THE ILLUSTRATED BLUES OF BRIAN KRAMER STEVIE RAY VAUGHAN BEACON OF THE BLUES HOPE

I had two very distinct and personal experiences with the great Texas Blues icon Stevie Ray Vaughan, both happened to be at the same place, six years apart.

The mid 70s through early 80s was not exactly a landmark period for rootsy, guitar driven music, the height of glam rock, disco era, big hair & spandex was like a thick, glittery, toxic fog.

Some of us in New York held tight to our guns, immersing ourselves even deeper into the Blues, but there wasn’t a whole lot to look forward to on the horizon.

Then one chilly winter morning, 1983 I walked into the small, storefront messenger service I worked at, east of Union Square and blaring on the radio was the distinct sound of Texas Blues guitar, sounded a lot like Lightnin’ Hopkins to me. I asked my boss Tony if this was the local college radio, the only place left that would dare to feature tracks of true Blues, but he said it was mainstream FM radio.

Both of us were Blues lovers, fixated on the tune, blistering, fat blues guitar, gritty earnest vocals, simple but super tight group. As it ended the DJ announced it was someone called Stevie Ray Vaughn with the release of his debut album, Texas Flood.

It was also announced that tickets just went on sale at the Beacon Theater.

The boss picked up the phone and reserved a couple of seats for us, just like that.

I didn’t give it too much thought after that until the night of the show.

The large stage looked practically bare and very sparce when the trio came out, Stevie was in a blue kimono, large brim black hat and launched into a huge, wall of sound that I’d never quite heard live from just three guys. I’d seen Muddy Waters and Johnny Winter at this famous Beacon Theater a few years before, which was the most important concert I’d ever witnessed. Now this lightning charged, tornado twisting sound was just unstoppable and relentless from one song to the next. An occurrence that is now etched in my being.

Through this particular period it became increasingly noticeable that more Blues/Rock was being featured on the radio and it was clear; Stevie Ray Vaughan made rootsy guitar music cool again.

You could hear Stevie’s specific influence on guitar players everywhere.

Stevie Ray made it cool to play Blues guitar again as well, with a very deliberate nod to his heroes and the original legends. Fast forward six years to 1989 and I have just officially had released my first album; Brian Kramer & the Blues Masters featuring Junior Wells.

The album was just pressed and I got in touch with Junior in Chicago to let him know and wanted to get him a few copies. Turns out he and Buddy Guy were coming to town as part of the line-up for the Benson & Hedges Blues Festival in NYC at the Beacon Theater and he arranged for me a backstage pass for the event.

Now this was a stellar festival held at this incredible theater with blues icons like John Lee Hooker, Bobby Blue Bland, Johnny Winter, Dr. John, The Thunderbirds, to name a few.

I met with Junior when I was let in backstage and he was very pleased to receive the record, he then personally took me around to each dressing room to introduce me to all these important Blues figures, whose music has been an integral part of my nourishment.

There was some loose chatter backstage that Stevie Ray Vaughan, who was across town at this little venue called Madison Square Garden playing with Jeff Beck, may turn up after their show is finished.

The festival was sold out and packed, people howling in the aisles, but backstage was very chill and serene, mainly band members and artists checking each other out, catching up. Then the backstage door swings opens and the familiar large brim, black hat shows itself; SRV has entered the building.

He made his way with familiarity to the old, single occupancy elevator and started up. On impulse, I took the staircase, that literally wound around the elevator shaft as it stopped on the top level, an area to store personal items.

As I entered the top, Stevie, hanging his coat looked over and I introduced myself, letting him know that I was a guest of Junior Wells.

I had under my arm a copy of the new LP and presented it to him. Stevie was very gracious looking over the record, instantly recognizing that he knew a few of the musicians involved.

He noticed Mick Taylor and somehow he asked off the cuff about Peter Green, who at that time was pretty much an enigma and disappeared off the scene, we both sharing and speculating on what little we knew.

I took that moment to personally thank him for bringing Blues based music back into the focus and making Blues guitar cool once again.

Stevie shook my hand, gave me a big warm grin and said “Next time I see you we’ll talk about the record, after I listen to it”.

Stevie was very present and relaxed backstage. We both were caught oogling over various artists by the big curtain, off stage, Stevie giving me playful shoves and contorting has face, mimicking air-guitar every time John Lee Hooker hit a cool lick.

He then joined his brother Jimmy for a big grand finale on stage along with Buddy Guy, Junior, Dr. John and many of the main artists Stevie & Jimmy coyly playing off each other, looking clearly like life could not possibly be better.

As the festival came to an end, I accompanied Stevie out the back way.

Stevie walked to his limo, my album tucked under his arm and he turned and gave me a wave, leaving me optimistic about picking up where we left off somewhere down the line…

I’ve done a few tribute illustrations of SRV over the years, this is one of my latest, reminding me of that initial moment when Stevie Ray Vaughan became a Beacon of Blues hope for the salvation of cool music again.

CHRIS O'LEARY THE HARD LINE

“ A profoundly soulful vocalist, powerhouse harmonica virtuoso and gifted songwriter” –BLUES MATTERS

JJ'S FIRST ALBUM IN NINE YEARS!

“JJ Grey & Mofro are masterful at blending the South’s various musical styles into their own percolating brew of roots-rock.” – LIVING BLUES º JJGREY.COM ª

The Tyneside Americana Blues Festival at Cullercoats Crescent Club, held from January 19th to 21st, 2024, successfully filled the void left by the discontinued Great British Rock & Blues Festival. Organized by Stephen Donelly crowd. The three stages offered a diverse range of music, from local talents like Robbie Reay and Willie Cran to national favourites like The Sensational Alex Harvey Experience.

The Tyneside Festival’s opening night buzzed with anticipation as attendees explored the seemingly small venue that revealed a labyrinth inside, featuring two stages downstairs, a main stage upstairs, and a VIP lounge—all accessible with an inclusive lift. The Acoustic stage kicked off with the traditional blues duo Robbie Reay and Willie Cran, blending humor, storytelling, and great Delta blues rhythms. Robbie’s artistry on cigar box, resonator, and acoustic guitar impressed, with standout originals like Up And Down and Barefoot Blues. Their transition through two slots was seamless, engaging the crowd with Jekyll Can’t Hide and a sublime

Russ Tippins and his band rocked the Blues Matters stage with a tribute to Led Zeppelin, setting a lively tone. Upstairs on the Main stage, The Eric Bell Trio delivered a superb set mixing standard blues covers with Eric’s own catalog. The Redfish Blues Band, led by the charismatic Christian Sharpe, ignited the party downstairs with Tell The Truth and Girls Girls Girls, showcasing melodic tunes like Money Don’t Make It Right and ending with Soulshine—a tight, crowd-favorite performance.

Returning to the Blues Matters stage, the local Teresa Watson Band impressed with soulful blues and crowd favorites like Blues Is My Business. The closing act, The Sensational Alex Harvey Experience, thrilled the audience with a theatrical delight, featuring masterful deliveries of songs like Faith Healer and Vambo. The singalong finale of Buff Bars Blues and Delilah sealed the night, leaving the packed crowd thoroughly entertained by this true headliner band.

Saturday

After a hearty breakfast, the main stage came alive with Yorkshire-based DC Blues, fronted by the effervescent Paul Winn, vocalist, and harmonica player. Accompanied by a tight band—Lloyd Massingham on lead guitar, Ben Darwin on bass guitar, Paul Thompson on drums, and Stephen Brandon on keyboards— they marked their territory with a unique rendition of Rollin’ And Tumblin’. The band’s chemistry was evident, highlighted by a powerful keyboard performance. They explored diverse styles, infusing gospel vibes into Take Me Down and igniting the crowd with the energetic Who Do You Love, featuring a well-received drum solo by “Tommo.” The performance concluded memorably with Nervous Fella, engaging the crowd in a participatory treat.

Kyla Brox and guitarist Danny Blomeley graced the main stage with a wonderful show of full-on raw soul blues, performing captivating songs such as Devils Bridge and Shaken And Stirred. Kyla’s flute performance on Change Your Mind added a unique touch, while soulful and melodic tracks like Pain And Glory showcased the duo’s impressive musicality. The upbeat Bluesman’s Child, dedicated to Kyla’s father Victor, and the singalong finale of 3.6.5. left a lasting impression, marking an impressive performance by the duo.

The Cinelli Brothers captivated the audience with a consummate performance on the main stage, blending bluesy styles with soul and Southern Rock. Songs from their upcoming release, Almost Exactly, including Dozen Roses and Fool’s Paradise, showcased the band’s musical versatility. The haunting Last Cigarette, featuring Stephen Giry on drums, and the demanded Choo Ma Gum concluded their set, leaving the crowd in raptures.

West Brook and Swamp Tea, a local band with roots in Florida, brought hot swamp and funk to the Blues Matters stage. Their dynamic performance featured tracks like Them Changes and Good Hearted Woman, with outstanding lap steel guitar playing and a mellow rendition of Love Light. The crowd sang along and thoroughly enjoyed the band’s lively set, creating a fantastic atmosphere.

Local favorites Stan The Band rocked the Blues Matters stage with a legendary four-piece lineup, delivering emotionally charged bluesy tunes like Midnight Angel and the crowd-engaging Love This City. The hauntingly beautiful showcased the band’s ability to captivate the audience. The Allmans Project, a sideline project by the band Safehouse, took the main stage by storm, offering a headlining performance with powerful vocals by lead singer Chris Peebles. Their set, including favorites like Rambling Man, Soulshine, and Midnight Rider, closed Saturday night on a high note, leaving the captivated audience thoroughly entertained.

Sunday

Kicking off the Blues Matters stage was the highly anticipated Greig Taylor Band, delivering the first of their two sets. Led by Greig himself, the band showcased an intoxicating full sound on tracks like the heart-wrenching Ain’t Got You, a true bluesy tune. Starting with the upbeat Born To Love You, they set the tone for the performance. Personal songs like Crucifixion Blues and crowd-pleaser 3 Chords And The Truth resonated well. The title track from their newest release, The Light, was delivered with passion and honesty, addressing addiction. The set concluded with the lively Gravy Train, leaving the crowd in high spirits. The band later played the main stage to a packed house.

Heading to the Acoustic stage, AS H LYNCH, a rising North East star, delivered a solo spot with reinterpretations, including Tom Petty’s Won’t Back Down and Springsteen’s Cover Me. With great vocals and an appreciative audience, she showcased her talent and also had a well-attended solo set on the main stage.

new female-fronted country/americana band from the North East, impressed with an eclectic set featuring favorites like Someday, Sin City, and Wedding Night. The duo Oil City Shakers, comprising Ronnie Semple on harmonica and Bob Bates on guitar and cigar box guitar, delivered a masterclass in stomping swampy dirty blues music, leaving the crowd thrilled with their powerful sound.

Martin Turner, ex Wishbone Ash, graced the main stage with a performance featuring a favorite, Blowing Free, drawing a large crowd. The Blues Matters stage welcomed the Lounge Lizards from Gateshead and the Tyne delta, a five-piece band with an eclectic mix of old-style R&B, soul, rock and roll. Their rendition of People Get Ready and interpretation of The Letter engaged the audience, showcasing their talent in mixing genres.

Gerry Jablonski and The Electric Band, a Scottish favorite, took the main stage by storm, delivering a powerful performance from start to finish. With energy and power, they rocked the venue with Breaking The Stones and brought in blues rock with Koss. Emotional moments, such as Lewis’s rendition of Anybody, captivated the audience. The set included a new tune, Cold, and showcased Gerry’s talented guitar chops on Nessun Dorma. The penultimate tune, Angel Of Love, rocked the venue, concluding with the highlight of the whole festival, Slave To The Rhythm.

The festival proved to be a success, with full houses, a great atmosphere, and the hope for a second Tyneside festival next year.