Scott H. Biram

Scott H. Biram
Something’s Wrong/Lost Forever

Blood Shot Records

By Georgetown Fats
January 2010

During the holiday season, I always enjoy combining my music snobbery with the gift giving. This year the music lovers on my list should expect Scott H. Biram’s Something’s Wrong/Lost Forever. [Ed. note: You're lucky I didn't publish this until January, GF.]

The disk opens with the interesting “Hospital Escape,” which consists of two voicemail messages left by Biram while in the hospital. There is clearly a wild back story, but what is it?

The first actual song, “Time Flies,” kicks in with some Hammond Organ, some foot stomps and a heavily distorted guitar riff. Biram’s vocals, delivered through a tube amp and green bullet microphone, add to the raucous sound.

On “Sinking Down” Biram, the “dirty old one man band” increases the tempo ever-so-slightly. The tune is written about the difficult life Biram has set for himself in order to chase his dream of making it as a professional musician. The track shows that in addition to being a multi-instrumentalist, Biram is also a strong songwriter.

Due to the 365 longest days of my life spent in Buckhannon, West Virginia, I have an adverse reaction to country music. I normally hit the floor in the fetal position and scream until the song is over, but “Still Drunk, Still Crazy, Still Blue” is just too well-written. Just Biram on his acoustic, some lead fills on electric guitar and another Hammond backing track, the sparse arrangement compliments the subject of lost love perfectly.

Showing his gospel roots, Birham’s “Ain't It a Shame” is a rueful account of how conditions would improve if we all got a little more religion in our lives. It is a powerful tune, genuine in delivery and frank in nature.

There are pop sensibilities all throughout “Draggin’ Down The Line”, written about the nomadic life of a professional musician, and it belongs in heavy rotation from college radio and AAA radio stations alike.

Closing out the disk, Biram covers Leadbelly’s “Going Down Ol’ Hannah.” As an a cappella piece with heavy use of reverb, Biram’s shows definitively that he is no slouch with his vocals.

Biram’s ability to combine blues with americana, country, pop, and punk make his music irresistible and worthy of repeated plays. He deserves all of the accolades the Deep Blues community heaps on him.

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