Worry Knot articles, reviews, etc....

review of dove&crow from Origivation Magazine July 2004
Artist Michael Hughes, aka The Worry Knot, has always had offered warm welcome with his music. His second studio album, Dove and Crow, is no exception. Each song flows through dynamic climaxes and dreamy build-ups as if he sings for no one but himself- think Jimmy Gnecco and Ours. "I Know This" is an amazing track- the acoustics of the piano are perfectly mixed along the guitars and drums to create an odyssey of sound often lost in the recording process.

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review of dove&crow from Splendid 3/26/04
Over the last few years I've come to the conclusion that there are two kinds of songwriters. First, you have those who try and pull the wool over your eyes by dressing up crappy songs with big studios and expensive producers. Then there are the ones who bare their souls and effectively have their way with your heart by giving you something as simple as three chords and lyrics scribbled out ten minutes before the recording session.

Michael Hughes, aka The Worry Knot, falls into the latter category. Following a similar path to last year's Under Trees, Dove and Crow offers songs that make your soul ache, inspire thoughts of love and longing for your significant other (or that girl at the coffee counter), take you to the brink of sadness and strand you there without a life preserver, and so on. The 47 second "Scabs" serves as an acoustic prelude, a little note to remind you that "all of your worries, the scabs on your knees really getting you down / why can't you see it really aint that bad?" From there, it gets serious with "Another Golden One", a slow rocker with guitars galore and production to die for. Oh yeah, here's the kicker: above and beyond the album's palpable sincerity, the mix, overseen by producer/multi-instrumentalist John Wagoner, is flawless. Everything shines through: acoustic guitars sound rich and full, and Hughes's raspy baritone carries through the mix whether whispered or growled. If you're not impressed yet, consider this: the whole disc was recorded (largely live) in a "vacated warehouse" in three days. And Hughes designed the elegant hand-printed packaging… I digress.

"Grey Cat" returns to simple acoustic guitar and Hughes's sleepy message and intimate plea: "I'm the grey cat at the window, watching winter birds / you are the warm in the room / can I be the glittering dust in your hold? Can I be the treetops you painted gold?" We should all be so lucky as to hear such words, though you're guaranteed to never hear them again in such a heart wrenching fashion (that is, unless you own the disc). "Where Autumn Gone" creeps in one instrument at a time, first bass, then delicate backbeat, then gritty overdriven guitars before deceptively cadencing in feedback and an intriguing chord located just next door to the original key. Just as you're about to scratch your head, the barely audible Hughes begins "Lonely Man" with whispers of "Hey, crippled man. She needs you / hey silent man, you're losing her." Much in the same way that "That Place" from Under Trees brings me to tears, I can barely make it through this one, particularly the line "Hey lonely man: you're learning now." If you had any doubt of the autobiographical nature of the disc, the dreamy "I Know This" explains a songwriter's point of view regarding his art and its relationship to love ("I know this: that you know that there's something wrong, and if and when we see it through I'll throw away all these stupid songs"). Once again, the orchestration augments the lyrics by painting it with reverbed-to-heaven-style slide guitars, gentle piano and intricate guitar work.

Hughes's ability to tell a story and make you believe it ranks with such greats as Neil Young, Joni Mitchell and Thom Yorke. His dynamic delivery and performances only further enhance his message, proving that it's possible to have your cake and eat it too.  --Dave Madden
splendid

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review of Under Trees from Splendid 1/25/03
Every month, a new singer/songwriter arrives on the scene to dazzle us with his charming good looks, and possibly a few songs as well. Is it just me, or are these guys the Celine Dion/Mariah Carey divas of the '00s? Their publicists flood the world with anecdotes, bios and everything but the music: you can know every juicy tidbit about people like Ryan Adams without ever having heard a song.

The Worry Knot is Michael Hughes; he sings, plays almost every instrument on the album and wrote almost every one of his songs (with a little help from poets like Oscar Wilde and D. H. Lawrence). However, before you start searching for Hughes on a Dawson's Creek soundtrack (you know who you are), you need to understand that his music is more likely to appear in a suicide note than a WB series. His songs are not the sort of songs you'll sing along to at a BBQ, but rather the soundtrack that accompanies you through the winter of your discontent...or off the cliff at Dead-Man's Curve.

Echos of Brendan Perry, Leonard Cohen, Nick Cave and Tom Waits are heard in Hughes's surreal and haunting voice. He draws you in with a polite yet commanding tone -- like that girl you could never say no to, only (of course) more masculine. The music is quiet (with the exception of the faintly blazing "Rain Keeps Falling" and feedback-embossed latter half of "Gone"), subdued and a direct reflection of the melancholy subjects he's discussing. Plus, unlike many artists, Hughes's music does not take a back seat to his lyrics: even the instrumentals ("Int" and "Pt II") carry their own emotional payload.

Hughes displays the maturity of an apprentice capably (if slightly nervously) walking in the shoes of a master; his care and dedication makes this work strong enough to find purchase among classics like Rain Dogs and From Her to Eternity. Hughes sings of universal themes, such as loss of loved ones, dreams and fears, but his lyrics breathe fresh life into these overly familiar subjects. Generally, the words are simple and hopeful, but invariably bittersweet. In "That Place", he begins with warm memories of a suntanned lover at the beach, and the bed they shared together -- then gracefully pulls the world out from under us with the words, "Help me find that place again. I'm dying here with you so near, and there's so many things between us." After a while, you'll come to expect his emotional sucker-punches -- but they'll still get you.

Too many songwriters are concerned with making hits or becoming television darlings, without regard for the fact that their original soul-baring songs have become fodder for the marketing-driven delusions of equally ambitious producers. Where they fail, Hughes succeeds: his songs compel you with their honesty, and despite the big-studio sound, they are as sonically pure as a demo, etched out in the heat of the moment.  --Dave Madden
splendid

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review of Under Trees from Origivation Magazine March 2002
Somewhere in a tiny Pennsylvania town exists a world inhabited by Michael Hughes and his chosen pen name The Worry Knot. A world in which cars go by at random intervals, the sounds of the neighbors lawnmower hang as high as his american flag, and for some reason, the fear of conspiratorial governmental agencies looms large in the blue skies above. And sometimes... he makes a song about it. On Under Trees (Oddio Records), He has made twelve of them, which thankfully for the listener makes no reference to these previously mentioned subjects, but fortunately does contain some pretty good songs.

The disc's opening instrumental prelude plays as gentle as a feather before giving way to "That Place," where Hughes seems to ponder over the regrettable, yet inevitable, emotional wear and tear that comes with most long lasting relationships, and this kind of reminiscence permeates the theme of the whole record.

Introspective and somber; Michael's vocals take on the character of a world weary crooner rather than your run of the mill rock singer. Made up of equal parts Morrison and Sinatra, with shades of Thom Yorke and Nick Cave tossed in, his subdued baritone delivery makes for an interesting alternative to the above mentioned ordinary singer-types. Competently performed throughout; the album hits an unusual stride with "Rain Keeps Falling," which sports a more apparent modern rock influence than the rest of the tracks.

Hughes immediately follows up with the country tinged "Lazy." This song strolls along with a subtle swagger, but curiously lacks the courage to articulate the use of the "F" word in a certain passage, instead settling on a digital blurb used to distort the potentially offensive expletive.

Just when you think you have a firm grasp on the jist of things, Hughes comes to the table with "Lullaby." Gentle and dreamy; this particular cut seems to be just what the title suggests, sounding like a melodious tonic used to lure the burdened into a peaceful, coma-like slumber.

My favorite moment by far on the album has to be the schizophrenic "Gone." With a beginning as soothing as a spring breeze, and an ending enveloped in a frantic wall of reverb soaked guitars, Gone does a fine job of relating to the listener those all too familiar and inexplicable emotions that perpetually keep writing the guide book to the human heart and soul.

In the end though, Under Trees is a solid first effort from an artist that seemingly has a alot to say and the tools to say it uniquely, and for a long time to come. This crisply produced, emotionally charged release is recommended for your bluest of moods.

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review of Under Treesfrom The Final Cut vol 16 #2
The Worry Knot - Under Trees
Some music comes from a different place; an unexplored, darkish corner of one's soul. Enter the world of Houtzdale-based singer/songwriter Michael Hughes. On Under Trees, the debut CD of Hughes' studio incarnation, The Worry Knot, we are transported into a melancholy world of loss and longing, of sorrow and regret. With a nod to artists like Nick Cave and Neil Young, Hughes laments the passage of loved ones and happier times through the disc's dozen tracks. On "That Place," Hughes is saddened by how the passage of time clouds memories of a happier time and relationship; while "Need To Get Back" yearns to find the point where life got off track. Hughes relays the anguish of a broken relationship on the harder-edged "Rain Keeps Falling;" but on "Lullaby" tries to reassure a loved one that everything will be all right. Perhaps the most powerful track on Under Trees is "Gone," about Hughes coming to grips with the passing of his mother. Hughes speaks to his mother as the song progresses, eventually escalating into a chaotic, anguish-ridden distortion/feedback-laden finale. As dark and melancholy as this album is, Under Trees is also delicate and artistic. Hughes closes the album with musical interpretations of two poems about longing and lament; Oscar Wilde's "Requiescat" and D.H. Lawrence's "The End." Hughes waxes poetic with his own words, selling his laments with a broken voice that sounds authentic and sincere. Through his honest delivery, we realize that Hughes' sadness is the real deal, not contrived. And musically, the arrangements and guitarist/bassist John Wagoner's production give these songs depth, texture and character. Ultimately, while The Worry Knot's Under Trees is a sad album, it is a compelling listen as we hear an artist bare his soul and come to the realization that some things in life are unreachable.

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from The Pennsylvania Musician, 2001 - Greenberg's Top Ten

10. Case 150 - Ephemera
 9. Maxwell Strait - Red, Blue and green
 8. Alien Sphinx - I'm Telling You
 7. The Worry Knot - Under Trees - Musical boldness should be      rewarded. The stark originality, poetic vision and musical mood      setting and coloring of Michael Hughes make this singular      collection a complete departure from the norm ...
 6. The Cellarbirds - Perfect Smile
 5. Bad Luck Charms - Bad Luck & Heartbreak
 4. Stept On - Lonely
 3. Fat Vinnie & The Wiseguys - The Blues You Can't Refuse
 2. Poptarts Monkeys - Just Like Me
 1. No Flies on Frank - OM

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notes on a show from JP's Corner of rockpage.org
...the debut of the live incarnation of Michael Hughes' studio project, The Worry Knot, at Electric Avenue in Houtzdale. This was a very different and interesting performance, personal and intimate. Before a good-sized crowd, Michael took the time to introduce and explain each song, elaborating on the emotions he experienced when he wrote each song...
...reminiscent of the darker works of Bruce Springsteen, Jim Morrison, Nick Cave and Tom Waits. At a few points during the show, the emotion took over and resulted in some heated performances onstage - especially during "Gone," about Michael dealing with the death of his mother. Definitely not music to pound the dance floor to...but music with some intelligence and thought...
--Jim Price

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review of Under Trees from The Pennsylvania Musician
The Worry Knot - Under Trees
The Worry Knot is Michael Hughes, songwriter, acoustic guitarist, drummer, pianist and vocalist. It would be an injustice to call this collection a "concept album," because there doesn't seem to be a central narrative, but there is a unity of mood that pervades Under Trees from top to bottom. This is one of those rare CDs that seems to capsulate an emotion, or collection of beta waves, or color, or whatever, and successfully convey it to the listener. And the color is undoubtedly blue. The sincerity of the melancholia seems undeniable, and one shudders to think of what sort of spiritual capital was invested in producing this work. Hughes has a plaintive voice that delivers poetic lyrics, including Oscar Wilde's "Requiescat" and D.H. Lawrence's "The End" in addition to his own, and the tenor is the same: longing, lost love, and an almost resigned helplessness. This is a remarkable work. There is an organic quality to it that facilitates the sense that you are inside the artist's head, or, more appropriately, that he is inside ours, and we are victims to a sort of possession. Excellently produced, with occasional startling, powerful electric guitar by producer John Wagoner, Under Trees is one of the most interesting collections as a whole that I've heard in a while. Check out the Worry Knot web site for more potent distillations from this poetic, musically provocative soul.
--Alex Greenburg

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review of Uncder Trees from The Progress - Clearfield, PA

The Worry Knot founder Hughes' debut set is impressive

Every person has his own music locked inside somewhere. If you don't get your music out, then it's on you.

"Writing songs is a real personal thing," said The Worry Knot founder Michael Hughes during a chat over coffee Monday morning. "And I want them to remain very personal. You know, I'm not out to write a pop song. I'm just out to write what's in my gut, however that comes out, whatever genre that is."

Hughes' debut set, Under Trees, succeeds impressively, making you feel as though you're standing just slightly too close to someone. It's all Hughes penning the lyrics, singing, playing drums, guitars and keyboards. He gets by with a little help from producer John Wagoner, formerly of Philipsburg, on electric guitars. The harmonica is Chris Reese, from the wilds of Black moshannon. Both add nice textures to the sparse mix, But the "band" is really Mike Hughes and ten of the twelve cuts are chapters out of his autobiography.

"All my songs have been pretty blantantly real stories," says Hughes, who admits it takes a little nerve to throw it all out there for someone to buy. "Yeah, yeah, I know. That's a little scary, but I had the chance to make an album so there they are. They're on there and I've got to live with it now."

By his self-deprecating manner you might not know he is perhaps the best drummer this author has heard locally. By hearing the CD you might not guess so either. The playing on this disc is incredibly restrained, lending to the songs rather than imposing themselves upon them.

Hughes' approach is introverted. The guy digs bands like Red House Painters, Freedy Johnston and Radiohead. "Shoegazing music." For what it is worth, my ear picks up lots of similarities to, say, Neil Young, mostly by way of conscientious vocals and contemplative acoustic guitar.

"Need to Get Back" is more the norm on the record as the artist hearkens back to quiet intimacies, and "Lazy" displays Hughes' sense of humor with it's "So what? So what?" refrain.

Hughes has learned guitar mostly on his own and has in recent years been stepping out from behind the drum kit to play acoustic guitar and sing originals at CAST open mic nights in Clearfield. He says it was a hairy step, but he's beginning to find his stage legs and he rather likes having control of the material.

I don't even know why I did it," says Hughes of stepping into the spotlight. "It was just something I wanted to do. I wanted to be in control a little bit, 'cause you're never in control when you're a drummer."

What you'll get on Under Trees is a good look under the hood of a reflective and spiritual man. Hughes sings with equal parts of honesty and compassion and is looking to pick up local gugs. Two of note are forthcoming.

He'll be doing a solo show (not solo, but rather full band --mh) Nov. 30 at Electric Avenue in Houtzdale and he'll be fronting a full band in a show Dec. 1 at the Clearfield Arts Studio theater, "which will be a really beautiful, intimate show," says Hughes. Both shows are slated to open at 8 p.m.

Under Trees is Michael Hughes' first quiet hello in the dark; a portrait of an artist surfacing, about to emerge. The playing is necessarily understated and the poetry is superb!
--Shawn K. Inlow

copyright 2005 The Worry Knot.