Damon Fowler

Barnyard Smile

Landslide

Barnyard Smile is the renowned slide guitarist and singer-songwriter Damon Fowler’s ninth release and third for Landslide Records. Fowler offers a handful of soul driven originals, plus innovative Bo Diddley and Jerry Reed covers and a touch of Americana roots rock. Those not familiar with Fowler’s solo work may recall his sideman stints in Southern Hospitality, Butch Truck’s Freight Train band and the Dickey Betts Band. He’s long been inspired by the slide guitar stylings of fellow Floridian, the late Duane Allman. Before we describe the album itself, it was in rotation right after the new one from Oliver Wood in my player and the segue from that to Fowler’s was practically seamless. That alone lets you know there’s an infectious groove that runs through it. Fowler’s vocals continue to get better with each release too.

The album was co-produced by Fowler and George Harris (also engineered) in Florida yet reads, judging by the credits, a mostly DIY effort with Fowler on all guitar parts, bass on three tracks with Chuck Riley the bassist on the others. Three share drum duties – Justin Headley, Taylor Galbraith, and Aaron Fowler. Two keyboardists support – Dan Signor on two tracks and Rob Stoney on four.  There are eight originals with creative covers of tunes by Bo Diddley and Jerry Reed.

Opening with the thickly grooved, incessantly beating “That Ain’t Love,” it’s the vocal track that comes closest to my previous Oliver Wood reference, albeit with blistering electric and slide guitar, with phat beats from drummer Headley. The steady shuffling “These Games We Play” is an infectious, swaying roots rocker with Fowler’s deeply soulful vocals buffeted with tasty guitar fills. “My Brother, My Friend” is a sincere ballad that will likely have you singing on the chorus. Fowler changes it up with the rollicking Bo Diddley rocker, “Road Runner,” displaying rapid Chuck Berry-like picking spiked with slicing slide. “Grab My Hand” is a groover in the ilk of the opener, a new song but one that someone feels familiar somehow. “Outskirts of Town” is an original, not the B.B. King version, yet there’s plenty of rousing, piercing guitar here too.

“Fruita” is Fowler’s slide instrumental, an all-Fowler excursion with no keys, Damon also playing bass with Aaron on kit. It’s a languorous, gorgeous tune. “Fast Driving Woman” returns us to the snappy syncopated grooves while “Catch You Crying” is mid-tempo roots rocker where Fowler’s guitar meshes nicely with Stoney’s organ behind a smooth, authentic vocal that takes the narrator from an upbeat feeling to one of wariness. Fowler caps this fine effort covering Jerry Reed’s ballad, “Misery Loves Company,” a dose of tear-jerking country for one of his strongest vocals.

Fowler continues to impress, straddling that fine line between rootsy blues and Americana.

• Jim Hynes

BUY NOW

Buy Us a Cup of Coffee!

Join the movement in supporting Making a Scene, the premier independent resource for both emerging musicians and the dedicated fans who champion them.

We showcase this vibrant community that celebrates the raw talent and creative spirit driving the music industry forward. From insightful articles and in-depth interviews to exclusive content and insider tips, Making a Scene empowers artists to thrive and fans to discover their next favorite sound.

Together, let’s amplify the voices of independent musicians and forge unforgettable connections through the power of music

You can donate directly through Paypal!

Subscribe to Our Newsletter