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BLUES 411 - 2011

Paul Pigat is Cousin Harley, yes it is true. An alter ego, Motorhead Rockabilly at it’s very finest. Throw in some Dick Dale, the Ventures and what you get is a stripped down form of rock and roll that mixes in blues, country and really is a genre busting form of music.
The best example of this would be the final cut on the release, ‘Spaghetti No Sauce’ it hits the ground running and you will be left looking for waves and your surf board but not on the earth but on a distant planet where only few dare to go.

The title track ‘It’s A Sin’ rides in on an old steam powered railroad train that has been juiced up enough to make it dangerous. As it pulls into the station we hear a Johnny Cash type of voice pleading for some form of intervention to be divinely laid upon his lady because she has no room in her heart or life for him or anyone else, and has no first-hand knowledge of herself at all and it’s a sin.

‘Spooks’ is similar to the great instrumentals of The Ventures and the late great, Danny Gatton wherein ‘Cuz’ paints us a picture of a landscape at night that is alive with life, death and after-life all enjoying and sharing the streets and co-existing in harmony, sweet harmony.

One might hear the influence of Carl Perkins and others in the snubbingly titled “I’ll Keep My Old Guitar‘. Here we are treated to some wonderful lyrical loyalty, as he expresses his preference to his guitar over fly by night ladies of all sorts.

No release of this sort would be complete without a nice minor blues number. Cuz gives us that with ‘The Ballad of El Swartho’, a catchy title and really fine instrumental that allows us to see the varied influences and styles that make Cousin Harley’s ‘It’s A Sin’ release a fun filled romp on them frets!

– Chef Jimi Patricola.

MUZIKREVIEWS.COM – April 4, 2011

Cousin Harley is the rocking hillbilly facade of Paul Pigat, an extremely talented and exceptional guitarist, vocalist, and songwriter from Vancouver, Canada. Pigat began playing the guitar at the age of 11, and by age 12, he was already picking up gigs throughout all of Toronto. He deeply explored music along with live performance opportunities and pursued his dreams by audaciously heading to the West Coast of Canada.

Pigat has spent his whole career flying under the radar. He has created sweet sounds for some of the best artists in country without getting the attention you would expect. He persistently puts his ego aside and never gives into the temptation to be flashy or famous. He just does what he does best and focuses on his God-given talent. Pigat’s playing is the essence of taste and discretion as he fits easily into so many different musical universes without ever overplaying or surrendering to rock and roll clichés.

Joined by bass slapping Keith Picot and drummer Jesse Cahill, It’s A Sin features an unmistakable sound that lets you truly feel the music from head to toe. Pigat also plays under his own name, and has released a slower more subdued disc of tunes called Boxcar Campfire in 2009, which has Pigat exploring country blues.

Featuring a high energy rockabilly sound, Pigat’s impeccable style shines through in every song of It’s A Sin. If you enjoy jamming to bands like Brian Setzer, Reverend Horton Heat or The Paladins, you will love Cousin Harley’s free spirited music and taste.

Listen long enough and you'll realize it really doesn't matter what he plays. It’s A Sin is just plain fun to listen to. Jam packed with 13 great tunes including a few instrumentals, this album is guaranteed to get you movin’ and groovin.’ It features everything you are looking for! If you are downright ready to party, check out “Beaver Fever,” “Swingin’ Like A Mofo” or even “Spaghetti No Sauce.” And In “I’ll Keep My Old Guitar,” Cousin Harley lets the truth be known about women. Or let’s just say, his truth. “Women O Women, O everywhere, no matter where they roam; there they go, but in the end, they will do you wrong. You can talk about your hot redheads, you can talk about your blue-eyed blonds you can talk about your brunettes, but I’ll keep my old guitar.”

I believe it's when you get to hear Cousin Harley on his own that his star really sparkles. All of the ideas that have been percolating for years while he's been playing in the background have the chance to come out into the limelight and have their moment in the sun. He shows other artists what it’s like to not only sound good, but to have a blast while focusing on his true passion in life.

Four stars.

- Tracy Johnson.


Fans of Brian Setzer who haven’t discovered Vancouver, Canada’s master of guitar fire and ice Paul Pigat would do themselves proud to pick up It’s a Sin, his latest solo offering, which just happens to offer an assured stylistic mix common to the Setzer canon. But Pigat, recording in his guise as Cousin Harley, is the real deal, not an imitator; he just happens to favor Gretsch guitars and the sonic and soulful properties of rockabilly, straight-ahead rock ‘n’ roll and classic pop. In his native land fans know him as fronting a variety of bands, touring incessantly and generally never missing an opportunity to make a musical statement, whether that means backing another artist or taking center stage himself.

It’s a Sin is a sheer delight, a guitar tour de force and a soulful, high-spirited workout to boot. When you hear him craft some those cascading Les Paul flurries and sparkling, legato lines in “Beaver Ballad,” you kind of want to hear more of the same, but Pigot’s not about staying in one place on this album. He kicks it off with “Conductor Man,” a bopping rockabilly assault as notable for his cocksure vocalizing as it is for the hailstorm of descending lines he employs to add some extra oomph to the atmosphere, as well as an utterly sizzling guitar solo howling and snaking around the soundscape towards the end. Four cuts in, on the title track, he’s wailing on a self-absorbed gal who’s cold as ice, delivering his message with a rugged, earnestly pleading vocal over a relentless, driving rhythmic attack with his heavily reverbed Gretsch twanging and ringing in a full-on surf-style assault—which is immediately followed by the sensual Latin-flavored rhythms of “The Ballad of El Swartho,” a multi-textured instrumental in which Pigat expresses himself in a wide range of tones, from big, husky-noted runs to the spiky, trebly sort, with a tasty, steel-like swoop making a memorable cameo at one juncture. For those who favor speed and lyricism all at once, Pigat’s got what you’re looking for in “Hoss’ Hoedown,” which hits full stride about a split-second after it kicks off and never lets up for the next near-two-minutes, during which Pigat’s fleet-fingered soloing quotes country and rock ‘n’ roll sources all at once. Another instrumental, the amusingly titled “Swingin’ Like a Mofo,” would make Bob Wills holler with its amazing Django-meets-Eldon Shamblin pyrotechnics, hopped up rhythm and cheery disposition. There’s more than a bit of Wills western swing flavor to the album’s most enjoyable vocal moment, “Sweet Little Angel,” wherein a steady shuffling rhythmic thrust, Pigat’s good-natured testifying to his devotion to the heavenly gal in question, and some precise, electrifying breakneck soloing en route comprise an exalted lover’s celebration of that which moves him most. As he does on all the songs here, Pigat never subsumes heart to technique, never loses the human touch as he’s blazing away on the Gretsch. You feel him?

- David McGee.

JSITOP21.COM - 2011

Cousin Harley is stripped-down, speed-demon, blood-on-the-fret-board rock-and-roll. No pretensions and no bluffing about a record that combines hot-lick guitar work, hip-swinging stand-up bass and frenetically paced one-two-one-two drum beats with affable lyrics about women, booze, guitars and trains: this album announces itself with its opening notes and stays true-to-course through thirteen tracks.

Cousin Harley is the preferred persona of prolific Vancouver based guitarist Paul Pigat. As Cousin Harley listeners are treated to Pigat putting Rockabilly up-front, thematically, aesthetically and, for the most part musically. But don't be too quick to write Pigat or Cousin Harley off as just another greaser: any guy plays who can record guitar tracks for Neko Case albums one week and Jim Byrnes the next deserves a couple of listenings. And it's on the second listening that Cousin Harley really shines on "It's a Sin:" listening to it over and over can't be a bad idea either!

- K.F.M.


Paul Pigat is the front man for the strangely named Cousin Harley, a group of musicians from Canada. This album actually came out in 2009 and may have had its burst over there, but for the UK this is a compendium of various styles of music. Rockabilly, Blues and Folk and it may be resurrected on this side of the pond. It is not an album to pigeon hole and has a certain charm to it. His musical style is deeply rooted in the Mississippi Delta which seems a world away from Canada, but with fluidity and precise playing of the guitar, he crosses genres with ease. The tone of his playing has a certain creativity of its own. With a rich set of vocal chords allied to an innate guitar playing ability, which Pigat has used to create an album that is easy on the ear. This is not for someone looking for the blues per se, but it has a general sort of appeal without being specific to any type of music. The lyrics can be a bit anodyne, but then I wasn't looking for some deep profound message in this particular form of Folksy album. Track 9 ‘Troubled Mind’ is a particularly good example of his delicate finger work on the guitar and in truth the lyrics aren't all bad. The penultimate track ‘Tortured’ is a total contrast to everything else with a sort of dark intensity to it. In reality this album is not going to shake the foundations of the music world in the UK, but it does showcase Paul Pigat as an all-round musician with some ability.

- Alan K.


Paul Pigat is a believer in the Big Twang. Based in Vancouver, he plays guitar like he was born under a bad neon sign in Memphis. Pigat is the guitarist, composer, and bandleader of Cousin Harley, a roots/rockabilly combo backed by string bassman Keith Picot and drummer Jesse Cahill. Pigat picks with abandon and assurance, rolling out rollicking rockabilly licks, old-timey country double-stops, and pedal steel-style voicings that make It’s a Sin one hot little number. But this is much more than just a rockabilly revival record. The songlist also includes twangy twists on the theme along with other sounds of the era, including proto-surf romps, spaghetti-western soundtracks, and Pigat’s stylish Western swing and jump blues themes. Cousin Harley is a tight combo. Not only is their music spot-on, they’re obviously having a great time playing it!

– Michael Dregni.


You wouldn’t know it by seeing his fans pogo dancing like punk rockers, or by hearing his rockabilly-meets-metal-meets-surf rock songs. Behind Paul Pigat’s pompadour and horn-rim glasses is a formally trained musician with a degree in classical guitar and music theory—a musician who had tea and crumpets with John Williams while studying at the University of Toronto. But don’t let this cast an image of Pigat as a hoity-toity academic stiff. Singing lyrics like "I'm gonna dig me a hole, that's where I'll lay my head. I'm gonna dig me a hole, it should be you instead," you won’t see Pigat—a self-confessed big fan of murder ballads—sitting in an ivory tower anytime soon.

Through a grassroots approach, Pigat has garnered a massive fan base and achieved cult status. Two recent Canda-only releases, It’s a Sin, the raucous album from his Cousin Harley project, and Boxcar Campfire, a more acoustic outing, hit the States in February on Little Pig Records. Both offer a taste of Pigat’s eclectic mix of psychobilly, bebop, and country, and serve as an excellent introduction to Pigat’s eclectic style. Fans of fiery guitar will particularly enjoy Pigat’s western swing jazz runs and country shred-meets-Stevie Ray distorted solos.

Pigat has also racked up impressive credits as a sideman playing with the likes of Jakob Dylan and Neko Case, for whom he also plays upright acoustic bass, his first instrument.

- Joe Charupakorn.


Roots-country guitarist-vocalist Paul Pigat would likely be classified in Americana if he was based in the States. Based in Vancouver he has two new CDs on Little Pig Records. One is as by Cousin Harley, Its a Sin, while the other is under his own name and entitled Boxcar Campfire. The two discs have very different flavors but are quite enjoyable in their separate fashion.

The Cousin Harley disc opens up with the rockabilly flavored Conductor Man, and listening to Pigat’s vocals along with his sizzling, twanging guitar, one might think of Pigat as a Yankee Marty Robbins crossed with the Johnny Burnette Trio as Keith Picot slaps the bass and Jesse Cahill kicks the rhythm around. The mood can switch to a bit jazzier guitar on the swinging “She’s Comin’ Back the old-style Western rocker, Sweet Little Angel, and scintillating instrumentals such as the swinging Beaver Fever, Swingin’ Life a Mofo, and Spooks. Cousin Harley will clearly appeal to fans of similar guitar masters with a similar country-roots base as Bill Kirchen and Deke Dickerson. Cousin’s Harley’ It’s a Sin is wonderful rocking music and terrific fun.

- Ron W.


This is Paul Pigat's hillbilly swing outfit, but I was so knocked out by his blues / country / folk disc, Boxcar Campfire (here), that I had to take a walk and get my bearings first. Sights re-set, I'm ready for It's a Sin, and a lively little bullet train it is. There are only three gents here (Pigat - guitar, vocals, Keith Picot - bass, Jesse Cahill - drums) but they rock so rhythmically hard that the ensemble is like a small big band with a full and wide sound. Pigat handles a dexterous axe, alternatingly birdsong light and then devastating, and takes a lot of cues from Les Paul and the 50s best—dive into Beaver Fever for a display that'd have Les and Tal Farlow licking their chops. In fact, some of his riffs are so Roy Buchananesque that one can see Roy's own influences backwards through Pigat, Picot and Cahill knocking out the bars and measures beneath him with lively aplomb.

Brian Setzer and the Stray Cats will be spitting nails and howling in the moonlight 'cause these boss hawg big dogs just might run right over 'em in a Saturday night face-off. Then ease into the sensuous latin hipsway of The Ballad of El Swartho, boracho, and you'll taste the forbidden delights of the hot blooded south-of-the-border ladies of the night with Ventures style embroidering hanging like lace in the windows. Normally, though I love Tex-Mex and swing, I'm a little leery about hillbilly rock, but It's a Sin just blows that trepidation out of the water, turning heads around 360 while feets boogie and fingers snap, crackle, and pop. Had the 50s actually been this cool, Jim Bob, I'd'a been sporting a ducktail, rolling Chesterfields in my t-shirt sleeves, and nailing Betty Lou out in my pop's '53 Mercury. In I'll Keep my Old Red Guitar, Pigat even sounds like a way hip Bing Crosby, and I swear to Gawd that, in his instrumentals, you can see where even Ritchie Blackmore developed roots via Lester, Tal, and all those bygone hipcats!

Yeah ... I think I'll just put it all in one tersely obscene sentence and say: This guy's fucking amazing!

- Mark S. Tucker.

The Virginian Pilot, VA - 2011

If you’re looking for a darn good dose of unbridled, kicking rock ’n’ roll, Cousin Harley’s glad to oblige on its latest high-octane release, “It’s a Sin.”

And it would be a sin if true rock fans didn’t get an earful of this Vancouver-based trio.

The “Cuz” is singer/songwriter/guitar gymnast Paul Pigat, bolstered by the rough-tough rhythm section of bassist Keith Picot and drummer Jesse Cahill. One fan in Holland dubbed the band “the Motorhead of rockabilly.” Can’t argue with that.

On this latest, the three gallop, stampede, boogie, two-step and swing their way through rockabilly, psychobilly, surf-rock, western swing and punk. It’s as if Pigat and his mates jammed Gene Vincent and Bill Haley through a Stray Cats/Cramps/Southern Culture on the Skids blender while adding Clash and Reverend Horton Heat spices.

Throughout, the playing is fevered, raucous and abandoned as the three resemble Chet Atkins playing Bakersfield country, Johnny Cash rocking spaghetti Western soundtracks or the Sex Pistols playing a barn dance.

– Eric Feber.


I love and respect bands that include an upright bass. I love the unmistakable sound a feel it gives the music, and I respect anyone who will lug that beast around from gig to gig!! Of course the bass is only part of what I love about Cousin Harley’s disc It’s A Sin. Think a big dose of Stray Cats best stuff along with some of the surf guitar sound of Dick Dale, and a dose of steel guitar and you have an idea what this awesome disc has in store for ya! Cousin Harley basically IS Paul Pigat, a whiz on guitar, who also provides vocals, produced the disc and wrote most of the material. Cousin Harley is Paul’s rockabilly alter-ego. He is joined by bass slapping Keith Picot and drummer Jesse Cahill. Paul also plays under his own name, and released a slower more subdued disc of tunes called Boxcar Campfire in 2009 which has Paul exploring country blues. With a preview like that where would you guess the band is from; North Carolina, Texas, perhaps even California? No, Western Canada. Good music knows no boundaries.

Paul also plays under his own name, and released a slower more subdued disc of tunes called Boxcar Campfire in 2009 which has Paul exploring country blues. He also fronts a jazz group called The Paul Pigat Trio playing vintage be-bop and jazz standards a la Charlie Christian and Les Paul. You’ve got to be kidding me!!

It’s A Sin is just plain fun to listen to. It is packed with 13 great tunes, including a few high energy instrumentals. Got as party coming up? How about rockin out to Beaver Fever, or Swingin’ Like A Mofo, or perhaps have an order of Spaghetti No Sauce. One of my favorites on the disc is the only tune not penned at least in part by Pigat, I’ll Keep My Old Guitar, by Adolf Hofner who had a band called Adolf Hofner and His Texans back in the 30’s and 40’s. (Obviously Pigat is a student of his craft!) I love the chorus of the tune:

Women O Women O everywhere, no matter where they roam; there they go, but in the end, they will do you wrong.
You can talk about your hot redheads, you can talk about your blue-eyed blonds you can talk about your brunettes, but I’ll keep my old guitar.

If you like good music, or just about any genre, check out Paul Pigat, but especially this awesome disc!!

- Don Zelazny.


While you might not have heard of Paul Pigat, chances are that you’ve heard him before. Over the past few years, the Vancouver native has backed artists like the Sojourners, Jim Byrnes, Jakob Dylan, and Neko Case, contributing guitar work that is the very epitome of roots music. At home playing styles ranging from blues to jazz to rockabilly to swing, Pigat is that rare artist who appeals to just about every fan of good music. He recently released two discs simultaneously on his own Little Pig Records, one under his own name and the other under his rockabilly hero guise of Cousin Harley. This pair of recordings is as different as daylight and dark.

Cousin Harley has been Pigat’s main project for over ten years and his latest disc, It’s A Sin, is as rough and rowdy a set of rockabilly as you heard in a long time. Pigat and his band mates, Keith Picot (bass) and Jesse Cahill (drums), work through this stellar set like a well-oiled machine. Though primarily a rockabilly album, there’s also some pretty cool jump blues included (“She’s Comin’ Back,” “Swingin’ Like A Mofo,”), and even some wild surf guitar thrown in on tracks like the title cut, “The Ballad of El Swartho,” and “Spaghetti No Sauce.” However, rockabilly rules the day with standouts like “Conductor Man,” “Beaver Fever, “Hoss’ Hoedown,” “I’ll Keep My Old Guitar,” and “Red Hair Baby.” Pop this one in the stereo and you might have problems removing it.

Boxcar Campfire is a whole different animal. ... Simply put, if you call yourself a music lover, especially a lover of American roots music, both of these discs belong in your collection and will provide many hours of listening pleasure.

- Graham Clarke.

BLUES & RHYTHM (UK) - 2011

Cousin Harley are Vancouver native Paul Pigat vocals/guitar/steel guitar, Keith Picot bass, Jesse Cahill drums. They first got together about five years ago, and have released two previous albums, ‘Jukin’’ and ‘Hillbilly Madness’. Little Pig Records is Pigat’s own label.

With an almost all-original set (only two covers) this release is a combination of unrefined rockabilly, western swing, with a hint of blues and surf guitar. You wouldn’t think that only three musicians could create such a mess of sound, but these guys pull it off with cleverly put together songs combined with tight arrangements.

With a big slap happy doghouse bass, ‘Conductor Man’ is the perfect opener, with a hot guitar solo that could melt the Lone Ranger’s spurs! Next up, ‘She’s Comin’ Back’, jazzy chording with country picking, nifty! ‘It’s A Sin’ inhabits a darker place, hints of surf guitar and a Johnny Cash inspired vocal.

It’s the blues (in a twangy whangy style) on ‘2 Bottles of Booze’. The real keeper however is their bouncy version of Adolph Hofner’s ‘I’ll Keep My Old Guitar’: ‘you can talk about your hot redheads, you can talk about your blue-eyed blondes, you can talk about your sweet brunettes, but I’ll keep my old guitar’. ‘Swingin’ Like A Mofo’ is a hard charging instrumental that yells country jazz at you, Pigat really impresses, he possesses enough licks to fill a shipping container.

‘Sweet Little Angel’ could have come from a Bob Wills’ session, with Pigat doubling steel guitar – take it away Leon! The closer, ‘Spaghetti No Sauce’, reminds me of the theme from a 1950s/1960s television western, but was it ‘Bonanza’, ‘Have Gun Will Travel’, or ‘Range Rider’?

No matter, if you love real fine pickin’, and are not averse to something different on occasion, then these two CDs will repay investigation, with ‘Cousin Harley’ being the one that will probably appeal to B&R readers, although I thoroughly enjoyed both of them.

- Phil Wight.


On the blues-roots-Americana scene, Canada's Little Pig Records has new sets from Paul Pigat, aka Cousin Harley. It's the same guy, two monikers, two records, same day. It feels a little like keeping up with Joe Pernice or Conor "Bright Eyes" Oberst. The Vancouverite is practically a professor of roots musics, combining rockabilly, jump blues, swing and classic rock sounds.


You’d never think it to look at Paul Pigat, but behind that unassuming grin and underneath those Doc Watson glasses lurks one of the most restless, combustible musical imaginations ever crammed like so much canned heat into a single body. Blessed with a jazz man’s sheen, a rockabilly heart and a hobo’s soul, there aren’t many genres of music that don’t pull at Pigat’s wayfaring imagination like a magnet. In many ways, it’s a mystery why Paul Pigat isn’t a household name yet. Maybe he’d be a lot easier to pin down if he wasn’t so darn good at so many different things.

One could be forgiven for thinking that up until now Paul Pigat has spent his whole career flying under the radar. Like all those great old Stax records where Steve Cropper stood behind Otis Redding and played his heart out before anyone knew who he was, Pigat has been creating sweet sounds for some of the best artists in the country without getting the attention you’d expect. Still, you’d have to have been hiding under a pretty big rock to have never heard the immediately recognizable sound of his distinctive guitar playing, as over the last several years this unassuming Vancouver native has quietly compiled a list of credits that would be the envy of anyone in the music business.

There aren’t many musicians who can put their egos aside and lay down exactly the right part without giving into the temptation to be flashy. Without exception, Paul Pigat’s playing is the epitome of taste and discretion, as he fits easily into so many different musical universes without ever overplaying or surrendering to rock and roll clichés. It doesn’t take very long to hear why his intuitive rhythms and fluid, creative solos have become an indispensible part of so many musicians’ and bandleaders’ sounds. Whether he’s playing a searing solo to elevate the soaring vocals of a traditional gospel rave up from The Sojourners or flying in to support Jakob Dylan at a showcase in New York, Paul Pigat’s singular dedication and peerless work ethic have earned him a growing respect within music’s inner circles.

However impressive the list of credits he’s compiled over the last few years has been — earned by supporting artists such as Neko Case, Jim Byrnes and Carolyn Mark — it’s when you get to hear Paul on his own that his star really shines. All of the ideas that have been percolating for years while he’s been playing in the background have the chance to come out into the limelight and have their moment in the sun.

To paraphrase the old blues song, Pigat’s got so many tunes he don’t know which way to jump. So, instead he simply gives into his muse and exuberantly follows wherever it carries him. Sometimes, he takes on the guise of inbred rockabilly hero Cousin Harley to crank up the energy so high that no one can resist digging deep into their pockets to pay the wages of sin and dance around the still to Pigat’s exhilarating hillbilly squonk.

Called the “Motorhead of Rockabilly” by a delirious fan after a particularly raucous show in Holland, there’s nothing tentative about Cousin Harley’s pedal to the metal approach to this stripped down form of rock and roll. As Pigat notes, “Cousin Harley’s been my main project for 12 or 13 years now, and people think it’s easy to play rockabilly, but nothing could be farther from the truth. Everyone has to be on board from the first note or it just doesn’t work.” And judging from the people who drove or flew hundreds of miles to attend shows on his last European jaunt, everything’s working just fine.

From solos raw enough to melt the door off an old Cadillac to delicate etudes written for the crows to fly home to, Paul Pigat is a guitarist who can truly play it all. Is he a genteel sideman, unrepentant redneck, sensitive singer/songwriter, classical composer or a Mulligatawny blend of all the above? As unpredictable as your bipolar uncle one minute and as gentle as breaking dawn the next, you’re never quite sure which Paul Pigat you’re going to meet when you put on one of his CDs. But, listen long enough and you’ll realize it really doesn’t matter what he plays. Music this good transcends boundaries and resists any attempts at categorization. And, even if you reached the point where you thought you’d figured Paul Pigat out, by that time he’d have gone and changed on you again. So, perhaps it would be better if we all stopped thinking, buckled up, and held on to enjoy Mr. Pigat’s wild ride for all its worth.

- Andy Ellis.


Vancouver native Paul Pigat might well be considered a "guitarist's guitarist," with his innate ability to drop a blues riff, write a classical piece, or rip off a Wes Montgomery lick with undeniable ease. As such, his "alter ego," Cousin Harley, is one of the premier rockabilly outfits on the scene today, a project that Paul has spearheaded for the last twelve years or so. The latest from Cousin Harley is entitled "It's A Sin," on Little Pig Records that'll transport you back to the days of poodle skirts, DA's, and Saturday-night rumbles. Paul handles the vocals, guitar, and steel guitar, and is joined by bassist Keith Picot and drummer Jesse Cahill. This one is thirteen original cuts of vintage rockabilly, spiked with a few way-cool period instrumentals.

According to Paul, rockabilly is a genre' much like the blues in that its chords and progressions are relatively easy to learn, but difficult to master, and one in which everyone involved has to be on the same page. There's no problem with any of that on this set, as these three guys could smoke the chrome off the fins of a '57 Chevy. A man on the run for "messin' with another man's wife" catches that downbound train run by "Mr. Conductor Man," characterized by a rapid-fire, chugging locomotive beat. "Beaver Fever" and "I'll Keep My Old Guitar" have a vintage Les Paul feel, while "Hoss' Hoedown" is another instrumental that shows off Paul's fleetness-of-fingers.

We had two favorites, too. A man with the "dirty road beneath my shoes" who's "got nothin' else to lose" looks for a friend at the bottom of "2 Bottles Of Booze." And, the set closes with "Spaghetti No Sauce," a guns-blazing instrumental that hearkens back to the Ennio Morricone soundtracks to the Clint Eastwood "Man With No Name" movies. As well as red-hot guitar, Paul excels on the steel guitar, where astute listeners will pick up on a smidgen of "Kaw-Liga."

Rockabilly isn't dead--it just needs the right guys to play it, and Paul Pigat and Cousin Harley are the perfect ensemble! Grab your baby and get ready to rumble with "It's A Sin!" Until next time.....

- Sheryl and Don Crow.

CASHBOX MAGAZINE– January 26, 2011

The great thing about blues is that it can come from anywhere. A music style once reserved for the Delta, great blues can be found in unexpected places. From north of the border, Vancouver's Cousin Harley is bringing some great stuff to the masses. Their latest, "It's A Sin," is certain to perk the ears and peak the interests of blues slingers across the US.

Cut from the hitmakers at Little Pig Records, "It's A Sin" is a terrific example of music's ability to alter moods and weld smiles on the faces of those who hear it. It isn't often that a record has the power to please and the sense to use it. Give this one a try, it'll be sure to help get your mojo back.

My pick for best song is "Hoss' Hoedown." It's an honest & pure feelgood classic that is needed more than people realize. There ain't nothin' wrong with a goofy grin on your face, and this track will give you that in spades.

Make a point to visit your local music shop, and ask for the latest from Cousin Harley. It'd be a sin not to.

Four stars.

- Christopher Llewellyn Adams.

MIDWEST RECORD, Chicago, IL – January 25, 2011

Paul Pigat in his rockabilly trio guise with Jack Davis inspired southern gothic artwork covering the whole thing shows that outsider music can go even father outside. It seems like authentic rockabilly, but this takes the music’s rebel spirit and really lets it loose. If you’re a pomo kid that digs classic rockabilly, now you have a group all your own that speaks right to you. They might sound like they keep it authentic, but they aren’t contained by anything. A real gasser throughout.

- Chris Spector.

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