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Moot Davis / Press

“Ten years ago if you had asked me what kind of music I disliked, I would have answered, “country.” Now, I can’t seem to get enough high-quality country music (for me, the genre includes alt-country, country rock, country blues). Moot Davis & the Good Americans gave us a fabulous set at The Extended Play Sessions at Alternate Root TV last weekend. I was not at all familiar with Moot before this show but I do enjoy country twang so I went to this Session. Not only was I not disappointed, I loved this show! Moot was an actor before turning to music to express himself. Coming from New Jersey, his choice of genre probably kept him wondering at times if he’d made the right decision (if one can truly decide what type of music lives inside) because New Jersey has never been known as a hotbed of country music. I’m glad he chose the twang path, because it suits his marvelous voice and his writing.”

“Moot Davis is a Jersey boy through and through; just don’t tell his music that however. You see, this Jersey native from a suburban Trenton community pens some of the best honky tonk, old school style rock ‘n’ roll one will ever encounter outside of possibly Nashville or Memphis. There’s no irony in this disc other than the title, as Davis has put together a great collection of material; which when compared to his other efforts, has a bit more of an edge. “Goin’ In Hot,” the title cut kicks off with a twangy, honky tonk guitar backed up by a nifty drum track that makes this a superb opening track. “Goin’ In Hot” is well worth its price and is a fantastic piece of work by this Jersey boy who can be found performing all across this great land of ours. Currently, Moot and the band are touring the east coast with stops scheduled in various bar rooms, gin joints and honky tonks near you.”

“This is some red-hot, in your face, ants in your pants, longneck in your hand, sweetheart in your arms barroom boogie. New Jersey-born Moot Davis' twang and croon calls to mind the country revolution that resuscitated and rescued country music from the Nashvegas vampires. Though the music displays plenty of rural, rocking giddy-up and go, at the heart of it all is an honest countrypolitan crooner who embraces the Keef Riffhard 5-string, open G approach to the guitar. That's right, there's some rock in there, baby.”

“Davis’ fourth album, his second in partnership with producer Kenny Vaughan, expands upon the Nashville twang of 2012′s Man About Town. The influences are similar – Dwight Yoakam, Big Sandy and Raul Malo – but there’s also a helping of the Derailers’ Bakersfield hybrid and NRBQ’s irreverence. Guitarist Bill Corvino and steel player Gary Morse add plenty of twang to Davis’ songs of marginal finances, slender experience, waning sobriety and wounded hearts. Especially wounded hearts, as Davis wrote the album in the aftermath of an emotional breakup that brought forth tears, regrets and painful reminders. He croons with Nikki Lane on “Hurtin’ for Real” and struggles with the painful aftermath of “Love Hangover” and unfulfillable desires of “Wanna Go Back.” moves easily between mid-tempo blues, country two-steps and second line shuffles, and really tears it up for the roadhouse rock of “Midnight Train” and “Ragm”

“Goin’ In Hot travels in a couple of directions. A recent break-up fuels a number of the tracks but there are also some up-tempo songs that are country music to the bone. I tend to appreciate and enjoy his music when he is not in a maudlin mood. The title track has a twangy guitar, which is accentuated by Chris West’s sax runs. “Love Hangover” treads the line between rock and country. “Midnight Train” would be at home in a honky-tonk bar late at night. The album concludes with the goofy and fun-filled “25 Lights.” Moot Davis covers a lot of ground with his latest release. While not cohesive as a whole, many of the parts are excellent. Goin’ In Hot is certainly worth a listen and hopefully will provide a well-deserved boost for his career.”

“Moot Davis likes his country to rock. Not in that REO Speedwagon-with-a-twang way that today’s cowboy-hatted pop stars and their executive handlers foist on the public, mind you. The singer, songwriter and guitarist finds his inspiration in the old school: Buddy Holly, Carl Perkins, Dave Edmunds, Gram Parsons, Hank Williams, Merle Haggard. They’re the same gritty ingredients in the stews cooked by fellow travelers like Dwight Yoakam, Monte Warden and the Derailers. Thus Davis scans as comfortable with heartfelt balladry (“Used to Call It Love,” “The Reason”), bluesy menace (“Made For Blood”) and frisky bootscooters (“Love Hangover”) as with trenchant social commentary (“Food Stamps”), burning sci-fi rock (“25 Lights”) and readymade party tunes (“Ragman’s Roll,” the title track). Davis doesn’t bother innovating with his blend of Ameripolitan flavors – he’s just trying to make a really tasty dish, and in that he succeeds perfectly.”

“Ever heard of Moot Davis? I hadn't until I received a link for his latest release, Goin’ In Hot. Produced by Kenny Vaughan this is a great combination of love sick ballads and rockin' up tempo music. His 5-string open G Telecaster is noticeable throughout as is the excellent accompanied sound of The Good Americans featuring bassist Michael Massimino, drummer Joe Mekler and guitarist Bill Corvino. I enjoyed the heck out of this release and you will too.”

“Goin’ in Hot sends its title out as a signal that the latest Moot Davis release is looking for love. The tunes on the album find some heart as Moot shares that he has got one mighty ‘“Love Hangover” and it won’t be stop ‘until they turn out the stars’. The throbbing in his head connects to the drum beat as the song draws to its close. Moot Davis warns “better hide your love ‘cause this town was “Made for Blood”’ over a non-stop groove rumble, goes cantina quiet as the Mexican-tinged chords lay a supportive hand on his shoulder in “Hurtin’ for Real” and sifts through memories for a relationship that “Used to Call It Love”. The title track takes no prisoners when it opens Goin’ in Hot and announces that love has left the building but the show has not even begun. Moot stands tall, just fine thanks, confirming that ‘I’m all right, long as their still making wine in California. Whether it is the dance or the game of love, Moot and the band are setti”

“Like the Mavericks’ Raul Malo, Moot Davis is an old school singer, a man who makes his music from both a selective and cerebral point of view. Consequently, the songs included on this, his latest opus, find him emoting in a way that brings to mind the great country crooners so prevalent back in the day -- iconic artists like Hank Sr., Johnny Cash, Roy Orbison, Charlie Pride, Porter Waggoner et. al. Aside from his singing, Davis is also a terrific tunesmith, a fact evident on every one of these track without exception. While most of the songs are the kind of lovelorn ballads that demand an ample infusion of tears in a beer, there are enough uptempo tunes -- “Midnight Train,” “Love Hangover,” “Ragman’s Roll,” “Lights” and the like -- to ensure that Davis evades any lingering effects of moodiness and melancholia. Credit producer Kenny Vaughan for imbuing the ambiance and guitarist Bill Corvino for adding exhilaration. This is a stunning set from beginning to end.”

“The debate over the future of country music often comes down to one between tradition and evolution. Goin’ in Hot is the kind of album that blows such debates out of the water. Davis easily fuses rock, blues, soul and country into a sound that is at once modern and traditional. It’s easy to compare Davis to traditional artists like Hank Williams or Merle Haggard, but, in spirit, he brings to mind Roger Miller. He is the kind of artist who takes in the music of his era and turns it out in a slice of country that is all his own, the kind of writer who can pen songs that run the gamut from the absurdly funny to the heartbreakingly poignant. Goin’ in Hot is his most personal and brilliant album to date.”

“Produced by Kenny Vaughan, "Goin' in Hot" comes exactly as advertised: a smoking rhythm and horn section fans the flames of the hardcore county sound for which Moot Davis is so well revered.”

"his fourth if you don’t count those he sold at gigs while playing on Nashville’s Lower Broadway back in the day, is the best yet" See complete review on web link

“Davis didn’t really need any extra hooks, though — the album has plenty. Take “Used to Call It Love,” a beautiful ballad. You can almost hear Davis’ heart pounding every time he lingers over the refrain. “Midnight Train” explores the same breakup theme, but Davis’ twangy vocals barrel down the tracks of the record, propelled by some of the hardest-driving country and rock instrumentals you’re likely to hear this year. Heartache’s rarely sounded so joyous. I love the slower tunes on the album — Davis’ duet with Nikki Lane on “Hurtin’ for Real” is lovely — but Davis is at his best when he sounds as if he’s being chased by a tornado. And “Goin’ in Hot” has plenty of those tunes. On the title track, for example, Davis’ vocals dart around the debris left by a stormy relationship. Davis and the song are desperate, determined. Nothing will stop him. Not lost love, and certainly not a little fire.”

"a record that is both timeless and relevant, and satiates all sectors of your salivating country music palette" the release of his latest Goin’ In Hot is just about the perfect damn opportunity if there ever was one to stop everything else down and sing the praises of this man’s superlative country music contributions. Moot Davis was once called “thinking man’s country” by NPR, and maybe because he’s known as a world traveler and runs in different circles than most independent country artists, he’s seen as some sort of upper crust crooner as opposed to an authentic country soul. But what Moot gets more than most is the simplicity of perspective inherent in good country music. Maybe that perspective is bred more from an intelligent ear than authentic personal experiences, or maybe it comes from both. (see complete article)

“Moot Davis kicks off Goin' in Hot with its title track, a loose-limbed country-rocker that recalls Dwight Yoakam at his Guitars, Cadillacs, Etc., Etc. peak--both in how it sounds and feels and also how it tips its hat to the past without being beholden to it. Davis favors the dusty Bakersfield roads paved by Buck Owens but also will venture down a path that leads to Texas honky tonk and tejano and, most welcomingly, will also take a scenic route that brings him through the deep Southern soul of Memphis. He decorates the record with layers of thick guitars -- they pick out riffs and smear the surroundings with slide -- and while this twang is grabbing, the focus is always on the songs and how Davis delivers them. He's a relaxed singer, easing into the songs and letting them breathe, underselling his wry jokes, "Food Stamps" is funny without sneering and finding soul within his heartbroken ballads. There's nothing flashy here, just good, strong country, that never goes out of style”

“Moot Davis' new CD Goin' in Hot features thirteen new roadhouse rock Americana tunes about love, loss...and aliens. Debuting at #1 on the FAR chart and produced by guitarist Kenny Vaughan, the collection also features a duet with newcomer Nikki Lane. As fate would have it the completed sessions needed to be salvaged from a hard drive after a fire engulfed the studio where the album was recorded. It doesn't get much hotter than that.”

“Moot Davis dials up the intensity on stellar new ‘Goin’ in Hot’ 4 stars out of 5 Country crooner Moot Davis has carved out a nice career making the retro, honky-tonk music that made Hank Williams a legend and Dwight Yoakam one of the most enduring artists of the past 30 years. Fourth album “Goin’ in Hot” finds Davis tinkering with his winning formula ever so slightly by turning up the heat on his guitar. The New Jersey native still sings with the Yoakam twang, but the songs here are a little more rollicking than what we heard on 2012’s dynamite “Man About Town.” Among the many highlights on the 13-track platter are the title track, “Food Stamps,” “Used to Call It Love,” “Midnight Train,” “Hurtin’ for Real” and “Love Hangover.””

“The lead off title song grabs you by the ear from the first notes. With a little more rock and roll influence than his first three albums, this song sounds a lot more like The Waco Brothers than Buck Owens - complete with a smokin' guitar solo in the middle. Moot keeps up the pace on "Food Stamps," with some nice steel guitar work to punctuate this rollicking, poor man blues. Moot gets further in touch with his rockin' side on "Midnight Train," "Ragman's Roll," and the Little Feat inspired, "Made For Blood." But this album isn't all rock riffs and guitar solos. Nearly half the songs are more traditional Country Blues. Which is only fitting, because Moot recorded this collection in the aftermath of a broken long term relationship. In "Used to Call it Love," he sings, "Said she wanted a semiprecious stone set in a band of pure gold." Moot grapples with his loss in "Hurtin For Real," and "Wanna Go Back."”

“Goin’ in Hot, Davis’ fourth album, draws upon several influences, and the music ranges from rock and roll on the title track and “Midnight Train” to country ballads like “Wanna Go Back” and “The Reason,” a sweet song from a son to his mother. This morning we’re pleased to premiere Davis’ “Food Stamps”:”

“Sometimes, a title just fits. Such is the case with Goin’ In Hot, the new release from Moot Davis. Mere days after wrapping up the recording sessions for the record, the studio where Moot and his mates laid down the tracks caught fire and was left a smoldering ruin. The music gods, however, were smiling, and all of the tunes were found undamaged on the hard drive of an otherwise ruined computer. Goin’ in hot, indeed. Trail Mix caught up with Moot to chat about the new record, unusual names, and finding country music in New Jersey. See Web link for interview”

“The first thing you hear in Moot Davis’ “Goin’ in Hot” is a twangy, cowpunkish guitar lead that jumps right out of the speakers. An instant later, it’s joined by a throaty horn section. It’s the perfect combination of the musician’s New Jersey roots and his honky-tonk fascination. Written on the heels of bad breakup, Davis lets it all hang out. Time to get back on the horse. After touring all across the country this spring, Davis returns to his native New Jersey for several shows in April. Watch him get psyched up for the rebound in “Goin’ in Hot.””

“On Goin’ In Hot, Moot Davis adds a few rhinestones to his suit-and-tie country music sound with lots of well timed word play, honky tonk shuffles, and smoky electric guitars. There’s strains of Rolling-Stones-covering-the-blues on tracks like “Walk Alone” ”Ragman’s Roll,” and “Midnight Train,” but Moot Davis’ ten-mile-drawl keeps it all firmly in country rock territory. I’m also into Love Hangover which sounds like something Elvis Costello or Lyle Lovett could have written. There’s some pure honk tonk on numbers like the title track and “Food Stamps.” I’m adding the title track, “Walk Alone,” “Midnight Train,” “Love Hangover,” and “Ragman’s Roll” to rotation.”

“This is a great CD! Real nice grit mixed with some honky tonk and roots rock. It will be added and might even be destined for one of our top AMA spins.”

“Goin' In Hot (CD, Crow Town, Country/pop) Groovy upbeat boot tappin' music from Moot Davis. This guy's got a slick sound that should appeal to music fans all over the world...and he's got the looks and presence to go all the way.”

“His new release, Goin’ In Hot, has plenty of great country, but also mixes in some other influences, including a New Orleans flavor on “Made For Blood.” The album features all original tunes, and all of these songs feature great work on guitar. I also think that overall, this album’s lyrics are better than those of the previous one. In songs like “Love Hangover,” Moot Davis takes his pain and turns it into fun, feel-good music. Nikki Lane adds a wonderful second set of vocals to “Hurtin’ For Real.””

"You will be left in awe wondering what just hit you. It has been a long time since someone has come along and embraced the traditional country style the way Moot Davis has."

gonecountrymagazine.com

““Moot Davis sings authentic, unadulterated country music with two feet firmly planted in the lineage of honky-tonk legends past. Papa Hank would be proud.””

BRODY VERCHER - http://www.the9513.com

"Honky-Tonk Artist of the Year"

True West Magazine

"Moot Davis has the potential to be a powerful weapon in the fight to keep country honest, legit and in touch with it's no frills past."

The Detroit Free Press

“Moot Davis pops out of nowhere to deliver a startling debut album clearly not of this era … Maybe Moot Davis can jump-start a dormant style. ”

Dallas Morning News

““These songs are so cool, I can’t even choose a favorite….This guy’s got it.” ”

"Moot Davis is primed to be the leader in the new insurgent country music scene." Entertainment Today

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