Mary's Porch
Editorial Reviews John Mohead beats on his guitar; its soundhole covered with duct tape to squelch the squeal. He paces back and forth across the stage as if he's looking for a place to spit. Finally, he settles into the groove and steps up to the microphone. What spills out is a unique blend of American music. It has elements of country and blues, but it's neither. It sounds southern and it rocks, but it's not southern rock. It's hard to catagorize this music, some call it roots-rock or Americana. A native of Lula, Mississippi, Mohead notes, "If you're raised in the Mississippi Delta, it's hard not to be influenced by Muddy Waters and John Lee Hooker. But I also listened to George Jones, Johnny Cash and Conway Twitty." Mohead also acknowledges the Allman Brothers and Gram Parsons as major musical influences. Critics have likened Mohead's "duck-and-punch, drunken vocal style" to that of Lowell George. From a writing standpoint, Mohead cites his literary hero; "it's like Faulkner said, You write about what you know.'" We can assume, therefore, that John Mohead knows about life in the Delta. We can also assume that he knows something about the nomadic lifestyle of a singer/songwriter and how it affects the lives of those around him. It's reflected in autobiographical songs like Son of the South, By the Way, Missing You, and Mary's Porch. It's also evident in reality-based story songs like Adam and Eve, Due South, Train Leaving Lula, and Muddy Water. A one time resident of Nashville, Mohead admits he was never comfortable with the Nashville system. "I'm not like some songwriters who can sit in a room and conjure up a song. I can't be that far removed from it. I have to have something real as a foundation. Right or wrong, that's what works for me. In Nashville, they throw you in a room with someone you don't really know and expect you to write a song. It's almost like breeding." Although he had some success, including a single, Southern Women, recorded by the Wright Brothers (Mercury Records), John was told he was too left of center for Nashville. Interpreting this as a good thing, John returned to Lula and began writing for his own project."I decided to quit following the crowd and be myself." The result was the release of Mohead's debut album, Lula City Limits (Okra-Tone/Rounder) in 1995. The album was well received by critics and garnered air-play on college and Triple A radio stations.Mohead stays true to himself with his latest collection of songs entitled "Mary's Porch," a showcase for a refined John Mohead, both as a songwriter and as a performer. Standing patiently at the forefront of unknown, poised for success, John Mohead believes the development of the Americana format is a blessing. "I look at the artists in that format and see myself fitting in. Artists like Steve Earls, Steve Forbert, Big House, and Delbert McClinton. The beauty of this format is its diversity. There are no cookie cutter acts." BAND_MEMBERS: John Mohead Jim Michie Tommy Hubbard Barry Bays Jim Hardy "Of his heroes, Mohead comes closest to [Lowell] George; he's got a similar duck-and-punch, drunken vocal style." Pamela Murray Winters -- Dirty Linen
<"b00000i9672999"> About the Artist
"I just want to be able to make a living doing what I love to do," John Mohead explains. "I want to play music. I live for the next gig."
<"b00000i9674999"> Album Description
Americana -- "roots rock" "Southern culture -- a swirling mixture of blues, rock and country with some of the most evocative lyrics ever." Art Tipaldi --Blues Review Magazine.
Mary's Porch, Music, John Mohead, Country, Pop
Music:
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