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From one soulful white boy to another, Mike sings and plays with heartfelt passion. Jimmy Hall
A fine slide and a fine finger player. Most are good at one, but very few are good at both. Larry McCray
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'.... John Larson, The Phoenix 93.7 FM
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.
Ridin' That Train opens with the soulful groove of "Baby What You Tryin' To Prove." Holloway's guitar provides the perfect punctuation over the top of Larry Van Loon's B-3, as Terry Manners' skins combine with Randy Coleman's bass to provide the strong and steady foundation.
"Good Day For Having The Blues" provides two of my favorite things in the world: a syrupy slide guitar and a barrelhouse piano, and is one of my personal favorites. Next the CD slides into, "No More Mustang Sally," no doubt expressing the sentiments of many bar band vets, although Holloway's effort provides a clever original spark, which in no way sounds like the old classic.
"Blues Hideaway" borrows from the hook of the Freddie King signature, and pays homage not only to King, but also to a certain Blues club, though in a way it could refer to many of those wonderful, old smoky bars which have provided the backdrop for Blues over the years.
"Ridin' This Train" is another gem. It's a slower, reflective and mellow song, with almost a gospel feel, which is well suited to Holloway's voice, which holds power, emotion and a smooth quality, all at once. Next, Holloway switches gears for "No Stranger To Danger," a slick, jazzy number complete with a nice walking bass line and a sassy B-3.
"Since You've Been Gone" is another wonderful tune with an "after-hours" feel. Holloway's guitar tone is perfect, along with his phrasing. "Flood of '93" provides a very classy, jazzy feel with a touch of Delta thrown in. It's a very original sound and like a lot of Holloway's efforts, sets him apart. "Sure Could Play The Blues" is more contemporary, with a very nice guitar hook, while "WWW Too Much Dot Com" provides another avenue for Holloway's wit over his Dobro, as he laments the potholes along the information highway.
Holloway is an original, and one of the few who can make you think, tap your toes and amaze you musically all at once. Lew Jetton, Music City Bluesletter
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