Review:

on 2012-06-15 BushmasterBlues Said:

http://www.pamusician.net

As seen today in March 2012 issue of PA Musician - The Professor's Live Reviews, by Jim Price:
"Old Man Winter also smiled favorably on last month's 16th Annual Millennium Music Conference in Harrisburg. After arriving, with no Thursday night showcases happening this year, I instead ventured southward to the Market Cross Pub in downtown Carlisle to take in part of the weekly Thursday night blues jam session hosted by Bushmaster singer and guitarist Gary Brown. Gary led a group of mostly younger and aspiring musicians on several blues jams. He directed the jams, calling out breaks, breakdowns, solos and more. Gary and the musicians showed their chops on versions of Elmore James' "The Sky Is Crying," the Dave Edmunds-popularized "I Hear You Knocking" and more. Gary was in excellent form on vocals and guitar, and it was reassuring to see him nurturing a future generation of blues players this night...

Thanks Jim, always fun to see you! :-)
Rating: 10/10

Review:

on 2012-06-15 BushmasterBlues Said:

By Greg Hunsaker - guitar guru-----


Gary Brown, on his latest Bushmaster release, Revolution Rhapsody (Uprising Music) firmly puts his fingerprint on the template of poignant blues today. Expressing, through raw emotion, the desperation of the many in an ever-eroding political world, he does it without losing his focus on the music for the sake of music. His guitar work is fresh, strong, and brilliant. His mastery of rhythm, through the medium of the blues, evokes both the classical slave song-derived earliest of the blue artists, yet his more modern work embraces technology with the supplest of chordal voicings.

Keep On Pickin' Gary!

The play by play is as follows:

Track one: Cumberland Blues,

Great solid heavy rhythm, classic Hendrix delta sound. Also an expression of oppression, with the highly ballsy seeming of a recording of a threatening call from an impressario. Not a recipe for a place to play, but seeming a satisfying thing to do, resulting in a solid piece of work. I really like the bridge that ends at 3:49, a spacy-flangy Robin Troweresque interlude. But that's really amateurish reviewing.

Also I realize my amateurishness in being a constructive critic will probably manifest in a bunch of questions, from tracks two and three, specifically.

A lousy critic will criticize the space between the music. Discussing intentions is quite apart from discussing the music itself, and I'll try to focus on the latter. Also, "I really like," doesn't really address anything.

Track two: I Will Shine

Right off the bat, an excellent positive response to track one.

Your use of the languid application of major chords, the laid-back rhythm, a simple sort of porch reflection, just brings a flood of positive feelings. I could compare it to a number of DCG tunes, but the application of the power chords, in the chorus, formulaically, is Feel Like Making Love. Fortunately, musically it's not, it's an original statement, well-fortified by the use of the backwards-sounding leads.

Too sophisticated for my volume knob swells. Did you use a Pro Tools effect for that?

I could also make another ethnomusicalogical/psychological comparison in saying it gave me the laid back feeling of a country store, where the Ballad of Curtis Loew might play.

Meanwhile...track three is calling me....

This one, Victim of Nostalgia, is the one I accused you of attaining a RHCP sound on, but that's the funk groove at the end with the coy female vocal, and I get ahead of myself.

A segue, to say that you'd never guess this change would occur at the onset, or until the 3-minute mark. It's a strong, solid opening riff, the vocals powerful, I'd say beefed up with a clone/double effect. Or is it a backing vocal in unison? It's effective also, where you don't use it, a dynamic shift.

The guitar tone makes me drool for your bassman, yet despite its low-end depth, it's treble-rich. I think the strong top-end on the tone makes it complete, but we guitar players sometimes scoop the mids. Was your other amp a fender reverb? Or are these direct-input modeled sounds? It's the cleanness that is it's appeal for me, and the sparkle.

I didn't give you enough credit for burning, when I complimented your restraint. Here you whale with the gnat notes in sparse little barrages, generally creating melodic, listenable foot-tappin' music.

Compliments on the intro hook. Start back in from the five, full of funk and vigor. The non-1/4/5 turnaround gets you into the pantheon of New Blues, something many consider a misnomer.

From the 3 mark, the emerging funk groove excellently descends out of the solid space blues. I guess the RHCP comment was generally applying to an arrangement of Rap over Funk. The arrangement could also describe a carnival barker unveiling a stripping hottie. I suspect, if the tune were introduced to the Red Light District of Amsterdam, it would go viral.

Nice work dude. Almost failed to mention the vocal pitch descent at 0:50 gave me a Zappa Twitch. I played it for a Zappa expert, who probably said he'd stick with Frank, but I think it's a pretty cool twist. Also, there might be a gig there, at the Smokehouse, In West Rappahannock County, 20 minutes further than the Griftin' Tavern.

Off to the Migros,

Track 4: Arizona Shame on You

Brilliant idea to articulate it with a vocal in spanish, authentic even.

"Desert brown, sky of blue." There is a whole school of how to start a novel, and this is an excellent intro. Remind me to talk at you about outros. The low, laid back vocal is very effective and appealing. One consistent quality through the starting several songs of the release is the capacity to draw a listener in. It's not the outro of this tune, but the segue into the opening notes of the next tune that really pull this off. I'm also struggling to not review track 4 while listening to track 6, but it affirms my suspicion that The Whole Novel starts off strong and seems to just get better with each new tune.

"Arizona" makes valid strikes towards appalling emerging police-state policies. You get a gold star for ringing the bell of that particular topic, and better yet for mentioning the Reverend Doctor to put it into context.

The mix, typical so far, is clear, the harmonica in complimentary counterpoint with the guitar.

A professional recording, and I detect hawaiian slack-key playing in the guitar, despite a 1/4/5 simple backbone. Ry Cooder would make a mix like this.

Track 5: Phony People

Enter A Space Odyssey, Right into double-hammering hard-rock. Transcending into a a poignant social critique vis-a-vis the Beatles reference in the chorus, delightfully long in getting there. Then the ultimate sort of Ten Years After Satisfaction.

Again, I didn't give you enough credit when I said I wanted to hear you go Alvin Lee nuts. You do a masterful job on the wah-wah, and ultimately create a solid flurry of a climax at the end.

But what the fuck? You censor yourself it 1:10? Save that for the airplay people. You're too direct, and too mainstream-perspective extreme in the overall statement of the release to suffer self-censorship, or any other censorship that someone might convince you to cow to. Don't mean to go off...but we expect the art to come from the artists.

Allinall, an excellent listen. I'd say I could listen to it 90 times, if I hadn't already done that.


Likin' the key changes on track 6, as the beer grows warm, the fish starts to stink, I grow long in the tooth, the dog still in the car....

To Be Continued.

A preview from the next segment of the Blues Telegraph (the dog came in):

The funky intro on track 7, with the sophisticated light-touch changes, into the key change/city-slicker licks, causes me audio images of Coco Montoya on a hot day with John Mayall, or Robben ford, jamming with Larry Carlton.


Track 7: Sidewalk Strut

Rockin' piece, revealing, as I resume the exercise, that there's little to crit in your work. Ethnomusicalogical link to Shaky Ground in the intro, effectively draws the listener yet further in.

As I make the occasional reference to background, or transverse connections to other pieces, I mean no discredit to your songwriting talent, something I have failed to identify, as somewhat removed from a consideration of performance telegraphed through a recording.

Citing Feels Like Making Love, for instance, could be easily interpreted as an artistic slight, but it is also an observation of a formula that has kept the players excessively rich ever since. A formula for artistic success, on a scale of commercial viability, a major dichotomy. I sense you have mortgaged your soul to make this recording, figuratively of course, and per the Robert Johnson model. I feel compelled to admit there are times when I am ready to lose my virtue and make some money.

Which engages another polemical digression: Bill Wax told me, paraphrasing here, that if I wanted to name my band (Fauxanglais) and defy classification with my music, that I would have no shelf at the record store. This was one of the kinder, and more poignant thoughts he expressed, (Get a voice, get a recordist, it's not blues, and you're not going to hear it on my show.") I still think it was the last time I got violent with inanimate objects.

However, there is a song at stake here...the initial turnarounds (inversion sounds like a d figure with the b below) take it into a captivating original. The key change at 0:35 and subsequent shift to minor playing is a great mood bender. Lest we forget the purpose of the blues. The lead that starts around 1:20 reminds me of seeing a weird dude playing open tuned-major scale pull-off guitar lead at One Step Down in the 70s. I love the effect, and it doesn't stretch it to take another round...though in hindsight, you wind up playing in a minor scale, a good trick.

Those were the days of a lot of sped-up players. I recall opening for Tex Rubinowitz, and seeing him draining black beauties down his raw throat. The guy I saw was texas-dressed. maybe with a Mississippi String Tie. Little dude.

Back to the major/minor mood swingy stuff: I like the way Little Jimmie King does it on Upside Down And Backwards. In jazz, it's known as the "pickardy third" or some such esoteric dogerrel.

Back to that lead at 0:35: it also stretches the imagination, with the overbends. Not going to call anything a step and a half, or two, but focus on the spaces between the accepted scale notes, or the microtones. This is where Stevie Ray learned to tear your heart to shreds (an unavoidable, unfortunate metaphor today) with a slow bend. Here, many of the greats have bent time. I try to think of examples, and again think of Coco Montoya's solos on John Mayall's Congo Square, which reflect the original, not unlike Hendrix's riffs on Come On, which, of course, telegraph directly into Stevie Ray's scuttlebuttin' and Come On (Let the Good Times Roll.)

The later lead gets slick and city. You leaned some of your playing on the street.

Track 8 seems like filler material, though it is well crafted, particularly the key changes. I'm going to glance off desultorily to track 9: River flow- Splash

Space intro rocks right into heavy blues. Vocal starts strong, reflective, positive message. A lot of strong synchopation in the instrumentation, emphatic backbeat. Lyrics and their presentation strike my Zappa nerve at 1:24, maybe Zombie Woof. The creeping pitch in the vocals presages the change to a meditative transition, then at 3:18, Bridge of Sighs. If we're talking about the talent of a minstrel to manipulate the emotions of his audience, it's extremely well done. At any other level, as a further consideration.

As the lyrics descend into negative reality, there is a foreshadowing of changes to come.

I realize the closing, with the words becoming less effected was important to convey your message, but I think the mood is slightly buzz-killed.

Finally, something critical.

Gonna quit while I'm still a head.

Sooncome

Greg
Rating: 10/10

Review:

on 2012-06-14 BushmasterBlues Said:

by NICOLE on Mar 2, 2012 " 8:35 am
Imagine foot tapping sounds, strong vocals with cutting-edge and high power guitar effects. Gary Browns performances are just that and he wishes to share his love for guitar with all the music lovers of the world. Always looking for a way to perfect his already seemingly perfected craft, Gary Brown, from the Washington, DC area, has over 30 years experience as a musician. We were given the great pleasure of interviewing Gary, the funky blues master himself.

Critic Studio: How did Bushmaster form and how did you acquire the name?

Gary Brown: I have always played guitar. I had a brief experience trying to play with and for other people which didnt work out very well. I just discovered that people didnt tend to be as serious as I would have like them to be. I wanted to be the guy running things so thats when I formed the band. As far the name of the band, I have always been into snakes and Bushmaster is just the name of a snake that I think is a particularly interesting creature. I thought the name was a good description of the type of band I wanted to have and the type of music I wanted to make.

Critic Studio: Could you give me a rundown of the band members and their roles?

Gary Brown: For my most recent album, on drums, I have John Thomakos and Spencer Brown. Jay Turner is on bass.

Critic Studio: When did you begin playing guitar?

Gary Brown: I started playing guitar when I was 12 years old. I am now 50, so it has been awhile. (Laughs)

Critic Studio: Thinking back, did your family carry on the same musical/artistic interests as you?

Gary Brown: We had a house full of good music. One of my main influences was the fact that my dad had a lot of good music on 45. Artists like early Ray Charles and James Brown&the good stuff&the roots stuff. Also when I was coming up, the radio actually played good music. We had a healthy variety of music. My father dabbled with the guitar a little; he played a few cords here and there. My mother had cousins who were musicians but as far as my immediate family I was pretty much the main one who had a huge interest in playing music. My entire family enjoyed listening to music and became huge music fans. But as far as performing, I was pretty much the main one out of my immediate family.

Critic Studio: If I were at a show and I heard you perform for the first time, what sound would I hear to be able categorize your music?

Gary Brown: See thats the thing, I believe there is too much music out there that is easy to pigeonhole. Primarily though, you would say it was funky and bluesy. However, I like to work outside of the box. Yeah, I am blues-based but a lot of blues fans would tell you that my music isnt pure blues. Overall, I think if you came to hear me, you would say it was funky and fun. (Laughs) I like to create a mix, just to keep it danceable and keep it exciting and just keep it fresh. After all, you know, when Robert Johnson was doing music it was new music at the time. He wasnt keeping alive a tradition; he was furthering a tradition and playing contemporary music for his day. So I like to do the same thing. I think that idea has been forgotten in todays blues. Blues has become sort of this backward looking thing, as opposed to something that people will continue to try to further.

Critic Studio: I had a chance to listen to your latest album, Revolution Rhapshody aka: Uprising Music. I couldnt put my IPod down. What inspired this album?

Gary Brown: As you might gather from listening to the lyrics, I am a pretty political person. There is a lot of madness going on and there has been a particular resurfacing of some things that I thought were behind us. In a lot of ways, this album is a response to the current political issues. It is me documenting and commenting on things and trying to speak up about political issues I feel need to be addressed. I feel that you can be an activist and you can do it in a way that is not offensive and one of the ways to do that is to couch it in music where people can enjoy it and before they realize it, they are listening to a message. If you were to just to get up somewhere on a soapbox and started venting about whats going on, even if you had valid points people arent going to be receptive of that, they are going to tune you out. But if you put some good music with it and deliver the message that way then you can get more flies. So that is definitely what inspired the album, these times we are living in  the documentation and the reaction to these times.

Critic Studio: What decides when the time is right to go into the studio to record an album? Or is it an ongoing process?

Gary Brown: Well, it is an ongoing process usually. It comes down to several factors&economical being primary. (Laughs) Of course it happens when you are moved and get a feeling to write new material. It is a combination of different factors. Im almost compelled to keep coming up with new material and go into the studio to make new music. When I feel I have enough songs for an album, I get in the studio and put an album down. (Smiles)

Critic Studio: What comes first the lyrics or the music?

Gary Brown: Usually, the lyrics tend to come first but when I write/see lyrics Im usually hearing some kind of melody accompanying them. I almost never just hear music without lyrics. That just never happens. So, Ill get a lyrical picture and then once the lyrics come in my mind I try to hear a musical backdrop  a certain melody or a certain beat. Simultaneously, I just try to put all of that together.

Critic Studio: Do you write all of the bands songs or is it a collaborative effort?

Gary Brown: Yes, I write all of the bands songs. Not that I am not open to collaboration but it has just kind of worked out that way. I just have a lot to say. (Laughs) By the time that I am finished writing, I usually have enough tunes for an album. I am open to collaboration and I would like to do more of that in the future.

Critic Studio: What are your songs about?

Gary Brown: On previous albums I have mostly written about neighborhood issues and things of that nature. But political issues seem to be the theme throughout a lot of my music. I feel that politics are life, they are kind of intertwined. Primarily, I see myself as a social commentator. I just do it to music.

Critic Studio: Who are some of your musical influences?

Gary Brown: Omg, there are so many and they are so varied. (Laughs) I could literally be talking to you for hours on just that subject. To round it off to a few important ones  Jimi Hendrix, George Clinton, James Brown, Freddy King, B.B. King, Albert King, Little Jimmy King, Earl Hooker, Bettye LaVette. There are so many people&just lots and lots of people.

Critic Studio: What has been the biggest challenge for you as a band?

Gary Brown: Primarily just breaking through to getting wider air play and wider acceptance. I think its the same things that a lot of independent musicians go through when they dont have a big label pushing them. The biggest challenge is playing roots-based music in a society that is increasingly turning to things like American Idol and The Voice. Neither of which I am knocking because they obviously have an audience so someone wants to hear them. It has just gotten to be that live music in this country has become less and less appreciated. Also, just getting people to come out to hear live music is a challenge. It is hard trying to stay relevant when you are in a world were less and less people are interested in live music&ok Ive climbed down off of my soap box now. (Laughs)

Critic Studio: Tell me about your favorite places to perform.

Gary Brown: That is one thing that I can honestly and quickly answer&All of them! I enjoy any type of setting. As long as I have people that are receptive of my music and those that are just sitting there waiting for me to play&thats all I really need. It doesnt matter whether it is 5 or 5,000 in the audience, everyone will each get the same kind of show with the same intensity, passion, soul and sweat.

Critic Studio: Where do you think your largest fan based is located and why?

Gary Brown: I would have to say in the Maryland, DC area. Just because I have played there longer than I have anywhere else and I also grew up in Maryland. I think its just by virtue of the fact that I am from there. I have found there are a lot of people who appreciate the blues in the Maryland area. Who knows, a year or two from now that might change. I would love to do more playing in the south and out west. I hope this new album will help me take my music to different audiences and different parts of the globe.

Critic Studio: If someone wanted to see you perform live where could they find you? Do you have
any upcoming shows?

Gary Brown: Oh yes, definitely. I sure do.
_______________
Nicole Freeman, Critic Studio, http://criticstudio.com/interviews/gary-brown/
Rating: 10/10

on 2012-06-14 BushmasterBlues Said:

Received your new album and figured Id play it on the way home from work, unwind. For a moment I considered waiting, playing Arlington Blues since I hadnt heard it in a while. You know, reach back, get a frame of reference then do a comparative analysis. Nah& I do that all day long.

So, pop it in, first track up, 3 seconds in, ok, 4 and my initial thought? Whoever did the mix-down nailed the levels man! Then its whos on the drums? Tight without being overbearing!

Any rate, so Im listening, track 1; track 3; track 4; (you should send a copy to Arpaio!). Track 6 and you knew Id go for that tune. It keeps getting better with each track.

Track 7 and were pulled over by the police. Im looking at a black cop and thinking to myself Oh, this is ironic!. (I was too into the album to realize my headlights were off and he just wanted me to turn them on. Thanks Officer, thanks for watching my back) 10  I know that one! Trudi! Dancing, hair flying, smiling. 11  oh man!

So were through the album, and now were back to track 6  couple guitar licks on there and its Whoa lets back it up again. One more time! Then its over to 2 and discovering new licks. Still dont know the track names but the message is loud and clear.

The ability to squeeze down on the neck, find that high note and make it sing  make it reverberate, hear the harmonics and then transition to the next note, higher still and make it sing without it sounding choppy in the transition. That only comes with experience i.e., the difference between knowing the frets and feeling the music! You my man  feel the music.

It is obvious that your desire to effect change, to make the world a far better place is the fuel that feeds the fire of your message. From Cumberland, that they cant tolerate an independent strong person of color, to the broken promise of a Mule, the shame that is surely Arizona to takin it to the streets against the Guv'nor and his lackeys. Very poignant messages therein.

Keep playin and thanks for the music!

(I was going to say, keep your head down and maybe youll get through but thats not your style hence Cumberland. And that letter about that mule? If it ever comes, its coming postage due brother!)
________
Nick Vallianos
Rating: 10/10

Review:

on 2012-03-13 Carlita Said:

A mix of Bruce Springsteen, Jimi Hendrix, Stevie Ray Vaughan and Eric Clapton combined, "Revolution Rhapsody" provides a few battle anthems for the next political uprising. Bushmaster, led by blues guitarist extraordinaire Gary Brown, starts the record off on a bold note, attacking racism head-on with "Cumberland Blues" and that was only the beginning. Playfully denouncing Arizona's racial profiling statute with his song "Arizona Shame on You", no doubt is left in the listener's mind which side of the political and moral spectrum Bushmaster falls. Taking on classism in addition on songs like "River Flow-Splash!" and "War on the Poor", Bushmaster shines a critical lens on the socioeconomic structure of the "haves" and "have-nots" in the world. Will venture to guess he might not clink beer bottles with Santorum, Gingrich or Romney any time soon.

Riffing in between providing outspoken social commentary, it's clear Gary is a master of his instrument, bringing Jimi's "Voodoo Child" style back to life on "Victims of Nostalgia" and Stevie Ray's "Tightrope" style on "We All Fall Down". Not every song is political, as he also discusses his wife on a few tracks like the Booker T and the MCG's "Green Onions" sounding "BallNJack". On "Phony People", Gary provides a universal kiss-off for all as I'm sure we've all known phony people in our lives. Overall, you get the sense the album is a respectable sociological case study from a real Blues brotha who isn't afraid to stand up for what he believes in and go against the grain. Bushmaster might be the one to "knock the bully right off his feet".

Rating: 8/10

Review:

on 2012-03-01 BushmasterBlues Said:

The Bushmaster has done it again. Guitar axe Gary Brown and his band have just finished another great cd. Hes real honest and doing his thing. Brown is not abandoning his musical roots and he has got an important message to say.

You can hear the spirits of Jimi Hendrix, Otis Redding, Stevie Ray Vaughan, James Brown, Hubert Sumlin, among many others, shining their light and if you don?t talk after the last track of the cd you can hear the big ones in the sky give it up for the Bushmaster.

Every time I play this cd it gets better. Although the first time I listened to it was good already. This music is like a big painting; I always hear new things, yet I also feel at home with familiair guitar licks. I also like the rhythm changes, like River flow Splash! and 'Trudi', it reminds me a bit of ZZ Top.

This cd wont get out of my cd player for a longtime. Ill play the tracks in my radio show, and maybe one day the Bushmaster will be in my studio to show the Dutch people his music in person. Gary Brown is a great artist and has got great members of his band.

Bertwin Bijleveld

radio show Blues and Friends

The Netherlands
Rating: 10/10

Review:

on 2012-02-20 BushmasterBlues Said:

BUSHMASTER, FEATURING GARY BROWN
Revolution Rhapsody aka: Uprising Music
No Label, (No#)
Talk about capturing the Zeitgeistas the Occupy movement spreads across the country, and class inequality finds a place in mainstream political discussion for the first time in decades, guitarist Gary Brown and his cohorts have come out with a blast of populist fervor laced with unapologetically revolutionary overtones. Most of whats here is less blues, as such, than hard-driving rock and pop with a bluesy tinge, although occasionally, as on 40 Acres and a Mule (similar to, but not exactly like, the Bobby Rush song) Brown sets his lyrics to a pounding blues shuffle. Victim of Nostalgia is likewise derivative (of the Meters Cissy Strut), but its for a reason: Brown satirizes a retro-hipster, draped in a big brown hat and that weird poncho, whos more interested in living in the past than working for a better future. Browns high-energy anthems of outrage and liberation are effective on their own terms, but he hits hardest when he hits most gently. The meditative, Brit-rock tinged Nothing up Your Sleeve (How many of Gods creatures did you show mercy to?) both conveys a strong message and lets us take it in on our own terms. Arizona Shame on Ya, imbued with an appropriately Latinesque beat, boasts lyrics that even some sympathizers of the immigration cause might find overly literal and rhetorical, but Brown and his compatriots half-speak, half-sing it with an ominous intensity. This discs greatest strength is also probably its greatest potential weakness: although its musically solid for the most part, and in places considerably more than that, whether or not you like it will ultimately depend on whether or not you agree with its political sentiments. David Whiteis

Living Blues Magazine, Feb 2012, pg 50.
http://www.livingblues.com/
Rating: 10/10

Review:

on 2012-02-10 BushmasterBlues Said:

Blues Blast Magazine - 09Feb12
Bushmaster - Revolution Rhapsody aka: Uprising Music

Gary D. Brown/BMI

http://www.bushmasterblues.com

16 songs; 58:05 minutes

Styles: Blues Rock, Funk, Rock and Roll, Slow Blues, Hip-Hop

This is an election year in the U.S., the Year of the Dragon in China, and according to some who believe in the Mayan calendar, the year of the apocalypse. Regardless, 2012 holds the unexpected--even in the blues world! Surprises are everywhere, especially on Revolution Rhapsody, the fourth CD from Maryland Blues Rock and Funk band Bushmaster. Band leader Gary D. Brown (songwriter, singer, guitarist) and his fellow artists present sixteen all original anthems in a mixed bag of musical styles with contemporary themes. Here are three that will spark blues fans interest (and perhaps their outrage):

Track 4: Arizona Shame On Ya--This is not a denunciation of the Grand Canyon State per se, but rather its immigration policy and treatment of Latino laborers: They like your yard work, your housework too, your food and music--hombre, theyll just use you. Skin of brown, heart of blue. Keep your head down; you might make it through&. Harmonica player Rodger Edsall perks ears while Brown demonstrates this is not his first time on a fretboard. Guest star Jaime Acuna, owner of the Chaparritas Mexican Restaurant, expertly translates Browns lyrics into Spanish in one passage. No matter which side of this particular debate one supports, Arizonas mid-tempo shuffle refrain is so catchy that one will find oneself singing along.

Track 11: 40 Acres and a Mule--Winning this reviewers nomination for best traditional blues sound, this snappy shuffle tells the story of a man for whom the American Dream hasnt come true: They told me a tale and I believed it. My check in the mail? I never received it. Is it ever coming, my 40 acres and my mule? Every instrument and musician is in top form: not only Browns vocals and guitar solos hot as Tabasco sauce, but also Jay A. Turners bass and Spencer Browns drums. This track will make listeners plow their CD players replay button into the ground!

Track 13: We All Fall Down--A lament about the Iraq war, this unlucky rock ballad is as eerie as it is addicting. It morphs from a haunting acoustic dream played by Glen Shirley into a thrashing blues-rock night terror, reminiscent of Shiver by Too Slim and the Taildraggers. Kelly Bell commandeers on vocals, and his cold assessment rings true for many: They said love must be the answer. Hate will eat us up like cancer. Stumble, dancer, then fall, and we all fall down!

Check the liner notes of Revolution Rhapsody to find the names of all who contributed to this project: harmonica player Rodger Edsall, guitarist Steve Wright, keyboardist Kirk Myers, and vocalist Trudi Brown, among many others. Everyone has worked together to promote a common cause: Dont talk down to us. Stand up for us&I wonder what shape the world would be in if Dr. King and Bro. Malcolm X had stopped complaining& Bushmaster provides something here for everyone and plenty to contemplate.

Reviewer Rainey Wetnight is a 32 year old female Blues fan. She brings the perspective of a younger blues fan to reviews. A child of 1980s music, she was strongly influenced by her fathers blues music collection.
http://www.thebluesblast.com/Archive/BluesBlasts/2012/BluesBlast2_9_12.htm
Rating: 10/10

on 2012-02-05 SolitaryMan Said:

Whoa man...whoa.
Not Rated

Review:

on 2012-02-04 BushmasterBlues Said:

PA Musician Magazine - Vol. 30 #339 February 2012 - pg. 33

Bushmaster "Revolution Rhapsody" (no label)

Through the first two albums of his blues-driven project Bushmaster, Carlisle's Gary Brown has demonstrated clear-cut guitar chops, musicianship, and a respect for the roots of blues, rock and soul. Channeling influences such as Jimi Hendrix, Stevie Ray Vaughan and Robin Trower; Brown introduces a knack for sharp, socially and politically conscious lyrical messages on Bushmaster's third album, "Revolution Rhapsody". A lot has been weighing on Brown's mind these days; he addresses recent news headlines such as immigration issues on the Latino-flavored "Arizona Shame On Ya," and the Wisconsin labor controversy on the punchy blues of "War on the Poor." He also targets racial prejudice on the hard-edged "Phony People," unfulfilled promises on the disc-opener "Cumberland Blues" and the 12-bar blues romp "40 Acres and a Mule," and partisan bickering on the driving "We All Fall Down," featuring one of two cameo lead singing appearances by Baltimore blues/soul crooner Kelly Bell. But Brown offers hope as well; he conveys messages of picking up and moving forward on the stalwart R&B-toned "I Will Shine," living an honest life on the slow blues of "Nothing Up Your Sleeve," and railing against corporate greed during the psychedelic Hendrixy homestretch of "River Flow - Splash!" And on the happy side, "Trudi" is an upbeat, funky instrumental ode to Brown's wife, and Kelly Bell's vocals help elevate two mixes of "Victim of Nostalgia" into invigorating, funk-infused groove fests. The performances are strong and gutsy; Brown again displays impeccable skill on the fretboard with sizzling solos and chunky riffage; executed in smooth conjunction with bassist Jay A. Turner, drummers John Thomakos and Spencer Brown, keyboardist Kirk Meyers and several guest musicians. The arrangements are strong and muscular in the best late '60s/early '70s tradition, the melodies and words connect, and Bushmaster's variations of attack keep the disc sounding fresh from start to end. With its pertinent present day-inspired lyrics, "Revolution Rhapsody's" scathing blues, rock and funk ups the ante and edge, resulting in Bushmaster's strongest album so far. (www.bushmasterblues.com) - Reviewed by Jim Price
- http://www.pamusician.net/
Rating: 10/10

Review:

on 2012-02-04 BushmasterBlues Said:

Bush Master
Revolution Rhapsody
Self-Produced

When I closed my eyes I had visions of Jimi Hendrix dancing through my head. His is very much like what I believe Hendrix would be playing, were he to have lived this long. From blues/rock very reminiscent of Jimi Hendrix to slow and sultry ballads, down home, back in the alley traditional blues to an almost folk style, this cat has his bases covered. On rare occasion the band would get a bit in the heavy side for my liking but I am willing to overlook these small transgressions in light of the overall album. All tunes were penned by Gary Brown who also plays all guitars and a good deal of the vocals. This piece addresses a number of current political and social issues and does a nice job at getting his point across. Is this piece a good choice for all of our readers, probably not, but if you are feeling adventurous, you might just like what you hear. Call it blues-rock/Americana, Revolution Rhapsody stirred some feelings deep inside that had been lying dormant for quite some time. My view on Jimi Hendrix has always been that he had the heart and soul of a bluesman and that, given time he would have followed that path. As for Bushmaster, Gary Brown, his influences are many and varied and he essentially wears them on his shirt sleeve. My overall impression of this disc was that I liked it immensely. Given, there were moments that were a bit on the heavy side for my liking but for the most part I found this one very much to my liking. While not for the most part blues, there was enough blues influence to keep my interest. The musicianship was exceptional, the songwriting delightful and to be honest, for just a little while I felt young again.  Bill Wilson
- http://www.bushmasterblues.com/pages/www.billtownblues.org
Rating: 10/10

Review:

on 2012-02-04 BushmasterBlues Said:

Bushmaster
Revolution Rhapsody
No catalogue number
Released: 2011

You cant really go far wrong with an album by Bushmaster especially if you have an affinity for the work of a master guitar player, and axeman Gary Brown is nothing if not that.

Revolution Rhapsody therefore demonstrates the stylistic eloquence that we have come to expect and does so over a variety of musical styles. You can hear our Mr Browns Hendrix influences breaking through most strongly in Cumberland Blues but, for those of you familiar with his previous releases, there is more variety to enjoy this time around. War On The Poor, as an example, is about as conventional a blues track as Lonnie Brooks might have made back in the days but, in something of a contrast, the lyrics suggest something akin to a political awakening has taken place in the background.

Overall though, Revolution Rhapsody sounds more like a child of the seventies album than anything else. Arizona Shame On Ya makes for a decent protest song and I Will Shine set sails for southern rock just like Johnny Guitar Watson would have done back. That relaxed, unprocessed feel so often found in albums of that time pervades the music but this time those words of conscience clearly illustrate the growing maturity of Gary Brown as a songwriter.

So, there you go. Four albums in and the Bushmaster still has the blues. You cant argue with that.
Available from CD Baby and the Bushmaster website.
Review by: Bluesbunny
Rating 4carrots
- http://www.bluesbunny.com/tabid/122/xmmid/474/xmid/3611/xmview/2/default.aspx
Rating: 10/10

Review:

on 2012-02-04 BushmasterBlues Said:

THURSDAY, JANUARY 12, 2012

CD review - Bushmaster, Revolution Rhapsody (2011)

Classic rock and blues with tasteful guitar work

Some bands embrace a retro sound as homage or to prove a certain kind of affiliation. Others are trying to capture a time or feeling that resonates with their psyche. Gary Brown's Bushmaster seems so steeped in 1969-1975, it's like they're time travelers. They perfectly evoke a blend of Jimi Hendrix and Paul Rodgers-era Bad Company filtered through a solid electric blues band.

Brown shows off as a dedicated student of Jimi Hendrix. His fluid lead lines, the chord melody embellishments, and tone capture Hendrix's sound, with more focus on the Jimi's blues and ballads than rocked out bombast. Take the opener,Cumberland Blues: the song uses touches of Voodoo Child (Slight Return) to liven up a straightforward blues jam. The bass and drums are tight in the pocket, but Brown's personality steps forward to drive the tune. In a nice shift, the bridge opens up the song beyond the blues with a classic rock jam interlude.

I Will Shine maintains the bluesy feel, but this is where the Bad Company influence steps forward. The tune is reminiscent of Shooting Star without being derivative. Beyond the progression, Bushmaster has sonically captured that early '70s production. Brown's vocals, which are soulful throughout Revolution Rhapsody, aren't quite as husky as Paul Rodgers, but he's in the ballpark. The arrangement's backbeat, bassline, and guitar lines all nail down the signature Bad Company sound.

Bushmaster doesn't limit themselves to those influences. They draw from the same well as Lenny Kravitz and others, melding soul and funky rock. This casserole of rock and blues is fairly tasty. The only off notes are the political tunes, Arizona Shame on You and War on the Poor, whose heavy handed lyrics are shoehorned into middling blues jams. On the other hand, We All Fall Down makes its political point within a much stronger song. This one reminded me a lot of Eric McFadden (The Rise of King George II meets Diamonds to Coal).

Despite the couple of weak tracks, Revolution Rhapsody is a strong offering. It's enough to make me wish I could join in Bushmaster's hosted open mike in Carlisle, PA.

(Check out song samples at Amazon)
Posted by Jester Jay Goldman at 5:00 PM
Email ThisBlogThis!Share to TwitterShare to Facebook
- http://jesterjaymusic.blogspot.com/2012/01/cd-review-bushmaster-revolution.html
Rating: 10/10

on 2012-02-04 BushmasterBlues Said:

January 9, 2012

Hi Gary,

I just downloaded the album, and took a listen. The production sounds great, and there's definitely some tasty riffs in there! Just FYI though, The Squid doesn't do album reviews. I appreciate you sending this along though!

Thanks,

- Seth Hansen, Editor - GuitarSquid.com
Rating: 10/10

on 2012-02-04 BushmasterBlues Said:

OCTOBER 23, 2011
Hey Gary, loved the CD nice playing nice writng. I wish you the very best!!! Advice? Be everywhere!
- Ted Horowitz, aka: Popa Chubby
Rating: 10/10

Review:

on 2012-02-04 BushmasterBlues Said:

WEDNESDAY, JANUARY 4, 2012

CD Review: Bushmaster And Gary Brown Make A "Revolution Rhapsody"

With a sound that flows from the Deep South, its surprising to find out that the blues band Bushmaster, featuring Gary Brown on guitar and vocals is from the Washington, DC area. Their new album entitled Revolution Rhapsody has a great guitar, blues-rock sound that is the perfect setting for Browns vocals.

The album begins with Cumberland Blues and while you instantly notice how good Browns songwriting is, it doesnt compare to his guitar playing. Bushmaster gets their funk on for Victim of Nostalgia, before heading into the swamp-style blues of Arizona Shame On Me. Brown uses a classic blues guitar riff for Ball N Jack then lets his guitar do the all the talking in Sidewalk Strut. The song War On The Poor can easily be a radio hit with its perfection combination of words and music. Bushmaster rock out on River Flow  Splash! and also show their softer side with the six-minute Nothing Up Your Sleeve. The album closes with a funky remix of Victim of Nostalgia that adds more electronics to the overall sound of the song.

Gary Brown and Bushmaster have a few lives shows scheduled for the beginning of January. Please visit their facebook page (http://www.facebook.com/pages/Bushmaster-Blues-featuring-Gary-Brown/178772253414?sk=app_2405167945) for song samples and tour dates.
- http://jpsmusicblog.blogspot.com/2012/01/cd-review-bushmaster-and-gary-brown.html
Rating: 10/10

Review:

on 2012-02-04 BushmasterBlues Said:

As seen in PA Musician Magazine (vol. 30 #337 December 2011):

Across The Desk - by Robin & Whitey Noll ...

"A few other highlights of the month include the great schedule at Market Cross Pub in Carlisle. Market Cross offers that cozy local pub feeling with great brews, English cuisine and a variety of entertainment from a multitude of genres. A highlight this month will be on Friday, December 16th when Bushmaster takes the stage. Following are a few quotes so you can get an idea of what you'll be treating your ears and senses to: "... I returned to the Festival Shell Stage to see blues trio Bushmaster. Front and center in this group was singer and guitarist Gary Brown who displayed some incredible scorching solo work throughout the set on original blues rock, plus numbers like Don Nix's 'I'm Going Down', and Jimi Hendrix's 'Voodoo Chile'." - Jim Price - Pennsylvania Musician Magazine. "...Gary Brown strives to keep Hendrix's spirit alive, not just in his music, but in his everyday life..." - Brandi Mellinger - Ocean City Today. "...'Thousand Miles From Nowhere' will cause your face to scrunch up with deep emotion upon listening..." - Michelle Oxley - Beachcomber. Enjoy the show and check out Market Cross Pub's December schedule...
- http://www.pamusician.net/PDFDec11.html
Rating: 10/10

Review:

on 2012-02-04 BushmasterBlues Said:

BUSHMASTER TACKELS CURRENT POLITICAL CLIMATE WITH SONG

OCTOBER 13, 2011 (CARLISLE, PENNSYLVANIA)  Gary D. Brown, and his band Bushmaster, are due to release a new CD entitled, Revolution Rhapsody aka: Uprising Music within the next two months. Drawing on several current political and social topics in the news recently, Browns songwriting on this new disc evokes both hope and angst.

Browns previous discs have generated a wide range of reviews both locally and abroad. Michael Molenda, Editor Guitar Player Magazine, said &Brown is massively funky, and uncorks truckloads of energy&. Sterling Koch, PA Musician Magazine, reports that &Theyve actually come the closest Ive heard to imagining where Hendrix would have gone with his sound had he lived& More reviews and press can be found on the bands website -www.BushmasterBlues.com - including quotes from Blues Bunny Magazine, based in the UK, and Roots Time Magazine out of Belgium, among others.

Bushmaster performs live at Bullfrog Brewery, 229 W. 4th St, Williamsport, PA, on Friday, October 28, 2011, from 10pm till 1am.

More information about Bushmaster can be found on their websitewww.BushmasterBlues.com and several other sites including:

http://www.facebook.com/pages/Bushmaster-Blues-featuring-Gary-Brown

http://www.myspace.com/bushmasterblues

http://www.reverbnation.com/garybrownbushmaster

http://www.cdbaby.com/Artist/Bushmaster

Search for BushmasterBlues.
- http://www.pamusicscene.com/bulletin-buzzboard/bushmaster-tackels-current-political-climate-with-song/
Rating: 10/10

on 2012-02-04 BushmasterBlues Said:

JUST A GREAT CD!
Just a great CD. A little something for everyone.Gary Brown is taking Blues to a higher level .I love the layout of the tracks.His sound is amazing. Each track is well put together,every note every holla is in just the right place. His guitar playing is superb. From start to finish just GREAT.
- A. S. Austin Sr.
Rating: 10/10

on 2012-02-04 BushmasterBlues Said:

ATYPICAL BLUES
Revolution Rhapsody is not your typical blues release. Layer upon layer make this recording atypical of the blues genre. Revolution Rhapsody will "shake that groove thing" with a variety of styles while an array of topics strike the heartstrings. Masterfully produced and organically mixed one can't help but feel the love within this work. Tune in your heart and feel the passion.
- GLS
Rating: 10/10

Review:

on 2012-02-04 BushmasterBlues Said:

REVOLUTION RHAPSODY BY GARY BROWN AND BUSHMASTER
Traditional Blues purists suffer from a safety syndrome that can occasionally stunt their ability to grow past the security of "tradition" and accept evolution as a naturally occurring artistic process. On Revolution Rhapsody , the newest release by phenomenal guitarist/songwriter Gary Brown these concepts of S.O.B.S.(Same Old Blues Sh**) are thankfully evolved and transmuted into a CD that flows with blues-tinged rock, heartfelt soul, and funky beats; showing that Revolution and Evolution are the twin babies of CHANGE. This album showcases Gary Brown's depth, humor and concept of social justice. Politics and Music don't mix? Really? That depends on your historical knowledge (read: perception) of just how powerful a social force music has been in the U.S. (and the world). As a result of musicians who have been bold enough ( many of whom have paid the price of this sort of artistic courage),to speak their minds openly and reflect injustice through song, we all see the wisdom and embrace change.

This is what separates technicians and entertainers from ARTISTS.

This entire Cd flows like a river of soul and D.C. funk, both reflecting the blue sky on the surface, and the murky depths of self-evaluation under the surface of anything that is precious or worthwhile.

Stand-out tracks (Subjective evaluation) are : Victim Of Nostalgia, War On The Poor, 40 Acres and A Mule, Trudi, ( a joyful musical expression of love for Mr. Brown's life partner-and the hardest working woman in show business-Trudi Brown).

..and this reviewer's personal favorite -the deeply moving and soulful-Nothing Up Your Sleeve:

hands down one of the best reflections of hope for humanity ever written by this fine artist.

You want FUUUNNNNK? Listen to River Flow-Splash!

Lock-Jaw Rock? : We All Fall Down. ("where you tryin ta take us? We been there once before, and now weer here ta tell ya ,ain't goin back no more..") Uh-huh.

A special acknowledgement of ' in- the-TOTAL-FUNKY- pocket 'great percussionists, bassist and vocalists on this album. Simply put It KICKS. Gary Brown's vocals and guitar mastery have never been better. The production on this Cd is exemplary.

In music-(as in life)-"It ain't where you come from, it's where you go.."

(Rock on with yer Bad self Gary Brown.) Go buy it and TURN IT UP.

IF you like your music ALIVE and HOT-don't miss this cat LIVE at a venue near you. WORD.
- Mystr Treefrog
Rating: 10/10

on 2012-02-04 BushmasterBlues Said:

SO GOOD KIDS AND OLD FOLKS GONNA BOOGIE!
This album has what you need; funky rhythm, incredibly accomplished guitar parts, sexy voices and most importantly, an enduring message. From clever descriptions of oppressive local and national politics, to flirtatious invitations to shake grooves that get into your pants, Gary Brown has covered every base of listening importance. As somebody stated below, his refined approach to guitar playing and musical arrangement has only served to embellish what he as the artist is after: the music. Any who pick up this album will be sweetly impressed.
- Bryant
Rating: 10/10

on 2012-02-04 BushmasterBlues Said:

BEST ALBUM SO FAR
I am continually impressed with the quality of work that this guy produces. It's the shit, and I don't mean like diarrhea shit.... I mean like.. one of those I haven't pooped in 3 days, ohh my god this is so good shits.
- Moe Faux
Rating: 10/10

on 2012-02-04 BushmasterBlues Said:

BUSHMASTER REVOLUTION RHAPSODY!
This CD is a fantastic piece of music! The music, the words, and the lead guitar is sensational! I thought I was listening to Jimi or Stevie at times!
- Ellie Meade
Rating: 10/10

on 2012-02-04 BushmasterBlues Said:

THE REVOLUTION THAT ROCKS!
Gary Brown and Bushmasters latest release, Revolution Rhapsody, is a masterpiece of modern rock and blues that transcends its delicious musical textures to deliver highly charged cultural and political feelings that simmer beneath the ever-grinning expression that usually surfaces when Gary straps on a guitar.
From the opening track, Cumberland Blues, Gary Brown and Bushmaster blaze through a collection of original tunes that sparkle with Garys fiercely articulate guitar attack and solid performances from Jay Turner on bass. Gary brings a cast of seasoned, talented players on drums, keyboards, and harmonica who ably support the amazing playing springing from his Fender Statocaster from track to track. Ever-present in Mr. Browns beautiful guitar passages is the undeniable influence of Jimi Hendrix, though Garys diverse playing style on this album strays far from familiar Bushmaster material and picks through rap, rock, and funk influences that are sure to delight. From Steve Cropper to Robin Trower, Gary Brown digs deep into his riff bag to pull out a remarkable breadth of guitar stylings, all delivered with both precision and raw energy. The delightful Trudi is remarkable for its beautiful, bouncing melodies and flowing rhythmic pulse; I Will Shine glistens with gorgeous lead lines and some of Garys finest singing on the record; Victim of Nostalgia moves the feat with its funky grooves; Ball and Jack speaks pure Stevie Ray Vaughan through its persistent, deliberate guitar passages. There are no dull moments or wasted tracks on this album.
Garys lyrics on Revolution Rhapsody are sure to appeal to anyone with an awareness of the cultural struggle that is ripping through the Nation, as class warfare, racial prejudice, Occupy protesters, and the 2012 presidential election rages on. Gary Brown taps into this torrent of feelings and evokes strong emotions that are sure to spark debate, but it is Garys powerful musicianship that unites all who would dare to ponder the tough questions being raised in todays Revolution Rhapsody.
- Roger Riggins
Rating: 10/10

on 2012-02-04 BushmasterBlues Said:

ROCKIN AND MEANINGFUL
Just like Gary himself, this album is full of political and social meaning. For this record he got some beautiful backup singers on equally beautiful tracks. My favorites are probably "Trudi" and "Arizona Shame on Ya". I was also pleasantly surprised with the electronic remix at the end. If you want to hear bangin blues tracks about phony people and bullshit politics- check out this CD. Also funny side note- inside it says "Murky, polluted water courtesy of bp." Sad but true. Keep rockin gary!
- Nate S.
Rating: 10/10

on 2012-02-04 BushmasterBlues Said:

I LOVE THIS ALBUM
I have been a fan of Bushmaster and Gary Brown for years. I absolutely love the vibe and message of this album. My favorites though are I Will Shine and Shame On Ya. I cannot wait for the next album. Good Job Gary Brown! Keep on banging out the music for us fans!
- Tamra
Rating: 10/10

on 2012-02-04 BushmasterBlues Said:

A SOLID VARIETY AND OFFERING
There is something for every blues fan on this latest Bushmaster venture&it is a mix of styles and offerings that provide the listener of nice variety&traditional blues forays, rapid-fire fret meanderings, driving rhythms, ballads&even techno . What was immediately noticeable was the richness of the sound, the polished execution by the musicians and the very solid production&it was evident from the opening notes of Cumberland Blues that this CD was going to well worth the listen. The tunes are powerful, full of guts and soul, and the writing and arrangements creative and balanced. Garys playing style covers even more ground than before&he is an inventive guitarist who plays with both surgical precision and great passion, but it is clear that the Hendrix influence has taken more of a back seat in favor of a style that reflects the culmination of a lifetime of listening to all the guitar greats and musicians in general. The result is a sound and style that has become&Gary Brown. River Flow is great example, with its lively and involved guitar rhythm, displaying not only Garys chops, but songwriting prowess&and the ability to change gears, eloquently sliding into an ethereal Floydish saunter at the midway point. Victim of Nostalgia is a great tune, with its tip of the hat to the Cissy Strut rhythm. Nothing Up Your Sleeve just drips with feeling with a rich backdrop. There are tunes that carry a rather deliberate message, as Gary wears his soul on his sleeve and is not ashamed to use his music as a forum for expressing his life concerns to listeners&it is who he is. This package of tunes is solid. The supporting musicians and vocalists turned in exceptional performances and help make this offering a great treasure worth repeated listens. So diverse and so enjoyable.
- Ray Wright
Rating: 10/10

on 2012-02-04 BushmasterBlues Said:

TAKES ME BACK
I was lucky enough to grow up in a time when there were musicians who were writing songs and doing things with their instruments that were truly original. Even the recording engineers were breaking new ground. It's been decades since I've heard that kind of creativity. I've been playing guitar nearly 50 years and I'm not easily impressed when it comes to music. It's really refreshing to come across an album like Revolution Rhapsody where the artist not only sings and plays with passion and proficiency, but also draws deep down in to the well of life to create original songs that make you think while you're shaken' your money maker.

Gary skillfully echoes stylings of some of the musical greats of past decades and combines it with his own explosive playing to take you on a journey that brings it all together and drops you square in the present. It's wonderfully mixed and perfectly seasoned with surprises, both sonically and musically.

Don't just sit there, get it. You'll be glad you did ~
- Bob Schell
Rating: 10/10

on 2012-02-04 BushmasterBlues Said:

WHATS EVERYBODY WAITIN' FOR
Whats everybody waitin' for? This is what you have been waiting for I don't care who you are or what you like. Bushmaster featuring Gary Brown covers all the bases. He hits all of the sounds you have been looking for and needin'. Its doesnt matter from rock , funk , Gulf coast second line to classic rock sounds, rap and R&B he provides the stuff you need. I mean it, it 's all here and he ain't just standing around bullshitin'. Hey man , he even rolls with Chicago blues and thats not the half of it. You can't go wrong here no matter what you are into. Check this cat out , you will see what I maen And He's just gettin' started. Stay tuned for more action as he is leadin the way to what should be.
- Timothy Jones
Rating: 10/10

on 2012-02-04 BushmasterBlues Said:

LOVE THIS ALBUM
Agree w/Ciro re: enjoying the multitude of different elements that make up Revolution Rhapsody. Gary is a man with lots to say about the world today. He does so most creatively through word and music in his latest CD that might just be his greatest (to date:)!

I also adore the way Gary gushes on his lovely wife Trudi (Brown) in "Trudi."

This instrumental is multi-faceted, upbeat, creative, flexible, and hard-driving with nice transitions--closely mirroring the woman herself, in my opinion!
- Mary Gehringer DeGrezia
Rating: 10/10

on 2012-02-04 BushmasterBlues Said:

AWESOME
I gave this album 5 stars (out of 5) even though I loved loved loved drowing on dryland and I only love revolution rhapsody :) Mr gary brown has an amazing voice and his music ALWAYS comes straight from the heart keep it up and i look forward to all upcoming albums
- Michelle Myers
Rating: 10/10

on 2012-02-04 BushmasterBlues Said:

HOW TO FILL THE VOID
Gary has filled the musical void with Revolution Rhapsody. Excellent balance of content and performance. Oh right, it sounds good. Simply, Pick up a copy and play it. That`s all you need to do:) You might say "Void Filled"
- Jay Turner
Rating: 10/10

on 2012-02-04 BushmasterBlues Said:

MUSIC WITH MEANING
This album is balanced mix of blues, funk and rock with original songs that have thought provoking and inspiring content in the lyrics. Easy to listen to, the album flows from to start to finish without ever becoming repetitive. Capable of burning fretwork, Gary's refined approach keeps the guitar playing tasteful and melodic, staying away from the all- to-common gratuitous overplaying. With solid vocals, a carefully selected wide range of tones, intricate mixing and mastering, driving percussion and bass lines, catchy hooks and background vocals, this album will be really enjoyable for everyone who loves music.
- KCT
Rating: 10/10

on 2012-02-04 BushmasterBlues Said:

HITS THE MARK
Sounds great to me. Lots of different musical directions...It's nice to listen to an entire CD with each number sounding different. Keep it up man.
- Ciro
Rating: 10/10