JULES SHEAR: Dreams Dont Count

BIOGRAPHY
Chart-topping songwriter and critically acclaimed solo artist Jules Shear releases the ninth album of his illustrious career, Dreams Dont Count, on March 14th, 2006 via MAD Dragon Records. Dreams Dont Count was recorded at The Shinebox in Greenwich Village, NYC and was co-produced by Jules Shear and his long-time producer Stewart Lerman. This will be his first release for Drexel Universitys student-run record label, MAD Dragon Records, distributed by Ryko.

This mature and wonderfully intelligent album, Dreams Dont Count, allows Jules to showcase his talents in an unusual setting; backed primarily by viola, cello, and accordion. The arrangements were written by Rob Morsberger (whose credits include commissions from the Public Broadcasting Service (PBS), WGBH, Frontline and NOVA), and at times were based on Jules own ideas. As a result, Dreams Dont Count is a distinctive exercise in record making for this preeminent American songwriter.


Well, I wrote a bunch of songs and Stewart [Lerman, record producer] said Come on to New York and record them. So I did it in the simplest possible way; primarily just voice and guitar. We cut maybe 25 songs in all. Peter [Lubin] heard the recordings and got in touch with me because he thought there was an album lurking in there. So, in a way, the concept for the album presented itself by me writing the songs. said Jules. In an era when each new album seems to be some manifestation of whatever is currently topping the charts, this is an album with nothing but the music itself in mind.

It couldn't have been more natural, as it was a completely un-self-conscious creation and had no agenda at all said Jules. Thankfully, nobody said, Hey, this guy made this kind of album, so maybe you ought to make this kind. In other words, Im pleased to say that this record wasn't a reaction to anybody's work except maybe my own. From darker, heartfelt tracks like You Anymore to more upbeat, though still introspective cuts like Do What They Want, this album takes listeners on a journey that is emotionally and intellectually engaging. It is undeniably a high-water mark in Jules song craft.

After nearly three decades of creating music that Rolling Stone has praised as, Pop that's as literate as it is melodic, and reaching fans all over the world, Jules Shear is right where he wants to be -- making music that really matters. I care more about the timeless aspect of making records, and less about making my records sound 'current' or 'competitive', says Shear. I'm still always looking for that same thrill I got when I was a kid, when I'd hear something great on the radio and be completely blown away by it. I try to keep in touch with that feeling and let the rest of it fall by the wayside. At this point, I kind of realize that I'm not gonna end up on the cover of Rolling Stone, and that I've got a deeper reason for doing this. Deeper, more powerful, truly passionate music is exactly what Jules has created in Dreams Dont Count.

Jules Shear was born March 7, 1952 and grew up in Pittsburgh, PA. In his youth, hed often visit the local radio station to watch the DJs spin the Top 40 countdown, his face pressed up against the control rooms double-paned window, enthralled. As soon as he graduated from the University of Pittsburgh, he made his way westward to Los Angeles to try to add his own voice to the hit parade.

He soon achieved national notoriety as one of three singer/writers in the country-rock combo Funky Kings, with whom he recorded one album in the mid-70s. He then formed critical favorites Jules and the Polar Bears and recorded three albums with them by the end of that decade.

Having served his musical apprenticeship, Shear returned to the East Coast and settled in Woodstock, New York where he launched his solo career. His first solo effort was1983s critically lauded Watch Dog, produced by Todd Rundgren, and this release set the tone for a series of diverse, consistently artistically masterful releases: the sonically sleek The Eternal Return; a low-key demo collection Demo-Itis; unadorned voice-and-guitar on The Third Party; and the more grandly produced The Great Puzzle and Healing Bones. 1997's Between Us was one of Shear's most ambitious efforts ever; a collection of duets that paired him with an eclectic assortment of vocal partners including Carole King, Patty Griffin, Rosanne Cash, Paula Cole, and Margot Timmins of Cowboy Junkies.

Along the way, Shear sold MTV on the idea for a show called Unplugged, which would showcase established and lesser-known musicians together in an informal environment that encouraged jamming, collaboration, and musical experimentation. Jules served as its master of ceremonies. After airing a number of shows in this format, MTV executives switched to a single-artist format, focused on big name artists exclusively and eliminated role of MC, and Shear as a result. Years later, Jules once again spawned a long-running tradition by teaming with ex-Bongos leader Richard Barone to institute the highly regarded "Writers in the Round" concert series at New York City's famed Bottom Line, bringing musicians together in just the kind of loose, creative environment that he originally envisioned for Unplugged.

While his own recordings earned a large, devoted following among fans and critics alike, Jules also gained the admiration of fellow artists. Many would record Shears compositions and have huge hits. Cyndi Lauper scored a Top Five single with "All Through the Night", the Bangles topped the charts with "If She Knew What She Wants", and Alison Moyets cover of "Whispering Your Name" was a U.K. smash, to name but a few. The Band, Roger McGuinn, 10,000 Maniacs, Curtis Stigers, and Jeremy Toback have all recorded versions of Jules compositions. Fairport Convention co-founder Iain Matthews recorded an entire album of Jules material and titled the album Walking a Changing Line. Currently, Dar Williams recording of Jules song Echoes is topping radio listener polls.
With such an illustrious track record under his belt, there is palpable excitement and anticipation for the release of Dreams Dont Count. The beautiful simplicity and brooding elegance that each song possesses will captivate and entrance devoted fans and new listeners alike "A lot of songwriters think, `I'm already great. I just need to know how to make money at this,"' relates Shear. "But I wish they'd think more about just writing the best song they possibly can."

Press: contact Howard Wuelfing at Howlin Wuelf Media, 215-428-9119, howlinwuelf@aol.com

Drexel University, University Relations: contact Niki Gianakaris at ng38@drexel.edu, 215-895-6741

MAD Dragon Records: contact Marcy Rauer Wagman, mrw33@drexel.edu, 215-895-6403