Tony Ormond
Control What I Can
© 2008 Tony Ormond (796873019224)
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Indie rock/pop Brooklynite serves up 2 parts Beatles, 1 part Steely Dan, dash of John Mayer, sprinkle a bit of Wilco.
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"It's been a long time coming, but worth the wait"-Brian Georgi (Rolling Stone Magazine)
"Great stuff!!! Especially liked 'While I Waited' and Each Part of You" - Rick Mowat (Snackpack Productions)
"We've played it everyday since we got it over here! GREAT songs!" -Remington Scott (Sony Imageworks)
"Sounds great! Awesome...Production is perfect." -Graham Heth (Fader Magazine)
Brooklyn native Tony Ormond, delivers both British and American influenced rock that's melodic, lyrical, moody and beautiful. 'Control What I Can' is a vision of the future of rock that builds on the classic pop craftmanship of his aspirations. Tony Ormond's versatility as a songwriter, performer and producer shine bright. He wrote, produced and performed every instrument on the album including electric and acoustic guitars, drums, bass, keyboards, tamborine and glockenspiel among others. The album's lush production is evident in the tracks 'Rain on Sunday', 'While I Waited' and 'Different Life'. 'It's Only Time' and 'Potential' reveal deep, introspective lyrics. 'Control What I Can' is also Tony Ormond's debut as a vocalist.
Ormond recorded Control What I Can's original songs at Chunky Karma owned by Greg Novick in Plainfield N.J. Greg is credited as producer on 'While I Waited'. The tracks were engineered and mixed by Tony Ormond and Greg Novick. Mastered by Leon Zervos at Sterling Sounds NYC.
Tony Ormond has been visible on the New York music scene for some time. Once a guitar player for Gavin DeGraw, Tony was also a member of Greg Naugton's band The Stark Naked Sole, as well as the bass player for Broadway singer Alice Ripley and singer-songwriter Alec Berlin.
Additionally, Tony has established himself as a composer. The documentary 'Hamburger America' had Tony compose 3 songs for the film and was asked to produce, mix and music supervise the soundtrack. The film can be seen on the Sundance Channel and has been shown at countless film festivals.Tony Ormond has also written for ESPN, Fox Sports and PBS/Nature.
Tony represents the newer and emerging artists throughout America who embrace more traditional ways of making music. Actually playing it....
"There are numerous and varied sonic and emotional touchpoints within "Control What I Can," (among them Crowded House, Wilco, Train and the list goes on...) the debut from singer/songwriter Tony Ormond, but the honesty in the delivery more than saves the recording from a game of "spot the influence." In fact, while indeed working squarely within tried-and-true compositional frameworks, like all songwriters that rise above the din to make a personal connection, Ormond has found his own voice here. For example, stopping to note Donald Fagen-esque phrasing in the verses of "Why You Calling Me Now?" may mean missing the resolute stance of the lover who has truly moved on...a refreshing take. The Brooklyn-based former sideman is neither bogged down by his own instrumental prowess, nor trying too hard to prove he deserves his shot in front of the band. "Control What I Can" is relaxed and confident- even subtle- in the service of it's songs; the pencil-sketch intimacy of a demo recording (Ormond played and produced every note) is punctuated sparingly by watercolor production elements throughout. The character that inhabits much of the material is patient ("Rain on Sunday,") forgiving ("While I Waited,") and even grateful ("Each Part of You," "Different Life") but we come to sense that there is a limit ("Potential") to his generosity of spirit. For that, we feel relieved, and focusing on "which track from 'The White Album' uses that guitar sound?" shuts us off from that experience." -Clay Farmer (Imago Records)
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Crafty
author: Dhani ShattuckHaving been a serious music fan since a very early age, I find that I am really only now appreciating music that I had taken for granted that I heard growing up on the radio. Remember when even the cheesy soft rock songs of the 70's were well-structured and labored over ? Neither cheesy nor soft, Tony Ormond clearly remembers this era too and it shows. Starting with the actual crafting of song and THEN applying the appropriate production, Tony achieves something that is sadly missing from a lot of contemporary music. Hooks, riffs, melodies, harmonies, and solid beats mark this effort as a "work" by an artist who gives his all instead of some tossed off half-completed assortment of demos.