'Folklore Troubadour' review by Ben Cober: 'In Folklore Troubadour, Zimmerman gets to experiment more with his own interests and talents. While brilliant, an artist's favorite pieces may not always be mainstream, and a solo project gives one the chance to play and challenge their own beliefs and convictions. Zimmerman's overarching themes seem to delve from dreams of a Utopian world, built on true love and striving for something better. Never satisfied and never settled, he begs for more passion, more fulfillment, and better days of back and looking forward. Whether a folk ballad like the kick-off tune in 'No Time to Lose', or a 90's catchy-tune rock like 'Taught Me', his diverse talents reflect a youth and influence ranging from Sinatra to The Doors. An overdriven guitar, gentle plucking of an acoustic, mixing his own harmonic vocals, wicked drum breakdowns, and even lofty violin all originate from this artist's studio and create an album that will have you toe-tapping and already singing along by the second chorus. Personal favorites of mine are 'You Know What I Want', where Zimmerman lures his evening lover with bongos and sweet harmony; and 'Spumento', a catchy 90's tune that has you bouncing your foot along to his guitar rhythm. 'Dargento and the Legion of Death' simply has to bring a smile to your face, as every Lord of the Rings fan now has a rock ballad to go along with the film. 'Backporch Blues' drips the essence of a slow jam from AC/DC, and you find B.B. King throwing his fingers onto the neck of Zimmerman's Stratocaster in the closing number of 'Queen of Spades.' Zimmerman loves the blues, and you can hear he's having a great time sharing it in the final piece. It's a roller coaster of an album, but you can hear Zimmerman's smart smirk behind every lyric, and he's loving what he's doing. The music takes you down a positive road and through rolling tunnels of life crafted in the Midwest and aboard racing sailboats, and reminds you of your first love, your first political rally, or sipping some fresh-squeezed lemonade on a summer afternoon with friends. You finish imbibing this album and feel refreshed, energized, and right with the world. It's a musical high five. So for a journey through music history and an enjoyable, toe-tapping, great back-porch-in-the-spring album, check out the music online.' BIO: The Wunder Years ('84-'03): In a small town, not too far away.... Born the son of a priest, I'm destined to do something. What that something is has yet to play out. Growing up in the burbs of Chicago doesn't teach you a whole lot about the world, but it does make you curious. Following in my father's footsteps, I took up the classical study of the violin. I would continue to study this privately for 8 years. In 8th grade I picked up the guitar - somewhat as a rebellion to the violin. As any guitarist will tell you, once you pick it up it's pretty much impossible to put down again. Luckily the 6-string is a lot more intuitive than a 4-string, so I was able to get rolling right away. That being said, I couldn't play a whole heck of a lot before high school ended. Still I managed to play the instrument in front of my largest audience ever of 700 people. To this day that single feeling of applause at the end motivates me to repeat the experience. All vocal training came from singing with choirs and small ensembles. I was definitely not a soloist and indeed believed that my voice was only cut out for harmonizing and ensemble singing. I still feel this is true, but I'm slowly finding my own voice as I get older. Freedom ('03-'06): Oh the good times - 'Don't it always seem to go that we don't know what you've got 'til it's gone.' Thanks Jodi. At the good 'ole University of Illinois I got the wrong degree in Business Administration. But college isn't about degrees. Actually, no one really remembers what it's supposed to be about. But somewhere along the way I sang in one of the best choirs in the county: the U of I Concert Choir under the direction of Chester L. Alwes. I performed in a few musicals, including Berstein's 'Candide' with the late Jerry Hadley. Most importantly I met Zach Bonnan and I started to write music. We laid the foundations for the Bahnan Brothers, which ultimately morphed into Certain Company. The Present ('07-now): And so the band would go through a lot. Adding and losing 3 members, lots of hard work, and hours of rehearsals and late night shows. But so far we've made some really good friends, became much better musicians, and grew a small dedicated following as the result of pursuing the dream. The Co. Is and will continue to remain my main focus. But after we lost our bassist Tom, we were all on shaky ground. It was at this time I considered pursuing a a solo act. Really I just had some stuff that we couldn't get to as a band, and I wanted to lay it down on plastic. I asked my extremely talented buddy Mark Kleinfelder if was interested in recording my music. He happily agreed, and we got to it. I couldn't believe that the awesome percussionist John Knecht was interested in laying down some alternative drumming - and what an addition. Folklore Troubadour came together quickly. In the week before recording, I wrote 2 of the songs ('Dianne' and 'Backporch Blues') and selected the remaining 8 tracks that would become the album. Guitar, violin, vocals, and bass were all recorded in a single day. The remaining percussion and touch-ups were plugged in over the next few weeks. Mark finished mixing it and handed me the final product on 11/29/08. Now I've just got to play anywhere and everywhere.
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