High Time is an impromptu set of original tunes from an unplanned recording session. What 
began as Hawkins spontaneous desire to record an acoustic blues record with guitarist Drew 
Stawin, has resulted in a 180 degree eclectic mix of original Soul, Blues, Rock, Spiritual, R&B, 
with a hint of Jazz and Latin.  Songs that relate to life and times, love and relationships, 
dancing and simply having fun.  The "musicians having fun" aspect is apparent in several of 
the tracks as in "Take Me Back To Memphis" and "Crack Me A Cold One".  A true story written 
about and dedicated to a fraternity at the University of Georgia.  Stevie performed at the 
fraternity house while on the 2005 tour of colleges with the Dean Dollar Band.  

Accoring to Hawkins, from the onset of the sessions, the songs gave birth to a life of their own.  
The lyrics seemed to write themselves, the music and melodies happened in the same manner.  
Most of the songs were individually written and recorded (first takes) in entirety over a one or 
two day period.  The recording process was also kept simple in an effort to achieve a more 
authentic or raw sound with very little processing utilized.

High Time combines the artistic interpretations of African-American, Hispanic and caucasian
musicians.  Hawkins thinks this approach to a unity effort was much a part of the magic and 
success of Stax, Motown, Gamble and Huff, and the Atlantic Records sessions.  From that light 
of thought, Hawkins enlisted musicians from the 60s/70s era of those labels to perform and 
contribute to the High Time sessions. Hawkins says, "musical and melodic simplicity fused with 
lyric content that relates to the everyday person are the keys to moving people emotionally.
Whether it be a sappy love song, a tear jerker or a dance tune, simplicity relates and works.  

High Time is a project delivered from the heart with disregard to perfection.  Allowing true 
human emotional elements and/or feels to be captured and retained throughout the track 
list.   All in, about a two month project.  The session timeline is indicative of Hawkins desire 
to revert back to an era when recording an album took only a month or so to finish, rather 
than the 6 month average today.  In other words, letting the musician's creative visions 
and self-expressions be realized on the spot, rather than a producer's. Hawkins says; "It is
a producers world in the industry now. Very few artists have any input into the outcome of
their music. Although, we're probably shooting ourselves in the foot for releasing a project 
such as this in todays market, we really don't care. We wanted to do some music that we 
love to do, so we did it.  If someone picks up on it, understands and appreciates what it is 
about, then we appreciate that person's sensibilities. We didn't try to be modern, no loops, 
no drum machines, no sequencing, just us playing and having fun. The way sessions were 
some years ago. We have the luxury with Emphasis of not having the label or producer 
dictating how the music should relate. We're directing our musical output toward an older 
audience.  Maybe some of the younger set will like some of the music too?  Bottom line,
this project is not designed to impress the industry or hipsters, we weren't trying to force 
write hit songs, we took it all back to simple and went with what came first, 'the natural 
feel'."

Via Hawkins vocal and drum stylings reminiscent of his days playing with Rufus Thomas 
and Albert King, the soulful guitar work of Drew Stawin and Johnny "Guitar" Brown, 
expressive tenor sax of Wally Tarado, the pocket bass of Terrell "Cool" Robinson and 
other supporting musicians, High Time takes us on a journey through some of the sounds, 
moods and grooves of the late 1960s and early to mid 1970s.  Here again, as with his previous 
Southern Rock release, "Georgia Jam", Hawkins and company holds true to themselves by 
going against the grain of current popular music and productions.  Creating music that lives 
inside them, rather than music to accommodate trends.  Hawkins & company hope you have a 
High Time listening! 

Hawkins dedicates these recordings in memory of Ray Charles, Rufus Thomas, Little Milton 
Campbell, Chester "Howlin' Wolf" Burdette, John Lee Hooker, McKinley "Muddy Waters" 
Morganfield, Wilson Pickett, Otis Redding, Freddie King, Jimmy Reed, Lightning Hopkins, 
Albert King, Brook Benton and Funny Papa Smith - The Original Howlin' Wolf.  All have had 
a major influence and impact on shaping Hawkins musical career. Those influences can be 
heard throughout the recordings on High Time.

Review of High Time 
that appeared in the 
September/October 
2006 issue of Bands 
of Dixie in France.

A year ago, I did not know Stevie Hawkins at all, even though he is a veteran musician having played 
behind Albert King and Rufus Thomas.  He is however on the way to becoming an inescapable person 
of our small world with on the one hand his quality-label Emphasis, which has just realized the release 
of the album of the return of Hydra and that is preparing to record a live recording of Eric Quincy Tate, 
and on the other hand his own discs, on the same quality-label.  The first one, "Georgia Jam", groups 
together tracks taken from different concerts, with some famous guitarists as Spencer Kirkpatrick (Hydra), 
Wayne "Bear" Sauls (Eric Quincy Tate) and Reddog subtitled. "Southern Style Rock and Roll" descendants 
of Allman Brothers / Eric Quincy Tate. The new project of Stevie Hawkins, "High Time", is oriented differently 
and has this time no report with the rock Confederate.  For this substantial CD of seventy-three minutes, 
Stevie Hawkins wrote or co-wrote eighteen songs with Charlotte Hannon and Drew Stawin, who is also 
here the guitarist.  I would not quote the body of the musicians, too numerous to mention, who were 
chosen for having played the big time for labels as Stax, Motown or Atlantic.  Their names would not mean 
anything to you, except for the one of Spencer Kirkpatrick, the acoustic slide, on "Mr Conductor Man".  It is 
necessary nonetheless to speak all the same about the presence of a section of brass instruments as playing 
an important role on this disc, it gives to us an even presence of soul, rhythm & blues, blues with touches of 
rock, gospel, funky and some among others.  A disc at once homogeneously strong and, at the same time, 
varied.  An important aspect to note is that this music is joyful and lively in spite of the presence sometimes of 
dark and poignant titles such as "Lonely No More".  I really like a lot the voice of Stevie Hawkins, this very 
beautiful voice, that is ample and that knows how to be rocky, with intonations that recall sometimes strangely 
the one of another Atlanta drummer, Donnie McCormick (Eric Quincy Tate, Reddog).  We could maybe place 
Stevie Hawkins between Mighty Sam McClain and Howlin' Wolf.  And as to the arrangements, the rhythmic, the 
brass instruments are perfected and warm, the harmonies are in sync, Drew Stawin reveals himself to be a very 
good guitarist, in other words that we have to deal with a high-quality disc.  This especially since there is no 
waste at the level of compositions even if the disc would have, can still be gained to be a little shortened (while 
remaining good, the interest falls slightly between track 10 and 14, provoking a little fatigue).  Useless to 
detail all titles but I would just distinguish the irresistible "Take Me Back To Memphis" and "Even Drummers 
Get The Blues", where Stevie Hawkins takes the liberty of interpreting the piece, just accompanied by his drum 
kit and by some strange guys in vocal support.  I find this CD, certainly less Confederate, sharply superior to 
"Georgia Jam".  An album not to be missed if your universe does not restrict itself to the hard southern rock of 
Blackfoot or Molly Hatchet.
Reviewer Luc Brunot, BandsofDixie.com