This is the debut album of The Barn Door Slammers, a 7-piece Western Swing Band from Portland, Oregon. They've been kicking up some dust in the Pacific Northwest since 2011 with their authentic sound and irresistible dance beat.
Inspired by the music of Bob Wills, Billy Jack Wills, Spade Cooley, Tex Williams, and many unsung bands, The Barn Door Slammers use traditional instrumentation--twin fiddles, steel guitar, arch-top electric guitar, stand-up bass, a vintage drum set, and from-the-heart vocals--for an authentic sound seldom heard in this day and age.
From backgrounds in genres of Jazz, Western Swing, Old Time Fiddle, Jump Blues, Rock and Roll, Bluegrass, and Honky-Tonk, the band comes together to present Western Swing as it was heard in the dance halls and on the radio in its heyday—a melting pot of American music.
Musicians: Dave Bamberger, stand-up bass; Tommy Chiffon, drums; Todd Clinesmith, non-pedal steel guitar; Bret Ervin Lien, vocals; Kevin Healy, fiddle and electric mandolin; Jenn "Huck" Huckins, fiddle; Dan Lowinger, electric guitar.
Of interest to steel guitar fanatics, this album features the vintage triple-neck steel guitar built by Paul Bigsby for the legendary player Vance Terry.
The album was recorded in March, 2013 at The Secret Society Recording Studio and Fluff and Gravy Studios in Portland, Oregon; Produced and Engineered by Marc L'Esperance, mixed and mastered at Heavyosonic World Headquarters, Vancouver BC.
R2 Magazine Review July, 2014
Founded on throbbing, upright bass, incessant off-beat percussion, and the rhythm of damped strings, The Barn Door Slammers, from Portland, Oregon define contemporary western swing and it’s multi-strand hinterland of subgenres.
It’s obvious where those less-frenetic seminal rock ‘n’ roll pioneers drew influence, as the Slammers charge at their material utilizing the full range of instruments traditionally employed to power the music. Jazz-influenced guitar, bluesy fiddles and scintillating Hawaiian lap steel compete, cooperate, and cohabit joyous mixes designed originally to make our grandparents and parents dance. It’s probably how they met and, in a roundabout way, where we all came from.
The tempo is almost incessantly upbeat; with titles like “Snatchin’ and Grabbin’, “ “Roped and Tied,” and “Boggs’ Boogie” give none too subtle clues as to the content and intent of the Slammers’ efforts. Yet, when brief respite is taken in “Brain Cloudy Blues,” the other side of this exhausting septet is demonstrated, and is just as beautiful and lively in its own way as the surrounding, carefully crafted aural mayhem.
David Innes, R2 (Rock ‘n’ Reel) Magazine, UK