Stevie Hawkins' "High Time" is a cross-genre mix of authentic Soul, Blues, R&B and Rock.

Details

Contents

#		Title	Length	Sample
1		High Time	4:12
2		Jack Of All Trades	4:04
3		Lonely No More	5:10
4		That Ain't Right	2:49
5		Moondog The Mojo Man	3:31
6		Mule To Ride	3:47
7		Crack Me A Cold One	3:20
8		Keep Me From Crying	5:00
9		To Keep Your Woman	3:48
10		Life Support	4:14
11		Umm Sha Ooh	2:10
12		You Do It So Well	2:52
13		Different Strokes	3:32
14		Get Back Together	5:49
15		Going Down To The River	3:20
16		Take Me Back To Memphis	5:36
17		Even Drummers Get The Blues	3:28
18		Mr. Conductor Man	7:42

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Total	USD $8.12

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Description

High Time is an impromptu set of original tunes from an unplanned recording session. What began as Hawkins spontaneous desire to record an acoustic blues record with guitarist Drew Stawin, has resulted in a 180 degree eclectic mix of original Soul, Blues, Rock, Spiritual, R&B. Songs that relate to life and times, love and relationships, dancing and simply having fun. The "musicians having fun" aspect is apparent in several of the tracks as in "Take Me Back To Memphis" and "Crack Me A Cold One". A true story written about and dedicated to a fraternity at the University of Georgia. Stevie performed at the fraternity house while on the 2005 tour of colleges with the Dean Dollar Band.

High Time combines the artistic interpretations of African-American, Hispanic and caucasian musicians. Hawkins thinks this approach to a unity effort was much a part of the magic and success of Stax, Motown, Gamble and Huff, and the Atlantic Records sessions. From that light of thought, Hawkins enlisted musicians from the 60s/70s era of those labels to perform and contribute to the High Time sessions. Hawkins says, "musical and melodic simplicity fused with lyric content that relates to the everyday person are keys to moving people emotionally. Whether it be a sappy love song, a tear jerker or a dance tune, simplicity relates and works.

High Time is a project delivered from the heart with disregard to perfection. Allowing true human emotional elements and/or feels to be captured and retained throughout the track list. All in, about a two month project. The session timeline is indicative of Hawkins desire to revert back to an era when recording an album took only a month or so to finish, rather than the 6 month average today. In other words, letting the musician's creative visions and self-expressions be realized on the spot, rather than a producer's. Hawkins says; "It is a producer/label world in the industry now. Very few artists have any input into the outcome of their music. Although, we're probably shooting ourselves in the foot for releasing a project such as this in todays market, we really don't care. We wanted to do some music that we love to do, so we did it. If someone picks up on it, understands and appreciates what it is about, then we appreciate that person's sensibilities. We didn't try to be modern, no loops, no drum machines, no sequencing, just us playing and having fun. The way sessions were some years ago. We have the luxury with Emphasis of not having the label or producer dictating how the music should relate. We're directing our musical output toward an older audience. Maybe some of the younger set will like some of the music too? Bottom line, this project is not designed to impress the industry or hipsters, we weren't trying to force write hit songs, we took it all back to simple and went with what came first, 'the natural feel'."

Via Hawkins vocal and drum stylings reminiscent of his days playing with Rufus Thomas and Albert King, the soulful guitar work of Drew Stawin and Johnny "Guitar" Brown, expressive tenor sax of Wally Tarado, the pocket bass of Terrell "Cool" Robinson and other supporting musicians, High Time takes us on a journey through some of the sounds, moods and grooves of the late 1960s and early to mid 1970s. Here again, as with his previous Southern Rock release, "Georgia Jam", Hawkins and company holds true to themselves by going against the grain of current popular music and productions. Creating music that lives inside them, rather than music to accommodate trends. Hawkins & company hope you have a High Time listening!

Hawkins dedicates these recordings in memory of Ray Charles, Rufus Thomas, Little Milton Campbell, Chester "Howlin' Wolf" Burdette, John Lee Hooker, McKinley "Muddy Waters" Morganfield, Wilson Pickett, Otis Redding, Freddie King, Jimmy Reed, Lightning Hopkins, Albert King, Johnny Taylor, Brook Benton and Funny Papa Smith - The Original Howlin' Wolf. All have had a major influence and impact on shaping Hawkins musical career. Those influences can be heard throughout the recordings on High Time.