 in advance, $10 at the door, available through www.ticketweb.com.

Carey has been in Los Angeles recording the follow-up to 2005’s “Revolving World.” The album will be released in early 2007.

At the helm is noted producer Marshall Altman, who has worked with the likes of Marc Broussard and Zebrahead, along with producer/engineer Niko Bolas, known for his work with artists such as Neil Young and the late Warren Zevon.

Carey downplayed their big-name connections.

“That wasn’t really the focus of making the record,” Carey said. “All I cared about truthfully was making a great record. Now we’re trying to figure out where it is going exactly. One of the things I like about (Marshall’s) past records is that they have a real live band sound, but are glossy on the top. That’s kind of why I ended up going with him.”

Carey displays a wide variety of influences in his playing, from folk to the blues. On the new album, Carey wants to show off a more cohesive style.

“That came easy to me, doing a reggae tune and then a rock tune and then whatever,” Carey said. “I just wanted to make a record that told a story and represented a body of work. That is my main goal for the record, besides just trying to write good songs.”

He feels that his last record, “Revolving World,” jumps through too many different styles.

“I just want to make a record that puts you in a mood, and doesn’t take you all over the place,” Carey said.

As a singer-songwriter, Carey gets his fair share of comparisons to John Mayer. But he doesn’t mind.

“He set something up for a lot of singer-songwriters,” Carey said. “He created kind of a mold. It doesn’t bother me to be compared to him. But I would like to be known as my own person. His music never rises above a certain boiling point. I like to think of my music as being more emotionally urgent. I like to push a little bit harder than he does.” - Northwest Herald (IL)

-4/25/05-ITHACA JOURNAL
www.theithacajournal.com

Todd Carey is one lucky guy. He plays the guitar like a madman, has a great voice and can captivate an audience all by himself, thanks to his on-the-fly electronic wizardry. No wonder he's been compared to John Mayer and Keller Williams.
Carey, who makes his Ithaca debut at Castaways Monday night, recently released a new album, "Revolving World," on Kufala Records. It's chock-full of catchy songs that amply display his instrumental prowess. Even though he's backed by other musicians on the CD, he's made it his mission to create a similar sound on stage, all by himself, with help of various electronic pedals and other effects.

To learn more about Carey, visit www.toddcareymusic.com. - Ithaca Journal

Todd Carey | Watching Waiting (Inspiration Factory)

Written by Amanda Pelle
Carey's radio-ready persona projects more than just a voice that could melt Antarctica; his boy-next-door baby face will surely win the hearts of a captivated audience in this eye-candy infatuated musical era.

Back off, baby
Get out of my face
Please just give me some space
You never did nothing
But leave a bad taste
Speaking of leaving a bitter taste: these are not exactly the type of lyrics that typically charm me into submission. Wouldn't anyone who has been the recipient of these sentiments feel similarly? As my taste buds recovered, I realized that what I had just bitten into was more than the typical bread-and-butter of the music industry—it was something with a kick. Despite the harsh rejection portrayed in "Back Off Baby," Todd Carey's Watching, Waiting left me a little more hot and bothered after each listen. I suspect that this beau will have a similar effect on much of the rest of Generation Y's female population.
Carey's radio-ready persona projects more than just a voice that could melt Antarctica; his boy-next-door baby face will surely win the hearts of a captivated audience in this eye-candy infatuated musical era. Delectable similarities to artists like Nick Lachey, Ryan Cabrera, the Fray, and Daniel Powter can be detected in sweet melodies like "Ain't Got Love," and "Watching, Waiting," the album's namesake. Carey's upbeat melody and delicious vocals fall neatly into the prepackaged pop-rock category of "the '80s, '90s, and today." Additionally, Carey's voice has been compared to other favored artists such as John Mayer and Gavin DeGraw—an undeniable compliment to his musical capabilities. Carey's vocal similarities to the aforementioned artists could arguably be just the stimulant that this charming young musician's career necessitates.
That being said, with commercial compatibility comes commonality. Carey's music is faced with the challenge of setting itself apart from the confines of a generic pop-rock identity. In addressing the complications of melodic commonality, this musician solicits an inflection of vocals and instrumentals. This unique sound surfaces in multiple tracks on the album, delivering an almost question-like quality to the lyrics. While at first this intonation is slightly annoying, it rapidly warms its way into your brain and gives Carey's sound an identity unique from the artists to whom his music is otherwise comparable. The result is a well-orchestrated contemporary pop album, complimented by funky acoustic and vocal texture, while still managing to maintain the identity of the pop-rock genre.
Perhaps more importantly, Carey emanates a down-to-earth attitude about the importance of identifying with his music. This perspective helps him keep his focus away from manufacturing melodies. Carey compares his passion for music to an analogy in the recently released movie, Music & Lyrics: "Melody is like sex. But then as you get to know the person, that's the lyrics. Their story. Who they are underneath." Knowing someone underneath—knowing Carey underneath—means the ability to identify with the lyrics. His lyrical mastery in Watching, Waiting makes doing so an effortless feat. "Back Off Baby" evokes strong feelings of rejection and humility, making Carey the kind of guy that every good girl hates out loud, but secretly keeps a picture of tucked away under her mattress. "Elaine" and "Watching Waiting" elicit sentiments bordering on obsession and the nagging desire associated with passionate pursuit. "Goodbye to Another One" mourns the shameful reluctance to connect in a transcendent manner with a lover who "could've been the one."
There is one thing for certain that can be deduced from Carey's album: it isn't merely melody—it's lyrics. A- | Amanda Pelle
RIYL: Howie Day, The Fray, Daniel Powter - Playback STL

12.31.04

"With a reggae feel, Todd Carey has blended sweet acoustic rock into a fun, thoughtful album."

3.5 Stars - DiscoveringArtists.com

Todd Carey | Watching Waiting (Inspiration Factory)

Written by Amanda Pelle
Carey's radio-ready persona projects more than just a voice that could melt Antarctica; his boy-next-door baby face will surely win the hearts of a captivated audience in this eye-candy infatuated musical era.

Back off, baby
Get out of my face
Please just give me some space
You never did nothing
But leave a bad taste
Speaking of leaving a bitter taste: these are not exactly the type of lyrics that typically charm me into submission. Wouldn't anyone who has been the recipient of these sentiments feel similarly? As my taste buds recovered, I realized that what I had just bitten into was more than the typical bread-and-butter of the music industry—it was something with a kick. Despite the harsh rejection portrayed in "Back Off Baby," Todd Carey's Watching, Waiting left me a little more hot and bothered after each listen. I suspect that this beau will have a similar effect on much of the rest of Generation Y's female population.
Carey's radio-ready persona projects more than just a voice that could melt Antarctica; his boy-next-door baby face will surely win the hearts of a captivated audience in this eye-candy infatuated musical era. Delectable similarities to artists like Nick Lachey, Ryan Cabrera, the Fray, and Daniel Powter can be detected in sweet melodies like "Ain't Got Love," and "Watching, Waiting," the album's namesake. Carey's upbeat melody and delicious vocals fall neatly into the prepackaged pop-rock category of "the '80s, '90s, and today." Additionally, Carey's voice has been compared to other favored artists such as John Mayer and Gavin DeGraw—an undeniable compliment to his musical capabilities. Carey's vocal similarities to the aforementioned artists could arguably be just the stimulant that this charming young musician's career necessitates.
That being said, with commercial compatibility comes commonality. Carey's music is faced with the challenge of setting itself apart from the confines of a generic pop-rock identity. In addressing the complications of melodic commonality, this musician solicits an inflection of vocals and instrumentals. This unique sound surfaces in multiple tracks on the album, delivering an almost question-like quality to the lyrics. While at first this intonation is slightly annoying, it rapidly warms its way into your brain and gives Carey's sound an identity unique from the artists to whom his music is otherwise comparable. The result is a well-orchestrated contemporary pop album, complimented by funky acoustic and vocal texture, while still managing to maintain the identity of the pop-rock genre.
Perhaps more importantly, Carey emanates a down-to-earth attitude about the importance of identifying with his music. This perspective helps him keep his focus away from manufacturing melodies. Carey compares his passion for music to an analogy in the recently released movie, Music & Lyrics: "Melody is like sex. But then as you get to know the person, that's the lyrics. Their story. Who they are underneath." Knowing someone underneath—knowing Carey underneath—means the ability to identify with the lyrics. His lyrical mastery in Watching, Waiting makes doing so an effortless feat. "Back Off Baby" evokes strong feelings of rejection and humility, making Carey the kind of guy that every good girl hates out loud, but secretly keeps a picture of tucked away under her mattress. "Elaine" and "Watching Waiting" elicit sentiments bordering on obsession and the nagging desire associated with passionate pursuit. "Goodbye to Another One" mourns the shameful reluctance to connect in a transcendent manner with a lover who "could've been the one."
There is one thing for certain that can be deduced from Carey's album: it isn't merely melody—it's lyrics. A- | Amanda Pelle
RIYL: Howie Day, The Fray, Daniel Powter - Playback STL

“.. the acoustic guitar funk of the album opening "Ain't Got Love"… sounds custom made for the top of the pop charts.” - AllMusicGuide

“… there is a uniqueness to the overall sound of [Watching Waiting] that is hard to compartmentalize….aspects of the CD's sound/mix bring to mind early R.E.M., more recent Neil Young, and even subtleties reminiscent of the instrumental stylings of Swedish band, The Cardigans.” Pioneer Press (Glen View, IL)

“Somehow Todd Carey is still a relatively unknown singer-songwriter, so it’s rather appropriate that he’s titled his latest release, Watching Waiting. With undeniable song hooks, a lively range that reflects his sunny optimism, and most importantly – a real way with a six string, Carey is a versatile live talent that can rock his way to pop stardom with just a couple of lucky breaks.”
- Glide Magazine

"Carey's radio-ready persona projects more than just a voice that could melt Antarctica...The result is a well-orchestrated contemporary pop album, complimented by funky acoustic and vocal texture, while still managing to maintain the identity of the pop-rock genre."
-Playback STL

“Once you check out ‘Friday Night’, you’ll agree- when you’re listening to Todd, ‘Friday Night don’t stop till Saturday Morning.” - Justine Magazine


“Romantic disappointment gets dressed up with bouncy riffs and shiny, harmony-boosted choruses… sparkling kiss-offs like “Back Off Baby”… against yearning confessions such as the title track…Carey's performance and compositional chops are showcased to good effect…” – Pasadena Weekly

“From sober ballads such as the title track to the infectious power-pop of “Ain’t Got Love,” Carey has all the elements necessary for commercial success…” – Ink19.com

“[Carey]’s got a genuine way with a hook… in “Ain’t Got Love” and “Back off Baby,” the album’s got such a thoroughly winning one-two kickoff punch…This likely won’t be the last we hear of him…and that’s a good thing.” – Bullzeye.com

“There is constant purpose to [Carey’s] speech, and he draws the listener into his every word… upbeat tunes that make you want to move…” – Badger Hearld (Univ Wisconsin Madison)

“(A) Talented Musician with a lot of energy and an established following...you won’t be disappointed.”
-MTV ONLINE
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"...a star frontman and solid material."
-Music Connection [National Premier Industry Magazine]
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"The whole package.. as good as any guys i hear."
-Steve Dahl. The Steve Dahl Show WCKG 105.9 Chicago
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
“ His sound has touches of sincerity and nerve that flash, sizzle, and eventually glow with an unmistakable warmth that is a singular quality used in judging the worth of a singer-songwriter”
-GO! Magazine
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
“Todd is at times hauntingly comparable to other young male guitar slinging singer/songwriters of the day, such as John Mayer or Ryan Cabrera. But no matter how many similarities Todd conjures, his unique, fresh style will surely make him a household name.”
-Singer Magazine

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
“Todd Carey is one lucky guy. He plays the guitar like a madman, has a great voice and can captivate an audience all by himself, thanks to his on-the-fly electronic wizardry. No wonder he’s been compared to John Mayer and Keller Williams.”
-Ithaca Journal
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"Although he'll likely be compared to radio-friendly male songwriters like Gavin DeGraw, Howie Day and Jason Mraz, Carey appears ready to make his name stand out on its own."

"With confessional anthems laid amongst pop sensibilities, Revolving World surely revolves gracefully"
-Glide Magazine, Shane Handler
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
“This kid is funky. At 24, he shows the influence of a lot of quality stage time.”
-Minor 7th Magazine (Minor7th.com)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
“…Carey conjures up images of a well-rounded world that fits nicely in the palm of his undeniably adept hands.”
“Carey sings with a remarkably relaxed style reminiscent of John Mayer and Ben Kweller”
-Allison Augustn, Pioneer Press, 3/3/05
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"Playful-precision is the best words to describe Todd Carey's virtuosic guitar playing. He makes it look easy, and he looks good doing it...onstage with this kind of irreverent energy is the kind of experience that lasts long after the show is over. Like a good movie, you talk about it on the way home, and the next morning at work... This connection between fans allowed him to play a two-month residency at The Mint [premier Los Angeles club], playing every week for a consistent draw.
-Forrest Reda, Editorial, Jambase.Com 11/30/03
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"...Proves that rock has a future"
-The Daily Trojan, University of Southern California 6/24/02
~~~~~~~~~~~~~~~~~~~~~~~ - Various Publishings

Wednesday, February 2nd, 2005
By Sean Moeller


Twenty-four-year-old Todd Carey is asked if he’s spending the day rehearsing.

“It’s funny that you should call it that — because it’s just me — but believe it or not, I am,” he said with a laugh.
.
The Chicagoan, an October returnee from Los Angeles where he’d studied jazz at college football powerhouse USC, had just purchased a new sampler onto which he was recording backing vocals to some of his songs and room-testing them for a run of dates with Windy City brethren Punsapaya. Like Virginia-born sensation Keller Williams, Carey uses digital looping to create his full sound, a layering of beats and rhythms that give the impression of something larger. At the touch of a foot, he’s surrounded.

and I’m like, ‘Wow, it’s just me.’
.
“But I’m trying to make it so that the show isn’t about that. It’s all about the musicality first. I don’t want to need (the sampler). It’s basically trying to recreate that recording experience. I think different songs lend themselves to different things. It’s cool to add stuff, but the songs should work on their own. They should just speak and breathe on their own.“
.
There are nights when he’s willing to turn the samplers off and be the classic troubadour, with only a guitar in hand.
.
“I’d like my songs to be good enough to do that. Some nights, when it’s going well and I’m feeling it, I do drop it all and I try to keep myself in check,” he said. “If they’re good enough, they should hold up.“
.
During his time at Southern California, Carey was busy playing jam-band tunes a la Phish in a college band called Telepathy. Somewhere along the way, he started doing solo shows.
.
“I needed the outlet,” he said.
.
Since then, he’s jammed with John Mayer and Ben Kweller, not to mention being chosen as the support for Jamie Cullum, Morphine and Jurassic 5, to name just a few. His sound has touches of sincerity and nerve that flash, sizzle and eventually glow with an unmistakable warmth that is a singular quality used in judging the worth of a singer-songwriter.
.
A great deal can be learned about his music and how it beholds, just from hearing Carey speak of the nice things about moving back to the Chicago burbs, despite the heavy winters. His reasons for loving the city and its seemingly endless nights — as well as the feelings they bring — are similar to the sentiments he places in his music and the reasons he does what he does.
.
“Everything shuts down in L.A. around two. Nothing shuts down in Chicago,” he said. “And I think that’s why I like it. People just love to rage and party. I love that energy.“
.
Sean Moeller can be contacted at (563) 383-2288 or smoeller@qctimes.com.
- Quad City Times/GO! Magazine

Todd Carey
Revolving World
Shane Handler
Friday, December 17, 2004
http://www.glidemagazine.com/2/reviews616.html

It was only a short time ago that Todd Carey was stage leader and front-man of west coast jam rockers, Telepathy. Recently, a music transposition occurred for this Chicago native allowing him to mature as the sensitive singer-songwriter type. His debut album Revolving World is molded upon his strongest elements of showmanship, production and songwriting, while bridging the cap between singer/songwriter and rocker.


Carey keeps admirable company on this coming out party, working with producer/engineer Paul Du Gre (Mike Gordon/Leo Kottke, Tracy Chapman, Los Lobos) and writer/producer Jim Tulio (Los Lonely Boys, Mavis Staples, The Band). Together, they help to create a spectrum of rich effects to accompany his ambitious musical textures.


With confessional anthems laid amongst pop sensibilities, Revolving World surely revolves gracefully. From the reggae flavored folk of “Honest,” with its Jack Johnson kick back vibe, to the more extravagant rocker “Everytime,” it’s evident Carey is covering all his influences. “Simple” moves over a funky acoustic shuffle, while tickling a G Love hip hop blues flavor. And just when Carey’s vocals hit a crooning clang in the drippy ballad “Photograph,” guest vocalist Elyse Branch makes you forget any miss-steps with her soulful flourish on “You Won’t See Me Down.” Sure, Carey's overly emotional vocals can be a bit much to take, but you can’t nudge his guitar playing, that stretches from bleeding leads to sharp scratch riffing melodies.


With his foundation solidified in Telepathy, and with the help of some keen production work, Revolving World is a catchy debut. Although he'll likely be compared to radio-friendly male songwriters like Gavin DeGraw, Howie Day and Jason Mraz, Carey appears ready to make his name stand out on its own.

For more information on Todd Carey, please visit www.toddcareymusic.com
- Glide Magazine

Todd Carey
Revolving World
Shane Handler
Friday, December 17, 2004
http://www.glidemagazine.com/2/reviews616.html

It was only a short time ago that Todd Carey was stage leader and front-man of west coast jam rockers, Telepathy. Recently, a music transposition occurred for this Chicago native allowing him to mature as the sensitive singer-songwriter type. His debut album Revolving World is molded upon his strongest elements of showmanship, production and songwriting, while bridging the cap between singer/songwriter and rocker.


Carey keeps admirable company on this coming out party, working with producer/engineer Paul Du Gre (Mike Gordon/Leo Kottke, Tracy Chapman, Los Lobos) and writer/producer Jim Tulio (Los Lonely Boys, Mavis Staples, The Band). Together, they help to create a spectrum of rich effects to accompany his ambitious musical textures.


With confessional anthems laid amongst pop sensibilities, Revolving World surely revolves gracefully. From the reggae flavored folk of “Honest,” with its Jack Johnson kick back vibe, to the more extravagant rocker “Everytime,” it’s evident Carey is covering all his influences. “Simple” moves over a funky acoustic shuffle, while tickling a G Love hip hop blues flavor. And just when Carey’s vocals hit a crooning clang in the drippy ballad “Photograph,” guest vocalist Elyse Branch makes you forget any miss-steps with her soulful flourish on “You Won’t See Me Down.” Sure, Carey's overly emotional vocals can be a bit much to take, but you can’t nudge his guitar playing, that stretches from bleeding leads to sharp scratch riffing melodies.


With his foundation solidified in Telepathy, and with the help of some keen production work, Revolving World is a catchy debut. Although he'll likely be compared to radio-friendly male songwriters like Gavin DeGraw, Howie Day and Jason Mraz, Carey appears ready to make his name stand out on its own.

For more information on Todd Carey, please visit www.toddcareymusic.com
- Glide Magazine

Recently moving back home to Chicago from music-industry saturated Los Angeles, Todd Carey seems to be having the time of his life. As the former front man of the rock band, Telepathy, Carey changed his focus to develop himself as a solo artist. His love of performing is obvious as soon as he steps on stage. Overflowing with positive energy coupled with a brilliant smile, he wins the audience over before he sings his first note. WayCoolMusic sat down with Carey before his CD release show to talk about his musical education, the evolution of Watching Waiting (new CD), and sharing the big screen with Christopher Guest.





Way Cool:

Please tell us a little bit about your background and how you got involved in music.

Todd Carey:

Truthfully, a lot of people will say there is an epiphany moment. For me, my mom was a musician. She went to music school, was a singer and a pianist. I also remember riding around in my dad’s car and he’d have mix tapes with Stevie Wonder and The Beatles, and those hooks and songwriting got me. He’d ask how I’d remember all the words. After that, I was really into it. Then, my mom took me to this class, teaching us rhythm. I remember they had this pad with heartbeats to help teach us. From an early age, maybe 4 or 5, I was totally into it. Just listening got me into it. My parents didn’t sit me down and force me to take lessons.






WC:

What was the first instrument you started playing?


TC:
Saxophone in junior high… No, I was playing guitar before that. I think maybe I played the recorder in second grade.


WC:

You went to school for music, though?


TC:

Yeah. In high school, I was in the jazz band and that’s where a lot of this band came together. And that’s where I started getting academic about music and taking it seriously. Then, I went to USC for college to study guitar. I’ve spent the time since college trying to unlearn all that shit, notes and the whole academic side of it. I’m trying to be more emotional, more direct feeling-oriented.




WC:

What prompted your move back to Chicago from Los Angeles?





TC:

L.A. is a total industry town. The audiences are musicians or are involved in the industry. Here, people just love to hear the music. They want to grow with artists and get behind something. L.A. is cool, but it’s all industry, which is great for what it is; I’m not knocking it. But people have their shield up. Here, it’s more about the music.





WC:

Have you noticed a change in the Chicago music scene since you played here before L.A.?


TC: No, not really. I wish I could say that there’s been a big shift, but I’ve really been self-involved and following my own thing. There’s obviously a scene with Fall Out Boy getting so popular, but I’ve just been doing my own thing.

WC: Tell us a little bit about the new CD that you just released, Watching Waiting.

TC:



It was written over a period of about a year and a half. It’s the first disc that I feel was done the right way. It was written cohesively. I wrote all the tunes knowing that I was going to take them to the studio. I guess “streamlined” is the best way to say it. They were all written together, demoed together, recorded together with the same band. Whereas past stuff I’ve done has been have studio players and half bedroom. And this one has been the first “real deal” and that’s one reason that I’m so excited about it. The songs I think are great; I’ve really been sharpening my writing.


WC:

Have you been playing the new songs live yet?





TC:

I was out playing a lot when I first moved back in 2005-06. But since we’ve been in the studio recording, we haven’t been playing many live shows. Now, we’re going to start gigging out a lot more to get the music out there. There’s been a resistance to over-saturating the fan base. Now, it’s time.





WC:

What songs do you think the audience is going to react best to? What do you really like performing?





TC:
It’s funny because the songs I like best aren’t necessarily what the audience likes best. My favorite one is 'Watching Waiting,' the title of the CD, especially when we have a keyboard player like we do tonight. He does this really cool thing where he sings into this Casio keyboard and uses delays and it’s so cool. I also like 'King of Cliché.' Those are a little more vibe-y. The audience sometimes catches more on to the up-tempo tracks like 'Ain’t Got Love' and 'Friday Nights.'

WC:

They tend to like the hits. In the press, you’ve gotten a lot of comparisons to people like John Mayer and Ryan Cabrerra. Who would you like to be compared to?




TC:
If we’re going to go that route, I’d much rather be compared to Dave Matthews. I just love the way that he built his fan base grassroots rather than the pop route, which is great. But I love the way the - Waycoolmusic.net

Recently moving back home to Chicago from music-industry saturated Los Angeles, Todd Carey seems to be having the time of his life. As the former front man of the rock band, Telepathy, Carey changed his focus to develop himself as a solo artist. His love of performing is obvious as soon as he steps on stage. Overflowing with positive energy coupled with a brilliant smile, he wins the audience over before he sings his first note. WayCoolMusic sat down with Carey before his CD release show to talk about his musical education, the evolution of Watching Waiting (new CD), and sharing the big screen with Christopher Guest.





Way Cool:

Please tell us a little bit about your background and how you got involved in music.

Todd Carey:

Truthfully, a lot of people will say there is an epiphany moment. For me, my mom was a musician. She went to music school, was a singer and a pianist. I also remember riding around in my dad’s car and he’d have mix tapes with Stevie Wonder and The Beatles, and those hooks and songwriting got me. He’d ask how I’d remember all the words. After that, I was really into it. Then, my mom took me to this class, teaching us rhythm. I remember they had this pad with heartbeats to help teach us. From an early age, maybe 4 or 5, I was totally into it. Just listening got me into it. My parents didn’t sit me down and force me to take lessons.






WC:

What was the first instrument you started playing?


TC:
Saxophone in junior high… No, I was playing guitar before that. I think maybe I played the recorder in second grade.


WC:

You went to school for music, though?


TC:

Yeah. In high school, I was in the jazz band and that’s where a lot of this band came together. And that’s where I started getting academic about music and taking it seriously. Then, I went to USC for college to study guitar. I’ve spent the time since college trying to unlearn all that shit, notes and the whole academic side of it. I’m trying to be more emotional, more direct feeling-oriented.




WC:

What prompted your move back to Chicago from Los Angeles?





TC:

L.A. is a total industry town. The audiences are musicians or are involved in the industry. Here, people just love to hear the music. They want to grow with artists and get behind something. L.A. is cool, but it’s all industry, which is great for what it is; I’m not knocking it. But people have their shield up. Here, it’s more about the music.





WC:

Have you noticed a change in the Chicago music scene since you played here before L.A.?


TC: No, not really. I wish I could say that there’s been a big shift, but I’ve really been self-involved and following my own thing. There’s obviously a scene with Fall Out Boy getting so popular, but I’ve just been doing my own thing.

WC: Tell us a little bit about the new CD that you just released, Watching Waiting.

TC:



It was written over a period of about a year and a half. It’s the first disc that I feel was done the right way. It was written cohesively. I wrote all the tunes knowing that I was going to take them to the studio. I guess “streamlined” is the best way to say it. They were all written together, demoed together, recorded together with the same band. Whereas past stuff I’ve done has been have studio players and half bedroom. And this one has been the first “real deal” and that’s one reason that I’m so excited about it. The songs I think are great; I’ve really been sharpening my writing.


WC:

Have you been playing the new songs live yet?





TC:

I was out playing a lot when I first moved back in 2005-06. But since we’ve been in the studio recording, we haven’t been playing many live shows. Now, we’re going to start gigging out a lot more to get the music out there. There’s been a resistance to over-saturating the fan base. Now, it’s time.





WC:

What songs do you think the audience is going to react best to? What do you really like performing?





TC:
It’s funny because the songs I like best aren’t necessarily what the audience likes best. My favorite one is 'Watching Waiting,' the title of the CD, especially when we have a keyboard player like we do tonight. He does this really cool thing where he sings into this Casio keyboard and uses delays and it’s so cool. I also like 'King of Cliché.' Those are a little more vibe-y. The audience sometimes catches more on to the up-tempo tracks like 'Ain’t Got Love' and 'Friday Nights.'

WC:

They tend to like the hits. In the press, you’ve gotten a lot of comparisons to people like John Mayer and Ryan Cabrerra. Who would you like to be compared to?




TC:
If we’re going to go that route, I’d much rather be compared to Dave Matthews. I just love the way that he built his fan base grassroots rather than the pop route, which is great. But I love the way the - Waycoolmusic.net