Pat Boyack wasn’t born in the Lone Star State, but upon learning he had been named a Texas Tornado, he said, “This makes me feel like I am a Texan now.”
Born in the small town of Price, Utah and raised in nearby Helper, Pat got his first guitar at the age of 15. Inspired by a Stevie Ray Vaughan album, he chased the Texas blues sound all the way to Dallas in 1991 to follow the musical footsteps of the Vaughan brothers – Jimmie and Stevie Ray (1978 and 1979 Tornados, respectively).
He swiftly made the rounds of Dallas bar bands, including a notable stint with the Weebads, which featured Memo Gonzalez – a bigger than life blues/soul singer, bassist Terry Montgomery Groff (1994 Tornado) and drummer Bobby Baranowski (1993 Tornado). In 1993, Pat formed the Prowlers with bassist John Garza (1997 Tornado) and Doug Swancy. After the addition of Jimmy Morello, the Prowlers were signed by Bullseye Blues Records.
In 1994, Pat Boyack & the Prowlers released their debut, Breakin’ In (where Pat was credited as Pat “The Heart Attack” Boyack). This was followed by On the Prowl (1996). By the time the third album, Super Blue & Funky was released in 1997, a new backing band had been assembled.
In 2000, Pat’s former label mate Marcia Ball (1984 Tornado) recruited him for her backing band. With Marcia, he toured the world and recorded three Grammy-nominated albums, and Presumed Innocent won Album of the Year at the 2002 W.C. Handy Blues Awards.
During his tenure with her, Pat was included in two music documentaries: Falsifyin’ and New Orleans: Music in Exile. His songs have been featured in movies and TV shows, including Sex and the City.
In 2004, his fourth album, Voices from the Street, was released on Doc Blues Records.
During his time, Pat honed his singing voice and started writing his own songs. He began working with bassist Kinley “Barney” Wolfe (1992 Tornado) and drummer Taz Bentley (1993 Tornado) and together they formed the Javelinas, a formidable band, indeed.
When it comes to his “go-to” axe, Pat favors his Custom Shop R9 Les Paul because he doesn’t have “to deal with the noise that a single coil pickup produces.”
“My music philosophy is that it’s ALWAYS about the groove,” Pat declared in a 2014 interview with Michael Limnios’ Blues Network. “Whether you are playing Chicago blues, swing, Wilson Pickett, James Brown or Hank Marr, it’s all about getting people to move their asses in their seats.”
