Praise for Bill Wolford’s Head:
Live Review:
Eclectic musically, Bill Wolford’s Head’s songs musically combine elements of good old rock and roll, and world music with off-beat lyrics. Wolford claims to be the "Purveyor of Middlewestern Ethnic Music," which appears to be an odd amalgamation of rock and world with a post-modern edge. Starting the set with a fired up version of Bruce Springsteen’s "State Trooper," was a fine way to begin a set. With Lott’s dark and roaming bass line conjuring up images of driving down some lost highway, Wolford’s raw vocals (think Van Morrison meets John Lennon) create an added sense of edgy eeriness. "Suffer" is a bluesy number that swings that prompted audience members to sing along "chop up your pity? / chop it up!" Switching gears to the melancholic song about post-modern alienation, "Eye to Eye," Wolford’s guitar is reminiscent of George Harrison’s during his days in the Beatles. The audience-pleasing "Chickens" brought both the crowd and the Chai House’s Jessica and Victor to clucking and cockle-doodle-dooing along. If you like clever songwriting and miss straight ahead rock and roll, check out Bill Wolford’s Head, they’re bound to evoke the weirdness right out of you.
Misc Quotes:
"As a songwriter; to be honest when I try writing songs is the hardest. Honest both in his lyrics and music, Bill Wolford’s sounds are so wonderful to me because of the honesty of his music." __Aiko Shimada Performer/Singer/Songstress
“He’s Really fun to watch!”, __Natasha Eden Fan
CD Review: From Victory Music:
Bill Wolford’s Head “Exposure To Living” If the implication of the author’s name on this CD is that this recording is a head trip, it’s accurate. Bill’s voice sounds like a hybrid of Dylan’s and Lou Reed’s, and he offers closely-observed, finely-detailed portraits of offbeat behavior, with a wry sympathy for his characters and a refreshing contempt for exact rhyme. The consistent theme is of alienation and inability to communicate, but that doesn’t make for depressing listening. There’s plenty of humor and lots of variation in style, from the echo-ey “Somewhere To Play” (reminiscent of both the Beatles’ “Day In The Life” and Creedence swamp rock), to the honky-tonk piano of “Suffer,” to the hypnotic, high-energy “Big Trucks,” with its sound effects and two sax lines (this one had me spontaneously hallucinating a laser-light show), to the razor-edge slide guitar work of “Sweet As Honey.” For the savvy listener with a skewed sense of humor. (Suzanne Sebastian). www.vividsound.com !
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