Royal Jones A Dear In The HeadLights of Life

When asked about his vast vocal range, RJ admits the soprano Frances Demoulas Kettenbach taught at Bradford College and initiated a brief period of classical music studies for his vocal development. Jay Pieleki in Hudson, New Hampshire, tried to perfect a screaming style, "very atrociously and unsuccessfully," he laughingly adds. RJ seems to delve in a total range of musical style and appreciation. Sure enough: Fred Jones from the Grace Church in Lawrence, Massachusetts, helped assist with the chorale and protestant hymnal music exposure. Dante Pavone, in Boston's South End, assisted with a pop style of training "....laying flat on the ground and letting the notes pour forth from the core. Very stressful. Very painful. Very revealing."

New York City, NY (PRWEB) April 19, 2007 -- Born in Methuen Massachusetts, New Hampshire's Royal Jones (RJ) began his collaborating in the late 70's with Nancy Rosenberg on The Stars Weren't Right in Harvard Square.

RJ rehearsed standards, jazz, and show tunes with Berklee students in Boston. He appeared in choruses while attending junior college. This all prompted his imminent departure from the Merrimack Valley area. Upon moving to Boston, he studied voice with Ed Mousally at the Community Music Center on Warren Ave. He tells me, "I was so devoted. I recall puking on the steps to the place. I could never turn back. (I was just) so serious intending never to miss a lesson".

When asked about his vast vocal range, RJ admits the soprano Frances Demoulas Kettenbach taught at Bradford College and initiated a brief period of classical music studies for his vocal development. Jay Pieleki in Hudson, New Hampshire, tried to perfect a screaming style, "very atrociously and unsuccessfully", he laughingly adds. RJ seems to delve in a total range of musical style and appreciation. Sure enough: Fred Jones from the Grace Church in Lawrence, Massachusetts, helped assist with the chorale and protestant hymnal music exposure. Dante Pavone in Boston 's South End assisted with a pop style of training "....laying flat on the ground and letting the notes pour forth from the core. Very stressful. Very painful. Very revealing." Renowned accompanist Jim Hix worked with RJ in the Back Bay of Bean Town while wowing the Fan Club ,a posh nightclub likened to NYC's Studio 54. (RJ is quick to add, "It paled in comparison, however." Roger Hawk, John Mattick, and many others helped our young Royal Jones with arrangements and exposure to more jazz and "popular pop". Spending two years studying with New England Conservatory's Geraldine Berkovitz Martin in the Third Stream Department developed a treasured musical friendship which added depth and perception. RJ regally adds, "Working closely with a coach is therapeutic and exposes your inner soul. It's like -- a spiritual, much-needed release from the pressures of being a 'Royal' in a 'Common' world.

Other treasured friends who greatly influenced Royal Jones' style include Detroit councilwoman Martha Reeves . RJ says, "I'll never forget her coaching me 'Unchained Melody' the famed Righteous Bros recording backstage at a gig. The lyrics Martha knows makes my head spin." An aficionado on Motown's 60's period, RJ befriended Martha Reeves, "a MOTOWN LEGEND", at the historical Bottom Line in NYC's Washington Square and, of course, she him. I laughed at how RJ gushed, "Hard to imagine being such a devout, absolute fan of this Diva's incredible legacy of legendary recordings from Motown/Gordy, MCA, Arista, Fantasy, and now ITCH having the opportunity to actually discuss the legendary recordings creation at length and in vivid detail caused this devotee's head to spin... I mean to say is: I was so impressed, inspired, and in awe of... Well, this was someone of the highest caliber I would try to emulate. A daunting task!"

A move to NYC, in 1979, found Royal Jones in the company "of many cult icons. Some hanging out at NYC's 9th Circle in the West Village and, naturally, at the legendary Studio 54." This was not the first mention of the infamous club. I had to ask, "How did a New Hampshire greenhorn make it through the doors of Studio 54?" RJ's laugh was big and genuine. He giggled, "I was allowed frequent entry courtesy of a childhood best friend who had a job there as head waiter."

RJ was on a roll, "Oh, the shows and the divas back then! Alton McLain lived next door to The Circle and sang on the subway even! Imagine? How could I follow that? Fat Tuesday's (that Dizzy Gillespie hologram), and the aforementioned now defunct without a trace Bottom Line, Sweetwater's,Private's, The Horn of Plenty, Reno Sweeney's. Great! Paul's Mall in Boston. The 'Savoy' in Times Square in the 80's. I was fortunate to experience true soul greatness first hand. Martha Reeves, Darlene Love, Martha Wash,Cissy Houston, Mary Wells, Mary Wilson, Gwen Guthrie, Deniece Williams, Thelma Houston, The Staples, Ebony Jo-Ann, Whitney Houston as a baby with her Mama all over NYC. Aretha! Patti Labelle! I was there at the theatre at Madison Square Garden, when Patti passed out on stage. Wow, how scary was that! We thought it was good theater. And when party animal, the beautiful Phyllis Hyman, joined Patti on stage for You Are My Friend at the Savoy Theatre. The memories: Sarah Dash at Sweetwater's and the Tunnel, and so many places; Nona Hendryx bombing at the Bottom Line; Rough Trade booed off stage on Valentines Day at the Beacon. Wow! Even Shirley Bassey at Carnegie Hall ...who am I leaving out. Surely, I digress. Back to 'After taking in The Show'...."

Finally, Royal Jones met with renowned musician Steve Sandberg who produced the Royal Jones 'Ruffle in a Bag of Plain' basement tracks. Remaining "unreleased due to lack of interest, frankly, and the financial undertaking it would have required at that space in time," RJ was determined to be heard. There are fourteen tracks in all, not including varying mixes of several, and some very fabulous outtakes. Royal Jones has spent a lifetime recording his poetry as lyrics. A couple tracks from RIABOP are featured in full-length on the RoyalJones.com website.

Royal Jones has performed at NYC OUT MUSIC at the GLHC Center's monthly show on West 13th Street in Manhattan. Sandberg introduced the shy Jones to Out Music at his own performance there. RJ's comparisons were quite comical yet uplifting: "a disco Neil Young, an Amish Sylvester, Barbra, Aretha ....The song was RESCUE ME FROM MYSELF written by MJ Reilly and Steve Sandberg. An uneven performance to be kind. People need to grow ears. Thanks though!"

Skip ahead to 2003 when Royal Jones met Richard Morris which led to a meeting with Eric "CODEE" Cody and the EP Make Things Nice and the CD You Broke the Circle. Both CDs include all original material by Jones, Codee, and Mark Reilly. "And one by Sandberg as well! It's great!"

"What about now?", I ask. I find out that RJ is working closely with the "divine Janice Friedman". It seems good things do come to those who wait. His repertoire, expertise, and range have increased significantly. A new-found freedom is evident upon listening to some cover tracks being laid down. The show is 2 hours long. Dear in the Headlights, an autobiographical one-man show, stars "Royal Jones -- of course, Dearie".

Gossip: His latest collaboration being passed around "unmixed and ruff" is the catchy acoustic funk original NO TIME LIKE TODAY written by Royal Jones and Janice Friedman.

Royal Jones' last NYC appearance was in January of 2006 when he was guest artist with the wonderful Stephanie Clark. He sang If I Ever Come Down and Home -- the Charles Smalls classic from The Wiz which has been a staple in Jones repertoire for years.

His energy, I am sure, has just been tapped. He traversed many an alley. He is now "home". Stay tuned. I hope you get to see the emotional, eye-poppingly odd, sincere, cuddly, adorable, talented Royal Jones. He's a dear that deserves to be headed in the bright light of one's life.

Grab a listen at http://www.royaljones.com.

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