JIMMY HALL (formerly of Wet Willie): From one soulful white boy to another, Mike sings and plays with heartfelt passion.

Bluesman LARRY McCRAY: A fine slide and a fine finger player. Most are good at one, but very few are good at both.

JOHN LARSON, deejay at THE PHOENIX, WYYB, 93.7 FM, Nashville, TN: I was already looking forward to this CD coming out and on first listening I was immediately impressed with Michael's songwriting and his versatility. He understands the blues and is able to express it through his down-to-earth playing. When it's all said and done,  it's the best produced blues album to come out of Nashville in years.  And I ain't lyin'...

LEW JETTON, review in MUSIC CITY BLUESLETTER: The Southpaw from Arkansas, Michael Holloway, is one of the few artists out there with a real knack for combining soulful Blues, wit, and guitar mastery into a tidy little package, the latest collection of which is Ridin' This Train.  For Holloway, it's also a kind of "come back" CD, as it's his "come back" from a tragic accident a couple of years ago which left him with a broken heel, a shattered wrist and an extended stint on the sidelines.  The good news is, Holloway is back, and better than ever.  He is indeed Ridin' This Train, the same train which has carried Blues legends past and present, and after a listen, you'll understand why Holloway's qualified to keep such lofty company.
          Holloway is an original, and one of the few who can make you think, tap your toes and amaze you musically all at once. 

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JOHN LARSON, deejay at THE PHOENIX, WYYB, 93.7 FM, Nashville, TN: With 2Stew, the band effortlessly bridges the gap between blues and pop and Cajun and rock, with little surprises in each track.  The Stew pulls all this off with savvy, good humor, and, like good gumbo, about every kind of spice I can think of.

Wildman Steve, WAUD, Auburn, AL: ...got 2Stew and it absolutely ROCKS!!  Love it.  My wife loves it.  My kid loves it.  It's a hit!!  I'll play it regularly on my radio show and feature it on my website.

Eric Black, Australia Blue Country 101FM: Can’t get to the Mardi Gras in New Orleans? Then grab a copy of 2Stew the latest CD from Delicious Blues Stew, and you can have a Mardi Gras every day of the week. Founded in 1996 by Shannon Williford and based in Nashville this band brings together some of the hottest players from Music City and veteran Baton Rogue bluesmen for a good time celebration, Louisiana style.  Add to that a touch of country, jazz, zydeco and a whole lotta blues and you have one hot and funky band.
          All in all the musicianship on the entire album is excellent and you can’t help but have a party when 2Stew is playing. The CD is available from their website and while you’re there check out their first CD Stewed Alive.

MUSIC CITY BLUESLETTER: How to Make a Delicious Blues Stew: One part good-time Cajun and zydeco-influences grooves. One part New Orleans, Mardi Gras second line rhythm. One part Mississippi Delta blues. One part down home, plain old-fashioned funk. Stir in a heaping helping of clever songwriting. Mix well with a group of the best musicians and vocalists on the planet. Pop into CD player and crank to maximum volume. Side effects: expect to break into spontaneous dancing and hand-clapping and singing along!
          This is a great collection from a really eclectic bunch of musicians that have come together to make music that defies description or pigeonholing. You either gotta hear ‘em or see ‘em live to draw your own conclusions. At any rate, let the party begin!

THE CITY PAPER (Nashville, TN): Longtime local favorites, Delicious Blues Stew’s music reflects the band’s identity. They explore and perform a wealth of styles — from wailing blues to joyous Cajun, urgent country, soul and rock.
          The sorely underrated guitarist and vocalist Larry Garner joins the party on two tracks, but otherwise the core band gets the spotlight. Those who prefer only one type of music, or who chafe at having to hear a country number followed by a comedy routine then a blues romp, should ignore this release. Everyone else is strongly urged to check out the concoctions delivered by the Delicious Blues Stew. 

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SONNY LANDRETH: Ever since our first jam over thirty years ago, I’ve been hooked on the "Mel Tone" – a powerful sound that would evolve with Mel’s influences from the Delta, Chicago’s South Side, and Cajun/Creole Louisiana into a masterful blend that is uniquely his own.

REAL BLUES: Mel Melton epitomizes the "follow your heart and realize your dreams" philosophy.  Melton has gone for the gusto and as a result leads two interconnected lives and careers -- he is an incredibly gifted zydeco harmonica star as well as being a Louisiana cuisine chef, second to none.
          It really is a tough accomplishment to be unique musically without being contrived, but Mel has been occupying his own niche for quite some time and building a reputation and following. 
          Mel plays what he calls "Mojo Music," and what an appropriate description.  It's a spicy recipe that calls for plenty of Louisiana gumbo: zydeco, blues, Cajun, R&B, and a little rock 'n' roll all combined for a super tasty treat that will have you dancing in your chair as you lick the sauce off your barbecued ribs.  Not only is Melton a master of the harmonica, he is also a fine vocalist and songwriter.  The word is out that Melton and the Wicked Mojos are a real show stopper with many thousands of club and festival goers ranting and raving about them.  This disc more than confirms all that.  it embodies and evokes the musical spirit of Southern Louisiana.
     The combination of talent, great tunes, and top production make this CD a rare treat.  This is America's music: roots music that draws on the greatest of genres.  The best music in North America comes from small independent "labor of love" labels such as Nightfly.  This is a perfect example that needs to be on top of everyone's list for a tasty treat that can't be beat.

BIG DADDY BLUZHARP: Good-God-A-Mighty, this is a 6 1/2 HARP SALUTE CD on a 5 scale! It is off the meter, people! From the opening intro Mel starts chewing on that low harp and making it talk like he is at the Crossroads and calling to the devil to let him know that he already plays good enough and that he does not need him. Go on with your bad self, Mel, you are one harmonica playing mother-fo.
          He has an attack on harp that I am unable to find a comparison to. Believe it or not, he sounds like a cross between Rod Piazza and William Clarke. Simply awe inspiring.

PAUL LEWIS of BLUEPRINT: North Carolina-born Cajun harp player Mel Melton is an instrumentalist of the first order. Melton is also known as a chef of some reputation nowadays ("he cooks both on stage and off").
          "Cookie Boy" is a particularly spirited piece of rhythm and French, with Chenier’s accordion and Melton’s harp proving a formidable strike force partnership; "Lake Charles Girl" is a stripped down Cajun waltz, equally effective. Elsewhere, we’re treated to New Orleans "fonk," country soul, post T-birds blues and roadhouse rock. It’s an appetizing stew, a great party record I would imagine, one that is certainly worth getting, particularly if your tastes are broadly based but defiantly Southern in orientation.
          Rating: 8 of 10

WASHINGTON POST: A blues harmonica may seem a poor substitute for an accordion when it comes time to launch a zydeco party, but Melton makes a strong case for the instrument by infusing "Two Legged Spider," "Cookie Boy" and other cuts with a rippling and resonating tone. "Cookie Boy," one of several original tunes on the album, also has Melton buttressing his spirited vocals with a horn section and C.J. Chenier squeeze-box, so there’s plenty of Southwest Louisiana color and vitality evident in the mix. Another treat, "Lake Charles Girl," is a yearning Cajun-flavored waltz that boasts Melton’s most soulful singing. In other settings, Melton looks to southern funk ("Pedal to the Metal") Bo Diddley beats ("Mojo Party") and modern blues ("River of Blues") for inspiration, lacing the tunes with some fine harp work.

MAGIC CITY BLUES SOCIETY: Mel Melton has his mojo cooking on this new release from Nightfly: Mojo Dream. Mel calls it mojo music; I call it music to dance to, even when you have two left feet like I do. At any rate, my feet are moving while I’m writing this review, so I guess I’ve been "Mojoed."
          This CD is a fine example of what a superb chef can cook up when you mix Southwest Louisiana, Mississippi Delta, Chicago Southside, and Southwest Texas in a big ole melting pot. Check out just some of the guest musicians on the album: Michael Holloway, the Left-Handed Flash on Dobro, C.J. Chenier on accordion, Clifford Alexander from C.J.’s Red Hot Louisiana Band on rubboard, and former Allman Brothers keyboardist Johnny Neel. Throw in Mel’s Zydeco harp playing with his hot band and you have got your blues gumbo.
          I could go on and on about every song on the disc – go get it, cuz this one’s definitely a five star treat.

BLUES ON STAGE: There’s the galloping gourmet, and then there’s Mel Melton, the singing chef. With more than 20 years of experience under his belt (including a hand in writing the classic "Congo Square"), a history of playing with the top names in zydeco and a band list that reads like a "Who’s Who" of music, it’s easy to see why Mojo Dream cooks. The players keep this album moving along faster than you can say "rich."
          There’s no doubt Melton’s forged his own style out of his musical wanderings, and Mojo Dream acts as the perfect showcase for his many influences. From the electric Chicago blues of "Pedal to the Metal" to the Texas-style blues of "Sittin’ in the Dark," Melton melds music like the ingredients in a good gumbo: each one keeps a bit of its own flavor, but still absorbs and compliments the flavors of everything else around it. You’ll hear plenty of zydeco. But listen a bit more, and you’ll get a taste of Cajun, jazz, blues, pop and rock, too. And something beyond the sum of each.

MUSIC CITY BLUES: Mojo Dream is chock full of originals that run the gamut from Louisiana dance hall-style classics to down home zydeco and low down, dirty blues.
          It’s really hard to find a comparison to Mel’s music, which he likes to term as "Mojo Music," simply because of its unique wickedness. The traditional dance hall sound of "Lake Charles Girl" and "Grand Texas" get your feet moving and looking for the next pretty girl to take out on the dance floor. But there’s no need to leave the floor yet, the autobiographical "Cookie Boy", a zydeco fiesta accompanied by C.J. Chenier, tells of Mel’s nickname, and Mel let’s us know "I cook when I’m onstage, and I cook when I’m off too, when we get to your town, I’m gonna cook it up for you." Anyone who’s seen the Mojos knows it’s true, too.
          Three cuts – "Mojo Party," "River Of Blues," and "Summer Moon Blues" – are destined for classic status. I challenge you to buy this CD, give them a listen, and tell me that they’re not!
          Don’t let the classification of Cajun-zydeco scare you if that’s not your bag, because there’s plenty of blues here, too. This is a CD that any blues lover should have in their collection.

A&E: Cajun chef and harmonica cooker Mel Melton keeps on raising the bar with his blend of Louisiana roots music and blues. Melton can play the harp like an accordion, pumping and humping the music like a bayou homeboy, or drag it out low and slow like the best of the Chicago bluesmen.
          Melton took the boys in the band to Nashville for this one and enlisted the aid of a few friends, notably former bandmate C.J. Chenier. Not that he really needs ‘em – Melton’s band is one of the tightest units working today. Everything on the CD was either written by Melton or one of his fine sidemen, and there’s not a sour note in the bunch.
          "Cookie Boy" is Melton’s signature tune, extolling his virtues as a chef, lover, and a harp man. While it would seem like bragging in somebody else’s mouth, Melton is able to pull it off. When he tells you that if he cooks for you, you’re never gonna be the same, you can believe it. The Wicked Mojos pull off a very delicate balancing act, walking the line between Cajun/Creole and blues and making it all work.
          Whether sweatin’ over a boiling cauldron of gumbo or a hot harp, Mel Melton is truly the cookie boy, whomping up a heaping handful of mojo for the masses.

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THE BLUES FOUNDATION: The General, Gypsy Carns, has anointed the United States, Japan, France, England, and Germany with his vocals, percussion, and 12 string Dobro bottleneck prowess.  Carns is also known as a blues songwriter, co-penning a Koko Taylor tune that garnered a GRAMMY nomination.

BLUES REVUE: The General is Gypsy Carns, a one-man wrecking crew who plays a "stompbox" tambourine/kick drum combination, harp and 12-string resonator guitar. The two artists he covers on Beale Street Swing stake the project’s stylistic boundaries: Bukka White’s rhythmic slide informs the General’s musical turf, while Blind Willie Johnson’s preaching blues prefigure the religious content of his lyrics. This is hammering, powerful stuff, driven by Carns’ energy and rough-hewn vocals.

BLUES ACCESS: Giving thanks to Jesus for his inspiration, Carns' vocals are gritty, and his guitar playing drives the music... the tunes range from fine and fun blues originals to spiritual and metaphysical pieces that expose Carns' zealous faith and his take on political events.

LIVING BLUES: The General's full-blown assault on the audience demands attention.  He's a seed planter for the Lord as you can tell from his lyrics.  But check out "Prayin' Blues," "Seven Seals," or "The Lord Protects Me" for a head-slap to your lyrical blues aesthetic.  You won't be sittin' still when you see this man pushing those traditional blues boundaries with his brand of 12 string Dobro bottleneck delta-style, foot stompin', hand clappin', spirit filled blues.

MUSIC CITY BLUESLETTER: Raw. Powerful. Full of emotion and conviction. Those were the descriptive terms we tossed back and forth to each other while we listened to the man called The General. You won’t be at a loss for your own descriptions when you give a listen to this grand collection of blues from a fantastic singer and musician. You’ll be floored like we were when we saw the liner notes – The General is the sole artist on the recording! He plays tambourines on his ankles, pounds a stomp box with his feet, and blows a mean harp. But, his artistry on the 12-string bottleneck Dobro has to be heard to be appreciated. He combines the raw power (there are those adjectives again) of Delta blues reminiscent of Robert Johnson’s recordings with his passion of belief in the music and a higher power beyond all of us.
          With a voice that is eerily likened to Howlin’ Wolf, The General balances his love for the Delta with his religious convictions. Just about every cut delivers a message, but it’s done in a way we’ve never heard before. You’d swear you were down "where the Southern cross the dog" while listening to The General’s slide work.
          Not only is The General a one-man band, he’s also a dead-on songwriter. He wrote all but two of the cuts, brilliant covers of Blind Willie Johnson’s "God Don’t Never Change" and Bukka White’s "Jitterbug Swing," re-told as "Beale Street Swing."
          Our favorite cuts are "Heaven’s Cryin’," which weaves a tale around David and Goliath, Martin Luther King, and Jim and Tammy Bakker; "End of the Age," which reminds us of where we are and where we’re going; and "Mean Mistreatin’ Man" with its Elmore James inspired intro reminding all men to respect their women. Also of note is a fine instrumental, "Sky Blues," which sounds as if it could have come straight from Duane Allman’s fingers.
          If you like the sound of the Delta delivered with power and passion, you’ll love The General. He strips down the blues and plays it out from his soul. Give it a listen.

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MALCOLM HARE, owner of Bourbon Street Blues & Boogie Bar, recipient of 2000 KBA Award as Blues Club of the Year: It’s hard to pick which of Mike’s talents shines the most – his extraordinary guitar work, his barroom growl vocals or his grab-your-gut writing – Oh, hell, don’t analyze it – just enjoy one of the best CDs of the year.

REAL BLUES: When Michael Holloway sings of working for a living and having to stand "in the welfare line," you just know that this man is singing about a bevy of personal experiences and that he’s more than paid his dues. Too often now we hear posers sing of a blue collar/working class existence they know little about, so it is refreshing to hear a bona fide southern blue-collar bluesman the calibre of Holloway. He really kicks ass on this excellent release for Nightfly.
          Apparently, 1999 was a tumultuous year for Holloway, for shortly after releasing this disc, he suffered a career-threatening hand/arm injury after falling off the roof of a building. Let’s hope that the positive response (both critically and commercially) that this CD is now eliciting helps even more with his recovery/comeback. We certainly had no idea as to the tremendous talents possessed by Holloway, and any time we get a CD from an "unknown" talent that packs this kind of wallop, we feel obliged to "spread the word" loudly and vociferously for both Holloway’s and Nightfly’s benefit, and more importantly, for the benefit of the blues consumers out there.
          Totally intense, original and exciting goodtime rockin’ blues at its very, very best would be an apt description of the music contained on this little platter. Holloway plays a clean but stinging lead guitar that sounds somewhat like a B.B. King/Dickey Betts hybrid and that says a whole lot. His vocals are wonderful: totally natural (just like most Southern boys) and his song writing skills are the real ace. 14 out of 15 tracks are written by Michael and every one is a gem. All convey his personal experiences with the blues, so there’s loads of honesty and an immediate connection with his audience.
          When selecting this year’s Real Blues Awards, Holloway’s name and this CD kept coming up in a variety of categories and that says a lot, considering the multitude of contenders we had to choose from. If you love real honest hard-rockin’ Southern blues, grab this disc and give it a whole bunch of ear at full volume. You can’t help but fall in love with it and Michael Holloway’s talents. 5 big bottles for a man and a CD that certainly deserves to be heard ‘round the world.

BLUES CONNECTION: "The southpaw from Arkansas" has released an all-but-one original debut that should raise some eyebrows (earbrows?) while his name is dropped around in juke joints near and far as rapidly as the title suggests. He has had his whole life to prepare for this, and it shows – the lyrics are current and solid, and though the disc has an overall feel to it, there’s enough of a spectrum to keep it entertaining. Flashes of rock-a-billy, as in "Designated Fool" flavor the disc. Memphis soul can be found on "I Need Somebody" and elsewhere. More musical diversity can be had on the CD's only cover, an instrumental treatment of Bill Withers’ "Ain’t No Sunshine," and on the nice finishing touch "Sun Come Up This Morning," where Michael plays the Dobro to give us more to remember him by. Recommended cuts are "King of the Blues," dedicated to Albert King, the title cut, and "Ten Most Wanted," dedicated to Billy Gibbons, who according to Michael, influenced him on how to "spank that plank." Keep your eye out for him in the future, he has one and it’s movin’ fast.

MUSIKMAN: Michael Holloway is a very diverse and talented blues player. He is able to impressively cover several different styles of the genre and remain fresh and vital. This is very powerful and thought provoking music. A deeply emotive, spiritual and energetic statement comes through the music. This is the real deal, folks! Check it out.   

THE TENNESSEAN: You are, to borrow from one of the song titles on this project, cruisin’ for a bluesin’ if you check out Michael Holloway’s Blues Travels Fast. Holloway is certainly a blues traveler, fueling 15 songs with standard blues foundations and the clear electric sound that’s become a staple of the blues guitar.
          Holloway is an outstanding guitarist. Occasionally he’ll dazzle you with some flash, as he does with the fiery work on "Red Thunderbird," but more often he simply uses logic to build the progression of his solos. Each line leads naturally to the next, and while the solos are neatly subdivided into specific phrases, he often draws out the final note of a phrase before launching into the next idea, rarely splitting the phrases in their entirety.
          Holloway pays homage to the late blues legend Albert King with "King of the Blues," calls to mind Robert Johnson with the closing gutbucket number "Sun Come Up This Morning," threads a ZZ Top La Grange progression into the title track, and emulates Stevie Ray Vaughn’s vocal phrasing in "Ten Most Wanted."
          And lyrically, he tackles love, loneliness, cars, prejudice and, naturally, the blues. Holloway has absolutely tapped into the genre, making it a worthwhile purchase if you are, indeed, cruisin for a bluesin’.

BLUES BEAT (Sonoma County Blues Society): A native of the Mississippi Delta, Michael Holloway grew up listening to the blues, absorbing a diversity of styles and influences. Holloway is an excellent guitarist with a tone and sustain somewhat reminiscent of Clapton. In his debut release on Nightfly, Holloway demonstrates not only his ax-slinging, but his songwriting as well. With the exception of a mellow, jazzy instrumental cover of Bill Withers’ "Ain’t No Sunshine," all of the tunes on this album are Holloway originals. He keeps it interesting by incorporating Texas shuffles, horn-driven R&B, Allman Brothers styled blues-rock, ZZ Top styled endless boogie rock and some sweet Dobro.

Steve "Big Daddy BluzHarp" Harvell: This is the kind of dude that likes fast women and cars and music that is produced when you are at the top of your field and you know what you’ve got, no ego about it, just the plain facts. Mike and this band are hot. Mike says that he owes a lot to Billy Gibbons, so you can imagine the ZZ feel that this disk spins. A (5) Harp CD.

TWELVE BAR RAG (Suncoast Blues Society): Michael Holloway presents it to you with an unhurried confidence. From the opening notes of his Sonny Landreth style slide, Michael Holloway’s Blues Travels Fast grabs you. Michael covers all the bases with ease and confidence. Whether it’s horn driven R&B, shuffles, bass forward funk, or acoustic Dobro, this disc has something for everyone. "Red Thunderbird," a driving boogie dedicated to Bill Elliott, will have you pointing your car toward Daytona. The Wes Montgomery stylings and great solos on Bill Withers’ "Ain’t No Sunshine" will surely end any darkness while the plaintive "I Need Somebody" is blues at its best. I can’t help but marvel at the twists and turns Michael takes, but when all is said and done...it’s the blues.

MUSIC CITY BLUESLETTER: Michael opens with "Labor of Love," which is a good description for the whole disk. The song opens peacefully with crickets chirping over some mighty tasty slide work, but don’t get fooled into cranking up the volume too much or you’ll be shopping for a new set of speakers. "Labor" quickly unfolds into a high energy number fueled by Holloway’s lightning licks and hot horn fills.
          The tempo never lets up much from there and the intensity only increases. Holloway’s versatility in writing and playing shows that he’s no one lick wonder. The smokey mid-tempo title track, packed with his ringing sustained guitar notes, proves that his ability extends beyond fire and flash. Everyone knows that Memphis is right on the way from Arkansas to Nashville and Michael was obviously influenced on his way through. "I Need Somebody" is packed with Memphis soul and Miranda Louise is the perfect complement here with her backing vocals. This song may also be the best showcase of Michael’s pleasing voice. "Ain’t No Sunshine" is the only cut Holloway didn’t write, but he makes it his own in this fluid instrumental.
          Think it sounds like Holloway has all the bases covered with Blues Travels Fast? Well, he does! Don’t miss this  one.

BLUES NEWS (Kentuckiana Blues Society): Michael Holloway grew up in Arkansas and Mississippi and has never lost that hold that growing up with the blues gives you. His father was a worker in the wood pulp business, but played jams at nights and on weekends and Michael accompanied him and learned to love the music of Albert King, B.B. King, Freddie King, and Jimmy Reed.
          Michael watched every guitarist his father was with and when he learned to play, he played left handed and upside down. But boy can he play. Gibson created its first left banded guitar (ES336) with his input and he uses it with a slide much of the time.
          It’s all about working hard to follow your dream and, while you never really get a lot of money, the important thing is that you are dealing with the hardships life throws you. Michael plays a diversity of blues and does them all well. His talent is obvious and this is definitely a CD to add to your collection. I urge all fans of the Blues to catch him the next time he is around. You won’t regret it.

THE BLUES GROOVE (Knoxville Blues Society): This is one of those CDs that gets better and better each time you listen to it. It holds up well under repeated listenings because it never gets mired in just one groove or mood.
          Every song is solid, and collectively they reveal many of Holloway’s musical influences as well as the conviction with which he plays. His guitar work is excellent, and you can pick out hints of the Kings of the Blues (Albert, B.B., and Freddie), Eric Clapton, Sonny Landreth, and ZZ Top’s Billy Gibbons. And on the one cover song, an exquisite instrumental version of Bill Withers’ "Ain’t No Sunshine," there are touches of Wes Montgomery and Carlos Santana. His comfortable and confident vocals sometimes remind me of Clapton, but with more grit.
         The foundation under the superb musicianship on the CD is Holloway’s talent for songwriting. He knows his way around a variety of tempos, themes, and moods, whether it be a rockin’ boogie, a Texas back-beat shuffle, or slow blues. He tastefully seasons some songs with pinches of funk, soul, R&B, and gospel. And on the last song, he returns to his Delta roots accompanied by Dobro.

BLUES ON STAGE: Michael Holloway is a singer/guitar player/song writer who has put together a very well produced CD of mostly laid back blues. He provides some solid song writing and solid supporting guitar work on this debut CD.
          Many of the songs have a Jeff Healey and R&B ballad quality to them, such as "Hopelessly In Love" and the opening track. "Red Thunderbird," a song dedicated to Bill Elliott of NASCAR fame and "Ten Most Wanted" have a decidedly ZZ Top/Texas blues feel to them. "King of the Blues" is his tribute to Albert King and stays true to King’s style of blues. "What Are We Fighting For" has a heavy bass/drum beat and discusses contemporary problems and is one of the more interesting songs on the CD. "The Sun Come Up This Morning" sounds like it could have come directly from Robert Johnson with its single slide guitar and solo vocal, sounding much like it was recorded with a single microphone in a small room.
          The bottom line: This is a CD that will grow on you the more you listen to it. If you like Albert, B.B. and Freddie King, with influences from Johnny Winter, Sonny Landreth, Robert Johnson and ZZ Top, you will like this CD.

BLUES REVUE: Bluesman Michael Holloway has 14 well-written original cuts on Blues Travels Fast, shifting between big-band blues and serious soul, with wailing guitar and slide throughout.

BLUES CONNECTION (Grass Valley Blues Society): Every now and then you run across a CD that makes you wonder what type of wrong turn did this guy take to avoid success? He’s a master on his instrument, has a diverse and creatively articulate way of both playing and singing, if not songwriting. His vocals are both homey and comfortable sounding, while still being emotionally evocative. He seems to epitomize the natural way so many southerners approach their music.
          Throughout the CD, Michael’s guitar solos are fluid, often neatly enhanced by intricate horn charts and distinct saxophone accents. Michael handles most of the vocal chores here. His voice seems to modulate timbre between a deep resonant style, kind of like Duke Robillard, and then a lighter slurred drawl, akin to Kim Wilson.
          This album is a gem in the rough, one of the rare finds that keeps guys like me listening to the work of musicians we’ve never heard of. Overall Michael Holloway shows himself to be a formidable musician and arranger of abundant talent, and these attributes make this CD one I can heartily endorse.

BLUES RAG (Baltimore Blues Society): Leftie guitarist Holloway is a longtime sideman coming out on his own with this strong debut disc. Fourteen originals spanning the blues gamut of simple shuffles to rockin’ ZZ Top-style blues. Good vocals, slick licks and well written songs make this CD a keeper.

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