Tom Vollman

Moonshine from Milwaukee. A heady brew of amp melting guitars and heart melting songs.
Seven Years is a record that splits Alt Country right down the middle. The music is rock. The
songs are country. Simple. Reading the lyrics to '1000 Miles' off the page you could be in
Kristofferson territory.... 'Thousand miles & nowhere, Diesel groans- all alone, your perfume on
my coat' or 'Bottle' ..... 'You can see I've got a problem Jesus don't seem keen on me. I do more
cussin' than praying hoping whiskey will save me'. However, set them to the music and
suddenly we are thinking Buffalo Tom, Green on Red or The Bottle Rockets. Bass booms, guitar
squeals & singer rasps... beautiful. The sonic variety tends to be limited to fast song/ slow song,
however, if it ain’t broke etc. The most interesting attempts at a change of scenery are either
the rock hoe- down of 'Garden State Heartbreak', or 'Gin Mill'; although listeners, particularly
here in the UK, may struggle to get past the latter’s resemblance to Peter Bruntnells 'Jurassic
Parking Lot'.
The songs are written, in the main, by vocalist Tom Vollman & tend to deal with the disintegration
of his relationships. You would think that after so many, his repertoire of responses to
such situations would extend beyond driving out to a motel & getting absolutely battered on
cheap whiskey. That said. I have been through the mill a few times myself & don't have too
many worthwhile alternatives at my disposal !!! You're singing to me Tom.
The recording itself is the thing that really shows Moonshine Sways class. Producer Chuck
Frkovich has retained a garage feel to the tracks showing the band to be well rehearsed and
capturing them live. Just like in ye olde days. As a result, power comes from the feel & energy
in the performance rather than multi- tracking & overdubs. The production remains dry and
an apparent absence of effects let you know you are in the hands of a band/ producer that
musically really know their stuff. Taken together, it really whets the appetite for the live show.
The only distraction I found was in the drumming. Scot Snarskis style is a little too percussive
for my tastes. On occasions he sits a fraction behind the beat & changes his hi- hat/ cymbal
patterns every four or eight bars. On the driving tracks like 'Faultline' this can be a little
distracting. In such a small band I personally feel that the drummer needs to be a little more of
an anchor. Felt & not heard (so much). Still, that is small criticism for an engaging record. It is a
familiar style to that enjoyed by virtually all visitors to this site, and as such I can see no harm
in recommending this as a fine addition to the Americana- UK catalogue.
www.moonshinesway.com PG
Moonshine Sway “Seven Years” (Independent 2004)
Available: Now. Review by Pete Gow - Americana UK

The Anchorage Press
Anchorage, AK
June 5, 2008

Tom Vollman, the Milwaukee based musician, will be performing a solo show at the Huffman hotspot, Tap Root. Americana frontman for Wisconsin’s Moonshine Sway, Vollman is praised for his thoughtful lyrics and acoustic talents. His debut solo album, The Betty Violet, will be released this summer. Vollman suggests; “The intention was one of pure revelation—a communion with a bleak obsession of the inescapable, laced with the hopefulness of salvation.” This is a show and an album you will not want to miss.
- Anchorage Press

Alt.CountryTab.com--London, England, UK August 9, 2004
Seven Years
Moonshine Sway
Website Links: Moonshine Sway
Label: Self Released
Available: Now
Rating: 4 out of 5 stars
Reviewed by: Carl Anders
The problem with some press info you get is that it can be slightly misleading as to what the finished product is
like. However, sometimes, like Moonshine Sway, it can be a pleasant surprise to discover that rather than the
promised "a vintage blend of cow punk nestling the finer elements of old-time country, punk, and alternative rock
into a forceful package of dirty, bleeding guitars, thumping bass, explosive drums; and ragged vocals" and the
numerous newcomers similarly inspired, that it actually is a vintage blend, but of much more.
Although it does have nods to Uncle Tupelo and Slobberbone, the main sound is much more early 90's Boston
than anything else. More specifically there's a sound and feel of the early J Mascis produced works of Buffalo Tom
with all the raw rock and roll contained in songs like Sunflower Suit and the gritty vocals that mellowed on subsequent
Buffalo Tom records. All this of course with a twang.
Like Buffalo Tom, the songs talk about rejection and dejection, all well written, crafted and performed songs.
Songs that promise to be powerful and blistering when performed live. Even though the band's own press talks
about Uncle Tupelo (and beer and whiskey quite a lot), if it's not too sacrilegious to say it, the songs are more
sophisticated than that. Rather than piling on a large amount of bitterness into the brew, just like Buffalo Tom
there's more of a sad acceptance to the lyrics, resulting in a softer edge. (Not to be confused with watered down
Dawson's Creek "Rock and Roll" I hasten to add.)
All of which, naturally, makes for a very good record indeed.
Copyright © by AltCountryTab.com All Right Reserved.
moonshine sway
seven years - Alt.CountryTab.com--London, England, UK

From The Onion, Madison, WI - 1/4/07

The Onion A.V. Club Pick

"With his band Moonshine Sway, Tom Vollman released a couple of EPs and the 2004 LP Seven Years , a pleasantly rough set that might appeal to fans of Springsteen and/or The Bottle Rockets. The band's gritty charm carries into Vollman's solo performances, thanks to his burly, commanding voice and his willingness to bring variety to an acoustic set."

www.theonion.com
- The Onion

Moonshine Sway are best heard through the amber filter of a brew.
Although they are clearly a bar band -- and the best bar band you're
likely to hear any time soon, at that -- their genre is not so easily
defined. They are not quite rock or alt-country: neither truly punk in
spirit or sound, nor overtly rockabilly. They are a combination of all of
these elements, and unlike other bands that bring together such
disparate sounds, they are more than the sum of their abilities and
influences.
From the minute you put it on, Seven Years is the best jukebox you've
ever heard -- effortlessly general in sound and specific in scope. Vocalist
and lyricist Tom Vollman uses precise details and his dirty, gravelheavy
voice to make the album's common themes (death, love, losing
and longing) real and immediate.
"Austin City Nights" shows off the ways in which the elements
combine. Over Bob Berry's round walking basslines and Chris Dorch's
subtle guitar work, Vollman's voice scrapes along like a drunken
Springsteen, describing a loss that is heartbreaking in its commonality:
"I stare at her pictures in the dead of the night / Her promise means
nothing to me / Well she told me lately / She'd be home by now / But
nobody misses her much." Then, later, "I passed out in Memphis, can't
find my way home / These pills they can't help me, can't end all my
dreams." The aforementioned elements are stellar, but the binding bit
here is a short organ solo that appears at the beginning and end of the
track, bookending the song in proper decay.
Not all of the songs wallow. Some, such as "Garden State Heartbreak",
run with twang and verve, encouraging the unseen audience to dance
and drink. Here, the effervescent guitar riff rolls faster than the snare
fills, an impressive feat that keeps the beat moving forward and the
feet on the floor.
This is an album to drink to, to drive to, to cry to, to wallow and
celebrate with. It is meant to be as close as a friend and as attentive as
a bartender. Order up and let it out.
-- Tyson Lynn - Splendid-Chicago, IL, USA

Tom Vollman

Live In Chicago-10/26/06

4.5 out of 5 stars

On his latest effort—a solo, acoustic departure recorded live at Chicago’s intimate Wise Fools Pub—
Tom Vollman, the talented singer/songwriter/frontman of the Milwaukee, Wisconsin-based Moonshine
Sway, weaves his way through 12 songs (eight originals and four covers) packed with passion, heartache
and the loneliness of the open-road. Vollman’s originals stand as stark, motion-picture reminders of lives
lived in almost-recognition, caught in the rambling wilderness of half-strewn promises and broken
dreams.

On ‘1000 Miles’, Live In Chicago’s opening track, his vocals spill-out line after line of wishes, ‘And I’ll be
dreaming of you/Wishing back home,’ while balancing hope in the flavor of romance, ‘A thousand miles
and nowhere/Diesel groans/Your perfume on my coat/Makes me think of you’. The songs get tighter as
the disc wears on with Tom’s hollow guitar melting beneath his warm, strained vocals. Folks may hint at
shadows of Mellencamp, but a Nebraska-era Springsteen-ian feel haunts most of the originals, coming
to an all-too-proper head in the lovely ballad, ‘The Sweet Hereafter’. Lyrics of restless, lovelorn ambition
settle on the banks of the Los Angeles river—‘Sometimes we’d walk down to the reservoir/When the
lights came on and the sky turned down’—spin through desperate qualms and wishful
declarations—‘It wasn’t all that calm/I could drown in her memory/In the shades of the sweet hereafter.’
Vollman’s opaque songwriting style and his flavor for lyrical drama are what separate him from his
solo/acoustic peers. On ‘Lincoln, NE’ he pays homage to the traditional Apache wedding ceremony
calling forth promises that, ‘Now you’ll feel no rain,’ as the deeper graces of his thoughtful, Byron-esque
writing paints a wry picture of romance, reminding me of the softer, finer elements of Ryan Adams’
Heartbreaker.

Overall, the recording speaks nicely to Vollman’s live performances. His commanding voice takes center
stage with his guitar work rounding out a surprisingly packed sonic landscape. His covers of Oasis’s
‘Wonderwall’ and Social Disortion’s ‘Ball and Chain’ are spot-on—a testament to his willingness and
ability to move beyond his genre type cast. Closing out the set, Vollman pushes ‘Chelsea’ onto his
listeners, a distinctive and addictive tune opening with the lines, ‘She had a little revival/On a
chrome-plated pistol/And shot herself in a rented limousine.’ Distinctive—most definitely…
effective—unbelievably.

Vollman’s web site carries promises of a full-length, studio solo effort by spring’s end. It can’t, in my
opinion, come soon enough. In the meantime, I’ll be spinning and touting this live disc. Do yourself a
favor—catch Tom now (solo or with his band)—you won’t be disappointed. This is a star on the rise,
destined to burn bright for some time.

Gino Fucito
Cincinnati, OH
December 2, 2006

indie village
the reviews - Indie Village

As Milwaukee blue-collar as a can of PBR, Moonshine Sway’s brand of alt.country (rollicking tunes of heartache,
boozing and the open road) is indebted as much to the songwriting strain of Uncle Tupelo, as the
country-punk ilk of The Bottle Rockets, Sway’s old-timey, roots Americana feel truly belies the band’s age
and experience. Promoting 2004’s first-rate studio effort, Seven Years, Sway is sure to leave their catchy pop
hooks and whiskey-drenched twang buzzing in your ears.
****
Alt-country-rock band Moonshine Sway has earned a reputation for primo live performances over the last
year with a relentless schedule that has taken them across the country. Wilco meets Whiskeytown with a
style that ranges from foot stompin' to an almost pop-punk edge when lush choruses collide with gritty
honky-tonk splendor.
****
Hank Williams having a drink with the Rev. Horton Heat might be a good way to describe the melodic, yet
jagged edged cow punk of Moonshine Sway. Rob Bueller (drums), Bob Berry (bass), Chris Dorch (guitar) and
Tom Vollman (guitar/vocals) have spent the last year gigging and fine-tuning a sound that banters between
knee-jerk and tears in your beer. The band's standout features--songwriting, musicianship, excellent vocals-
-take alt-country to a higher level. Slip on those boots (the square-toed kind with the buckles) and catch
their next performance.
****
When it comes to alternative country, few bands have shown the tenacity of Milwaukee's Moonshine Sway.
The boys have spent the last two years banging on every door from here to Chicago peddling their brand of
country pop with punk attitude. As with any musical endeavor, the road to popularity is a long one, but the
boys have made it happen drawing bigger crowds with every show. MS proudly presents their most recent
accomplishment with a their debut disc, Seven Years. - Shepherd Express--Milwaukee, WI, USA

Originally published 08/01/04 in Vital Source Magazine
Milwaukee, WI
Moonshine Sway
Seven Years
www.moonshinesway.com
by Jeremy M. Rottgen
They say the best homemade wine comes from the Appalachian Mountains. Then there’s the white lightning
from the local trailer park that hits harder than most. When it comes to doublewide-inspired music, Moonshine
Sway is a hefty swig of Milwaukee’s alt-country scene.
Seven Years is Moonshine Sway’s first full-length effort. Despite spending more than enough time in bars,
Moonshine Sway is more than just a bar band. Some of the tracks sound like pure rockabilly, while others leave
the music open to slower riffs. The vocal stylings of singer Tom Vollman lend a classic rock feel, while the sway
of a slide guitar keeps things country-fried.
“1000 Miles” kicks off with pure whiskey-fueled rockabilly. “Austin City Nights” and “Chelsea” introduce the
softer side of these corn-liquor heroes. “Gin Mill” is an excellent example of country guitar blended with uncountry
vocals. A good number of the tracks keep things mellow on Seven Years, but “Faultline” picks up the
tempo again before the end.
The good thing about Moonshine Sway is that you get twang from the guitars, not from a singer’s throat. It
may not be traditional country or rock, but it’s fine for folks who like to relax, drink and listen to songs of heartbreak
and booze.
Jeremy M. Rottgen - Vital Source Magazine--Milwaukee, WI, USA

Moonshine Sway Seven Years
by Jeremy Berg
Alt-country is a funny beast, ranging from the gothic Christian bluegrass of 16 Horsepower to the
old-school-country-isn’t-really-different-from-punk-rock-here-I’ll-show-you of Jason and The Scorchers or
Uncle Tupelo. The only real rules are 1) stay true to country’s heart and 2) try something different.
Moonshine Sway fits admirably into the canon in both respects. Lyrically, in fact, they’re a little too tied
down to country traditions. Almost every song is about drinking, heartbreak, and loneliness, and in that
respect, they can be hard to tell apart. The music, however, is another story. The sound most closely
resembles 1970s L.A. country rock like The Eagles or Jackson Browne, but rootsier and with the excellent
spin of the Police’s inverted power trio formula. Bassist Bob Berry frequently plays the lead line while
singer/songwriter Tom Vollman and Chris Dorch supply chord washes on their guitars, and on tracks like
“Chelsea” and “Garden State Heartbreak,” where the guitars carry the melody, he maintains a muscular,
busy presence without coming too far forward.
There’s a wide range to the sound as well. At almost an hour in length, Seven Years is a full musical journey,
going from mid-tempo to ballads to roots rock rave-ups. It also traverses the country—listen for place
names, and you’ll hear Austin, New Jersey, Memphis, New York, Boston, Georgia, and all points in between.
Song after song reminds us that pain is, literally, everywhere, but the warm production and gorgeous
playing keep things from becoming depressing.
Life is hard. Give it a good backing track.
Seven Years is available at Atomic Records, Rush-Mor Records, Exclusive Company on Farwell, and Barnes &
Noble at Mayfair Mall, as well as at cdbaby.com and moonshinesway.com.
The Voice of Milwaukee’s Left Bank
August 1, 2004
Milwaukee, WI
- Riverwest Currents--Milwaukee, WI, USA

Artist(s): Moonshine Sway
Album: Moonshine Sway EP
Label: Self Released
Available: Available Now
Rating:
Review by: Doug Floyd
Moonshine Sway are a four piece Milwaukee, Wisconsin band formed in the winter of 2002, with the intention of breeding a subtle mix that tips its hat at “old-time country, punk, and alternative rock”. The material on this eponymous EP trawls the familiar thematic suspects of drifting, drinking, heartbreak and guilt. The four tracks on this impressive sampler demonstrate an uncanny ability to create efficient songs that manage to say a lot and travel a long way in a short space of time. The music is economical and contains the classic blend of guitars bass and drums that produce a pleasant mid point that demonstrates what altcountry really is about…edgy rock and roll with a country twist.
Vocalist Tom Vollman has one of those rasping, emotive voices that seem to proliferate in the altcountry genre…and long may they run! Embodying a lifetime of living in a simple exhortation it is one of the factors that help generate the potent attitude in these songs. On the slower numbers, he sounds like Mellencamp, on the more up-tempo ones he teeters into the Springsteen badlands, but the overall feel leans more on the Uncle Tupelo or Slobberbone punk ethic than blue collar rock. The rest of the band delivers in just the right portions; the guitar is effective and sparing, the drums are powerful, though occasionally straying a bit too far up in the mix and the bass winds its way around the melodies in a lively and resourceful manner.
First track “Chelsea” plunders a mid tempo 4/4 country rock path that is a hallmark of this genre, a gentle harmony helping to carry the lead vocal with its complimentary backing. “Austin City Nights” has a distinctive texture as suggested by the title, its balladic formula matching the premise of drunken heartache and sorrow. “Faultline” has a more aggressive punch to it than the other tracks, the ride cymbals carrying the pace as Vollman growls his way through this energetic rocker. The attitude gives the song a tremendous dynamic that brings to mind the Clash when they used to rock ‘n’ roll rather than swagger. This short set comes all too quickly to its conclusion with “Reservoir Dog” which opens with a wonderfully brooding and raggedly lonesome guitar which soon gives way to a reverb heavy jangle that carries a touch of lightness along with it. The theme of restlessness, escape and drifting a familiar one but seldom dealt with such panache, something that would have fitted lyrically well on Richmond Fontaine’s ‘Winnemucca’ album and without doubt is the best track proffered here.
This is a band still in its formative stages, their sound is well formed and the songs have grit as well as melody making this package a teasing sampler for what the band can no doubt offer. The production is good, though maybe the drums are a little too ‘up there’, the whole rhythm section package could do with being beefed up a tad, but all the elements are there, it is just a question of getting the formula just right. The tone here is close to that employed by Drag the River on their ‘Closed’ set and when taken as a whole the four tracks here whilst probing other influences stylistically at least matches that bands sound more than any other. Moonshine Sway are a band that play music with heart and soul and a whole heap of whiskey, it is a satisfying experience listening to these four tracks and I for one will be anticipating a full length release with bated breath…much is promised!
- Alt.CountryTab.com--London, England, UK

As Milwaukee blue-collar as a can of PBR, Moonshine Sway’s brand of alt.country (rollicking tunes of heartache,
boozing and the open road) is indebted as much to the songwriting strain of Uncle Tupelo, as the
country-punk ilk of The Bottle Rockets, Sway’s old-timey, roots Americana feel truly belies the band’s age
and experience. Promoting 2004’s first-rate studio effort, Seven Years, Sway is sure to leave their catchy pop
hooks and whiskey-drenched twang buzzing in your ears.
****
Alt-country-rock band Moonshine Sway has earned a reputation for primo live performances over the last
year with a relentless schedule that has taken them across the country. Wilco meets Whiskeytown with a
style that ranges from foot stompin' to an almost pop-punk edge when lush choruses collide with gritty
honky-tonk splendor.
****
Hank Williams having a drink with the Rev. Horton Heat might be a good way to describe the melodic, yet
jagged edged cow punk of Moonshine Sway. Rob Bueller (drums), Bob Berry (bass), Chris Dorch (guitar) and
Tom Vollman (guitar/vocals) have spent the last year gigging and fine-tuning a sound that banters between
knee-jerk and tears in your beer. The band's standout features--songwriting, musicianship, excellent vocals-
-take alt-country to a higher level. Slip on those boots (the square-toed kind with the buckles) and catch
their next performance.
****
When it comes to alternative country, few bands have shown the tenacity of Milwaukee's Moonshine Sway.
The boys have spent the last two years banging on every door from here to Chicago peddling their brand of
country pop with punk attitude. As with any musical endeavor, the road to popularity is a long one, but the
boys have made it happen drawing bigger crowds with every show. MS proudly presents their most recent
accomplishment with a their debut disc, Seven Years. - Shepherd Express--Milwaukee, WI, USA