Since Big Shanty's sonic rain of acid guitars
and synth beats
began blasting across the Internet in 2007 and voted the
"#1 Blues Album of the Year" by Real Blues Magazine
FEATURING:
Andy Hamburger-drums/percussion, Big Shanty-vocals/slide guitar, Bill Stewart-drums, Chris Blackwell-solo guitar, Col. Bruce Hampton-sitar/guitar, Dave Hanbury-lead guitar, Dave Ylvisaker-keyboards, Diane Durrett-bckground vocals, Dustin Sargent-bass, Ed Sanchez-solo guitar, Eddie Jett-solo guitar, Jack Hall-Bass, Kevin
Scott-bass, Liz Melendez-solo guitar, Matt Smart-blues harp, Phil Davis-keyboards, Rick Phillips-keyboards, Ron Heath-bass, Scott T. Robertson-drums, Spencer Kirkpatrick-solo guitar, Tom Mullinax-percussion.
Live Radio Show From The House of Jam
"Big Shanty & The Polk Street Blues Band" DOWNLOAD SHOW FREE - 26:00 minute MP3
Produced By Dave Hanbury
DOWNLOAD
RADIO SHOW FREE - MP3 - 26:00 Minutes
(click titles) 1 - The Queen of
Hearts Has Disappeared
2 - Right Combination
3 - World Of Trouble
4 - Smoke and Mirrors
5 - 100 Pound Hammer
Big
Shanty-vocals/slide guitar, Dave Hanbury-lead guitar, Andy Hamburger-percussion, Dave Ylvisaker-keyboards, Ron Heath-bass, Eddie Jett-solo guitar, Rick
Phillips-keyboards, Tom Mullinax-percussion, Phil Davis-keyboards.
PRESS AND REVIEWS...
"Modern Guitars Magazine"
By: Brian D. Holland It’s nice when a sound comes along
that really catches the ear and takes control of the senses with a magnetic, wrenching
tug. The experience doesn't happen all that often, but when it does it’s authentic
and infectious. It’s music with an air of excitement, a stimulation factor brought on
by a combination of traits both unique and inspirational. Sold Out… is all that and
more.
Big Shanty's music is a mesh of styles, both contemporary and traditional. It's a mixture
of funk, techno, hip-hop, and especially blues and rock. It's Prince meets JJ Cale and Jon
Spencer Blues Explosion meets Muddy Waters, Public Enemy and the Chemical Brothers. The
sound is electrifying and mesmerizing. He's known as a renegade rocker at times, and he
sings in support of human rights, free speech, Internet radio and independent media. Those
familiar with his song "Killing Fields," from his 2007 release Ride With The
Wind, are well aware of that.
The opener, "Big Shanty, From Lower Alabama to Hollywood," is an up-tempo blues
number with a rhythmic drive reminiscent of J.J. Cale in places, an isolated vocal element
that's suggestive of archetypal Cale as well. However, the song's rocked up and funky pace
makes it all Big Shanty in essence. He gets into some interesting acoustic and slide
guitar phrasing throughout the song. Rick Phillips is superb on keyboards as well.
"Kissing the Eight Ball" takes it in another direction. Though it's quite rocked
up and funky, in somewhat of a Jon Spencer vein, its techno vibe is very innovative and
captivating. This one has a tendency to grow more likable each time it's heard. Accented
by Shanty's brisk slide guitar chops and the scorching lead guitar work of Spencer
Kirkpatrick, "Love Train" drives along like a locomotive streaming down the
tracks.
Though Big Shanty's innovative slide work transpires throughout the album, much of the
lead guitar work is Spencer Kirkpatrick (Hydra). There's also a scorching solo by Chris
Blackwell on "Stop Pushing Me." Liz Melendez is perfect in providing the songs
with extra vocal ambiance in the choruses (solo guitar on "Uncle Sam" as well).
So, even though a few songs contain a heavy techno sound and other idiosyncrasies, it's
still very much a guitar and instrument oriented CD.
Another notable track is a pleasant acoustic number called "Tybee Town." It
includes a sitar additive played by Col. Bruce Hampton, the renowned surrealist musician
from Georgia. Shanty ends the album with the lyrically political and rocked up "Uncle
Sam Go To Rehab," giving the CD a real kick-ass finale.
The music on Sold Out… is different, innovative and captivating. Big Shanty's slide
guitar approach and gruff vocals are just right surrounded in the bluesy, rocked up, and
techno environment. For those with brave taste and a roving ear, who are always looking
for new frontiers and new approaches in music, Big Shanty's Sold Out… is a very
diverse and enjoyable collection of songs. Boundaries do not exist in this music. READ MORE
Big Shanty uses; Squire Stratocasters,
Fender Stratocasters, Danelectro U2, Guild D40, Rogue Resonators and D’Addario
Strings.
"CRAWDADDY MAGAZINE"
By: j. poet Big Shanty comes on like a rip snortin’, fire
breathin’ son of a swamp dog with whiskey breath harsh enough to blister the chrome
on a Harley and a black-and-blue attitude hard enough to make strong men weak and weak men
quiver. He’s got a guitar sound that’s fuzzier than a bucket full of month-old
bacon. He’s a night walker, a trash talker, and a groove master with a grinding
guitar sound that’s both dangerous and thrilling. Born in the backwoods and raised on
brimstone and moonshine, weaned on tractor exhaust and hard work, and seduced by the
primal power of the blues at an early age, Shanty never wanted to be a star, but he did
want to make some kind of gut-bucket, bone-rattling, tooth-busting, hell-raising noise. He
grabbed a guitar, turned his amp up way past 11, and started wailing out tunes about
desperate men, fearsome women, and a world gone mad. He spoke the truth, not giving a damn
if anybody was listening, and found that he connected with something ferocious in the
souls of his audience. He got discovered and soon found himself tearing up the floorboards
of juke joints and blowing the roof off of blues clubs. He put out a couple of CDs and one
of them, 2007’s Ride With the Wind, which lifted a big middle finger to the powers
that be, went viral thanks to the internet. Real Blues Magazine named it the #1 Blues
Album of 2007, and internet blues stations around the world drank from his bracingly
bitter cup. His thick, greasy sound turned heads and got people all shook up. They began
wondering just who this Big Shanty character was. He may be the alter ego of legendary
blues lover and promo man Dick Wooley, or maybe not. But one thing is certain: He’s
laying down some of the nastiest blues-rock you’ve heard in a long time.
Things kick off with “Big Shanty, From Lower Alabama to Hollywood”, the story of
our hero’s journey from obscurity to the bright lights of LA. It’s a mellow
driving track with a tongue-in-cheek lyric, nice boogie woogie piano from Rick Phillips,
and some slashing guitar from up-and-coming guitar goddess Liz Melendez. Shanty sings his
own praises with a gruff grace and tongue firmly in cheek. “Love Train” is
steaming and frenetic, a simple groove that lets Shanty show off his slide guitar work,
while “Kiss the Eight Ball” is a funky rocker full of snarky sexuality with
sassy backing vocals by Melendez that adds plenty to the decadent ambience.
“They Say It’s Raining” tells the usual sad story of a man left alone to
wander the neon blasted sidewalks trying to mend a broken heart. The sound is thick and
distorted, a voice crying out from the darkness of a bottomless pit. Shanty’s vocal
is full of frustration and anger, and the guitars fall like a collapsing building.
Phillips adds some midnight B3 to “Walking Shoes”, another “broke down she
done me wrong” song with Chris Blackwell, his stinging leads darkening the mood even
more.
“Rolling Thunder” has a late night vibe, a slow blues perfect for driving down a
deserted, late night highway. “Can’t Hold Out” picks up the tempo for
another desperate groove; Shanty’s slide and Spencer Kirkpatrick’s shrieking
leads release some of the tension, but Scott T. Robertson’s drums keep up the
pressure. “Tybee Town” lets a bit of light into the picture. Shanty sings like a
young man in love and plays some delicious acoustic slide to complement the bluesy sitar
lines of jam band godfather Col. Bruce Hampton. Things close out with a protest song,
“Uncle Sam Go to Rehab.” Robertson’s drums and the twin guitars of Shanty
and Melendez give the track a raw, barebones feel. Melendez smokes while Shanty snarls out
his tale of woe. There’s nothing fancy on Sold Out…, just down and dirty blues
delivered with plenty of attitude and a devil-may-care energy that’ll warm up even
the coldest winter night. READ
MORE
Blues guitarist Big Shanty will kick off the new year with
his rockin' third collection of songs, Sold Out…, which is certain to turn blues
purists on their collective heads. Shanty effortlessly blends Delta-inspired blues with
21st century sounds to create something entirely unique, interesting, and entertaining.
Helping the big one this time out are friends like Atlanta rock legend Col. Bruce Hampton,
and guitarists Liz Melendez and Spencer Kirkpatrick, an original member of the Southern
rock cult band Hydra. (Release date: 01/06/09) READ MORE
Philadelphia Inquirer
Big Shanty
Sold Out . . . (King Mojo ***1/2)
Big
Shanty opens his new album with a bit of tongue-in-cheek self-mythologizing, "Big
Shanty, Lower Alabama to Hollywood." The guitar-slinger does,
however, seem to have taken the advice he dispenses: "The moral of the story is it's
never too late/ Picking up a guitar, or pounding 88s . . . Tomorrow never comes for the
people that wait." That's how Dick Wooley, former record promo man and now a condo
builder in Georgia, became Big Shanty, blues-rocking dynamo.
Sold Out . . . features some synth beats, but make no mistake: This is more retro than
techno, to paraphrase a Shanty marketing line. The blues and blues-rock are heavy on
attitude and riffage - Shanty's vocals are often sung through a mike filter to add to the
rough-and-tumble effect. "Tybee Town," on the other hand, is a lilting interlude
graced by electric sitar. It comes just before Shanty closes out with "Uncle Sam Go
to Rehab," in which he veers from the usual blues themes to deliver a blistering
broadside against government corruption.
Batten down the hatches, Big Shanty's back in town. What
that means is a full-on scorched earth assault of searing, buzzsaw guitars and thundering
rhythm section in service to the Big one's rough-hewn vocal declamations. Among the
estimable musicians on hand to support his efforts are a few of those who made his
previous album, Ride With the Wind, a memorable outing, including the honorable Col. Bruce
Hampton (Ret.), guitarist Liz Melendez and Scott T. Robertson doing double duty as
producer and drummer, plus Hydra founding member Spencer Kirkpatrick joining in on guitar.
Keyboardist Rick Phillips shows up a few times, too, notably right off the bat adding some
honky-tonk inspired piano to the self-referential barnburner, "Big Shanty, From L.A.
to Hollywood," returning later to inject some bluesy Hammond organ to the crunch and
grind pulse and spitfire guitar work of "Stop Pushing Me" ("can't take it
with you," Big Shanty growls in what is something of a guiding philosophy on Sold
Out, "but there's no harm in trying"). Fans of malevolent slide work of the
Shanty sort will find much to chew on here, with a high point of sorts occurring on
"They Say It's Raining," an angry chronicling of a soured romance's detritus,
given a sharply sinister feel by Shanty's bitter vocal and his howling slide's cosmic
wail. Though these blues tend to be electric and raucous, Big Shanty does have his tender
side and it surfaces on the atmospheric, Delta-style blues ballad "Tybee Town,"
a warm reminiscence of a good place to be where "the beer is free, they say the women
are too." In addition to his own evocative slide guitar adding robust, poignant
feeling, the arrangement is further fleshed out by Kirkpatrick's rain stick, which sounds
like the waves breaking on the white sand beach the song extols, and Col. Hampton's sinewy
electric sitar lines snaking around Shanty's slide. Melendez gets into the act in a big
way on the final cut, keying the topical "Uncle Sam Go To Rehab" with roaring,
fuzzed out, foreboding electric guitar riffing as Robertson's drums provide the bottom
ballast while Big Shanty rages against corporate and government freewheelers enriching
themselves as Main Street goes down the tubes; the tune is a timely corollary to Ride With
the Wind's "Killing Fields," wherein our hero lambasted politicians who send
young people off to die to further their own agendas. His suggestion that "Uncle Sam
gotta go to rehab/get a new attitude" makes this the first song to address both the
causes of and solution to the economic meltdown. Too bad it had to be written at all, but
at least in Big Shanty the subject finds an eloquent, firebrand spokesman. Sold Out
triumphs in a landslide. -- David McGee READ MORE
Perhaps when Jack White has lived a bit more, he might dig
deeper into his blues roots, he might learn the "why" of what he does, and
perhaps then he'll finally begin channeling his experience into something that's relevant
and telling, something that resonates longer than it takes to scroll to the next download.
Perhaps his voice will darken. Perhaps then he'll sound like Big Shanty.
Big Shanty's 2007 disc Ride With The Wind seemingly fell out of the blues blue, gaining
street cred when Real Blues magazine named the release its "#1 Blues Album of the
Year." Not bad for a veteran record-promoter-turned-label-chief-turned-guitarist. Big
Shanty began his storied career as Dick Wooley, a music promotions guy, helping to
establish southern rock with Atlantic and Capricorn by touting Molly Hatchet, Wet Willie
and the Allman Brothers, among others. Now a condo builder on Tybee Island, Georgia, he
runs his own King Mojo Records, specializing in updating the blues for modern audiences.
Sold Out... isn't nearly as overtly beat-infected as Ride with the Wind, some of which
came off as distracting. The new disc is all old-school blues attitude, with vocals sung
through a mike filter that turns every line into a snarl, and with a guitar neck greased
up from the get-go. The guitar lines grind against bass and drum, like the teeth of rusty
gears in some ornery machine. It's new, but it's old, too.
There's primal power in "Big Shanty, From L.A. To Hollywood", "Love
Train", and "Kiss The Eight Ball", as Big Shanty establishes his
no-holds-barred techniques. "Stop Pushing Me" changes things up, with Rick
Phillips' Hammond B3 providing a lifeline in the swells of Chris Blackwell's furious
guitar solos. Labelmate Liz Melendez takes the solo on the disc closer, "Uncle Sam Go
To Rehab", an audacious declaration of independence. This is the disc to put on at
one in the morning, the one that chases away the lightweights so you can find out who you
wanted to hang with after all. READ MORE
Hear Big
Shanty talk about starting out in a rock band. Then switching to working behind the scenes
for people like Derek and the Dominos (Eric Clapton) and the Allman Brothers. He never
stop writing songs or playing the guitar though. Now he has his own record label King Mojo
Records and his third CD Sold Out…
1.Big Shanty, From Lower Alabama To Hollywood
4:38 ~ Big Shanty; vocals & acoustic slide guitar, Scott T.
Robertson; drums,
Kevin Scott; bass, Rick Phillips; piano, Liz Melendez; chorus
2.Love Train
4:18 ~ Big Shanty vocals & slide guitar, Scott T. Robertson;
drums,
Spencer Kirkpatrick; solo guitar, Dustin Sargent; bass, Liz Melendez; chorus
3.Kiss
The Eight Ball
4:06 ~ Big Shanty; vocals & slide guitar, Scott T. Robertson; synth & drums,
Spencer Kirkpatrick; solo guitar, Dustin Sargent; bass, Liz Melendez; chorus
4.They Say Its Raining
4:30 ~ Big Shanty; vocals & slide guitar, Scott T. Robertson;
drums, Dustin Sargent; bass
5. Walking Shoes
5:01 ~ Big Shanty; vocals & slide guitar, Scott T. Robertson;
drums,
Kevin Scott; bass, Rick Phillips; B3 organ, Chris Blackwell; solo guitar
6.Stop Pushing Me
4:38 ~ Big Shanty; vocals & slide guitar, Scott T. Robertson;
synth & drums,
Rick Phillips; B3 organ, Chris Blackwell; solo guitar
7.Rolling Thunder
4:22 ~ Big Shanty; vocals & guitar, Scott T. Robertson; drums,
Kevin Scott; bass
8.Can't Hold Out
5:35 ~ Big Shanty; vocals & guitar, Scott T. Robertson; drums,
Spencer Kirkpatrick; solo guitar, Dustin Sargent; bass
9.Tybee Town
3:31 ~ Big Shanty; vocals & acoustic slide guitar,
Col. Bruce Hampton; sitar, Kevin Scott; bass
10.Uncle Sam Go To Rehab
4:43 ~ Big Shanty; vocals & guitar, Scott T.
Robertson; drums,
Liz Melendez; solo guitar
New Album Release: Big Shanty “Sold Out…”
Renegade blues-rocker Big Shanty’s sonic rain
of acid guitars and synth beats blasted across the Internet, Satellite and College radio
in ’07 with his anti-war song "Killing Fields" and went number-one for
five-weeks on "Blues Critic" singles chart. Big Shanty’s CD “Ride With
The Wind” stayed top-ten in their album chart for five-months, his single was
nominated as "Best Blues Song and Shanty was nominated as "Best New
Artist". Topping the list of amazing kudos for the year "Real Blues
Magazine" selected Big Shanty’s album as the "#1 Blues Album of 2007".
Big Shanty mixes Retro with Techno, Delta Blues and Club Beats to energize his
taken-from-life stories and fans have downloaded his original songs over a quarter-million
times from KingMojo.com, his Indy label’s free download website.
Internationally; Big Shanty hit number-one on Paris’s Internet blues giant
“Midnight Special” and went top-ten on Internet blues stations in Australia,
Belgium and Scandinavia. From London’s “UK ROCK Magazine” to Chicago’s
“Downbeat Magazine”, Big Shanty’s album received rave reviews across the
music media and remarkably all without the benefit of major label backing, corporate radio
airplay, MTV, or any assistance from the music biz’s star-making machinery.
On “Ride With The Wind” Big Shanty delivered a brilliant collection of songs and
media reviewers compared him to the White Stripes, Lonnie Brooks, Jimi Hendrix, Root Boy
Slim and Neil Young. Big Shanty aspired to measure up to the high praise on his new album
and invited some great friends like, legendary Godfather of Jam-Bands, Col. Bruce Hampton;
The amazing blues guitar diva, Liz Melendez; Cutting edge guitarists, Spencer Kirkpatrick
and Chris Blackwell; The driving basses of Dustin Sargent and Kevin Scott; The Roadhouse
88's of Rick Phillips and the unrivaled drums of Scott Robertson… these self-styled
bohemians of rock’n blues gathered at Atlanta’s STR studios in late 2008 and
came out with a swarm of raw, rocking, high-octane Blues on the new album, Big Shanty Sold
Out… Enjoy.
Big Shanty uses; Squire Stratocasters, Fender
Stratocasters,
Danelectro U2, Guild D40, Rogue Resonators and D’Addario Strings.
BIG SHANTY: RIDE
WITH THE WIND (KING MOJO)
With the U.S. Government’s attempts to silence all forms of Independent Media, music
fans are finding-out the hard way that Indie. Media also includes Music. Many were naïve
enough to think that if we ignored everything else that was going-on we’d be
‘left-alone’ with our Blues, Rock, Folk and Reggae etc. Well, it’s now
evident, in 2007 that if we keep our mouths shut that Big Government a.k.a. Big Brother,
just gets bolder and meaner. “No man is an island” is something that comes to
mind and ‘singing out’ against Evil is a mandatory requirement if you want to
see Democracy survive. While many Musicians/Artists have run-in-fear from Big Brother,
others have stood-their-ground and challenged the ‘Schoolyard Bully’. Big Shanty
gets our respect and a big salute for Singing Out against the Evil that has dragged
America down and made it almost unrecognizable as a Nation that once stood for True
Democracy.
His “Killing Fields” is a powerful condemnation of old lies and self-serving
propaganda, delivered with raw emotion and a driving beat.
Big Shanty has a large cult following in The South and thanks to Internet Radio (which The
Government is trying to muzzle…) “Killing Fields” is getting played
relentlessly. (Now that commercial Radio is following the American Government’s
Don’t-Play-Ban on all the 1960s/1970s Anti-War and Peace/Love tunes, “Killing
Fields” would undoubtedly be added to that list along with “Give Peace A
Chance” and “Sky Pilot”). “Ride With The Wind” is Not typical
Blues but it is Blues Rock at its’ very best and drenched with Truths, Honesty and
great playing. There’s no doubt that “Ride With The Wind” would be a Hit
Commercial album if it were allowed to be and we can always hope that the collective Power
of The People forces this fine CD into the mainstream. D. Wooley a.k.a. Big Shanty plays
wicked guitar and on 5 of the 10 tunes whips-out his slide. There are some killer-diller
‘commercial potential’ songs on here and Shanty’s original “King
Bee” is a Hit or my name ain’t Fred. While the use of synths may put-off the old
fogey blues lovers, anyone who Loves great Rock Blues will not give it much thought as the
music is too damn fine.
There’s a big bunch of Georgia-area talent on here: Scott Robertson –
drums/percussion, Ed Sanchez – guitar, Liz Melendez – guitar/vocals, Eddie Jett
– guitar, Dustin Sargeant (bass), Bill Stewart (drums), Jack Hall (bass), Col. Bruce
Hampton (pedal steel), Matt Smart (harp), Ron Heath (keyboards & bass), Diane Durrett
(vocals) and Chris Blackwell (drums & synth) and the sum total is some of the finest
hard-rockin’ Blues/Rock you’ll hear on the scene today. “Born Up In
Trouble” sounds like Rob Zombie in Mississippi Hill Country and I say that in a
totally complimentary sense. What a tune to open with! It grabs you by the ears and it
don’t let go. “Killing Fields” is permeated with anger, disgust and
contempt for the White House maggots. A more powerful anti-War tune does not exist! And,
the music is as powerful as the uncompromising lyrics. “New Messiah” continues
in this vein with a scathing put-down of the TV Christians who really are no different
than Politicians as Bullshit Peddlers. “…the Law doesn’t touch him as
he’s crossed their palm…” I can visualize this powerful imagery and these
incredible songs need video representation. Saying that, it occurs to me that Big Shanty
paints visual pictures with his songs and he’s almost without competition in that
sense. “Gone Downtown” is a powerful tune about someone who went for the
downward spiral of Heroin. Beau Hill’s guitar solo is incredible. “Ride With The
Wind” is an ode to Motorcycle peace-of-mind while “Whiskey Woman” is an
excellent Pure Blues rocker, showing that Big Shanty can get down and basic if he wants
to. “Know What I’m Saying” is Southern-Fried Boogie that should slay the
whole Allmans/Gov’t Mule/Lynyrd Skynyrd audience. “King Bee”, as mentioned
earlier, is a Mega-hit waiting to happen and let’s hope it does happen as it’ll
score major points for Real Rock/Blues and have all those poseurs running for cover.
“Living On The Edge” is a Masterpiece tune closing out a Masterpiece album. It
deals with the Moral Cesspool we’ve sunk into and the manipulation of Truth and
Reality.
6 Bottles of Truth Serum for the biggest dose of Truth Rock you’ll ever hear.
Let’s see if the Bad Guys can keep this album suppressed…not bloody likely! Big
Shanty has arrived.
Big Shanty's not afraid
to mix Blues with Alternative Beats or denounce politicians who start ideological wars and
send heroic young people to fight, as he does on "Killing Fields" when asking
"when will we ever learn".
Not all Big Shanty songs exhort world peace but they tell stories… tales of lost
love, false prophets, girls gone bad, crusin' down blacktops and living large. Shanty
twists his Delta "Fusion" Blues, Club Beats, Alternative, Funk into hypnotic
dada rhythms that keep the dance floor shaking.
Big Shanty's first two albums stayed atop the online blues radio charts for most of 2006
and he was Nominated For; Best Blues Song of 2006, "KILLING FIELDS" and
Nominated; Best New Artist "BIG SHANTY" Debut 2006 - by Blues Critic.
Big
Shanty song on
Allstars Vol. 3
#1 First Week...
Midnight Special
Blues Radio, Paris, FR - Click image to jump
"Can't Hold Out" #2 for the month of June 07
"Blues Source"
New Review: 07-24-07
by Gary W. Miller
Big Shanty mixes Delta Blues with Big Alternative Beats and denounces those politicians
who start wars and send our young people to sacrifice, he asks "when will we ever
learn".
Big Shanty's first two albums stayed atop online blues radio station charts for most of
2006 and was Nominated by Blues Critic as; Best Blues Song of 2006, "KILLING
FIELDS" and Best New Artist Debut "BIG SHANTY"
THE
PLAYERS
Big Shanty, Scott Robertson, Liz
Melendez
Dustin Sargent, Jack Hall, Col. Bruce Hampton
Diane Durrett, Bill Stewart, Eddie Jett
Chris Blackwell, Ed Sanchez
Ron Heath, Matt Smart
Produced by Scott Robertson
Big Shanty uses; Squire Stratocasters,
Fender Stratocasters,
Danelectro U2, Guild D40, Rogue Resonators and D’Addario Strings.
The cover of the CD is black.
“Big Shanty” is written in bones. There is a silver chopper, ridden by a
grinning man wearing a top hat and carrying the flag of the Jolly Roger. Naturally, there
is a woman riding on the back.
This ain’t no candy ass music. This is hard driving, blues influenced Southern Rock
and Roll. This CD wasn't made for sissies.
The songs are credited to a D. Wooley, with some collaboration on a few. We can assume
they belong to Big Shanty. The lyrics are angry, written by one who is sick and tired of
the injustice, the deception, the greed and corruption of today’s society. Big Shanty
is outraged, and he wants to tell you all about it.
That isn’t to say that there are no love songs on “Ride With The Wind.” The
title track is a good example. This is a love song, biker style. Big Shanty paints a
landscape that is tattooed on the soul of every true biker worth his salt.
The voice is similar to Lonnie Brooks. There is a throaty texture, enhanced by a
considerable amount of slapback and a touch of echo to Big Shanty’s vocals. Shanty
sings without trepidation; a voice as hard driven and purposeful as the heavy drums and
percussion of Scott Robertson. Robertson’s drums require very few rolls. This music
requires a lot of backbone, and Robertson delivers.
Big Shanty plays a smooth slide, leaving the lead solos to Liz Melendez, for the most
part, and other guitarists. As with the vocal slapback, Melendez doesn’t spare the
tube screamer to achieve the hard driving tone for this recording.
“King Bee” is far and away the most whimsical track, rife with boasting and some
hilarious banter between Big Shanty and Melendez.
If you like your music rock solid, if you want it given it to you straight, you can find
Big Shanty on King Mojo Records at: http://www.kingmojo.com
Blues Critic: - Big Shanty Four Stars “ Ride With The
Wind” by Dylann DeAnna
......Is Big Shanty "the white Jimi Hendrix" with a Neil Young grunge aesthetic?
He certainly is on the anti-war diatribe "Killing Fields". A loping drum beat
from Scott Robertson, wild guitar by Liz Melendez and Hendrix-like vocals by Shanty.
There's even a great video of the song out there in cyberspace. "Ride With The
Wind" combines 60s Rock, Delta Blues with funky beats. Adding "alternative
beats", often lazily dubbed Hip Hop, was a success for R.L. Burnside & Fat Possom
Records, but Shanty's use of funky drumming is fully integrated with the song rather than
feeling like a remix. In a sense he's a Bluesier version of Beck (or perhaps the other way
around). Just as good is the title cut, featuring Shanty's rapid fire phrasing, squealing
guitar and a trancelike rhythm. "Whisky Woman" owes a debt to the Beatles'
"Come Together", which ripped a portion of Chuck Berry's "You Can't Catch
Me". The opener, "Know What I'm Saying", uses a Delta Blues riff &
Blues harmonica for what is essentially a booty shaker. Despite the eclecticism, Shanty is
Blues at heart. "Born Up In Trouble" may be the "Born Under A Bad
Sign" of our day. This is truly alternative music.
Big vocals and air-ripping slide guitar zig-zag in the fast lane of
alternative blues.
Onstage Big Shanty growls out his songs to a capacity crowd, he stomps age old blues
rhythms on an wood coke case and tambourine as his slide guitar rips holes in the late
night air.
A gesture from Big Shanty and the band accelerates intensity and the narcotic dada beat
builds the energy into a high decibel rush. The front row of fans gather at the front of
the stage to view close up what'll happen next... the Big Shanty band keeps on Rocking.
Big Shanty continues to evolve music by mining treasures from eclectic jam rock and blues.
Percussive young musicians build new beats and ambient musical elements into the mix, then
it’s all twisted into a dada aesthetic all it’s own.
Without the benefit of big radio airplay, press coverage, MTV videos or any of the other
trappings in the music biz’s star-making machinery, Big Shanty has grown a large and
vocal international fan base via Satellite and Internet radio.
Success for Big Shanty is a reality, because to quote him "Success is being able to
play music with some of my best friends and with some of the most gifted young players in
the music business." He added, "For me its all about the journey… because
it can all go away tomorrow. But today… it just doesn’t get any better.”
......The continued rise of the blues bopper in clubs seems stuck in the fifties
and sixties when DJs seem quite prepared to accept later recordings in jive and
rockabilly. Rockin’ blues continues, though, and track one of this self-titled
collection from this stout Fender toter entitled Born Up in Trouble sounds ideal dance
floor material with its insistent beat. American Big Shanty plays principally slide guitar
on 100 per cent originals, some of which have socially aware lyrics that are worth a
listen but not a dance. As his name suggests, Big Shanty has a big voice, and no doubt a
big personality ... Check Out Big Shanty's Video "KILLING FIELDS". .
.
Big Shanty twists Club
Beats, Alternative Rock, Funk and Delta Blues into dada rhythms and fresh
"Fusion" Blues.Read More... Available at iTunes. Add Big Shanty to your friends at MySpace Click
Here
Taproot Radio:
......Death Metal Blues? That's the best I can describe Big Shanty's CD Ride With The
Wind. Some of the heaviest guitar sounds I've heard on a "blues" CD. The opening
track is an anti-religous screed followed by a full-on anti-establishment anti-war anthem
"Killing Fields." The third track returns to his issues with religion on
"New Messiah." Having got that out of his system, the CD starts sounding less
preachy and more heavy metal funky. The title track, "Ride With The Wind" is a
motorcylce road tune that would fit into pretty much any biker bar juke box. "Whisky
Woman" is another biker bar tune with a homage to Jim Morrison both in terms of
subject matter and vocal style. "Know What I'm Saying" keeps the heavy guitar
sound but it brings down the tempo just a bit and sounds more like the blues.
Big
Shanty song on 
“ Ride With The
Wind” by Dylann DeAnna 
