Download EPK via Dropbox here.
Download EPK via Google Drive here.
Or peruse the EPK below in its full glory.
Download EPK via Google Drive here.
Or peruse the EPK below in its full glory.
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Strange Time Blues
There was never a question as to what to title this 2022 release from this esteemed Bay Area trio, HowellDevine. Songwriter/guitarist/harmonica player/singer Joshua Howell writes in his notes, “Strange Time Blues, as the title suggests, was born out of these strange times, which have been unrelenting these past few years. Produced in the midst of environmental calamities and the solitude brought about by a global pandemic, the music will naturally reflect these conditions, even without intending to do so.”
Since forming in 2011, their sound has been tagged, “shack-shakin music,” and author Dan Forte details that in his liner notes as “hypnotic… a study in dynamics, of theme and variation.” Whether on National steel or harmonica, Howell seamlessly intertwines with the propulsively creative rhythm section, Pete Devine (drums, washboard, jug) and Joe Kyle, Jr. (upright bass, caressed, plucked, bowed). Four originals along with six of the most intriguing Piedmont, Hill Country and Delta to Chicago songs are here: from haunting to funkily cathartic. The trio recorded at Hyde Street Studios (formerly Wally Heider Studios) in San Francisco, still rich in historic character. The original acoustic designs of control rooms and live rooms remain largely untouched and sound as sweet as they did back then, a haven in what felt like an apocalypse.
Strange Time Blues is the band’s fifth release, and appears on their own DynaPhonic Records label, after multiple records on the legendary Arhoolie/Smithsonian Records and Little Village Foundation. “It’s tricky to show reverence without becoming a museum piece shot full of formaldehyde,” Forte concludes, “but HowellDevine deftly navigates that tightrope, making the old sound fresh and rendering the new timeless.'
~ Contains 10 tracks and liner notes written by Editor-At- Large, Vintage Guitar Magazine, Dan Forte
• Service to commercial and non-commercial AAA, Americana, NPR, Satellite, College and Blues programming
• Service to blues and roots music publications and writers
• In-store play and posters available upon request
CD:101
UPC: 195893114542
Street Date: 3/18/2022
Since forming in 2011, their sound has been tagged, “shack-shakin music,” and author Dan Forte details that in his liner notes as “hypnotic… a study in dynamics, of theme and variation.” Whether on National steel or harmonica, Howell seamlessly intertwines with the propulsively creative rhythm section, Pete Devine (drums, washboard, jug) and Joe Kyle, Jr. (upright bass, caressed, plucked, bowed). Four originals along with six of the most intriguing Piedmont, Hill Country and Delta to Chicago songs are here: from haunting to funkily cathartic. The trio recorded at Hyde Street Studios (formerly Wally Heider Studios) in San Francisco, still rich in historic character. The original acoustic designs of control rooms and live rooms remain largely untouched and sound as sweet as they did back then, a haven in what felt like an apocalypse.
Strange Time Blues is the band’s fifth release, and appears on their own DynaPhonic Records label, after multiple records on the legendary Arhoolie/Smithsonian Records and Little Village Foundation. “It’s tricky to show reverence without becoming a museum piece shot full of formaldehyde,” Forte concludes, “but HowellDevine deftly navigates that tightrope, making the old sound fresh and rendering the new timeless.'
~ Contains 10 tracks and liner notes written by Editor-At- Large, Vintage Guitar Magazine, Dan Forte
• Service to commercial and non-commercial AAA, Americana, NPR, Satellite, College and Blues programming
• Service to blues and roots music publications and writers
• In-store play and posters available upon request
CD:101
UPC: 195893114542
Street Date: 3/18/2022
Notes on STRANGE TIME BLUES from Joshua Howell
Strange Time Blues, as the title suggests, was born out of these strange times, which have been unrelenting these past few years. Produced in the midst of environmental calamities and the solitude brought about by a global pandemic, the music will naturally reflect these conditions, even without intending to do so.
“East St. Louis”
This haunting tune by Mississippi Fred McDowell, again, has an ominous theme. “A dark cloud’s a rising. I wonder what’s gonna come of me.” Well that, quite poetically, hits the nail on the head. Joe plays arco on the bass, laying down an eerie, unsettling bed for the song to rumble forth.
“Smoke”
I wrote this tune on one of the many smoky days that we’ve been experiencing with increasing frequency. As the pandemic forced people to socialize outside, the smoke force people inside, that is, if your home didn’t burn down. Seems like nature, or the effects of human ignorance, are conspiring to push us into a nasty predicament. It’s likely not over, so we’ll keep playing this song.
“Hey! Oh, Really?”
It’s not all doom and gloom. Pete busts into the bass register with his antique porcelain whiskey jug, while playing drums, on this improvised instrumental. I blow harmonica over this playful, funky tune, which gives a place to the central character on this album cover.
“When the Levee Breaks”
Written by Joe McCoy and Memphis Minnie, this tune really captures the sentiment of an ominous threat brought about by unrelenting environmental conditions. “If it keeps on raining…” the irony being that in this particular time and place, if it keeps on not raining. . .
“Nila”
I witnessed my elderly and ailing next door neighbor walking up the lane when suddenly she was run over by our other neighbor in her truck. I had to write a song about it. The story is sad, but the music funky - so was she.
“Strange Time Meltdown”
We were jamming in the studio with no particular direction in mind, just listening to each other. At some point we collectively let go of form and any intention of creating pretty sounds. This “meltdown” was some kind of catharsis, unmitigated by musical rules. It’s cataclysmic and sounds as such. Though likely to be unpleasing to many ears, it seemed fitting to include on this album.
“That’s No Way to Get Along”
This is our version of Robert Wilkins’ song before he became Reverend and rewrote it as “Prodigal Son.” This secular version, while it portrays the same theme of returning home as a downtrodden adult, does not end with forgiveness and a celebratory feast. . . there is no redemption here. It feels a little more real to me.
“Untrue Blues,” “Long-Haired Doney,” “Long Distance Call,”
Nothing apocalyptic about these songs. Just some good old-fashioned blues about women by some of the greatest Piedmont, Hill Country, and Delta to Chicago blues artists ever: Blind Boy Fuller, R.L. Burnside, and Muddy Waters respectively.
Strange Time Blues, as the title suggests, was born out of these strange times, which have been unrelenting these past few years. Produced in the midst of environmental calamities and the solitude brought about by a global pandemic, the music will naturally reflect these conditions, even without intending to do so.
“East St. Louis”
This haunting tune by Mississippi Fred McDowell, again, has an ominous theme. “A dark cloud’s a rising. I wonder what’s gonna come of me.” Well that, quite poetically, hits the nail on the head. Joe plays arco on the bass, laying down an eerie, unsettling bed for the song to rumble forth.
“Smoke”
I wrote this tune on one of the many smoky days that we’ve been experiencing with increasing frequency. As the pandemic forced people to socialize outside, the smoke force people inside, that is, if your home didn’t burn down. Seems like nature, or the effects of human ignorance, are conspiring to push us into a nasty predicament. It’s likely not over, so we’ll keep playing this song.
“Hey! Oh, Really?”
It’s not all doom and gloom. Pete busts into the bass register with his antique porcelain whiskey jug, while playing drums, on this improvised instrumental. I blow harmonica over this playful, funky tune, which gives a place to the central character on this album cover.
“When the Levee Breaks”
Written by Joe McCoy and Memphis Minnie, this tune really captures the sentiment of an ominous threat brought about by unrelenting environmental conditions. “If it keeps on raining…” the irony being that in this particular time and place, if it keeps on not raining. . .
“Nila”
I witnessed my elderly and ailing next door neighbor walking up the lane when suddenly she was run over by our other neighbor in her truck. I had to write a song about it. The story is sad, but the music funky - so was she.
“Strange Time Meltdown”
We were jamming in the studio with no particular direction in mind, just listening to each other. At some point we collectively let go of form and any intention of creating pretty sounds. This “meltdown” was some kind of catharsis, unmitigated by musical rules. It’s cataclysmic and sounds as such. Though likely to be unpleasing to many ears, it seemed fitting to include on this album.
“That’s No Way to Get Along”
This is our version of Robert Wilkins’ song before he became Reverend and rewrote it as “Prodigal Son.” This secular version, while it portrays the same theme of returning home as a downtrodden adult, does not end with forgiveness and a celebratory feast. . . there is no redemption here. It feels a little more real to me.
“Untrue Blues,” “Long-Haired Doney,” “Long Distance Call,”
Nothing apocalyptic about these songs. Just some good old-fashioned blues about women by some of the greatest Piedmont, Hill Country, and Delta to Chicago blues artists ever: Blind Boy Fuller, R.L. Burnside, and Muddy Waters respectively.
Photos
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Video
Rhythm & Roots Festival, 2015
Produced by "Rhode Island Live"
Produced by "Rhode Island Live"
Strawberry Music Festival, Tuolmne, CA, 2016
Video by Martin Lefkowitz
Video by Martin Lefkowitz
The Extended Play Sessions, 2015
Created, Directed and Edited by Bill Hurley
Sound Engineer: Eric Nordstrom
Cameras: Maribeth Arena, George Hope, H. Nat Stevens
Created, Directed and Edited by Bill Hurley
Sound Engineer: Eric Nordstrom
Cameras: Maribeth Arena, George Hope, H. Nat Stevens
Directed and Edited by Joshua Howell
Cameras: Richard Weiss, Andrew Yakas, Evan Feist
Sound Engineer: Chris Murphy
Cameras: Richard Weiss, Andrew Yakas, Evan Feist
Sound Engineer: Chris Murphy
