Ricky Stein

"Its Saturday night, the last official night of SXSW on the infamous Rainey St. in Austin, Texas, and local musician Ricky Stein got the call for a 7:00 slot at the Lustre Pearl mere hours ago. A solo gig, nothing fancy, but when youre playing to a packed house not to mention the thousands of people walking by, stopping, leaning against the rod iron bars and listening for a minute or ten, asking people around themDo you know who this is? the pressure is on whether you acknowledge it or not. Some people rise to the challenge, others cower away. Ricky Stein falls into the former.

"You can feel the energy of the worn but zealous music-loving show-goers dwindling and wavering with the setting sun. The hum of chatter rises after the last band starts to pack up, and not too many people take notice of the guy in the plaid shirt and jeans, Lonestar in hand, starting to set up on stage. A couple minutes later, without introduction, he starts to sing, and all eyes are on him. Its a simple set, a guy and his guitar, a couple harmonicas. He finds his girlfriends eye in the crowd and winks at her, a few fans yell requests from the crowd, and he derails from the set list to oblige. Its casual, accessible. This is how Austin music is done.

"This set is a breath of fresh air after enduring a week of the 3.5-hour average line that snakes around corners and down blocks to get into some corporate-sponsored bash or surprise show at packed bars to hear artists who were paid the big bucks to show up. Its nice to be away from the frustrated locals, or the disgruntled badge-holders, or the confused foreigners. This show, this singeran unenhanced, unedited, untweeted, unmarketed showwhose music lines people up on the sidewalk to get in, this is the raw talent the festival is all about. This is why were called the Live Music Capital of the World. This is why we live here.

"He sounds a little like a lot of peopletheres something Van Morrison-esque about the way hes got everyone footstomping and two-stepping on the dirt ground in front of the bar. Theres something Boz Scagg-y about the growly texture of his voice, something reminiscent of Bob Dylan in his soulful harmonica solos. Although he was heavily influenced by existing artists, the only person he really sounds like is himself.

"Music is meant to move us, and I glance around after the showpeople hooting, hollering, still dancing, clapping, smilingeveryone is leaving happier than they were when they arrived. People are crowding around him to compliment, question, and inquire as to how they can get his music. It was just flat-out a good show, no bells and whistles. The lyrics were relatable, the melodies memorable, and theres nothing were left wanting after the last song is overexcept more."

-Caitlin St. Pierre - The Grateful Web

Ricky Stein is one of those Americana guys who can go on stage with just an acoustic guitar an leave an audience rapt. And armed with his band, the Warm Guns, he can also blow you away with bluster. The Austin native is a rising talent to watch. - Houston Chronicle

For the second time this week here I am singing the praises of an up and comer from Texas. This time it’s Ricky Stein and his band The .44. Based out of Austin, The .44 delivered a fine ep with in In the Red, last month.

I spent the better part of a week trying to come up with who Stein reminds me of, because these songs feel familiar. I couldn’t do it, the songs are comfortable like you already know them but, not a rip off of an obvious influence. The .44 cross a lot of paths in just four songs and each one is damn good.

In a time when most good Rock n’ Roll records are made by men of at least 40 years old, Stein and the .44 are here to reassure us that Rock can still be a young man’s game. “All the Same” is a kick ass Rock n’ Roll song, there is no other way to put it. At one point the narrator is going to St. Louis to start over and the conviction in the song makes you believe that it’s as good as place as any other to reinvent yourself.

“Now or Never” is a song about a self induced sense of a lurking ultimatum. I think we have all felt the way the singer does in this one, knowing it’s “Now or never, again”.

To end the record, Stein shows that he is not just a balls out rocker and can really write a great tune. “Out on the Road Somewhere’ is Stein searching for something and not really being sure where and how to find it.

In the Red is a great follow up to Stein’s debut release from last year, Crazy Days. This ep does a great job of showing the maturation in his songwriting as well as how well the .44 has come together as a band, after starting off as just his backing band for live shows. You can find out more about Stein on his website here.

I hear he is making his way to Ohio this summer so I hope to catch a show and possibly have him on the podcast. - Broken Jukebox

Stein gets soulful, the Heroes emit a country high. - Austin Chronicle

I have known Ricky Stein as a journalist and band leader but had never seen his solo work until last night -- and after watching his strong set in which the only non-original was a tender cover of "Julia," John Lennon's paean to his mother, I am even more convinced that this young man has a bright future. Ricky (whose dad was in the audience) opened with "Two to Fall" and "Strange Sense of Humor," offered up a "Talking Music Industry Blues" which includes a fictional show in Seguin in which he opened for a band of 11-year-old's, and after several more songs for a small but enthralled audience, closed with "We're Gonna Make It," "Sunrise," and "Those Were My Crazy Days" -- songs we are used to hearing with his full band. - flanfire.com

Ricky Stein's press likes to suggest he's the Boss by way of Townes Van Zandt, but there's no question that Crazy Days is excellent right outta the gate. Stein has a ways to go before he earns those TVZ stripes, but with songs like "One and the Same," it's a noble goal well within reach.

-Margaret Moser - Austin Chronicle

Ricky Stein's new album "Crazy Days" will sneak up on you like a few too many shots of whiskey.

The cover of "Crazy Days" shows Ricky Stein to be an average Texan with a relaxed expression, windswept hair, checked shirt, jeans and boots. However, the album will catch you off guard, because there's nothing common about the bluesy, country talent of 25-year-old Ricky Stein. And it's obvious that Stein has immersed himself in the wealth of live music found in his native Austin, Texas.

The album begins with the blues-infused "One And The Same," which illustrates that Ricky Stein can rock a concert stage. It's followed by the terrific "Don't Leave Me Hangin' On." But the album really comes into its own with the Americana track "Keap St (We've Come A Long Way)," which shows the musical influence of artists like Townes Van Zandt and the Traveling Wilburys. The music is infectious, and Stein's authentic vocal performance of the thought-provoking lyrics proves that this is the type of music Ricky Stein was born to make.

The biggest surprise on the album is the title track "Crazy Days." In a subtle and emotional performance, Ricky Stein reflects on his past and future. In fact, the song brings the concept of the album's cover art into full focus. You see, Ricky Stein is taking a personal moment to look for the meaning in his life, and the the title track offers intimate and intriguing musical moments that succeed mightily. Band members of The .44, including Phil Morris, Stuart Burns, Nathaniel Klugman and Josh Weinholt, also deserve special recognition.

At the end of the album, Ricky Stein ends his soul searching musical journey with the hopeful "We're Gonna Make It," which has particular resonance in these hard economic times. He sings: "Every day is a new disaster - always something that you gotta master." On "Crazy Days," it's clear that Ricky Stein has survived the storms of his life through the mastery of his own unique style of bluesy Americana. And listening to Ricky Stein's "Crazy Days" is bound to lift your spirits, too. CountryChart.com
- Country Chart Magazine

Austin newcomer Ricky Stein describes his music as Doug Sahm and Townes Van Zandt mingling with a young Bruce Springsteen.

Now there's a lofty trio. On his debut disc, Crazy Days, the 25-year-old singer and songwriter taps into influences such as Wilco, the White Stripes and My Morning Jacket, as well as Bob Dylan and the Rolling Stones. Stein and his band, the .44, crafted the 10-track Crazy Days, which has nothing but originals. The Austin Chronicle and Austin American-Statesman have already praised the CD. Now Stein aims to expand his reach outside of the capital.

-Mario Tarradell - Dallas Morning News

Als je uit Austin komt heb je bij mij al dadelijk een streepje voor, en ik denk dat dit bij de rest van het Rootstime team niet anders is. Natuurlijk moet je je nog altijd bewijzen, maar dat zit in dit geval méér dan snor. Als je klinkt als de kruising tussen (vooral) de jonge Doug Sahm, Bruce Springsteen en Townes Van Zandt en je schrijft songs van hoog gehalte, dan kan er weinig misgaan.

Deze cd draait dan ook al zijn zoveelste rondje in mijn cd speler, ik kan er niet genoeg van krijgen. Ik zei het net al: Ricky's stem lijkt erg op die van Doug Sahm en het ouderwetse Wurlitzer keyboardgeluid van Nathanial Klugman haalt natuurlijk dadelijk Augie Meyers' sound voor de geest. Maar om nu dadelijk Ricky Stein and the .44 af te doen als een jongere versie van Sir Douglas Quintet is natuurlijk verkeerd. Hij verwerkt veel meer invloeden in zijn eigen muziek, jonge alternatieve bands als Wilco, White Stripes en My Morning Jacket hoor je er evengoed in doorklinken, maar ook de oude garde, zoals Stones en Dylan.

Je kan het echt moeilijk thuisbrengen of in een hokje plaatsen, die muziek van Ricky. Hoofdzakelijk Americana... okéé, maar tevens een portie blues, wat Southern en nog veel meer. Maar vooral die sterke composities, een knappe stem, goeie teksten en naar verluidt een sterke podiumpresence doen het hem. Of het nu solo, als duo of met de vijfkoppige .44 is dat je de 24 jarige Ricky aan het werk ziet, overal is het zijn passie en natuurtalent dat je moeiteloos inpakt. Ik heb dat laatste natuurlijk alleen maar van horen zeggen, maar hopelijk krijgen we ooit nog de kans deze talentvolle kerel eens live te bewonderen. Als je nummers als "One And The Same", "Shreveport Blues" of "We're Gonna Make It" hoort, weet je al dadelijk waarom. Aanrader!

-RON


rough translation:

When you come out of Austin, you already have a leg up, and I think that this is no different by the rest of the Rootstime team. Of course you have to prove yourself, but in this case it is more than OK. When you sound like a cross between a young Doug Sahm, Bruce Springsteen and Townes Van Zandt and you write songs of a high caliber, very little can go wrong.

This CD has been played on my CD player many times, I can't get enough of it. As I have said before: Ricky's voice sounds a lot like Doug Sahm and the old fashioned Wurlitzer sound of the keyboard of Nathanial Klugman reminds me immediately of the sound of Augie Meyers. But to compare Ricky Stein and the .44 with a younger version of the Sir Doughlas Quintet is of course wrong. The White Stripes and My Morning Jacket you can hear come through, but also the old guard, like the Stones and Dylan.

It is hard to place it or put it in a box, this music of Ricky's. Mostly Americana, OK, but also part blues, somewhat Southern and lots more. But especially the strong compositions, a brilliant voice, good lyrics and sound, and stage presence make him. Whether it is as a solo, a duo, or with the .44, you can see the 24-year-old Ricky at work, everywhere in his passion and his natural talent that grabs you. I have heard that latest only from hearsay of course, but hopefully we get the chance to hear this talented guy in person. If you hear "One and the same", "Shreveport Blues" or "We're Gonna Make It", you'll know at once why. Recommended! - Rootstime.be

Ricky Stein is a young gun with an old Austin musical soul. With a powerful voice that’s large and fearless Stein is at his best on this album. Self described as Americana music, Stein goes way beyond that to put out a blazing debut album that is more of a blues sound with his heart on his sleeve, than just pure straight-up standard Americana music. Playing in venues like Hole in the Wall, Momos, Atones, and the Saxon Pub solo and oftentimes with the full piece four member band behind him they’ve been spreading their music amongst crowds that are wowed by this 25-year-old’s performance. On stage, it’s as if he’s in a passionate musical trance that fits him perfectly. Plugging the hole between a sound of Townes Van Zandt and Dough Sahm, Stein brings his own style to his songwriting and sound. Opening for Austin big hitters like Chris Brecht, Mario Matteoli, the Dead Flowers, Slowtrain and others, he hold his own and often temps the crowd with his sound way beyond those that come after him on stage. Influenced by bands such as Wilco, My Morning Jacket and the White Stripes are evident, but subtlety seen in his music. Stein is powerful as a solo act, but is complimented nicely on the album with the .44. Co-produced by Matt Hubbard he gives the album momentum and color including one of the best tracks, “We’re Gonna Make it” which brings in the go-go organ. Several originals sound like covers including the screaming and powerful bluesy “Shreveport Blues,” but he also channels a little Jerry Garcia on tracks like “I Don’t Mind. The title track showcases Stein’s ability to be thoughtful and vulnerable in his singer-songwriter side. “Don’t Leave Me Hangin’ On” is a whirlwind ride with a punching rhythm section. “Strange Sense of Humor” opens with Hubbard on harmonica, a nice touch, and moves into a nice swinging rhythm. There is a sense of freshness to Stein’s album that rocks all the way through and takes you on a rhythm and blues ride that also rolls in some serious rock and roll. His endless energy and forthrightness on stage comes through just as powerfully on this album as it does in a live performance that is a tough endeavor, especially when you consider this young songwriter/singer’s age. - austindaze.com

Tuesday, May 18th, 2010

Ricky Stein @ Louis Bar & Grill

Austin's Ricky Stein is a 25-year-old indie roots-rocker who's pulling in some rave reviews in a town that's a treasure trove of great musicians. The Austin Chronicle said Stein's 2009 CD Crazy Days is "excellent right out of the gate." While the Austin American-Statesman boldly proclaimed that the debut disc "puts Stein in the valley between Doug Sahm and Townes Van Zandt. Stein's voice is big and fearless, and his band hammers the groove." The Dallas Morning News noted Stein's influences range from Wilco, the White Stripes, My Morning Jacket, and Bob Dyland to the Rolling Stones. Intrigued? Get on over to Louis' in Benson and catch Stein in an acoustic showcase for his new EP In the Red. Free show, cheap drinks, roots-rocker on the rise. No brainer.
-B.J. Huchtemann - Omaha Reader

May 21st, 2010

It's 5 o'clock on a Wednesday, and Ricky Stein has spent his afternoon driving from San Marcos, Texas southeast to Lubbock. Tonight he'll perform his original roots-rock songs at Bash Riprock's, a college bar one block west of Texas Tech University.
Three hundred and thirty-three miles separates San Marcos and Lubbock, and Stein is driving all of it alone.
"I don't mind," he says while he pulls off the road to talk to me by phone. "I actually kind of like it. I've written songs when I'm on the road by myself."
This month, Stein will drive alone from bar to coffee shop and state to state, guitar in his back seat. He'll play solo shows in Colorado, Nebraska, Minnesota, Wisconson, Illinois, Missouri, Tenessee, Alabama, and Louisiana, all before Memorial Day.
"I just love to play for people," says Stein. "I'm addicted to it." Stein's Madison tour stop is Friday, May 21st at Mother Fool's Coffeehouse.
Stein, 26, grew up in Austin. He still lives there when he's not on tour.
His father, Rick Stein, was an Austin musician in the 1970's, but Ricky says he didn't catch the music bug untill he was in high school. That's when he went to a house party and saw a friend play a cover of Santana's "Oye Como Va".
"There was just something about the way he was playing it," says Stein. "I thought it was so cool, and I knew that's what I wanted to do."
Stein released his solo debut, Crazy Days, in 2009. The album is a diverse set of roots-rock. "One and the Same" shows off his bluesy side. "Keap St." is a bittersweet, mellow country-rock song. The piano ballad "Tarrytown" sounds like an Eliot Smith song.
When he's not playing solo, Stein performs in Austin as part of the .44, a roots-rock band that released a four-song EP earlier this month.
Stein will drive alone more than 200 miles from Minneapolis to Madison on Friday. Then he'll play to a Madison crowd to earn gas money for the next day.
And that's just how he likes it. "It's what I want to do every night."
-Rich Albertoni - Madison Isthmus

Journalist-musician Ricky Stein asked me to come by early to catch The Lonesome Heroes before his midnight show at the Hole in the Wall - and what a nice surprise they were [more later]. But since it was also the first time I was getting to see the gravel-voiced kid whom I know as a bigtime supporter of his musician buddies, I had been looking forward to a long evening already.

The first thing you notice about Ricky Stein is his ENERGY -- and on stage, that gregarious outgoing nature seems to get magnifed twice over. My first impression of Ricky and his (still unnamed) band was -- WOW! These guys remind me of the first time I saw Jack Ingram and the Beat Up Ford Band (at a Robert Earl Keen extravaganza back in Houston a long, long time ago -- also the first time I saw Trish Murphy as a solo act and the first time I saw Ian Moore).

Now, Ricky plays a whole lot more Chuck Berry (and even Ray Charles) than Jack (who among other things overcame playing live in the movie "Hope Floats" but not being credited or even included on the movie sound track CD -- contract issues, I am told) -- but the honest Texas freshness and the respect for musical forebears and the high energy on stage are very much a part of both musicians' repertoire. Who knows? Maybe Ricky will someday equal the output of another famous Texas journalist-songwriter who graduated from Klein High School more than a few years back.

Longtime mates Phil Morris (bass) and Nathaniel Klugman (Roland keyboard) were joined by drummer Josh Weinholt and guitar gunslinger Hunter St. Marie (a Galveston native now ensconced at Texas State - so thanks for the drive up the road), and the band did a fine job of filling in the spaces Ricky left for them to improvise. The songs ranged from full-tilt boogie woogie to Texas blues (Down and Out in Dallas, featuring Ricky on harp and Hunter on slide, was memorable) to oldies but goodies (Too Much Monkey Business, I Got a Woman, and - in quite a change of pace - I Shall Be Released) to a fine cover of Bill Davis' "Money on You."

My favorites, though, were a new original, "Every Step of the Way," which reminded me of Jerry Lee Lewis (thanks, Nathaniel!) and also was the number on which Hunter started really getting loose on stage, and "DC Blues," which just plain rocks! Ricky has announced plans for a debut CD to be produced by Texas Music Hall of Famer Freddie Steady Krc (and that ain't bad!). Ricky is playing Thursdays at the Hole for the foreseeable future (next week with Slowtrain, two weeks from now with Black Water Gospel), and may also be seen on Tuesday at Momo's.
- flanfire.com

Ricky Stein is throwing a party at the Continental Club on May 14th. Slowtrain opens, then Chris Brecht and the Dead Flowers Band, and about midnight Ricky [shown here at a show in 2006!] strides out on the stage. The very next day, Ricky and his band, The .44, take off on a whirlwind tour of the Eastern U.S. — Galveston, Houston, New Orleans, Chapel Hill, Baltimore, Philadelphia and Asbury Park (home of Springsteen), New York City, Pittsburgh (home of Brett Staggs and his band the Longtime Darlings — and who played drums on Ricky’s record), Columbus (OH), Nashville, Memphis, and Dallas. Then it’s back to the Saxon Pub on June 6th.

Oh, the band. Longtime collaborators Phil Morris on bass, Nathaniel Klugman on keyboards, and current Baltimore resident (but former Austinite and longtime band member) Josh Weinholt on drums, plus Stuart Burns on lead guitar. Slowtrain’s Adoniram Lipton played guitar on the record, as did “Spencer Jasper” (a local guitar legend who prefers the relative anonymity that his rockstar son may draw him out of someday). Matt Hubbard (one of the real geniuses in this town) produced and plays organ and harmonica on the record — and Lacey SImpson adds some vocals. And, yes, “Crazy Days” was appropriately produced at Willie Nelson’s World Headquarters in Luck, Texas (and at the Hub).

Now for me, this recording is like meeting an old friend after a long separation. Ricky has gone from playing at the Hole in the Wall every week to solo shows at the Saxon and around to a few shows here and there at Antone’s and around to mostly working at the studio to finish up the CD. For those of you who might be new to Ricky’s music (probably a majority of Flanfire readers), Ricky has a BIG voice and an infusive energy that keeps people on the dance floor or just dancing in place (as the venue requires).

I remember Ricky doing Chuck Berry covers and other old R&B — and he could make a nice living playing covers at dance halls and weddings. But the guy is a SONGWRITER (and journalist, for that matter) — and a real friend. A guy who can be conversant on a broad range of topics. A guy who sizes people up to see if they are just chattering or actually saying something worth hearing. We have been cheering him on as he struggled for years to find the right way to record his music — the right people, the right studio, the right sound (he toyed with doing an acoustic solo record, for example), and the right timing. But of course he has rolled a 300 game on all of the above.

Matt Hubbard is the right producer, Willie’s is the right studio, the players all know Ricky and his music well (as shown by their interpretation), and there could be no better time than now (even with the down economy, or maybe because of it) for songs that evoke an earlier time when all was good in America — you always leave a Ricky Stein show with a smile on your face and a bigger one in your heart.

I gotta say that the title cut — the lone truly acoustic cut on the record — is a MASTERPIECE! This has been a favorite song of mine and so many others for a very long time — and this is classic R&B pop. You have to think this guy is George Thorogood or someone who has “seen his share of miles” especially as you realize these songs are three or four or more years old — not the work of a guy still in his early enough twenties.

From the very first line on the record, you quickly realize that the T-Birds and the Black Joe Lewises and the Soul Track Minds of Austin music were not even on the scene in Austin when Ricky Stein was tearing it up with his R&B influenced rock and roll. Morris’ athletic bass and Klugman’s funky keyboards for years have helped create that Ricky Stein sound.

“One and the Same” gets you going, but “Don’t Leave Me Hangin’ On” has that energy from the thythm section that you know is about to EXPLODE! This is CLASSIC stuff — so when you come to the Continental (and, yes, you T-BIrd and Black Joe and Donovan Keith fans, you would be wise to come) you better bring your DANCIN’ SHOES. And your vintage Fifties clothes. [I hope Ricky shows up with flowers for all the ladies -- cause when he sings, "maybe there's somethin' else goin' on," they will want a little reassurance and love.

"Keap St." (which I have always known as "We've Come a Long Long Way") is like butter on toast with a hot cup of coffee on a Saturday morning after a great Friday night out with your honey. A song of reflection of good times, hard times shared together and that realization that life is good. [And you can swing dance to this one!] “Tarrytown” is a plea for love (of sorts) — “to find your heart, I had to lose my mind” — the cut on the record has Hubbard playing a caliope-sounding keyboard while Klugman’s piano provides a fine counterpoint.

Then comes the hard-rocking “Shreveport Blues,” which opens with “A dark day in Louisiana feeling like I’m gonna die….” This is a screamer — I know that Sasha Ortiz used to listen to Ricky a LOT (not saying which clubs) — that only gets better live and in person. It is a guitar player’s song!

“I Don’t Mind” is maybe the newest song on the record — sounds more like a Grateful Dead song than anything else Ricky has done. The guitar solo here is just lovely. Then there’s the walking blues, “Down and Out in Dallas,” which has a shout-out to “Rebel Radio” — another great song to dance to. Maybe Drew Smith learned his vocal pacing from Ricky (who has been doing it here in Austin for years). And, yes, there’s another (very different) guitar solo of note here (likely by that Spencer Jasper guy who may have toured with Calvin Russell a few times). And one suspects a Hubbardian organ solo. Did I mention these songs are all singalongs when Ricky’s crowd is in the house? Kinda like a testosterone version of Shelley King’s songs and shows.

“Strange Sense of Humor” opens with Hubbard on harmonica — and moves into that shuffle that once again lets you swing her in and out and back around — or better yet, a jitterbug party. [Imagine this band outdoors on a cool summer evening in Colorado or an early spring or late fall evening in Texas!] And while I am at it, “Crazy Days” is a great hold her tight song — both the music AND the lyrics .. “Was I wrong to treat you right … I never knew the easy life could be so hard…” This is the guy apologizing to his lady (who may think she doesn’t love him anymore) and reassuring her that he has become the man she was always training him up to be…. and he has finally begun to appreciate her.

Which of course leads into “We’re Gonna Make It,” because now that he has changed … the future is so bring they both have to wear shades. Or something like that. This is a great closing song — and Ricky here goes from crooning to shouting and back to crooning all in the same song. I hope he ends the show at the Continental with a 10-minute version and everybody who worked on the record plus his dad and half of Austin on the stage or on the dance floor — and then jumps off the stage right into the arms of …. Steve Wertheimer with a HUGE “thanks, Ricky, for doing this show HERE!”

-Duggan Flanakin - flanfire.com

Putting out a good record makes all the difference in a musical career, so while Ricky Stein has been bashing away with his R&B-laced bar band rock at the Hole in the Wall and doing solo gigs at Saxon Pub, the release of "Crazy Days" gives the 24-year-old momentum like he's never had before.
Co-produced by Matt Hubbard, who colors everything, including thrilling closing track "We're Gonna Make It," with a go-go organ, "Crazy Days" puts Stein in the valley between Doug Sahm and Townes Van Zandt. Stein's voice is big and fearless, and his band hammers the groove on "Shreveport Blues," one of several originals that sound like a cover. Then his voice goes off in search of Jerry Garcia on "I Don't Mind." The title track, meanwhile, shows Stein's pensive, vulnerable singer-songwriter side.
It's an album Stein should be proud of, which makes for a promising CD release show tonight at the Continental Club.
Slowtrain opens, then Chris Brecht and the Dead Flowers Band play the middle slot.

— Michael Corcoran - Austin American Statesman