Too Slim and the Taildraggers
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Too Slim and the Taildraggers

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Blues-rock fans who yearn for the down 'n' dirty rock ZZ Top plied during its mid-'70s heyday should check out the eighth release from this Seattle-based trio. Led by singer, songwriter, and primo guitarist Tim "Too Slim" Langford, these veteran boogiemen go hog-wild on blue-collar blasts about beer ("Brown Bottle Rock"), women ("Some Kinda' Momma"), and wheels ("Flatblack Flathead"). Billy Gibbons just wishes his li'l ole band from Texas could get half as funky as Slim and the gang on "Soul Perspective". And just when you think rip-roarin' raunch is all they do, these guys end off with a jazzy Kenny Burrell style instrumental that totally lives up to its title, "Too Cool". - By Steve Newton - Publish Date 4/27/04


Before it rode the mid-'80s music-video craze to international stardom with the MTV-approved T&A ditty "Legs", ZZ Top was the leanest, meanest blues-rock trio around. Nowadays the "little ol' band from Texas" can't make a decent album to save its skin, but the invigorating vibe of its early tunes still resounds via groups like Too Slim and the Taildraggers. The bearded, "Tush"-crazed wonders had a profound effect on guitarist-vocalist Tim "Too Slim" Langford when he was a kid, and the influence is heard throughout his trio's latest CD, Tales of Sin & Redemption. "When Tres Hombres came out, that's right about when I first started playing," says the veteran picker from his Seattle-area home. "I had a cousin who played guitar and stuff, and I kinda wanted to do it, but then I saw ZZ Top live, and it was like, 'I gotta do that!' "

In the past 18 years, Too Slim and the Taildraggers have released eight albums and played upwards of 250 gigs a year, sharing stages with the likes of Ted Nugent, Bo Diddley, Otis Rush, and the Beat Farmers. Langford recalls that the last show his band played with the fabled Farmers was within a month of legendary wild man Country Dick Montana collapsing behind his drum kit and dying of a heart attack at a club in Whistler. "He was on a slow road to alcohol heaven," notes Langford, whose own rootsy boogie is just as rowdy as that which motivated overzealous Beat Farmers fans to soak Montana to the skin with beer every gig. So--even though Langford played with the Spokane Jazz Orchestra for a couple of years, and his trio pulls off a classy, Kenny Burrell-style instrumental on Tales--it's a tad surprising that he's been booked to play a jazz-fest show at the Yale on Saturday (June 26). "I'm hoping they're not expecting us to play a whole buncha jazz," he says with a chuckle.

More than via a soaring sax, Langford's ear finds joy in the southern-toned wail of a bottleneck. The last CD he bought was a live Allman Brothers disc, featuring the formidable six-string team of Warren Haynes and Derek Trucks. "Oww!" he relates, "that Derek Trucks is a great player, you know! He's definitely got the Duane Allman [slide-guitar] thing down." Langford hopes to catch the Allmans when the legendary Georgians open for the remaining members of the Grateful Dead at the Gorge Amphitheatre on July 3; before that he'll take in John Fogerty's June 30 appearance at Marymoor Park, which is situated near his home in Auburn. So could Langford's infatuation with the twangy swamp-boogie king result in covers of "Bad Moon Rising" or "Fortunate Son" when Too Slim plays the Yale? "No, but I'll try to pull some Fogerty licks outta my hat," he offers. "Our 'Mississippi Moon' song, that's Creedence Clearwater-inspired, ya know. I was definitely goin' for the Creedence vibe on that one."

- Straght.com - By Steve Newton - 6/24/04


Wicked West Coast wildman Tim "Too Slim" Langford has once again regrouped his Taildraggers for this brand-new recording in their long-running career. Apart from his solo career as an interpreter of acoustic roots-based blues, especially boogies, this versatile vocalist-guitarist-harp player has a rockin' side to him that compares favourably with his own delta slide guitar and blues-rock peers.

The Taildraggers, from Spokane, Washington, are comprised of long-time drummer John "Midnight" Cage and "New Guy" Dave Nordstrom, whose bass lines, while not quite as prominent as those of predecessor Tom Brimm, blend in very tastefully. You can't get better-suited sidemen than these two guys!

Seemingly possessed by the demons inherent in a rock'n'roll lifestyle, Too Slim has penned these 11 original songs testifying to the trials and tribulations he has experienced, but with salvation, hopefully everlasting, close at hand. While I would hardly classify this collection of songs as "Christian rock" (a seemingly defamatory category that sticks in my craw), it is still very spiritual and introspective in nature.

For example, "Walk on Water", the percussively-introduced opening track, tells of the guidance accepted by an older and wiser mentor who philosophizes about the limitations of mortal men, however exalted they are perceived to be. In other words, let the immortals perform the miracles and keep yourself in check.

Not all the songs are about regret, guilt and fear of retribution, although these sentiments are expressed quite vividly on the Robert Johnson/C.C.R.-inspired "Mississippi Moon" - "….hellhounds runnin', hot after my tail, on a moonlit night on the swamp with the snakes and the alligators", where God ultimately triumphs in the demonic fight for his soul. The guitar-explosive "Soul Perspective", owing a lot, instrumentally, to Robin Trower's "Day of the Eagle", although not vocally, describes his determination to overcome negative forces, as also evidenced on "Missed That Train".

Rather than berate himself too much for his weaknesses for alcohol and women, as heard on the radio-friendly country-rock slide guitar of "Brown Bottle Rock", the double-entendre of "Broad Minded", featuring their trademark sultry blues signature, or the slinky rockabilly edge of "Some Kinda Momma", Too Slim rejoices in these celebratory vices. Maybe he's not quite ready to be saved yet!

The nostalgic, but overly-long "Wish I Was Fishin'" and "Oven Burnin' Woman" are funk-blues-jazz-rock mixtures, the latter offering a sensual analogy to wood-chopping not unlike blues-harper David Rotundo's "Can I Come In Your Kitchen" (from Blues Ignited), which gives a new meaning to "cooking"!

"Flatback Flathead", a slide guitar scorcher with a driving beat, is the requisite "car song". It's right up there with Deep Purple's "Highway Star", David Lindley's "Mercury Blues" or Golden Earrings' "Radar Love", although it sounds like he's getting stiff competition from this vehicle where his lady is concerned!

The CD closer is an excellent smooth-jazz instrumental showcase that reinforces the tightness they have accomplished as a team, as well as displaying the tremendous individual talents of these three musicians.

Highly acclaimed for their live performances in the Pacific Northwest and in several European countries, including repeat tours of Norway, Too Slim & The Taildraggers are bound to be moseying through your town eventually. When they do, lock up your daughters, mama, 'cuz you'll wanna be there first! - By Diane Wells - Published in the WBS Bluesletter


Northwest’s première blues-boogie band release their eighth “Tale Of Sin And Redemption” in the form of eleven searing chart seekers. A musical power-house, Too Slim and the Taildraggers have been a constant on the club trail for well over 17 years playing every bar, ski lodge and festival that would have them. Their fame has brought them six classic platters released on the Bunrside label and won them several “Muddy Awards” from the Cascade Blues Association.

The band is built around the geetar-slingin’ of Tim “Too Slim” Langford. The Spokane native started playing at the tender age of 14 and was in his first professional band by age 18 called The Hombres, a roots country band. By 21 he was a mainstay on the college circuit mixed it up with local ruffians, Studebaker, a band that boasted just as many originals as covers. It was during his stint with Studebacker that he first entered the recording studio and cut a record for Tacoma Records.

By 1986, Langford had assembled what would become Too Slim and the Taildragger. “The band was originally a trio with a fourth guy playing sax, keyboards and horns,” says Langford from his home in Seattle. “That guy lasted about a year and a half – then we cut it down to just three guys. It was more indicative of the band’s true musical tone.” Their debut “Swingin’ In The Underworld” was released two years later. By 1990, they released “Rock 'em Dead”, their first CD originally on Criminal Records, which was then picked up by Burnside Records. With their 1992 disc “El Rauncho Grundge,” they furthered their sound earning them warm press and launching them as one of the Northwest's top acts. Their touring schedule doubled which garnered well-deserved recognition for their live performances. The trio and Burnside decided it was prime time to record the band live. The next album, “Wanted: Live!” (1993), was recorded at the annual Portland (OR) Waterfront Blues Festival and The Central in Seattle, Washington.

With national presence, 1995 marked the release of “Swamp Opera,” featuring Charlie Musselwhite, Jimmy Pugh and Charlie Baty (Little Charlie & The Nightcats). Extending the band’s touring schedule to include Europe, Hawaii and Alaska, international success was soon coming. “Blues for Eb" followed two years later (1997) diversifying the band’s sound to include more swing, rockabilly and shuffle. Yet, it was with last years “King Size Troublemakers” that Too Slim and the Taildraggers hit their stride. A combination of “Hank Meets Hendrix” the record took the best of their roots rock and powered it up with blazing guitars, driving rhythm and wailing harmonica.

With his quickly rising profile Langford stepped away from the marquee of the band to independently release two solo acoustic records in 1999 and 2000. “I’ve always done acoustic stuff on my own,” reflects Langford. “I like to experiment and learn different styles, but sometimes it doesn’t really fit in the frame work of the Taildraggers so, I went in and cut a couple record on my own.” Much like Langford’s own influences, Duane Allman, Jimi Hendrix, Eagles and Elmore James, musical expression is not sewn up in a tight package. It needs air to breathe – and he gets that air acoustically.

Over the past years the Taildraggers have seen their fair share of lineup changes eventually landing on the combination ripe for “Sin and Redemption.” The trio is rounded out by long-time drummer John “Midnight” Cage and recently added bassist Dave “Groove-master” Nordstrom. “Tales Of Sin And Redemption” is Dave’s first recorded venture with the boys and marks a unique milestone for the band. Crisp songwriting, trademark slide guitar and tongue and cheek lyrics make this their most mature offering yet. The combination of Lightnin’ Hopkins hooks, George Thorogood riffs and Johnny Winter passion create a volcanic bed of barroom boogie with sultry swagger.

“Most of the songs for this record were written when we were in Scandinavia last year,” reveals Langford. “We were in Norway and I was watching the moon hanging above this mountain top and that’s when I wrote ‘Mississippi Moon’. It seems kind of funny that I’m writing songs in Europe with all these American references.” Like much of Too Slim’s music, it is that “master of the slide” that gives the entire record a wealth of rich texture and salty sweat. Listen to the chug of “Missed That Train” and brightness of “Flatblack Flathead” for a real lesson in steel on steel.

There’s also no escaping their wiry sense of humor and double ontondras. “Oven Burin’ Woman” with it’s clever farmer’s tail about choppin’ wood, “Wish I Was Fishin,’” a song crafted post 9/11 and “Walk On Water” which moves through a Tom Petty workout with just enough Lyle Lovett and Hank Williams to make it a primary radio cut. The slide work on “Brown Bottle Rock” and muscle of “Mississippi Moon” were highlights at this years Waterfront Blues Festival in Portland, OR. The capacity crowd of well over 50,000 caught the Taildraggers buzz early on chanting the chorus of each new number as if they had been ten-year veterans.

The record ends with the confident “Too Cool” a jazz instrumental shuffle in the style of Kenny Burrell and a fitting tribute as well. For Too Slim and the Taildraggers, “Tales of Sin and Redemption,” maybe their finest effort to date. “When I was first discovering contemporary blues music, I was knocked out with ‘Girls Go Wild’ by the Fabulous Thunder Birds,” says Langford. “Then along came Stevie Ray Vaughan with ‘Texas Flood’ and Robert Cray’s ‘Bad Influence’. I’m hoping this record has that same kind of appeal.”
- Published in "The Cutting Edge"


<a href="http://photobucket.com" target="_blank"><img src="http://i151.photobucket.com/albums/s137/nancyelangford/billboard91.jpg" border="0" alt="Photo Sharing and Video Hosting at Photobucket"></a> - Billboard Magazine



Although generally lumped into the blues-rock arena, Tim "Too Slim" Langford and his band fall into whatever category a combination of Tom Petty, Creedence and ZZ Top would create. Perhaps swampy Americana is closer to the trio's sound, especially on this terrific album. Slim's been at it for quite a while; nearly two decades, yielding a dozen or so releases when this disc appeared in 2007. But that hard work has paid off, big time. Langford writes melodies and especially lyrics that show him to be an under the radar talent who has gone unnoticed for too long. Vocally his gruff voice is somewhat similar to Top's Billy Gibbons and this album is a good example of what that Texas band might have sounded like if they hadn't cheesed out with synths and dance pop in the '80s. Its bluesy swagger on the simple but energetic T. Rex styled boogie of "She Gives Me Money" and the greasy sex of "Baby Likes to Ride" are remarkably effective due to Slim's suggestive vocals on the latter ("she don't like no automatic, gotta be a stick") combined with his slithery slide guitar and the band's in the pocket backing. Meanwhile, Slim's smooth yet edgy slide playing also kicks "Spell on Me" up a few notches. There seem to be a few subtle overdubs but most of the album connects with just the three piece working through arrangements that make the most of the trio's abilities. At six minutes, "Givers and Takers" is the disc's longest cut and its most philosophical. Here Slim resigns himself to a world of "total disregard for other people's needs" played against a mid-tempo groove, aided by guest Oleg Schramm's dramatic organ fills, that heats up as the song winds on. He returns on the closing tune, this time playing a stark accordion that makes the already melancholy "Lonesome Alone" even more heartfelt and moving. While there is plenty of boogie, Slim's evocative words and distinctive growling vocals bring surprising introspective depth to music that could easily deteriorate to bar band grind status. This album is several levels above that. Even with all the miles already on Slim's life odometer, there is plenty of gas left in his tank. His journeyman experience makes these songs resonate more passionately than what's on the surface and connect on a deeper level.


Link: http://wc05.allmusic.com/cg/amg.dll?p=amg&token=ADFEAEE47B16DB4DAA7620CC9333169BE621D208D14FB48D112D56008BED681ADD1127B013A7D1D2B3FA75B335A8F52DA3500CD5DA9F2B&sql=10:fifixzygld0e
- Hal Horowitz


Too Slim and the Taildraggers
The Fortune Teller
Underworld Records
www.tooslim.org

By James “Skyy Dobro” Walker

Too Slim and the Taildraggers is a bomb-blastic trio from Seattle, Washington. With an international reputation, they are known to be among the best in the West and have been one of the Northwest United States’ hottest acts since 1985. The Fortune Teller is an evolutionary album, that borders on revolution, in the musical direction of Too Slim and the Taildraggers.

With 13 previous album releases and innumerable road hours touring has come a mature confidence reflected in The Fortune Teller. As a well established guitar master and artist, Tim “Too Slim” Langford has become a free man to record well crafted songs and expand his gifted songwriting abilities. Since there is nothing left to prove, his music doesn’t have to fit into any box or category, and he has freely evolved and melded various styles into his own sound, creating his own genre: Too Slim and the Taildraggers music.

Indeed, bandleader and founding member Tim “Too Slim” Langford has continued to develop his masterful songwriting and storytelling on The Fortune Teller. This CD takes you on a musical ride, ranging from Southern Rock, Funky Blues-Rock, Swamp rock, Americana, and acoustic folk styles. Echoes of influences from Lynyrd Skynyrd, Tom Petty, Little Feat , ZZ Top, and Neil Young, ring throughout this album, displaying the versatility of this band. Although the band is a trio, they have a full sound with no empty space. The band's live sets are joyous, featuring the blazing guitar solos, astute slide work, harmonica and vocals of Tim “Too Slim” Langford. His top-shelf, skin tight rhythm section is Dave Nordstrom - bass and vocals and Zach T. Cooper - drums.

Langford is a prolific composer of original material, and the 11 new songs in 2007’s The Fortune Teller comprise his 14th release since 1988. A new Too Slim and the Taildraggers album is always a celebratory occasion. The Fortune Teller is a completely enjoyable CD proven with "first listens" when played for friends. For some reason, when played in the car, especially, it makes my wife and I want to listen more closely. Like soul food, the songs stay with you long after the album is over.

The album is a great package, too, with a separate lyrics booklet (thank you). The art was based on a quilt of original art by Seattle artist Darbury Stenderu. Band manager Nancy Langford did all the design and layout of the CD cover. The Fortune Teller was produced by Todd Smallwood
who was once a member of Mick Fleetwood’s band. Mick Fleetwood’s drums were set up in Smallwood’s living room and the band was allowed to use them to record the drum tracks. Too Slim also had free range of Smallwood’s vintage guitar collection. Guest artists include Lauren Evans on harmony vocals, D. Cernile – guitars and percussion, Oleg Schramm – accordion and keyboards, Robert Greenridge – steel drums, and Amanda Tsubo – background vocals

The title track is based on a true story about Too Slim having a “strange encounter” with a real fortune teller named Yogi in a town square in Oslo, Norway (where he has developed a fanatic following). Says Too Slim, “I love the Fortune Teller track myself. My conversation with Yogi led to some serious life changing decisions for me. My son Austin inspired the opening guitar riff to ‘The Fortune Teller’!” That opening guitar riff announces that long-time fans will not be disappointed; this is a guitar driven album. While the lead vocals on the title track need to be a little louder, they are sweetened with female background vocals – a first for Too Slim on record.

Reveals Too Slim, “‘Cowboy Boot’ is pure Southern Rock inspired by Lynyrd Skynyrd, Marshall Tucker, et cetera. It’s also inspired by a kid that lived with us for a while who really kept his money in a cowboy boot in the closet. It's a little autobiographical as well.” The middle bridge wells up with throaty guitar and then keyboards before Too Slim peels off a classic, screaming Southern Rock riff. The harmonious, multiple-voiced singing gives “Cowboy Boot” real cross over potential.

“Big Guns” gives us the album’s first taste of Too Slim’s famous slide guitar. The song is inspired by burns, busts, and bummers along the musical highway. The protagonist’s frustration has reached critical mass, and he’s “cocked and loaded and ready to deliver / you got your finger pressed on my trigger.” The lyrical message is accentuated by Cooper’s drum intro followed by urgently throbbing guitars perfectly capturing the mood throughout.

Some new found eclectic creativeness comes out in the 4th track, “Mexico”. It’s a great song, and it’s one of the surprises that makes a new Too Slim album always worth the wait. Opening with Steel drums in perfect harmony with Too Slim’s slide guitar, the second bar sounds like slide-steel-drums. Musically dissimilar to “Margaritaville,” the mood is like Jimmy Buffet’s hit as a vacation south of the border gave “a little piece of mind” and “when I got home, I was in a new zone.”

Says Too Slim about track 5, “‘Ain't It Lonesome’ is Johnny Cash Blues.” Affecting Cash’s deepest baritone vocals, Slim delivers the message of heart break spoken-word style while plaintive guitars punctuate.

“‘Motherlode’ is all about beating your head against the wall trying to get somewhere in life,” Too Slim shared. He sings, “You keep that carrot just out of my reach / my spirit ain’t broke but my body is beat.” One of the best danceable numbers, the rhythm propels, the guitar soars, and the harmony vocals are catchy as fever.

Slide guitar heaven is found in the 7th cut, “She Gives Me Money.” Sounding musically reminiscent of Wilbert Harrison’s “Let’s Work Together,” the song is the blues-rockiest number with Langford’s sweet slide keeping ears perked as he travels to the stratosphere and back.

“Baby Likes To Ride” is a fun romp full of Too Slim’s familiar double entendre (“She’ll even polish up my rig” - whatta gal). Says Slim, “‘Baby Likes to Ride’ was written while my wife and I were sitting on the bed one night, and I was bouncing funny lyrics off of her.” Bursts of slide guitar set off each line of lyrics and nicely fill the middle bridge.

The catchiest guitar hook is found in “Spell On Me” where harmonious background vocals combine to make a song that sticks in your head well after the CD has ended.

“Givers and Takers” is perceptive and nicely balances cynicism with hope. Reveals Too Slim, “‘Givers and Takers’ is inspired by experiences with people related to the music business. I
think that speaks for itself. The business is full of silver tongued rip off artists. I don't think ‘artist’ is the word I want to use; it starts with ‘f’ and ends with ‘heads’!” Building crescendos of sound aptly support the lyrical ambiance.

“‘Lonesome Alone’ is a love song to the wife!” says Langford. Played on acoustic guitar with harmonica and accordion, it is a departure from the rip-snorting rest of the CD. Sung ballad like, the sentiments are that of Everyman, “I’d rather be lonesome alone than lonesome with the one I love... be my sweetest friend / I don’t want to be just another man.”

By the end of the album, the listener is able to tell Too Slim and the Taildraggers fortune: Keep the great music coming and your growing fans will keep the love coming.

Discography
2007 - The Fortune Teller
2005 – Lucky 13 (compilation CD)
2005 – Beer and Barbeque Chips ("Live" CD")
2003 – Tales of Sin and Redemption
2002 – Goin' Public (Live Solo Public Radio performance)
2001 – Bootleg Volume 1("Live CD")
2000 – Kingsize Troublemaker's
1999 – Pint Store Blues (Solo Acoustic)
1997 – Blues for Eb
1995 – Swamp Opera
1994 – Wanted "Live"
1992 – El' Rauncho Grundge'
1990 – Rock ‘em Dead
1988 – Swingin' in the Underworld


- James "Skyy Dobro" Walker




Reviewer: John Carston
This is the best Too Slim cd that I've ever heard. This is the kind of music that makes you want to get up and dance.

Just Fantastic !!!
Reviewer: D. H.
If Tim is searching for the motherload, he's just found it. This CD is pure gold.


Reviewer: Esther Davis
"Mexico" makes me want to get to Mexico in a hurry!! "Fortune Teller" is haunting and "Cowboy Boot" is a telling tale of everyone's fortunes at one time or another

Wow ! Another great album from Too Slim !
Reviewer: Clete Nielsen
Spokane is proud to hear the latest release from Too Slim & the Taildraggers. Fortune Teller is loaded with songs that throw you in the back seat, put the petal to the floor and take you rockin down the highway. This band has the groove and the punch that makes you want to listen to the Fortune Teller over and over again. Great album !



Shakin yur bootie!.
Reviewer: Jill Santacroce
I have listened to too slim for years and watched them regularly in Hood River when they were playing at the river city saloon. Everything they play is fabulous and makes you want to get up and dance. They are awesome. The vocals the guitar riffs are straight and down smokin blues!

Buy the CD, live happily ever after.
Reviewer: Erik The Viking
Take a map of the world, put a pin in the state of Washington. Draw a circle around it, as far out as you can. There is no better band anywhere inside that circle than Too Slim and the Taildraggers. Buy the CD, live happily ever after.

OMG! We were blown away -- blues guitar at its best!
Reviewer: Vicki Powers
This CD is so good, I can't wait to hear what else Too Slim has up his sleeves! I have a couple of favorites (choppin' wood, broad minded man) but from start to finish you just want to get up and dance! The more I listen the more I want to hear it again and again. Excellent guitar and vocals!


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Discography

2009 - Free Your Mind
2007 - The Fortune Teller
2005 – Lucky 13 (compilation CD)
2005 – Beer and Barbeque Chips ("Live" CD")
2003 – Tales of Sin and Redemption
2002 – Goin’ Public (Live Solo Public Radio performance)
2001 – Bootleg Volume 1("Live CD")
2000 – Kingsize Troublemaker’s
1999 – Pint Store Blues (Solo Acoustic)
1997 – Blues for EB
1995 – Swamp Opera
1994 – Wanted “Live”
1992 – El’ Rauncho Grundge’
1990 – Rock em’ Dead
1988 – Swingin’ in the Underworld

Photos

Bio

Too Slim and the Taildraggers

The 11 songs that appear on Free Your Mind, the 10th studio album from Seattle-based Too Slim and the Taildraggers, are the result of a touring hiatus in December 2007 and January 2008. “It was the first time I actually took time off specifically to write songs,” remembers band leader Tim Langford (AKA Too Slim), “and I’m very pleased with the results.”

The songs on Free Your Mind are a slice of American roots music, with blues, Americana and rock influences. “The songwriting process is something that I really enjoy, but it can also drive you a little crazy,” says the lead singer/guitarist. “I always try to write down ideas or phrases that I hear in everyday life that could be song titles. Some songs are inspired by personal experiences and some are just observations of life as I see it. For instance, the lyrics on the song ‘Last Train’ were inspired by reading stories from one day of the Seattle Times newspaper. I was actually laughing out loud - and was appalled at the same time - by the articles I was reading. The chorus just came out of me as I was running through a rough draft of the song: ‘Feel like I’m riding on the last train, with cracks in the wheels, headed for a big bang. Feel like I’m riding on the last train and Hunter S. Thompson is the engineer.’ It seemed to sum up the absurdity of the world events on that particular day. I like the variety of the music on Free Your Mind. There are songs of love, perseverance, faith, fiction, frustration and the craziness of everyday life,” adds Langford..

Tim Langford worked again with producer Todd Smallwood on the new album. Smallwood also co-produced the band’s last CD, The Fortune Teller. “I really enjoyed working in the studio with Todd,” says Tim. “He had great ideas, and has the recording process down to an art. He is an extremely talented producer and musician, and played Hammond organ and 12-string guitar on the recording, too.

Todd’s studio is in the middle of an avocado grove in the Santa Paula area of California. It’s a very nice setting and the sun was shining everyday, which was a wonderful environment in which to record. We recorded at three separate sessions starting in September 2008 through November 2008. I went in the studio with the band and we ran through all the songs live and got the rhythm tracks down at the first session. Then, I returned on my own the second time for guitar overdubs and vocals. At the third session, Todd and I put the finishing touches on the album. We then left Todd alone to finish the mixes and work his creative magic. We recorded all the guitars straight through a Peavey Classic 50 guitar amp and a Fender Deluxe Reverb in the back room of the studio with no effects. I received a Les Paul Supreme guitar last year on my birthday from my lovely wife and manager, Nancy. Most of the guitar parts are recorded with that guitar. It has a very special tone. I also used my Reverend guitars for all the slide work. I did use a Fender Stratocaster for the solo in ‘Last Train’. We also had the pleasure of working with wonderful singers like Lauren Evans and Paula and Pamela Mattioli.”

Tim “Too Slim” Langford, with his band the Taildraggers, have created an eclectic style of roots-rock, Americana and blues that has become a genre all its own. Too Slim's ever- evolving musical direction cannot be classified into any box or category. The eclectic nature of the band allows Too Slim and the Taildraggers to easily cross-over and appeal to audiences of various musical tastes.

Too Slim and the Taildraggers are headliners at theaters, festivals and concert stages. The band has shared the stage with the likes of Bo Diddley, Brian Setzer, The Doobie Brothers, Lucinda Williams, The Little River Band, Johnny Lang, .38 Special, Robert Cray, Otis Rush, Jeff Healey, Ted Nugent, Los Lobos, Lonnie Mack, Blue Oyster Cult, Heart, Travis Tritt, Junior Brown, Gatemouth Brown, Neil McCoy, Delbert McClinton, Blues Traveler, Steppenwolf, Johnny and Edgar Winter and Ronnie Milsap.

The band’s last CD The Fortune Teller, charted as high as #9 on the Billboard magazine Top Blues Album sales chart in 2007 and 2008. The Fortune Teller was also nominated for “Best Contemporary Blues Album” at the 2008 “Blues Blast Music Awards” in Chicago. This award-winning band has been voted “Best Regional Act” 11 times by the Cascade Blues Association, the largest organization of its kind in the USA. Too Slim and the Taildraggers have received multiple awards from various North West Reader’s polls and other North West blues societies for “Best Band” and “Best Album.” Founding member Langford has won multiple individual awards as “Best Guitarist,” “Best Slide Guitarist” and “Best Songwriter.” Too Slim and the Taildraggers are also in the Hall of Fame of three North West blues societies. Their devoted fan base has grown over the years into a national and international following.

As one reviewer explaine