'Gas Money' is a blues/rock/boogie tune lamenting the price of gasoline in today's world...the singer doesn't have the money to fill up his ride and go see his girl...

1 MP3 Songs in this album (4:27) !
Related styles: Blues: Blues-Rock, Rock: Boogie Rock, Featuring Guitar

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MICHAEL KATON

While itâs entirely accurate to describe the music of Detroit legend Michael Katon as âbluesâ, it also fails to do justice to the power, intensity and raw Motor City attitude that Katon commands with every note and chord. Ever since he first started playing around the bars and clubs of Detroit at the tender age of fifteen, Katon has infused the traditional blues sound with his own Michigan âtude, and is today considered one of the worldâs finest exponents of blues rock.

After spending 20 years on the move, honing his trade with various blues and rockânâroll bands, Katon relocated from Los Angeles where he had been living during the mid-70âs, to the aptly named village of Hell, Michigan, and released his debut solo album, âBoogie All Over Your Headâ. In keeping with his own DIY ethics and with a firm desire to avoid compromise, the album was released on Katonâs own Wild Ass Records label. It was his dirty boogie style, hoarse vocals and hard-hitting riffs that helped Katon win popularity with fans of hard rock and metal music as well as the blues cats.

Released in England, his second album âProud To Be Loudâ, cemented his international reputation as a guitarist to keep a firm eye on in the 80âs. Following wild, whiskey and sweat drenched shows in the U.K., Katon found himself in the pages of British metal publications like Kerrang! and Metal Hammer.

As the spandex-clad eighties made way for the grungy, plaid-adorned nineties, Katon responded with the sonic attack of 1992âs âGet On The Boogie Trainâ. Hard hitting and completely, gloriously lacking in subtlety, the album showcased Katonâs own unique take on a traditional genre. Fans of Jimi Hendrix and Stevie Ray Vaughn had found themselves a new hero, particularly in Europe where Katon found himself able to command a growing and fiercely loyal fan base.

1994âs appropriately titled âRip It Hard!â did exactly that, with the title track blasting out of the gates like a bull with a matador to aim at, and the record never lets up from there. No More Whisky, Lucky Lucky Lucky and Barbeque On My Boogie were instant fan favorites.

1996âs âRubâ was no less ferocious, though it also managed to highlight Katonâs lighter side, with tracks like the slow blues howler If I Have A Heart Attack Baby and the acoustic genius of The Devilâs Daughter showing that Katon could play slow when he wanted to. That same year also saw the release of Katonâs debut live album, âBustinâ Up The Joint! â Liveâ. Recorded at the intimate Howardâs Club H in Ohio, the record successfully brought all of the sweat and grit of a Michael Katon concert into living rooms all over the world.

As Y2K arrived (and the predicted devastation failed to occur), Katon celebrated with âThe Rage Called Rock âNâ Rollâ, his sixth solo studio album. In glorious contrast to the title, this saw Katon displaying a tad more restraint â a more song-based record.

2002âs âBad Machineâ saw Katon returning to the raw and wicked fury with which he made his name. The song titles (Pierced, Tattooed And Twenty Somethinâ Boogie, Rock âNâ Roll, Whisky, Blood âNâ Guts and American McMofo) gave away exactly where Katon was coming from at this point in his life.

2006âs âMKâ and âDiablo Boogie - Blues Brewed In Hellâ both saw Katon carry on where heâd left off, bringing fire and brimstone blues and boogie to the new millennium.

2007 saw the release of his second live album, âLive & On The Prowlâ. Recorded in Europe during the 2006 MK tour, the album exhibits the flat out sonic firepower of a Michael Katon show.

2008 saw yet another live album culled from the âMKâ tour, âBootleg Boogie Liveâ. Raw and uncompromising, âLive & On The Prowlâ and âBootleg Boogie Liveâ show the world that Katon is still as relevant as ever in the 21stCentury.

As the first decade of this new millennium approaches its end, itâs refreshing to know that Michael Katon, a blues artist in the purest sense, is still around and playing music the way he wants to play it. Such integrity is rare in the modern music sense. Michael Katon is indeed the real deal.