PRESS

Hill's aggressive slide playing over a rough-and-ready backing track makes us want to slam down some moonshine and start a ballroom blitz. It's intense and relentless, and Hill's slide tone is fat, edgy and fabulous." ”

— Guitar Player magazine

Versatile guitarist who uses layering, tone, texture and good taste to keep the listener riveted. Good singer, mean slide player- here's to more efforts like this from Hill.”

Blues Access Magazine

Robert Hill's impressive slide technique draws liberally from the late Lowell George of Little Feat (with a little Ry on the side) on an original tune called 'Slide on Rye.' ”

— Guitar Player Magazine

From The Netherlands mag, ROOTSTIME, (roughly translated) Have Slide Will Travel", Robert Hill's last album, barrel are different slide guitar styles together and characterizes his sound; his acoustic and electric blues mix with American roots music, funk ("The Robusticator"), old school R&R ("Bubba's Boogie"), country blues cowboy swing ("Home Town Blues") and even zydeco ("My Babe" - with the zydeco accordion Labriola of Art). In one number ("Alma De Una Mujer")chooses almost eight minutes long for cumbia, which he the listener a complex rhythmic mixture of Spanish music and African music enjoyment. Each song on the album is separate and speaks for itself. "The Good, The Bad & The Unattractive" seems to be from a spaghetti western to be plucked and winks clearly to Enrico Morricone, "Bayou Bartholomew" is slide blues with hypnotic influences, "Gimme Some A THAT" a funky intermezzo and "Evolution Blues" what more lived through city blues. For a blues man his technique, style and rhythm is very important. But still feel it with Robert Hill even more. Hill explains in a very personal way his emotions in his sound, where diversity has always been and where the asset is the involvement of the listener is answered. If slide guitarist is Robert Hill the musician who the strings of his guitar can singing.” - Freddy Celis

ROOTSTIME.BE magazine

Nice review of my latest cd, "Have Slide Will Travel” - Rainey Wetnight

Blues Blast Magazine

Robert Hill talks about Have Slide Will Travel by Eric Petersen on August 22, 2015 in RUST magazine When you talk about Blues Men you have the usual criteria of technique, style and timing, and Robert Hill excels on all those levels on Have Slide Will Travel, but what makes him such a great artist, and this such a great album is the human wisdom that comes through between the notes. And this wisdom takes many shapes and colors. Robert Hill has the ability to be relevant, intelligent and sympathetic in an amazing variety of moods and emotions and this collection of songs delivers a stellar diversity of thoughts and expressions all picked and plucked with style and confidence. Each song is it’s own creation and stands alone. Whether tearing it up on a track like Evolution Blues or slowing it down on something like Alma De Una Mujer this awarded musician is completely at peace with his creative ideas and completely at home in the recording process. Recently we wrote about Tom Principato and what we commented about him was that he had the ability to create a narrative and to perfectly fulfill the listener’s expectations as the song unfolded. Similarly, Robert Hill’s ability to tell a story with his music, and to give you the feeling of having accomplished a journey through his music is simply superb. And these journeys have such different feelings and spaces… it’s a truly brilliant musician that can inhabit so many environments and to meet the challenges of saying such different things. This album almost feels like a collection of musicians rather than just one, but Robert Hill keeps the whole ship on an even keel by quiet mastery of his captainship. We were so interested in this artist we reached out to him to tell us a little about Have Slide Will Travel in his own words: RUST: Robert, thanks for making such a sweet album. Is there a story behind it? How long have you had these songs awaiting the light of day? RH: Four of the songs I had cut the basic tracks for live-in-the-studio as far back as 5 or more years ago. They languished on the shelf for a long time, until I signed a deal with a production house to do several slide tracks. I had a deadline, so this lit a fire under me to finish these, and write some new material. I would write and record a new one, and then immediately start on something new in a different direction. Most of the songs were written and recorded in about a 9 month period. Being under the gun is a good thing for me. RUST: The diversity of what we hear is tremendous. Did you always intend to move through so many moods in this group of songs or did ideas emerge as you recorded? RH: I wanted to touch on most of the genres that I like, but I also made a conscious effort to break some new ground. To me, that was the best part – pushing myself to write and perform something that I’ve never done before, and not just keep repeating myself. My first two cds were fairly diverse, as well. I’ve always liked bands that were diverse and musically deep. RUST: No man is an Island, though Robin Williams would comment that some men are peninsulas, who are some of the other musicians at work here? RH: A lot of these guys are well-known around NY/NJ area. I’ve played with bassist Mark Murphy,(Guy Davis,Levon Helm, among many others), off and on for a number of years. He’s just got an excellent ear and touch on the upright bass, and bows as well, which adds a great texture. Same goes for Jerry Krenach,(Chris Whitley, among many others), on the drums – perfect timing and plays for the song. Bob Hoffnar, from the band Hem, played some great pedal steel on one of the songs. Derrik Jordan, a virtuoso of many genres,and composer/performer with a number of cds to his credit, contributed on “My Babe”. Multi-instrumentalist, Art Labriola, laid down some nice accordian. I was lucky to snag local NJ legend, Frank Pagano, (Blondie, Donovan, Donald Fagen, Lesley Gore, Al Green, Levon Helm, Doctor John, Gladys Knight, Al Kooper, Darlene Love, just to name a very few), on drums for one song. I recently started playing some with bassist,Doug O’Connor, (McMule, (Whitney Road), and he did a great job on “The Robusticator” and “Alma De Una Mujer,” the latter of which he put some real thought and work into. I was also very glad to get Steve Jordan, (formerly from my hometown of North Little Rock, AR, now living outside Madrid), to do percussion on “Alma De Una Mujer”. I recently returned from tour of Spain with Steve on drums. RUST: Is there anybody that really helped you get this album done that deserves a little credit and appreciation? RH: Eric Puente on drums and percussion. I would have never finished this cd without his tireless help,creativity,and desire to get it right. Able to take on anything I threw at him, and do it with a healthy sense of humor, which kept it all fun and loose. Just a great player and person. RUST: Can you tell us a little about your gear kit for Have Slide Will Travel? Any secret weapons you brought into the studio? RH: Well, I’ve never been too interested in pedals, etc. I subscribe to the school of thought that all you really need is the right guitar and the right amp. Bascially, a little reverb, maybe a little delay, and once in a while some amp tremelo. I used a Mesa Boogie Mark IV for some of the guitar parts. On a lot of the other electric guitar parts, I ended up just recording the guitar clean and using a few amp plugins in ProTools. Saved a lot of time, made mixing more flexible, and kept my family from killing me. I used a National Radiotone for a lot of the acoustic slide parts. For the electric guitars, a ’74 Strat, an early 90’s Fernandes Strat, a G&L Legacy and a G&L ASAT. RUST: Thanks so much, last question, we’ve been seeing a phenomenal expansion of the companies making guitars and the kinds (and quality) of instruments available. Is there any make or model that might be on your wish list, or that you might recommend to an aspiring player? RH: I’ve always been a Fender guy, but I mainly play G&L guitars now. Their Strat model, The Legacy, and their Tele, The ASAT are really solid, well-built, and to my ears, sound better than a lot of the Fender stuff now. The pickups are excellent, and they have a lot of options available. I also like to take inexpensive guitars, like my Fernandes,and change the pickups and other things to get a unique sound. I would say don’t get too bogged down with effects and gear – it really boils down to what’s coming out those fingers.” - Eric Petersen

RUST magazine

Excellent and entertaining interview by Michael Limnios, the Greek Ambassador to The Blues Hall Of Fame. Touches on early years playing in various Arkansas bands,moving to New York City,up to the present. Worth the read! http://blues.gr/profiles/blogs/interview-with-little-rock-arkansas-native-robert-hill-an-award” - Michael Limnios, Greek Ambassador, Blues Hall Of Fame

Blues.GR

Review of "My Corner" on the No Depression website http://www.nodepression.com/profiles/blogs/review-of-robert-hill-s-cd-my-corner” - Keith Gorgas

No Depression -The Roots Music Authority

A sparkling effort that shows his immense talent as a slide guitarist. Hill's music draws from the Little Feat and Radiators mold, and it stands favorably with those great artists. There's a funky Feat feel to "Rose City" and the passionate "Sweet Salvation," while he rips up a slide storm in the rollicking instrumentals, "Slide On Rye" and "Crater Of Diamonds." The best cut, though, is the eight minute "Workingman's Curse," which has Hill stretching out with some dazzling playing.” - summer

— Relix Magazine

...As if folks hadn’t already gotten their money money’s worth, our featured act of the night, Robert Hill and his band mates just blew us away. Accompanied by the superb journeyman bassist Mark Murphy and the talented Joanne (what a set of pipes) Lediger lending supporting vocals, Bob mesmerized us with his unique slide guitar technique and baritone voice, slipping flawlessly from steamroller blues to acoustic ballad and back again. The author was particularly impressed by his intermingling of what were almost ethereal instrumentals (his stand up bassist employing a bow to enhance the effect).. In contrast were the barrelhouse blues numbers where Ms. Lediger’s vocals were a standout. It seemed that each number literally brought the house down.” - Jeff Main

Groovin In New Fairfield Coffeehouse