Vin Mott Blues Band

Vin Mott’s debut release Quit The Women For The Blues is an entertaining slab of modern harmonica-led blues that openly displays the notable influence of several first-generation electric blues icons as well as second generation stars such as the Paul Butterfield Band.
The title track kicks off proceedings with a heavy nod to Howlin’ Wolf’s “Killing Floor”, albeit with a slice of modern day attitude. Guitarist Sean Ronan even recalls the great Hubert Sumlin in his gloriously teetering-on-the-edge-of-control solo, while Mott’s harmonica playing recalls the power and aggression of James Cotton.
Ronan and Mott swap solos throughout the album, and are both top drawer soloists. Mott is especially impressive on rocking harp showcase that closes the album, “Hott Mott’s Theme”, while Ronan’s solo on “The Factory” is one of several stand-out moments on the album. The rhythm section of Andrei Koribanics on drums and Dean Shot on upright and electric bass excel in laying down a variety of tasty grooves throughout Quit The Women For The Blues, from the swinging shuffle of “Make Up Your Mind” and the old-fashioned rock’n’roll of “Don’t Make Me Laugh” to the classic rumba-with-a-shuffle-middle-section of “I Wanna Get Ruff With You”. Phil Silverberg also adds subtle organ to four tracks, perhaps most effectively to the fine ballad, “Living The Blues”.
While the production on the album is very modern, the structures of the songs themselves have a very 50’s feel to them. “I’m A Filthy Man” features Ronan on slide guitar re-working Elmore James’ old “Dust My Broom” riff; the stop choruses of the upbeat “Freight Train” do not distinguish it materially from Junior Parker’s “Mystery Train”; and the 8-bar shuffle of “Ol’ Greasy Blues” even borrows a couple of lyrics from Big Bill Broonzy’s “Key To The Highway” as well as the vocal melody. New Jersey native Mott wrote all ten tracks and he deserves credit for keeping one foot in the past whilst adding a modern perspective to tracks like “The Factory”, where his protagonist declares “I can’t drink no more whiskey, I can’t smoke no more weed. I can’t do no more cocaine, but that’s what I need. This living ain’t no living. I’ve been beaten down by the factory.”
Vin Mott is a young man and he will no doubt continue to develop his talents. At the moment, it is fair to say that his singing voice does not have the depth or subtlety of his harp playing although it does work well on the angrier, more aggressive songs (which is no bad thing because this is not an album of pretty love songs).
There is a sense of attitude and urgency about Quit The Women For The Blues, which sounds like it was recorded live. Certainly, on the evidence of this album, it is easy to imagine Mott and his band tearing up bars and giving superb live shows. There is a sense of early George Thorogood in the way the band goes about its business. Overall, Quit The Women For The Blues is an impressive debut from Vin Mott and this reviewer looks forward to more from this band. - Rhys Williams

Vin Mott is from Pequannock, N.J. While still a teen he got bit by the blues bug; it was the sound of the blues harp. His influences included Muddy Waters, Little Walter, and James Cotton. Mott studied at the Berklee College of Music in Boston and graduated in 2011 with a degree in songwriting. He returned to NJ and began to take gigs with his friend guitarist Sean Ronan. Mott played venues like the Great Notch Inn in Little Falls, the Robin’s Nest Rhythm & Blues in Linden, Hat City Kitchen in Orange, and Ruthie’s BBQ & Pizza in Montclair. He started branching out into Eastern Pa. and developing a reputation as a front man. This is his debut album.
The Vin Mott Rhythm and Blues Band consists of Mott, harp and vocals; Ronan, guitar; the versatile Dean Shot, electric and upright bass; Andrei Koribanics, drums; and Phil Silverberg, organ. All of the songs are written by Mott. The album was mixed and mastered by Silverberg.
The opening title track “Quit the Women (For The Blues)” is modeled after Howlin Wolf’s “Killing Floor” written and recorded in 1964 with Hubert Sumlin on guitar; it was recorded again in 1968 by The Electric Flag. Mott’s song is a good one and a great way to start off this debut recording.
“Make Up Your Mind”…“I’m sick and tired of waiting for you to make up your mind”. Mott’s harp solo leaves little doubt about his abilities. Mott’s solo is followed by one from Ronan on guitar. Silverberg adds the finishing touches on the organ.
“Don’t Make Me Laugh”… “you been acting funny baby don’t make me laugh”. Mott’s harp say’s it all…Ronan kills it again…“even the couch is tired of that ass”.
“I’m A Filthy Man” is a house rockin tune with some Elmore James styled guitar from Ronan.
“The Factory”…..“can’t drink no more whiskey, can’t smoke no more weed…this livin ain’t much livin, been beaten down by the factory…I’ve been working all around the clock…got stuck on third shift oh what a shock…this livin ain’t much livin, I’ve been beaten down by the factory”. It’s a sad tale but it happens. This is a great song ‘cause it happened to me.
“Freight Train” opens with the sound of an oncoming train played on harp by Mott. Koribanics picks up the speed on his drums. Shot’s spewing steam from his upright. Ronan’s solo speaks of a touch of rockabilly. This has got to be a crowd pleaser.
“I Wanna Get Ruff With You”…“for the way you been treatin’ me”.
“Ol’ Greasy Blues” “I want to teach you baby just how to reel and rock”; more great harp and guitar.
“Living The Blues” is a well written slow blues…“cant play no more records, can’t go outside, the thought of that woman, make me angry inside”.
“Hott Mott’s Theme” is a hot harp instrumental that closes the session.
It’s an old school sound and the recording displays a natural talent, good songwriting, and like a high jumper “he’s up and over the bar”. An auspicious debut.
Richard Ludmerer - Richard Ludmerer

When you give a listen to this debut release of NJ native Vin Mott, you’d be hard-pressed to guess that these 10 originals were written and performed by a 27-year old singing harp player. But I’ve been continually impressed by this young ‘old soul’ since meeting him a few years back at the Wednesday blues jam at NJ’s The Robin’s Nest. All of the songs have an old-school familiarity to them and the excellent group of musicians chosen to perform ‘live in studio’ (at Passaic’s Guerilla Recording) by Berklee grad Mr. Mott (his ‘regular’ guitarist Sean Ronan, in-demand drummer Andrei Koribanics, Phil Silverberg on organ and on bass the versatile Dean SHot, who also happens to run the very jam where I became an admirer of Vin’s) all perform their parts beautifully – aided by the engineering talents of Silverberg and James Stivaly. It’s good to see musicians of any age brining forth the blues in a traditional manner, and catching Vin Mott’s Rhythm and Blues Band live in the NJ area is a great way to get that comforting sound delivered by a fresh face. And for those not close to the NJ haunts of Vinny, grab this CD and bide your time because I have a feeling it won’t be long before he’ll be paying visits to an area near you. My only advice to this young multi-instrumentalist (he is also a badass drummer and can play bass and guitar as well!) – if you’re giving up women at such a young age - where are you gonna get the inspiration for your next blues CD? –Guy Powell - Guy Powell

Vin Mott has made his social life a little smaller yet expanded personal possibilities with his recent album release, Quit the Women for the Blues. It may seem extreme but the New Jersey Bluesman is comfortable in his choices. Vin Mott opens the album with the title track as he claims that he has “Quit the Women (for the Blues)”, and is happy to be done with fighting as he takes his 33 1/3 PRM records into an entire home that has become his man cave. Backed by Vin Mott’s Rhythm and Blues Band, Vin takes center stage on the release with raw Blues vocals and harmonica blasts. The band stand firm with demands (“Make Up Your Mind”), set goals (“I Wanna Get Rough with You”), and marinate contemporary human conditions in slow cooked Blues (“The Factory”).
Mixing in his own band’s take on 12-bar Blues, Vin Mott went to the work of musical mentor’s from Chicago and Memphis, tapping into the styles of artists such as James Cotton, Little Walter, Junior Parker, Muddy Waters, and Howlin’ Wolf for his original songs Quit the Women for the Blues. Vin Mott grabs the microphone with white knuckles as he spits and snarls out his unhappiness with love lies in “Don’t You Make Me Laugh” as he admits to shortcomings and bumps in the road with “Living the Blues”, slides on the groove of “Ol’ Greasy Blues”, and ‘fesses up to what goes on in his mind on “I’m a Filthy Man”. Quit the Women for the Blues showcases Vin Mott’s Rhythm and Blues Band as they hop on a hot rail rhythm barreling along with clicking drum beats and slapped bass on “Freight Train” and cut a path with chopped chords accented with harmonica gymnastics in the instrumental “Hott Mott’s Theme”.
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Vincent ‘Vin’ Mott is 27 years old and he is from Pequannock, New Jersey; his first tentative steps into music began at the age of seven when his interest in the drums led to
formal drum lessons. At the age of thirteen he gave up all other interests including sporting activities because as he states “I was really only any good at playing music”. While at school he participated in all manner of musical activities and events that his school could offer. He went on to further studies in music at the Berklee College of Music in Boston and graduated in two thousand and eleven with a BA in Song-writing. Upon returning home he supplemented his musical ambitions by working as a plumber during the day and playing drums at night with friends, this is where he teamed up with Sean Ronan a friend, who is now the guitarist in Vin’s band, Acting on Sean’s advice, Vin began giving drum lessons instead of

plumbing and for the next two years they together planned the band that would become Vin Mott’s Rhythm & Blues Band. Their original name was “Hott Mott’s” but, later they opted to change their name. During those two years Vin not only changed his primary instrument to the harmonica but, also vastly expanded his musical skills and musical network. The band’s full line-up is Vin Mott; vocals and harmonica, Sean Ronan; guitar, Dean Shot; electric and upright bass and Andrei Koribanics on drums, Phil Silverberg supplies keyboards.
The eleven original numbers here were recorded last summer and now make up their debut release. The numbers were recorded live in the studio and because of that fact the music exudes the highly evocative atmosphere of a smoky down at heel Chicago blues club; and ‘Vin’s’ subtle and caressing harmonica work is a delectable amalgamation of his heroes, who in no particular order are Howlin’ wolf, little Walter, muddy waters, Steve Guyer, Johnny Copeland, Kim Wilson and William Clarke. The album opens with the title track and you are immediately struck by the splendidly slippery bass and train like drum work that raises your heartbeat somewhat. Meanwhile the fluidly harsh fuzz of Vin’s harmonica, twists and turns around an urging, ringing chicken strut guitar.
The sublimely elegant harmonica playing on “Make Up Your Mind “, has a definite lazy, burning Kim Wilson feel, the rich guitar tones mesh with a smouldering organ which fits perfectly with the relaxed brushwork and pulsing bass. “Don’t Make Me Laugh”, is quite simply a rollicking Rockabilly stomper complete with a ringing guitar, which is underpinned by a fine slapping bass with fiery outbursts of scorching fuzz rich harmonica. “The Factory” is slow burning homage to the relentless, mind numbing repetitious work of the industrial conveyor belt; here Vin’s dexterous playing is burningly raw, morosely gnawing at your soul as the guitar wails in fruitless unison. “Freight Train”, is a blistering visitation to the Sun Studios, snapping and foot stomping drum work joins warm slapping bass, while rich toned fast picking underpins a raw, driving and bruising hell-for-leather steam train harmonica. Splendid!
Greatly Endorsed! - Brian Herman

VIN MOTT
VIN MOTT/Quit the Women for the Blues: I guess the title track proves blues is a calling. Vin, you get into music to get the chicks, not give them up. He might be from Jersey but he's wise in the ways of the Chess grooves as he and his crew could have been hanging out with Butterfield waiting for their chance at open mic night many years ago. Fun stuff that comes to the blues without baggage and delivers a pile driver to the blues labonza that'll make the hard core spread the word. Fun stuff throughout that was designed to be a first class, after hours party platter. - Chris Spector