the robert hill band

"When you talk about Blues Men you have the usual criteria of technique, style and timing, and Robert Hill excels on all those levels on Have Slide Will Travel, but what makes him such a great artist, and this such a great album is the human wisdom that comes through between the notes. And this wisdom takes many shapes and colors. Robert Hill has the ability to be relevant, intelligent and sympathetic in an amazing variety of moods and emotions and this collection of songs delivers a stellar diversity of thoughts and expressions all picked and plucked with style and confidence.

Each song is it’s own creation and stands alone. Whether tearing it up on a track like Evolution Blues or slowing it down on something like Alma De Una Mujer this awarded musician is completely at peace with his creative ideas and completely at home in the recording process. Recently we wrote about Tom Principato and what we commented about him was that he had the ability to create a narrative and to perfectly fulfill the listener’s expectations as the song unfolded. Similarly, Robert Hill’s ability to tell a story with his music, and to give you the feeling of having accomplished a journey through his music is simply superb. And these journeys have such different feelings and spaces… it’s a truly brilliant musician that can inhabit so many environments and to meet the challenges of saying such different things. This album almost feels like a collection of musicians rather than just one, but Robert Hill keeps the whole ship on an even keel by quiet mastery of his captainship."

We were so interested in this artist we reached out to him to tell us a little about Have Slide Will Travel in his own words:

RUST: Robert, thanks for making such a sweet album. Is there a story behind it? How long have you had these songs awaiting the light of day?

RH: Four of the songs I had cut the basic tracks for live-in-the-studio as far back as 5 or more years ago. They languished on the shelf for a long time, until I signed a deal with a production house to do several slide tracks. I had a deadline, so this lit a fire under me to finish these, and write some new material. I would write and record a new one, and then immediately start on something new in a different direction. Most of the songs were written and recorded in about a 9 month period. Being under the gun is a good thing for me.

RUST: The diversity of what we hear is tremendous. Did you always intend to move through so many moods in this group of songs or did ideas emerge as you recorded?

RH: I wanted to touch on most of the genres that I like, but I also made a conscious effort to break some new ground. To me, that was the best part – pushing myself to write and perform something that I’ve never done before, and not just keep repeating myself. My first two cds were fairly diverse, as well. I’ve always liked bands that were diverse and musically deep.

RUST: No man is an Island, though Robin Williams would comment that some men are peninsulas, who are some of the other musicians at work here?

RH: A lot of these guys are well-known around NY/NJ area. I’ve played with bassist Mark Murphy,(Guy Davis,Levon Helm, among many others), off and on for a number of years. He’s just got an excellent ear and touch on the upright bass, and bows as well, which adds a great texture. Same goes for Jerry Krenach,(Chris Whitley, among many others), on the drums – perfect timing and plays for the song. Bob Hoffnar, from the band Hem, played some great pedal steel on one of the songs. Derrik Jordan, a virtuoso of many genres,and composer/performer with a number of cds to his credit, contributed on “My Babe”. Multi-instrumentalist, Art Labriola, laid down some nice accordian. I was lucky to snag local NJ legend, Frank Pagano, (Blondie, Donovan, Donald Fagen, Lesley Gore, Al Green, Levon Helm, Doctor John, Gladys Knight, Al Kooper, Darlene Love, just to name a very few), on drums for one song. I recently started playing some with bassist,Doug O’Connor, (McMule, (Whitney Road), and he did a great job on “The Robusticator” and “Alma De Una Mujer,” the latter of which he put some real thought and work into. I was also very glad to get Steve Jordan, (formerly from my hometown of North Little Rock, AR, now living outside Madrid), to do percussion on “Alma De Una Mujer”. I recently returned from tour of Spain with Steve on drums.

RUST: Is there anybody that really helped you get this album done that deserves a little credit and appreciation?

RH: Eric Puente on drums and percussion. I would have never finished this cd without his tireless help,creativity,and desire to get it right. Able to take on anything I threw at him, and do it with a healthy sense of humor, which kept it all fun and loose. Just a great player and person.

RUST: Can you tell us a little about your gear kit for Have Slide Will Travel? Any secret weapons you brought into the studio?

RH: Well, I’ve never been too interested in pedals, etc. I subscribe to the school of thought that all you really need is the right guitar and the right amp. Bascially, a little reverb, maybe a little delay, and once in a while some amp tremelo. I used a Mesa Boogie Mark IV for some of the guitar parts. On a lot of the other electric guitar parts, I ended up just recording the guitar clean and using a few amp plugins in ProTools. Saved a lot of time, made mixing more flexible, and kept my family from killing me. I used a National Radiotone for a lot of the acoustic slide parts. For the electric guitars, a ’74 Strat, an early 90’s Fernandes Strat, a G&L Legacy and a G&L ASAT.

RUST: Thanks so much, last question, we’ve been seeing a phenomenal expansion of the companies making guitars and the kinds (and quality) of instruments available. Is there any make or model that might be on your wish list, or that you might recommend to an aspiring player?

RH: I’ve always been a Fender guy, but I mainly play G&L guitars now. Their Strat model, The Legacy, and their Tele, The ASAT are really solid, well-built, and to my ears, sound better than a lot of the Fender stuff now. The pickups are excellent, and they have a lot of options available. I also like to take inexpensive guitars, like my Fernandes,and change the pickups and other things to get a unique sound. I would say don’t get too bogged down with effects and gear – it really boils down to what’s coming out those fingers.
Eric Petersen - RUST magazine (Aug 23, 2015) - Rust Magazine

What distinguishes the illustrious Guitaris slidis from other members of its instrumental genus? Why is it considered a “whole different animal” from its electric and acoustic kindred? For starters, it sounds different.. The defining factor in many other guitar solos is, “How fast can one play?” Slide solos prompt listeners to ask, “How skillfully can one make strings sing?” New York blues veteran Robert Hill answers the latter question with rowdy barroom flair on his new album, Have Slide Will Travel.

Hill, a native of Little Rock, Arkansas, has been performing in and around the Big Apple for over twenty-five years. His songs have been used extensively in TV shows and commercials, such as ads for Smirnoff Ice, All My Children, Queer Eye for the Straight Guy, Dexter, and the Canadian reality show Hell on Hooves. Robert has also shared the stage with artists such as Rory Block, Debbie Davies, and numerous others. To cap everything off, he was inducted into the New York Blues Hall of Fame in 2014 – a high honor.

He certainly deserves it. Over the course of fourteen original tracks, Hill takes blues fans on a musical journey through a rugged landscape of feelings – joy, sadness, lust, irritation, and laughter in “The Good, the Bad, and the Unattractive” (reviewed below). The success of any instrumental album depends on how well it conveys – and elicits – emotion without words. Fortunately, Robert has a ton to say. His preferred medium is slide guitar rather than vocal speech, but communication is communication.

Alongside the multitalented Hill (guitars, bass, keyboards, mandolin and harp) are drummers Eric Puente, Jerry Krenach, and Frank Pagano; percussionists Puente and Steve Jordan; bassists Mark Murphy and Doug O’Conner; Derrik Jordan on violin, and Art Labriola on accordion.

The following three songs showcase the best of an already-great CD:

Track 02: “Big Daddy Stomp” – Look out, ladies and gentlemen: this song is larger than life, even though it runs two minutes and twenty-six seconds. It’s a man-cave melody, a beer-and-potato chips tune. Will it put crowds in the mood for being footloose, fighting or feeling romantic? Robert’s wicked intro and nuanced solo might induce all three states at once. Yow!

Track 05: “Bubba’s Boogie” – Fabulous number five is why yours truly listed “Ensemble Blues” in the “Styles” category. Robert Hill, Bob Hoffnar, Jerry Krenach, and Mark Murphy go all out on this 1950’s-esque number, which should be slated for an entry on jukeboxes and radio stations nationwide. It’s long enough for couples and singles alike to get their rears in gear and on the dance floor, but short enough not to get tedious. Hoffnar’s pedal steel is especially bright.

Track 09: “My Babe” – Take a trip down to the New Orleans bayou with this zesty, zippy musical appetizer. Art Labriola nails the art of Zydeco accordion, as does Hill of mandolin and harp. It’s like a single spoonful of gumbo: blazing hot and spicy.

Without a doubt, Robert Hill’s slide guitar is an untamable BEAST! - Blues Blast Magazine

From The Netherlands mag, ROOTSTIME, (roughly translated)

"Have Slide Will Travel", Robert Hill's last album, barrel are different slide guitar styles together and characterizes his sound; his acoustic and electric blues mix with American roots music, funk ("The Robusticator"), old school R&R ("Bubba's Boogie"), country blues cowboy swing ("Home Town Blues") and even zydeco ("My Babe" - with the zydeco accordion Labriola of Art). In one number ("Alma De Una Mujer")chooses almost eight minutes long for cumbia, which he the listener a complex rhythmic mixture of Spanish music and African music enjoyment.

Each song on the album is separate and speaks for itself. "The Good, The Bad & The Unattractive" seems to be from a spaghetti western to be plucked and winks clearly to Enrico Morricone, "Bayou Bartholomew" is slide blues with hypnotic influences, "Gimme Some A THAT" a funky intermezzo and "Evolution Blues" what more lived through city blues.

For a blues man his technique, style and rhythm is very important. But still feel it with Robert Hill even more. Hill explains in a very personal way his emotions in his sound, where diversity has always been and where the asset is the involvement of the listener is answered. If slide guitarist is Robert Hill the musician who the strings of his guitar can singing.
Freddy Celis - ROOTSTIME.BE magazine (Apr 7, 2016) - ROOTSTIME

His latest CD, My Corner, celebrates the appropriation of Roots/Rock
in much the same way as an aged bourbon mellows in it's seasoned oak
barrel... with character, earthy presence and persistence. This CD should be enjoyed by all who find pleasure in fine guitar picking, smooth vocals and
gutsy ballads.


- Rick Rock, Director, Tribes Hill, www.tribeshill.com

Hill's 1999 self-titled debut was an electric affair, a solid blues-rock effort with two or three songs displaying a penchant for Middle Eastern-accented arrangements á la Led Zeppelin or Derek Trucks. For his sophomore outing, the award-winning Arkansas singer/songwriter/guitarist takes a folk-rock route, choosing largely acoustic arrangements.

The emphasis this time is on storytelling. There's the autobiographical "Another Chapter," about love found, lost and regained; the tributary "Angelina"; the reflective "Different Faiths"; the biopic "Country Soul"; and the condemnatory "First to Fight."

There are instrumentals ("Smokestack" and "Forbidden Fruit") and even one of those Zeppelinesque tunes ("Blessed Dream"). But what really hits home is the tear-jerker title track, told from the point of view of a man relating how he came to be homeless.

Tying it all together is Hill's authoritative guitar work, including occasional Dobro and mandolin and plenty of slide. Support work by pedal steel guitarist Bob Hoffnar and background singer Joanne Lediger (Stir Fried, McMule) top it all off nicely. - Peter Hund - http://www.newgoodmusic.com (Nov 15, 2007)

...As if folks hadn’t already gotten their money’s worth, our featured act of the night, Robert Hill and his band mates just blew us away. Accompanied by the superb journeyman bassist Mark Murphy and the talented Joanne (what a set of pipes) Lediger lending supporting vocals, Bob mesmerized us with his unique slide guitar technique and baritone voice, slipping flawlessly from steamroller blues to acoustic ballad and back again. The author was particularly impressed by his intermingling of what were almost ethereal instrumentals (his stand up bassist employing a bow to enhance the effect).. In contrast were the barrelhouse blues numbers where Ms. Lediger’s vocals were a standout. It seemed that each number literally brought the house down. - Jeff Main - Groovin In New Fairfield Coffeehouse (Oct 18, 200

" While we’re talking about local musicians’ musicians, singersongwriter-guitarist Robert Hill has lived in New York for the past 20 years, but he grew up in North Little Rock and still draws on the state for inspiration. His excellent blues album My Corner (SOR, $12.97) — which features some fantastic acoustic guitar work as well as Hill’s crafty rootsy originals — has been in rotation in my car for a couple of months now.
(The CD’s packaging deserves a mention: Hill says the sepiatone photograph that adorns the front cover is of his father as a boy, circa 1930, outside a Hot Springs barbecue stand. The back cover photograph dates from the early 1900s; it’s of Hill’s grandfather in the doorway of his Pine Bluff advertising company.)"


- Philip Martin- Ark.Democrat-Gazette/ May 6, 2008

"Rainbow Come Down On Me; Mix Myself a Perfect Dream."

I'd heard the opening track "My Corner" before I received this beautiful CD to review. I was struck by how the harmonica solo at the end of the song really managed to paint a picture of the narrator. When I heard that solo in my imagination I could see this lost and tired man dancing on a dark street, a bottle in his hand and his eyes turned towards the heavens. Oftentimes when songwriters attempt to tackle the lost characters in society they either over- dramatize or only brush the surface. Robert Hill puts flesh on the bones of society's underdogs in his songs. Whether he's writing about a tragic homeless guy, a simple country woman, or the children of Liberia, Hill shines light on the humanity of the characters in his songs, reminding us that we are all related. Listening to the CD I see the world through the characters' eyes and feel it through their hearts. The music and production never get in the way of the story, and there's an interesting mix of modern and old-timey sounds. Musically the songs incorporate influences from the entire range of this wonderfully colorful music called Americana. Hill's guitar, resonator, and harmonica playing shine without getting in the way of the songs, and the CD even includes two instrumentals "Smokestack," and "Forbidden Fruit," which we'll probably be hearing during the closing credits of a movie by this time next year. All around "My Corner" is an honest, hopeful, reckless adventure in what it is to be human. Stand-out tracks for me are "Blessed Dream," one of my favorite new songs in several years, "Smokestack," and the closing song "Washing Away."
Fred Gillen Jr. (Nov 27, 2007)
- Fred Gillen, Jr. (Hope Machine)

Excellent write-up by Jack Hill,(no relation). With a humorous recollection or two, this article ties some interesting background info with current musical endeavors and achievements by the guitarist/singer/songwriter. Well worth reading!

Go to:
http://www2.arkansasonline.com/news/2008/aug/01/music-ex-arkansan-robert-hill-make-rare-s-20080801/?entertainment/music


- Arkansas-Democrat Gazette 8-01-08

Guitarist/singer/songwriter Robert Hill's self-titled CD is a dynamite listening experience that's an amalgam of rockin' blues, southern-fried slide work and roots rock. Featuring his subtly brilliant slide guitar work, the CD offers two excellent instrumentals, "Ozark Passage", with its live-in-the-room-sounding acoustic slide, bowed bass (courtesy of Matt Gruenberg and driving groove, and "Slide On Rye", a four minute plus, sinuous electric slide charged rave in which Hill gets to play over Keith Cotton's rousing piano accompaniment. A third instrumental, "Crater Of Diamonds", closes the CD, and is no less entertaining, with its moody, lyrical, and sometimes snaky, electric slide leads dominating the piece. Of course, Hill is also a strong and impassioned vocalist, delivering his lyrics with the conviction of someone who walks the walk. Among the standout vocal tracks is the almost eight minute "Workingman's Curse", with its funk-meets-blues solo passage and poignant message. If you've enjoyed music from bands such as Little Feat or artists such as John Hiatt, you'll delight in discovering Hill - who should not remain 'Undiscovered' for long. - Guitar Nine Records – April / May 2002 Review

"Versatile guitarist who uses layering, tone, texture and good taste to keep the listener riveted. Good singer, mean slide player- here's to more efforts like this from Hill." - Blues Access

"A sparkling effort that shows his immense talent as a slide guitarist. Hill's music draws from the Little Feat and Radiators mold, and it stands favorably with those great artists. There's a funky Feat feel to "Rose City" and the passionate "Sweet Salvation," while he rips up a slide storm in the rollicking instrumentals, "Slide On Rye" and "Crater Of Diamonds." The best cut, though, is the eight minute "Workingman's Curse," which has Hill stretching out with some dazzling playing." - Relix- summer special issue 2000

"Hill's aggressive slide playing over a rough-and-ready backing track makes us want to slam down some moonshine and start a ballroom blitz. It's intense and relentless, and Hill's slide tone is fat, edgy and fabulous."

Guitar Player Magazine
June 2009
- Guitar Player