Reggie Garrett (& the SnakeOil Peddlers)

Trio serves up mix of musical messages
The Dispatch & The Rock Island Argus / Friday October 27, 2000 by Julie Jensen (correspondent)

Quad City Arts Visiting Artists Reggie Garrett & the SnakeOil Peddlers thought 9:30 a.m. was pretty early in the day, but their performance at Davenport’s Harrison Street School Tuesday had everybody wide awake instantly.
The Seattle-based trio consists of Mr. Garrett on guitar and vocals, Richard Middleton likewise and Will Dowd on percussion. They play what has been called “a unique urban strain of acoustic folk music”, incorporating Latin, blues, gospel, Celtic and African influences.
To start things off they ripped into “Function at the Junction” with solos for all three. Next was a song Mr. Garrett wrote called “Little Brother”, and he sang lyrics incorporating advice from his grandmother.
That advice really spoke to his audience at this alternative school. “This world is such a hard place,” he sang. “Just keep on the high road and you’ll never lose your way. All you gotta do is just the best that you can. Walk soft, little brother. You just take it real slow. By and by you’re gonna find out all the things I told you are so. I know what I know”.
Mr. Dowd explained his percussion instruments, saying, “The kit is a mixture of things, and it doesn’t overpower the songs. This is something I developed myself.”
He does a lot of hand drumming on a wooden box called a cajon, bongoes, and a clay pot called an udu, and he uses shakers made of goat toenails and seed pods, also using the less exotic high-hat cymbal and pedal struck drums.
“For the first three or four years, this combination sounded really stupid,” he says, “but I stayed with it, and it’s starting to work for me.” (Is it ever!)
The cajon evolved from the makeshift drums devised from packing crates used by slaves whose powerful native music frightened slave owners and caused them to take away their drums.
The rich musical tradition of Cuba was the source of the mambo they played next, but the song came from New Orleans, and the kids were invited to clap the rhythm as the trio played and sang. Then they were invited to sing along when the “Hey, now” phrase occurred. The kids loved the clapping but were bashful about singing.
“A lot of stuff I write comes from my personal experience,” Mr. Garrett said. “My wife’s mother died around Christmas. She and her mother were very close, and the hardest times were Sunday nights, when they used to talk on the phone.”
The song was “Seasons,” and he sang, “She’s got your name, she’s got your number. She dials the phone, but you don’t answer anymore . . . Well, seasons come, seasons blow away, never to return quite the same. She looks for you in the night. She looks for footprints in the snow, covered by the winds of time, too soon, all too soon.”
Then Mr. Middleton told how he got into music. “I watched my mom play piano, and after watching her hands I played what she’d been playing. I taught myself piano and was playing in clubs when I was 16. Then I started to play the guitar and became less interested in school, cutting classes to practice.
“I didn’t realize you could study music in school, I thought music and school were in two different universes. At 19 I went to music school and got a degree. If you’re interested in playing an instrument, just do it. It’s a way to express yourself and connect with other people.
“I love the universality of what Reggie does, taking traditional styles and giving them a modern twist.”
Then the trio played a few bars of traditional blues - a slow shuffle - before launching into a Garrett version of “Crossroads”, still blues but a fast-moving adaptation.
At question time a small girl wanted to know how old they were. Mr. Garrett is 47, Mr Middleton is 35 and Mr. Dowd is 40.
How did the group get its name? Mr. Garrett explained it came from swindlers selling supposedly miraculous elixirs to the gullible, and laughingly said, “Take everything we tell you with many grains of salt. Actually, I just liked the sound of it. One night at a party a friend of mine told me he liked the way I danced - it was like snakeoil.”
Somebody asked him why he closed his eyes when he sang and played, and he said, “People have told m to keep them open, but it helps me to concentrate - to go somewhere else when I sing and not be distracted by eye contact.”
The trio has existed for nine years in various combinations. Mr. Garrett and Mr. Middleton have been together five years, and Mr. Dowd joined them three years ago.
Mr. Garrett finally got around to his own biography. He never had music lessons, and when his parents gave him a guitar in his teen years, he put it away for six months. Eventually, he learned chords from a book and then figured out how to play songs by ear by listening to records.
He referred to his “wayward” youth, and somebody asked, “Did music help you with that?”
He laughed and sai - The Dispatch & The Rock Island Argus

Garrett Brings Haunting Latin Ryhthms to V.U. Coffeehouse
Western Front / Monday April 19, 1993 / Bellingham, WA
by Cassandra Burdsal - staff reporter

The coffeeshop darkened and the room began to fill with people as the Latin strains of Caliente provided a backdrop to the light conversations. Four spotlights lit up the stage in front of the window. Outside, the sky darkened and the lights of downtown Bellingham grew brighter.

Reggie Garrett, Paul Benoit and Ernesto Pediangco — the SnakeOil Peddlers — entered the room and began adjusting the stage equipment. Garrett turned to the audience and said in his quiet voice, “We’ve got some SnakeOil music for you tonight.”

The crowd quieted as, withn a nod from Garrett, the trio plunged into the haunting strains of “The Square”, the first song from their debut album “Welcome to My World.”

The Seattle-based urban acoustic folk-rock trio played April 16 in the Viking Union Coffeeshop. More than 50 students and faculty attended the performance.

“The Square”, Garrett said after the show was the first song he wrote after moving to Seattle from the East.

“I didn’t have a job. I used to sit down in Rainier Square and watch the people, musing what they’re about and the fact that we don’t really see each other,” Garrett said.

For the third song Garrett decided to “slow things down [with] one of those sad, mournful things I write all the time. It’s called ‘Lost Opportunities.’”

Some listeners relaxed, putting their feet up on tables and closing their eyes; others leaned forward, intently watching and listening. The music was mournful, yet soothing. The effects of the percussionist complemented the guitars, heightening the mood set by the darkened room.

Between songs, a seemingly relaxed Garrett talked about the inspirations for some of his songs. Ripples of laughter ran through the crowd as it caught his subtle jokes. In reality, Garrett said he is “nervous as hell” onstage.

Garrett’s music is very expressive, painting vivid images for the listeners. The guitars evoke feelings of sadness, joy and loneliness, accented by the various percussion instruments.

His wife, Garrett said after the concert, used to wonder why she never saw him cry. When she heard his music she realized that he was crying through the
“It all comes out in there. To me, that’s what music is all about,” said Garrett.

The music filled the room, capturing the audience in its web. After each song the audience remained still for a moment — still caught in the spell — then applauded enthusiastically.

“We’re gonna speed it up again here now for a second and wake all of you up,” Garrett said after a slower paced song. “This (Welcome to My World) is a song about gangs and the attractions they hold for the youths on the street. It’s the title track from our CD.”

Half-way through the song Garrett and Benoit paused for a solo by the percussionist, Pediangco. The improvised solo lasted for a couple of minutes, then the trio continued the song accompanied by thunderous applause.

“This is my first live performance with them,” Pediangco said during the break between sets. “It’s going great.”

Pediangco played with the Latin Expression Salsa Orchestra and the Bochinche latin band. “It’s different for me to play acoustic music,” he said. “These guys are quite a contrast to my usual fare. This is nice. It’s more intimate.”

Members of the audience said those who didn’t come missed out on a great show. Some listeners wouldn’t comment, saying they couldn’t put their feelings into words.

“I think it’s pretty good so far. He’s got a little bit of everything, from slow to fast, with a little bit of Latin mixture,” said Leanne Fontecha, freshman, during the break between sets.

“I’m glad to see people of this age group responding to this kind of music,” Pediangco said. “Seattle’s famed for its grunge and we all have to live down ths shame of that.”

Garrett grew up among folk, rock and gospel traditions, all of which are reflected in his music. The style remains his own, yet has identifiable folk, Latin and blues overtones.

“The Seattle scene is not what this is all about,” said Garrett, “so we get lost in the cracks. It’s rough, but we’re starting to make some strides. I’m starting to feel like it’s really going to happen.”

Garrett said he hopes to release a second album by the end of the summer. The group is not yet signed to a record label.

- Western Front

REGGIE GARRETT & the SNAKEOIL PEDDLERS
Seasons - CD/MOG CD 11192
MOG/WonderDog Records / 342 NW 103rd Street / Seattle, WA 98177

- Taken alone, Reggie Garrett creates music that gets under your skin - a gentle and subtle blend of folk, jazz and blues. It swings with authority, moves like a panther, takes you down to the river where the depth of emotion truly resides. Garrett’s voice is itself an utterly unique instrument, a tremulous, warm cry from the heart. Songs like the haunting “Seasons” and gently rhythmic “Along for the Ride” play in your mind as you awaken in the morning, wondering at first where that melody and feeling came from, then remembering - Reggie Garrett. A creator of delicate miniatures, Garrett doesn’t give us full narratives; he gives us moments, brief glimpses of human beings, momentary glances at their emotions and the objects that inspire them. “Shadows from a nightlight, doorway left ajar, sounds of things that you don’t really see, only hear / From another room” (“Images”). But there is even more than Reggie Garrett here. When you add the lyrical guitar of Richard Middleton and the extraordinarily tasteful percussion of Will Dowd to the mix (and Dowd engineered the project with a finesse equal to his percussion work), the result is a folk CD that sets the bar for small ensemble work. Middleton’s inventions bespeak a deep affection for the material he’s working with, and Dowd displays his magical knack for providing fascinating percussive support that you love to listen closely for, though it never calls attention to itself. It doesn’t get much better than this. (Bill Fisher)
- Victory Review

REGGIE GARRETT & the SNAKEOIL PEDDLERS
Time Stands Still [WONDERDOG WDR 1001-2 (1995)]
Welcome to My World [SOP/CD-0001 (1992)]

-- If they ever come up with a pigeonhole called folk/soul, all it will need is an illustration of Reggie Garrett. Smooth, emotional and warm, he shows there are more connections than differences between blues and folk. It’s been too long since we’ve had someone like this - Bill Withers, Richie Havens - and Garrett stands firmly in his own corner, as strong a writer (“Pouring Rain”) as he is interpreter (“Mr. Soul”). (Chris Nickson) - DIRTY LINEN / April/May 1996
- Dirty Linen

Garrett Brings Haunting Latin Ryhthms to V.U. Coffeehouse
Western Front / Monday April 19, 1993 / Bellingham, WA
by Cassandra Burdsal - staff reporter

The coffeeshop darkened and the room began to fill with people as the Latin strains of Caliente provided a backdrop to the light conversations. Four spotlights lit up the stage in front of the window. Outside, the sky darkened and the lights of downtown Bellingham grew brighter.

Reggie Garrett, Paul Benoit and Ernesto Pediangco — the SnakeOil Peddlers — entered the room and began adjusting the stage equipment. Garrett turned to the audience and said in his quiet voice, “We’ve got some SnakeOil music for you tonight.”

The crowd quieted as, withn a nod from Garrett, the trio plunged into the haunting strains of “The Square”, the first song from their debut album “Welcome to My World.”

The Seattle-based urban acoustic folk-rock trio played April 16 in the Viking Union Coffeeshop. More than 50 students and faculty attended the performance.

“The Square”, Garrett said after the show was the first song he wrote after moving to Seattle from the East.

“I didn’t have a job. I used to sit down in Rainier Square and watch the people, musing what they’re about and the fact that we don’t really see each other,” Garrett said.

For the third song Garrett decided to “slow things down [with] one of those sad, mournful things I write all the time. It’s called ‘Lost Opportunities.’”

Some listeners relaxed, putting their feet up on tables and closing their eyes; others leaned forward, intently watching and listening. The music was mournful, yet soothing. The effects of the percussionist complemented the guitars, heightening the mood set by the darkened room.

Between songs, a seemingly relaxed Garrett talked about the inspirations for some of his songs. Ripples of laughter ran through the crowd as it caught his subtle jokes. In reality, Garrett said he is “nervous as hell” onstage.

Garrett’s music is very expressive, painting vivid images for the listeners. The guitars evoke feelings of sadness, joy and loneliness, accented by the various percussion instruments.

His wife, Garrett said after the concert, used to wonder why she never saw him cry. When she heard his music she realized that he was crying through the
“It all comes out in there. To me, that’s what music is all about,” said Garrett.

The music filled the room, capturing the audience in its web. After each song the audience remained still for a moment — still caught in the spell — then applauded enthusiastically.

“We’re gonna speed it up again here now for a second and wake all of you up,” Garrett said after a slower paced song. “This (Welcome to My World) is a song about gangs and the attractions they hold for the youths on the street. It’s the title track from our CD.”

Half-way through the song Garrett and Benoit paused for a solo by the percussionist, Pediangco. The improvised solo lasted for a couple of minutes, then the trio continued the song accompanied by thunderous applause.

“This is my first live performance with them,” Pediangco said during the break between sets. “It’s going great.”

Pediangco played with the Latin Expression Salsa Orchestra and the Bochinche latin band. “It’s different for me to play acoustic music,” he said. “These guys are quite a contrast to my usual fare. This is nice. It’s more intimate.”

Members of the audience said those who didn’t come missed out on a great show. Some listeners wouldn’t comment, saying they couldn’t put their feelings into words.

“I think it’s pretty good so far. He’s got a little bit of everything, from slow to fast, with a little bit of Latin mixture,” said Leanne Fontecha, freshman, during the break between sets.

“I’m glad to see people of this age group responding to this kind of music,” Pediangco said. “Seattle’s famed for its grunge and we all have to live down ths shame of that.”

Garrett grew up among folk, rock and gospel traditions, all of which are reflected in his music. The style remains his own, yet has identifiable folk, Latin and blues overtones.

“The Seattle scene is not what this is all about,” said Garrett, “so we get lost in the cracks. It’s rough, but we’re starting to make some strides. I’m starting to feel like it’s really going to happen.”

Garrett said he hopes to release a second album by the end of the summer. The group is not yet signed to a record label.

- Western Front

Reggie Garrett & the SnakeOil Peddlers
Time Stands Still [WONDERDOG WDR 1001-2 (1995)]
Welcome to My World [SOP/CD-0001 (1992)].

-- Reggie is what you would get if you could put together a dreamer, the voices and song-craftmanship of Richie Havens and Bill Whithers along with Bob Dylan’s atmospheric and soul-moving lyrics. Great acoustic guitar work and a voice lost in the mists of time reflect the folk/rock/gospel traditions with which he grew up. Funk acoustic folk for the urban soul - these two CD’s are true gems. (Stavros Moschopoulos) - FAO CASA Gazette / SEPTEMBER 1997
- FAO CASA Gazette

Reggie Garrett & the SnakeOil Peddlers
Time Stands Still [WONDERDOG WDR 1001-2 (1995)]
Welcome to My World [SOP/CD-0001 (1992)].

-- Reggie is what you would get if you could put together a dreamer, the voices and song-craftmanship of Richie Havens and Bill Whithers along with Bob Dylan’s atmospheric and soul-moving lyrics. Great acoustic guitar work and a voice lost in the mists of time reflect the folk/rock/gospel traditions with which he grew up. Funk acoustic folk for the urban soul - these two CD’s are true gems. (Stavros Moschopoulos) - FAO CASA Gazette / SEPTEMBER 1997
- FAO CASA Gazette