Michael Greenberg

Woo! I told you guys the Bruins needed to - and were going to - win it last night. So now you're all emotionally spent and are looking to fill your nights this week with some entertainment that does not give you heart issues. Not that we'd ever tell you what to do, but you may want to find yourself at Precinct in Somerville this weekend (Saturday, May 1) to catch Michael Greenberg's full band set. If you don't want to wait, I suppose you could see him tomorrow at Allegra's Cafe & Tavern in Branford, Connecticut. Or Friday night at Up Or On The Rocks in Hartford. Or, that Somerville thing we offered. Thought so.

Michael Greenberg - "Blue"

[download it!]

The term "blue," when used in the context of music brings about a sense of, well, the blues. Slow. Downhearted. The pentatonic scale and maybe a solo with a lot of bent notes. One does not expect a locomotive of a song in mid-gear that churns through the stops with a wailing harmonica as a whistle. Well, maybe the wailing harmonica, but that's about it.

Michael Greenberg is not, however, all sunshines and happiness and rainbows (or unicorns), his voice has the affect of weariness, sounding slightly demoralized in contrast to the upbeat rhythm of "Blue." The melody of the song rides the see-saw up and down the scale, but stays even and centered within its spectrum.

For all its mood and neutral/downward spirals, "Blue" seems ultimately to be a hopeful song. While the vocal seems to spin its own wheels in hopelessness, it usually ends on a (literal) high note, showing a glimmer of hope at the end of each downtrodden-sounding phrase. - Posted by CD Di Guardia

Woo! I told you guys the Bruins needed to - and were going to - win it last night. So now you're all emotionally spent and are looking to fill your nights this week with some entertainment that does not give you heart issues. Not that we'd ever tell you what to do, but you may want to find yourself at Precinct in Somerville this weekend (Saturday, May 1) to catch Michael Greenberg's full band set. If you don't want to wait, I suppose you could see him tomorrow at Allegra's Cafe & Tavern in Branford, Connecticut. Or Friday night at Up Or On The Rocks in Hartford. Or, that Somerville thing we offered. Thought so.

Michael Greenberg - "Blue"

[download it!]

The term "blue," when used in the context of music brings about a sense of, well, the blues. Slow. Downhearted. The pentatonic scale and maybe a solo with a lot of bent notes. One does not expect a locomotive of a song in mid-gear that churns through the stops with a wailing harmonica as a whistle. Well, maybe the wailing harmonica, but that's about it.

Michael Greenberg is not, however, all sunshines and happiness and rainbows (or unicorns), his voice has the affect of weariness, sounding slightly demoralized in contrast to the upbeat rhythm of "Blue." The melody of the song rides the see-saw up and down the scale, but stays even and centered within its spectrum.

For all its mood and neutral/downward spirals, "Blue" seems ultimately to be a hopeful song. While the vocal seems to spin its own wheels in hopelessness, it usually ends on a (literal) high note, showing a glimmer of hope at the end of each downtrodden-sounding phrase. - Posted by CD Di Guardia

Every once in a while a gem falls across my lap in the form of a cd (yes I still like the old skool cd’s) that I can’t put down, or get out of my head. Blue is such an album. Hailing from Connecticut, one could easily assume that Michael Greenberg is entrenched in the New York Jazz scene, or the New Orleans blues – his album is an eclectic mix of rock, pop, blues, jazz, and even some hip hop, but rather than being a mish-mash of noise, the entire album seems to magically flow together in tone and content and can be used as simply background music at your next party, listened to with earbuds in a quiet corner alone, or cranked full blast and danced to.

Unlike most albums, the title track Blue, actually is the first track on the album. Snappy snare drums, a touch of harmonica and solid clear vocals mark this song as an ideal opening track.. not quite a country ballad but not quite rock, its easy to find yourself tapping your fingers on the desk humming – and then it’s over. (it’s just over 2 minutes long).

Song to Remember starts out smooth and quiet like its a background thought in your mind and not upfront on your stereo.. a jazz feel to this song but not enough to rankle with the previous track. The vocals/lyrics fit perfectly with the lead guitar like they’re twins… love the bridge in the middle before it finishes off the song.. this is one of the songs that can be taken at surface level and just enjoyed in the moment, or enables you to dig deeper into the lyrics and feel the emotion as well as the ambiance.

Best of Us Die speaks to using your time here to full potential – do ‘something’ before your life is over. Although the subject matter could be melancholy or depressing, it isn’t. Sung with an uplift to the voice which is echoed in the almost acoustic guitar and tone of the drums, this song almost has a Reggae flavor to it in the bridge, and with a wicked killer guitar solo it just twangs with positivity.

Death of a Son is a very heavy song – the subject matter deals with a violent death as seen through the eyes of the victim. The heaviness is intensified by the sing song quality of Greenberg’s almost spoken word lyrics; no chorus no bridge to break up the ‘verse’ which is actually one long verse/story. Violins lend a desperate feel to the climax of the story – the shooting – and intensify the sorrow felt by those involved

How to follow up the heavy subject matter of the previous song without negating the impact it had? With We Need Help, a short 2 minute commentary about needing help and being too late – MIDI Programming lend an unearthly quality to this short.

Partly Cloudy breaks open the storm clouds and shines the sun back on the listener. Blues, in some spots, but almost an old Disco rhythm to it, makes it a danceable number and it brings to mind Motown, disco balls, and spandex but in a good way. Harmonies blend perfectly with the subtle notes of what sounds like an old skool synthesizer.

Switching gears, Portrait of Katy is nearly Hip Hop… but it fits with this album in a quirky sort of amazing way. The actual verses are vocals by Jake Biasini while Michael Greenberg fills in with help on the chorus as well as a few select lines mid stream. Warning – this is not a work safe song but its not in bad taste – just don’t crank it for the boss to hear

See Through You opens with a gentle smattering of chimes then picks up soft drums and guitar. Reminiscent of smokey jazz clubs and people sitting around listening with drinks in hand. Well written, well sung with many mini solo’s in the middle – guitar, drum, bass etc – at over 10 minutes long, this is the album’s shining moment of musicianship and the band is tight and well toned to play together.. I feel like I’m sitting at a gig live, not listening on my ipod.

Staccato guitar beats begin Say Something Useful and the vocals match this feel. Greenberg at times sounds nearly like Michael Buble but then the line is sung and the illusion is shattered – it’s definitely Greenberg all the way on this song.

The final track is Keep On. More rock sounding than any of the previous tracks (except the opener) this song is well formulated for the ending track. No weak finish, no filler piece… it ends the album with a chorus of backing vocals, some heavy guitar sounds, great bashing of drums (in a good way) and just ‘goes for it’.. a moment of Santana flashbacks … the album ends with a bang! - Donna Mair - Raised on Indie Magazine

Local CDs: 05/14/09
Michael Greenberg and Sodium Lights reviewed.
Comments (0)
Thursday, May 14, 2009
By Brian LaRue

Audio Extra: Listen to "Fire Sale," by Sodium Lights.

Michael Greenberg, The Truths of Bees and Birds (self-released, michaelgreenbergmusic.com). On this 15-track CD, we hear the sound of a former teen prodigy guitarist truly growing up, coming into his own as a songwriter, singer and player, a feat all the more notable when one considers he began recording it in 2005, the year he finished high school and began attending Berklee School of Music. His jazz-tinged coffeehouse pop-rock contains fine melodies and an unostentatious but articulate lyrical bent, and his arrangements sound intimate but full. There's no drum kit, but there are rich layers of guitars, keyboards and vocals that enhance, rather than distract from, the songs at the core of it all. And Greenberg's guitar playing really sings. It's understated, confident, full of finesse and feeling. On some tracks, Greenberg seems to have some difficulty making the chorus sound like a chorus, but the best tracks (like the lilting title cut, which manages to make the subject of adolescent love sound adult) prove that when he puts his mind to it, he can craft a satisfying, pretty song, and that he can sound creatively distinct in the process. - New Haven Advocate

Michael Greenberg: Blue

Posted on February 17, 2010.

Michael Greenberg: Blue
By Zac Taylor
Managing Editor

If Sublime reunited for an unplugged show produced by Coldplay with some splatters of sequencing, you might get an idea of Michael Greenberg’s debut LP Blue. The record kicks off with the title track that grabs you with a crisp arrangement and slick harmonica playing. The young songwriter shows a mature voice with this upbeat tune about growth, and follows it with a smooth, R&B-tinged groove “Song to Remember.”

Greenberg sings with a subtle Chris Martin inflection on “Best of Us Die,” and it may sound like a Coldplay tune if it weren’t for the reggae groove, which steers it into Jack Johnson territory. The tune would be impeccably crafted for the pop medium, were it not for a very live-show-feeling arrangement including a breakdown (“Bring it back now”) and a lengthy acoustic guitar solo, but hey—you got to get the licks in somewhere.

The next couple tracks are perhaps the most ambitious of the collection. In “Death of a Son,” Greenberg narrates a solemn tale of a fallen hero over an 8-piece string section composed and conducted by George Woods; “We Need Help” is just over two minutes of ominous pleading over MIDI sequencing. These two sonic tapestries nicely offset the more straightforward songs.

“Portrait of Katy” is a bona fide hip-hop track. Songs like this rarely work, and usually fall into the despicable genre of lame white-boy rap. But this song’s honesty and cleverness is consistently engaging, centering around the hook, “it’s hard living with the fact that you’re running around my mind and not my body.” The delivery, rhyme, and instrumentation would impress G-Love or even Hova himself.

“I am not your friend, and I won’t settle for foe,” is the first line of “See You Through,” a slow groove that could function as a Justin Timberlake B-side in both its sensuality and plainness.

Greenberg brings the reggae back on the Jason Mraz-y “Say Something Useful” and closes out the record with “Keep On,” a well-rounded, optimistic anthem that would not be out of place on Steve Miller’s Greatest Hits.

Blue is a satisfying first installment from this talented musician, who clearly has the writing, playing, and singing chops to get the material out of his heart and into a tune.
- Berklee College of Music

Michael Greenberg: Blue

Posted on February 17, 2010.

Michael Greenberg: Blue
By Zac Taylor
Managing Editor

If Sublime reunited for an unplugged show produced by Coldplay with some splatters of sequencing, you might get an idea of Michael Greenberg’s debut LP Blue. The record kicks off with the title track that grabs you with a crisp arrangement and slick harmonica playing. The young songwriter shows a mature voice with this upbeat tune about growth, and follows it with a smooth, R&B-tinged groove “Song to Remember.”

Greenberg sings with a subtle Chris Martin inflection on “Best of Us Die,” and it may sound like a Coldplay tune if it weren’t for the reggae groove, which steers it into Jack Johnson territory. The tune would be impeccably crafted for the pop medium, were it not for a very live-show-feeling arrangement including a breakdown (“Bring it back now”) and a lengthy acoustic guitar solo, but hey—you got to get the licks in somewhere.

The next couple tracks are perhaps the most ambitious of the collection. In “Death of a Son,” Greenberg narrates a solemn tale of a fallen hero over an 8-piece string section composed and conducted by George Woods; “We Need Help” is just over two minutes of ominous pleading over MIDI sequencing. These two sonic tapestries nicely offset the more straightforward songs.

“Portrait of Katy” is a bona fide hip-hop track. Songs like this rarely work, and usually fall into the despicable genre of lame white-boy rap. But this song’s honesty and cleverness is consistently engaging, centering around the hook, “it’s hard living with the fact that you’re running around my mind and not my body.” The delivery, rhyme, and instrumentation would impress G-Love or even Hova himself.

“I am not your friend, and I won’t settle for foe,” is the first line of “See You Through,” a slow groove that could function as a Justin Timberlake B-side in both its sensuality and plainness.

Greenberg brings the reggae back on the Jason Mraz-y “Say Something Useful” and closes out the record with “Keep On,” a well-rounded, optimistic anthem that would not be out of place on Steve Miller’s Greatest Hits.

Blue is a satisfying first installment from this talented musician, who clearly has the writing, playing, and singing chops to get the material out of his heart and into a tune.
- Berklee College of Music

Michael Greenberg
The Truths of Bees and Birds




To those who appreciate the subtle beauty of a wholly acoustic album, Michael Greenberg’s The Truths of Bees and Birds comes highly recommended. Is it wholly acoustic? Well, no, not really. But the unifying elements throughout the album are Greenberg’s brilliant acoustic guitar work, and the youthful insecurity portrayed in his voice. At the record’s conclusion, you feel like you just listened to a great acoustic work.


Greenberg’s voice sounds remarkably like that of British jazz/pop artist Jamie Cullum, but with more of a Jeff Tweedy folk/rock edge to it. And unlike Cullum, Greenberg’s voice fits brilliantly within his style.


And that style varies throughout the album. On “Sailing,” Greenberg evokes Damien Rice’s best works, plodding through a rhythmic and brilliantly mysterious song. On the album’s title track, Greenberg’s light guitar work, bongo percussion, and bossa nova rhythm reeks of Jack Johnson. It is one of the only points on the album where Greenberg’s work doesn’t come across as wholly unique and original. On the other hand, “I Like it When She Calls Me Bum Bum Bum” features astounding folk-style finger picking in the opening verse, and then a tear-worthy chorus that is just screaming for an entire orchestra to give it the power it deserves.

Greenberg’s greatest talent is in writing these energetic choruses. At no point in the album does any song sit stagnant. If well-written songs are supposed to be like a journey, then Greenberg must have the map somewhere. (Self-released)

www.myspace.com/michaelgreenbergmusic
-Keith McBride
- Northeast Performer

SONICBIDS ARTIST REVIEW SERIES- #6 MICHAEL GREENBERG

SONICBIDS ARTIST REVIEW SEREIES #6
MICHAEL GREENBERG
GENRE: POP
SECONDARY GENRE: SINGER/SONGWRITER EAST HAVEN, CONNECTICUT USA
First of all, with this reporter you can't go wrong if one of your major influences is The Beatles. Not that Michael Greenberg sounds like the Fab Four but, that doesn't mean he doesn't write engaging and catchy melodies. First up on Greenberg's electronic press kit (EPK), is the melodic and rhythmic, "The Best of Us Die". A lazy start rolls into a reggae influenced tempo with a positive message to deliver and an all out acoustic jam to finish it out.
Accomplished musicianship and a clear production value provides the listener with all around versatile performance.The pulsing repetitive guitar start to "Sailing" sets the mood. Michael has a warm timber to his vocals and a range that suits his material well. "Sailing" flows gently like a wave on a calm night. The subject matter and the music style are suited well. "Riverside Drive" begins with a haunting electric guitar and a really funky fun beat you could easily find on a television show like "Gossip Girl". This is my favorite part of the song. The percussion is used minimally but, effectively. About mid song it melts into a really nice chord progressIon with a steel guitar sounding embellishment. A door opens and someone steps in the room, Michael asks for some crackers and his tempo begins with the beat of his munching and the song "Tag Along" kicks in. It's funny and gives you an insight to a bit of Micheal Greenberg's humor and personality. That's never a bad thing. I got a good chuckle out of it. All around, Michael Greenberg is an inventive acoustic artist. I would like to see his act develop into an entire ensemble which believe me, I know, is easier said than done.
In 2005 Greenberg released "The Truths of Bees and Birds". In support of this effort Michael is performing at universities, cafes, and high schools in the north eastern United States.Go on and check out Michael Greenberg epk EPK at http://www.sonicbids.com/MichaelGreenbergMusic or http://www.MichaelGreenbergMusic.com
- World News

Michael Greenberg

An open note to wunderkind Michael Greenberg. Okay kid, you got me. Just as I was ready to dismiss you into the “generic singer/songwriter” category, up pops the song “Valentine” like a dewy daisy through a crack in the baked pavement. My original dismissive assumption — based on the plethora of Borders Bookstores and Starbucks gigs you seem to play and on first few acoustic chords I heard — was almost instantly thrown back into my jaded face. Because instead of generic acoustic fluffery, here comes gorgeous fingerpicking, perfect rhyming lines bearing rounded, ripe fruit, and the one thing that cannot be beaten — a good, sick pop hook. I pressed “play” on “Valentine” no less than six times in a row, and I’ll be singing it in the shower for the rest of my life. You, my friend, are an awesome songwriter. In fact, this mini-review is over. Please click over to the Low Budget Superhero “Contact Us” page for the address and send me your CD, The Truths of Bees and Birds, because I’d like to hear and review the whole thing in the CD Reviews section. That way I can more fully explain to the people why they need to buy it. Thank you. Sincerely, Lexi Kahn. PS. Attention class. Here is your homework. Everyone go to Michael’s website and listen to “Valentine” and “A Touch So Pure,” and then watch the video of him performing “Riverside Drive.” Then we can discuss the difference between ordinary and Michael Greenberg. We’ll pick it up again when the CD gets here.
(http://www.michaelgreenbergmusic.com/)
Link: Video of Michael Greenberg performing “Riverside Drive”
(Review date: Sept 29 2007, Lexi Kahn)

- Low budget Superhero

Michael Greenberg

An open note to wunderkind Michael Greenberg. Okay kid, you got me. Just as I was ready to dismiss you into the “generic singer/songwriter” category, up pops the song “Valentine” like a dewy daisy through a crack in the baked pavement. My original dismissive assumption — based on the plethora of Borders Bookstores and Starbucks gigs you seem to play and on first few acoustic chords I heard — was almost instantly thrown back into my jaded face. Because instead of generic acoustic fluffery, here comes gorgeous fingerpicking, perfect rhyming lines bearing rounded, ripe fruit, and the one thing that cannot be beaten — a good, sick pop hook. I pressed “play” on “Valentine” no less than six times in a row, and I’ll be singing it in the shower for the rest of my life. You, my friend, are an awesome songwriter. In fact, this mini-review is over. Please click over to the Low Budget Superhero “Contact Us” page for the address and send me your CD, The Truths of Bees and Birds, because I’d like to hear and review the whole thing in the CD Reviews section. That way I can more fully explain to the people why they need to buy it. Thank you. Sincerely, Lexi Kahn. PS. Attention class. Here is your homework. Everyone go to Michael’s website and listen to “Valentine” and “A Touch So Pure,” and then watch the video of him performing “Riverside Drive.” Then we can discuss the difference between ordinary and Michael Greenberg. We’ll pick it up again when the CD gets here.
(http://www.michaelgreenbergmusic.com/)
Link: Video of Michael Greenberg performing “Riverside Drive”
(Review date: Sept 29 2007, Lexi Kahn)

- Low budget Superhero

Local Motion: One-Man Army
Michael Greenberg's charming pop drafts a legion of new fans at Jitters; and the Mambo Sons ride Sally's
Comments (4)
Thursday, August 14, 2008
By Dan Barry
Dan Barry photo
Michael Greenberg.

Pop artists like Michael Greenberg read something like a cross between a good book and a musical one-man army. Dressed in a plain T-shirt and pants, his hair mussed unstylishly, wearing socks but no shoes, Greenberg looked like the guy walking toward you as you exit the bathroom in a college dorm. He went on tangents, then caught himself rambling; he complimented the audience (who was listening voraciously) only to find, to his embarrassment, that he had forgotten the name of the town he was playing in. And unlike most performers, who seem to have a pathological need to avoid and cover up errors, Greenberg refused to play his own reaction up or down and then simply moved on, his confidence drawing the audience back in for more.

Greenberg played at Jitters in Southington, a wonderful coffeeshop with a reputation for bringing in quality local and regional performers. Maybe it was the fact he was sitting in front of a surfboard as he performed, but his voice and lyrics had a directness reminiscent of Jack Johnson. But where Johnson's material bears intimations of a newer and younger Margaritaville, full of Coronas, pot, and waterbeds, Greenberg is strictly East Coast in his mentality. He can be sensitive, but his songs are never ethereal, fluffy, or sparse. There's always a little funk here, a cool idea there—a twist to the pop formula to keep everyone on their feet.

Greenberg's performance featured flawless, invisible integration of effect pedals into his songs. He would record the main riff of a song with a loop pedal, and then replay it in the background as he took a solo; other times he would drum on his guitar at the beginning of a song, looping it into a backbeat. Another pedal took notes he played and dropped them down a few octaves, creating a booming reggae bassline that added obscene levels of groove. And yet the pedal-based aspect of his performance was so seamless that it never once felt like he was saying, "Hey, check out this neat new technology!" The suggestion was always "Let me create a song with a solid skeleton so that we can both focus on each part in turn." I highly recommend his work; check out michaelgreenbergmusic.net to hear it.

- Hartford Advocate

Local Motion: One-Man Army
Michael Greenberg's charming pop drafts a legion of new fans at Jitters; and the Mambo Sons ride Sally's
Comments (4)
Thursday, August 14, 2008
By Dan Barry
Dan Barry photo
Michael Greenberg.

Pop artists like Michael Greenberg read something like a cross between a good book and a musical one-man army. Dressed in a plain T-shirt and pants, his hair mussed unstylishly, wearing socks but no shoes, Greenberg looked like the guy walking toward you as you exit the bathroom in a college dorm. He went on tangents, then caught himself rambling; he complimented the audience (who was listening voraciously) only to find, to his embarrassment, that he had forgotten the name of the town he was playing in. And unlike most performers, who seem to have a pathological need to avoid and cover up errors, Greenberg refused to play his own reaction up or down and then simply moved on, his confidence drawing the audience back in for more.

Greenberg played at Jitters in Southington, a wonderful coffeeshop with a reputation for bringing in quality local and regional performers. Maybe it was the fact he was sitting in front of a surfboard as he performed, but his voice and lyrics had a directness reminiscent of Jack Johnson. But where Johnson's material bears intimations of a newer and younger Margaritaville, full of Coronas, pot, and waterbeds, Greenberg is strictly East Coast in his mentality. He can be sensitive, but his songs are never ethereal, fluffy, or sparse. There's always a little funk here, a cool idea there—a twist to the pop formula to keep everyone on their feet.

Greenberg's performance featured flawless, invisible integration of effect pedals into his songs. He would record the main riff of a song with a loop pedal, and then replay it in the background as he took a solo; other times he would drum on his guitar at the beginning of a song, looping it into a backbeat. Another pedal took notes he played and dropped them down a few octaves, creating a booming reggae bassline that added obscene levels of groove. And yet the pedal-based aspect of his performance was so seamless that it never once felt like he was saying, "Hey, check out this neat new technology!" The suggestion was always "Let me create a song with a solid skeleton so that we can both focus on each part in turn." I highly recommend his work; check out michaelgreenbergmusic.net to hear it.

- Hartford Advocate

Michael Greenberg , The Truths of Bees And Birds (michaelgreenbergmusic.com). Greenberg has damn fine writing skills; both musically and lyrically. There are a trunkload of tunes (15) on this disc, and he plays all instruments. It’s predominantly just Greenberg, his voice and a guitar or two pushing out folk-based pop ditties. From soft and tranquil southwestern (“Valentine”) to nearly rock (“Riverside Drive”) to the bossa nova rhythms of the title track, there’s an element of “I’m serious, but smiling” in all of Greenberg’s tunes. That element of lightheartedness—highlighted by the use of cracker-chewing as the beat for “Tag Along”—makes the music reverberate with both originality and fun. Combined with the melodic craftsmanship, it adds up to a memorable sit-back-and-relax album. - New Haven Advocate