Matt Hill's debut is a powerful collection of blues-rock named in honor of his legendary stage antics. Hill plays guitar on his back, stage dives into the crowd, rips off his clothes, and jumps onto the tables closest to the stage. With Hill acting like the bastard child of Jerry Lee Lewis and Nappy Brown, his uncontained shows have made him a legend around his hometown of Greensboro, NC. This album will introduce the rest of the country to this blazing, over the top artist. He's obviously listened to a lot of early rock, R&B, and Chicago blues, and while the music of his heroes may still be evident in his music, he's got an outrageous style all his own. The album's 14 cuts include 11 Hill originals, given in-yer-face performances marked by Hill's guitar prowess, soulful gritty vocals that belie his youth, and a dark sense of humor that makes them crackle. "I Tried to Love a Crazy Woman" brings Muddy Waters to mind with its snarling vocal, ominous Delta-meets-Chicago groove, and a searing guitar solo of tortured bent notes. Hill shows off his slide work on "Children (That Ain't Mine)," another country-style tune that hints at madness and murder. Rockers include the album opener, "Time Is Up," which features Hill's stinging solos and a nasty harp solo from Tad Walters; "Griddle Bread Boogie," a swinging instrumental that gives Hill a chance to show of his lap steel guitar prowess; and "30 Years Old," an exuberant ode to self-destruction that insouciantly declaims "I won't see 30 years old/I can't slow down now/I got a reputation to uphold." He's just as good at delivering the covers he put on the album. AC/DC's "Hellz Bellz" gets remade as a Chuck Berry rocker while Johnny "Guitar" Watson's "I'm Gonna Hit That Highway" retains its traditional feel with Dave Gross supplying ripping piano arpeggios and Hill's brief solo carving out its own unique space. Still, in years to come, people will probably remember this album for introducing Hill and Bob Margolin's "Why the F*ck (Do You Think I Cuss)," which could well become Hill's signature tune. The song is perfect for his bad-boy persona, another Berry-esque bit of country-flavored '50s rock that's peppered with so much profanity it becomes comical. Hill's screaming vocals and a thick twang-heavy bass solo make it the album's standout track. ~ j. poet, Rovi
A real toe tapper
I had never heard of Matt Hill prior to coming across this CD accidentally when I was browsing the net for new blues releases and saw his "On The Floor" CD listed and I liked the cover art, (it gives an image that it's a real swinging CD) - and it is definitely a rocking CD. I've listened to all the cuts and I like each and every one, something that I can't say for to many CD releases today.
This appears to be his debut CD and I am hoping that he will keep the good blues / rock coming. I haven't been this excited about a blues artist since the first time I saw Stevie Ray Vaughan on MT many many years ago. I hope Matt gets the acclaim that Joe Bonamassa, Jonny Lang and Kenny Wayne Shepherd have received because he is just as good as they were when they were rookie blues men.
This guy's headed for big things
Saw Matt Hill live in Stl. He tore the place down. Picked up a cd and left it on the shelf for a bit before listening to it. So often a performer is one thing live and something completely different on cd. When I grab an album at the live show, caught up in the moment, the record more often than not fails to even resemble the performance. Well I've had "On The Floor" on a loop for the last week and still can't get enough. Get this cd now, it will not disappoint- and when Matt is big time, you can say "yep, I knew it all along."