REVIEWS ...this is the very model of the modern Breakup Record...with it's emphasis on acoustic guitars, uncertain melodies and hushed, tremulous singing, Dog Eared most recalls the work of the late Elliott Smith (TIME OUT NY ) Dog Eared spins like the disjointed bipolar days just after a messy breakup-I'm up, I'm down, I'm drunk, I'm free-without sounding mawkish. Call it sloppy art for sloppy hearts. (MAGNET) Cerveris takes simple songs and transforms them into mini-operas with thick arrangements, inventive counterpoint and sharp vocal harmonies... turns pathos into pop redemption. (AMPLIFIER) a stately duel between saturated sound and barely-there vulnerability (SPLENDID) Some thoughts on cerveris and dog eared...from some of his stellar cast of not-quite-thousands: Corin Tucker (Sleater-Kinney, co-writer/vocals on 'SPCA): 'One of Michael's strengths as a musician and songwriter is his versatility ... And with Janet and Ken playing on [the album], it felt like a little supergroup.' Ken Stringfellow (The Posies, various tracks) - 'Subtlety in textures and writing, a world-class cast and crew ... everything was exciting!' Laura Cantrell (vocals on 'Two Seconds') -- '[Michael is] a fabulous singer and it was a real revelation to hear his music -- I'm just terribly flattered to be asked to come in and sing with him.' Norman Blake (Teenage Fanclub, guitar/vocals on 'Crosshill') -- 'There's this classic thing of actors wanting to be musicians -- but Michael can really do both, which is difficult ... and unusual.' Adam Lasus (co-producer) - 'He has a great sense of not overdoing things or trying to make it sound like things you've heard before. There's not one moment of this album that has that clichéd bullshit...the very subtle songs begin to creep into your mind with all these little hooks, drum parts and vocal melodies' Michael Cerveris -- '[dog eared] was my way of making one big alternative reality. I have such a literal or emotional connection with all these people and it seemed as if they all belonged in the same room together ... and that room became this record. Nothing is quite as compelling on record as the restless fluctuations of the fractured heart--something singer/songwriter Michael Cerveris proves brilliantly on his ferocious and fragile solo debut album dog eared. From the roiling anthem of "SPCA" (Cerveris' cheeky, power-pop collaboration co-written and sung with Sleater-Kinney's Corin Tucker) to the melancholy, but muscular musings of "Can't Feel My Soul," dog eared is Cerveris' lush declaration of liberation not only from lousy love affairs, but from his complex, parallel life as a critically acclaimed, Tony-nominated actor -- an extraordinary, but convoluted path for a rock musician. Cerveris -- former frontman of British band Retriever (Hinterlands) and guitarist/vocalist on Bob Mould's 1998 US/UK "Dog and Pony Show" tour -- originated the title role in the Broadway hit Tommy and in the late 90s, he starred in the smash cult hit Hedwig and the Angry Inch on London's West End, off-Broadway in New York and in Los Angeles and has recently been starring with Ricky Martin and Elena Roger in EVITA once again on Broadway while continuing his roles as The Observer on FRINGE and a recurring role as music manager Marvin Frey on HBO's Treme. Cerveris and his co-producer Adam Lasus (Clap Your Hands Say Yeah,Madder Rose, Clem Snide, Helium) chose to make dog eared a unique "family" effort. They reached out to Cerveris' extended, diverse network of musician compadres and friends -- Sleater-Kinney's Corin Tucker and Janet Weiss, Ken Stringfellow (Posies, R.E.M.), Steve Shelley (Sonic Youth), Laura Cantrell, Norman Blake (Teenage Fan Club), Jeremy Chatzky (They Might Be Giants), Kevin March (Guided by Voices, Dambuilders), Anders Parker (Varnaline, Space Needle), Lara Gray (Luna, Ben Lee), Joe McGinty (Psychedelic Furs), strings arranger David Arnold (Bjork) and Alex Lutes (Nightnurse, Retriever) for recording sessions that took place sporadically over the course of six months in locales ranging from Brooklyn's Red Ho
Each record is protected within its record sleeve by a white vellum anti-dust sleeve.
All items are shipped brand-new and unopened in original packaging. Every record is shipped in original factory-applied shrink wrap and has never been touched by human hands.