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I started a quest to find terrific blues music and incredible musicianship when I was just a little kid. I also have a tremendous appreciation of fine musical instruments and equipment. One of my greatest joys all of my life was sharing my finds with my friends. I'm now publishing my journey. I hope that you come along!

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Showing posts with label Guy Forsyth. Show all posts
Showing posts with label Guy Forsyth. Show all posts

Tuesday, December 20, 2022

Blue Heart Records artists: The Texas Horns - Everybody let's Roll - New Release Review

 I just had the opportunity to review the most recent release, Everybody Let's Roll, from The Texas Horns, and I really like it! Opening with title track, Everybody Let's Roll, The Texas Horns (Kaz Kazanoff on tenor sax, Al Gomez on trumpet, and John Mills on bari sax) come out steaming with Carolyn Wonderland on lead vocal, Mike Keller on rhythm guitar, Sean Giddings on keys, Chris Marsh on bass, and Tom Brechtlein on drums and featuring Anson Funderburgh with some real nice guitar lead. Solid opener. Piano boogie, I Ain't Mad With You, led by Matt Hubbard really rocks with excellent solos from Kaz and Johnny Moeller and a fat fat bottom by Mills. Excellent! A really interesting (bluesy) rework of The Beatles, I Want You (She's So Heavy), has great horn blending with Gomez taking the lead on trumpet. With it's jazzy drum hitch by Brannen Temple, a cool organ solo by Sean Geddings and a blast of blues by Moeller on guitar, this is a punchy track.  Soulful, Prisoner In Paradise, features Guy Forsyth on lead vocal and is the certain radio track with brassy backing and a real nice trumpet solo by Gomez and a warm sax solo by Kaz. Wrapping the release is JB Lenoir's J.B.s Rock with hot drumming by Jason Corbiere and sassy sax work by Kaz. Flanigin rolls in some warm organ tones and Jimmie Vaughan  lays down some trademark guitar riffs making this a great closer. 

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Sunday, July 29, 2012

Play To Lose - Guy Forsyth

It’s been a long and dusty, winding road for Austin singer/songwriter Guy Forsyth that’s lead to a recent surge in praise over his dazzling live shows and his rich Americana roots sound. Forsyth (vocals, acoustic, electric, & slide guitar, harmonica, ukulele, singing saw), along with Will Landin (bass/tuba) and Rob Hooper (drums/Cajon), bring a unique mixture of styles such as folk, rock, country, and Tin Pan Alley to create a sound that’s as heterogeneous, raw and compelling as America itself. You’ll hear powerhouse vocals deliver energetic yarns about love, the government and the apocalypse, to name a few, as Forsyth and company squeeze everything they have into each song and rarely come up for air.

Forsyth brought his skills as a stellar live performer to help found and make infamous nationwide the theatrical acoustic group The Asylum Street Spankers. He gave Wammo his first washboard and Christina Marrs her first guitar and ukelele. His time with the Spankers touring and recording 5 albums added to a wealth of earlier unique experiences in his life – working as a stuntman in renaissance shows, busking on the streets of New Orleans and playing on a mountain top in Nepal – which provided him musical fodder to be refined in the songs of Forsyth’s numerous solo albums. The release of his latest, Calico Girl, which features new songs as well as re-recordings of some of Guy’s most popular songs from 1999's Can You Live Without, marks the fourth album for the record label he started in 2002, Small and Nimble Records.

Guy is known today as a musician with gripping, powerful vocals as well as a master of numerous instruments. He started his musical development first with singing, and began playing harmonica at 16. Shortly thereafter he heard a very distinct and overwhelming sound on Kansas City radio that changed his life; it was Robert Johnson. After that, he borrowed a guitar, fell in love and learned to tune it with his feet from a friend who had lost both his arms in an accident. In college, he lasted a single semester at the University of Kansas, and then he found the music he had been seeking – gritty, organic folk and blues, “from a practical hands-on, gears, joints and joists level.” And he struck out to learn it.
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