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Pennyblack Music (UK) review

5 Aug 2011

Sam Shinazzi: When the Lights Come Up

Reviewed By: Malcolm Carter
Label: Laughing Outlaw

It would seem that not a lot has changed musically for Sydney’s Sam Shinazzi since we last heard from him on ‘Then I Held My Breath’ back in 2009. For that we should be thankful. While the years have shown that ‘Then I Held My Breath’ was not quite the classic that Shinazzi’s previous album ‘Stories You Wouldn’t Believe’ was and, although it’s early days right now, it seems that with ‘When The Lights Come Up’ Shinazzi has issued another collection of classic pop/rock songs.

Echoes of ‘Stories You Wouldn’t Believe’ are all over this latest fourth full-length album from the talented Australian. That former album contained such classics as ‘Out Of the Question’, Scotty Come Home’ and ‘The Drifter’ which were not only some of the best songs that Shinazzi has written but some of the best songs any of us are ever likely to hear. Strangely the only other singer/songwriter who comes close to matching the beauty in those songs is another Australian and Shinazzi’s Laughing Outlaw label mate, Perry Keyes.

Like Keyes, Shinazzi doesn’t so much compose songs but sets short stories to pieces of music that are instantly appealing. Shinazzi has a warm, inviting voice that has lost none of its appeal since we first heard from him and his melodies will have you singing along immediately. But it’s Shinazzi’s talent for touching the spot in just one line where other artists take a whole song to get there which impresses most. The closing line of ‘Out Of The Question’ from the six-year-old ‘Stories…’ album still takes the breath away. Songs such as ‘Everything To Me’ on this latest album have that same affect all through the song.

A lot of this is down to Shinazzi’s vocals. Melancholic and totally believable, it’s as though he’s singing directly to you and you alone. With one of his prettiest melodies this tale of unrequited love is Shinazzi at his heartbreaking best. With touching backing vocals from Stella Papavasiliou, Simon Coughlan and Robert Cranny and Jason Walker’s weeping pedal steel it’s a song that sounds like it’s torn straight from Shinazzi’s heart.

It’s not all broken and damaged hearts; as soon as the following song, ‘Good Things’, Shinazzi is celebrating a new love and displays his classic, chiming, more uplifting sound. For all the sounds that it’s fun to try to identify in Shinazzi’s work he does have a sound of his own. It’s easy to hear R.E.M., the Lemonheads, Tom Petty and even Bruce Springsteen in these songs but not once do you lose sight of the fact that you’re listening to classic Shinazzi.

Listening to these eleven new songs it comes to mind that it’s debatable if Shinazzi has ever recorded an average song. Shinazzi’s songs over his last three albums at least have all been above average and warrant repeated playing even after a number of years. Then there’s the songs he has written with other artists; those Shinazzi co-wrote with Jenny Queen on her last two albums come readily to mind, each and every one a perfect pop song.

Shinazzi delivers melodic, thoughtful pop music that envelops you with all its warmth and beauty. He’ll draw you into his world for the duration of his albums and it’s a place you won’t be in a hurry to leave. He’s been one of Australia’s best kept secrets for far too long.

http://www.pennyblackmusic.co.uk/MagSitePages/Review.aspx?id=7954

Deliveryman Interview

7 Jul 2011

The C-Minus Project (Indie/Unsigned Artist for June 2003)S
Deliveryman

In a convoluted fashion, Sam Shinazzi has links with many artists I have featured on this site in the past, both unsigned/indie and mainstream. Shinazzi’s name has most recently cropped up as contributing musician & vocalist on Jenny Queen’s new album (‘Girls Who Cry Need Cake’), and credited as co-composer of all but three of the songs on that album.

Taking a step backwards though, a look at the musicians who feature on the latest C-Minus full-length album (‘Less Than Perfect Day’) will bring back memories of the days when this page was the main focus of the site, and visitors were introduced to The Kubes, a pre-fame Starky, Peabody (to name but a few), all of which have vague, or not so vague, links to this latest album. Even alt.country musician (and recent Gram Parsons biographer) Jason Walker gets a look in.

With a mixed bunch of musicians like this, one might very well ask which direction the new album leans towards – since I haven’t heard more than a snippet of a couple of tracks from the album, I admit that my own enthusiasm and admiration for this outfit is based on the (predominantly) acoustic (and solo) material which has featured quite prominently in my CD player of late.

Shinazzi is a self-confessed Dando/Morgan/Smudge fan, and has featured as guest musician on tours by these artists (as well as the more recent incarnation of ‘Sneeze’), and to some extent his acoustic material is along similar lines to that of those musicians with whom he has associated himself. This might seem a little removed from the raucous punk of Peabody, with whom he seems to have surrounded himself recently, but since this fella seems to turn up in some rather strange places, one is left wondering where, and with whom, he is going to show up next. On the other hand, he’s been around long enough to have established a bit of a reputation for himself, and perhaps the fact that the nucleus members of the hugely popular Peabody have associated themselves with this album is the turning point in Shinazzi’s career. Perhaps the commercial viabilty of Peabody’s own ‘Professional Againster’ has rubbed off on Shinazzi’s ‘Less Than Perfect Day’, and bring him the recognition he so deserves. I’m looking forward to hearing this latest from the Shinazzi camp, and just hope that raw talent hasn’t been sacrificed for a stab at attracting a wider (dare I say ‘less appreciative’?) audience.

Revolver Interview January 30 2003

7 Jul 2011

A Different Kind Of Perfect
Words by Craig New

Sydney outfit The C-Minus Project might just know your feelings better than you do. Sam Shinazzi is an extremely shy character. Not to the point of social retardation, but in much the same way as a turtle. To get Sam to elucidate on certain topics is an operation that requires patience and a lot of trust. For those without the time to spare, you could alternatively listen to his group’s debut album Less Than Perfect Day.

Sam is the kind of singer songwriter that plays his guitar with his heart rather than his hands. His songs with The C-Minus Project can veer emotionally between an almost cry for help to a warm glow of love and affection. At one stage watching him play live was almost like peeking on a little kid alone in a schoolyard, talking softly to himself and finding solace in his own inner world. These days Sam is quietly confident and his huge amount of songs have been honed to the point where even he cannot be embarrassed about them.

“These days I don’t really think about it, I just do it” Sam shrugs. “It’s what I’ve always done. I think half of why I play music is that it’s an outlet and all that kind of stuff. I find it really easy these days to just get up and sing, it’s not hard. I get nervous, but…hopefully I’m playing the sort of show where people can accept all of that. If I was playing at a Leagues Club or somewhere, I’d be wary of someone throwing a bottle at me, but usually it’s fine and people really connect with the songs. I do think I am the shy, retiring type, and people always give me that whole cliche – you can get up onstage and sing but you don’t want to go to a party or somewhere. But I don’t know, I think that’s just bullshit. I’m pretty confident doing this sort of thing but it’s taken a while”.

Without making a fuss, Sam has been slowly and quietly building up a solid network of fans over the past three years, including such luminaries as Evan Dando and Joe Pernice. Although, as Sam said, it’s taken a while, now may be his time to shine. Record companies are discovering that with the public ousting of industry practices through shows such as Popstars, suddenly marketing their imaged-beyond-belief artist as a ‘songwriter’ is the way to go.

“I think the line’s pretty thin” Sam contemplates. “I think a lot of the songs on this album could be as big as anyone, but I don’t know. I go play a show and I don’t dress down, but I don’t dress up. Sometimes I have a beard. Sometimes my hair is over my eyes. It shouldn’t really matter about that kind of thing. Look at Badly Drawn Boy – he’s huge. That should be the ultimate example, he’s a scruffy looking guy who writes pretty songs, and that should be it. The songs and the performance. I think these big companies just want to make a lot of money really quickly and ultimately they don’t”.

I guess sometimes it can just come down to the songs, and Less Than Perfect Day explores enough universally acknowledged emotions to allow them into the hearts of audiences everywhere. Songs of love, rejection and … bridges. Sam laughs bashfully. “I guess I was about eighteen or nineteen, just out of high school, and just this dumb kid who liked music and sport. I think I started to get a bit of culture, and just noticed that I really liked bridges. I started reading about them and collecting photos. They crept into a few songs but on the next recording of mine that you’ll be hearing it’s almost like a theme! I mention this bridge, I mention that bridge. I love how they look and what they represent – either taking you somewhere or bringing you back home. I live near two bridges – you can’t get to my house without going one. So that’s my bridge fascination”.

The C-Minus Project launch the album at The Annandale Hotel Thursday 30th January 2003 with support from The Cannanes and Founder. Less Than Perfect Day is out now through Gifted /
Steadycam Records via Mgm Distribution.

Five things you may or may not already know about Sam Shinazzi

7 Jul 2011

Sam Shinazzi is a musician, whose sound generally lies within that magical genre we call guitar-pop.
I have been performing for about five years solo. I’ve released two albums including the new one ‘Stories You Wouldn’t Believe’ and a mini-album. I favour the singer-songwriter approach mainly because my voice tends to suit quieter stuff, even though the new album is quite rocking by my standards. I write songs that are slightly emotional and I think that’s the best way to deliver them.

He has recently returned from performing in the United States.
I played in America this year for the first time, a bunch of various shows in the New York, Washington, Long Beach and Los Angeles surrounds. In DC and LA people actually knew some of the songs. It’s kind of a universal thing, if you play well and people like you, then they’re going to buy your album. As simple as that sounds, I didn’t realise it truly worked that way until it happened to me.

He has a fascination with writing about specific characters and local settings.
I write about what I know…what I see; I think people can relate to that better. Even if they don’t know the girl I’m singing about, everyone can remember someone like that in their life.

His latest album is dedicated to the late Elliott Smith
He was an underdog; a scruffy guy who started out making noisy independent music in Heatmeiser, and then he just toned it all down and made some of the quietest music anyone could have heard at the time. They’re just really honest and meaningful songs. I like the fact that he was a multi-instrumentalist, a guy who played drums as well, and the fact that he could record an album on his own. He affected me more so in those ways rather than me just attempting to recreate his music.

He will be supporting the Mountain Goats at their Sydney show
I’ve been into John Danielle for some time through some close friends who are diehard fans. I like that, like me, his singing voice is not the most naturally beautiful thing you’ll ever hear. His music has a DIY, natural touch, kind of makes it more real. I think it will be a great show.

Soapbox Notes: Interview with Sam Shinazzi November 2004

7 Jul 2011

Interview with Sam Shinazzi 19/11/2004

1. What is your favourite thing about playing live?
Connecting with people is pretty important for me. As much as someone plays their music for their own reasons (and they do), it is really special when people connect to the music…whether that means just seeing someone from the stage getting into it or speaking to someone afterwards. Playing a great show also, for me, feels like an accomplishment. It’s something in the short term that gives you a buzz, and in the long term it becomes a pleasant memory. I also love playing with other acts that I admire. I feel like I am giving back something to selected artists that I get to play with and have listened to for ages.

2. Compare the first gig you ever played to the most recent gig you played.
Hmmm, my first musical performance was playing drums in the school band at an assembly in front of 500 students. I couldn’t stop shaking. I guess my first solo show singing and playing guitar was at the Lansdowne on a Wednesday. I think the pub had started to briefly have bands again but it didn’t last. I know that Liz and Brad from Little Sky organised it and played, and I think…I think I am correct in saying Jamie Hutchings (BBK) played solo too. I remember playing a bunch of new tunes that ended up on ‘Less Than Perfect Day’ and maybe a Gram Parsons song? I sat down and played which I rarely ever do. I remember an old man sitting at the bar and someone telling me afterwards that I made him cry…which made me feel kinda good and kinda bad. This sort of response has followed me since (“That song is so sad” “You made me want bawl” to which I never know how to reply!). My last show was just the other night at the Sandringham. I sing a squillion times better than I did then…but that wouldn’t be hard.

3. What is the dodgiest place you’ve ever stayed at while on the road? Explain.
I’ve got to say I have had it pretty good whenever I have travelled to play. I mean I have had floors and cars for beds…but that’s as bad as I have had it I think? Usually I get looked after pretty well and that’s part of why I love to go play elsewhere. The last time I was in Melbourne I stayed with my friends that I always stay with, and they had just moved. So I was out of sorts somewhat in their spare room, which was like…well, not a granny flat but the nicest shed you have ever seen perhaps? But it was late May in Melbourne and quite chilly out in the backyard! When I toured with Jenny Queen to Melbourne, we had a three star hotel which was fine and all. We did get cigarette smoke come into our room though through the vents at all hours. That was kinda yucko. But yeah, no complaints to be honest. I am sure it won’t stay that way!

4. What is your favourite Sydney venue to play at? Why?
I guess the Metro. It is so professional and you don’t get the chance often (twice for me). I love the Hopetoun, and I seem to play the Sando a lot too which is nice and intimate. The Annandale is great because it tends to bring out big performances from musicians. I hate sitting on the fence but for me, aside from some sound issues or whatever, they all are special because I grew up watching bands in these places and the history is quite thorough. I never ever forget that aspect.

5. What is your favourite Sydney venue as a punter? Why?
I seem to be at the smaller venues mostly, but I’d have to say The Metro. You can see from anywhere, the sound is incredible, and usually if you are at The Metro you are seeing someone of a great quality. I have issues with venues having too many punters in the one place just to make some extra money, but the Metro even when sold out seems bearable. Air conditoning too I believe, which is vital.

6. Describe the best gig you’ve ever been to.
How do I get it down to one show? I’ve probably got like twenty I could mention but the first time I saw Lemonheads at Sydney Uni on the ‘Shame About Ray’ tour was life-changing. Every single Buffalo Tom show. The weekend when Screamfeeder did two nights at the Annandale for ‘Burn Out Your Name’, I was so young and they were so heavy. Smudge at the Newtown RSL. Ride at the Phoenician Club under age and all! Juliana Hatfield solo at the picture theatre in Glebe…gosh, how much am I allowed to answer? Some definite ones would be Ron Sexsmith at The Basement on his ‘Whereabouts’ tour. He played solo for two hours and we had a table for two right in front of him. I have been blessed to see Bruce Springsteen both solo and with the E Street Band, they were highlights of my musical life. Grandaddy at the Metro this year was AMAZING. My Morning Jacket too. Both Yo La Tengo shows I have seen. All Teenage Fanclub shows. Ryan Adams at the Metro. Elliott Smith at the Annandale. I also just get off on watching local bands when they absolutely fire! For me, it’s probably not as often as when I see an o/s act fire but I do I have that extra nationalistic pride thing going on.

7. Why do you think people should go and see more live music?
From a silly and selfish point of view, myself and my mates like Purplene, Peabody, Holly Throsby, Little Sky, Starky, Grand Salvo, Ides of Space etc all need the support of the punters! But equally, and more importantly, I believe that when someone actually gets to see a live musical act and that musical act is really amazing, it makes the punter feel. It moves them. Whether that means they smile or laugh or cry or remember or dance or stagedive or whatever, it is a pretty unique experience. You can listen to an album and get the same thing, but imagine being there in person to hear and witness such a thing? It is beautiful. I also think that quite often, the best performances are those which are different to the recording. I saw My Morning Jacket this year and they were so heavy and rockin’, yet they kept the melody and tone from their recordings. I’ve made some amazing friends of both sexes from being at shows. I think the Government is finally going to do something right by banning smoking in the future, but typically, they are taking their time about it. I actually believe more people will come out once that has kicked in, which is the opposite to what many others believe. Above all, seeing a band or solo artist can change your life.

ELLIOTT SMITH

9 Jan 2006

It is no secret that I am a big Elliott Smith fan. Frankly, I find it hard to believe whenever someone tells me they are not that into him. Each to their own, but for me it was love at first listen and to this day, and forever more I imagine, it still is a love I have for the man’s music.

Even though it was his third album Either/Or which I first heard and from where my love initially grew, it still felt like I had discovered him early in his career because it was before the hype pretty much (at least in Australia), and before the Academy Awards etc. Young Alice bought the album and we’d listen to it over and over and over. We bought his self titled album from before, and some Heatmiser too. It was the songwriting, the hushed tones and the beautiful melodies. It was his look, his punk rock attitude and the mystery surrounding the man. From there, it was on. I remember punishing Frank at Waterfront every week asking him to order in Roman Candle, Elliott’s first album. It was hard as it was through a small American indie label. Calls were made. Requests were granted and I remember at the time feeling responsible for Sydneysiders being able to buy that album. It was an important first piece of the puzzle.

I remember in 1998 when Alice called in an excited spin, telling me to turn onto the Academy Awards. There he was, My Little Elliott (as I would affectionately call him). He was in a white suit, with a guitar almost as big as him playing Miss Misery in his shy but determined way. He shared the stage with Celine Dion, and then had the honesty to tell all of the indie rock fraternity (when they’d ask) that hey, she was actually pretty nice and he wasn’t going to diss her.

And then the tour was announced. Two shows at the Annandale. Keep in mind back then not every single act were touring Australia, as they do these days His own band and the main support band would be (the excellent in their own right) Quasi. At the time, I was kicking around playing my first ever solo shows. I wasn’t that busy in all honesty but I remember wanting to play on that bill so so much it hurt. Turned out some mutual pals in Youth Group and Golden Rough played (Jason Walker played in both bands the lucky bugger!). It didn’t matter. We were just psyched to see Elliott. And he didn’t disappoint. Both shows sold out, mainly due to the fact that as he was in the country literally, the main alternative station started to play Waltz No.2. So there were some newbies there mixed in with the hardcore but yeah, the irony was that as he left and in the weeks following he actually broke in Australia. He wouldn’t tour again, despite the rumours and actual bookings of several tours. He was a classy act too. He did different sets over the two nights. The first night I melted when he played Ballad Of Big Nothing and some solo songs in I Didn’t Understand and Say Yes. The second night I lost it when they opened with Christian Brothers. And Quasi were great too. Definitely made some fans here. I remember after he finished, as he walked offstage he shyly shook someone’s hand who had reached out to shake his.

Years came and went. He released things. He didn’t release things. Negative and positive rumours spread round the world to those who cared about him. And that’s the thing, to those who loved his music, they kept an optimistic feeling towards the man and his future. Because as much as people want to say he made miserable music, the fact is there is also a lot of hope in his songs too. Determined hope. You would kind of shrug off drug and death rumours regarding him because you just wanted the man to be happy. He gave us wonderful songs and in return, you wanted him to be ok. Sadly, in October 2003, he wasn’t ok.
My pal Bruno called me on that early afternoon when the news broke, and said he had received a weird email saying that Elliott had committed suicide. I told him it was probably another hoax but something kind of rang true that day. I made some calls to some people in the know and they hadn’t heard, when really they should have as they had contacts with people who knew him etc etc. My computer was busted; I rang my brother who checked some news headlines and there was nothing. He then asked me what his website address was, so he punched in www.sweetadeline.net and there it was. Confirmation of the tragic news. I was so shocked and sad, but it was just so surreal as well.

In 2003/4 I went through the worst time in my life, and I remember on that very day before I had heard anything at all about Elliott, I had shall we say, some very selfish things going on in my head. And you would think news like that would exacerbate those feelings but it actually numbed them for a while. I just thought of him. I forgot about me.

I dedicated my second album Stories You Wouldn’t Believe to Elliott Smith. It seemed like the most obvious thing to do. I think though, I was naive about it. I didn’t realise doing such a thing would mean that reviewers, interviewers and the like would always draw on the fact that I did dedicate it to him. I mean he was a musical influence yes, but the truth is I had already written a heap of songs (some good, some not good) before I had heard Elliott, and in that sense, was on my way to getting what I hope is my own sound now. In that way, I don’t list him as an influence as such. I loved what he did and if anything, I felt a musical connection rather than finding someone I could go and rip off. Sure, I had the same hair as him for a while which was a coincidence, we were both a lil shy and at the time I was playing very quiet music.

One review almost made me cry, stating:
“The record is dedicated to the late, great Elliott Smith. Surely there can be no better compliment than to say the great tunesmith would have found something to like in Stories You Wouldn’t Believe, something in the melodies, the sincerity and the sympathy for the underdog found here”.

As much as it was a public statement from me saying thank you for the music, it was also I guess me saying to anyone who had my album in their collection that maybe, just maybe if they didn’t have any Elliott albums they would pretty much love what he did.

When people ask was he an influence on me, I am much more inclined to sprout on about how much I admired the man’s morals and ethics when it came to the music business. He signed with a major not to be famous, but to be able to record in real studios to match his fondness for the Beatles. To get the sound in his head, onto tape. He was a multi-instrumentalist. A producer. A co-songwriter. Things I could, or in some cases would want to, relate to. He would go back to indie labels and record vinyl only singles. Yet he would also play the Academy Awards. He worked several average jobs to fund his early recordings and musical equipment. He laboured and was proud of it.

I played a tribute night in Sydney at the Hopetoun Hotel one year after his death in 2004. I was flattered that I was the headliner of sorts. It was such a special night. Not every act had their songs down but it didn’t matter; every act was there as a fan celebrating his music. It wasn’t one of those dodgy tribute nights where people hear songs for a first time and then learn them so as to say they can play a show. It wasn’t a money spinner.

For whatever reason, I went down really well with everyone. I played my own kind of version of Angeles, Between the Bars, Christian Brothers, I Figured You Out (a song he wrote for Mary Lou Lord) and The Biggest Lie. There was so much meaning in that short set for me. The Biggest Lie was the first song I ever played in public as a solo act. Maybe I had a wild look in my eye, who knows?! But like I said before, it wasn’t the easiest of times for me yet there I was, onstage singing Elliott’s songs and just feeling every word. I remember Graeme and Millie-O were my dates, and they gave me this cool lil ES badge which I wore. And right after I played, a pretty dame hugged me and I had some whisky and we talked about Elliott. As much as I love the quote above about me, him and my album I can’t really respond to that. But if he could have seen me chatting to a lass, drinking some liquor I get the feeling he would have been proud of me.

Sam March 2006

p.s. Here is something from a blog I wrote on www.myspace.com/samshinazzi:

Friday, October 21, 2005
Remembering lil Elliott
Its two years today since we lost Elliott Smith. I think about him lots, but I guess on an anniversary its an even stronger memory and emotion. My hope is that people don’t forget the amazing talent he was, and they don’t turn him into what they turned Kurt Cobain into after he died. I also really hope that wherever Elliott is, he is wearing a cool beanie and strumming an acoustic guitar whilst flashing that brilliant smile that so many always looked past.
Rest in peace ES.