Todd Kerns | Borrowing Trouble

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Rock: Acoustic Rock: Adult Alternative Pop/Rock Moods: Solo Male Artist
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Borrowing Trouble

by Todd Kerns

In almost full acoustic style, the songs on Borrowing Trouble are naked and sometimes sparse, creating an authenticity that pulls the listener in as much as any power chord or aggressive hard rock vocal would.
Genre: Rock: Acoustic
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  Song Share Time Download
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1. Nothing Personal
4:20 $0.99
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2. The Devil in Me
5:04 $0.99
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3. The Maker
3:56 $0.99
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4. This Changes Everything
4:28 $0.99
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5. It's Always Been You
3:26 $0.99
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6. Hey Summer
4:00 $0.99
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7. Hideous
4:57 $0.99
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8. So Close so Far
4:15 $0.99
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9. So Scandalous
4:18 $0.99
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10. Magdalena
4:52 $0.99
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11. Come Back to Bed
3:54 $0.99
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12. You Can Always Go Home
6:44 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
FULL DIGITAL CD BOOKLET AT WWW.TODDKERNS.COM

Todd Kerns could have done the expected by
capitalizing on his new-found affiliation with
one of the most legendary rock and roll figures
of the last 30 years. But he didn’t.

Kerns, who has been part of axe slinger Slash’s
band for the past three years, is already a
household name in Canada for his work as
the vocalist/songwriter for popular alternative
rockers Age of Electric, a subsequent major
label project called Static in Stereo, and a
respected solo artist with his Go Time album
which was released in 2004.

After touring the world with Slash, in support of
Slash’s latest album Apocalyptic Love, as well
as the live album Made in Stoke 24/7/11, on
which Todd contributes lead vocals on some
tracks, Kerns has recorded a surprising new
album of original material. Borrowing Trouble
features 12 primarily acoustic songs which
mine the depths of Kerns’ heart and soul in a
raw, powerful and captivating manner.

He acknowledges that the idea of putting out
an album full of deep, introspective songs
might catch some new fans and music critics
off guard, but he did it for reasons that speak
to his integrity and passion as a creative being.

“Coming out of the Slash camp, the obvious
thing to do would have been to put out a full
on rock record and capitalize on that audience”
says Kerns. “But, as usual for me, the
least likely thing to do felt like the more interesting
thing for me to do. This is more for the
people who have been there for me, who have
invested in my history. It’s a record for them”.

“I have had the most success with things that
I feel strongly about, that have connected with
people” continues Kerns. “I could have made a
bombastic rock record, asked Slash to play a
solo or two on it, and those things may happen
down the line, but as an artist sometimes it just
feels like the time is right to do something else.
And I don’t think there’s anything more punk
rock than to do something like this, something
completely unexpected”.

Kerns says he was both emboldened and
frightened by the concept of releasing music
in such a stripped-down manner, but cited a
music business legend as a model for the raw,
acoustic approach on Borrowing Trouble.

“The last few Johnny Cash American Recordings
albums were really a big impetus for me. It
sounds like Johnny Cash is sitting right beside
you singing. I really connected with that. And
although mine doesn’t sound like that, because
I don’t sing or play or write like that – who
does? – I like that vibe.”

Kerns wrote every song but one, and produced,
played and sang on every track with a few
guests doing background vocals and percussion.
He used the Pledgemusic.com program to
raise the money to offset the cost of the album,
but also to raise money for the Muscular Dystrophy
Association.

“I like the idea of pre-ordering and pre-selling
the album, but the concept of asking people to
give you money to make a record was initially
kind of weird to me. I finally decided I was making
it anyways, so if people wanted to support
it, we could put that money towards making it
as good as it can be.”

Kerns’ closest friend in Las Vegas, a fellow musician
by the name of Greg Verdusco urged him
to record the acoustic album in one of their last
conversations before he died in late 2012.

“Coming from the mouth of a guy facing the
end, well, there’s a certain amount of mortality
that came into play. I may not have a chance
to do this. I realized at that time how fragile
but also how resilient life is. I thought it would
be better to make this acoustic record, whether
people like it or don’t like it, and give it to people
that I feel are important to me, in case my
numbers are starting to run down too.”

The songs on Borrowing Trouble are naked and
sometimes sparse, creating an authenticity
that pulls the listener in as much as any power
chord or aggressive hard rock vocal would.
“You Can Always Go Home”, the last track on
the album is a direct and honest song about
feeling somewhat out of place.

“It harkens back to the Neil Diamond song ‘I
Am I Said,’ where he says ‘L.A. is fine but it
ain’t home. New York’s home, but it ain’t mine
no more.’ I live in Vegas, but I am not from
here. I am from Canada, but I don’t live there
anymore. So there is this kind of disconnected
feeling,” Kerns said.

“The record does have a certain amount of a
blood on the tracks kind of vibe to it. The songs
are more from that vein, and from feeling a
little bit lost, but yet having music there for me
no matter what. It’s been a salvation for me. No
matter how lost you get, and no matter how
far away from home you get, there’s always
music.”

One of the most intriguing tracks is called “Hideous”,
one that Kerns has been dabbling with
for many years. “I am saying we all have these
things within us that we don’t like. We all know
the worst things about ourselves. There are
these moments in life when you’re reminded
of who you really are, and being reminded of
that awkward, nervous, unsure person within
yourself. And it’s the same as being with someone
who is so extraordinary that you can’t help
asking, ‘what the hell is she doing with me?’
he explained.

He also decided to cover the hauntingly powerful
Daniel Lanois song “The Maker” on the cd.
“It really is a heavy song. I have always been
someone who is searching. I wouldn’t consider
myself all that spiritual, but I really dig
that vibe” says Kerns. “Some of the best music
comes from the notion of searching for meaning,
for something greater than ourselves. A lot
of Johnny Cash’s best stuff was about a man
trying to find some answers”.

On Borrowing Trouble, Kerns may have very
well done just that.

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