daniel joseph
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daniel joseph

Band Pop Singer/Songwriter


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"Daniel Joseph sounds like Texas."

Daniel Joseph sounds like Texas. His new self-titled album features songs with twinges of country swirled into classic bar rock. The music rides on simple, no-BS melodies, and gives you the feeling that Joseph rides alone—as a lone star, perhaps.

For the first half of the album, Joseph is backed by a band. On the second half, he offers acoustic versions of the same songs, showing that he can hang as a soulful singer songwriter as well. Then it's easier to hear the subtle changes, the way his vocal melodies ribbon in and out of the chord progressions that show the care that went into crafting each song. In this way, the album is perfect for blasting on the open road, or quietly at home in the evening.

Some artists self title their albums because they can't think of a good one. For Joseph, no other title could fit so well. The album is a memoir, a collection of his musical influences from birth to present, and what he's learned by being a lifelong musician in the world. A lot has happened in the meantime. Joseph grew up in Texas, and started making music with his uncle and mother as young as five. He played in the bands Element and Modern Day Relief, popular on the local Fort Worth bar and club scene.

As he says, "The kind of music I'm making today was a part of me long before I started Element," referencing John Mellencamp and Tom Petty. Mellencamp comes through more obviously than Petty. Rather than storytelling in his songs, Joseph carries in each song a specific lesson. It's easy to imagine he's a father telling his son about the life lessons that he's learned, what's made him a man. He sings of the beauty of patience, becoming one's own hero, and living in the now. That's where the influences end. Listen to the album—it's all Joseph, a collection of who he is in song.

Review By Anney E. J. Ryan

Skope Magazine www.skopemag.com

- Skope Magazine

"I knew I was in for something"

I knew I was in for something unusual when Michael Phelps' simple, raw, but burning electric guitar dropped Control out of the clouds. Just as artfully laid, Daniel Joseph's vocals floated down, chafing to dig into the soul of the listener, beautifully offset by the rich groundlevel composition, a preternatural cipher for the entire expanded EP: four electric songs and five acoustic (four of them revamping the electric). Joseph is one of these guys, like James Isaak, who has a completely personal and powerful aesthetic threatening to resurrect the old days of Tim Hardin, Tom Paxton, Dave Van Ronk, and similar prototypical folkers. Joseph, however, takes an updated country rock approach brimming with the best the mid-west has to offer, then lays in a highly Chris Thompson-esque voice to do what Bruce Springsteen, John Cougar Mellencamp, Michael Stanley, and even the Nitty Gritty Dirt Band forsook in order to please the charts.

In short, he demonstrates that you can keep your soul and accomplish the same end. Each cut here is basic, nothing flashy or pretentious, centered in the guy's headily earthy sonorities. The Hooters, Georgia Satellites, and one or two other recent-ish ensembles with a good deal more clatter veered in this direction, making some truly righteous rock-cum-country fare, but they hadn't the grit, nerve, and gut-level soul this guy possesses. Heroes, for instance, is an urbanely prairie apocalypse with axehandler Phelps tossing in another wrenchingly satisfying lead line unadorned by the usual chartrock BS, boring straight into the frontal lobes.

The acoustic half of the disc is just as attractive, maybe more so. In it, Joseph's voice takes firm center stage, his range and control becoming all the more arresting. The lyrics are more emphatically crooned here because the guy writes with an uncompromising tack, unwilling to soft-sell what needs to be pondered. The re-take on Control is stunning, best displaying his command. I'm reminded of what Mick Hucknall did with Simply Red's Holding Back the Years acoustic single or what Nuclear Valdez accomplished with their non-electric Take Me re-cut, powerful as hell, digging so deeply that a tear of wonder formed in the listener's eye. As compelling as the quartet of electric opening cuts is, the acoustic steal their thunder, Joseph's iron control and perfect musicality pinning the listener's ears back as the singer nails each cut with magnificently honed ferocity. If the denuded Heroes doesn't take your breath away, something's seriously wrong. Call Forest Lawn, they'll sympathize with the dilemma, having a special arrangement and pleasant little alcove all your own and already waiting.

Written by
Mark S. Tucker
- Folk & Acoustic Music Exchange


Currently Promoting first EP "waiting in line" which has been well recieved at AAA radio.AIR PLAY

Satellite radio 400
Streams 700
WVOD did a week long promo on "Control"
Appeared on 2 Triple A/ College cd sampler's 2008
FMQB and Radio Waves/CMJ Mag.
5 weeks top 10 on Westsidewill.com

EPK and Video for "Control' available
150 press packs sent out [hard copies/ mags /music
papers ect,, July 2008 [see results in about 3
Over 500 internet mags and music sites
Guitar giveaway at 10 stations



DANIEL JOSEPH Completely obsessed with making music since early childhood, Tennessee-born, Texas bred singer/songwriter Daniel Joseph—who is currently celebrating the release of his self-titled solo debut on Wunderlux Records--was jamming onstage with his uncle at age five and by seven was singing every Sunday with his mom at church.
While he grew up completely self-taught, Joseph received a vocal scholarship from Tarleton State University in Stevensville, Texas; the first song he sang in class was an Italian song which he had to do in dramatic operatic style. Inspired by the Southern culture where families “pick and grin” and jam on front porches, he dropped out after a semester and pursued his love for rock by launching his first band, Element. The group, which later evolved into another rock unit called Modern Day Relief, cultivated a major local following around his hometown of Denton, Texas (where they were a fixture at Rick’s) and the Dallas/Ft. Worth area and began opening gigs for popular Lone Star State Bands like Bowling For Soup, Edgewater and Tripping Daisy.
After a transitional, soul-searching period, Joseph returns with a completely different acoustic/alternative approach on his debut, which was recorded at Reel Time Audio in Denton and engineered and produced by Grammy Award Winner Eric Delegard (Cross Canadian Ragweed, Deep Blue Something, Edgewater, Bowling For Soup). The singer credits his wife Aimee for encouraging him to get back in the groove and write songs that were true to his heart. He reached back a few years to his early influences and emerged with a winning collection whose songs are currently being played on college, commercial AAA and NPR stations. Joseph’s key markets so far are Eugene, Oregon (KRVM 91.9), Auburn, Alabama (WQNR 99.9), Williamsburg, Virginia (WRRW 100.9), Fredericksburg, Texas (KFAN 107.9) and Truckee, California (KTKE 101.5). His grass roots radio campaign continues in full swing. “The kind of music I’m making today was a part of me long before I started Element,” he says. “I grew up not only listening to my mom sing in church, but also to everyone from Tom Petty to John Mellencamp to Motown. With those influences, doing the acoustic soul thing just became a natural progression for me. Though I grew up only an hour away from the city, it felt at times like the ‘middle of nowhere’. People always talking about getting out and the things they would do if they lived somewhere else. Looking back at those days, I realize that there were great times and terrible times. There were people who made me feel confined, and people who helped me feel free. This album encompasses the many influences and emotions of those days. Some songwriters are more concerned with creating a certain style, but I believe in being an open book and letting people see who I really am.”
After composing a handful of songs he felt confident about, Joseph debuted them at some local open mics and coffeehouses around Denton and Ft. Worth, and a friend introduced him to Steve Thomas, who was starting his Wunderlux label. Thomas loved what he heard and immediately put his money where his mouth is, funding the singer’s debut and hooking him up with Delegard. One listen to the tracks on Daniel Joseph and it’s easy to hear why Thomas and Delegard became so excited. The aggressive, spirited rocker “Welcome To Nowhere” is about letting our past haunt us if we choose to live there rather than move forward; Joseph believes that if you’re living in the past, you’re not living at all. The coolly languid, seductive “Waiting In Line” is a straightforward ballad about being afraid to tell a girl who’s your best friend about your deeper feelings; it’s about the patience you need when you’re waiting for her to overcome her demons and open up. The similarly vibed “Heroes”
is about growing up and realizing that putting people on too high a pedestal only leads to downfall and disappointment. “At some point in my life, I’ve lived every emotion and word that I sing,” says Joseph. “There may have been times when someone else’s pain was stronger than mine and inspired me, but I’ve been in those tough places too. The most beautiful thing about having the chance to establish myself as a solo artist is the opportunity to get on the road and play for more people and then keep recording more albums. Contrary to what you read about all the crises in the music business, this is a good time for singer-songwriters. I’m living proof that musicians just have to keep hope alive and writing and creating good music. In the end, I truly believe great songs will always prevail.”