Scott Nolan

A former hired gun for such bands as Nathan and the New Meanies deservedly steps into the spotlight.

He may be a relative unknown right now, but Scott Nolan should soon be recognized as a laid-back master of steady pacing — one who knows when it’s time for taste and restraint and when it’s time to take his foot off the brake.

Singing with easygoing nonchalance and weary but not entirely dissatisfied vocals, Nolan opens No Bourbon and Bad Radio with the driving yet wistful "Golden," pouring out a timeless take on lost love and regret. It quickly spills over into the equally melancholy "Sad Story/Beautiful Song" before moving into the country-calypso of "Daytime Moon."

At this point, just as you’ve slotted this album into the mellow, rainy day category, Nolan jams his foot down on the accelerator for the gritty telecaster twang of "Right on the Wrong Time." It’s a serious mood-swing that reappears regularly from there on in, ending the CD with the raucous title track and leaving the listener with no doubt – this is not some sad-bastard blues-roots-country record, but a testament to a very well-rounded songwriter.

Rick Overwater


- FFWD Weekly

The long-awaited debut record from Winnipeg's Scott Nolan is a twangy testament to the strength of the Winnipeg roots scene. At it's best - and most of this album could be considered that - Nolan's songwriting is a loving nod to it's vintage country and blues roots, enhanced by his wickedly wry, clever lyrics and fresh delivery. "Famous in Texas" is a cheeky, irrestiable little ditty. "Three Shades of Blue" moseys along with its deceptively lovely melody and "Clint Duty" is a fiery toe-tapper. While Nolan's acerbic quaint drawl and deft rhythm guitar hold the album together, contributions from a horde of Winnipeg's finest players - New Meanies guitarist Damon Mitchell, the D. Rangers, Rudimentale vocalist Sarah Dugas - give the record depth and colour, not to mention an engaging community vibe.

Melissa Martin
A


- Uptown Magazine

A memorable picture. A simple message. And a few licks that put a stamp on the whole affair to bring it home. Eclectic rootster Scott Nolan could hardly have come up with a more apt title for his winning solo debut. It's plucky 13 tracks are snapshots of Nolan's musical wanderlust, which take him from raucous roots-rock to high lonesome folk to twangy blues to willy-nilly hillbilly boogie and back. All the while, his distinctive nasal rasp and whip smart whimsical lyrics show he's just as concerned with what he's saying as what he's playing. Nolan's world is a nice place to visit.

Darryl Sterdan

**** out of *****

- Winnipeg Sun

It's a hard row to hoe when your reputation precedes you. One of the most hotly anticipated local releases was the latest from root-rocker Scott Nolan. On Postcards, Nolan comes out swinging with "Dark and Lonely", a rollicking Ramblin song. Now that he has your attention, he follows that up with a slow cooker before rocking the house with "Famous in Texas". Like a good baseball pitcher, Nolan skillfully mixes things up, such as including yet another mix of "Leaving Vegas". Just by tweaking the arrangement a little, Nolan changes the mood of the song from the original version on Motel 75. That's a testament to Scott Nolan's song writing, which reveals a lot of prairie dirt under his fingernails and highway miles under his wheels.

Broose Tulloch
Easily one of this years best.

- Stylus Magazine

The title song is an ode to the Bella Vista Pizzeria, and it’s a boozy, bluesy set-closer that should become the place’s anthem. Fun as it is, that tune may be the slightest on this album, which sees Nolan situate his speak/sing drawl amid some soulful, rootsy playing courtesy of Joanna Miller, Damon Mitchell and Sky Onosson. Sad Story/Beautiful Song is perhaps his finest effort to date, a lovelorn lament with a deceptively breezy melody. Daytime Moon similarly brings a ska/reggae vibe to a song in which prairie sunsets hasten the impending end of a romance. Elsewhere, Cold Cold Change hangs bitterness on icy, Chris Isaak-like reverb, while Right on the Wrong Time is a spry, uptempo two-step. Most of these tunes can be read as sad, but this is far from a morose record. Like a gnarled old bluesman, Nolan finds peace in letting his heart loose in song, just as he exults in playing at a neighbourhood joint that feels like home — even if it has no bourbon and pipes in bad radio. —

John Kendle
- UPTOWN MAGAZINE