Holland K Smith

Here's an Interview with Holland K. Smith which was featured as a cover feature in Southwest Blues Magazine 1/24/04

Holland K. Smith likes to tell it like it is. Sit and talk with him for just a few minutes, and you'll know just exactly where he stands on any issue you want to discuss, and maybe some you don't want to discuss. He never pulls his punches and if he knows the definition of politically correct, he chooses to ignore it. His music is the same way. It's raw, it's gritty, it's in your face, it's sometimes funny, and it is always heartfelt. His original songs are as good as any in the business and his playing and singing are among the best in Texas. And that's saying something. How he has escaped the clutches of the bigger blues record labels, when lesser talents are ballyhooed as the next coming of Muddy, is yet another mystery in an always mysterious business. Fortunately, real talent always has staying power and that means Holland K. Smith will be around for a long time to come. What follows is Holland's story in his own words.

I was born in Fort Worth and grew up in Arlington. When I was a little kid, church was fun. My church didn't believe in using instruments so everything we did was acapella. This was when I was just 5 or 6 years old. There was a really talented teacher with a music degree, who worked with us kids, and we learned a lot about singing. It was like professional vocal training. They taught us the scales and stuff and by the time I was 10 years old I was up in front of the congregation leading the songs. I was in front of people a lot. My biggest problem was getting over the butterflies and trying to hold that big heavy hymnal through a whole song without my hand cramping up and dropping it! I was directing the choir with one hand and trying to hold that big old book open with the other.

I started listening to blues on a little AM radio around 1968 or 1969. I was 9 or 10 years old when I was listening to KNOK, KFJZ, and KLIF. Especially late night when they weren't as strict about playlists and the DJs would really throw some cool stuff out there. I thought, til I was in my teens, that the bands were actually down there at the radio station playing. That's how naive I was. At the same time I was listening to popular music, I was listening to B.B. King and Freddie King on the radio late at night. That was about the only way I could get it being in Arlington, Texas and locked in after 9 o'clock at night.

I had a buddy who played guitar and his mother ended up getting me a guitar when I was about 9 years old. I started out doing blues stuff because it was the easiest stuff. Ironically, I've since learned it is some of the hardest stuff to play. I started picking up some licks, right off the bat. Since then, I've always had a guitar around the house. I started getting serious about it in my early 20's. I did the rock thing for awhile, but I never really fit in with that. One of the last rock bands I was in, I still hadn't done any vocals to speak of. We had a big rift with the lead singer and he left. It frustrated me because when the voice left, it ruined the band. I figured since I had been singing in church I should give it a try. That's where I started singing and playing, which opened up a whole new can of worms compared to what I had been doing up to then. It's different trying to do two things at once instead of one. I messed around some more rock bands and ended up getting frustrated after the last one I was in. The guy with all the equipment decided he wanted to walk away with it.

I formed my first blues band in about 1990. After a couple of years that developed into the Terraplane Blues Band. We were playing the little clubs like The Pennsylvania Pub and The New Bluebird. We'd been going out to The Bluebird before that and always wanted to get in there. Before I formed that band I had been following Robert Ealey around and he had been peaking my interest in "The Stuff". The guys who were hanging around with him were turning me onto some people to watch. At the same time I had discovered the KNON blues shows and I was keeping my ear to the radio. That was back when there were late night blues shows that ran all night during the week. I would sit up until I fell asleep with my cassette recorder taping those KNON blues shows, then I'd wake up to see what I missed. I still have a bunch of those tapes and I pull them out and listen to them periodically. Now I can identify who is who. I would pop those tapes in my car and listen to them all week on the way to work and driving around town.

Then, from hanging around with Robert Ealey, I found out about Hash Brown over in Dallas. He was playing in a little bar called Schooners. I started going over there. The first few times I went he didn't know who I was, so I sat and patiently waited and watched all the other players. I never had the frustration that a lo - Southwest Blues Magazine, Dallas Texas

Here's an Interview with Holland K. Smith which was featured as a cover feature in Southwest Blues Magazine 1/24/04

Holland K. Smith likes to tell it like it is. Sit and talk with him for just a few minutes, and you'll know just exactly where he stands on any issue you want to discuss, and maybe some you don't want to discuss. He never pulls his punches and if he knows the definition of politically correct, he chooses to ignore it. His music is the same way. It's raw, it's gritty, it's in your face, it's sometimes funny, and it is always heartfelt. His original songs are as good as any in the business and his playing and singing are among the best in Texas. And that's saying something. How he has escaped the clutches of the bigger blues record labels, when lesser talents are ballyhooed as the next coming of Muddy, is yet another mystery in an always mysterious business. Fortunately, real talent always has staying power and that means Holland K. Smith will be around for a long time to come. What follows is Holland's story in his own words.

I was born in Fort Worth and grew up in Arlington. When I was a little kid, church was fun. My church didn't believe in using instruments so everything we did was acapella. This was when I was just 5 or 6 years old. There was a really talented teacher with a music degree, who worked with us kids, and we learned a lot about singing. It was like professional vocal training. They taught us the scales and stuff and by the time I was 10 years old I was up in front of the congregation leading the songs. I was in front of people a lot. My biggest problem was getting over the butterflies and trying to hold that big heavy hymnal through a whole song without my hand cramping up and dropping it! I was directing the choir with one hand and trying to hold that big old book open with the other.

I started listening to blues on a little AM radio around 1968 or 1969. I was 9 or 10 years old when I was listening to KNOK, KFJZ, and KLIF. Especially late night when they weren't as strict about playlists and the DJs would really throw some cool stuff out there. I thought, til I was in my teens, that the bands were actually down there at the radio station playing. That's how naive I was. At the same time I was listening to popular music, I was listening to B.B. King and Freddie King on the radio late at night. That was about the only way I could get it being in Arlington, Texas and locked in after 9 o'clock at night.

I had a buddy who played guitar and his mother ended up getting me a guitar when I was about 9 years old. I started out doing blues stuff because it was the easiest stuff. Ironically, I've since learned it is some of the hardest stuff to play. I started picking up some licks, right off the bat. Since then, I've always had a guitar around the house. I started getting serious about it in my early 20's. I did the rock thing for awhile, but I never really fit in with that. One of the last rock bands I was in, I still hadn't done any vocals to speak of. We had a big rift with the lead singer and he left. It frustrated me because when the voice left, it ruined the band. I figured since I had been singing in church I should give it a try. That's where I started singing and playing, which opened up a whole new can of worms compared to what I had been doing up to then. It's different trying to do two things at once instead of one. I messed around some more rock bands and ended up getting frustrated after the last one I was in. The guy with all the equipment decided he wanted to walk away with it.

I formed my first blues band in about 1990. After a couple of years that developed into the Terraplane Blues Band. We were playing the little clubs like The Pennsylvania Pub and The New Bluebird. We'd been going out to The Bluebird before that and always wanted to get in there. Before I formed that band I had been following Robert Ealey around and he had been peaking my interest in "The Stuff". The guys who were hanging around with him were turning me onto some people to watch. At the same time I had discovered the KNON blues shows and I was keeping my ear to the radio. That was back when there were late night blues shows that ran all night during the week. I would sit up until I fell asleep with my cassette recorder taping those KNON blues shows, then I'd wake up to see what I missed. I still have a bunch of those tapes and I pull them out and listen to them periodically. Now I can identify who is who. I would pop those tapes in my car and listen to them all week on the way to work and driving around town.

Then, from hanging around with Robert Ealey, I found out about Hash Brown over in Dallas. He was playing in a little bar called Schooners. I started going over there. The first few times I went he didn't know who I was, so I sat and patiently waited and watched all the other players. I never had the frustration that a lo - Southwest Blues Magazine, Dallas Texas

The tradition of Texas blues is as wide as Texas itself. Sometimes it is easy to wonder if new blood can be struck from the same old vein. Just the opposite would be true of Holland K. Smith. In this, his second CD for Topcat records, Holland has achieved a consistency of feeling that is rare in today’s blues recordings. His song writing is a breath of cool air in a crowded train car, something too refreshing to go un-noticed. The band used by Smith for the session was comprised of Eric Mathew on upright and Fender bass, and the superb drumming of Kevin Schermerhorn. Along with ‘Gentleman’ John Street on keyboards and the White Trash horn section featuring Steve Howard on trumpet and John Smith on sax, the trimmings are on the plate and the entree is being served up piping hot. Holland knew exactly what he wanted and wouldn’t give up until he achieved that end. Whether it be one of his ten self penned originals (check out Devil in The Deep Blue Sea), or his renditions of Jimmy Forest’s Night Train or BB King’s Beautician blues, Holland has moulded each number into his own instantly recognizable style. Topped with the superb production of Ace bluesman Anson Funderburgh this recording is destined to be enjoyed by many fans of blues and swing. The music presented here comprises Holland’s contemporary and traditional elements blended together into music sure to garner a wide and dedicated following.

- Topcat Records

The tradition of Texas blues is as wide as Texas itself. Sometimes it is easy to wonder if new blood can be struck from the same old vein. Just the opposite would be true of Holland K. Smith. In this, his second CD for Topcat records, Holland has achieved a consistency of feeling that is rare in today’s blues recordings. His song writing is a breath of cool air in a crowded train car, something too refreshing to go un-noticed. The band used by Smith for the session was comprised of Eric Mathew on upright and Fender bass, and the superb drumming of Kevin Schermerhorn. Along with ‘Gentleman’ John Street on keyboards and the White Trash horn section featuring Steve Howard on trumpet and John Smith on sax, the trimmings are on the plate and the entree is being served up piping hot. Holland knew exactly what he wanted and wouldn’t give up until he achieved that end. Whether it be one of his ten self penned originals (check out Devil in The Deep Blue Sea), or his renditions of Jimmy Forest’s Night Train or BB King’s Beautician blues, Holland has moulded each number into his own instantly recognizable style. Topped with the superb production of Ace bluesman Anson Funderburgh this recording is destined to be enjoyed by many fans of blues and swing. The music presented here comprises Holland’s contemporary and traditional elements blended together into music sure to garner a wide and dedicated following.

- Topcat Records

TopCat Records is proud to announce the release of Texas blues veteran Holland K. Smith's debut CD "Jungle Jane". After an illustrious career primarily on the regional blues circuit, this Texas blues crooner throws his hat into the international blues ring with the effortless virtuosity of a seasoned artist. From the start, this mostly original collection of songs reflects the spirited diversity that is Holland K. Smith.

Backed by an all star lineup including among others piano maestro Big Al Dupree, Anson & The Rockets keyboardist Doug Rynak, Hammond B-3 master Ron Mason, former Prowlers rhythm section Doug Swancy on drums and John Garza on bass, and produced by Handy Award winner Anson Funderburgh, this album is drenched with that famous signature Texas blues guitar sound.

But let there be no doubt that the heart and soul of "Jungle Jane" is Holland K. Smith's captivating vocals and his unique Texas jump blues guitar style. "Jungle Jane" is destined to receive great reviews and is sure to be one of the top CD releases of 97.

- Topcat Records

TopCat Records is proud to announce the release of Texas blues veteran Holland K. Smith's debut CD "Jungle Jane". After an illustrious career primarily on the regional blues circuit, this Texas blues crooner throws his hat into the international blues ring with the effortless virtuosity of a seasoned artist. From the start, this mostly original collection of songs reflects the spirited diversity that is Holland K. Smith.

Backed by an all star lineup including among others piano maestro Big Al Dupree, Anson & The Rockets keyboardist Doug Rynak, Hammond B-3 master Ron Mason, former Prowlers rhythm section Doug Swancy on drums and John Garza on bass, and produced by Handy Award winner Anson Funderburgh, this album is drenched with that famous signature Texas blues guitar sound.

But let there be no doubt that the heart and soul of "Jungle Jane" is Holland K. Smith's captivating vocals and his unique Texas jump blues guitar style. "Jungle Jane" is destined to receive great reviews and is sure to be one of the top CD releases of 97.

- Topcat Records

The North Texas area is rich with an overabundance of highly talented blues musicians who toil in relative obscurity. One musician who is trying hard to break out from the pack is Holland K. Smith. With his second fine CD on TopCat records, Walking Heart Attack, HKS should no longer worry about not being given the recognition that he has earned. The Anson Funderburgh produced Walking Heart Attack features 10 original tunes among its dozen songs. BB King and Jimmy Forest penned the two songs not written by Holland, nice deep covers that will not spur anyone to print up any 'no more' stickers. Although the songs on the CD can be put into the general categories of Texas Blues and Swing, the sound that Holland K. Smith produces is distinctly his own. Holland is backed by a fine band of Eric Mathew on bass, Kevin Schermerhorn on drums with guest appearances by Hash Brown, John Street and the White Trash Horns. From the driving title track, the hit sounding "Devil and the Deep Blue Sea" to the instrumental "This, That and The Other" and the concluding jazzy cover of "Night Train," Holland K. Smith has put out a disc of which to be proud. By purchasing this CD and going to hear Holland K. Smith perform live, you - the blues fan, can carry this native Texan from obscurity to known artist of the blues.

- Scott Ferman -



- Southwest Blues Magazine

The North Texas area is rich with an overabundance of highly talented blues musicians who toil in relative obscurity. One musician who is trying hard to break out from the pack is Holland K. Smith. With his second fine CD on TopCat records, Walking Heart Attack, HKS should no longer worry about not being given the recognition that he has earned. The Anson Funderburgh produced Walking Heart Attack features 10 original tunes among its dozen songs. BB King and Jimmy Forest penned the two songs not written by Holland, nice deep covers that will not spur anyone to print up any 'no more' stickers. Although the songs on the CD can be put into the general categories of Texas Blues and Swing, the sound that Holland K. Smith produces is distinctly his own. Holland is backed by a fine band of Eric Mathew on bass, Kevin Schermerhorn on drums with guest appearances by Hash Brown, John Street and the White Trash Horns. From the driving title track, the hit sounding "Devil and the Deep Blue Sea" to the instrumental "This, That and The Other" and the concluding jazzy cover of "Night Train," Holland K. Smith has put out a disc of which to be proud. By purchasing this CD and going to hear Holland K. Smith perform live, you - the blues fan, can carry this native Texan from obscurity to known artist of the blues.

- Scott Ferman -



- Southwest Blues Magazine