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A long-time resident of Austin, Texas, Primich's writing, harp playing and singing have both city attitude and Midwestern charm of his Indiana upbringing. As Cub Koda notes in his liners, "He's always willing to lay his heart on the line for the music." In these days of more and more cookie- cutter blues, this characteristic gains in emotional currency.
Company Man is a modern blues album that respects tradition without relying on it solely for inspiration. This album, his fifth under his own name, and his debut for Black Top, (he recorded two albums in the mid-1980's as leader of Austin-based Mannish Boys) reflects Primich's expansive and lyrical song style with both chromatic and regular harps via a neotraditional recording approach- big airy room sounds, with a noticeable lack of, as he says "electronic doodads, added reverb, echo, compression, et cetera."
In the footsteps of label mate/guru James Harman (who produced an earlier record, My Pleasure), Primich and his co-producer/engineer Stuart Sullivan pay meticulous attention to the old-school approach with vintage studio equipment and musicians playing in ensemble, not just laying and over dubbing tracks.
Primich's knowledge of Chess and Sun traditions form a backdrop for his modern vision. Utilizing combinations of musicians on this project allowed Primich to explore different styles of blues, as well as to include the sounds of American roots music, like traditional country. In addition to his regular touring band - six year guitar man, Shorty Lenoir, Jeff Minnick on drums and Richard Grigsby on bass - renowned Austinite Mark Korpi joined Primich for tasty rhythm guitar work and five strong co-writing efforts.
'Ain't You Trouble' and 'The Briar Patch' feature jazz organist James Polk and the crew paying homage to the 1960s organ quartet's late-night smoky swing. Legendary piano man Gene Taylor (James Harman, Blasters, Fabulous Thunderbirds) is perfect musical guest partner with his three tune appearances.
'Hook, Line and Sinker' is a love song that bounces out of the speaker like a warm summer day. Primich happily sings. "Tra la la, tra la la, she calls me her sweet papa!" with a broad smile. Taylor is really tinkling the ivories on this one, and on the darker, later-in-the-relationship 'My Home and Cold Hand in Mine'.
Mouth harp is about as close to vocalizing as you get, and it lends itself to eerie moans and it lends itself to eerie moans and emotional wails. 'Dry Country Blues' is a classic gut-bucket blues with vocals mixed to evoke that Howlin' Wolf live at the junior high gym vibe. His raw-boned big harp signature sound is chilling on this and the minor key voodoo piece, 'What's It Gonna Be'. 'Big Daddy's Coming Home' is sinewy and sexy. If Primich's vocals have ever been underestimated, then this album will settle what discerning listeners already know: He delivers. On these songs particularly, he delivers. 'Varmint' is a Big Walter Horton (Primich's main mentor) -inspired instrumental shuffle. Fabulous Antone's recording artist Steve James signifies on both slide guitar and mandolin, and Bad Liver Mark Rubin stands tall with acoustic bass on Primich's jug band/country blues trio adaptation of the little know Smiley Lewis classic, 'Jailbird' which began life as a R&B hit.
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