Tom Freund | The Edge of Venice

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The Edge of Venice

by Tom Freund

Grand New Album from Tom Freund featuring 9 songs of love and hate, traveling and cellphones. Produced by John Alagia (John Mayer, Dave Mathews) and with an all-star LA band. The California sound reels throught.
Genre: Folk: Folk-Rock
Release Date: 

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  Song Share Time Download
1. Cruel Cruel World
3:46 $0.99
2. Wounded Surfer Boy
3:29 $0.99
3. Lakeshore Drive (LSD)
3:38 $0.99
4. Show Me the Love
3:43 $0.99
5. Lonesome
4:03 $0.99
6. Fire Trucks
3:53 $0.99
7. Sweetly Calling My Name (feat. Meiko)
3:26 $0.99
8. Daddy's Song . . .
3:45 $0.99
9. Everything
3:48 $0.99
Downloads are available as MP3-320 files.


Album Notes
Collapsible Plans, Tom Freund's fourth full-length album, puts his distinctive voice -- in terms of both his artistic identity and his evocative singing -- front-and-center. Produced by his longtime friend Ben Harper, and featuring piano and vocal contributions from Jackson Browne on two tracks, Collapsible Plans is Freund's most focused and fully realized recording to date, combining top-shelf musicianship with the strongest set of songs Freund has yet gathered on a single disc.
A 2006 summer tour with Harper helped rekindle the old friends' collaborative spirits, which led to Harper getting involved as producer of Collapsible Plans. "I've always been a fan of Tom's work, and I thought that I had something to bring to Tom sonically that was maybe a place he hadn't stepped into yet," Harper says.
A sought-out standup bassist, the talented, versatile Freund plays most of the stringed instruments as well as piano on his albums. He also receives support from some terrific musicians. Matt Johnson (Jeff Buckley, Rufus Wainwright)and Michael Jerome (Richard Thompson, Blind Boys Of Alabama) share drum duties and X's D.J. Bonebrake plays the vibes. The Wallflowers' Ben Peeler provides some astounding electric and acoustic lap steel playing, while renowned producer/arranger Jerry Yester (Tom Waits) contributes string arrangements. On his debut record, North American Long Weekend Tom scored guest appearances by legendary jazz organist Jimmy Smith and studio virtuoso Jon Brion.
Freund spent the mid-'90s touring with the indie rock cult faves The Silos. In 1998, he released his debut album North American Long Weekend on Red Ant/Mercury. The record received an avalanche of critical accolades, most notably in The New York Times in which Ann Powers called it an "unexpected gem" and ranked it #3 in her year-end best-of poll. 2001's Sympatico drew even more raves. No Depression proclaimed that Freund "captures slices of Americana in a way that many attempt, yet very few actually master." Freund also is a favorite of NPR's Weekend Edition and has been championed by Los Angeles' powerful KCRW-FM, where he performed live on Morning Becomes Eclectic.
Tom writes all his own material and his songs continue to be featured on such prime time TV shows as Las Vegas and One Tree Hill as well as such films as Charlie Bartlett and American Standard. Steven Spielberg's SHOAH Foundation also used three of Tom's compositions for their Giving Voice video. In 2001, he won a Telly Award for the music behind a National Public Service Announcement concerning child abuse.
He continues to tour North America and Europe playing with his band or doing solo shows. For updated information, check the websites listed below.



to write a review

Lee Zimmerman

One of America's most satisfying song smiths
It's a rough world out there, what with the whiplash ride on Wall Street, our quibbling politicians, unemployment still at an alarming high, and chaos ensuing overseas. And damn, if it ain't tough enough for your average singer/songwriter who's attempting to get some leg up on the competition. Ask Tom Freund for example. One of America's most satisfying song smiths, he establishes a consistently high bar, with a knack for quality control that ought to make him the envy of everyone else out there. And yet, here he is, struggling for attention while going about his business and hoping those unaware will finally take notice.

Freund's latest, the genial and unassuming The Edge of Venice, is yet another reason to hold out for that possibility. Whether it succeeds or not in that regard remains to be seen, but if patience and prowess have anything to do with it, it ought to pass the test. Freund doesn't necessarily expand any parameters - his homespun narratives are very much of the traditional troubadour style -- but then again, he really has no need to. It's enough to hear him cobbling together these nine songs drawn from everyday intents and littered with tattered observations and remorseful confession. Whether it's the worrisome and suspiciously sacrosanct "Cruel Cruel World" ("Bloody Mary's aren't very bloody/That's not what Mary said/She had a boy named Jesus/Without getting out of bed..."), an apologetic ode like "Lonesome," or the air of uncertainty that fuels "Fire Trucks," Freund manages to strike a precarious balance between assurance and uncertainty. If nothing else, The Edge of Venice offers more reason for reflection and ample cause for contemplation.