Matthew Patrick: Press
I truly, honestly believe it's Five O'Clock. Somewhere, there is a don't-worry-be-happy world filled with perpetual sunshine and pleasure. Somewhere, a midnight train ride soothes the savage breast. And I believe that somewhere, the reincarnation of a young Elvis might possibly save the world. But most importantly to me, I believe that anyone who thinks of Chicago, instead of a slough, when they hear the words "Muddy Waters," is perfect. I dream of dancing to reggae with a twist of country ala Jack Daniels whiskey accompanied by jerk chicken on the side. In short, I want my cake, my cocktail, my favorite dance partner, my moonglow and sunshine and I want it all wrapped in an invitation to a Texas barbeque.
Then along came Matthew Patrick. My heart went pitty pat. He is unique, that man. My heart sped up to thumpity thumpity thump. He rocked. Then my old heart made one big juicy BANG ... Matthew Patrick is the answer to my musical dreams! His sound is blues, reggae, rock and country all in one and he keeps it playing until there is no question he's one in a million. Scratch that. One in seven billion! Oh, yes, I did. I absolutely did look up that number so I would be accurate. Gotta give my new high-five musical genius his due, uh huh.
Matthew Patrick: Yard Sale Yard Sale, Matthew Patrick's new five-track EP, is an absolute gem. It sparkles with a vibrant array of musical colors that capture the soul and trigger the imagination.
Matthew's lyrics are captivating, from the out-of-sight psychedelic One Ride to the country feel-it-down-deep on The Fool I've Got To Be. He can slide a guitar and bend his voice with silken smoothness.
As Bob Marley said, “Life is one big road with lots of signs." Take the exit marked Yard Sale - the sign will be upside down so think quickly - and have a cross-it-up, shake-it-off, freak-it-out good time.
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Fly - Just try pegging this into only one genre. Go on. I dare you! This is serious talent and imagination flying by on wings of artistry. The Hammond B3 organ is superbly interwoven with the other instruments. The lyrics have a delicious depth. I found myself hanging onto them long after the CD player went silent. Hey, bros, let's all get this song into our heads and then we can start a new trend. We'll call it Flying. We'll spontaneously turn our faces to the heavens, spread our arms wide and dance. It will be a mild-mannered flash dance phenom that doesn't require practice, only heart. This time next year, if you see me Flying, join me in my reverie.
Howl at the Moon - My plan is to live by this song for at least ten years, starting right now. This is the blues, darlin', and it's blues right down to my belly. Matthew, I'm the mama who will help you go crazy! Listen to those instruments. Molten hot, they're eruptive, seductive and alarmingly addictive. They hit you low and latch onto some flesh like a wolf dining on your gut. And you're going to love it! Howl at the Moon is cooked to perfection, with just the right amount of crunch on the guitar and succulence on the harp. I think I feel some long pointed teeth growing just under my ChapStick enhanced lips. Good thing I'm an omnivore. My transition to carnivore will be very easy. Hey there, Little Red Riding Hoods ... you boys are lookin' good.
The Fool I've Got To Be - This one belts it out with country styling like an eighteen-wheeler rumbling down the backside of the Great Divide. If Matthew Patrick ever gets tired of being multi-genre (I hope not!), he is going to be grabbed up by Nashville and Memphis as fast as a quarter horse runs the quarter mile. In case you're wondering, that's 21 seconds. Matthew's fans will get whiplash watching him get whisked away. Listen to the lyrics, "The boss man don't see it my way ... he counts his cash while I bust my ass ... sometimes things don't seem so clear to me." We've all been there, right? Tonight be the fool you've got to be, then drag your ass home to the beat of those quick and sure drums, and one helluva great key and guitar treatment. Revel in it. Do it just in case the Nashville / Memphis / Country Producers try to woo Matthew away from us, you know?
One Ride - Psychedelia touches down on the blues like a 747 kisses the blacktop at O'Hare. Welcome to paradise. Nirvana (the feeling, not the band). How about Valhalla? Yes, Valhalla, the home of heroes and kings. That's the appropriate landing field for this track. I can feel my body swaying to the guitars and keys. My head is filled with ear candy such as I get when I turn Lead Belly up to ten on my stereo. But, I kid you not, One Ride is better than all of that. It has those lyrics, those enticingly hot lyrics, "One ride is all you'll ever need. One ride will leave you on your knees." One taste, one kiss, One Ride. It really is all you'll ever need.
Midnight Special - Matthew's a cappella opening on Midnight Special is overflowing with unbridled passion! This man owns the particular kind of pipes that other singers pray to be gifted with. His sound is both seductive and pleasing. It zeroed in and hit me dead center with the perfect amount of raspy seductiveness to melt my body into another dimension altogether. I have always liked Midnight Special and have heard a lot of performers do covers of it. And then there's this rendition. Matthew is the archer and we're all his target. Whiz! He got us! How does he get his voice to do those things? Stunning!
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Matthew Patrick weaves the lines of varying musical genres into a tapestry of life on the run. If one thing is an absolute, it's that Matthew is going to make me sing like the fat lady and then, maybe, it will be over. But, oh my God, I truly hope not! As some would say in reggae-land, "BRAATA, me love." Encore!
The CD kicks things off with “Dog” an upbeat intro piece that serves up classic Psychedelic rock groove against slamming R&B guitar and driving rock rhythm. Track 2 “I’ve Got Love” shifts gears with its smooth as silk flowing rhythm, heartfelt vocals and thought provoking lyrical content from Patrick. Track 3 “Cry Cry” is a sizzling melody that dishes out impressive vocal passion, sizzling blues guitar licks, and well placed reggae groove that peaks and valleys it’s way through to emotional fruition. As this CD slowly unfolds I can hear many different musical soundscapes reminiscent of such classic Van Morrison, Wild Cherry, Rare Earth, Bob Marley, Delbert McClinton, Doctor John and even Jimmy Buffet. The music itself is an impressive blend of Classic Rock, Psychedelic Jam Band and Funkadelick R&B. You definitely get an unmistakable guitar driven Psychedelic Rock vibe from the catalogue which all the Flower Children will die for. I get the impression Patrick and company are having a lot of fun just letting it all hang out with these songs. He’s definitely one of those guys that’s a whole lot of fun to listen to. The musicianship from Patrick and company is equally as impressive. I might add his vocal abilities hold their own pretty good with an impressive vibrato and passionate baritone delivery. You will notice lush layers of instrumentation layered everywhere, from impressive solo guitar licks, amazing harmonies, piano, luch harmonies, impressive Hammond Organ chops, amazing Harmonica-Harp, Keyboards, Horn Sections, and a sick rhythm section. But the most impressive thing about this release besides the amazing 12 song line up is the musical personality you get from Patrick. From rocking “Bikes, Bullets and Beer”, to grooving “Rich Man Blues” to heartfelt “Blue Green Eyes” to hooky “I aint got what you got” this CD has something for just about everyone. The CD ends with Track 11 “Ramblin Rose” the perfect finale statement for a CD of this caliber.
From start to finish Blue Sun by Matthew Patrick is a barnburner of a release. The music is consistent, uplifting, and extremely fun and entertaining to check out. Note for note, song for song there isn’t really a weak piece of music on this entire CD. The writing and playing abilities of Matthew Patrick and his band are red hot. Last but not least Patrick is a masterful guitarist, songwriter and front man. He’s one artists that’s not afraid to just let it all hang out musically. That’s what world class artists do the best!
Sunday, February 10, 2013
Matthew Patrick Blue Sun CD Review
Matthew Patrick looks to change what listeners expect from country music. Blue Sun is his latest effort, and the tracks presented her marry together a traditional down-home sound with hints of the islands. Patrick is able to weave a cogent narrative through Blue Sun’s 11 tracks while establishing an instrumentally-intricate effort. Blue Sun begins with Dog, a track that will immediately snare fans. This track soars on dual vocals and contributions from guitars, harmonicas, and on-point percussion. I’ve Got Love builds on this country meets reggae style and even includes a timeless call and response section. By touching upon the widest possible array of musical styles, Patrick is able to create a wholly unique and new style of music for Blue Sun.
I Ain’t Got What You Got hits on all cylinders, with the compelling instrumentation and Patrick’s distinctive vocals (eliciting hints of Brooks and Dunn and Jimmy Buffett) creating a high point for the album. Patrick closes up Blue Sun with Ramblin’ Rose, a cut that showcases his more pensive and coy side; while the arrangements are fairly quiet at the onset of this track, the progression builds to an absolutely epic feeling by its end. The range of Patrick’s voice is perhaps the biggest reason why listeners will continue to come back to Blue Sun for repeat listens.
Patrick’s website allows listeners the opportunity to find more biographical information, while providing fans with a number of tracks to navigate. Blue Sun is a tremendously intelligent and touching album, and fans of country or of heartfelt music should attempt to search out a copy.
Top Tracks: I’ve Got Love, I Ain’t Got What You Got
Matthew Patrick, Blue Sun
February 6, 2013
For Country Rocker (usually) Matthew Patrick, all it took was some “nocturnal inspiration” and the project was born. When Patrick woke from a dream about a high school bandmate, he Googled his old friend and found he was living not even an hour away and was operating his own studio. He also found that he had released a Reggae album under the name Andrew Diamond. After they connected, the Country tunes Patrick was working on were reinvented with a clear vein of Reggae running through them. Patrick immediately decided to apply the same formula to the rest of the tracks and Blue Sun rose.
The hybrid combination is obvious from the opening percussion beats on “Dog.” The familiar tom notes ring in the tune before the twang-laced vocal delivery of Patrick introduces the Country side of the sound. The staccato guitar beat and backing organ chirps also reinforces the Caribbean feel, while harmonica honks reaffirms the Country commitment. On paper, the two genres seem mutually exclusive, but the melding really works here. Some how. “Cry, Cry, Cry” again, features the Reggae vein at the heart of the melody with occasional bent note Blues guitar and the vocal delivery drive the tracks in the direction of roots Country. The ethos of “Bikes, Bullets and Beer” lightens the album mood beyond the feel good reaction the Reggae vein generates. This one plays out more current Country with the Reggae retreating to a minor nuance while the track is dominated by more twang vocal delivery, standard Country electric guitar work and slightly campy lyrical matter of contemporary Nashville. “Blue Green Eyes” sees the return to the Caribbean with more dub style guitar at the open with bent note acoustic picking in the background. The tempo carries the song along the groove Reggae vibe while the bulk of the vocals and musicality remains country fried save the Reggae inspired guitar solo just past the halfway mark. “Too Old To Die Young” features electric fills in tandem with Patrick crooning Country. The faraway percussion beat is still in a Reggae time signature but as with “Bikes” the Country facet dominates here.
A quick read of the press release on this project certainly raised an eyebrow. However, Patrick may have just been in the right place at the right time when he decided to track down his old friend. With a Reggae album under his belt and collaboration with accomplished artists of the genre (Bassist Lyndon “Ace” Webb) lent enough experience to make staunch Country tunes translate with Reggae nuances added. This is certainly an example of thinking outside of the box. And something bonafide happened in that studio to make Patrick take a hard left and approach the project from a different angle. It’s good; it’s fun (and funny) and perhaps most importantly: it’s different. And current cookie cutter Country needs that.
'Blue Sun' Beyond Shadow of Doubt
Matthew Patrick shines in this eclectic-array of bursting energy and southern rock. Grab some sweet tea and kick off your shoes and dance barefoot in the dark to this one!
on Feb 4, 2013
Just as the hammock sways back-and-forth from the summer's pesky breeze, Matthew Patrick moves to and fro from reggae to blues rock to country in Blue Sun. His every-man's voice is that of a mature man - he sounds like a real guy's guy. His prose is clear and his arrangements are as solid as the overall product. Listeners will surely embrace several of Blue Sun's songs.
"Dog" (track number one) bursts into the room like a kickoff party. This track sounded very southern to this writer/listener. So southern, in fact, it felt humid. It was almost as if some of the sweltering heat metastasized itself into a bulging, throbbing bass and organ. What a cool song to start it off! "Dog" makes you want to sing along.
"Iv'e Got Love" is another track easy to catch oneself singing out loud. The acoustic guitar plucks along like dancing barefoot in the grass. The organ is a nice touch.
"Cry Cry Cry" has an amazing stretch of guitar work going for it. This writer/listener felt engaged.
Stevie Ray Vaughn Vibe
"Bikes, Bullets and Beer" has this Stevie Ray Vaughn vibe to it. That blues hued guitar just stretches the listener into this spellbound, mysterious place. It is cool stuff. It is easy to get lost into the harmonica, the song is strong.
"Rich Man Blues," "Blue Green Eyes" and "Guess I've Gotta Do" sound quite simliar. Each have that layer of organ with the strong percussion.
"I Am Drunk" has this anthem chorus that just makes one smile. "Ramblin' Rose" slows the journey down quite a bit. This beautiful trumpet meanders quietly in the background; the music bed is calming like a lazy river.
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.32-20: "Divine Ignition" (Spank Records)
.32-20 is a blues-rock band out of New York City, and mixes straight acoustic renditions of Robert Johnson blues with hard blues rock that sounds a bit like the Black Crowes. In other words, archetype southern blues-rock, but with the wider dynamic range possible when the band can play good, convincing acoustic blues.
The CD starts off with an uptempo slide rocker called "Don't Believe," which leads to the funky, "What She Said." "Little Susie" is next, which has a Stone's "Let It Bleed" feel, followed by "Ain't Goin' Out," a country rocker.
".32-20 Blues," which is as close as Robert Johnson ever got to a Carolinas style ragtime comes up, and is done as an acoustic blues shuffle with brushes (on drums), followed by "Sing Sing," a country (as in western) blues. A nice bluesy ballad, "Water Song," comes next, and reminds me of good Marshall Tucker, as does the gospelish "Blind Willy C."
"Judgement Day," is another acoustic blues with a "Rollin' and Tumblin'" feel, followed by the title cut, a neat Commander Cody type country song. An uptempo county rocker, "Lonesome and Blue" and a great Stone's style rocker, "Long Cold Walk" end the set.
This is a fine band, and their record is interesting in that the blues tend to be done straight and the acoustic numbers add a sense of dynamics that make the rockers seem even blusier than it would seem on the surface. This stuff is pretty compelling.
The type of music I've described could be typed as your garden variety blues rock with some acoustic blues, but it's well played and has a lot more going on in the music than usual. It'll sound great in your boombox, and would make a fitting part of an afternoon drive on an open road.
This New York City outfit continues to blend numerous influences to come up with a unique sound that lies somewhere between the city and the country. Lead vocalist Matthew Feuer has an interesting vocal style that seems to invoke a '60s folk-rock feel while including some wild slide guitar and mandolin on some of his arrangements, such as "Too Tired." Ben Fraker's electric guitar is strong. Note the solid traditional mandolin work of Robert Fraker on "Morose Irish Waltz," one of the strongest cuts on this third offering from the band. Just as good is the almost-bluesy "Got to Roll" and "California," with its Lynyrd Skynyrd spirit. Roots-rock with a twist. ~ Jana Pendragon, All Music Guide