welcome to bernieshanahan.com.

“Like alotta people, it all started with my first guitar, that near-magical, transporting box of wood and strings and soul. Got it when I was 11, it was a little Telstar acoustic, a Christmas gift that year. I’d seen the Beatles and the Stones on tv, and that pretty much sealed the deal for me. I was writing before I could even play, that was the first thing I really wanted to do musically. Early on, I began playing out solo, and then in bands, from about the time I was 15. Picked up piano, banjo, mandolin, all the other instruments, along the way. I always liked making as big a sound as possible, and, well, I figured the more things you could play, the bigger the noise you could make...”

“I left home, which was Bethlehem, Ct., at age 17. Played my way thru Boston and Vermont, down to D.C., Virginia, and Nashville. When I was 20, and playing out on Eastern L.I. with my band, I decided I should go to New York City, see what I could do there. And so I did, 2 days after my 21st birthday.”

“That was a fun and exciting time. Played all the local clubs, bars, etc, Kenny’s Castaways, CBGB’s, Folk City, The Bitter End, and the Bottom Line, to name a few. Did some sideman work as a guitarist and piano player, which wasn’t bad, I got to tour Europe and Canada a few times, lotsa fun. Around that time, the band and I recorded an EP for a small label out of New Jersey; a few vinyl copies (yes, vinyl) still exist, mostly in my closet. Met alotta players, and soon enough put together the band and the songs that got me signed to Atlantic Records and EMI Publishing. That album, titled simply “Bernie Shanahan”, came out in ’89, and these days is kind of a hard get, but still lurks on eBay and elsewhere. Played tons of gigs all up and down the East Coast. Did background vocal sessions on some pretty diverse projects, with artists like Cher, Michael Bolton, and Alice Cooper. Eventually, things kinda fell apart at Atlantic, and I sorta drifted for a while, doing some commercials, working in bars. I kept on writing and playing, but not much in public.”

“Little by little, I got more and more restless, and felt I needed to get back to what it was about music that I loved in the first place, the writing, the playing, the honest parts of it all. In 2005 I decided enough was enough, it was time to say what I had to say, do what I had to do, and this whole journey began that summer. Assembled what would come to be called BearStudio, a pretty awesome recording setup in my apartment, whose motto is “No Excuses” (a sign with those words on it hangs above the workstation, as a constant reminder to do the best I can). Then I got to work, trying to record songs as true as possible to my heart and musical vision. What I thought would take me 6 months took 8, then 12, and finally 16 months, start to finish. So now we arrive at the new album, “You”, which I like to look at as "a life in 16 songs", in a style I've come to call "classic power acoustic". Along the way I had alotta great help, tons of inspired nights, and not a whole lotta sleep. Really just about the best times I’ve ever had getting my own stuff together, written, and recorded. And now we go from here, we see how far we can drive this thing. Hopefully for a good long time...”

—Bernie Shanahan

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2.5.07-3.11.07

The new Bernie Shanahan album "You" is released.

It can be purchased or downloaded from the links on the "things to own" page. So far we've sold copies all over the map, from Oregon to New York, to Germany and the UK. Pretty cool, and very gratifying.

The band is about ready to start rehearsals, and will be out and about playing in the very near future. Check in on this space for more news and dates for upcoming gigs. I'll be posting as often as i can...

5.6.07

Download at
iTunes.

Purchase at
CDBaby,
GarageBand
or
Amazon

"...Hey, Bernie, I'm driving 'round London listening to the record. It really sounds good. "Midnight On My Street" is a hit song...."

– Keith Reid, Procol Harum lyricist

"On his website, Bernie Shanahan explains that making this album was a 16-month process. I'd say he probably got his money's worth with 16 songs covering nearly 73 minutes.

"On the Altar of Eden" is dedicated 'to all those touched by the wars in Iraq and Afghanistan.' As you might imagine, this is a pretty somber, moving tune. The strings create a mood that matches the subject perfectly. All in all, this is a great tribute to folks whose lives have been touched by something awful.

Another song dedicated to those touched by something awful is "The Lucky Ones." This song is dedicated to the victims of Hurricane Katrina. It has a folky, almost bluegrass feel and is another excellent tribute song.

The sound on this album is excellent, particularly considering he recorded it in his home studio. He crafts an excellent song and ranges from classic rock ("Far Away"), to harmonies similar to CSN&Y ("A Civilized Affair") to a song ("A Very High Wire") that sounds like a cross between David Lindley and Johnny Cash. Shanahan also covers an array of moods from his somber tribute songs to rockin' tunes with some wicked guitar solos. He definitely delivers the goods on this album he calls 'a life in 16 songs.'"

– Gary Schwind, antiMUSIC.com

"After signing to Atlantic Records and, in 1989, releasing a self-titled debut with the label, things were looking good for Bernie Shanahan. But, as they so often do, the arrangement with Atlantic ended and Shanahan's musical career took a back seat. That was, at least until 2005, when Shanahan returned to the music scene and began the journey of writing and recording an album. The album that developed was "You," sixteen classic rock style songs.

Classic, indeed, as famous musicians like Neil Young and Eric Clapton come to mind listening to Shanahan's album. Young for the folksy tracks, such as the full bodied rock and roll on opening track "Fire in the Darkness" and on "A Civilized Affair," with its mid tempo rhythm and vocal harmonies. While the influence of Slowhand shows itself on soft rock ballads with vibrant electric guitar, like the album's title track and "One Love Is All." The fingerpicking guitar song "A Very High Wire" shows off a stripped down style that, once the chorus kicks in, reminds of June Carter Cash's "Ring of Fire" before closing the album with the classical guitar instrumental "Embers."

Shanahan takes his time throughout, never rushing any song, any melody or any riff. There is little more Shanahan could ask for instrumentally throughout "You," as the music does each song justice, never overwhelming."

– Corrine, pluginmusic.com

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