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Recorded with one microphone, a couple of beat-up guitars and many short sessions over a period of several months, Shaun Cromwell’s first release entitled “The Turning Of Clocks” is a meditation on death and impermanence. A quote from the album’s liner notes explains, in one broad stroke, the album’s concept.

“…a person who is mindful of death and impermanence progresses steadily and makes the most of every precious moment”. Lama Atisha (982-1054 CE)

While this might seem a fairly pedantic approach, Shaun sees the contemplation of life’s finite nature as largely pragmatic. “All spiritual and philosophical stuff aside, recognizing and accepting that you will die is a very practical way of loving the hell out of your life and trying to fit all that you can into that life. It’s what makes it possible to even consider writing music. That’s why I wanted this to be the underlying theme of the album; it’s not to be morbid, or profound, it’s, hopefully, very simple and optimistic maybe even uplifting at times”

In fact, each of the 11 tracks on the album is decidedly uplifting; Shaun’s deftly unique approach to roots-based fingerstyle guitar and his rarefied soulful voice make sure of that. Shaun’s interpretations of existing material are fresh and inspired; both his bluegrass tinged take on “John Hardy” and his jauntingly vibrant version of Mississippi John Hurt’s “Let The Mermaids Flirt With Me” serve as a testament to his love and knowledge of American Roots music. His original compositions, including two instrumental guitar rags, a murder ballad, and a slide guitar narrative are flowing & memorable. The album’s sparse production and stripped down approach make for an authentic presentation of Shaun’s music. The recordings are quite literally what you would experience were you in the room with him.

Shaun was born in Detroit (Royal Oak actually) MI and lived there for many years. In Detroit he rocked in various jam type groups and studied jazz and played in groups in which he swung. One day Shaun moved to Los Angeles because he no longer cared for snow and ice. While in Los Angeles (L.A.) Shaun took to finger picking his guitar and coming up with half-assed arrangements of traditional tunes. Too lazy to actually memorize a piece of music, Shaun likes to perform his songs in an "improvised" fashion, resulting in slightly different versions each time he plays/sings them. While Shaun's primary influences on the guitar tend toward the Mississippi John Hurt-Ry Cooder-Rev. Gary Davis ilk, his overall sound is one borne out of his varied musical influences garnered over a lifetime. This profile was made at www.wonderbackgrounds.com