Randall Bramblett Band
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Randall Bramblett Band

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The best kept secret in music


"Robert K. Oermann"

—Bluesy and rollicking, alternating his huffing vocal with a steamy electric guitar workout. I guarantee you will listen. - MUSIC ROW MAGAZINE


For his third album on New West, singer/songwriter/multi-instrumentalist Randall Bramblett delivers another terrific set of intelligent, folk-inflected Southern rock. Drummer Gerry Hansen replaces Michael Rhodes as producer and he helps position the sound to be more direct and stripped down than on past Bramblett releases. There are fewer loops and not as much layering of instruments, which makes the approach more immediate, but no less affecting. Bramblett's honey and grits voice perfectly conveys the feeling of loss that runs through the melancholy lyrics of tunes such as the lovely "The More You Fade," "Hate to See You Go," and the opening "Where Are You Tonight?" That's not to infer that these songs are depressing. On the contrary, the predominantly midtempo arrangements and melodic choruses are inviting, and even on the forlorn "Stupid Shoes" the swampy vibe is as compelling as anything from ex-employer Steve Winwood. Each track is a mini-story as Bramblett's earthy yet often dreamy lyrics and rootsy instrumentation enhance the muted colors. The "oil spot" that leads off "Oil Spot" is obviously a metaphor for something much different, but it is never explained. There are a few more rockers than usual, in particular the rollicking title track and "Queen of England," the only tune where Bramblett unleashes his sax. Instead, Bramblett's keyboards and acoustic guitar flavor the songs, all of which are beautifully arranged and immaculately, but not soullessly performed. Hansen's creative drum fills and longtime associate Davis Causey's less-is-more electric guitar solos hug the curves of the material and flesh out the melodies. Bramblett's moody ballads dominate with "It's Alright," one of the most stunning tunes despite its rather simplistic title. Repeated plays yield increased enjoyment as the songs gradually take hold and the lyrical turns and musical subtleties like the humming background vocals in "Somebody Like Me" become more apparent. For an artist that has stayed under the radar for too long, Rich Someday deserves to be the album to put talented veteran Bramblett on the map. - AllMusic - Hal Horowitz

"Bramblett's back, 'Rich' and raspy"

Randall Bramblett has spent much of his musical life living in the shadows. His role as a hired hand - on piano, organ and sax - for live tours with acts like Traffic, Sea Level and Greg Allman, has kept Bramblett's bread buttered. But his string of periodic solo CDs reveals him as fully ready to hold center stage himself.
Bramblett's latest CD, "Rich Someday," stands with the mature wing of American singer-songwriters, from John Hiatt to Steve Earle. His melodies are sturdy as oaks, his lyrics chiseled with grizzled observation.

In "Rich Someday" he wryly dreams about a world he knows is dying. The title of another song dubs life a "beautiful blur."

But Bramblett's greatest talent is his musky rasp of a voice. He has the soul of Paul Rodgers, but with more sensitive shading. After suffering long gaps in his CD releases, Bramblett has lately stepped up their pace. Let's hope it's a trend.

- NY Daily News - Jim Farber

"Randall Bramblett"

An in-demand sideman with the likes of Bonnie Raitt, Delbert McClinton and the Allman Brothers, Randall Bramblett displayed considerable songwriting chops on his previous solo outings. On Rich Someday, Bramblett applies his earnest rasp to songs that bounce from blue-eyed soul to R&B to Americana, each dense with skillful playing. The title song, a swampy blues-rocker driven by drummer/producer Gerry Hansens’s catchy beat, is the only tune to rise above midtempo, but the others – particularly “Where Are You Tonight” and “Beautiful Blur” – have an urgency that adds speed, even the singer songwriter ballads (“Concrete Mind”, “It’s Alright”). A highlight is “Oil Spot”, with a sing-along chorus and a pair of guitar solos in the bridge that’ll have you hitting “repeat”. - No Depression - Buzz McClain

"Editorial Reviews"

With searing guitar solos, rollicking (and occasionally churchy) keyboards, call-and-response choruses, and acoustic/electric interplay, Randall Bramblett and his whip-crack band evoke the era of '70s Southern rock in which he came of musical age. Yet the down-home philosophizing of the older-but-wiser songcraft shows the benefits of decades of additional maturity and experience. These meditations on love and loss, impermanence and eternity, are never pretentious and often profound. Bramblett casts life as a "Beautiful Blur," finds some world-weary resilience in "Rainville," vows to persevere wherever his "Stupid Shoes" lead him, and convinces in the title track that the desires that motivate most folks mean nothing. In "It's Alright," the tender "The More You're Fading," and "Hate to See You Go," he writes the sort of bittersweet balladry that both engages your brain and breaks your heart. Though Bramblett has mainly been known as a multi-instrumentalist sideman (with a résumé that ranges from Gregg Allman to Traffic), this is the work of an exceptionally thoughtful and soulful singer-songwriter. - Amazon.com - Don McLeese


Rich Somday - 2006 New West Records
Thin Places - 2004 New West Records
No More Mr. Lucky - 2001 New West Records
See Through Me - 1998 Capricorn
Other Mile/Light of The Night - 1975, 1976 Polydor


Steve Winwood
Refugees of the Heart (1990)

DVD/CD (1994)

Widespread Panic

The Allman Brothers Band
All Live (1998)
—Sax (Alto), Sax (C-Melody), Sax (Soprano)

Gregg Allman
Allman and Woman: Two the Hard Way (1976)

Gregg Allman Tour (1974)
—Saxophone (Alto), Sax (C-Melody),Sax (Soprano), Organ, Horn, Horn Arrangements

Atlanta Rhythm Section
Back Up Against the Wall (1973)

Elvin Bishop
Sure Feels Good: The Best of Elvin (1970)
Let It Flow (1974)

Bonnie Bramlett
It's Time (1975)

Lady's Choice (1976)
—Saxophone, Sax (Soprano)

Boyer & Talton (1975)
—Saxophone, Vocals

Cowboy (1977)
—Saxophone, Vocals

Different Time: The Best of Cowboy (1993)
—Saxophone, Sax (Alto), Sax (Soprano)

Doubting Thomas
Who Died & Made You King? (1998)

Enlightenment Road Band
Songs from the Road to… (2001)
—Piano, Organ (Hammond), Sax (Soprano), Vocals

Filet of Soul
Incommunicado (1998)


Bonnie Raitt
Souls Alike (2006)

Atlanta Rhythm Section
Back Up Against the Wall (1973)

Beaverteeth / Dam It (1978)

Hot Tuna
Pair a Dice Found (1990)

Delbert McClinton
Keeper of the Flame (1979)

Ultimate Collection (1999)

Rick Nelson
Stay Young: The Epic Recordings (1993)

Francine Reed
I Want You to Love Me (1995)

Sea Level

Ball Room (1980)
On The Edge (1978)
Best of Sea Level (1977)
Cats on the Coast (1978)
Long Walk on a Short Pier (1979)

B.J. Thomas
Longhorn & London Bridges (1974)

Jamie Walters
Jamie Walters (1995)

Kate Taylor
Beautiful Road (2003)

Roger Glover
Snapshot (2002)

Delta Moon
Goin' Down South (2004)


Feeling a bit camera shy


Arguably the ultimate ‘team player’ in American rock/blues/soul music, Randall Bramblett has made himself so valuable as a singer, multi-instrumentalist and songwriter for other groups and artists that his own solo work has too often gotten short shrift, with compressed recording-time windows and supporting tours abbreviated by his many outside, ‘on-call’ studio and touring obligations. But for Rich Someday, Randall’s third solo disc for New West Records, this deep-rooted Georgia native was afforded the luxury of virtually unlimited studio time with his own hand-picked touring band, resulting in the finest recording of his long career.

A fluid, fluent master of piano, organ and saxophones—AND equipped with a distinctive, velvet hammer of a vocal rasp that fairly oozes vintage R&B/soul tradition—Bramblett boasts a top-drawer resume that traces the Southern rock lineage (from ARS, Gregg Allman and Sea Level right on up through Gov’t. Mule and Widespread Panic), adding cool side-trips into the blues/R&B (John Hammond, Francine Reed, Johnny Jenkins), alt-rock (Vigilantes of Love) and rock icons Steve Winwood and Levon Helm along the way.

In addition, his sturdy songbook has been tapped by such disparate artists as the late Rock’n’Roll Hall of Famer Rick Nelson, roadhouse legend Delbert McClinton and, most recently, the incandescent Bonnie Raitt (who covered Randall and Davis Causey’s “God Was In The Water” on 2005’s Souls Alike).

The seed of the new Rich Someday was planted two years ago when Bramblett and guitar wizard Causey (a long-running musical tag-team since before their days with Sea Level) set about assembling a new band in Athens. Davis arranged a hook-up with drummer/producer Gerry Hansen (Sean Mullins, Amy Ray, Jennifer Daniels) and, in short order, everything else just fell into place.

“Gerry kinda pulled this whole thing together,” Bramblett says. “He lives in Lawrenceville, over near Atlanta, and he has a little studio there. I played some sessions with him; he was great—a song-oriented drummer who really paid attention to serving the song. I knew he was the right guy, and I talked him into joining.”

Hansen was also responsible for connecting with the final two cogs, recommending rhythm guitarist/vocalist Mike Hines from Atlanta and bassist/vocalist Michael C. Steele from rural Athens. Both had wide-ranging backgrounds (including country sessions), got along famously in the group and—as a bonus—Hines proved invaluable with website set-up and merchandising.

“When we rehearsed, we found out they both could play and sing anything,” Randall recalls, “so we knew this was the right band. We’ve been together two years now, and it just gets better and better…”

“This is a real band,” he continues with palpable enthusiasm, “and Rich Someday is more of a band record than I’ve ever been able to put together; we didn’t use any outside people except for one singer.” [Michael Jones on “Somebody Like Me” and “Stupid Shoes”]

But isn’t it a bit, uh, odd to have a drummer as a producer? “It is,” admits Randall, “and while I thought he was a great drummer, I didn’t know that he was such a great producer until I started recording over there.”

Hansen’s cozy and relatively accessible home studio initially may have served as a site for rehearsals and demos, but Bramblett and his band quickly became enamored of not only the immediate, transparent sound of the recordings, but also the spontaneous, natural vibe—and the drummer’s production skills came to the fore immediately.

“We all wanted it to be more organic—a little trashier and funkier sounding,” says Bramblett, “and Gerry was such a leader with his suggestions, his playing, his arrangements and his approach to—his vision of—the record. No matter what you do or say, when you go to Nashville or to a more established place, it always gets a little slicker than you want it, but Gerry kept us on task to do what the song required. He’d push us to play in ways we wouldn’t normally, and when it fell into place and felt just right—even if it was raw and ragged—that’s when the song was done.”

Still, Randall insists, “We all had a part in the process, and Davis Causey had great input, as usual. I haven’t mentioned him nearly enough. He has a truly unique style and the ear for putting unusual sounds in; he adds a special sound to our group that couldn’t have come from anybody else.”

Bramblett wrote or co-wrote (three with Causey, two with Buddy Blackmon and one with Jason Slatton) all of Rich Someday’s thirteen tracks, and his startlingly soulful voice (thanks, in part, to a newly-found “cheap Chinese” microphone that gave his pipes “the edge we were looking for”) has never sounded better.

Riding a tightly-wound, serpentine path through the rich musical soil that spawned them, the band dials into blues, rock, soul, and R&B (plus a healthy dose of singer/songwriter introspection) as Randall works a dominant theme of disconnection—both real