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Scott Hrabko / Press

“Kansas City music lovers could not have asked for a more perfect Saturday - prime pickings for a music festival. With blue skies, a cool breeze, mild temperature and light jacket, yesterday's 10th Annual Crossroads Music Festival was off to a suberb start. With sunlight filtering through the Tank Room’s westward windows and lighting up the stage, Scott Hrabko & the Rabbits handily delivered a set of rustic, old-timey country tunes to the warm festival audience. Hrabko finger-picked his acoustic guitar and sang cowboy ballads of travel, love, horses and the end of the world, while his fellow bandmates on bass and accordion provided spot on vocal harmonies.”

“Scott Hrabko has been making music for over 25 years now, but only recently released his debut album in late 2013. The singer/songwriter composes thoughtful, reflective tunes with a backing band that provides the soul, swing, and twang that gives his music a classic country feel. (click link for interview)”

“With a well seasoned baritone voice, these songs pour out of Scott like a vintage, robust, red wine... Scott's wit and insight shine through in every song on this collection. He brings a perspective that can only come from a lifetime of (sometimes painful) observation. His lyrical sketches are effortlessly 'matter-of-fact,' yet so poetic in their phrasing....The music on the album is every bit as expressive as the lyrics. Ranging from Jazz to Blues to Rockabilly to Texas Swing, Gone Places virtually defines the subgenre of Americana that has come to be known as "Porch Music." You put this album on, grab a pitcher of your favorite beverage and sit back on you porch and let the world go by - and maybe even daydream about the gone places in your own memories.”

“Hrabko's debut sounds like a record belonging in rotation between Buck Owens and Willie Nelson. It feels familiar, the way a classic country album would; Part blues, part western swing, Gone Places is an album filled with slide guitar, pedal steel and jangly piano notes. The little moments on Gone Places tend to refer to women lost and found and blues picked up along the way. Hrabko can count Lyle Lovett as a contemporary; he shares a number of vocal and stylistic qualities with the Texas singer. Lyrically, though, Hrabko seems to have taken lessons from John Prine: With folk-taught wisdom, Hrabko is too witty to sound completely heartbroken. On the standout track "Lonely Satellite," Hrabko calls out cheerfully: From a frozen phone booth in Nevada/I can hardly hold the dimes/I dial your number, honey/A little humbler every time.”

“I hope this isn’t going to be a once in a life-time record from the Kansas City native but the start in a career that though late isn’t without promise both in terms of songwriting craft and musically.... Closing piece ”The Woman Upstairs“ containing piano, fiddle, pedal steel, guitar and sweet harmony vocals is steeped in country as he marries 1960s golden era with that of a decade later, as on a number of occasions the listener enjoys some finely crafted work and promise of better things to come....Awash in smartly fashioned insights of life, a little whimsical dreaming and gentle coercing of one’s senses as on a piano supplemented, jazz toned “Fool In The Song” the texture and tone is nicely varied.”

“Deli Magazine's best of 2013: Barry Lee, The Deli KC contributor / Signal To Noise on KKFI 90.1 FM 2013 list of homegrown specialties Tiny Horse – “Ride”... The Dead Girls – “Love You To"... Cowboy Indian Bear – “Let It Down”... Ricky Dean Sinatra – “Werewolf”... SCOTT HRABKO – “Blue, Period” from Gone Places... Lonnie Fisher – “Ghosts Driving in My Van”... Erik Voeks – “Hester A. Fish”... The Quivers – “He Had It Coming”... Betse Ellis – “Straight To Hell” /... Radkey – “Out Here in My Head””

“Scott Hrabko…don’t get out much: music ramblings at the Broadway Café... Great art, like black and white photography, uses contrast to affect us. Scott juxtaposes the finger picking style of folks like Mississippi John Hurt, Elizabeth Cotton, and John Fahey with his own ironic poetry that celebrates the humorous and clever, the old blues with something new, life in the present tense....Scott’s music has a transporting quality to it. It’s like a train ride through some beautiful American valleys and vistas with echoes of Celtic rhythm as a faint heartbeat. It’s a trip to Parchman Farm Prison in Mississippi without the life sentence and roadwork, with words that may have you visualizing a page from American Splendor, reading your modern life in a mirror with the cadence of guitar picking that’s primordial and simply elegant.”

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