Nashville, Tennessee
26 Years Old
Band, Singer-Songwriter, Lyricist

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"Moving like a train that can't be slowed..."

BIOGRAPHY

"3 1/2 out of 4 Stars. Jeff Tweedy and Josh Ritter are among the names dropped on the Nashvillian's latest bio — and fittingly so, it turns out, as Ellsworth shares their knack for twisting old-soul sensibilities into unmistakably modern tunes... There's the punchy piano work and light soul vocal inflections of classic Elton John, but it's charged with the sort of funky snap and schoolyard melodies that currently light up VH1's Top 20."
~ The Tennessean ~

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Let’s be honest, for the most part, the ‘70’s sucked (I’m talking about the 1970’s… the 1870’s sucked pretty bad too, but for the purposes of Daniel Ellsworth we are talking about the last century). ‘Nam, Harley Davidson sold to AMF, grown men wearing cut-offs and the moustache. Tragedies, all.

There was, however, a lot in music worth being influenced by and it takes a very discerning ear to do it right… Do it wrong and you end up with musical polyester. Do it right and you have analog wrapped brilliance that is authentic and raw. Daniel Ellsworth does it right.

Daniel is a weapons-grade piano and keyboard player that fuses the spirit of Elton John and Billy Preston with Ryan Adams level songwriting. His vocals are comfortably gritty with a modern blues and folk breathiness. Basically, Daniel makes me want to sit back, close my eyes and listen through those chunky old school headphones you can’t find anymore.

Daniel Ellsworth and The Great Lakes (which is a killer name for a backing band) is also constantly evolving. Each new song he gives us reflects new miles on his musical odometer. To anticipate his new music is to anticipate a new and deeper chapter in his discography. What more can you ask?

So, enjoy Daniel’s music. He is a musical find.

~ Brite Revolution ~

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Daniel Ellsworth: Keys, Acoustic Guitar, Lead Vox
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Marshall Skinner: Bass
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Mike Odmark: Electric Guitars, Keys
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Joel Wren: Drums
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Ricky Perry: Electric Guitar
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GENRES

Americana/Roots, Pop, Indie Rock

PUBLISHING COMPANY

Daniel Ellsworth Music, I own my own publishing

Contact

Management: Sam Fein // payoffpitchmusic@gmail.com
Publishing: Daniel Ellsworth Music // daniel@danielellsworthandthegreatlakes.com
Label: N/A
Booking: booking@danielellsworthandthegreatlakes.com

P.R.O.

ASCAP

INSTRUMENTS

b3 organ / acoustic guitar / electric guitar / keyboard / piano / vocals

INFLUENCES

Jeff Tweedy, Josh Ritter, Ryan Adams, Elton John, Neil Young, Paul Simon, M. Ward, Mason Jennings, Otis Redding, Sam Cooke

DAY JOB

Dreamer. And sometimes a barista....

I AM INTERESTED IN

in co writing online
in co writing in person
in networking with songwriters
in pitching songs to artist
in pitching songs to tv
in getting a record deal
in getting a publishing deal

I WRITE:

For a living

I Also Write:
by myself
for others

I Prefer To Write:
lyrics
melody
music

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Sessions: David Bazan

It was pretty slow. I mean, I played [the songs] on acoustic guitar for a long time, but I didn’t know how to transfer them to the other format. I didn’t want it to be a solo acoustic record. I wanted there to be bells and whistles and full band arrangements even if I didn’t want it necessarily to be electric guitar rock....

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Sessions: Vetiver

“It’s always slightly confounding to me whenever Vetiver is depicted with the same tropes that people have read off of press sheets,” says Andy Cabic. “The same sort of milestones get mentioned but then no one really digs to find out that there are those other things going on.”

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Behind The Song: “Ain’t Nothing Like the Real Thing”

Marvin Gaye and Tammi Terrell sang, it has been remarked, like lovers, although they weren’t. Similarly, Nickolas Ashford and Valerie Simpson, the team behind one of Marvin and Tammi’s most enduring hits, “Ain’t Nothing Like the Real Thing,” wrote as if under the influence of amatory forces; even if, in the spring of 1968,

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Spoon: The Power of Transference

In 1995, Spoon were often dubbed “the next Pixies.” The tag never quite fit, but the two did share a love for writing glorious pop songs and then shrouding them with walls of noise and mystery. Over 15 years, the Austin, Texas band have survived lineup shuffles and early record label neglect, finding their signature style with 2001’s Girls Can Tell and quietly building one of the strongest rock catalogs of the decade.