Jon Berman—known by many under his chosen moniker Jon22—brings his debut album Muse out into the world on November 22nd. Given how important transparency has become to discerning listeners, he could have picked a better title. Something like My First Rodeo would’ve worked, given how this is Berman’s promising debut and he readily admits there’s still many things he’s exasperatingly naive about making music. Another consideration could’ve been Old School, since Berman is close to flipping his inner odometer to begin his sixth decade on Earth. He’s clearly not pop, boy-band material.
But back to the title: Muse works for two reasons. The Texas-born Berman dedicates his debut long player to his wife, Princess French, the woman who is, without a doubt, his greatest inspiration to do great things musically and the right things socially. Secondly, the word acts like a summary of his artistic vision, one that’s not strictly married to one genre but to that temporal center that guides his slightly askew sonic visions. Whether he’s cultivating Southern roots in a French countryside or refracting off a lenticular mirror where electromagnetic field readings suggest Hank Williams’ ghost morphing into David Bowie (perhaps even Richard Ashcroft on a grand night), Jon22 is clearly driven by his own consciousness.
Produced at Dallas’ Pleasantry Lane Studios, an outpost owned by Salim Nourallah—who handled bass and backing vocals on Muse, and also produced records by the Old ‘97s, Deathray Davies and Smile Smiles. Nourallah was helpful in midwifing Berman’s songs to achieve greater clarity and compelling performances. Berman was also aided and abetted by such respected players as John Dufilho (Deathray Davies, The Apples In Stereo), Chris Holt (“Chris is the guy that you hear just killing it throughout the whole album on lead guitar,” says Berman about the A-list sideman for The Eagles, Bob Dylan, Mike Campbell And The Dirty Knobs amongst many others), Paul Slavens (Ten Hands, Baptist Generals), Nick Earl (Polyphonic Spree, Tripping Daisy), Billy Harvey and (of course) Princess French, who stands by her man by delivering backing vocals to the melancholy “Six Of Cups.”
Today Glide is offering an exclusive early listen to “Six Of Cups,” featuring Earl’s atmospheric guitar work supporting a folk-rock countenance that showcases warm harmonies over a dreamy soundtrack. Indeed, the sparse instrumentation lends itself to the heartfelt lyrics as the vocals slowly ebb and flow. Princess French’s backing vocals also give the song an almost duet-like quality as Berman uses a tarot card analogy to reflect on the dynamics of his relationship. There is an intimacy to the song that also gives it a quiet emotional force.
Berman describes the inspiration behind the song:
“This is one of the first songs that I wrote for the album. In fact, at the time, I didn’t even know that there would be an album. It’s just a simple chord progression like most of the songs that ended up being on Muse. I wanted to write a song for Princess, my wife, who actually sings with me. Princess is an expert tarot reader and so I’ve been more exposed to that sort of thing than most. The song was actually inspired by an image on a tarot card called “Six Of Cups.” Princess told me that the card reminded her of the dynamics of our relationship. There’s something about it that connotes love and harmony within the context of youthfulness and a carefree spirit, but also chivalry, and things like that. I literally wrote it while looking at the card: Your deep desires fill my heart up everyday/And if you want it, Baby, I’ll make a way/I’ll give you flowers for your innocence and joy/’Cos you’re my girl and I’m your boy. All of that came up for me while I was in that space.”
LISTEN:
