Paul Manousos: Press

There is no question that Paul Manousos can sing, but all of that talent would be for nothing if not for producer Steve Fisk (Pell Mell, Nirvana, Soundgarden, Screaming Trees) and engineer Ian Pellicci’s work in capturing Manousos’ performance on his newly released album, Common Thread [Shock and Fall]. Together with Manousos’ backing band, The East Bay Wrecking Crew, the production duo commandeered San Francisco’s Tiny Telephone Studios, and banged out one helluva folk-infused, alt-rock album in just three days. Here is how Fisk and Pellicci crafted the vocal sounds for Common Thread.

Stand Up
Proper posture is very important, so stand up tall. Manousos says he places the mic “a little higher than my mouth so I have to step up to it. The capsule is just about at the top of my upper lip, so I definitely need to lift up my heels to get right up on the microphone.” Why? Because positioning your diaphragm correctly not only allows you to breathe easier, but it also extends your maximum lung capacity, resulting in better and stronger notes.

Move
If you like to move around a bit when you perform, pick a mic that can accommodate you—such as a stereo mic. Manousos hates having to stand still while delivering an impassioned performance, so he prefers to use a Neumann SM69, which has two capsules mounted in a coincident position that can be rotated 270 degrees.

“The SM69 can handle a lot of volume, and it gives me the leeway to move side-to-side, and back off the mic when I feel I have to,” explains Manousos. “The two capsules provide a lot more coverage, and less off-axis response, so your vocals should retain a uniform sound—even at a variety of angles. On average, I was probably three to four inches from the microphone. But when I got really loud, I’d pull back as much as ten inches. The SM69 allowed me to perform as I like to perform, and its stereo image added a sense of depth and fullness, so I didn’t need to double everything.”

For backup vocals, Manousos said the team employed a similar stereo approach that Fisk recalled as a trick Stevie Wonder used on older recordings.

“Stevie would use a matched pair of mics to get a stereo effect, so we tried the same thing,” says Manousos. “We placed two identical mics approximately eight inches apart from one another, and then I stood in the center and did my backing vocals. We hard-panned each mic left and right, leaving the lead vocal in the middle. It sounded huge.”

Start Tough
Although you should warm up your voice before singing, that doesn’t mean you should always ease your way through the tracking process. Although it may seem counterintuitive, Manousos believes in starting with songs that are more difficult to pull off.

“I don’t want to have to deal with thinking about the technical aspects of singing,” he says, “so going through the more challenging pieces first gives me the opportunity to get my vocal strength up, and develop an understanding of how I need to shift my approach for the other tracks. Once I know where I’m at, I can focus on being emotive, concentrate on the dynamics, and make sure that the song is affecting me like I want it to affect other people.”

Capture the Right Vibe
“We wanted to get a live feel on this album, so the guys surrounded me with three gobos in the tracking room, and just let me sing with the band,” says Manousos. “I was amazed by how well the tracks were separated when we soloed the vocals. If you turn your amps away from your drums, and isolate your singer, you can track the whole band live without getting tons of signal bleed. Sure, you’ll have a little bit of spillover, but that ambience can help make your recording sound thick and energetic.”

The first thing that immediately grabs listeners attention is Paul Manousos' voice, for he can belt out a song like nobody's business. The second is his chameleon-like style, for although the singer/songwriter has invariably been tagged either folk or Americana, those labels tell only half the tale. In fact, Manousos is best described as the bastard child of Suede and early Thin Lizzy, but reared among the rolling fields of the American heartland. "Rhumba #23 (Yzarc)," with its catchy "crazy" "Metal Mickey"-ish chorus, is a case in point, and deftly steps straight out of folk and into progressive rock before lashing out Who-esque power chords. "Spell I'm Under" is an equally good example of Manousos' talent for side-swapping genres, a mesmerizing mix of Brit-pop and a purer '60s sound. Contrast that, though, with the singer's respectful cover of Merle Haggard's "Silver Wings," the dreamy folk-pop of the romantic triumph "Who'll Kiss the Girl?," and the bluesy infusion of "Slow Poison." The cruising "Stay Awake" and the heavy hitting "Real World" bubble right out of folk and into rock, the latter a scathing look at the current administration. That's the only politically themed song on the set, with the rest mostly revolving around relationships. "Hold On," however, is a story song in the Bruce Springsteen mold, and just as enthralling. So Common Thread is far from your run of the mill folk tapestry. Manousos is astounding, with his superb piano and guitar skills evident throughout the set, abetted by a trio of equally talented musicians, and a guesting Carrie Akre adding vocal support to three of the tracks. Steve Fisk outdoes himself with surprisingly sympathetic production that brings out the best in the singer and his music.

"Singer-songwriter Paul Manousos plays piano and guitar, writes hooky, classic rock-influenced songs, and has a strong and listenable singing voice to top it all off. His latest CD, Common Thread, goes down smooth, like an undiscovered Van Morrison/Beatles album and is impressive from the first spin. Dig “Don’t Cry” and “Spell I’m Under” to start." –

One would expect such great songs from a seasoned veteran songwriter, and with a little research it comes to light that Paul Manousos hosts a singer-songwriter night at a club out in California. So it makes sense that the man gets his fair share of good and bad songs running through his ears on occasion, luckily for listeners of Common Thread he seems to be able to distill the goodness from the badness and write some really amazing songs of his own. The musicianship on Common Thread is spotless, like Wilco with a bit more clean and indie leaning, sometimes striking out for rock and occasionally delving into country territory with more success than anything coming out of Nashville lately. The production on the record, courtesy of Steve Fisk, is clean and clear, every instrument finding its place and staking its own ground for the edification of the others. Even if we were to set the songwriting aside, we would be given a great album, but once we consider the lyrics that Manousos creates we are left with something intangibly more. His voice like a blending of such disparate forces, the alto clarity striking in conjunction with the perfection of the music, Manousos sounds almost like a nasally John Hiatt or a contemporary Elvis Costello. His voice is definitely singular and though it sometimes recalls influence, it seems to be buoyed by its own unique personality, an oft-times rarity for the bay area. His lyrics are sharp with wit and allusion, creating splendid stories of life and of the emotions with which his characters are faced. The songs on Common Thread are personal, somewhat revelatory and confessional, as Manousos leads us through his narrative and tells us of the world which his soul inhabits. "Stay Awake" invokes the spirit of great Son Volt, being country enough to fit comfortably, but with guitars that are soaked in singing overdrive as they plow through intense rhythmic riffs and brilliant leads. Manousos' cover of Merle Haggard's classic "Silver Wings" is down-tempo and soft, sparse in instrumentation, but with a wonderful guitar solo inhabiting the bridge. The remainder of the record floats in the territory of great rock music, poppy and familiar with touches of country, doing its best to showcase the excellent lyrics that Manousos pushes from his mouth and heart. There is an intense soul inhabiting the songs of Common Thread, and they are waiting for you to discover them.

Surely there's room on this weary old planet for one more talented rock 'n' roll songwriter. Produced by Steve Fisk (Nirvana, Soundgarden, Screaming Trees), Paul Manousos' new nine-song CD applies any old-school recording technique that works to making a great-for-2008 collection of cool rock tunes. His strong, distinctive lead vocals positively shimmer on “Don't Cry,” while the drums ring through with a satisfying, thudding crispness. In “Spell I'm Under,” dig the hard-panned percussion touches that scrape softly under the intentionally unsettling chorus. The slow “Silver Wings” somehow brings the playing style and recording techniques of the '50s fully up to speed for our millennium. And the emotional mover “Real World,” with its winding six-string layers, just might send chills up your spine; a real treat for guitar lovers.

The music on Paul Manousos’ sophomore solo album Common Thread is solid, but what makes this album a keeper are Manousos’ vocals, which fall somewhere between David Johansen of the New York Dolls, and Whiskeytown-era Ryan Adams (with maybe a bit of Elvis Costello thrown in for good measure).

Manousos has that much-coveted ability to make songs that are being heard for the first time seem like they’ve been kicking around in your car since the cassette era.

For those who want the heart and soul of a singer/songwriter with the swagger and style of a full indie band, Common Thread is the perfect mix.

"Lyrics about life and country infuse his storytelling style."

Listening to the solo debut from the former frontman of San Francisco Bay Area band Power 13, it’s easy to imagine standing in a roadside juke joint, watching a blue-collar bar band pound out propulsive rockers under the glow of neon beer signs. Produced by Steve Fisk (Nirvana, Soundgarden), For Better or Worse sometimes echoes the romanticism of pre-Beatles roots rock, and other times sounds like Steve Earle fronting the Rolling Stones. From the Johnny Cash–style freight-train beat of “It’s Only Natural” to the slow-burning balladry of “Is It Ever Gonna Change?,” Manuosos’ real strength is his knack for mixing guitar-driven rockers with moodier, dramatically dynamic tunes. On the mid-tempo, John Hiatt–style rocker, “It’s Gonna Be Alright,” Manousos sings,
“ . . . on the road of resurrection / there are business-suited clowns / who whitewash democracy to bring the hammer down / . . . Oh, it’s gonna be okay / but how far will I go to get away?” With equal parts sweet hope and bitter doubt, the lyrics scan like an emotional snapshot of our times, even as the music conjures up ghosts of the ’60s. Whether the subject is love or politics, though, Manousos belts out every line with unabashed passion. That could be a sign of how far we have come from the irony of the ’90s, and it’s a welcome relief to hear that kind of passion fueling a rock record released in 2006. (Shock and Fall Recordings, www.paulmanousos.com)

"The first thing you notice about Paul Manousos' solo debut is that voice, that aching, desperate, piercing voice"........

The New King?

Paul Manousos - For Better Or Worse - CD
(Shock & Fall Recordings) The music of Paul Manousos has an early '70s acoustic-rock feel, but with more bite. The vocals are a combination of Tom Petty & Mick Jagger with a pinch of twang to them. The music reminded me of a Van Morrison, Eagle Eye Cherry combination, with a semblence of Elvis Costello song structure, especially on the title track. This is one solid CD that's definitly worth the price of admission.
-- Mite (2006)

Paul Manousos, For Better Or Worse (Manousos Music) Rating: 8
Maybe it's because I just got the new Ray Davies album, but Paul Manousos seems to be educated in the same catchy British pop rock mould. But he's isn't British. Whether it's his timbre that would draw reasonable comparisons or his hook-filled chorus, songs such as "Another Day in the Life" and "It's Gonna Be Alright" immediately draw you in. With an ear for melody and a nifty way with words, Manousos nails "Beautiful Girl", a soft piano-tinted ballad that never gets too sappy. Think of the Stones circa "Angie" or "Waiting on a Friend" and this seems to be what Manousos has easily tapped into. He knows his strengths and plays to them often, as is the case with the mid-tempo "Flavor of the Month" and the equally pop-riddled "This Love" which namedrops the Stones. Even when he opts for a roots rock feeling as he does with the title track, he comes up smelling far from horse patties. And the soulful "Is It Ever Going to Change?" is worth the price of the album itself -- a gorgeous tune that again seems to channel Mick when he was half the age he is now. The lone, slight miscue could be "Broken" as Manousos opts for strings rather than a larger, well-rounded guitar. And if you're looking for an ambling kind of pop track, you could not find any better than "The Devil Within".

For Better Or Worse
Burnside Distribution

Equal parts rocker, sincere song-
Writer, and Vegas lounge singer
(the good ones). Manousos pro-
duces a warm, comforting envi-
ronment that just feels like home.
Think of being under a warm
blankie on a cold day and you’ll
envision the mood of these songs.
The tunes vary from playful(“The
Devil Within”) to frenzied (“It’s Only
Natural”), but they are all connect-
ed by his Jagger-like voice.
The songs “Flavor Of The Month”
and “For Better Or Worse” have a
Great sing-along quality and just
Beg to be played countless times.

Adaptable Joe Lobue can brush
just as well as he can rock out.
He’s all a good songwriter can
want in a good drummer.

Manousos has won several song-
writing awards for good reason. He
can convey many moods effectively
even somber ones, while
maintaining a sense of hope.
By the way, we Hope you find the secret track.

I love it when I hear new music that doesn't make me want to throw up!

By:NeoGeo The Prophet

Click Link:

Paul Manousos
February 25, 2006 7:00 PM
Redmond, WA
Redmond
Discover this standout singer/songwriter in a special cafe' performance. Award-winning, fresh and widely appealing.

When I first encountered Paul Manousos he was the lead singer/guitarist for one of the best rock n' roll bands in the Bay Area, Power 13. Now Manousos is exclusively a solo singer/songwriter (yes, he still plays guitar) and he hasn't lost his musical touch. He drips of talent winning over listeners wherever he performs and this is further evidenced by Paul having secured one of the four spots as a "busker" for a charity event set up by local radio station KFOG. Hundreds of aspiring buskers sent audition tapes into KFOG in hopes of clinching a spot playing outside Pac Bell Park before the Bruce Springsteen show in San Francisco. As one of the talented winners and armed with his faithful acoustic he was able to wow the crowd into donating over $1,600 for Music in Schools Today (www.mustcreate.org). He also received tickets to the Springsteen gig itself.

If one must categorize Manousos and his music the word variety must be kept at the forefront of any description. Manosusos can rock hard--making his audience sweat along with him during his deliverance of snarling and howling lyrics a la Jim Morrison. He is also expert at crooning 50's influenced ballads (think Wayne Cochran's �Last Kiss.�) Manousos encompasses many musical styles and influences and he succeeds at serving up honest, heartfelt guitar oriented rock n' roll. He's a musician stripped down to vocals and guitar who opens up his heart, mind and soul exposing the melodies that dwell there. His music doesn't feel labored, calculated or deliberate which is refreshing in this world of prefabricated hit makers. Acoustic guitar aficionados will embrace Paul Manousos and his music without a doubt.

Paul is currently working with Steve Fisk (Nirvana, Soundgarden, Soul Coughing & Maktub) on tracks for his solo EP.

The Player: Paul Manousos, vocals, guitar.

Material: Hailing from San Francisco, singer/songwriter Paul Manousos has a sound that is much like the vocal style and groove of Van Morrison, while his lyrics reflect a Jackson Browne influence. Manousos� live performance consists of only his voice and a six-string guitar, (though he sometimes plays with a stomp-box and harmonica, too). His Americana rock songs are played with sincerity and are heartfelt.

Musicianship: Manousos is a consummate professional. His vocal abilities are broad and his voice is rich and dynamic. Unlike many vocalists, this singer knows how to use a microphone. Using impressive technique, Manousos knows how to manipulate the mic and when to back off from it. He even whistles and used this technique to add texture to his melodies. As a guitarist, Manousos plays with a fiery force, as if expecting more from it than it can offer. His strumming fills the room with sweet vibrations, in a constant ebb and flow, behind thoughtful and provocative words sung with passion.

Performance: Dressed down casually in a western shirt and blue jeans, Manousos looked very comfortable onstage, as if he was at home playing to family and friends. He gave off a cool vibe that the audience responded to agreeably. He enjoyed giving proper introductions, relating what each song was about and revealed the inspirations behind them. Manousos had no problem using the Gig stage to his advantage. He kept the audience satisfied all by himself.

Summary: Paul Manousos is a professional artist with good chops and appealing commercial songs, especially �Beautiful Girl.� Already receiving some attention from management in South Carolina as well as a few indie labels, Manousos would do well to incorporate himself into the Americana circuit and continue to hone his craft. Doing that might enable him to create a buzz in this small, but strong genre.

Coffee house style -- For Alameda musician Paul Manousos, the appeal of playing is in the power of the music.

"I'm just into the honesty and truthfulness of music and playing what I feel," Manousos said. "A lot of my style comes from my voice."

Manousos is playing for two hours tonight at Coffee for Thought on Webster St. The free show begins at 8 p.m. Alamedans may have seen him on a previous Jam Night there or even found him playing on the sidewalk at the Art and Wine Faire.

"I just opened my case and performed," Manousos said, "It went over pretty well. I drew an audience with everyone from the folks in the booths to kids in strollers."

For the owners of Coffee for Thought, he was a good match for the venue.

"His music seems to fit the coffee house style of what we are trying to create," said coffee house co-owner John Marquez. "Open mic Jam Night features a lot of new talent, but we have a lot of local people just drop in with what they are doing."

For Manousos, that coffee-house style is influenced by everything from Memphis blues to punk.

"I describe myself as a roots rock-flavored singer songwriter. My influences run from the Stax/Volt label to Springsteen or bands like the Replacements or Husker Du."

Manousos won the July 20th Jam Night put together by local performer/promoter Jim Parodi. He was invited back to perform with Parodi the following Friday.

"I just fell in love with his voice and his vibe," Parodi said.

"I had just gotten back from playing my guitar all over the country and saw their flyer," Manousos said of the popular Jam Night.

Parodi has described the space at Coffee for Thought as an encouraging and inviting place to perform, "a giant living room."

"For me, every room feels like my living room," Manousos said. "I was the last of eleven children, so I've always performed for a large audience."

Manousos has been performing in various bands since he was 16. For the last eight months he has been a solo artist and things are starting to heat up.

This record has a great pop/rock feel. Paul's vocals are strong, supported by clean tight tracks. His songs are interesting and melodic. It has the feel of Dylan/Mellencamp. This really is a great CD, one of the better ones to come into the office for a while.