Featured Blues Review – 9 of 10  Ray Cashman – Houston Electric www.raycashman.net Self Release 11 songs – 42 minutes Houston Electric is Texas singer-guitarist-songwriter Ray Cashman’s seventh album and is a raucous collection of hard-driving blues-rock played with joyous abandon. Featuring 11 self-penned tracks, this is the sort of album that provides a perfect accompaniment to a long road trip. Opening with the mid-paced stomp of “Feet On The Ground”, Cashman’s gritty, overdriven slide guitar fits naturally with his weathered, almost gnarled voice. His band are first rate, with Manuel Perez in particular laying down an irresistible rhythm on drums, together with Patrick Neifert on bass and guitar and Gary Belin on backing vocals. In the upbeat primal rock’n’roll of “Good Times”, Cashman’s voice takes on some of the yodelling vulnerability of Phil Alvin, with some suitably wild guitar giving the song a hint of the Black Crowes as Cashman humorously warns about the dangers of hard living and how “the good times never last”. The pace slows slightly for “Devil’s Smile” where Cashman’s outstanding guitar slides just on and off the beat, giving the song real life, while the stuttering guitar riff of “Fire Dance” has echoes of the British blues-rock giants of the late 1960s. Produced by Belin and Cashman and engineered and mastered by Belin at the Rock Shed in Houston, Texas, the songs on Houston Electric are primarily based around guitar riffs, but invariably contain something unusual to retain the listener’s attention. On “Electric Pistol”, for example, Cashman pulls out a wildly arresting guitar solo mid-song. In “Domino”, the opening single notes of an acoustic guitar are rapidly overtaken by a single repeated echoed chord and there is an unexpected chordal middle-eight rather than a guitar solo. Cashman pulls out the slide guitar again for “Pickle Juice” and the slower “Full Moon Over Orlean” (which also includes some beautiful piano from guest Anderson Braun), while the Springsteen-esque “Hard Way” contains a lovely guitar solo that is striking for the cleanness of its tone, in contrast to Cashman’s tone on the other tracks. “Reefer Headed Woman” emphasizes Cashman’s clever lyrics as the protagonist wryly notes the physical benefits he gets from his mellow lady friend. The track also contains some more outstanding slide guitar. The closing track, “Millionaire”, is based around a strummed acoustic guitar over which an electric guitar picks out single note arpeggios. With its distorted guitars, riff-based songs and in-your-face attitude, Houston Electric is very much a blues-rock album rather than pure blues, but it is played with such technical facility, muscular confidence and unabashed joy that it is very hard not to enjoy it. And if your tastes lean towards the heavier side of blues-rock spectrum, you will definitely want to check it out. A rather impressive release. ” - Rhys Williams

Blues Blast Magazine

http://top40-charts.com/news.php?nid=144361   Bluesman Ray Cashman Returns To His Roots In Southeast Texas Video news PlayvolumeTruvidAd Our news in your mail * indicates required Email Address * News frequency * Daily Weekly Shop Related Products Rust In Peace $7.99  (583) Dean Dave Mustaine VMNT Electric Guitar, Killing Is M… $484.10$749.00  (16) Dystopia $9.78  (705) The Four: The Hidden DNA of Amazon, Apple, Faceb… $11.59$17.00  (318) Ads by Amazon    New York, NY (Top40 Charts) It all came together rather unexpectedly back when he was ten years old. He was at a friend's house and a guitar that was sitting in another room caught his eye. He asked if he could pick it up and something about holding that guitar seemed to fit rather well. There was a mirror in the room and he looked into it while holding that guitar. Somehow it just felt like it was meant to be and that was the beginning. Next Ray would take in the blues from some real down home bluesmen and that was the icing on the cake - the young man was hooked. Years later while looking back at those formative years Ray never would have imagined that armed with just the blues in his veins that he would go on to share his love of the guitar and the blues with people all over the U.S. and Europe. From Spain to Belgium to Italy and on to the Netherlands Ray had been sharing what's inside him naturally with folks across the big pond. Then he returned to the states and set up camp in Austin and then on to Nashville where the folks at BMI signed him up so he could license his music to the Discovery Channel. Austin had been great but the lady he was in love with said Nashville was calling her and the thought of moving to Nashville Tennessee was more than a little intriguing to this Texasbluesman. Once he arrived in Nashville he was glad to be there. However, as time moved forward the notion of returning to Southeast Texas grew deeper in his heart. It was as if something was pulling him to return to the lifestyle he grew up with, the desire to return was just too much to resist. Now he's back in Montgomery Texas and even though performing on the stages in New York City, Los Angeles, Seattle, Austin at SXSW, as well as a number of other cities which was a tremendous experience the man has now settled back in where it all began. He's turned out six albums over the years and once he arrived back home there was one more working its way to the surface. The muse he needed he found right in his own backyard. This time around the album will be a blues rock release which Ray will title as "Houston Electric". It's scheduled to be released in the June time period after producer engineer Gary Belin buttons up the production side of things. Ray describes his upcoming album this way, "Best one I've ever done, most rounded one and even more rocking." Which is not too surprising when you learn that his top musical influences over time include The Rolling Stones, Howlin' Wolf, and the great songwriter Townes Van Zandt.Ray Cashman is an interesting musical gumbo of a person as the man fits into the Americana roots scene as well as in both the blues and rock genres. Quite interesting actually. His sound is solid and his lyrics hit home. Two things you can tell about the man right out of the gate is that his heart is in his music and he's passionate about sharing the blues with all sorts of folks. After all that's how he found it and how his love affair with roots music began so many years ago. It hasn't stopped since, his upcoming release is probably his best..... ”

— top40-charts.com

InterviewRAY CASHMAN  Du blues, au folk, en abordant les rivages du bluegrass, du rock, du cajun et de la country il varie les genres avec une égale maestria.   Blues Again : D’où viens-tu Ray ?Ray Cashman : J'ai grandi principalement à Conroe au Texas. J'ai vécu à Houston jusqu’à mes 20 ans et à Austin dans ma trentaine. Je suis récemment revenu à Montgomery au Texas après avoir vécu 10 ans à Nashville, Tennessee. Sur quels types de guitares joues-tu ? As-tu une marque préférée ? Je joue sur une un Trilion National, une Martin D-28 et une Gibson ES 125. J'aime ces trois ces marques. Y a-t-il un musicien, un chanteur, un groupe qui t’a particulièrement impressionné ?J'ai grandi en écoutant les Stones, Hendrix et Led Zeppelin. J'ai été vraiment influencé par Willie Nelson, Merle Haggard et Townes VanZandt ainsi que par d'autres chanteurs, auteurs-compositeurs texans tels que Guy Clark et Steve Earle. Quand je me suis mis au blues, ça venait du Texas avec Lightning Hopkins et Mance Lipscomb, Stevie Ray Vaughn, Johnny Winter et les Fabulous Thunderbirds.   Si tu devais nommer 3 ou 4 musiciens comme références principales, quels seraient-ils ?Townes VanZandt, Chris Whitley, Lightning Hopkins et Keith Richards.Quel genre de musique écoutais-tu quand tu étais un jeune ?Principalement du rock. Te souviens-tu du premier blues ou rock entendu ?J'ai acheté une cassette Jimi Hendrix quand j'avais 10 ans. Mon père détestait ça. J'avais grandi au son de la country classique jusque-là. Comment définirais-tu ton style ?Chanteur/compositeur, blues man. Combien de concerts fais-tu dans une année ?J'avais l'habitude de jouer environ 150 concerts par an, mais j'ai réduit drastiquement ces deux dernières années. Je privilégie maintenant la qualité à la quantité. En novembre dernier, tu as donné quelques concerts près de Toulon avec Buck Langlois avant de te rendre en Italie. Comment était-ce ?J'ai passé un super moment avec Buck, les concerts étaient super et le public était très enthousiaste. Buck est un super musicien et une merveilleuse personne. Je le considère comme un ami très proche. Sens-tu une différence entre un public américain et européen ?Très certainement. Aux Etats-Unis, dans la plupart des endroits on ne se soucie pas du blues. Il faut jouer dans des coins comme Clarksdale, Mississippi, et les festivals de blues pour ressentir une certaine appréciation. Quelques mots sur ton dernier album Slow Drag… Les pistes de base ont été enregistrées à Seattle. Le label Knick Knack Records est basé là-bas. Tous les mixages, mastering, overdubs et réglages ont été faits à Nashville, ainsi que l'enregistrement des titres ‘Fame’ et ‘Bleed’. Quelles sont tes sources d'inspiration pour l'écriture et la composition ?Je n'ai pas de méthode. Quand la chanson vient à moi, je l'écris et je la joue plusieurs fois jusqu'à ce que ça sonne bien et achevé. Tout peut m'inspirer mais cela peut prendre des mois ou moins d'une heure pour terminer une chanson. Y a-t-il un objectif que tu aimerais atteindre avec ta musique ?Continuer à me rendre moi et d'autres gens heureux grâce à ma musique. Quels genres de musiques aimes-tu écouter quand tu es seul ?Celles qui m’ont influencé. En dehors de la musique, quels sont tes passe-temps ?La pêche et la cuisine raffinée. Quels sont tes projets pour les prochains mois ?Trouver des dates pour une tournée d'été en Europe. Principalement en France et en Italie. En tant que musicien, quel serait ton rêve le plus fou ?Ouvrir pour les Rolling Stones. Quel est l’endroit où tu aimes te retrouver ? C'est difficile à répondre. J'aime le grondement des grandes villes telles que New York, Paris et Rome mais j'aime aussi la tranquillité de la pêche dans les bois ou le long de la baie de Galveston (située au sud-est de Houston sur le golfe du Mexique : NDLR). Gilles Blampain – novembre 2017 www.raycashman.net/ ” - Gilles Blampain

Blues Again

CD REVIEWs: RAY CASHMAN SLOW DRAG Knick Knack Records Armed with a national steel guitar, stomp box and fender amp, Ray Cashman the blues singer song-writer normally performs solo. With years of experience touring and playing music in the United States and around Europe, Ray Cashman's music reflects the inspirations of southern gothic literature and a blues gumbo repertoire that conjures up the ghosts of the Mississippi delta. Growing up outside Conroe, Texas. Listening to older black men play guitar, sing and drink, Cashman lives the experiences in his music. “They would sell us BBQ sandwiches and Budweiser beer, we would sit around and listen to them play music and tell stories.” Now living in Nashville 'A gumbo troubadour' Cashman’s mastery of the Southern Cajun and blues styles are highlighted on his sixth album Slow Drag. Released on Knick Knack records, Having the launch party on Cashman’s own home porch, where Fame the opening track would not have been out of place with its relaxed stomp box and guitar. Along with Bleed the only two solo tracks on the recording. Spicing things up with backing from the rhythm section of blues-doom band Gravelroad, Joe Johnson bass and Marty Reinser drums on several of the tracks, The piercing slide guitar work of Nashville's Mark Robinson and the blues harmonica of Bob Bogdel. Some Delta blues With Nana's Diner About a living angel “she walks down the aisle like 12 bar blues" and the gothic Dead Man’s Cadillac. Taking the tempo up with a 12-bar blues groove on She's Just A Girl “she’s much too young to sing the blues." Baby has some understated harmonica playing. Thank God I Have You brings in some subtle slide guitar. The rhythm section is back with the driving Where The Blues Was Born before the heartbreak of lost love on Full Moon Over Orleans with its haunting slide guitar. changing track with the blues gospel of Rise Again. There are some finely crafted songs on this album with enough variation in style and tempo to keep it fresh interesting and enjoyable.  ” - Allen

Blues Matters

RAY CASHMAN Slow Drag Knick Knack 0028 (USA) -2016- Smorza i toni di un’elettricità da juke joint, Ray Cashman, per regalarci al suo sesto disco un lavoro da undici tracce orientate all’acustico, spontanee come se fossero suonate nella veranda sottocasa, il classico porticato sul retro di qualche baracca in Mississippi, come potrebbe dirsi dello stile downhome che ci ripropone, anziché i contorni di uno studiolo su a Nord - Ovest, nientemeno che a Seattle, dove vengono registrate invece le tracce base di questo “Slow Drag”. Sembra davvero una globalizzazione del blues per Mr. Ray (certo ormai non solo per lui) ma se il suo stile pare non essersi mai allontanato da casa, l’album è stato inciso piuttosto al Ground Control d e l l a c a p i t a l e d e l grunge...mentre in realtà il nostro vive attualmente a Nashville, Tennessee, capitale del country! Un eterno girovagare che nulla toglie alla magistrale assimilazione di un’identità musicale che pure gli è propria, mescolando le proprie radici con quelle dell’idioma che più gli piace, delineandosi allora originario di quel luogo ideale che fu anche del suo ormai vecchio “Texassippi” (2007). Ai tempi c’era il patrocino di Jimbo Mathus, stavolta invece la produzione è autonoma, comunque mai superficiale e pur nel procedimento a togliere, articolata nel lavoro integrato da una band al completo: altra chitarra (Mark Robinson), armonica (Bob Bogdal), basso (Joe Johnson), batteria (Marty Reinsel) e l’immancabile battito del piede a scandire i silenzi, le pause musicali e i cenni ipnotici ad evocare i flashback in bianco e nero del canzoniere popolare americano. E all’Anthology of American Folk Music come a vecchie registrazioni itineranti in un Sud lontano fa pensare la terza “Dead Man’s Cadillac”, introdotta dalle aperture che molto spazio lasciano a meditazioni strumentali di contorno al cantato (“Fame”, “Mana’s Diner”). Prima che la “stoniana” “She’s Just A Girl” infili davvero la spina, e la corrente inizi a circolare accendendo gli spiriti assopiti dalle più diffuse atmosfere sospese, a fare il paio con “Where The Blues Was Born” che è forse la migliore a scendere là dove tutto è cominciato. Ci aspettavamo fosse tutto così e qualche traccia acustica nel mezzo, invece la sola traccia che resta nella medesima vena artistica, quella elettrica, è l’ultima, che è poi “She’s Just A Girl Reprise”. Ma in fin dei conti poi un artista fa quello che gli pare, e se Cashman sfodera di più qui l’altra faccia del downhome, lo fa bene: potremmo quasi chiamarlo bluesman, anziché nuovo bravo testimone del suono Fat Possum del tempo che fu. Matteo Fratti” - Matteo Fratti

— Il Blues

RAY CASHMAN – SLOW DRAG www.rootstime.be       RAY CASHMAN – SLOW DRAG   Singer-songwriter / gitarist Ray Cashman is al sinds 2001 “a blues singing troubadour”. Hij zingt over zijn reizen, over wat hij leest en over het leven met alle moeilijkheden en uitdagingen. Cashman groeide op in de omgeving van Conroe, TX. Hij luisterde er vaak naar oudere zwarte muzikanten, die bij de BBQ doorleefde liedjes zongen en broodjes en (Budweiser?) bier verkochten. Vóór zijn muzikale carrière was Cashman kort in het leger, werkte hij als timmerman, truck chauffeur, verkoper, barman en deed hij nog “twaalf stielen en...”. Momenteel woont Cashman met vrouw en zoon in Nolensville, TN. Op de eerste plaats vindt Cashman dat hij een songwriter is, daarna gitarist en pas dan zanger. Cashman debuteerde in 2005 met ‘Black And Blues’ en bracht ondertussen al zes studio albums uit. Cashman tourde al uitgebreid in Noord Amerika en Europa. In 2015 was hij opnieuw in België en was hij o.a. te gast bij onze roots vrienden in het Loodscafé in Aarschot. ‘Desolation’ (“troosteloosheid / verwoesting”) [2015] was het laatste album dat van Cashman op mijn bureel belandde. Het was (zo schreef hij zelf) “het meest gestripte album, dat hij uitbracht sinds zijn debuut in 2005”. Het laatste album van Cashman heet ‘Slow Drag’ [2016]. Als je gaat zoeken naar de betekenis van ‘Slow Drag’, dan zijn er twee referenties. Een: de ‘slow drag dance’: een populaire Amerikaanse dans. Twee: het ‘slow drag album’: een jazz album van trompettiste Donald Byrd uit 1968. De Slow drag (dance), waar hier naar verwezen wordt is een Amerikaans ragtime jazz genre en de dans waarvoor de muziek geschreven werd, kortweg de ”drag”. De slow drag dance maakt deel uit van blues dancing. Ragtime (rag-time of rag time) muziek was erg populair tussen 1895 en 1918 en wordt gekenmerkt door zijn typisch "ragged", onverwacht, gebroken ritme. Ray Cashman’s ‘Slow Drag’ is een album met elf originals, dat hij opnam samen met gitarist Mark Robinson, harpist Bob Bogda, drummer Marty Reinsel en bassist Joe Johnson. ‘Slow Drag’ is opnieuw een album met de typische, stemmige Cashman mix van blues, cajun en swamp. Met ”Fame” begint Cashman aan zijn trip en vertelt hij ons een van zijn verhalen. Wat songwriting verder betekent hoor je in ”Nana’s Diner”, ”Baby” en ”Thank God I Have You”. In ”Dead Man’s Cadillac” is er een hoofdrol uitgezet voor de bluesharp van Bob Bogdal en, met ”She’s Just A Girl” kies je voor een uptempo shuffle. ”Where the Blues Was Born” is behept met slides en, in het weemoedige ”Full Moon Over Orleans”, ”Bleed” of in de afsluiter ”She’s Just A Girl (Reprise)” doet Cashman waar hij goed in is. Gitarist Ray Cashman kan je omschrijven als een singer-songwriter “zonder franjes”, met een intrigerende stem en met vele verhalen. Met ‘Slow Drag’ leidt hij ons opnieuw rond in zijn kleine wereld, waar je de voodoo van de Mississippi delta ontmoet en laat hij ons voelen hoe fragiel en subtiel alles kan zijn. Als je  de kans krijgt om Ray Cashman live mee te maken, mis die dan niet, want Cashman doet waar hij goed in is, niet meer en niet minder… Check voor alle tourdata de website van de artiest/band en/of Rootstime ! Eric Schuurmans     Album track list: 1”Fame” - 2”Nana’s Diner” - 3”Dead Man’s Cadillac” - 4”She’s Just A Girl” - 5”Baby” - 6”Thank God I Have You” - 7”Where the Blues Was Born” - 8”Full Moon Over Orleans” - 9”Rise Again” - 10”Bleed” - 11”She’s Just A Girl Reprise” – Music / Lyrics by Ray L Cashman ℗ 2016 – Produced by Ray Cashman Album Line-up:Ray Cashman: vocals, guitar, foot stompMark Robinson: guitarBob Bogda: harmonicaMarty Reinsel: drumsJoe Johnson: bass Discography Ray Cashman:Slow Drag [2016] | Desolation [2015] | Rough & Tumble South [2012] | Texassippi Stomp feat. Grant “Gabby” Brown (harmonica) & Jimbo Mathus (different instruments) [2007] | Black And Blues [2005]   ” - Freddy Celis

Roots Time

Ray Cashman – Slow DragFormat: CD / Label: Knick Knack RecordsReleasedatum: 15 November 2016 Tekst: Rick Kanselaar ‘Slow Drag’ is de titel van het laatste album van Ray Cashman, een man die zichzelf betitelt als Gumbo troubadour. Zijn muziek is een mix van pure blues, swamp en cajun. Best bestemd om gespeeld te worden in een stoffige dorpje, zittend in een schommelstoel voor de deur van een houten huis ergens heel diep in het zuiden van Mississippi. En laat Ray Cashman dat nu net gedaan hebben op zijn eigen veranda met de release van dit album. Cashman haalt de inspiratie voor zijn songteksten en muziek uit eigen ervaringen, tijdens de reizen die hij maakt maar ook uit de vroege Amerikaanse literatuur. Dit levert op zijn zesde volledige album eerlijke en gepassioneerde muziek op. Oorspronkelijk komend uit oostelijk Texas maar tegenwoordig wonend in de heuvels rond Nashville maakt Cashman muziek met gevoel. Ray Cashman toert intensief door de States maar doet hij ook op regelmatige basis Europa aan. De stemming op de cd is kalm en ingetogen en vormt een kabbelend geheel. Ray Cashman brengt subtiele arrangementen en nergens gebeurt het overdadig. Subtiliteit blijft een belangrijk ingrediënt. Op ‘Slow Drag’ gaat het vooral om de ambacht van het liedjes schrijven getuige de nummers Fame, Nana’s Diner en Baby. Tegelijkertijd zorgt dit er wel voor dat de plaat nergens echt spannend wordt. Echter Cashman doet waar hij goed in is, niet meer en niet minder, luister maar eens naar Full Moon over Orleans en She’s Just a Girl (reprise). Cashman levert met ‘Slow Drag’ een degelijke bluesplaat zonder franjes af.  ” - Rick Kanselaar

Blues magazine Netherlands

All Deeds Done, Waterfall Wash, Ray CashmanAcme Feed & Seed; Nashville, TNSeptember 29, 2015 Words by Jacob Ryan (@GonzoWithGusto). Photos by Mick Leonardy We would like to continue to welcome all of you reading this out there in Music City and beyond to Acme Feed & Seed every Tuesday night, for the weekly showcase from our live events wing, No Country Presents! This past Tuesday’s bill featured bluesman Ray Cashman, high energy indie rockers Waterfall Wash, and, in their final week of a September residency, All Deeds Done. Read on for a full recap, and for some great shots from staff photographer Mick Leonardy.   After a less than stellar weekend for my fantasy football teams, I was eager to get to Acme Tuesday to drown my sorrows in a pint or several. There are worst things in life than loosing at fake football of course, but it’s great to know there’s always a place to go for a drink or bit to eat downtown that won’t have the same ol’ same ol’ mundane honky tonk music. Like a trusted old friend, Feed & Seed is always there for you in a pinch. Ray Cashman. Photo by Mick Leonardy. Mixing up our weekly showcase a bit, I was stoked to see a real-life bluesman doing his thing in front of a good sized dinner crowd. Ray Cashman hails from Conroe, TX, outside Houston, and he has all the dirt and grit to him that you would expect form a Texas blues picker. His hands reminded me of bear paws, as he delicately picked out the notes on his weathered guitar, his rich and crackling voice barking out the lyrics. He had a resonator guitar player accompanying him, whom played with a slide skillfully. There was also an up-right electric bassist, something you definitely don’t see everyday. Together they all bellowed out the the deep blues. My favorite original track, “Feel No Pain,” came early in the set, and a Townes Van Zandt cover later gave me chills. All in all, he was a breath of fresh air and a resident blues practitioner you should get in your life ASAP. ” - Jacob Ryan

— No Country

the fifth release in the artist’s catalog, and his most distinct to date. It was released independently on Cashman’s own D Bomb Records. Rough and Tumble South, is a slight departure from his earlier works in the fact that the songs were tracked with a full band. The lineup of musicians on this album helped bring a new dimension to Cashman’s music, giving it a more full sound yet not losing the passion that was captured on his previous albums. The latest project was recorded at The Bomb Shelter in East Nashville, which was a new recording location for Cashman, differing from his past two albums recorded in MS. The subject matter of the album varies from song to song. Food is huge theme on this album. Simple living, love and happiness and the struggles that come with it are also important to the album’s lyrical content. Listeners can tell how growing up in a small town has influenced Ray Cashman. “I have written 12 songs that reflect the region of America I have lived and respected; the South. These are songs about love, food, music, murder, illicit substances and the yearning to leave small town America,” says Cashman while reflecting on his songwriting. Ray Cashman’s gritty baritone vocals stand out as well his bluesy guitar riffs. Banjos, horns and fiddles and some washboard thrown in for texture help give the album a true southern feel that anyone can move to. Rough and Tumble South is definitely an album to take notice of and is one that both long-time fans and newcomers to Cashman’s catalog can appreciate.  ” - Leslie Armstrong

Nashville Country Club

Rough & Tumble South Ray Cashman Available from Ray Cashman's online store. A review written for the Folk & Acoustic Music Exchange by Bob Gottlieb (taoboy@cox.net) Raw and rough in the very best uses of the words; it is primal and in a sense savage, coarse, unpolished, and yet sincere and honest. The music is a melting pot of swamp, Cajun, psychedelic, Preservation Hall jazz, some punk in there too for good measure. It is an interesting hodge-podge of music and the band behind Ray Cashman fits right in there. If you are looking for the polish and smoothness of a Lyle Lovett or Yvette Landry or even Steve Riley - no. This is the un-adulterated mash up of a man/band that plays with passion and feeling and honesty and subtly be damned. This is Cashman's fifth album and it is filled with eleven songs that reflect on theme's important to him, and all were written by him. These are songs of the hardscrabble South; were there was sometimes not enough food, or love that was askew in one way or another, and always the illicit substances to talk about. It is also the first full disc he did with a band. He plays guitars and banjo as well as handling the vocals, Davis Coen lays down guitar on two tracks, Grace Askew contributes vocals on two tracks, Diego Vasquez tambourine on a track, John Estes bass and organ on a single track, and then Ollie Oshea, fiddle, and Adam Verone drums and washboard are constant throughout the disc. It is rural and it is unrefined and natural, and it is definitely a disc that should not be missed because in its unrefined rawness is its power. Track List: The Food Song The Simple Life Nobody But You Feeling No Pain Mudbugs Moving Fast Evangeline Skin Holcolm Roll Devil & I Turn the Key Edited by: David N. Pyles (dnpyles@acousticmusic.com) Copyright 2013, Peterborough Folk Music Society. This review may be reprinted with prior permission and attribution. ” - Bob Gottlieb

Folk & Acoustic Music Exchange

Ray Cashman – “Rough & Tumble South” Review Posted on February 23, 2013 by countrychorus Ray Cashman’s fifth album Rough & Tumble South is a full-band journey into blistering juke joint music chock full of banjos, fiddles and grit, best played when cranked up to 11. Raised outside of Conroe, Texas, Cashman looked up to the gifted older black musicians who he grew up around. He would listen to them play music and tell stories, and the influences of that are certainly everywhere on this superb album. Rough & Tumble South focuses on food, experiences traveling on the road, and inspiration from Southern Gothic literature. Cashman has no shortage of life experience to draw upon, having served in the army, worked as a carpenter and done numerous other career moves such as, driving a fork lift, bar tending, selling cars, plumbing, roofing and being a stay-at-home dad. This album was recorded at the Bomb Shelter studio in East Nashville and released on Cashman’s independent label D Bomb Records. Bluesy guitar riffs, Cashman’s tough baritone vocals, strong drumming and washboards from band player Adam Verone and backup vocals from Grace Askew, as well as the trombone of bandmate Diego Vasquez, guitar of Davis Coen, expert fiddling of Ollie Oshea and bass and organ know-how of John Estes make this full-band recording a full musical ride. Cashman reminds me of another excellent blues and jug band who were one of my favourites growing up, called the Tarbox Ramblers from Massachusetts (on Rounder Records). Both artists achieve a high-energy raw hillbilly roots sound that really captures the ear and gets the toe tapping. Standout tracks include the soulful meditation on enjoying life and its nature, with the old-time fidding of Oshea. “a little slowing down/couldn’t cause us any harm,” sings Cashman, who wrote all the songs on the album. Track “Feeling No Pain,” stems from the best of blues traditions and is reminiscent of the 1930s Mississippi Sheiks super hit “Sitting on Top of the World.” Catchy, fun bluesy tracks like “Mudbugs,” “Holcomb Roll,” and “the Food Song,” are matched by songs with melodic old-time banjo riffs and underlying darkness such as “Evangeline,” where the song’s narrator tells a girl in trouble that he will save her from people trying to catch and hang her as the banjo plucks madly in the background, emphasizing the situation they are in. “Skin,” and “the Devil and I” also hew down to the core of the human condition as blues does at its best, but they do so with determination and grit, world-weariness tempered by a zest for standing up to your demons. “From the beginning of time that battle he has waged,” Cashman growls with the full-throttle guitars and drums highlighting the struggle. Then there are the adrenaline-kickers like “Moving Fast,” and “Turn the Key,” that describe the fast-moving adventure and ups-and-downs of life with gusto and driving energy. “I’m movin’ fast/ and I’m leavin’ slow,” Cashman sings, drawing out the end as the band fades. Cashman’s 2007 album Texasippi Stomp was on the nomination ballot for best traditional blues album at the 2007 Grammy Awards, and Rough & Tumble South may not do too shabby itself. It certainly deserves any accolades it receives, and the more people that take a listen the more these will roll in. Rough & Tumble South is a genuine diamond in the blues world. This is a strong, strong recording. Listeners are encouraged to visit Cashman’s website and consider picking up a copy of Rough & Tumble South for themselves. Highly recommended. 9/10” - Paul Swashbuckl

country chorus blog

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