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Red Mouth / Press

"...here again songs beyond the clichés full of madness and beauty. The references to Captain Beefheart you can not help here. But Red Mouth aka Eric Gebhard has arrived as a songwriter inwzischen even in tragic ballads a la Leonard Cohen, Nick Cave and reminiscent of a completely drunken Kurt Weill.

“In a more patient and thoughtful music world Toska would rank high on a lot of Best lists this year. If I believed in art contests it'd rank high on mine, too. But some things are too important to rank. Toska is one of them.”

“The first thing that jumps out from Toska is Red Mouth’s voice. Imagine if the love-child of Screaming Jay Hawkins and Tom Waits had drunk a jar of moonshine and then someone recorded his first experience with a microphone. The next thing is the level of commitment with which Red Mouth pours himself into his art. There isn’t a false moment on Toska; not a single moment that leaves the listener wondering if Red Mouth cares about his songs or his desire to communicate with an integrity to his artistic vision that is pretty much unparalleled. Here’s the thing – if the listener buys into Red Mouth, he or she does so with 100% assurance that this is one artist that will never let down his audience. What you buy is what you get. Red Mouth is Red Mouth.”

“If there’s one thing Red Mouth will give you, it is one hell of a show. While watching Red Mouth perform I cannot help but be enchanted with how he embraces the audience. Of course it’s partially because he left the stage and is standing in the middle of the crowd singing directly to me – but it’s also that his songs are an actual story told by ole Red Mouth himself.”

“Tunes on "Toska" include "Butcher Knife," which echoes the twisted-roots sounds of artists such as Captain Beefheart, "Gris Gris"-era Dr. John and Cramps singer Lux Interior.”

“Channeling the likes of Screamin’ Jay Hawkins, Leadbelly, Nick Cave, and Iggy Pop into one vessel seems an insurmountable task. Redmouth does it with a gusto that suggests he was just born with it.”

“Born in Vernon, Texas but raised in Alabama, Red Mouth certainly has a healthy dose of the South in his music, and he plays a gritty, rollicking slide guitar with the reckless abandon of a Hound Dog Taylor. But he has also travelled internationally and absorbed a wide range of influences. For an example of what he does with with the music, check out his rendering of Blind Willie Johnson’s “Soul of a Man,” a traditional Delta blues tune he turns into a screaming, stomping exclamation, or “Redecoration Day,” his quasi-psychedelic collaboration with Andres Roots, a slide guitar player and songwriter from Tartu, Estonia.”

“It's a kind of creepy vernacular music born of DiY and solitude, of faith and disbelief, flint hard rurality and moonless nights. It's personal, man. You might need a couple listens to dig it. He's got something different happening within an underground (if there is such a thing as underground any more) country blues form. I welcome that. ”

“Eric Gebhardt aka Red Mouth is a man who exudes the blues. From every pore, in every breath, weathered, raw blues with a close calls. The man is a gifted songwriter, something he can abundantly prove this "The Old Original Saint Red Mouth Blues”

“the one year-end list that isn’t the same damn records on every other year-end list.”

“presented a robust roadhouse version of his music, stylizing it in a good-but-different rock way. Luckily, even the luxury of added brawn couldn't obscure the hunger and desperation at the harrowed core of Red Mouth's blues.”

“...he's known for his raw, captivating hash of American forms that, though steeped in traditionalism, is anything but orthodox. As if blues and country had been smeared by some punky outsider hobo, it's grainy, woozy and alternately possessed and crazed.”

“The man breathes blues...Do not expect frenzied solos or jam prone outings. This is blues as it should be played. ”

“This guitarist and songwriter started his musical development in punk rock. And even if he is a blues today, you can hear the snotty energy and rejecting all unnecessary glazes in music in every note.”

“While the latest album from Red Mouth is not necessarily new, it provides a glimpse of the artist at a raw, gritty point in his career and provides a segue into his next musical effort.”

“Situated on a wood pallet onstage, Eric Gebhardt gave off the notion that he was without a full band. But even as a one-man performer, Red Mouth had the whole place fooled. His drum kit was his left-legged, leather-heeled boot and a tambourine on the floor when it wasn't in his right hand. Armed with a hollering voice, as muggy as his Alabama beginnings, and a mean old blues guitar, Red Mouth couldn't be more complete.”

“...the music is dark and brooding but totally demanding of your attention.”

“I don't think that Gebhardt will object if I describe his music as fucked-up blues. He uses the blues as a starting point that he soon jumps from ...think of the blues as a wall that he sprays sonic graffiti on.”

“Red Mouth (April 18, Will’s Pub) was absolutely transfixing. Born Eric Gebhardt, this Biloxi one-man act infuses American roots music, particularly the blues, with a punk soul. With a dark austerity rendered through slide guitar and foot-stomps, his sound is distilled but definitely not clean. Despite the stand-up job Hex Tremors drummer Benny Lewis did accompanying him, the most riveting moments of an already excellent performance were when Gebhardt’s tortured gospel wail was paired with just his stomping (which was done on a mic’d wood platform). His is truly an arresting and powerfully evocative voice in American music.”

“he brings in this wooden platform that he sits a stool on and pounds his foot and the platform's about four inches high and so it amplifies it so all of a sudden this six foot three kid with long stringy red hair, his eyes get real big, lines form on his face and he's all like...crazy and this voice comes out of him that's like some seventy year old man who's possessed by the fucking devil or somethin'. It's like the devil's defiantly in the room - like he's eaten up Harry Smith's dead body and is spewin every mutilated confederate soldier, wound or insult the south's ever taken - every dead mule!!”

“Red Mouth (Sept. 4, Will’s Pub) is anything but your average troubadour. The erstwhile Eric Gebhardt’s songs are the sound of the Deep South, spooked Delta incantations far more visceral than any modern blues. Starkly accompanied by just a foreboding slide guitar and a stomp platform, he delivers his troubled gospel in a voice that’s haunted and soul-scraping. With a rare ability to command a room, he is unquestionably one of the most cutting solo performers out there.”

“Take a musician fond of singing a cappella and place him in a crowded, smoky bar and you usually have a recipe for ongoing conversation, awkward giggles and one pissed-off artist. Not so with Red Mouth, an act that consists of Delta blues singer Eric Gebhardt alone with his sinful slide guitar and a mean foot-stomp. Once he settles into his brand of soulful, gritty blues, you won’t hear a peep in the house until he’s exorcised whatever it is that drives his gaunt, bearded visage to contort into a pained strain. This is the kind of blues that strips away showy solos or crowd-pleasing call-and-response singalongs. Instead, Gebhardt is a force unto himself and by himself, his eyes squeezed shut until his own being disappears. It’s a transcendent, introspective experience not to be taken lightly.”

“All the elements that make Red Mouth what he is are all still present, but the mood is darker! If "Sir Red Mouth" was served southern fried, "Saint Red Mouth" is blue rare! A real heart attack!”

“Redmouth calls out his music from some kind of Southern time capsule: this is blues music that you’ve heard all of your life but with an interpretation that you’ve never heard before. The raucous live show blends hypnotic blues riffs, a unique blend of instrumentation and vocals that sound like they are filtered through the muffler of a 1960′s Chevy. ”

“Wohl mehr Blues, als all jene die laut „Chicago“ schreiend und panisch nach der Bluespolizei rufend nun auf ihren Milanoschuhen das Feld räumen. Und Gott ist zornig. ”

“Pressi poolt „Lou Reedi mässuliseks sohipojaks“ ristitud Eric Gebhardt sündis Texases kirikuõpetaja peres, kasvas Alabamas legendaarse bluusihelilooja W.C. Handy sünnilinnas Florence’is ning on pikemat aega elanud Floridas ja Mississippis. Deltabluusi ja spirituaale rocki, pungi ja kantriga siduvad sooloalbumid”

"...he uses the mythological and emotional aspects of religion in his music, which tends to lean toward the more depressing side of the blues rather than the uplifting side."

“...his bum-howling theatricality and full-body spectacle make for a riveting sight. Although the sound on his third album is fleshed out with Bryan Farris on guitar and Brian Conner on washtub bass, everything begins and ends with Red Mouth. And on Saint Red Mouth, his combination of dark blues, spooky gospel, rustic Americana and punk spirit is delivered with the full intent and force of an old campfire storyteller. Compositional starkness and amplified madness are core ingredients here, but this is something altogether different than the camp and outrageousness of a typical one-man band. The music on Saint Red Mouth is all haunted, moss-covered atmosphere. It’s the lonely soundtrack of a Southern backwater and hangs still and heavy like the August humidity. Shepherding it all is the evocative sickness of Red Mouth’s wounded baying. However, there’s no recording process that can fully capture the singularly arresting experience of Red Mouth’s live power. ”

“The name matches the music, matches the man, matches the beard. Channeling his raucous, deep croon our good friend and phenomenal Blues musician Red Mouth worked with us to create a music video for his hit song “What’s Who is Who”. Red’s music is a sublime, raw mixture of delta blues and punk rock. ”

“Eric Gebhardt and Red Mouth are two different people occupying the same body. While Eric is outgoing, pleasant and quick witted, Red Mouth is loud, raw and steeped in the darkness of the blues. The only thing they have in common is the Donegal tweed walking hat they both wear. Gebhardt thinks he knows what's happening to his alter ego. "Red Mouth has taken on a life of his own," Gebhardt said. "He's becoming a character. Not consciously. He's becoming a grumpy old man."”

“Some time ago, we received a great CD here at Blues In London Towers, sent by a guy called Eric from the USA who'd found the site and wondered if we'd do a review. 'Blues $1.49' turned out to be one of the best CD's we'd heard all year (read our review here) and what's more, Eric turned out to be a really nice chap. It seems that playing the blues is just as tough a proposition in the U.S. as it is here and, recognising a fellow 'Brother in The Blues', we thought it would be interesting to get occasional 'Postcards from Florence' to find out how it goes over there. This is the first instalment...”

“Gebhardt may be from a white, suburban, middle-class background, but his version of the blues has straight-from-the-heart authenticity, no matter which variant of the blues he happens to be performing. Even when he isn’t playing 12-bar blues, it’s clear that he somehow got there from the 12-bar blues.”

“Yes, the red-bearded gentleman from WC Handy’s hometown of Florence, Alabama is back with another album and a new voice. Where his debut release “Blues $1.49 lb” fused Tom Waits and Willie Nelson influences with raw blues and punk rock spirit, the new, Cody Gaisser-produced affair is wilder, bluesier – and more focussed. Frankly, it’s a joy. Having made his mark as a songwriter on the first album, Eric “Red Mouth” Gebhardt now reinvents himself as a performer – and it’s not as a singer of country waltzes, I’m glad to report. Yes, the Nelson-soundalike stuff is still there... The rest is downright groovy!”