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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 CD’s of the year. Malcolm Hare, owner of Bourbon Street Blues & Boogie Bar, recipient of 2000 KBA Award as Blues Club of the Year
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 1999 release for Nightfly Records.
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 (1999) Real Blues Awards, Holloway’s name and this CD kept coming up in a variety of categories (see awards) 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. Andy Grigg, Real Blues
The southpaw from Arkansas" a.k.a. Michael Holloway 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. Now based in Nashville, he has had his whole life to prepare for this, and it shows – the lyrics are current (check out the title cut) 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 (Then the Rain Just Washed It Down)," 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. Michael "Red Dog" Downes, Blues Connection
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. I feel that I know him after listening to his work. A deeply emotive, spiritual and energetic statement comes through the music. This is the real deal, folks! Check it out. MuzikMan, online at Muzikman.com
You are, to borrow from one of the song titles on this project, cruisin’ for a bluesin’ if you check out Nashvillian 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 (Then The Rain Just Washed It Down)," 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’. Tom Roland, The Tennessean
A native of the Mississippi Delta, Michael Holloway grew up listening to the blues, accompanying his father to blues jams in Delta juke joints and 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. Alan J. Balfour, Blues Beat, Sonoma County Blues Society Newsletter
This is the first time that I have heard anything by Michael, but the first cut lets loose with some rock tinged, Albert Collins piercing horn tinged blues, that tell ya everything. The female backup singers give it just the right feel and mood on "Labor of Love." 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. Steve "Big Daddy BluzHarp" Harvell, online review
Michael Holloway presents it to you with an unhurried confidence. Michael has paid his dues, most recently as lead guitar for Big Al and the Heavyweights. 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. Larry Lisk, Twelve Bar Rag, Suncoast Blues Society
I get the feeling that Michael Holloway has been playing for a long, long time! No one puts out an album of this caliber, in two short months without being very comfortable in the studio.
Labor of Love (M. Holloway - 5:58) Opening with the sound of crickets and summer thunder, Labor of Love sets down the ground rules. For Mike, his music is a labor of love. The tune has an urban R&B feel to it with Clapton style leads. The southern gospel feel comes from the background vocals.
Hopelessly In Love (M. Holloway - 2:58) is a quick paced duet in 2/4, that features Miranda Louise. The overall feel is real familiar, like Mike knows how to write something that could be a hit!
My Kinda Woman (M. Holloway - 4:42) is a Rockin’ Boogie Shuffle that has a great call and response chorus. The Boogie piano solo fills out this classic sound.
Blues Travels Fast (M. Holloway - 4:33), the title track, is Z.Z.Top meets SRV! Mind that the Hammond B3 fills the background with a blues flavor to even the edge of this rocker.
Red Thunderbird (M. Holloway - 3:48) The "Hip Shake" intro quickly turns into the rockin’ boogie that most car tunes are famous for. Like its predecessors, "Hot Rod Lincoln" and others, this thing rocks! Michael finally gets loose and turns on the passion, for both his hot rodding and his guitar playing! It even has the reving engine and the squeeling tires at the end!
I Need Somebody (M. Holloway - 4:36) A slow blues with classic "King" style guitar leads (B.B. or Albert? See below), B3, horn section, and background singers makes this traditional arrangement work well for Michael. The 4X stops in the middle give it an almost gospel feel, but it’s ALL BLUES!
King Of The Blues (M. Holloway - 4:22) A Tribute to "Albert King", "He was the King of the Blues, all the way from the top of his head, to the bottom of his shoes!" Done in the Cajun, Calypso, Shuffle, the beat works well. There is a great off beat rhythm in the second solo that works well.
What Are We Fighting For? (M. Holloway - 3:39) A Funk, Soul, R&B groove with wah-wah rhythm guitar, horn sections and the likes of War and Tower of Power. But the Congas and the lead guitar add the flavor of Carlos Santana. Mix this with the preaching style lyrics like those Marvin Gaye made famous and you’ve got the feel of this tune.
She’ll Drive You Out Of Your Mind (M. Holloway - 4:48) This is a great Texas Back-Beat Blues, that, if you didn’t know better, would think it came from Stevie Ray Vaughn’s lost archives!
I’m In Love With That Girl (M. Holloway - 3:32) The sounds of early Memphis come out of this tune. A classic rockin’ blues from that Fats Domino/Carl Perkins era. The Boogie-Woogie really comes through between the guitar and the piano!
Designated Fool (M. Holloway - 3:31) More Rockin’ Blues with a play on the "Designated Driver" phrase. "I’m your man, but I won’t be your designated fool!"
Ten Most Wanted (M. Holloway - 4:14) "Your love is on the ten most wanted list." This features some great electric slide guitar. Do I hear influences of Johnny Winter on this track?
Ain’t No Sunshine (Withers - 4:14) This cover, done instrumentally, is played masterfully! The melody, covered by the guitar, slips back and forth from the mellow tones of George Benson to screaming Carlos Santana leads. At the end of the "I know" ‘s and at the end of the tune is a double lead harmony that even adds a third flavor. Great cover!
Cruisin’ For A Bluesin’ (M. Holloway - 4:15) Syncopated Funk, Atlanta Horns, and Rock Guitar blend smoothly into this grove! A great up-tempo dance tune!
Sun Come Up This Morning (Then the Rain Washed It Down) (M. Holloway - 3:40) After all the electric distortion, funk wah-wah, and clean searing licks, Michael pay homage to his roots with just 2 acoustic guitars, one of them a great Gibson Dobro that he slides on. His voice brings on the ghost of Robert Johnson, then it wavers as he slips in a little Johnny Winter, but Johnson’s Ghost is too strong and he comes back to that Mississippi front porch to end the tune the way he started the whole album...with the sound of crickets and summer thunder! Big Al, online review at Big Al's Blues Reviews
Blues Travels Fast is the debut album from Michael Holloway, otherwise known around his adopted hometown of Music City as "the southpaw from Arkansas." This CD is certain to spread his identity well beyond Nashville as the title becomes a self-fulfilling prophecy. 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 provided by Quentin Ware and Richard Griffin.
The tempo never lets up much from there and the intensity only increases. "Hopelessly In Love" will most likely describe your feelings when Miranda Louise steps in with her fabulous voice to share the lead on track two. The exchanges between Michael and Miranda are electrifying. "My Kind of Woman" moves into the good time party blues that makes you want to grab that perfect woman for a whirl around the dance floor. "Red Thunderbird," dedicated to NASCAR driver Bill Elliott, follows in similar style. Holloway makes dedications to a couple of other heros on the CD as well. One listen to "King of the Blues" lets you know this one’s for Albert King (sorry, B.B.). Billy Gibbons, who Michael says "influenced me on how to spank that plank," garners a tribute in the slide filled "Ten Most Wanted."
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 once again 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.
I Need Somebody" and "Cruisin’ For a Bluesin’" carry on in a soulful groove that’s somewhere between Memphis and Chicago. "She’ll Drive You Out Of Your Mind" pulls right on in to the west side of Chicago behind the beat of Chucki Burke, the man most recognized as Music City’s best drummer. Continuing in that Nashville vein, "Designated Fool" has a rockabilly flavor that’s accented nicely by Kenny Zarider’s ivory tickling. Then just to round everything out, Michael finishes up in acoustic style with some great Dobro picking. Think it sounds like Holloway has all the bases covered with Blues Travels Fast? Well, he does! Don’t miss this one. Tom Carter, Music City Bluesletter
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.
This is his first solo album. There are 15 cuts, 14 of which are original and demonstrate his vast talent and a unique blend of old blues with a contemporary perspective. Michael hits the boogie woogie heavy in such songs as "Red Thunderbird" and "Ten Most Wanted." Texas shuffle is featured in "She Will Drive You Out of Your Mind," "I’m In Love With That Girl," and "Designated Fool." Some of his spiritual background comes out in the gospel blues tune "I Need Somebody." The respect and feeling in this number is the highlight of the CD. Miranda Louise joins him again on the cut "Hopelessly In Love." Quentin Ware shines with his dynamite horn on "Labor of Love." This song and "Blues Travels Fast" are songs everyone can relate to, be they young or old or even blues lovers. 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. Martha McNeal, Louisville Blues Society
Nightfly certainly knows how to package their releases – both discs here are beautifully presented in those fold-out card sleeves that even seem to make it through the postal system in one piece. Each is extremely well produced sound-wise too, with Jerrod Cring sitting along side the respective featured players at various Nashville mixing desks.
Both Holloway, a stylish left-handed guitarist nicknamed "The Southpaw From Arkansas," and North Carolina-born Cajun harp player Mel Melton are instrumentalists of the first order. Melton is perhaps better known as a chef of some reputation nowadays ("he cooks both on stage and off"), but both men have more then paid their musical dues over the years.
Holloway’s CD includes references to Debbie Davies and Smokin’ Joe Kubek, both good points of comparison, as well as listing stages shared with Carey Bell, Magic Slim and Kenny Neal. His biggest influences, however, appear to be the three Kings, particularly Albert, who is here the subject of a tribute, "King Of The Blues." He has also obviously listened to a lot of Johnny Winter and Delbert McClinton (see "Designated Fool"). Billy Gibbons is actually eulogised on the sleeve, and I think I can guess just why his son has been named Eric. Two out of five cover shots feature Michael’s glinting steel guitar, and Dobro fans will particularly enjoy the closer, "Sun Come Up This Morning."
Holloway turns up on Melton’s CD, too, and the influence of that great slide guitarist, Sonny Landreth, is also apparent on both discs. Holloway solos just like him on "What Are We Fighting For?" whilst Melton, who actually partnered Landreth in Bayou Rhythm throughout the early ’80s, has much of the same souped-up zydeco feel to his session as we have come to expect from Sonny’s own recordings. Landreth is also one of several experts willing to testify to Melton’s talents on the CD sleeve, and the personable presence of C.J. Chenier and rubboard master Clifford Alexander is evidence enough of his standing in the world of La La music.
"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 appetising 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.
Ratings: 8 each Paul Lewis, Blueprint
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. Bluegill, Knoxville Blues Society
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.
The opening track, "Labor of Love," starts off with some interesting slide work and is one of the more upbeat songs on the 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. Robert T. Murphy, Blues on Stage
Nashville bluesman Michael Holloway has 14 well-written original cuts on Blues Travels Fast, shifting between big-band blues and serious soul. Great horn work by saxophonist Richard Griffin and trumpeter Quentin Ware, with Holloway’s wailing guitar and slide throughout. Vocalist Miranda Louise adds sparkle. Best cuts: "Red Thunderbird," with a driving beat and cool lyrics, and the nice retread of Bill Withers’ "Ain’t No Sunshine." Ed Ivey, Blues Revue
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.
Michael is credited with penning all but one of the tunes here on this CD. The title cut "Blues Travels Fast" is a Little Milton-like anthemic cut. "Red Thunderbird" finds Michael mixing Beach Boy hot rod lyrics and ethics with driving Bo Diddley rhythms. "I Need Somebody" may have predictable lyrics and arrangements, but the performance is a pure southern R&B ballad style. Especially affecting with Miranda Louise’s smoldering backing vocals, this track smokes. This is a standout track that’s great for a slow grinding dance with your honey. "King of the Blues" is a loping Chicago style blues that was written as a tribute to Albert King, and here he makes a creditable stab at duplicating that legend’s guitar sound.
On "What Are We Fighting For," he introduces a bit of funk to this anti-racist, environmental anthem; and there’s some great crosscut guitar riffs to distinguish this song as well. "Designated Fool," a slightly country flavored number, picks it up once more, while the next song, a driving Texas blues-rock tune titled "Ten Most Wanted," will keep the listener moving. He then slows it down a bit on the next cut, a lilting instrumental take on the album’s only cover, Bill Withers’ "Ain’t No Sunshine." Finally, he closes out the CD with a stripped down acoustic blues number, "Sun Comes Up This Morning," that has some tasty slide work.
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. Brian Augustine, Blues Connection
Guitarist Michael Holloway – billed as "the southpaw from Arkansas" – uses his debut CD to explore Memphis soul, blues/rock, and West Side Chicago blues, among other genres, with solid support from a tight band that includes a punchy horn section on several tracks. Jim DeKoster, Living Blues
Music City guitarist tearin’ it up. Great CD! Ted Todd, Inside Blues, Inland Empire 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. Dennis Rozanski, Baltimore Blues Rag
I saw Michael Holloway at the Roxboro, NC, Mayfest last weekend. This guy is too good to be slumming around at places like that. I mean it! I can’t understand why somebody with such a complete mastery of his instrument and his genre isn’t sitting on top of the music world. Obviously, I am very impressed. Joe Keyes
I wanted to thank Mike again for the performance Monday night. It made this trucker’s days away from home worth it. Good luck in the future and when you come to Virginia Beach to play let me know and I’ll be sitting front row. Dave Edmondson
I sure enjoyed your performance up here in Clarksville last Saturday night. The tone you get out of that 336 and Fender Showman amp is almost indescribable. Best of luck. We will follow you, and when you are performing back in this area, we will be there. I dig the CD. Russ Hunter
Mike Holloway is the baddest mf in the world. He really rocks. He is the most underrated guitar player I have ever heard. I can’t wait to hear him play at The Breakroom again. James Royston
Very impressed with Michael Holloway. Good showman with great music. Stephen Foster
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