Paul Bibbins’ EP, “Disenchantment at a Distance,” is a masterful showcase of rock ‘n roll that pays homage to the genre’s classic roots while infusing it with a modern vitality that’s nothing short of electrifying. Bibbins, a seasoned guitarist and songwriter from Dallas, Texas, brings decades of experience and a deep love for the genre to the forefront, creating an EP that resonates with the spirit of legendary artists like Jimi Hendrix.
The EP opens with “Bold, Beautiful…and Long Gone!” and immediately sets the stage for a high-energy musical journey. Bibbins‘ guitar work is nothing short of incredible, invoking the spirit of 60s-inspired rock. The track takes listeners on a captivating ride, beginning with a smitten retrospection and gradually transitioning into a soulful croon, all while maintaining an infectious rhythm and expressive guitar solos.
“Thrill Walk” follows with its rousing guitar ferocity, serving as an adrenaline-pumping highlight of the EP. The guitars take center stage, creating a relentless sense of exhilaration. The title track, “Disenchantment at a Distance,” brings a stream-of-conscious vocal style and Jimi Hendrix-esque guitar stylings to the forefront. It’s a gritty, rock-outpouring that also calls to mind the experimental nature of artists like Yves Tumor, showcasing Bibbins’ versatility as a musician.
The EP concludes with “Vista Valley Drift,” a track that highlights Bibbins’ guitar talents amidst a more understated rhythm section. It provides a fitting ending to an exhilarating musical journey, showcasing the artist’s range and proficiency in delivering a dynamic rock experience.
What makes “Disenchantment at a Distance” truly exceptional is Bibbins’ ability to balance classic rock elements with a contemporary twist. While he pays homage to the past, he refuses to be bound by it, infusing each note with a modern energy that ensures the EP remains relevant in today’s musical landscape. This ability to bridge the generational gap is a testament to Bibbins’ musical acumen and his dedication to the timeless spirit of rock ‘n roll.
In a music world where genres continue to evolve and blend, Paul Bibbins’ dedication to the roots of rock ‘n roll is a breath of fresh air. “Disenchantment at a Distance” is a captivating musical journey that reminds us of the enduring power of the genre. It’s a celebration of the guitar’s ability to convey emotions, stories, and pure, unadulterated energy. This EP stands as a testament to the timeless appeal of rock, executed with the skill and authenticity of an artist deeply devoted to his craft. If you’re a fan of rock ‘n roll, “Disenchantment at a Distance” is a must-listen, and a testament to the enduring power of this timeless genre.
ABOUT THE ARTIST:
I’m originally from New Orleans, but in late 2005 Hurricane Katrina uprooted me to Texas; and I’ve lived in the Dallas area ever since.
The lyrics of my songs never come from personal experiences…it’s just not in me to write songs that way. If I tried writing a song about some personal experience or life experience, it would probably sound contrived or forced. As a result, listening to the lyrics of my songs won’t tell you much about me, my beliefs, or my thought processes.
My guitar playing odyssey began in 1973 when I was 17 years old. That’s when the guitar-playing bug bit me. I hadn’t played any other musical instruments before then; and my initial plan was to become a bass player. But when I heard the funk rock lead guitar playing of Omar Mesa in “Fencewalk” by Mandrill, and Ernie Isley in “Summer Breeze” by the Isley Brothers, and I heard all those great 1970’s guitar-driven rock ‘n roll radio hits, such as “Smoke on the Water” by Deep Purple, with Ritchie Blackmore burning it up on lead and rhythm guitar…the choice was made. It would be electric guitar for me…or nothing at all.
After saving up my pennies, I went out and bought my first electric guitar; which was a cheap no-name hollow body guitar that I found at a local New Orleans music store. I started out playing guitar right-handed for the first six months; but then I bought a Fender Stratocaster guitar, and switched to playing left-handed…ala Jimi Hendrix. I still play guitar left-handed today; but I am right-handed.
That’s all pretty normal stuff; except for me switching from playing guitar right-handed to playing left-handed. But here’s where my story really veers off the well-traveled road: The first few years of playing any given musical instrument are the formative years where you form the core of your skills on your chosen instrument. My formative years were spent in essentially my own little musical cocoon. For the first five years after I picked up the guitar, I literally stayed caged up in my room, and all that I played on my guitar was whatever musical ideas and guitar riffs that came out of my head…good or bad.
Musicians typically are at their most creative point when they are young. Thankfully I had enough common sense to tape record myself playing all those songs and guitar riffs that I created during my beginning five years of playing guitar. I had an Akai reel-to-reel tape recorder at that time…and lots of reels of blank tape; so I recorded damn near everything that I could. Some of my best songs were created during that time. In the 1980’s I transferred all of those recordings from reel-to-reel, onto cassette tapes. Over the years I’ve written many songs…but without a doubt, my most wildly creative material dates back to the 1970’s. I still have those old cassette tapes…with a lot more songs and ideas on them; just waiting for me to fully develop them and put them out to the public!
During those first five years I never tried to learn songs off of records or albums, or use a metronome, or jam with other musicians. So in essence the formative years of my guitar-playing life were void of the rules of timing or song structure. I had no real sense of timing; whether it be 4/4 time, or otherwise. I played everything in free-form fashion. There was no method to my madness back then. I was just young, with no real musical goals or aspirations at that time, and totally clueless about the value of learning from others, and from records, and on working on your musical timing.
Although I wasn’t into trying to learn Hendrix songs at that time, I did however, listen constantly to Hendrix albums. So Jimi Hendrix crept into everything that I did, without me even trying. Jimi remains my primary musical influence to this day!
In this life though, one thing almost always leads to another… That whole process of me playing guitar without any musical boundaries (timing or otherwise) during those initial five years, is exactly what led to me having a musical sound that I can call my own; and which also led to odd-timing being an integral and signature part of my guitar playing and song writing. Several musicians have told me that the odd-timing in my musical compositions sounds natural, not contrived. I’d have to say emphatically that odd-timing comes to me naturally because that is the arena that I played guitar in from the very beginning.
I’ve never had guitar teachers, or people who’ve mentored me on guitar. It’s always been the case that I just want to figure things out for myself on guitar…which, in the big scheme of things, helped to stamp my musical sound as my own.
It wasn’t until later on, for purposes of doing cover songs with my various power trios, that I got into learning from the records and albums of musicians like Jimi Hendrix, Stevie Ray Vaughn, and Robert Cray; all of which brought me into the world of traditional musical timing (4/4, 3/4, etc)…which was an absolute necessity.
A real benefit that I especially got from learning Jimi Hendrix and Stevie Ray Vaughn records was that I learned how to project power in my guitar playing; how to really attack my guitar, and make my guitar riffs and solos really mean something!
For better or for worse, I wear all the hats on my albums: song writer, guitarist, bassist, vocalist, producer, recording engineer, mixing & mastering engineer, and drum programmer. I can’t play a lick of drums…but I can do some damage with a drum machine.
The rock-n-roll power trio is my thing, or thang, as some would say. But the power trios that I put together over the years never lasted for very long, or went anywhere. I have been a 9 to 5 working stiff all my life. I currently work in IT as a Network Engineer.
