"A first rate Cajun and country band" - The New York Times
Amid all the Hank Williams and Johnny Cash revivalists who clutter the genres of "alt-country" and "Americana", the Doc Marshalls offer more than the usual dose of nostalgia. Since 2001, Brooklyn’s honky-tonk and Cajun troubadours have been crafting originals that may well become Texas and Louisiana dance hall standards. Their latest CD, “Honest for Once”, emphasizes story-telling over genre, and bears the influences of George Jones, Dwight Yoakam, Townes Van Zandt, and Cajun stalwarts such as the Balfa Brothers.
Led by Texas-raised Acadian Nick Beaudoing, the Doc Marshalls have earned their stripes in Texas dance halls, Louisiana roadhouses, and NYC venues where roots music is seldom heard.
Their debut album, “No Kind of Life” (2005), was warmly received by roots radio, spending over a month in the Top 40 of the Americana Chart – a rare feat for an NYC country band. Comprised entirely of originals, “Honest for Once” was recorded at Brooklyn ’s Cowboy Technical Studios and includes guest appearances by the likes of Eric “Roscoe” Ambel (Steve Earl). Whereas "No Kind of Life" explored bleary recollections of good love gone wrong, "Honest for Once" visits themes of leaving town, sympathy for losers, fading affection, and the darker side of life in Texas.
The Doc Marshalls are:
Nick Beaudoing: vocals, acoustic guitar, Cajun accordion
Mat Kane: fiddle
Terence Murren: bass
Matt Walsh: lead guitar
Doug Clark: drums
“...graceful, down-home country.” – Time Out New York
“What’s better than a Texas-gone-New York-come-Lafayette Cajun/folk twostep? The Doc Marshalls prove that not a lot is lost in translation, even when one’s roots are firmly planted in the big city.” – The Times of Acadiana, Lafayette, LA
“One of the best bands I saw [at South by Southwest 2006] were the Doc Marshalls...Here’s a band that could’ve worked any room in town that night and blown ‘em away” – Bill Frater KRCB Santa Rosa, CA
“Well-executed, frenetic Cajun music that will thrill fans of the genre as well as the yet-to-be converted.” – New York Magazine