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Rock: 70's Rock Rock: Adult Alternative Pop/Rock Moods: Solo Male Artist
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Gregg Stewart

by Gregg Stewart

Frontman of seminal Americana outfit, Stewboss, returns with stunning debut solo album. Drawing inspiration from his favorite year in music (1978), the songs are brimming with rock-n-roll swagger, summertime hooks, and introspective writing.
Genre: Rock: 70's Rock
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  Song Share Time Download
1. R Is for Rockstar
3:31 $0.99
2. Let's Go Find a Night
4:17 $0.99
3. You're the One
3:59 $0.99
4. Nobody Like You
4:17 $0.99
5. Give It All You Got
3:38 $0.99
6. Stone Cold Fox
3:09 $0.99
7. When the Work Is Done
3:45 $0.99
8. Hey Doncha
2:25 $0.99
9. What Am I to Do
3:27 $0.99
10. Mystery
3:03 $0.99
Downloads are available as MP3-320 files.


Album Notes
Could you choose the single greatest year in music? Gregg Stewart can and his answer might surprise you.

If hard pressed, most people would probably come up with 1964 as the greatest year in music history. After all, it's the year The Beatles appeared on Ed Sullivan, sparking countless musicians to pick up instruments and head off to the garage. But, if you asked singer-songwriter-producer Gregg Stewart what the greatest year in music history is, his answer would be quick and decisive...1978.

1978?! Reeeally? "Yeah, most people hear that, scoff and immediately say ‘the height of Disco, huh?!'" remarks Stewart with his trademark grin through his disheveled beard.

A former native of New Jersey, Stewart moved to California in his teens and got his first publishing deal with EMI at age 22. From there he bounced around Los Angeles for over a decade as a writer, performer and producer, without much fanfare. “I’m not much of a careerist. I’m more an idealist, fortunately or unfortunately. I’d rather make music I am proud of and work with people I admire than make money. That attitude rarely gets you ahead in the Los Angeles music scene. Or maybe anywhere. But, I’m happier for it, I can guarantee that at least.”

After years fronting indie darlings, Stewboss, and producing other indie darlings like Alex Davis, Brian Seymour, Michaela Paige, and The Mazarines, Stewart is now releasing his debut, self-titled album next month on his long-standing indie label, Stewsongs Records. “Yes, I am excited to finally be releasing a solo album, it’s been a long time coming. But, to get back to my favorite subject," he continues, "If you think 1978 is all about Disco, you are missing so much."

Clearly, the man enjoys talking about his favorite music as much as he enjoys making it. So, we relented and took a look at 1978. We have to say, he may be onto something...it's kind of phenomenal.

1978 is the year that marks the release of many of music's most iconic albums... "Outlandos d'Amour" by The Police, "This Year's Model" from Elvis Costello, AC/DC's "Powerage", "One Nation Under A Groove" by Funkadelic, The Rolling Stones "Some Girls", Bruce Springsteen's "Darkness on the Edge of Town", Patti Smith's "Easter", and Willie Nelson's "Stardust". It also marks the release of the first Tom Petty album along with the debut releases of Blondie, Devo, Van Halen, The Cars, The Talking Heads, and Kate Bush. All of this in one year. 1978. And the list goes on...

“I wish I could tell you the greatest year in music is 2017, but when you look at the diversity of sound that was happening in 1978, it’s just remarkable. So much new music, almost all of it now considered classic, from bands that had a unique sound like no one else out there," notes Stewart, with his typical passion for the subject.

So, what made 1978 such a banner year for new music? "I think there were a lot of factors that helped. First, there's the obvious socio-economic issues and frustrations in our culture at the time (similar to what we are seeing now, it seems), that sparked more intensity in the art and music that was being created.”

"Also, the 80's were coming. This is big, because the record industry was eager to discover and bring to music fans the 'new sound' of the coming decade. They were out there combing the streets for something that was like nothing else. And they found it. Lots of it. It doesn't happen anymore like that. Bands aren't being cultivated and supported by the industry to sound like nothing else out there. More often than not, the industry is looking for what's already being done by someone else, and copying that, because they believe it's ‘proven' and 'sellable' on some level."

So what does that say about Gregg Stewart's latest solo effort? "Well, that's the thing," he smiles, "After debating with other musician friends on this exact subject, I set out to make a record that sounds like it could have been recorded in 1978, but also has a modern twist to it. I thought, if I'm going to really challenge myself as a writer and artist, why not put myself up against what I consider to be the greatest, most original music that has ever been released? The irony in all of this is that my record is nothing mind-blowing or unique. But...it doesn’t really sound like anything else happening right now, and I actually love that."

With songs like "R is for Rockstar", which sounds like Lou Reed fronting The Cars, doing a children's song you'd never want your kid listening to, and "Mystery", a love song the likes of James Taylor produced by Roger Waters of Pink Floyd, to "Stone Cold Fox", a late 70's romp tribute to Stewart's first crush, Joan Jett. Well, we have to agree, this record sounds like nothing out there right now.

Of course, it also sounds very familiar somehow, like an album you've heard before at a very fun party, but you probably drank too much and danced too much, and now you can't remember exactly where you heard it. But, you liked it, you know that at least.

So, what does this mean for music? Is Gregg Stewart leading a backwards charge into the late seventies?! "Well, I dont want to see a return to 1978 music, that's the past, right? Well, except for my record! But honestly, I would love to see some of that ethic slip back into the music industry consciousness. That would be good for everyone overall, I think.”

He goes on, "I'd like to see a push towards more diversity, where everything on the charts doesn't sound like everything else, and artists are rewarded for carving out something original with their sound. Y'know, at the end of the day...I love music. I love writing it, and I love playing it, but more than anything, I love listening to it. I am an F-A-N, fan of music. And there is nothing like hearing something you've never heard before, that sounds like nothing else out there, and it raises the hair on your arms and blows you away. I want more of that. I want more of that for other music fans, too.”

You can find Gregg Stewart on tour this summer. And, if you want to talk about music with him after the show, he's always down for that. Just don't mention the year 1989. "Oh man, that is the single worst year in music! No joke. But don't say anything to Taylor Swift about it," he laughs.

- - - - - - - - - - -
All songs written by Gregg Stewart, Stewsongs, BMI
except track 2, written by Gregg Stewart & Steven Sun
Produced by Kevin Jarvis & Gregg Stewart
Recorded at Sonic Boom Room, Venice, CA
Engineered and Mixed by Kevin Jarvis
Mastered by Dave Schultz at D2 Mastering, Atwater Village, CA
Album cover photo by Renee Faia

Gregg Stewart: vocals, guitars
Kevin Jarvis: drums, percussion
Bob Glaub: bass
Carl Byron: piano, organ, synths
Cindy Wasserman: backing vocals
Kurtis Keber: bass (track 2)
Michaela Paige: backing vocals (track 3)
Hunter Elizabeth: backing vocals (track 2)



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