“History Rhymes”
– Steve Howell & Jason Weinheimer featuring Dan Sumner & David Dodson
Steve Howell has accomplished that elusive goal of music archivists: making classic songs from a bygone era relevant and vital again through his recordings, publications and performances. The East Texas guitarist recently published a guide, “Fingerpicking Early Jazz Standards” (Hal Leonard Corporation) and is now set to release his eighth album “History Rhymes.” Howell is joined once again by like-minded souls - Jason Weinheimer (bass), Dan Sumner (guitar) and David Dodson (mandolin and banjo) - on a deep dive into the great American songbook. The dozen tracks explore the depths of timeless tales told in classic standards, blues, roots, rags and ballads from the first half of the 20th century, captured in an intimate acoustic setting.
The easy swing tune, ‘There’ll Be Some Changes Made,’ breezes in like a panhandle Zephyr opening the set with a breath of fresh air. The Arlen and Mercer standard, ‘Blues In The Night,’ is well known for its signature line “My Momma Done Told Me” and Howell brings out the delicacies in the melody. Fellow Texan Blind Lemon Jefferson cut the fingerpicking blues, ‘Shuckin’ Sugar,’ in 1926 and Howell pays tribute to one of his heroes with a jaunty reading of the old-timey tune. Dodson’s sweet mandolin joins Howell on the melody line of the Texas gambling song ‘Jack Of Diamonds’ and adds authenticity to the Celtic-fiddle tune ‘Frosty Morn.’ The old testament tent-revival hymn ‘If I Had My Way’ speaks truth to power with a message as relevant today as when street preacher Reverend Gary Davis recorded it.
Howell then steps into the shoes of Satchmo and Fats Waller for the saucy ragtime ‘Everybody Loves My Baby’ and delivers a tender version of Ray Charles’ hit ‘You Don’t Know Me.’ Sumner and Howell spar on majestic archtop guitars for a sophisticated take on the much loved standard ‘I Got A Right To Sing The Blues,’ showing off those jazz fingerpicking skills demonstrated in the new method book. Howell dedicates the cowboy song ‘Texas Rangers -The Falls Of Richmond,’ to his father TD “Rusty” Howell (R.I.P.) and his late great-great uncles, who also served as Texas Rangers. He then reveals more fingerpicking magic on Leadbelly’s story of the “unsinkable ship” ‘Titanic.’
The laid-back country blues ‘Pine Bluff, Arkansas’ closes the set with a gentile back-porch sway, while singing the praises of a small-town girl and the good-old days. The album title is taken from a quote from the father of American literature, Mark Twain - “History doesn’t repeat itself, but it often rhymes.” On “History Rhymes” Steve Howell honors the tradition of great American writers and their undaunted spirit.
- Rick J Bowen
Well, well, well where do you start with such and album? First off let me state a fact and that is l am a firm Steve Howell fan, and who wouldn't be? The ability to go to the first half of the last century to draw on material to record an album is such a daunting task very few artists today would even contemplate. The ability to understand and perform the material is becoming a lost art, so in reality it must be said that Steve Howell is a rare bird in Blues music today. His ability to infiltrate the song, become part of the song and be laconic enough to sing these songs is our gift. Each and every song is a standalone tour de force performance as he re-invents himself on each and every song, like a chameleon morphing into the very song itself, into the lyrics, into the sentiments, into the raw emotions and into the period. Howell is a last century back road trudging troubadour looking for a juke joint, rent party or roadhouse to sing at. That being said, he doesn't do it alone and it isn't all about his ability to merely sing these "old musty dusty songs"! Howell is one virtuoso acoustic guitarist also and once heard you will want to hear more of him. Now Howell, as l said, isn't alone on this album as he has teamed up with bassist Jason Weinheimer and l must say that l hope this is just the start of many more releases, if this is anything to go by. Add to these two most venerable gentlemen the album features fellow acoustic maestros guitarist Dan Sumner and banjo/mandolin player David Dodson. Putting all of this goodness together Steve and Jason, beautifully and lovingly produced the album, excellent work guys. The choice of material was absolutely brilliant with songs from Billy Higgins/Benton Overstreet, Harold Arlen/Johnny Mercer, Blind Lemon Jefferson, Rev. Gary Davis, Jack Palmer/Spencer Williams, Cindy Walker/Eddie Arnold, Ted Koehler/Harold Arlen, Huddie Ledbetter and Bukka White. A veritable who's who of writing brilliance in American Blues music. Throughout the album the light and shade of the album is palpable as these four artists take us on a Blues journey of discovery and if you have never joined Steve Howell in doing so may l suggest that the time is right to do so with this exquisite album. You will be amazed at the extent and breadth of the Blues you will hear and also just how much you will love it. Maybe the time is right to finally to look at your grandparents’ old record collection after all. Next thing l guarantee you will want to do and that is to go looking for Steve's previous releases and may l recommend them all. A true Blues lovers’ album and a future Blues lovers’ album. It doesn't get any better than that does it?
- Peter Merrett PBS106.7 Melbourne Australia
– Steve Howell & Jason Weinheimer featuring Dan Sumner & David Dodson
Steve Howell has accomplished that elusive goal of music archivists: making classic songs from a bygone era relevant and vital again through his recordings, publications and performances. The East Texas guitarist recently published a guide, “Fingerpicking Early Jazz Standards” (Hal Leonard Corporation) and is now set to release his eighth album “History Rhymes.” Howell is joined once again by like-minded souls - Jason Weinheimer (bass), Dan Sumner (guitar) and David Dodson (mandolin and banjo) - on a deep dive into the great American songbook. The dozen tracks explore the depths of timeless tales told in classic standards, blues, roots, rags and ballads from the first half of the 20th century, captured in an intimate acoustic setting.
The easy swing tune, ‘There’ll Be Some Changes Made,’ breezes in like a panhandle Zephyr opening the set with a breath of fresh air. The Arlen and Mercer standard, ‘Blues In The Night,’ is well known for its signature line “My Momma Done Told Me” and Howell brings out the delicacies in the melody. Fellow Texan Blind Lemon Jefferson cut the fingerpicking blues, ‘Shuckin’ Sugar,’ in 1926 and Howell pays tribute to one of his heroes with a jaunty reading of the old-timey tune. Dodson’s sweet mandolin joins Howell on the melody line of the Texas gambling song ‘Jack Of Diamonds’ and adds authenticity to the Celtic-fiddle tune ‘Frosty Morn.’ The old testament tent-revival hymn ‘If I Had My Way’ speaks truth to power with a message as relevant today as when street preacher Reverend Gary Davis recorded it.
Howell then steps into the shoes of Satchmo and Fats Waller for the saucy ragtime ‘Everybody Loves My Baby’ and delivers a tender version of Ray Charles’ hit ‘You Don’t Know Me.’ Sumner and Howell spar on majestic archtop guitars for a sophisticated take on the much loved standard ‘I Got A Right To Sing The Blues,’ showing off those jazz fingerpicking skills demonstrated in the new method book. Howell dedicates the cowboy song ‘Texas Rangers -The Falls Of Richmond,’ to his father TD “Rusty” Howell (R.I.P.) and his late great-great uncles, who also served as Texas Rangers. He then reveals more fingerpicking magic on Leadbelly’s story of the “unsinkable ship” ‘Titanic.’
The laid-back country blues ‘Pine Bluff, Arkansas’ closes the set with a gentile back-porch sway, while singing the praises of a small-town girl and the good-old days. The album title is taken from a quote from the father of American literature, Mark Twain - “History doesn’t repeat itself, but it often rhymes.” On “History Rhymes” Steve Howell honors the tradition of great American writers and their undaunted spirit.
- Rick J Bowen
Well, well, well where do you start with such and album? First off let me state a fact and that is l am a firm Steve Howell fan, and who wouldn't be? The ability to go to the first half of the last century to draw on material to record an album is such a daunting task very few artists today would even contemplate. The ability to understand and perform the material is becoming a lost art, so in reality it must be said that Steve Howell is a rare bird in Blues music today. His ability to infiltrate the song, become part of the song and be laconic enough to sing these songs is our gift. Each and every song is a standalone tour de force performance as he re-invents himself on each and every song, like a chameleon morphing into the very song itself, into the lyrics, into the sentiments, into the raw emotions and into the period. Howell is a last century back road trudging troubadour looking for a juke joint, rent party or roadhouse to sing at. That being said, he doesn't do it alone and it isn't all about his ability to merely sing these "old musty dusty songs"! Howell is one virtuoso acoustic guitarist also and once heard you will want to hear more of him. Now Howell, as l said, isn't alone on this album as he has teamed up with bassist Jason Weinheimer and l must say that l hope this is just the start of many more releases, if this is anything to go by. Add to these two most venerable gentlemen the album features fellow acoustic maestros guitarist Dan Sumner and banjo/mandolin player David Dodson. Putting all of this goodness together Steve and Jason, beautifully and lovingly produced the album, excellent work guys. The choice of material was absolutely brilliant with songs from Billy Higgins/Benton Overstreet, Harold Arlen/Johnny Mercer, Blind Lemon Jefferson, Rev. Gary Davis, Jack Palmer/Spencer Williams, Cindy Walker/Eddie Arnold, Ted Koehler/Harold Arlen, Huddie Ledbetter and Bukka White. A veritable who's who of writing brilliance in American Blues music. Throughout the album the light and shade of the album is palpable as these four artists take us on a Blues journey of discovery and if you have never joined Steve Howell in doing so may l suggest that the time is right to do so with this exquisite album. You will be amazed at the extent and breadth of the Blues you will hear and also just how much you will love it. Maybe the time is right to finally to look at your grandparents’ old record collection after all. Next thing l guarantee you will want to do and that is to go looking for Steve's previous releases and may l recommend them all. A true Blues lovers’ album and a future Blues lovers’ album. It doesn't get any better than that does it?
- Peter Merrett PBS106.7 Melbourne Australia
“Good As I Been To You”
– Steve Howell & The Mighty Men
There must be something in the wind of the Texas/Arkansas/Louisiana tri-state area that makes everyone from there wonderfully sentimental. The music and art from that region is steeped in tradition and plays out as if time has stood still for a century. Steve Howell and his quartet, The Mighty Men, are living embodiment of that charm and style of the ArkLaTex, as they prefer to honor melody and lyricism over pyrotechnics and flashy instrumentation. Lead by Howell the group returns with their third album “Good As I Been To You,” along with special guest vocalist Katy Hobgood Ray, delivering further explorations of long-hidden gems from the great American songbook. The eleven tracks, a celebration of songwriting and storytelling from the masters, run the gamut of genres from roots to blues, country, gospel and work songs from well-known originators such Lead Belly and Memphis Minnie to lesser known ones such as Arthur “Blind” Blake, all of whom have been a lifelong influence on Howell and his passion.
The Mighty Men open the set with a slinky blues romp from the 1950’s, ‘Bacon Fat,’ that features some jaggedy lead from guitarist Chris Michaels and a Doodley Wop sing-along chorus. Katy Hobgood Ray then joins Howell for a duet rendition of ‘When I Was A Cowboy’ that was first recorded by Lead Belly in 1933 and is given full band electric roots rock treatment sounding like something from the Buffalo Springfield catalog. Katy Ray leads the band through a swinging cover of Memphis Minnie’s 1930’s ragtime ‘New Dirty Dozens.’
Howell goes on to celebrate the songwriters, who created the “Brill Building Sound,” where numerous teams of professional songwriters penned material for girl groups and teen idols in the early 1960s, by covering the bubble gum pop classic from 1964 ‘It Hurts To Be In Love.’ He then gets way low down for the downtempo spacious blues ‘Come Back Baby,’ and the slow rolling Texas finger-picking ramble ‘Blues In The Bottle.’ Katy Ray steps to the mic again for a lovely update of the timeless tune ‘Easy Rider,’ with a lilting vocal, Mark Knopfler like guitar work and a forward moving groove. Howell reveals more of his love for syrupy 60’s pop by covering the Frankie Valli hit and surely one of the saddest songs of all time ‘The Sun Ain’t Gonna Shine Anymore.’ The crew lifts the mood with the inspired country blues from the Blind Lemon Jefferson archives ‘Bad Luck Blues.’ Jefferson, a fellow Texan, is considered by Howell to be “the greatest of all of the Texas blues singers.” Howell plays the role of the section boss, leading the Men though an acapella Gandy Dancer work song ‘Lining Track.’
Steve Howell is recognized as a world class blues finger style guitarist, and so pays tribute to Arthur “Blind” Blake by covering his 1927 ragtime ‘You Gonna Quit Me,’ thanking the man who inspired Howell to take up the mantle of this difficult technique and endeavoring to keep this blues alive.
– Rick Bowen, Washington State Blues writer
There used to be an ad campaign that said Texas is a whole nother country and records like this prove that to be right. Adapting yet another style for yet another recording, finger picker Howell serves up a blues set that’s not like anything you’d think of as blues. Digging deep into the indigenous songbook and coloring it with Brill Building pop, this down home back porch East Texas cat shows us how it’s done in Arklatex by white boys looking to get some hell hounds on their tails. Deliciously different, this set is going to take you places you didn’t expect and you will enjoy the ride.
– Chris Spector, Midwest Record
Love the new Steve Howell-album!
Steve Howell is a finger-picking guitarist from the Arklatex, the corner of Texas, Arkansas and Louisiana where special music always originates. Howell makes lightly sentimental jazzy blues with his quartet The Mighty Men. Guest singer Katy Hobgood Ray fits in outstandingly, as they pick some jewels from the Great American songbook, including one of the saddest songs ever written The Sun Ain’t Gonna Shine Anymore, once a great hit by the Walker Brothers, but here in a beautiful bare rendition.
They also enjoy a sense of humor, which is immediately apparent in the opening song Bacon Fat, a blues song from the fifties that got a nicely bright guitar solo by Chris Michaels, a lovely doo-wop short hit. When I was a Cowboy was recorded in 1933 by none other than Leadbelly, but gets here an electric roots rock treatment. And so it goes on, with a swinging cover of a Memphis Minnie hit, or even a bubble gum pop classic from the sixties, It Hurts To Be In Love. The variation is great, but thanks to playing delightful and fantastic arrangements, with which every song gets a completely new life, this has become a wonderful album with all kinds of jewels from the broad American pop history. Exquisite.
– Holly Moors, Moors Magazine, Netherlands
If there is one thing I have come to expect from Steve Howell over the years, it is to expect the unexpected. Even with that in mind, Good As I Been To You caught me a bit off-guard. This eclectic mix offers obscure covers along with the better known artists...and a couple numbers that blindsided me. Adding a wonderful touch to the album was Katy Hobgood Ray, whose rendition of Memphis Minnie's "New Dirty Dozens", in many ways, stole the show. I found the electric/acoustic approach refreshing and a lot of fun. Howell, like many others, takes a good tune wherever he happens to find it. Face it...too much emphasis can be put on genre, when what really matters is the quality of the song. Blues, roots, country, gospel, work songs and more blend seamlessly on this album that has the down-home sound and feel of an impromptu jam session. This is as warm and comfortable as your favorite old denim, laid back and free-flowing. Born in the traditions of the deep South, this is something that cannot be faked. What did throw me for a bit of a loop was the inclusion of Gene Pitney's "It Hurts To Be In Love" and "The Sun Ain't Gonna Shine Anymore", originally released by Frankie Valli. Still, somehow, these two tunes fit perfectly in the eclectic mix. Howell is a man who loves music...period! Good As I Been To You contains tunes that were originally recorded between 1925 and 1965. By the time that Steve and his crew are finished working their magic, they flow smoothly, sound soulful and funky, and the integrity of each has been maintained, while making the album palatable to young and old alike. Howell, as an added bonus, not only lists the tunes and their writers, but a short history on the progression of the tunes over the years, often listing other interesting renditions he has encountered. In all honesty, this disc is worthy of not only a Blues Music Award, but a KBA for the efforts to keep the history of the music alive. This one is a keeper.
- Bill Wilson
*** Track 1. - "Bacon Fat" Written by Andre Williams.
When we think of the sound of the Fortune label of Detroit in the mid to late fifties one name comes to mind and that is the king of lascivious lyrics himself one Andre Williams. Add to his voice the vocal group the 5 Dollars you have the classic Doo Wop song Bacon Fat. Howell takes that very song and re-imagines it perfectly for the twenty first century but doesn't destroy the essence of the inherent sleaziness the original possesses. Laconic and dry lead vocals from Howell bring a wonderful element to the song as does all of the band members (Michaels, Hoffpauir, Weiheimer, Hobgood Ray and Ray) providing the Doo Wop inspired backing vocals. The guitar work is stunning and cuts through the greasy fat perfectly as Howell and Michaels lay on us the withering guitar riffs as the rhythm section of Hoffpauir and Weinheimer are boisterous. Wonderful start to the album.
*** Track 2. - "When I Was A Cowboy (Out On The Western Plains). Written by Huddie Leadbetter.
Instantly recognizable as the song from icon of Blues music "Leadbelly," here Howell duets with Hobgood Ray for a laconic electric take on a song that was first recorded in 1933. Rolling along at an even pace kicking up very little dust one could quite easily see Buffalo Springfield or any such band adding this exact interpretation to their song list. Simple melodies that are very subtle but quite sublime. The poignancy of the song has not been lost at as all of Huddie Leadbetter's songs had that intrinsic pain and struggle about them so the interpretation was so important so as to not lose that very essence. Solid rhythm section from Hoffpauir and Weinheimer maintaining that required droning cadence is perfect. Howell and Michaels again provide the amazing guitars that juxtapose the age of the song with the time it was first recorded. Absolutely mesmerizing recording.
*** Track 3. - "New Dirty Dozens" Written by Lizzie Douglas (Memphis Minnie McCoy), Rufus Perryman and J. Mayo Williams.
Katy Ray Hobgood has singing duties on this fun time ragtime 1930's Memphis Minnie classic. Based on a call and response tradition of the time based on singing insults at each other called snaps. Minnie was the Queen of snaps and didn't she boast about that to all and if you didn't believe her she would start on you and bring you tumbling down. Ray has the perfect tonality for the song and her phrasing is exquisite as she rolls along with the almost staccato style of singing. Throughout the guitar is stylish but has a real sting about it with some mighty tasty reverb for good measure. Hoffpauir and Weinheimer's rhythm section is boisterous and energetic in keeping this one nicely in time. Such a fun track that leave you wanting more but with a chuckle as you listen to the lyrics realizing just how old a song it is and how it can be attributed to any time at all. Cool, cool Blues.
*** Track 4. - "It Hurts To Be In Love" Written by Howard Greenfield and Helen Miller.
I remember way back in 1964 hearing Gene Pitney singing this song and thinking wow what a song. Such was the writing talent of New York's Brill Building and the multitude of writers within. Here Howell displays a personnel affinity for the song with a wonderful tribute that is not note for note perfect to the original. Rather than do so he has stripped away that big omni-present sixties sound. His vocals display an engaging honesty and fragility that attract the listener to the interpretation as it is about the song and the performance. There is no need for mechanical intervention to polish it up as that wouldn't be true to Howell himself. The stripped back sound is sublime with muscular drumming from Hoffpauir and bass from Weinheimer. The guitars from Michaels and Howell have that reminiscent sixties jangle that is so very true to the time that l was taken back personally to a time many years ago and l was feeling mighty fine in doing so.
Track 5. - "Come Back Baby" Written by Walter Davis.
This absolutely stunning slow Blues first came to me through Ray Charles who then led me to the original by forties pianist and singer Walter Davis in 1940. It is such a pathos angst laden song that it just takes your breath away and here Steve Howell and the Mighty Men do just that. This interpretation is exquisite with the most sublime charts that allow brilliant space throughout that add to the moodiness within the mix. Throughout l found myself gasping for breath such was the intensity of the song as Howell drew on every emotion possible with his low down drawn out vocals that cast a mystical spell over the listener. The orchestration in itself is simply stunning and the spaciousness of the charts lends itself so well to the musicians to display their amazing qualities perfectly. The guitars of Michaels and Howell tear at your heartstrings taking you higher and higher then plunging you down cutting deeper and deeper into your soul. All the while Hoffpauir's drums and Weinheimer's bass are superb and deliver a masterclass of a rhythm section. The organ from Weinheimer is such an important part of the mix that it takes it to dizzying heights and soars as it takes your breath away. Just about the perfect Blues recording if you ask me. Man, so much pathos with this one.
*** Track 6. - "Blues In The Bottle" Written by Prince Albert Hunt.
As soon as this one started playing l thought "Hey, l know this one but as a fiddle track from the 1920's." That sent me into a tailspin as to what was it like originally. I spent some time delving into my collection and l found the song by Prince Albert Hunt's Texas Ramblers of 1928. Damn, it is that old. With that done it was back to Steve Howell and his beautiful finger pickin' Texas rambling version that is just so engaging. It doesn't matter when the song was written or who wrote it because if it is a good song it's a good song. This one is proof positive. Very laconic and not in a hurry to get anywhere fast the band roll along with equal intent of not getting anywhere fast. Howell's vocals amble along a dusty road somewhere in Texas in no apparent hurry to get anywhere fast but he is telling his story his way. The band ambles also with some stunning guitar that gets quite animated at times as Michaels and Howell step it up but not too much to upset the flow. As expected the rhythm section of Hoffpauir and Weinheimer are beautifully subdued but perfectly modulated for the song.
*** Track 7. - "Easy Rider" Written by Huddie Leadbetter.
Easily one of Leadbelly's most well known and covered songs. Katy Ray Hobgood takes up the singing duties once again for this absolutely stunning interpretation of the song. Lilting vocals permeate the song over a solid rhythm section of Hoffpauir and Weinheimer and exquisite guitar work that is brilliantly played by Michaels and Howell. The guitar playing gives a real atmospheric feel to the song and this belies the age of the song beautifully. The cadence of the song rolls along so perfectly that it picks you up and carries you along on a gossamer cloud of music that just envelopes you very soul. Yes, this is a soulful interpretation of a song that was first recorded about 1925. This is a version that l could just keep pressing the repeat button endlessly as there is absolutely nothing you could do to improve it. This is pure aural perfection.
*** Track 8. - The Sun Ain't Gonna Shine Anymore" Written by Bob Crewe and Bob Gaudio.
Another wonderful song from way back in my past that was released in 1965 by Franki Valli but l preferred the 1966 version by the Walker Brothers. Here Howell once again takes a song that has a special place in his life and memories and gives a rendering that is full of pathos and soul. Howell changes the phrasing beautifully and this is turn gives the song an even more sadness to it that it is even more heart breaking than before. Has there ever been a sadder song? I particularly love the way Howell has presented his vocals as they display a fragility of an art that is broken and a soul that is fragile from the pain of losing a love. Orchestration is stunning as one would expect and the prominent drumming from Hoffpauir certainly adds to the pathos of the song along with fellow rhythm section alumni Weinheimer on bass. Once again we have a masterclass on guitar as it is incredible. To say it is breathtaking would be an insult to Michaels and Howell. The subtly at times and then the exquisite flourishes just lift your soul as the vocals plunge you down to the depths of despair. This is a brilliant rendering of a beautifully written pop song that is ignored by most singers as it is just too big a song to tackle, but here Howell and the Mighty Men show just how you produce a new classic from a past classic.
*** Track 9. - "Bad Luck Blues" Written by Blind Lemon Jefferson.
Steve Howell, as a Texan you state that for you Blind Lemon Jefferson is the greatest Texan Blues singer of all time! Well sir, l have to say to you that l concur with you having been bought up on a diet of one Blind Lemon Jefferson. l'm chuffed that a great Texan with a great Texan band would chose to present one of his great Blues songs. Rambling story telling from Howell once again delivered in his trademark laconic style that has so much character about it that makes it so damn engaging. The band deliver on this one perfectly and don't overplay at all as they are sympathetic to the style and age of the song that was originally released in 1926. Sharp crisp guitar runs from Michaels punctuates the sound over a firm and quite masculine rhythm section from Hoffpauir and Weinheimer. All in all, just a joyous recording that proves what is old is new again and a great song will always be a great song.
*** Track 10. - "Lining Track" Written by Clarence Harmon.
Here Howell displays his singing genius with an a cappella-led song about the life and time of the slave and railway worker or Gandy Dancer surviving the unimaginable impossible working conditions. Brutal and harsh the only salvation was the field holler and gandy holler to help the time pass by. Howell's vocals are absolutely brilliant and beyond reproach as he nails the position of the lead caller to the slave workers. The "slave" workers made up of Michaels, Hoffpauir, Weinheimer, Hobgood Ray, and Ray provide the response in a distant darkness recorded tone adding to the destitution of the situation. Howell displays an incredible understanding of the pain and misery of the times this song was written about and his voice carries that message perfectly. This is absolutely brilliant and tugs at the heartstrings.
*** Track 11. - "You Gonna Quit Me" Written by Arthur "Blind" Blake.
As a finger picking style guitarist Howell completes this brilliant album with a tribute to arguably one of the finest of all the Blues finger pickers and that is Florida's "Blind" Blake. When you can play the style as well as Howell, then why not as this very difficult style is not one that is all that prominent with guitarists these days, so we are so very thankful for Steve Howell. This one revels in Howell's laconic vocals that are perfectly suited to a song that was first recorded ion 1927. It was perfect then and this is perfect now and that is the skinny. The guitar playing just mesmerizes the listener as Howell weaves a web around the listener as the band subtly support him but never over play so as to make this one all about the song, Howell's voice and guitar. There is such a calming feel about the song and a feel-good vibe that just makes you want much more but alas there is no side two. Maybe there can be a "Good As I Been To You Part 2".
Where do you start when you have just had the pleasure of listening to the sheer genius of Steve Howell and the Mighty Men's latest album "Good As I Been To You?" First thing l want to say is that l feel so very relaxed and happy having been totally entertained in every way possible. This is an album that displays Blues as it was, as it is and as it should be. Pure! What an album. l just kept pressing the replay button over and over on track after track as everyone was a revelation. Howell has carefully chosen songs that have made an impact on his life and many feature from his home state of Texas. Not afraid to wear his heart on his sleeve he has chosen some very sad songs even including one of the saddest from the sixties. It didn't matter whether the song was first composed and recorded in the 1920's as it was all about the brilliance and relevance of the song and each and every selection will have an instant impact on every listener to the album. An album this good doesn't just happen and along with Howell on guitar and vocals we have these amazingly talented members of The Mighty Men - Chris Michaels on guitar and vocals, David Hoffpauir on drums and vocals, Jason Weinheimer on electric bass and vocals, Katy Hobgood Ray on vocals, and Dave Ray vocals. This is a serious talented outfit that shine on this album and their performance is absolutely faultless. There may be no original songs on the album but for me that is not a black mark against it as the songs chosen and the explanation on the albums liner notes clearly define the reason for each and every songs inclusion. There are no weak tracks or out of place songs as this is a carefully crafted album that every Blues fan will crave to have in their collection. If you haven't heard the Blues before then listen to this one and you will be a convert instantly.
There we have it. All l have to say about this one is l've died and gone to heaven. Steve Howell never fails to deliver an album of genius. This is a work of Blues art.
- Peter Merrett, PBS106.7, Melbourne Australia.
Steve Howell is from the area around the Arklatex. That region is steeped in tradition and so is Howell’s music. Howell finger picks the guitar and usually is content to recreate traditional country blues.
This is Howell’s eighth album overall. Several albums ago he renamed his band The Mighty Men and this is his third album with the new name. The Mighty Men include Howell, acoustic and electric guitar and vocals; Chris Michaels, electric guitar and vocals; Dave Hoffpauir, drums and vocals; Jason Weinheimer, electric bass, organ and vocals; and the two newest members vocalists Katy Hobgood Ray and Dave Ray.
Sometimes however Howell covers time honored pop tunes thereby reintroducing them as tradition. In that sense he is a songster. Smithsonian Folkways defines a songster as both a “keeper of tradition …and tradition’s worst enemy, contaminating local tradition with modern popular music”. It sounds like a bad thing but it’s not. Howell possesses a warm voice similar to Elvin Bishop and his albums are collections of tunes almost forgotten. Howell recognizes the emotions within the songs.
Howell is a historian and he breaks down the songs origins on the liner notes. Howell celebrates the composers and arrangers of the “Brill Building Sound”. The building at 1619 Broadway housed recording companies which became hit factories for girl groups and teen idols. He covers two of these songs: Gene Pitney’s “It Hurts To Be In Love” written by Howard Greenfield and Helen Miller; and “The Sun Ain’t Gonna Shine Anymore” written by Bob Crewe and Bob Gaudio, and recorded as a single by Frankie Valli in 1965.
“Bacon Fat” written and originally recorded by Andre Williams in 1957 was also cut by Doug Sahm and Jesse Edwin Davis. “When I Was A Cowboy(Out On The Western Plains)” written by Leadbelly was a favorite of mine when it was waxed by The Jim Kweskin Jug Band. Another Leadbelly tune “Easy Rider” is beautifully sung by Katy. Walter Davis’ “Come Back Baby” was recorded by Lightnin’ Hopkins and Ray Charles among others. Also covered are songs from Memphis Minnie, Blind Lemon Jefferson, and Arthur “Blind” Blake; in fact the album’s title comes from a line in Blake’s song “You Gonna Quit Me Baby”.
This is another great album from Howell who seems to get better with age.
- Richard Ludmerer, Makin’ A Scene
My Texan brother Steve Howell's new album with the Mighty Men and Katy Hobgood Ray. I've already got far more favorite tracks on this album than it's reasonable to have. This is Steve's voice making it sound like all you have to do is open your mouth and let it out. Yeah, as if!
He is a master guitarist no matter what he picks up, and the Mighty Men and Katy Hopgood, great to hear her on this album, are the business. Chris Michaels is a great guitar player and his guitar could be Steve's voice's electric brother. Jason Weinheimer nails the vibe and the pulse on every number and it's no wonder he was over in Europe recently playing bass guitar for Shelby Lynne and Alison Maurer. On drums we have the legend that is David Hoffpauir; Arkansas's answer to Jim Keltner and possibly one of the loveliest people on this planet of ours. These people are living proof that we need to get over our national tendency to stereotype. With Katy Hobgood Ray sharing vocal honours in style and Dave Ray adding to the vocal lineup, this album is as cool as it can possibly get. The art work is spot on.
– Anthony Peter Cottrell, Southampton, England
I confess to being taken aback (personally, not critically) when I heard the electric guitars in all these tracks. Steve has done such a nice job of providing us blues programmers with quality acoustic songs for airplay – and those things are in short supply, at least in my mailbox. However, the album stands quite nicely on the pleasantness of the grooves and tasty usage of well-toned amps involved. Katy Ray’s vocals are a nice addition to the band. These and a number of the other tracks will begin seeing airtime on WJAB.
– Dave, WLRH/WJAB, Huntsville, AL
Although passionate about almost all styles of music, Steve Howell has a love for jazz and rural blues. This interest has led him to do many covers, some forgotten, that he's dusted off and he presents us with 11 examples of these on this record. In this digipak, the rural blues panel is highlighted with pieces that date back to the last century, the '20s and the '60s. The instruments played are of a certain age, the recording was done on tape and the resulting well-rounded sound is really pleasing. Second guitar and bass are played by Chris Michaels, organ by Jason Weinheimer and drums by Dave Hoffpauir. Katy Hogbood Ray laid down her clear, sweet vocals on several of the tracks. Incidentally, this texture is heard more in country music than in the blues. Listening to this record brings out a feeling of tranquility and calm a little like listening to a J. J. Cale record. An added extra is that the origin of each song is explained. There are tracks like "Bacon Fat" by Andre Williams; "When I Was A Cow Boy" and "Easy Rider" by Huddie Ledbetter (sung by Katy Hogbood Ray); "Blues In The Bottle" by Prince Albert Hunt; "It Hurts To Be In Love", a pop success in the '60s which was immortalised by Gene Pitney; "Lining Track" by Clarence Harmon, a call/response style a cappella song; "Bad Luck Blues" by Blind Lemon Jefferson and more. Take your time and enjoy this record comfortably seated in a rocking chair. It's summer, make the most of it.
– Blues Again (France)
Steve Howell is one of the classic guitarist/storytellers on the scene today. With his quartet, The Mighty Men, they specialize in traditional blues from their native home base of the tri-state area known as the “ArkLaTex,” preferring melody and lyrics over flash and panache.’ Their latest outing, and third overall, is entitled, “Good As I Been To You,” this one featuring the added vocals from Katy Hobgood Ray. The eleven cuts on this one are varied, unique, rare gems that have always been favorites of Steve. They include contributions from Leadbelly, Blind Blake, Memphis Minnie, and Steve’s favorite of all the Texas blues men, Blind Lemon Jefferson. Let’s get into it all….
The set opens on a humorous note, with an Andre’ Williams chestnut, and “that sound that’s sweepin’ the South,” the “diddley-wop” chorus of “Bacon Fat.” Steve and Katy make excellent duet partners on Leadbelly’s ode to a legendary run-in with Jesse James, “When I Was A Cowboy Out In The Western Plains). Katy, herself a noted children’s authoress, tackles the playfully-naughty Memphis Minnie blues of the “New Dirty Dozens,” including the tale of the tomcat and the sewing machine! She returns a bit later for a mesmerizing, reverential read of Leadbelly’s country-blues of “Easy Rider.”
Steve offers up a couple of nice takes on two songs that helped define Sixties’ pop music, first with Gene Pitney’s “It Hurts To Be In Love,” and Frankie Valli’s “The Sun Ain’t Gonna Shine (Any More), a sad tale of a love seemingly lost forever.
Our favorites closed the proceedings. First, Steve and all the Mighty Men take the field recording, “Lining Track,” (a railroad term), to dazzling heights, presenting it here as it likely was written, in a totally a cappella performance. The set proper ends with what plays out to be the title track, “You Gonna Quit Me Baby, good as I been to you,” originally done by Arthur “Blind” Blake. This one has a “loose” feel, likely from Blake’s affinity for the ragtime piano playing he incorporated in his guitar lines. Steve captures that essence and spirit perfectly!
Steve Howell And The Mighty Men continue to bring fans the best in stories-in-songs from the masters of the blues. “Good As I Been To You” carries on this most excellent tradition! Until next time.
- Sheryl and Don Crow, The Nashville Blues Society.
Steve Howell, originally from Marshall, Texas, is a fingerpicking virtuoso. Together with his quartet The Mighty Men, Howell produces beautiful and exciting blues with a jazzy edge. Marshall is located in the three-state area of Texas, Arkansas and Louisiana. Traditions permeate the music and art coming from that region, the music takes place as if time has stood still for a century. Steve Howell and his quartet, The Mighty Men, are a living personification of the charm and style from the ArkLaTex. They also prefer melody lines and lyrics over pyrotechnics and flashy instrumentation. In 2013 they had the equally stunning hit 'Yes, I Believe I Will' in the record racks. Now they proudly promoted the new 'Good As I Been To You'. Guest vocalist Katy Hobgood Ray is here as a safeguard for the sound. The opening track 'Bacon Fat' is a blues song from the fifties that has been colored with Chris Michaels’ nice guitar riffs. Lead Belly's 'When I Was A Cowboy' from 1933 is also given its own electrified arrangements here, and now it is a stunning duet with Katy Ray. Memphis Minnie actually got the ragtime swinging 'New Dirty Dozen'. And the pop classic 'It Hurts To Be In Love' can also convince us, just like 'The Sun Ain’t Gonna Shine Anymore', which was once a big hit for The Walker Brothers. Steve Howell's slow-paced version is played here to reflect the spirit of the album. After the slow blues songs 'Come Back Baby' and 'Blues In The Bottle', Katy comes to surprise us again with her song 'Easy Rider'. Steve takes the vocal lead in the country blues 'Bad Luck Blues' from Blind Lemon Jefferson. The tune 'Lining Track' is a gospel and worker song that can charm us. Just like ‘You’re Gonna Quit Me Baby’, an original from Arthur ‘Blind’ Blake from 1927, which is inspired by the deep Delta blues and played with the blues fingerpicking style.
- Philip Verhaege (4 ½ stars out of 5), Keys and Chords Magazine (The Netherlands)
I reviewed Steve Howell & the Mighty Men's Friend Like Me here on 21 November 2015. I liked it a whole lot. It wasn't just the good songs (from blues and folk traditions) but the attitude: no pretense, a wonderfully attractive groove, Howell's casual, back-porch vocals. Electric bands have played this kind of material many times, obviously, but Howell and compadres find a way to do it that sounds as perfectly attuned to the heart of this music as one could wish for.
This time around, a Mighty Woman, Katy Hobgood Ray, joins them, and things get even more inspired. Maybe you think you've heard "Easy Rider" countless times as done by everybody from Lead Belly to anonymous bar bands, but you will want to hear what she and the boys do with it over 6:20 gloriously revelatory minutes. You may have to lie down afterwards. They take you places that you didn't know were there.
On another subject, though: that title. If you know anything that is likely to concern a Rambles.NET reader, you know that Bob Dylan recorded Good As I Been to You in 1992. Like this Good As I Been to You, it assembles a line-up of venerable trad and near-trad songs. One of them, Blind Blake's "You're Gonna Quit Me Blues" (1927), provides the title line. I have no idea what Howell had in mind, though I have no quarrel with his handling of the song itself, as able as Dylan's. Whatever may have motivated him, I do hope Howell knows what he's doing. Though Dylan has committed major felonies -- that's intentional hyperbole, Bob -- where musical (and other artistic) theft is concerned, he is notably devoid of humor or collegiality when someone else presumes to adapt any idea, however inconsequential, of his own. Maybe Howell should have reworked the title to Strange As You Been to Us.
There is one short of a dozen cuts. I am fond of nearly every one of them, especially though not confined to Blind Lemon Jefferson's "Bad Luck Blues" and Lead Belly's "When I Was a Cowboy (Out on the Western Plains)," recognizable enough but done irresistibly here. Therefore, I lapse into grumpiness only reluctantly, in full awareness that my continuing allegiance to certain cheesy pop songs of my youth is as without rational foundation as Howell's. But jeez, really ... the old Gene Pitney hit "It Hurts To Be in Love"? Hearing it now reminds me (1) it's been a long time since the last time, and (2) the song in the original barely exists as anything but a testament to bombast, both Pitney's ear-piercing vocal and the beat-the-point-to-a-bloody-pulp production. Well, at least now it won't be on the next Steve Howell album.
– Rambles.net
Steve Howell and The Mighty Men bring blues history to life
Steve Howell and The Mighty Men are firmly rooted in the rural acoustic blues and traditional jazz of the American South. This newest release, Good As I Been To You, like its predecessors, takes classic blues and pop and, while keeping the ethos of the originals, gives them a shake and injects new life into some classics and some surprising choices.
Born in Marshall, Texas, Steve moved around the States before joining the navy, which resulted in a posting to Haverfordwest, South Wales, for 3 1/2 years. During this time, he played folk clubs in South Wales and the South of England. I would call Howell a musical historian as he obviously has a wealth of knowledge about the birth and development of the blues, and he uses this to carefully select the songs he is going to interpret.
The album opens with Bacon Fat written and originally recorded by Andre Williams in 1957, although this version owes more to the Sir Douglas Quintet cover from 1965. With an Alex Harvey like delivery, this blues meets R ’n’ B is blessed with perfect guitar picking…it matches this ‘reimagining’ brilliantly, as Steve speak/sings the verses and is joined by the band for the ‘diddly wop’ chorus. Led Belly’s superb When I was a Cowboy (Out on the Western Plains) is closer to Huddie’s original than, (some would say) the most recognised cover by Rory Gallagher. I say close to the original even though the Mighty’s employ electric guitar and they turn it into a duet with Katy Hobgood providing a great counterpoint. It still retains the pace and structure that Led Belly laid down. Howell even puts in a great guitar solo and this is now my preferred version! New Dirty Dozens sees Katy, quite rightly, take lead vocals for this Memphis Minnie cover. As with a lot of Minnie’s songs, the lyrics are an innuendo-filled delight. Take the lines, “Now the funniest thing I ever seen, tomcat jumping on a sewing machine; Sewing machine it run so fast, took 99 stitches in his yas, yas, yas” for example… make of that what you will. I love artists like Minnie who prove that the blues has a wicked sense of humour, and is not all sadness and despair. Katy does this track more than justice while the band injects a lively laziness to the backing (that oxymoron will make sense when you hear it). A surprise ‘pop’ song next as Steve delivers a remarkable version of the Greenfield/Miller composition, made famous by Gene Pitney in 1964. Steve’s version of It Hurts To Be In Love sounds like it was recorded in the 60s, but with a modern clarity: the jangling guitar solo is a case in point. His vocal wavers a bit, but it still fits with this reworking. Come Back Baby was first released in 1940 by Walter Davis and has seen covers by loads of people from BB King to Clapton to The Lords of Altamont! Here it becomes an acoustic master class in the early blues/soul fusion. The solo, however, is a beautiful laid back electric insertion. Blues in the Bottle is classed as ‘Traditional’ and first saw the light of day in 1928 on a recording by Prince Albert Hunt’s Texas Ramblers, although its most famous incarnation is probably the version by The Lovin’ Spoonful in 1965. This version is a little more countrified with an infectious, unexpected beat. Often attributed to Led Belly, Easy Rider is actually by Gertrude ‘Ma’ Rainey and first appeared in 1924. Always a cause of confusion, this is often confused with C C Rider or See See Rider. Whilst they are similar, the phrase ‘Easy Rider’ referred (in those days) to an unfaithful lover and, as often the case, the lyrics use plays on words so that easy can easily become see, see or C C. Either way, and lyrical variations aside, perceived wisdom is that they all stem from Ma Rainey’s original. The Mightys take it and give it a 60s pop ‘vibe’ with the layered guitars and then the vocals of Katy again making it hers (and making it truer to the original than any other version I have heard). Next up is another ‘pop’ song, this time a Crewe/Gaudio composition that was a hit for Frankie Valli in (again) 1965. The Sun Ain’t Gonna Shine Anymore has such a recognisable refrain that this could easily wander into the land of mawkish… in this band’s hands, however, it certainly does not. Slower and way more subtle than Valli did it. Not my favourite here, but much better than the pop version. Bad Luck Blues was originally by Blind Lemon Jefferson and released in 1927: many have since covered it, but most notable for me, are the BB King and Janiva Magness versions. The timbre of the guitars on the intro is bang on target, and the rest follows a similar sympathetic attitude. Another picked solo (on electric) make it different while retaining the BLJ essence.
Lining Track is a traditional work song, but not the Led Belly, Bernie Marsden, Aerosmith one…this is also known as Lovers Is You Right and the first appearance of was on the famed Cortez Reece field recordings of 1949-53. Those recordings list Clarence Harmon as the performer, although nothing much is known about Clarence. This is a close interpretation as the band does it entirely in acapella and it is drenched in the history of this type of call and response type of song…it has a deep magic when you take on board the circumstances of the people who performed them and the massive impact they had on the music which followed. The final track is You’re Gonna Quit Me Baby by the wonderful Arthur Blind Blake: this one dates back to 1927 and has again been covered by many: perhaps most famously Bob Dylan, who also took the ‘Good As I Been To You’ line from this song and used it as an album title. It has a loose feel, reflecting Blake’s attraction for the ragtime piano motifs he integrated into his guitar playing. This version captures that essence and spirit perfectly!
So this is an album of supreme blues interpretation; few artists try to imbue their covers with the definitive spirit of the age in which they were conceived, but Howell and co. most certainly do, and they do it brilliantly. I could have done without the Franki Valli and maybe the Gene Pitney, but the rest is so startlingly good I will forgive them…this time! It is an album of education and discovery and deserves a listen.
– Tom Dixon, Bluesdoodles (UK)
A prolific artist if there ever was one, Steve Howell is a Texas musician who is known for his particularly engaging fingerpicking, his flawless voice and his various albums that find their way onto playlists not only in the United States but also all over Europe which will give him his pick of first-rate venues in which to perform. Raised on Americana and country blues, the artist was heavily influenced by the music of his own golden triangle with points in Louisiana, Arkansas and Texas and is releasing a new album recorded with his Mighty Men: Chris Michaels on guitar, Jason Weinheimer on bass and organ and Dave Hoffpauir on drums, along with Katy Hobgood Ray and Dave Ray on vocals. Dipping cheerfully from the traditional repertoire and adapting them to his own style, Steve Howell employs great ingenuity in offering us known and lesser known pieces, all of which reveal genuine care in their interpretation, borrowing from Leadbelly, Blind Blake, Memphis Minnie or even Blind Lemon Jefferson and adopting them as his own with a mixture of poise, class and talent, giving Katy Hobgood Ray the lead vocals on the beautiful "Easy Rider" and delighting his loyal fans with passionate titles such as "Bacon Fat,","When I Was A Cowboy (Out On The Western Plains)," "Come Back Baby," "The Sun Ain’t Gonna Shine (Anymore)," "Bad Luck Blues" and, of course, the excellent "You Gonna Quit Me Baby" which closes out the album on quite a subtle note. Packed with beautiful notes and beautiful songs as much for new audiences as for fans of authentic blues, "Good As I Been To You" is one album that would be a shame to not have in your music library if you appreciate excellent picking.
– Fred Delforge, Zicazine (France)
You’ve never heard the blues done like this before. Mixing blues standards from the 20s, 30s, 50s and 60s, Steve Howell and the Mighty Men take you on a blues history tour, featuring songs by the founders of the blues like Arthur “Blind” Blake, Lead Belly, and Memphis Minnie, as well as blues remakes of pop classics like Gene Pitny‘s “It Hurts to be in Love” and Frank Valli’s “The Sun Ain’t Gonna Shine (Anymore).” This one is unique and well done, and would make an excellent addition to your musical library.
Recommendation: You should definitely check this one out.
- Bob Leggett, Indie Voice blog, lamusiccritic.com
East Texas guitarist Steve Howell and the Mighty Men are back again, delivering their versions of classic Americana songs, ranging from Lead Belly’s When I Was A Cowboy (Out On The Western Plains) to Bob Crewe and Bob Gaudio’s The Sun Ain’t Gonna Shine Anymore. Howell is a world-class blues finger picker, and he’s joined by Chris Michaels on lead guitar, Dave Hoffpauir on drums, Jason Weinheimer on bass and organ, and Katy Hobgood Ray and Dave Ray on vocals.
The album opens with a swampy, funky, choogling version of Andre Williams’ tune Bacon Fat. Michaels’ lead guitar sizzles as Howell fries up a mess of fatback blues with his vocals. Katy Hobgood Ray and Howell turn in a slow-boiling version of Lead Belly’s When I Was A Cowboy (Out On The Western Plains); the sonic structure of this version resembles the songs of Eric Burdon and The Animals. Katy Ray delivers a lively, sprightly roots ramble on Memphis Minnie’s New Dirty Dozens (sic); Howell’s guitar work and the lilting tempo of the song recall the work of Bruce Robison and Kelly Willis. The band’s slowed-down version of the Gene Pitney hit It Hurts To Be In Love invites us out on the floor for a slow dance. Blues In The Bottle, written by Prince Albert Hunt, opens with a riff resembling Reverend Gary Davis’ version of Keep Your Lamps Trimmed and Burnin’. Howell and the Mighty Men’s slow-burning folk-blues version recalls the fingerpicking of Jorma Kaukonen, David Bromberg and Larry Campbell; the song is the highlight of the album. Ray tackles Lead Belly’s Easy Riderin lilting, radiant vocals, backed by the cascading fingerpicking of the guitars. The quiet beauty of the song shines brightly in this version. The band slows down the pop hit The Sun Ain’t Gonna Shine (Anymore), but this version will take a little time to grow on its listeners. The album closes with the acoustic jazz blues of You Gonna Quit Me Baby, a moving little tune written by Blind Blake.
There’s no question that Steve Howell and the Mighty Men are good to us and are treating us to fine blues on Good As I Been To You. The band knows how to get inside these songs and turn them inside out, delivering new versions that preserve the beauty and power of the originals while sharing new musical discoveries in these versions.
– Henry L. Carrigan, Jr., Living Blues Magazine
“I have received tremendous feedback on the Steve Howell & the Mighty Men.”
- David Roman 2SSRFM 99.7, FM, The Mystery Train, Australia
I just had the opportunity to review the most recent release, Good As I Been To You, from Steve Howell & The Mighty Men featuring Katy Hobgood Ray and it's freshly familiar. Opening with 50's blues rocker, Bacon Fat, Howell leads on vocal and guitar with Chris Michaels on guitar, Dave Hoffpauir on drums, and Jason Weinheimer on bass and setting a strong groove. On Memphis Minnie's New Dirty Dozen, Katy Hobgood Ray takes the mic and her vocals blend nicely with the throaty guitar work of Howell. Walter Davis' Come Back Baby has a smooth approach, along the lines of Eric Clapton and Howell's vocals are perfect with just the touch of guitar. One of my favorite tracks on the release is Blues In The Bottle with it's ideal symmetry. Howell's vocals are smooth and the backing guitar, bass and drums are spot on. A lightly salted guitar solo by Howell tops off the track nicely. Wrapping the release is Blind Blakes You Gonna Quit Me played in easy shuffle style. Howell sounds as relaxed as a bluesman gets and his guitar work, paired with Michaels' really matches the pace nicely. A cool contemporary blues release.
– Bman’s Blues Report
Once again, Steve and the boys (with a little help on vocals from Katy Hobgood) has done it again! Taking a collection of somewhat disparate songs and gelling them together into a gentle, harmonious and compelling set of mellifluous tunes. Lo-Fi it is not! These eleven eclectic numbers range from sixties pop to classic blues from the early twenties. On Huddie (Leadbelly) Ledbetter’s “When I Was A Cowboy (Out on The Western Plains)” Katy joins Steve in an extremely enticing, mellow duet, which concerns a chance encounter with Jesse James and Buffalo Bill, drums and guitar are in such good sync that one can actually imagine oneself astride a horse alongside the characters. On ‘Memphis Minnie’s’ “New Dirty Dozens”, Katy takes lead vocals and instils within it a somewhat enticing, saucy warmth. Throughout the album the music has a gently soothing and almost horizontal sweeping feel about it. This can be fully appreciated on Gene Pitney’s “It Hurts To Be In Love”, where Steve successfully swops the original punching drama, for a more emotion filled forlornness. Another fine example of the reworked pop hit is the Frankie Valli and later Walker Brothers hit “The Sun Ain’t Gonna Shine Anymore”, here Steve strips everything away except for a melancholy guitar that is paired with sparse and morose brushwork, his version, actually does wring out more feeling than the originals. The original acappella work song from Clarence Harmon that is “Lining Track”, (which takes its name from the straight section of railway track that was laid by the first railway builders) is a call and response number that Steve maintains, as he recalls and intones the original sentiments of those early sweat soaked and driven workmen. This version of Arthur ‘Blind’ Blake’s “your Gonna Quit Me Baby”, adheres strictly to the original and is all the better for it. The clarity of enunciation and the emotion behind the lyrics gives one, serious food for thought.
Greatly endorsed!
- Brian Harman
East Texas guitarist Steve Howell and the Mighty Men are back again, delivering their versions of classic Americana songs, ranging from Lead Belly’s When I Was A Cowboy (Out On The Western Plains) to Bob Crewe and Bob Gaudio’s The Sun Ain’t Gonna Shine Anymore. Howell is a world-class blues finger picker, and he’s joined by Chris Michaels on lead guitar, Dave Hoffpauir on drums, Jason Weinheimer on bass and organ, and Katy Hobgood Ray and Dave Ray on vocals.
The album opens with a swampy, funky, choogling version of Andre Williams’ tune Bacon Fat. Michaels’ lead guitar sizzles as Howell fries up a mess of fatback blues with his vocals. Katy Hobgood Ray and Howell turn in a slow-boiling version of Lead Belly’s When I Was A Cowboy (Out On The Western Plains); the sonic structure of this version resembles the songs of Eric Burdon and The Animals. Katy Ray delivers a lively, sprightly roots ramble on Memphis Minnie’s New Dirty Dozens (sic); Howell’s guitar work and the lilting tempo of the song recall the work of Bruce Robison and Kelly Willis. The band’s slowed-down version of the Gene Pitney hit It Hurts To Be In Love invites us out on the floor for a slow dance. Blues In The Bottle, written by Prince Albert Hunt, opens with a riff resembling Reverend Gary Davis’ version of Keep Your Lamps Trimmed and Burnin’. Howell and the Mighty Men’s slow-burning folk-blues version recalls the fingerpicking of Jorma Kaukonen, David Bromberg and Larry Campbell; the song is the highlight of the album. Ray tackles Lead Belly’s Easy Riderin lilting, radiant vocals, backed by the cascading fingerpicking of the guitars. The quiet beauty of the song shines brightly in this version. The band slows down the pop hit The Sun Ain’t Gonna Shine (Anymore), but this version will take a little time to grow on its listeners. The album closes with the acoustic jazz blues of You Gonna Quit Me Baby, a moving little tune written by Blind Blake.
There’s no question that Steve Howell and the Mighty Men are good to us and are treating us to fine blues on Good As I Been To You. The band knows how to get inside these songs and turn them inside out, delivering new versions that preserve the beauty and power of the originals while sharing new musical discoveries in these versions.
– Henry L. Carrigan, Jr., Living Blues Magazine
Steve Howell – Good as I Been to You
CD Review – June 2018
Blue Barry – Smoky Mountain Blues Society
For all of you slow, easy, good-time blues lovers, ragtime enthusiasts, and just beautiful listeners, here’s a summer treat for you! Steve Howell and the Mighty Men, featuring Katy Hobgood Ray, has a new album called “Good as I Been To You.” If you don’t know Steve Howell & the Mighty Men, it’s about time you got acquainted! Steve has been singing, playing just wonderful finger-picking blues and jazz for over forty years, and has been a regular on radio stations in the US and abroad! This is his sixth CD, and as usual he nails those brilliant guitar riffs, and that soft easy voice just makes you follow along like a little puppy after a kid with bacon! Hailing from East Texas his renditions of great songs on this CD include two by Leadbelly, “Easy Rider,” and “When I was a Cowboy (Out on The Western Plains”! He also pays tribute to Blind Lemon Jefferson on “Bad Luck Blues,” and to my hero, Blind Blake, on an old ragtime version of “You Gonna’ Quite Me” first recorded in 1927! Steve’s soft sweet fingerstyle picking could go unnoticed unless you really pay attention. He is phenomenal! Chris Michaels plays guitar as well as vocals, and has been out there since the early eighties! Dave Hoffpauir plays drums, and helps with vocals, and has played professionally since 1982. He’s been playing with Steve for over 30 years now. Jason Weinheimer plays bass, organ, and vocals and owns and operates Fellowship Hall Sound in Little Rock, Arkansas. Jason has played with Steve for over 20 years as well. Dave Ray also shares vocals, and Katy Hobgood Ray just does an outstanding job on vocals as well! She is a singer-songwriter, a children’s author, and producer of a kids show featuring stories from Louisiana. She has also worked as a radio host and content producer for NPR’S Red River Radio. Go to www.stevehowell.ws for more info. This CD is available at Amazon and ITunes, so it’s release date is June 22nd. Don’t hesitate to check it out. Glad to be of help.
- Blue Barry, Smoky Mountain Blues Society
Steve Howell and The Mighty (Men featuring Katy Hobgood Ray)
Good As I Been To You Out Of The Past Music 00TP 009
Once again, Steve and the boys (with a little help on vocals from KatyHobgood) has done it again! Taking a collection of somewhat disparate songs and gelling them together into a gentle, harmonious and compelling set of mellifluous tunes. Lo-Fi it is not! These eleven eclectic numbers range from sixties pop to classic blues from the early twenties. On Huddie (Leadbelly) Ledbetter’s “When I Was A Cowboy (Out On The Western Plains)” Katy joins Steve in an extremely enticing, mellow duet, which concerns a chance encounter with Jesse James and Buffalo Bill, drums and guitar are in such good sync that one can actually imagine oneself astride a horse alongside the characters. On ‘Memphis Minnie’s “New Dirty Dozens”, Katy takes lead vocals and instils within it a somewhat enticing, saucy warmth.
Throughout the album the music has a gently soothing and almost horizontal sweeping feel about it. This can be fully appreciated on Gene Pitney’s “It Hurts To Be In Love”, where Steve successfully swaps the original punching drama, for a more emotion filled forlornness. Another fine example of the reworked pop hit is the Frankie Valli and later Walker Brothers hit “The Sun Ain’t Gonna Shine Anymore”, here Steve strips everything away except for a melancholy guitar that is paired with sparse and morose brushwork, his version, actually does wring out more feeling than the originals. The original a-cappella work song from Clarence Harmon that is “Lining Track”, (which takes its name from the straight section of railway track that was laid by the first railway builders) is a call and response number that Steve maintains, as he recalls and intones the original sentiments of those early sweat soaked and driven workmen. This version of Arthur ‘Blind’ Blake’s “You’re Gonna Quit Me Baby”, adheres strictly to the original and is all the better for it. The clarity of enunciation and the emotion behind the lyrics gives one, serious food for thought.
Greatly endorsed!
- Brian Harman (Blues In The South, United Kingdom)
I came up with a name for the music on this album in no time. "Relaxation Blues" is the term I invented. The new album by Steve Howell and the Mighty Men is completely full of warm, super-laidback blues. This is the third album by the band from Texas with Steve Howell (vocals, guitar), Chris Michaels (guitar), Dave Hoffpauir (drums), Jason Weinheimer (bass) and guest singer Katy Hobogood Ray.
It has been a long time since I came across such a relaxed album. All songs on this album are covers but they are all transformed into laidback, relaxed songs.
It starts with Bacon Fat, which is originally from Andre Williams. Here it is a delightfully laidback, blues song with sleepy vocals and piercing guitar. The chorus automatically invites you to sing along, despite the strange lyrics (or precisely because of that!). The cover of Lead Belly's When I was a Cowboy (Out On The Western Plain) is super relaxed with a sound that would fit somewhere between J. J. Cale and Mark Knopfler. Steve sings a duet with Katy Hobogood Ray. Katy sings the cover of the Memphis Minnie number New Dirty Dozens. Her voice adds a light country touch to this song.
The cover of the Gene Pitney hit It Hurts to Be in Love is a real surprise. Of course it also gets a languid performance with a sound that reminds me of The Searchers with sultry background vocals by Katy. Come Back Baby, written by Walter Davis, is best known for performances by Ray Charles and Eric Clapton. In the hands of Steve Howell it is a subdued semi-acoustic blues shuffle with warm humming bass and sparkling guitar work. The song shuffles along slowly. The cover of the Prince Albert Hunt song Blues in the Bottle could have come from a J.J. Cale album with his lazy bluesy guitar work.
Katy Hobogood Ray then sings the Odetta song Easy Rider, which has been transformed from a folk number into a slow J.J. Cale-like shuffle. Again surprisingly, the cover of the Walker Brothers hit The Sun Ain't Gonna Shine (Anymore), which is stripped of all the bombasts leaves a warm intimate ballad. Equally surprising is the a capella performed cover of Lead Belly’s work song Linin’ Track.
Steve closes the album in style with a softly heaving cover of the Blind Blake song You Gonna Quit Me Baby with a warm jazzy sound.
This album is most definitely recommended for fans of intimate blues or fans of J.J. Cale and Mark Knopfler.
– Peter Marinus, Blues Magazine (Netherlands)
A lesson in interpretation, style, and ambiance – that’s the new album by Steve Howell & The Mighty Men. Originally from the traditional acoustic blues scene, which of course includes folk and early jazz, Howell is one of the most gifted fingerpicking-style guitarists. For his new album, he has collected eleven gems from the range of classic blues, pop, hokum, and worksongs. And he interprets them – as already mentioned – extremely brilliantly. For example, there is Andre Williams’ rattling “Bacon Fat” from 1957 – and also two Leadbelly and a Memphis Minnie classic. Also featured is the “Bad Luck Blues” by the pioneering Blind Lemon Jefferson – and “You Gonna Quit Me” by Arthur “Blind” Blake – both from the 1920s. But with a twinkle in his eye and a lot of pep, Howell also takes us on a journey through the decades of American music history – with the chart-toppers “The Sun Ain’t Gonna Shine Anymore” by Frankie Valli (or the Walker Brothers) and “It Hurts to Be in Love” (Gene Pitney). Retro without mercy and relaxed, but also incredibly fascinating – and somehow ultramodern in a way!
- Marco Piazzalonga, Jazz 'N' More (Switzerland)
– Steve Howell & The Mighty Men
There must be something in the wind of the Texas/Arkansas/Louisiana tri-state area that makes everyone from there wonderfully sentimental. The music and art from that region is steeped in tradition and plays out as if time has stood still for a century. Steve Howell and his quartet, The Mighty Men, are living embodiment of that charm and style of the ArkLaTex, as they prefer to honor melody and lyricism over pyrotechnics and flashy instrumentation. Lead by Howell the group returns with their third album “Good As I Been To You,” along with special guest vocalist Katy Hobgood Ray, delivering further explorations of long-hidden gems from the great American songbook. The eleven tracks, a celebration of songwriting and storytelling from the masters, run the gamut of genres from roots to blues, country, gospel and work songs from well-known originators such Lead Belly and Memphis Minnie to lesser known ones such as Arthur “Blind” Blake, all of whom have been a lifelong influence on Howell and his passion.
The Mighty Men open the set with a slinky blues romp from the 1950’s, ‘Bacon Fat,’ that features some jaggedy lead from guitarist Chris Michaels and a Doodley Wop sing-along chorus. Katy Hobgood Ray then joins Howell for a duet rendition of ‘When I Was A Cowboy’ that was first recorded by Lead Belly in 1933 and is given full band electric roots rock treatment sounding like something from the Buffalo Springfield catalog. Katy Ray leads the band through a swinging cover of Memphis Minnie’s 1930’s ragtime ‘New Dirty Dozens.’
Howell goes on to celebrate the songwriters, who created the “Brill Building Sound,” where numerous teams of professional songwriters penned material for girl groups and teen idols in the early 1960s, by covering the bubble gum pop classic from 1964 ‘It Hurts To Be In Love.’ He then gets way low down for the downtempo spacious blues ‘Come Back Baby,’ and the slow rolling Texas finger-picking ramble ‘Blues In The Bottle.’ Katy Ray steps to the mic again for a lovely update of the timeless tune ‘Easy Rider,’ with a lilting vocal, Mark Knopfler like guitar work and a forward moving groove. Howell reveals more of his love for syrupy 60’s pop by covering the Frankie Valli hit and surely one of the saddest songs of all time ‘The Sun Ain’t Gonna Shine Anymore.’ The crew lifts the mood with the inspired country blues from the Blind Lemon Jefferson archives ‘Bad Luck Blues.’ Jefferson, a fellow Texan, is considered by Howell to be “the greatest of all of the Texas blues singers.” Howell plays the role of the section boss, leading the Men though an acapella Gandy Dancer work song ‘Lining Track.’
Steve Howell is recognized as a world class blues finger style guitarist, and so pays tribute to Arthur “Blind” Blake by covering his 1927 ragtime ‘You Gonna Quit Me,’ thanking the man who inspired Howell to take up the mantle of this difficult technique and endeavoring to keep this blues alive.
– Rick Bowen, Washington State Blues writer
There used to be an ad campaign that said Texas is a whole nother country and records like this prove that to be right. Adapting yet another style for yet another recording, finger picker Howell serves up a blues set that’s not like anything you’d think of as blues. Digging deep into the indigenous songbook and coloring it with Brill Building pop, this down home back porch East Texas cat shows us how it’s done in Arklatex by white boys looking to get some hell hounds on their tails. Deliciously different, this set is going to take you places you didn’t expect and you will enjoy the ride.
– Chris Spector, Midwest Record
Love the new Steve Howell-album!
Steve Howell is a finger-picking guitarist from the Arklatex, the corner of Texas, Arkansas and Louisiana where special music always originates. Howell makes lightly sentimental jazzy blues with his quartet The Mighty Men. Guest singer Katy Hobgood Ray fits in outstandingly, as they pick some jewels from the Great American songbook, including one of the saddest songs ever written The Sun Ain’t Gonna Shine Anymore, once a great hit by the Walker Brothers, but here in a beautiful bare rendition.
They also enjoy a sense of humor, which is immediately apparent in the opening song Bacon Fat, a blues song from the fifties that got a nicely bright guitar solo by Chris Michaels, a lovely doo-wop short hit. When I was a Cowboy was recorded in 1933 by none other than Leadbelly, but gets here an electric roots rock treatment. And so it goes on, with a swinging cover of a Memphis Minnie hit, or even a bubble gum pop classic from the sixties, It Hurts To Be In Love. The variation is great, but thanks to playing delightful and fantastic arrangements, with which every song gets a completely new life, this has become a wonderful album with all kinds of jewels from the broad American pop history. Exquisite.
– Holly Moors, Moors Magazine, Netherlands
If there is one thing I have come to expect from Steve Howell over the years, it is to expect the unexpected. Even with that in mind, Good As I Been To You caught me a bit off-guard. This eclectic mix offers obscure covers along with the better known artists...and a couple numbers that blindsided me. Adding a wonderful touch to the album was Katy Hobgood Ray, whose rendition of Memphis Minnie's "New Dirty Dozens", in many ways, stole the show. I found the electric/acoustic approach refreshing and a lot of fun. Howell, like many others, takes a good tune wherever he happens to find it. Face it...too much emphasis can be put on genre, when what really matters is the quality of the song. Blues, roots, country, gospel, work songs and more blend seamlessly on this album that has the down-home sound and feel of an impromptu jam session. This is as warm and comfortable as your favorite old denim, laid back and free-flowing. Born in the traditions of the deep South, this is something that cannot be faked. What did throw me for a bit of a loop was the inclusion of Gene Pitney's "It Hurts To Be In Love" and "The Sun Ain't Gonna Shine Anymore", originally released by Frankie Valli. Still, somehow, these two tunes fit perfectly in the eclectic mix. Howell is a man who loves music...period! Good As I Been To You contains tunes that were originally recorded between 1925 and 1965. By the time that Steve and his crew are finished working their magic, they flow smoothly, sound soulful and funky, and the integrity of each has been maintained, while making the album palatable to young and old alike. Howell, as an added bonus, not only lists the tunes and their writers, but a short history on the progression of the tunes over the years, often listing other interesting renditions he has encountered. In all honesty, this disc is worthy of not only a Blues Music Award, but a KBA for the efforts to keep the history of the music alive. This one is a keeper.
- Bill Wilson
*** Track 1. - "Bacon Fat" Written by Andre Williams.
When we think of the sound of the Fortune label of Detroit in the mid to late fifties one name comes to mind and that is the king of lascivious lyrics himself one Andre Williams. Add to his voice the vocal group the 5 Dollars you have the classic Doo Wop song Bacon Fat. Howell takes that very song and re-imagines it perfectly for the twenty first century but doesn't destroy the essence of the inherent sleaziness the original possesses. Laconic and dry lead vocals from Howell bring a wonderful element to the song as does all of the band members (Michaels, Hoffpauir, Weiheimer, Hobgood Ray and Ray) providing the Doo Wop inspired backing vocals. The guitar work is stunning and cuts through the greasy fat perfectly as Howell and Michaels lay on us the withering guitar riffs as the rhythm section of Hoffpauir and Weinheimer are boisterous. Wonderful start to the album.
*** Track 2. - "When I Was A Cowboy (Out On The Western Plains). Written by Huddie Leadbetter.
Instantly recognizable as the song from icon of Blues music "Leadbelly," here Howell duets with Hobgood Ray for a laconic electric take on a song that was first recorded in 1933. Rolling along at an even pace kicking up very little dust one could quite easily see Buffalo Springfield or any such band adding this exact interpretation to their song list. Simple melodies that are very subtle but quite sublime. The poignancy of the song has not been lost at as all of Huddie Leadbetter's songs had that intrinsic pain and struggle about them so the interpretation was so important so as to not lose that very essence. Solid rhythm section from Hoffpauir and Weinheimer maintaining that required droning cadence is perfect. Howell and Michaels again provide the amazing guitars that juxtapose the age of the song with the time it was first recorded. Absolutely mesmerizing recording.
*** Track 3. - "New Dirty Dozens" Written by Lizzie Douglas (Memphis Minnie McCoy), Rufus Perryman and J. Mayo Williams.
Katy Ray Hobgood has singing duties on this fun time ragtime 1930's Memphis Minnie classic. Based on a call and response tradition of the time based on singing insults at each other called snaps. Minnie was the Queen of snaps and didn't she boast about that to all and if you didn't believe her she would start on you and bring you tumbling down. Ray has the perfect tonality for the song and her phrasing is exquisite as she rolls along with the almost staccato style of singing. Throughout the guitar is stylish but has a real sting about it with some mighty tasty reverb for good measure. Hoffpauir and Weinheimer's rhythm section is boisterous and energetic in keeping this one nicely in time. Such a fun track that leave you wanting more but with a chuckle as you listen to the lyrics realizing just how old a song it is and how it can be attributed to any time at all. Cool, cool Blues.
*** Track 4. - "It Hurts To Be In Love" Written by Howard Greenfield and Helen Miller.
I remember way back in 1964 hearing Gene Pitney singing this song and thinking wow what a song. Such was the writing talent of New York's Brill Building and the multitude of writers within. Here Howell displays a personnel affinity for the song with a wonderful tribute that is not note for note perfect to the original. Rather than do so he has stripped away that big omni-present sixties sound. His vocals display an engaging honesty and fragility that attract the listener to the interpretation as it is about the song and the performance. There is no need for mechanical intervention to polish it up as that wouldn't be true to Howell himself. The stripped back sound is sublime with muscular drumming from Hoffpauir and bass from Weinheimer. The guitars from Michaels and Howell have that reminiscent sixties jangle that is so very true to the time that l was taken back personally to a time many years ago and l was feeling mighty fine in doing so.
Track 5. - "Come Back Baby" Written by Walter Davis.
This absolutely stunning slow Blues first came to me through Ray Charles who then led me to the original by forties pianist and singer Walter Davis in 1940. It is such a pathos angst laden song that it just takes your breath away and here Steve Howell and the Mighty Men do just that. This interpretation is exquisite with the most sublime charts that allow brilliant space throughout that add to the moodiness within the mix. Throughout l found myself gasping for breath such was the intensity of the song as Howell drew on every emotion possible with his low down drawn out vocals that cast a mystical spell over the listener. The orchestration in itself is simply stunning and the spaciousness of the charts lends itself so well to the musicians to display their amazing qualities perfectly. The guitars of Michaels and Howell tear at your heartstrings taking you higher and higher then plunging you down cutting deeper and deeper into your soul. All the while Hoffpauir's drums and Weinheimer's bass are superb and deliver a masterclass of a rhythm section. The organ from Weinheimer is such an important part of the mix that it takes it to dizzying heights and soars as it takes your breath away. Just about the perfect Blues recording if you ask me. Man, so much pathos with this one.
*** Track 6. - "Blues In The Bottle" Written by Prince Albert Hunt.
As soon as this one started playing l thought "Hey, l know this one but as a fiddle track from the 1920's." That sent me into a tailspin as to what was it like originally. I spent some time delving into my collection and l found the song by Prince Albert Hunt's Texas Ramblers of 1928. Damn, it is that old. With that done it was back to Steve Howell and his beautiful finger pickin' Texas rambling version that is just so engaging. It doesn't matter when the song was written or who wrote it because if it is a good song it's a good song. This one is proof positive. Very laconic and not in a hurry to get anywhere fast the band roll along with equal intent of not getting anywhere fast. Howell's vocals amble along a dusty road somewhere in Texas in no apparent hurry to get anywhere fast but he is telling his story his way. The band ambles also with some stunning guitar that gets quite animated at times as Michaels and Howell step it up but not too much to upset the flow. As expected the rhythm section of Hoffpauir and Weinheimer are beautifully subdued but perfectly modulated for the song.
*** Track 7. - "Easy Rider" Written by Huddie Leadbetter.
Easily one of Leadbelly's most well known and covered songs. Katy Ray Hobgood takes up the singing duties once again for this absolutely stunning interpretation of the song. Lilting vocals permeate the song over a solid rhythm section of Hoffpauir and Weinheimer and exquisite guitar work that is brilliantly played by Michaels and Howell. The guitar playing gives a real atmospheric feel to the song and this belies the age of the song beautifully. The cadence of the song rolls along so perfectly that it picks you up and carries you along on a gossamer cloud of music that just envelopes you very soul. Yes, this is a soulful interpretation of a song that was first recorded about 1925. This is a version that l could just keep pressing the repeat button endlessly as there is absolutely nothing you could do to improve it. This is pure aural perfection.
*** Track 8. - The Sun Ain't Gonna Shine Anymore" Written by Bob Crewe and Bob Gaudio.
Another wonderful song from way back in my past that was released in 1965 by Franki Valli but l preferred the 1966 version by the Walker Brothers. Here Howell once again takes a song that has a special place in his life and memories and gives a rendering that is full of pathos and soul. Howell changes the phrasing beautifully and this is turn gives the song an even more sadness to it that it is even more heart breaking than before. Has there ever been a sadder song? I particularly love the way Howell has presented his vocals as they display a fragility of an art that is broken and a soul that is fragile from the pain of losing a love. Orchestration is stunning as one would expect and the prominent drumming from Hoffpauir certainly adds to the pathos of the song along with fellow rhythm section alumni Weinheimer on bass. Once again we have a masterclass on guitar as it is incredible. To say it is breathtaking would be an insult to Michaels and Howell. The subtly at times and then the exquisite flourishes just lift your soul as the vocals plunge you down to the depths of despair. This is a brilliant rendering of a beautifully written pop song that is ignored by most singers as it is just too big a song to tackle, but here Howell and the Mighty Men show just how you produce a new classic from a past classic.
*** Track 9. - "Bad Luck Blues" Written by Blind Lemon Jefferson.
Steve Howell, as a Texan you state that for you Blind Lemon Jefferson is the greatest Texan Blues singer of all time! Well sir, l have to say to you that l concur with you having been bought up on a diet of one Blind Lemon Jefferson. l'm chuffed that a great Texan with a great Texan band would chose to present one of his great Blues songs. Rambling story telling from Howell once again delivered in his trademark laconic style that has so much character about it that makes it so damn engaging. The band deliver on this one perfectly and don't overplay at all as they are sympathetic to the style and age of the song that was originally released in 1926. Sharp crisp guitar runs from Michaels punctuates the sound over a firm and quite masculine rhythm section from Hoffpauir and Weinheimer. All in all, just a joyous recording that proves what is old is new again and a great song will always be a great song.
*** Track 10. - "Lining Track" Written by Clarence Harmon.
Here Howell displays his singing genius with an a cappella-led song about the life and time of the slave and railway worker or Gandy Dancer surviving the unimaginable impossible working conditions. Brutal and harsh the only salvation was the field holler and gandy holler to help the time pass by. Howell's vocals are absolutely brilliant and beyond reproach as he nails the position of the lead caller to the slave workers. The "slave" workers made up of Michaels, Hoffpauir, Weinheimer, Hobgood Ray, and Ray provide the response in a distant darkness recorded tone adding to the destitution of the situation. Howell displays an incredible understanding of the pain and misery of the times this song was written about and his voice carries that message perfectly. This is absolutely brilliant and tugs at the heartstrings.
*** Track 11. - "You Gonna Quit Me" Written by Arthur "Blind" Blake.
As a finger picking style guitarist Howell completes this brilliant album with a tribute to arguably one of the finest of all the Blues finger pickers and that is Florida's "Blind" Blake. When you can play the style as well as Howell, then why not as this very difficult style is not one that is all that prominent with guitarists these days, so we are so very thankful for Steve Howell. This one revels in Howell's laconic vocals that are perfectly suited to a song that was first recorded ion 1927. It was perfect then and this is perfect now and that is the skinny. The guitar playing just mesmerizes the listener as Howell weaves a web around the listener as the band subtly support him but never over play so as to make this one all about the song, Howell's voice and guitar. There is such a calming feel about the song and a feel-good vibe that just makes you want much more but alas there is no side two. Maybe there can be a "Good As I Been To You Part 2".
Where do you start when you have just had the pleasure of listening to the sheer genius of Steve Howell and the Mighty Men's latest album "Good As I Been To You?" First thing l want to say is that l feel so very relaxed and happy having been totally entertained in every way possible. This is an album that displays Blues as it was, as it is and as it should be. Pure! What an album. l just kept pressing the replay button over and over on track after track as everyone was a revelation. Howell has carefully chosen songs that have made an impact on his life and many feature from his home state of Texas. Not afraid to wear his heart on his sleeve he has chosen some very sad songs even including one of the saddest from the sixties. It didn't matter whether the song was first composed and recorded in the 1920's as it was all about the brilliance and relevance of the song and each and every selection will have an instant impact on every listener to the album. An album this good doesn't just happen and along with Howell on guitar and vocals we have these amazingly talented members of The Mighty Men - Chris Michaels on guitar and vocals, David Hoffpauir on drums and vocals, Jason Weinheimer on electric bass and vocals, Katy Hobgood Ray on vocals, and Dave Ray vocals. This is a serious talented outfit that shine on this album and their performance is absolutely faultless. There may be no original songs on the album but for me that is not a black mark against it as the songs chosen and the explanation on the albums liner notes clearly define the reason for each and every songs inclusion. There are no weak tracks or out of place songs as this is a carefully crafted album that every Blues fan will crave to have in their collection. If you haven't heard the Blues before then listen to this one and you will be a convert instantly.
There we have it. All l have to say about this one is l've died and gone to heaven. Steve Howell never fails to deliver an album of genius. This is a work of Blues art.
- Peter Merrett, PBS106.7, Melbourne Australia.
Steve Howell is from the area around the Arklatex. That region is steeped in tradition and so is Howell’s music. Howell finger picks the guitar and usually is content to recreate traditional country blues.
This is Howell’s eighth album overall. Several albums ago he renamed his band The Mighty Men and this is his third album with the new name. The Mighty Men include Howell, acoustic and electric guitar and vocals; Chris Michaels, electric guitar and vocals; Dave Hoffpauir, drums and vocals; Jason Weinheimer, electric bass, organ and vocals; and the two newest members vocalists Katy Hobgood Ray and Dave Ray.
Sometimes however Howell covers time honored pop tunes thereby reintroducing them as tradition. In that sense he is a songster. Smithsonian Folkways defines a songster as both a “keeper of tradition …and tradition’s worst enemy, contaminating local tradition with modern popular music”. It sounds like a bad thing but it’s not. Howell possesses a warm voice similar to Elvin Bishop and his albums are collections of tunes almost forgotten. Howell recognizes the emotions within the songs.
Howell is a historian and he breaks down the songs origins on the liner notes. Howell celebrates the composers and arrangers of the “Brill Building Sound”. The building at 1619 Broadway housed recording companies which became hit factories for girl groups and teen idols. He covers two of these songs: Gene Pitney’s “It Hurts To Be In Love” written by Howard Greenfield and Helen Miller; and “The Sun Ain’t Gonna Shine Anymore” written by Bob Crewe and Bob Gaudio, and recorded as a single by Frankie Valli in 1965.
“Bacon Fat” written and originally recorded by Andre Williams in 1957 was also cut by Doug Sahm and Jesse Edwin Davis. “When I Was A Cowboy(Out On The Western Plains)” written by Leadbelly was a favorite of mine when it was waxed by The Jim Kweskin Jug Band. Another Leadbelly tune “Easy Rider” is beautifully sung by Katy. Walter Davis’ “Come Back Baby” was recorded by Lightnin’ Hopkins and Ray Charles among others. Also covered are songs from Memphis Minnie, Blind Lemon Jefferson, and Arthur “Blind” Blake; in fact the album’s title comes from a line in Blake’s song “You Gonna Quit Me Baby”.
This is another great album from Howell who seems to get better with age.
- Richard Ludmerer, Makin’ A Scene
My Texan brother Steve Howell's new album with the Mighty Men and Katy Hobgood Ray. I've already got far more favorite tracks on this album than it's reasonable to have. This is Steve's voice making it sound like all you have to do is open your mouth and let it out. Yeah, as if!
He is a master guitarist no matter what he picks up, and the Mighty Men and Katy Hopgood, great to hear her on this album, are the business. Chris Michaels is a great guitar player and his guitar could be Steve's voice's electric brother. Jason Weinheimer nails the vibe and the pulse on every number and it's no wonder he was over in Europe recently playing bass guitar for Shelby Lynne and Alison Maurer. On drums we have the legend that is David Hoffpauir; Arkansas's answer to Jim Keltner and possibly one of the loveliest people on this planet of ours. These people are living proof that we need to get over our national tendency to stereotype. With Katy Hobgood Ray sharing vocal honours in style and Dave Ray adding to the vocal lineup, this album is as cool as it can possibly get. The art work is spot on.
– Anthony Peter Cottrell, Southampton, England
I confess to being taken aback (personally, not critically) when I heard the electric guitars in all these tracks. Steve has done such a nice job of providing us blues programmers with quality acoustic songs for airplay – and those things are in short supply, at least in my mailbox. However, the album stands quite nicely on the pleasantness of the grooves and tasty usage of well-toned amps involved. Katy Ray’s vocals are a nice addition to the band. These and a number of the other tracks will begin seeing airtime on WJAB.
– Dave, WLRH/WJAB, Huntsville, AL
Although passionate about almost all styles of music, Steve Howell has a love for jazz and rural blues. This interest has led him to do many covers, some forgotten, that he's dusted off and he presents us with 11 examples of these on this record. In this digipak, the rural blues panel is highlighted with pieces that date back to the last century, the '20s and the '60s. The instruments played are of a certain age, the recording was done on tape and the resulting well-rounded sound is really pleasing. Second guitar and bass are played by Chris Michaels, organ by Jason Weinheimer and drums by Dave Hoffpauir. Katy Hogbood Ray laid down her clear, sweet vocals on several of the tracks. Incidentally, this texture is heard more in country music than in the blues. Listening to this record brings out a feeling of tranquility and calm a little like listening to a J. J. Cale record. An added extra is that the origin of each song is explained. There are tracks like "Bacon Fat" by Andre Williams; "When I Was A Cow Boy" and "Easy Rider" by Huddie Ledbetter (sung by Katy Hogbood Ray); "Blues In The Bottle" by Prince Albert Hunt; "It Hurts To Be In Love", a pop success in the '60s which was immortalised by Gene Pitney; "Lining Track" by Clarence Harmon, a call/response style a cappella song; "Bad Luck Blues" by Blind Lemon Jefferson and more. Take your time and enjoy this record comfortably seated in a rocking chair. It's summer, make the most of it.
– Blues Again (France)
Steve Howell is one of the classic guitarist/storytellers on the scene today. With his quartet, The Mighty Men, they specialize in traditional blues from their native home base of the tri-state area known as the “ArkLaTex,” preferring melody and lyrics over flash and panache.’ Their latest outing, and third overall, is entitled, “Good As I Been To You,” this one featuring the added vocals from Katy Hobgood Ray. The eleven cuts on this one are varied, unique, rare gems that have always been favorites of Steve. They include contributions from Leadbelly, Blind Blake, Memphis Minnie, and Steve’s favorite of all the Texas blues men, Blind Lemon Jefferson. Let’s get into it all….
The set opens on a humorous note, with an Andre’ Williams chestnut, and “that sound that’s sweepin’ the South,” the “diddley-wop” chorus of “Bacon Fat.” Steve and Katy make excellent duet partners on Leadbelly’s ode to a legendary run-in with Jesse James, “When I Was A Cowboy Out In The Western Plains). Katy, herself a noted children’s authoress, tackles the playfully-naughty Memphis Minnie blues of the “New Dirty Dozens,” including the tale of the tomcat and the sewing machine! She returns a bit later for a mesmerizing, reverential read of Leadbelly’s country-blues of “Easy Rider.”
Steve offers up a couple of nice takes on two songs that helped define Sixties’ pop music, first with Gene Pitney’s “It Hurts To Be In Love,” and Frankie Valli’s “The Sun Ain’t Gonna Shine (Any More), a sad tale of a love seemingly lost forever.
Our favorites closed the proceedings. First, Steve and all the Mighty Men take the field recording, “Lining Track,” (a railroad term), to dazzling heights, presenting it here as it likely was written, in a totally a cappella performance. The set proper ends with what plays out to be the title track, “You Gonna Quit Me Baby, good as I been to you,” originally done by Arthur “Blind” Blake. This one has a “loose” feel, likely from Blake’s affinity for the ragtime piano playing he incorporated in his guitar lines. Steve captures that essence and spirit perfectly!
Steve Howell And The Mighty Men continue to bring fans the best in stories-in-songs from the masters of the blues. “Good As I Been To You” carries on this most excellent tradition! Until next time.
- Sheryl and Don Crow, The Nashville Blues Society.
Steve Howell, originally from Marshall, Texas, is a fingerpicking virtuoso. Together with his quartet The Mighty Men, Howell produces beautiful and exciting blues with a jazzy edge. Marshall is located in the three-state area of Texas, Arkansas and Louisiana. Traditions permeate the music and art coming from that region, the music takes place as if time has stood still for a century. Steve Howell and his quartet, The Mighty Men, are a living personification of the charm and style from the ArkLaTex. They also prefer melody lines and lyrics over pyrotechnics and flashy instrumentation. In 2013 they had the equally stunning hit 'Yes, I Believe I Will' in the record racks. Now they proudly promoted the new 'Good As I Been To You'. Guest vocalist Katy Hobgood Ray is here as a safeguard for the sound. The opening track 'Bacon Fat' is a blues song from the fifties that has been colored with Chris Michaels’ nice guitar riffs. Lead Belly's 'When I Was A Cowboy' from 1933 is also given its own electrified arrangements here, and now it is a stunning duet with Katy Ray. Memphis Minnie actually got the ragtime swinging 'New Dirty Dozen'. And the pop classic 'It Hurts To Be In Love' can also convince us, just like 'The Sun Ain’t Gonna Shine Anymore', which was once a big hit for The Walker Brothers. Steve Howell's slow-paced version is played here to reflect the spirit of the album. After the slow blues songs 'Come Back Baby' and 'Blues In The Bottle', Katy comes to surprise us again with her song 'Easy Rider'. Steve takes the vocal lead in the country blues 'Bad Luck Blues' from Blind Lemon Jefferson. The tune 'Lining Track' is a gospel and worker song that can charm us. Just like ‘You’re Gonna Quit Me Baby’, an original from Arthur ‘Blind’ Blake from 1927, which is inspired by the deep Delta blues and played with the blues fingerpicking style.
- Philip Verhaege (4 ½ stars out of 5), Keys and Chords Magazine (The Netherlands)
I reviewed Steve Howell & the Mighty Men's Friend Like Me here on 21 November 2015. I liked it a whole lot. It wasn't just the good songs (from blues and folk traditions) but the attitude: no pretense, a wonderfully attractive groove, Howell's casual, back-porch vocals. Electric bands have played this kind of material many times, obviously, but Howell and compadres find a way to do it that sounds as perfectly attuned to the heart of this music as one could wish for.
This time around, a Mighty Woman, Katy Hobgood Ray, joins them, and things get even more inspired. Maybe you think you've heard "Easy Rider" countless times as done by everybody from Lead Belly to anonymous bar bands, but you will want to hear what she and the boys do with it over 6:20 gloriously revelatory minutes. You may have to lie down afterwards. They take you places that you didn't know were there.
On another subject, though: that title. If you know anything that is likely to concern a Rambles.NET reader, you know that Bob Dylan recorded Good As I Been to You in 1992. Like this Good As I Been to You, it assembles a line-up of venerable trad and near-trad songs. One of them, Blind Blake's "You're Gonna Quit Me Blues" (1927), provides the title line. I have no idea what Howell had in mind, though I have no quarrel with his handling of the song itself, as able as Dylan's. Whatever may have motivated him, I do hope Howell knows what he's doing. Though Dylan has committed major felonies -- that's intentional hyperbole, Bob -- where musical (and other artistic) theft is concerned, he is notably devoid of humor or collegiality when someone else presumes to adapt any idea, however inconsequential, of his own. Maybe Howell should have reworked the title to Strange As You Been to Us.
There is one short of a dozen cuts. I am fond of nearly every one of them, especially though not confined to Blind Lemon Jefferson's "Bad Luck Blues" and Lead Belly's "When I Was a Cowboy (Out on the Western Plains)," recognizable enough but done irresistibly here. Therefore, I lapse into grumpiness only reluctantly, in full awareness that my continuing allegiance to certain cheesy pop songs of my youth is as without rational foundation as Howell's. But jeez, really ... the old Gene Pitney hit "It Hurts To Be in Love"? Hearing it now reminds me (1) it's been a long time since the last time, and (2) the song in the original barely exists as anything but a testament to bombast, both Pitney's ear-piercing vocal and the beat-the-point-to-a-bloody-pulp production. Well, at least now it won't be on the next Steve Howell album.
– Rambles.net
Steve Howell and The Mighty Men bring blues history to life
Steve Howell and The Mighty Men are firmly rooted in the rural acoustic blues and traditional jazz of the American South. This newest release, Good As I Been To You, like its predecessors, takes classic blues and pop and, while keeping the ethos of the originals, gives them a shake and injects new life into some classics and some surprising choices.
Born in Marshall, Texas, Steve moved around the States before joining the navy, which resulted in a posting to Haverfordwest, South Wales, for 3 1/2 years. During this time, he played folk clubs in South Wales and the South of England. I would call Howell a musical historian as he obviously has a wealth of knowledge about the birth and development of the blues, and he uses this to carefully select the songs he is going to interpret.
The album opens with Bacon Fat written and originally recorded by Andre Williams in 1957, although this version owes more to the Sir Douglas Quintet cover from 1965. With an Alex Harvey like delivery, this blues meets R ’n’ B is blessed with perfect guitar picking…it matches this ‘reimagining’ brilliantly, as Steve speak/sings the verses and is joined by the band for the ‘diddly wop’ chorus. Led Belly’s superb When I was a Cowboy (Out on the Western Plains) is closer to Huddie’s original than, (some would say) the most recognised cover by Rory Gallagher. I say close to the original even though the Mighty’s employ electric guitar and they turn it into a duet with Katy Hobgood providing a great counterpoint. It still retains the pace and structure that Led Belly laid down. Howell even puts in a great guitar solo and this is now my preferred version! New Dirty Dozens sees Katy, quite rightly, take lead vocals for this Memphis Minnie cover. As with a lot of Minnie’s songs, the lyrics are an innuendo-filled delight. Take the lines, “Now the funniest thing I ever seen, tomcat jumping on a sewing machine; Sewing machine it run so fast, took 99 stitches in his yas, yas, yas” for example… make of that what you will. I love artists like Minnie who prove that the blues has a wicked sense of humour, and is not all sadness and despair. Katy does this track more than justice while the band injects a lively laziness to the backing (that oxymoron will make sense when you hear it). A surprise ‘pop’ song next as Steve delivers a remarkable version of the Greenfield/Miller composition, made famous by Gene Pitney in 1964. Steve’s version of It Hurts To Be In Love sounds like it was recorded in the 60s, but with a modern clarity: the jangling guitar solo is a case in point. His vocal wavers a bit, but it still fits with this reworking. Come Back Baby was first released in 1940 by Walter Davis and has seen covers by loads of people from BB King to Clapton to The Lords of Altamont! Here it becomes an acoustic master class in the early blues/soul fusion. The solo, however, is a beautiful laid back electric insertion. Blues in the Bottle is classed as ‘Traditional’ and first saw the light of day in 1928 on a recording by Prince Albert Hunt’s Texas Ramblers, although its most famous incarnation is probably the version by The Lovin’ Spoonful in 1965. This version is a little more countrified with an infectious, unexpected beat. Often attributed to Led Belly, Easy Rider is actually by Gertrude ‘Ma’ Rainey and first appeared in 1924. Always a cause of confusion, this is often confused with C C Rider or See See Rider. Whilst they are similar, the phrase ‘Easy Rider’ referred (in those days) to an unfaithful lover and, as often the case, the lyrics use plays on words so that easy can easily become see, see or C C. Either way, and lyrical variations aside, perceived wisdom is that they all stem from Ma Rainey’s original. The Mightys take it and give it a 60s pop ‘vibe’ with the layered guitars and then the vocals of Katy again making it hers (and making it truer to the original than any other version I have heard). Next up is another ‘pop’ song, this time a Crewe/Gaudio composition that was a hit for Frankie Valli in (again) 1965. The Sun Ain’t Gonna Shine Anymore has such a recognisable refrain that this could easily wander into the land of mawkish… in this band’s hands, however, it certainly does not. Slower and way more subtle than Valli did it. Not my favourite here, but much better than the pop version. Bad Luck Blues was originally by Blind Lemon Jefferson and released in 1927: many have since covered it, but most notable for me, are the BB King and Janiva Magness versions. The timbre of the guitars on the intro is bang on target, and the rest follows a similar sympathetic attitude. Another picked solo (on electric) make it different while retaining the BLJ essence.
Lining Track is a traditional work song, but not the Led Belly, Bernie Marsden, Aerosmith one…this is also known as Lovers Is You Right and the first appearance of was on the famed Cortez Reece field recordings of 1949-53. Those recordings list Clarence Harmon as the performer, although nothing much is known about Clarence. This is a close interpretation as the band does it entirely in acapella and it is drenched in the history of this type of call and response type of song…it has a deep magic when you take on board the circumstances of the people who performed them and the massive impact they had on the music which followed. The final track is You’re Gonna Quit Me Baby by the wonderful Arthur Blind Blake: this one dates back to 1927 and has again been covered by many: perhaps most famously Bob Dylan, who also took the ‘Good As I Been To You’ line from this song and used it as an album title. It has a loose feel, reflecting Blake’s attraction for the ragtime piano motifs he integrated into his guitar playing. This version captures that essence and spirit perfectly!
So this is an album of supreme blues interpretation; few artists try to imbue their covers with the definitive spirit of the age in which they were conceived, but Howell and co. most certainly do, and they do it brilliantly. I could have done without the Franki Valli and maybe the Gene Pitney, but the rest is so startlingly good I will forgive them…this time! It is an album of education and discovery and deserves a listen.
– Tom Dixon, Bluesdoodles (UK)
A prolific artist if there ever was one, Steve Howell is a Texas musician who is known for his particularly engaging fingerpicking, his flawless voice and his various albums that find their way onto playlists not only in the United States but also all over Europe which will give him his pick of first-rate venues in which to perform. Raised on Americana and country blues, the artist was heavily influenced by the music of his own golden triangle with points in Louisiana, Arkansas and Texas and is releasing a new album recorded with his Mighty Men: Chris Michaels on guitar, Jason Weinheimer on bass and organ and Dave Hoffpauir on drums, along with Katy Hobgood Ray and Dave Ray on vocals. Dipping cheerfully from the traditional repertoire and adapting them to his own style, Steve Howell employs great ingenuity in offering us known and lesser known pieces, all of which reveal genuine care in their interpretation, borrowing from Leadbelly, Blind Blake, Memphis Minnie or even Blind Lemon Jefferson and adopting them as his own with a mixture of poise, class and talent, giving Katy Hobgood Ray the lead vocals on the beautiful "Easy Rider" and delighting his loyal fans with passionate titles such as "Bacon Fat,","When I Was A Cowboy (Out On The Western Plains)," "Come Back Baby," "The Sun Ain’t Gonna Shine (Anymore)," "Bad Luck Blues" and, of course, the excellent "You Gonna Quit Me Baby" which closes out the album on quite a subtle note. Packed with beautiful notes and beautiful songs as much for new audiences as for fans of authentic blues, "Good As I Been To You" is one album that would be a shame to not have in your music library if you appreciate excellent picking.
– Fred Delforge, Zicazine (France)
You’ve never heard the blues done like this before. Mixing blues standards from the 20s, 30s, 50s and 60s, Steve Howell and the Mighty Men take you on a blues history tour, featuring songs by the founders of the blues like Arthur “Blind” Blake, Lead Belly, and Memphis Minnie, as well as blues remakes of pop classics like Gene Pitny‘s “It Hurts to be in Love” and Frank Valli’s “The Sun Ain’t Gonna Shine (Anymore).” This one is unique and well done, and would make an excellent addition to your musical library.
Recommendation: You should definitely check this one out.
- Bob Leggett, Indie Voice blog, lamusiccritic.com
East Texas guitarist Steve Howell and the Mighty Men are back again, delivering their versions of classic Americana songs, ranging from Lead Belly’s When I Was A Cowboy (Out On The Western Plains) to Bob Crewe and Bob Gaudio’s The Sun Ain’t Gonna Shine Anymore. Howell is a world-class blues finger picker, and he’s joined by Chris Michaels on lead guitar, Dave Hoffpauir on drums, Jason Weinheimer on bass and organ, and Katy Hobgood Ray and Dave Ray on vocals.
The album opens with a swampy, funky, choogling version of Andre Williams’ tune Bacon Fat. Michaels’ lead guitar sizzles as Howell fries up a mess of fatback blues with his vocals. Katy Hobgood Ray and Howell turn in a slow-boiling version of Lead Belly’s When I Was A Cowboy (Out On The Western Plains); the sonic structure of this version resembles the songs of Eric Burdon and The Animals. Katy Ray delivers a lively, sprightly roots ramble on Memphis Minnie’s New Dirty Dozens (sic); Howell’s guitar work and the lilting tempo of the song recall the work of Bruce Robison and Kelly Willis. The band’s slowed-down version of the Gene Pitney hit It Hurts To Be In Love invites us out on the floor for a slow dance. Blues In The Bottle, written by Prince Albert Hunt, opens with a riff resembling Reverend Gary Davis’ version of Keep Your Lamps Trimmed and Burnin’. Howell and the Mighty Men’s slow-burning folk-blues version recalls the fingerpicking of Jorma Kaukonen, David Bromberg and Larry Campbell; the song is the highlight of the album. Ray tackles Lead Belly’s Easy Riderin lilting, radiant vocals, backed by the cascading fingerpicking of the guitars. The quiet beauty of the song shines brightly in this version. The band slows down the pop hit The Sun Ain’t Gonna Shine (Anymore), but this version will take a little time to grow on its listeners. The album closes with the acoustic jazz blues of You Gonna Quit Me Baby, a moving little tune written by Blind Blake.
There’s no question that Steve Howell and the Mighty Men are good to us and are treating us to fine blues on Good As I Been To You. The band knows how to get inside these songs and turn them inside out, delivering new versions that preserve the beauty and power of the originals while sharing new musical discoveries in these versions.
– Henry L. Carrigan, Jr., Living Blues Magazine
“I have received tremendous feedback on the Steve Howell & the Mighty Men.”
- David Roman 2SSRFM 99.7, FM, The Mystery Train, Australia
I just had the opportunity to review the most recent release, Good As I Been To You, from Steve Howell & The Mighty Men featuring Katy Hobgood Ray and it's freshly familiar. Opening with 50's blues rocker, Bacon Fat, Howell leads on vocal and guitar with Chris Michaels on guitar, Dave Hoffpauir on drums, and Jason Weinheimer on bass and setting a strong groove. On Memphis Minnie's New Dirty Dozen, Katy Hobgood Ray takes the mic and her vocals blend nicely with the throaty guitar work of Howell. Walter Davis' Come Back Baby has a smooth approach, along the lines of Eric Clapton and Howell's vocals are perfect with just the touch of guitar. One of my favorite tracks on the release is Blues In The Bottle with it's ideal symmetry. Howell's vocals are smooth and the backing guitar, bass and drums are spot on. A lightly salted guitar solo by Howell tops off the track nicely. Wrapping the release is Blind Blakes You Gonna Quit Me played in easy shuffle style. Howell sounds as relaxed as a bluesman gets and his guitar work, paired with Michaels' really matches the pace nicely. A cool contemporary blues release.
– Bman’s Blues Report
Once again, Steve and the boys (with a little help on vocals from Katy Hobgood) has done it again! Taking a collection of somewhat disparate songs and gelling them together into a gentle, harmonious and compelling set of mellifluous tunes. Lo-Fi it is not! These eleven eclectic numbers range from sixties pop to classic blues from the early twenties. On Huddie (Leadbelly) Ledbetter’s “When I Was A Cowboy (Out on The Western Plains)” Katy joins Steve in an extremely enticing, mellow duet, which concerns a chance encounter with Jesse James and Buffalo Bill, drums and guitar are in such good sync that one can actually imagine oneself astride a horse alongside the characters. On ‘Memphis Minnie’s’ “New Dirty Dozens”, Katy takes lead vocals and instils within it a somewhat enticing, saucy warmth. Throughout the album the music has a gently soothing and almost horizontal sweeping feel about it. This can be fully appreciated on Gene Pitney’s “It Hurts To Be In Love”, where Steve successfully swops the original punching drama, for a more emotion filled forlornness. Another fine example of the reworked pop hit is the Frankie Valli and later Walker Brothers hit “The Sun Ain’t Gonna Shine Anymore”, here Steve strips everything away except for a melancholy guitar that is paired with sparse and morose brushwork, his version, actually does wring out more feeling than the originals. The original acappella work song from Clarence Harmon that is “Lining Track”, (which takes its name from the straight section of railway track that was laid by the first railway builders) is a call and response number that Steve maintains, as he recalls and intones the original sentiments of those early sweat soaked and driven workmen. This version of Arthur ‘Blind’ Blake’s “your Gonna Quit Me Baby”, adheres strictly to the original and is all the better for it. The clarity of enunciation and the emotion behind the lyrics gives one, serious food for thought.
Greatly endorsed!
- Brian Harman
East Texas guitarist Steve Howell and the Mighty Men are back again, delivering their versions of classic Americana songs, ranging from Lead Belly’s When I Was A Cowboy (Out On The Western Plains) to Bob Crewe and Bob Gaudio’s The Sun Ain’t Gonna Shine Anymore. Howell is a world-class blues finger picker, and he’s joined by Chris Michaels on lead guitar, Dave Hoffpauir on drums, Jason Weinheimer on bass and organ, and Katy Hobgood Ray and Dave Ray on vocals.
The album opens with a swampy, funky, choogling version of Andre Williams’ tune Bacon Fat. Michaels’ lead guitar sizzles as Howell fries up a mess of fatback blues with his vocals. Katy Hobgood Ray and Howell turn in a slow-boiling version of Lead Belly’s When I Was A Cowboy (Out On The Western Plains); the sonic structure of this version resembles the songs of Eric Burdon and The Animals. Katy Ray delivers a lively, sprightly roots ramble on Memphis Minnie’s New Dirty Dozens (sic); Howell’s guitar work and the lilting tempo of the song recall the work of Bruce Robison and Kelly Willis. The band’s slowed-down version of the Gene Pitney hit It Hurts To Be In Love invites us out on the floor for a slow dance. Blues In The Bottle, written by Prince Albert Hunt, opens with a riff resembling Reverend Gary Davis’ version of Keep Your Lamps Trimmed and Burnin’. Howell and the Mighty Men’s slow-burning folk-blues version recalls the fingerpicking of Jorma Kaukonen, David Bromberg and Larry Campbell; the song is the highlight of the album. Ray tackles Lead Belly’s Easy Riderin lilting, radiant vocals, backed by the cascading fingerpicking of the guitars. The quiet beauty of the song shines brightly in this version. The band slows down the pop hit The Sun Ain’t Gonna Shine (Anymore), but this version will take a little time to grow on its listeners. The album closes with the acoustic jazz blues of You Gonna Quit Me Baby, a moving little tune written by Blind Blake.
There’s no question that Steve Howell and the Mighty Men are good to us and are treating us to fine blues on Good As I Been To You. The band knows how to get inside these songs and turn them inside out, delivering new versions that preserve the beauty and power of the originals while sharing new musical discoveries in these versions.
– Henry L. Carrigan, Jr., Living Blues Magazine
Steve Howell – Good as I Been to You
CD Review – June 2018
Blue Barry – Smoky Mountain Blues Society
For all of you slow, easy, good-time blues lovers, ragtime enthusiasts, and just beautiful listeners, here’s a summer treat for you! Steve Howell and the Mighty Men, featuring Katy Hobgood Ray, has a new album called “Good as I Been To You.” If you don’t know Steve Howell & the Mighty Men, it’s about time you got acquainted! Steve has been singing, playing just wonderful finger-picking blues and jazz for over forty years, and has been a regular on radio stations in the US and abroad! This is his sixth CD, and as usual he nails those brilliant guitar riffs, and that soft easy voice just makes you follow along like a little puppy after a kid with bacon! Hailing from East Texas his renditions of great songs on this CD include two by Leadbelly, “Easy Rider,” and “When I was a Cowboy (Out on The Western Plains”! He also pays tribute to Blind Lemon Jefferson on “Bad Luck Blues,” and to my hero, Blind Blake, on an old ragtime version of “You Gonna’ Quite Me” first recorded in 1927! Steve’s soft sweet fingerstyle picking could go unnoticed unless you really pay attention. He is phenomenal! Chris Michaels plays guitar as well as vocals, and has been out there since the early eighties! Dave Hoffpauir plays drums, and helps with vocals, and has played professionally since 1982. He’s been playing with Steve for over 30 years now. Jason Weinheimer plays bass, organ, and vocals and owns and operates Fellowship Hall Sound in Little Rock, Arkansas. Jason has played with Steve for over 20 years as well. Dave Ray also shares vocals, and Katy Hobgood Ray just does an outstanding job on vocals as well! She is a singer-songwriter, a children’s author, and producer of a kids show featuring stories from Louisiana. She has also worked as a radio host and content producer for NPR’S Red River Radio. Go to www.stevehowell.ws for more info. This CD is available at Amazon and ITunes, so it’s release date is June 22nd. Don’t hesitate to check it out. Glad to be of help.
- Blue Barry, Smoky Mountain Blues Society
Steve Howell and The Mighty (Men featuring Katy Hobgood Ray)
Good As I Been To You Out Of The Past Music 00TP 009
Once again, Steve and the boys (with a little help on vocals from KatyHobgood) has done it again! Taking a collection of somewhat disparate songs and gelling them together into a gentle, harmonious and compelling set of mellifluous tunes. Lo-Fi it is not! These eleven eclectic numbers range from sixties pop to classic blues from the early twenties. On Huddie (Leadbelly) Ledbetter’s “When I Was A Cowboy (Out On The Western Plains)” Katy joins Steve in an extremely enticing, mellow duet, which concerns a chance encounter with Jesse James and Buffalo Bill, drums and guitar are in such good sync that one can actually imagine oneself astride a horse alongside the characters. On ‘Memphis Minnie’s “New Dirty Dozens”, Katy takes lead vocals and instils within it a somewhat enticing, saucy warmth.
Throughout the album the music has a gently soothing and almost horizontal sweeping feel about it. This can be fully appreciated on Gene Pitney’s “It Hurts To Be In Love”, where Steve successfully swaps the original punching drama, for a more emotion filled forlornness. Another fine example of the reworked pop hit is the Frankie Valli and later Walker Brothers hit “The Sun Ain’t Gonna Shine Anymore”, here Steve strips everything away except for a melancholy guitar that is paired with sparse and morose brushwork, his version, actually does wring out more feeling than the originals. The original a-cappella work song from Clarence Harmon that is “Lining Track”, (which takes its name from the straight section of railway track that was laid by the first railway builders) is a call and response number that Steve maintains, as he recalls and intones the original sentiments of those early sweat soaked and driven workmen. This version of Arthur ‘Blind’ Blake’s “You’re Gonna Quit Me Baby”, adheres strictly to the original and is all the better for it. The clarity of enunciation and the emotion behind the lyrics gives one, serious food for thought.
Greatly endorsed!
- Brian Harman (Blues In The South, United Kingdom)
I came up with a name for the music on this album in no time. "Relaxation Blues" is the term I invented. The new album by Steve Howell and the Mighty Men is completely full of warm, super-laidback blues. This is the third album by the band from Texas with Steve Howell (vocals, guitar), Chris Michaels (guitar), Dave Hoffpauir (drums), Jason Weinheimer (bass) and guest singer Katy Hobogood Ray.
It has been a long time since I came across such a relaxed album. All songs on this album are covers but they are all transformed into laidback, relaxed songs.
It starts with Bacon Fat, which is originally from Andre Williams. Here it is a delightfully laidback, blues song with sleepy vocals and piercing guitar. The chorus automatically invites you to sing along, despite the strange lyrics (or precisely because of that!). The cover of Lead Belly's When I was a Cowboy (Out On The Western Plain) is super relaxed with a sound that would fit somewhere between J. J. Cale and Mark Knopfler. Steve sings a duet with Katy Hobogood Ray. Katy sings the cover of the Memphis Minnie number New Dirty Dozens. Her voice adds a light country touch to this song.
The cover of the Gene Pitney hit It Hurts to Be in Love is a real surprise. Of course it also gets a languid performance with a sound that reminds me of The Searchers with sultry background vocals by Katy. Come Back Baby, written by Walter Davis, is best known for performances by Ray Charles and Eric Clapton. In the hands of Steve Howell it is a subdued semi-acoustic blues shuffle with warm humming bass and sparkling guitar work. The song shuffles along slowly. The cover of the Prince Albert Hunt song Blues in the Bottle could have come from a J.J. Cale album with his lazy bluesy guitar work.
Katy Hobogood Ray then sings the Odetta song Easy Rider, which has been transformed from a folk number into a slow J.J. Cale-like shuffle. Again surprisingly, the cover of the Walker Brothers hit The Sun Ain't Gonna Shine (Anymore), which is stripped of all the bombasts leaves a warm intimate ballad. Equally surprising is the a capella performed cover of Lead Belly’s work song Linin’ Track.
Steve closes the album in style with a softly heaving cover of the Blind Blake song You Gonna Quit Me Baby with a warm jazzy sound.
This album is most definitely recommended for fans of intimate blues or fans of J.J. Cale and Mark Knopfler.
– Peter Marinus, Blues Magazine (Netherlands)
A lesson in interpretation, style, and ambiance – that’s the new album by Steve Howell & The Mighty Men. Originally from the traditional acoustic blues scene, which of course includes folk and early jazz, Howell is one of the most gifted fingerpicking-style guitarists. For his new album, he has collected eleven gems from the range of classic blues, pop, hokum, and worksongs. And he interprets them – as already mentioned – extremely brilliantly. For example, there is Andre Williams’ rattling “Bacon Fat” from 1957 – and also two Leadbelly and a Memphis Minnie classic. Also featured is the “Bad Luck Blues” by the pioneering Blind Lemon Jefferson – and “You Gonna Quit Me” by Arthur “Blind” Blake – both from the 1920s. But with a twinkle in his eye and a lot of pep, Howell also takes us on a journey through the decades of American music history – with the chart-toppers “The Sun Ain’t Gonna Shine Anymore” by Frankie Valli (or the Walker Brothers) and “It Hurts to Be in Love” (Gene Pitney). Retro without mercy and relaxed, but also incredibly fascinating – and somehow ultramodern in a way!
- Marco Piazzalonga, Jazz 'N' More (Switzerland)
“A Hundred Years From Today”
– Steve Howell and Jason Weinheimer
The instrumentation restricted to Howell's guitar and Weinheimer's bass is sublime and a true masterclass of how you orchestrate music as it deserves to be. Wonderful charts that allow for stunning phrasing with a marvelous of space to allow the vocals to shine. Here, my dear friends, is a recording worthy of being considered a Lomax recording or one that you would receive from the Library Of Congress Recordings. As l listened l felt a growing joy as each track took me on a journey that shaped the earliest recordings of Blues and Jazz. Howell certainly has taken us to the cradle of these very American music styles as no other has attempted and succeeded at for many a decade. To sum up, you have impeccable expressive vocals, sublime guitar, perfectly accompaniment from the bass and above all a collection of songs for the ages. Weinheimer's production is simply superb and instrumental in elevating this album so high. Congratulations Steve Howell and Jason Weinheimer on your masterpiece for this is an indication of just how to create one. Steve Howell has a wonderful frailty with his voice and as a guitarist wow what can you say. To have Weinheimer part of the recording and producing it was inspired. Yep, l certainly love this one big time.
- Peter Merrett, PBS 106.7 FM, Melbourne, Australia
The two play beautifully together, bringing these cherished tunes to life to be enjoyed by yet another generation. There is nothing more beautiful than the interworking of a pair of musicians with a true love for the music and the sensibility as well as the ability to allow the song to be the most important part of the equation...no egos getting in the way, no showboating and no high-tech gadgetry getting in the way. Songs delivered in a way that preserves the integrity of the tunes while, at the same time, breathing new life into timeless classics. The songs are every bit as valid and valuable today as they were when they were first written. Sometimes comedic and sometimes poignant, these stories of life, death and love speak to the heart now, as they did so long ago. Musicians of this ilk carry on in the time-honored tradition of the songster, the minstrel, whose purpose, other than putting food on the table was to preserve the music played in times past. Steve and Jason do a tremendous job. This is an album deserving of awards on many fronts. I recommend it highly to young and old alike. Fans of guitar or, up and coming guitarists would do well to give it a good listen. not unique, but it is exceptionally well done and pays great respect to the originators...something that can be done without the need to copy their particular styles note for note.
- Bill Wilson, Reflections In Blue
Ace acoustic fingerpicker Steve Howell has teamed up with Bass player Jason Weinheimer for some great acoustic blues! Steve knocks it out of the park on this one. Every song clean and clear, true to the form just wonderful! A blues primer for acoustic guitar lovers! Steve’s vocals are soft and disarming, and bring you right into his music. He can play anything, and has that Delta mud in his veins. Just perfect!
- Barry, Smoky Mountain Blues Society
A grand acoustic blues duo that does killer back porch work on hundred year old blues and hokum that sounds like it was just delivered from a time capsule found in the Delta. Killer stuff throughout.
– Midwest Record, Lake Zurich, IL
Texan Steve Howell is one of the premier finger-pickers on the contemporary acoustic scene and one of our favorite storytellers in all blues. “A Hundred Years From Today” deftly preserves the past with a nod to the future.
- Sheryl and Don Crow, The Nashville Blues Society
Howell's thing is so straight and honest, I always enjoy listening to his stuff.
- Larry Hirshberg, KBGA, Missoula, MT
This is an album of top-quality, sensitively styled and delivered acoustic blues and southern jazz music. A wonderful addition to Howell’s growing body of work.
- Iain Patience, Blues Magazine, The Netherlands
Living Blues once characterized Howell as a “gentle, Deep South-inspired acoustic troubadour,” and this thoroughly captivating, if brief, recording displays why with his affable and charming performances.
- Ron Weinstock, Jazz & Blues Report
Steve Howell, accompanied by longtime collaborator Jason Weinheimer on bass, delivers a carefully curated and expertly performed presentation of mostly pre-war blues, folk and traditional jazz-tinged gems. Howell studiously learns the history of the songs and the artists he covers to deliver honest and faithful versions that blend all of his musical interests.
– Living Blues Magazine
Steve’s warm voice and his very accomplished but never flashy for its own sake, guitar work come across well on these, and on the other eight tracks here.
- Norman Darwen, Flying Shoes (Scotland/Europe)
A guitar, a bass and a voice, it takes no more than "A Hundred Years From Today" to become a pure marvel in which Howell and Weinheimer let their wildest thoughts go, revisiting more than copiously the blues of the 1920s and the 1930s. From the picking so precise that it would probably happen to make turn some old bluesmen in their tomb, an approach at once full of sincerity but also modesty, it is with an immeasurable talent that Steve Howell and Jason Weinheimer ask us in the genre of "Lulu's Back In Town," "Going Back To Florida," "Basin Street Blues," or "Rocking Chair" to make "A Hundred Years From Today" an album that will remain in memoirs as one of the masterpieces of acoustic blues folk. A wise man!
– Fred Delforge, Le Zicazine (France)
In the hands of a master. Steve Howell consistently produces graceful, loving pieces.
- Gary Blue, Cambridge 105, England
A very refreshing collection of rural country blues. It is simple and understated and that is what makes it so enjoyable. this album breathes new life into gems from the past that speaks of the human condition.
- Michael Smith, The Groove, Crossroads Blues Society, Rockford, Illinois.
Two calm gentlemen with their vintage guitars playing, mainly, old fingerpicking songs whose soft melodies can serve as lullabies. one could say that this rocking chair is the ideal seat to settle down and listen to this album, eyes half closed. A dozen country blues songs with a rural trend magnified by two talented artists.
- Marco Piazzalonga, Jazz ‘N More (Switzerland)
A style of country blues that sounds thoroughly modern and traditional at the same time. ...a superb version of the murder ballad “Louis Collins” and... a gorgeous cover of Hoagy Carmichael’s melancholy “Rocking Chair.” Steve Howell’s albums are always a treat to hear because of his wonderful playing, his sincere vocal style, and his dedication to preserving, recreating, and revitalizing the country blues for a new generation of blues fans. A Hundred Years From Today is a great launching pad for those who enjoy this music.
- Graham Clarke, Blues Bytes
Fortunately for Steve, he has two distinct advantages over a good deal of other fine acoustic blues players and that is; a low sweet treacle infused softly burring voice and a patient laidback almost drifting fingerpicking style that lulls you into very fine state of contentment. On this album he is joined by the excellent ‘Mighty Man’ bass player Jason Weinheimer. Here, the pair of them have recorded a very fine collection of ten numbers that stimulate, excite and relax you all in one go while you drift away in your chair. (On a personal note, I would highly recommend listening to this album with headphones firmly on.) On Mississippi John Hurt’s tender and thought provoking “Louis Collins,” there is, hidden within the sweetly embracing fingerpicking sound, a sad and morose tale of senseless murder and equally senseless legal retribution. A sublimely delicate rendition of “A Hundred Years From Today,” is delivered by Steve and Jason. Lyrical, floating flowing passages of fingerpicking delights defy and soften the seriousness of the content. “Limehouse Blues” and “After You’ve Gone”, wonderfully fuse together, the soft and deftly woven guitar work wafts like gossamer into your mind. Bo Carter’s “Who’s Been Here”, is a jaunty and jolly entendre filled tale, Steve’s guitar work is all knowing and breezy. Greatly Endorsed!
- Brian Harman, Blues In The South (UK)
Few things are as pure as the sound of a solo vocal and sparse acoustic accompaniment. That singularity of purpose led to the latest collaboration from veteran blues man Steve Howell and his partner, Jason Weinheimer; “A Hundred Years From Today.” The wonderful ten song collection of rural country blues and traditional jazz offerings in the intimate setting of guitar, bass and vocals. Texan Steve Howell provided the melodic and seasoned finger style guitar and soulful vocals while Jason Weinheimer lent his considerable and widely recognized skills on bass, engineering, mixing and mastering. “A Hundred Years From Today,” from Howell and Weinheimer, offers an interesting and accessible set list, recorded with an eerie clarity missing in the quality of most audio production, that breathes new life into gems from the past and taps the depths of the human condition.
- Rick J. Bowen
Steve Howell and Jason Weinheimer duo are promoting their masterful album, which features the music of Steve’s mentors and heroes. The ten tracks are cover versions of pre-war songs that have influenced Steve and Jason. Their unique collaboration is an intimate blend of Steve’s guitar and vocals and Jason’s bass lines. Their beautiful covers of Lulu’s Back in Town by Harry Warren, which was actually Fats Waller’s jazzy signature song in 1935, Jim Jackson’s 1927 Kansas City Blues and Joe Young’s 1933 A Hundred Years from Today perfectly highlight Howell’s fingerpicking guitar style. One of Steve’s all-time favorite tracks, Mississippi John Hurt’s 1928 Got the Blues, Can’t Be Satisfied gives us goosebumps every time we listen to it. The jazzy and emotional Limehouse Blues by Douglas Furber/Philip Braham is a pleasant contrast to the southern acoustic swing blues of Who’s Been Here by Bo Carter and the final track, Rocking Chair, was originally recorded by Hoagy Carmichael in the fateful year of 1929. This duo takes us to the beautiful pre-war country blues period. The few jazzy compositions are a great introduction that give us more than once goose bumps. Handsome release! (4.5 out of 5)
– Philip Verhaege - Keys & Chords (Netherlands)
Few artists manage to capture old Piedmont blues with a so exquisite taste and a polished full of nuances technique like singer and guitar player Steve Howell, a true master of fingerpickin’ guitar playing and, in these particular recording, well supported by bass player Jason Weinheimer, who also is responsible of all mixing, mastering and final production. Today Steve Howell is an expert in all these styles although, this time, he gives us a good handful of poetical intimistic songs, all them following a beautiful folk-blues line. VERY GOOD.
– La Hora del Blues (Barcelona, Spain)
When Steve Howell sings and plays the blues, it’s time for acoustic pride - and as far as we’re concerned, it’s exactly what we want to hear. The sources that Steve Howell draws upon in his musical journey are as varied as his understanding of the interplay, intrigue and richness of the blues, while also releasing albums of outstanding quality. His intensity, passion, strength and intimacy and his skill as a guitarist leave nothing to be desired. He lives “A Hundred Years from Today" through a recognizable artistic style that avoids the more trivial forms of the blues and seeks instead to look at the big picture. Be a part of this journey through the blues by listening to this truly great collaboration by Steve Howell and Jason Weinheimer.
- Mauro Musicco, Il Blues (Italy)
“More than an ode to all those great blues artists…”
The sound of a voice accompanied by an acoustic guitar is the blues in its original purity. When two blues veterans like Steve Howell and Jason Weinheimer work together, an enjoyable listening experience is guaranteed.
Steve Howell and Jason Weinheimer recorded their collaboration on their debut album A Hundred Years from Today. You can almost take that title literally, because this is a collection of ten rural country blues and traditional jazz songs written around the 1930s by artists like Lightnin’ Hopkins, Mississippi John Hurt, Bo Carter and Jim Jackson. Steve Howell does the fingerpicking and vocals and is accompanied by Jason Weinheimer on bass. Weinheimer was also the sound engineer who mixed and mastered the recordings.
The album opens gracefully with a traditional version of “Lulu’s Back in Town” which was recorded by Fats Waller and became very popular. Howell amply demonstrates his typical fingerpicking guitar style in “Kansas City Blues,” an old-fashioned country blues by Jim Jackson. Mike Bloomfield recorded this song on his 1976 album If You Love These Blues, Play ‘Em as You Please. The next song is “Going Back to Florida.” Howell found the inspiration for this song in the repertoire of fellow Texan, Lightnin’ Hopkins. The loose but tight two-step feeling of “Louis Collins” cleverly conceals the dark beauty of a well-known American murder story that was first recorded by Mississippi John Hurt in 1920. Another selection from Hurt’s repertoire is the boogie “Got the Blues, Can’t Be Satisfied.” “Basin Street Blues” is a song about a famous street in Storyville, New Orleans that was written by Spencer Williams and first recorded by Louis Armstrong. “Limehouse Blues – After You’ve Gone” is an English song from the Limehouse district in East London about a girl who’s gone astray. Next is “Who’s Been Here?” from 1938 by Bo Carter, one of the original members of the Memphis Sheiks. The last song of the album is “Rocking Chair,” written by Hoagy Carmichael in 1929 and again, it was Louis Armstrong who recorded it along with his trombonist Jack Teagarden.
Jason Weinheimer and Steve Howell take you on a journey back in time. What these two gentlemen present here is more than just an ode to all the great blues artists who wrote this music, it’s also proof that this music is immortal and still deserves our attention today!
- Eric Schuurmans, Roots Time (Netherlands)
The Texas-born Steve Howell appears here with a well-balanced mix derived from the blues-, folk-, and jazz song treasures. Howell presents a nuanced laidback song and diligent acoustic guitar play, while the bassist Jason Weinheimer provides outstandingly tight support. The end-result is relaxed and cozy but filled with depth and feeling.
After a light-hearted introduction of the Fats Waller song "Lulu's back in town" follows the somewhat philosophical title song and Hoagy Carmichael's evergreen "Rocking Chair," among others. But there are also excellent interpretations of Jim Jackson's "Kansas City Blues" and Lightnin Hopkins' "Going Back to Florida," as well as Mississippi John Hurt's "Louis Collins," and Bo Carter's "Who's Been Here."
- Charley Nilsson, Jefferson Magazine (Sweden)
– Steve Howell and Jason Weinheimer
The instrumentation restricted to Howell's guitar and Weinheimer's bass is sublime and a true masterclass of how you orchestrate music as it deserves to be. Wonderful charts that allow for stunning phrasing with a marvelous of space to allow the vocals to shine. Here, my dear friends, is a recording worthy of being considered a Lomax recording or one that you would receive from the Library Of Congress Recordings. As l listened l felt a growing joy as each track took me on a journey that shaped the earliest recordings of Blues and Jazz. Howell certainly has taken us to the cradle of these very American music styles as no other has attempted and succeeded at for many a decade. To sum up, you have impeccable expressive vocals, sublime guitar, perfectly accompaniment from the bass and above all a collection of songs for the ages. Weinheimer's production is simply superb and instrumental in elevating this album so high. Congratulations Steve Howell and Jason Weinheimer on your masterpiece for this is an indication of just how to create one. Steve Howell has a wonderful frailty with his voice and as a guitarist wow what can you say. To have Weinheimer part of the recording and producing it was inspired. Yep, l certainly love this one big time.
- Peter Merrett, PBS 106.7 FM, Melbourne, Australia
The two play beautifully together, bringing these cherished tunes to life to be enjoyed by yet another generation. There is nothing more beautiful than the interworking of a pair of musicians with a true love for the music and the sensibility as well as the ability to allow the song to be the most important part of the equation...no egos getting in the way, no showboating and no high-tech gadgetry getting in the way. Songs delivered in a way that preserves the integrity of the tunes while, at the same time, breathing new life into timeless classics. The songs are every bit as valid and valuable today as they were when they were first written. Sometimes comedic and sometimes poignant, these stories of life, death and love speak to the heart now, as they did so long ago. Musicians of this ilk carry on in the time-honored tradition of the songster, the minstrel, whose purpose, other than putting food on the table was to preserve the music played in times past. Steve and Jason do a tremendous job. This is an album deserving of awards on many fronts. I recommend it highly to young and old alike. Fans of guitar or, up and coming guitarists would do well to give it a good listen. not unique, but it is exceptionally well done and pays great respect to the originators...something that can be done without the need to copy their particular styles note for note.
- Bill Wilson, Reflections In Blue
Ace acoustic fingerpicker Steve Howell has teamed up with Bass player Jason Weinheimer for some great acoustic blues! Steve knocks it out of the park on this one. Every song clean and clear, true to the form just wonderful! A blues primer for acoustic guitar lovers! Steve’s vocals are soft and disarming, and bring you right into his music. He can play anything, and has that Delta mud in his veins. Just perfect!
- Barry, Smoky Mountain Blues Society
A grand acoustic blues duo that does killer back porch work on hundred year old blues and hokum that sounds like it was just delivered from a time capsule found in the Delta. Killer stuff throughout.
– Midwest Record, Lake Zurich, IL
Texan Steve Howell is one of the premier finger-pickers on the contemporary acoustic scene and one of our favorite storytellers in all blues. “A Hundred Years From Today” deftly preserves the past with a nod to the future.
- Sheryl and Don Crow, The Nashville Blues Society
Howell's thing is so straight and honest, I always enjoy listening to his stuff.
- Larry Hirshberg, KBGA, Missoula, MT
This is an album of top-quality, sensitively styled and delivered acoustic blues and southern jazz music. A wonderful addition to Howell’s growing body of work.
- Iain Patience, Blues Magazine, The Netherlands
Living Blues once characterized Howell as a “gentle, Deep South-inspired acoustic troubadour,” and this thoroughly captivating, if brief, recording displays why with his affable and charming performances.
- Ron Weinstock, Jazz & Blues Report
Steve Howell, accompanied by longtime collaborator Jason Weinheimer on bass, delivers a carefully curated and expertly performed presentation of mostly pre-war blues, folk and traditional jazz-tinged gems. Howell studiously learns the history of the songs and the artists he covers to deliver honest and faithful versions that blend all of his musical interests.
– Living Blues Magazine
Steve’s warm voice and his very accomplished but never flashy for its own sake, guitar work come across well on these, and on the other eight tracks here.
- Norman Darwen, Flying Shoes (Scotland/Europe)
A guitar, a bass and a voice, it takes no more than "A Hundred Years From Today" to become a pure marvel in which Howell and Weinheimer let their wildest thoughts go, revisiting more than copiously the blues of the 1920s and the 1930s. From the picking so precise that it would probably happen to make turn some old bluesmen in their tomb, an approach at once full of sincerity but also modesty, it is with an immeasurable talent that Steve Howell and Jason Weinheimer ask us in the genre of "Lulu's Back In Town," "Going Back To Florida," "Basin Street Blues," or "Rocking Chair" to make "A Hundred Years From Today" an album that will remain in memoirs as one of the masterpieces of acoustic blues folk. A wise man!
– Fred Delforge, Le Zicazine (France)
In the hands of a master. Steve Howell consistently produces graceful, loving pieces.
- Gary Blue, Cambridge 105, England
A very refreshing collection of rural country blues. It is simple and understated and that is what makes it so enjoyable. this album breathes new life into gems from the past that speaks of the human condition.
- Michael Smith, The Groove, Crossroads Blues Society, Rockford, Illinois.
Two calm gentlemen with their vintage guitars playing, mainly, old fingerpicking songs whose soft melodies can serve as lullabies. one could say that this rocking chair is the ideal seat to settle down and listen to this album, eyes half closed. A dozen country blues songs with a rural trend magnified by two talented artists.
- Marco Piazzalonga, Jazz ‘N More (Switzerland)
A style of country blues that sounds thoroughly modern and traditional at the same time. ...a superb version of the murder ballad “Louis Collins” and... a gorgeous cover of Hoagy Carmichael’s melancholy “Rocking Chair.” Steve Howell’s albums are always a treat to hear because of his wonderful playing, his sincere vocal style, and his dedication to preserving, recreating, and revitalizing the country blues for a new generation of blues fans. A Hundred Years From Today is a great launching pad for those who enjoy this music.
- Graham Clarke, Blues Bytes
Fortunately for Steve, he has two distinct advantages over a good deal of other fine acoustic blues players and that is; a low sweet treacle infused softly burring voice and a patient laidback almost drifting fingerpicking style that lulls you into very fine state of contentment. On this album he is joined by the excellent ‘Mighty Man’ bass player Jason Weinheimer. Here, the pair of them have recorded a very fine collection of ten numbers that stimulate, excite and relax you all in one go while you drift away in your chair. (On a personal note, I would highly recommend listening to this album with headphones firmly on.) On Mississippi John Hurt’s tender and thought provoking “Louis Collins,” there is, hidden within the sweetly embracing fingerpicking sound, a sad and morose tale of senseless murder and equally senseless legal retribution. A sublimely delicate rendition of “A Hundred Years From Today,” is delivered by Steve and Jason. Lyrical, floating flowing passages of fingerpicking delights defy and soften the seriousness of the content. “Limehouse Blues” and “After You’ve Gone”, wonderfully fuse together, the soft and deftly woven guitar work wafts like gossamer into your mind. Bo Carter’s “Who’s Been Here”, is a jaunty and jolly entendre filled tale, Steve’s guitar work is all knowing and breezy. Greatly Endorsed!
- Brian Harman, Blues In The South (UK)
Few things are as pure as the sound of a solo vocal and sparse acoustic accompaniment. That singularity of purpose led to the latest collaboration from veteran blues man Steve Howell and his partner, Jason Weinheimer; “A Hundred Years From Today.” The wonderful ten song collection of rural country blues and traditional jazz offerings in the intimate setting of guitar, bass and vocals. Texan Steve Howell provided the melodic and seasoned finger style guitar and soulful vocals while Jason Weinheimer lent his considerable and widely recognized skills on bass, engineering, mixing and mastering. “A Hundred Years From Today,” from Howell and Weinheimer, offers an interesting and accessible set list, recorded with an eerie clarity missing in the quality of most audio production, that breathes new life into gems from the past and taps the depths of the human condition.
- Rick J. Bowen
Steve Howell and Jason Weinheimer duo are promoting their masterful album, which features the music of Steve’s mentors and heroes. The ten tracks are cover versions of pre-war songs that have influenced Steve and Jason. Their unique collaboration is an intimate blend of Steve’s guitar and vocals and Jason’s bass lines. Their beautiful covers of Lulu’s Back in Town by Harry Warren, which was actually Fats Waller’s jazzy signature song in 1935, Jim Jackson’s 1927 Kansas City Blues and Joe Young’s 1933 A Hundred Years from Today perfectly highlight Howell’s fingerpicking guitar style. One of Steve’s all-time favorite tracks, Mississippi John Hurt’s 1928 Got the Blues, Can’t Be Satisfied gives us goosebumps every time we listen to it. The jazzy and emotional Limehouse Blues by Douglas Furber/Philip Braham is a pleasant contrast to the southern acoustic swing blues of Who’s Been Here by Bo Carter and the final track, Rocking Chair, was originally recorded by Hoagy Carmichael in the fateful year of 1929. This duo takes us to the beautiful pre-war country blues period. The few jazzy compositions are a great introduction that give us more than once goose bumps. Handsome release! (4.5 out of 5)
– Philip Verhaege - Keys & Chords (Netherlands)
Few artists manage to capture old Piedmont blues with a so exquisite taste and a polished full of nuances technique like singer and guitar player Steve Howell, a true master of fingerpickin’ guitar playing and, in these particular recording, well supported by bass player Jason Weinheimer, who also is responsible of all mixing, mastering and final production. Today Steve Howell is an expert in all these styles although, this time, he gives us a good handful of poetical intimistic songs, all them following a beautiful folk-blues line. VERY GOOD.
– La Hora del Blues (Barcelona, Spain)
When Steve Howell sings and plays the blues, it’s time for acoustic pride - and as far as we’re concerned, it’s exactly what we want to hear. The sources that Steve Howell draws upon in his musical journey are as varied as his understanding of the interplay, intrigue and richness of the blues, while also releasing albums of outstanding quality. His intensity, passion, strength and intimacy and his skill as a guitarist leave nothing to be desired. He lives “A Hundred Years from Today" through a recognizable artistic style that avoids the more trivial forms of the blues and seeks instead to look at the big picture. Be a part of this journey through the blues by listening to this truly great collaboration by Steve Howell and Jason Weinheimer.
- Mauro Musicco, Il Blues (Italy)
“More than an ode to all those great blues artists…”
The sound of a voice accompanied by an acoustic guitar is the blues in its original purity. When two blues veterans like Steve Howell and Jason Weinheimer work together, an enjoyable listening experience is guaranteed.
Steve Howell and Jason Weinheimer recorded their collaboration on their debut album A Hundred Years from Today. You can almost take that title literally, because this is a collection of ten rural country blues and traditional jazz songs written around the 1930s by artists like Lightnin’ Hopkins, Mississippi John Hurt, Bo Carter and Jim Jackson. Steve Howell does the fingerpicking and vocals and is accompanied by Jason Weinheimer on bass. Weinheimer was also the sound engineer who mixed and mastered the recordings.
The album opens gracefully with a traditional version of “Lulu’s Back in Town” which was recorded by Fats Waller and became very popular. Howell amply demonstrates his typical fingerpicking guitar style in “Kansas City Blues,” an old-fashioned country blues by Jim Jackson. Mike Bloomfield recorded this song on his 1976 album If You Love These Blues, Play ‘Em as You Please. The next song is “Going Back to Florida.” Howell found the inspiration for this song in the repertoire of fellow Texan, Lightnin’ Hopkins. The loose but tight two-step feeling of “Louis Collins” cleverly conceals the dark beauty of a well-known American murder story that was first recorded by Mississippi John Hurt in 1920. Another selection from Hurt’s repertoire is the boogie “Got the Blues, Can’t Be Satisfied.” “Basin Street Blues” is a song about a famous street in Storyville, New Orleans that was written by Spencer Williams and first recorded by Louis Armstrong. “Limehouse Blues – After You’ve Gone” is an English song from the Limehouse district in East London about a girl who’s gone astray. Next is “Who’s Been Here?” from 1938 by Bo Carter, one of the original members of the Memphis Sheiks. The last song of the album is “Rocking Chair,” written by Hoagy Carmichael in 1929 and again, it was Louis Armstrong who recorded it along with his trombonist Jack Teagarden.
Jason Weinheimer and Steve Howell take you on a journey back in time. What these two gentlemen present here is more than just an ode to all the great blues artists who wrote this music, it’s also proof that this music is immortal and still deserves our attention today!
- Eric Schuurmans, Roots Time (Netherlands)
The Texas-born Steve Howell appears here with a well-balanced mix derived from the blues-, folk-, and jazz song treasures. Howell presents a nuanced laidback song and diligent acoustic guitar play, while the bassist Jason Weinheimer provides outstandingly tight support. The end-result is relaxed and cozy but filled with depth and feeling.
After a light-hearted introduction of the Fats Waller song "Lulu's back in town" follows the somewhat philosophical title song and Hoagy Carmichael's evergreen "Rocking Chair," among others. But there are also excellent interpretations of Jim Jackson's "Kansas City Blues" and Lightnin Hopkins' "Going Back to Florida," as well as Mississippi John Hurt's "Louis Collins," and Bo Carter's "Who's Been Here."
- Charley Nilsson, Jefferson Magazine (Sweden)
"Friend Like Me"
- Steve Howell & The Mighty Men
Howell is fearless and comfortable with himself and strips this one back and delivers an engaging solid vocal and guitar. There is a deep down in the soul feel that questions the listener as Howell's vocals add to that mystique. So very authentic stripped bare country Blues.
Howell singing to his highest register and his fragile voice is both stunning and vulnerable. Throughout this album Howell and Michaels have delivered some absolutely mesmerizing guitar that is so understated but also complex.
Howell and his group deliver a musical tour de force of a Folk/Country/ Blues laden album that is stripped bare to expose the frailties that are inspired by these wonderful songs. Howell may not have the greatest voice but what he can do with what he has is brilliant. As a guitarist he is a master of the finger picking style that is mesmerizing indeed.
- Peter Merrett, PBS 106.7, Melbourne, Australia
Playing exactly like the friend that you would welcome at your house when he shows up with his guitar and says “hey listen to this one I just found”, Howell is exactly the juke box jaded boomer ears need to have around. Fun stuff that’s organic without back porch trappings, good time rocking folk/blues has a new champion as well as a new subdivision. Well done.
- Chris Spector, Midwest Record
Steve Howell as musician is like watching a master craftsman at work, methodical, patient, lightly coaxing great beauty from the materials at hand. This band of veteran, gentleman muso's, deftly weave their magic into tales of southern life, indelibly leaving their own subtle and often beautiful stamp on this collection of country blues standards.
- Pete "Amigo" Williams, Made in the shade, Melbourne, Australia
This Steve Howell is really hitting the spot. You know what I like. My favorite record of 2015. Great job!!
– Paul Benjamin, Paul Benjamin Band, Tulsa, OK
Steve Howell & The Mighty Men are back again with their new release, Friend Like Me. As eclectic as usual, they offer up interpretations of time worn tunes from the ArkLaTex region and the Mississippi Delta to the hills of Kentucky and the Old West, with a couple of delightful side trips thrown in. Steve’s finger style guitar mastery, the unique electric guitar approach of Chris Michaels, the consummate roots drumming of Dave Hoffpauir and the lyrical and rock solid bass playing of Jason Weinheimer, serve up these tunes in a way that is guaranteed to reach lovers of the deepest root of American music. They play the old blues and folk tunes with an authenticity and new approach that is rare today.
(Burnside Distribution)
I play this when I'm feeling down.... it always picks me up... that soothing voice and truly inspiring guitar work. Awesome.
- Beardo – Bandana Blues
Howell became a true master of his instrument and the musical styles that had stolen his heart. He managed to blend the many varied styles into a sound that is uniquely his own. Friend Like Me manages to hold the listener from start to finish, leaving one longing to hear more when the disc is finished. Steve and The Mighty Men handle these tunes like the treasures they are, showing each the respect it deserves. The result flows like water down a small stream, fluid and refreshing. Country, blues, gospel, folk, pop and more all blend seamlessly for an album that left me hitting the replay button. It doesn't get any better than this...and that's a fact. Call it whatever you like, this is good music.
- Bill Wilson, Reflections In Blue
Texan Steve Howell is not only a top-tier fingerpicking wizard and over-the-top vocalist, he’s also a formidable historian regarding the pre-WWII masters that traveled and recorded throughout the South. Steve grew up in a time where the song and its message were the most important things, and he and the Mighty Men make sure this is what the listener hears as well. This one is highly recommended listening!
- Sheryl and Don Crow, The Nashville Blues Society.
Howell sings in a charmingly natural, conversational voice. Throughout, he and the three Mighty Men conjure up a back porch of the imagination, and a most pleasant place to plant oneself it is. Every song triggers joy. Howell and the boys inhabit it as if ghosts drawn to a desolate landscape. In the process they'll call up rich memories you didn't know you had. For that and more, Friend feels like a friend indeed.
– Jerome Clark, Rambles.net
Steve Howell likes his blues rough-hewn and haunting, driving his emotional words home with an acoustic but non-the-less potent exclamation point. A veteran of the Ark-La-Tex scene his experiences in the music rich area pour forth like the Mississippi flowing through a back alley behind a row of juke joints. From the melancholy to the mean and lean, the songs really stick with you, both musically and with the soul-tugging stories they weave.
– Music Morsels Reviews blog
I just received the newest release, Friend Like Me, from Steve Howell & The Mighty Men and it's got style! I really like the loose guitar soloing technique giving it a raw flavor. This music has an unusual JJ Cale kind of vibe...laid back but pointed. Very cool! Melodic electric guitar work over finger picked acoustic work. Very clean. A unique release.
– Bman’s Blues Report
Friend Like Me (Out of The Past Music), the fifth and latest released from Steve Howell & The Mighty Men, is another excellent release from the Texas-born and based singer/guitarist featuring his acoustic finger-picking guitar and warm, smooth vocals. Because of his gentle, laidback approach and superb taste in material Howell’s albums are always a pleasure to listen to. Friend Like Me is no exception. This is an album that will be loved and cherished by fans of acoustic guitar……just like all of Howell’s other recordings.
- Graham Clarke, Blues Bytes
Steve Howell & the Mighty Men (Steve on vocals, acoustic and electric guitar, Chris Michaels on electric guitar, Dave Hoffpauir (Arkansas’ answer to Jim Keltner) on drums and Jason Weinheimer on bass) have done it again; “Friend Like Me”, recorded on 2 inch, 16 track tape with all the warmth that brings to the sound, is as real as it gets. Once again, it’s all about the songs; I think Steve would get on really well with Dick Gaughan. Personal favourites on this new c.d. are ”Me and my Uncle”, the John Phillips (The Mamas and the Papas) song that became a Grateful Dead classic. Well I’m going to upset a few people here by saying that I think this is the best take on this great story song ever, likewise “This Old Hammer”; these two songs showcase the true quality of Steve’s singing – it touches your heart at moments like these and is only surpassed on this album on the spooky “Roustabout”; it’s some achievement to sing a whole song basically on one note and keep you totally hooked; hypnotic. Jason Weinheimer’s bass on “Take This Hammer” underpins Steve’s stately picking with flair and solid feel. Chris’ electric guitar drifts across it all with death defying tone. Chris is a great electric guitarist; he really understands the whole deal.
“Aberdeen Mississippi Blues” takes no prisoners! It rocks. “Oh Lord, Search My Heart “ is a wide open, shiny eyed take on a great song that set the Reverend Gary Davis’ heart ticking again. It’s fabulous.
I’m not going to go through all the songs - we’d be here all night. I love this album and I am in awe of the guys who made it.
These guys get it and so will you once you’ve heard this album. It’s a lesson in what the traditional music of America, especially the untamed musical spaces of the South, is all about; it tells a great story of heart and soul with no bullshit
The recording is fantastic; The sound of each instrument is stunning and the sound of the whole band together is something else again. What an album.
But I’m biased. Don’t take my word for it. Find out for yourself.
– Arnie Cottrell
www.arniecottrell.com
A kind of country folk blues full of charm and sensuality.
Sometimes unsettling, but still very appealing, the album takes us from Arkansas to Mali and from Texas to Mississippi in less time than it takes to say it, during the trip going through pieces full of subtleties, like “Aberdeen, Mississippi Blues,” “Elder Green Is Gone,” “This Old Hammer,” “Viola Lee Blues” or “Me & My Uncle,” but also the impressive “Roustabout” where Howell revisited in his own way incantations that seem to have descended from the depth of an African griot. Through parts highly refined in rather psychedelic bits, Steve Howell & The Mighty Men live up to the height of their ambitions by offering an exceptionally produced album where each one of the artists proves to be at the top of his trade. Those who appreciate elaborate melodies are up for a feast for sure! – Fred Deforge, Zicazic (France)
click here
Friend Like Me is a mature and laid-back release, more focused on tasteful performances and musicianship than an animated delivery of the acoustic blues. - Reviewed by Douglas Dowling Peach, Black Grooves.org, sponsored by the Indiana University Archives of African American Music and Culture.
I never imagined that Steve Howell could handle such handsome cover versions. Great stuff! - Philip Verhaege, Keys And Chords, The Netherlands
"Friend Like Me" is the fifth album of the Texan fingerpicking master Steve Howell. It has now become well known that Steve has a preference for the blues sound of, let's say, Mississippi John Hurt, but on this record he goes a little wider and takes us to browse in known and lesser known songs of the old Blues masters from the South. Ten of their songs get a little refurbishment/refreshment and in Howell's hands that means it results in an exceptionally pleasant record.It is great to hear how Howell's warm voice and equal guitar play flow together with the rest of the band. Lightly R&B spiced with catchy guitar riffs and fantasically sung, makes for the third peak in a row. This band is so tightly knit. The acoustic finger picking play can be called outright impressive. A record that is well recommended.
- Luc Meert
www.rootstime.be
The sound is that of a few old friends sitting around a stove or fireplace playing some of their favorites. Instrumentally, the sound is laid back and homey, with quietly electrified guitars from.
- New Blues News
All are played with real feeling and skill, from a clearly experienced outfit. The surprise card in the hand here is the closing track, a marvelous cover of the old ‘60s Manfred Mann hit, “Pretty Flamingo’, which manages to sound soulful, absolutely sixties and fresh all at the same time. An inspired choice in many ways, it typifies the eclecticism and enduring quality of most of the songs covered in the mix. Howell seems to be a guy with one eye on the future and both feet firmly grounded in the country blues. His voice, laid-back and fruity, pushes the whole project along with an evident sense of fun and pleasure. Unlike many ‘cover’ albums, Friend Like Me sounds original, and is rewarding and instantly enjoyable. This is an album worth checking out for lovers of traditional acoustic-fuelled blues with a hint of originality, as comfortable and satisfying as a pair of your old, favorite jeans.
– Iain Patience, Elmore Magazine
“Pure, original, authentic.”
– Michael Liminos, Blues.gr (Greece)
Howell finger picks in a style that evokes the late Chet Atkins and is content to recreate traditional country blues. He possesses a warm voice similar to Elvin Bishops and his albums are collections of tunes almost forgotten. The Academy of Texas Music awarded “Since I Saw You Last” a first time “Historical Significance Award” which “honors the efforts of the album to preserve the fidelity of the tunes recorded and recognizes the significance of the emotion embedded in each…” The Academy of Texas Music was onto something. Someone should nominate Howell for a “Keeping The Blues Alive” award. This is a thoroughly enjoyable recording.
- Richard Ludmerer, Making A Scene Newsletter
Whatever is musically and historically valuable, must be honored! This assumes not only folklorists such as John Lomax or Cortez D. Reece, but also musicians such as John Fahey, Doc Watson, Roy Book Binder and even the Grateful Dead. Blues classics from before or even after the Second World War were changed by them to a modern version, just as now Texan Steve Howell does on his fifth album. He also retakes blues songs from Charley Patton, Bukka White, Rev. Gary Davis and Gus Cannon and puts his own soul into them. The hit ‘Pretty Flamingo’ of Manfred Mann dates from later, as well as ‘Me and My Uncle’ from John Phillips of The Mamas & The Papas. Yet all the songs form a harmonic whole through the original interpretations of the restless singer-guitarist who has involved himself for more than forty years in the roots music of Southern America. Chris Michaels on electric guitar and the rhythm section fill the songs with a nice vintage sound which shows in the melancholy ‘This Old Hammer’ or the brewing ‘Roustabout’ by creating moody atmosphere. Also, we never suspected that the traditional ‘Little Sadie,’ which has been covered countless times, could intrigue us again from the rhythm and feel as if nothing has changed since 1922. The guitars, finger tingling, relaxed, rebellious or resonating, and the drumming of Hoffpauir recolor all of these old songs that received new life in Little Rock, Arkansas.
- Mieke Geukens, Back To The Roots (Belgium)
His performances are infused with a still; reassuring calm enthusiasm that pays wonderful homage to the neglected gems of the past, all the while his gentle acoustic finger picking style exudes patience, skill and understanding. His soft, slightly raw and intriguingly burred vocals are a splendid accompaniment to the highly satisfying music that he so pleasantly delivers. All ten numbers are covers that were lovingly recorded on analogue equipment which gives the overall sound a strangely flat yet, intriguingly haunting and inviting atmosphere which in turn draws you ever more closely into the music. There is nothing flash or showy about Steve and his music it is simply solid, old and timeless! Recommended!
- Brian Harman, Blues In The South (UK)
If there is smooth jazz, can there not be smooth blues? It doesn’t quite sound right and although I could describe Steve Howell’s music as such, it is important to remind people of the sharp corners evident. The songs are silkier and not as fiery as many blues artists, instead focusing on thoughtful vocals and a mix of carefully picked electric and acoustic guitars atop a mannered rhythm section. While not for everyone, I think folk fans would enjoy this style of blues more than the clichéd blues rock artisans. The songs are a mix of traditional cuts along with some of the classic blues writers over a long era and up to folk rocker, John Phillips. I found this style excellent and the arrangements even varied from relaxing to mysterious and dangerous. This is a great approach for the blues in the 21st Century.
- © David Hintz, Folkworld (Germany)
It’s not always necessary to let loose and it’s also not written [anywhere] that, if it doesn’t touch you deeply, it isn’t Blues. With his new album Steve Howell proposes ten covers in the pursuit of a relaxing sound, a steady and very personal calmness that actually distinguishes the artist and release. Fulminated in his youth by Mississippi John Hurt, the Texan reached his fifth album with his simple acoustic finger-picking, always sufficient in itself and most of all a formidable link for Chris Michaels (electric guitar), Dave Hoffpauir (drums) and Jason Weinhemer (bass), alias The Mighty Men. Howell’s voice is not limpid and the width is limited, but the tone is warm and appropriate for the folk genre and country blues. Great attention [paid] to the instruments and the natural rendition,
- Matteo Gaccioli, IL Blues (Italy)
The fifth album by this Texan musician, brings a collection of ten songs of old masters of the genre, which originally were recorded in acoustic versions. Howell performs them in a delicate, electric version in such a subtle way that he produces an impression of listening to electro-acoustic blues. The music is soft and pleasant. It's rhythmically varied and has its own warm and even mysterious atmosphere. It is pleasant to listen. Interesting arrangements and execution by Howell and his team are responsible for this. We listen to, among others, compositions by Bukka White, Charley Patton, Josh Thomas, Rev. Gary Davis, Noah Lewis and a few other less known musicians of the deep past. This album brings relaxation and comfort after a hard day.
- Piotr Gwizdata, TwojBlues (Poland)
What drives a small Texas oilman to embark on a risky and costly enterprise such as recording blues, if not a passion for music? That’s how it is for Steve Howell who after meeting up with his loyal ones, The Mighty Men, recorded in an entirely analogical manner his fifth album, Friend Like Me, which contains ten homages to equally famous original blues songs, written by Charley Patton, Noah Lewis, Bukka White, Reverend Gary Davis, or John Philips of the Mamas and Papas.
In his sixties, Howell’s indolent and coarse voice and skillful fingerpicking strike again, thanks to an absolutely traditional arrangement, but performed with elegance by his pards, Chris Michaels, Dave Hoffpauir, Jason Weinheimer, who reveal all of their deep knowledge of blues savoir faire.
The booklet is equipped with interesting author notes, explaining the genesis of the individual songs, demonstrating a passion and considerable expertise, and revealing important episodes of Howell’s musical past and collaborations, as well as the roots of his inspiration, from Mississippi John Hurt to the Hot Tuna.
Amongst the songs, also his two gems: Viola Lee Blues, intriguing mix of 60’s psychedelia and 20’s swing, and Me & My Uncle, both famous for having been two major war horses of the Grateful Dead concerts; this all masterfully reviewed and led by Howell’s bluesy presence, the real tutelary deity of the project.
Who said blues induces depression? This blues, played this way, can only make you feel good.
- Laura Bianchi, Mescalina.it
Although “Friend Like Me” is his sixth album, the Texan guitarist Steve Howell is only known to a few connoisseurs. And it’s unjustly, because the older man with twinkling eyes and an emphasized mischievous smile is a famous acoustic guitarist and an excellent singer. He also belongs as some others to the walking libraries and keepers of the old traditional blues music. In the album “Friend like Me” he has made, together with his excellent band, ten songs between traditionals and from people like Charley Patton, Bukka White, and Reverend Gary Davis. In addition to “Pretty Flamingo” and “Me And My Uncle” it includes two interpretations of songs from the 1960’s, which Manfred Mann and Grateful Dead had on their setlists. What is exciting about this very quiet, relaxing album is the variability appropriate for Howell’s approach to the songs, because he neither lays stress on precise “soundalikes” nor gives importance to absurd variations. Howell and his band present all tracks in their rolling, twanging, multidimensional concept recalling evenings on the porch in the sunny southern states. In its makeup “Friend Like Me” is reminiscent of the techniques of the wonderful Dan Hicks. To enjoy the most of the musical finesse it is better to use the headphones.
(ThR) – Blues News (Germany)
Steve Howell is an old hand from the Texas/Arkansas/Louisiana tri-state area. With much understatement and much charm, he fronts his quartet The Mighty Men with traditional, finger-picking blues. “Friends Like Me” (Out Of The Past Music) awaits with a well-designed selection of classics from, among others, Charlie Patton, “Baby Face” Thomas, Bukka White or Reverend Gary Davis as well as witty interpretations of hits from the sixties.
– Kurz Angespielt, Jazz ‘N More (Switzerland)
- Steve Howell & The Mighty Men
Howell is fearless and comfortable with himself and strips this one back and delivers an engaging solid vocal and guitar. There is a deep down in the soul feel that questions the listener as Howell's vocals add to that mystique. So very authentic stripped bare country Blues.
Howell singing to his highest register and his fragile voice is both stunning and vulnerable. Throughout this album Howell and Michaels have delivered some absolutely mesmerizing guitar that is so understated but also complex.
Howell and his group deliver a musical tour de force of a Folk/Country/ Blues laden album that is stripped bare to expose the frailties that are inspired by these wonderful songs. Howell may not have the greatest voice but what he can do with what he has is brilliant. As a guitarist he is a master of the finger picking style that is mesmerizing indeed.
- Peter Merrett, PBS 106.7, Melbourne, Australia
Playing exactly like the friend that you would welcome at your house when he shows up with his guitar and says “hey listen to this one I just found”, Howell is exactly the juke box jaded boomer ears need to have around. Fun stuff that’s organic without back porch trappings, good time rocking folk/blues has a new champion as well as a new subdivision. Well done.
- Chris Spector, Midwest Record
Steve Howell as musician is like watching a master craftsman at work, methodical, patient, lightly coaxing great beauty from the materials at hand. This band of veteran, gentleman muso's, deftly weave their magic into tales of southern life, indelibly leaving their own subtle and often beautiful stamp on this collection of country blues standards.
- Pete "Amigo" Williams, Made in the shade, Melbourne, Australia
This Steve Howell is really hitting the spot. You know what I like. My favorite record of 2015. Great job!!
– Paul Benjamin, Paul Benjamin Band, Tulsa, OK
Steve Howell & The Mighty Men are back again with their new release, Friend Like Me. As eclectic as usual, they offer up interpretations of time worn tunes from the ArkLaTex region and the Mississippi Delta to the hills of Kentucky and the Old West, with a couple of delightful side trips thrown in. Steve’s finger style guitar mastery, the unique electric guitar approach of Chris Michaels, the consummate roots drumming of Dave Hoffpauir and the lyrical and rock solid bass playing of Jason Weinheimer, serve up these tunes in a way that is guaranteed to reach lovers of the deepest root of American music. They play the old blues and folk tunes with an authenticity and new approach that is rare today.
(Burnside Distribution)
I play this when I'm feeling down.... it always picks me up... that soothing voice and truly inspiring guitar work. Awesome.
- Beardo – Bandana Blues
Howell became a true master of his instrument and the musical styles that had stolen his heart. He managed to blend the many varied styles into a sound that is uniquely his own. Friend Like Me manages to hold the listener from start to finish, leaving one longing to hear more when the disc is finished. Steve and The Mighty Men handle these tunes like the treasures they are, showing each the respect it deserves. The result flows like water down a small stream, fluid and refreshing. Country, blues, gospel, folk, pop and more all blend seamlessly for an album that left me hitting the replay button. It doesn't get any better than this...and that's a fact. Call it whatever you like, this is good music.
- Bill Wilson, Reflections In Blue
Texan Steve Howell is not only a top-tier fingerpicking wizard and over-the-top vocalist, he’s also a formidable historian regarding the pre-WWII masters that traveled and recorded throughout the South. Steve grew up in a time where the song and its message were the most important things, and he and the Mighty Men make sure this is what the listener hears as well. This one is highly recommended listening!
- Sheryl and Don Crow, The Nashville Blues Society.
Howell sings in a charmingly natural, conversational voice. Throughout, he and the three Mighty Men conjure up a back porch of the imagination, and a most pleasant place to plant oneself it is. Every song triggers joy. Howell and the boys inhabit it as if ghosts drawn to a desolate landscape. In the process they'll call up rich memories you didn't know you had. For that and more, Friend feels like a friend indeed.
– Jerome Clark, Rambles.net
Steve Howell likes his blues rough-hewn and haunting, driving his emotional words home with an acoustic but non-the-less potent exclamation point. A veteran of the Ark-La-Tex scene his experiences in the music rich area pour forth like the Mississippi flowing through a back alley behind a row of juke joints. From the melancholy to the mean and lean, the songs really stick with you, both musically and with the soul-tugging stories they weave.
– Music Morsels Reviews blog
I just received the newest release, Friend Like Me, from Steve Howell & The Mighty Men and it's got style! I really like the loose guitar soloing technique giving it a raw flavor. This music has an unusual JJ Cale kind of vibe...laid back but pointed. Very cool! Melodic electric guitar work over finger picked acoustic work. Very clean. A unique release.
– Bman’s Blues Report
Friend Like Me (Out of The Past Music), the fifth and latest released from Steve Howell & The Mighty Men, is another excellent release from the Texas-born and based singer/guitarist featuring his acoustic finger-picking guitar and warm, smooth vocals. Because of his gentle, laidback approach and superb taste in material Howell’s albums are always a pleasure to listen to. Friend Like Me is no exception. This is an album that will be loved and cherished by fans of acoustic guitar……just like all of Howell’s other recordings.
- Graham Clarke, Blues Bytes
Steve Howell & the Mighty Men (Steve on vocals, acoustic and electric guitar, Chris Michaels on electric guitar, Dave Hoffpauir (Arkansas’ answer to Jim Keltner) on drums and Jason Weinheimer on bass) have done it again; “Friend Like Me”, recorded on 2 inch, 16 track tape with all the warmth that brings to the sound, is as real as it gets. Once again, it’s all about the songs; I think Steve would get on really well with Dick Gaughan. Personal favourites on this new c.d. are ”Me and my Uncle”, the John Phillips (The Mamas and the Papas) song that became a Grateful Dead classic. Well I’m going to upset a few people here by saying that I think this is the best take on this great story song ever, likewise “This Old Hammer”; these two songs showcase the true quality of Steve’s singing – it touches your heart at moments like these and is only surpassed on this album on the spooky “Roustabout”; it’s some achievement to sing a whole song basically on one note and keep you totally hooked; hypnotic. Jason Weinheimer’s bass on “Take This Hammer” underpins Steve’s stately picking with flair and solid feel. Chris’ electric guitar drifts across it all with death defying tone. Chris is a great electric guitarist; he really understands the whole deal.
“Aberdeen Mississippi Blues” takes no prisoners! It rocks. “Oh Lord, Search My Heart “ is a wide open, shiny eyed take on a great song that set the Reverend Gary Davis’ heart ticking again. It’s fabulous.
I’m not going to go through all the songs - we’d be here all night. I love this album and I am in awe of the guys who made it.
These guys get it and so will you once you’ve heard this album. It’s a lesson in what the traditional music of America, especially the untamed musical spaces of the South, is all about; it tells a great story of heart and soul with no bullshit
The recording is fantastic; The sound of each instrument is stunning and the sound of the whole band together is something else again. What an album.
But I’m biased. Don’t take my word for it. Find out for yourself.
– Arnie Cottrell
www.arniecottrell.com
A kind of country folk blues full of charm and sensuality.
Sometimes unsettling, but still very appealing, the album takes us from Arkansas to Mali and from Texas to Mississippi in less time than it takes to say it, during the trip going through pieces full of subtleties, like “Aberdeen, Mississippi Blues,” “Elder Green Is Gone,” “This Old Hammer,” “Viola Lee Blues” or “Me & My Uncle,” but also the impressive “Roustabout” where Howell revisited in his own way incantations that seem to have descended from the depth of an African griot. Through parts highly refined in rather psychedelic bits, Steve Howell & The Mighty Men live up to the height of their ambitions by offering an exceptionally produced album where each one of the artists proves to be at the top of his trade. Those who appreciate elaborate melodies are up for a feast for sure! – Fred Deforge, Zicazic (France)
click here
Friend Like Me is a mature and laid-back release, more focused on tasteful performances and musicianship than an animated delivery of the acoustic blues. - Reviewed by Douglas Dowling Peach, Black Grooves.org, sponsored by the Indiana University Archives of African American Music and Culture.
I never imagined that Steve Howell could handle such handsome cover versions. Great stuff! - Philip Verhaege, Keys And Chords, The Netherlands
"Friend Like Me" is the fifth album of the Texan fingerpicking master Steve Howell. It has now become well known that Steve has a preference for the blues sound of, let's say, Mississippi John Hurt, but on this record he goes a little wider and takes us to browse in known and lesser known songs of the old Blues masters from the South. Ten of their songs get a little refurbishment/refreshment and in Howell's hands that means it results in an exceptionally pleasant record.It is great to hear how Howell's warm voice and equal guitar play flow together with the rest of the band. Lightly R&B spiced with catchy guitar riffs and fantasically sung, makes for the third peak in a row. This band is so tightly knit. The acoustic finger picking play can be called outright impressive. A record that is well recommended.
- Luc Meert
www.rootstime.be
The sound is that of a few old friends sitting around a stove or fireplace playing some of their favorites. Instrumentally, the sound is laid back and homey, with quietly electrified guitars from.
- New Blues News
All are played with real feeling and skill, from a clearly experienced outfit. The surprise card in the hand here is the closing track, a marvelous cover of the old ‘60s Manfred Mann hit, “Pretty Flamingo’, which manages to sound soulful, absolutely sixties and fresh all at the same time. An inspired choice in many ways, it typifies the eclecticism and enduring quality of most of the songs covered in the mix. Howell seems to be a guy with one eye on the future and both feet firmly grounded in the country blues. His voice, laid-back and fruity, pushes the whole project along with an evident sense of fun and pleasure. Unlike many ‘cover’ albums, Friend Like Me sounds original, and is rewarding and instantly enjoyable. This is an album worth checking out for lovers of traditional acoustic-fuelled blues with a hint of originality, as comfortable and satisfying as a pair of your old, favorite jeans.
– Iain Patience, Elmore Magazine
“Pure, original, authentic.”
– Michael Liminos, Blues.gr (Greece)
Howell finger picks in a style that evokes the late Chet Atkins and is content to recreate traditional country blues. He possesses a warm voice similar to Elvin Bishops and his albums are collections of tunes almost forgotten. The Academy of Texas Music awarded “Since I Saw You Last” a first time “Historical Significance Award” which “honors the efforts of the album to preserve the fidelity of the tunes recorded and recognizes the significance of the emotion embedded in each…” The Academy of Texas Music was onto something. Someone should nominate Howell for a “Keeping The Blues Alive” award. This is a thoroughly enjoyable recording.
- Richard Ludmerer, Making A Scene Newsletter
Whatever is musically and historically valuable, must be honored! This assumes not only folklorists such as John Lomax or Cortez D. Reece, but also musicians such as John Fahey, Doc Watson, Roy Book Binder and even the Grateful Dead. Blues classics from before or even after the Second World War were changed by them to a modern version, just as now Texan Steve Howell does on his fifth album. He also retakes blues songs from Charley Patton, Bukka White, Rev. Gary Davis and Gus Cannon and puts his own soul into them. The hit ‘Pretty Flamingo’ of Manfred Mann dates from later, as well as ‘Me and My Uncle’ from John Phillips of The Mamas & The Papas. Yet all the songs form a harmonic whole through the original interpretations of the restless singer-guitarist who has involved himself for more than forty years in the roots music of Southern America. Chris Michaels on electric guitar and the rhythm section fill the songs with a nice vintage sound which shows in the melancholy ‘This Old Hammer’ or the brewing ‘Roustabout’ by creating moody atmosphere. Also, we never suspected that the traditional ‘Little Sadie,’ which has been covered countless times, could intrigue us again from the rhythm and feel as if nothing has changed since 1922. The guitars, finger tingling, relaxed, rebellious or resonating, and the drumming of Hoffpauir recolor all of these old songs that received new life in Little Rock, Arkansas.
- Mieke Geukens, Back To The Roots (Belgium)
His performances are infused with a still; reassuring calm enthusiasm that pays wonderful homage to the neglected gems of the past, all the while his gentle acoustic finger picking style exudes patience, skill and understanding. His soft, slightly raw and intriguingly burred vocals are a splendid accompaniment to the highly satisfying music that he so pleasantly delivers. All ten numbers are covers that were lovingly recorded on analogue equipment which gives the overall sound a strangely flat yet, intriguingly haunting and inviting atmosphere which in turn draws you ever more closely into the music. There is nothing flash or showy about Steve and his music it is simply solid, old and timeless! Recommended!
- Brian Harman, Blues In The South (UK)
If there is smooth jazz, can there not be smooth blues? It doesn’t quite sound right and although I could describe Steve Howell’s music as such, it is important to remind people of the sharp corners evident. The songs are silkier and not as fiery as many blues artists, instead focusing on thoughtful vocals and a mix of carefully picked electric and acoustic guitars atop a mannered rhythm section. While not for everyone, I think folk fans would enjoy this style of blues more than the clichéd blues rock artisans. The songs are a mix of traditional cuts along with some of the classic blues writers over a long era and up to folk rocker, John Phillips. I found this style excellent and the arrangements even varied from relaxing to mysterious and dangerous. This is a great approach for the blues in the 21st Century.
- © David Hintz, Folkworld (Germany)
It’s not always necessary to let loose and it’s also not written [anywhere] that, if it doesn’t touch you deeply, it isn’t Blues. With his new album Steve Howell proposes ten covers in the pursuit of a relaxing sound, a steady and very personal calmness that actually distinguishes the artist and release. Fulminated in his youth by Mississippi John Hurt, the Texan reached his fifth album with his simple acoustic finger-picking, always sufficient in itself and most of all a formidable link for Chris Michaels (electric guitar), Dave Hoffpauir (drums) and Jason Weinhemer (bass), alias The Mighty Men. Howell’s voice is not limpid and the width is limited, but the tone is warm and appropriate for the folk genre and country blues. Great attention [paid] to the instruments and the natural rendition,
- Matteo Gaccioli, IL Blues (Italy)
The fifth album by this Texan musician, brings a collection of ten songs of old masters of the genre, which originally were recorded in acoustic versions. Howell performs them in a delicate, electric version in such a subtle way that he produces an impression of listening to electro-acoustic blues. The music is soft and pleasant. It's rhythmically varied and has its own warm and even mysterious atmosphere. It is pleasant to listen. Interesting arrangements and execution by Howell and his team are responsible for this. We listen to, among others, compositions by Bukka White, Charley Patton, Josh Thomas, Rev. Gary Davis, Noah Lewis and a few other less known musicians of the deep past. This album brings relaxation and comfort after a hard day.
- Piotr Gwizdata, TwojBlues (Poland)
What drives a small Texas oilman to embark on a risky and costly enterprise such as recording blues, if not a passion for music? That’s how it is for Steve Howell who after meeting up with his loyal ones, The Mighty Men, recorded in an entirely analogical manner his fifth album, Friend Like Me, which contains ten homages to equally famous original blues songs, written by Charley Patton, Noah Lewis, Bukka White, Reverend Gary Davis, or John Philips of the Mamas and Papas.
In his sixties, Howell’s indolent and coarse voice and skillful fingerpicking strike again, thanks to an absolutely traditional arrangement, but performed with elegance by his pards, Chris Michaels, Dave Hoffpauir, Jason Weinheimer, who reveal all of their deep knowledge of blues savoir faire.
The booklet is equipped with interesting author notes, explaining the genesis of the individual songs, demonstrating a passion and considerable expertise, and revealing important episodes of Howell’s musical past and collaborations, as well as the roots of his inspiration, from Mississippi John Hurt to the Hot Tuna.
Amongst the songs, also his two gems: Viola Lee Blues, intriguing mix of 60’s psychedelia and 20’s swing, and Me & My Uncle, both famous for having been two major war horses of the Grateful Dead concerts; this all masterfully reviewed and led by Howell’s bluesy presence, the real tutelary deity of the project.
Who said blues induces depression? This blues, played this way, can only make you feel good.
- Laura Bianchi, Mescalina.it
Although “Friend Like Me” is his sixth album, the Texan guitarist Steve Howell is only known to a few connoisseurs. And it’s unjustly, because the older man with twinkling eyes and an emphasized mischievous smile is a famous acoustic guitarist and an excellent singer. He also belongs as some others to the walking libraries and keepers of the old traditional blues music. In the album “Friend like Me” he has made, together with his excellent band, ten songs between traditionals and from people like Charley Patton, Bukka White, and Reverend Gary Davis. In addition to “Pretty Flamingo” and “Me And My Uncle” it includes two interpretations of songs from the 1960’s, which Manfred Mann and Grateful Dead had on their setlists. What is exciting about this very quiet, relaxing album is the variability appropriate for Howell’s approach to the songs, because he neither lays stress on precise “soundalikes” nor gives importance to absurd variations. Howell and his band present all tracks in their rolling, twanging, multidimensional concept recalling evenings on the porch in the sunny southern states. In its makeup “Friend Like Me” is reminiscent of the techniques of the wonderful Dan Hicks. To enjoy the most of the musical finesse it is better to use the headphones.
(ThR) – Blues News (Germany)
Steve Howell is an old hand from the Texas/Arkansas/Louisiana tri-state area. With much understatement and much charm, he fronts his quartet The Mighty Men with traditional, finger-picking blues. “Friends Like Me” (Out Of The Past Music) awaits with a well-designed selection of classics from, among others, Charlie Patton, “Baby Face” Thomas, Bukka White or Reverend Gary Davis as well as witty interpretations of hits from the sixties.
– Kurz Angespielt, Jazz ‘N More (Switzerland)
“Yes, I Believe I Will”
- Steve Howell & The Mighty Men
Master Texas acoustic guitarist and singer Steve Howell performs a range of soulful music burning with an inner flame growing brighter with each listening, while revealing layers of expression often lost in high decibel electric blues... an extraordinary musical ramble... immediately confirms his true blues creds as a guitarist and singer as he casts an evocative rural spell... uncommonly supple groove of Hoffpauir and the fluid electric licks from Michaels. Howell “lives” through the dark temptations of life, the intertwining acoustic and electric guitars producing a web of swirling feelings... the propulsive, unfailingly tasteful electric guitar of Michaels. Like a great method actor, Steve Howell inhabits his music with enormous genuine authenticity. The title Yes, I Believe I Will at once declares his intent and resolve to play the blues his way, producing an unforgettable experience blurring the line between art and life.
- Dave Rubin, 2005 KBA winner in Journalism (Sept. 2013)
You have to love this old, white boy because he’s got a great act and he’s one of those cats that ranks up there with the best guys you never heard of... Howell has the authentic, heartfelt delivery and style that isn’t made for going to the top of the charts but is made for keeping you on board no matter what’s going on with fad and fashion. One of those simply great down home/back porch records that’ll have you grinning while he does the picking. Solid throughout.
- Chris Spector, Midwest Record, www.midwestrecord.com (Sept. 2013)
I love it. Steve has the licks, and the patience to make these songs brand new, and very enjoyable. Chris throws in some electric guitar that adds sugar to the pie. However, Dave Hoffpauir is just consummate. I mean the perfect drummer for this style. Nothing real fancy, no screaming tube screamers, just that slow train driving through the cool evening countryside.
- Blue Barry
– Smoky Mtn. Blues Society (Sept. 2013)
…it is really hauntingly good. Very cool… a lot of authenticity and feeling. This band... manages to take just the right note and place it in just the right location to tweak the sound… this is a nice one!
– Bman’s Blues Report (Sept. 2013)
This is one of those pieces that, if I were to pick what I would consider my Top Ten best albums of the year, this would rate high on the list. Steve Howell is one of the finest guitarists I have ever heard and his vocals fit the song like a glove. They are soulful, passionate and overflowing with emotional power... this unit is as solid as it gets... a truly timeless quality. These are the albums that will be just as fresh and valid twenty, thirty, even fifty years down the road as they were on the day they were recorded. One of the many talents that sets Howell apart from the majority of those artists playing in this style is his ability as a storyteller. Steve Howell has the ability to take a song, rework it without messing with its essential elements and breathing new life into it. This is one of those bands that is well-versed in the music and the history behind it making them one of those rare gems that can capture the sound, spirit and overall feel of the era they have culled the tunes from for the album at hand. Yes, I Believe I Will, while pulled from times past, is destined to be a masterpiece. Very few manage to deliver works so beautiful, powerful and passionate but Steve Howell & Mighty Men appear to do it with ease.
They truly love what they do and it shows. Seldom do I hear something I would feel confident to recommend to anyone and everyone but this is one of those rare pieces.
– Bill Wilson, Reflections In Blue (Oct. 2013)
Sophisticated interpretations of pre-war traditional country blues. The traditional country blues of Steve Howell and The Mighty Men exudes authenticity and in a nuanced and varied approach effortlessly transcends the defined borders of the genre.
- Cis Van Looy – Keys & Chords, The Netherlands
A true gem of an album that pays tribute to days gone by in styles that few today can match. This album draws you in from the very first note and holds you to the end, if it was vinyl one could be excused for wanting to turn it over for side two. This is an outstanding release.
- Peter Merrett, PBS106.7, Melbourne, Australia
A classic storyteller and extraordinary fingerpicker, he specializes in music from the era where traveling troubadours hoboed on freight trains and spread blues and folk music all across the land. Steve Howell can take any song and make it uniquely his own. His deft fingerpicking and marvelous vocal style makes him an ideal modern-day troubadour, and “Yes, I Believe I Will” is another long, cool drink from his bottomless wellspring of great blues! Until next time…
- Sheryl and Don Crow. Don and Sheryl Blues Blog
(Steve Howell) continues to not only thrill us with his extraordinary guitar picking style, but also, in his own special way, offers us a history lesson of what really good American Roots & Blues sounds like. "Yes, I Believe I Will" certainly continues in that vein and will have you, as the listener, more than a little astonished and amazed with Steve Howell's artistic brilliance... ten immensely entertaining tracks... Great Great Stuff... another amazing album from Steve Howell, one for which, as with all his others, really should be part of any musical library of anyone claiming to be a fan of good and honest Root, Blues, & Folk music. "Yes, I Believe I Will" is one of the very finest albums in the Tradition of Root, Blues, & Folk music, released, so far for 2013, hands down. "Yes, I Believe I Will", certainly gets my highest rating of 5*****, with the wish that I had a higher rating to give it.
- John Vermilyea (Blues Underground Network)
A particularly fine recording. The interpretations of some pretty prestigious material really work well. The best sound production he's had to date substantial in authenticity. In the midst of old classics and screaming Stratocasters, it's great to have these textures to enrich the timbre of the broadcast.
– Mic Dave, WLRH/WJAB, Huntsville, Alabama
Steve is one of those remarkably articulate players who, while never missing a note, never comes across as a technician.
– Phil Martin. blood, dirt & angels
Howell has really shined on three previous albums that mix these various genres with original compositions and tasteful covers, but this time around, the master guitarist focuses on reinterpretations of old tunes with stellar support from Chris Michaels (electric and acoustic guitars, bass), Dave Hoffpauir (drums), and Jason Weinheimer (keyboards).
The guitar work from Howell and Michaels is simply marvelous, and Howell’s vocals strike the right balance with the songs, whether conveying heartbreak or loneliness. As on his previous releases, the production is magnificent, giving you the feeling that the musicians are in the room with you.
Yes, I Believe I Will is a gentle, relaxed session that will reward fans of acoustic blues and roots guitar.
- Graham Clarke, Blues Bytes (November 2013)
Howell has the chops to get the best out of his axes and he plays with an eloquent maturity and refined elegance, clean and smooth. He gets capable help from his longtime band, with Chris Michaels on guitar and bass, Dave Hoffpauir on drums, and Jason Weinheimer on keyboards. Clearly, they can finish each other’s musical sentences. Yes, I Believe I Will offers up ten great tasteful tunes, covering blues traditions, Appalachian mountain music, and folk, all fitting together perfectly. A nice addition to the acoustic blues today by a superb artist who has all the chops and the good sense to play understated, but beautifully.
- Frank Matheis, Living Blues Magazine (Dec. 2013)
A constant throughout this album is Steve’s fine, honest, lived-in singing.
- Blues & Rhythm, Norman Darwen (December 2013)
Lone Star acoustic blues guitarist/vocalist Steve Howell here serves up a tasty and wide-ranging set, matching his seasoned, unhurried singing style with simpatico small-group grooves and lots of fine, underplayed fretwork. (4 Stars)
– Duane Verh, Roots Music Report (December 2013)
His music equally rooted in the early rural acoustic blues and jazz traditions, he continues to pursue his passions with the patience and appreciation of a master craftsman. His invitingly mellow almost fading vocals are a delightful mixture of Burl Ives and Eric Clapton, if this is not enough; the undeniable quality of his endearing charm and wistfulness emphatically draws you in further. The picking of Steve seeps immeasurably into your soul and the highly charged melancholic playing of Chris Michaels, Dave Hoffpauir, and Jason Weinheimer quietly engulfs you in a calming cocoon. Any barbed comments or observations glide effortlessly over your head unless of course, you care to pay attention to the lyrics of numbers such as; “Wasted Mind”, where Steve bemoans the lackadaisical youth of today who, for all the wrong reasons are on first name turns with the local police force and appear to have more time for exotic substances and Eminem than their estranged girlfriends and babies. All this is done with a dexterous fingerpickin’ aplomb. The Fleetwood’s “Mr. Blue”, is an illusory escape into tranquillity with its sad and woeful tale of adulterous enjoyment, delivered in the most dignified of ways. Another highlight is the nineteen twenty-eight bible inspired Blind Willie Johnson “Keep Your Lamps Trimmed and Burning,” the pins and needle electric guitar segueing with the spine tingling acoustic guitar takes your mind right the way back into the darkness of the slave-trading days of the past. Equally, “Country Blues”, Moran Lee ‘Dock’ Boggs’ nineteen twenty-seven darkly prophetic gamblers tale is absolutely riveting. Once again, the superbly addictive melancholic theme is continued with “Devil’s Side.” The rolling picking of “I Know You Rider” temporarily lifts the mood of the album somewhat; the album closes with the Jaunty if not Joyous “Rake and Rambling Blade”. A nineteenth century tale concerning, highwaymen, robbery and dastardly deeds. Highly recommended!
- Brian Harman www.bluesinthenorthwest.com (UK) (Dec. 2013)
Lone Star acoustic blues guitarist/vocalist Steve Howell here serves up a tasty and wide-ranging set, matching his seasoned, unhurried singing style with simpatico small-group grooves and lots of fine, underplayed fretwork. Mr. Howell revives traditional fare as well as worthy roots-bound works of later vintage.
- Duane Verh, Roots Music Report (Dec. 2013)
The effect is that of a homecoming for the pure pleasure of playing together, where each musician finds his pace organically and doesn’t have to show off his own abilities. An informal way to make music, ideal for a series of electroacoustic pieces fished out of traditional or from the repertoire of artists who are very different from each other. Howell has a singer songwriter’s voice which is well-suited to ballads of the folk type... appreciated for his intrinsic calm force. The Mighty Men make appearances which are not showy but which are, upon careful listening, substantial, to make these pieces their own. It’s a good disc of American roots music, chiseled by a craftsman with a sense of a job well done.
– Matteo Bossi, Il Blues (December 2013)
Folk and blues artist Steve Howell plays a mean guitar. On acoustic, he is smooth and tasty, creating bluesy licks that caress the lyrics of the song, while on resonator, he plays fills that accent the acoustic, commenting on the main guitar.
- Rambles.net, Michael Scott Cain (Jan. 2014)
This is a masterpiece by a very fine musician and musicologist. Steve Howell is one of the very best acoustic guitarists of our time.
- #11 on Bruce’s Top 12 of 2013, Sunday Night Blues Project.
A delightful, congenial mix of folk, country and blues that will appeal to a wide range of roots music listeners.
- Ron Weinstock, Jazz & Blues Report (Jan. 2014)
Master Texas acoustic guitarist and singer, Steve Howell, performs a range of soulful music burning with an inner flame growing brighter with each listening. then add the mighty men, his band, and you can create a submarine going in reverse. "yes, i believe i will" has these religious overtones that gives it poignancy. you can listen to so many tracks of this album, over and over, and it gives you shivers each time.
- John Shelton Ivany jsitop21.com (Feb. 2014)
This Texan interprets these in a relaxed manner that shows his knowledge of the tradition without becoming a caricature. The result is an album that catches the tension at play among folk, blues and roots music. This new CD should appeal to all those who appreciate a lighter touch.
– Blues News –Germany (Feb. 2014)
Though he has recorded in an ensemble format before, this time Texas acoustic bluesman Steve Howell gathers a few kindred spirits on lead guitar, bass, drums and keys for his first full band album ever. You’d think such an ensemble would easily drown out the acoustic bluesman’s otherwise splendid finger-picking and drawly vocals but Howell makes sure the sonic mix is right – vocals front and center, not overshadowed by the rest of the band. Though a chemistry exists between all The Mighty Men, Howell and lead guitarist Chris Michaels seemingly have a tight bond with Michaels’ jagged/fuzzed-out unimposing licks weaving in and out of Howell’s vocals. Howell even tackles the tuneful “Mr. Blue,” a 1959 #1 hit by The Fleetwoods, for a lovely change of pace. Overall, a rare record that doesn’t try to force its groove, it just naturally settles on one. Liner notes include explanations and origins of the songs as well as types of instruments used.
– Dan Willging, Holler – Colorado Blues Society (Feb. 2014).
For his 4th album, Steve, along with the fine guitarist Chris Michaels, offers covers of songs from 1928 to 2005, rearranged in his blend of a Chicago electric or more acoustic sound. This takes just enough edge off the majority of his hard rockin' blues, definitely adding a hint of country with the Walk On Boy from Mel Tillis and Wasted Mind from banjoist Danny Barnes, and it even borders on folk like the ballad Rake and Rambling Blade. My favorite track is one unexpected here, i.e., the soft ballad from the Fleetwoods, Mr. Blue.
- Le Cri du Coyote (French – March 2014)
Master Texas acoustic guitarist and singer, Steve Howell, with his band, The Mighty Men, perform a range of soulful music burning with inner flames growing brighter with each listening, while revealing layers of expression often lost in high decibel electric blues. On the explosive album, "Yes, I Believe I Will," Steve belts like he's crying with joy with a powerful, bass voice.
– John Shelton Ivany Top 21 (#439 – March 2014)
Steve Howell has created a record with an all-encompassing atmosphere with a whiff of the contemporary troubadour about it. Steve presents a semi-acoustic album, showcasing all his artistic potential and talent in a handful of solid, confident songs that make for very agreeable listening in a calm, intimate setting. Steve has made a delicate, gratifying record in which a folk-blues aesthetic takes precedence over any sense of the avant-garde. MUY BUENO
- La Hora Del Blues (March 2014) Barcelona, Spain
Steve is an acoustic guitar genius and vocalist that was born in Marshall, Texas, and raised in East Texas and Louisiana. Yes, I Believe I Will is Steve Howell & the Mighty Men’s fourth self-released disc, and it is very special. This album has a very natural acoustic sound to it. The production values are high and it is a very well-made disc. This set is perfect for sitting back and just savoring the listening experience. In a day and age of over-processed commercial tunes, one hit wonders and cookie cutter instant hits, Steve Howell & The Mighty Men are doing work they can be proud of. This is confirmed by the traditional “Keep Your Lamps Trimmed and Burning,” a 19th-century African-American spiritual that was originally recorded in 1928 by Blind Willie Johnson. Howell is a fine acoustic player and his interplay with Michaels’ distorted electric guitar is certainly mesmerizing, but even more striking is the honesty and genuine tone his hoarse singing voice gives to this powerful song. The harsh electric guitar solo might not seem like it would fit into this serious folk blues track, but it works out perfectly as it bridges 150 years of musical and social history. The band ends their set with a classy folk remake of a 1800s Irish tune, “Rake and Rambling Blade.” There is a marvelous texture of acoustic guitar and muted electric guitar with a tasteful banjo accent that fits in well with the somber lyrics that describe the life a no-good highway robber. This is the last piece of the mosaic that makes up this album, making it a complete journey through everything that is good about the American music of the south. Yes, I Believe I Will is a Steve Howell & The Mighty Men’s best work to date and if you are a fan of roots music, folk music or country blues it is a must-have for your collection. Even electric blues aficionados will surely find many things to like amongst the ten tracks this talented quartet put together. Listen for yourself and see!
– Blues Blast Magazine, Central Illinois (4-2014)
Texas born acoustic finger style guitar player Steve Howell invited Chris Michaels (guitars, bass), Dave Hoffpauir (drums) and Jason Weinheimer (keyboards) to record 10 classic blues songs. Howell sings the mid-tempo country blues “I had a notion” accompanied by fine finger picking and shuffling drum beat. “Walk on boy” (Wayne P. Walker/Mel Tillis) is a wonderful blues tune from the sixties featuring nice e-guitar licks, finger style acoustic guitar and Howell’s soft and laid back vocals. On “Keep your lamps trimmed and burning” Michaels adds some terrific e-guitar riffs to the relaxed keyboards and acoustic guitar sound. “Future Blues”, written by Willie Brown in 1930, is a rhythmic blues with shrieking e-guitar, pulsating bass and Howell’s great singing. The fourth album of Steve Howell is a great collection of semi-acoustic relaxed blues songs, brought forward by fine musicians and showcasing Howell’s gifted finger style guitar playing.
– Adolf „gorhand“ Goriup, Folkworld, Germany (7-2014)
Bit by bit, Steve Howell and his Mighty Men: Chris Michaels (guitar and bass), Dave Hoffpauir (drums) and Jason Weinheimer (keyboard) manage to present these songs entirely in their own style – quiet blues – without you noticing it’s not their own songs. Excellent work.
- Willem Croese, Back To The Roots (Belgium) (Aug. 2014)
- Steve Howell & The Mighty Men
Master Texas acoustic guitarist and singer Steve Howell performs a range of soulful music burning with an inner flame growing brighter with each listening, while revealing layers of expression often lost in high decibel electric blues... an extraordinary musical ramble... immediately confirms his true blues creds as a guitarist and singer as he casts an evocative rural spell... uncommonly supple groove of Hoffpauir and the fluid electric licks from Michaels. Howell “lives” through the dark temptations of life, the intertwining acoustic and electric guitars producing a web of swirling feelings... the propulsive, unfailingly tasteful electric guitar of Michaels. Like a great method actor, Steve Howell inhabits his music with enormous genuine authenticity. The title Yes, I Believe I Will at once declares his intent and resolve to play the blues his way, producing an unforgettable experience blurring the line between art and life.
- Dave Rubin, 2005 KBA winner in Journalism (Sept. 2013)
You have to love this old, white boy because he’s got a great act and he’s one of those cats that ranks up there with the best guys you never heard of... Howell has the authentic, heartfelt delivery and style that isn’t made for going to the top of the charts but is made for keeping you on board no matter what’s going on with fad and fashion. One of those simply great down home/back porch records that’ll have you grinning while he does the picking. Solid throughout.
- Chris Spector, Midwest Record, www.midwestrecord.com (Sept. 2013)
I love it. Steve has the licks, and the patience to make these songs brand new, and very enjoyable. Chris throws in some electric guitar that adds sugar to the pie. However, Dave Hoffpauir is just consummate. I mean the perfect drummer for this style. Nothing real fancy, no screaming tube screamers, just that slow train driving through the cool evening countryside.
- Blue Barry
– Smoky Mtn. Blues Society (Sept. 2013)
…it is really hauntingly good. Very cool… a lot of authenticity and feeling. This band... manages to take just the right note and place it in just the right location to tweak the sound… this is a nice one!
– Bman’s Blues Report (Sept. 2013)
This is one of those pieces that, if I were to pick what I would consider my Top Ten best albums of the year, this would rate high on the list. Steve Howell is one of the finest guitarists I have ever heard and his vocals fit the song like a glove. They are soulful, passionate and overflowing with emotional power... this unit is as solid as it gets... a truly timeless quality. These are the albums that will be just as fresh and valid twenty, thirty, even fifty years down the road as they were on the day they were recorded. One of the many talents that sets Howell apart from the majority of those artists playing in this style is his ability as a storyteller. Steve Howell has the ability to take a song, rework it without messing with its essential elements and breathing new life into it. This is one of those bands that is well-versed in the music and the history behind it making them one of those rare gems that can capture the sound, spirit and overall feel of the era they have culled the tunes from for the album at hand. Yes, I Believe I Will, while pulled from times past, is destined to be a masterpiece. Very few manage to deliver works so beautiful, powerful and passionate but Steve Howell & Mighty Men appear to do it with ease.
They truly love what they do and it shows. Seldom do I hear something I would feel confident to recommend to anyone and everyone but this is one of those rare pieces.
– Bill Wilson, Reflections In Blue (Oct. 2013)
Sophisticated interpretations of pre-war traditional country blues. The traditional country blues of Steve Howell and The Mighty Men exudes authenticity and in a nuanced and varied approach effortlessly transcends the defined borders of the genre.
- Cis Van Looy – Keys & Chords, The Netherlands
A true gem of an album that pays tribute to days gone by in styles that few today can match. This album draws you in from the very first note and holds you to the end, if it was vinyl one could be excused for wanting to turn it over for side two. This is an outstanding release.
- Peter Merrett, PBS106.7, Melbourne, Australia
A classic storyteller and extraordinary fingerpicker, he specializes in music from the era where traveling troubadours hoboed on freight trains and spread blues and folk music all across the land. Steve Howell can take any song and make it uniquely his own. His deft fingerpicking and marvelous vocal style makes him an ideal modern-day troubadour, and “Yes, I Believe I Will” is another long, cool drink from his bottomless wellspring of great blues! Until next time…
- Sheryl and Don Crow. Don and Sheryl Blues Blog
(Steve Howell) continues to not only thrill us with his extraordinary guitar picking style, but also, in his own special way, offers us a history lesson of what really good American Roots & Blues sounds like. "Yes, I Believe I Will" certainly continues in that vein and will have you, as the listener, more than a little astonished and amazed with Steve Howell's artistic brilliance... ten immensely entertaining tracks... Great Great Stuff... another amazing album from Steve Howell, one for which, as with all his others, really should be part of any musical library of anyone claiming to be a fan of good and honest Root, Blues, & Folk music. "Yes, I Believe I Will" is one of the very finest albums in the Tradition of Root, Blues, & Folk music, released, so far for 2013, hands down. "Yes, I Believe I Will", certainly gets my highest rating of 5*****, with the wish that I had a higher rating to give it.
- John Vermilyea (Blues Underground Network)
A particularly fine recording. The interpretations of some pretty prestigious material really work well. The best sound production he's had to date substantial in authenticity. In the midst of old classics and screaming Stratocasters, it's great to have these textures to enrich the timbre of the broadcast.
– Mic Dave, WLRH/WJAB, Huntsville, Alabama
Steve is one of those remarkably articulate players who, while never missing a note, never comes across as a technician.
– Phil Martin. blood, dirt & angels
Howell has really shined on three previous albums that mix these various genres with original compositions and tasteful covers, but this time around, the master guitarist focuses on reinterpretations of old tunes with stellar support from Chris Michaels (electric and acoustic guitars, bass), Dave Hoffpauir (drums), and Jason Weinheimer (keyboards).
The guitar work from Howell and Michaels is simply marvelous, and Howell’s vocals strike the right balance with the songs, whether conveying heartbreak or loneliness. As on his previous releases, the production is magnificent, giving you the feeling that the musicians are in the room with you.
Yes, I Believe I Will is a gentle, relaxed session that will reward fans of acoustic blues and roots guitar.
- Graham Clarke, Blues Bytes (November 2013)
Howell has the chops to get the best out of his axes and he plays with an eloquent maturity and refined elegance, clean and smooth. He gets capable help from his longtime band, with Chris Michaels on guitar and bass, Dave Hoffpauir on drums, and Jason Weinheimer on keyboards. Clearly, they can finish each other’s musical sentences. Yes, I Believe I Will offers up ten great tasteful tunes, covering blues traditions, Appalachian mountain music, and folk, all fitting together perfectly. A nice addition to the acoustic blues today by a superb artist who has all the chops and the good sense to play understated, but beautifully.
- Frank Matheis, Living Blues Magazine (Dec. 2013)
A constant throughout this album is Steve’s fine, honest, lived-in singing.
- Blues & Rhythm, Norman Darwen (December 2013)
Lone Star acoustic blues guitarist/vocalist Steve Howell here serves up a tasty and wide-ranging set, matching his seasoned, unhurried singing style with simpatico small-group grooves and lots of fine, underplayed fretwork. (4 Stars)
– Duane Verh, Roots Music Report (December 2013)
His music equally rooted in the early rural acoustic blues and jazz traditions, he continues to pursue his passions with the patience and appreciation of a master craftsman. His invitingly mellow almost fading vocals are a delightful mixture of Burl Ives and Eric Clapton, if this is not enough; the undeniable quality of his endearing charm and wistfulness emphatically draws you in further. The picking of Steve seeps immeasurably into your soul and the highly charged melancholic playing of Chris Michaels, Dave Hoffpauir, and Jason Weinheimer quietly engulfs you in a calming cocoon. Any barbed comments or observations glide effortlessly over your head unless of course, you care to pay attention to the lyrics of numbers such as; “Wasted Mind”, where Steve bemoans the lackadaisical youth of today who, for all the wrong reasons are on first name turns with the local police force and appear to have more time for exotic substances and Eminem than their estranged girlfriends and babies. All this is done with a dexterous fingerpickin’ aplomb. The Fleetwood’s “Mr. Blue”, is an illusory escape into tranquillity with its sad and woeful tale of adulterous enjoyment, delivered in the most dignified of ways. Another highlight is the nineteen twenty-eight bible inspired Blind Willie Johnson “Keep Your Lamps Trimmed and Burning,” the pins and needle electric guitar segueing with the spine tingling acoustic guitar takes your mind right the way back into the darkness of the slave-trading days of the past. Equally, “Country Blues”, Moran Lee ‘Dock’ Boggs’ nineteen twenty-seven darkly prophetic gamblers tale is absolutely riveting. Once again, the superbly addictive melancholic theme is continued with “Devil’s Side.” The rolling picking of “I Know You Rider” temporarily lifts the mood of the album somewhat; the album closes with the Jaunty if not Joyous “Rake and Rambling Blade”. A nineteenth century tale concerning, highwaymen, robbery and dastardly deeds. Highly recommended!
- Brian Harman www.bluesinthenorthwest.com (UK) (Dec. 2013)
Lone Star acoustic blues guitarist/vocalist Steve Howell here serves up a tasty and wide-ranging set, matching his seasoned, unhurried singing style with simpatico small-group grooves and lots of fine, underplayed fretwork. Mr. Howell revives traditional fare as well as worthy roots-bound works of later vintage.
- Duane Verh, Roots Music Report (Dec. 2013)
The effect is that of a homecoming for the pure pleasure of playing together, where each musician finds his pace organically and doesn’t have to show off his own abilities. An informal way to make music, ideal for a series of electroacoustic pieces fished out of traditional or from the repertoire of artists who are very different from each other. Howell has a singer songwriter’s voice which is well-suited to ballads of the folk type... appreciated for his intrinsic calm force. The Mighty Men make appearances which are not showy but which are, upon careful listening, substantial, to make these pieces their own. It’s a good disc of American roots music, chiseled by a craftsman with a sense of a job well done.
– Matteo Bossi, Il Blues (December 2013)
Folk and blues artist Steve Howell plays a mean guitar. On acoustic, he is smooth and tasty, creating bluesy licks that caress the lyrics of the song, while on resonator, he plays fills that accent the acoustic, commenting on the main guitar.
- Rambles.net, Michael Scott Cain (Jan. 2014)
This is a masterpiece by a very fine musician and musicologist. Steve Howell is one of the very best acoustic guitarists of our time.
- #11 on Bruce’s Top 12 of 2013, Sunday Night Blues Project.
A delightful, congenial mix of folk, country and blues that will appeal to a wide range of roots music listeners.
- Ron Weinstock, Jazz & Blues Report (Jan. 2014)
Master Texas acoustic guitarist and singer, Steve Howell, performs a range of soulful music burning with an inner flame growing brighter with each listening. then add the mighty men, his band, and you can create a submarine going in reverse. "yes, i believe i will" has these religious overtones that gives it poignancy. you can listen to so many tracks of this album, over and over, and it gives you shivers each time.
- John Shelton Ivany jsitop21.com (Feb. 2014)
This Texan interprets these in a relaxed manner that shows his knowledge of the tradition without becoming a caricature. The result is an album that catches the tension at play among folk, blues and roots music. This new CD should appeal to all those who appreciate a lighter touch.
– Blues News –Germany (Feb. 2014)
Though he has recorded in an ensemble format before, this time Texas acoustic bluesman Steve Howell gathers a few kindred spirits on lead guitar, bass, drums and keys for his first full band album ever. You’d think such an ensemble would easily drown out the acoustic bluesman’s otherwise splendid finger-picking and drawly vocals but Howell makes sure the sonic mix is right – vocals front and center, not overshadowed by the rest of the band. Though a chemistry exists between all The Mighty Men, Howell and lead guitarist Chris Michaels seemingly have a tight bond with Michaels’ jagged/fuzzed-out unimposing licks weaving in and out of Howell’s vocals. Howell even tackles the tuneful “Mr. Blue,” a 1959 #1 hit by The Fleetwoods, for a lovely change of pace. Overall, a rare record that doesn’t try to force its groove, it just naturally settles on one. Liner notes include explanations and origins of the songs as well as types of instruments used.
– Dan Willging, Holler – Colorado Blues Society (Feb. 2014).
For his 4th album, Steve, along with the fine guitarist Chris Michaels, offers covers of songs from 1928 to 2005, rearranged in his blend of a Chicago electric or more acoustic sound. This takes just enough edge off the majority of his hard rockin' blues, definitely adding a hint of country with the Walk On Boy from Mel Tillis and Wasted Mind from banjoist Danny Barnes, and it even borders on folk like the ballad Rake and Rambling Blade. My favorite track is one unexpected here, i.e., the soft ballad from the Fleetwoods, Mr. Blue.
- Le Cri du Coyote (French – March 2014)
Master Texas acoustic guitarist and singer, Steve Howell, with his band, The Mighty Men, perform a range of soulful music burning with inner flames growing brighter with each listening, while revealing layers of expression often lost in high decibel electric blues. On the explosive album, "Yes, I Believe I Will," Steve belts like he's crying with joy with a powerful, bass voice.
– John Shelton Ivany Top 21 (#439 – March 2014)
Steve Howell has created a record with an all-encompassing atmosphere with a whiff of the contemporary troubadour about it. Steve presents a semi-acoustic album, showcasing all his artistic potential and talent in a handful of solid, confident songs that make for very agreeable listening in a calm, intimate setting. Steve has made a delicate, gratifying record in which a folk-blues aesthetic takes precedence over any sense of the avant-garde. MUY BUENO
- La Hora Del Blues (March 2014) Barcelona, Spain
Steve is an acoustic guitar genius and vocalist that was born in Marshall, Texas, and raised in East Texas and Louisiana. Yes, I Believe I Will is Steve Howell & the Mighty Men’s fourth self-released disc, and it is very special. This album has a very natural acoustic sound to it. The production values are high and it is a very well-made disc. This set is perfect for sitting back and just savoring the listening experience. In a day and age of over-processed commercial tunes, one hit wonders and cookie cutter instant hits, Steve Howell & The Mighty Men are doing work they can be proud of. This is confirmed by the traditional “Keep Your Lamps Trimmed and Burning,” a 19th-century African-American spiritual that was originally recorded in 1928 by Blind Willie Johnson. Howell is a fine acoustic player and his interplay with Michaels’ distorted electric guitar is certainly mesmerizing, but even more striking is the honesty and genuine tone his hoarse singing voice gives to this powerful song. The harsh electric guitar solo might not seem like it would fit into this serious folk blues track, but it works out perfectly as it bridges 150 years of musical and social history. The band ends their set with a classy folk remake of a 1800s Irish tune, “Rake and Rambling Blade.” There is a marvelous texture of acoustic guitar and muted electric guitar with a tasteful banjo accent that fits in well with the somber lyrics that describe the life a no-good highway robber. This is the last piece of the mosaic that makes up this album, making it a complete journey through everything that is good about the American music of the south. Yes, I Believe I Will is a Steve Howell & The Mighty Men’s best work to date and if you are a fan of roots music, folk music or country blues it is a must-have for your collection. Even electric blues aficionados will surely find many things to like amongst the ten tracks this talented quartet put together. Listen for yourself and see!
– Blues Blast Magazine, Central Illinois (4-2014)
Texas born acoustic finger style guitar player Steve Howell invited Chris Michaels (guitars, bass), Dave Hoffpauir (drums) and Jason Weinheimer (keyboards) to record 10 classic blues songs. Howell sings the mid-tempo country blues “I had a notion” accompanied by fine finger picking and shuffling drum beat. “Walk on boy” (Wayne P. Walker/Mel Tillis) is a wonderful blues tune from the sixties featuring nice e-guitar licks, finger style acoustic guitar and Howell’s soft and laid back vocals. On “Keep your lamps trimmed and burning” Michaels adds some terrific e-guitar riffs to the relaxed keyboards and acoustic guitar sound. “Future Blues”, written by Willie Brown in 1930, is a rhythmic blues with shrieking e-guitar, pulsating bass and Howell’s great singing. The fourth album of Steve Howell is a great collection of semi-acoustic relaxed blues songs, brought forward by fine musicians and showcasing Howell’s gifted finger style guitar playing.
– Adolf „gorhand“ Goriup, Folkworld, Germany (7-2014)
Bit by bit, Steve Howell and his Mighty Men: Chris Michaels (guitar and bass), Dave Hoffpauir (drums) and Jason Weinheimer (keyboard) manage to present these songs entirely in their own style – quiet blues – without you noticing it’s not their own songs. Excellent work.
- Willem Croese, Back To The Roots (Belgium) (Aug. 2014)
"Since I Saw You Last"
- Steve Howell
“Singer/guitarist Steve Howell has been honing his skills for over forty years, a fact that is obvious from the opening notes of Since I Saw You Last. This is one of those releases that is so warm and inviting that it feels like I've been listening to it my whole life and has always been among my favorites. If you're a fan of Americana and like that laid back down home feel, this release is right up your alley. If I had to describe this release in just two words, they would be "absolutely beautiful." The 12 tunes on the disc include country blues, rockabilly, folk and r&b that flow seamlessly from the guitar of a man who is a masterful player to say the least. Warm, powerful and with a sound and feel that is reminiscent of the old masters, Since I Saw You Last is one of those things you could easily put on replay, listen to it throughout the day and still not tire of it. Whether solo acoustic or enlisting the accompaniment of a band, Howell sings and plays from deep wells of experience, giving each and every number that feeling that he has experienced it all and allowing the listener to believe every word. Steve Howell is the real deal. I would recommend this piece highly. It is one of the better pieces I've heard since I began writing reviews some 15 years ago. It has an honest warmth and down-home feel that will leave you wishing for more.”
- Bill Wilson, Billtown Blue Notes (Mar. 2010)
“Steve Howell is in Class-All-His-Own. What a master of Blues/Roots guitar!! What sets him apart from most of the virtuosos is that while many are 'technically brilliant' they lack emotion/feeling and this is where Steve trumps all of them. I actually want to THANK the man for his gift of beautiful music.”
- Andy Grigg, Real Blues Magazine, Victoria, British Columbia (Feb. 2010)
Blues Bytes (Feb. 2010) - Texas-born Steve Howell releases another fine country blues CD, Since I Saw You Last. It made such an impression that two of our reviewers covered it this month:
“Howell takes songs by the scruff of the neck and gives them his own particular influence. He changes them but never loses the essence of the original. This CD would make a very good addition to any blues collection.” – Terry Clear, Blues Bytes (Feb. 2010)
“Steve Howell already has two albums of exquisite country blues under his belt. Both were well-received and Howell received much praise for his outstanding guitar work and expressive vocals. His latest release, Since I Saw You Last (Out Of The Past Music), is a more diverse affair, as Howell effortlessly shifts from country blues to rockabilly to R&B. The best thing about the album is its warmth and intimacy. The production is so good, that it sounds like Howell is actually playing in your living room and his rapport with the wonderful accompanying band sounds like a bunch of old friends getting together to play a few tunes. Fortunately, we have the privilege of listening to this get-together. Since I Saw You Last is highly recommended to guitar fans of all genres.”
- Graham Clarke, Blues Bytes (Feb. 2010)
“Since I Saw You Last is a fine collection of country acoustic blues, jazz, and roots rock and roll. His supporting cast of musicians are an outstanding group. His slightly horse singing gives each performance the sound of a bluesman that's travelled the long road, inhaled dust and whisky, and is awfully glad to sit down and play a few numbers for you.”
- Steve "Fly" Klein, Chicago Blues News (Feb. 2010)
“Acoustic guitar picker/singer Steve Howell specializes in an up tempo, fun style that manages to incorporate elements of blues and the U.S. south, as evidenced throughout his 2010 offering, Since I Saw You Last. Specializing in what is best described as a familiar yet charming style, Since I Saw You Last will appeal to fans of blues and rootsy folk. After hearing Since I Saw You Last, you get the sense that arranging memorable folk-blues tunes comes quite easy for the talented Mr. Howell.”
- Greg Prato, www.allmusic.com (Feb. 2010)
“This cat has been riding the back roads for 40 years and has the knack for making things look easier than they are. The kind of thing that would have passed for Americana in the 70s when back porch music held its own on college campuses before the disco wave took hold. Organic like you wouldn’t believe, this is a real blast from the past for anyone that hung out in folk bars or wish they could have. Fun stuff to experience if you really want to kick it lo fi.”
- Chris Spector, Midwest Record (Jan. 2010)
“Sometimes the songs chosen are almost as important as the way the music is played. A sharp musician can scour the catalogues from the past and find such inspiring choices an album is halfway home right there. Steve Howell has an uncanny eye for finding selections that jump right off the disc. He has a way of putting his own soul into the music and bringing it to vivid new life. It would be easy, though, to interpret these as museum pieces, which would miss the point completely. Early blues and country music were ways people connected before the advent of instant communication. Records and radio were almost like magic when they first appeared, and listeners were brought together in that shared experience like had never happened. On Howell’s third album, Since I Saw You Last, it seems like we are being assembled again. The emotions in this music are what hold humans in common sway, and no matter how far we stray into technological wonderland, there will never be a replacement for a song like “Red Cadillac & Black Moustache” or “Crawlin’ King Snake.” There is just something so elemental in what is expressed, it is like air itself. There is no way to live without it, so don’t bother trying. Credit to Steve Howell, too, for how he makes these albums. Between using the finest players around along with vintage equipment that captures every nuance they play and sing, the musicians are working in the glow of a tradition we won’t likely see again. Listen while we can, and know what is being passed along is like the river of life itself.”
– Bentley's Bandstand, Sonic Boomers (Jan. 2010)
“Since I Saw You Last presents Howell in his most eclectic mood. Rocking with attitude…sexy slide guitar….Howell croons with deep emotion…embroiders it with delicate fingerstyle. Close acquaintance with the music of Steve Howell will only shed enlightenment and joy.”
- Dave Rubin, Guitar Edge Magazine (Jan. 2010)
“Steve Howell is a consummate storyteller, coupling his deep knowledge of the great bluesmen of the past with his delightful fingerpicking style and rich, resonant vocal delivery to breathe life into everything he sings. Steve Howell is a brilliant interpreter of songs from bygone eras. His warm, inviting vocals evoke a down-home, front-porch charm that makes "Since I Saw You Last" such an enjoyable listen!”
- Sheryl and Don Crow, Nashville Blues Society (Jan 2010)
Steve Howell is one of those rare musicians who has taken his roots -- which just happen to be deep in the heart of Texas blues -- and turned them into a style all his own. He's been doing that for many years, with his elegant finger-picking guitar, and he continues in fine style on his new CD, Since I Saw You Last. Steve covers, but in his own way, classic music from some fine songwriters. There's a blend of music and musicians here that elevates their music to almost sublime levels. Howell has a nice warm voice that envelops the music he picks (the tracks, some obscure, some not, all flow almost too effortlessly). He says they are all songs he's played for years, and the knowledge and affection are obvious. If you like rootsy, folky acoustic blues styles, Steve Howell and this CD should be music to your ears.”
- Jim White, Pittsburgh Post Gazette (Feb. 2010)
“Steve Howell seems a pretty unassuming guy. Since I Saw You Last, the veteran performer’s third recording project, is a supremely relaxed collection of primarily acoustic songs, all delivered with delightfully assured ease. It’s well-worn territory, but what sets Howell apart is his exquisite choice of material – tunes that somehow sound familiar but turn out to be relative obscurities. Production is ideal, with an exceptional warmth and intimacy that puts Howell’s gruff, unhurried vocals front and center. And despite fine playing by all concerned, it’s Howell’s easy-going approach that keeps the project on track. By taking a relaxed approach that treats the tunes themselves as old friends, though, his music has a lived-in and eminently likable quality.”
- blogcritics.org (Mar. 2010)
“Howell has a good voice, and can coax some nice sounds out of his guitar. There is plenty to admire about "Since I Saw You Last." Even though all the tracks are covers, Howell has exquisite taste and eschews all the usual suspects. "Since I Saw You Last" has a very nice balance to it, and provides a very pleasant way to pass three quarters of an hour.”
- Blues on Stage, Great Britain (Mar. 2010)
“To look at Steve Howell one can be excused for thinking ‘Oh dear, here we have some middle-aged white guy with a guitar trying to play the Blues.’ How wrong we would be for doing so, for here on the CD Since I Saw You Last we have a true gem. Yes a gem, one not laden down with technological trickery, this is the essence of why we love the Blues. The simple honesty is hard to resist as Steve pours his heart out from track to track displaying an artistry with his guitar that can come only from years of ‘paying your dues’ anywhere that you can. Steve may not be the greatest vocalist, but you will find him irresistible on every heartfelt track on this CD. I defy you to find anything but Blues at its best. The man from Marshall, Texas, is a master finger picker well-versed in the Delta style. Then add the Shreveport, Louisiana, feel into the mix and you start to realize just how good Steve Howell is. The mixture of songs and styles lend well to Steve's style as he adds a whole new feel to songs of the past. This is certainly a CD that is not merely just another ‘guy with a guitar’ scenario. Do yourself a favor and let Steve take you down to the Mississippi and immerse yourself in some mighty fine finger pickin' music.”
- Peter Merret, 106.7 PBS, Melbourne, Australia (Mar. 2010)
“On Since I Saw You Last, veteran musician Steve Howell shares well-done country blues with his weathered, respectful voice and clean finger-picking guitar style. Since hearing Mississippi John Hurt at age 13, he’s been doing this stuff himself, adding his own loving spin to mostly old and mostly, but not exclusively, rural songs.”
– Tom Geddie, Buddy Magazine, Dallas, Texas (Feb. 2010).
“Steve Howell is fantastic guitarist with a love for acoustic guitar sounds and classic music across many genres. (On his) latest release, Since I Saw You Last, Blues, Country, Folk, R&B, and more meld into a wonderful sound on the album's dozen tracks. Perhaps most interesting about Howell, though is that in addition to being a great musician...he's really a wonderful historian of American music. Since I Saw You Last is a wonderful journey through American Roots music of the last 80-plus years, and Steve Howell and company do a wonderful job of staying true to what they set out to do with the record. It's so easy for artists to get scared in the midst of a project and take a song or album that they wanted to do in the old style, and put some sort of modern spin on it to make it more commercial, or make it appeal to a broader cross-section of listeners. Luckily for us, there are artists out there like Steve Howell who intentionally set out to bring the music that has always been a part of his life to the rest of us, while keeping with the traditions of the past. This record shows us that there are those great musicians out there, we just need to go beyond what we find on the shelves of the big box stores and what we hear on the majority of our radio stations.”
– Johnny Full-Time, fulltimeblues.com (Mar. 2010)
“A real blues fingerpicking artist… his previous album, My Mind Gets To Ramblin, earned rave reviews. I suspect that the new album won't be doing any worse! The timbre is absolutely spot-on. Steve's voice sometimes resembles Eric Clapton's. This is noticeable throughout the entire album, creating a wonderful atmosphere. For me personally, listening to the tracks also evokes thoughts of JJ Cale. All-in-all, this album provides, yet again, a very atmospheric and professional sound in my opinion. It is sure to provide many happy hours of listening to anyone, I am certain. Let yourself be spoiled by the warm sounds that this man is able to conjure up — a real opportunity to contemplate the rich heritage of blues music. This is truly a wonderful record, and, once again, a welcome addition to the genre. An album and artist to cherish; definitely worth listening to. You will not regret it. This is an excellent album, in other words: top class.”
– Frank van Engelen, Blues Magazine, The Netherlands (Mar. 2010)
“It's very good! Since Saw You Last is quite eclectic. The melodies on the album slowly crawl into the ear of the people, then all of the songs without exception reveal its own beauty and the picture of a demandingly assembled solo record emerges in front of us." – Attila, Blues Van, Budapest, Hungary (Mar. 2010)
“Steve’s naturally relaxed front porch approach to his music is carried on through to this, his third album. The clean crisp arrangements and pin sharp production found on the album simply enhances the pleasantly unhurried ringing tones of Steve’s steel guitar work, which ranges from measured and cohesive pieces to highly emotive picking contrasts well with his mellow yet gravelly vocals. Whether it be a slice of Rural Roots, Blues or Americana, his choice of material is quite exquisite, skilfully placing old, rarely recorded gems alongside new numbers that sound as if they have been with us for years, such examples of this are; Jim Mize’s “Acadian Lullaby” sandwiched between Frank Stokes’s “Downtown Blues” and the old Warren Smith tune “Red Cadillac and A Black Moustache” The blues are equally highlighted by the hugely enjoyable renditions of; Blind Lemon Jefferson’s “Easy Rider Blues,” Mance Lipscomb’s “Charlie James” and Taj Mahall’s “ Little Red Hen.” These, are just a few examples of the twelve stunning numbers that await to caress and stroke your musical tastebuds! With this album, these gentlemen together have combined to elevate the music of this genre to a higher level of quality and aural satisfaction. I have to say it is one of the finest acoustic led albums that I have heard in quite awhile.”
- Brian Harman, Blues Art Journal, United Kingdom (Mar. 2010)
“His 2006 debut record “Out Of The Past” and its successor, “My Mind Gets To Ramblin,'” released in 2008, were received with unanimous acclaim across virtually the entire world. Howell's relaxed singing style and his painstakingly polished takes on acoustic treasures earned him keen approval in connoisseur circles — recognition he very rightly deserves! That was once again confirmed by his recently released third CD: “Since I Saw You Last.” Howell delivers twelve tracks featuring wonderfully relaxed country blues and other acoustic roots sounds. Listening to his third record, you continuously feel like you are on a crossroads between the musical highlights of musicians like Guy Clark, J.J. Cale, Eric Clapton and the previously mentioned Mississippi John Hurt. It is one gloriously varied combination, in which the sky is the limit in terms of style. Remarkably, all of the songs are presented with the same laid-back attitude. It is precisely this factor that makes “Since I Saw You Last” grow into the sort of record you could only produce as an artist with the necessary years of experience “on the road” under your belt. Warmly recommended!”
– (4 Stars) Crtlaltcountry E-zine, The Netherlands (Mar. 2010)
“Following Out of the Past' in 2006 and My Mind Gets to Ramblin' in 2008, Steve Howell delivers yet another fresh and expertly crafted collection of American roots music and country blues in his third album, Since I Saw You Last. Whereas his first album brought us classic blues and jazz songs from the past, he then turned to country blues for his follow-up release, which he repeats here in this new album with a greater sense of fantasy and imagination; quite simply, with more verve. The twelve tracks on this new album are a collection of traditional covers and a well-balanced rendition of styles, ranging from Delta through acoustic country blues to more jazzy tunes... producing an enjoyable and greatly varied mix of moods, as a result of which this album will keep the listener continuously spell-bound. Since Howell uses three guitars, including a National Resophonic and a Gibson, he creates a unique atmosphere with alternating timbres. Virtuosity is not the whole story, because in this genre, you also need to be able to strike a chord with the listener. Howell manages to do just that with his drawling voice. Without being a great singer, time after time, his peaceful vocal sounds manage to go straight to the heart. Some are songs that we have heard covered by other artists, but the way in which Howell manages to bring an entirely different version of the original is spectacular. The entire CD is actually one big adventure!”
- Rootstime, Belgium (Mar. 2010)
“With his third album, Steve Howell gives us a fantastic collection of covers from the acoustic blues, jazz, roots and rock & roll genres. His backing band is in amazing form and lifts this album to a different level. But however you look at it, the quality of an album made up solely of covers is completely dependent on the songs chosen, and Howell has put together a brilliant selection here. The love that he feels for these songs comes through in every note on the album. The record makes perfect sense and is an absolute pleasure to listen to. In addition, Steve doesn’t shy away from giving some songs a personal touch, and we feel that he’s been extremely successful with this. An example of this is his brilliant version of “Crawlin’ King Snake”, in which Howell perfectly illustrates how to combine an acoustic guitar with a small combo of bass and drums to give a different feel to this John Lee Hooker classic; not the electrified sound that you would normally expect with this song. These guys are the real deal. Our door is open so now you need to open yours, because, believe me when I say that Steve Howell is very, very good! More than three quarters of an hour enjoying a warm record from a warm person; what more could you want on these cold days?”
- Luc Meert, Rootsville, The Netherlands (Mar. 2010)
“Steve Howell is a guitarist playing blues country roots music here. This is his third CD and is comprised of twelve cover songs. There is a nice mix of songwriters you probably have not heard of along with Blind Lemon Jefferson, John Lee Hooker and Taj Mahal. There are extensive liner notes that give a little history of the song or Howell’s personal experience with it. This may sound a clinical, but I found it a pleasure since the music is very engaging. The guitar and vocal work is clean, but with good playing, a clean sound works. It also works when the rhythm section is good and they do keep a nice punchy thrust behind the guitars and mandolins. The highlight for me was ‘Charlie James,’ a Mance Lipscomb song. There is good finger style guitar work and lots of inventive accompanying instruments. I would recommend catching a Steve Howell live set, as I think this would sound good in a nice club setting or grab this release.”
- Thomas Keller, Folk World, Germany (April 2010)
“Steve Howell’s music is like an evening around the fireplace at an old southern homestead, acoustic guitars as crackling and blanketing as the embers themselves. On Howell’s latest disc, Since I Saw You Last, he spins an intricate web of folk and country-laced blues, playing the part of sage and storyteller, interpreting some wonderfully obscure material (and some not so obscure) with the fluidity and cool hand of a master craftsman. A Texas native who’s spent many a decade paying paying dues on the club scene, Howell specializes in the soft, agile finger picking style of blues guitar in the tradition of people like Mississippi John Hurt. This highly emotive style of playing complements Howell’s husky, commanding voice, making for an engaging listen, despite the minimalization of the arrangements themselves. Howell tinkers with a spry, almost jug band vibe on Downtown Blues, where the guitar work can best be described as Chet Atkins mixing up a concoction of acoustic rockabilly. He aims for a pleasant 1950’s pop melody on the playful Red Cadillac & Black Moustache, originally done by Sun Records alum Warren Smith, and delicately navigates the quietly flickering guitar and mandolin passages of Charlie James – a track written by Texas ragtime-influenced bluesman Mance Lipscomb. Also worthy of mention is an easygoing, shuffling cover of John Lee Hooker’s Crawling Kingsnake, which has been a part of Howell’s live set for years. Howell is resplendent in his acoustic vision. He’s created an environment in which fill-bodied acoustic tones waft through the air like the scent of flowers through the kitchen window on a breezy summer afternoon. With Since I Saw You Last, Steve Howell has created a gentle, Deep South-inspired acoustic troubadour daydream that is sure to appeal to a diverse set of country, blues and roots music fans.”
– Mark Uricheck, Living Blues Magazine (April 2010)
“Steve Howell has put out a charming album of country blues and roots standards. Howell’s interesting choices and thoughtful liner notes are as important to the CD as the actual recordings. Low-key and without pretense, Howell honestly delivers songs we should all know by heart but probably don’t. From ‘Wild About My Lovin’’ to ‘Red Cadillac & A Black Moustache,’ Howell matches vintage guitars to his song choices, and delivers each with integrity and authority. It took days to get a few of these songs out of my head, and I’m not sure “Ready For The River” (“I’m going to walk ‘til my straw hat floats”) is not gone yet, and that’s just fine with me.”
- Suzanne Cadgène, Publisher – Elmore Magazine (March 2010)
“The label name (Out Of The Past) is certainly very apt! Steve is a singer and guitarist born in Texas in 1952, and although he strummed folksongs as a youngster, it was when, at age 13 he heard Mississippi John Hurt, that he determined to become the ace finger-picker he is today. That early influence comes through loud and clear on the opening track Frank Stokes’ ‘Downtown Blues,’ and also his rendition of Blind Lemon Jefferson’s ‘Easy Rider Blues.’ Rather than performing straight copies though, Steve adapts his material and utilizes several accompanists, tailoring the backing to what he feels each track needs. He makes great use of English guitarist and mandolin player Arnie Cottrell, a friendship that goes back to the mid-seventies. Though the set is largely acoustic, the material ranges far and wide, from a memorable version of Sun label rockabilly Warren Smith’s ‘Red Cadillac & A Black Moustache,’ with its fifties pop approach very much intact, a raunchy cover of Don & Dewey’s rocker ‘Farmer John,’ and a heartfelt ‘I Won’t Cry’ (Johnny Adams via Doug Sahm), through to Texas songster Mance Lipscomb’s ‘Charlie James,’ which receives a sparse, hypnotic treatment from Steve on guitar and Arnie on mandolin, evoking the Lone Star State’s wide open spaces, a jug band-ish ‘Wild About My Lovin’,’ the Americana of ‘Acadian Lullaby,’ and the closing solo, delicately –picked twenties song, ‘Ready For The River.’ The remainder of the set is of a high standard indeed. Recorded in Shreveport, Louisiana, between September 2007 and September 2009, this CD is a real grower. I find something new with each play and class it as something of a hidden gem! Rating: 9”
– Norman Darwen, Blues In Britain (April 2010)
“Texan Steve Howell (born 1952) is one of those blues artists that you wonder why you haven’t heard of before. Presumably that’s because the first album under his own name didn’t appear until 2006. “Since I Saw You Last” is his third album, and it reveals him as a first-class fingerpicker and singer with a convincing voice grounded in the traditional American songbook, in which County- and Delta-Blues, Rockabilly, and Folk influences along with Rhythm and Blues flow together into a special art form in which the song is the focus and not the technical possibilities of interpretation. Howell helps himself to the works of artists from Frank Stokes to Mance Lipscomb and from Woodrow Johnson to Taj Mahal, but he doesn’t overly rely on them, instead making use of a small but fine acoustic band and his own accented and exceptionally clean picking to give the music a new face. Howell bows to the catalog and to the composers, yet manages to make them contemporary. As a result, the 12 songs sound modern while still breathing tradition and history. The CD is very listenable and quite well recorded.”
– Blues News, Germany (May 2010)
“With "Since I Saw You Last", Texan Steve Howell takes us on a wonderful journey through American roots music. The excellent finger picking on his acoustic guitar is a central theme throughout the twelve songs that are influenced by folk, country, blues, cajun, rockabilly, and string band styles of music.”
– Jazz ‘N More, Switzerland (May 2010)
“Texas born Steve Howell has been gaining some very good reviews from this latest release on the Out of the Past Music label over in the USA and it can be fully understood for what is a very good CD. Howell was born in Texas and has been playing guitar since inspired after listening to Mississippi John Hurt as a 13 year old. Now 44 years later after a varied musical career which even saw him based in South Wales when he played with British guitrist and mandolinist Arnie Cottrell in the early 70s, he has produced a lovely CD which is an eclectic mix of country blues, folk and rockabilly. The opening track Downtown Blues by Frank Stokes features a catchy jug band style featuring lovely guitar and mandolin with Steve’s good-time vocals and this is followed by a full band on the track Acadian Lullaby written by Jim Mize. A country song in true Americana style it again features fine mandolin by Arnie Cottrell. Red Cadillac and Black Moustache is take on the 1957 recording by Warren Smith and is a catchy tune with great 50s lyrics and 50s twangy guitar – a lovely version. The early 60s is revisited with Don and Dewey’s bouncy rock’n'roll song Farmer John which was covered by The Searchers over here in 1963. A great take which features some great guitar. The acoustic blues is returned to on the next track when Mance Lipscomb’s Charlie James is performed beautifully fully featuring Steve’s lovely finger-picking guitar and gentle mandolin backing from Cottrell. Also the song features the line “Since I saw you Last” which inspired the CD title. The next track I Won’t Cry from Johnny Adams was also recorded by Doug Sahm and is again an older style of tune with echoes of Doo-Wop and a lovely melodic swing to it. The country blues again features on the Traditional Wild About My Lovin’ which features lovely acoustic guitar from Steve backed by slide resonator from Cottrell and a deep twanging bass line. An interesting choice follows with Buddy Johnson’s pre war Since I Fell For You. Essentially a crooning song with a soft backing it would have gone down well in a smoky old jazz bar and Steve certainly maintains that lovely essence of the song. Easy Rider Blues by Blind Lemon Jefferson is handled sympathetically with a jug band feel again and lovely acoustic guitar and this leads into Hooker’s Crawling King Snake with great bottleneck guitar from Steve backed by a rhythm section. The penultimate track is Taj Mahal’s Little Red Hen given the band treatment again before the final cut Ready for the River from the 20’s by Gus Kahn completes a fine CD. It features beautiful soft acoustic guitar and vocals. All in all, this CD is a very enjoyable recording with Steve Howell backed up by some fine musicians. Some of the tracks are unusual in their choice but all are delivered professionally and differently and help make it a success.”
- Pete Evans, blueinthenorthwest.com, (May 2010), United Kingdom
“After “Out Of The Past” and “My Mind Gets To Ramblin’” here come the third album from a singer and guitar player who has made it his mission to record country blues and roots music. You’re left wondering why this is only his third album, as Steve Howell brings a breath of fresh air to old and popular songs such as ‘Wild About My Lovin’ or ‘Red Cadillac & A Black Moustache,’ originally written by L. May and W.B. Thompson. Steve performs each song with great understanding and finesse as well as a deep respect for its writers, giving each one an interesting light, making us feel he has a direct link with each songwriter. You feel as if you’re diving back into the deepest roots of Blues, a place where you meet the ghosts of those who wrote all those traditional songs, as well as John Lee Hooker and Frank Stokes, who wrote ‘Downtown Blues,’ the albums opening track. Steve Howell took two years to select and record each one of the twelve tracks on this CD and throughout the album you can feel the work he has put in, his patience. This album moves our souls as delicately as the first time Steve heard Mississippi John Hurt when he was just aged thirteen, over forty five years ago now. This was the song which changed his life and allowed him to treat us to this very beautiful album of country blues and roots music.”
– Frankie Bluesy Pfeiffer and Nat Harrap - Blues Matters! (June 2010), United Kingdom
- Steve Howell
“Singer/guitarist Steve Howell has been honing his skills for over forty years, a fact that is obvious from the opening notes of Since I Saw You Last. This is one of those releases that is so warm and inviting that it feels like I've been listening to it my whole life and has always been among my favorites. If you're a fan of Americana and like that laid back down home feel, this release is right up your alley. If I had to describe this release in just two words, they would be "absolutely beautiful." The 12 tunes on the disc include country blues, rockabilly, folk and r&b that flow seamlessly from the guitar of a man who is a masterful player to say the least. Warm, powerful and with a sound and feel that is reminiscent of the old masters, Since I Saw You Last is one of those things you could easily put on replay, listen to it throughout the day and still not tire of it. Whether solo acoustic or enlisting the accompaniment of a band, Howell sings and plays from deep wells of experience, giving each and every number that feeling that he has experienced it all and allowing the listener to believe every word. Steve Howell is the real deal. I would recommend this piece highly. It is one of the better pieces I've heard since I began writing reviews some 15 years ago. It has an honest warmth and down-home feel that will leave you wishing for more.”
- Bill Wilson, Billtown Blue Notes (Mar. 2010)
“Steve Howell is in Class-All-His-Own. What a master of Blues/Roots guitar!! What sets him apart from most of the virtuosos is that while many are 'technically brilliant' they lack emotion/feeling and this is where Steve trumps all of them. I actually want to THANK the man for his gift of beautiful music.”
- Andy Grigg, Real Blues Magazine, Victoria, British Columbia (Feb. 2010)
Blues Bytes (Feb. 2010) - Texas-born Steve Howell releases another fine country blues CD, Since I Saw You Last. It made such an impression that two of our reviewers covered it this month:
“Howell takes songs by the scruff of the neck and gives them his own particular influence. He changes them but never loses the essence of the original. This CD would make a very good addition to any blues collection.” – Terry Clear, Blues Bytes (Feb. 2010)
“Steve Howell already has two albums of exquisite country blues under his belt. Both were well-received and Howell received much praise for his outstanding guitar work and expressive vocals. His latest release, Since I Saw You Last (Out Of The Past Music), is a more diverse affair, as Howell effortlessly shifts from country blues to rockabilly to R&B. The best thing about the album is its warmth and intimacy. The production is so good, that it sounds like Howell is actually playing in your living room and his rapport with the wonderful accompanying band sounds like a bunch of old friends getting together to play a few tunes. Fortunately, we have the privilege of listening to this get-together. Since I Saw You Last is highly recommended to guitar fans of all genres.”
- Graham Clarke, Blues Bytes (Feb. 2010)
“Since I Saw You Last is a fine collection of country acoustic blues, jazz, and roots rock and roll. His supporting cast of musicians are an outstanding group. His slightly horse singing gives each performance the sound of a bluesman that's travelled the long road, inhaled dust and whisky, and is awfully glad to sit down and play a few numbers for you.”
- Steve "Fly" Klein, Chicago Blues News (Feb. 2010)
“Acoustic guitar picker/singer Steve Howell specializes in an up tempo, fun style that manages to incorporate elements of blues and the U.S. south, as evidenced throughout his 2010 offering, Since I Saw You Last. Specializing in what is best described as a familiar yet charming style, Since I Saw You Last will appeal to fans of blues and rootsy folk. After hearing Since I Saw You Last, you get the sense that arranging memorable folk-blues tunes comes quite easy for the talented Mr. Howell.”
- Greg Prato, www.allmusic.com (Feb. 2010)
“This cat has been riding the back roads for 40 years and has the knack for making things look easier than they are. The kind of thing that would have passed for Americana in the 70s when back porch music held its own on college campuses before the disco wave took hold. Organic like you wouldn’t believe, this is a real blast from the past for anyone that hung out in folk bars or wish they could have. Fun stuff to experience if you really want to kick it lo fi.”
- Chris Spector, Midwest Record (Jan. 2010)
“Sometimes the songs chosen are almost as important as the way the music is played. A sharp musician can scour the catalogues from the past and find such inspiring choices an album is halfway home right there. Steve Howell has an uncanny eye for finding selections that jump right off the disc. He has a way of putting his own soul into the music and bringing it to vivid new life. It would be easy, though, to interpret these as museum pieces, which would miss the point completely. Early blues and country music were ways people connected before the advent of instant communication. Records and radio were almost like magic when they first appeared, and listeners were brought together in that shared experience like had never happened. On Howell’s third album, Since I Saw You Last, it seems like we are being assembled again. The emotions in this music are what hold humans in common sway, and no matter how far we stray into technological wonderland, there will never be a replacement for a song like “Red Cadillac & Black Moustache” or “Crawlin’ King Snake.” There is just something so elemental in what is expressed, it is like air itself. There is no way to live without it, so don’t bother trying. Credit to Steve Howell, too, for how he makes these albums. Between using the finest players around along with vintage equipment that captures every nuance they play and sing, the musicians are working in the glow of a tradition we won’t likely see again. Listen while we can, and know what is being passed along is like the river of life itself.”
– Bentley's Bandstand, Sonic Boomers (Jan. 2010)
“Since I Saw You Last presents Howell in his most eclectic mood. Rocking with attitude…sexy slide guitar….Howell croons with deep emotion…embroiders it with delicate fingerstyle. Close acquaintance with the music of Steve Howell will only shed enlightenment and joy.”
- Dave Rubin, Guitar Edge Magazine (Jan. 2010)
“Steve Howell is a consummate storyteller, coupling his deep knowledge of the great bluesmen of the past with his delightful fingerpicking style and rich, resonant vocal delivery to breathe life into everything he sings. Steve Howell is a brilliant interpreter of songs from bygone eras. His warm, inviting vocals evoke a down-home, front-porch charm that makes "Since I Saw You Last" such an enjoyable listen!”
- Sheryl and Don Crow, Nashville Blues Society (Jan 2010)
Steve Howell is one of those rare musicians who has taken his roots -- which just happen to be deep in the heart of Texas blues -- and turned them into a style all his own. He's been doing that for many years, with his elegant finger-picking guitar, and he continues in fine style on his new CD, Since I Saw You Last. Steve covers, but in his own way, classic music from some fine songwriters. There's a blend of music and musicians here that elevates their music to almost sublime levels. Howell has a nice warm voice that envelops the music he picks (the tracks, some obscure, some not, all flow almost too effortlessly). He says they are all songs he's played for years, and the knowledge and affection are obvious. If you like rootsy, folky acoustic blues styles, Steve Howell and this CD should be music to your ears.”
- Jim White, Pittsburgh Post Gazette (Feb. 2010)
“Steve Howell seems a pretty unassuming guy. Since I Saw You Last, the veteran performer’s third recording project, is a supremely relaxed collection of primarily acoustic songs, all delivered with delightfully assured ease. It’s well-worn territory, but what sets Howell apart is his exquisite choice of material – tunes that somehow sound familiar but turn out to be relative obscurities. Production is ideal, with an exceptional warmth and intimacy that puts Howell’s gruff, unhurried vocals front and center. And despite fine playing by all concerned, it’s Howell’s easy-going approach that keeps the project on track. By taking a relaxed approach that treats the tunes themselves as old friends, though, his music has a lived-in and eminently likable quality.”
- blogcritics.org (Mar. 2010)
“Howell has a good voice, and can coax some nice sounds out of his guitar. There is plenty to admire about "Since I Saw You Last." Even though all the tracks are covers, Howell has exquisite taste and eschews all the usual suspects. "Since I Saw You Last" has a very nice balance to it, and provides a very pleasant way to pass three quarters of an hour.”
- Blues on Stage, Great Britain (Mar. 2010)
“To look at Steve Howell one can be excused for thinking ‘Oh dear, here we have some middle-aged white guy with a guitar trying to play the Blues.’ How wrong we would be for doing so, for here on the CD Since I Saw You Last we have a true gem. Yes a gem, one not laden down with technological trickery, this is the essence of why we love the Blues. The simple honesty is hard to resist as Steve pours his heart out from track to track displaying an artistry with his guitar that can come only from years of ‘paying your dues’ anywhere that you can. Steve may not be the greatest vocalist, but you will find him irresistible on every heartfelt track on this CD. I defy you to find anything but Blues at its best. The man from Marshall, Texas, is a master finger picker well-versed in the Delta style. Then add the Shreveport, Louisiana, feel into the mix and you start to realize just how good Steve Howell is. The mixture of songs and styles lend well to Steve's style as he adds a whole new feel to songs of the past. This is certainly a CD that is not merely just another ‘guy with a guitar’ scenario. Do yourself a favor and let Steve take you down to the Mississippi and immerse yourself in some mighty fine finger pickin' music.”
- Peter Merret, 106.7 PBS, Melbourne, Australia (Mar. 2010)
“On Since I Saw You Last, veteran musician Steve Howell shares well-done country blues with his weathered, respectful voice and clean finger-picking guitar style. Since hearing Mississippi John Hurt at age 13, he’s been doing this stuff himself, adding his own loving spin to mostly old and mostly, but not exclusively, rural songs.”
– Tom Geddie, Buddy Magazine, Dallas, Texas (Feb. 2010).
“Steve Howell is fantastic guitarist with a love for acoustic guitar sounds and classic music across many genres. (On his) latest release, Since I Saw You Last, Blues, Country, Folk, R&B, and more meld into a wonderful sound on the album's dozen tracks. Perhaps most interesting about Howell, though is that in addition to being a great musician...he's really a wonderful historian of American music. Since I Saw You Last is a wonderful journey through American Roots music of the last 80-plus years, and Steve Howell and company do a wonderful job of staying true to what they set out to do with the record. It's so easy for artists to get scared in the midst of a project and take a song or album that they wanted to do in the old style, and put some sort of modern spin on it to make it more commercial, or make it appeal to a broader cross-section of listeners. Luckily for us, there are artists out there like Steve Howell who intentionally set out to bring the music that has always been a part of his life to the rest of us, while keeping with the traditions of the past. This record shows us that there are those great musicians out there, we just need to go beyond what we find on the shelves of the big box stores and what we hear on the majority of our radio stations.”
– Johnny Full-Time, fulltimeblues.com (Mar. 2010)
“A real blues fingerpicking artist… his previous album, My Mind Gets To Ramblin, earned rave reviews. I suspect that the new album won't be doing any worse! The timbre is absolutely spot-on. Steve's voice sometimes resembles Eric Clapton's. This is noticeable throughout the entire album, creating a wonderful atmosphere. For me personally, listening to the tracks also evokes thoughts of JJ Cale. All-in-all, this album provides, yet again, a very atmospheric and professional sound in my opinion. It is sure to provide many happy hours of listening to anyone, I am certain. Let yourself be spoiled by the warm sounds that this man is able to conjure up — a real opportunity to contemplate the rich heritage of blues music. This is truly a wonderful record, and, once again, a welcome addition to the genre. An album and artist to cherish; definitely worth listening to. You will not regret it. This is an excellent album, in other words: top class.”
– Frank van Engelen, Blues Magazine, The Netherlands (Mar. 2010)
“It's very good! Since Saw You Last is quite eclectic. The melodies on the album slowly crawl into the ear of the people, then all of the songs without exception reveal its own beauty and the picture of a demandingly assembled solo record emerges in front of us." – Attila, Blues Van, Budapest, Hungary (Mar. 2010)
“Steve’s naturally relaxed front porch approach to his music is carried on through to this, his third album. The clean crisp arrangements and pin sharp production found on the album simply enhances the pleasantly unhurried ringing tones of Steve’s steel guitar work, which ranges from measured and cohesive pieces to highly emotive picking contrasts well with his mellow yet gravelly vocals. Whether it be a slice of Rural Roots, Blues or Americana, his choice of material is quite exquisite, skilfully placing old, rarely recorded gems alongside new numbers that sound as if they have been with us for years, such examples of this are; Jim Mize’s “Acadian Lullaby” sandwiched between Frank Stokes’s “Downtown Blues” and the old Warren Smith tune “Red Cadillac and A Black Moustache” The blues are equally highlighted by the hugely enjoyable renditions of; Blind Lemon Jefferson’s “Easy Rider Blues,” Mance Lipscomb’s “Charlie James” and Taj Mahall’s “ Little Red Hen.” These, are just a few examples of the twelve stunning numbers that await to caress and stroke your musical tastebuds! With this album, these gentlemen together have combined to elevate the music of this genre to a higher level of quality and aural satisfaction. I have to say it is one of the finest acoustic led albums that I have heard in quite awhile.”
- Brian Harman, Blues Art Journal, United Kingdom (Mar. 2010)
“His 2006 debut record “Out Of The Past” and its successor, “My Mind Gets To Ramblin,'” released in 2008, were received with unanimous acclaim across virtually the entire world. Howell's relaxed singing style and his painstakingly polished takes on acoustic treasures earned him keen approval in connoisseur circles — recognition he very rightly deserves! That was once again confirmed by his recently released third CD: “Since I Saw You Last.” Howell delivers twelve tracks featuring wonderfully relaxed country blues and other acoustic roots sounds. Listening to his third record, you continuously feel like you are on a crossroads between the musical highlights of musicians like Guy Clark, J.J. Cale, Eric Clapton and the previously mentioned Mississippi John Hurt. It is one gloriously varied combination, in which the sky is the limit in terms of style. Remarkably, all of the songs are presented with the same laid-back attitude. It is precisely this factor that makes “Since I Saw You Last” grow into the sort of record you could only produce as an artist with the necessary years of experience “on the road” under your belt. Warmly recommended!”
– (4 Stars) Crtlaltcountry E-zine, The Netherlands (Mar. 2010)
“Following Out of the Past' in 2006 and My Mind Gets to Ramblin' in 2008, Steve Howell delivers yet another fresh and expertly crafted collection of American roots music and country blues in his third album, Since I Saw You Last. Whereas his first album brought us classic blues and jazz songs from the past, he then turned to country blues for his follow-up release, which he repeats here in this new album with a greater sense of fantasy and imagination; quite simply, with more verve. The twelve tracks on this new album are a collection of traditional covers and a well-balanced rendition of styles, ranging from Delta through acoustic country blues to more jazzy tunes... producing an enjoyable and greatly varied mix of moods, as a result of which this album will keep the listener continuously spell-bound. Since Howell uses three guitars, including a National Resophonic and a Gibson, he creates a unique atmosphere with alternating timbres. Virtuosity is not the whole story, because in this genre, you also need to be able to strike a chord with the listener. Howell manages to do just that with his drawling voice. Without being a great singer, time after time, his peaceful vocal sounds manage to go straight to the heart. Some are songs that we have heard covered by other artists, but the way in which Howell manages to bring an entirely different version of the original is spectacular. The entire CD is actually one big adventure!”
- Rootstime, Belgium (Mar. 2010)
“With his third album, Steve Howell gives us a fantastic collection of covers from the acoustic blues, jazz, roots and rock & roll genres. His backing band is in amazing form and lifts this album to a different level. But however you look at it, the quality of an album made up solely of covers is completely dependent on the songs chosen, and Howell has put together a brilliant selection here. The love that he feels for these songs comes through in every note on the album. The record makes perfect sense and is an absolute pleasure to listen to. In addition, Steve doesn’t shy away from giving some songs a personal touch, and we feel that he’s been extremely successful with this. An example of this is his brilliant version of “Crawlin’ King Snake”, in which Howell perfectly illustrates how to combine an acoustic guitar with a small combo of bass and drums to give a different feel to this John Lee Hooker classic; not the electrified sound that you would normally expect with this song. These guys are the real deal. Our door is open so now you need to open yours, because, believe me when I say that Steve Howell is very, very good! More than three quarters of an hour enjoying a warm record from a warm person; what more could you want on these cold days?”
- Luc Meert, Rootsville, The Netherlands (Mar. 2010)
“Steve Howell is a guitarist playing blues country roots music here. This is his third CD and is comprised of twelve cover songs. There is a nice mix of songwriters you probably have not heard of along with Blind Lemon Jefferson, John Lee Hooker and Taj Mahal. There are extensive liner notes that give a little history of the song or Howell’s personal experience with it. This may sound a clinical, but I found it a pleasure since the music is very engaging. The guitar and vocal work is clean, but with good playing, a clean sound works. It also works when the rhythm section is good and they do keep a nice punchy thrust behind the guitars and mandolins. The highlight for me was ‘Charlie James,’ a Mance Lipscomb song. There is good finger style guitar work and lots of inventive accompanying instruments. I would recommend catching a Steve Howell live set, as I think this would sound good in a nice club setting or grab this release.”
- Thomas Keller, Folk World, Germany (April 2010)
“Steve Howell’s music is like an evening around the fireplace at an old southern homestead, acoustic guitars as crackling and blanketing as the embers themselves. On Howell’s latest disc, Since I Saw You Last, he spins an intricate web of folk and country-laced blues, playing the part of sage and storyteller, interpreting some wonderfully obscure material (and some not so obscure) with the fluidity and cool hand of a master craftsman. A Texas native who’s spent many a decade paying paying dues on the club scene, Howell specializes in the soft, agile finger picking style of blues guitar in the tradition of people like Mississippi John Hurt. This highly emotive style of playing complements Howell’s husky, commanding voice, making for an engaging listen, despite the minimalization of the arrangements themselves. Howell tinkers with a spry, almost jug band vibe on Downtown Blues, where the guitar work can best be described as Chet Atkins mixing up a concoction of acoustic rockabilly. He aims for a pleasant 1950’s pop melody on the playful Red Cadillac & Black Moustache, originally done by Sun Records alum Warren Smith, and delicately navigates the quietly flickering guitar and mandolin passages of Charlie James – a track written by Texas ragtime-influenced bluesman Mance Lipscomb. Also worthy of mention is an easygoing, shuffling cover of John Lee Hooker’s Crawling Kingsnake, which has been a part of Howell’s live set for years. Howell is resplendent in his acoustic vision. He’s created an environment in which fill-bodied acoustic tones waft through the air like the scent of flowers through the kitchen window on a breezy summer afternoon. With Since I Saw You Last, Steve Howell has created a gentle, Deep South-inspired acoustic troubadour daydream that is sure to appeal to a diverse set of country, blues and roots music fans.”
– Mark Uricheck, Living Blues Magazine (April 2010)
“Steve Howell has put out a charming album of country blues and roots standards. Howell’s interesting choices and thoughtful liner notes are as important to the CD as the actual recordings. Low-key and without pretense, Howell honestly delivers songs we should all know by heart but probably don’t. From ‘Wild About My Lovin’’ to ‘Red Cadillac & A Black Moustache,’ Howell matches vintage guitars to his song choices, and delivers each with integrity and authority. It took days to get a few of these songs out of my head, and I’m not sure “Ready For The River” (“I’m going to walk ‘til my straw hat floats”) is not gone yet, and that’s just fine with me.”
- Suzanne Cadgène, Publisher – Elmore Magazine (March 2010)
“The label name (Out Of The Past) is certainly very apt! Steve is a singer and guitarist born in Texas in 1952, and although he strummed folksongs as a youngster, it was when, at age 13 he heard Mississippi John Hurt, that he determined to become the ace finger-picker he is today. That early influence comes through loud and clear on the opening track Frank Stokes’ ‘Downtown Blues,’ and also his rendition of Blind Lemon Jefferson’s ‘Easy Rider Blues.’ Rather than performing straight copies though, Steve adapts his material and utilizes several accompanists, tailoring the backing to what he feels each track needs. He makes great use of English guitarist and mandolin player Arnie Cottrell, a friendship that goes back to the mid-seventies. Though the set is largely acoustic, the material ranges far and wide, from a memorable version of Sun label rockabilly Warren Smith’s ‘Red Cadillac & A Black Moustache,’ with its fifties pop approach very much intact, a raunchy cover of Don & Dewey’s rocker ‘Farmer John,’ and a heartfelt ‘I Won’t Cry’ (Johnny Adams via Doug Sahm), through to Texas songster Mance Lipscomb’s ‘Charlie James,’ which receives a sparse, hypnotic treatment from Steve on guitar and Arnie on mandolin, evoking the Lone Star State’s wide open spaces, a jug band-ish ‘Wild About My Lovin’,’ the Americana of ‘Acadian Lullaby,’ and the closing solo, delicately –picked twenties song, ‘Ready For The River.’ The remainder of the set is of a high standard indeed. Recorded in Shreveport, Louisiana, between September 2007 and September 2009, this CD is a real grower. I find something new with each play and class it as something of a hidden gem! Rating: 9”
– Norman Darwen, Blues In Britain (April 2010)
“Texan Steve Howell (born 1952) is one of those blues artists that you wonder why you haven’t heard of before. Presumably that’s because the first album under his own name didn’t appear until 2006. “Since I Saw You Last” is his third album, and it reveals him as a first-class fingerpicker and singer with a convincing voice grounded in the traditional American songbook, in which County- and Delta-Blues, Rockabilly, and Folk influences along with Rhythm and Blues flow together into a special art form in which the song is the focus and not the technical possibilities of interpretation. Howell helps himself to the works of artists from Frank Stokes to Mance Lipscomb and from Woodrow Johnson to Taj Mahal, but he doesn’t overly rely on them, instead making use of a small but fine acoustic band and his own accented and exceptionally clean picking to give the music a new face. Howell bows to the catalog and to the composers, yet manages to make them contemporary. As a result, the 12 songs sound modern while still breathing tradition and history. The CD is very listenable and quite well recorded.”
– Blues News, Germany (May 2010)
“With "Since I Saw You Last", Texan Steve Howell takes us on a wonderful journey through American roots music. The excellent finger picking on his acoustic guitar is a central theme throughout the twelve songs that are influenced by folk, country, blues, cajun, rockabilly, and string band styles of music.”
– Jazz ‘N More, Switzerland (May 2010)
“Texas born Steve Howell has been gaining some very good reviews from this latest release on the Out of the Past Music label over in the USA and it can be fully understood for what is a very good CD. Howell was born in Texas and has been playing guitar since inspired after listening to Mississippi John Hurt as a 13 year old. Now 44 years later after a varied musical career which even saw him based in South Wales when he played with British guitrist and mandolinist Arnie Cottrell in the early 70s, he has produced a lovely CD which is an eclectic mix of country blues, folk and rockabilly. The opening track Downtown Blues by Frank Stokes features a catchy jug band style featuring lovely guitar and mandolin with Steve’s good-time vocals and this is followed by a full band on the track Acadian Lullaby written by Jim Mize. A country song in true Americana style it again features fine mandolin by Arnie Cottrell. Red Cadillac and Black Moustache is take on the 1957 recording by Warren Smith and is a catchy tune with great 50s lyrics and 50s twangy guitar – a lovely version. The early 60s is revisited with Don and Dewey’s bouncy rock’n'roll song Farmer John which was covered by The Searchers over here in 1963. A great take which features some great guitar. The acoustic blues is returned to on the next track when Mance Lipscomb’s Charlie James is performed beautifully fully featuring Steve’s lovely finger-picking guitar and gentle mandolin backing from Cottrell. Also the song features the line “Since I saw you Last” which inspired the CD title. The next track I Won’t Cry from Johnny Adams was also recorded by Doug Sahm and is again an older style of tune with echoes of Doo-Wop and a lovely melodic swing to it. The country blues again features on the Traditional Wild About My Lovin’ which features lovely acoustic guitar from Steve backed by slide resonator from Cottrell and a deep twanging bass line. An interesting choice follows with Buddy Johnson’s pre war Since I Fell For You. Essentially a crooning song with a soft backing it would have gone down well in a smoky old jazz bar and Steve certainly maintains that lovely essence of the song. Easy Rider Blues by Blind Lemon Jefferson is handled sympathetically with a jug band feel again and lovely acoustic guitar and this leads into Hooker’s Crawling King Snake with great bottleneck guitar from Steve backed by a rhythm section. The penultimate track is Taj Mahal’s Little Red Hen given the band treatment again before the final cut Ready for the River from the 20’s by Gus Kahn completes a fine CD. It features beautiful soft acoustic guitar and vocals. All in all, this CD is a very enjoyable recording with Steve Howell backed up by some fine musicians. Some of the tracks are unusual in their choice but all are delivered professionally and differently and help make it a success.”
- Pete Evans, blueinthenorthwest.com, (May 2010), United Kingdom
“After “Out Of The Past” and “My Mind Gets To Ramblin’” here come the third album from a singer and guitar player who has made it his mission to record country blues and roots music. You’re left wondering why this is only his third album, as Steve Howell brings a breath of fresh air to old and popular songs such as ‘Wild About My Lovin’ or ‘Red Cadillac & A Black Moustache,’ originally written by L. May and W.B. Thompson. Steve performs each song with great understanding and finesse as well as a deep respect for its writers, giving each one an interesting light, making us feel he has a direct link with each songwriter. You feel as if you’re diving back into the deepest roots of Blues, a place where you meet the ghosts of those who wrote all those traditional songs, as well as John Lee Hooker and Frank Stokes, who wrote ‘Downtown Blues,’ the albums opening track. Steve Howell took two years to select and record each one of the twelve tracks on this CD and throughout the album you can feel the work he has put in, his patience. This album moves our souls as delicately as the first time Steve heard Mississippi John Hurt when he was just aged thirteen, over forty five years ago now. This was the song which changed his life and allowed him to treat us to this very beautiful album of country blues and roots music.”
– Frankie Bluesy Pfeiffer and Nat Harrap - Blues Matters! (June 2010), United Kingdom
“My Mind Gets To Ramblin'”
- Steve Howell
“Warm, powerful and with a sound and feel that is reminiscent of the old masters. Whether solo acoustic or enlisting the accompaniment of a band, Howell sings and plays from deep wells of experience, giving each and every number that feeling that he has experienced it all and allowing the listener to believe every word. Steve Howell is the real deal.”
- Billtown Blue Notes (Mar. 2010)
“Steve Howell is in Class-All-His-Own. What a master of Blues/Roots guitar!! What sets him apart from most of the virtuosos is that while many are 'technically brilliant' they lack emotion/feeling and this is where Steve trumps all of them.”
- Real Blues Magazine, Victoria, British Columbia (Feb. 2010)
“Howell takes songs by the scruff of the neck and gives them his own particular influence. He changes them but never loses the essence of the original.”
- Blues Bytes (Feb. 2010)
“Acoustic guitar picker/singer Steve Howell specializes in an up tempo, fun style that manages to incorporate elements of blues and the U.S. south. Arranging memorable folk-blues tunes comes quite easy for the talented Mr. Howell.”
- allmusic.com (Feb. 2010)
“Steve Howell has a way of putting his own soul into the music and bringing it to vivid new life. There is just something so elemental in what is expressed, it is like air itself. What is being passed along is like the river of life.”
- Bentley's Bandstand, Sonic Boomers (Jan. 2010)
“One of the finest interpreters of the American roots music songbook. Rocking with attitude and sexy slide guitar. Howell croons with deep emotion and embroiders it with delicate fingerstyle. Close acquaintance with the music of Steve Howell will only shed enlightenment and joy.”
- Guitar Edge Magazine (Jan. 2010)
“Steve Howell is a consummate storyteller, coupling his deep knowledge of the great bluesmen of the past with his delightful fingerpicking style and rich, resonant vocal delivery to breathe life into everything he sings. Steve Howell is a brilliant interpreter of songs from bygone eras. His warm, inviting vocals evoke a down-home, front-porch charm.”
- Nashville Blues Society (Jan 2010)
“An elegant finger-picking guitar. Howell has a nice warm voice that envelops the music he picks.”
- Pittsburgh Post Gazette (Feb. 2010)
“Howell has exquisite taste.”
- Blues on Stage, Great Britain (Mar. 2010)
“A master finger picker well-versed in the Delta style. He adds a whole new feel to songs of the past. Some mighty fine finger pickin' music.”
- 106.7 PBS, Melbourne, Australia (Mar. 2010)
“Veteran musician Steve Howell shares well-done country blues with his weathered, respectful voice and clean finger-picking guitar style.”
- Buddy Magazine, Dallas, Texas (Feb. 2010)
“Steve Howell is fantastic guitarist with a love for acoustic guitar sounds and classic music across many genres. Perhaps most interesting about Howell, though is that in addition to being a great musician, he's really a wonderful historian of American music.”
– fulltimeblues.com (Mar. 2010)
“Howell's relaxed singing style and his painstakingly polished takes on acoustic treasures earned him keen approval in connoisseur circles.”
- Ctrlaltcountry E-zine, The Netherlands (Mar. 2010)
“His peaceful vocal sounds manage to go straight to the heart.”
- Rootstime, Belgium (Mar. 2010)
“Believe me when I say that Steve Howell is very, very good!”
- Rootsville, The Netherlands (Mar. 2010)
“Steve Howell’s music is like an evening around the fireplace at an old southern homestead, acoustic guitars as crackling and blanketing as the embers themselves. the fluidity and cool hand of a master craftsman. This highly emotive style of playing complements Howell’s husky, commanding voice. A gentle, Deep South-inspired acoustic troubadour.”
- Living Blues Magazine (April 2010)
“Low-key and without pretense, Howell honestly delivers songs we should all know by heart but probably don’t. He delivers each with integrity and authority.”
- Elmore Magazine (March 2010)
“Steve is a highly skilled fingerpicker, and at the same time, a very soulful artist — a combination that is not to be taken for granted in every skilled guitar player.”
- Blues News – Finland (June 2009)
“Powerful energetic blues, but at the same time, very relaxed and smooth. MUY BUENO.”
- La Hora de Blues Radio PICA 96.6 Barcelona, Spain (June 2009)
“Authentic music that pays tribute to the past, but exists in the here and now.”
– greenmanreview.com (2009)
“Steve Howell has lived a lifetime to sing the blues like this. His weathered, semi-hoarse voice fits the music well.”
- Buddy -The Original Texas Music Magazine (January 2009)
“When I hear people like Steve Howell, I want to trade my guitar in. So good, so laid-back, such good material - all well beyond the reach of most of us! Every song shines!”
- Blues Matters, United Kingdom (May 2009)
“Steve Howell is an accomplished, finger picking style, acoustic guitar player with very strong vocals. I was amazed by his effortless finger picking ability. Front porch Country Blues done the way it should be.”
- IllinoisBlues.com Blues Blast (Feb. 2009)
“Howell's guitar picking is crystalline perfection, and his understated vocals are emphatic and expressive.... soulful and softly dynamic re-creation of the acoustic country blues for a modern audience.”
- Bloomington Alternative, Blues & More, (Feb. 2009)
“The understated, down home Southern-drawl vocal style is the perfect compliment to the airtight arrangements and tasteful playing Howell exhibits on guitar.”
- Vintage Guitar Magazine (March 2009)
“Howell’s complex, masterful guitar work is full of nuance, and his relaxed vocals exhibit a rich warmth that is well-suited to this material.” - Living Blues Magazine (Jan/Feb 2009)
“Nuanced, masterful interpretation. Howell is able to evoke deep emotion through subtlety rather than overstatement.”
- Blues Revue (Feb/Mar 2009)
His acoustic guitar is a universe of its own, singing alongside in a timeless voice of praise but like the blues itself, is really offering us the world.”
– Bentley’s Bandstand, Sonic Boomers (December 2008)
“Steve Howell brings a scholarly passion to his music and it is a delightful education, but there is nothing professorial about the performances. Thanks to his broad vocabulary on acoustic guitar, the Texas-born Howell swings and rocks even in these sparse arrangements. A lesson on the blues worth hearing.”
- Associated Press (2008)
“If blues fans think the idea of a a songster left the planet with the late Mance Lipscomb, Steve Howell will turn that thinking around right quick in an age where songs are too often mere vehicles for guitarists to strut their virtuosity. You will search long and in vain to find a warmer or more inviting sound, both instrumentally and vocally.”
- Guitar Edge Magazine (2008)
“Howell is an accomplished fingerpicking guitarist and a musical scholar. His interpretations are spirited and exact. The emphasis is on getting the details right, and he does.”
- All Music Guide - 4 out of 5 stars (2008)
- Steve Howell
“Warm, powerful and with a sound and feel that is reminiscent of the old masters. Whether solo acoustic or enlisting the accompaniment of a band, Howell sings and plays from deep wells of experience, giving each and every number that feeling that he has experienced it all and allowing the listener to believe every word. Steve Howell is the real deal.”
- Billtown Blue Notes (Mar. 2010)
“Steve Howell is in Class-All-His-Own. What a master of Blues/Roots guitar!! What sets him apart from most of the virtuosos is that while many are 'technically brilliant' they lack emotion/feeling and this is where Steve trumps all of them.”
- Real Blues Magazine, Victoria, British Columbia (Feb. 2010)
“Howell takes songs by the scruff of the neck and gives them his own particular influence. He changes them but never loses the essence of the original.”
- Blues Bytes (Feb. 2010)
“Acoustic guitar picker/singer Steve Howell specializes in an up tempo, fun style that manages to incorporate elements of blues and the U.S. south. Arranging memorable folk-blues tunes comes quite easy for the talented Mr. Howell.”
- allmusic.com (Feb. 2010)
“Steve Howell has a way of putting his own soul into the music and bringing it to vivid new life. There is just something so elemental in what is expressed, it is like air itself. What is being passed along is like the river of life.”
- Bentley's Bandstand, Sonic Boomers (Jan. 2010)
“One of the finest interpreters of the American roots music songbook. Rocking with attitude and sexy slide guitar. Howell croons with deep emotion and embroiders it with delicate fingerstyle. Close acquaintance with the music of Steve Howell will only shed enlightenment and joy.”
- Guitar Edge Magazine (Jan. 2010)
“Steve Howell is a consummate storyteller, coupling his deep knowledge of the great bluesmen of the past with his delightful fingerpicking style and rich, resonant vocal delivery to breathe life into everything he sings. Steve Howell is a brilliant interpreter of songs from bygone eras. His warm, inviting vocals evoke a down-home, front-porch charm.”
- Nashville Blues Society (Jan 2010)
“An elegant finger-picking guitar. Howell has a nice warm voice that envelops the music he picks.”
- Pittsburgh Post Gazette (Feb. 2010)
“Howell has exquisite taste.”
- Blues on Stage, Great Britain (Mar. 2010)
“A master finger picker well-versed in the Delta style. He adds a whole new feel to songs of the past. Some mighty fine finger pickin' music.”
- 106.7 PBS, Melbourne, Australia (Mar. 2010)
“Veteran musician Steve Howell shares well-done country blues with his weathered, respectful voice and clean finger-picking guitar style.”
- Buddy Magazine, Dallas, Texas (Feb. 2010)
“Steve Howell is fantastic guitarist with a love for acoustic guitar sounds and classic music across many genres. Perhaps most interesting about Howell, though is that in addition to being a great musician, he's really a wonderful historian of American music.”
– fulltimeblues.com (Mar. 2010)
“Howell's relaxed singing style and his painstakingly polished takes on acoustic treasures earned him keen approval in connoisseur circles.”
- Ctrlaltcountry E-zine, The Netherlands (Mar. 2010)
“His peaceful vocal sounds manage to go straight to the heart.”
- Rootstime, Belgium (Mar. 2010)
“Believe me when I say that Steve Howell is very, very good!”
- Rootsville, The Netherlands (Mar. 2010)
“Steve Howell’s music is like an evening around the fireplace at an old southern homestead, acoustic guitars as crackling and blanketing as the embers themselves. the fluidity and cool hand of a master craftsman. This highly emotive style of playing complements Howell’s husky, commanding voice. A gentle, Deep South-inspired acoustic troubadour.”
- Living Blues Magazine (April 2010)
“Low-key and without pretense, Howell honestly delivers songs we should all know by heart but probably don’t. He delivers each with integrity and authority.”
- Elmore Magazine (March 2010)
“Steve is a highly skilled fingerpicker, and at the same time, a very soulful artist — a combination that is not to be taken for granted in every skilled guitar player.”
- Blues News – Finland (June 2009)
“Powerful energetic blues, but at the same time, very relaxed and smooth. MUY BUENO.”
- La Hora de Blues Radio PICA 96.6 Barcelona, Spain (June 2009)
“Authentic music that pays tribute to the past, but exists in the here and now.”
– greenmanreview.com (2009)
“Steve Howell has lived a lifetime to sing the blues like this. His weathered, semi-hoarse voice fits the music well.”
- Buddy -The Original Texas Music Magazine (January 2009)
“When I hear people like Steve Howell, I want to trade my guitar in. So good, so laid-back, such good material - all well beyond the reach of most of us! Every song shines!”
- Blues Matters, United Kingdom (May 2009)
“Steve Howell is an accomplished, finger picking style, acoustic guitar player with very strong vocals. I was amazed by his effortless finger picking ability. Front porch Country Blues done the way it should be.”
- IllinoisBlues.com Blues Blast (Feb. 2009)
“Howell's guitar picking is crystalline perfection, and his understated vocals are emphatic and expressive.... soulful and softly dynamic re-creation of the acoustic country blues for a modern audience.”
- Bloomington Alternative, Blues & More, (Feb. 2009)
“The understated, down home Southern-drawl vocal style is the perfect compliment to the airtight arrangements and tasteful playing Howell exhibits on guitar.”
- Vintage Guitar Magazine (March 2009)
“Howell’s complex, masterful guitar work is full of nuance, and his relaxed vocals exhibit a rich warmth that is well-suited to this material.” - Living Blues Magazine (Jan/Feb 2009)
“Nuanced, masterful interpretation. Howell is able to evoke deep emotion through subtlety rather than overstatement.”
- Blues Revue (Feb/Mar 2009)
His acoustic guitar is a universe of its own, singing alongside in a timeless voice of praise but like the blues itself, is really offering us the world.”
– Bentley’s Bandstand, Sonic Boomers (December 2008)
“Steve Howell brings a scholarly passion to his music and it is a delightful education, but there is nothing professorial about the performances. Thanks to his broad vocabulary on acoustic guitar, the Texas-born Howell swings and rocks even in these sparse arrangements. A lesson on the blues worth hearing.”
- Associated Press (2008)
“If blues fans think the idea of a a songster left the planet with the late Mance Lipscomb, Steve Howell will turn that thinking around right quick in an age where songs are too often mere vehicles for guitarists to strut their virtuosity. You will search long and in vain to find a warmer or more inviting sound, both instrumentally and vocally.”
- Guitar Edge Magazine (2008)
“Howell is an accomplished fingerpicking guitarist and a musical scholar. His interpretations are spirited and exact. The emphasis is on getting the details right, and he does.”
- All Music Guide - 4 out of 5 stars (2008)
"Out of the Past"
- Steve Howell
"Out of the Past" is a delightful acoustic journey back in time to the Great American songbook. A must listen disc for today's songwriters and pickers alike. It’s seamless. Like butter"
- James “The Blues Hound” Nagel - 90.1 KPFT Pacifica Radio, Houston,Texas
“Steve Howell simply shines on this new release. Country, Blues and Jazz sounds that feature the guitar and vocal workings of a master musician. “Out of the Past” features a variety of music styles that are clean and uncluttered and are more than enjoyable to listen to. Steve presents his songs with an uncommon feel for the past music of days gone by. This album is excellent and should make waves throughout the music industry.”
- Roots Music Report
“It has a steady beat, soft and cool, plenty of melodies, each as crisp as the next, played with incredible perfection, the thing that takes you wherever it wants, whenever it wants and you never even feel the time is dragging, it's that beautiful....Played by a quartet of virtuosos in a laid-back, easy style. A quartet that serves you a sharp-dressed music, concise, but careful — notice that I didn't say sterile! Mustn't get it wrong! A gentle and fresh music that we would like to hear more often, a music in which each instrument shines like the sun, where everything is all happiness and precious. Steve Howell is a warm singer and excellent guitarist...it's all great, it's all rolling in silk, a listening gem that's a long way from the noise and the fury. A pearl recommended for aficionados of beautiful guitar, but also for all blues lovers who still know where the blue note comes from......”
- Blues & Co. Magazine (France)
“Wow. Talk about your complete breath of fresh air! This is an awesome, awe inspiring collection of classic old tunes remodeled and reinterpreted by Steve Howell and company. Fantastic renditions of some time honored classic tunes. Howell shows a delicate balance of respect and admiration for his source material while still taking it to a new place for us. A wonderful album of great work.”
- Southwest Blues
“Howell and his sidemen display an obvious comfort with the material and guitar fans will enjoy the warm tones he coaxes from his Benedetto archtop. Howell's vocals easily glide over the music, but with enough character to make these interpretations his own. Engineered and mixed at Shreveport's Sandbox Recording Studio, the cd's crisp production lets all instruments shine, sure to please even the most discriminating high-end audio enthusiasts. This easy-going and enjoyable release will certainly gain Howell wider recognition. Simply put, this is how the pros do it.”
– Living Blues Magazine
“The natural ease of Steve’s Chet Atkins-styled picking and the jazz trio format seamlessly blends these artifacts of Americana together. The intros to “Wrap Your Troubles In Dreams” and the absolutely gorgeous cover of Satchmo’s “When it’s Sleepy Time Down South” convey so much emotion on their own that the verses are almost anticlimactic. When he switches into a higher register...., as on Blind Teddy Darby’s “I Never Cried (Built Right On The Ground),” Steve finds a gentle yearning that suits him well, sort of a cross between Clapton and Alan “Blind Owl” Wilson. There’s true gold just beyond the pastoral horizon of “Out Of The Past...”
- OffBeat Magazine
"Steve plays these songs his way. He has been playing them for years, but he does it without changing them. That's where his heart is. Of all my fingerpicking friends, Steve is the fingerpickingest."
- Joe Osborn (legendary bassist who has played on hundreds of Top 40 pop, rock and country hits)
“Howell’s arch-top picking, marked by a lovely melodic sensibility, is immaculate, his vocals relaxed and honest. Songs like Charley Patton’s Moon Going Down” and Blind Teddy Darby’s “I Never Cried” surprisingly work as well in the small band arrangements created by Howell and Joe Osborn on bass.”
- Blues Revue
“Howell is ...Singing and playing the guitar - both at a very high level. This man is a real musical interpreter...The combination of Howell’s strong guitar playing (you often hear Chet Atkins, John Hurt or Dave Van Ronk) and his ability to sing in different styles make for a particularly refreshing album.”
- MazzMusikaS, Belgium
- Steve Howell
"Out of the Past" is a delightful acoustic journey back in time to the Great American songbook. A must listen disc for today's songwriters and pickers alike. It’s seamless. Like butter"
- James “The Blues Hound” Nagel - 90.1 KPFT Pacifica Radio, Houston,Texas
“Steve Howell simply shines on this new release. Country, Blues and Jazz sounds that feature the guitar and vocal workings of a master musician. “Out of the Past” features a variety of music styles that are clean and uncluttered and are more than enjoyable to listen to. Steve presents his songs with an uncommon feel for the past music of days gone by. This album is excellent and should make waves throughout the music industry.”
- Roots Music Report
“It has a steady beat, soft and cool, plenty of melodies, each as crisp as the next, played with incredible perfection, the thing that takes you wherever it wants, whenever it wants and you never even feel the time is dragging, it's that beautiful....Played by a quartet of virtuosos in a laid-back, easy style. A quartet that serves you a sharp-dressed music, concise, but careful — notice that I didn't say sterile! Mustn't get it wrong! A gentle and fresh music that we would like to hear more often, a music in which each instrument shines like the sun, where everything is all happiness and precious. Steve Howell is a warm singer and excellent guitarist...it's all great, it's all rolling in silk, a listening gem that's a long way from the noise and the fury. A pearl recommended for aficionados of beautiful guitar, but also for all blues lovers who still know where the blue note comes from......”
- Blues & Co. Magazine (France)
“Wow. Talk about your complete breath of fresh air! This is an awesome, awe inspiring collection of classic old tunes remodeled and reinterpreted by Steve Howell and company. Fantastic renditions of some time honored classic tunes. Howell shows a delicate balance of respect and admiration for his source material while still taking it to a new place for us. A wonderful album of great work.”
- Southwest Blues
“Howell and his sidemen display an obvious comfort with the material and guitar fans will enjoy the warm tones he coaxes from his Benedetto archtop. Howell's vocals easily glide over the music, but with enough character to make these interpretations his own. Engineered and mixed at Shreveport's Sandbox Recording Studio, the cd's crisp production lets all instruments shine, sure to please even the most discriminating high-end audio enthusiasts. This easy-going and enjoyable release will certainly gain Howell wider recognition. Simply put, this is how the pros do it.”
– Living Blues Magazine
“The natural ease of Steve’s Chet Atkins-styled picking and the jazz trio format seamlessly blends these artifacts of Americana together. The intros to “Wrap Your Troubles In Dreams” and the absolutely gorgeous cover of Satchmo’s “When it’s Sleepy Time Down South” convey so much emotion on their own that the verses are almost anticlimactic. When he switches into a higher register...., as on Blind Teddy Darby’s “I Never Cried (Built Right On The Ground),” Steve finds a gentle yearning that suits him well, sort of a cross between Clapton and Alan “Blind Owl” Wilson. There’s true gold just beyond the pastoral horizon of “Out Of The Past...”
- OffBeat Magazine
"Steve plays these songs his way. He has been playing them for years, but he does it without changing them. That's where his heart is. Of all my fingerpicking friends, Steve is the fingerpickingest."
- Joe Osborn (legendary bassist who has played on hundreds of Top 40 pop, rock and country hits)
“Howell’s arch-top picking, marked by a lovely melodic sensibility, is immaculate, his vocals relaxed and honest. Songs like Charley Patton’s Moon Going Down” and Blind Teddy Darby’s “I Never Cried” surprisingly work as well in the small band arrangements created by Howell and Joe Osborn on bass.”
- Blues Revue
“Howell is ...Singing and playing the guitar - both at a very high level. This man is a real musical interpreter...The combination of Howell’s strong guitar playing (you often hear Chet Atkins, John Hurt or Dave Van Ronk) and his ability to sing in different styles make for a particularly refreshing album.”
- MazzMusikaS, Belgium
