What they're saying...
“ This is a young man who has the world at his fingertips and if he takes care of himself and his talent, we've got a crisp and shiny new star on our hands.” -Memphis Mojo

“ His guitar work is professional and first-rate entertainment and his vocals will remind you of the true fervor and emotion of Buddy Guy. Full Circle is an unquestionable treat.” -Musicians Realm

“ His remarkable work and gorgeous presence is a delight to see and a shame to miss.” -Josslyn Mikowm, Austin Monthly Magazine

“ Shawn plays with the energy of a rebel rock n' roller, and the depth and soulfulness of a seasoned bluesman.” -Blues Bytes

“ This guy makes heads turn, ears perk up and bodies move.” -Southwest Blues

“ Pittman commands his guitar to speak the string slingin' language of the Lone Star State.” -Art Tipaldi (Blue Revue)

“ Chops plus soul equals dynamite!”
-Jazz Times

“ Watch out for this guy, he's no flash in the pan!” -Northeast Blues Society (BLUES Print)

“ Pittman takes no back seat to anyone on the road today.” -John Myers (Duluth News-Tribue)

- Worldwide

This second release from Dallas-based Shawn Pittman (who's recently been opening for Susan Tedeschi) is an ambitious undertaking. Pittman wrote 10 of the 11 tracks, including several capitvating instrumentals. The release marks the developing career of an up-and-coming bluesman. His compositions are sincere and heartfelt; the songs reflect his emotions and life experiences while showcasing his maturing axe work.

The title track references a fatal shooting incident that took place just outside Pittman's home, while "TELL ME WHY" and "JUST A GAME" conjure up his experiences with the opposite sex.

Pittman's lyrics are sturdy, and he's an able vocalist. But the real meat and potatoes of SOMETHING'S GOTTA GIVE are the funk-infused instrumentals that provide Pittman a blank canvas on which to paint his creative soundscapes. "GET STARTED" is a straightforward groove piece a la Wes Montgomery, while "EAST SIDE GROOVE" reflects a lighter tone and attitude. The jams reveal vibrantly charged guitar work; Pittman puts his love of melody first, straying from the usual dazzling onslaught of the lead guitar and instead using subtle textures to create a focused harmony.

The last song, " THAT FIRST DRINK," is a visceral, gritty, foot-stomping sermon about the ills brought on by the demon in the bottle. Pittman contributes mean slide guitar, and his harsh vocals seem to transcend the youthful energy apparent elsewhere on the album. The song effectively conveys a sense of tension and urgent self-evaluation, and it does so in an understated way that can't help but get under your skin. This is a drastic stylistic departure from the other tracks, but it's definitely a side of the performer that bears exploring in future projects.

SOMETHING'S GOTTA GIVE offers solid evidence that Pittman is a talented performer and songwriter whose best is yet to come.

- Bill Fountain-BLUES REVUE

Austin's Shawn Pittman maintains a high profile in Minnesota. On this summer night, Pittman, delayed following an afternoon appearance at Wisconsin's Prairie du Chien Blues Festival, had yet to roll into the Poodle Club, a bar and grill straight out of the 1950s. When the appointed start time came and went, the sizable crowd, a mix of blues fans and neighborhood regulars, remained upbeat with a break in the summer heat and the promise of good music; Minnesota loves Shawn Pittman.

Just after 9 p.m., some familiar Twin Cities faces began loading in-Rob Stupka, king of the kit, master of minimal movement and maximum thwack, and Scott Nelson, until recently the Keller Brothers electric bassist, whose round tone approaches the sound of a standup. With only vocals going into the PA, soundcheck was speedy, and the band eased into a jazzy instrumental, finding its legs after the drive before hitting a deep shuffle on "Roll With You." Pittman picked up steam on Earl King's "Come On," soloing through one break with biting, behind-the-beat lines and riding out with smooth octave work. The next number, "Slow Down," instantly filled the small dance floor, proving the potency of T-Bird rhythm in a sweaty club. A request for "Dallas City Police" let Pittman stir some funk into the mix. Smoky singing powered "All Your Love (I Miss Loving)"; quotations from Otis Rush's familiar guitar lines bookended Pittman's extended improvisations.

An unstoppable shuffle beat ran through the Eddy Taylor-ish title track of Pitman's just-released third album, Full Circle. During "Wait On Time," the Fabulous Thunderbirds' masterpiece, Pittman nailed a Jimmie Vaughan vibe-no surprise, as both guitarists concentrate on maintaining rhythm 'n' groove and reducing solos to only the most cutting notes. Pittman means business. The heat stayed on through Chuck Berry's "Sweet Little Rock 'n' Roller," played with a hint of swing during the verses and straight time during the solos (subtle work by Stupka). By now, even the ladies were cheering the guitar solos (subtle work by Pittman).

Pittman started his second set in laconic Jimmy Reed style with "Mary," then tore into a pair of Hound Dog Taylor songs (the bends and trills in "It's Alright" were especially cool). The evening's deepest blues, Bobby Bland's "I Smell Trouble," followed. Here Pittman made tension work for him, worrying phrases until even the subtlest alteration produced palpable release, and used shifts in volume and pacing with striking expressiveness. His singing impressed, too, with increased dynamics and bite added to his slurred delivery and basic good timbre. As the night drew on, Pittman played fast and funky, combining the two in "Burnin' Up," which defines skank-blues at its most driving. A woman in the audience shouted for Pittman to remove his damp shirt; taken aback, he stayed clothed but returned the invitation. The slow drag "One Thing On My Mind" varied the pace before Pittman's intricate rhythm work exploded on the final numbers, both of which were the stunning boogie "Lookin' Good," played-echoing Magic Sam's Ann Arbor breakthrough-as closer and encore.

Guitarists who follow Pittman know he's constantly evolving. Tonight he stripped down his playing to pure Gulf Coast buttrockin', shedding the near acid-jazz explorations of Something's Gotta Give. Having previously used Bassman reissues and Super Reverbs of various vintages, Pittman plugged his guitar, a white '60s Relic Stratocaster (with a rosewood fingerboard - another change), straight into Fender's modern blond beauty, the 3x10 Vibro King. He performed the first three songs of the night without a pick, and imitated, rather than played, slide on "Gimme Back My Wig." At times Pittman moved the selector switch on his Strat to the neck position - significant because, in years past, he played exclusively on the bridge pickup, only gradually adding the middle slot to his palette. Always, his tone was fat and fine, and, you know, Minnesota loves Shawn Pittman.

- BLUES REVUE, Tom Hyslop