September 28th, 2005

August 3rd 2004

REINVENT THE GODS "I love this new album" the reinvention of "As Tears Go By" ..is BETTER than the original by the Rolling Stones!
RADIO HOST MTV VJ -NINA BLACKWOOD
Listen Here!

(November 2001) "Waltz of the Scarecrow King" (Tangible 56818-2) - Gary Myrick

Waltz of the Scarecrow King conjures up a remarkable series of moods: It's occult and malevolent, eerie and disconcerting, exquisitely delicate and oddly beautiful, kind of a Blair Witch Project for the ears. But before you pull the covers over your head, this is a thoroughly listenable CD of solidly-crafted songs, too.

Dallas singer-songwriter Gary Myrick recorded the whole thing solo, later overdubbing a stand-up bass and a string quartet in homage to some of his favorite recordings from the 1960s. It's the strings that give Scarecrow King its unique sound, providing dramatic stings, ethereal touches, and an occasional, off-center "I Am The Walrus" edge; it's also provided by the 1894 Washburn parlor guitar and the '70s square neck dobro he plays here. They all combine to make Scarecrow King a unique and intensely personal musical experience.

Myrick's musical point of view comes from a place as lonely as the one occupied by the scarecrow in his title tune: "Hungry birds pick at his words, silence is his gun, under the blazing sun." In "Hometown Waltz," that loneliness seems like an inevitable fact of life: "People they all move on, we walk this world alone/dance with me for a time, for then t will be gone."

Throughout Scarecrow King, Myrick seems to have his finger on the pulse of what it means to be frail, human and subject to limitations. In "Fame is Dangerous;' he sings, "I saw my best friend die in a fight with himself/the hurt of holding on to the lie is too much." On "Redeemer;' he predicts, "There's a whole lot of holes in the highway, a whole lot of rain up ahead." Can anyone doubt that we're all on that road.?

Still, the fact that Myrick can sing "The ghost of Elvis is flying above us, throwing rose petals and little cheeseburgers" with complete conviction attests to a taste for whimsy--a taste that keeps the album from getting bogged down in its own pretensions.

Although this is his first solo acoustic release, Myrick is a Grammy-nominated musician who's played with the likes of Jackson Browne, Stevie Wonder, Queen Ida, Bonnie Raitt, Todd Rundgren, The Eagles, The Clash's Paul Simonon and The Sex Pistols' Steve Jones. Scarecrow King demonstrates that Myrick, as a solo artist, is more than capable of making us sit up, ponder a bit, and give him the attention he deserves.

David Potorti
INDEPENDENT WEEKLY

(Sept 24th, 2001) "Waltz of the Scarecrow King" (Tangible 56818-2) -Gary Myrick

Born in Dallas, Texas and now living in California, Gary's career to date includes stints with bands (the Figures and Havana 3 AM), collaboration with John Waite, high-profile session work and music for films and commercials, but this solo album concentrates on presenting a sparsely-accompanied set of initially bleak-sounding yet strangely comforting original songs. Aside from Joe Zimmerman's upright bass and on some tracks a string quartet arrangement featuring Joshua Segal, the only musician you hear on this release is Gary himself, on guitar, dobro and piano. Despite this, there's a lot to listen in to, as instrumental lines interweave and trickle around and beyond the vocal lines. Like those of Darryl Purpose (reviewed above), Gary's songs tell potent stories, whose atmosphere is indeed rendered highly "tangible" (to reflect the label name, of course). It's a shame, then, that the insert doesn't reproduce the lyrics, which are worthy of study independent of the listening experience. The recording is beautifully clear, with accurate presence and a loving attention to depth of texture that belies the limited instrumentation. The music also sometimes embodies Americana-gothic overtones that occasionally recall John Fahey (the instrumental Haunting Of White Rock Lake). Its corpus of original songs darkly complements Darryl's lighter-toned approach, though the picking is every bit as delicate and well controlled. This impressive release is well worth seeking out. By the way, the CD also plays videos of two of its tracks. (Distributed by Pinnacle.)

David Kidman

(Aug 23rd, 2001)"Waltz of the Scarecrow King" (Tangible) -Gary Myrick

Over several decades Gary Myrick has worked with some world class musicians, including Todd Rundgren, John Waite, Jackson Browne, Bonnie Raitt, The Eagles and Brian Wilson (to name only a handful), and proven himself an immensely talented guitarist. Having worked in the pop/rock mainstream and with members of the Clash and the Sex Pistols, the release of Waltz of The Scarecrow Kings reflects Myrick’s return to his Texas roots. The result is a sometimes puzzling, sometimes amazing, sometimes mysterious set of folk-blues-country laments. What elevates the quality of this recording is its uniquely spare arrangements. Myrick (with producer TChad Blake) expertly melds the sounds of an 1894 Washburn Parlor acoustic guitar, a ‘70s dobro with a hint of piano, some upright bass and wonderful string arrangements to create a truly haunting record that smacks of traditional Texas folk-tinged country blues. In this beautifully stripped down setting, Myrick lays down plaintive vocals with straightforward lyrics. On the song “Fame Is Dangerous,” he warns: “Johnny Lennon was alive / Elvis Presley was alive / Kennedy’s sons would have survived / What really happened was, fame is dangerous.” “Hometown Waltz” offers a sad glimpse of returning home to an unfamiliar Dallas, while Myrick’s great slide work on the instrumental “Haunting of White Rock Lake” reaffirms his gift as a blessedly talented musician. There are no studio tricks here, no overdubs, and the production is wonderful. Waltz of the Scarecrow Kings is epic in its mystery and simplicity — the brilliant work of an accomplished, authoritative artist.

John Pigeau

LA Times

(Aug 15th, 2001)"Waltz of the Scarecrow King" (Tangible) -Gary Myrick

Dallas native Gary Myrick replaced Stevie Ray Vaughn in one band, played in groups with former members of The Clash and Sex Pistols, helped John Waite with the album that produced the No. 1 hit "Missing You," then began writing for film and other projects. Not surprisingly, he's found a new sound for his intriguing acoustic solo album, "Waltz of the Scarecrow King." Described as a return to his Texas roots, it's much more than that -a set of ethereal, quirky, lovely laments. Myrick and co-producer Tchad Blake (Los Lobos, Bonnie Raitt, Tom Waits, Elvis Costello) use spare arrangements, with an 1894 Washburn Parlor guitar and Myrick's plaintive vocals front and center. Upright bass, occasional dobro and piano, and a string quartet fill out the sound beautifully, giving the music more weight than any heavy metal band could muster. Most of the tunes are in a minor key, and opaque lyrics further darken the mood. It's a captivating collection from a musician whose career is beyond category. -

Music Reviews Quarterly

Gary Myrick - Waltz of the Scarecrow King

Tangible Music - www.tangible-music.com

(July 3rd, 2001) The first impression Gary Myrick makes is that he is incredibly comfortable in a very stripped down setting that features just acoustic guitar, some bottleneck, a touch of piano, a string bass, and strings. No harmonies, no studio tricks (all the playing was recorded without overdubs) - just a relaxed singer, some seemingly simple folk/blues/country based songs and a bushel full of confidence. Waltz of the Scarecrow King is subtitled "Texas Guitar Fables & String Quartet," and that's pretty apt. The songs do sound like standard fables and tunes, and the fact that Myrick wrote them all seems incidental to the impact of that overall feeling that this was lifted from some long-lost book of Texas troubadour tested songs. The string quartet accents the feeling that this acoustic effort has a history tucked somewhere between Bob Wills and the Dallas Philharmonic. This is an odd but addicting disc that wouldn't puzzle so much if it were being done by some seventy-year old Delta bluesman (and the strings weren't there), but since Myrick sounds more like a clear-voiced mixture of J.J.Cale and Randy Newman and the strings are there, it does retain a fair bit of strangeness. Gary Myrick has a good bit of recording history behind him, including three Epic albums with the group Gary Myrick and the Figures, a Geffen release with John Waite, numerous studio stints with major artists, and a couple of releases with his group Havana 3 A.M. There's probably more, but that's all I have at my fingertips. Whatever the past has been, it's obvious that Gary Myrick has learned all he needs to write clever songs, fill them with relatively spontaneous lyrics, present them with simple but intriguing guitar work, and sing them like he has owned them for a hundred years.

While Myrick produced Waltz of the Scarecrow King, he got some help from Tchad Blake and Michelle White, and anyone familiar with Blake's production techniques will understand that a certain upfront edginess will show up. It does here, but in a well-controlled subtle way that enhances a sound already pleasantly surprising in the way it wields simplicity like a dark paintbrush. Since about half of Myrick's songs have an inherent darkness to them, the concept works perfectly, and even the more melodic, upbeat songs use the simplicity to accent the curves of the melodies. This Waltz is a fine, intriguing piece of work that just gets better with each hearing. It's definitely a work of art that seems at times to be like a whole lot of other things but ends up being absolutely like none of them eventually. What it does offer is an impressive pull that should appeal to anyone who likes to hear a solo artist who is working at the top of his game.

But just to toss out a couple of names beyond the almost incomprehensible J.J.Cale/Randy Newman combination mentioned earlier, consider David Olney, Peter Rowan, Fred Eaglesmith, Bob Dylan, Terry Allen, and just about any confident, gritty singer/songwriter you've ever heard. Then forget them and find a way to sample songs like "The Ghost of Elvis" and "Honk If You Love Jesus" and "Hometown Waltz." If they don't intrigue you, you can probably move on, but I have a strong feeling you won't be satisfied until you have the chance to hear this in the comfort of your own home (lights on or off, it's your option) as many times as you want to.

Gary Myrick - Waltz Of The Scarecrow King

(July 2nd 2001) Gary Myrick has finally found salvation with the release of "Waltz Of The Scarecrow King". Since breaking onto the Los Angeles club scene in the late 70's with his original band "Gary Myrick and the Figures", this Texas born guitar maestro has always stayed true to his musical vision. As a guitar player, Gary's influences run the gamete from Robert Johnson and B.B. King, to Jimi Hendrix and Ry Cooder, with a touch of Link Wray thrown in for good measure.

"Waltz of the Scarecrow King" is a departure from Gary's hard driving, modern rock guitar style on his four earlier albums. Gary has traded in his tried and true Fender Stratocaster for an 1894 Washburn Parlor Guitar and a 1970 square-neck Dobro. Now his only accompaniment is a string quartet. With his blues finger picking and slide styles, Gary straps on his acoustic guitar and takes for and eerie ride through the tumbleweed catacombs of America.

The first track "Haunting of White Rock Lake" is an instrumental that showcases Gary's artistic slide guitar style. It sets the stage, much like the opening credits of a classic film. "Fame Is Dangerous", the second track, is a cynical look at the price one pays for being famous. "Hometown Waltz" is a story told of Gary's venture back to his own hometown of Dallas. Here we are treated to "flamenco lullaby" about the sadness of discovering that the place where he grew up is now different and unfamiliar. The title track, "Scarecrow King" paints a picture of the lonely and thankless job of being the greatest scarecrow in the field. Other notable tracks include the first single "Honk If You Love Jesus", "Redeemer", and "The Ghost of Elvis".

"Waltz Of The Scarecrow King" was produced by Gary and T Chad Blake; best known for his work with Sheryl Crow. It was originally released independently by Gary himself, and available only through his web site. It is now available on the Tangible Music label nation wide. This new version has two of the original tracks removed and the addition of one new song, "Gary's Lament". There is also a new song sequence. There are three new inner photos by Gary, and also encoded on the CD are videos of "Honk If You Love Jesus" and "Hometown Waltz" for viewing on your computer.

Gary is currently on tour in support of his new album. When he's not on the road or in the studio, you can see him at various clubs around the Los Angeles area.

(June 27, 2001) Gary Myrick has been around a veritable musical block in his career. He has worked with everyone from The Beach Boys to Stevie Wonder in his varied career. He has maintained a low profile while writing and playing some eclectic and high quality music for many years.

Myrick’s release "Waltz Of The Scarecrow King" is a return to his roots. The artist reaches back and remembers from whence he came. In the process he delivers a haunting and smoldering set with a authoritative Texas flavor.

Myrick uses an 1894 Washburn Parlor acoustic guitar, a 1970’s Dobro and vocals to record this album; later he was to add strings for more effect. This is back to basic folk-country-blues. In many instances during this recording you will here any one of these influences, and sometimes they merge to create a very unique sound. While maintaining a simple approach the lyrics are thought provoking and they tell a tale. This man is not only a master at telling a story, he can sing and play instruments with great control and passion.

One listen to "Haunting Of White Rock Lake", "I Took A Train", and "Scarecrow King" was enough convincing for me that Gary Myrick has the soul of man that has traveled many roads and lived many lives. This is the kind of music you can really sink your teeth into and walk away feeling like you got a good bite.

© Keith "MuzikMan" Hannaleck