http://www.beatroute.ca/view_article.php?sectionID=16&articleID=1004
http://www.uptownmag.com/2007-09-20/page876.aspx
http://www.chartattack.com/damn/2006/01/0916.cfm
http://www.uniter.ca/view.php?aid=39742
http://www.ffwdweekly.com/article/music/music-previews/miles-road/
http://www.uptownmag.com/2005-09-20/page376.aspx
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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