Warren Bloom & BloomTunes
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Warren Bloom & BloomTunes

New York City, New York, United States | INDIE

New York City, New York, United States | INDIE
Band Pop Singer/Songwriter


This band has not uploaded any videos
This band has not uploaded any videos



"Smother.Net Review"

[Warren's] vocals...seem as if he’s just talking to you rather than belting out some tune. That sort of familiarity lends well to his take on roots rock and Americana; if there’s studio wizardry going on here then it’s well concealed in a veneer of sensible down-home knee-slapping rock-n-roll with a twang that’s almost alt-country and almost John Mellencamp.
- Smother.Net Review

"Mark Keating"

Warren Bloom is an exciting New York City musician who excels at a centuries-old tradition that of the romantic serenade. The 12 original songs on his debut record, Miracle Morning, weave a seamless tapestry of folk-inspired melodicism fortified by lyrics that are a combination of optimistic yearning and gallant determination.

Listen to Miracle Mornings opening track, Just About A Fool, and hear the balladeers technique. The tempo is slow, with a windswept harmonica blowing Neil Young-style over acoustic guitars. The tone is set for a ballad from the heartland, but then Bloom sings in a high, ardent vibrato that recalls Roxy Musics Bryan Ferry. The result is a place both sophisticated and bittersweet where a suggestive lyric like Its so hard to play it cool / Girl it got so hot that I thought it would never die could transform the mood of the song

But Blooms voice is not that of the tortured romantic. His are grown-up love songs that describe the quest for control over emotion and experience. Produced and mixed by Warren Bloom and John Pocrnic, the guitar-driven arrangements are simultaneously meticulous and delicate. Intimate interplay between Blooms own fingerpicking and the lead guitar of John Amato lend detailed layers of warmth to every song. Harmony vocals by guest singer Peira lift the melodies to levels of radiance that shimmer and glow without sounding sugary. The rhythm section of drummer Chris Olsen and bassist Steve Geller perform a variety of duties on the record, particularly when called upon to swing with a Caribbean rhythm on Jamaican Beat or glide through a Latin reverie on Pretty Senorita.

Uniting everything on Miracle Morning, however, is Blooms unflinching commitment to writing a good song. If you dont have the melody, he says, what have you got? Each song is tailor-made for Blooms accomplished crooning, enabling him to cover his musical terrain with ease and confidence. This gives the music a comfortable, stone-washed texture that contrasts nicely with the lyrics steady focus on the Everymans pursuit of happiness. Miracle Morning is an unabashedly old-fangled dissertation on love and romance, and a comfy chair in a musical universe over-furnished with iron maidens.

- Mark Keating

"Nick Catalano review"

This month Blue Note will release a new CD from explosive chanteuse Norah Jones dubbed Feels Like Home. Pianist/composer/educator Geri Allen has recently signed with Telarc and will soon release her first CD in 6 years. A singer new to the recording studios, Warren Bloom has released his premier CD Miracle Morning on the Rock Chain label. Bloom’s high tenor range is a rare find in the CD’s genre and this uniqueness should find a cult for this mellow singer/guitarist. - www.allaboutjazz.com


Thanks For the Fantasy (LP) - 1999
Miracle Morning (LP) - 2002
I'm On My Way (LP) - 2006
Lie to Me (single) - 2006
All can be played on Itunes, Rhapsody, Napster etc. plus www.bloomtunes.com



When people ask me what my music sounds like, I always have a hard time answering. Others have described it as peaceful, uplifting, romantic, melodic, pop, country, rock, jazz, new age, island and, in some cases, dark. Whatever. I write about my romances, my feelings, and my view on the things I see around me. After more than 30 years of singing and playing in rock bands and quietly crooning at parties and restaurants, hopefully my sound has evolved into something that will make me into a living God, multimillionaire, humanistic rock star. Anyway, I get off on playing, so who cares?

I grew up a nice Jewish boy in Fairfield, Connecticut. My father James was an accountant and one of Bridgeport's best-known people. He was a very large and outgoing man who laughed a lot. He could be quite a Ralph Cramden-esque character, especially if he wasn't laughing. At those moments he became rather uninhibited, very type-A, but still lovable. The things I heard most from him were, "Family is everything," and "Be the best you can be at whatever you choose to do."

Golfing came naturally to my father. He was a great athlete and a great dancer, as well… a very graceful man. He passed away 25 years ago. Everybody loved Jimmy and, of course, his son was expected to become president of the country or some sort of Mickey Mantle or something.

My mother Jeanette has a great personality, always warm, caring, and friendly. She still plays piano by ear and is, in most peoples' opinion, still the most beautiful woman in town. Always has been. My older sister Linda was popular from the get-go, as well. She always has been very pretty and she's also quite musical. She's an excellent singer with a dedicated fanbase among her grandchildren.

The secret to my success is that I always have been a legend in my own mind. To this day, I hum original masterpieces when I eat. And not only did I do that at age five, but I also played concert piano on the side of the dinner table along with my parents' record albums. I played a serious table, man. I was a table musician.

My sister always had a great record collection, which I listened to constantly, often more than she did. As early as age 10, I envisioned myself singing Heartbreak Hotel to millions of fans at huge stadiums. It's possible that I was the very first Elvis impersonator — I was into his music before he even got on TV. In fact, I remember Alan Freed saying, "Here's a brand new singer," with Elvis Presley singing I Forgot to Remember to Forget. I could do his whole routine. When Elvis showed up on Uncle Miltie's TV show months later, I remember saying to my folks, "Oh yeah, I know this guy."

I'd have to say my biggest influences in the fifties were the many ballads by all the New York City doo-wop groups of the day. Doo-wop music has always been underrated in terms of its place in the evolution of music, its contribution to rock & roll. Country music and black blues sure, but doo-wop was rock & roll.

The Flamingos, Harptones, and Moonglows all made major impressions on me. I was a schmucky little kid who sucked his thumb. But when I was locked alone in my room with ballads like My Prayer, I could cry and become some sort of emotional and sexual avatar for my entire generation. But it wasn't just the ballads that got me — I was into the fast stuff, too. Alone, I was crazier and less inhibited than Little Richard or Jerry Lee Lewis. Some might describe it as delusions of grandeur. I would describe it as a major inferiority complex combined with major future sexual hang-ups combined with gigantic major league delusions of really big grandeur.

To this day I live in a fantasy world. Sure, I have numerous World Series no-hitters and home runs to my credit, but music is still my main thing. I actually remember doing some major conducting work for Pérez Prado when I was a boy. I also considered myself a world-class bongo player by age 12. By age 13, I was a seasoned pro. I completely killed at my Bar Mitzvah. Everyone said I should take voice lessons from the Cantor, and he smiled affirmatively. Within five years I was singing Stones songs in the first white band to play the black nightclubs of Carrboro, North Carolina.


I was the one with the best record collection by the end of high school, and I took it with me to the University of North Carolina in 1963. Much to my amazement, James Brown was a major star down there. James Brown's first hit, This Old Heart was one of my favorites back then. It sounds like Ray Charles' What I'd Say, but it's nothing like James ever sounded again. I'll never forget seeing James Brown live, going from one end of the stage to the other — on one foot! I've had several dreams about meeting James Brown and asking him, "Hey, whatever happened to that song, This Old Heart?" He'd probably have punched me out.

While in North Carolina I saw the Stones on their first U.S. tour,