Montgomery Eldorado
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REVIEWS
RECEIVER/REFLECTOR
REVIEWS
Roots vet Scott
Nolan has proved
he can rock
out, but his
latest album
is a restrained
offering that
evokes both
the windblown
prairie,
where he was
raised, and
Texas, where
it
was recorded
with producer
Gurf Morlix
(Lucinda
Williams/Mary
Gauthier).
Receiver/Reflector
is filled with
hushed
tones, subdued
drumming from
Joanna Miller
and slow grooves.
For his part,
Morlix helps
out with the
occasional
pedal-steel
flourish
or guitar solo,
but never oversteps
his welcome.
There are glimpses
of Nolan's
more rambunctious
spirit sprinkled
throughout,
most notably
on the country
shuffle of
Open Spaces,
the
mid-tempo look
back at love
gone wrong
on
All Over Now
and rollicking
album closer
Thirsty Thursday,
but for the
most part,
the talented
multi-instrumentalist
sticks
to slower tempos
and sparse
arrangements
that allow
his strong
storytelling
skills
to take centre
stage.
Nolan says
he crafted
the album as
a cohesive
whole to fit
one mood. Mission
accomplished
Rob Williams
Winnipeg Free
Press
Nolan was working
on an uptempo
follow-up
to No Bourbon
and Bad Radio
when he and
drummer
Joanna Miller
happened upon
an opportunity
to work with
Gurf Morlix,
the guitar-playin'
producer who
helmed Romi
Mayes' last
release.
The result
of their five-day
session is
an
album that
recalls the
quietest moods
of
Kris Kristofferson
and John Prine.
There's
depth in these
slow-moving
grooves, and
Morlix,
Miller and
Nolan are wisely
content to
let
the tunes unfold
once they've
hit upon the
essence of
each. Opener
Bad liver/Broken
Heart, delivered
in Nolan's
whispered drawl
and punctuated
by keening
pedal steel,
offers
a commentary
on life that
informs much
of
this album:
"You come
in clean and
leave
torn apart,
with a bad
liver and a
broken
heart."
Over the course
of the next
nine songs
and 32 or so
minutes, Nolan
and
his cohorts
explore that
mournful lament
to its fullest.
John Kendle
UPTOWN MAGAZINE
NO BOURBON REVIEWS
STYLE: Rootsy ruminations on ruined romance.
SUBSTANCE: There are songs that are made
to be played
on bright Sunday
mornings over
brunch, or
to be blasted
out of the
car on
the way to
the beach.
Those are not
the sort
of songs Scott
Nolan serves
up on his latest
album No Bourbon
and Bad Radio.
Admittedly,
the singer-guitarist
with the high-lonesome
drawl can crank
up the amps
and dish out
his share of
raw-boned Crazy
Horse roots-rock
or raucous
hillbilly boogie.
But for the
most part,
Nolan prefers
to turn down
the
lights, pour
another shot
and hang out
at
the smoky end
of the bar
drinking to
forget.
But forgetting
the dark beauty
of his melodies,
the world-weary
sadness of
his lyrics
and
the lazy, no-frills
vibe of his
songs is
easier said
than done.
Even if you
might
want to leave
them off the
brunch menu.
STANDOUTS: Daytime Moon's Jamaican lilt and
shoo-wop vocals
add a little
Caribbean spice
to the proceedings,
while the gnarly
blues
of the title
cut is a winking
toast to a
local watering-hole
that shall
remain nameless
but rhymes
with Hella
Mista.
Darryl Sterdan
Winnipeg Sun
A former hired gun for such bands as Nathan
and the New
Meanies deservedly
steps into
the spotlight.
He may be a relative unknown right now, but
Scott Nolan
should soon
be recognized
as
a laid-back
master of steady
pacing — one
who knows when
it’s time for
taste and restraint
and when it’s
time to take
his foot off
the
brake.
Singing with easygoing nonchalance and weary
but not entirely
dissatisfied
vocals, Nolan
opens No Bourbon
and Bad Radio
with the driving
yet wistful
"Golden,"
pouring out
a timeless
take on lost
love and regret.
It quickly
spills over
into the equally
melancholy
"Sad Story/Beautiful
Song"
before
moving into
the country-calypso
of "Daytime
Moon."
At this point, just as you’ve slotted this
album into
the mellow,
rainy day category,
Nolan jams
his foot down
on the accelerator
for the gritty
telecaster
twang of "Right
on the Wrong
Time."
It’s a serious
mood-swing
that reappears
regularly from
there on in,
ending the
CD with the
raucous title
track
and leaving
the listener
with no doubt
–
this is not
some sad-bastard
blues-roots-country
record, but
a testament
to a very well-rounded
songwriter.
Rick Overwater
FFWD WEEKLY
The title song is an ode to the Bella Vista
Pizzeria, and
it’s a boozy,
bluesy set-closer
that should
become the
place’s anthem.
Fun
as it is, that
tune may be
the slightest
on this album,
which sees
Nolan situate
his
speak/sing
drawl amid
some soulful,
rootsy
playing courtesy
of Joanna Miller,
Damon
Mitchell and
Sky Onosson.
Sad Story/Beautiful
Song is perhaps
his finest
effort to date,
a lovelorn
lament with
a deceptively
breezy
melody. Daytime
Moon similarly
brings a ska/reggae
vibe to a song
in which prairie
sunsets hasten
the impending
end of a romance.
Elsewhere,
Cold Cold Change
hangs bitterness
on icy,
Chris Isaak-like
reverb, while
Right on the
Wrong Time
is a spry,
uptempo two-step.
Most
of these tunes
can be read
as sad, but
this
is far from
a morose record.
Like a gnarled
old bluesman,
Nolan finds
peace in letting
his heart loose
in song, just
as he exults
in playing
at a neighbourhood
joint that
feels like
home — even
if it has no
bourbon
and pipes in
bad radio.
—
John Kendle
UPTOWN MAGAZINE
POSTCARDS REVIEWS
Winnipeg is
the centre
of North America
and
was the historical
hub of Canada.
Much has
gone through
this unassuming
city over the
years. Indeed,
the current
music scene
simmers
with wonderful
diversity.
Scott Nolan
emerges
from this hearty
stew with ingredients
from
the many travels
and Postcards
provides glimpses
of what Nolan
has soaked
up. "Famous
in Texas"
reflects well
on the songwriters
of that state,
while Neil
Young echoes
in
his compatriot's
voice, particularly
in "Leavin'
Vegas"
and Charlie
Daniels serves
merely
as a template
to the gritty
tale of "Clint
Duty."
Nolan sheds
shards of light
on
the characters
he paints ("Corinna
Sad
Eyes")
in the scuzzy
bars of this
transient's
town. Great
backing players
fill out his
strong songwriting,
which will
serve him
well on his
next tour of
the back alleys
and dark corners.
(Independent)
Carol Harrison
EXCLAIM MAGAZINE
The long-awaited
debut record
from Winnipeg's
Scott Nolan
is a twangy
testament to
the
strength of
the Winnipeg
roots scene.
At
it's best -
and most of
this album
could
be considered
that - Nolan's
songwriting
is a loving
nod to it's
vintage country
and
blues roots,
enhanced by
his wickedly
wry,
clever lyrics
and fresh delivery.
"Famous
in Texas"
is a cheeky,
irrestiable
little
ditty. "Three
Shades of Blue"
moseys
along with
its deceptively
lovely melody
and "Clint
Duty"
is a fiery
toe-tapper.
While Nolan's
acerbic quaint
drawl and deft
rhythm guitar
hold the album
together, contributions
from a horde
of Winnipeg's
finest players
- New Meanies
guitarist Damon
Mitchell, the
D. Rangers,
Rudimentale
vocalist Sarah
Dugas
- give the
record depth
and colour,
not to
mention an
engaging community
vibe.
Mellissa Martin
UPTOWN Magazine
POINTED COMMENTS:
A memorable
picture. A
simple message.
And a few licks
that put
a stamp on
the whole affair
to bring it
home.
Eclectic rootster
Scott Nolan
could hardly
have come up
with a more
apt title for
his
winning solo
debut. It's
plucky 13 tracks
are snapshots
of Nolan's
musical wanderlust,
which take
him from raucous
roots-rock
to
high lonesome
folk to twangy
blues to willy-nilly
hillbilly boogie
and back. All
the while,
his distinctive
nasal rasp
and whip smart
whimsical lyrics
show he's just
as concerned
with what he's
saying as what
he's playing.
Nolan's world
is a nice place
to visit.
Darryl Sterdan
Winnipeg Sun
It's a hard row to hoe when your reputation
precedes you.
One of the
most hotly
anticipated
local releases
was the latest
from root-rocker
Scott Nolan.
On Postcards,
Nolan comes
out
swinging with
"Dark
and Lonely",
a rollicking
Ramblin song.
Now that he
has
your attention,
he follows
that up with
a
slow cooker
before rocking
the house with
"Famous
in Texas".
Like a good
baseball pitcher,
Nolan skillfully
mixes
things up,
such as including
yet another
mix of "Leaving
Vegas".
Just by
tweaking the
arrangement
a little, Nolan
changes the
mood of the
song from the
original
version on
Motel 75. That's
a testament
to
Scott Nolan's
song writing,
which reveals
a lot of prairie
dirt under
his fingernails
and highway
miles under
his wheels.
Broose Tulloch
Stylus Magazine
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