Young Lyons

The first time I heard Weezer was a magical moment. It was early-September 1994 and I was in the parking lot of a Catholic church making out with a girl I had desperately been trying to hook up with for weeks.

Just as things started to get really good, “Buddy Holly” came on the radio. I paused to turn it up, killing the moment and any chance of advancing my quest any further. After dropping my date off, I went to Wal-Mart, purchased The Blue Album and that, as they say, was that.

The experience filled me with a joyously dark sense of whimsical emo-loathing, which I’ve rarely felt again in an album — until Tulsa upstarts Young Lyons’ outstanding debut EP, Crash Course.

All those wonderful feelings of teenage alt-pop/ennui-quirk are once again present here, like the shredding “whoa-oh-ohs” of opening cut “My Own Town,” which transcend nostalgia and had me head-bobbing in time. “Kill” anxiously speeds up the beat, while “Away Tonight” and “I Give Up” are a Pinkerton-style emotional antidote.

But it’s the final track, “Girlfriend’s Got Me Down,” in which Young Lyons truly come into their own, portraying perfectly the utter desperation of being lost and adrift in a relationship you don’t want to be in. It’s the type of song I really could have used in high school; it would’ve made things so much easier. —Louis Fowler - Oklahoma Gazette

Billing themselves as a mix between the All American Rejects and Passion Pit, Oklahoma newcomers Young Lyons make a nice first impression on debut EP “Crash Course.” The seven-track release (though a pair of the tunes appear twice on the platter) is a terrific introduction to their catchy, electro-pop sound. “My Own Town” gets the party started, and Young Lyons score with “Kill,” “I Give Up” and “Girlfriend's Got Me Down.” The single/radio edits of “Kill” and “Girlfriend's Got Me Down” seem unnecessary, but this is a band on the rise. - Pittsburgh Tribune Review

Innocuous pop-rock that’s reminiscent of the All American Rejects or a happier Weezer, this young band has seemingly perfected the electro-pop formula with glorious synth, singalong choruses, and heartfelt harmonies. The louder rock tunes pause for a genuine acoustic moment, proving an ideal soundtrack for the 20-something love woes. These guys could be a big deal in the near future; be the first to the party and check them out now. - Inforty

Autumn has set in, the state fair is past, and football is in full swing. As hard as it is to imagine, especially considering the fact that the weather has just recently broken and made way for cooler temperatures, Christmas is just a couple short months away and holiday concerts have already started popping up on the calendar. Before winter arrives, however, there's one more seasonal tradition that comes due this time of year: the annual Edge Homegroan CD, showcasing the best of our local music scene.

Now in its fourth incarnation since being resurrected in 2009, the Homegroan Sampler may not be an all-inclusive picture of the local music scene, but it has consistently provided a snapshot of what may be Tulsa's most promising bands with a distinctly commercial appeal, distilled down to a dozen tight tracks.


One of the perks of this gig is that instead of having to chase down a remote to get my copy, I'm fortunate enough to have it sent to me. Most of the time, however, the song selection is one I'd be willing to go out of my way to track down. Well, the season is here and my copy just arrived and I'm happy to report that it's once again a measured success, even if it seems to be falling into formula.

Each year this disc follows a slightly different track, and although personal taste will dictate your favorite tracks, it's pretty obvious where the strongest string of songs falls. In past years, the disc has started out strong then gone flat and finished on a strong note or created a slight bell curve, building into the best tracks and slowly sliding out on a weaker note. This year, the strongest tracks and best surprises come mid disc, then return to close the disc on a positive note.

As was the case last year, the 2012 compilation opens with a close representation of what alt-rock radio is known for: big guitars, big riffs and a more "commercial" sound. Last year that opening came courtesy of Aranda; this year it's Morgan Ganem & Sownds opening with "Heart of Stone." And although it's exactly what we've come to expect from radio and a strong enough start to the disc, I'm not sure just how representative it is of what's really going on in our clubs and on the local music scene.

The first big surprise pops next with Fight the Fade (who I've not crossed paths with, but will be watching for) and "House of Cards." FM Pilots follows with yet another catchy pop tune, "Eyes Open," before the disc hits its most interesting stretch.


A mix of new and known quantities ties together a solid five track string of cuts that summarizes the best of this year's disc, beginning with La Moustache and "Who I Am" -- an intriguing mix of indie rock aesthetic and pop sensibility. Able the Allies returns for an encore appearance on this year's sampler and steps up its game with "All The Same" proving that there's more than meets the eye with this band. Sure, the pop sensibilities are there, but the band also has a distinct rock backbone and this track also throws a funky, Lenny Kravitz type vibe into the ring. Tracks like this are the reason I'll continue to keep an eye on this band and look forward to the group shedding covers for an all original set in the future.

Perhaps the best reason to look up this year's disc comes next as Young Lyons makes its public debut on this year's sampler. "Kill (Pt. 1)" is a great pop song with a modern rock edge that sees front man John Lyons shed the baggage of his past band, Ziff, and start fresh. By recruiting bassist Paul Cristiano (formerly of RadioRadio) and drummer Kayle Greiman, it appears that Lyons finally has a lineup that will allow him to move forward and be able to combine his classic pop and modern rock influences to create something fresh and compelling. A debut EP produced by Brad Mitcho is reportedly on the horizon, but for now you can use this to get a sample of what's to come. If you dig this, you'll want to mark Nov. 17 on your calendar as the trio makes its live debut opening for The Secret Post at The Vanguard for the headliner's CD release party.

In a one-two punch, The Bourgeois follows Young Lyons' modern pop with the modern rock of "Mi Amor." I've admittedly missed catching this band live, but will be remedying that soon, as Zach Mobely seems to have finally found a solid lineup to help him follow his vision and strengthen his songwriting. The group is scheduled to start recording at Bell Labs in just a few weeks, so we should have fresh tunes coming out way by spring and a lot more activity on the live scene once the new tracks have been finished.

The next surprise of the disc wraps up the strongest stretch with "Hideous Hideaways (for gruesome twosomes)" by For the Wolf. I'd never seen nor heard this band previously, but will be tracking them down - Urban Tulsa Weekly

When John Lyons started working on what would become his next album, he admits he had no idea it would take on its own life, evolving into a new band and completely different sound than anything he had worked on in the past. Before the process was over, however, it had done just that, developing into the new outfit known as Young Lyons.

“From my perspective, I was just writing again,” Lyons said. “I figured I’d try another formation of Ziff and find the guys to start the band, since I didn’t have a base to work form and the old lineup had dissolved. I thought, ‘Maybe I’ll start by focusing on the songs and the studio instead of the lineup this time and that will help me find the band.’”

Initially, Lyons spoke with Brent Masters, who had played drums for The Agony Scene. The two already knew each other from shows Ziff had played with Masterson’s band in its early days, and the two made plans to work together.

“By the time we were two songs in, it was evident this was not Ziff anymore,” Lyons explained. “Ziff was not this sound. It wasn’t as produced. I’m not sure how it happened, but it had become something different.”

When Lyons started writing and working with Mitcho, Cristiano wasn’t even on Lyons’ radar. “When I first called Brad to talk about working on some songs, RadioRadio was just releasing the video and single for ‘Making Girls Cry’,” Lyons said. “To me, calling Paul was out of the question, his plate was full.”

Mitcho initially told Lyons they’d worry about the bass later and that he’d record the bass lines for him. Once the songs started taking shape, however, Mitcho suggested calling Cristiano for the job.

Initially, Cristiano agreed to come on to record one song, but over the course of time and with his input in the songwriting and recording process, a new alliance and partnership with Lyons was formed.

“When this first started, John said ‘a song’ — one song. I’ve still got that email, from February 26 last year. But it just built from there,” Cristiano said.

Most importantly, of course, is the music, and it’s a seismic shift for Lyons in sound and approach. With Ziff, Lyons’ songs were more direct, guitar-oriented rock, built around lighter verses and big crashing choruses. Working with Mitcho and Cristiano has brought out his melodic side and more intricate arrangements, exposing the pop sensibilities of his writing.

Last fall, an early version of “Kill, pt 1? appeared on the Homegroan sampler. With the arrival of Young Lyons’ debut EP, Crash Course, that sound and direction is more fully developed. Yes, the choruses are still big, but it’s the melody that grabs you now instead of a change in guitar dynamics. “Kill” is even more refined and developed on Crash Course, incorporating a touch of Beach Boys vocal melodicism in the bridge before swinging back to the rock hook.

“The defining point of this band started with ‘Kill’,” Cristiano shared.

According to Lyons, he’s had a dynamic shift in his approach to writing as he worked with and learned from Cristiano and Mitcho. “How I write is completely different now,” he stated. “It’s almost like being tutored, and now I’ve earned my diploma in some way.”

Lyons’ melodies come out most simply on the acoustic “Girlfriend’s Got Me Down” and “Away Tonight”, which counters his vocal line with a bouncing keyboard line and drums that reel you in, then hit you with short blasts of guitar.

The song that really grabs everyone, however, is the one that almost didn’t make the disc. Recording was already done and the band was planning on preparing it for release when Cristiano sang the melody line to Mitcho one afternoon, sending the band back to the studio.

That song, “My Own Town”, opens the disc and is being used as the lead single. Although it opens with an analog keyboard blip, it’s followed by a huge gang vocal chorus that draws the listener in, not only to the song, but the entire disc, a fitting introduction to Lyon’s new direction with this band. - Urban Tulsa Weekly

When John Lyons started working on what would become his next album, he admits he had no idea it would take on its own life, evolving into a new band and completely different sound than anything he had worked on in the past. Before the process was over, however, it had done just that, developing into the new outfit known as Young Lyons.

“From my perspective, I was just writing again,” Lyons said. “I figured I’d try another formation of Ziff and find the guys to start the band, since I didn’t have a base to work form and the old lineup had dissolved. I thought, ‘Maybe I’ll start by focusing on the songs and the studio instead of the lineup this time and that will help me find the band.’”

Initially, Lyons spoke with Brent Masters, who had played drums for The Agony Scene. The two already knew each other from shows Ziff had played with Masterson’s band in its early days, and the two made plans to work together.

“By the time we were two songs in, it was evident this was not Ziff anymore,” Lyons explained. “Ziff was not this sound. It wasn’t as produced. I’m not sure how it happened, but it had become something different.”

When Lyons started writing and working with Mitcho, Cristiano wasn’t even on Lyons’ radar. “When I first called Brad to talk about working on some songs, RadioRadio was just releasing the video and single for ‘Making Girls Cry’,” Lyons said. “To me, calling Paul was out of the question, his plate was full.”

Mitcho initially told Lyons they’d worry about the bass later and that he’d record the bass lines for him. Once the songs started taking shape, however, Mitcho suggested calling Cristiano for the job.

Initially, Cristiano agreed to come on to record one song, but over the course of time and with his input in the songwriting and recording process, a new alliance and partnership with Lyons was formed.

“When this first started, John said ‘a song’ — one song. I’ve still got that email, from February 26 last year. But it just built from there,” Cristiano said.

Most importantly, of course, is the music, and it’s a seismic shift for Lyons in sound and approach. With Ziff, Lyons’ songs were more direct, guitar-oriented rock, built around lighter verses and big crashing choruses. Working with Mitcho and Cristiano has brought out his melodic side and more intricate arrangements, exposing the pop sensibilities of his writing.

Last fall, an early version of “Kill, pt 1? appeared on the Homegroan sampler. With the arrival of Young Lyons’ debut EP, Crash Course, that sound and direction is more fully developed. Yes, the choruses are still big, but it’s the melody that grabs you now instead of a change in guitar dynamics. “Kill” is even more refined and developed on Crash Course, incorporating a touch of Beach Boys vocal melodicism in the bridge before swinging back to the rock hook.

“The defining point of this band started with ‘Kill’,” Cristiano shared.

According to Lyons, he’s had a dynamic shift in his approach to writing as he worked with and learned from Cristiano and Mitcho. “How I write is completely different now,” he stated. “It’s almost like being tutored, and now I’ve earned my diploma in some way.”

Lyons’ melodies come out most simply on the acoustic “Girlfriend’s Got Me Down” and “Away Tonight”, which counters his vocal line with a bouncing keyboard line and drums that reel you in, then hit you with short blasts of guitar.

The song that really grabs everyone, however, is the one that almost didn’t make the disc. Recording was already done and the band was planning on preparing it for release when Cristiano sang the melody line to Mitcho one afternoon, sending the band back to the studio.

That song, “My Own Town”, opens the disc and is being used as the lead single. Although it opens with an analog keyboard blip, it’s followed by a huge gang vocal chorus that draws the listener in, not only to the song, but the entire disc, a fitting introduction to Lyon’s new direction with this band. - Urban Tulsa Weekly

Young Lyons, “Crash Course”

When, quite out of the blue, Young Lyons hit the Beach Boys-flavored vocal harmony breakdown section of “Kill” on its EP, “Crash Course,” just before diving headlong into the alterna-rock distorto-stomp of the song’s closing refrain (all sheathed in a glossy layer of Brad Mitcho’s modern pop production) the moment perfectly summed up the band’s musical intention for its debut release — namely to create the best material possible, which became a big, fizzy fusion of anthem pop and buzzing radio rock.

The verdict? Mission accomplished in spades. Lead singer John Lyons’ plaintive tenor surges through seven songs about love, loss and independence, buoyed all the while on waves of overdriven guitar work interlaced within a tightly compressed strata of atmospheric/bopping synths, perfectly pocketed drums and Paul Cristiano’s super-crisp, driving bass.

It’s precisely structured fare, to be sure, with simple, melodic verses swelling into big, sing-along choruses, all swathed in swirling surround-stereo production. Definitely plenty of headphone candy here. Twenty-something angst never sounded so fun. - TulsaPeople

Young Lyons, “Crash Course”

When, quite out of the blue, Young Lyons hit the Beach Boys-flavored vocal harmony breakdown section of “Kill” on its EP, “Crash Course,” just before diving headlong into the alterna-rock distorto-stomp of the song’s closing refrain (all sheathed in a glossy layer of Brad Mitcho’s modern pop production) the moment perfectly summed up the band’s musical intention for its debut release — namely to create the best material possible, which became a big, fizzy fusion of anthem pop and buzzing radio rock.

The verdict? Mission accomplished in spades. Lead singer John Lyons’ plaintive tenor surges through seven songs about love, loss and independence, buoyed all the while on waves of overdriven guitar work interlaced within a tightly compressed strata of atmospheric/bopping synths, perfectly pocketed drums and Paul Cristiano’s super-crisp, driving bass.

It’s precisely structured fare, to be sure, with simple, melodic verses swelling into big, sing-along choruses, all swathed in swirling surround-stereo production. Definitely plenty of headphone candy here. Twenty-something angst never sounded so fun. - TulsaPeople