CHAIN LINK (2022)
"Little Muddy has evolved several times since the band first formed and the current version responsible for the fourteen songs written and recorded for Chain Link makes a strong case for being the band’s best. The band’s 1999 debut heralded the arrival of a particularly unique outfit capable of producing compelling original material as well as covering iconic artists with distinctive flair. Guitarist Rich Goldstein is the only remaining member from the band’s beginnings and, unsurprisingly, his creative vision plays a huge factor in Little Muddy’s music.
This is no detriment. He opens the album with its title track and the light atmospherics surrounding the song’s otherwise gritty groove further deepens the cut’s impact. It has an audible and sharp funk edge that, nevertheless, isn’t too overwrought. Instrumental music has higher hurdles than ever in a front-person-centric marketplace centered on singers, but Goldstein and his collaborators understand how to surmount those hurdles.
Mark Abbott’s drumming continues to impress during the second track “Groove Town”. His performance is the definition of “pocket drumming” as he achieves a near-effortless swing. Little Muddy’s songs benefit enormously from the album’s production; there’s real ambiance present in this song. The brief “In the Distance You’ll See” has a surprising effect on listeners despite its short duration and its acoustic sound has tactile qualities easy to appreciate.
Goldstein’s lead guitar reaches peaks during “Slow Time” which helps make the track an album highlight. The pace of the song’s first half is placid and minimalist, but Little Muddy ramps up the tempo during the second part of the cut. The jazzy inclinations of “Slow Time” fade, however, with the next track. “Triple Agent” pursues a much edgier aesthetic without ever veering too off course. Its potent bassline sounds off as one of the song’s defining elements without ever overshadowing the overall entertaining package.
Little Muddy crosses a southwestern Tex-Mex flavor with acoustic blues for the album’s eight track “300 Years from Now”. There’s no question the band delivers musical narratives powered by cinematic motifs. It isn’t difficult to envision pairing the sparse yet lyrical desolation of this piece with starkly beautiful visual landscapes. The same artistic direction fuels “Night Highway” and it’s one of the band’s pinnacle moments. Little Muddy keeps things simmering throughout, never allowing the track to boil, and it swells with intensity.
“Spark on the Horizon” demonstrates the band’s dazzling versatility. It’s a rock track, but there’s plenty of blues influence spiking every passage along the way. Little Muddy’s impressive talent for alternating between styles without ever losing their footing. Moreover, their musical range doesn’t dilute their effect on listeners. “Route 51 South” closes Chain Link on a hot bluesy note with another superb Mark Abbott drumming performance putting an exclamation point on the track. There’s something for every listener included on Chain Link though, without question, guitar lovers will particularly rejoice. Rich Goldstein is playing near or at the peak of his musical powers and his compositional talents are a major reason the collection is so successful."
---The Hollywood Digest, Garth Thomas
"Opening their latest release Chain Link with the one-two punch of the title track and “Groove Town” makes it clear that Little Muddy’s talents are built on solid fundamentals. Their familiarity with blues and rock doesn’t have any artistic distance; the band, particularly guitarist and dominant songwriter Rich Goldstein, wholeheartedly embrace those traditional sounds without ever imitating anyone. You hear recognizable twists and turns along the way, yes, but Goldstein stamps each of Chain Link’s fourteen compositions with personal authority that burns away any superficial comparisons.
Little Muddy starts the album off with its title song. It’s a statement of confidence. One of the many things the band has working in their favor is the unforgettable guitar sound Goldstein gets here and on other electric guitar tracks. It has a hard-charging touch that never steamrolls listeners; co-producer Adam Rossi works well with Goldstein to lock down an in your face yet warm tone for this track and the remaining thirteen.
Kevin White and Mark Abbott, bass and drums respectively, provide able rhythm section support. The latter shines during the title song and its follow-up “Groove Town”. Abbott’s work on the kit accentuates the upbeat buoyancy Goldstein and his cohorts are aiming for without sacrificing much of the grit heard throughout these instrumentals. Acts and albums without vocals are always a harder sell than most in the contemporary music world and Chain Link faces the same challenges.
One of the key elements, however, separating Little Muddy’s work is their sense of songcraft. These aren’t self-indulgent instrumental explorations but, rather, condensed songs constructed for maximum effect. Few of them run longer than three minutes but quasi-interludes such as “In The Distance You’ll See” sparkle thanks to the different instrumental voices Little Muddy employs. New sounds creep their way into this brief composition but they never sound out of place.
“Scirocco Escape” will be a peak track for a lot of listeners. The production invests it with a significant amount of atmospherics, never gimmicky or cheap, and it boasts a pressure cooker-like quality that finds release at well-chosen points. Little Muddy plays as a band here with quite a bit of bite – it isn’t just a platform for Goldstein to show off his songwriting talents or guitar playing skill.
Another of the album’s short acoustic pieces arrives with “300 Years from Now” and its bleak acoustic musings are not without beauty. The overall tone isn’t especially inviting, but Little Muddy nonetheless mines lyrical passages from the dark and this track is among the highlights of the album’s “lighter” half. They mix swinging percussion with Goldstein’s blistering lead guitar for the track “Ricardo’s Ride” and it crackles with Latin swagger without ever succumbing to cliché. The same vital instrumental attack integral to the first thirteen songs drives the last one as well. “Route 51 South” steams ahead, full-throttle, with another impassioned turn on guitar from Goldstein. The band’s longtime guitarist is the tip of the spear for Little Muddy and he sounds engaged as never before throughout Chain Link."
---Melody Maker Magazine, Chadwick Easton
"Anyone who believes instrumental releases are inherently limited by the absence of a lead singer will do themselves a huge favor listening to Little Muddy. Rich Goldstein and his changing cast of collaborations over the last twenty-plus years have distinguished the band as one of the best and most surprising purveyors of traditional guitar music with a modern sound working today. The fact that Goldstein has sustained this project through multiple peaks and valleys without his passion ever flagging in an audible way testifies to his abiding all-around self-confidence.
It’s easy to hear it. The first song of Little Muddy’s new release, Chain Link, is its title song and it throws down an undeniable early gauntlet. His muscular guitar playing gets added push from drummer Mark Abbott’s sterling time-keeping. Abbott gives the title song some swing, of course, but it derives such impetus from the way he attacks the drums that the song gathers elemental force.
His percussive swing is a big reason for the success of songs such as “Groove Town”. Goldstein intends for this track to break a bit with the dominant demeanor of his material in favor of a more relaxed and life-affirming vibe. “Groove Town” hits its mark – it has much of the same raw-boned physicality as the title track opener, but it’s leaner, cut closer to the bone. “In the Distance You’ll See” is the first acoustic gem and a welcome change of pace early in the release. Little Muddy doesn’t limit themselves to a boilerplate style for their softer side and it gives this track an exotic tone it might have otherwise lacked.
“Slow Time” is another of Chain Link’s highlights. Many listeners will especially enjoy the build, the gradual escalation, and it pays off in a big way. The second part of “Slow Time” takes a perhaps unexpected swing upwards as Little Muddy gathers the full force of its inspiration for some blinding passages. The inspired work during the second half of the song is worth the price of purchase alone. A playful edge comes out for the track “Triple Agent” and the reverb-spiked guitar work rife throughout the song gives it a nervy and unsettled angle.
The echo laid over Abbott’s drumming during “Night Highway” gives it an additional dramatic atmosphere. There’s a real sense of stakes surrounding this song; it feels like someone on the wrong side of the law rolling down a well-lit highway in the dead of night. It’s furtive, desperate, and dangerous. He achieves some of the same effects during the finale “Route 51 South”, but it’s filtered through a much more bluesy filter. The go-for-broke attitude that’s present in every line of Goldstein’s guitar work gains so much more from the production.
It’s a fine way to end Chain Link. Goldstein and the other members of Little Muddy marshal several different styles to deliver a memorable and cohesive statement. Instrumental releases rarely get the attention they deserve, but Little Muddy’s latest release deserves the widest possible audience."
---Indie Pulse Music, Mindy McCall
"I went into listening to Little Muddy’s Chain Link with a smattering of hesitation. It may be a hard sale for some convincing them that even a long-lasting instrumental unit can produce compelling material relying, essentially, on rock and blues themes to carry the day. It isn’t all that Little Muddy does, but it’s a big part of their presentation. Guitarist Rich Goldstein and his bandmates pull it off, however, thanks in no small part to the album’s sound. Co-producer Adam Rossi contributes mightily to the final product; he shares co-production credit with Goldstein, but I think it’s natural to assume Rossi played a more hands-on role in shaping the album’s sound.
It has evocative atmospherics without ever laying it on too thick. “Chain Link” blends funk, rock, and blues together in a spicy concoction that never strikes a forced note. It all begins, however, with the drum track. Mark Abbott’s drums lock into such a deep groove that I’m tempted to shut every other aspect of the song out when hearing it. His killer playing continues to achieve the same results with the second track “Groove Town”. It has swing for days while still showing obvious attentiveness to the accompanying instruments. He’s particularly in tune with Goldstein’s guitar.
I appreciate the interweaving guitar lines heard throughout much of “Slow Time”. Their union plays in unison at some points while others exploit entertaining or ear-catching contrasts. You can’t help but be impressed by the orchestrated yet natural flow present in this performance; it sounds inevitable rather than composed. “Scirocco Escape” burns at a white-hot simmer from the start with occasional gouts of flame erupting from Goldstein’s guitar. The intensely rhythmic thrust of this song underlines his playing.
“Night Highway” is another burner. I love the space that the band gives this song to develop without ever tacking it onto the overall running time. It’s an excellent example of no wasted motion in instrumental songwriting. Little Muddy, likewise, has common chemistry that comes alive here. Pastoral textures and flamenco-style flourishes dominate much of the track “Edge of the Forest” and the last such track of its kind, acoustic-driven, shares many similarities with its predecessors.
Kevin White’s understated yet tasty bass playing begins “Lagos Layover” before Goldstein enters with especially grateful chords. Rossi plays another important role on the album contributing keyboards at key points and his presence during this song is essential to its sound. Goldstein’s guitar-playing moves from Carlos Santana-like passages of near ethereal beauty alongside much more fusion-style offerings. If no other song did, “Lagos Layover” proves his subtlety as a player.
“Route 51 South” is a closing marriage of blues, funk, and percussive acoustic guitar supplying a strong secondary part. Secondary or not, however, the acoustic mixed under a louder electric lead ranks among one of the most beloved templates for songwriting since the 1960s and Little Muddy makes great use of it here. It’s a good reminder, as they are sliding out the door, that this is a groove powerhouse if nothing else. Little Muddy knows how to make you want to move."
---Vents Magazine, Jennifer Munoz
“The work cut out for musicians within the modern music industry is already extremely lofty, so to come to the scene as an entirely instrumental act takes true guts — enter San Francisco’s Little Muddy, a band with guts as tried and true as they come having been on the scene since 1999. With five albums behind them and a sixth on the imminent horizon, Little Muddy’s core (and the only remaining member from the ’99 original lineup) spawns from the mind of Rich Goldstein. Each Little Muddy album doubles down on the sounds explored prior, from spins on classic soundtracks or covers, and it all seems to culminate in a true expression of musical prowess and expertise with 2022’s Chain Link.
Carrying a robust fourteen-song tracklist within a runtime that clocks in at just over half an hour, the lean and rip-roaring attitude from Goldstein and his crew allow Chain Link to earn its place among its predecessors in the Little Muddy discography; no tracks ever stoop into derivative territory but fans will find plenty of links (see what I did there?) between this outing and those of years past. Some favorites include “Groove Town,” a laidback little composition with some crystal clear guitar tones front and center, and album closer “Route 51 South,” which feels straight out of a film score’s finale. The penultimate track “Lagos Layover” is another key component within the album’s structure as it functions as a throwback song that would be at home in any 1970’s grindhouse montage. Unsurprisingly, there’s not a weak spot to be found in Chain Link’s lineup, and the propulsive energy of each piece only serves to push the entire project all the further. Audiences will undoubtedly find personal highlights to return to, and each revisit will unlock new textures and layers within Goldstein’s guitar-driven melodies.
Even with guitar at the forefront, there are still troves of other instrumental treasures on display from Little Muddy; take “Scirocco Escape,” for instance. A rollicking guitar lick from Rich Goldstein opens the track up to set the stage, but the percussive additions by Mark Abbott and Adam Rossi give the song new life as Kevin White brings in a bass groove that ties the entire ensemble together. Each song from Chain Link operates on similar wavelengths as the band shares energy and the limelight with enviable ease — tender interludes that clock in at less than or just around a minute (“In the Distance You’ll See” and “Edge of the Forest”) still arrive with enough attention to detail to give themselves room to exist as full ideas and not just piecemeal segments meant to get the album to the next “big thing.”
Little Muddy is a band of veteran musicians, and the expertise on display within Chain Link couldn’t be any more of a skillset showcase. An entire world and narrative grow and vanish within thirty minutes, and audiences’ ears are left hungry for more. The ability to leave the scene just as things are getting good feels like an inside joke from the band to their fans and this tact and skill show off a rare talent. Most chain link fences may be made out of galvanized steel, but Goldstein and company are striking gold with Chain Link.”
—Mobangeles, Michael Rand
“When it comes to music production, most artists confide such lofty aspirations to someone other than themselves. Certainly, the act of writing the music is half the battle, maybe more, but without a great audio engineer on your side, your words may as well be coming out of a tin can. I’m not sure this is controversial, but look at it this way — you’re going out to see the latest Super-Spider-Bat: Team-Up picture and everything, from the effects to the casting, is perfect… until the lead opens their mouth and sounds like their microphone was underwater and a mile away. You can’t tell me that the movie is salvageable if the dialogue isn’t, and the same goes towards audio engineering in music, but tenfold.
For Rich Goldstein of Little Muddy, all it took to get interested in finally making the leap to engineering for their new album Chain Link was about thirty years in the industry and five albums prior under the moniker. No sweat. By doing so, Goldstein has seemingly unlocked a new aesthetic for Little Muddy. Achieving modern timbre with a firm grasp on the iconic sounds that created the band we know today, Chain Link has arrived on the scene to usher in a new era for Little Muddy’s creative dynamic.
Opening with the title track, “Chain Link,” the album tears onto the scene with a full drum sound, complemented by lovely deep bass and formidable, scaly guitar. Those unfamiliar to Little Muddy might be anticipating vocals to crop up at any moment, but this isn’t that type of show, folks. Allow the guitar to do the singing for you, and allow it to do so beautifully. “Groove Town,” one of the album’s lead singles, brings in a much more mellow air of ease and the duality between just the first two songs lends confidence to Chain Link from the start. “Satellite Spy” brings the speed back up, meshing acoustic and electric guitar against something out of a highway chase. “In the Distance You’ll See” punctuates the first quarter of the album as a short and sweet respite before “Slow Time” maintains the lower energy and gives listeners perhaps the catchiest guitar melody of the album thus far.
The back half of the album begins with the highlight “Triple Agent,” a song primed for those akin to faster, freeform pieces. The narrative arc of the track allows listeners to project shootouts, fast cars, and gadgets galore. Another song I came to love and revisit even outside of the album is “Scirocco Escape,” with its distinct drum pattern and tone elevating it above and beyond the surrounding songs. “300 Years from Now” achieves its similar act break intentions with detailed steely acoustic guitar work and mandolin combatting Chain Link’s overall electric reputation. “Night Highway” evokes the perfect night drive attitude, with a calm and cool air flowing from start to finish on this track. Before you can settle into the rhythm too much, “Spark on the Horizon” erupts the serenity with one of the faster pieces on Chain Link, and the double whammy of the cool-as-ice “Ricardo’s Ride” following it up serves as a high point on the album. This latter half of Chain Link certainly earns most of the album’s praise, but both halves balance fairly evenly, with the flawless pacing uniting each track together.
Closing Chain Link out in quick succession come the evocative “Edge of the Forest,” “Lagos Layover” (which functions as hands down the grooviest track on the record), and the triumphant finale “Route 51 South,” which rightfully blows the roof off of the place. Overall, there isn’t much not to love about Chain Link; Little Muddy shows up to knock your socks off and then some, and they achieve the said goal with relative ease. Goldstein’s knack for production and sound engineering push Chain Link far across the finish line, marking a new era for Little Muddy altogether — what comes next will certainly only further develop the band’s sound and talent that much further.”
—Indieshark, Mark Druery
"You know something special is going on when a grizzled, jaded rock critic is introduced to a band and immediately seeks out it's back catalog- even going online to buy its out-of-print debut.
San Francisco's Little Muddy centers on guitarist Rich Goldstein, the only member still onboard from its self-titled 1999 debut. The instrumentalists' current cd Door 15 returns to a trio format, after 2008's The Road to Bodie- a solo collection of Goldstein's atmospheric vignettes.
On outings one and two (the second titled Mayan Mud), the group tackled covers from such varied sources as Stevie Wonder, AC/DC, Charlie Rich, Jimmy Webb ("Wichita Lineman, cut around the same time as Friends Of Dean Martinez's similar version), and film scorers Henry Mancini, Elmer Bernstein, and Lalo Schifrin. This time, the eclectics tap soundtracks by Nino Rota, ("The Godfather"), Quincy Jones ("Sanford and Son"), and John Barry ("Midnight Cowboy"), as well as tunes by Van Halen ("Jamie's Cryin'"), Lulu ("To Sir With Love"), and Neil Diamond ("GIrl, You'll Be A Woman Soon").
But the covers are like familiar little oases in between Goldstein's noir-ish compositions. His playing reveals influences from nearly every corner of the stylistic spectrum-from country to blues, rock, jazz, funk, and folk. Utilizing a '69 Telecaster or a late 50's "Jimmy Page" model Danelectro (for open tunings and slide) through a '65 blackface Fender Deluxe Reverb, his tone typically has some distortion, but also plenty of definition.
Martinez friends (and fans of other surf-noir artists like John Blakely and Terry "Buffalo " Ware) should gravitate to this, but so should followers of tone masters like Buchanan, Beck and Santana."
—Vintage Guitar Magazine (Dan Forte) May 2010
"This is a very adventurous release. It's far outside what you might expect, but well worth your time. Some really excellent writing and superb playing. Don't go hunting surf here, just some sophisticated and well produced instrumentals."
—Phil Dirt, Reverb Central Jan. 2010
Picks: Door 15, Caveman Radio, Girl, You'll Be A Woman Soon, The Godfather, Daktari Safari, Jamie's Cryin'
Door 15
Superb fretless bass, sophisticated guitar lines occasionally suggesting Earl Hagen, tasteful rhythm guitar, and excellent drums. The violin raises it from cool to very cool!
Caveman Radio
Dirty tone, superb tribal drums, fluid (fuzz) bass, and an interesting guitar riff. "Caveman Radio" is angular and jazzy, but the drums shout jungle rock and roll!
Girl, You'll Be A Woman Soon
Dirty guitar, whammy chords, rock drums, long bass notes, and underneath it all, The Union Gap's "Girl, You'll Be A Woman Soon." This is lumbering and dangerous, heavy and thumping. It's hard not to like this!
The Godfather
"The Godfather" flows slowly from long guitar lines. The bass and drums perfectly support this lovely but gritty version of Nino Rota's "Speak Softly Love" (theme from The Godfather film).
Daktari Safari
"Daktari Safari" evolves into a playful number with a fun riff and great drums. The bass rules! This is tribal and mysterious, and steeped in exotic jazz with fuzzy grit.
Jamie's Cryin'
Cryin' lap steel lays down sultry lines over an easy rhythm section. "Jamie's Cryin'" is smooth and silky, but gritty at times too. Very nice.
What Was Isn't There
Almost orchestral ambiance gives the electric guitar a wispy sound behind the acoustic guitar. Very pretty and delicate.
Sanford And Son
Soulful and slow, "Sanford and Son" uses a bit of wah wah to capture the period. It's the big grit guitar bridges that caught my attention. Nicely arranged.
To Sir With Love
This is a smooth and endearing version of Lulu and the Luvvers' "To Sir With Love." Jazzy and easy on the ears.
Midnight Cowboy
More film score music done with long flowing notes and a lush sound. Lush does not mean soft - the sound is crisp and direct. Very pretty.
The Primitive Channel
"The Primitive Channel" is a kind of interlude with various guitar sounds and feedback that closes out the CD.
"Door 15, the latest release from Little Muddy, arrived in the mail a few days ago. Americana Daily reviewed their third album, Road to Bodie, last year around this time and found it to be a pleasant surprise. As mentioned in that review, Little Muddy’s music is moody, mysterious and cinematic. After reading through the song selections on Door 15, I wasn’t sure what to expect, but received a whole other kind of surprise this time.
Door 15, the title track and first cut on the album, could easily be the theme from a 1960’s secret agent film. The entire album plays like the soundtrack to a film about soundtracks, their cover of Girl, You’ll Be a Woman Soon would have been the perfect choice for Pulp Fiction if they had been around at the time. Tarantino should take note of these guys for his next film.
There are several other theme covers including a funky Isaac Hayes wah-wah take on the theme from Sanford and Son, a haunting version of Midnight Cowboy and sandwiched in between is a complete instrumental overhaul of Lulu’s To Sir With Love.
Mixed in among the covers are songs like Caveman Radio, the possible theme to a movie about pre-historic dee-jays, Daktari Safari, the perfect title, as well as the perfect concept, for Tarantino's next project; and What Was Isn't There, the theme song to your life. Primitive Channel, the final cut, could easily be the FADE TO BLACK - CREDITS ROLL background music for just about any film.
While their name and image conjures up rural Americana, Little Muddy's sound is more Cinemacana (I think I just coined a term) music inspired by movie music - instrumental roots-music for movie music lovers. Close your eyes and give Door 15 a listen, the movie will unfold in your mind."
—Americana Daily Nov.09
"The guitar-based instrumental rock art form is in fine form on the 2010 release of Door 15 by Little Muddy. Featuring the fine electric lead guitar work of Rich Goldstein—ably backed up here by Jeff Obee (bass) and Mark Abbott (drums)—Little Muddy incorporates both new music and covers of time honored classics from the pens of John Barry, Neil Diamond, Quincy Jones, Nino Rota and Don Black & Mark London, the latter two, the writers of the song classic “To Sir With Love”, one of the cool cover songs also featured on Door 15. Decked out with haunting cover art, the CD sounds great and the brilliant mix of covers and Little Muddy originals clearly makes it of interest to instrumental rock fans—spanning icons such as Hank Marvin & The Shadows to modern practitioners like Bill Frisell and others. Guitar fans can take a look and a listen to Door 15—and the other fine Little Muddy CDs available on CD, as well as available on downloads through iTunes—on the band’s well designed web site." —mwe3.com June 2010
"Little Muddy are currently a three-piece for their 4th cd, which is titled Door 15. Led by guitarist Rich Goldstein,who uses a '69 Tele and late 50's Danelectro for open tunings and slide work, their music is moody,mysterious and cinematic. The album has a rewardingly high proportion of atypical covers in it's track list, commencing with Neil Diamond's Girl You'll be a Woman Soon, around which the group weaves a hypnotic atmosphere. Laid back versions of the themes from The Godfather, To Sir With Love and Midnight Cowboy maintain that mystery vibe, and how about Quincy Jones(Sanford and Son) and Van Halen(Jamie's Cryin') for unusual sources. Renowned critic and player
Dan Forte loves the band and its style, which he calls surf-noir, while it has also been described as instrumental roots music for movie music lovers." —Alan Taylor Pipeline Magazine (UK) Autumn 2010
"...Such knowledge, though, goes nowhere near describing the audio experience of The Road to Bodie. Imagine, if you will, the spoken word bits on Richmond Fontaine’s ‘Post To Wire’ and reinvent them in your mind as musical pieces. These aren’t songs in any sensible definition of the word but ‘interludes’ set to music, each looking perhaps for a visual home or accompaniment. Its no surprise to learn that the band’s music has been used on several soundtracks , or that the press release slips in a word or two about being available for hire (presumably aimed at film and TV producers). The feel is undeniably ‘western/americana’ – there are lots of guitars – acoustic/slide/resonator/electric – but each is used incredibly sparsely... ...As stated, this record is pretty much like a shop window for those looking for someone to soundtrack their movie, but it can be listened to in its own right; the lack of vocals sends one to the record sleeve to hunt down the names of the tracks, and its here that one begins to compose ones own story to try and tie the music together. A cursory glance at those titles (examples: “Its Up Above Us Now”, “I Have To Leave At Three a.m.”, “There’s Still Too Much Radiation Outside”, “Fall Leaves With Murder”) should tell you the kind of territory to go down."— Americana UK, March 08
"These are brief and provocative cinematic soundscapes certain to please some, but also to puzzle some listeners. 28 tracks in all, each is mysterious and evanescent, 13 of the tracks each clocking in at under 60 seconds. By so doing, Little Muddy generates serious suspense, and an atmosphere both spooky and moving. Indie filmmakers needing a soundtrack, take note."—Minor 7th , April 08
"28 short-guitar driven instrumental tracks that brood but provide enough light that the cumulative effect is uplifting, "The Road To Bodie" is the soundtrack to whatever is on your mind at the moment you are listening. That gives this set an approachability and easy but epic feel. Little Muddy's simple tunes include shades of Americana, blues, and ambient, and each track give you something to chew on. What easily could have been bogged down in repetition or padding is instead a truly deep listen. There are two versions of several songs-"It's Up Above Us Now," "I Had To Leave At 3A.M," "We Found It In 1947," "Fall Leaves With Murder"-that can stand as centerpieces for the collection. By letting the listener into the construction of certain songs, Little Muddy implies that all of these songs are in various stages of development, subject to change, whim, and a deeper understanding of the song. The use of slide, electric and acoustic, helps "Rural Route 4," "There's Too Much Radiation Outside" and, among others, "3 Days After Annihilation" sound traditional and experimental at once. "The Road To Bodie" shows once again how the Blues are timeless, and even ambient noise builds off of its legacy. So this is noir-ish roots music with a cinematic eye for the larger picture. Little Muddy makes short brave statements that blend visual and sonic touchstones into a dreamy, rough-edge mix."—Music Emissions May 2008
"...As the opening cut drifted in, and I mean that literally - like a wave washing up on the shore - I was immediately reminded of early Fleetwood Mac and the Peter Green/Jeremy Spencer/Danny Kirwan soft acoustic blues, or maybe something on Emerson, Lake and Palmer's Trilogy album - From the Beginning, perhaps. The sound was familiar, soft and mellow with an edgy-bluesy undertone. It felt like I'd heard it before, but not quite like this, and not in quite some time. The songs blended together like streams spilling into a river, like rivers spilling into the sea...an ocean of soundwaves washing up on the shore. As I read through the promo kit, there was much mention of bluesy instrumental landscapes, roots music and movie themes, with comparisons to guitar players like Roy Buchanan and Tom Verlaine. No mention of Fleetwood Mac or Peter Green and surprisingly enough, no mention of Pink Floyd and the soundtrack to More or Mudmen an instrumental cut from Obscured by Clouds, their soundtrack for the French film La Vallée - both albums had wandered across my mind as I listened closer. Maybe I'm showing my age or maybe I'm way out in left field...but that's the best part about discovering a new group or artist and hearing their music for the first time. It conjures up feelings and thoughts that aren't biased by preconceptions, that are pure and spontaneous and that allow you to reach your own conclusions, to make your own comparisons based on your own musical history. I think comparisons with Mac and Floyd are valid, and for me, that places Little Muddy - The Road to Bodie in pretty good company. By the way, it is the perfect soundtrack for watching waves wash up on the shore or watching the sun come up on one of those Sunday mornings coming down...like I mentioned earlier about the cover art, the music is moody and mysterious. It's ambient, cinematic (in a film-noir kind of a way) and an instrumental treat the likes of which I haven't heard in a very long time." -Americana Daily Dec. 2008
"Nothing like some good instrumentals. There are sometimes when Rich Goldstein's guitar reminds me of Dick Dale surf sound, but he always ends up coming back to the blues to get grounded. The album would make for great soundtrack music for a road trip scene, especially a track like "dark Alley Swing". This is one of the coolest instrumental albums I've heard in some time." -Musicemissions.com, March 2004
"The most effective instrumentals don't just convey rhythm and melody, they evoke sonic landscapes with near cinematic clarity. That every cut of Mayan Mud (Shoeless Records) transports listeners to exotic places speaks to the expertise of San Francisco's Little Muddy. Rich Goldstein(guitars), Scott Shaw(bass and keyboards), Vince Littleton (drums),are masters of mood, hooks, tone, and dramatic effect. "Dark Alley Swing" and "Nitro-Burnin and Modified" are the nearest to blues, but an adventurous nature is hinted at by upside-down photographs, country twanging and bends, jazzy chording, bluesy snarls,and splashes of surf abound. They cover Floyd Cramer, Elmer Bernstein , Henry Mancini, and put AC/DC on the open range- is compelling and rewarding.," -Blues Revue Magazine, Dec/Jan 2004
"All instrumental greasy-jazzy blues is what you'll find on Mayan Mud, the latest EP length cd from the Bay-area trio Little Muddy. Centered around the melodic sting of guitarist Rich Goldstein's six string, the band's tasteful less-is-more approach works well, creating a virtual soundtrack befitting a Quintin Tarantino movie, a top down drive through America's heartland, or a life-done-me-wrong-but-i'm-getting-by character study. Sinuous slide and gnarling acoustic guitars lend even more flavor to the material. In short, if you like instrumental , roots-influenced music that literally transports you to a scenic setting, check out the Little Muddy offering Mayan Mud." —Guitar Nine Records, Oct/Nov 2003.
"... it's like a film score for a bungled heist B-movie, the soundtrack to movements in shadows, pools at seedy motels and men with guns. The film reference continues with a bossa nov version of "The Magnificent Seven". The two best tracks are "Giant Steps no. 1 and 2. These are short tracks that are softer meditations, moonlight on sand instead of the full glare of the desert sun. If you need a soundtrack for your tawdry life then try Mayan Mud." — Americana-UK, Oct 2003.
"Attention Sonny Landreth, Calexico and The Iguanas fans- Little Muddy is something that you will like.Impressive melodies, hypnotising grooves of a refreshing beauty, something to bite into." —Real Roots Cafe(Netherlands), Oct 2003.
"Little Muddy are making their own sound and this is a good thing. This is an unusual sound but it is refreshing to hear great bands that are still creating their own style of music." —Roots Music Report, Nov 2003.
"The photo in the cd insert gives a good visual interpretation of Little Muddy's sound- a vast, barren landscape just waiting for a score." —Ink19, Nov 2003.
"Rich Goldstein's attention getting guitar conjures Roy Buchanan, The Hellecasters, Arlen Roth, Tom Verlaine (really!),and others...the covers—"Son of a Preacher Man","Wichita Lineman", Stevie Wonder's "I Wish",Lalo Schifrin's "Mission Accomplished", Charlie Rich's "Behind Closed Doors"- suggest the Bay Area trio's range of interests. It's a wild ride, from "Border Toasts", to "Mohave Offramp" to "Lilac Lane", with moments lulling and bracing along the way."—Blues Review Magazine, December 2000
"...but somehow, Little Muddy's presentations keep urban life at arms length. You may be daydreaming the big city, but you're propped on a porch in the Dust Bowl,languorously watching the tumbleweed drift by, or you're in a dark wood immersed in what Goldstein calls that "Ozarky spooky character"...—San Jose Metro, October 2000
Guitar and Drums Mojo- Making diverse instrumental recordings of blues with jazz, these San Francisco musicians have just as much rock in the blood, for all intents and purposes. Dig their funky instrumental of Dusty's"Preacher Man",Lalo Schifrin's "Mission Accomplished"; Stevie Wonder's "I Wish", and Jimmy Webb's immortal"Wichita Lineman" Comprised of Rich Goldstein on guitars, Scott Shaw on bass guitar, and Josh Wheeler on the big drums, Little Muddy effortlessly greases the large soul of grungy blues.—Hear Music Stores Featured Artist, Spring 2000
"Bought this disk on total intuition and found it to be full of totally refreshing and honest sounds. A lot of coolslide stuff. Especially liked their title song , "Little Muddy".—Satisfied Amazon customer, Spring 2000
"...stinging rasp-toned guitar..."—Lee Hildebrand, East Bay Express, Fall 2000
