Eric Bettencourt - News

Making Noise With Go Magazine

Thu, 05 Jan 2012 00:00:00 -0700

Making Noise: Bettencourt pieces together CD, emerges with a cohesive gem

By Aimsel Ponti aponti@mainetoday.com
News Assistant

Eric Bettencourt's got an inimitable -- and terrific -- timeworn voice that belies his 34 years. "Secret Songs for Secret People" was released in November, and you can pick up a copy at eric-bettencourt.com or at Portland and Scarborough Bull Moose Music stores. Downloads are also online at Amazon and iTunes. GO asked Bettencourt for pretty much his life story, at least in terms of music. He kindly obliged us.

What instrument did you start playing first, and when did you start singing?

I've dabbled with most every instrument and can bang out little tidbits when needed, but I'm far from "fluent" on anything other than the guitar and bass. Guitar was my first love, singing is still a relativity new thing for me -- I am by no stretch a natural at either. Loads of practice; trial and error with both.

What did you grow up listening to, and does any of that music influence who you are as a musician and songwriter?

Early on, I listened to little else besides Guns N' Roses, Led Zeppelin, Metallica and Jimi Hendrix. I think I'm still drawn to the same elements in music now as I was then. I still love the intricate guitar parts of all this stuff, the shades of light and dark. I love a lush sonic landscape in music; the music I love I can see as a picture in my head -- it's hard to explain. I have no doubt that the music I love influences the way I write. I think every writer tries to hold or possess what they are infatuated with to some extent. That becomes the fodder that's used for creating new works, I guess. Borrowing from your influences is all a part of it.

Are you happy with the response so far to "Secret Songs for Secret People"?

I'm very happy with the response so far. A lot of people seem to have genuinely connected with that album, which is a nice feeling. That's all you can hope for, really. No artist wants to put all that time into making a record and have no one care about it, so yeah, it's a relief that the response has been so positive.

Is there a song that you are either most proud of or feel the most connected to on it?

I always feel closer to songs that kind of force their way out through the writing process. Songwriting is kind of like therapy for me; sometimes it becomes a way of sorting out those deeper, hard-to-reach feelings and ideas that you're not fully aware of. Although I have some sort of connection to each song on the record, "Furious Pace" and "Road Seldom Traveled" are both songs I feel close to. When they were done, I realized each of these songs had a personal message for me.

You had no less than four drummers play on the CD. Why so many?

This record was kind of hodge-podged together over the course of a couple years; work on some of these songs actually began before I released my first album (2009). Over that span, I found myself working with a lot of different musicians, drummers included. I was trying to find the right combination of players for a band. For various reasons, it didn't work out, and I ended up piecing this record together mostly by myself and whoever else was available when the inspiration struck. The good news is that I have been working with bassist Pete Genova and drummer Seth Kearns pretty steadily over the last few months. It looks like I'll be developing the next batch of songs with them. I've always wanted to do a record with a solid group. My first albums were done mostly in isolation; I'm really excited to see what we come up with.

Where did you grow up, and where do you live now?

I was born in Taunton, Mass., but from age 10 or so I lived way up north in Sherman Mills, on the border of Aroostook County. I would spend every summer break during college in the Portland area, and when I graduated I knew this was where I wanted to be. I've been here for over 10 years now.

Staff Writer Aimsel Ponti can be contacted at 791-6455 or at:

aponti@pressherald.com

Link to Online Article: http://www.pressherald.com/life/go/bettencourt-pieces-together-cd-emerges-with-a-cohesive-gem_2012-01-05.html

Idiot's Blues Video

Thu, 05 Jan 2012 00:00:00 -0700

Idiot's Blues - Live at One Longfellow Square - 11/17/2011

Idiot's Blues is an unreleased song that Eric and the band broke out at the CD release party last November.
The preformance is the first video from that evening -

Significato Journal Reviews CD Release Party

Fri, 30 Dec 2011 00:00:00 -0700

Eric Bettencourt Leads Tight, Rockin' Band

It was freezing outside and we had a bit of a time squeezing into the crowded foyer. The bar was wrist-banding people over 21 because many of the attendees looked so young (Or maybe they always do it, I don’t know!) There was also a nice supply of gray hair present. The concert was billed as a CD release party and there were piles of reasonably priced CDs on tables.

Eric Bettencourt sauntered into a cheering, sold-out room. There was a big Willie Nelson-esque hole in his acoustic guitar. He’s slim and his face reminded me of a young Frank Sinatra morphed with Johnny Depp. Seth Kearns joined him on drums and Pete Morse on bass. He could be Melissa Etheridge’s younger brother -- his voice was raspy-dry, hoarse and full of soul – a graduate of the musical school of Van Morrison, Rod Stewart, and Bonnie Raitt. He delivered song after song in tight arrangements with an interesting relay going on between alternating drummers Seth Kearns and Charles C. Gagne, and alternating backup singers, Amanda Gervasi, Monique Barrett, Megan Jo Wilson and Sara Hallie Richardson. The backup singers had gorgeous voices and made harmonies like the girls who sang with Bob Seger or Van Morrison. Eric’s gifts were obvious. His songs were unique, albeit with familiar, genetic roots. He was likable and sweet. Someone yelled, “I love you Eric” and he said almost shyly, “I love you, too” and later when they persisted, “Aw, stop”. I had never heard him before, but I was quite carried away by his heart and soul. The audience was very enthusiastic and all I could think was that this boy’s gonna go far. There are quite a few videos of him on youtube.com. Also, you can check out his website at http://www.eric-bettencourt.com. Make sure you don’t type just ericbettencourt.com because if you do, you’ll end up on an astronomy site -- which I’m sure is very nice, and might feature the music of the spheres, but it won’t be this guy’s music!

http://significatojournal.com/columns/musicviews/eric-bettencourt-leads-tight-rockin-band

Kimmy Sophia Brown has loved humor and music for as long as she can remember. She writes the column "From the Back Porch" as well as reviews of music in her column "MusicViews". Her goal in her music reviews is to introduce music she loves to people who may not have heard that particular artist or CD. For information about how to submit a CD for review, click here.

Live on Stay Tuned

Fri, 09 Dec 2011 00:00:00 -0700

Eric was recently an in studio guest with Shawn Henderson - his show, "Stay Tuned Radio", airs every Friday afternoon on WSCA 106.1FM Portsmouth Community Radio.

In between interview questions Eric played some original music live on the air - two of which, Making Your Bed and My Lady Tuesday can be heard and seen on Youtube.

Recent guests have included national touring acts such as The Wood Brothers, Sarah Lee Guthrie and Johnny Irion, The Winterpills, Gregory Alan Isakov and Ellis Paul.

Links to Stay Tuned below.
http://staytunedradio.webs.com
http://facebook.com/staytunedradio
http://youtube.com/stringman6
http://staytunedradio.podomatic.com

Interview: The Song Writing Circle

Tue, 06 Dec 2011 00:00:00 -0700

Eric was recently interviewed on one of his favorite subjects; songwriting.
By David Jacquet of "The Songwriting Circle"

Here's a link to the article.
http://swcircle.wordpress.com/2011/12/06/songwriter-interview-eric-bettencourt-2/

WCSH Channel 6 TV Appearance

Wed, 16 Nov 2011 00:00:00 -0700

Recently Eric was a guest on "207".
He played two new songs from the new album and did a short interview with Kathleen Edwards.
Watch the show here.
http://www.wcsh6.com/news/article/179411/50/Eric-Bettencourt-releases-new-CD?fb_ref=artsharetop&fb_source=profile_oneline

Portland Phoenix Record Review

Wed, 16 Nov 2011 00:00:00 -0700

Eric Bettencourt simplifies, finds himself (and many others)

Keep it like a Secret

Eric Bettencourt came out of the gate hard-charging in early 2009, with the ambitious LP Fine Old World, followed before the year was out by a full-band full-length (The Giraffe Attack Collection) and another solo EP. Then he took a little time for self-examination.

The result is the beautiful Secret Songs for Secret People, an album where every note is well placed, Bettencourt errs on the side of simplicity, and there are a lot of elegant songs that are easy to listen to. He gets a ton of help — there are 13 listed guest musicians, including three drummers — and uses a couple of locations (great mixing work by Noah Cole), but the album is remarkably cohesive and indicative of well-executed vision over the course of 10 tight songs that come in under 29 minutes.

The sound is something between folk and light rock, with Bettencourt's work on his acoustic guitar getting more intense and impressive as the album goes along. The instrumental "Secret Songs" has terrific drive, "Old Grim" is crisp delta blues, and the finishing "The Road Seldom Traveled" pairs that quick acoustic guitar work well with Tim Garrett's cello.

Bettencourt also makes good use of Sara Hallie Richardson's backing vocals in the resonating "Mast" and Amanda Gervasi in the bouncy "Dreamed," where violist Kallie Ciechomski alternates interestingly between plucked strings and quickly bowed trills.

Really, he doesn't do much wrong here. It's a fine little collection of love songs and introspection, with plenty of nuance to keep you listening closely.

SECRET SONGS FOR SECRET PEOPLE | Released by Eric Bettencourt | with Scott Peterson | at One Longfellow, in Portland | Nov 17 | eric-bettencourt.com

(online Article)

Live track recorded at Dispatch Magazine

Tue, 15 Nov 2011 00:00:00 -0700

Here's a live version of "Old Grim" recently recorded at Dispatch Magazine -

Click here to visit Dispatch Magazine

Go Magazine Secret Songs Review

Thu, 10 Nov 2011 00:00:00 -0700

Posted: November 10
Updated: Today at 9:03 PM

CD Review: Bettencourt takes a leap forward with gentle rasp, sparkling writing

By MIKE OLCOTT

Although he's a tiny dude onstage, Eric Bettencourt carries a pretty big stick around Portland. His production company, Shadow Shine, has birthed some of the most well-rounded local releases of the past several years, and his own records tend to be memorable, meticulously arranged efforts.

Bettencourt's latest, "Secret Songs for Secret People," marks the next step of evolution for an artist who might be turning into a star before our very eyes.

The singer has not reinvented the wheel here. He still sounds like he has swallowed a porcupine, a feature that allows him a set of pipes all his own.

On the gorgeous set-opener "Fell Into Place," though, Bettencourt's wild rasp has a newfound gentleness, and gets a nice country push from the three-part harmonies that occasionally join him. The understatement is a sign of vitality for a self-assured performer, and it returns on the swaying "Mast."

Most of all, you can feel the pure joy when this guy plays, no more so than on the breezy instrumental "Secret Songs."

"Secret Songs for Secret People" is such a leap forward for Bettencourt that it begs the question what stones are still left unturned. Well, for all its songwriting sparkle, the CD sticks exclusively to ephemeral ear candy. Even a track called "Dying" is an upbeat foot stomper.

It'd be fascinating to hear Bettencourt's writing take the occasional turn for the much darker, to shed the pied piper role and show some scars. Until then, spin "Secret Songs" for easy smiles.

Mike Olcott is a freelance writer.

Online Article Here:

New Videos on Youtube

Thu, 13 Oct 2011 00:00:00 -0700

With the help of some of Portland's finest musicians and engineers Eric has just completed six new videos to appear on his Youtube Channel. The first two, Fell Into Place and Making Your Bed, were the first two uploaded - all six will be available for viewing before the cd release in November.  

The videos were filmed and recorded live at Tidal Sounds Studios in Portland Maine on 9/26/11.  Contributing musicians are: Monique Barrett, Chris Chasse, Max Cantlin, Seth Kerns, Pete Morse, and Megan Jo Wilson.

Here's a link to a remake version of Fell Into Place

CD Release: Secret Songs For Secret People

Fri, 09 Sep 2011 00:00:00 -0700

Eric has finally finished tinkering with the new batch of songs that will make up his 3rd full length record titled Secret Songs for Secret People.

CD's will be available for purchase online (Itunes, Amazon, this website, etc..) as well as a select Bullmoose Music stores on November 15.

The Cd Release show will be held on Thursday, November 17 at One Longfellow Square in Portland. Longfellow has a capacity of only 200 seats so get your tickets soon, the show will sell out.

For more details and to purchase tickets visit: http://onelongfellowsquare.com/Details.asp?ProdID=1235

Dreamed Included On Greetings From Area Code 207 Vol.8

Thu, 11 Nov 2010 00:00:00 -0700

An unreleased studio version of Dreamed, slated to be on Erics next record, is available now on the latest local music compilation Greetings from Area Code 207. The compilation features all music local to Maine and is released by Cornmeal Records. GFAC Vol 8 includes tracks by Ray LaMontagne, The Rustic Overtones, and Spose among many others.

Dreamed features Amanda Gervasi on backing vocals, Kallie Chiechomski on viola, and Elliott Jacobs on drums.

For more info:
http://wblm.com/Article.asp?id=1692510

To Purchase:
http://www.bullmoose.com/rel/v2_viewupc.php?storenr=258&upc=79344720782

Erics Got A Brand New Band!

Thu, 09 Sep 2010 00:00:00 -0700

Eric has formed a full time band.

The new members are:

Pete Morse - Lead Guitar (Pete Kilpatrick Band, Busted Barn Recording)
Charles C. Gagne - Drums (The Lucid, Spencer and the School Spirit Mafia, Amanda Gervasi)
Darren Finnegan - Bass (The Mutineers, Aaron Lee Marshall)

Erics brother, Alan Langley, will be joining the band and playing a combination of guitar, banjo, piano, and percussion once he's back from his cross country trip.

Q&A with Go Magazine

Thu, 01 Jul 2010 00:00:00 -0700

Making Noise: Bettencourt's Giraffe Attack turns bar bands on their ear

By MIKE OLCOTT

Eric Bettencourt may not admit it, but the guy is in a great place for an up-and-comer.

click image to enlarge

"I don't ever want to stop playing with these guys," says Portland studio stalwart Eric Bettencourt, playing the summer bar scene with Chris Chasse and Ryan Cyr.

He's already cranked out a couple of solid LPs, his Shadow Shine label and studio are no longer secrets in town, and he's quietly asserting himself as a major presence on the Portland scene.

Then there's Giraffe Attack, the project Bettencourt put together with Chris Chasse (bass, vocals) and Ryan Cyr (vocals, drums) just for a slice of fun on the side.

Check out this tight outfit at 10 tonight at Grace, 15 Chestnut St., Portland. For information, visit www.giraffeattack.com.

Bettencourt recently took time away from his uber-busy schedule to talk to GO:

What are you working on right now?
Aside from the other work I currently have going in the studio (Amanda Gervasi, Jesse Pilgrim and the Bonfire, Alison Violette, the Grant Street Orchestra and Geoff Zimmerman), I have recently finished records with Pete Miller, Tommy Bazarian, Jaeger Wells, Jesse Pilgrim and Kyla Morse.

How does playing with Giraffe Attack fit into everything else you are doing?
Giraffe Attack plays mostly cover songs, so we go to local bars, play songs of our choosing to a built-in crowd, make a few bucks and have a blast. It's a great income supplement, and is 1,000 times better than sitting in a cubicle or working at McDonald's.

I feel being in this band is so important to the bigger picture, especially for me. For one thing, nothing makes you better as a player and a performer than playing a ton. That's what we do; we're playing two to three times a week this summer, and a lot of new gigs are popping up from word of mouth and the name we're getting as a good band.

Part of the draw, from what I hear a lot, is that we stay away from your typical overplayed cover-band songs. Instead of "Mustang Sally "or "Sweet Home Alabama," you'll hear "I Am the Walrus" and "Don't Do It."

Did your Giraffe Attack band mates contribute on the LP named for them?
Both of these guys helped me so much on "The Giraffe Attack Collection" LP (2009). They're my songs, but the guys had a huge part in the final product. I don't think we'll be doing a Giraffe Attack release; we've kicked around the idea of doing goof-off songs for fun, but nothing too serious. None of us are too interested in trying to make a name for Giraffe Attack in original music.

It's so much work to get that type of thing off the ground and I'm already busy promoting my own music, and Chris Chasse and Ryan Cyr have too much going on to dedicate time to that. Ryan has so many amazing songs and we've been slowly pecking away at recording, but there has been no real push. I hope soon; the world needs to hear his music.

Have you ever played inside Grace? How does the room sound?
Yes, we've played at Grace a few times, such a beautiful room. Apparently, it sounds amazing. That's what everyone tells us, anyway.

Will there be a GA reunion tour in 25 years?
I don't ever want to stop playing with these guys. It's so much fun, and we all feel that we're starting to really hit our stride as far as jelling musically. Playing in this band is so effortless. If we don't drink too many beers and start watching funny stuff on YouTube, we can usually get five to 10 new songs in one practice.

WHAT'S ON ERIC BETTENCOURT'S iPOD:

1. "Love Is All I Am," Dawes
2. "Airplanes," Local Natives
3. "Cowgirls in the Sand," Neil Young
4. "Bron-Y-Aur Stomp," Led Zeppelin
5. "Freedom Hangs Like Heaven," Iron and Wine
6. "California Stars," Wilco
7. "The Rabbit, the Bat & the Reindeer," Dr. Dog
8. "Getting Better," The Beatles
9. "Blood," The Middle East
10. "Farewell Angelina," Bob Dylan

Online Article Link:

WINNER Best Folk Act—Portland Phoenix 2010 Best Music Poll

Thu, 10 Jun 2010 00:00:00 -0700

Best Music Poll: 2010 www.thephoenix.com

Winner: Best Folk Act
3rd Place: Best Album-The Giraffe Attack Collection

"A runner-up in last year's poll, Bettencourt earned this victory the hard way: as a write-in candidate. Bettencourt is a songwriter at heart, expertly crafting a wide range of tunes around his scratchy, Janis Joplin-esque voice. Whether equipped with just an acoustic guitar, or with his whole backing band, Bettencourt combines folk, blues, and classic rock elements into always-pleasing melodic concoctions. He has admittedly learned from the rock gods themselves — Hendrix, Clapton, Page, Dylan — but is able to stay contemporary, also drawing on current artists like Iron and Wine and Ray LaMontagne. Combining guitar chops with lyrical prowess is a proven recipe for success and Bettencourt isn't afraid to go with what works. However, he still brings ingenuity to his tracks, often using unconventional arrangements. A staple in the Portland scene, Bettencourt is also a producer and runs his own record label Shadow Shine Records."

Runners-up
2. Marie Moreshead
3. Jason Spooner
4. Putnam Smith

Benefit Concert For East Wave Radio

Sun, 16 May 2010 00:00:00 -0700

Our friends in East Wave Radio were recently in an accident while on tour in Canada. There will be a benefit concert and auction held for them at The Big Easy here in Portland. Proceeds to benefit the boys of EastWave Radio through their period of recovery. $10 minimum donation, music all day and night. Look forward to seeing you there!

12:00-12:30 The Project
12:45-1:15     The Grumps
1:30-2:00    Ben Burgess
2:15-2:45     Amanda Gervasi
3:00-3:30    Geoff Zimmerman Trio
3:45-4:15     Christian Cuff
4:30-5:00    Adam Waxman
5:15-5:45    Sara Hallie Richardson
6:00-6:30    Zach Jones
6:45-7:15    Jaye Drew
7:30-8:00    Eric Bettencourt
8:15-8:45 Div Kid
9:00-9:30 Stationeightyfive
9:45-10:15   The Nick Leen Trio
10:30 on    Royal Hammer

Playing with The Mallett Brothers and Dark Hollow Bottling Company

Sat, 08 May 2010 00:00:00 -0700

Eric will be playing with The Mallett Brothers, and Dark Hollow Bottling Company Saturday, May 8, at The Empire in Portland, ME.

Opening for Grace Potter and the Nocturnals

Wed, 14 Apr 2010 00:00:00 -0700

On March 13th Eric will be opening for Grace Potter and the Nocturnals in Carrabasset Valley, home to the Sugarloaf Ski resort. He'll be doing a 45 minute solo acoustic set.

Grace Potter has recently toured with acts such as Taj Mahal, Trey Anastasio, Dave Matthews Band, The Black Crowes, The Derek Trucks Band, Gov't Mule and blues legend Robert Cray.

Tickets:
$20 in advance or $25 at the door.

For tickets call 1-800-THE-LOAF:
http://www.sugarloaf.com/EventsActivities/concerts.html
More on Grace Potter and the Nocturnals:
www.gracepotter.com

This Big House - EP Review - Go Magazine

Fri, 18 Dec 2009 00:00:00 -0700

By MIKE OLCOTT - Go magazine - Portland Press Herald

The last time Eric Bettencourt was heard from, he was releasing his fantastic, full-length sophomore CD, ''The Giraffe Attack Collection.'' He is as prolific an artist as we've got in these parts, and his recording efforts yield songs that ooze confidence and bleed soul.

Ever active, Bettencourt recently released the EP, ''This Big House,'' with plans to put the title track on the new film ''Come to Know'' from the Maine Film Collaborative.

It's a simple, three-song effort that barely warrants a review, except that Bettencourt's work may someday be regarded as the time capsule ''sound'' of Portland during this stretch of years. He has reached a level of trust with his fans where any release is worthwhile.

''Liza Jane'' gets imaginary boots stomping immediately; this tune should be played loud in a room with dusty floorboards. Though it's a traditional number, there's nothing old-fashioned about it, and it has Bettencourt's paw prints all over it.

With an urgent banjo-vs.-rock-guitar verse dynamic, it's rough-and-tumble around the edges, with a tootsie-roll pop center when the chorus drops.

This is a tension-release structure that the ''Giraffe Attack'' songwriter does as well, and as often, as anyone. At 2 minutes, 31 seconds, it's here and gone, but not before it fades out with some backwards banjo spicing the outro.

''My Lady Tuesday'' mercilessly conjures the long light of a New England July day. With furious finger-picking and a great electric bass sidekick, the artist is in his comfort zone with this original instrumental.

The best part of the EP? That would be Bettencourt's joyous hands-on percussion that hits midway through this tune. He's just bopping his head, rapping out rhythms on the nearest drum possible -- in this case, his knees. It fits naturally with the rest of the arrangement -- a snare or djembe would be overpowering, but knee-drums surely beget more knee-drums, invoking listeners to keep up with their own bodily rhythms.

online link:

It's strange then, that the title track is a bit of a non-starter. It's an Allman Brothers haunted-house ballad, beautifully rendered with the help of talented friends such as Amanda Gervasi of Gypsy Tailwind.

But the progression plods along predictably, a three-chord yawn, and nothing of any transcendence occurs until the inevitable soaring guitar/ghostly reverb choir denouement. A saucy bridge, a ''Layla''-like tempo shift, or anything constituting a risk would have carried this tune a lot further.

Mike Olcott is a freelance writer who lives in Portland.

This Big House, a Three Song EP, Now Available

Sat, 12 Dec 2009 00:00:00 -0700

Eric has just released his fourth CD release of the year, This Big House. It is a three song EP of which the title track will be available as a free download for a limited time.

The song, This Big House, is actually the third version of this song. The first was a solo acoustic demo version, which was recorded and filmed at the same time for youtube. It was included on the Two Wine Glasses/The Fear EP, which dropped in July. The second version was made for the movie, "Come to Know", which was made by the Maine Film Collaborative. (Read the previous news post for more info.)

The newest version, of which you can download for free for a limited time, is a completely new take with a slightly more upbeat tempo. Singer/songwriter Amanda Gervasi (Gypsy Tailwind) sings the backing vocals while Charles C. Gagne (Dominic and the Lucid, Spencer and the School Spirit Mafia) play drums on the track. Everything else you hear, the guitars, banjo, and bass were all played by Eric.

Liza Jane is an old, traditional tune which Eric was inspired to record after hearing The Wood Brothers cover of it. Ryan Cyr, Erics Giraffe Attack band mate, sings the background harmonies.

The third song, My Lady Tuesday, is the final take on an acoustic, instrumental piece that has been evolving for almost ten years.

The purchased CD of this includes the alternate version of This Big House, which was used on the "Come to Know" soundtrack.

This Big House EP:
Produced by Eric Bettencourt
All songs written by Eric Bettencourt except Track Liza Jane (Traditional arranged by Eric Bettencourt)
Recorded by Eric Bettencourt except drums on This Big House, by Billy Slifka, Bipolar Studio
Mixed by Eric Bettencourt and James Whalen, Shadow Shine Studios
Mastered by Jim Begley, The Studio
Cover art and design by Liza Kelley
Published by Shadow Shine Publishing
Copyright © 2009 Shadow Shine Records

This Big House, Used in Movie Soundtrack

Fri, 11 Dec 2009 00:00:00 -0700

Eric recently finished a full band version of This Big House for inclusion in a new short film, "Come to Know" made by Maine Films. This Big House was originally recorded as a demo version and included on the Two Wine Glasses/The Fear EP in July shortly after it was written. This new version includes full instrumentation including guitars, banjo, bass, and drums. Megan Jo Wilson, an immensely talented singer/songwriter from Portland, sang the backing vocal parts and Charles C. Gagne (Dominic and the Lucid, Spencer and the School Spirit Mafia) played the drums.

This version of the song is only available on a fourth coming CD release.
Listen to the version used in the movie here: This Big House (alt. version)

Here's a bit about the film:
In love, the only thing harder than a clean split is doubt. The Maine Film Collaborative's 'Come to Know' studies just this as an engaged couple struggles to maintain their holds on each others identity. Tension rises as the couple explores what they think they know about their relationship and encounter ominous flaws. Written by Bryant Mason and directed by Ian Clough, 'Come to Know' features songs by Portland favorites Eric Bettencourt and Gypsy Tailwind. The movie begins a festival tour in January, including a submission to Cannes.

For updates and information on the Maine Film Collaborative:

www.mainefilms.org
http://twitter.com/themainestudios

Eric On Home Recording Panel For PMF

Mon, 09 Nov 2009 00:00:00 -0700

The Portland Music Foundation invited Eric to be on a panel discussing home recording.

When: Wednesday the 11 of November.
Time: 6pm
Where: Space Gallery, Congress Street Portland.

Click here for more details

The Reviews Are In!!!

Wed, 07 Oct 2009 00:00:00 -0700

Please take a few minutes to read the reviews that have been coming in about The Giraffe Attack Sessions and the EP released in July.

The Giraffe Attack Collection CD Review - Go Magazine PPH

Fri, 02 Oct 2009 00:00:00 -0700

by- MIKE OLCOTT

Leave it to Portland firecracker Eric Bettencourt to lead off his second official release, ''The Giraffe Attack Collection,'' with a Freddy Mercury-worthy tune about outdoing, or not outdoing, your god.

Buzz has been building on the songwriting phenom ever since he dropped his sugar-plum debut, ''Fine Old World,'' back in January. It's not uncommon for an overzealous strong starter to fall into the bad sophomore slump, but Bettencourt seems too well prepared to suffer the obvious misstep. Truth be told, he has earned the pop swagger that drives this record. It likely won't be long before Bettencourt moves on from the venerable Old Port circuit to play the houses of blues that lie ahead.

It's not the ever-reliable backwoods rasp on Bettencourt's pipes that makes this effort stand out. Nor is it the genuine sense of fun that, from the sounds of it, these able musicians are having together. It's actually the way Bettencourt makes writing great songs seem really easy.

Take the effortless, bountiful hooks on ''Empty Sidewalks.'' A breezy Allman-Brothers-in-the-clouds verse opens up in a fist-pumping reggae chorus. These sure-handed decisions are the mark of an artist supremely comfortable in his own skin.

On ''The Fear,'' Bettencourt lets his inner Janis Joplin run all over backbeat country soul to wickedly catchy effect. Drawing from two clear influences, Ray LaMontagne and Van Morrison, the band offers a sweetly swaying backporch shuffle on ''Fell Into Place.'' In other words, feel free to put the feet up and find something to sip. The music does all the work for you -- songcraft as it was originally intended.

Oddly, it's the single ''Two Wine Glasses'' that turns out to be the weak point of the album. An obvious storyline (wine + just the two of us = intrigue) powering a radio-ready repetitive riff comes up a bit flat, as if the group forgot about the looseness that made the rest of the session click.

It should also be noted that Bettencourt is a professional about his work. He has cultivated a following worthy of the imminent ''Next Step'' simply by keeping his nose to the grindstone. While the plight of a young musician is surely a harrowing one in these days and times, Bettencourt has protected himself from an uncertain future the best way he knows how -- by writing irresistible, powerhouse records.

http://www.pressherald.com/archive/local-cd-reviews_2009-08-26.html

Pictures from CD release on MaineToday.com

Wed, 30 Sep 2009 00:00:00 -0700

Picture from The Giraffe Attack Collection CD release now on mainetoday.com. All photos by Cara Slifka.

(Click here to view)

The Giraffe Attack Collection CD Review - The Portland Phoenix

Wed, 16 Sep 2009 00:00:00 -0700

The Portland Phoenix:
by - Sam Pfeifle

Of course, you may just want to rock out this weekend, and for that, Eric Bettencourt's got you covered. Sure, you pegged him as folkie after Fine Old World, but he's been working on material with his old band, Giraffe Attack, for a few years now, and this stuff is decidedly more full-bodied, as evidenced by The Giraffe Attack Collection. He draws liberally from the classic rock masters — the Beatles, Clapton, a little Leon Redbone; I'd call the open to "What Works" a "Meg White" homage — but keeps things particularly robust, with multiple guitars, piano, banjo, trumpet, lots of backing vocals, continuing his reputation as someone who really knows how to use the studio.

As with Fine Old World, Bettencourt seems concerned with emphasizing the "album" quality of this album, tying things together with a central question: "Do you believe you can outdo perfection?/Do you believe you can outdo your God?" But this is an album that hangs together by virtue of its aesthetic. Like the pairing of the guitar riff and trumpet solo in "Empty Sidewalks," the banjo that tears through the back of "Miss Miserable," or the "la, la, la" backing in the Munsters-esque "Stonewalled" (right before it opens into the best chorus of the album), Bettencourt's arrangements and songwriting turns are consistently interesting and indicative of a curious mind.

There's nothing by the book here. If it feels like Bettencourt is everywhere lately, it's because he is, and he should maybe turn down a few gigs here and there to avoid being overexposed, but there's a reason Rustic Overtones pegged him to sit in for Ray LaMontagne's parts recently. He's an evolving talent you'd be wise to watch.

inline: http://portland.thephoenix.com/Music/89837-Falling-fast/?page=2#TOPCONTENT

Opening for The Wood Brothers - PCMH

Wed, 09 Sep 2009 00:00:00 -0700

Eric will be opening for one of his favorite acts, The Wood Brothers, at Port City Music Hall on September 28th, 2009.

for more info please visit www.thewoodbrothers.com

Fine Old World Review - Downeast Magazine

Wed, 22 Apr 2009 00:00:00 -0700

Cd review in May issue of Downeast magazine
Category: Music

It's a Fine Old World

Downeast Magazine May 2009 - Kathleen Fleury

Ray LaMontagne might be Maine’s most famous singer/songwriter right
now, but the state has a slew of young artists poised for future fame.
One of the most promising is Portland resident Eric Bettencourt, a member of the popular local trio Giraffe Attack. Fine Old World (Shadow Shine Records, www.eric-bettencourt.com, $9.99) is Bettencourt’s widely praised debut album. Featuring mostly
original tracks and one rare LaMontagne cover, Fine Old World meanders
through a range of styles and sounds, a journey punctuated by the title
track performed in three parts. Bettencourt’s raspy voice enchants
listeners on softer songs such as “Sweet Elise” and exudes personality
on the more forceful ones like “Uniform.” From bluesy rock to folksy
funk, the styles on this debut album demonstrate Bettencourt’s varied
influences — and his deserved place as a rising star in Maine’s music
scene.

http://www.downeast.com/node/9851

Fine Old World Review - The Bollard

Thu, 08 Jan 2009 00:00:00 -0700

The Bollard reviews Fine Old World

Category: Music

Playing across many a sunny New England town green this coming June: Fine Old World, the sticky sweet debut solo album by Giraffe Attack singer/guitarist Eric Bettencourt. Though the record is being released this month, this is summer music, an unapologetically sunny collection of 13 bluesy rock songs.

Bettencourt has a tire-spinning-in-gravel vocal delivery, an audacious choice of timbre with which he can howl in homage to the smokier-voiced Ray LaMontagne and conjure "Me and Bobby McGee"–era Janis — sometimes, as on "The Plan," during the same righteous romp. Shannon Hoon used a similar rasp to great effect with Blind Melon, but Bettencourt is painting a new kind of pop context for the familiar growl.

When writing about love, Bettencourt's approach is more bonfire than bedroom. He tends to use the collective "we," and sounds most comfortable in front of vast and beautiful chorales of backing vocals, as on the album highlight "Sweet Elise." In "Delaney," he urges his companion to "spread all of your light on everyone." These songs are all-inclusive invitations to simply groove along.

Bettencourt draws from a seemingly bottomless well of middle-wiggling licks. His feel for the guitar neck brings to mind masters like Duane Allman and Mark Knopfler. From the subtle slide meanderings in "It's Over" to the circus-Goth of "Uniform," his playing doesn't feel retro so much as a revitalization of what's worked before.

The one gripe I have with this brisk and confident album is Bettencourt's penchant to get lazy with the lyrics, as he does on the title track, oddly presented here in three separate parts. After casting the world as "funny", "ugly" and other such meaningless generalities, he uses four very's to describe just how "fine" this old world is. The clichés don't help his cause, but it's easy to be won over by this very fine debut.

— Mike Olcott

Fine Old World Review - The Maine Switch

Tue, 06 Jan 2009 00:00:00 -0700

'Fine' delivery

Bettencourt shoots, scores with debut

By William Earl

2009-01-06

On Portland-based Eric Bettencourt's great debut disc "Fine Old World," the singer/guitarist mines through dozens of influences to develop the perfect sound. Perhaps it is easy to be hypnotized by Bettencourt's endearing joyousness, but it is not a stretch to call this album brilliant.

Opener "Fine Old World Pt. 1," sounds like a frolic through a jam pop iPod: shades of David Gray's electronic samples, Phish's songwriting and Dave Matthews-style hippie lyricism pepper this tale of being unable to "run from the people that we are."

Bettencourt certainly knows how to express himself, owning a sandpapered voice which recalls Blind Melon's tragically hip frontman Shannon Hoon. While lesser singers would not be able to wrangle such a distinctly ragged tone, Bettencourt nails the harmonies he explores.

Of course, this vocal strength could result from melodies which evoke familiarity while still being creative. Disc standout "Delaney" is so upbeat that believers will begin to sing along even before they know all of the words. Despite its pop hook, Bettencourt also works many complex elements into the song: breezy runs, a hyper-melodic bass line and a tricky transition from featherweight verse to meaty refrain.

Musical highlights hit from every direction through this album. With heavy keys, horns and politically-charged lyrics, the bouncy "Uniform" is a hair away from Rustic Overtones. Great vocal work puts punch into "The Plan," inventive guitars carry "Sweet Elise," and wisps of piano waltz through "Just Walk Away."

Surprisingly, the album's biggest throwaway is the Ray LaMontagne-penned, "I Wish I Could Change Your Mind." Coming off as merely a half-assed blues attempt (albeit with a great guitar solo), it is as bizarre to have a skeletal song in the middle of such an ambitious record as it is to not be impressed with LaMontagne's work. Yet within "Fine Old World's" context, this anomaly makes more sense when understanding that Bettencourt, who plays the majority of the non-percussive instruments on the LP, is best when he has total control.

Honestly, there are too many superlatives which should be pegged to this great piece of work than could be printed in such a short review (but you can hear for yourself at the CD release party on Jan. 10 at the Big Easy). Just go buy it — it's cheaper than a movie and lasts a whole lot longer. Ultimately, it would be best to leave Bettencourt with a piece of his own advice from the appropriately-named final track, "It's Over" — "Don't stop growing/You have come so far."

Maine native Bill Earl is a musician and a music writer. He's currently living in Boston but has his ears on Maine-made music.

Fine Old World Album Review - mainefolkmusic.com

Wed, 31 Dec 2008 00:00:00 -0700

CD Review by Bob McKillop

When you listen to this CD, you will mostly remember Eric Bettencourt 's vocals. There is something unique and delightful about the slightly hoarse timbre, the creative dynamics, the subtle, but distinctive, smart-ass smirk in his delivery.

No, on second thought, you will probably be struck by Eric's guitar work. Buttery acoustic tone, fine finger style work, clear, clean electric riffs behind the scenes, and inspired electric and acoustic lead work in the breaks.

Or will it be the songwriting? Or maybe the production and arrangement?

OK, I give up. I can't decide what's best about this record. It's all good; you'll just have to decide for yourself.

The title track is an enigmatic trilogy, with a section at the beginning, one in the middle, and one at end of the album. The production gets increasingly full from one movement of this song to the next. This tune is a collection of vignettes from many people's lives. We witness times of decision and change and counter-point, a sampling of the good, the bad, and the ugly in our existence. It is ultimately a song of acceptance of the world for what it is, and a celebration of our existence, for it's own sake.

"Delaney" sounds like Bare Naked Ladies on vacation in the Caribbean. It opens in a breezy Latin beat, with acoustic strumming and electric riffs in the background. There is an interesting backbeat on the lyrical meter. The chorus runs into a different rock/folk rhythm, then a silky lead break on slightly distorted electric guitar melts back into the Latin beat of the third verse. The lyrics are a celebration of a lovely woman with a lovely spirit. She doesn't understand how the world loves her. The theme is not deep, but this is a fun and breezy track.

A low, harmonic pedal tone draws us into "Burning up", and yields to a great strummed riff that defines a catchy melody. As in many of Eric's songs, the rhythm and beat of the track is constantly changing, evoking a variety of moods and themes. There is a hymnal, choral quality in the bridge, which then swings into another of Eric's great little lead breaks. The lyrics conjure up a story of a crash, a burn, and a rising from the ashes, a second chance, and a passionate offer of help.

I think "The Plan" is a great song. It's groove is sort of a cross between the 1950's era hit, "Young Love" and "The Lion Sleeps Tonight" – sounds a little scary, but it works. The main components are a beefy acoustic guitar strum, a subtle base line, and a nicely reverberated snare drum. The lifting register in the chorus is a nice contrast to the flat melody in the verses. Eric's distinctive vocals bleat out a lament about being used and abused in a relationship.

"If I learned it once I learned it twice

You can't stare down a block of ice

In the puddle floats a painful memory;

I'm holding on and counting sheep

Forgetting how it feels to sleep

Only to face another dreary day"

Eric's songwriting and production lift a lot of stuff out of the 1970's songbooks of The Beatles, The Kinks, Paul Simon, Van Morrison, and The Rolling Stones. These tunes are fun to listen to; there are lots of lyrical and melodic hooks, a lot of change-ups in the instrumental textures and beats. Eric is very creative in his arrangements and his production work, and the variety in these tracks prevents boredom from creeping in as you listen to the entire album. He has definitely designed it as an odyssey to be enjoyed from beginning to end.

Eric includes a nice cover of an obscure Ray Lamontagne tune, but otherwise, he wrote all of these songs. He spread the engineering around between four local Maine studios, but takes production credit for himself. Eric has been working on this album for three years, so you know it's all his. He got some great help, though, from the likes of Ryan Cyr (drums), and also from Chuck Gagne (drums) and Nate Cyr (bass) of Dominic and the Lucid (Dominic contributes backing vocals in "The Plan" and appears in "The Toys of War" as part of a soldier chorus.) Kyla Morse and Alison Violette provide backing vocals on several tracks, and Leah Finkelstein plays piano on "Uniform".

The CD release party for this album is on January 10, 2009, at The Big Easy, and most of the contributors will be there. Opening is Pete Miller, a singer/songwriter who many of you have enjoyed around town lately, followed by Strange Pleasure . After Eric's set, an appearance by Eric's band Giraffe Attack is not out of the question.

Details on ordering the album are forthcoming (it will certainly be available at the launch party). Individual MP3 tracks are currently available on Eric's webpage. You can stay up to date by visiting the website of Shadow Shine Records, a record label launched by Eric in the past few months. "Fine Old World" is the label's first release.

This album has been a long time in the making, and in my opinion, it has been worth the wait. Chase it down!

Online Link: http://mainefolkmusic.com/member/reviews/2008/20081216_review_bettencourt.php

Fine Old World Review - The Portland Phoenix

Wed, 31 Dec 2008 00:00:00 -0700

A Winter to Remember - By: Sam Pheifle

A PLAYER: Multi-instrumentalist Eric Bettencourt.

It's been a bit of a long time coming, but Eric Bettencourt, of Giraffe Attack and founder of Shadow Shine Records, tonight drops his debut solo release, Fine Old World, at the Big Easy. As is increasingly common nowadays, Bettencourt plays nearly everything on the album, generally only ceding drum duties to the likes of Chuck Gagne (Dominic and the Lucid) and Ryan Cyr (Strange Pleasure, Giraffe Attack) and getting vocal help from time to time, most notably from Shadow Shine labelmate Kyla Morse.

This micro-managing makes for an extremely cohesive, if sometimes self-indulgent, record, with a title track split into three pieces throughout the record that is emblematic of Bettencourt's effort to release more than just a collection of songs. He plays myriad guitars well, along with banjo, keyboards, and sundry percussion instruments, and his vocals vary between a clean tenor and a grittier mid-range delivery, a spectrum that runs between Jim James and Kelly Jones.

At times, he can be a bit manic, as on the quick-strummed "Delaney" (which is fitting, considering the recent passing of wonderful songwriter Delaney Bramlett, who with then-wife Bonnie wrote some amazing songs and played some great gigs in the '60s and '70s) that luckily gets reined in a bit for a major sing-along chorus with Morse. Bettencourt's guitar tone might remind you of Dickey Betts's here, but his solo is more jazzy than jammy.

But most of the record is either playfully upbeat or genuinely soulful, and his lyrics are nearly universally interesting and poetic. "The Plan" (maybe a Built to Spill reference?) is the former, a shuffling old-time rock tune full of self-assured resignation: "What you see is what you get/There ain't no point in changing it/Perfection she's a busted fairy tale." Teamed with backing vocals from Dominic Lavoie, you might be reminded of a Jeff Buckley tune.

"Sweet Elise" opens as a bit of a gospel piece, rootsy with martial drums in the backing, and Bettencourt doing his own sweet-voiced backing vocals. Then the guitar gets quicker in its up and down runs and comes back out into the countrified open. There's some very nice electric guitar work here.

Bettencourt also throws in a Ray LaMontagne cover, "I Wish I Could Change Your Mind," which has been kicking around on various bootlegs. He gives it the full-band, 12-bar blues treatment, keeping things as dark and broody as LaMontagne likes them, but infusing it with an almost Christmas cheer in the turnaround.

This is a nice record, with some very good ideas fleshed out, but it may be that Bettencourt's future lies more in producing and songwriting than with fronting a solo act.

Online Article: http://thephoenix.com/Portland/Music/74521-Winter-to-remember/