We all have preconceived ideas for words and phrases that we hear. If the term one-man band conjures up a street corner busker, a little readjustment is needed to get the full picture of Scott H. Biram. All of the traditions of one man, one guitar are in place and accounted for on The Bad Testament, the latest release from Scott H. Biram. A good example of what lies behind his Folk music would be a tiger cub. Damn, they are cute and look pretty cuddly but watch out if they are hungry or more than a little playful. The Bad Testament presents Scott H. Biram in the skin he has developed over the course of multiple album releases, a Texas Bluesman with a lot of love for the punk metal of Motorhead and the Country duality of good boy/bad boy of Merle Haggard and George Jones. A distorted twang snakes and writhes as Scott H. Biram pours out his heart into a glass of “Red Wine” as “Set Me Free” unleashes its guitar adding Rock to its Folk tendencies with riffs that spit and snarl while “True Religion” bangs a tinny tambourine as its gospel choir speaks ways of finding salvation.
Scott H. Biram kept the recording of The Bad Testament a completely solo affair, tracking the album in his Austin, Texas home studio, backing his man/guitar persona with multiple musical personalities as he added drums, background vocals, bass, keyboards, percussion and a whole lot more guitars. The Bad Testament huffs and puffs with harmonica breaths as its looks for its path on a dead-end road in “Long Old Time”, tenderly picks out acoustic guitar notes for the personal resume of “Righteous Ways”, chugs out persistent strums as the wheels turn in “Swift Driftin’”, and floors the beat to barrel through “Pressin’ On”. Scott H. Biram is a Folk singer who harnesses his power in a single blast of song much like nuclear destruction can come from one bomb. The Bad Testament stars SHB as the searcher looking for something better that remains out always out of reach in “Crippled and Crazy”, the speed-fueled truck driver heading back home to Texas a breakneck pace in “Trainwrecker”, and the guitar mangler in “Hit the River”.