Douglas Greer

For a number of obvious reasons, we regularly find attempts of young artists in our mailbox enticing us to take a closer look at their music. However, for lack of time and other reasons, we can do this only on rare occasions. But if what they have to offer is as good as what newcomer Douglas Greer from Austin, Texas presents on his debut album, “Just A Man,” we try to make time for it.

The recording produced by Michael Ramos is, after all, a classic example of how, in our opinion, Americana is supposed to sound. Greer, who gave up a career in law to pursue his music, is not only a master of telling stories and drawing character sketches, he was also sensible enough to let his roots strongly sound through in his music.

Greer grew up in Port Arthur, a refinery town in the heart of the Cajun part of Texas. And this life is what he describes in his music, leaving out the expected traditional instruments such as fiddle and pedal steel and making more extensive use of the accordion, piano and keyboards. This is what makes his efforts on “Just A Man” interesting for a reasonably wide audience.

Songs such as the one called “People Person” about a dancer supporting her unemployed husband in a night club or the contemplative road song “Road To New Orleans” will appeal particularly to the fans of pure root music, and not only because of Michael Ramos’ accordion playing. The song “Damn Sure Gone,” from which the album derives its title (“I’m just a man – I can damn sure bring a good woman down...” Sounds familiar, doesn’t it?), “Black Train,” philosophizing on blues and a life formed by it, “Heaven Into Hell,” in which the protagonist slaughters a number of holy cows, and “Capitol Hall,” marking the beginning of a break with the past, on the other hand seem to be predestined to go down well with the fans of alternative country rock. And then there are a whole bunch of thoughtful treats such as “Nineteen Ninety-Nine,” reminiscent of the work of Ryan Adams, the heartbreakingly beautiful attempt to come to terms with a past love in “Kill Me Again,” and the moving glance backwards at the high days of the “Dry Creek Cafe," where “innocence never got lost in the crowd.”

Overall, there is only little to criticize. If every newcomer would present us with such incredibly strong material, our life as reviewer would definitely not be easy. Therefore, our warmest recommendation for this CD!!!

- Benny Metten

Port Arthur, Texas... this name should ring a bell with all music lovers. It’s the birthplace of – among others – Janis Joplin, the recently deceased Clifford Antone and indeed... Douglas Greer was also welcomed into the world there. The singer/songwriter newcomer can count with his album "Just a Man" on an enormous response in his home port and it would surprise me if his talent should go unnoticed in Europe.

Very familiar with the ins and outs of the world of musicians – he ran his own booking agency in the 90's and was a member of the roots rock band Amos Moses – Greer looks for his inspiration for his songs mostly in the decline of his Texas hometown of Port Arthur: A prosperous environment that is changed into a neighborhood of neglect, prostitution, drugs, alcoholism and vast numbers of unemployed. Depressing experiences, which Douglas could digest in his own ways by keeping a diary: "Writing about it was the best therapy."

When he, after his move to Austin some years ago, ran across Michael Ramos (John Mellencamp) and Michael took a look at the collection of songs Greer had written over the years, the collaboration between the two quickly became reality. The first result of Ramos' Latin and Greer's Cajun musical roots is now available in the stores and... turned out to be a real beauty. It was a conscious decision to put aside the fiddle and the pedal steel guitar and focus more on accordion, keyboards and piano.

Alternative Southeast Texas country rock molded into ten great songs that create the same atmosphere for which musicians such as Ryan Adams, Steve Earle, James McMurty and Joe Ely are famous. Douglas has a pretty nice storytelling voice. For the recording sessions at Congress House studio, he could on top of that count on the support of Mark Hallman, piano (Carole King), David Grissom, electric guitar (The Dixie Chicks), Tommy Shannon, bass (Stevie Ray Vaughan) and Michael Langoria, drums (Patty Griffin). Of course, it was Michael Ramos who, in addition to his work on piano, accordion and keyboards, kept an eye on everything as producer, and even Lisa Richards ('thanks for teaching me how to sing') dropped in for a bit to do the backing vocals on "Black Train."

A particularly pleasurable first encounter with this newcomer to the world of singers and songwriters, who with his song "People Person" comes pretty close to my/our Greg Trooper. Now, if that isn't a recommendation, I don't know what would be!

- Francois Braeken

In order to grasp the music of singer/songwriter Douglas Greer from Austin, Texas, you have to go down to his Texas birth town, Port Arthur. This is at least what his biography recommends. By the way, Janis Joplin was also born in this town in Cajun country.

Much more significant, though, in my opinion, is Greer's comment: "To me, the most important thing is, 'what's the song about and what's it say'”. The latter is exactly what makes his debut album Just A Man so special: Texts with ingenious character sketches that could have come straight out of a bestseller.

Accordion, keyboards and piano provide a very atmospheric setting for it all. This is not surprising since this brilliant debut album was produced by nobody less than Michael Ramos, ex BoDeans, whose work we have not too long ago encountered in albums by Patricia Vonne, Eliza Gilkyson and Black Water Gospel. The line-up of musicians on this CD is quite impressive. What about David Grissom (The Dixie Chicks) on lead guitar, Mark Hallman (Carole King) on piano and backing vocals, Tommy Shannon (Stevie Ray Vaughan) on bass, and Michael Longoria (Patty Griffin) on drums?

In addition, Greer has a unique warm and honest voice that never gets into overkill. Very nice, melodic songs with meaning and something to tell. Add to that that Just A Man doesn't have a single weak moment and we have in my opinion one of the best Alternative Country Rock CDs of the year. It's too bad that Pa Greer didn't live to see this.
- Jan Janssen

To say that Douglas Greer, who was born in Port Arthur, Texas, and now operates out of Austin, is a reviver is not true. But with his debut album Just A Man, he presents himself nevertheless directly as a talent with perspective; someone who will rise above the average and from whom we certainly can expect more good things.

Greer has a pleasant voice with a nicely relaxed, sexy note to it. Apart from that, he has a quick pen. Ten songs are included on Just A Man, and among them you really won’t find a single weak one. The variety of this debut album is also a plus.

Greer put nobody less in charge of the production than Michael Ramos (also keyboards, piano, accordion), and didn't miss out on the opportunity to have Mark Hallman and Dave Grissom (electric guitar) guest-star. If I'd put together the following podcast, track seven, the great Dry Creek Cafe, should almost certainly be included, but also the opening track Damn Sure Gone und Black Train compete for special attention. Greer's texts show him to be a young man with acute observation skills, and in his music, he and his entourage almost always succeed in expressing just the right nuances.

In short, this former singer from the roots rock band Amos Moses knows how to surprise with Just A Man without actually being an innovator – the proof of great quality. And whether this is important or not, but because this CD had to wait a bit longer for a review, the final verdict itself has improved by a lot. That is to say, the surplus of playing time has turned a good CD into an excellent CD in no time at all. This CD is simply a "Must buy."
- Leo Kattestaart

Douglas Greer’s debut CD, Just A Man, is what roots country music is all about. Each track contains great rhythmic lyrics that weave tales of pure Americana. Greer’s moving vocals complete the rootsy music that reflects a bit of Cajun influence.

Throughout the CD, you find yourself nodding approvingly of the essential theme of the tune and recognizing that it came from the heart of one who seems to have been there. This authenticity that Greer gives to his music and thus to his listener is normally difficult to achieve, but he makes this link with apparently skillful ease.

Greer’s delivery of this fine music is his own. Listen closely to the musical accomplishment and you will hear accordion (in line with the Cajun influence) and excellent layering of guitar and keyboards. Not only is Greer a singing talent but he is also a great songwriter. All and all, it is a great CD for the roots fan and you will truly enjoy this CD.

Brenda Barbee
RMR Staff Reviewer
www.rootsmusicreport.com - Brenda Barbee