411 - 2011
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.
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.
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.
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.
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.
– 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.
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.
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
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.
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.”
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.
THEBLUEGRASSSPECIAL.COM - 2011
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
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
- David McGee.
JSITOP21.COM - 2011
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.
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!
BLUES MATTERS MAGAZINE - 2011
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.
VINTAGE GUITAR - 2011
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!
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.
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.
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.
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.
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.
FOLK & ACOUSTIC MUSIC EXCHANGE - 2011
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.
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!
... I think I'll just put it all in one tersely obscene sentence
and say: This guy's fucking amazing!
Mark S. Tucker.
Virginian Pilot, VA - 2011
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.”
it would be a sin if true rock fans didn’t get an earful
of this Vancouver-based trio.
“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.
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.
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.
AMERICANAROOTS.COM - 2011
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.
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!!
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:
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.
you like good music, or just about any genre, check out Paul
Pigat, but especially this awesome disc!!
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.
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.
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
& 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.
BY SOUND - 2011
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.
THE GUITAR SHOW, TGS PLAYER SPOTLIGHT - February 3,
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
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.
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.
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
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
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
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.
BLUES SOCIETY – February 12, 2011
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.
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.
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."
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.
- Christopher Llewellyn Adams.
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.