IMG_2026 smaller.jpg

TURCHI is kudzu boogie, a blend of slide-guitar fuzz and Deep-South trance, growing new branches from the deep roots of American music. With influences ranging from Hill Country bluesmen Fred McDowell, RL Burnside, and Kenny Brown, to iconic artists such as the Allman Brothers, Sly Stone, and Stuff,  to songwriters like Randy Newman and JJ Cale, TURCHI continually incorporate new sounds and ideas while remaining consistent to their trademark slide guitar and driving rhythm style. 

The band’s first album, Road Ends in Water (March 2012, Devil Down Records), featuring Luther Dickinson (North Mississippi Allstars/Black Crowes), was compared to the early work of the Rolling Stones and Bob Dylan in terms of songwriting, vocals, energy, and spirit, as well as with the White Stripes, Drive-By Truckers, and Black Keys. 

Thirty-three states, twelve months, and 50,000 miles later, TURCHI released their second album Live in Lafayette (March 2013, Devil Down Records, recorded live Nov. 2012 in Lafayette, LA) with featured guests John Troutman (The Mendoza Line/Little Band of Gold) on pedal steel and Brian Martin on Harmonica. Mixed at Ardent Studios (Led Zeppelin, ZZ Top, Bob Dylan, North Mississippi Allstars) and mastered by L. Nix Mastering (Stevie Ray Vaughan/Elvis/Beck), the album captured the live energy and groove the band had built on the road, stretching out the songs to sink deeper into the night-train boogie, and received rave reviews in the US and abroad.

Only a few months later, the band was featured in the Oxford American for their third release, My Time Ain’t Now (Nov. 2013, Devil Down Records), an EP capturing a more Americana, narrative-songwriting style, recorded at Ardent Studios in Memphis in December 2012.

After a hugely successful tour of Italy in November 2013, the band is focusing on preparing for and touring in support of the release of their third LP, due out April 2014.

Praise for Road Ends in Water:



“…Then comes Turchi with another representation of the northern Mississippi sound… In “Do for You,” an uptempo toe-tapper, Turchi’s vocals are reminiscent of Bob Dylan. Yes, I know. I’m not supposed to compare anyone to Bob Dylan, but it’s not just the sound, it’s also the storytelling quality that brings Bob Dylan to mind. … In an interesting twist in the next song, Turchi sounds a lot like a young Mick Jagger. In fact, this song sounds a lot like what The Rolling Stones did in the early days when the band recorded songs like “Little Red Rooster”. With the next song, also like The Rolling Stones, Turchi covers Muddy Waters. This version of “I Can’t Be Satisfied” is a solid tribute to one of the great bluesmen. The vocals are very low-fi and the slide guitar will make you want to get your hips moving. With songs that range from classic blues and slow burners (“Don’t Let the Devil Ride”) to uptempo gems “Keep on Drinking”, this album has everything a blues fan could want. 5/5 Stars.” 

Gary Schwind - Schwindy’s Indie Music Blog, LA Examiner 

Devil Down Records   Devil Down Records, North Mississippi Hill Country Blues   Guitars.jpg

Praise for Live in Lafayette: 

  The tagline for Live in Lafayette, the new record from North Carolina-based band TURCHI, reads "Kudzu Boogie from Swamplandia" and that little descriptor hits its mark, for this collection marries the boogie pedigree of Mississippi Fred McDowell and his protegees with down and dirty swamp blues.

A relentless groove permeates the collection with outstanding playing by guitarist Reed Turchi, drummer Cameron Weeks, and bassist Andrew Hamlet, along with guests John Troutman on pedal steel and Brian Martin on harmonica. They get dirty, they get raunchy, and they get adventurous as their ceaseless groove takes over every song.

It's only he second album from the group, sandwiched between their debut Road Ends in Water  and their forthcoming stuio follow up. But a live recording might just be the best way to hear this kind of music. You can feel the rough and tumble pulse channeling itself like a supernatural force through the musicians on stage.

Midway through McDowell's Write Me a Few Lines, they lock into an ancient, hypnotic groove that is both uplifting and stupefying. They also cover McDowell's Shake 'Em on Down, Alvin "Youngblood" Hart's Big Mama's Door, and Muddy Waters' Can't Be Satisfied. But for all their communion with the past, TURCHI sounds vital, alive, and essential-a modern band. It helps that their tunes are cut from the same cloth as their ancestors'.

On Live in Lafayette, TURCHI prove to be fine purveyors of modern-day boogie and legitimate keepers of the flame. 

-Tom Speed - Living Blues 


Praise for My Time Ain't Now: 

Reed Turchi went for a drive. Sixty-thousand miles, 10 months and one life-transforming odyssey later, the ramblin’ man emerged out the other side. But you don’t need a stethoscope to diagnose that having literally lived on the road for so long— alone, out of a van, songwriting senses heightened— altered him. You just need to spin “My Time Ain’t Now”, his guitar-heavy band’s new short (but not so sweet) record. Stylistically, the dour five-song travelogue makes a drastic about-face. Melodies are far more ethereal, his bottlenecking more syrupy, the droning more atmospheric, its gauzy haze even having mild psychedelic properties— at least compared to what we’ve grown to expect from our favorite kudzu boogeymen. The title track is still home base, with its crashing jukehouse cymbals whipping along a north Mississippi groove that you can saddle up and ride (or at least grind to for a while). Everything else levitates above the bandstand. Listen to “Minds Eye” boil up into a fantastic series of opioid crescendos unlike anything they’ve reached before. Reed’s trademarked way of vocally drawling out phrases remains intact. The same goes for his lyrics, which have always provided plenty of wordsmithed proof that this isn’t such a pretty world after all. Lines here kick out about “waiting for the bullet I never see come,” taking knives to the heart and that oh-so-doomful reminder to “better bring a shovel, be expectin’ the worse.” Of all, “Ellicott City” is the biggest bummer, a eulogy for both his cancer-riddled uncle and those two 19-year-old women who were buried alive beneath a crushing black mountain of coal delivered by a freak train derailment there last summer. Workin’ its gloomy mojo as a soft backdrop of supernatural oooh-oooh’s and equally ghostly slide guitar float past makes for a, dare say, beautiful devastator. Rollin’ and tumblin’ blues of a new order.

-Dennis Rozanski, Bluesrag Magazine