Album Notes

Eric McFadden Trio - Joy of Suffering
Jimmy Leslie
Guitar Magazine
The Eric McFadden Trio's Joy of Suffering gets my vote as the best and most original guitar recording of the year so far. The overdriven tones McFadden conjures by amplifying an ancient Gibson archtop (as well as a classical nylon-string) are as unique as his Gypsy-jazz-inspired trills and carnival-noir tales of sin and redemption. His gruff, Tom Waits-like vocals fit perfectly with the dark and haunting nature of the material, which ranges from the slammin "Bury Our Sins" to the spaghetti-western feel of "Miranda" to the surf-music-gone-mad instrumental "The Ghost-Maker." McFadden has been an underground sensation for years - finally gaining recognition playing mandolin and guitar with George Clinton's P-Funk All Stars from 2000-2004 - and he realizes his potential on Joy of Suffering, a record that may just win him the legions of devotees an artist of his uncompromising character and unquestionable quality rightly deserves.

Eric McFadden Trio - Joy of Suffering
Benjy Eisen
Relix Magazine
Any band that titles its album Joy of Suffering presumably has a delicously dark sense of humor and such proves true for the Eric McFadden Trio. "When I arrived at the carnival/They were taking down the tents," sings McFaden on the representative "Bury Our Sins." The Trio brings that black circus vibe to the album as a whole. And sure enough, it woks. McFaddden's "Iron Man" riffage provides the appropriate bed for his guttural, often-sinister vocals to sprawl down on. The unique instrumentation (James Whiton plays an acoustic upright bass like his back hair's on fire) leads to a similarly unique attack, and influences ranging from gypsy jazz to punk-rockabilly round out some of the corners. But make no mistake, Joy of Suffering is a rock album, grimy rock that gets under your skin like dirt gets under your nails. For once, thats a good thing. – Benjy Eisen, Relix,

Eric McFadden Trio Joy of Suffering
Dave Pehling
San Francisco Weekly
Six-string axe slingers lauded for their digital dexterity are usually: a) crappy singers, and b) inept tunesmiths. Though local guitar wizard Eric McFadden has an unquestionable pedigree -- for four years he served as designated face-melting soloist in George Clinton's P-Funk army, a position held by such giants as Blackbird McKnight, Michael Hampton, and the late, great Eddie Hazel -- his many eclectic projects, including Liar, Alien Lovestock, and the Faraway Brothers, have always showcased gruff, authoritative vocals and versatile songwriting skills. The latest effort from the Eric McFadden Trio doesn't skimp on hard-grooving, distortion-heavy interplay with drummer Paulo Baldi and stand-up bassist James Whiton, but the songs on Joy of Suffering also encompass sultry, country-noir laments ("Is the Morning Safe for Waking?" and "Never Gonna Burn"); warped, gypsy-jazz struts ("Bury Our Sins"); and galloping, Spanish-tinged acoustic workouts ("Miranda"). Lyrically, McFadden continues to explore a seedy underbelly inhabited by boozers, junkies, and carnival freaks, however, "The Rise of King George II" and "Limitations" find him dealing out politically charged venom to match the blistering instrumental salvos he unleashes. EMT can be proud of an accomplished release that will please guitar geeks and fans of dark Americana alike.

Eric McFadden Trio Joy of Suffering
Dennis Cook
JamBase
From the first notes, it's clear we're in for some heavy weather. But in these featherweight days, it's invigorating to find an axeman who bears down hard like Robert Johnson sparring with Metallica AND whose tunes hum with apocalyptic menace. McFadden infuses a Dylan-esque landscape with punk and metal seasoning. The initial flavor is aluminum and regrets, but the bittersweet aftertaste will stay with you. Wisdom only comes after years of healing and introspection. There's a whole range of emotions in between experience and insight, and McFadden and his extraordinarily organic rhythm partners, Paulo Baldi (drums) and James Whiton (bass), excel at exploring what happens when life pricks us. "Long Way Up" is about the pang of almost getting what you want, or maybe more accurately, almost being what someone else wants. Suspect the buzzing cover of the Talking Heads' "Memories Can't Wait" is a nod to Byrne and co. but also Living Colour, who used to do the song regularly. Parts bring in elements of flamenco and pure country, but the bouillabaisse works well. Rather than simmer in bitterness, McFadden sifts the interesting parts hiding in life's dark matter. Sunny it ain't, but the evening has rarely had badass odes like these. - Dennis Cook