Robin O'Herin

Robin O’Herin has been playing blues, gospel, Appalachian and folk music around New England for over twenty years, and these are the major influences that pervade the two fine sets under consideration here.

‘Red, White and Blues’ comes with the sub-title ‘blues, gospel and originals done in the tradition of the country blues’, which is a perfect description of the music on offer. O’Herin’s vocals have a natural ambience with these styles, evoking a warmth and sincerity brings a palpable poignancy to numbers like ‘Hold On’, accentuated by her lilting slide and Peter Schneider’s Fender Rhodes keyboard, whilst her own vocals and the harmonies of Vikki True and a strong spiritual feel. ‘Hold On’ is the first of six originals on this set, other favourites being the Mississippi John Hurt styled ‘Junkfood Junkie Blues’ with it’s melancholy harmonies; the Bonnie Raitt styled boogie/rock’n’roll of ‘The Driving Song (Commuter Blues)’ with it’s rocking piano and pulsing bass lines; and the lilting instrumental ‘Ever Hopeful, with it’s fine finger picking.

There are five well chosen covers including a plaintive Sonny & Brownie styled ‘Corinna, Corrina’ replete with fine country harp from Charlie Mead; the Blind Willie Mctell styled ‘Old Country Rock’ with it’s evocative slide; the bass driven ‘Walking Blues’, with it’s ‘moaned’ vocals, haunting slide and the drum and fife band feel of Terry Hall’s drumming; and the lingering beauty of O’Herin’s delicate finger picking and gospel harmonies on ‘Precious Lord’.

‘The Road Home’ is subtitled ‘Holy Blues And Gospel’, and like ‘Red, White and Blues’ you get a mixture of O’Herin’s traditional influences on both originals and covers.

Blind Willie Johnson was one of OHerin’s major influences so we are treated to three songs associated with the master; the intoxicating intimacy of her vocals meshing seamlessly with her slide on a haunting ‘Keep Your Lamp Trimmed And Burning’ and ‘God Don’t Never Change, and adding plaintiveness laced with grit on ‘Nobody’s Fault But Mine’, and Mississippi John Hurt’s ‘Glory, Glory’.

‘Wayfaring Stranger’ reminds me of the work of Linda Tillery, O’Herin’s clear and evocative tone and richly melodic harmonies underpinned by Dan Broad’s reverberating bass lines and Terry Hall’s finger popping percussion; ‘I Am A Pilgrim’ has a jug-band feel to it’s rhythms accentuated by Schneider’s jaunty piano, LuAnn Herring’s reverential harmonies providing an intimate counterpoint; whilst ‘Blessed Are They’ comes replete with some beautifully understated hypnotic slide.

A haunting acapella rendition of ‘Guide me O Great Jehova’, and two lilting renditions of ‘Psalm 23 (one vocal, one instrumental) are further highlights of this fine set. (http://www.robinoherin.com)

The names of both these artists may be unfamiliar to you, but if you have a penchant for acoustic blues and purchase all of these CDs, I guarantee you will return to them time and time again, providing you with many of pure listening pleasure. - Mick Rainsford

“Red, White and Blues” is an easy-going, laid-back effort, a tribute to tradition that extends that tradition forward in a personal vein. It also highlights O’Herin’s deft fingerpicking and slide-guitar work on numbers like Willie Moore’s “Old Country Rock” and her committed vocals on “Abilene” and a few humorous, original tunes, including “Junkfood Junkie Blues” and “The Driving Song (Commuter Blues).” - Seth Rogovoy

....Here’s the perfect CD to play on a rainy Sunday...or a sunny Saturday, or any time you need to break free from the demands of the week...year...life, take it easy and let the day develop around you.
Red, White and Blues is the debut CD of Robin O’Herin. Punctuated by beautiful harmonies and intricate guitar, Red, White and Blues is a country blues and folk mix of old standards and originals that would make Mississippi John Hurt and Lead Belly proud. Highlights include the original instrumental Everhopeful, Thomas A. Dorsey’s Precious Lord, and O’Herin's Brian’s Song, which (if I listened right, and made the correct assumption) is an ode to O’Herin’s husband. So, get the coffee brewin’, pull up the old rockin’ chair away from the wall, grab ’hold of that Sunday paper and let Robin O’Herin’s Red, White and Blues set the pace for the day... - Bill McGowan

“O’Herin keeps things appealingly bluesy, due in no small part to her accomplished fingerpicking and bottleneck playing...It’s her fine interpretation of standards like “Corinna, Corinna” and “Precious Lord” that are highlights. - Tom Hyslop

Bottleneck blues, Gospel and lots of strong folk originals from Berkshire-based O’Herin, who accompanies her Appalachian edged, rein-free vocals with some creative, dancing fingerpicking. The pair of instrumental forays, on “Old Country Rock” and her own “Ever Hopeful,” along with remakes of “Preciouse Lord” (particularly bright) and Robert Johnson’s “Walkin Blues” are notable. - GvonT

Robin O' Herin is a homegrown down-to-earth talent. Home is the Berkshire's in a little town called Lee, located in western Massachusetts.

O' Herin does the blues justice by covering many of the styles the genus has gained popularity with over the last 50-70 years (give or take a few), on her latest release Red, White and Blues. The main style that reaches back to the roots of the blues is the old country style. Everything you hear today originated from those humble beginnings.

The artist sings in sequence with her strumming and picking blues guitar style beautifully. The tones and hues of the music arrive at your ears gift wrapped with love complimented by her strong and colorful vocals. The timing of the music always follows in perfect accord to her voice, thus the sounds become one force, like a river flowing out into the ocean. Does this sound a bit too poignant and reflective for the blues? Not really, it painted that kind of emotional landscape in my mind's eye. She sings and plays with such passion and honesty; it comes through loud and clear in every song. I am firmly convinced that whatever style of music this woman decided to play, her love for her craft would be evident. The only shortcoming I could find on this album was the longevity of her instrumentals. They are so good that I was disappointed they ended so quickly. Maybe next time out we can hear some more of those fine instrumentals, and just a little longer Robin?

This is a fine collection of blues songs and the theme is eclectic, so if you happen to enjoy many different styles of the genre you are in for a treat. - Muzikman