David Quinn emerged as a recording artist in April of 2019 with his debut album, Wanderin’ Fool, a Dylan-esque record reminiscent of The Band era, with a turn-of-the-century vibe featuring Boogie-woogie shuffles alongside country ballads. Quinn became known for his authentic storytelling and traditional sound, which continued to resonate on follow-up recordings.
2020’s Letting Go was characterized by boot-scootin’’ Texas blues, with raw, twangy licks, demonstrating a more Outlaw country vibe, featuring Laur Joamets himself of Sturgill Simpson fame. The follow-up, 2022’s Country Fresh, was a seminal record for Quinn and more of a barn burner than Letting Go, once again featuring Laur Joamets on slide with upbeat grooves throughout. It’s a record I find myself returning to repeatedly, characteristic of the Outlaw sound with rockin’ Teles and fiddle.
2024’s Young Love was a departure for Quinn, not unlike the progression of Simpson, it’s the more easy listening side of his sound, his “adult contemporary” record. Quinn described it as a deeply personal album: “These songs come from my heart and soul. They are stories from my life.” It’s a beautiful, laid-back, artistic approach to Quinn’s sound while maintaining the spirit of a Quinn album. This album leans into smoother production, more introspective songwriting, and softer instrumentation, unlike his more honky-tonk or groove-driven records.
2025’s Up to Snuff finds Quinn returning to his roots. From the twanging groove of the opening track, “Mr. Bossman,” to the blues of “RC&B,” where Quinn declares he plays “whatever I choose . . . just Rock-n-Roll, Country, Blues,” and the slow blues, Commodores-like stylings of “Forever Blue,” Quinn sets the stage for a country, rock, blues album reminiscent of the likes of The Black Crowes and Blackberry Smoke. “Crossroads” ups the tempo with a more funk, jam band sound segueing into the reprise of “Sleep with the Willow Tree,” a ballad that evokes the quintessential Quinn style.
From there Quinn makes his way back into the funky blues jam “Promised Land,” a track that could easily fit into a playlist with The Crowes 2024, Happiness Bastards, release. “Stiff Upper Lip” follows with a Stones-esque blues riff where Quinn declares he’s “Up to Snuff,” an apparent title track to the album. Then it’s back into the slow blues of “Surrender,” a song that encapsulates the Quinn we’ve come to know and love, featuring his introspective songwriting and keys laden, sentimental sound. The tempo heats back up with “Breakdown,” a soulful, bass driven track, where Quinn tries to “keep it in the lines,” despite his “dark side.” The pre-released acoustic, slide guitar stylings of “Easy Rider” concludes the 10 song, 32 minute album, a beautiful track driven by snare rim taps and shakers. It’s hands-down one of the best Quinn tracks to date; Laur Joamets’ slide solo is simply incredible, both complementary and stark at the build of the song.
Quinn’s 2025 release demonstrates he’s back to his original sound and broadens his country style with a more jamming, blues feature that hooks the listener and delivers, ultimately like a good huff of snuff.
