My Five Year Anniversary and the Music of John Moremen

Time sure flies while writing a weekly column for Beyond Chron. Amidst all the hoopla and our side-splitting April Fool's gag, I'd forgotten my own 5th year anniversary as the Arts and Entertainment editor and original webmaster. When my friend Dean Preston first introduced me to Randy Shaw back in 2004, I had no idea what I would be getting myself into. Little did I know that Beyond Chron would become my window into the world of San Francisco politics, housing and community issues, education, film, music and culture. Alongside my fellow columnist and theater critic Buzzin' Lee Hartgrave, we've seen a lot of shows, plays, concerts and films over the years; mostly good, some bad and thankfully, very few ugly. I am nevertheless, extremely grateful for the experience! So before I get all misty-eyed and nostalgic again, I thought I'd revisit the subject of my first ever column for Beyond Chron, the local guitarist, songwriter, drummer and prolific pop-smith, John Moremen.

One of my favorite musicians, Moremen is a man equally versed in the world of pop, jazz and rock. Recently, Moremen released and re-issued three of his best solo efforts on his Popstatic label; 1991's self-titled "John Moremen", "Punch Me In" from 1996, and his 2002 release, "Vertical", featuring bassist and producer Chris Xefos, guitarist Tim Fuson and drummer D.J. Bonebrake of X and Knitters fame. Moremen is no stranger to the world of California pop, either drumming with the Sunnyvale-based Orange Peels, or playing guitar with Roy Loney; and he is equally at home with the roots rock groups of Northern Virginia that spawned him, groups like the Neighbors, Kevin Johnson and the Linemen and Last Train Home. These albums show Moremen at his best, a wonderfully, rollicking world of rock, pop and wit.

"No Time to be Waiting", the title cut from his last album Vertical, is a fantastic introduction to Moremen's style and harkens back to some of his earliest efforts; a driving, tuneful, yet more matured sound. Like a fine wine, you can really appreciate it after hearing the energetic and younger material from his self-titled first album which nevertheless, is one of my personal favorites. Other guest stars like vocalists John Ashfield, Paul Myers and drummer Jeff Potts round out a great album.

On Punch Me In, Moremen is re-joined by Fuson and vocalist Mark Robinson for more pop fun on the XTC-like "Summer Sauce". Originally recorded in 1996, this CD is a must for Moremen fans. Moremen's use of some very clever chord changes and witty lyrics had me boppin' and bobbin' to "Back Inside (Where I Used to Hide)", a playful, jaunty little tune that reminded me of his days with guitarist Peter Gilstrap and their group "The Neighbors", with a dash of They Might Be Giants thrown in.

The aforementioned "John Moremen" may yet be my favorite, perhaps because Moremen played virtually the entire album by himself. Tight, energetic as hell, and with a little help from Gilstrap and percussionist Peter Yorkunas, turned what began as a demo, into one of Moremen's finest efforts. "You Seem So Happy", "Too Many Times Around My Head", "Broken Heel", and "Sleeping Now", capture the raw essence of Moremen in 1991, a songwriter at "the end of the beginning".

Since that first column in April of 2004, Moremen is still doing it all. From his drumming with the likes of John Ashfield, Alison Faith Levy, Allen Clapp and The Orange Peels; to his work with experimental power trio High Vulture with bassist Bill Raymond and MX-80's legendary guitarist Bruce Anderson. He's also toured as a guitarist with Eric Brace's Last Train Home, as well as a reunion with the famed, Half Japanese. Lately, Moremen has been in collaboration with fellow songwriter Paul Myers and their new project, "The Paul And John". Five years later, Moremen's versatile song writing and playing continues to make him one of the Bay Area's best musicians.