Cliff Eberhardt’s latest album, The High Above and the Down Below, was released in 2007 to favorable reviews. This followed a five-year hiatus as Cliff recovered from a severe car accident which resulted in two back surgeries and months of physical therapy. He delivers 12 new original songs backed by a tight jazz combo that allows his powerful voice and strong guitar playing to shine in a way that they never have before. Showcasing his heavy pop and jazz influences, Cliff reinvents himself on this new collection destined to become a classic. “I wasn’t trying to write to fit into a specific genre or to please a label or manager or anyone else but me,” he says. “After my accident, I realized it’s not about where you are going but where you are that matters. These songs are about where I am now.”

Growing up in Berwyn, Pennsylvania, Cliff Eberhardt knew by age seven that he was going to be a singer and songwriter. His dad introduced him to the guitar and he quickly taught himself to play. Fortunate enough to live close to the Main Point (one of the best folk clubs on the East Coast), he cut his teeth listening to the likes of James Taylor, Joni Mitchell, Bruce Springsteen, Howlin’ Wolf, Muddy Waters, Bonnie Raitt, and Mississippi John Hurt — receiving an early and impressive tutorial in acoustic music. At the same time, he was also listening to great pop songwriters like Cole Porter, the Gershwins, and Rodgers and Hart, which explain his penchant for great melodies and clever lyrical twists.

Cliff moved to New York in 1978. With places like the Bitter End, the Speakeasy, Kenny’s Castaway, Folk City and amazing company (John Gorka, Suzanne Vega, Lucy Kaplansky, Julie Gold, Steve Forbert, Christine Lavin, and Shawn Colvin), the city served as a great training ground. Though he put in long hours as a taxi driver, Cliff worked steadily on his music throughout the 80’s, doing solo gigs and studio work, and playing guitar on the road with Richie Havens, Melanie, and others. Singing advertising jingles for products like Coke, Miller Beer and Chevrolet (“The Heartbeat of America” campaign) allowed him to devote more time to his songwriting.

Cliff Eberhardt photo by Dennis Santoro

John and Michele Law, both originally from Canada, are not only husband and wife but are also partners in music, performing as The Laws. Although John had a life-long interest in music it took a sixth grade teacher playing Dylan songs to his class to inspire him to learn to play and pursue his interests. He played for many years in various groups and bands but did very little song writing of his own. When he and Michelle got together it didn’t take long for her to see that music was his life and if she wanted to be a part of it, she should contribute. First harmony vocals - then John taught her the base. They opened for many different performers who encouraged the duo to express themselves through their own music. Michele says “we didn’t know; we were both shy and having fun working with someone else as the front man. But we certainly listened. One day we got up and wrote two songs and just kind of got the bug. And the first time you do your own music on stage and people actually clap and like it, you realize, Yeah, this isn’t bad at all. This could be fun.” Now they have just released their fifth album, Ride It Out, which is getting great reviews for “its compelling original songs, empathetic musicianship and emotionally charged vocal performances.”

In addition to their music, The Laws know their way around a kitchen. They published a cookbook and have appeared on numerous cooking shows through the years, generating almost as much press for their culinary skills as for their music. They also offer shows that are part cooking workshop, part musical performance. This sprang from their determination to eat healthy while touring constantly. Cooking or music? Music or cooking? At one point that might have been a toss-up. Now, however, with the assured, resonant performances on exhibit on Ride It Out, it appears the Laws are really ready to start cooking. But not in the kitchen.

 

 

In another age, Mr. Eberhardt would have found his niche on Tin Pan Alley or writing for Broadway shows. His songs display the highest level of craftsmanship, his guitar playing is superb and his singing deeply emotional. The Washington Times

. . .

On the Laws:

. . . . languid, swaying, romantic melody that recalls The Everly Brothers in their prime. Yes, the harmonies really are that good. Robert Oermann, Music Row Magazine

If Gram Parsons married Alison Krauss their music would sound a lot like John and Michele. Willie P Bennett