Ol' Hoopty
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Ol' Hoopty

Asheville, North Carolina, United States

Asheville, North Carolina, United States
Band Rock Soul


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"Key's Under the Mat by Ol' Hoopty"

Despite the lush, professional quality of Ol' Hoopty's new disc, there's something friendly and casual about Key's Under the Mat. First, there's the welcoming title, and then the extensive cast of local guest musicians, from guitarist Tom Leiner and cellist Billy Jack Sinkovic to vocalists Stephanie Morgan and Peggy Ratusz. But Ol' Hoopty's singer/songwriter/musician collective (Bill Norlin, George Scott, Steve Cohen and Mike Berlin), with the addition of velvet-voiced Crystal Bray, make for a fully-realized line up. Song selections touch on themes of Americana, blues and rock, but the band really reaches its stride on keys-driven, horn-accented R&B-flavored numbers like "Step Back Baby." - Mountain Xpress, Asheville, NC 10/24/09

"Ol’ Hoopty offers ‘classic, comfortable’ music at Eagle show"

Bassist Steve Cohen admits it wasn’t exactly breeding ground for rock ‘n’ roll, but for Ol’ Hoopty, it was a local home-schooling recital that brought the band together. And judging by the loving time and care the band members have put into their debut album, it only makes sense that the group was founded by parents.
Ol’ Hoopty has all the theoretical makings of just another hobby garage band – five locals busy with kids, jobs and daily lives. But somehow this local ensemble has created an incredibly unique yet surprisingly tight sound.
“That’s the great thing about Asheville,” Cohen, a Bronx, NY native, said. “Everybody has these full lives and cool day jobs, but at night, we can just get together and jam to make some incredible music. “
A spicy gumbo of sound
Ol’ Hoopty’s carefully crafted debut, “Key’s Under the Mat,” consists of 12 bluesy tracks described by the band as ‘organ-ic rock ‘n soul,” and “just a big, spicy gumbo of all the things we all grew up listening to. We take our time and keep that groove cooking.” With a combination of all original solo and co-written songs, Ol Hoopty’s unique sound reflects influences spanning Louis Jordan, Booker T. and the MGs, Little Feat and The Band.
With day jobs ranging from local carpenter Bill Norlin on guitar to information technology director George Scott at the keyboards, the band members’ backgrounds are truly as diverse as that spicy gumbo of a sound they’re cooking up.
After a successful career in New York working as a manager for performers like Bobby McFerrin and David Byrne, and even opening for the Police and the B-52s in one of his 1980s bands, Cohen found himself in Ashevlle. It was only here that he was able to successfully manage the careers of other local bands while cultivating and managing his own.
Handmade music
Although covers are sprinkled throughout their sets, most of Ol’ Hoopty’s tunes are handmade and original. “We put a lot of tie and care into making this album,” Cohen said. “We got to give it the kind of scrutiny you never get to put into performing with a live band.”
Ol’ Hoopty’s sound is as smooth-running as a classic old car. “We all picture an Ol’ Hoopty as this beat-up old Bonneville with fuzzy dice in the mirror and duct tape on the bumperm” Cohen jokes. “There’s a classic, comfortable feel to our music, too – it kind of just feels like an old car.”

Casey Blake – Asheveille Citizen-Times Take 5 section Nov. 6, 2009
- Asheville Citizen-Times Take 5


"Key's Under the Mat" 2009



Put on Ol’ Hoopty’s debut CD Key’s Under the Mat, and try to envision how this music came together. The strands that crisscross through this band evoke the threads of a prized old quilt that’s been in the family for generations. Like the homemade crafts that are such an important part of this band’s home town of Asheville, North Carolina, Ol’ Hoopty has put this record together patiently, with love, care and attention to detail, pretty much in the spare time that five busy lives have allowed.

Keyboard player George Scott and guitarist Bill Norlin, together with their quite formidable wives, devote much of their time to homeschooling their children. The two met at a recital, where all five of their seriously talented kids were performing. George, the highly effective information systems director for a public HMO, is the band’s only authentic native of western North Carolina, his mom a music teacher/singer and his dad, a retired professor and opera singer. George naturally started his lessons on piano and trombone early, hoping to follow in the footsteps of his band director and mentor Tex Overby. While his sister went on to a local symphony orchestra, George gravitated toward the likes of Pinetop Smith and Dave Brubeck. Bill started early as well, playing guitar and singing Tom Dooley to his fourth grade music school class. Though he played in rock bands as a teen, he grew to love jump blues, r&b and blues above all else. Bill rambled around from Mobile to Metairie to East Oakland, and somewhere along the way became a damn good carpenter. He’s now known around the Asheville area as an expert remodeler and busker.

After a few jam sessions, during which they naturally gravitated toward music by the likes of Jimmy Smith, Booker T. and the MGs, and Louis Jordan, George called drummer Mike Berlin over to sit in. Mike grew up in Baton Rouge, his mom sneaking him in to Tabby’s Blues Box and Abe’s Bar-B-Q, so he could learn the fine art of backbeat drumming. Mike, who runs a video production company with his brothers Bubba and Brian, had just brought his gumbo into the mix, when Steve Cohen decided to answer their “bass player wanted” ad in Asheville’s weekly, The Mountain Express.

Quite unlike these polite Southern boys, Steve’s a New Yorker through and through, born and bred in the beautiful Bronx. He’d recently relocated to Asheville, bringing his music management business with him. For years Steve had alternated between pursuing his business career, managing artists like Bobby McFerrin, David Byrne and Laurie Anderson, and taking off on the road to tour Europe and the US with great NYC-based artists like Richard Lloyd (Television) and Chris Stamey (the dBs). One of Steve’s 1980s bands opened for everyone from the Police and Iggy Pop to the Hollies and the B52s. He’d made records and videos and played concert halls and clubs, always seeming to be about a week away from making ‘the big time’. After forsaking the bass for nearly a decade in favor of managing other musicians, Steve was determined that his move to Asheville would be the start of a personal second act. No longer worried about a career as a player, it was time to focus solely on the music.

The four of them immediately gelled, and made it a point to explore a wide range of their interests. No Mustang Sally for them; these guys were playing Big Joe Turner, Wilson Pickett, Ray Charles – music with depth and soul that would let them stretch out and grow. George brought some of his own instrumentals, and Steve, who hadn’t written a song since Ronald Reagan was president, set out to write lyrics and vocal melodies to some of them. Bill had his own trove of original songs, and he and Steve started collaborating as well. “I had what I thought was a great idea for a somewhat tongue in cheek song. Then Bill put a completely different spin on it and brought I Don’t Miss New York to a place I never would have reached on my own.”

Meanwhile, while he was carefully trying not to get all New York with the guys and steamroll their hand-made project, it was inevitable that Steve would start ratcheting things up. “All of a sudden we were doing really well in regional polls and we found ourselves playing on big outdoor stages,” recalls Mike. “The strong sense of purpose we’ve developed together has turned out to be a lot more rewarding and a lot more fun than any of us could have predicted.” By and by they built Juicebox Studios in George’s house and learned how to make a record. “Recording was always a big, expensive undertaking,” says Bill. “Computers have made it so anyone can make a record.” It’s just fortunate that these guys aren’t just anyone. Putting the songs through numerous demo stages, refining the parts and the structures, Ol’ Hoopty was on the way to making a record on their own terms.

Halfway through the recording, George, who has a knack for being in the center of things, went to see some music at the White Horse in Black Mountain, whe