Then, at around 17 or 18, he decided to take a different path, away from the music and bands he played rock n roll with. Although he’d gotten an acoustic, he wasn’t totally ready to make use of it. Never wanting to be without his guitar, he brought it to school every day and played it every chance he got. Through high school, he played rock ‘n roll and pop music in several bands. He wanted to get to know it on his own terms. Fiercely independent, he didn’t want to know how other people approached music. Never looking at a chord diagram, he built chords until they were three and four notes in structure. Figuring out that a note two positions lower than the melody note was in harmony, he formed chords. After a year of this - around 9 years old - he decided to sing along with the guitar, so it was time to learn about chords. When he learned guitar, he used the same method, playing the melody notes as each song played. He learned songs from CDs using a call and response method, singing lines back, immediately after they played. He loved to sing and did it all the time. From there he got into Stevie Wonder and more Motown sounds. His first influence from a commercial source was Michael Jackson’s Off the Wall album. Fox plays a chord on an electric guitar and gets blown off his feet by a shock wave from an exploding amplifier.
EVEN WHEN THE NIGHT CHANGES LYRICS MOVIE
He’d been impressed by the scene in the movie Back to the Future where Michael J. Demetrius got his first electric guitar at the age of 8.
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He’d play old songs - Bing Crosby, Andy Williams material. When Demetrius was just an infant, his grandmother looked into his mouth and, noting the shape of its interior, said, “He’s going to be a good singer.” How right she was.ĭemetrius’ father played piano. Although it would be difficult to imagine the group without any one member, its history seems to be the evolution of a sound long sought and organically grown by one Demetrius Becrelis.
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In mid-December, from NYC, I called up to Cape Cod where they live, for their respective stories. After the show we agreed on a January feature. We saw them again in late November at a show at the Hillside Cafe in New Jersey. I’m still listening to it, almost non-stop. It was hard to switch away from their newest CD, The Day Everything Became Nothing, to listen to CDs by other artists to do reviews for the Acoustic Live December NERFA wrap-up issue. I hoped that enough people would see this blazing vortex of talent to ensure that their conference appearances (guerrilla showcases included) would bring in many new performance dates and a sizeable career boost. Now, I was even more disappointed that they didn’t get to play for a Demetrius, Alex and Monica switched lead and harmony vocals and Laird provided backup. A heady mix of bluegrass, old-timey and pop music poured from Dimitrius on guitar and ukulele, Alex on mandolin, Monica on violin and ukulele and Laird on upright bass. The nearest comparison to anything heard before would be Nickel Creek or Chris Thile’s solo work. Demetrius Becrelis (the serious one), his brother Alex, and Monica Rizzio, backed by Laird Boles, were weaving their singular magic. The bittersweet melody and seamless blend wasĮthereal and sublime. When the first notes were struck and the harmony began rolling from the mouths of all three lead vocalists, the effect was totally opposite of that first visual impression.
![even when the night changes lyrics even when the night changes lyrics](https://pbs.twimg.com/media/CUz_XEPUAAEn0CG.jpg)
He was physically wiry - whippet-like, and his face looked like that of a soldier readying himself for battle. Before the first song, I noticed that the demeanor of one of the two male lead singers was deadly serious. At the tricentric showcase, I made sure to get a front-row seat in order to get photographs. When conference time rolled around, I was eager to see them in person. Less auspicious, the rooms are smaller than the formal showcase theater and compete simultaneously with two other nearby rooms also presenting artists. They were a shoo-in, though, to play in one of the semi-formal, or “Tricentric” showcases. Ultimately, however, the other judges found others more worthy and Tripping Lily wound up as an alternate, barely missing a chance to play in the formals.
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It read: "Gorgeous harmonies, beautiful melodies.”Īs I was to find out later, this was a gross understatement. One of the very few I’d written a comment for was Tripping Lily (they’d gotten perfect score of 10 from me). On the database page, after the column on the left with the artists' names and the scoring column, was a column for adding comments to share with the other judges. I had nearly completed assigning points to 90-plus artists at that point (it would swell to 105). It was around mid-August of 2009, and as an invited judge, I was listening to CDs submitted by artists vying for formal showcase slots at the November Northeast Folk Alliance convention.