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Shawn Pittman - Undeniable (2010)
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Shawn Pittman - Undeniable (2010)
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Shawn Pittman - Undeniable (2010)

21-10-2013, 06:51
Music | Blues | Rock

Shawn Pittman - Undeniable (2010)

Artist: Shawn Pittman
Title Of Album: Undeniable
Year Of Release: 2010
Label: Self
Genre: Blues, Electric Texas Blues
Quality: Mp3
Bitrate: 320 kbps
Total Time: 43:28 Min
Total Size: 105 Mb


1. Hard To Hold On
2. Young Girl
3. Change Of Heart
4. Who's Your Man
5. The Hard Way
6. Somebody, Please
7. Righteous Woman
8. Sucker For Love
9. Blues For Juanita
10. Mindin' My Own Business
11. Lookin' Good

This is Shawn Pittman's eighth release of no nonsense-Texas blues. If you like house-rockin blues , this is one CD you don't want to overlook.
One of the most powerful artists on the blues scene, Shawn Pittman has it covered on every level: singer, guitarist, songwriter, performer, and producer. Born in 1974 in Talahina, Oklahoma, the then-capital of the Choctaw Nation, and raised outside Oklahoma City, in Norman, Pittman got an early start in music. Inspired by the boogie-woogie piano stylings of his grandmother, and by his grandfather’s guitar picking, Shawn took up piano at age eight, following that with the drums, before concentrating on guitar at 14. Introduced to the blues by lifelong friend Bracken Hale, who to this day remains a regular co-writer, Pittman quickly progressed through Jimmy Reed’s rhythmic foundations to Albert King’s lead guitar style, along the way absorbing the approaches of touchstone artists like Magic Sam, Otis Rush, Buddy Guy, Muddy Waters, Hubert Sumlin, Jimmy Rogers, Lightnin’ Hopkins, Frankie Lee Sims, the Vaughan Brothers, and Albert Collins. He can also discuss and reproduce the styles – and the dustier corners of the catalogs – of such artists as Lowell Fulson, Jerry McCain, Lazy Lester, Robert Nighthawk, Chuck Berry, Hound Dog Taylor, and Ike Turner.
Pittman is the rare artist who intuitively balances genuine creativity with a deep reverence for those who paved the way. “There just aren’t people around anymore that can do things like Howlin’ Wolf or Guitar Slim or Albert King did,” he says. “Those guys created their own thing and had people playing with them who played that stuff naturally. We will never see that again. The only thing to hope for is that musicians will still discover those guys and continue to be influenced by them.” Extending that tradition in a meaningful way is at the core of his work.

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