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Mark Lemhouse's debut release delivers string-strangling, gut-rocking blues ecstasy. Lemhouse reaches into a wicked toolbox - containing resonator chainsaw, electric tube-amp machete and bottleneck auger - to uproot blues tradition with a vandal's glee.yellow dog.2004.
A stunning set of traditional blues played with utter authenticity, grit and passion. -- Bad Dog Blues, May 2003
Excellent, atmospheric amalgam of rockabilly, gipsy music and Mississippi hill-country blues... -- Blues Matters!, March 2003
Mark Lemhouse's debut release reveals not only a gifted songwriter and soulful, bourbon-drenched vocalist but stellar guitarist as well... -- "i"Sing Out!, Fall 2003"br""br"So authentic sounding and gritty... listeners will be astounded that we're dealing with a fairly young cat here. -- BluesWax, October 8, 2003
There's not a single iota of pseudo-blues here... should give blues lovers hope for the future of the genre. -- "i"Blues Revue, March/April 2003
Melding together influences from Delta blues, Piedmont rag-style forms, and the blissfully unrefined trance blues peculiar to North Mississippi, Lemhouse has developed a compelling stage show that has dazzled audiences in clubs on Beale Street and throughout the Mid-South. "I've learned how to develop my own style - to be true to myself," Lemhouse explains, "rather than be a blues purist. I may not play a song note-by-note, but my personal style is constantly evolving.""p"When Lemhouse relocated to Memphis, he picked up work playing drums behind Mississippi hill country legend and Fat Possum recording artist Robert Belfour, who became one of his mentors. Providing the backbeat, Lemhouse was able to observe Belfour's complicated guitar work. "Robert taught me how to use my thumb to maintain the bass," Lemhouse explains. "I really got to know him and learn his style. Seeing Belfour play every night, playing the bass line himself with three fingers really pinching the chords, that really gave me a schooling."
Memphis has taught Mark to drop chords and add bars, and play country blues on any instrument - not just the ones he's expected to play on. "And it's broadened my musical interest - there's so much blues in rockabilly and old-time country, so there's no reason not to play a Hank Williams song in a set, because it's all blues and it fits."