Diesel Therapy Reviews

Music Rolls Into Town

As the maiden voyage for Diesel Therapy’s new line up sailed into a packed hall at Ravenshead, the opening number "When Friday Comes Around" seemed an apt way to begin a night that was to be flavoured with the many genres and musical talents this new band had to offer.

Having played the venue last year the bands rhythm section had changed from then fellow Geordie boys to the now Midland based bass and drums, whether you believe front man Jim Hornsby’s reasons for the change as purely to have somewhere to stay during southern gigs!! The changes have seen the bands sound strengthen to provide the tightest driving rhythm section every heard on that stage, noting the pedigree of drummer Lee Guyler and bass man Tony Hornsby you then wouldn’t doubt the quality and total control from these industry standard back room boys. The stage was packed with the bands multi instrumentation and an impressive rack of drums, but despite this powerful stage array the control from all members during the evening was to astound most sceptics who may have misjudged size of gear with lack of control. Jim Hornsby amusingly demonstrated this band control by using subtle hand movements to bring the band to a whisper in a second to then elevate back to full band level.

The night had been billed as a CD launch but as always the studio recording time schedules had fallen behind and the gig had turned into a pure evening of music to include both many tracks from the first acclaimed CD "Turf House" coloured with a flavour of the new tracks currently in the can on the new CD optimistically titled "Heres Hopin". Storys of growing up in northern towns seemed to form the underlining essence of the bands output with front man Hornsby being the main pen man unwinding stories and recollections from both early musical experiences and childhood memories. The delivery of this repertoire enthralled the audience with a ‘pin drop’ atmosphere that hung onto every word and witticism from the members of the band. Commenting on many local and national current affairs stories, Jim proclaimed that the band would be embarking on a tour of garden centres, the comments for song titles being rife from the audience. As the night moved on we were to witness the band excelling through the different instruments present. Jim provided world class Dobro playing, this complemented by Danny Holmes acoustic guitar genius. Tucked away at one side Jon J Paul, a major British Country artist in his own right, played a subtle range of Piano and Hammond sounds producing both atmospheric mood and blistering solos as required.

The whole evening came to an end too quickly but on recollection the band had been on stage for well over 2 hours in all. The band for me were outstanding and will surely be destined to the top of their chosen field. Catch these guys when ever you can and fill your musical tank with some pure Diesel Therapy.

Showtime#24 Nottingham Evening Post 5/3/2008

Diesel Therapy is a four piece band from the North East of England: Danny Holmes on guitar, Jim Hornsby on dobro and guitar, Sean Taylor on bass and Eric Green on drums. You would somehow expect a band that has the initials DT to be into alcohol fuelled, happy-go-lucky, timeless, noisy, bar room filled, leather clad, rock and roll but, actually, they are something of a laid back country band; at least that’s what they were for most of the time at the Real-Music Club in Derbyshire on Saturday, 7th July. They can surprise though. They can rock and roll if and whenever they want to, and they can even do a little bit of Little Feat if they choose – all that neat, syncopated shuffle, Southern Country rock charm; Diesel Therapy can do more than the obvious.

Jim Hornsby, small, solid, open necked striped shirt loose over black jeans and boots (cowboy boots, of course) likeable, s ardonic, laid back to the point of being horizontal, provided most of the songs and took the lead. He played dobro as well as guitar; not that frenetic, incomprehensible, blistering, firework display, Bluegrass on steroids style dobro, but something more gentle, more evocative. He played one tune Crossing Loch Derg so slowly, so gently, so hauntingly beautiful, that it could make grown men weep. Danny Holmes, taller, thinner, bespectacled, understated, a little bookish, a little restrained, a grey collar-less shirt over black jeans, played a lovely Martin guitar with impeccable taste and provided most of the vocal harmonies. He slipped in country runs that hung together so seamlessly with Jim’s guitar playing that you’d have thought the notes were related; he could even mimic a little bit of country twang Telecaster when he chose. Sean Murdoch, open necked, dark striped shirt, played the five string bass; more strings than usual to cope with, and when he took up the fretless bass no frets to tell him where to put his fingers, but Sean knew what he was doing. Country songs don’t always recommend themselves to bass players, the phrasing and the chord structure being a little limiting, if the truth be told, but nobody seemed to have told Sean. He found ways to slide and bend notes around even the simplest of song arrangements that you found yourself wanting the song to go on just so you could enjoy what he would come up with next.

Eric Green could only ever have been the drummer; he looked the part, he probably always looked the part. Wispy thin, all in black, ageing, bearded, long grey hair, gentle, polite, possibly a biker who’d lost his way, but not his instincts, a rider who’d left his Harley somewhere but couldn’t remember where, yet, with sticks or a brush in his hand, he knew exactly where he was and he would always know his way around a drum kit. The only thing ‘green’ about Eric is his name: not only has he ‘knocked around’ with some of the best and so earned his dues, but he played magnificently. I’ve no idea what his carbon footprint was, although he was wearing a pair of soft baseball boot style trainers, but he contributed significantly to global warming on the night, and the kiln was all the better for it. Just maybe, the playing space didn’t give him enough space to operate, just maybe, Jim and Danny, occupying the area just in front of his bass drum and practically balancing on his high hat, might have preferred more room to breathe, more room to fit in the quiet, warmth of their acoustic guitars, but the drumming was always cool, classy, subtle, and inventive. It’s not that he was noticeable because of the noise he made, that wasn’t what drew attention to him – that’s not what makes a good drummer. It’s not the volume that matters but the quality, and Eric has it in spades, or should that be ‘brushes’. He would try to add a different fill in between verses, something new, a different pattern, an echo to help with the syncopation, and he’d use the cymbals as part of the rhythm, part of the percussion, lightly, neatly, not just for showy climaxes – in fact showy climaxes were just not part of his repertoire; if he could bottle that empty dance hall brushing sound he could sell it to other, lesser drummers and make a fortune.

Most of the set came from the pen of Jim with some contributions from Danny. There is a sense of age about Jim’s songs and not just in the way he sings them. It’s not world weariness exactly, but a sense of someone who has travelled and finally come home, a sense of experience, someone who has seen and done it and is no longer easily impressed or fooled. Nonetheless the songs revealed someone who can still see hope and beauty in everyday things; a North-East cowboy, all too painfully aware of how foolish it is to be such a thing, yet, ironically aware that romance and wild things can happen anywhere. The songs are witty, honest, workman-like, honed even, but they are not cynical. They sound a little like they could be covered by an early Kenny Rogers, First Edition era, or maybe a late Knopfler, in his country phase. They are easy on the ear, with neat, subtle, syncopated style lyrics laid on a simple, easy to hum country melody. You might be tempted to let the words wash over you, making you feel a little cleaner for the experience, but they deserve and reward attention.

With any really good band it is the spaces in between, the pauses in the music that matter; that whole business of where the rhythm continues in your head but somehow the lyrics or the tune holds off, leaving a hanging, edgy, blissful moment, the air full of expectancy and anticipation, before the music flows own; that moment where it seems only you had paused to admire the effect not the band. It’s something to do with an innate sense of timing, a sense of syncopation, a delight in playing in a tight, musically inventive band, an awareness of what makes good music. Diesel Therapy is a good band!

Neil Dalton, The Maverick (Issue 62, September 2007)

Diesel Therapy @ Durham Gala Theatre 23rd February 2007

Mention the name Jim Hornsby in North-East music circles and not many will recognise his contribution to the musical world. Over the years Jim has provided some brilliant instrumentation behind lead singers across the spectrum, but now he is letting the other side of his talent shine through as composer and leader of this new outfit.

Complimented by Danny Holmes (guitars), Sean Taylor (bass) and Eric Green (drums) the four-piece has produced a new CD containing 12 original songs and instrumentals. All are written or co-written by Jim and Danny and relate to past memories, following your dreams, and thoughts on life. The album takes on a journey of old time bluegrass, western swing, ragtime, country and a mix of Dire Straits styling thrown in for good measure.

The instrumentation is one of the best overall sounds I’ve heard from a British outfit for many a year. The twin guitar work between Jim and Danny is impeccable and the overall output of the band a variance of light and shade. Having heard them at the Durham Gala Theatre and on disc, I know they are a musician's treat.

Treat yourself at www.dieseltherapy.com or from the band at one of its gigs.

Brian Clough, The Northern Echo

Diesel Therapy @ Rothbury Roots 14/9/2006

Diesel Therapy’s web-site states that “the band want you to have a great night out”. Boy, do they deliver! Diesel Therapy gave the Rothbury Roots audience an evening of superb playing, top class musicianship, wonderful vocals – and a good laugh to boot.

Jim Hornsby took lead vocals, and entertained the audience in between songs with tales and jokes that kept everybody laughing. But the music is serious – and seriously good. The combination of these four musicians at the very top of their game – Jim Hornsby on guitar and vocals, Danny Holmes on guitar, Sean Taylor on fretless bass and Eric “The Groovemeister” Green on drums – is second to none, and the songs, especially those self-penned, are lovingly crafted and presented.

Jim’s vocals are often likened to those of Mark Knopfler, and that is a huge compliment that Jim fully deserves. The mastery of the guitar playing from Jim and Danny, both on solos and harmonies, Sean’s rock solid bass playing, Eric’s understated but masterful drumming – all combine brilliantly.

This is a band that you have just got to see. They made their mark in Rothbury, and an audience went home talking excitedly about this amazingly talented band.

A lot of superlatives? Yes – but they are a reflection of the sheer strength of this band. Get to see them live as soon as you can, and check out their album ‘The Turf House’. It’s never off my CD player!

Kevin Roberts, Rothbury Roots

Diesel Therapy @ Cramlington Folk Club 16/5/2006

... I can only describe the guests as ‘The A Team’: Jim ‘Hannibal’ Hornsby on guitar and Dobro, Danny ‘The Face’ Holmes on guitar, Sean ‘Howlin’ MadMurdoch’ Taylor on bass and Eric ‘B.A. Baracus’ Green on drums. You may know them better as Diesel Therapy. If you don't I’d recommend you get to know them ASAP.

Appropriately enough they started their first set with the instrumental ‘Starting Tonight’ followed by ‘Listen To The Wind’ a great song with a country swing tempo. Next up was ‘Freight Train and The Talkin Blues’ followed by a western swing tune ‘Losing My Rag’. After the song ‘Don't Wake Me’, which had a wonderful Mark Knopfler feel, Jim changed to the square neck Dobro and we were treated to ‘Crossing Loch Derg’, a tune with a beautiful traditional feel. The tempo was raised again with the fantastic bluegrass song ‘Dixie Hoedown’ (YeeHa!) and ‘The Ballad Of Billy McGregor’. The first set ended with a magical rendition of Merle Travis’ ‘I’ll See You in My Dreams’ (which is where most guitarists like me will only ever be seen playing like that)...

Diesel Therapy opened their second set with the Slade Cleaves song "My Drinking Days Are Over" which got the audience singing. Then a real treat - Doc Watson’s ‘Beaumont Rag’ with fantastic guitar harmonies. Then one of their own compositions, ‘Helping Hand’ including – horror of horrors – a mistake! I'm sure Danny Holmes played an F# instead of a G in one of the guitar licks. It seems that nobody’s perfect. The dobro came out again for a beautiful rendition of ‘Waters of Tyne’ and the fine instrumental ‘Cast In Stone’. Then it was back to twin acoustics for the fantastic ‘Keeping It Real’ and a blistering finale - ‘The Huckleberry Hornpipe’. An encore was inevitable and we were treated to a new composition ‘Way To Go’.

What is there to say? Some people have talent in spades, these guys are aces. A great choice of songs and tunes, consummate guitar playing featuring, at times, blistering guitar harmonies, an understated rhythm section keeping it all going. These guys are at the top of their game; perfectionists playing to perfection. I think the real Colonel Hannibal Smith would agree; another plan has come together.

Terry Fletcher, Cramlington Folk Club

Diesel Therapy @ Porter’s Café Bar 27/6/2005

Well what do you know? We just got back from a few weeks in Alaska and found a band better than any we saw in the frozen state playing in our local station. And what a band – twin guitars of Holmes and Hornsby with their similarities and differences in style over the subtly swing of Eric Green and Sean Taylor.

It’s music to smile to – a drift over ragtime, western swing, country blues and occasionally a Tulsa-groove – shades of J.J. Cale but over here. There’s echoes of the great J.J. in Jim Hornsby’s voice as well – somewhere between molasses and gravel.

I expected to be overwhelmed by the tunes but was surprised to find that my personal favourites from the night were songs – admittedly many did have blistering guitar solos in anyway but ‘Listen to the Wind’, ‘I’ve Found A Way’ and the great Slaid Cleaves’ ‘My Drinking Days Are Over’ were standouts.

Don’t listen to me though. Check them out yourself. They’re Musical Jack Daniels – smooth yet spicy with a real kick.

Colin Bradshaw, Guitarist with the KATY FREEWAY

Locally produced music - albeit with strong American connections – is also in evidence on another imminent release by the quartet Diesel Therapy. The band comprises guitartists/vocalists Jim Hornsby (Prelude, Caffreys, Martin Stephenson) and Danny Holmes (Katy Freeway), Sean Taylor (Jez Lowe/Bad Pennies) on bass and Eric Green (Tonto’s Horse, Jack the Lad) on drums/harmonica.

The band members have composed all of the material on the CD, Turf House, which is dominated by bluegrass, Western Swing and old-time Americana influences.

Evening Chronicle, Friday, July 29, 2005