Jules Shear Albums (13)
What The Critics Say
While the 2008 album of Jules Shear's lengthy career isn't remarkable in the context of either the music scene of its time or Shear's own discography, it's solid enough straightforward singer/songwriter rock that has enough pop for mainstream tastes, but rocks considerably harder than most such efforts. The use of almost garage-like keyboards gives some of the material a pleasingly rough coating, and Shear's vocals -- though probably too grainy and wavering to get on mainstream commercial radio -- can sound like a fairly effective cross between Elvis Costello and Roger McGuinn. Not quite power pop, and too high-voltage for much of the singer/songwriter audiences, Shear nevertheless has the kind of attractive melodies, emphasis on thoughtful vocal harmonies, and sincere, occasionally playful lyricism valued by fans of both of those formats. Sometimes he comes on harder ("More") or softer ("You Might Show Up") than at others, but it's when he hits a midpoint between those levels that he's most satisfying, with "Thick Cut Grass" standing out for its slightly mysterious and eerie tune and lyrics. ~ Richie Unterberger, All Music Guide
'Dreams Don't Count'
Release Date 2/21/2006
Tracks 12
Label Mad Dragon
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What The Critics Say
While the quirky popmeister who fronted Jules & the Polar Bears evolved into a more contemplative and serious-minded songwriter some years back, Jules Shear's tenth album, 2006's Dreams Don't Count, still came as something of a surprise in its sadly beautiful documentation of a landscape of broken hearts and busted dreams. Beginning with the bitterly rueful "Bad Connection," a spare but indelible portrait of a relationship on its last legs, Dreams Don't Count features a dozen songs for a rainy day, with little sunlight poking through this litany of love that failed and wishes that failed to come through. While the downbeat tone of Dreams Don't Count rarely lifts, it also ranks with some of Shear's finest work; his wordplay is masterful ("I've still got a picture of you/But it's not you anymore" cuts to the quick of an affair turned sour, and "I love you wherever I am today" is a telling description of how old love can uncomfortably linger long past its sell-by date), the primarily acoustic arrangements (frequently accompanied by a small string section) set off the melodies beautifully, and the passage of time has worn Shear's slightly froggy voice into an instrument that expresses sorrow with heartbreaking clarity. For all the sadness of Dreams Don't Count, this isn't an album about callow self-pity, but a mature reflection upon the little ways life can take an unexpected turn, and where those detours can lead. If it isn't always fun, it's also richly perceptive and truly beautiful, and it's as satisfying as anything Shear has ever released. ~ Mark Deming, All Music Guide
'Sayin' Hello to the Folks'
Release Date 3/9/2004
Tracks 12
Label Valley
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What The Critics Say
Master pop craftsman Jules Shear is also one of the genre's great humanists: His clear-eyed takes on love, regret, and failure can be tenderhearted or scathing, but are never less than compassionate. Allow Me, his first recording for Rounder Records, finds Shear back in solo mode after 1998's collection of duets, Between Us. Like that record, Allow Me is a collection of love songs, but the mood here is comparatively optimistic. Shear's melodies are as catchy and his lyrics as sharp as ever, especially on "Nothing Is New" and the opener, "Hard Enough," one of Shear's patented wake-up calls to a troubled friend; he's also in fine, relaxed vocal form. But Allow Me is not Shear's strongest overall effort: "Deep" and "Love With You" are unexceptional bar-band rockers, and the latter features flashy backing vocals that are singularly at odds with his down-to-earth persona. The album is also less cohesive than some of his other works, and some songs are obscured by clunky arrangements. Still, even lesser Jules Shear is a gift to fans of intelligent pop. ~ Kristi Coulter, All Music Guide
What The Critics Say
Between Us is a duets album teaming Shear with a veritable who's who of singer/songwriters, from veterans like Carole King and Rosanne Cash to new-breed performers like Paula Cole, Freedy Johnston, Ron Sexsmith, and Amy Rigby. Shear, who has never received proper credit for his distinctive vocal style, is in particularly good voice, blending perfectly with his partner on each song. In a low-key, "unplugged" setting, Shear and company sing tales of heartache and troubled relationships, with Shear's acute eye for detail and evocative lyrics capturing the wide range of feelings with odd turns of phrase that manage to express a certain universality while avoiding obvious clichés. And despite the sparse, tasteful arrangements, the songs once again reveal Shear to be a rare master of melody -- these are some of his finest yet, and despite the subject matter, they're extremely catchy. ~ Chris Woodstra, All Music Guide
'Bad for Business'
Release Date 9/3/1996
Tracks 13
Label Columbia/Legacy
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What The Critics Say
Deemed not commercially viable and a bit on the weird side by the powers that be at Columbia Records in 1980, Bad for Business, the third album from Jules and the Polar Bears, remained in the Columbia vaults for 16 years before being issued in 1996. Bad for Business still seems somewhat quirky after all these years, although not really much more than its predecessor Fenetiks, with which it shares a similar sound thanks to Stephen Hague's keyboards. The real treat in Columbia's decision to release the record is its batch of hook-laden tunes and the frenetic spurts of lyrics from Jules Shear. Songs such as the driving pop of "In Love With the Ballet" and the sweet but edgy "Only a Motion" show Shear to be in fine form on Bad for Business. This is a chance to further discover a terrific songwriter and one of the criminally overlooked bands of the late '70s. ~ Brett Hartenbach, All Music Guide
What The Critics Say
Released in 1994 by Island Records, Healing Bones probably wasn't going to end Jules Shear's years of obscurity, but it does deliver another batch of terrific songs -- as intelligent as they are melodic. Guided by producers Rod Argent (the Zombies, Argent) and Peter Van Hooke (Mike + the Mechanics), Shear and his crack four-piece band bring out both the charm and depth in the material, steering clear of the sort of production that has stamped a date on some of his recordings in the past. "Listen to What She Says," "A Bird in That Cage," and "Two Friends," thanks in part to Elliot Easton's infectious guitar lines, are as direct and engaging as Shear's pop/rock gets, while "Healing Bones," "Over the Lane," and "By and By" possess a beautiful sadness. Like the haunted suffering that pervades the title-cut -- a cryptic tale of a husband losing his wife in a freak plowing accident, that's able to transcend the story -- there's an underlying pensiveness that runs through the bulk of Healing Bones. This tone is even evident in some of the album's catchier moments, such as the mournful "A Prayer (For Those Not Here)," or the album's lone cover, the melancholy pop ofthe Walker Brothers' 1966 hit "The Sun Ain't Gonna Shine Anymore." His last recording for a major label, as well as his last for nearly four years, Healing Bones can be added to Jules Shear's growing list of neglected gems. ~ Brett Hartenbach, All Music Guide
What The Critics Say
Jules Shear left behind several albums' worth of terrific music, from his earliest days with the Funky Kings to his work with Jules & the Polar Bears and on to a distinguished solo career. Even with tough competition, The Great Puzzle stands as Shear's high point, combining his never-failing gift of melody with tasteful, organic arrangements, highly personal yet universal lyrics, and probably his most consistent batch of songs to date. [Initial pressings of The Great Puzzle were packaged with a bonus disc, Unplug This, which had Shear reprise his best-known songs along with a couple from The Great Puzzle in a solo acoustic setting.] ~ Chris Woodstra, All Music Guide
What The Critics Say
Jules Shear joined up with the Church's Marty Willson-Piper in Sweden for Third Party, a stark, bare-bones acoustic album. Stripped of all of the excessive production that sometimes marred earlier work, Shear's songs are allowed to come to the forefront, as they should. Shear's voice, phrasing, and the minimalistic, often folky arrangements led to Dylan comparisons, but the album really features Shear's own clever craftsmanship; the back-to-basics approach is certainly a welcome one (as are the guitar chords included in the booklet). Shear had long before proven his strong melodic sense, but with Third Party, his clever wordplay and interesting turns of phrase were allowed the proper platform. Though the album failed commercially, the approach undoubtedly led to Shear's hosting the first several MTV Unplugged episodes, which gave him more exposure than ever before. ~ Chris Woodstra, All Music Guide
What The Critics Say
Seemingly unfazed by Watch Dog's failure, Shear again produces a slick pop delight in Eternal Return. Shear explores a more soulful side in songs like "Steady" and the yearning "You're Not Around" while perfecting his hook-laden melodies. Despite being perfectly in line with the mid-'80s sound, this one also slipped through the cracks. The Bangles would later find a hit in the leadoff track, "If She Knew What She Wants." ~ Chris Woodstra, All Music Guide
