"Theessink has composed a stirring set of songs that seamlessly fuse his unplugged strumming, sonorous voice, and three-piece band into the very definition of laid-back comfort. His lovely Piedmont picking on "May the Road” is offset by harmonies that shift the tune halfway across the world. Such magnificent combinations of seemingly divergent elements drive this splendid album to spine-tingling heights. Theessink doesn’t play traditional blues here; instead, he deftly references the genre as one of many stops on his global trek through the Delta, into backwoods folk, and onward to Africa."
- Hal Horowitz, Blues Revue (USA) -- aug/sept. 2007
"No matter the issue of birth some 4000 miles from the Delta, Hans is every inch a bluesman. Heat and emotion channel through him like a lightning rod. The blending of European familiarity with world rhythms and African harmonies makes Hans’ sound unique in the world of Blues. Crystalline guitar notes, a lush baritone vocal tone and rich harmonies support a CD of gentility, fire and depth….. The album roams around Africa, gospel, Delta and rocking but all with the craftsmanship, soul and feel of an old, old soul steeped deep in the dark waters."
- Dr.Blues, Long Island Blues Society (USA) -- August 2007
"This is also a magnificently crafted recording. The sound is clear and placed across an enormous soundscape with every voice and instrument ‘just so’ in the mix. The guitar work, the banjo and mandolin are played beautifully and Theessink’s voice is warm and natural The combination of the songs, the playing and the production lead to one of the most enveloping experiences in music this reviewer can remember for some time."
- Andy Snipper, blues matters (UK) -- april 2007
"If anything "Old Man Trouble” proves you don’t have to be an Afro-American to lay down a true spiritual, and suggests the mark of an intuitive player with real feel and heavyweight songs to match.
Ry Cooder would probably love to have written something like this and perhaps the biggest compliment I can give this truly superb blues album is that at the very end of the closing ‘When Luther played the Blues’ you feel compelled to find out more about an artist who has just cut one of the albums of the year."
- Pete Feenstra, get ready to rock (UK) -- 2007.03
"With this release Hans once again confirms that he can hold his own with just about anyone in the contemporary blues/roots world. It is rare to find someone of his generation still pushing the boundaries, crossing the borders, and still prepared to stand up and be counted. More power to him!"
- Norman Darwen, BluesArt Studio (A) -- april 07
"Theessink’s last album, Bridges was recorded in an old church to give it a warm, open and very natural sound. So taken was he with the results, that he set about looking for similar surroundings for Slow Train. This time his friend Pinky Wall opened his house in the vineyards of Southern Styria and the whole band parked themselves there for ten days, along with lots of vintage equipment from Vienna and sound engineer Thomas Loffler, who built a makeshift studio from scratch.
The results are absolutely stunning. Rarely have I heard a CD recording sound so analogue, it really is a joy to behold. Bridges was a peach of an album, full of Africa influences and beautifully married to Theessink’s deep love of the blues, but he’s gone one better with this one.
The song writing is so strong and his band is nothing short of incredible. Those African influences continue to play a major part too; think a bluesier Graceland and you’d be getting close to what this man does. Theessink’s voice is the perfect foil for the music; deep and creamy but with a lovely easygoing quality to it. My favourite song is the title track; I loved it on first hearing and it just gets better with every play. In fact, that’s true of the whole album, a really uplifting experience.
Pure gold dust. Recording: 9 out of 10. Music: 9 out of 10."
- Andrew Hobbs, Hi-Fi Plus magazine (UK) -- April 2008, issue 56