Marc Jonson
Groova Tizmo!
Marc Jonson
Groova Tizmo!
Involved in making records since the mid-sixties – his debut “Years” is a psych folk/baroque pop masterpiece from 1972- Marc Jonson’s latest long-play collection is a particularly special glimpse into a secret stash of recordings made between 1979 and 2012 in his tiny flat on New York’s Cornelia St.
These tracks are only now seeing the light of day, with many featuring Jonson at his melodic, awe-inspiring best; soul-baring, honest and vulnerable.
“One of those rare singer/songwriters who has seemingly never written a less-than-good song…”
John M. Borack, Goldmine Magazine
“It is always a treat when Marc Jonson releases a new song, simply because he’s one of the best damn singer-songwriters on the planet.”
Robbie Woliver, New York Music Hall of Fame
“Those who have taken the leap into Jonson’s hitherto unknown musical world will be able to tell you that this is not only an experience which is immensely rewarding, but it’s also one which needs to be heard to be believed. The captivating layers and mesmerising quality heard throughout lies in the way Jonson’s startling array of songs seem to breathe in and exhale from many different, often eclectic elements.”
Lenny Helsing (Shindig!, Ugly Things Magazine).
With his seemingly endless capacity for creating compositions which have an alluring quality, and which are often wrapped in a mesmerising arrangement that pays homage to those towering sound constructions made by Phil Spector, Shadow Morton, Brian Wilson and the likes, veteran New York polymath Marc Jonson is also deserving of household name status.
Involved in making records since the mid-sixties, Jonson’s latest long-play collection is a particularly special glimpse into a secret stash of recordings made between 1979 and 2012 in his tiny flat on Cornelia St., New York’s Greenwich Village, during the years we spend living (and surviving) there. These tracks are only now seeing the light of day, with many featuring Jonson at his melodic, awe-inspiring best; soul-baring, honest and vulnerable. Spanning these grooves are such delightfully told stories as ‘The Man Who Walks On Air’, ‘November Paint Brush’, the atypical jazz stylings of the instrumental title cut, plus the revealing light that is ‘The Moon’ and the magical, wide-eyed beauty as conjured by ‘Ages Of Wonder’.
Jonson brings together a lyrical playfulness fused with melancholic cool and genuine heartwarming joy, conveyed in both his playing and vocalising; a combination seldom heard among performers today.
Lenny Helsing
Surviving the New York folk and punk scene … an outcast to both by my own volition … Most art scenes require suspension of innocent play like we did as kids in the schoolyard and become serious pretending not to be. Give me Arthur Lee, Van Morrison and Justin Hayward … the Stones, Dylan and Leonard Cohen. I’d turn on the day glow lamp in my room at home that illuminated my two posters and let these guys songs fill the air.
I was a lone coyote on any random moonless night finding sounds in my head and producing them to tape. Especially in Winter when the ground was hard and there might be a light snow all around. These kind of nights provoked the deepest places in my soul to speak up. I hated cold weather but
it kicked my ass to create songs like no other time of the year. At 19 years of age, Arthur Lee was telling me about life to come via Love’s “Forever Changes”. This record is so captivating and musical. It comes off as one long story all interconnected.
Justin Hayward’s “Watching and Waiting” as well as “The Actor” could unblock any negativity in my world and put me right as I remembered my dreams again.
So like them … I too would have to make a guitar speak for my own feelings. To cover my blues up for a while here’s what works for me.
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Involved in making records since the mid-sixties – his debut “Years” is a psych folk/baroque pop masterpiece from 1972- Marc Jonson’s latest long-play collection is a particularly special glimpse into a secret stash of recordings made between 1979 and 2012 in his tiny flat on New York’s Cornelia St.
These tracks are only now seeing the light of day, with many featuring Jonson at his melodic, awe-inspiring best; soul-baring, honest and vulnerable.
“One of those rare singer/songwriters who has seemingly never written a less-than-good song…”
John M. Borack, Goldmine Magazine
“It is always a treat when Marc Jonson releases a new song, simply because he’s one of the best damn singer-songwriters on the planet.”
Robbie Woliver, New York Music Hall of Fame
“Those who have taken the leap into Jonson’s hitherto unknown musical world will be able to tell you that this is not only an experience which is immensely rewarding, but it’s also one which needs to be heard to be believed. The captivating layers and mesmerising quality heard throughout lies in the way Jonson’s startling array of songs seem to breathe in and exhale from many different, often eclectic elements.”
Lenny Helsing (Shindig!, Ugly Things Magazine).
With his seemingly endless capacity for creating compositions which have an alluring quality, and which are often wrapped in a mesmerising arrangement that pays homage to those towering sound constructions made by Phil Spector, Shadow Morton, Brian Wilson and the likes, veteran New York polymath Marc Jonson is also deserving of household name status.
Involved in making records since the mid-sixties, Jonson’s latest long-play collection is a particularly special glimpse into a secret stash of recordings made between 1979 and 2012 in his tiny flat on Cornelia St., New York’s Greenwich Village, during the years we spend living (and surviving) there. These tracks are only now seeing the light of day, with many featuring Jonson at his melodic, awe-inspiring best; soul-baring, honest and vulnerable. Spanning these grooves are such delightfully told stories as ‘The Man Who Walks On Air’, ‘November Paint Brush’, the atypical jazz stylings of the instrumental title cut, plus the revealing light that is ‘The Moon’ and the magical, wide-eyed beauty as conjured by ‘Ages Of Wonder’.
Jonson brings together a lyrical playfulness fused with melancholic cool and genuine heartwarming joy, conveyed in both his playing and vocalising; a combination seldom heard among performers today.
Lenny Helsing
Surviving the New York folk and punk scene … an outcast to both by my own volition … Most art scenes require suspension of innocent play like we did as kids in the schoolyard and become serious pretending not to be. Give me Arthur Lee, Van Morrison and Justin Hayward … the Stones, Dylan and Leonard Cohen. I’d turn on the day glow lamp in my room at home that illuminated my two posters and let these guys songs fill the air.
I was a lone coyote on any random moonless night finding sounds in my head and producing them to tape. Especially in Winter when the ground was hard and there might be a light snow all around. These kind of nights provoked the deepest places in my soul to speak up. I hated cold weather but
it kicked my ass to create songs like no other time of the year. At 19 years of age, Arthur Lee was telling me about life to come via Love’s “Forever Changes”. This record is so captivating and musical. It comes off as one long story all interconnected.
Justin Hayward’s “Watching and Waiting” as well as “The Actor” could unblock any negativity in my world and put me right as I remembered my dreams again.
So like them … I too would have to make a guitar speak for my own feelings. To cover my blues up for a while here’s what works for me.
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Groova Tizmo!
Involved in making records since the mid-sixties – his debut “Years” is a psych folk/baroque pop masterpiece from 1972- Marc Jonson’s latest long-play collection is a particularly special glimpse into a secret stash of recordings made between 1979 and 2012 in his tiny flat on New York’s Cornelia St.
These tracks are only now seeing the light of day, with many featuring Jonson at his melodic, awe-inspiring best; soul-baring, honest and vulnerable.
“One of those rare singer/songwriters who has seemingly never written a less-than-good song…”
John M. Borack, Goldmine Magazine
“It is always a treat when Marc Jonson releases a new song, simply because he’s one of the best damn singer-songwriters on the planet.”
Robbie Woliver, New York Music Hall of Fame
“Those who have taken the leap into Jonson’s hitherto unknown musical world will be able to tell you that this is not only an experience which is immensely rewarding, but it’s also one which needs to be heard to be believed. The captivating layers and mesmerising quality heard throughout lies in the way Jonson’s startling array of songs seem to breathe in and exhale from many different, often eclectic elements.”
Lenny Helsing (Shindig!, Ugly Things Magazine).
With his seemingly endless capacity for creating compositions which have an alluring quality, and which are often wrapped in a mesmerising arrangement that pays homage to those towering sound constructions made by Phil Spector, Shadow Morton, Brian Wilson and the likes, veteran New York polymath Marc Jonson is also deserving of household name status.
Involved in making records since the mid-sixties, Jonson’s latest long-play collection is a particularly special glimpse into a secret stash of recordings made between 1979 and 2012 in his tiny flat on Cornelia St., New York’s Greenwich Village, during the years we spend living (and surviving) there. These tracks are only now seeing the light of day, with many featuring Jonson at his melodic, awe-inspiring best; soul-baring, honest and vulnerable. Spanning these grooves are such delightfully told stories as ‘The Man Who Walks On Air’, ‘November Paint Brush’, the atypical jazz stylings of the instrumental title cut, plus the revealing light that is ‘The Moon’ and the magical, wide-eyed beauty as conjured by ‘Ages Of Wonder’.
Jonson brings together a lyrical playfulness fused with melancholic cool and genuine heartwarming joy, conveyed in both his playing and vocalising; a combination seldom heard among performers today.
Lenny Helsing
Surviving the New York folk and punk scene … an outcast to both by my own volition … Most art scenes require suspension of innocent play like we did as kids in the schoolyard and become serious pretending not to be. Give me Arthur Lee, Van Morrison and Justin Hayward … the Stones, Dylan and Leonard Cohen. I’d turn on the day glow lamp in my room at home that illuminated my two posters and let these guys songs fill the air.
I was a lone coyote on any random moonless night finding sounds in my head and producing them to tape. Especially in Winter when the ground was hard and there might be a light snow all around. These kind of nights provoked the deepest places in my soul to speak up. I hated cold weather but
it kicked my ass to create songs like no other time of the year. At 19 years of age, Arthur Lee was telling me about life to come via Love’s “Forever Changes”. This record is so captivating and musical. It comes off as one long story all interconnected.
Justin Hayward’s “Watching and Waiting” as well as “The Actor” could unblock any negativity in my world and put me right as I remembered my dreams again.
So like them … I too would have to make a guitar speak for my own feelings. To cover my blues up for a while here’s what works for me.
Marc Jonson
Groova Tizmo!
Involved in making records since the mid-sixties – his debut “Years” is a psych folk/baroque pop masterpiece from 1972- Marc Jonson’s latest long-play collection is a particularly special glimpse into a secret stash of recordings made between 1979 and 2012 in his tiny flat on New York’s Cornelia St.
These tracks are only now seeing the light of day, with many featuring Jonson at his melodic, awe-inspiring best; soul-baring, honest and vulnerable.
“One of those rare singer/songwriters who has seemingly never written a less-than-good song…”
John M. Borack, Goldmine Magazine
“It is always a treat when Marc Jonson releases a new song, simply because he’s one of the best damn singer-songwriters on the planet.”
Robbie Woliver, New York Music Hall of Fame
“Those who have taken the leap into Jonson’s hitherto unknown musical world will be able to tell you that this is not only an experience which is immensely rewarding, but it’s also one which needs to be heard to be believed. The captivating layers and mesmerising quality heard throughout lies in the way Jonson’s startling array of songs seem to breathe in and exhale from many different, often eclectic elements.”
Lenny Helsing (Shindig!, Ugly Things Magazine).
With his seemingly endless capacity for creating compositions which have an alluring quality, and which are often wrapped in a mesmerising arrangement that pays homage to those towering sound constructions made by Phil Spector, Shadow Morton, Brian Wilson and the likes, veteran New York polymath Marc Jonson is also deserving of household name status.
Involved in making records since the mid-sixties, Jonson’s latest long-play collection is a particularly special glimpse into a secret stash of recordings made between 1979 and 2012 in his tiny flat on Cornelia St., New York’s Greenwich Village, during the years we spend living (and surviving) there. These tracks are only now seeing the light of day, with many featuring Jonson at his melodic, awe-inspiring best; soul-baring, honest and vulnerable. Spanning these grooves are such delightfully told stories as ‘The Man Who Walks On Air’, ‘November Paint Brush’, the atypical jazz stylings of the instrumental title cut, plus the revealing light that is ‘The Moon’ and the magical, wide-eyed beauty as conjured by ‘Ages Of Wonder’.
Jonson brings together a lyrical playfulness fused with melancholic cool and genuine heartwarming joy, conveyed in both his playing and vocalising; a combination seldom heard among performers today.
Lenny Helsing
Surviving the New York folk and punk scene … an outcast to both by my own volition … Most art scenes require suspension of innocent play like we did as kids in the schoolyard and become serious pretending not to be. Give me Arthur Lee, Van Morrison and Justin Hayward … the Stones, Dylan and Leonard Cohen. I’d turn on the day glow lamp in my room at home that illuminated my two posters and let these guys songs fill the air.
I was a lone coyote on any random moonless night finding sounds in my head and producing them to tape. Especially in Winter when the ground was hard and there might be a light snow all around. These kind of nights provoked the deepest places in my soul to speak up. I hated cold weather but
it kicked my ass to create songs like no other time of the year. At 19 years of age, Arthur Lee was telling me about life to come via Love’s “Forever Changes”. This record is so captivating and musical. It comes off as one long story all interconnected.
Justin Hayward’s “Watching and Waiting” as well as “The Actor” could unblock any negativity in my world and put me right as I remembered my dreams again.
So like them … I too would have to make a guitar speak for my own feelings. To cover my blues up for a while here’s what works for me.
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