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Nathan QuickHouston native Nathan Quick belts out his raspy vocal over lush boogie/roadhouse guitar rhythms and soaring lead guitar. His sound draws from a vast pool of genres including classic rock and roll, blues and contemporary Americana. He is a multi Houston Press Music Award winning singer/songwriter.

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- David Garrick, Free Press Houston

Nathan Quick is an artist. You need to let that sink in, as he's always been the guy who drops a record, and the response you'll hear most is that "he's a nice guy," or "he's a productive guy." However, on his latest release The Other Side, he bears his soul, he drops any pretense, and gives you an album full of bluesy riffs and gut wrenching vocals that result in something you'd be proud to say that you were a fan of. In ten songs Quick not only takes his sound to a whole new place, he does so in an earnest and refreshing way.

While blues rock bands have become the fodder for bars to have in the background while patrons smack balls around the felt, Quick proves that the genre can still grab a hold of your attention and never let that grip loose. Opening with "Should've Seen Things," the slow and meandering guitar that opens the track gives you hints of soulful reverence, while Quick's raspy voice plays atop the sounds to finally find their rightful place in his music.

He keeps this up on the following song, "Indian Creek," where his use of acoustic guitar and strings forge a path for a more passionate sound than he's employed in the past. Echoing the likes of Charlie Sexton and Doyle Bramhall II, Quick embodies hints of the '80s without lifting from them. That vibe of records made in Southern California keeps coming on the third track, "Up In Smoke," where Quick adds piano to bring an uplifting sound to his music. An organ dances in the background of the chorus, and while the song isn't the best of the album, it shows you the songwriting that Quick is capable of.

However, the meat and potatoes of this record comes when the singer songwriter gives his distortion pedal a click, and the remixed and re-imagined sounds of "Keep Movin'," from his previous release offer plenty of groove and Southern twang. By amplifying the guitars and dropping Quick's vocals down a step, the song gives more uumph and push to the catchy tune. Quick gets a little country on the twangy sounds of "On The Line," though it's the blues harp opening of "Find My Way" that offers a strong standout of the release. When things get dirty, Quick is at his best when his gravelly voice and fuzz infused guitar take center stage. The final two songs of the release, "Endless Days," and "The Sound" are remixed versions of songs off of Quick's 2016 E.P. The Sound, but offer up a fresh take on their early incarnations to round out the album. However that isn't to say they're the same, as "The Sound" feels like there's more heft in this version, and Quick sounds better here than he did when the song was originally released.

Nathan Quick has definitely found his place on this record, and should finally get the recognition he's earned with such a straightforward release. By going full throttle in some places and holding back in others, Quick proves that you can breathe new life into a genre that hasn't sounded fresh in a good while.

HOUSTON CHRONICLE - "Now grounded, Nathan Quick dives into his music" >

- Andrew Dansby, Houston Chronicle

Nathan Quick spent years working 190 miles off the shore of Louisiana. Getting to and from the oil rig required a helicopter ride, so personal effects had to be kept to a minimum. That meant no guitar for the young singer-songwriter. But Quick found the far-flung locale helped him fill up lyric books.

"The night is kind of beautiful, man," he says. "The stars light up in the sky and they don't look the same as they do at home. You can sit up and write without distractions. It was three weeks on, three weeks off, so it gives you stories and it gives you time to think. You go out on the helideck and look at nothing but water. It's quiet up there." He'd bring ideas back from the offshore rig and put them down at SugarHill Recording Studios.

"I could pull songs together in a way I couldn't when I was offshore," he says. "There I just had stories, no guitar." But working in the Gulf came with its complications, too. The 10 minutes of time allotted on the box phone didn't allow for booking gigs. And departures, Quick says, could be terrifying. "The first thing you do is this nerve wracking turn, 90 degrees," he says. "In a window seat, all you see is water." So Quick made a break from that vocation and he's thrown himself fully into his music. In a short amount of time Quick has made a strong impression with his songs, which draw in part from soul, country, folk, blues and rock. He has session guitarist chops and a howling voice that contrasts his soft-spoken demeanor.

Last year Quick released "City Lights," an EP that heralded the arrival of a bright new talent. This week he plays the Raven Tower behind "The Sound," a new single and the first from a full album due by year's end. Quick has a couple hundred raw song sketches, a backlog that resulted from a break between two periods of regular performing. By age 16 he was playing guitar with jazz bands around the city, as well as the jazz band at Bellaire High School. Quick describes himself as "a real timid singer," so he regularly found himself at SugarHill doing session work for others. "But the need for studio guitarists slumped, so that didn't last," he says.

He drifted away from jazz, "writing in the vein of Pink Floyd and classic rock sounding stuff. My father was into serious blues stuff like Lightnin' Hopkins - guys who did storytelling with their guitar as well as their voice. I was drawn to that, too." Quick found himself pulled toward various roots music - old country, classic blues, rock and roll - and he also found his voice, which showed no timidity. His recordings thus far have been assertive and far-flung: He operates confidently in spare singer-songwriter mode, but he also can bring a more forceful sound. He's also working up the best from hundreds of ideas that germinated on that oil rig. There are still logistical challenges, especially taking his songs outside of this region. "It's difficult with a band, either they're students or they have full-time jobs," he says. One member is a resident M.D.

"So I like putting things out frequently," Quick says. "A teaser here or there. Keep moving forward."


- David Garrick, Free Press Houston

The thing about Houston’s music scene is that I feel like we don’t really push the blues sound that our scene was all founded on. Artists like Lightnin’ Hopkins once walked the streets of this city back when the Peacock label was still a thing, and Mance Lipscomb recorded his album Trouble In Mind here. Today, we rarely get many straight blues acts, but rather more blues rock acts instead. While many seem to miss the point behind the genre, one artist here, Houston’s Nathan Quick, has really dug deep to offer up some of those Southern blues tones that we so rarely get to hear anymore. After multiple sold out shows at Mucky Duck and a set at this year’s FPSF, Quick has returned with a new single, "The Sound," and it’s a doozy. On the track, he dances around traditional blues, psych blues, and rock n’ roll to craft a sound that’s a mix of the three and something all his own. Free Press Houston was more than pleased to have the chance to debut the song, found exclusively here.

Starting with a thunderous bass drum that feels like it was recorded in the same hallway that Pixies’ “Bone Machine” was, the guitar squeals and meanders in before Quick adds some harmonica that feels closer to sixties era psych rock. When the slide guitar meets the echoing vocals of Quick’s howl, there’s a deeper connection with Southern blues formed in-between the notes. Utilizing that muddy Rio Grande gargle tone that Billy Gibbons seems to employ, the song has a dark quality filled with Quick’s despair in his reverb tinged vocals, like he’s calling out into the night for an answer. His solo, the mix that includes a thunderous beat, and that twangy harmonica find themselves flickering all over the song like lights that won’t seem to go out.

This song brings Quick’s sound full circle, where he does what he does best, play straightforward blues rock. “The Sound” feels like Nathan Quick at his best as a songwriter and as a recording artist, while adding to his mystique as an artist. You can hear “The Sound” live when Nathan Quick performs at Raven Tower on Saturday August 13th. The all ages show will feature a set from The Beans as well as Otis The Destroyer with tickets between $10 and $12.


- David Garrick, Free Press Houston

Last year, Houston native Nathan Quick released an album, "The Mile." On it, he reminded me of part John Prine, part John Hiatt, and part Elvis Costello. Quick was easily tapping in to the singer songwriter side of his music on the release. This year, he returns with a three song EP, "City Lights," where he sheds that singer songwriter sensation to a more rock meets classic rock emotive. In three songs, Quick does a 180 degree turn on what you thought you knew about his sound; further expanding the realm in which he exists while impressing you on who he is an artist.

Quick doesn’t hesitate to get things started with the Black Keys meets Flat Duo Jets sounding “City Lights.”  The song departs from the softer side of things he employed on his last release. There are elements of rockabilly, blues rock, and a hint of that throwback impression. It works, as Quick’s gruff vocals rasp in and out of the track that adds a distorted guitar growl full of tone and the melody of rock’s past. He even takes it further with a hook heavy chorus and a separated solo. He keeps things more on the rock side of things when he ventures into the second song, “Just Hold On.” Quick is definitely channeling more of Bruce Springsteen tone with the way he starts slow, picks up speed, then returns to the slower side on the song. The chorus has dual vocals, and even emotes a more Rolling Stones feel with the groaning solo and falsetto background vocals. This is a definitely different and more bluesy focus to Quick’s previous efforts, and it makes you wonder where this Keith Richards side to him came from.

Things close with the slower paced and almost Ryan Adams feeling “Dusk Til’ Dawn.” It might be the acoustic timber of the opening, but Quick sheds that quickly with a more John Mayer meets Clapton type of chorus. He cuts through that with a blues harp that feels like a second set of vocals. I know that Quick likes tobacco, and maybe that’s where this impassioned and raspy vocal he’s employing is coming from. Wherever its origin, it works for the artist on these three songs with ease. Quick makes you forget his previous works while keeping you impressed with his chops as a performer. The entire EP clocks in at under fifteen minutes, and commands another listen.


- Jef Rouner, Houston Press

It's been just over half a year since Nathan Quick's last offering, The Mile. That album was a jangling, poetic affair that was fun to listen to, but City Lights is a whole different animal. If The Mile was a big dog, then what we have here is a wolf. Honestly, it's more single than EP, with "City Lights " and only two tracks to back it up. That aside, they make a hell of a trio as Quick takes his voice into previously uncharted territory. He sounds like he should be singing over the opening credits of a grindhouse flick about chicks with guns. Comparing his rough crooning wail to an L.A. Woman-era Jim Morrison is just barely an exaggeration, and combined with his road-song approach to everything, it's hypnotic.

"City Lights" also shows off one of my favorite aspects of Quick: He doesn't play guitar solos. Well, he does, but not solos that someone who grew up with a poster of Slash on his wall would call proper guitar solos. Instead they are these shade-throwing bits of aggressive noodling that let you know that while Quick isn't going to bust out a three-minute solo that will blister paint, he totally could if he felt it. The song that's closest to his previous work is "Dusk 'til Dawn." Here's something I've never celebrated in a recording before; I've never heard a snare sound quite like the one here. I had the song blasting in my earbuds as I was doing a bit of housework, and the first pop of the snare I actually took them out because I thought there had been a fender-bender outside or a cat had toppled the TV. It's the backhanded metal clang that goes right through you, lending menace to the comparatively slow track.

Now, I do have to say that Quick probably won't go down in music history as the most inventive lyricist in the world. He spins a fine phrase, don't get me wrong, but his subjects are kind of safe and tropey even if they ooze sin and evil with every step. He's more like the world's best Sam Peckinpah film in song form. It's a comfortable darkness in addition to a danceable one. Nothing sums that up better than the closer, "Just Hold On." It's a largely clichéd collection of observations about feeling adrift and lost, but it's so solidly executed you can't help but dig it. Solid really is the best way I can describe Quick's three-song rolling stone here. It's big and there and unsubtle as it can possibly be. It's also unstoppably fun to listen to, a true Texas citizen of the music scene. You're going to want it on hand the next time you need a soundtrack to get into trouble by.


- Matthew Keever, Houston Press

Last April, local Americana singer-songwriter Nathan Quick was promoting the release of The Mile, a six-track EP that was nearly two years in the making. Three weeks shy of a year later, he has already returned with new material: another EP to precede a full-length album that is planned for sometime in the near future. "Being back home has really helped with being able to write a lot of content and make more music," says Quick, who had just quit the oil-rig business to pursue music full-time when he last spoke with the Press. "I'm able to play my instrument every day, which is amazing," he continues. "I feel like the guitar is an extremity of my being, and it means a lot to be able to work on my craft more."

But returning home hasn't been stress-free for Quick, whose father died in May 2013. Losing his dad further motivated the musician to be the best at what he can do, both as a person and an artist. "Trying to better oneself is an endless journey," Quick says. "I think we all learn and grow every day whether we know it or not." When he last talked with the Press, Quick spoke of wanting to be a better person and feeling closer to who he wants to be and where he wants to go. Reporting on his progress, he says with a laugh, "I'm still working on that part."

A three-track EP, City Lights is short. Despite its brevity, however, it packs quite the punch, featuring the kind of thumping, rock-and-roll-inspired cuts that were absent from Quick's last offering. The Mile was a solid EP in its own right, more focused on lyrical content and containing something of an ethereal vibe throughout. The only thing missing was a bit of grit, but this release more than compensates for that. From the onset of City Lights, Quick and company sound fiercer than anything on their last album. The vocals are coarser, the guitars scratchier and the beats heavier.

In the eponymous opening track, Quick sings of restlessly driving around town late into the evening, likely en route to cause some trouble or perhaps running from his demons. It's the kind of song that makes you want to press the gas pedal down a little farther and chase the beat. Next, "Just Hold On" begins with a riff that would sound right at home on a classic-rock album, perhaps a KISS or Guns N' Roses record, with ghostly vocals mirroring Quick's lyrics throughout the verses and harmonizing on the choruses. And if Justified weren't already wrapping up its final season, I would expect "Dusk Til Dawn" to find its way into the show's soundtrack. Eerie guitar picking and ominous percussion underwrite a distorted harmonica that wails in the background like an oncoming train as Quick sings of trudging along.

And that's how City Lights ends, with the promise to continue on, perhaps as a wry commentary on the state of his celebrity or lack thereof in the local music scene, depending on whom you ask. Quick has found his sound, of this much he sounds certain. Fans who will be eagerly awaiting his full-length album now have a few new tunes to tide them over, and they might just be Quick's best work to date, which should excite longtime listeners and attract him even more fans.