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Redd Volkaert - Reddhead


Redd Volkaert

Telehog Records

Available from Redd Volkaert's web site.

A review written for the Folk and Acoustic Music Exchange
by Bob Gottlieb

This disc is a showcase for this legendary guitarist. Considered a master of the Telecaster, Redd has earned the appellation with good old-fashioned hard work. Born and raised in Western Canada he honed his craft and was playing in bars in Vancouver and Alberta by the time he was 16 before moving to Los Angeles in the 90s to do session work. In 1997 when Merle Haggard needed a new guitar player for the Strangers he asked the band who was the best, they all said Redd and that was that, no audition.

On Reddhead we are we are treated to seven songs he wrote, or co-wrote, and then some gems by masters such as Jack Gamble and Wayne Carson Thompson (the Box Tops classic, The Letter), as well as an instrumental gem by Buddy Emmons, Raisin' The Dickens, which is a fantastic showcase for not only Redd on guitar, but everyone in the band gets to step forward and take a series of scorching solos.

He recorded Reddhead in Austin, Texas, his adopted home where he now plays with two other bands (Heybale and The Lucky Tomblin Band) that continue that blending of the Bakersfield sound with Western Swing and Cowboy Jazz. The band on this disc includes Heybale's Gary Claxton as a special guest on harmony vocals, Buzz Evans on Steel Guitar, Chris Gilson on drums, Nate Rowe on bass, and Rich Harney on keyboards and of course Redd on guitar and vocals. This is a well recorded disc that has great sonic quality that allows all the nuances of Redd's guitar work to be clearly heard.

Track List:

  • Reddline Fever
  • Jackhammer Rock
  • Goosebumps
  • Is Anything Alright
  • Call The Pound
  • I Know How I'd Feel
  • The Letter
  • Raisin' The Dickens'
  • We Need To Talk
  • End Of The Line
  • Just Because I Don't Care
  • Send It Back
  • Only Daddy That'll Walk The Line
  • I'll Break Out Again Tonight

Edited by: David N. Pyles

Copyright 2008, Peterborough Folk Music Society.
This review may be reprinted with prior permission and attribution.

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