IN THE DRESSING ROOM
WITH DAVID RYAN HARRIS at Smith's Olde Bar. Talk about low maintenance.
by Sonia Murray
All the man required for his amazing set was bottled water ("Gotta stay hydrated!"), Sweetwater 420 ("Had to have it because I can't find it in Los Angeles") and a bottle of Camelot merlot (well, just because).
Privacy wasn't even a must. Opener Teitur shared the sole seat in the room -- actually a bench -- with Harris, who didn't seem to mind as the burgeoning singer-songwriter did a Catwomanlike growl to warm up. People just casually floated past the opened door as Harris tuned his new Martin acoustic guitar. That kind of thing.
"This is home," sighed Harris, who after stints as a member of Atlanta rock band Follow for Now, Dionne Farris's guitarist, a solo moment and more time as a member of Brand New Immortals, decided to leave Atlanta last year for California.
Since then, a busy Web site (www.davidryanharris.com), a song on the "Biker Boys" soundtrack -- plus more songs in the movie -- and some studio work with John Mayer have kept the bills paid. "But what's been priceless is the freedom to move at my pace," he says. "Not to knock major label deals, because I've had three -- and they have given some people a great platform for their work -- but this kind of creative space and time has been amazing."
Oh, and before he left to play, it was hard not to notice the "window advisory" behind his bald head, which read: "If your band sticker ends up on our window, you will be asked to pay for a new window along with jeopardizing any chance to ever again grace the stage here at Smith's Olde Bar.
"Thank you in advance for your professionalism and courtesy."
***Thanks to Furious Rose for submitting this interview.
Tuesday, December 30, 2003
DRH in Marist College paper, 2003
CD REVIEW: David Ryan Harris breaks onto pop-rock scene
POUGHKEEPSIE, N.Y. -- In the last year-and-a-half, the sonic landscape has been overrun by fresh-faced American Eagle ad's armed, like an of army of pop-rock terminators, with acoustic guitars and sly, "trust me" smiles. The likes of John Mayer, Jason Mraz, Jack Johnson, and a host of others whose names don't necessarily begin with the letter "J" have made it nearly impossible to turn on MTV or pick up a copy of Rolling Stone without being force-fed a sticky-sweet brand of Dylan-esque bubble-gum wads that don't even muster enough conviction or talent to pass for Stealers Wheel, let alone Mr. Freewheelin'.
Enter David Ryan Harris, a college drop-out from Atlanta who, on paper, appears to be just another [expletive] with a guitar. The biggest difference (and there are many) between Harris and his contemporaries is a genuine gift for singing. Harris employs a soul-stirring mix of Lenny Kravitz grit and Stevie Wonder grace, a credit to both his own vocal ability and his sophisticated sonic palate (Harris paid homage to both Radiohead and Prince during the course of his performance at the Nelly Goletti Theater Sept. 6).
Lyrically, Harris finds himself mulling over the lessons learned from past relationships, rather than pining for the girl lost in the process ("Strong Enough", "Do What You Want", "Turn Around"). When not contemplating the fairer sex, Harris takes care to maintain a social awareness, if only for a song or two. With "Dickin' Around", a Stevie Ray Vaughn-influenced ramble denoting society's tendency to ignore its problems rather than confront them, Harris brandished his guitar like a seasoned pro, going as far to pay homage to the Voodoo Child himself with a behind-the-head solo.
Though not exactly a rarity in today's pop community, Harris separates himself from the pack in a number of ways, not the least of which is a distinct R&B approach to a genre of music that, until now, has been rooted almost entirely in alt-country and mainstream rock n' roll. Only time time will tell if his unique approach will pay off.
***Thanks to Furious Rose for submitting this interview.
POUGHKEEPSIE, N.Y. -- In the last year-and-a-half, the sonic landscape has been overrun by fresh-faced American Eagle ad's armed, like an of army of pop-rock terminators, with acoustic guitars and sly, "trust me" smiles. The likes of John Mayer, Jason Mraz, Jack Johnson, and a host of others whose names don't necessarily begin with the letter "J" have made it nearly impossible to turn on MTV or pick up a copy of Rolling Stone without being force-fed a sticky-sweet brand of Dylan-esque bubble-gum wads that don't even muster enough conviction or talent to pass for Stealers Wheel, let alone Mr. Freewheelin'.
Enter David Ryan Harris, a college drop-out from Atlanta who, on paper, appears to be just another [expletive] with a guitar. The biggest difference (and there are many) between Harris and his contemporaries is a genuine gift for singing. Harris employs a soul-stirring mix of Lenny Kravitz grit and Stevie Wonder grace, a credit to both his own vocal ability and his sophisticated sonic palate (Harris paid homage to both Radiohead and Prince during the course of his performance at the Nelly Goletti Theater Sept. 6).
Lyrically, Harris finds himself mulling over the lessons learned from past relationships, rather than pining for the girl lost in the process ("Strong Enough", "Do What You Want", "Turn Around"). When not contemplating the fairer sex, Harris takes care to maintain a social awareness, if only for a song or two. With "Dickin' Around", a Stevie Ray Vaughn-influenced ramble denoting society's tendency to ignore its problems rather than confront them, Harris brandished his guitar like a seasoned pro, going as far to pay homage to the Voodoo Child himself with a behind-the-head solo.
Though not exactly a rarity in today's pop community, Harris separates himself from the pack in a number of ways, not the least of which is a distinct R&B approach to a genre of music that, until now, has been rooted almost entirely in alt-country and mainstream rock n' roll. Only time time will tell if his unique approach will pay off.
***Thanks to Furious Rose for submitting this interview.
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