Part of the guilty pleasures conundrum is knowing what is a Guilty Pleasure and what is just a pleasure Sometime I like songs because of who the composer is. This doesn't make the song bad, it just means that I listen to strange artists for weird reasons. It sometimes gets me weird looks, comments, ass kickings, etc..I've spent a lot of time frying up the big guilty pleasures and trying to make them palatable to those of you that deign to visit N.Q.E.. Today I'd like to discuss one of the great unsung singer songwriters. His name and credits often get me stares ranging from blank to dirty, but here we go. today is about David Baerwald.
After the quick dissolution of David & David in the mid-'80s,David Baerwald began a solo career, releasing his solo debut, Bedtime Stories, in 1990. As with David & David's sole album, it was an album of deceptively laid-back pop; the calm production and subtle, memorable melodies hid the fact that Baerwald's characters were either inflicting or suffering from emotional pain. It was a triumph, winning raves from critics, but it sold very few copies. With his second album, 1993's Triage, Baerwald decided to have the music match the message, creating soundscapes that recalled a subdued, more pop-friendly Tom Waits. Again, the critical praise was substantial but the record sold even fewer copies than the first. A follow-up wouldn't be seen for nearly a decade, however; Baerwald took time out to work with other musicians and tweak his playing skills. He later guested on Sheryl Crow's monumental Tuesday Night Music Club debut, and was nominated for a Golden Globe for Moulin Rouge's swan song, "Come What May." Finally,Baerwald bounced back with Here Comes the Folk Underground in 2002.
and some of the stuff he wrote that made Sheryl Crow famous
and some solo stuff I like
My Guilt over this one is how the world doesn't recognize this amazing talent and I hate explaining people to who don't get it.