Cover Photo ©Steve Jessmore 2019


Detroit has long been a music mecca to the world. Iconic artists such as Mitch Ryder and the Detroit Wheels, Jim McCarty, The MC5, Ted Nugent, Bob Seger and countless others have called the Motor City home. The influence of the cities Motown sound is still being felt today and will continue to go on as long as music is made. The city has a musical mystique that no one can really put their finger on. Pat Smillie is one of Detroit’s finest artists and has been influenced by everything the city has spawned. Rock and Roll, Motown, Soul and deep Blues all come out of the man in a unique musical stew that can only be called “Pat Smillie.” Pat is no stranger to the music scene and he has been paying his dues for many years now. When not fronting his own band, Smillie can be found on stage with music legends Jim McCarty and Dennis Coffey. Pat has a new CD, “Lonesome For A Long Time.” The album gives the listener a huge dose of everything Pat is capable of. It’s all there- from straight up, fun rock and roll to soulful Ray Charles influenced vocals. This album is a must have! Pat is joined by the stellar lineup of Johnny Rhoades on Guitar, Evan Mercer on Keyboards, Motor City Josh on Bass, Percussion & Guitar, Todd Glass on Drums, Keith Kaminski on Tenor & Baritone Saxophones, Walter White on Trumpet & Flugelhorn, Jimmie Bones on Piano, and Tina Howell & Ashley Stevenson on Backing Vocals. The listener is also treated to a guest appearance from the legendary Jim McCarty on Boulder City Breakdown. Jim’s guitar playing here proves, once again, that he is one of music’s most important players, always giving us the stuff of legends. Special mention should be made regarding the production of the album, compliments of Motor City Josh and Smillie working together. Everything is top notch all around! I spoke with Pat recently about his influences, his early years, the magic of Detroit, his unique songwriting process, and the amazing new album. We had a great time talking and I can’t say enough about how much I enjoy the new CD. Pick up a copy today! Ladies and gentlemen, Pat Smillie!

Todd Beebe: Hey Pat! Thanks for talking to me today!

Pat Smillie: Hey Todd! Yeah man, thank you!

TB: Congratulations on the new album- I love it! Great stuff! I’d like to talk to you all about it and talk about your years leading up to the new release too.

PS: Yeah, sure!!

TB: You were born in Detroit, am I correct about that?

PS: Yeah! I was born on the west side of Detroit. In the early 70’s my parents decided to move and they built a house out in a suburb called South Lyon. So I started going to school through the South Lyon school system. I went there through the 8th grade and then I started commuting back and forth to Detroit Catholic Central High School, which was where my dad went. So it was sort of like a legacy!

TB: So when was the first time you remember hearing music that really caught your ear?

PS: Well, my dad was sort of a rock and roller. He grew up in the 50’s and he liked a lot of doo-wop. When I was a kid I played hockey, so like a lot of Michigan kids, I’d be driving back and forth to hockey and dad would keep on CKLW or WJR. I remember a lot of oldies programs my dad would listen to. So I would always have this taste for music that was like 30 years older than I was! A lot of the doo-wop stuff and the early rock and roll, like the Coasters and the Flamingos and all that. I don’t know, for some reason I just gravitated towards that. That’s what he would listen to on the car rides. If it wasn’t news radio, we were listening to oldies rock and roll. So I got into that. For some reason I sort of became fascinated by trying to tell the difference between the white and the black groups on the radio. And the first song that really tricked me was actually Mitch Ryder doing C.C. Rider. I was like, “I swear Mitch is black!” (laughs) And then I found out he was a blue-eyed soul guy and I had like a short circuit! (laughs) I couldn’t wrap my brain around that! I could tell all the other acts! I could pick them out, particularly the British accent stuff. So yeah, I grew up with all that late 50’s, early 60’s rock and roll and doo-wop. That was the stuff my dad would listen to. I’ve still got 45’s that I stole out of his collection. Everly Brother’s, Bird Dog, and Elvis’ All Shook Up and stuff like that. He had the original 45’s of those. I became a huge Little Richard and Jerry Lee Lewis fan! So that was kind of the first thing that I remember of really falling for music, when I was young. 6 or 7 years old, driving back and forth to hockey, listening to those oldies stations.

TB: So would this have been around the time you first heard real blues or did that come later on?

PS: The blues stuff was much later on. I’d say it was early rock and roll and oldies at first. Then as I got a bit older, you know, through the late 70’s and early 80’s, I started to go buy my own music. One of the first albums I got with my own money was Queen’s News Of The World. I was just fascinated with “We Are The Champions” and Freddie Mercury! I thought that was fantastic! I came of age more in the cassette era. So I had The Rolling Stone’s Tattoo You. That was probably my first Stone’s album. I knew all the older songs too, like “Under My Thumb” and all that stuff that they did in the 60’s. I really got into local Detroit acts like The Romantics, Mitch Ryder and Bob Seger. I was a huge Romantics fan! I had everything they put out at the time. I just loved that because I guess it reminded me of that early ’60’s kind of pop rock that I’d heard on the oldies stations and stuff you know? But they were fantastic! But blues I probably first got into when I was in college at Michigan State. I remember a friend of mine played these two records: James Cotton Mr. Super Harp Live and Big Twist and the Mellow Fellows Live in Chicago. Somebody on my floor had both of those records. James Cotton was amazing to me! So we traveled from Michigan State one year to see him play. This was probably close to my Junior year in college, so it might have been 1990 or ’91, we drove into Chicago and James was one of the headliners at the Chicago Blues Festival. We drove out there specifically to see him, and it was because that album Mr. Super Harp Live was amazing! Then I just started digging back from The Stones and stuff. Found Muddy Waters, found Buddy Guy! Howlin’ Wolf was huge! His voice was just so scary to me! (laughs)

TB: It was unbelievable! Wolf’s voice was so unique. It’s like wow!

PS: It was unbelievable, yes! That sound coming out of somebody was just like, wow! Unfortunately both of those guys had passed before I ever had the chance to see them. But I saw almost everybody in the generation after them, all those side men you know: Junior Wells and James Cotton and all those guys that played under them and a few other contemporaries. But like I said, Wolf and Muddy were already gone by the time I got anywhere near Chicago. But I think that Cotton album and that Big Twist and the Mellow Fellows record are just fantastic! At that time I didn’t know that “Turning Point” was a Tyrone Davis song. I ended up meeting Tyrone later, but that was a song that I had already been familiarized with just through that record. You know, that was like a staple among all the blues fans at the time throughout the early 90’s and especially anybody playing on the south side or the west side. They all did Tyrone’s stuff!

TB: Now, going back to The Romantics and just Detroit in general – this has been asked a million times, and I don’t think anyone has the definite answer, but what do you think the magic of Detroit is? Why has so much great stuff come out of that city? It’s just amazing, the music that was born in Detroit!

PS: Right! I don’t know man! I just think it’s such a hot bed. I’ve heard people say it’s the stamping plants. (laughs) Iggy said that’s how the Stooges got their sound. I can’t really explain it, but there is a lot of it and I’m just drawn to it! I mean all of the Michigan dudes! Tommy James and the Shondells were fantastic, and they were out of Flint. Del Shannon! They’re all fantastic! There are people that you didn’t even know were from Michigan! It’s a very deep well!

TB: You seem to be pretty eclectic when it comes to your musical tastes and what you listen to, am I right? I’m the same way. I mean I’ll be listening to Howlin’ Wolf one minute and Jim Croce the next, and then Black Sabbath! You seem to go all over the place too, right?

Photo ©Connie Carroll 2019

PS: Yeah, I’m pretty eclectic. I listen to all genres as long as I can kind of get into the song. I like the lyrics! If they’re not a great singer, they better be singing a great lyric! I love Neil Young. But it’s not like I’m attracted to his voice. No one can sing his songs like him! So the trick is to write your own material. No one can tell you how to sing your own song! I’ve probably seen Neil six or seven times now! I mean, I love that guy! So I pretty much listen to everything. I love Jackson Browne, I love Jim Croce. He had such a sense of humor, but then he could really write sad songs that just ripped your heart out, you know? He could just really kind of cut to the bone and I liked that about him in particular. Crosby Stills & Nash, Jonathan Edwards. Mostly I like soulful rock and roll you know? Paul Rodgers & Bad Company and Free. Anything with Paul I was into! Joe Cocker, early Ted Nugent with Derek St. Holmes, all of the Mitch Ryder stuff. I really like the singers from the west side of Chicago. So I went there and really checked that out, and that’s when I started hanging around with Vance Kelly, who’s still out there in Chicago. Vance was like the king of the south side and the west side, and the more ghetto the club was, the better it was for Vance, you know!? (laughs) He would play in every little hole in the wall! He was working four or five nights a week, and I learned a lot about keeping a band together and stage presence from Vance, cause he agreed to let me sit in with him and learn some tunes so I could build a little repertoire outside of just what I knew. ‘Cause being a singer that doesn’t play an instrument man, you go to these open jams, it’s like “well, what are we going to do? How about slow blues in G AGAIN? Or Stormy Monday?” That was just not really where my heart was at, you know? I wanted to put a show together! I remember one time we were at Legends and Lou Rawls was in the audience! Lou got up on stage, and then Buddy climbed up on stage! So it was Vance, Lou and Buddy on stage, and the place just went completely berserk, as you can imagine! So everyone exits the stage and the crowd is going crazy and Vance knew he couldn’t follow that up. So he called me out of the audience! (laughs) It was like “here Smillie, you do it!” I don’t think anyone was even paying attention! They didn’t even know what was going on! They were like “what’s that guy doing up there? Who cares! We just saw Lou Rawls and Buddy Guy!” (laughs) So Vance kind of through me to the lions that night and let me kind of work with the crowd. The crowd kind of calmed down a little bit before he carried on his show. But it was a great memory for me, and a lesson learned on how to pace your show, and definitely don’t try to follow up Lou Rawls and Buddy Guy, you know what I mean! (laughs)

TB: Wow- what a night! That’s a great story! So let’s talk about songwriting, and of course we’ll get into the new album here too, but I wanted to ask you about your songwriting process. You’re a great writer, and these tunes on the new album are top notch for sure!

PS: Thank you! I collaborate and I have ways of recording certain things for my songs and ideas, and then I’ll get together with a guitarist or a keyboard player to help me flesh them out and I’ll say like “now we need a bridge here.” I’ll come up with a bass line or a melody line, a hook or whatever. But lyrics are my thing. I write all the lyrics. I keep a notebook. I read once that John Fogerty kept a notebook of song titles. I kind of do that. I’ll think of the title first and then the story line, and then I just kind of fill in the story line. So in a lot of ways, I kind of start like that. My process is I’ll start with the title or a hook. I get a lot of ideas while driving! That’s why the smart phone is such a great invention for me, because now I can put those ideas down as they occur to me instead of trying to remember them 6 hours later and letting them slip away. I think that’s the main thing for me, just being ready to kind of turn on the antenna and just be ready to capture what fragments of ideas I’ve got when they come to me, you know? And then, once they’re down on tape, then I’ll just sit with them for a couple weeks. Then I’ll go back and I’ll listen to them again and maybe delete a couple of ideas or rework or add another part until… finally! Some of those songs that are on the record now, a couple of them were rolling around in my brain for 2 or 3 years before they got recorded! I take a lot of time and I worry and fuss over the lyrics. I’ll do a lot of rewrites, once I start focusing in on what I’m trying to do. But it usually starts with a title and a hook or a line here and there, and then if I can come up with a basic melody line, I’ll hum that into my phone and bring that to somebody to strum out on guitar. Then we just kind of collaborate from there, you know? I’ll go “okay that part’s good for the verse, that part’s good for the chorus” or “switch that over to there.” Like for this record, we just did our basic demos that way on our phones. Josh and I would flesh out the tune and I’d say “okay I think I’ve got what I need now. I need a couple weeks to go home and flesh out the lyrics.” Just give me an instrumental version and run down the tune, instrumental – two verses, bridge, chorus, whatever. Run it down here on my phone so I’ve got something to take home and listen to. So that’s how I do it. Unfortunately it’s not fast! I will say that I think I’m good at identifying the players that play with the sound I need. I can hear it. I may not be able to explain it to you, but I know it when I hear it, you know? I got to say, Johnny Rhoades, the guitar player on this new record, this is a guy that people should look out for! He’s a fantastic player and he’s a great rhythm player. And that’s what I loved about Vance Kelly! He was a fantastic rhythm player! He knew so many chords. It was just funky and he could do jazz chords and whatnot, all over the place! Johnny Rhoades reminds me of Vance a little bit in that respect. Dennis Coffey, who I play with here in Detroit, and was part of the Motown funk brothers, Dennis is the same way. He’s got a great rhythm stroke. The touch and the knowledge and the phrasings of the chords. When we do these live gigs with no keyboard player or horns or anything, Johnny plays parts and covers all that. He’s amazing! So I always look for that- a strong rhythm player. There’s a lot of guys that can solo, but somebody that can solo and play rhythm, you can’t beat that!

TB: Absolutely! Rhythm guitar is an art form unto itself for sure, and Johnny sounds great on here! Let’s go through each tune here on the new album. First up we have Ain’t No Doubt About That. What a groove this tune has!

PS: That groove, when I explained it to Todd Glass, the drummer, I said “just like a Motown shuffle”, and he said “you mean like Heat Wave?”, and I said “exactly like Heat Wave!” (laughs) That’s kind of what he played. That is one that I’ve had around for a long time. I had a demo of this one laying around forever. A guy named Chuck Crane was working with Shirley Johnson. Shirley needed a couple of songs for an upcoming record and I had a couple guys come over to the house and piece together a demo. I brought over two songs for him to present to her and she just took a pass on it. So I’m like “well I kind of like the tune. I’m just going to keep it around. Maybe I’ll use it someday.” So honestly, that song could be close to 8 years old! It’s been around a while. And when I got with Josh, we fleshed it out. What brings it to life is that horn arrangement, and that was courtesy of Keith Kaminski. Keith plays in a group called the Motor City Horns. They’ve actually been backing up Bob Seger on these last few tours. They’re out with him now, on the farewell tour. I got to open for Bob in 2011, and there was a horn section on that tour. So Keith came in and did the horn arrangements on four of the songs and just killed it! Keith played tenor sax and bari sax on a lot of the tracks. Then we brought in Walter White. Walter is one of the first call session trumpet players, and he also plays flugelhorn on the end of Lonesone For A Long Time. When Walter was like 18 or 19 years old, he played on the theme to the television series Taxi. Keith and Walter knocked out the parts in one afternoon. So when I heard the record back, within the first 5 seconds, you hear those horns come blasting, it’s like wow!

TB: Yeah it sounds awesome! So let’s go back here for a minute and talk about you opening up for Bob Seger. That must have been great!

Photo ©John Collier 2019

PS: Yeah that was fantastic! I was the Wednesday night house band at the Checkerboard Lounge in Chicago. One of the last times I played there, before the old place on 43rd Street that closed down and they moved to Hyde Park, I had done something like I had an appearance at the 43rd Street Blues festival and then later that night my band was playing at the Checkerboard. Well, Robert Plant came down to the Checkerboard that night with his band! They had just done a gig at the Riviera Theater and he was closing out that leg of the tour, and they came down to the Checkerboard, after the show, to celebrate. So he came in and we were bouncing off the walls, I mean I was so fired up! So we played our last set and Robert and his band mates and his crew were there and he came in with about 25 or 30 people. I got to talk to Robert after the gig and he said “you guys got a nice thing going!” So through that I got connected to Jam Productions. Then through that I heard that Bob was coming to town and he was hiring local acts, and I just said “guys! You know I’m the guy! There’s no bigger Bob Seger fan out there, and you know that I know that you know that I know that I need to be the opening act!” (laughs) So it took a while to get straightened out, but we got the gig!

TB That’s awesome! So let’s talk about the title track, Lonesome For A Long Time.

PS: I had that title for a while. It was supposed to be a sad song. I finished up the verses and basically, if you listen to the song, it’s sort of a happy ending and the guy does find the girl. I like the way that one came out! It wasn’t really the way I heard it in my head at first. Again, here’s another one where the horn line sort of helped shape it. Before we had the horns on it, everyone that listened to it heard a different thing. Some people heard an R&B tune, some people heard a Seger song. My background singer said “that sounds like the Eagles”, and I said “really? Okay, I guess. I don’t know.” And I thought “well, that’s kind of a good thing! It can’t be categorized.” It’s somewhere between rock and soul. I think that might be one of my favorite guitar performances on here. Johnny’s solo on that is one of my favorite on the record. I had the title hanging around for a long time, inspired by my own life, except for the happy ending where he actually gets the girl, you know?! (laughs) I thought it would come out a little sadder than it did, but I like what we ended up doing with it. Everyone in the group at the time was thinking that might be their favorite song, so we just decided to make that the title track. Once again, the horn arrangements by Keith gave it a little Al Green flavor I think.

TB: Yeah it sounds great! The horns on this album are amazing! The next track, I Got An Angel (Waiting Up In Heaven For Me) is definitely one of my favorites on here. What a great tune! This is one of your own songs that you rerecorded here, am I right?

PS: Yes! In 1999, my first CD I wrote with a guy named O.T. Lee. It was produced on the west side of Chicago. And that was the title track of the CD. It was an independent production. Sadly, about 5 or 6 months after the record came out, O.T. shot his wife. He didn’t kill her, but he got locked up for 20 years for attempted murder. With him getting locked up, obviously all the product and everything, all the CD’s that I spent money on, everything was just done! So I continued playing the song for a long time, and we got nice feedback at the time for it. A lot of people seemed to react to it and everyone kept saying “you should rerecord that!” And I said “well no, I don’t own the master recording that we did, and the person that does is in jail!” I didn’t even know where to start with that. So I reworked some of the lyrics in the first verse and I checked with the copyright office and they said the revisions were substantial enough that I could submit for another copyright. So I recorded my new version of the song and still give O.T. credit for writing the music, and then I decided to include that one on this record. So, it’s a tearjerker. It was inspired by a story I saw on the evening news when I was living in Chicago, about a young father. His daughter passed away and he went and killed himself. I’m like “damn, this is the saddest thing I’ve ever heard!” So in the last verse is that line- “patience is a virtue for some they say. But patience don’t suit me, cause I just can’t wait.” That was the guy taking his own life. But a lot of people don’t really pick up on that.

TB: Oh wow! I was going to ask you the inspiration on that lyrically. The words get really deep. It’s some very powerful stuff, I love it!

PS: Well thank you. Sometimes I think it’s just better to let people think it really happened to me, I guess. But obviously it’s based on feelings that I’ve had, people passing away in my life. It’s just a story line that was borrowed from something I saw on the news. So that’s the story on that one.

TB: Knocking On Closed Doors is great because I think anyone can relate to this song, not just musicians. It’s a great look at opportunities you’re trying to get but can’t, for reasons you’re not able to control. So I think anyone can relate to it!

PS: Thanks! Yeah, it’s just about those gigs you try to get. I knew our group was good enough to get those, but for various reasons we weren’t getting the opportunity. I was so happy to get the residency at the Checkerboard. I felt like, if I could make it at the Checkerboard, I could make it anywhere. And I think that was true for a while. But then when the Checkerboard closed, I had all my eggs in that basket, you know what I mean? So I did some acoustic gigs and restaurants and coffee houses and wine bars, and that was cool to pay the bills, you know, but I was far from being on anybody’s radar, and it was just kind of frustrating. So that’s what that one’s about.

TB: Boulder City Breakdown is definitely my favorite track on the album! You and the whole band sound fantastic, and we get a guest appearance by Jim McCarty on guitar here too! I love Jim!! Everything he touches turns to gold. SUCH an influence on so many, definitely myself. What a player and such a great guy too!
(Author’s note: Do yourself a favor and pick up Jim’s stellar solo album Talkin’ To Myself here: )
You’ve been doing gigs with McCarty for awhile now. When did you first start playing with Jim?

PS: Well, I met Jimmy about 14 years ago. I remember meeting him right around Christmas time of 2005. I grew up a huge Rocket’s fan! I had all their music and stuff and I just kept tabs on Jim, you know? I’d come home and I’d see the advertisements in the paper and one night I went out to see him. I gave him a copy of my Letter to Hampton CD, which was kind of new at the time, and I told him I was a big fan. He really liked the CD I guess, the songs and everything. So I came into town again about 3 or 4 years later and I looked him up and I just kind of started sitting in with him. I’d been trying to get some gigs in Detroit for a little while. So Jim said “I’m doing a jam at this place called Freddy’s. Come out there.” I met the owner, Freddy, and he really liked me. And I said “man, I’d love to come back here one weekend and maybe do a gig!” And he was like the first guy in Detroit to have me come out and do a date with my own band and set up a date there. Well, somehow that fell through. So I said to Jim “hey Jim, can I come in and do a gig with you and he said “yeah I’ll put you down. You can be a guest singer at the show and come up and do the second set with us.” I said “fantastic!” And that was kind of it. Jim sort of helped me out of a spot. He sort of helped me rebound, but then of course a lot of other doors have opened because of that too.

TB: His solo on this track just smokes! The track already rocks and sounds great, then McCarty just blows up the bridge with his solo!! Just amazing, and classic McCarty! Let’s talk about that track coming together with Jim.

PS: I asked him about playing on the record and he said “we’ll get together and you play what you’ve got in mind for me.” So I played him Knocking on Closed Doors, I Got An Angel and Boulder City Breakdown. I knew Boulder City Breakdown was probably the one, but I played the other two for him. I remember when I played Boulder City Breakdown, he said “I could see why you’d want McCarty on this one!” (laughs) So he came in and laid down a rhythm track, just to fatten up the rhythm guitar, and then he took maybe one bash through it, and I think the solo on the record is the second take. I was sitting in the chair next to him while he was playing his solo and he starts doing the one little part in there and he started kicking his leg a little! He kind of looked over his shoulder at me like “how do you like them apples?” (laughs)

TB: I love it! Yeah, McCarty is the man! Ray Charles Records closes out the album. What a cool story line! I love this one too! How did this tune come together?

Photo ©Kurt Swanson 2019

PS: Well thank you. I love songs about songs, you know? (laughs) Actually there is an earlier version of the song that was called Finest Hour, and I reworked it. I originally just had acoustic guitar with the lap steel solo. There was no instrumentation with strings or anything. There was just vocals, acoustic guitar and the background vocals and I changed it around. I love Ray Charles so much, and we kind of got to this point where we were having a hard time with the feel of this song, cause it’s sort of like a waltz. But I wanted to sort of have like a gospel swing to it too, and it’s sort of patterned after Paul Simon’s Still Crazy After All These Years, you know, the timing. Ray Charles recorded a version of that, and Etta James did a version of the Eagles Take It To The Limit. So that’s kind of got this gospel piano intro. That’s sort of the vibe I was going for, but I couldn’t explain that to the guys! We got some cool stuff, but not quite exactly what we were going for. So I was like “well it sounds like an old Ray Charles country record, you know.” So I just kind of reworked some of the lyrics and changed the order of the verses around a little bit from the original version. That’s Motor City Josh playing slide guitar on that. He’s a pretty renowned guitarist. He plays bass in my band.

TB: Yeah, the slide on this track is great stuff! Great playing and what a tone!

PS: Yeah! That’s the only track he played guitar on, but I can’t say enough about his production.

TB: Let’s talk about that and you and Josh on the production end. Everything sounds just right. Many times, something is a bit out of place on an album, but the production is spot on here. Everyone on here puts in stellar performances too!

PS: Thanks! Really, we didn’t fuss over the performances. The group was rehearsed, our basic tracks are pretty much live- first, second, or maybe third take. So we got all the basic tracks, then I spent a lot of time living with the mixes, you know what I mean? I take notes and I might sit on them for a month or so. Josh was able to get the great drum sounds that I was looking for. Todd Glass is probably the best session drummer we’ve got here in Detroit. He’s fantastic! A lot of the top recordings have Todd playing on them. He’s a great drummer! On keyboards we have have Evan Mercer. Evan plays with Bettye LaVette. He’s been her long time keyboard player and he’s recently picked up gigs on tours with Uncle Kracker and Whitey Morgan. So he’s a hard guy to get a hold of anymore! We were lucky to get him in the studio those few days! He’s been on tour a lot. And then the girls – Tina Howell. Tina’s been singing with me since about 1999, so it’s been 20 years now! The other girl Ashley Stevenson, she’s been with me 14 or 15 years.

TB: Well congrats on the album Pat, I love it! What a great, soulful album. Just classic stuff here! So I guess I’d like to end with what’s next for Pat Smillie?

PS: Well mostly just keep on keeping on and a lot of pushing and promotion to do on this record. I really feel good about the CD. I think it’s the best work we have to offer! I’ve already sat with Josh and we’re trying to write some more songs. The last time we got together we fleshed out some basic lines for three new tunes and they’re pretty fun! I’ve got about four songs we wrote for the last record that we didn’t use that may see the light of day, in some way shape or form eventually. I’ve got this one song called Josephine that man, I can’t even think how long that one’s been around.. probably almost 20 years! It has a little bit more of a country flavor to it. But, yeah, definitely more writing! I’ve got some stuff that I’m working on.

TB: Well thanks for talking to me today Pat, it’s been great! Congrats again on the new record. I know people are going to love this!

PS: Thanks so much Todd!

Make sure to pick up the new album, Lonesome For A Long Time right here:

and keep up with Pat and his band on his website



BG is a free magazine bringing you stories about Buddy Guy's Legends, blues music, and music generally. Please direct submissions to [email protected] for consideration.

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BG is a free magazine bringing you stories about Buddy Guy's Legends, blues music, and music generally. Please direct submissions to [email protected] for consideration.