Internationally acclaimed American roots performer, the Ragtime Hillbilly Okie Brad Fielder’s performances are righteous, raucous, raunchy, and reverent. His musical pedigree is equal parts Hasil Adkins, Leon Redbone, RL Burnside, and a mid-century street performer. He’s a backwoods Vaudeville Blues buskin’ one-man band, belting it out on guitars, drums, harmonicas, and a kazoo; all at the same time!
PRESS & REVIEWS
Praise for Demons+Rationals
A nostalgic wave washes over me with every listen to Demons + Rationals, the latest release from Oklahoma song-writer/performer Brad Fielder. He is a master at tapping into the that pre-war music vein and breathing new life into that style with new, original songs. His music blend blues, ragtime, folk, and country, and is performed acoustically, often using a resonator guitar. According to Fielder, the music on this record draws its influence at the ‘intersection between Saturday night and Sunday morning” catering to both hooligans and bible-thumpers. With Fielder on guitars, vocals, and harmonica, he is backed by Charley Reeves on sousaphone and bass fiddle, Brandon Brunious on six string banjo and electric guitar, Megan Harris Brunious (Hank III, Peaches) on vocals, accordion, percussion, and trumpet, Jesse Armerding on drums and percussion, and Juel Niimi on trombone.
Fielder quickly draws my attention with “Little Lake Turnaround”. His masterful lyrics have a fascinating Charles Bukowski appeal and a Jimbo Mathus sense of presentation. Following up next is “Outreach Bibles” in which Fielder tells the story of a depression-era bible salesman. I couldn’t help but think about the 1973 film Paper Moon. Megan Harris Brunious steps in for a wonderful duet on “Daddy’s Water” a song which reminds us that our hidden secrets are often revealed once we encounter death. She also heads-up lead vocals on the beautiful folk-spiritual “Catch That Spirit and Fly”. Fielder places the trifecta of consumption at the front of the line in “Eatin Drinkin Smokin”. This song has a way of rattling around in my head long after hearing it, and I don’t mind a bit.
Demons + Rationals is an amazing listen from start to finish. I highly recommend giving this album from Brad Fielder a listen.
#702 : Brad Fielder - Demons + Rationals
Phillip Smith, Philly Cheeze's Rock & Blues Reviews, September 7, 2024
Praise for Way Highly
A salty dog of an album, Oklahoma roots musician and one-man band Brad Fielder’s new album (or long-ish EP), Way Highly, is a hallucinogenic romp through the back country of American song. With a kick drum, a fuzzed out guitar, and the kind of overdriven vocals-through-vintage-mics that will remind you of the roughest edges of early rock’n’roll, Fielder is ploughing the same kind of field as the great Scott H Biram. Both are true lovers of the lost history of American folk music, and both put their own indelible stamp on the old songs, reverent to the source, but too chaotic to deliver a faithful rendition. With Way Highly, Fielder’s own original songs rub shoulders with traditional classics like ‘He’s A Mighty Good Leader’ from Skip James and the strange Appalachian song ‘I Wish I Was a Mole in the Ground’. It’s clear that Fielder’s listened to the old country blues masters over and over, rendering a stamp of authenticity to songs of his own like ‘Hundred Dollar Walk’ or ‘Stew Meat Hands’. On ‘Every Day’, he growls ‘I’ll make my living singing songs, every day,’ and you can hear quite clearly the grit and determination that’s carried him across 30 years of live performances.
WAY HIGHLY
Devon Léger, Songlines Magazine, May 2024
It’s almost crazy just how much chaos one man can create.
For the intrepid Brad Fielder, it’s the chaos of barely contained junkyard blues, unhinged and unbound by seemingly any adherence to traditional pop structure or melodic stricture.
For Fielder, not one of those elements is as important as the raw sonic outpouring of feeling, and on his newest release, the eight-track, half-hour “Way Highly” – dropped on streaming services on January 19th – those feelings blast through loud and clear.
Well, “clear” might not be the right word.
Everything is distorted, fuzzy, and on the verge of caving in. He plays guitar like Tom Waits sings, with an unstable disregard for accessibility and an absolute commitment to pure, unrestrained individuality, enough to give necessary new meaning to the phrase “one-man band.”
Sure, Fielder sings and plays guitar while sitting and hitting drums with his feet via some pedals and some apparently inexhaustible energy, but it wouldn’t be right to put his music in that same “one-man band” vein of some other remarkably popular local bar-stormers.
Fielder isn’t replicating a kit or a kick-snare backbeat with his foot drumming, Rather, the drums are mainly just there to give him something to stomp and kick while he’s wailing, something he’d presumably be doing anyway.
This isn’t singalong bar rock. It’s not stomp-clap alt-folk. It’s blues. And not that modern, precise electric guitar affectation that John Mayer and Joe Bonamassa call blues.
On “Way Highly,” precision is the enemy. Only unrepressed intensity and smoking Delta-blues fire reign supreme.
And in that sound, there’s something oddly comforting.
Not comforting like a warm blanket. Comforting like a punching bag.
It’s the sound of working-class anger and down-on-your-luck, holes-in-your-shoes energy, and more importantly, it’s the sound of expelling that energy, of ranting and raving your complaints and deepest dreams around an oil drum fire or stowed away on a boxcar.
Fielder is frequently lauded for his obvious grasp of traditionalist blues and the roots of Americana history, and that’s on full display here. But it’s nothing so boring or academic as a throwback style exercise.
These songs just feel like they fell out of him in exactly the state in which you hear them, like there was practically no filter and no time between the writing and hitting record.
And that’s clearly what the songs on “Way Highly” represent. This is as much punk as it is blues or folk. Maybe it’s proof that all of those are really just the same thing.
This is music for everyone that’s ever felt like every day was exactly the same or that’s ever gone out for a walk and ended up spending all their money or that’s ever loved someone that’s not afraid to get their hands dirty.
More than anything, these are songs that openly oppose polish, cleanliness, and clarity and instead stand for the simple truth that music is available for anyone and that it can scream and grunt and wail and stomp whenever you need it to.
Brad Fielder finds comfort in cacophony on ‘Way Highly’
Brett Fieldcamp, Oklahoma City Free Press, January 23, 2024
My buddy Brad Fielder has once again produced something that is entirely unique. This is an LP album of “one man band style” music. It is a mess o’ dirty electrified old timey, bluesy, outlaw, indie rock folk music.
I wouldn’t call it a big stylistic departure for him, but the one-man style gives it a more pressing, raucous, immediate presence. His foot is stomping a bass drum while he picks, slides, strums, and sings.
He recorded it in all of 2 hours which gives it a cadence of live performance, especially when he peppers in a little banter, and the whole production has a distorted, chrome, sepia, edgy tone.
There are three original songs: Every Day, Hundred Dollar Day, and Stew Meat Hands. The rest are hard-spun covers that sound like they could be Fielder originals. The originals are standouts to me, though: playful, mouthy, hard-edged. Stew Meat is particularly quintessential of Brad’s brilliant humor and flavor.
I’m not gonna write an exhaustive review, but this is a truly special work of folk art driven by Brad’s deep respect for the roots of American music and meticulous dedication to his unique brand. Like a master comedian, the seemingly effortless, natural, spontaneous quality of his music is built on obsessive discipline and meticulous attention to detail. I know, because I’ve performed and recorded with him and have seen him practice his craft.
I relate to Brad quite a bit as an indie artist. We are both hard to categorize and predict, but when you hear and read us, our voices are unmistakably our own. Perhaps we both yearn for wider acceptance (I’m rooting for both of us), but we do what we do, only as we can do it. If we did it any other way it wouldn’t be worth your time…
And this album is worth your time.
Priase for Welcome To New Hoyle
"Welcome to Brad’s world! New Hoyle is less a physical entity than a state of being: “It exists wherever I am,” Brad says candidly and informatively (albeit cryptically) in his liner note, “and you will come to know that place when you listen to these recordings.”
Hoyle, according to Brad’s artist’s narrative, is “not a place lost to time”, but, it turns out, a former name for the tiny burg of Ames in north-west Oklahoma where Brad’s grandparents had made their home.
Brad’s songwriting inclinations towards nostalgia have informed his ostensible placement squarely in that locality, whereas his musical idiom of choice is the template that comfortably straddles early ragtime, 12-bar barrelhouse blues, raggy hokum, cod-oriental and old-timey, as easy as breathing!
The pervasive, aromatic swingalong chugging vibe of the album is infectious; it’s honest ol’ good-time backporch fun, with deliciously oddball lyrics and a quirky instrumental complement to back Brad.
The thoroughly tasty supporting playing (including some cute, delicious – and admirably economic – incidental soloing) comes courtesy of a tight little trio ensemble of trusty cohorts comprising the Norman, Oklahoma, sousaphone maestro Charley Rivers(sic) and Kansas City duo the Matchsellers – aka Julie Bates (fiddle) and Andrew Morris (banjo, mandolin, guitar) – all crammed into a tiny Bristol, Virginia, studio belonging to Jon Atkinson of Bigtone Records.
It was all recorded live direct to mono tape on “vintage audio gear from the golden age of radio”, and each take was the final mix. High on the home-grown immediacy scale, then!
This unpretentious little record is virtually self-recommending to any fan of the genially oddball school. It’s been a real joy to listen to, and with its winning combination of gleeful down-home ambience, fun lyrics and natural, assured musicianship that doesn’t need to shout to proclaim its virtues, it has sure brightened up my week."
Brad Fielder - Welcome to New Hoyle
David Kidman, Folk London, February-March 2022
"Old-fashioned doesn't necessarily mean outdated, as Brad Fielder continues to prove on his new full-length album, Welcome to New Hoyle. Sure, there are hokey tunes in the bunch that seem like silly nostalgia at first blush, but many of them have strong notes of relevance behind their yokel veneer."
Soundcheck: Brad Fielder - Welcome to New Hoyle
Evan Jarvicks, Oklahoma Gazette, February 9, 2022
"New Hoyle is the mythical backdrop for a cavalcade of zany all-American characters, adventures and corn pone wisdom."
"Self-deprecation, satire, parody and pastiche permeate Welcome to New Hoyle’s dozen tracks..."
Welcome to New Hoyle
Doug Deloach, Songlines, March 2022
"Essentially, wherever Fielder resides now is “New Hoyle.” His remarkable collection of songs channels the past through a 21st century lenses."
"The record has that rare quality of sounding polished, yet spontaneous. Cheerful fun is in a sound caught on the fly."
Americana music freshly reimagined: Brad Fielder releases 'Welcome to new Hoyle'
Doug Hill, Norman Transcript, December 10, 2021
Various Articles and Reviews
"Fielder’s playing is musical and nuanced, with gorgeous tone and subtle timing and sonority you have to hear in person to appreciate."
Woodyfest 2018: Brad Fielder & RT Valine
Chris J. Zähller, Mercury Photo Bureau
"Brad Fielder has been crusading against the grain of modern music trends for quite a while now. His signature brand of lo-fi, blue-collar folk is so rooted in its own early roots that it’s old-fashioned even for the old-fashioned."
Top 20 EPs of 2018: 20-11 (Jarvix's Big 50)
Evan Jarvicks, Make Oklahoma Weirder
"From its very inception, folk music like the kind Brad plays has been a way for common people to express their dissatisfaction with their leaders...and to unite each other in that dissatisfaction. With 'Vernacular Songs', Brad welds himself in as a link in that honorable chain."
brad fielder - vernacular songs
J Moss, The Modern Folk Music of America