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Ryan McGarvey: Redefined

 A l b u m   D e t a i l s


Label: Forward in Reverse Recordings
Released: 2012
Time:
 53:49
Category: Blues Rock
Producer(s): Ryan Mcgarvey
Rating:
Media type: CD
Web address: www.ryanmcgarvey.com
Appears with:
Purchase date: 2014
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] All the Little Things (R.McGarvey) - 4:36
[2] Never Seem to Learn (R.McGarvey) - 3:50
[3] My Sweet Angel (R.McGarvey) - 4:31
[4] Starry Night (R.McGarvey) - 5:41
[5] Blues Knockin' At My Door (R.McGarvey) - 6:03
[6] Prove Myself (R.McGarvey) - 7:51
[7] Blue Morning Night (R.McGarvey) - 5:40
[8] So Close to Heaven (R.McGarvey) - 5:06
[9] Downright Insane (R.McGarvey) - 2:36
[10] Pennies (R.McGarvey) - 4:30
[11] Four Graces (R.McGarvey) - 3:21

 A r t i s t s ,   P e r s o n n e l


Ryan Mcgarvey  - Guitar, Tambourine, Vocals
Sam Miller - Bass, Keyboards
August Johnson - Drums
Bill Palmer - Additional Percussion

 C o m m e n t s ,   N o t e s


Back in 2007, a young teenager out of Albuquerque, New Mexico officially began his professional recording career with “Forward in Reverse”, a strong collection of songs that showed remarkable promise and maturity for an artist not yet in his twenties.  While the album aptly displayed Ryan’s well-rounded guitar prowess and ‘beyond-his-years’ songwriting, it didn’t exactly catch the music world on fire.  However, just three short years later, McGarvey got his first big break when he was chosen by Eric Clapton himself to perform at his 2010 Crossroads Festival.  Since then, he has relentlessly hit the road across the US, (as well as 3 successful European tours) building a loyal following the old-fashioned way, all the while honing his craft and molding his own signature sound.

Which brings us to his much-anticipated follow-up release “Redefined”.  Whether a conscious decision or not, the album’s 11 tracks give the impression that McGarvey is uninterested in following in anyone’s footsteps, nor will he bend to appease blues purists.  No clichéd I-IV-V progressions, no cover tunes, pretty much nothing you’d expect to find on a post-SRV blues rock artists album.  While there are plenty of stellar artists currently populating the blues rock genre, there’s also an over-abundance of acts whose sole purpose seems to be throwing together uninspired songs as a vehicle to showcase how many licks they can cram into a 12 bar solo.  While McGarvey has astounding technique and chops to spare, his playing never comes across as over indulgent, nor do the songs feel like platforms for six string wankery.  The fact that Ryan is just 25 years old makes this trait all the more remarkable.

“Redefined” opens with the stellar “All The Little Things”, a brooding rocker with a slow grinding pace.  Ryan’s vocals have matured considerably in the years since his debut and have a strong Ian Moore/Charlie Sexton feel to them on this particular track.  The song’s strong melodies and tasteful playing set the overall mood of the album right off the bat.  Next up is the uptempo “Never Seem to Learn”, a track that wouldn’t sound out-of-place on rock radio.  Starting out with a standard two chord riff, the song quickly transforms into a moody, hook-laden beast with a driving rhythm and soaring lead section.  Also of note is the album’s stellar production.  Everything is full and rich with each instrument sitting perfectly in the audio spectrum.  “My Sweet Angel” is a dynamic gem of a song that makes good use of light and shade before launching into another exquisite solo.  McGarvey’s solos tend to be short and to the point, never over staying their welcome and emphasize substance over flash.

With its ethereal, majestic intro and Eric Johnson-ish lead, “Starry Night” brings to mind one of Ryan’s close friends and influences Mr. Joe Bonamassa, a player that he has been compared to in the past.  While you can hear hints of Bonamassa’s vocals and tone here, McGarvey’s compositional skills and restrained approach give him the advantage of appealing to a broader audience and not just guitar geeks.  “Blues Knockin’ At My Door” recalls Warren Hayne’s Gov’t Mule at their crunchiest and gives a taste of Ryan’s sweet, melodic slidework over a well oiled groove.

Halfway in, I feel compelled to point out a few things that impress me the most about Ryan.  First off, age not withstanding, Ryan has an unparralleled knack for letting his song’s arrangements breathe, never over cluttering them with his playing and letting his rhythm section carry them where they need to go, his guitar work always being the ‘icing on the cake’ so to speak.  Speaking of his playing, the other thing that stands out is his guitar sound.  It has to be one of the most pleasing tones I’ve heard in ages and his sparse use of effects further add to its appeal.  Both of these traits are showcased thoroughly on the next track “Prove Myself”.  Bluesy and funky, with subtle wah wah flourishes that float over an irresistible bass and drum groove. The leadwork being particularly noteworthy, transitioning effortlessly from pentatonic flurries to double stops and scalar runs.

The next two tracks proved to be the most standout tracks overall in my opinion.  “Blue Morning Night” paints a vivid picture of heartbreak and sorrow with passionate vocals and an absolutely breathtakingly catchy chorus followed by what I feel is the album’s most glorious solo, coming across as an immaculate composition in its own right (the pulsing build ups in the outro are exceptionally cool as well).  “So Close To Heaven” follows suit with poetic lyrics and hooks galore.  Gold-spun guitar fills and another standout solo simply add to the overall feel of the song, every note striving to pierce the listener’s soul.  Clocking in at a compact two minutes and thirty-six seconds, “Downright Insane”  is riff rock at it’s finest.  Arena-sized riffs play call and response with vibe-soaked lines before you’re hit in the face with a searing wah workout.  In stark contrast, “Pennies” serves up a more laid back, dynamic approach with more hints of Bonamassa-isms while still remaining unmistakably McGarvey.  Closing out the record is the acoustic instrumental “Four Graces”, showing yet another side of McGarvey’s playing and versatility.

Overall, “Redefined” lives up to its title and aptly demonstrates McGarvey’s almost overwhelming level of talent.  I can’t begin to put into words how refreshing this release was to hear.  Ryan’s signature sound is not defined by his guitar licks nor his technique, but by his dedication to creating music and writing songs where the sum is greater than the parts.  In a perfect world, a number of the tracks featured here would be populating rock radio’s airwaves (Lord knows it would do the poor genre some good).  With a laundry list of acts from Rock’s Golden Age either withering away or releasing sub-par material, along with the confusing state of the Blues-Rock genre’s oversaturation of clones and gunslingers, “Redefined” has set the bar high for the future.  With the current state of the music industry still in transition, its hard to tell what the future will hold for young artists like McGarvey.  But with this kind of talent, a strong work ethic, and a little perseverance and tenacity, his future is not just bright … it’s blinding.

Tango Sho’Nuff  - Blue Note News & Reviews



In 2007, Ryan McGarvey released his debut album, Forward In Reverse, which was recorded when he was only 19 years age. The album was as strong of a debut you can imagine from a young guitarist. Now 25, McGarvey is back with his highly anticipated sophomore album, Redefined. It’s a fitting title as McGarvey’s sound has evolved into more of a straight up rock style, though still blues based.

Redefined begins with “All The Little Things,” a nice rocker that does a good job of setting the tone for the album. The upbeat “Never Seem To Learn” and euphoric “My Sweet Angel” are next and if there was any justice they would receive airplay on mainstream rock radio. Other highlights include “Prove Myself,” a groovy jam that really puts McGarvey’s guitar mastery on display and “So Close To Heaven,” which should become a McGarvey staple for years to come.

Many young guitarists struggle to separate their sound from the rest of the pack, but McGarvey has come up with a signature sound that is distinctively his own. Redefined will go down as one of best albums of the year. Names like Bonamassa, Trucks, and Sayce are often mentioned as modern day guitar heroes, and it won’t be long until Ryan McGarvey enters the equation.

Copyright © Blues Rock Review



" I met Ryan in 2006 and was very impressed at the depth of his influence and his ability to put said influences together in his own way.. To watch him grow as a artist and to hear his name mentioned to me as much as it has is a testament to his hard work and skill."
-Joe Bonamassa

Fe, New Mexico’s, best kept secrets.  This young, extremely talented and very friendly guitar slinger should be held as one of the city’s (if not states) musical treasures, if you ask me.  I’ve had the privilege of seeing this young man perform and meeting him at the 2011 Dallas International Guitar Festival and he is one of the most amazing guitarists you’ll ever have the privilege of listening to.

Yeah, he’s that good.  Seriously.

McGarvey is set to release his second solo effort, Redefined – his follow-up CD to his 2007 debut album, Forward in Reverse, is still an oft listened to favorite on the Boomerocity jukebox.  Something tells me that Redefined will be joining that album in the very near future.

Redefined is straight forward – and often blues based – rock and roll driven by McGarvey’s signature, prodigious guitar work.  Right out of the chute, Ryan stomps out with the heavy blues/rocker, All the Little Things.  This little gems earned uncountable slaps of the repeat button on the Boomerocity jukebox.

Blues Knockin’ at My Door is a great road trip tune in the spirit of ZZ Top but with the distinctive, scary good, signature McGarvey sound. This is one monster of a tune and well worth the price of the CD just for this song alone.

The third randomly picked Boomerocity favorite from Redefined is Prove Myself. The guitar is devastatingly brilliant (and, again, scary good!).  I’ve love to watch McGarvey perform this one live and just see what kind of improvisational guitar work he would come up with in a live environment. Oh, wait, we all can see it on the video posted on this page. Check it out!

If you love great guitar work in the vein of Clapton, Bonamassa or Page, the Ryan McGarvey is your man and Redefined  is your CD.  He’s that good. Seriously.

Randy Patterson - boomerocity.com



Ziemlich genau fünf Jahre ist es nun her, dass der amerikanische Blues-Rocker Ryan McGarvey bereits mit seinem Debüt Forward In Reverse für mächtiges Aufsehen sorgte. Der Nachfolger wurde vielfach angekündigt. Er hat sich verdammt lange Zeit gelassen, aber nun ist es endlich soweit... "Redefined" heißt die Platte, ist mit fast vierundfünfzig Minuten gut gefüllt und Song-Füller sucht man vergeblich.

Live hat McGarvey in unseren Breitengraden schon lange viele Blues Rock-Fans von seinen Fähigkeiten als Gitarrist beziehungsweise Sänger überzeugt und seine zweite CD steht dem in nichts nach.

Nicht nur im Opener greift der Guitarslinger zur akustischen Gitarre, die er dann gegen die E-Gitarre tauscht. Die Songs sind von überzeugender Ausstrahlung und der Künstler aus Albuquerque, New Mexico kann auch noch durch eine markante Stimme überzeugen. Viele beeindruckende Fingerfahrten auf dem Fretboard bei Konzerten kann man auch auf "Redefined" bewundern, allerdings nicht in der für seine Gigs bekannten und geliebten Soli, die ohne Zeitlimit zum Besten gegeben werden.

McGarvey erweist sich in vielen Bereichen als wahrlich meisterlich. Wer seinen Slow Blues hört, wird mit der Entdeckung der Langsamkeit in ähnlichem Zeitlupentempo dahinschmelzen. Den Gitarrenklängen werden keine Grenzen gesetzt und mit vorliegender Platte darf man McGarvey jetzt schon in das Oberhaus des Blues Rock einordnen. Der Mann breitet durch das Gitarrenspiel seine Seele vor dem Hörer aus. Blues ist ein Gefühl, das bei ihm aus den Fingerspitzen strömt.

Mit "Redefined" lässt der steil aufstrebende Musiker diverse Konkurrenten verdammt alt aussehen. Beim Hören der Scheibe hat man das Gefühl, andere Blueser entwickeln sich im Schneckentempo. McGarvey macht bereits durch den ersten Track deutlich, dass hier etwas ganz Besonderes auf den Hörer zukommt. Von der ersten Sekunde an schwebt das Stück durch den Klang der akustischen Gitarre und wird dann, beim Einsatz der Begleitmusiker und E-Gitarre wie an einem goldenen Faden auf den großzügig gestalteten Boden des Blues runtergeholt. Man wartet förmlich auf das Solo und wird nicht enttäuscht. Zum Ende hin wächst das Stück mit prägendem Riffing über sich hinaus. Klasse!

Selbstredend serviert uns McGarvey auch feinste Kost mit dem Bottleneck. Nach einem geradeaus rockenden "Never Seem To Learn" und "Sweet Angel", ein Stück, das er Konzertbesuchern schon im Herbst 2011 vorgestellt hat, belegt, wie toll er seine Sounds mit dem Wah Wah-Pedal inszeniert. "Blues Knockin' At My Door" wird zu einem Festival der Slide-Gitarre. Der Wechsel zwischen famosen Riffs, die über das gesamte Album aus einer wohl nie versiegenden Quelle entspringen und dem Metallröhrchen-Klang ist gigantisch gut. Immer wieder wird für Rhythmus-Veränderungen gesorgt und hier gibt es wirklich Slide satt auf die Ohren.

"Prove Myself" ist eine Delikatesse in Sachen Funk. Es ist fast schon unheimlich, mit welcher Selbstverständlichkeit er auf der Blues-Basis mit diesem Genre-Ableger fast acht Minuten jongliert. Jede Sekunde dieses Tracks wird man genießen. Auch hier erlebt man live-haftig, was bei seinen Gitarren-Zaubereien auf der Bühne abgeht.

Meisterlich! Bei so vielen tollen Songs bildet aus meiner Sicht "Close To Heaven" den Höhepunkt der Scheibe. Auch mit den psychedelisch angehauchten Phasen war und ist ein McGarvey voll in seinem Element. Dieses Stück ist der Überflieger. Dann gibt es innerhalb von zweieinhalb Minuten ein erdiges Rock'n'Roll-Karussell auf die Lauscher. Mit "Pennies" führt er uns zurück zu den Wurzeln des Blues und wie zu Beginn des Albums schultert der Protagonist abermals die Akustische. McGravey und seine Gitarre... solo und instrumental. "Four Graces" ist eine weitere brillante Facette des Ryan McGarvey und auch am Ende dieser Rezension werde ich, gerade bei dieser Nummer darauf verzichten, auf einen Musiker zu verweisen, der in unseren Breitengraden mittlerweile große Hallen füllt.

"Redefined", von Brian Lucey (The Black Keys, Jane's Addiction, Dr. John) perfekt gemastert, lässt den neuen Stern am Blues-Himmel leuchten. Ryan McGarvey hat uns lange auf sein zweites Werk warten lassen, aber letztendlich hat es sich mehr als gelohnt. Das Album ist exzeptionell und für einen Blues Rock-Fan essenziell.

Joachim 'Joe' Brookes, 27.04.2012
RockTimes.de
 

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