Michael Brett

Shoreworld: Michael Brett’s Twisted Trio and the Asbury Park Music Awards
—by John Pfeiffer, November 12, 2009

Michael Brett’s Twisted Trio, Oct. 24 @ The Twisted Tree

Michael Brett is no showboat. He has quietly circled the area, flying underneath the drama radar and doing his own thing at the various the coffee houses, clubs, open mics and occasional festivals that Monmouth County has to offer. The late great Chris Barry once commented on Brett saying that he was a solo artist “whose world weary vocals and blues harp interludes give heart and warmth to lyrically comforting songs,” and I couldn’t agree more. Soft spoken and quiet, this Upper East Side scrapper is tuned and toned when it comes to his craft, breaking out in the traditional styles of Gram Parsons and the Lennon Beatle.

The Twisted Tree has long been a place for acoustic acts to showcase material for target audiences. Done in the “round” style Brett went through a selection of brand new tunes slated for release this year on his yet-to-be titled CD. He also brought up another pair of well-heeled writers to solidify the night. Keith Monacchio and Tony Tedesco took turns with Brett pulling songs from their repertoire and entertaining the crowd quite well.

Tedesco rips rusty in the style of Tom Waits-meets-Steve Earle, literally walking in out of the rain and onto the stage, water dripping from his face as he hit us with tunes such as “Diesel Down,” “Caged Heart,” “Shine On,” “Parched,” and more. “Unicorn,” an aural painting alluding to privilege and entitlement in the local Asbury scene with the lines, “My friend’s been telling me I need to smile more these days. I gotta lot of assholes for friends what with the stars in their eyes, TV in their hearts and their silver screen dreams they have never taken the time to look at these shoes upon me.”

Monacchio took his turn and dug down deep into his last few discs, especially the massively underrated American Ghost. That record plays regularly in my CD player and whenever I hear it I shake my head in disbelief and wonder what has happened to the quality of attention spans around here. Dissed in 2007 at the AMAs, it has nonetheless held fast on my top 10 lists. Breaking out “Big Big World,” “Gas Huffin’ Housewife” and more had the room eating out of his hand and off his veggie burrito platter. At one point his comedic story of an Office Space-type co-worker had the place in stitches.

Michael Brett works well with the above mentioned, hailing from that same nomadic storyteller style and trading in the amps and drums for the starker turn taking perspective on life, emotion and humor. The deliciously tongue-in-cheek “Good Things (In My Minivan)” drives that point home (he called out from stage and said I would like this one so it must be dirty) as well as “Old Ghosts,” “Storytime,” “Let The Show Begin,” “The Crowd,” “Gamblin’ Man Blues,” “Labor Day” and “More Than The Crumbs” put Brett firmly in the upper echelon of the singer songwriter fray around here.

The problem with the Twisted Tree is that the room just isn’t set up for music. A fact made evident by the table of squawking patrons next to us, drinking giant bowls of mocha latte and yakking about dirty martini’s and doggie sweaters while Brett and the boys played through the racket. Hey, I’m not one of these dopes that shushes people, but they were even too loud for me. Once they wandered away for more “rich folk” gold card debauchery, I returned to the most relaxed show I’ve seen there. Word has it that a new musician owner is coming in and perhaps they’ll address the lack of sitting space, rickety PA system and pumpkin muffin consumption and proximity to the bands. I hope so because musicians like Michael Brett, Tony Tedesco and Keith Monacchio are what keep local business thriving with “good things” on Cookman. For more info on Michael Brett, head over to
- The Aquarian Weekly

Michael Brett is a musician that remains far in the background when it comes to pomp and circumstance. He doesn’t get involved in the drama and you can catch him on many stages at any given point during the month. His demeanor is as laid back as his music, which speaks louder in solitude than most songwriters through a full band. Michael Brett also has a firm grasp on getting the story across without dull repetition or extra accompaniment. Simple, direct and picturesque, Brett excels on his new CD, Some Kind Of Solitude. With a voice that fits somewhere in the middle of a Stan Ridgeway or Michael Stipe, Brett is an interesting study in maverick singer/songwriters. He has figured out the art of having something interesting to say without stepping on the foot of tradition or borrowing too much from any one genre.

Some Kind Of Solitude is a wide-open set of songs. With minimal contributions from some of the areas best musicians, this self-produced disc delves into life’s dysfunctional nightmares and triumphs with the zest of the rare and unfaded troubadour.

The disc starts off with “More Than The Crumbs,” a socially charged ode where Brett sings, “Give them more than the crumbs/They deserve the cake and the icing too/They deserve as much as you do.” The talented Melissa Anthony backs Brett well here. He taps out the breaks on his acoustic and keeps the fanfare to a minimum while the lyrics do the talking. Good start.

Track four is one of Brett’s best, and my overall favorite. It’s called “Fishing,” and it has nothing to do with sitting under a tree by a stream with a pole. It’s the stark tale of the lost soul and the deep, dark, tail-chasing journey of addiction. Brett’s simple line is shockingly effective as he sings, “I’m going fishing, cause fishing stops the pain/I’m going fishing, fishing for a vein.” Fingerpicked acoustics are warm and full, and the single guitar accompaniment works perfectly for Brett’s great vocal and desolate subject matter.

“Labor Day” explores the last great summer hurrah. The firefly activity of kids and that last gasp of freedom on the swings before the school year reclaims them. The fast-forwarding good time of family gathering in the house and yard, the burgers and corn, the sounds of a social celebration. “Labor Day” is a breezy and detailed description of one of America’s favorite holidays. Brett has a sort of Jimmy Buffet-meets-John Prine vibe here with his detailed and easygoing descriptions that never once leave the listener bored or wishing for the end. Actually, this song is like the end of summer, you really don’t want it to go away.

“Let The Show Begin” is a minor key ballad where Brett once again shifts his style and melody, reminding one of the late, great Warren Zevon. Brett’s knowledge of lyrical construction is unchallenged here as he slips into precise imagery and irony, tearing away the cover of revenge and exposing the regret and redemption from the gurney of a strapped-in killer on his way to the afterlife. Sheli Arden is featured on drums and Melissa Anthony is back on this cut as well. Her harmonies fly mourning dove high above Brett’s desolation twang.

Another top tune is “Good Things In My Minivan.” Utilizing background electrics, drums and bass, this is one of the only band cuts and it’s a laid back keeper. Brett’s harmonies are countrified and backwoods good, and the overall song has a Levon Helm quality that retains the original acoustic idea with just a touch of smirking, humored elegance on top. It’s anyone’s guess as to what “good things” Brett has in his mini-van, but to me it could range from prescription euphoria to stereo equipment. Hey, it’s the listener’s call here and its wide open to interpretation.

“Old Ghosts” explores the sounds of cutting words from the past, breaking glass and the art of putting one through hell. The counting on one’s possible soul mate, the pacifists of anti-evil and the unreliability of old spirits, both past, present and future. Great little acoustic lead and drum work courtesy of Moon Motel, another alumni of the George Wirth School of “less is more.” Brett’s tone is very Counting Crows here and I like the lived-in feel of the composition. Faded and torn, the song is strong enough to blow through the minds of the listener for days on end.

“The Crowd” is another Stan Ridgeway-meets-Bobby Strange-vibed tune that gives an inspired look at the fading star. Brett pulls no punches with the reality of the music business here as he lays it out with, “Ignored on music row, you’re someone that they used to know/Cause when you try to get a cut, their doors are always shut/ They’re afraid to tell you, they want somebody new.” Walking bass courtesy of “Miami” Ken Bash and the percussion and banjo work of Mitch Atrebel make this song memorable and celebratory. It takes the listener on a fun, tumbling ride through the song. “The Crowd” is an outside-looking-in views and pinpoints the reality and horrible odds of discovering anything good in the entertainment business.

“Jubilation Park” alludes to the political trick of the buzz. Getting folks caught up in the moment. Boisterous cheers send up the flag-waving excitement of a social reality that was once just a dream. The harp work of Caleb H. Mitter pushes this reminiscent time capsule into American folklore without sounding like every other clone on the Asbury boardwalk.

Containing 14 songs in all, Some Kind Of Solitude unveils a seamless continuity and outstanding lyrical content from a writer that has lived a lot more than many would ever know. Michael Brett is an unassuming performer tutored in the desolate and stark styles of local masters like Bobby Strange, George Wirth, Keith Monacchio and Rick Barry. But he’s also proved that he stands on his own when it comes to what’s in his own mind. Some Kind Of Solitude is thinking mans record filled with simple instrumentation and melodies that will appeal to those listeners that are looking for more than just generic love songs and three-chord pop. For more information about Michael Brett and Some Kind Of Solitude, head over to reverbnation.com/michaelbrett.

- The Aquarian Weekly

Michael Brett will celebrate the release of his new album on Sunday, June 5 at Rosie's Cafe at the Atonement Lutheran Hall (308 First AVenue in Asbury Park, NJ). The show runs from 5:00pm to 8:00pm and will include performances by Matt Kay, we are., Emily Grove, along with Michael and special guests. Admission is $5. BYOB and some food to share.

On June 5, you'll finally release your next album after many years in between. What took you so long?
I'm a bit of a control freak. I recorded the entire album at home, playing many of the instruments myself, using my 8 track digital recorder. I wanted to make sure that everything was right. (I'm still not entirely sure everything IS right...haha...but i'm sure many artists feel that way with their final project. We are often our own worst critic, I suppose).

Do you enjoy the recording process or is it something rather frustrating for you?
Like I said, I'm a bit of a control freak. I love the creative process behind the song-building, adding instruments, etc. You know? Adding a little vocal harmony here, adding a little mandolin here, a little guitar here. I love that part of it. But I don't consider myself a pro or a recording engineer by any means. So the frustrating part for me was learning the basics of the "machine" I had. I'm STILL learning it, actually. It's not an easy task.


What do you enjoy more: recording or performing live?
I enjoy performing live just a little bit more. Don't get me wrong. I dig the creative process behind the recording and all the stuff I mentioned previously. But when performing live, I get to connect with people. For example, I've had people come up to me and tell me that my song "A Man and His Chair" made them cry after I played it live. I get to see the reactions on people's faces when playing live (both good and bad reactions...haha). And since I'm a very introverted person, I think...performing live is the one time when I am a little more outgoing with people. I'm not sure which is the real me, honestly: the introverted, shy dude or the outgoing live stage performer.

You recently had the chance to perform at the Tin Angel, a great listening room in Philadelphia. While the crowd was loud at first, they settled down and gave you a true listening room experience. What was that like for you? I think that was one of the best shows I've ever been involved with. Partly because of the other talented guys on the bill (Mike Askin, Keith Monacchio, Tony Tedesco), but also because of the "true listening room experience". There IS a big difference between playing at the Tin Angel, where they are actually listening to your songs, and a noisy bar or coffeehouse where somebody is loudly ordering a beer or a mocha latte.

Are there any venues like that in New Jersey that you've played? Would you consider the Rosie's Cafe shows on that level?
Rosie's Cafe is definitely one, and I think that is because Brenda Wirth & Cook Smith are both strong supporters of live music and want the singer/songwriter's music to be experienced the RIGHT way by everybody involved (the singer/songwriter AND the listeners). I also think Espresso Joe's in Keyport is another venue like that. Sonny is incredibly supportive and respectful of the local acoustic singer/songwriters. Espresso Joe's is a great listening room.

What is your new album's name and what songs are on the album?
The title is "Some Kind Of Solitude". It is a phrase from "Hey Bulldog", one of my favorite Beatles tunes. As soon as I heard the phrase, I thought it fit me and the project very well because I'm a bit of a loner. Songs on the album include "Gamblin' Man", "I'm Taking All My Secrets With Me To The Grave", "Vanishing Act", and "A Man and His Chair", all of which I've playing live for a few years now, and songs like "Fishing" which I don't play out very often.

Are there any guest appearances to note?
Guests include Sheli Aarden, John Hanney... and Melissa Anthony & Moon Motel (known collectively as "we are.")...all of them ridiculously talented people. And my friend George Wirth, who's one of my favorite singer/songwriters of all time, mixed and mastered it for me.

Your last release was included in my book, Are You Listening? As one of the top 100 albums of the past decade by New Jersey artists. What did you think when if first told you that the album made the list?
I was very surprised. Considering all of the amazing talent in the Top 100, including some legendary NJ-based bands, I was very surprised and very honored. You told me awhile back and frankly, I'm still shocked. Well...that album would not have been made without the hard work, generosity, and support of George Wirth. I have so much respect for him as a singer/songwriter, but more importantly, as a person. He's such a great friend.

In addition to the album, your song "(in one ear and) out the other" was included in my list of top 100 songs of the decade. At the Tin Angel you played a couple of songs from that album. What are your favorites from that album?
My favorites are "In One Ear...", "Union Man", "The Last One", and "Work Of Art". I still play all of these songs live. I'm very proud of all the songs on the album, but especially proud of these 4 tunes. I still get requests for them, which makes me feel wonderful.

Do you ever still play any of your even earlier material or have those songs been retired?
With the exception of my song "Before Edison" from my first EP "done.", which I play occasionally, I have retired most of those songs. I haven't even listened to them in years. I think many artists can relate to this: where they've written songs from an era where they hadn't found themselves yet. I think I have matured, learned a lot, and have gained more self-confidence in the last 7 years.

Finally, a few months back you took home a Jersey Acoustic Music Award. What does it mean to you to be recognized in that way? Especially since many people feel you've been rather shunned by the Asbury Music Awards through the years...
Well, I don't think awards should be the reason that any of us play music. But, it means a lot to me to be recognized for something that I love doing, by people of the greater Asbury Park community. The awards were part of a wonderful evening. There was so much love and support in that room. I don't think I heard a single negative comment by anybody that evening. It was all positive. That wonderful evening happened right after the devastating earthquake and tsunamis in Japan. So, I considered myself, and STILL consider myself, very lucky to be part of something so positive.

- New Jersey Stage