Australian Blues Band of the Year Chain Awards 2006 (The Brian Fraser Trio).
Lee Howard- Melbourne Herald Sun. Dec 2005
*** Good, worth the money and a worthy addition
Buy "Passing The Time" now
See this crew live and chances are you will be joining the queue for this disc after the show.
Brian Fraser's previous release on Black Market, 2003's solo Finger Pickin', was a pleasing effort, but gave the singer-guitarist plenty to do.
This time he is back with Mick Reid on harmonica and percussionist Benny Owen to back his growl and flying fingers.
The result is a gutsier set of electric blues, fired up up by Fraser's lap slide guitar. And it captures a fair representation of the band's live show's verve.
The material is diverse, augmenting Fraser's own offerings. There are covers of songs by Blind Willie Johnson and Bobby "Blue" Bland, while his upbeat version of Bo Diddley's Can't Judge a Book is emblematic of the tone of proceedings.
There are notes of reflection best illustrated by New England Highway and the venerable Nobody's Fault But Mine.
Lee Howard- Melbourne Herald Sun.
Bluesletter - Melbourne Blues Appreciation Society. Dec 2005
This has always been a most enjoyable band to listen to with Brian's gruff voice out the front giving plenty of feel and meaning.Behind him on backing vocals are Mick Reid and Benny Owen giving the smooth side of vocals as well. The Trio is well balanced with Brian on guitars and electric lap slide, Mick on harmonica and Benny on percussion and even didgeridoo. The CD has a mixture of covers and originals, all played at the highest quality ensuring a fine example of southern style Australian blues
Sam Fell- Rhythms Magazine 2005
Having just recently seen the Brian Fraser Trio play a set at the MBAS sponsered Memphis Challenge where they finished runner-up, it was quite appropriate that Fraser's new album presented itself in all its country blues glory, giving me a recorded taste while the live one was still fresh in my memory.
Passing The Time Fraser's fourth record in the past five years or so, sees him teaming up with a new band and embracing what is essentially a completely different style from what he's become known for. Fraser's last album, Finger Picken' Blues, was just that, whereas Passing The Time is heavily drenched in the frieght train steady twang of the lap steel, layered under and between some deluxe and decidedly underused harmonica, solid percussion and a bit of didgeridoo thrown in just to confuse/delight you even further.
While Passing The Time isn't a contender for album of the year, after a few listens, this album kind of like and old pair of jeans. The almost ridiculously enthusiastic backing vcocals from Benny Owen on percussion, act as the erratic fish on the hook while Fraser's rock-steady, crevasse deep lead vocal slowly reels it in, the two complimenting each other like bacon and eggs, giving the album that comforting, reliable feel.
Because of the heavy use of lap steel, Passing The Time has a haunting, almost sinister sound to it, (you proberly won't want to jump up and dance around while listening) plus the use of three vocalists on certain tracks adds a bit of depth to what could quite possibly have been another standard, boringly predictable "blues/roots' album.
Old numbers that have been Fraser-fied include Bo Diddley's, "Can't Judge a Book by its Cover", Blind Willie Nelsons, "Nobody's Fault But Mine" and Sylvestor Weaver's, "Guitar Rag", placed tastefully amongst Fraser's own, most of which seem to be painting a picture of meloncholy and hope, wistfulness and anxiety, all put to music that captures the overall pensiveness of the recording.
Having seen the band live, I can vouch for their enthusiasm and passion for their music. Fraser, the elder statesman of the Trio, is content to sit and play, he's the base of the band, and it's a stark contrast to Owen behind his assortment of percussive instruments; I don't think he stopped smiling or hitting something for the entire set. Boston born Mick Reid's consumate Mississippi sax skills, although not used enough on Passing The Time, are magic none the less.
So a decent record from a veteran and some 'young blokes' which, whilst it won't have HMV rushing around trying to secure extra stock for the Christmas rush, it will be a welcome stocking filler for the country blues enthusiast amongst you, something you can throw on as you unwind on the back porch after a hard day spent being melancholy and sliden' the blues.
Sam Fell- Rhythms Magazine
The first time I listened to this album I was left slightly mystified - the first track dot com is all about having a website.. which is odd for a blues artist! I thought Mr Fraser was taking the piss as it were. "Gotta have a website if you wanna become a dot com... yeah!" Its actually quite amusing in that respect, the slightly awkward use of nerd gramma makes it even more amusing. But after the initial hilarity and hijinks settled down, I quickly realized this is a great little blues album. It's often difficult to find Aussie blues that sound as effortless and technically spot on this album is quite amazing in that respect. Brian is an accomplished guitarist, the album has a great tapping rhythm and pace to it that that makes it an enjoyable album to listen to. In most of the tracks except when Brian covers "The Ship Song" by Nick Cave, and Writers Curse and Halfway There its just him and the guitar, percussion performed by Brian on the stomp box, nice. This really is fun album, standout tracks like "every game" and "halfway there" have a driving acoustic sound that just resonates a lighter approach to roots music. Its a good mixture of light and dark, but as blues albums goes, even with Brian's gravel voice this album certainly sits on the lighter side of the scale as an album. Its not as genre specific as some other blues albums, being pretty accessible to anyone who is willing to listen to it more than once to get a quick gist of the flow of the album. I really dig this album, and if you even have just a passing interest in blues or roots, I wholeheartedly recommend it - if you are deep into the scene, then you probably already have a copy. POSTED ON Jul 18, 2003 - 02:46 PM by funnel
Winner Australian Blues Album of the Year 2000.
Australian Chain Awards Brian Fraser, frontman in the legendary Geelong-based band, Turning Blue, has released a solo acoustic album, which deserves to become a landmark Australian recording. This stunning album contains nine originals and five covers and shows just what you can do with a guitar, a stomp-box, a few friends and a great batch of tunes. The originals include the achingly beautiful instrumental 'Tetris Blues', followed by the humorous and not-so-subtle title track. Brian's partner, Joy Stoneman, plays flute on the next track, the haunting 'The River Ran Red'. 'Only Want to Be With You' is a rare song that everyone in love should use daily, as a personal, intimate message. Fraser also does justice to the five covers, which include Cab Calloway's 'Minnie the Moocher', Leadbelly's 'In the Pines' and the album's fantastic finale, Tom Waits' classic tune, 'Jersey Girl'. There isn't a weak link anywhere on this splendid CD, performed by a monumentally talented man. Rhythms Magazine, December 1999
Brian Fraser's latest solo recording is a 16-track follow-up to his award-winning CD, 'Don't Ask Me'. This CD is a must have, particularly for fans of the traditional country blues style. The title track, SITTING ON THE CORNER, is a jaunty, finger picking, toe tapping tune. Some great lyrics here too ..."I got no reason to live, I got no reason to die, I ain't got no whiskey, I ain't got no wine, I got no stuff to be smokin', but I'm doing fine". Brian's finger picking and plucking on this song is fine and beautiful, the vocals are hoarse and sweet at the same time. HOME AWAY FROM HOME's lyrics detail touring and staying in hotel rooms while 'Travelling the road, singing the blues'. A nice chunky riff on this one and a gravel-road vocal style really highlight the clever and wry observations of the lyrics. DIFFERENT MOMENTS is a breathtakingly beautiful instrumental piece that showcases Brian's awesome guitar talents. The slide sounds like a duet between Robert Johnson and Hank Williams. Believe it !!! TELL ME MOMMA features some sharp train harp from Geoff Donaldson. Brian's foot stomping accompaniment on this is magic and the guitar is sweet and low, with some more great delta-style finger-picking. RUNNING AGAINST THE WIND features the pure and delicate vocals of Bev Harris contrasting perfectly with the throaty deepness of Brian's voice. This song is almost a folk blues lament, poignant but not depressing. THE WAY THAT IT IS opens with some lovely bell-like flute from Joy Stoneman. It reminded me of the flute solo that opens the Canned Heat classic 'Goin' up the Country', taken at a slower pace. The last song on this recording is a beauty .... GOSPEL IN THE PARK has humorous and witty lyrics about an impromtu jam in the park, "Some people passed us by and looked at us real strange", " We played some Daddy Cool, did their entire repertoire, and some old TV themes, it must have looked bizzare". This number features the deep bass vocals of Terry Lockwood and some great solo and harmony vocals from Bev Harris, sounding like they just stepped out of the local Southern American Baptist church ..."Astounding". You must buy this CD. Sue Turner, SABS 3WAY FM
On learning that Brian was back in town, I ventured to S.A.'s premier room to get blown away again by this awesome talent. I should say at this juncture that being a musician myself in this industry for 34 years and having seen many 'thoroughbred' performers, this sometimes jaded palate is not often impressed. But Brian is an impressive, consummate artist. He performed songs mainly from his solo CD, 'Don't Ask Me', opening with the title track, a not-so-subtle swipe at the commercial music sector (although somewhat tongue-in-cheek). Then he swung into full throttle with a combo of beautiful blues ballads, including the biting 'The River Ran Red' and an emotive 'In the Pines'. Next came a terrific version of Cab Calloway's 'Minnie the Moocher', and a particularly stunning haunting rendition of Tom Wait's 'Jersey Girl', indeed a highlight of the night. At the end of the performance, Brian was recalled by an appreciative audience for an encore. All in all, a thoroughly enjoyable, engrossing performance, laced with guitar virtuosity, feel, dynamics, variety and a good dose of humour, from a person that this reviewer thinks that when talking about Australian 'blues icons' like Matt Taylor, Phil Manning, etc., should be considered right up there in the same league. I was so impressed that I purchased Brian's 'Don't Ask Me' and Turning Blue's excellent 'Live - The Tasmanian Tapes', something this munchkin rarely does. All blues aficionados should get behind, and support artists of this calibre. John Haffert, South Australian Blues News, August 1999
... an impressive, consummate artist ... all in all, a thoroughly enjoyable, engrossing performance, laced with guitar virtuosity, feel, dynamics, variety and a good dose of humour. John Haffert, SA Blues News
There isn't a weak link anywhere on this splendid CD, performed by a monumentally talented man.Rhythms Magazine
... a man, a guitar and stomp-box, and a great batch of tunes combining to create a superb package.Big Mike Hotz, SA Blues Society
Brian has a unique style and versatility that is thoroughly enjoyable to the entire audience ... you'd be crazy to miss such a well-polished show.Melbourne Blues Appreciation Society
I've known Brian since he was a boy and I'm quite impressed ...Brian's mum
| 
