Shawn Brown

Shawn Brown has it all. He’s got a good look, a good sound, great songwriting abilities, and well produced EP to promote himself. So why hasn’t everyone in North America heard his music? And why isn’t he on a major label? That’s exactly what I keep asking myself! It appears to be one of the great mysteries of life right now, although hopefully that will change in the future.

Brown delivers a pop sprinkled acoustic based rock that’s not afraid to get a little funky when it’s time to get down. All 5 songs here are spectacular, from the anthemic title track to the gritty “How Much Money is Enough?” to the more artistically driven “Suckerpunch.” Fans of Jon Mayer and Jason Mraz will find a lot to love in Shawn Brown’s new EP, fortunately they will get more than a copycat in this “Lucky Boy.”


Key Tracks: Lucky Boy

Reviewed by: Mark Fisher


- 1340 Magazine(.com)

Folk, R&B, Blues, Hip-Hop, and Jazz are all almost entirely separate entities, with legendary and recognizable heroes that come to mind for each category. While many would say that mastering one of these fields is a heavy task in itself, Shawn Brown has decided he wants to blend elements of these genres together in his songwriting. This is a gambled risk that many bands and artists take in order to sweep in a broader audience, hoping that the fans can adjust to a twist on their favorite style and catch on. With situations such as this there is a good chance for success; such as The Police when they blended reggae and punk rock. For every artist that that cashes in on the genre blender, there are hundreds and hundreds more who don’t. Could it be that the music business is too tough to break into? Could it be that managers, lawyers, labels, fans, and venue owners get in the way of a good dream? Or could it be that the artist is attempting to cover too much field at once?

Shawn Brown’s press kit (in combination with his website) gives a new listener a good idea of what his aims and goals are. There are two songs from his new E.P. available on the press kit page, along with a video, pictures galore, a show page, a merchandise page, etc. Mr. Brown has been making albums since 2001, surely refining his sound over the past four years. It seems that he is authentically proud about his latest work, “Lucky Boy”, which was released this year. By reading through his bio, it also seems as if he’s actually having fun too. So how’s the music then?

I open Shawn Brown’s title track “Lucky Boy” on my media player and my ears are drawn instantly to the crisp acoustic guitar tone and chord changes. Soon, a hip-hop percussion comes to the foreground and Shawn’s vocals follow soon after. He makes a slight comparison of himself to singers such as Gavin Degraw and Jason Mraz in his bio and I can see where there are similarities. Does he sound like he is ripping these artists off? Not at all actually; instead it seems that all these artists simply have a common pop sensibility about them.

As the first chorus ends, I can safely say that Shawn Brown has a radio package with his songwriting. The progression of the song is fashionably predictable, with its verses, pre-choruses, choruses, and bridge all pathed out the way a consumer is comfortable with. If I were a record label checking out this tune I would definitely change a few things here or there just to make it ready for airwaves. Initially, I would definitely pump up the drums/guitars/organ in the chorus, as I was expecting a louder hook at this point. I can almost swear that the verse was more in your face in some sections than the chorus, but that’s easily fixable. One other aspect I might approach with alteration would be some notes Shawn hits here or there, mostly in the verses. Sometimes it just feels that he is pushing for the blues sound too much when he doesn’t need to. Shawn can easily hit the mark vocally, but perhaps he didn’t think a line was powerful enough so he might’ve pushed it just a tiny bit more than was needed. I can hear this song on top 40 stations; all it needs is some little tweaking, which a label is going to do regardless.

Shawn’s second tune, “How Much Money Is Enough”, opens with an R&B groove, something I really wasn’t expecting, but something that really makes the song stand out. After listening closely to the song’s lyrics, I can definitely see some modern day blues in the content while also hearing a hip hop style in the delivery. Already I enjoy this piece more than “Lucky Boy”, as I feel that Shawn’s vocals are prime in this track. The mixing of the instruments also seems more even all around, creating a very stylish song with a relatable subject. I am also a sucker for lo-fi vocal processing, which appears later in the song much to my delight. I am also glad to see that Shawn’s songs are just over 4 minutes, making me think he’s not afraid to push the length of the stereotypical single in order to make sure the song gets it’s complete message across. While “Lucky Boy” would probably be the song that would make it to radio, “How Much Money Is Enough” would probably be the fan favorite song on the album. When I put on this track I was almost expecting to hear another “Lucky Boy” (as most bands just repeat their single formula as much as they can). I am optimistically shocked by Shawn Brown’s refusal to write the same song type with different titles.

So what’s my final thought on Shawn Brown? Referring back to my opening thoughts, Shawn does succeed in covering a lot of genre ground. I only listened to two of his tracks and I had already heard elements of alternative, R&B, blues, pop, and hip-hop. I admit I was incredibly skeptical at first, seeing as the categories Brown mentioned were vast and difficult to accomplish all together. Sure he’s not going to rap or have a 10 minute jazz jam, but there are facets of these fields in his writing. Although I was a little disappointed in a few aspects of his first song “Lucky Boy” I was almost immediately assured by “How Much Money Is Enough” that this man could fix the few issues I had at first listen. When I thought that Shawn Brown was in over his head, he proved me wrong with his style and musicianship. If Shawn is enjoying music as much as he lets on, then he can’t lose in his career.



- North East In-Tune Magazine

Rub some funk on it, baby! Hailing from Boise, Idaho, Shawn Brown is no stranger to the music business. Lucky Boy EP is Shawn’s third indie release, but the big boys are finally starting to take notice! ‘Bout damn time, I think! I must admit, I’m new to Shawn’s music, but he can quickly snatch you up and make you a fan! His music is blues/soul-infused pop with plenty of catchy hooks and an incredibly emotional delivery! This guy gives Rob Thomas a run for his money! His voice can certainly lull you in and keep you coming back for more!!! Listening to his music, you can tell that Shawn really believes he is a “lucky boy” to be doing what he loves! I love that in an artist! Shawn’s music is every bit as good (and in many cases better than) his genre peers, Gavin DeGraw, Jason Mraz, and John Mayer!!! Hopefully, some label out there will wake up and snatch him up SOON! Any of the tunes on this EP could fit right into any Top 40 station’s rotation and is very approachable and extremely likeable! What a wonderful combination of talent and grounding! You totally gotta dig that! All in all, I’m totally impressed with this EP and in Shawn as an artist! If you dig the aforementioned artists or Dexter Freebish or Matchbox Twenty, you should really check out Shawn Brown!!! The Lucky Boy EP is available at Shawn’s website at www.shawnbrownmusic.com or at www.awarestore.com. You can even get a listen to a couple of the tunes on the EP too! Show Shawn some love and check him out! Shawn is playing some live dates now...dates can be found on his website! - Away Team (.com)

Shawn Brown's third release Lucky Boy (Bootney Lee Records) is a copse of stylish songs accented by R&B grooves and urban-jazz thrusts with dabbles of folk/pop textures augmented by rock elements. It's a mixture of ebullient coloring that compliments and brings out the best in his singing. Shawn Brown's voicing on the album moves from rough and raw to smooth and gliding. His vocal lines stream along its own melody as the musical passages play to him and buffer his voice in a soft cushion.

Lucky Boy opens with its title track. It's a catchy melody with smooth transitions and vocals that create bumps and ridges along the instrumentation. Shawn's rough and raw tones are dramatized and jump out of the musical phrases. His voice grabs the listener and makes the lyrics move with bounce and dynamics. The mid-tempo number "How Much Money Is Enough" possesses vocal swizzels and an infectious organ vamp that scaffolds the vocal intensity. "Besotted" is a gentle ballad with emotive vibes and seductive guitar strums. "Break Up/Break Down" is a toe tapping easy listening tune with a lulling momentum, and "Sucker Punch" is a riveting piece with guitar punches and fluctuations in the keyboard sequences that are tied by a rhythmic groove keeping the movement upbeat and springy.

Shawn Brown is a Blues man who uses dynamics in his hooks and bridges effectively to bring out an emotion, a sensation, a vibe in the listener. He is an emotional player who uses vocal intensity to make movements in his songs. His songs were made for the public's listening pleasure which is where he has always taken them and continues to captivate by blending music genres.
- Amore Magazine

“Don’t blink as the artist’s bluesy vocals are sure to land him a spot on the map.”
Melomag

“Shawn Brown is truly an artist to keep your eye on.”
Counter Culture Magazine

“Powerful vocals and passionate lyrics separate Shawn Brown from today’s masses of mundane artists.”
Musos Guide

“With the elements of the pop perfection of The Posies and the graceful songwriting of Jack Johnson, Shawn Brown is a vibrant stirring discovery.”
Alex Green, Comfusion Magazine

“his distinct influences bleed into his own work-crisp guitar riffs, persistent chords and his own full, feathery voice suggest a disposition towards music that withstands the ups and downs of staying afloat among countless one hit wonders.”
Maggie Thompson, Sub Pop
- Compilation

By Genevieve Will

Idaho native Shawn Brown seems a lucky boy indeed, with his third release by that title. Lingering somewhere between Matchbox Twenty and Maroon 5, Brown manages to combine unadultered pop goodness with a bit of acoustic twang and plenty of soul singing to resurface with dignity. Unquestionably marketable, Lucky Boy might easily show its face on the next season of Laguna Beach. Baring a strangely matured innocence vocally, Brown, with a bit more blues, might even invoke Warren Haynes with that voice.After only one go, it becomes clear that Brown zealously gives every bit of himself over to the music. Still, passion doesn't always redeem. Lucky Boy lacks much of the artistic integrity as well as the complete originality I heard from Brown's other releases, and even as far as pop goes, it is no modern marvel. Additionally, the lyrics slip between solid and iffy - "Don't say it's over?" Also, I have yet to discover the "urban influence" Brown attributes to the album.Nonetheless, there is decidedly a smooth jazz vibe to the bass and flow in his songs that does differentiate Lucky Boy from other new pop releases and saves it from becoming commercial cloy. Indeed, the title track lacks any hint of this, and remains the only song on the album I truly take issue with for its mundane blah-ness. On the other hand, "How Much Money's Enough?" forcibly presents a real subject matter, a head-nod-friendly rhythm and an excellent showcase of Brown's vocal skills. And although the aforementioned track will endure as my most-loved, the others easily exhibit more of the same. Check out this walking four-leaf clover. - Indie-Music (.com)

Shawn Brown: Testify Location: Oakland, CA

How did you get started with your music?
When I was growing up, we weren’t allowed much TV. Lucky for me, my folks had a pretty diverse pile of records around the house. I was always banging on something or singing some song. It was just in me.

What are you currently working on?
Pat Mosca (Shawn's producer) and I are finishing up a couple of new tracks, as well as remixing several songs from my last album. I'm also getting ready to get out on the road and hit up some national tour dates in August.

What kind of music do you listen to and how does it influence your music?
I'm all over the map as far as the music I listen to. I keep very close tabs on current artists. I like to keep an eye on what folks are up to. However, for me, it begins and ends with classic soul. I am always spinning Bill Withers, Marvin Gaye or Otis Redding records. I love those records. That stuff is pulsing through my veins at all time and I'm pretty sure you can hear it in my songsa€|.at least I hope you can.

What’s your opinion on mainstream music today? What do you like or not like?
It's a strange time to be in the business. The major labels are like dams with huge holes poked in them. The internet is boundless, so there are boundless ways to get a hold of music. Because the majors can't generate the money they used to, they can't afford to support new artists in the way that it generally takes to break an artist wide open nationally. They pretty much have to stick with safe, proven artists in order to try and keep their ships floating. I like some of that music, but because it's so safe, most of it provides no challenge to a listener. So being an independent artist is pretty exciting because there are countless new ways to get your music heard. Its wide open as far as opportunities, you just have to be very, very proactive and seek them out. I like the trial and error aspect of music today, it's super motivating.

Who do you admire?
I admire artists who have made the music they wanted to make and were then able to succeed on their own terms. Obviously many of the soul cats were like that. Van Morrison for example. I love Jeff Buckley as well. I really admire my peers who are out their grinding it out and finding success for themselves. Guys like Matt Wertz, Dave Barnes, Steven Kellogg, and Marc Broussard. Great singers, players, and writers.

Why would people want to listen to your music over someone else’s?
I think there is an element of soul in my music that people have really taken to. People love to dance and most of my music is fun and jamable in that way. That's a tough question actually; I'm just glad people like my music as much as they do.

Who have you worked with and how have they affected your work?
I've super lucky to have spent time on the road with some super big acts and its tough not to learn heaps from guys who have found their way to being successful in a business like this one. My band is made up of some of the funkiest cats in the whole Bay Area. Tony Saunders plays bass for me, so ita€?s pretty crazy to take the stage with guys like that. You have to keep your game tight! I've probably learned the most from Pat Mosca, who produced my last record. The guy is like Moby, he loves to cut tracks up and look at all the angles of everything. He has taught me to look beyond my own scope of any particular song and pull and pull until you find what the song is really supposed to be. He has taught me patience.

What is your local music scene like?
The Bay Area is a great scene. Ita€?s as diverse of scene as you can be a part of. One thing that people dona€?t realize about the Bay though is how relatively small the club scene is here. There really arena€?t endless places to play, so playing nationally has become a really important part of what I do.

What suggestions do you have for other artists in the music industry?
Keep plugging and dona€?t close yourself off from other acts that you could learn a lot from.

Where do you see yourself in a year from now?
On a stage, in a full sweat, singing and playing to another happy crowd.

Any additional information you would like us to know?
Please look for my music this fall on several new network TV shows. If you see that wea€?re coming to your town, bring some friends and your party hats cause its gonna get sexy.

Pick up Shawn Browna€?s newest release Just in Case, in stores now!





This entry was posted on Saturday, July 14th, 2007 at 12:12 am and is filed under New Music ON DEMAND!. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

2 Comments so far


boom on August 14, 2007 12:23 pm keep doing a good job

bay on August 14, 2007 12:24 pm yeah

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Shawn Brown Just In Case Firekracker/Bootney-Lee
by Alex Green

On the strength of his past E.P.’s, it seemed singer/songwriter Shawn Brown’s debut was destined to fall somewhere between the catchy acoustic pop of The Posies and the laid back grooves of Jack Johnson. This might have been a safe bet at one time, but something funny happened on the way to the studio and by the time Brown had laid down the ten tracks that comprise Just In Case, he had found inside himself a previously untapped reserve of soul. That being said, Just In Case traverses the pop terrain of the Posies (“Movie Of Your Life”) and indeed there is a touch of Johnson’s gentle musings (“How Much Money Is Enough”), but “Testify” makes the case that Brown has transformed. Fueled by rousing handclaps, stirring background vocals and Brown observing “All the people jump to their feet/kicking it to the gospel beat,” “Testify” is the album’s piece de resistance—a rolling blast of acoustic soul that not only verifies Brown’s talents as a songwriter but as a commanding frontman as well. Filled with funky breakdowns (“Lucky Boy”), catchy pop (“Break-Up/Break Down”) and smoldering ballads (“Just In Case”), Brown’s debut comes with swaggering confidence, swaying, memorable choruses and mature musical craftsmanship. Not a bad way to start a career at all.

Shawn Brown talks to Alex Green about Just In Case:

CITC: Compared to your first EP (The Bootney Lee EP), the new material seems to have expanded in a much more soul-driven direction. Was this a natural progression or did it take you by surprise?

SB: Its been a pretty organic progression. My early stuff was pretty bare bones and basic. There wasn't a ton of emphasis on style; it was always more about the basic song and voice. I was so focused on playing live shows and my records existed for booking and having something to put in people's hands after gigs. I think the real turning point was when we did the Lucky Boy EP. Pat Mosca (producer) started asking me more and more questions about what I was hearing in the songs, beyond just the chords I was playing on an acoustic guitar. Everything I was hearing pushed the music towards a more soulful sound. If I've been surprised by anything, its how long its taken me to get going in a more soul pop direction. Otherwise it’s not shocking, considering I always wanted to be Bill Withers or Otis Redding. I just had never been given the time in the studio to sort all my influences out. To throw in a useless sports analogy, I feel like a kid who's just been brought up to the major leagues from the minors. I'm gonna need lots of 'at bats' in order to work through it all, but it’s a real shot in the arm as far as the process goes. Plus folks have really been loving the new record so that feels good. It’s funny, my live band is made up of some classic Bay Area R&B cats, too, and they're always trying to get more soul out of me. They laugh though; they think it’s pretty wild that this lil' Irish kid is out there singing this music.

CITC: The live show has expanded as well--you've been known to be accompanied by an almost gospel-edged chorus. Were you initially worried how that would work in a live setting?

SB: It’s actually a tough line to walk. My full band shows are really, really funky. Just in Case as a record, while being really soulful, is also pretty pop. So it’s tough to know how best to balance those things out with the band. If I'm playing in your town and you come expecting a pop show, you will be pleasantly surprised when you are swallowed whole by the funk of this band. It’s a totally different vibration; sexy stuff, really. I think the major labels would prefer I streamlined my live show back to playing my tunes note for note like my records. It’s just something people need to come check out for themselves. As a devout music fan, I would rather go to a show and see an artist stretch themselves rather than play their record note for note. I can stay at home and listen to the CD, but if I do that, I won't be able to meet any girls. I'm just trying to give folks the same opportunity.

CITC: You revisit a few compositions that appeared on your previous albums--how do the new recordings compare to the old and why did you decide to go this direction?

SB: It was pretty cool, actually. I was faced with making my first full-length record and in doing so, had to sort of take stalk of everything I'd written up to that point. Pat and I then had to sort through it all and pick the very best tunes and go with those. It worked out really even; half the songs were older and half were brand new. As far as taking some of the old songs back in the studio and cracking them open, it was a blast. Plus Pat really pushed me to look beyond how I'd done them before and work harder at getting more out of the songs themselves. A song like "Get in Line" really got amped up during that process. That’s one of my very first songs and I've done it now on three different releases, three totally different ways. Maybe I'll do it a fourth time, who knows?

CITC: You've traveled all over the United States touring--give us a high point and a low point.

SB: Touring is a wild deal. It’s like that classy girl you always wanted to be with; you have to be patient and put your time in and hopefully she'll come around. Playing shows is exactly the same way, show by show, town by town. I've been on the road quite a bit over the last few years and every time I come back to a town I've played enough, the venues get a little bit bigger and the crowds get more and more excited. It takes time, though. For me, the low points are those first shows in a town I've never played. Those small crowds are amazing, though and are the sole reason I've been able to stay out there playing; they go and tell their friends and their friends tell their friends, they get on Myspace or Virb, and suddenly you roll back to that same town and it’s a packed house. I sometimes pull up to a venue, see a line wrapped around the building and ask "Who else is playing here tonight"? I want to hug every one of those people who come out. I just wanna love them all up! Last summer I headlined the Haight Street Festival in San Francisco. There were over 10,000 people there, so for me and the band to play a home- town show in front of so many friends is still as big as it gets for me.

CITC: So what's next for Shawn Brown?

SB: I'm getting itchy for some shows. I'm going to be playing more and more throughout the spring. I've got shows in Austin and Nashville coming up. In August, I'm hitting the road for a national tour with my Aussie buddy Kai Brown. I'm also currently in the studio, working on a couple new songs for some TV shows (I can't tell you which ones yet!) and those will be available iTunes-style, hopefully by the end of June. Looking forward to the tour, though; I just don't feel much like myself if I'm not out there singing for folks.



- Caught in The Carousel

Shawn Brown
ARTIST INTERVIEW BY: Aaron Burton

FIZZKICKS: Tell me a little bit of how you got started in music?


SHAWN BROWN: For me, it was one of those really organic things. In my house growing up, things were pretty tense and we weren¹t allowed to watch much TV. So there was a lot of escaping into the arts. My brother is now an actor, so you can see how that played out. Music was my thing, man. I loved it early on. I had big ears and I was always listening. I was fortunate enough a freshman in high school, living in the Seattle area, in 1990. It would have been pretty tough to not have been deeply shaped by all that amazing music going on right there in my backyard. By that point, I had the bug something fierce.

FIZZKICKS: Your songs "Testify", "Get In Line" and "Move of Your Life" shows a wonderful blend of R&B and Pop-Rock style of song writing. Who are some of your music influences and how have they help you develop as an artist?

SHAWN BROWN: My music has always had some degree of soul to it. Maybe it¹s because I live in the Bay Area, I¹m not sure. But it¹s always been there. My band is made up of some of best and well known funk/R&B guys in the Bay, so they would probably tell you it¹s because of them. Truthfully, I always wanted to be Bill Withers. I wanted to play like him, sing like him and have a funky band like him. His live record, Live at Carnige Hall, had a profound effect on me and how I wanted to play. Lots of the soul greats too, Otis Redding and cats like that. Van Morrison is another guy who I really have emulated over the years ­ big voice and emotional songs. You kinda have to toss Jeff Buckley into the pot too and stir him around. Any singer ­ songwriter who has come after him and claims they weren¹t influenced by that guy is straight up fibbing. For me, I spent a lot of time emulating these guys and finally who I am as an artist sorta popped out and I started hearing my own voice. It just happens finally.

FIZZKICKS: Are your songs a reflection of your personal experiences? If so, in what way and how?

SHAWN BROWN: Sometimes yes and sometimes not necessarily. Most of the time, I start out writing a song that is deeply autobiographical and by the end it isn¹t ­ but still has some autobiographical flavors too it. Of course there are songs like ³Just in Case² that is pulled directly out of my life and is so emotionally charged that I rarely can even put it in a set list. It can be scary writing straight from your life, you also want the songs to relate with as many people as possible ­ so tailoring them too much towards just your own experiences can be limiting from an audience prospective. There is definitely lots of me in those lyrics, I just try and express myself as much as possible, while still including the listener in that too.

FIZZKICKS: When it comes to writing songs, what is your process like? Do you collaborate with other musicians?

SHAWN BROWN: I love to collaborate. Music is a collaborative art. Lately, I write and scratch out a song and take it to the studio. My producer Pat (Mosca) then takes my basic idea, plots it out and we go to work hammering it all out together. The more sets of ears the better. When you are a writer it¹s so easy to fall into little habits and things. When you throw other folks into the mix, the music takes on dimensions that you never would have figured out if those other people weren¹t around. I work a lot on other people¹s songs as well. Its one of the best perks of this job.

FIZZKICKS: Which one of your songs connects best with your audience?

SHAWN BROWN: A couple of the old standbys- Lucky Boy, Get in Line, on a good night Testify can blow the roof off a venue. My crowds are great, man. I have a blues tune that closes most shows called ³Flip-flop Blues² that they¹ll yell for all the way through until then end. I always tell um not to worry because I will get to it, enjoy the other songs!

FIZZKICKS:Any plans of touring this summer?

SHAWN BROWN:Yeah it appears a summer tour is happening. Late July through August I¹ll be out nationally. My Aussie buddy Kai Brown (no relation) will be out with me so those shows will be a blast.

For more information on Shawn Brown check out:
www.fizzkicks.com/shawnbrown
www.shawnbrownmusic.com
www.myspace.com/shawnbrownmusic
www.sonicbids.com/shawnbrown


- Fizzkicks.com