Yates Dew
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Yates Dew

Charleston, South Carolina, United States | SELF

Charleston, South Carolina, United States | SELF
Band Pop Singer/Songwriter


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




Author: ThisIsModern.net
Yates Dew - "Yates Dew" (Yates Dew 2002)

An independent solo career is the hardest thing to do in the music industry. Yates Dew decided to give it a go and landed feet first with his independently released, self-titled debut album. Hot off a songwriting contest win, the winning track is joined by 10 oter tunes that will intrigue and interest any fan of solo acoustic rock. He will surely find a place among the greats like Dave Matthews, John Mayer, David Gray, and Howie Day with this disc. His well crafted songs and soothing voice make his music shine. The fact that he incorporate more than one guitar into his mix attributed to the excellence of his disc. The truth of the matter really is that it is hard to succeed on your own in the music biz. But, with a solid debut album under your belt, there is no stopping where you can go. Solo acoustic rock is back in a big way, and Yates Dew will be reaping the benefits.
Album Highlights: "Black And Blue" / "Dee" - Toni Gisondi

"Charleston Post and Courier"

"The Residency EP gives seven solid reasons why fans of local music should pay attention to Dew." - Devin Grant

"Ph.D. Candidate, Brandeis University"

A talented vocalist, able guitarist, and surprisingly soulful drummer, Yates approaches music - and seemingly always has, judging from previous CDs and live performances - with kinetic energy and a bright disposition. I believe if we were to single out one characteristic of his music that causes it to swerve from the direction taken by most singer/songwriters who grew up in the 70s, 80s, and matured in the 90s, surely it has to be an apparent absence of cynicism or cleverness for its own sake. Now in his early thirties, "grey stripes" and all, Yates still has a lot of positive things to say, and most of us in the same stages of life will find it worthwhile listening.

Yates' growing popularity in Atlanta musical circles is not surprising for those in the know; I, for one, have long known that greater numbers of music-lovers would recognize his abilities as a songwriter and bandleader. Quite simply, Yates is a natural musician with incredible feel and instinct devoid of any trace of pretension, always with a smile on his face and a generous helping of God-given charisma and Southern charm. People have always clamored to play with Yates, or simply to listen to or be around him.

Although Yates can do it all himself (and he has), he has recruited the assistance of some lively new players and recording gurus, and judging by the songs on The Residency EP, he clearly finds this new company musically invigorating. The music on the Residency EP captures the freshness of a seasoned group of musicians, Yates, bassist Michael Holland, drummer Josh Lawson, and guitarist George Waring, who are obviously still in the throes of their musical "honeymoon": that period where every sound emerges from the amps and skins crisp, emotionally charged, and crackling with excitement. For many of us ex-musicians, the band's sound, particularly on the first two tunes, will remind us of that happy time before jam bands when we banged out Ramones tunes in our parents basements on wood-grain Aria Pro II guitars and white Ibanez Roadstar basses with inactive pickups.

For those of us familiar with Yates' music and have spent quality time mentally charting his sonic evolution, these first two songs, "Feign" and "Marathon" (particularly the latter), sound surprisingly light, clear, and unsullied by age and distrust. Here, the contrapuntal funk of his work with XXX, the relaxed R&B grooves of his United Hotcake tunes, and even the early, jam-my Orange County textures are replaced by refreshingly concise rock tunes that leap out of the speakers ("Feign" and "Marathon," incidentally, are the standout tunes on the EP, I believe). This, I suspect, is thanks in part to the production on these songs (the absence of reverb, quite rare these days, is particularly nice).

On "Feign" and "Marathon," furthermore, Yates is melodically in George Harrison mode, circa 1966, with an enthusiastic singing style that emphasizes the offbeat - not "quirky," but rather the tendency to emphasize the "off beats" - like Harrison's compositions from Rubber Soul and Revolver (especially "If I Needed Someone," "I Want to Tell You," and even the later "Here Comes the Sun"). Nevertheless, the group nicely cools it down on the rest of the collection, which contains some subtle mid-tempo tunes, a variety of rhythmic and harmonic contexts that allow Yates' vocals to shine, and some fine, reserved ensemble playing with grooves that betray the short time they have played together as a unit. But I find the direction introduced by "Feign" and "Marathon" leaves the greatest impression, one most welcome to those of us reliving and returning to the music of our youth: AC/DC, Cheap Trick, the Kinks, even Elvis (Presley and Costello).

Residency also benefits from Yates' maturity as a vocalist and songsmith. Throughout the EP, he creates a vocal persona with subtlety and restraint, suiting the emotional content of his lyrics (particularly on "Anyway" and "Letter"). As a whole, Residency is both punchy and expressive, powered by sophisticated rhythmic and melodic sensibilities, while always reminding the listener of the artist's own cultural context. With older songs like "Saturday Fun," we heard where and when he grew up, what he listened to, and how he remains fond of his family and friends. As though purposely continuing with leitmotifs and fragments from his previous releases, Yates again shares the places and events of his life. On The Residency EP, however, Yates removes references to his past from the lyrics, instead burying them in the musical fabric of the chorus of "Feign," which reminds both of early Cars and of the Counting Crows of "Mr. Jones" fame. I look forward to the next Yates release. If this EP is any indication, the next full-length release should really please longtime Dew fans like me.

- Michael A. Hamad

"Preview Section"

“Dew's self-titled CD throws an impressive hat into the songwriting ring…Dew has been blessed with not only the fortitude to make a go of it in the music business, but also the talent to at least make it past the hundreds of other aspiring artists looking to strike gold. The music on Dew's CD is well written, professionally recorded and mixed and pleasing to the ear.”   - Devin Grant

"Unsolicited Fan Mail"

Fan mail: “I came across your CD and bought it just for the excitement of a new purchase...and may I just say "WOW!" Your amazing talent is the best thing in my CD player. When I hear you I close my eyes and go to a wonderful place, thank you for taking me there and thank you for sharing your incredible gift with the rest of the world.” - Sarah Gossett

"Glide Magazine"

In contrast to most other organic pop records of similar tastes, Yates Dew seems to favor “rocking out” over grooving. While the quartet’s mostly-live record incorporates the folk and pop structures that characterize the genre, they offer a decisively rawer sound. In fact, the group is more akin to the Counting Crows in terms of their alternative-rock sensibility. <br><br>Staying true to rock and roll’s traditional instrumentation of two electric guitars, bass, and drums, Yates Dew seem to filter out any jamband tendencies that color their peers. Darker and a bit more introspective, Yates Dew’s lack of groove is filled by building songs around lyrics as evidenced on the album opening “Feign.” Though the band falls into understandable mainstream-alternative rock anthems, their songs could never be labeled as generic rock. Singer Yates Dew has a distinct, Reid Genauer-like voice that distinguishes him from the Matchbox 20 frat of sound-a-like modern rock groups. Similarly, lead guitarist George Waring incorporates elements of the Byrds and the aforementioned Counting Crows, giving the band a solid folk-rock base. <br><br>Comparisons can be drawn, but Yates Dew offer a more stripped down sound than others and embrace a greater pop-palette, such as the lush harmonies of “The Surprise.” “You Bring Me” and “Anyway” are allowed to stroll into stream of conscious-sounding diction, spewing out fast paced lyrics and a folksy melodic hymn. Dew also never wallow in as much self-pity as the Counting Crows and drummer Josh Lawson plays with a less abrasive beat than a standard rock-drummer. The album’s live feel allows it’s chords and choruses to breath easy, especially on the five-minute plus “The Surprise” and the album closing “Letter.” While some of the group’s catchy vocal handles are a bit suspect, such as the “do do dos” on “You Bring it All,” the group offer an original twist to a long patented sound. <br><br> - Mike Greenhaus

"Gods of Music"

It's so much easier (and more fun) to critique an artist when he or she lacks ability. Unfortunately, this one's going to be tough. Mr. Yates clearly has a significant amount of skill and talent for songwriting and performing. 'Feign' is full of melodically hook-laden choruses that compliment well-written 'story-teller' verses. I love that! So many modern artists pay way too little attention to the lyrical content of their works. In the immortal words of some dude sampled in B.A.D's song, 'Rush,' "The only important thing these days, is rhythm and melody." Unfortunately, for the masses, nothing could be closer to the truth, but for those of us that actually LISTEN to songs for all that they're worth, artists like Yates Dew exist.

I do not however wish to discount the catchiness of Feign's rhythm and melody. The two blend together very well to create an uptempo bittersweet song that inspires the listener to hum the hooks of the chorus and play it again. "It's Okay, and it's all right..." See! "I'll get my hands around this..." -That's a big one too.

Yates' singing in 'Feign' - its phrasing and energy, brings to mind the styling of Joe Jackson. There's a tone of honesty and fun that leads the listener to believe the artist stands confidently behind the song and although no incidents could be found, he couldn't care less about missing a note, or whether a lyric could be viewed as cliché.

All too often one of my favorite artists' first release falls short because of a feeling that something I enjoyed in his or her live performance is missing, but 'Feign' is a bit of a needle-in-a-haystack among independent artists' recordings as Yates has managed to preserve a sense of the live energy one might experience at a show. Not that I've been to one of Mr. Dew's performances, but as of this introduction, I'll surely keep an eye out.

- Eddie Moffett

"Post and Courier, July 2006"

When I reviewed Yates Dew's "The Residency EP" three years ago I advised that the material sounded great, especially considering that the CD had started life as a set of demos. I noted at the time that I couldn't wait for a full album of material by Dew. Finally the wait is over. "The Day. The Dog. The Girl." takes all that was right about "The Residency EP" (i.e. smart songwriting, catchy melodies and a professional-sounding recording) and kicks it up a notch.

Dew has a vocal style not unlike that of John Mayer, and many of the songs on the CD demonstrate Dew's prowess as a songwriter.

"Into This," with its "Chocolate-covered kisses/fondue all over you" makes Mayer's "Your Body is a Wonderland" seem tame by comparison. At the same time, Dew doesn't let those lyrics hijack the song.

There are some great melodies here, especially with songs such as "Once," "Want Ad" and even the somber "Letter," which closes the album. Possibly the best track on the CD is "Bare Naked," a song that, like a flower, unfolds gradually to display its beauty. It might have taken awhile, but Dew has definitely kept the promise laid down by the release of that EP three years ago. (A-)

Download these: "Bare Naked," "Into This," Letter"

- Devin Grant

"Charleston City Paper - August 2006"

Known best in Charleston for his work as a musician with rock bands The Secret Knock and Triple X - and as the former club owner/manager with the Music Farm - upstate S.C. songwriter Yates Dew has found his sound on his latest nine-song collection. Lyrically, he contemplates the romantic side of life's routines and various curious love affairs. Musically, Dew mixes some tidy power-pop basics with bits of contemporary rock radio with strong results. The twangy anthem ""Want Ad" could easily have been just another soggy "adult-contemporary" hit, but he sounds too damn sincere to come off as a sap. The syncopated acoustic funk feek of "You Bring it All" compares well to the polite grooves of Jack Johnson or the Wallflowers. A bit more rockin' and straight ahead are "Once" and "Bind," both which demonstrate some subtle but effective production moves (a bit of extra percussion here, a touch of piano and keys there, some brass inbetween). A little too gooey might be the "chocolate covered kisses...fondue all over you" lyrics of "Into This." The lush atmospherics of album-closer "Letter," however, sound more like the work of a mature songwriter in the middle of a smart recording session than an artificially sweetened wannabe. --TBL - Ballard Lesemann

"This is Modern.net"

Yates Dew is back again with his third release, and best to date. This Dew doesn't contain any dyes that will give you cancer, but he does contain the talent and skills to write incredibly catchy songs. With a mixture of radio ready pop tracks and ballads, Dew showcases his incredible songwriting skills throughout the entire disc. There's even a small amount of reggae on the first track 'You Bring It All'. With only nine tracks, the album leaves you craving more, and I'm sure Dew will deliver as his demand and popularity is sure to rise. 'Channel 3' and 'Into This' are songs that are way ahead of their time, and you'd only expect to hear from a seasoned artist. At the indie level, Dew is at the top of his game and is sure to create quite a buzz around himself, and not just for his unique sounding name. - Tony Gisondi


Available on iTunes:
The Day. The Dog. The Girl. (July 11, 2007)

Available at shows:
Yates Dew, The Residency EP (2003)
Yates Dew, Self-titled, (2002)
United Hotcake - Quality Songs at Quality Prices (1999)

Out of Print:
Triple X - Nug (2001) - Winner of Millennium Music Pop Song of the Year Award (Charleston, SC)
Yates Dew - Out on a Limb (1994)



March 27, 2012 will bring the release of Yates Dew's third full-length solo album entitled, "Exhale Through Your Feet." The album features Yates on drums, guitar and bass on almost every track, in addition to his voice. It will also feature a handful of talented session players as well as four different female vocalists. This album, like his 2006 release "The Day. The Dog. The Girl." is engineered and co-produced by Parick Boyd of Sioux Sioux studios in Charlotte, NC.

"The Day. The Dog. The Girl." was released on July 11, 2006 and graced the #1 top-seller spot on Awarestore.com for over a week, as have his previous releases. Yates recruited whiz-kid producer Patrick Boyd and brought on a total of 10 musicians to complete this 9-song pop-rock record.

"Dew is at the top of his game," states THISISMODERN.NET. The Charleston Post and Courier gives it an A-. The Critic, DJ at 96 WAVF in Charleston, SC, said this, on air, regarding "The Day. The Dog. The Girl. “…In the singer-songwriter genre in Charleston, I don’t know if I’ve heard a better CD….very good stuff from the multi-talented Yates Dew…one of my favorite local artists…listen to how well produced this is, and catchy, and great musicianship, singing…this brings it all….nice package….this is the way to do it folks…this is a good CD, good artwork, and most importantly the songs are good…”

Currently an independent artist, Yates Dew has been courted by major record labels and management firms. Fronting bands as the singer songwriter/drummer/guitarist, Yates Dew has shared the stage with Cowboy Mouth, Drivin' N Cryin', Southern Culture on the Skids, Josh Joplin Group, Everything, Moe., Flemming and John, among many others.

With grassroots marketing, Yates has sold thousands of copies of his four previous records. He has received airplay on local stations and XM Radio. He was featured on "Notes from Home" a Record Exchange compilation CD with many acts including Ben Folds Five.

Reviewers have said that Yates echoes the sounds of Elvis Costello, Ben Folds, Counting Crows, and Brendan Benson.


Charleston, SC –Yates Dew will release his third full-length studio album, entitled “Exhale Through Your Feet” on March 27, 2012. Accolades have followed Dew's previous releases: Jim "The Critic" Voigt, of Charleston’s radio station 105.5 FM The Bridge, said with regard to Dew’s last release, (The Day. The Dog. The Girl.) “Maybe the best local stuff I've heard in the singer-songwriter genre." The Post and Courier's long-time music critic Devin Grant wrote, "The Residency EP gives seven solid reasons why fans of local music should pay attention to Dew." “Exhale Through Your Feet,” Dew’s most impressive effort to date, is poised to gain regional and national attention and airplay.

Dew wrote the music for "Exhale Through Your Feet" in his log-cabin studio that overlooks Charleston Harbor. As with his previous recordings, Dew performs virtually every instrument on the album: vocals, drums, guitar and bass. The album was recorded in three noteworthy Southeast studios. Following up on his last successful record, Dew re-enlisted the talents of producer Patrick Boyd of Sioux Sioux Studios (who has worked with Slow Runner, Noises 10, and Isaac Slade of The Fray) also supplemented Dew’s tracks with personal performances. A handful of talented guest musicians also compliment the record including four female vocalists. Notably enlisted are Asheville music scene darlings Mimi Bell (who has recorded with The Avett Brothers and G. Love) and national recording artist Shannon Whitworth.

"Exhale Through Your Feet," fits comfortably into both the singer-songwriter and pop-rock genres, although the style is completely Dew’s own. Some tracks will beckon Americana fans, (“I Wanted It Too” and “Hartwell”) and while possibly not by design, others are undeniably radio-ready, pop-rock gems (“Everyone Can Sing” and “Shoes”). The album is well rounded and sure to attract listeners from a wide demographic.

On this nine-song, full-length production, Dew took a different tact to his previous style of writing and recording by avoiding the pressures of worrying about a song's potential popularity - a mind-set that, in his opinion, could have clouded his creative vision in the past. "In hindsight, on my last few records I focused too much energy into crafting a radio hit rather than trying to lay down what I heard in my head. This time I just wanted to remain true to each song and not second-guess or manipulate anything beyond it’s natural realm,” Dew explains.

Dew continues to pursue music on his own terms. His music career spans numerous accolades, scholarships and achievements such as sharing the stage with national acts and having previously owned Charleston’s legendary music venue, The Music Farm. It was a period in which Dew states allowed him to “interact and gain inspiration from songwriting heroes like Jeff Tweedy (Wilco) and