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Severn Records artist: Tad Robinson - Day Into Night - New Release review

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I just received the newest release (April 21, 2015), Day Into Night , by Tad Robinson and it's smokin! Opening with smooth groovin' Soul Lover , Robinson shows just how much soul he has with has solid vocals joined by Caleb Green and Christal Rheams and understated horn work of Kenny Rittenhouse (trumpet), Liesl Whitaker (trumpet), Antonio Orta (tenor sax) and Bill Holmes (trombone). On Call Me, Kevin Anker on keys and Benjie Porecki on organ set a nice groove and Robinson takes a smooth ride vocally. He really does have the groove and delivers like a master (think Al Green). Lonely Talking has a great feel and the masterful guitar playing of two of my favorite contemporary guitarists, Anson Funderburgh and Johnny Moeller. This isn't your typical Texas guitar shootoff but a real soulful sway with honest tasty riffs playing against the beat. Excellent! He's Moved On opens with Bill Holmes warm trombone sound and Robinson keeps his vocals attack on the down low. Now...

Multiple Blues Music Award Nominee Tad Robinson Brings His Soul/Blues Sound from "Day Into Night" on New CD, Coming April 21 from Severn Records

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Multiple Blues Music Award Nominee Tad Robinson Brings His Soul/Blues Sound from Day Into Night on New CD, Coming April 21 from Severn Records ANNAPOLIS, MD – Severn Records announces an April 21 release date for Day Into Night , the new CD from seven-time Blues Music Award nominee Tad Robinson. This new CD is the long-anticipated follow-up to his last release, Back in Style (2010), and features the soul/blues singer backed by the Severn Records house band of Johnny Moeller – guitar, Kevin Anker – keyboards, Steve Gomes – bass and Robb Stupka – drums. Joining in the fun are special guest appearances from blues guitar heavyweights Alex Schultz and Anson Funderburgh.   This veteran team of musicians, recorded at Severn Sound Studios in Annapolis, Maryland, shows its experience by focusing on how best to serve each song. “It’s not about excess,” notes Robinson; “rather, paring down the accompaniment to the essence of each song.” That restraint is...