Blues Matters 63

CHRIS REA

Are you the best unsigned Blues act in the UK?

Tourism New Brunswick are looking for the best unsigned Blues act in the UK, to play at the Harvest Jazz and Blues Festival in Fredericton, New Brunswick, Canada in September 2012. Regional heats will be held at:

 True Blues Club (Earlestown Conservative Club), Newton le Willows, 13 January,

 The Thunderbolt, Bristol, 18 January

 New Crawdaddy Blues Club, Billericay, 19 January

 St. Peter's Social Club, Byker, Newcastle 27 January

If you’re a unsigned soloist, duo or band, have your own original music and want to apply for a place at your local heat then visit www.tourismnewbrunswick.co.uk

The winning act from the final in London, will be flown to Canada on an all expenses paid trip, plus win a prize of £1000.

This great value music break includes 3 nights accommodation, big name live acts including acoustic sets, a wide range of restaurants and bars, plus all the fun of a Big Weekend break, all in our undercover Skyline Pavilion –great whatever the weather!

BLUES MATTERS READERS

SAVE 30% WHEN BOOKING BY 28 NOVEMBER

Each bag you donate could raise up to £30 for the charity

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EDITORIAL team

Alan King / Gez Morgan: editor@bluesmatters.com

Founder

alan@bluesmatters.com

Contributing writers:

Liz Aiken, Roy Bainton, Andrew Baldwin, Adam Bates, Duncan Beattie, Adrian Blacklee, Bob Bonsey, Colin Campbell, Bob Chaffey, Martin Cook, Norman Darwen, Dave Drury, Linda Fisher, Jamie Hailstone, Stuart A. Hamilton, Beryl Hankin, Ray Hansen, Nat Harrap, Brian Harman, Alan Harvey, Gareth Hayes, Steve Hoare, Tony Holmes, John Hurd, Billy Hutchinson, Peter Innes, Duncan

Jameson, Edward Killelea, Martin Knott, Brian Kramer, Frank Leigh, Geoff Marston, Ben McNair, Vicky Martin, Michael Messer, Martin McKeown, Terry Mullins, Martin ‘Noggin’ Norris, Merv Osborne, Mike Owens, Frankie

Pfeiffer, Thomas Rankin, Clive Rawlings, Paromita Saha, Graeme Scott, Dave Scott, Andy Snipper, Richard Thomas, Bob Tipler, Tom Walker, Mel Wallace, Kevin Wharton, Rhys Williams, Philip Woodford.

Contributing photographers:

Christine Moore, Liz Aiken, Annie Goodman, Marilyn Stringer, Vicky Martin, Philip Woodford, Paul Webster, others credited on page

Production-Art/Layout

Christine Moore: christine@bluesmatters.com

Advertising: ads@bluesmatters.com

Tel: 01656-745628

Subscriptions/orders:

Jenny Hughes: jenny@bluesmatters.com

IT/Web Management:

Diana Stone: diana@bluesmatters.com

Stand Manager:

Christine Moore christine@bluesmatters.com

Event Manager: events@bluesmatters.com

Printers Pensord

© 2011 Blues Matters!

Original material in this magazine is © the authors. Reproduction may only be made with prior consent of the Editor and provided that acknowledgement is given of the source and copy is sent to the editorial address. Care is taken to ensure that the contents of this magazine are accurate but the publishers do not accept any responsibility for errors that may occur or views expressed editorially. All rights reserved. No parts of this magazine may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying recording or otherwise without prior permission of the editor. Submissions: Readers are invited to submit articles, letters and photographs for publication. The publishers reserve the right to amend any submissions and cannot accept responsibility for loss or damage. Please note: Once submitted material becomes the intellectual property of Blues Matters and can only later be withdrawn from publication at the expediency of Blues Matters. Advertisements: Whilst responsible care is taken in accepting advertisements if in doubt readers should make their own enquiries. The publisher cannot accept any responsibility for any resulting unsatisfactory transactions, nor shall they be liable for any loss or damage to any person acting on information contained in this publication. We will however investigate complaints.

Welcome one and welcome all to your latest issue of Blues Matters...........In this issue we have interviews with Chris Rea (Chris did this interview with us at a time of ill health which we’d like to sincerely thank him for and wish him a swift recovery). Interviews with the young and increasingly talked about Lucy Zirins, Virgil from ‘Virgil and The Accelerators’, the legendary Savoy Brown leader Kim Simmonds and Kevin Brown, who has also done the ‘Top Ten’ for us this issue for which we thank you Kevin, another most interesting set for folks to ponder over. We have features on Tano Ro owner of Feelin’ Good Productions in Italy, Blues in Schools by Mike Owens, Delmarks’ Bob Koester, a feature on Winebox Guitars by Becky Tate of Baba Jack, Young and Blues feature by Brian Kramer and more.... including the all new King Mob outfit that will be appearing at the Carlisle Blues Festival. (Michael Messers’ ‘Slide Guitar Part 3’ feature was due to be in this issue but has been held back for further research so hold your breath for BM64 and what is a most excellent series) and of course the CD reviews, gig reviews, Festival reviews are all a continuing feature.........

We hope to see some of you at the Butlins Rock’n’Blues Event over January 27-29th 2012 and after many fans had asked us to persue this we have secured approval to run JAKS on the Sunday night for the first time!! So a few more acts for you to take in and enjoy so do come and enjoy the Blues Matters stage in JAKS, Butlins, Skegness..........30% discount for readers booking before Dec 19th quoting ref 323!!!! So if you haven’t already do it now!

From this issue BM is going to be available in USA at Hudson’s News Stands in travel terminals across the country and this is their first order so let’s hope many of you in the USA will find it easier to get hold of copies.

We also wish to thank Kitty Rae for her work and efforts over the last eighteen months taking over at a difficult time and wish her well for her future. We must also thank her for taking Christine under her wing who now takes on her role which recently they had shared.

Alan & Gez and all the BM ‘Team’

B

82

Bukka

14 INTERVIEWS

Barrelhouse Chuck Goering, Chris

Rea, John Mayall & Oli Brown, Kevin Brown, King Mob, Lucy Zirins, Michael Powers, Savoy Brown, Shane Dwight, Tano Ro, Trampled Under Foot, Virgil & The Accelerators.

72 FEATURES

72 Blues In Schools

78 Winebox Guitars

128 Scott Baretta

130 COMPETITION Win DVD & CD’s

CANDYE KANE, SAVOY BROWN, ROD

PIAZZA AND THE ALL MIGHTY FLYERS, DIANA BRAITHWAITE & CHRIS WHITE-

LEY, ERIC GALES, DIUNNA GREENLEAF, DUDLEY TAFT, EDDIE COCHRAN, FATS

DOMINO, GUY TORTORA, J. J. GREY & MOFRO, JACKIE WILSON, JIM LAUDER-

DALE, JUNIOR WELLS, KEB MO, KEVIN

BROWN, LITTLE FEAT, LOUISANA RED & LLTTLE VICTOR’S JUKE JOINT, MARIA

MULDAUR, POPPA CHUBBY, RY COODER, VIRGIL AND THE ACELERATORS, THE BREW, MAGGIE ROSS, THE PRODUC-

ERS, SHANE DWIGHT, THE DUKE ROBILLARD BAND, THE ISLEY BROTHERS, THE SEAN CHAMBERS BAND, STEVE CROPPER. etc. etc.

Cover feature

Chris Rea

Originating from Middlesborough; Chris is well known for his song “Fool (If You Think It’s Over)”. His distinctive graveled voice is haunting and unmistakable. As well as being an excellent songwriter/ guitarist he paints to a high standard. At this time Chris is still fighting the effects of the cancer he fell foul of a few years ago. We all wish him the best for his speedy recovery.

Trampled Under Foot

Kevin Brown

King Mob

Virgil & The Accelerators

Michael Powers

Lucy Zirins

Shane Dwight Oli Brown

John Mayall

Kim Simmons

1. Bonnie Rait – ‘Love Me Like A Man’

A life changing moment for me, upon hearing this. I was busking in Copenhagen at the time, and apart from Jo-Ann Kelly, had not heard such quality of playing and singing from a contemporary female artist. Classic day in the Danish Capital was afternoon busking; evening with Bonnie Rait on the record player and a fistful of Zap comics.

2. Little Feat – ‘Long Distance Love

Was doing the pub rock circuit in London, this floored the whole band, we just felt like giving up. Lowell George set new heights for playing singing and writing. Sailing Shoes, Dixie Chicken, Two Trains etc. have rarely been surpassed, I am a very lucky man to have witnessed the emergence of this extraordinary band.

3. J J Cale – ‘Wish I Had Not Said That Baby’

Still to this day I never tire of this tune, bare to the bone and devastatingly simple. I’m listening to him now on Spotify as I type. Takes all day to get through his collection, puts me in the zone, every time! A master of minimalism, it’s very hard to do right, many fail, you won’t find many like him, it’s too monumental a task.

4. Dollar Brand – ‘Mannenberg’

Hitch-hiked around US with this on my headphones constantly, it was playing when I first stepped foot in Texas. Again puts me straight in the zone, the soothing quality of this piece reflects the history of its incarnation, in the depths of the dark on a lonely trail in the Southern states this would give me hope and help me move forward until Austin loomed in the distance.

5. Ellen McIllwaine – ‘All To You’

Blew everything away at the time, too much soul for one man to take. I was so moved by this artist I wrote a song for her, it was one of 3 demos that helped get me signed to Ensign in the early 80’s. What a voice! …and a slide style that put most of us to shame. Again, an artist capable of altering your mood in a very positive way; raw power at its best.

6. Bruce Cockburn – ‘Mama Just Want To Barrelhouse All Night Long’

Perfect marriage of slow blues and great lyrics; sung beautifully. I heard Bruce Cockburn during my period in Copenhagen, simple, stripped down backing, revealing a voice to shake the root of your soul. Songs of wonderful depth that sound better with age, now there’s a quality to strive for.

7. BB King – ‘Nobody Loves Me But My Mother’

To me one of his prime moments, he made this a better planet to spend some time on. To feel his love and heartfelt deliveries during his concerts leaves you with such a powerful admiration for the man. He stands proudly at the top of the tree, an inspiration to us all, gentleman first, Blues artist second.

8. Jackson Brown – ‘For A Dancer’

Major influence in my writing…feel I’ve known him for years; but never met him. Jackson raised the bar for me, delivery and content made for a wonderful insight into his life and his music. Arrangements that lingered for days, great voice, great writing and wonderful delivery; sweet soul music.

9. Big Joe Williams – ‘Highway 49’

Groove monster, great rhythm, my favourite troubadour and fellow shack dweller. He just played for himself, totally unique. The combination of his cross rhythms and lyrics set him aside from many others, would have loved to have heard him with a trio.

10. Peter Green – ‘Need Your Love So Bad’

Cannot say enough about this man’s ability to have touched people’s hearts with his playing and singing. I saw him at the Floral Hall in Southport with Jeremy Spencer. A very moving experience for our little gang of Preston lads who had made the journey that night. ‘Man Of The World’ is a testament to his allround artistry. There are players, singers, writers, he did the lot and helped put UK artists up there with the best.

Dear BM, Thanks for the new and as ever excellent BM magazine, I just wanted to make a comment concerning the writers’ poll. It’s always impossible to include everyones’ favourites because it would be never ending.

I would though like to say I was somewhat saddened that in the best British guitarists there was not a mention of most probably the greatest of them all, Eric Clapton. Other than Matt Schofield and Jeff Beck, there is no other, with all respect to some superb guitarists included, equal to him, and it’s such a shame he’s not in there. I’ve followed his amazing career from The Yardbirds, John Mayall, Cream, Delaney and Bonnie, Blind Faith through these incredible solo years, to the recent tours with Jeff Beck and Steve Winwood. He’s been playing the blues throughout his career; in fact early on he would play nothing but the blues. ‘Bluesbreakers’ still is the benchmark UK album blueswise. Not only that but he’s been and continues to be an artist who inspires others, surely Joe Bonamassa would testify to that. Not once in the last thirty years have I not seen him included in polls for the greatest guitarist as well as all the major blues players’ polls. Even in more recent years he’s continued to promote the blues both live and on record, just

What you want to vent!

one look at the ‘Sessions For Robert Johnson’ CD/DVD set is testament to what I’m saying here. That Derek Trucks, Doyle Bramall 2 saw their own careers gain international prominence through touring worldwide with him. Still packing every major arena in the world, still playing blues better than most could ever dream of doing. Eric is not only one of the best, but is the best, and deserves recognition for it.

The lifetime award is great but why not have a Scroll Of British Blues Honour where say three names are added each year. So 2011 could have Paul Jones, John Mayall and Peter Green. To that artists such as Eric himself, Chris Farlowe, Eric Burden, and so on could be added in years to come. A respect and honour for great artists who’ve brought over many years the blues to us and inspired the quite stunning new artists we have today. May I add, after many years of listening to and watching British blues artists and bands, we’ve had some truly great ones, today I feel in depth we have the greatest yet in depth and quality writing and playing as well as performing at the highest level I can remember seeing, for that we should be so thrilled. Blues Matters has brought many of these to our attention, and thanks to those wonderful promoters who put the gigs on.

Please support the blues, go to gigs, buy the CD’s otherwise they won’t be around and all we’ll have is the Radio 1 dross.

Thanks BM, Pete Clack (Oxford).

BM says: Indeed Pete, conducting and Poll will never satisfy everyone as you say. As we did not draw up any short list or nominations as a guideline so then the writers truely gave their own opinions here. We have not asked but maybe some felt that Eric has had enough votes in other areas over the many years he has given us his Blues et al and decided to go for other talent. Jeff Beck certainly not so well ‘awarded’ in the past for example. Lovin’ the idea of Scroll of British Blues Honour suggestion and think we will adopt that with your kind permission and build it up.

Guys can we have an index printed say every 12 issues – the index only to include artist interviews and specific reviews etc to start with why not an index covering the 62 issued magazines?? It is frustrating when I want to read again say an artists’ interview only to have to wade through each magazine to locate it. The magazine is always a wonderful read!!

Steve Smith, (Oldham)

BM says: Now there’s an idea! We’ve also thought in the past of an advertiser index like many other magazines do but is something we deferred as it takes space we can use for interviews/features/ reviews etc as we try to cram so much in for the service of the Blues. We’ll be adopting some changes over a period so you never know.

Dear BM, I thought Annabel Cook’s letter in the last issue regarding clashing Festival dates to be a pertinent one in many respects although she did appear to be carrying the banner for Carlisle, which is understandable if it’s on your doorstep. Yes, there is a likelyhood that the dilution could scupper future events financially. But as in nature, the strongest will survive.

There is also a newer aspect to consider. With the recession beginning to bite more strongly, punters have less money to spend and horrendous fuel prices are now a major consideration for those living far from the venue. As a resident in the southwest I have to travel extensively to get anywhere, so distance has now become a major factor. Plymouth to Carlisle = 630 miles – do the maths! Therefore a festival in my locale, e.g. Torquay, is going to be more attractive financially even if the line up is not as extensive. Therefore clashing dates where the venues are geographically widespread is likely to be the future until happier times return and they rarely do. The travel issue is also true for some of the lesser-

known semi pro/amateur bands commanding lower fees, which promoters tell me, have now started to place a limit on how far they are prepared to travel. I spoke with a ten piece band awhile back who admitted they were only breaking even on a 300 mile round trip. They were literally doing it for the love of playing together.

Logic suggests that there is a need for promoters to get their heads together over this issue of date’s clashes, though through what media I know not. Except perhaps through this magazine with calendars projecting at least two years hence, (depends on how far ahead schedules and contracts are issued). The quid pro quo would be that the festivals advertise with the magazine. Like other businesses we have to adapt to the times or go under.

Yours supportively,

Mike Owens

BM says: More good points there Mike following Annabel’s letter..........let the debate continue. Some years ago we started a wall planner so that we could help identify festivals for fans but when we started it for the 2nd year we got no funding from advertisers to do so despite the first year’s success. We’d be happy to do it again with costs covered by advertisers or sponsors. Out of fourteen advertising squares only five were used by Festivals. Please keep sending letters, we want your

raw guitar power meets the spirit of ´69

performed by

chris spedding (roxy music, elton john, john cale, paul mccartney), glen matlock (sex pistols, iggy pop, faces), martin chambers (pretenders),stephen w parsons aka snips – vocals (sharks) and new guitar talent sixteen out october 31st!

available as cd, download & lp (incl. bonus cd)

NEWS RELEASE October 2011

Search is on for Britain’s best blues talent - North East heat in Newcastle

The search for Britain’s best unsigned and original Blues talent is to launch on 15 October and Newcastle has been chosen to host the North East heats. Following on from its highly successful first year in 2010/11, the competition will give the winning band or artist the fantastic opportunity of flying to Fredericton in the Canadian province of New Brunswick to perform on a world stage at the internationally-acclaimed Harvest Jazz and Blues Festival in September 2012.

‘New Brunswick Battle of the Blues’ is searching for new and original talent from across the North East to perform at the Festival in the province’s capital, Fredericton. The competition invites bands or singer/songwriters to enter the first stage between 15 October and 15 December. Successful musicians will come head-to-head at the regional heat, held for the North East at St Peter’s Social Club, Walker Road, Byker, Newcastle on 27 January. All the regional winners from 4 different heats around the country will take part in the London final in March. Regional runners up will be put to a public vote and the public choices will also get to perform on the London stage. Says Lisa Gagnon, who’s organising the competition in the UK for New Brunswick; ‘The Harvest Jazz and Blues Festival felt the UK had a lot to offer in the way of exceptional blues musicians and we had the most fantastic response from artists all over the country last year. We want to tap into the blues scene once again and find some more original and unsigned talent’.

Last year saw the very first New Brunswick Battle of the Blues taking place and the winning band, 24 Pesos, have recently returned from their trip to New Brunswick. Says Julian Burdock from the band; ‘The competition is a fantastic opportunity for emerging or established British blues artists to raise their profile, play on a world stage – and experience the wonders of the Canadian maritime province that is New Brunswick!’

Bands or solo singer/songwriters can enter the first stage of the competition by visiting www. tourismnewbrunswick.co.uk. Artists will need to demonstrate the ability to produce new and original work, though some covers are permitted. To qualify, they will need to be unsigned at the time of the competition (including the final). Entries will be accepted from 15 October up until 15 December.

ENDS

For further information, interview, images or press tickets, please contact Rachel Shimell or Miranda John son on 02380 732981/ 01962 890208 or email: Rachel.shimell@ntlworld.com or mirandajohnson@btinternet.com

Note to Editors

New Brunswick is one of Canada’s 3 maritime provinces and is known as the ‘Jewel of Atlantic Canada’. The province is rich in history, culture and natural beauty and music is an integral part of its psyche. Visit www.tourismnewbrunswick.co.ukfor more information

The Harvest Jazz & Blues Festival is an annual music festival held in Fredericton, the capital of New Brunswick. It has an international following and features blues, jazz and world music, taking over the city for 5 days in September.

Details of heats:

13th January, True Blues Club, Newton Le Willows

18th January, The Thunderbolt, Bristol

19th January, New Crawdaddy Blues Club, Billericay

27th January, St Peters Social Club, Walker Road, Byker, Newcastle

Photo by Christine Moore

Interviewed by Dave Stone

We’d been waiting to catch up with Chris Rea to discuss his latest offering of ‘San Spirito Blues’ and really get behind what it is all about but sadly we did not catch him on the PR go round with a face to face chat and then just after appearing on Simon Mayo’s Radio 2 show he was taken into hospital BUT Chris still talked to us from there. “What doesn’t kill you makes you strong.” A quote that must surely be familiar to Chris Rea, as in the years since his life threatening illness in 1994, he has been in and out of hospitals more times than he can remember, and at the time of our scheduled meeting, was taken ill once again, and was in fact in hospital as we carried out an e mail interview Dave Stone put the questions.

Chris: You are known today as one of England’s top Blues singer/songwriters, but that wasn’t always the case, can you tell us how it all began for you?

CR: It was accidentally hearing Charlie Patton on my mother’s radio. She had a radio alarm clock, and it came on at the wrong time. I think it was a Saturday afternoon and I was using her mirror. There he was with a voice as ridiculous as mine. There was something very dark and moving about the refrain, although I couldn’t work out what it was that he was singing about!

When/what was your first recorded Blues output?

It was called “Born To Lose” and it was a B side demo that I did with Big Jim Sullivan and Terry Britten. We had Frankie Miller or Joe Cocker in mind.

You have mentioned your love of Gospel; can you tell us some more about that?

I don’t know why but Gospel Blues attracted me more than Chicago…., more minor chords, traces of church music (Musically). I felt more matching emotions as to how I felt. If you play an E chord (open or not) you tend to slide up to A flat rather than to G.

Do you have any plans for a gospel recording?

Not in any academic way….it’s been done to death already. There’s a danger of getting a bit “Walt Disney a bit of a pastiche. But I was once fortunate enough to be allowed into an old broken tin shed, full of very old people, one Sunday in the Caribbean. It was like experiencing “The Beginnings”. No piano, but a bass drum and hi hat. Each member of the small congregation would speak/sing their troubles e.g., and old man

was saying “….it’s been twelve long years since my Mary died…..” And the rest would answer “We know how you feel” Their voices bent around the phrase that were not single notes in the most skin tingling way. It was the purest thing that I’ve ever heard.

I understand that you have still got and still use your first electric guitar. Do you prefer old guitars? Whatever does something that I like! The only old guitars that I have are because I’ve had them a long time! My love of it all so much means that I’m always looking.

I have seen you on a visit to Denmark street where you were inspecting an old Strat, are you a collector?

I can lose myself in Denmark Street… but I don’t collect for the sake of it ( Much to the disappointment of the guys down there) l can easily come out of a shop with the cheapest busted old thing if there’s something that it makes me feel.

When did you first start to play slide?

In 1972 when I was 21 years old, there were no bottle necks to be bought in Middlesbrough, so it was one of my sisters nail varnish bottles.

How did you learn to play like that? Hiding from the Boot boys upstairs in the coffee bar, tucked in between the boxes of washing powder and ice cream wafers. Do you use open tunings?

E shape open or same but capo’d to G or same, all the way down to C. That last one needs very big strings and it’s a bastard to keep in tune. My voice likes B which is a real pain in the arse!

I think that your regional accent gives such an air of raw authenticity to your songs, have you ever had any voice training?

No, no training, I hate my voice and would much have preferred to be the writer/guitarist in a band. I really envy Mick Jagger’s voice…. Mine is sonically too big for a lot of throw away lyrics.

Over the last three releases (Blue Guitars, the Hofner Bluenotes and now Santo Spirito), you have written and recorded what is it now, 18 CDS, (with 2 vinyl LP versions) and made three films, a total of something approaching 200 songs. Where on earth does such a prolific output come from?

I write every day; mostly it’s there before I’m aware that I’ve done it. It can be instrumental, lyrics, a painting or a short story idea.

Does it piss off the Record Company?

Unfortunately record companies don’t like to move outside existing parameters, which is frustrating. I personally believe that we need to evolve into new ways of listening to music. It’s exciting and who knows where it will lead. Imagine a young band who loves Gospel and Blues, making an album with parallel visuals…

When you are contemplating another project like these, where do you start, what comes first, the lyrics or the music?

With the Santo Spirito pieces, the music was already done. We knew that a record company wouldn’t entertain 2 CDs with no vocals so I wrote the two film ideas that would go with them. One thing leads to another and you end up with something very different and interesting.

I have just sat and watched and listened to your latest project Santo Spirito, what was the idea behind this?

As I have said, the music was there, I needed a link.

The soundtrack to the Santo Spirito film is a beautiful piece of instrumental Blues, but I found that it has much more impact when seen as part of the film, it is very powerful imagery.

Thank you that makes my point for me.

What is the link between Bull fighting, the Blues and the

search for Truth?

There’s no direct link, other than the Romany chords used that I remember from my father and uncles. I found out that the Italian side was part Slavic gypsy so it’s logical. I believe that this is just another form of the Blues. People who are not from Mississippi or Chicago aren’t immune to that deep blue feeling.

Motor racing, how did that begin? (Chris owns and races a vintage Lotus sports racing car and also drives a Ferrari Dino at meetings across Europe) Are you still able to indulge that particular passion?

I have finally stopped making intellectual excuses. I can’t help it; I love historical motor sport, but not flash supercars.

What is the link between rock stars and cars?

There’s no connection, it’s simply that if you are well known, your hobbies become public. And anyway I’m not a Rock star. You could never say that I was a successful blueprint for one could you? I’m just in the same business as them (Unfortunately).

How is your health now?

I’m in Hospital as I write this. Until they can find a cure for what I’ve got, it’s with me for good, including all the injections and the pain!

Over the years, you must have been asked the same old questions so many times, what is the most stupid question that anybody has asked (and I know that I am asking for it here!)

I was once asked (By a very famous musician) “Who plays slide guitar for you?” and “Did I write ‘Lady In Red’ for my wife?” by a British Airways captain!

And finally, is there any question that you have always wanted to be asked, or something that you have always wanted to say?

The question that I would most like to be asked is “My car is chassis no 0798…. Would you like to drive it for me?” (Chassis no 0798 is a particularly rare Ferrarri).

Chris, thank you for your patience, I hope that next time we speak, it will be in more congenial circumstances. May I wish you on behalf of all our readership a speedy recovery. Thank you.

KING MOB

In theory a band like King Mob should not exist in today’s environment. How can you have a collective with a combined experience of more than 150 years in music sound as dynamic, vibrant, enthusiastic and committed at these five? It goes against all the laws of nature, nurture and rock ’n’ roll. Yet here they are on debut album ‘Force 9’, showing the world clean pair of heels and dirty nose for the best riffs and rhythms around. So, what are we talking about here? Who are the men from the Mob? Well, firstly, there’s Chris Spedding. He’s a guitarist who has worked with some of the biggest names around. Spedding’s career goes back over 40 years, during which time he’s carved out a path that has taken in Harry Nilsson, Sharks, John Cale, Roxy Music, Elton John, and Paul McCartney. He was a crucial part of the iconic ‘Jeff Wayne’s Musical Version Of The War Of The Worlds’ album. He had a hit single in 1975 with ‘Motorbikin’’ and has had a distinguished solo career. Spedding is, and remains, one of the finest guitarists of the past four decades. Oh yes, and he produced the first Sex Pistols demos. Which brings us to…

On bass there’s Glen Matlock. He initially made his name as an original member of the Pistols, cowriting most of the songs on the ‘Never Mind The Bollocks’ album, even though he didn’t play on it. Matlock went on to form cult heroes The Rich Kids, alongside the likes of Midge Ure, and became hugely respected as a fine musician. Since then, Matlock has been part of the reunited Pistols, joined the reactivated Faces (one of his favourite bands) and even did one show with Primal Scream, standing in for Mani. Yep, the chap’s in demand.

The man on drums is Martin Chambers. Most known for his work with The Pretenders, whom he joined in 1978. He left in the mid-1980s, but returned in 1994 and has been there ever since.

Photos supplied by artist

Chambers also worked with Mott The Hoople keyboard player Verden Allen, and was behind the kit for the Mott The Hoople reunion shows in October 2009. Unquestionably, one of the finest rhythm players of his generation.

The vocalist is Stephen W. Parsons, who’s mostly known as Snips. Following a spell with The Baker Gurvitz Army, he was a member of Sharks, the band formed by bassist Andy Fraser after he left Free in 1972. On guitar was one Chris Spedding, by the way. He put out two albums under the name of Snips, namely ‘Video King’(1978) and ‘La Rocca!’ (1981). Since then, Snips has been heavily involved in composing music for films and TV. His credits include ‘The Piano Player’ and ‘The Railway Murders’, and he is regarded as one of the most creative in this field.

By contrast, the guitarist is an unknown. Called Sixteen, his dexterity and diversity on the album, allied to a beautifully intuitive appreciation on how to use space to accentuate the moment, will make him one of the big guitar names for the coming years.

The birth of this band owes everything to the vision and imagination of Snips.

“I used to DJ in a club called The Axe in Hackney, North London. It was open from 11pm to 6am, and I loved doing the whole seven hours. And I would always break the rules, because I enjoyed playing what I wanted to. So, I’d spin The Doors, followed by Johnny Thunders & The Heartbreakers, then Otis Redding and Ike & Tina Turner. In some ways, this should never have worked with the young crowd who came in. But it did, they really got into all these sounds, and then I thought, ‘Instead of playing these records to them, why I don’t play the music?’. So, after so many years away from rock ’n’ roll, I decided to start a new band.”

Snips made his first port of call on Chris Spedding, The pair had a lengthy history.

“Even with my film and TV compositional work, I always turned to Chris to play guitar whenever he was available. So, he was the natural person to enlist for the band. But I wanted to go further than just getting in Chris, because I wanted a band with two lead guitarists.”

Snips’ first choice as the man to play alongside Spedding was Jimmy Page.

“I met up with him, explained the idea and he was very interested. But Jimmy also had other commitments, so he wasn’t able to agree. However, he gave us his blessing, which was encouraging.”

Eventually, the right guitarist was found virtually on Snips’ doorstep. Enter Sixteen, who lives close to the vocalist. After a brief audition, he became the third member of the fledgling King Mob. Slowly things were coming together.

“All we needed now was a rhythm section. WE were lucky enough to get in Andy Newmark on drums and Guy Pratt on bass. Between them they’ve played with Sly & The Family Stone, John Lennon, BB King, Eric Clapton, Coverdale/Page, Pink Floyd and Gary Moore among many others. With this line-up we went into the studio and did four songs in a day. We worked really quickly, which is the way we prefer to do things.”

On the back of these songs, King Mob got a deal with SPV/Steamhammer, and then turned their attentions to expanding on the songs they had and coming up with a full album. But they immediately hit a snag.

“Andy said he was happy to do the album, but couldn’t commit to touring. That was honest of him. Then we couldn’t get hold of Guy, so suddenly we had to find a new rhythm section.”

Matlock was somebody Spedding knew well, and he was brought in to plug one gap. And it was the new bassist who suggested Chambers would be the perfect man to complete the new line-up. So, with a new look and fresh focus, King Mob went back into the studio, again working very fast.

“We did nine tracks in about three days. That’s the only way we know how to do things. For us there’s nothing to be gained just working everything out meticulously in advance. I took on the role of producer. And it was all very smooth.”

The overall vibe of a band nodding back to 1969 and the imagination and spontaneity that fuelled that era, but also being far more than a nostalgia act. These five guys know what it takes to make a great rock ’n’ roll album, and have done exactly what’s required.

Chris Spedding

Glen Matlock

Martin Chambers

Stephen W Parsons

“If you wanna know where we are coming from, then you can trace it all the way back to Bo Diddley, if you want. You will recognize what we are doing, and I hope people will pick up on the atmosphere and the groove. Oddly, I don’t think what we are doing would have worked a few years ago. The time wasn’t right for it at all. But now, there’s a feeling things have moved on, and we now fit in. There’s a little filth in there, a lot of imagination, some daring and of course let’s not forget about the magic.”

Now comes the big test for the band as they prepare to play live for the first time, And Snips can’t wait to get to grips with the audiences.

“We’ve got three English shows lined up for November, and we might add one or two more. Then next year we’ll head out to Europe. I think the set will just be originals, with no covers, and we might even play a couple of songs from our planned second album.”

Yes, King Mob are already beyond the thinking stage for the next album, and are ready to start recording at any time. Snips views this as taking things back to the way they were – and should be again.

“You remember how artists used to be? It wasn’t unheard of to have two studio albums from them in the same year. They were productive and creative, and didn’t have these long gaps between releases. Well, that’s the way we are thinking. Contractually we don’t have to do second album for a while, but if the songs are written and we’re ready to go into the studio then why should we hold back? Let’s go for it, I say.”

Now you’d have thought that the one country where this sort of music would be eagerly snapped up and enjoyed is America. However, so far there’s been little enthusiasm for the band from over there. Not that it bothers Snips at all.

“There was a time when Americas was so vital to any band like this one. But not any more, We’ve had no real communication with them? I couldn’t care less. The world is so much bigger than America, and I am lot more excited about going over to Europe. If America eventually picks up on King Mob, then fine. If not… their loss!”

For Snips, this is an interesting stage for the five-piece. And where they go next does depend a lot on how much success can be engendered.

“We have to be realistic and understand that the ways things work there must be a certain level of achievement for the band to become a priority. That’s because of everything else we are doing individually. It’s not that we don’t have a complete belief in this, but there’s a practical side to it all.”

For Snips, though, it’s only now that he sees everything beginning to take a suitable shape.

“When people ask me what sort of band we are, I tell them we are a baby band. I’ve had babies before and I know how much it takes to guide them and bring them up. We will only become a real band if there’s a level of success. We have to wait and see whether that happens. But I’m glad we are now at the point when are making music. It’s only when others get to hear what you’re doing that you can say it is music. Up until you get to that stage, what you’re doing isn’t truly music, because it hasn’t been heard.”

The future stretches out for a band who has so much organic contact with the past. King Mob are among the most exciting and thrusting of all new bands to come out in the last decade or so. Their vast experience and experiences speak for themselves. But it’s the debut album that is threatening to engulf us all in the timeless and timely pursuit of new ambitions. But it’s typical of their philosophy that there’s only one format on which they feel the music belongs.

“This is all about vinyl. Sure we will have CDs and probably downloads. But our sort of rock ’n’ roll works best on vinyl.”

King Mob – one band who wants it all on their terms, and won’t compromise to get there. For that alone they deserve our admiration.

VARIOUS ARTISTS

The Blues You Can’t Refuse

Feelin’ Good Records FGR 018

DGPack. 2 CD set. Anniversary compilation from the first 20 CDs releases. 36 songs, more than 2 hours and half of great music by Sonny Rhodes, R.J.Mischo, Cassandra Mathews, Shawn Pittman, Vivian Vance Kelly, Gary Wiggins, Texas Slim, Brian Templeton, Gail Muldrow, Johnny Sansone, The Moeller Bros, and many more.

ANDY JUST Electric Roots

Feelin’ Good Records FGR 019

DGPack. “With one foot planted in the classic blues harp tradition and the other one dancing around freely on the cutting edge, progressive side of things, Andy Just has with "Electric Roots", put together a collection of songs that showcase sides of his harmonica prowess and musical artistry that I've never heard before, this is Andy Just, retro-style this time!” RickEstrin

TEXAS SLIM

Lucky Mojo

Feelin’ Good Records FGR 020

DGPack. “After the more than splendid free ranging skill and artistry that was undoubtedly displayed on Texas Slim’s previous stunning live album entitled “Cookin’ With Gas” (FGR 015), this new album that will yet again dazzle, impress and amaze all who hear this hard hitting no-nonsense deadly, earthy, blasting Texan guitarslinger while taking no prisoners!” Brian Harman

TANO RO FEELIN’GOOD

Talks to Norman Darwen

Tano Ro is the boss of Italian label ‘Feelin’ Good’. Here he tells Norman Darwen about his interest in and work with the Blues:

Tano, how did you first discover the Blues?

In my younger days I used to listen to jazz, rock, country music, but it was when I heard Muddy Waters for the first time that I completely freaked out. Who’s this guy? What kind of music is this?

Who were your favourite artists early on, and why?

Muddy, all the Kings, all the artists on Chess Records, Robert Nighthawk, Robert Jr. Lockwood, Amos Milburn, Louis Jordan… I started to search for all kinds of blues in the U.S. and my search was helped by pioneer magazines like ‘Blues Unlimited’ and ‘Living Blues’; I’m talking early 70s.

You began writing about the blues…

I was completely crazy about the Blues, I started to review concerts and take photos, in the U.S. and in Europe; they were published in magazines like ‘Blues Unlimited’, ‘Juke Blues’, ‘Living Blues’, ‘Soul Bag’, ‘Blues Life’, and on some record covers. I also contributed to some Italian rock magazines that gave me the chance to write reviews and articles about the Blues.

How did you then get to working with artists, and who were the first ones?

One of my uncles was living in Paris in the early 70’s and in January 1974 he invited me to visit him there. He was a jazz lover and collector and introduced me to various clubs during my stay. It was Mr. Willie Mabon who shocked me when I heard him playing piano and harmonica at the same time. This artist was an amazing entertainer and a very stylish man. My uncle knew Mr. Mabon and introduced me to him before one of his shows. After the show I went to shake his hand and I said “Mr. Mabon, tonight you gave me a lot of emotions, thank you very much, I would like to try to bring you in Italy where I live, do you like the idea?” He answered “Call me anytime you have a chance to let me work”. When I went back home I started to call all the clubs I knew and in March, two months after I met Mr. Mabon, I brought him for a 6 concert tour !!! Wow, I was so excited to drive around and take care of my idol. At that time I used to drive a very small economical car, Mr. Mabon was so tall, so I apologised to him for being so uncomfortable and he answered me “Don’t worry, the most important thing is that the car is safe”. I was only 21 years old without any experience of organising concerts or tours, but full of admiration for my idol, yes he was sitting in my little car and he enjoyed my companionship and my poor English! What more could I ask for? Mr. Mabon then introduced me to other U.S. emigrants like Memphis Slim, Champion Jack Dupree, Mickey Baker, all them living in Paris at that time. All artists I worked with. It was in March of 1976 when I decided to create the agency Feelin’ Good Productions (yes, Junior Parker was another of my heroes). I already had the experience needed to handle the situations and I thought it was the right time to build up a profession. 3

Did you ever have any dealing with the mysterious, late Cooper Terry?

Cooper was a good friend of mine. He lived in Milan so we used to see each other more or less every week. Cooper was a nice guy, very dedicated to expressing his “black culture” as a musician and as an individual. Great musician, but not easy to work with, he had his own idea and didn’t accept any suggestions. Many times we talked with each other, comparing ideas and every time each of us remained at the same starting point. Cooper left a big musical heritage, especially to all the musicians here in Milan and all around Italy.

You have always pushed for the Blues - how do you stay motivated?

Love and passion, with a great sense of sacrifice, for the music and for all the artists who create this musical language and many have been my friends for many years now. My ex-wife understood perfectly who I was and what I wanted to do. Thanks to her I had a lot of space in my daily family obligations. For more than 10 years I had 4 radio programmes for a total of 6 hours a week. A lot of work and a lot of time spent preparing each programme, and all the time it was outside my regular job and as booking agent…

with Brownie McGhee at his home - 1988

with Gail Muldrow - 2007

with Kim Wilson - 1982

with Mark Wenner - 1984

with Jr.Wells - 1979

withBigJayMcNeelyandKatieWebster-1982

with J.C.Burris - 1980

In 1980 I also started to publish a magazine, yes, once again ‘Feelin’ Good’, same size as ‘Blues Matters’, and for eight long years I also dedicated my energy and time to running it. What a mission! For what? Money? Ego? Believe me or not, it was only to offer to the people more info about this world, offer to the Blues lovers what I collected over the time.

Were you involved with any record labels before ‘Feelin’ Good’?

Yes, I worked for Green Line Records based in Milano, they got the licences, among others, of Charly Records and Chess Records and I was responsible for something like 40 compilation albums, plus I started with a new label that released 2 albums (one by Mark Hummel, and another by The Rockett 88, a band from Phoenix, Arizona). Green Line Records died with its president, and there was no more chance to produce something else. My last production was a Little Walter box, ‘The Neglected Masters’ for Italian label Black Gold Heritage (three LPs + one EP with six songs, all the recordings Walter made before Chess and during the Chess period that have never been officially published - this is a must for collectors now!).

The artists on Feelin’ Good are not tried and tested names - how did you hear of Gail Muldrow and Shawn Pittman?

After all these years I have built up a good reputation, and promoters trust me, even if they don’t know the artist that I propose, they know the concert will be a killer show! Tom Mazzolini, producer of the ‘San Francisco Blues Festival’ - unfortunately this great event is no more - is a good friend of mine, we’ve known each other well since 1980 when I worked with him for the first time on the package he organised for the European tour called ‘San Francisco Blues Festival’. Years ago I called him, “Hi Tom, I’m looking for a black gal singer and guitar player, do you know something about Gail Muldrow?” He answered “I was with Johnny Otis two days ago and she was in the band, she is a great singer and a really good guitar player”. After some other calls I was in touch with Gail, she sent me some of her material to listen to and six months later she was in Europe for a three week tour. During the tour we talked about a new record, she agreed and I started my record label with the CD ‘It’s My Life’. The name of the label – ‘Feelin’ Good Records’ I produced 4 CDs on her, now she is semi-retired from the music, but she’s one of the performers I’ve worked with that I consider more real, true in all senses and very, very talented. All the shows she made in Europe are a witness of that.

Shawn Pittman is another story, but most of the stories are very similar. I was in touch with Shawn years before we started working together. I heard a lot of things about him and I didn’t feel very confident to work with him. After many conversations I guess he was ready for the European market. I produced the

Tano with Doug Jay and Eugene Bridges - 2006

first CD ‘Movin’ & Groovin’, then we made a two week tour and in the only day off we went in the studio to record ‘Too Hot’. I’m sure that this is a CD for any list of “Best 100’s”. I also produced ‘Triple Troubles’ where Shawn is backed in the studio by two old friends, The Moeller Bros, members of The Fabulous Thunderbirds, just two guitars and drums. I guess that’s another blues pearl in the ocean of this music. Now Shawn is with Delta Groove, for sure this company will offer him more in the States because this is his main market. I wish him the best, he deserves it; for me Shawn is one of the most interesting guitar slingers on the contemporary Blues scene!.

Gospel music is also important for you - can you talk about that a little?

Gospel music is part of the black culture, like soul and R&B, and I love all this music. So I book Gospel groups too; why not produce new recordings about the most interesting groups on the scene? So far I have produced three gospel CDs, the latest with The Leggett Brothers and a new one coming out soon by Cassandra Mathews, it will be presented in her upcoming tour in December 2011.

What is the aim of ‘Feelin’ Good’, the label?

To support the name of the artists, make their names go around and collect good reviews for the next tours. Also to be a reference for those Blues lovers who already know my previous productions.

Anything you are especially proud of with the label?

Well, it’s hard work producing recordings, spending time to listen, create new ideas, pushing the artists towards the label’s vision. Everything costs a lot of time and money. But I’m very proud about each artist on my label because when they are on stage or when we travel from place to place they know exactly what I’ve done for them and they give me the opportunity to be proud about what they’re doing on and off stage. Even simpler, we are friends; we respect each other even if we have different roles in the project.

Anything that makes it difficult?

The global crisis is very tough, no money around, and also downloads. This situation makes it difficult for everybody. I could produce 20 CDs a year, but this is not my plan, I’m not a regular record label that needs to expand its catalogue. I produce CDs only about the artists that I represent exclusively in Europe as a booking agent. I’m a booking agent with my own record label, and this makes a lot of difference between my work and others. I made Gail Muldrow known on the European market. I brought Shawn Pittman forward on the European market too. I produced the latest CD of the Texas Blues legend Sonny Rhodes, a double live CD of Brian Templeton, the frontman of the legendary Radio Kings. The fabulous harmonica player, Andy Just, three CDs in two years, now his name is much more well-known outside the Ford Blues Band. The saxman Gary Wiggins, is not an old forgotten name, he’s still in action and still sounds great. I’ve just released his ‘Saxin The Blues’ CD. I believe in “young” talents, listen to the CD of Vivian Vance Kelly from Chicago or the two CDs of Texas Slim and you’ll have a complete picture. I love fresh contemporary music, not commercial. Money is not my priority - I need it to live, like everybody, but it is not a priority to me. This is a “job” that requires love and passion for the music and let me repeat “a great sense of sacrifice”. I’m the oldest Blues agency in Europe operating since 1976 with a really good reputation. Reputation is like a glass, when it’s broken it’s broken, even if you repair it, it remains broken. You can’t get this in few months or few years…

As producer/ agent, what do you look for in a Blues act?

In my opinion if the band on stage doesn’t move the crowd, it’s not a good show. Many artists play for themselves, not for the audience. People buy a ticket to get in to watch and listen to the concert, the artist needs

to dress good, look good, sound good, feel good : those watching really deserve nothing less! That’s what I’m looking for in a great show!

Are you still enjoying promoting shows?

Yes, definitely, seeing my artists in action is still a great emotion, every time. My standard concert is a “killer show, take no prisoners!” Each time is a new experience; also if at the end the crowd is satisfied, the promoter is too. All this makes me happy and recharges my batteries.

What changes have you seen since your involvement with the Blues began?

Nowadays most agencies offer artists with a big name: B.B.King, Buddy Guy, Robert Cray, just to name a few. Of course this is a business, a commercial business, and everybody tries to make money, as much as possible. In my opinion it’s a job that needs a little bit of heart, if you don’t have it it’s better to offer only commercial music. Blues is passion, understanding, solidarity, love, humility. Most of the festivals around Europe and a few in the U.S. are directed by Blues lovers and they offer their festivals to Blues lovers. This is a relevant difference. When I started to book my artists the most important thing for the promoters was supporting the Blues artists, no matter if he/she was good or not (better if black…), now the situation is more focussed on business. Today the carrying out of an artistic project is not just based on the artist’s talent. Without a good record label and a good agency even a high-talented artist is not going anywhere. I can tell you thousand examples of this but we don’t have space. When we talk about music, Blues in this case, we need to think about what the artist has behind him/her. a big record label? management? a publisher? a marketing/ publicity office? All these things are part of the machine to bring the artist to the world’s eyes. The market has changed and the music has changed; now the more visible the artist is, the more he/she is requested.

And have audiences changed?

The new generation of crowd replaced the old one, you can see this, it’s no secret. I feel bad when I see people watching a Blues concert like they were watching a jazz concert - Blues needs more participation. The artist plays for us. The crowd need to be more participative with the band on stage. When I see kids impressed by Blues artists, I remember when I was young like them, what happened to me, and then I think, seriously, the planet is safe for many other years because “The Blues will never die!“.

What are your future plans?

I have ten new names in the programme for next year, I can say one of those who is a young guitar player from Dallas, Texas, (yes, I like that Texas sound), very talented. I don’t want to name names right now, you never know what’s going on for sure, but I’m working on it. If people like the CDs on ‘Feelin’ Good Records’ they can be sure that only good recordings come out from this label, no bull… If you could record anyone, living or dead, who would you especially like to be able to record? Sonny Rhodes is a long time friend since 1980, I love him very much because I learnt a lot of things from him, and I would like to have a chance to join him again in the studio. The old generation of Blues people were all geniuses, they were the creators, you can’t do better than what they did, but you can try to offer a new name that might represent the continuity of this musical culture. It is important to have a new, contemporary language. The present time, from the economical point of view, is different on one hand, but very similar on the other, to the period that gave life to the great artists of the past. The difference now is the language - lyric and musical - of this culture, and we should pay attention to it and catch the best and the most original all around us. We won’t ever have another Elmore James again, but maybe there will be a ‘new’ Texas Slim!

Only 19, Lucy Zirins packs a powerful punch in her vocals laced with a mean streak of the blues. Her Delta style guitar and beautiful slide will send shivers down your spine. Fresh from performing at Orkneys Blues Festival and on the back of recognition in Blues Matters Newcomer Awards, Lucy spoke to Clive Rawlings

BM: You were born and raised in the NW of England, what attracted you to the Blues?

LZ: I was very much influenced by my parents, record collections growing up, but also by my music teacher Saph Wright and her then husband, Paul Corry; particularly in my teenage years. I heard a lot of classic rock, early heavy metal, blues, (Fleetwood Mac, Pink Floyd, Deep Purple, Queen for example) growing up from my Dad’s side, but also a lot of 60’s and 70’s pop groups and singer songwriters, from my Mum’s side. My favourite female artists, Carol King, Eva Cassidy, Aretha Franklin I discovered from hearing them via the radio and my fantastic inspirational music teacher Saph at school. Paul who plays saxophone but who is also an incredible guitar player, (and a fantastic singer and writer too!) came in to school one day and we were playing along to some B.B King –I was hooked! I used to visit Saph and Paul in Hebden Bridge nearly every weekend; we’d sit in the kitchen and play along to John Lee Hooker, Robert Johnson, Sonhouse, John Hammond… Paul gave me a slide and I delved into the Delta and never looked back! It was fantastic to discover where all the music I’d grown up to was rooted in and hear all the influences – the blues is such a soul bearing music and it made me want to understand why people write songs, whatever the genre. When I was 15 I first went to Colne Blues with my Dad – our biggest local festival – Paul was playing and I saw Michael Roach – both in big band and on his own playing country blues. I told my Dad I’d be playing the next year and I was! The North West is a hotbed of singer songwriters and I’m pleased to have grown up in the area.

What’s your musical background?

I’ve been interested in music from a young age, I used to sing along to Mum and Dad’s cassette tapes in the car all the time (back int’ olden days!) When I was in Year 6 at school I got the lead in a Christmas musical –and didn’t tell any of my family I was going to be singing in it – they just thought I was acting! Nobody knew I could sing until I got up and performed my solo! Then from there I sang and performed in lots of school showcases and was also heavily involved in Amateur Dramatic groups in my local area. I also played double bass in my early years of high school (because I was the only one tall enough!), but I suppose the turning point was when I was 12 and I inherited my Uncle’s guitar. I started writing and playing and singing together, and started gigging aged 15 just turning 16… playing open mics to begin with and working my way up - I’ve never looked back! I went to Blues Week at Northampton University with a scholarship two years running from age 16 – thanks to Michael Roach who picked up on what I was doing; it was there I got to meet one of my musical mentors Michael Messer – it was such a wonderful experience being surrounded by such talented teachers and musicians and was a definite help in what I’ve been doing. Education wise, I studied GCSE music, then went on to do A Levels in Music and Music Technology as well as in English, and studied my grades in singing, guitar and music theory whilst at college. I decided not to go to Uni as I’ve spent all my life in education; at 18 when I left I wanted to have some space to write and play and pursue what I love. Better to try now than never I say! I’m 19 now and feel more creative and excited about my future in music than ever! I don’t ever want to stop doing this.

You pay tribute to your late Uncle Chris, I read that you play his acoustic guitar, can you enlarge on that for us?

My Uncle Chris died when I was 12, I inherited his guitar; it is a beautiful handmade instrument with the most beautiful musical soul in it. Learning to play it was a way for me to channel everything I was feeling and turned the sadness into something beautiful. Music is cathartic. Blues and Gospel is so open and upfront about it which is why I was so drawn to it. I think sometimes people get confused and say Blues is just depressing and about troubles…but if you listen to what the artist is saying through their song; they are laying down their soul to hear for the listener; saying “it’s ok, I understand, look I made something beautiful out of this; I turned my trouble into a song that will last forever - I get it too”. Songs and music make life worth living as far as I’m concerned. They can save you. I hope to pass that onto my listeners.

Do you have a band, or are you purely solo, what do we get when we see you in concert?

I play solo, although I have experimented playing with a trio this year which was fun! If you come to see me you will see a female singer songwriter; playing a mix of country, Blues, soul, gospel, folk, jazz; a mix of my own songs and my own arrangements of traditionals and other songwriters’ songs. I play a Martin acoustic and also a Michael Messer Lightning Resonator for the Delta Blues influenced stuff and my aim is to create an intimate show that gets the audience involved; I want every person in the audience to think I am singing to them. I don’t limit myself to one genre as I believe all types of music are important, and try to marry as many together as I can through my songs – however it is heavily rooted in Blues and gospel.

You’ve just come back from playing the Orkneys Blues weekend, how did it go?

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Orkney Blues was fantastic! The place is so beautiful, musical and friendly. The organisers and locals are so lovely and couldn’t do enough for you! I was so thankful for the chance to play in such a wonderful place. I was playing alongside local bands, as well as Paddy Macguire and his band, Chantel Mcgregor and Rhythm Zoo as one of 4 headliners from “The Mainland”. I did 3 gigs over the weekend and enjoyed them all so much! Although I didn’t enjoy the ferry – I forgot my sea sickness tablets going over – ickkk! I wanna go back already!!!

Do you have any memorable gigs, experiences on the road?

It’s hard to pick just a few! I guess one I can talk about is when I visited Italy for a gig –I did the whole trip in just over 24 hours –got up at 5am, flew at 8, was playing that night and back in the airport by 1am ready for my flight home! I got back to Manchester about dinner time that day and was half dead –but it was worth every minute for the experience of playing in such a beautiful place –I played outdoors under the stars in a place called Iseo, on stage in front of a church to a courtyard full of people, it was the experience of a lifetime – and in the airport on the way back I was so determined to stay awake in case I had my guitar stolen I wrote the words to a song which became Long Way Home – which has become one of my favourite songs to play in my set!

I’ve also had the experience of playing with one of my musical heroes, Michael Messer on stage with a Blues Legend, Louisiana Red, supporting them on a couple of tour dates in this country in 2010. Red got me up to sing on a song about his mother – I literally sat there singing along behind him in tears. It was such a moving experience. Everything he sings, he lives and knows, and he pours his heart into. He really is truly gifted and inspirational and a wonderful man. Michael is incredible too – he is such a talented player and I loved every minute of being on stage with them. One of my other favourite experiences on the road –visiting Beauvais in France –drinking with Dave Acari and Hokie Joint (dangerous!!) and eating and meeting what looked like a circus tent every day –it actually used to be a travelling brothel!!

What are your future plans, can we expect any new recordings?

I hope to finish writing my first album and have it recorded within in a year and plan to continue gigging and writing as much as I can. I want to pursue a future in music and write for others as well as myself and sing and play as much as I can!

Do you have any outside interests, how do you relax and get away from it all?

I love to read, particularly gothic literature – I’m currently rereading Mary Shelley’s Frankenstein at the moment – and a lot of depression era books – my favourite book is ‘To Kill A Mockingbird’ by Harper Lee. I also love to paint (very badly) make cards and jewellery, and cook. I love to cook and experiment with recipes and I love to bake. My speciality is my home recipe giant triple chocolate cookies!!

I also love watching movies and go to the cinema nearly every week with my friends!

What’s your favourite biscuit?!

CHOCOLATE HOBNOBS!!! (Dipped in black coffee)

Accelerator interview

by Vicky Martin

At just nineteen years old Virgil McMahon one of the youngest of the recent new wave of talent that is emerging in the British Blues / Roots scene; he’s blessed with a superb guitar technique’ and has a quality of vocal performance in particular that sets him way ahead of most of his young contemporaries. We caught up with Virgil in the middle of a nation-wide UK tour and what emerges is a story of true dedication, deep love of the music, and a revelatory account of where it all came from.

It was early on a Saturday morning when we spoke, mutually blurry from a late Friday night but also mutually intrigued to find out more. We briefly discussed our missed meeting at Pete Feenstra’s Beaverwood venue a few days before and then it was down to business. Virgil was on his own here and we discussed a provisional meet with the rest of the band present to take place soon. After introductions I suggested that the band seemed to be going well – “Yes, we’ve been playing quite a bit lately and we’re pleased with how its going” – it’s touring and headlining this time – “Yeah, it’s been great to headline, especially at venues where we started out a couple of years ago like the Beaverwood and the Boom Boom Club.” These are Pete Feenstra venues “Yeah it’s been great to go back there – the attendances have been really good, great turn-out – we’ve been talking about this on our drives back – how great the audiences have been, “They’ve made us feel really welcome”.

It is good to see young artists doing so well and it brought us to the question of how Virgil got into the blues stuff – “Well it was mainly through my father, when I was a kid he kind of forced it on me [lucky lad – I got Max Bygraves] – I just fell in love with that sound and I remember it struck me that music was more ‘real’ than anything else I was hearing”. It sounds even more real these days when we look at the diet of music that’s fed to us through the media – “Yeah, well just look at the X-Factor!” – I said I’d rather not; it is that bad – “Exactly”. It’s interesting to find how, with Virgil being so young, how his contemporaries view his music?

In this Virgil seems to have escaped the worse – “Well some of the people I was at school with were also guitar players or drummers or that kind of thing – and they all kind of felt the same way about the music – I remember going to school and I was listening to Stevie Ray Vaughan on my tape cassette player – and other kids had iPods with, like, Britney Spears and Rhianna and that kind of thing, so I was apart of the minority that actually listened to good music”.

I observed that as a player with my own band we often see late-night town centres full of young people – many of them pretty much addled and most listening to doof-doof music – at times like that it almost seems to have taken over the world; how does Virgil see his music standing against that? “Well I think that the best Blues and rock music is timeless – that drum and bass that kids are listening to, its not going to stand the test of time- and I believe that blues music will stand the test of time – its gone through so many different phases of what the Blues is, and what the Blues should be – Blues and rock / Blues and rock ‘n roll is in very safe hands at the moment, and I think its making a huge come-back”

I think the music is safe enough n the hands of the musicians and the promoters – but as Pete Feenstra pointed out in a recent interview it’s the mainstream media that cause a huge problem – there’s a severe lack of opportunity for this music to be heard – “It is and it’s a real shame – you’ll never hear this kind of music being played on Radio One – which is a real shame – its like these manufactured bands and X-Factor singers – most have got no idea what real hard work it is and what real musicians are putting into it – you know the guys who are out on the road – in a van – arriving at venues – packing and unpacking all the gear, setting it up and sound-checking – tearing the roof off a place – then padding all the gear back into the bus and shooting off to the next venue – those guys have got no idea of the work that gets put in… that’s why what they’re doing won’t stand the test of time.”

I recalled another conversation Virgil – when I spoke to a lad of about sixteen and happened to say ‘I’m in a band’, and he says ‘Oh what’s that, like the X Factor?’ – it illustrates the degree to which the perception of what live music is has been lost; “Yeah, it is, its like when I sometimes go back to West Wales to see my family, and I’ll bump into people on the street and they’ll say ‘Hey why don’t you put your band on

Photos supplied by artist

X-Factor?’ It’s hard to see that way of thinking- because – well…crap floats to the top, let’s be honest…” We chuckled at that but I think it would be great to see someone like Virgil and Co go on X-Factor and blow them away with ‘Working Man’ [opener from Virgil’s album]. “Well” says Virgil, “I’d love a great young band to come on out of that and blow them all away” Subversive thoughts occur here – why don’t Virgil’s management sneak him through- playing some poppy nonsense then go on pretending that’s what there gonna do – then just blow them away with some real rock blues?

The conversation turns to Virgil’s excellent guitar technique – how did he start out “I started at the age of four, by the time I was 8 or 9 I was listening to SRV and Hendrix, but I was also listening to some easier stuff – like the Ventures and the Shadows and all those old surf tunes – in fact one of the first tunes I learned to play was ‘Pipeline’ by the Ventures [original hit version was by the Chantays – Ed] , once I’d learned a bit and got confident I moved on to SRV and tried to take what I could from him – the same with Hendrix and then Clapton, Billy gibbons, Brian Seltzer…I suggested people might like to hear quotes from that stuff on a gig. “Yeah people do love that stuff; when I started with my father’s band things like ‘Pipeline’ and ‘Miserlou’ were in our set list they went well – its still great music- it’s stood the test of time.” I suggested that such music was the soundtrack to the lives of previous generations – but there doesn’t seem to be a soundtrack emerging for the new generation – “Yeah that’s true all of my favourite music is from the 50’s, 60’s and 70’s – what we’re hearing today isn’t real music – it’s not played on real instruments”

Well at least young guys like Virgil & Co are doing something positive in this climate but it brought us to ask how do you do something original in the light of the huge body of great Blues / rock music that’s gone before? “Well it’s quite tough to be original nowadays; there’s just so much of this music – you’ve just got to take from your influences…try and find a style that’s kind of your own, based on what you’ve taken. It takes time, but I think that with the sound of the band; well we’re finding it…our own sound.” Virgil certainly, God willing, has the time and technique to develop that individuality.

We turned to the album ‘The Radium’ and I commented how very strong the opening track ‘Working Man’ is, it’s built on a very simple yet insistent guitar lick. Did that song kick start the whole song writing thing for the band? “Oh yes, we wrote that about two years ago; I was sitting with Gabriel one afternoon and he had his snare drum in the lounge – I was playing this figure on acoustic and I said ‘Give some kind of a military style drum beat…so he started and within about fifteen minutes we had this riff thing going… and I said ‘Wow, that sounds really good’, so Tom Sainsbury, who was our bass player at the time, came

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up and plugged in and we rehearsed it and tried to write a song round it; and so it came about- but we never played it live all that much…maybe three or four times while Tom was in the band, then we decided we weren’t going to do it for one reason or another…and it wasn’t until Jack joined that we started playing more of our own material…and dropping some of the covers. We thought ‘What have we got?’ and went back to ‘Working Man’. So I’m glad it worked out that way. It’s a guitar lick that draws you right in to the song “Yes, it was inspired by Joe Bonamassa and ZZ Top”, we thought that Neil Young might be an influence? “I’m a huge fan of Neil Young” – the song has a similar harmonic structure to Neil Young’s song ‘Ohio’, “Oh yes, of course, that might have come from Jack, he loves the Isley Brothers and they do a great version of ‘Ohio”.

I wondered what other tracks Virgil was particularly fond of. “I think ‘Silver Giver’, because that’s a homage to all the guitar players who’ve inspired me, that’s a nod and thanks to them ‘Fell to the Floor’, I’m even prouder of that – it was written in five minutes – we were in the studio one night – we’d been to Marshall that day and got these new Marshall amps , we came back to the studio and it was late one night – I was strumming the chords and then I started humming sort of nonsense really, and then I got a line (of words) and I hummed a bit more, then another line came…so I got the guys to come in and play it with me, so we played it and rehearsed it – changed a few bits – then said ‘right let’s record it, so we did’ That’s a prime example of grabbing one of those musical ideas that sort of float by, you have to grab them while they’re there “Absolutely, you have to go straight away with it”.

I had been intrigued by the album title ‘The Radium’ – where did that come from? “The Radium is a beer hall in South Africa, it’s the longest standing beer hall in South Africa – it was the only place during the forties and fifties that was serving alcohol to African people who weren’t able to buy alcohol from anywhere else, so they could go there to buy beer and they always had bands playing there; good jazz bands, African bands, my Dad’s band used to play there Friday and Saturday nights, I’d always go along and watch and hold the guitar and things.” So is Virgil South African? “Yes, I was born and raised there till I was about ten years old, and then my parents decided to make a move to West Wales”.

Hearing about the Radium is a revelation – did this place stand in all the battles and stresses against Apartheid? “Yes, everything that’s happened in Johannesburg and South Africa it has stood and braved it and its still standing and its still going today!” This is a fascinating and significant thing “It is and amazingly it’s probably in the worst area of Johannesburg…you go in there…and I know the Portuguese family that own it, very lovely people, so gracious…seeing my Dad playing there when I was a kid, and seeing the crowd, it made me go ‘Wow, that’s what I wanna do’ play for the people” I wouldn’t have gleaned this from the album artwork, but its really important that we know about this place – will Virgil take the band there? “I would love to…in fact my Uncle went there a few weeks ago to see a South African Blues player Dan Patlansky…he gave the owner a copy of the album and he said they’d love to have us there- so hopefully one day we’ll get out there.” “I felt it was important that the album was called that –it’s our first album and we felt that everything on there should be a testament to what’s led and inspired us.” Perhaps at some Virgil will write a song about the Radium “Yeah, I’d love to do that”. We talked on and asked Virgil about his musical training- he revealed that he’d been expelled from school – for playing guitar –there’s a song there surely and much more about his true love and total devotion to music. His closing words “I really love this music and I really love to play, it’s a privilege to be a musician and to play this music.”

After talking to Virgil I’m sure that he will develop a great and long career- his devotion and sheer joy in playing is testament to that and a lesson to us all. I’m left looking forward to seeing what develops.

Here is the menu of music for you

For the 1st time you will have music in JAKS on Sunday Night!!!!

FRIDAY

Bare Bones Boogie Band

Maggie Ross Phoenix Blues

Band

Idle Hands

SATURDAY Afternoon

Roadhouse Jam Session

Evening

Cherry Lee Mewis

The Blues Corporation feat. Junior Moore

Steve Roux

SUNDAY YES SUNDAY

Afternoon

Acoustic Jam Session

Evening

Mick Simpson

Babaack

Early Mac

John Mayall has been back on our shores touring once again and we never get tired of seeing him. This time he has young gun Oli Brown with him so we posed a few questions to them both for you.

FIVE QUESTIONS FOR JOHN MAYALL

BM: It is always nice for us to see you coming back to the UK but in these difficult times for everyone (seemingly no matter what country you are in) just how hard is it these days in an economical sense to tour?

JOHN: I seem to be luckier than most in that people still want to come out and listen to Blues and good old rock n roll. So far we have enough touring to keep us busy.

What does the inner man that is John Mayall get out of touring today compared to in the 70’s for example?

Just more experience really which adds up to being more comfortable with audiences.

You must be sick and tired of being asked about Eric and Peter so is there anyone around today who you would see as inspiring the next generation of Blues players and what is it that they have got?

I don’t think there will ever be guitarists of their stature but it is encouraging to see the enthusiasm that young musicians have for the Blues. That’s what keeps it all going.

You often man your merchandise stand yourself and spend time with your fans when so many other artists do not seem so bothered.

I find it very stimulating to be out front with the fans before and sometimes after the shows otherwise I’d just be sitting around in a dressing room waiting to go on. It enables me to get a feel for the audience before going onstage.

You look a remarkably fit man (OK, for your tender years) just what is your secret and your regime? (We think we could all do with a little of it!)

I can only put it down to having good genes and living a healthy lifestyle. No alcohol and have never used drugs other than aspirin for the rare occasional headache. People also sometimes assume I’m a vegetarian but I have always been a meat eater seeing as my grandfather was a butcher.

Questions posed by Frank Leigh

FOUR QUESTIONS FOR OLI BROWN

BM: Hi Oli, so you’re touring with Mr. John Mayall no less once again, tell us a little about the USA experience

OLI: It was completely different to any other touring experience that I’ve had so far. It was fun and it did feel like we were really making progress as each gig went on. It was great to support so many great American musicians as well. There is a completely different style of player there. It made us think a lot differently and made us step up our game at the festivals. It’s great to be inspired like that and we came back from the tour feeling like we had learned a lot.

BM: We know you are a little of a student of the Blues so who do you admire from The Bluesbreakers past and or present and why?

I admire John Mayall greatly; he’s really put so many great musicians in the forefront of the UK and really made them a feature of his show. Such a humble performer it seems. Also he’s released some great albums, such as The Beano Album of course. Walter Trout is another person who’s greatly inspired me from the Bluesbreakers; not only is he an amazing player and performer, he is an amazing person. One of the most genuine people I have met on the road who always makes time for his fans and aspiring artists. He’s really helped me build up crowds for my own gigs. Buddy Whittington is another great musician to have come out of the Bluesbreakers, a completely technical genius on the guitar but also a very clever lyricist, his self titled album has got some really well thought out and written songs.

BM: How important is image to you and what inspired ‘the look’ as you always seem to appear smart on stage?

I think image is always important on stage. But more so a consistency of an image that goes throughout the band. As a band we like to make sure we look as smart as each other on stage just to make it look like we are a band together on the same thing. If it was only me wearing a suit and then everyone else was wearing jeans and t-shirt it would just look a bit separated. But personally I just feel odd not dressing for on stage. We’ve gone into bars to play jams while touring to have some more laid back fun just in our standard clothes and it just feels odd. I can’t really explain, I guess after dressing up for on stage for so long it’s just hard to imagine not doing so.

BM: What message do you want to leave the Blues on this tour?

That it’s changing. I think so many young artists out at the moment are really trying to push the blues genre taking it into their own different interpretations. When I write music I always use blues music as a base for my influence but I think 12 bar has been done, and done by the best blues musicians. I can’t better that, so I like to take my writing somewhere else. That’s something I’ve always aimed for though and I have tried to make that point in the last 2 albums I’ve released. The next album “Here I Am”, feels more like the definitive of the sound that I’m trying to create.

Interview by: Adrian Blacklee

Savoy Brown leader Kim Simmonds Following A Dream

I have been an active fan of Savoy Brown most of my life, certainly since my early teens, while I was not there from Day one (1965) I have lived & breathed their music since; with the Band making the United States their base circa thirty years ago I have had little opportunity to see them performing live in the U.K., so each album release is eagerly awaited. The ‘Tom Tom’ drums have now been banging and there is news of an imminent new release from the band, hopefully followed by a European tour in the spring of 2012. Prior to the release of the new album Voodoo Moon, I had the opportunity to raise some questions with Mr Savoy Brown himself, namely Kim Simmonds, taking him back through his career:

BM: I purchased the “Shakedown” LP when I was just into my teens; I was completely overwhelmed with this raw ‘new blues music’, when recording the album did you feel you were into something new & exciting?

KS: I thought that we were breaking new ground. Most people were interested in Motown and dance music at the time. I was going against the grain. People told me not to form the band because blues was a dead issue.

At the time of this recording who were your contempories on the British Blues scene? John Mayall was around and really came to the foreground when Eric Clapton joined his band. I used to watch The Stones and The Yardbirds before both bands went mainstream. They were called R n B bands. Mayall and I were Blues bands. Not sure what the difference was!

A lot of bands at the time quickly moved into more psychedelic music, looking back do you think another album with Martin Stone could have led you down this path?

That’s why the band changed its’ line-up, we were going too psychedelic. I was a Blues purist and only took one hit of acid. Not my thing.

The “Getting To The Point” album was virtually a new band; this couldn’t have happened overnight, was it a planned process or did the jigsaw just fall into place?

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It was a process, auditions and recommendations. I took it very seriously. I always thought Blues music should be symphonic and on “Getting To The Point” some of my arrangements go that way if you listen to the dynamics in the songs.

If I was to take a punt were the two tracks ‘Mr Downchild’ & ‘Flood In Houston’ what you refer to as having ‘Dynamics’?

You got it!

By the time the third LP “Blue Matters” was released the band was fully consolidated and in the following decades each member of this band has shown that they were ‘great musicians’, all holding their own in their musical field, do you take some satisfaction that you helped start their musical carers by bringing them together?

I realise now that my style is too try to get the best out of musicians that are in the band I always support musicians in the band and step aside so they can have their say. Sometimes that goes unappreciated. My favourite period for the band was the era 1969-1971, the three albums “A Step Further”, “Raw Sienna” and “Looking In” were all very strong albums but totally different in feel & content; in some ways “Raw Sienna” is the unusual one in that it is so laid back. Was this intentional or was it Chris Youlden having a stronger influence on the band?

A very good period to say the least! And you sum up the records well. On Raw Sienna, Chris Youlden had turned into a great song writer and, again, I was very supportive of him and was eager to record his material.

3 “Looking In” I consider to be a straight forward rock album, with significantly less Blues than previous albums, was this the cause of the band splitting?

Yes. The band wanted to rock out and I wanted to stay within the Blues framework. (As exemplified by the next record “Street Corner Talking” which out of all the records is the one that has most universal appeal I believe).

The short instrumentals at the time like ‘Romanoff’ were superb and full of atmosphere, ever thought about reviving these songs into a more extended format, acoustic or electric?

I play one of them on acoustic during my current live show. You should write my set list.

Chris Youlden and Dave Walker have been two of Savoy Brown’s most prominent vocalists, surprisingly neither have reached the promise they showed while in the band, any thoughts why? Blowing my own horn again….As a band leader I think I gave them both the focus they needed to be their best.

Did you ever meet the superb album sleeve designer Dave Anstey, who never seems to get much credit for the work on your album sleeves?

I believe I did. But it is so long ago now. He did a terrific job. Artists often don’t get the credit they deserve as we all know.

In 1972 “Lions Share” was released which appeared to trigger a complete change of direction and of course another band shake up, was this about feeling stale?

I was heavily criticised by my “handlers” at the time for going too far astray with the “Hellbound Train” songs. I took their advice and moved back into a more Blues format on “Lions Share”.

“Hellbound Train” is one of my least favourite albums, seemed to loose the distinct lead guitar sound amongst the heavy organ and bass; is this what you meant about ‘going astray’?

I had become tired of playing guitar and wanted to concentrate on song writing. Interestingly “Hellbound Train” is the biggest selling Savoy Brown release.

While Dave Walker was not a prolific writer his ‘Denim Demon’ track is very catchy and one I am forever singing to myself, this would definitely have been worth releasing as a single?

It’s a great song and I wish Dave had written more. I always have liked it.

3Were you ever conscious that you needed a “hit 45” to put the band on the map during the 1960’s or where you just content making the music that you loved? Were there any tracks throughout your career that you believe could/should have made top ten materials?

The band realised that the competition was beating us by getting into the charts and becoming household names. That really wasn’t where I or the band was at. We did lamely try to get a hit and played Top Of The Pops playing ‘Hard Way To Go’…a Chris Youlden song. Mainstream success in the UK wasn’t to be our destiny and I told Chris we had 2 years left at the most. A little while later, the USA saved my career and made the bands’ reputation.

3

Savoy Brown appearing on Top of The Pops, almost makes you un-cool, a friend of mine once insisted that the Band appeared on the Old Grey Whistle Test?

We never did the Old Grey Whistle Test

During the period from the middle 1970’s onwards obtaining information about Savoy Brown in the UK was impossible, had you given up on this market by this time?

Yes. I remember doing a gig with Roxy Music and realising that I wanted to move to America. Of course the Punk movement was the final straw.

Still following the ‘hit 45’ theme, how did the recording of Smokie’s ‘Lay Back In The Arms Of Someone’ come about, released on the Rock & Roll Warriors album?

My manager at the time thought it a good idea, sometimes you stray off the straight and narrow.

Savoy Brown has hosted some great musicians throughout its life, if you were put on the spot who would be your top band members, from a band leader perspective? Paul Raymond, Dave Perverett, Roger Earl, Nathaniel Peterson, Pete McMahon.

From my “fans” perspective the top “Savoy Brown” line up would include; Kim Simmonds, Chris Youlden (Vocals),Roger Earl (Drums),Nathaniel Peterson (Bass),Lonesome Dave(Guitar/Vocals) & Paul Raymond(Keyboards) world beaters!

I agree 3

As the 1980’s rolled into the 1990’s you continued to release albums every couple of years & started to show more confidence with both your vocals & performing solo acoustically, while these albums were not necessarily big sellers they still showed you could play a mean guitar & write great blues songs, can we expect the same over the next decade?

I have a wonderful fan base that really appreciate that I’m an independent man when it comes to the music business. They get the point of who I am. I love performing and playing to them and for myself….in that order. I give 175% on stage and constantly practice. I made a stand many years ago to not wanting to join the mainstream in order to be happy doing my own thing. Don’t expect me to stop!

What inspires you to write new material?

A creative drive that’s been in me since I was very young. I can’t turn it off. Although it has dimmed at times in the distant past. The past 20 years I’ve been on full throttle. I thank God for that.

Looking back over your career, now spanning forty five years, do you have any regrets of maybe what could have been?

I indulge myself with regrets every now and then like everyone else. But it doesn’t last long. I am doing exactly what I wanted to do when I had a dream at 13 years of age. I am the person now that I dreamt that I wanted to be. Eventually, if I live long enough, I will understand myself and playing music has been the conduit.

As a 13 year old boy dreaming of playing Blues, who was the artist in that vision?

John Lee Hooker

From the first British Blues Boom of the middle 60’s some current household (well known to me anyway) musicians first got their taste for blues/rock, namely; Eric Clapton, Peter Green, John Mayall, Alvin Lee, Stan Webb, John McVie. What is it about this grounding that has proved so valuable for the longevity of their careers?

Blues music is a great foundation from which you can expand to Jazz, Pop and other music forms. A lot of great jazz players started in the blues. A lot of great rock players too.

You are releasing a new album shortly called Voodoo Moon, can you tell us about it & details of the current band members playing on the album?

Although I sing myself these days, I do have a fantastic new singer Joe Whiting. Could turn out to be one of the best ever in the band’s history. On bass I have Pat DeSalvo….who really acts as band leader in logistical ways. On drums Garnet Grimm….who plays the blues and rock rhythms equally well.

With such a huge back catalogue covering 20+ albums how do the new band members go about learning the material that you must be expected to play at gigs?

Joe Whiting has probably the whole Savoy back catalogue on his IPOD courtesy of a friend of mine John Shelmet .. So does Pat DeSalvo. Everyone lives within an hour of me and that was a conscious decision on my part so that I could rehearse the band without a lot of travel hassle. We rehearse on a regular basis. New songs and old songs. The band members were Savoy Brown fans way back when and are familiar

with a lot of the songs to start with. Joe Whiting, in fact, was the opening act for a couple of dates back in the 60’s.

I seem to remember in the early 1970’s Savoy Brown were often cited as undertaking the most USA tours by any UK band, are you aware of any other band “Records/Achievements”?

One of the first integrated Blues bands I’m told. Yes, and I have worked harder than most people on the planet!

You will know better than me how many songs you have written, if put on the spot, what are your top five all time Savoy Brown tracks & reasons for these selections? “Street Corner Talking”…..not often you get “given” such a great title. “Hellbound Train”……an epic. “Looking In”…my philosophy. “Money Can’t Save Your Soul”…..I always thought making money was a silly thing to waste your life doing. “Too Much Of A Good Thing”…always nice to write a successful simple blues song.

What is the life of a Blues/Rock band leader like in the states?

Tons of travelling. Having a great team around me allows me time to sit around with my two West Highland terriers and enjoy a good cigar. Constant pressure to be your best (well, I put that on myself). I’m a family man. I have a wife who and three children. Youngest is 17 and still in high school.

I heard a whisper you may be touring Europe & the UK shortly, can you validate this and give us some details of venues etc.

April/May looks to be the time I will bring the band to Europe. Hopefully I’ll make it to the UK. They are working on the tour now and I don’t have details other than May 5th is booked somewhere in Germany! With your early original LP’s fetching high prices in the Collector’s market, how many copies of your original UK LP’s do you still have?

I have lots of copies. I have the original studio tapes of Looking In. And other stuff. I have boxes of memorabilia including posters from the 60’s and 70’s. No one here looks at the stuff. I have no memorabilia in my house. I love my past, the music and the band. But unless I do something like this interview (which I have enjoyed)….I keep the past firmly behind me. The past can bury you in a hurry.

The new Savoy Brown album is being released during October on the Ruf Label and has a spooky title of ‘Voodoo Moon’, Kim commented; I believe the songs on Voodoo Moon are the best I’ve written since the early 70’s.It is modern blues rock with more song orientation than normally associated with this genre” I cannot wait to get my hands on a copy, by my reckoning this is their 32 album release and clearly will not be their last!

“NEW YORK, BLUE YORK”

Interview with Brian Kramer

Michael ‘Murch’ Powers is the definition of a true New York Blues musician. Originally from New Jersey and spending summers in his youth down south, learning from local Blues men and picking up guitar playing tips from none other than Jimmy Reed. However it was the clubs and scenes in the Big Apple’s Village & lower East Side where Michael honed his skills, made connections and influenced a sound that is becoming more identifiable with the East Coast than the Deep South. Murch was one of the cool cats I looked up to when I discovered the Blues as a teenager and he was very visible on the scene; a pioneer. As my own music developed and started to play out, he was always around and always a powerful force in the NYC clubs. We developed a casual friendship over the years but the first time we actually played together was when he came to Stockholm in 2007 (where I now reside) when I was able to book him at Club Stampen. Now whenever I return back to New York, Michael graciously makes room for me on his stage at his home base; Terra Blues, once one of many thriving blues bars in the city, now the only one left standing. He can be seen there every week when not on the road. We did this candid interview, a glimpse into a bit of the history and cultivation of the New York scene and how it all started, at Terra Blues in the heart of Greenwich Village before and after his set where he invited me as his guest; I’d like to discuss a little bit about New York Blues, because you’re one guy that I remember before I knew how to put three chords together back then that actually sounded good.

(Laughs out) Back in the old days, Dan Lynch’s…

BK: remember… 78’, 79’ seeing you at Dan Lynch’s but I saw you at Nightingales first and that was the little place right down the street.

MP: Yeah, I was bartending at Dan Lynch’s and Lynch’s would close like 4:00, I would wax the floor with the wax machines, mop up, stock the bar and then open up the place at 7:00, you know in the morning. Then I’d bartend until 12:00, go all the way back to New Jersey, sleep until 8:00 and then I’d come back and play. Not every night but uh, most…

Photos supplied by Brian Kramer

(background; Dan Lynch’s was the oldest Blues bar in NYC and just about every night of the week you could see artists like the Holms Brothers, Bobby Radcliff, Charles ‘Honey boy’ Otis, Larry Johnson, George Worthmore, Bill Dicey, Speedo Harmonica Jones & players like Stevie Ray Vaughn, Johnny Winter have been known to stop by & jam. Joan Osborn, Adam Gussow and others honed their skill at the Sunday jam sessions…. This was the home for New York’s unsung heroes of the blues).

So, you were living inside the music and inside the music scene too. Yeah, yeah, yeah ‘Cause my band Moonbeam; we were the house band at Great Gilder sleeves down here where CBGB’s is (on the Bowery). And uh, and the Hells Angels owned it… Their club house & turned it into a music scene. In fact we’re gonna have a Great Gilder sleeves Anniversary in September at Roseland with all the bands that are still with us. A benefit for St. Judes children’s hospital, and we’re all getting’ together and it’s gonna be great. I got fired from Dan Lynch’s, for bartending. Because the lady that was the manager asked me to come over to her house for dinner… And uh, I had a girlfriend, we were livin’ together and I didn’t think it was a cool idea so I didn’t show up. Next day I was fired. So she wouldn’t let me play at Dan Lynch’s because of that.

Dan Lynch’s was the scene back then.

It was man… So the Dan Lynch thing was my bread & butter. You got 80 dollars a man, 30% of what came in at the register over the first 100 dollars, so you got a piece of that too and the tip jar would go around… forever. You couldn’t stand in there, there was no room, and it was free to get in!

(Sound guy approaches) “Oh, you’re ready?” …To be continued! (We then do a sound check and pick up the interview again).

There was the uh, Nightingales… Dan Lynch’s. The guy who owned Nightingales had another place across the street called Night Birds. The guy who owned Nightingales was a South Korean narcotics agent. This is what blew my mind about that place; all the people that used to hang out there were like Rastas, you know, and music freaks & they had a pool table too. They would open at 11:00 in the morning and you could shoot pool or if you were up all night at Dan Lynch’s you could go there & sleep all you had to do was keep buying a drink but these Rastas, they were the first people in New York I saw buying this shit called crack, you know… And they would just sit at the bar & put it in cigarettes. I didn’t smoke cigarettes and hated the smell of that shit.

I remember a lot of good people started enjoying and suffering at the same time.

Nobody knew, nobody knew the disease, but those cats would sit at the bar and make 100 dollars an hour selling that shit.

I remember Larry Johnson (ragtime fingerpicker/Blues man) was the cook when Lynches had the ham sandwich and 3 alarm chili sections at the end of the bar. He used to sell toothpick joints right back there.

(laughs) Everybody had their little hustle! (We then break to perform. Michael starts off the set solo playing a mesmerizing instrumental then a few signature song before inviting me up to accompany him on acoustic guitar & National slide. Playing with

Michael Power with Brian Kramer

Michael is a very satisfying experience. He’s totally communicational, urging the topic to be nothing less than fascinating. His songs and guitar playing embrace you & you just want to make it flow together with him and improvise to a complete satisfaction! His music is who he is as a person and whether you are talking with him, sharing a laugh, or trading riffs you feel his genuine faith and love for life. I walk off the stage at the end of our set feeling very elated!).

So why don’t we get back to Lynch’s maybe?

When I left Lynch’s I needed a place to play, I took George Morales (drums), Charlie Torres (bass) and a guy from my band Moonbeam whose name was Beanie who played keyboards standing up. We were the first band there (at Nightingales) and he gave us like 50 dollars a man 200 dollars for the band. We started there first, then it was Joey Miserable and the Worms, then uh, Blues Traveler and it started really blowin’ up. You know, they didn’t have a record yet.

That’s where I first saw you guys, that scene as the Murch Blues Band… Nightingales was a funny place.

Yeah real funny place but now we had a place to store our equipment and a place we could jam because the music started at 10:00 and we played there one week out of the month, Joey had one week, Blues Traveler had two.

I remember that time very well over there as a young fan .The music was intense every night but it was probably one of the worst periods for Blues in America. Disco just went out and that punk thing just came in. So now it was the Sex Pistols, The Shirts, the Talking Heads, the Max’s Kansas City scene. Then CBGB’s opened up and that placed blew up too. Then they had the Ramones, Blondie. But now we’re playin’ at Gilder Sleeves when the Hells Angels started bookin’ us & they wanted to get us a record deal and they brought down Ron Delsner and they brought down uh… the guy who brought the Beatles over? …Sid Bernstein and we’d play every Saturday night and when we weren’t playing there we played at the Ritz Theater opening up shows for Chuck Berry. We’d open for British bands like Echo and the Bunnymen. We opened for Buddy Miles & he just got out of prison and came right to the club… Johnny Winter…

Do you think that New York has its own Blues sound?

I think that New York has a Blues oriented sound. Like the future of the Blues. There are only certain bands that got that sound and I believe they’re all here in this club… There’s the Holmes Brothers, Jerry Dugger, Junior Mack, Robert Ross, Ed Sullivan…

Cause I have this theory that the language of the Blues attaches itself to its environment whether you like it or not. So even if you are from Georgia or Texas and live here for 10 years exposed to the traffic, the way people talk.

The records you listen to, the music that turns you on! If you are a musician and you’re playin’ and you become schooled by the Muddy Water’s songs, the Albert King songs… Jimmy Reed, you know Lightnin’ Hopkins. You take that and put that to your style, it becomes a new thing and that’s what the New York Blues is about. It’s the same thing with Muddy Waters and them guys when they went to Chicago. One more thing and I will wrap it up for now, just a sort of a philosophical question. People always ask about how the Blues lasts or will the Blues last over time. I’m gonna ask you;

What keeps the Blues alive?

For me, I’m always listening to the radio. I’m always listening to my little AM radio ‘cause at night they play stuff that when you get an old station, especially WFUV, you can’t hear anywhere else. The simplicity of the song and the roots, it’s always roots. I don’t care what anyone says, everything under the sun has been done, everything. After people get sick and tired of hearin’ all the bullshit & what’s been done, they always want to hear the original stuff. The Chuck Berrys the Little Richards the Muddy Waters… Robert Johnson. The REAL deal… You know the real deal will always be there.

You know what I call it; what keeps this Blues Alive? I call it the ‘Blues proof’.

That’s a good way of putting it.

Rock-N-Roll… Pop music… that’s theory, but when they need proof…

They just listen to the Blues… But they’ll always be someone coming up with the same stuff, with the same… I call it physics of music. They’re not the greatest players in the world, but they can hit one note and they’ll make you cry…

Well I can honestly say, as a fan of yours, as long as you keep doing what you’re doing, people are getting’ their proof.

Thank you man, I’m thankful for that!

Special thanks to Topsy Durham for making Michael accessible, snapping photos and just being great company making me feel so at home! Please check out Michael Powers and his new release; Revolutionary Boogie, at michaelpowers.com

*Brian Kramer from Brooklyn New York, has been working and travelling as a Blues musician for over 25 years and has performed and recorded with Legendary artists like Junior Wells, Bob Brozman, Larry Johnson, Taj Mahal, Eric Bibb & others. Since re-locating to Sweden he has enjoyed a renewed and refreshed understanding for this music and continues to travel around the globe sharing this spirit with others.

For more info about Brian & his music check out briankramerblues.com

James Cotton

Allison

Talks with - Terry Mullen

When it finally hit Nashville bluesman Shane Dwight, it hit him harder than a ton of bricks. Deep into the tracking for his latest album, A Hundred White Lies (R-Tist Records), Dwight was so overcome with emotion that he just couldn’t keep the floodgates closed any longer and they burst wide open, right there in the middle of Rock House Studio.

“On one of the songs, I broke down and just cried like a baby. And my producer, Kevin (McKendree) went, ‘Jesus, man. About time.’ Because he’d listened to all these lyrics and said, ‘this is the most personal stuff I’ve ever heard someone record. For you not to get choked up this whole time … it’s about time. Thank you!’” said Dwight.

One of the hardest things to do has to be when artists cut themselves wide open and stand there exposed, letting the whole wide world take a gander at things a lot of us would never dare discuss privately, much less display in a public forum.

In Dwight’s case, his soul-baring was centered around a nasty divorce he went through with his wife of 13 years.

“Yeah, I was with the same girl for 13 years – we were both barely out of high school when we married – and if you listen to the record, you can pretty much hear what happened in its entirety,” he said. “The whole story. The big, convoluted, dramatic, could-have-been-a-television story detail of the events that led to my divorce. It was really horrible. I know that’s not the first time something like that has happened to somebody, but if you listen to the lyrics of the songs, you can see what I went through. It was really just a circle of pain.”

The nature of those raw lyrics couldn’t help but have a profound impact on McKendree, as well. Not only did he produce and play keyboards on A Hundred White Lies, he was also Dwight’s next door neighbor and had a ring-side seat as much of the material on the album was being birthed in real life.

“We lived right next door to them. We had dinner with them, spent Christmas with them, and they (the McKendrees) loved my wife,” Dwight said. “So when it all came down … it was really hard.”

While the nature of such material must be uncomfortable to put down into words on a piece of paper, for Dwight, writing about personal business is just the nature of the beast.

“There’s a double-edged sword there. On one hand, it’s easy to write about things like that because you know what happened – you’re not making it up,” he said. “On the other hand, it’s hard to write about such painful things because they really did happen to you. But I’m not a very good storyteller in the sense that I have a hard time making things up. I tend to write about what I know about, stuff from personal experiences, whether it’s about having a good time or about heartbreak. I envy artists that can completely create a scenario and write about that. I kind of speak more about stuff that happens to me, or around me.” Dwight first crossed paths with McKendree when he relocated to Nashville from California, although it was a couple of months before the two actually met, even though they were living right next door to one another.

“I had lived there about four months and one of my other neighbors said, ‘there’s another musician that lives right next door to you. He plays with some guy named “Delbert.’” I go, ‘Kevin McKendree is my nextdoor neighbor? You gotta be kidding me,’” laughed Dwight. “And so we ended up meeting and becoming friends.”

The “Delbert” in question is of course Delbert McClinton, McKendree’s longtime employer.

In addition to McKendree on keyboards, the rest of Dick 50 - Rob McNelley (guitar), Lynn Williams (drums) and Stephen Mackey (bass), also play on A Hundred White Lies.

And according to Dwight, those cats sure know their way around the inside of a recording studio. “Well, Delbert’s band has been playing together for years and they have their own way of doing things. The joke of the sessions became, ‘what are YOU going to play? Ha, Ha.’ We just kind of drew up the songs, talked about the feel of the song and then said, ‘1-2-3, go,’” he said. “We literally didn’t do more than one or two takes of each song. It’s mostly just the band playing live and then I went back and did vocal and lead guitar takes. It’s a very spontaneous, very reactionary recording. No one planned anything, really.”

all photos of Shane supplied by Marilyn Stringer

“A HUNDRED WHITE LIES”

And it’s obvious that Dwight is extremely happy with the end results of those sessions, no matter how personal and painful they may have been.

“It’s probably my best-sounding record, because they’re such great musicians,” he said. “But what’s really a pleasure to hear, is that it still sounds like one of my CDs. I just trip out - completely different cast of players, completely different vibe, but yet it still sounds like one of my CDs, it still sounds like me. It didn’t sound like me superimposed over something else; it really sounded like me, which was a pleasant surprise. I’m really proud of it. I did all my early demos for this project with Malcolm Bruce – Jack Bruce’s son. He was living in Nashville, too. The group of people that was involved in this project was really amazing when you think about it. Malcolm Bruce, Bekka Bramlett, the McCrary (Ann, Regina, Alfreda) Sisters … Kevin, Dick 50 … everybody. Really cool.”

Over the course of the past decade, Dwight has earned the reputation of being a first-rate guitar player and has spent a good chuck of that time on the road, playing anywhere and everywhere he could. He’s also issued six albums and one DVD, Live from the Legendary Rhythm and Blues Cruise, during that span of time, meaning that you’ve got to be on the ball to keep up with the ever-busy Shane Dwight.

Born in San Jose and raised in nearby Morgan Hill, Ca., Dwight’s journey to the altar of the blues started out fairly innocently.

“What’s funny is I fell in love with the blues without really knowing the stuff I liked was the blues,” he said. “My parents listened to a lot of country and blues and old rock-n-roll, so I heard a lot of that as a kid. When I started listening to my own kind of music – harder rock and even metal - when I was about 17 years old, I started to realize that the stuff I liked was the bluesier side of that music. Even the metal. And when I started playing guitar, I started digging deeper and doing the research that everyone does and came to the realization that everyone does – all this music came from the blues. So I started delving deeper and deeper into the blues.”

That archeological expedition led Dwight straight to the doorstep of Bay Area legend John Garcia.

“Before I knew it, I was studying (guitar) with John Garcia who lived in the small town of Gilroy, not far from when I grew up in Morgan Hills. And he had played with (John Lee) Hooker for about 10 years. Matter of fact, when all the big stars like Bo Diddley and Chuck Berry would come to California, his band backed them up. He played with a lot of greats - everybody,” Dwight said. “So I started taking guitar lessons from him and he started feeding me all the good stuff. He’d go, ‘oh, if you like that, then you’ll like this.’ I’d show up for a half-hour lesson and would end up hanging out for two hours. He made me all these great mix tapes with all these wonderful blues recordings. He showed me the ropes of what the real-good blues were.”

Dwight took that knowledge and ran, crafting together the Shane Dwight Blues Band, quickly developing into one of the West Coast’s hottest purveyors of the blues. In a nod to Garcia’s old boss, the group’s first album was titled Boogie King, with the title track serving as a tribute to the late, great Hook.

Paying back what Garcia had gifted to him, Dwight soon became a sought-after guitar instructor himself, showing a whole new generation of young players where the likes of Led Zeppelin and Jimi Hendrix got their inspirations from.

“It was awesome, man. When they get it, they really get it,” he said. “It was amazing to see some of them at such a young age, sponge it up so quickly.”

While he immensely enjoyed teaching guitar at the School of Blues in San Jose, after a while, that workload also began to take its toll on Dwight.

“There was a moment when I touring, doing shows and had 40 students,” he said. “And I was working seven days a week. I did that for about three years straight and I just burnt myself up real bad. So when I got to Nashville, I just decided to concentrate on being an artist for awhile. I was just a little too wound-up working all the time, so I had to kind of back off. But I really miss the kids.”

Dwight’s move from the Bay Area to Music City wasn’t part of some grand scheme – rather, it just happened kind of naturally.

Ambrose Salde - Beginnings Orange Bicycle – Orange Bicycle The Smoke – The Smoke

“I just kind of fell in love with the city, to be honest,” he said. “I was just ready to live somewhere else for awhile. And I was talking to Rick Booth at Intrepid (Artists International), who I’d just signed with and he said, ‘if you’re going to move anywhere, you should check out Nashville.’ So I went there and I was hooked. I just loved the music scene and the house prices, especially compared to Silicon Valley. But I just fell in love with the place. So we just picked up and went – never looked back. There’s just a great community of music people here.”

With each album he releases, Shane Dwight inches one small step closer to carving out his own identify, his own niche, within the world of the blues.

And if things go according to plan, A Hundred White Lies may turn out to forgo those small steps for a giant leap forward, with Dwight having no plans to slow down anytime soon.

“I spent a lot of time learning how to play Albert King and Albert Collins and Son House and Robert Johnson and Muddy and Hubert and Stevie Ray note-for-note. I wanted to understand how they got their sound … I was just so enthralled with all the blues greats,” he said. “And now, I’ve kind of taken that influence and the country influence and the rock-n-roll influence, the R&B – I’ve taken all that stuff and tried to infuse those into my own thing. I’m just trying to play the stuff that comes to me - I’m not trying to be this or that. For me at this point, I’m trying not to mimic what people have done in the past, like I was in the beginning. I’m trying to trust my instincts and I hope that people will dig that.”

For Dwight, the absolute bottom line is all about crafting the songs that he plays.

“I love writing music, that’s probably my favorite thing to do,” he said. “I love to perform and will always be a junkie for getting up on stage, but I really love writing music. I hope that starts to shine through and people will come to be aware of my writing. I’d love to write for other people, as well as write my own hit songs. I’d really like a Gold record. At one point in my life, I’d like to be able to sit back and look at that thing (gold record). And I want that only because that means that I’ve affected that many people in a good way. That way I could look back and say, ‘I had the same affect on people that all those great artists that I listened to had on me.’ That would make me happy.”

Interviewer Terry Mullins is a journalist and former record store owner whose personal taste in music is the sonic equivalent of Attention Deficit Disorder. Works by the Bee Gees, Captain Beefheart, Black Sabbath, Earth, Wind & Fire and Willie Nelson share equal space with Muddy Waters, The Staple Singers and R.L. Burnside in his compact disc collection. He’s also been known to spend time hanging out on the street corners of Clarksdale, Mississippi, eating copious amounts of barbecued delicacies while listening to the wonderful sounds of the blues.

Our thanks must go to Blues Blast Magazine as this interview was first published on: www.TheBluesBlast.com

Kevin started experimenting with the Blues as a young boy; taking in Africa, tin cans and lap steel along the way. He hasn’t finished yet…

LF: You were taught by Son House?

KB: I was a normal, football loving, 8 year old when my life changed abruptly one day in 1958. Seeing Muddy Waters on the telly, live from a railway station near Manchester, with Sister Rosetta Tharpe had a profound effect on me. My dad got me out of bed to watch it; I think he knew I’d love it, to this day they have both been a great influence on my work; ‘Stone By Stone’, a track off Tin Church, is heavily influenced by Tharpe’s driving gospel style. Muddy’s sound with Keyboards guitar bass and harmonica is still to this day my favourite ensemble within the blues idiom. It was a seminal moment in my life which, from that day on, would never be the same. I was lucky in that my future was from that moment mapped out for me. I knew exactly what I was going to do and even then I fully realized there was a lot of hard work ahead. I tried local guitar teachers but they were lost in time, I just had to teach myself by listening over and over again to records which were just becoming available. Having this passion created a few problems in that I neglected my school work, I failed my 11 plus and was very happy to be going to the newly opened secondary modern school at Walton Le Dale. My parents had other thoughts and sent me to a direct grant grammar school in Blackburn; 5 of the most miserable years of my life. No one at the school took any interest in my love of music; we parted on very unhappy terms… they still now have the cheek to ask me for money for school development stuff. (Queen Elizabeth’s grammar school, Blackburn) Throughout my school years I played with local band The Link. They were all much older than me, had jobs at Leyland motors. I was still in short pants, my dad chaperoned me at gigs making sure I wasn’t in the dressing room misbehaving. I had to sit outside with him during the interval in our 3 wheeler Bond Mini, awaiting the 2nd set.

By this time I’d moved on from my Lucky Seven f hole to an Eastern bloc guitar that looked like the Hofners I’d drooled over in the Bert Weedon Play In A Day book.

These early gigs helped form my apprenticeship, working onstage, playing and singing at the same time! I moved on to Art College in Preston and met many other Bluesologists there, my knowledge of the genre deepened and I became an avid borrower of albums, often walking miles to listen to someone’s Leadbelly collection.

My learning took place in a solitary fashion; the artists I listened too were often solo artists, it was as if I had these imaginary friends who confided in me and shared my woes. Many evenings were spent in the dark in the front room of my parent’s house, alone in the company of Robert Johnson and Son house… just the three of us.

The M6 was very close to my house and I could easily hitch to London in just a few hours. We used to do this on a Sunday so as to catch the Sunday Market on Portobello Road; this is where I’d try out my new material, learned the night before at my home in Preston.

On one occasion I was approached by a tall, lean American guy who complemented my playing, he kindly asked if I knew any songs by the legendary Son House, ‘Funny you should say that’ I replied, ‘I’m just trying to figure out his stuff these last few weeks, but haven’t quite got it yet.’ The man replied ‘Oh that’s a shame. He’s standing right behind me.’ I was somewhat overcome to say the least, to think that one of my heroes had been standing there listening to me, this imaginary figure whom I’d only seen on record sleeves in my front room in Lancashire, was actually there! He came forward and Dick Waterman introduced me.

We transferred to the back room of a nearby bar and there I sat, alongside Son House, listening to his thoughts and offerings. He said two things that to this day have had a great influence on my style of performing.

‘Slide playing ain’t worth nothing without the song, song comes first, slide playing after’. Then he gave me this; ‘If your song ain’t got rhythm people just walk away.’

To this day I try to keep both of those elements in my work; I wrap my slide work around my songs and work hard at getting the song to work around a good groove. My time with Son House proved to be of immense value.

Bluesman from the age of eight, talks to Linda Fisher..

All photos of Kevin Brown supplied by artist

LF: Your musical journey took you to Africa…

KB: With those two factors firmly embedded in my soul, I continued my studies at Art College and found myself at Dartington College of arts. I’ll never forget the interview, I showed them my work, and they spotted my guitar with my bags and requested a tune. Half way through ‘Come On In My Kitchen’, the head of the art department put his hand over the fret board and said, “OK you’re in”, just what we need for the staff/student band.’ I spent two years there and then went on to teacher training college at Exmouth; this enabled me to eventually settle in Ealing having secured a teaching job at Drayton Middle school. It was however in 1978 that I decided to make music my full time occupation and that year I moved to Bath to help a fellow Prestonian on his self-sufficiency project. That’s when I started writing Road Dreams, life as a full time musician was about to begin. After two releases with Hannibal, I was eventually signed to Chrysalis. Upon delivery of my debut album with them they were bought out by EMI who saw no place for me in their future plans. That album, Time Marches On, was later released by Taxim in Europe. I had just got married and our daughter was born… we decided I would become a house husband, take a break from the pressures of the music business and look after our daughter. At the age of five she started school full time and I released Mojave Dust. This was the work that caught Mark Knopfler’s ear and he then invited me to work with him. Mojave Dust got me right into the Mississippi hill country zone and my interest began in African influences. After a trip to the Gambia, I became entranced by the sound of the Kora. Hence I couldn’t believe my luck when a few weeks later I met Moussa Kouyate in my hometown whilst taking my daughter to a Womad children’s festival. I knew his host and the Kora Blues Project began. I spent time with him in the Gambia where we worked up a lot of the tunes featured on the album, culminating in a year of touring the UK creating some memorable concerts.

Kora Blues was the second release on Doodah Records. I decided to start my own company, as I had been so desperately unhappy when with a major. My time with Joe Boyd at Hannibal was very cool; he just let me get on with what I was doing and fully respected my judgement, philosophy and desires. After signing with a major I was losing my identity and Doodah allowed me to continue the dream in its purest form, to make records that reflected truly and honestly my own personal inspirations. I followed Kora Blues with yet another direct to stereo recording Tin Church, a sister record to Mojave Dust, and one that leaned more towards my acoustic blues influence… again re-kindled by my time in Africa

Tell me about the nuts and bolts of your sound. The guitars, the amps, your studio.

My sound is purely from my fingertips and my throat. I try to find an instrument that responds to my touch in a musical way. I’m not interested in what it says on

Rock’n’Reel is now

WH Smith and from your local newsagent (or if it’s sold out, ask them to order you a copy – we’re distributed by Comag). You can also find us in Virgin, HMV, Barnes & Noble and numerous independent record and music stores across the UK and around the world.

Alternatively, order online (single issue or our special offer, recession-beating sixissue subscription at only £19.75 – UK rate only) at www.rock-n-reel.co.uk.

published by headpress

the Hell hound Sample

the debut novel by Charles Shaar Murray

James ‘Blue’ Moon, the greatest living bluesman, was ten years old when he saw Robert Johnson playing on a street corner. Now, more than seventy years later, he’s dying of cancer. His last wish is to reunite his estranged family – his soul-diva daughter Venetia Moon and his grandson, hip-hop mogul Calvin ‘Ice Blue’ Holland — for one final album. Enter his former protégé, hapless British blues-rock superstar Mick Hudson, who has unfinished business with all three of them, plus a posse of vengeful gangstaz and a mysterious figure with whom Blue struck a deal one dark, bloody night at a haunted crossroads back in his native Mississippi Delta. It’s a potent mix of secrets, nightmares and lies, spanning decades and continents. James ‘Blue’ Moon has one last chance to escape the hellhound on his trail… if the cancer doesn’t get him first.

You never Get out of these blues alive.

Award winning music writer CHARLES SHAAR MURRAY has been appearing regularly in print for four decades, and has long been recognised as one of the most admired stylists in British pop-cultural journalism. He is “the rock critic’s rock critic” (Q magazine), a “front-line cultural warrior” and “original gunslinger” (Independent on Sunday). The first two decades of his journalism, criticism and vulgar abuse have been collected in Shots From The Hip. He is the internationally acclaimed author of Crosstown Traffic: Jimi Hendrix And Post-war Pop and Boogie Man: The Adventures of John Lee Hooker in the American Twentieth Century.

This is his first novel. It’s a killer.

“ Rock novels often shy away from the music, but this one comes alive every time someone strums a chord or opens their mouth to sing... Fans of the music will enjoy Murray’s spirited homage.” The Independent

the headstock actually. I rarely use nationals, but I’m still open minded on that. My main instrument at the moment is my Tin Can guitar made by Johnny Kinkaid. It’s been all over the world with me and has helped make me a lot of friends. I love its ethos, it’s recycled, humble, discreet, charming, practical and a tone to die for; it does have shades of resophonics as the body is actually a giant diaphragm with no protective ‘body’, like in resophonic instruments.

I use it solo, with my duo The Shackdusters with Gary Rudd, and all of my various trios and quartets I have spread around the country. I also play Gosden, Lazy River and Bristolian Weissenborns. You can hear all of these on my first ever acoustic lap steel project featuring myself and Gary Rudd on nylon string, uke and bass.

And you give lessons too?

By teaching myself lap steel I have also figured out some nice approaches to teaching the instrument, we have hardly any teachers of the Weissenborn in the UK; I know Tom Doughty does good work, so we are quite a rare commodity at the moment.

Your most recent albums are Slideville. Slideville came about as I was compiling my ‘Best of’ release for next year, my 30th in the business. I kept coming across unreleased material and had some new recordings from various lap steel projects. I decided to put all of my slide and the recent lap steel works together under one roof. I don’t think an artist has done that before where both genres are featured. Also at the time I was going through a divorce and my song writing had taken a dive, I was in no mood to do anything let alone put pen to paper, it would have been mindless rantings anyway, sure we don’t want to hear that. So Slideville was a nice project to get involved in during my time in ‘recovery’.

And

Home And Dry…

Home And Dry was again recorded in true Doodah style, so what you have essentially are live duet recordings some of which were sprinkled with uke and bass. It’s a massive achievement for me; my song writing and regular slide playing have virtually taken a back seat for the last five years whilst I have been getting to grips with lap steel guitar. It has been a real obsession and I’m honestly thrilled with what Gary and I have created. He literally moved into my shack for weeks at a time and we slowly ground out the arrangements, often sounding them out on the streets of Bath in all weathers. Gary has a great amount of patience, this helped the project enormously. We could tell by the reaction of the shoppers that we were on to a winner. It will be available from my website by the time you read this.

What does the future hold?

As I type this I’m putting together plans for my next Kevin Brown release, having completed the Home and Dry collaboration I’m now writing again, full of fresh ideas and new exciting outlooks. I have met some wonderful people in the last five years, many have been musicians who have helped me rebuild since my divorce to a place of great strength and contentment. I’m planning to celebrate by creating a collective where we can share our passions before a live audience both locally and maybe nationally, later. Music has been my saviour completely over the last few years. I am a very lucky guy to have the support that my passion has helped me find through both my friends and my love of playing singing and writing. Next year I hope to capitalise on all the hard work I have put in this year and keep up the live work. My trio gigs are picking up now; I also obviously have The Shackdusters with Gary Rudd which is a nice compact and powerful package. I was also a founder member of the Mendip String Band, this is a wonderful outlet for my lap steel work… we have a lot of fun, a nice mix of Western swing and old time stuff. I think my next album will help kick things off; I’m very excited about my new material and can’t wait to start recording these songs and hear them come to life. No doubt you’ll also see me out and about on the street with my tin can set up… I love street performing, it’s something I have done all my life, it’s so pure and simple; it takes courage but it’s a wonderful opportunity to meet people and road test new material after all, it’s the people that count. Emails from my fans help keep me going and I am very grateful for their inspiration and encouragement. I have a wonderful life and I am forever thankful that people love and enjoy my music, without them life would be very different indeed; bless you all.

Billy Hutchinson enjoys the chat

Barrelhouse Chuck is one of the few exponents of old school Blues acoustic piano playing. The piano, sadly neglected, as the harmonica and the slide guitar, IS the embodiment of the Blues sound. Those of stout hearts don’t cave in when financial or fashion considerations block their paths. The keys to the Blues highway can be thunderous, or lightning swift, but they sure do kick up a storm. From the instrument of choice from bordellos, turpentine plants, jook joints and smoky barrooms Billy Hutchinson interviews one of the best ivory towers.

BH: It hasn’t been too long since Pinetop Perkins passed away. While this is still fresh in your mind, can you sum up the man & musician for us?

BCG: Pinetop was a kind-hearted man, a combination of city and country boy. When he was an auto mechanic in Chicago I would drop by his home and he would be in the alley practicing casting a fishing line into an old tire 30 feet away. He truly never had a bad thing to say about anyone. Pinetop loved to listen to his own CD’s all day long! As a musician, he could back a band like no one else. He never over played or stepped on anyone. He built his solos with perfect skill until he had the crowd screaming with pleasure! When I was in the house, it was as if he were playing just for me. He would catch my eye and give me a sly smile and stomp it out!! Man could he play! So damn good. Truly one of the best I ever heard in my life. I knew him and spent over 36 years together. We recorded the CD, ”8 hands on 88 Key’s” on The Sirens Records along with Detroit Junior and Erwin Helfer.

‘Goering’ sounds Germanic, when did your ancestors land at Ellis Island, and what occupations and did they have musical backgrounds?

I was adopted as a baby by German Mennonites whose ancestors emigrated in the mid 19 century and settled as farmers in Kansas. My biological ethnicity is 3 quarters Cherokee and French Canadian, but my real family are wonderful German Americans. I never met my biological parents.

Did you follow your Dad’s job when you moved from your birthplace in Ohio to Florida?

Yes, my dad left his job as a chemist in Columbus Ohio to buy a bookstore in Gainesville, Florida, when I was 12 years old. Both my parents (Viola and Harvey) worked there. I sometimes used to work at Goering’s

All photos of Barrelhouse Chuck Goering

Book Centre part time. My close friend John Mahon who I met and was working their loved the blues and was in charge of ordering music books. He turned me on to every blues book that was in print. John started me out listening to Leroy Carr when I was a kid of 13, “Thank-you Johnny!”

How well did you get to know Muddy Waters, and what can you tell our readers of your first hand experiences around him?

We would follow them from town to town. I used to hang around the parking lots just waiting for the white van with the Illinois license plates ‘cause that would be Muddy. I was too young to get in the clubs. Pinetop and Willie Smith saw me, and they knew I was dying to meet Muddy. They waved me in the back door and I followed Muddy and the band into the back door and into the dressing room. When the band went on stage, Muddy and I would be the only ones left in the dressing room. How cool was that? I was star struck so I stayed quiet and just watched Muddy listen to the band on stage. He kept his head down in concentration and sometimes he would mutter about a turnaround that wasn’t perfect. I was in awe of that man and here I was alone in a room with him. After seeing me at many gigs he asked “What’s you doing, following me Boy?” I said “Yeah!” He laughed and we became friends. I would get to see him play over 20 times, always got backstage with him. He would walk me and my friends out to the car after the shows and thank us for coming. Sometimes he would ask us to have breakfast with him and Pinetop.

Three years later I had a band in Seattle Washington called, “Blues Light”. We had a great band. I had asked my friend Blind Robert Hunter a great singer and sax player from Gainesville to come to join us in Seattle. Blue lights opened for Muddy Waters at the Showbox on Feb 7, 1980. After we played our set we walked up the stairs where Muddy was in his dressing room. When we walked in his room Muddy said, “Who’s playing that Pianta?” You play my shit GOOD!! Then he said, “You’re still following me boy”!

You have had many talented mentors like Little Brother Montgomery and Sunnyland Slim. Can you impart what you think made them stand out, and are there some individualistic traits that just can’t be passed on?

Little brother was not just a blues musician he was a jazz bandleader, and the first jazz musician to take a big band on the road. He knew 5000 songs and everybody in the business from Jelly Roll Morton to Fats Waller. He used to have piano wars with them! He could play Gershwin and Porter as well as Leroy Carr and W.C. Handy. He knew Pinetop Smith. His style is what makes him stand out. It is original, and it is immediately recognizable. His phrasing can’t be passed on. It is from an era that is probably unreachable anymore. I loved his voice. He could remember everything that ever happened in his life. I also met, and have come to know Little Brother Montgomery’s brothers and his sister, Tollie, Joe and Willie Bell Montgomery. We all would hang out and each of us would play piano. Then on every Friday Sunnyland Slim would come over to brothers home to bring him fish. Three of us would spend the whole day playing piano and talk about the days of old. I always asked those questions about musicians that they had known. People like Leroy Carr & Scrapper Blackwell, Pinetop Smith and many others. Sometimes we played four hands. I would play and Sunnyland would sing. Brother and Sunnyland were like my grandfathers to me. They treated as if I were their son.

Sunnyland had a voice that was unique. He could break microphones. You could hear his voice for miles in the wetlands of the Mississippi deltas. He was a hollerer that made the hairs on the back of your neck stand up. His hands were so huge that almost nobody would be able to manage his reach. Nobody could take it any lower than Sunnyland at slow blues. His volume on the piano was huge, too. He was just a big, strong, powerful man. He was always trying to help all the musicians including me. Sunnyland was a kindhearted guy. The two would talk about when they met in 1921. Jay McShann, Lafayette Leake, Willie Dixon, Big Walter Horton, and Muddy would drop by Little Brother’s house to play and have fun and hang out all day and night!

Have you mentored anyone who you think will take up the Blues piano baton in the future?

Yes, I have taught two people. I showed them both lots of things that I learned from the masters. (Billy) I did not press his reluctance to divulge.

True acoustic stand up piano must have a specialty tag these days within the Blues. I’d like your thoughts on how much is used, and broaden on its use.

To get to play on a real acoustic piano anymore is very rare. I hate playing and the sound of an electric piano. It has taken its toll on my soul. All most every night I have to play one. I don’t sound that good and it’s no fun for me. If you play electric piano at low volume it’s a little better than when you turn it up to try to play it with a loud band. Overseas they give me the worst ones to play on. When I play an acoustic piano, I don’t think about how to play or what to play, it almost plays itself. The strings and tone! They used to be

in the clubs. Only three clubs have an upright or baby grand. You just can’t find one on stage anywhere. I carried an acoustic piano in a van to every gig when I was playing in Florida and in Seattle. Hundreds of gigs, I moved it. I was making $10.00 a night when I started out performing. It would take 3 to 4 people to help move it. When I played the honky tonk bars down south the people would freak when I came in wheeling in an acoustic upright! We played 5 sets a night. Later we made $25.00 a night. Bo Diddley would play with us in Gainesville. Bo lived 20 miles from my house, I would go over and see, and play music with him bring my real piano along. He once told me “Chuck you got that Chess sound”. He was a great guy and we had a lot of fun in Florida and in Chicago years later.

I liken you to Bob Corritore in that you had the forethought to have many great Blues artists photographed. Tell us about the photography. Did some musicians mind having their photograph taken?

I was smart enough to take photographs with the men with whom I played and recorded. I knew these people so very well. Walter Horton never let me take his picture, nor did Albert King. Big Walter was suspicious of people making money from his likeness, because he’d been burned before. Robert Jr. Lockwood also didn’t like his picture to be taken! I also have some Super 8 movies, ones with Little Brother, and one with Sunnyland, Pinetop and Otis “Big Smokey” Smothers.

Kim Wilson, I believe, recruited you to work on the “Cadillac Records” soundtrack. That must have been the nearest anyone can get to experiencing being a Chess records artist. Tell us about the session.

Yes, Kim Wilson got me on that soundtrack. Recorded at Avatar Studios in Manhattan and Marshall Chess was there. He was listening in the control booth to every note. Hubert Sumlin was on the session. Each musician on the session could play so closely to the original artists, that when we heard it back, it was scary. Kim Wilson covered Little Walter, and Sonny Boy amazingly. Kim is the very best around anywhere. Steve Jordon sounded like Fred Below, and I know ‘cause I played with Fred! Billy Flynn could have been Chuck Berry & Muddy Waters. Larry Taylor had the soul and sound of Willie Dixon. Eddie Taylor Jr. was also on the session. In addition, of course, we had the real thing in Hubert Sumlin. We all knew the styles and had loved Chess records so much, that it was an unbelievable thrill. I think that we still put our own stamp on it. We could never have beaten all the great Chess artists that we covered, at their own game, so we used their feel and put our own stamp on it. Bruce Springsteen was also there really enjoying the sound.

With there being few, true acoustic Blues pianists these days do you have an unofficial club? Do you know one another or are you just aware of each other? Yes, kind of, we all know each other and respect each other. My pal Jim McKaba, from Florida, is one of the finest piano and B3 organ players I have heard. I met Jim in Gainesville when I was a kid. He helped me out a lot and showed me things. The great Erwin Helfer who is my friend and another Chicago player plays boogie woogie, New Orleans and ragtime, and standards. Erwin is also like me on the Sirens Records label. Lluis Coloma is my friend; from Spain is a boogie woogie monster, who can play about anything. I just produced a great solo blues piano CD for Lluis called “Rockin my blues In Chicago”, it’s on the Swing Alley label. You should buy this CD! He gets me tours with his band in Spain.

Dave Maxwell from Boston, has been out there for a long time and I have known for 30 years. He has great chops and can play lots of styles and loves to play. Piano Willie Oshawny’s is another good player. He is Nick Moss’s new piano/ organ player. He is young and sounding fine. He is from New York!

Honey Alexander and Anne Rabson, are two fine players who play all over the world with a great following. We are not really a club, but we definitely are aware of each other. There are other good piano players out there too that I know and respect. Piano Willie is another good player.

I know you have been an avid record collector. How much has that helped your playing and song choices? I bought “Brass and The Blues”, Muddy’s eight track tape when I was nine years old. That is where I first heard Otis Spann. I was playing drums then, but I loved that piano! Six thousand blues albums later, I have developed a great ear for arrangements, styles, timing and feel, but I am not a record copier. It was essential for my playing. I did find out after seeing many of these artists in person, that they didn’t play note for note like they did in the studio on the record. They played differently every time they played live. That is what I do. After moving to Chicago, I heard these great piano players live. They loved that I had bought all of their records and I got them to sign all of them.

I can remember buying up loads of piano Blues LP’s in the Magpie series, and getting a lot more out of my Blues listening and education. Who would you suggest new Blues fans listen to, and what labels?

I suggest, Leroy Carr, Pinetop Smith, Jimmy Yancey, Big Maceo, Little Brother Montgomery, Sunnyland Slim, Otis Spann, Blind John Davis, Pinetop Perkins, Meade Lux Lewis, Roosevelt Sykes, Memphis Slim, and Johnny Johnson. That is a good start, and of course, there are many, many, more. Besides, Magpie, some more labels to try, Chess, Document, Blue Bird, Delmark, The Sirens Records, Prestige, Folkways, Blues Way, Airways, FM records, Matchbox, Testament, Arhoolie and Viola. This is a mixture of big and small labels with a lot of great piano.

Few Blues pianists could say they played for the President. What was that like?

The Cadillac Records band went to Washington to play at one of the many parties celebrating the inauguration of President Obama. It was a beautiful clear, sunny, cool day, and I remember everyone, from the limo drivers to store clerks were smiling and happy. Everyone in the airport or on the streets had a spring is their step. It truly was a magical feeling. Kim Wilson and Steve Jordan made this happen. Jeffrey Wright joined us to sing a few Muddy tunes. Jeffrey is really a great guy. I was on stage with Hubert Sumlin, Buddy Guy, Kim, Billy Flynn, Larry “the mole” Taylor, Eddie Taylor Jr. Tom Waits was there. We played in a big art gallery of art devoted to the new President. The space filled up with many famous actors and musicians and all the beautifully dressed people who had been to the inaugural balls earlier that night. It was thrilling and the band was charged! This night is up on Youtube.

Blues Matters interview By

Duncan Beattie

On paper Trampled Under Foot are a pretty unique act, comprising a trio of left handed siblings; yet they are also they are an exceptional music band. The band comprises of Danielle Schnebelen on vocals and bass, one time K-Floor member Nick on guitar and vocals, and drummer Kris. In 2007 they won the 2007 Kansas City Blues Challenge, driven in part by the death of their father Bob Schnebelen, who has previously taken part in the competition. The journey then took them to Memphis where the band won the ultimate accolade by winning the International Blues Challenge 2008 with Nick also picking up the Albert King Award at the same event. Since then they’ve become established on the US blues scene, including the Legendary Rhythm & Blues cruise, perform on the same stages as their idols and appeared at major European blues festivals. The last 12 months has seen them release one of the best blues albums of 2011, “Wrong Side of The Blues,” and appear on “Tommy Castro Presents The Legendary Rhythm & Blues Revue Live.” Furthermore they have appeared on the cover of Blues Revue, won both the Sean Costello Rising Star Award and Best Blues Band Award in the 2011 Blues Blast Readers Awards and made their first UK festival appearance. Within our Blues Matters writers’ poll, Trampled Under Foot were prominent in four categories, including a first place finish for best newcomer. Following their appearance at Maryport, Duncan Beattie arranged to do an interview with one of the finest blues vocalists you will ever hear, Danielle Schnebelen.

DB: You were brought up in a musical family, with your parents, Bob Schnebelen and Lisa Swedlund performing in ‘Little Eva and the Works’. So it is clear where your early musical inspiration came from. When did you start to practice and perform musically, and how did they encourage you?

DS: Well, for me, they let me come into it on my own. Our mother really taught me a lot about harmonies and blending with other vocalists without realizing it I think. She never said, “This is how you do it.” She

All photos on following pages of Trampled Under Foot by Kathy Carter

let me sing along with her and then she’d hop up to the harmony or let me do it. But I really remember her letting me ease into it myself. Same goes with my father. He really let me ask him to come and jam and never forced me to get out there. Once I came though, he didn’t let me slack at all. If I came to jam and tried to change my mind, he really pushed me to get up there and finish what I set out to do. I think that’s where a lot of my loyalty to music came from.

I believe you did not initially plan to form a band together; can you tell me what you did musically before Trampled Under Foot?

I first sang with my parents’ band “Little Eva and The Works” after our parents stopped playing together, but our mom would still come and help me finish the night every now and then. After he passed in January of 1999, I began fronting the band “Fresh Brew”, then the band “The Nortons” both consisting of heavy hitters in KC. I started playing bass in public occasionally with Fresh Brew learning from their bass players Steve Hicks and Les Moore. Then I really started playing out with The Nortons and their bass player, Dane Henningson would hop onto trombone and jam with the sax man. It was a really cool part of the show.

What were your main influences?

Vocally, I have so many. My mother, Bonnie Raitt, Aretha Franklin, Koko Taylor to name a few, but Etta James was and still is my ultimate favourite. Bass wise, I really dig James Jameson and Willie Dixon’s bass lines have always been some of my favorites to play. Of course I love John Paul Jones of Led Zeppelin’s playing and take a lot of my style from him. There are so many great players out there it’s hard not to name a bunch of them right off the top of my head!

At what stage did you decide to form a band together, and did you have any reservations about working together as siblings?

Nick had been living in Philly for quite a few years at the time and made a solid reputation there. Kris and I were in KC and we were all on the phone talking about how it would be great to play together. We are family and we are musicians.....so why not? I decided to learn bass as a way to keep it family band and I’m very lucky that it fit and I fell in love with it. It was very hard at first to sing and play bass at the same time yet keep it separate, but it’s getting easier to do them both

Trampled Underfoot of course is the name of a Led Zeppelin song, why did you choose that name for your band?

We’ve always loved Led Zeppelin. For me, John Paul Jones is an amazing musician. His work not only on the bass, but the organ while kickin’ the bass with his feet, “Trampled Underfoot” is a killer tune. The three of us were on the phone talking about the song, we didn’t have a band name yet and we were thinking that if we split the last word, it would be a different meaning as we’ve been Trampled Under Foot, and also we could shorten it and go by TUF as well. We grew up listening to Zeppelin and The Beatles, Pink Floyd almost as much as the blues.

You released a hard to find album called “White Trash,” with many covers of classic blues and soul songs back in 2005. Was that your first album, how do you feel about it now, and will it possibly be made available to general release?

That is actually our second album. We released a live album previously called “Rough Cut.” I think it was great! We were jammin that night, had our buddy Liam Goodrick on organ, and our mother Lisa “Little Eva” on vocals for a few tracks as well. I don’t know if we will ever release it again as we’ve come so far from then to now. We’ve talked about it, but no serious plans yet.

Things then really seemed to take off; in 2007 you released the “Philadelphia Sessions” EP, before winning the 2007 Kansas City Blues Challenge, and then the 2008 International Blues Challenge, with Nick also winning the Albert King Award for “Most Promising/Best Guitarist”. Can you describe this rise to greater

prominence, the driving forces behind it and the experiences and benefits you gained from winning?

I am really proud of where we are now. It’s been a long, brutal run so far, but that’s what it takes in this industry, especially in the blues. We have worked so hard, even before the IBC back in 2008. We will continue to work harder than necessary to get in front of as many people as we can to “spread our word of the blues” as I call it. Winning the IBC was out of this world. It certainly opened a lot of doors for us and got us in front of people we wouldn’t normally have been exposed to. Not only club, venue and festival owners, but new friends and fans as well. We’ve gotten to meet and sometimes work with some of our heroes of the industry, which is humbling and also gives me a great feeling of accomplishment. I’m not gonna drop a bunch of names but we’ve been able to meet BB King, and we’ve gotten to open for and meet Koko Taylor, which the first blues song I ever sang was a Koko tune called “Never Trust a Man,” among many other amazing and talented people and musicians.

“May I Be Excused” came out soon after the IBC award and fully shows both your strong song writing and your diversity, with tracks ranging from the rocky boogie ‘Johnny Cheat’, to the West Coast swing of ‘Love My baby’ from the slow blues of ‘Mississippi River’ to the more countrified ‘Comin’ Home To You’ It’s a great album. Was there pressure on you to get the album right after the awards?

There was to a certain extent. We hadn’t recorded any of the songs that we used for the challenge and we needed a full length studio album anyway, we just took advantage of the timing and the need. How do you approach your song writing, as a generalisation it seems you sing the more soulful songs, which Nick appears on the rootsier tracks? Do you write together and decide who will sing each song later or do you primarily write your own songs?

I do sing a lot of the ballads but Nick does a few as well, we just don’t normally have enough time in our festival sets to do more than one. We started out writing separately but began writing together once the band formed. Usually whoever comes up with the beginning works of the song has a feel for who should sing it. It changes, just depending on the song itself.

When it comes to song writing, do you feel it is more important to have songs that retain the feel and style of the blues and soul greats, or do you look for a more individual sound?

I love the blues very much and it is always in my writings, but I don’t get really particular if it’s not right in traditional blues style. I write traditional blues songs as well as not so traditional. I focus on the groove and lyrics more than anything. The blues is in my blood, so it comes out in just about every song in my own sound. So, long answer short, both.

What’s the blues scene like in Kansas? I’m aware of Moreland & Arbuckle and Samantha Fish (Samantha interviewed in issue 61 listed Trampled Under Foot as an influence).

We live in Missouri, but Kansas City has a great scene on both the Kansas and Missouri sides. Any night of the week you can go and see a great blues band somewhere in the city. Most nights there is a fun blues jam you can go to. There are so many talented musicians here; it’s a really good time going out to jams.

The crowds are very loyal, and they are there to see the band and have a good time, so it’s always a good vibe when you play somewhere.

Tommy Castro mentioned your band to me in an interview last year. Also he’s included a brilliant live version of your song ‘Fog’ on his new album Tommy Castro “Presents The Legendary Rhythm & Blues Revue Live”. Can you tell us how you became acquainted with Tommy and the support he has given to you?

As TUF, Nick and I were sometimes doing acoustic songs in our show. We were getting our foot in the door at the Blues Station in Columbus, Ohio and played a set like that there. We were opening up for Tommy Castro and his band. It’s funny because at the time Nick used this orange hollowed out tackle box covered in stickers as a cord box. When we were loading in, Tommy was sound checking and saw it in Nick’s hand. He goes, “You goin fishin boy?” I knew from there he would be a cool cat. I was right. He’s been a great supporter from the beginning. He actually got me up to jam that night. Since then, we’ve done numerous festivals, cruises and shows with him. He’s always looking to help you be heard and he’s a genuine guy. His band is a very talented and awesome group of people that have been just as supportive. We have much TUF love for Tommy Castro AND his band.

You’ve had some big names contribute to your new album “Wrong Side of The Blues”, with production by Robert Cray drummer Tony Braunagel and contributions from Mike Finnigan, Kim Wilson and Johnny Lee Schnell. I think it’s your best release to date. Your voice comes over superbly well on songs like ‘Goodbye’ and ‘Heart On The Line”. You must have been very pleased with the results.

I am really proud of the album. There are a LOT of things about the album that make it very special to me. Not only the guests, Kim Wilson (Fabulous Thinderbirds); Mike Finnigan (Jimi Hendrix, and my main influence Etta James to name a few of the many.); and our mother Lisa “Little Eva” Swedlund, whom taught me from the beginning and continues to teach and influence me every time we jam; all mean a lot to me. The fact that we recorded two of our late father Robert Schnebelen’s songs is also huge to me. Also the engineer Johnny Lee Schell, and producer Tony Braunagul, both worked with two of my heroes, Etta James and Bonnie Raitt. There were a lot of great times, but there was little time to mess around. We worked very hard on it and got it recorded, mixed and released in near record time. I think it sounds as great as I was wanting it to and better. Hopefully others will too!

You’ve become regular favourites at the Notodden festival which I believe you first played in 2008 (alongside Ian Siegal), how did you first get to appear there?

When we took first place at the IBCs, I went to a dinner with Roger Naber of the Legendary Rythym and Blues Cruise, who has been a huge supporter of TUF from the beginning. Our first gig as “TUF” was actually at his old club “The Grand Emporium”....but I digress. Some of the judges were there along with other supporters of blues, heads of festival, etc. I happened to sit next to Ed Murphy who puts on the Notodden Festival. He gave me his card and said he liked our band and performance and if we ever wanted to go to Norway to give a call. Naturally, we did. It was all over from there, we’ve been hooked on Norway ever since.

You’ve returned to Norway several times and now and played a few other countries in Europe now, including your first show in the UK in the UK at the Maryport Festival. How have you enjoyed these trips to Europe and what have you gained from them?

Absolutely! I’ve thoroughly enjoyed the trips to Europe. The travel: not so much. To be able to see so many beautiful and historic places is really amazing for me. I never even dreamed when I first started singing that it could take me across the state, let alone across the Atlantic Ocean. I’ve gained a lot of knowledge not only about other countries, but about other cultures and ways of life; it’s truly changed my perspective on a lot! For the better of course!!

Are you looking to play the UK more extensively in the future?

Absolutely! Our first taste of Maryport was pretty cool. The crowd was very warm to us, and I hope to come back for a string of shows, not just a fly in and out. The little that I saw was awesome and I really do hope to get back in 2012.

Thank you for your interview Danielle

Thank you for the questions. I must say they are some of the most interesting I’ve been asked before. So thank you for the imagination.

Unsigned acts on their own Blues mission

BLACK MAGIC WOMAN

Blues Band Black Magic Woman knows that Blues Matters. The band has been performing at many local venues throughout Somerset, and been honing their act in the process. There is a definite resurgence in the Blues in recent years and guitarist Jon Van-Gowler explains that it is vital to bring this resurgence to life in the local as well as the national community. ‘Audiences appreciate the rhythms and dynamics in Blues Music and the emotions expressed in the songs. Intricate guitar solos alongside powerful and expressive vocals can capture the imagination. Good rhythms encourage people to tap along to performances and to get up and dance. ‘Black Magic Woman’ aims to be a little different from your average Blues band. The act is fronted by charismatic vocalist Michele Weston who has been performing for many years. Hailing from Ireland she brings her own unique style. ‘Just because you are a Blues singer does not mean that your voice has to fall within a stereotypical Blues format. It is more interesting to sound slightly different and a bit more avant-garde’. Michele like many other singers started off in the local school choir where she caught the singing bug by being given solo slots. She then worked with original bands Dictionary of Dreams and Keltika which were progressive-rock based. Drop Dead Gorgeous saw her taking on a more pop-style orientation – but all acts embodied a unique twist which was recognised in the industry. However the Blues was always calling and 2009 saw the development of Black Magic Woman. Influenced by Peter Green and his Fleetwood Mac as well as Steve Winwood, JJ Cale and Eric Clapton to name but a few, the band was brought to life. ‘Movement within a band format is just as important as vocal delivery – audiences feed off of movement – this is something that you can’t ignore’. Michele trained as a dancer as well as a singer and her performances can be likened to those of Cyndi Lauper who is currently promoting her own Blues Album.

Jon Van-Gowler – guitarist and Blues perfectionist is determined to achieve a higher profile for the band. ‘We are passionate about delivering the Blues properly...in this time of recession it has a significance that goes way beyond some of the other musical styles out there’. Jon has played with a host of Blues players in his 40 years career and has assimilated every Blues style under the sun. He also has his own unique style of playing. ‘We are forging ahead with our Blues crusade with drummer Andy Patton and Bassist Gordon Broadley. Come and see the band play soon – you won’t regret it’. Bookings are flooding in and the year 2012 looks to be a good year for Black Magic Woman who also hope to get on the Blues Festival Circuit. See website www.drop-dead-gorgeous.com (page 2) for more information about gig dates.

HENRY PARKER

Henry Parker, write his name down as you will be hearing a lot about him in 2012. At the age of 18 his guitar work has its clear origins in roots blues music – that’s where the guts and stability rely. Equally at home with acoustic as electric guitar the latter highlights a style beautifully pioneered by the first generation of great players like Eric Clapton, Peter Green, Michael Bloomfield and to some extent Kossoff . Henrys’ acoustic work is highly reminiscent of Robert Johnson, Blind Lemon Jefferson’s and Son House who are major influences to his playing, and just as they did, Henry’s guitar expertise and feeling comes from his own techniques, not taught by music school but by himself. It’s real! On electric guitar his lead work is extra-ordinary and live he creates lead breaks as much through melody as style he crosses the scale borders and moves to where the notes and use of bends and attack lags give meaning and are probably viewed by technical guitar officianados as shouldn’t fit/work. But they do and that’s what creates his unique atmosphere. Use of slow guitar coupled with bursts of extraordinary speed over the whole fret board makes his lead breaks almost talk. It’s not just ‘widdling’ and stringing technical blues scale runs together. You can feel the leads evolve and the guitar singing its own part of the song. Henrys ’music and songs and guitar has the basics and guts of the blues and what the first generation players created in terms of the lead work but amazingly for an eighteen year old he is going back and putting his real live experiences and feeling into his songs and onto the guts of the blues.

Most of the words are abstract but you know what he is singing about and you get the emotion and understand the story. This is what real music is about and Henry Parker is taking the guts of the blues and moving it forwards another 40 years and opening it up potentially to a youth market to bring in life as he sees it through his generations’ eyes and experiences/motions. It had to happen, too much modern music is over exploited and hitting a dead end. Henry Parker is a breath of fresh air in a stale X factor and “guitar school” world and the whole album has a feel of and a Classic album about it already covering Blues, rock and ballads and that is something truly unusual for a young artist. Sure the guy needs to be commercial to get noticed but it’s what is behind these first records that counts and the right stuff is behind what we have heard so far. If nothing else after reading this I recommend you check his website www. Henryparkermusic.com where you can also seek out his ‘home recordings’ debut ‘Fire Burns

My Soul’ this limited editions rumour has it is being re-recorded for release next year so snap it up now as this could be a collector’s item in years to come!

Michael Jerome Browne

The Road Is Dark - Borealis

Long recognized as a musician’s musician and a master of traditional American roots styles, this is an unforgettable journey into the heart of acoustic blues

Mike Stevens and Matt Andersen

Push Record - Borealis

Blues phenomenon Matt Andersen & harmonica virtuoso Mike Stevens wrote, arranged and recorded this project live off the floor in February, 2011

James Hill

Man With A Love song - Borealis

The man who has dazzled listeners with his musical virtuosity, turns his mind to song writing and continues to amaze. Quite simply …brilliant

Guy Tortora

Prodigal Songs - Turtledove

Fourth album from the Californian bluesman and songwriter, now resident in the UK. A mixture of Blues, Folk and Americana, with a nice line in wry humour

Moreland & Arbuckle

Just a Dream - Telarc

Featuring Steve Cropper on his own song White Lightnin’, Moreland & Arbuckle perform hard-driving and powerful rocking blues with just guitar, vocals, harp and drums.

Savoy Brown

Voodoo Moon - Ruf Records

“I believe the songs on Voodoo Moon are the best I’ve written since the early 70’s. It is modern blues rock but with more song orientation than normally associated with the genre.” Kim

Simmonds

proper Blues

The Robben Ford Trio

The Paris Concert - Revisited

Blu-ray format of the New Morning concert in Paris, July 2009. Features two bonus tracks with the legendary Larry Coryell joining the Robben Ford Trio on stage

Various Artists

Blues For Broken Hearts

Edgy guitars, longing keyboards, and striking vocals reflect the conflict between the frustration and yearning of love. Oli Brown, Dani Wilde and Coco Montoya feature

Various Artists

Blues For When You Are Alone

Wallowing in sadness with the blues can sometimes be a pleasure! Come wallow with Dana Fuchs, Gary Barden, Chris Farlowe and more…

Various Artists

Blues For Rainy Days

Rainy days have their own special magic and the blues fits the ambience of times when the sky cries better than any other music genre. Ana Popvic, Walter Trout and Samantha Fish feature

For more information, news, competitions and much more visit www.propergandablog.

The Blues are the roots, everything else is the fruit.” - Willie Dixon

When in the late fifties and early sixties the Blues emerged as a musical force in Britain, apart from existing Blues aficionados, its earthy, rocking rawness grabbed the attention of the young generation who, until that time, had been presented with the mainstream pap of Tin Pan Alley.

The Blues following expanded over the next decade or so with British bands such as The Rolling Stones, John Mayall and the Blues Breakers, Eric Clapton, Savoy Brown, Fleetwood Mac, Yardbirds, Led Zeppelin et al, to the fore.

As the generation that supported that movement matured, the younger generation that followed took to other musical genres that the Blues movement spawned. So as we look about us at live Blues performances nowadays, we have to concede that the majority of the audiences are on the wrong side of fifty.

Ironically, there is still a regular evolution of talented young Blues musicians, although they don’t appear to attract many supporters from their own generation. The influences that drew them to the Blues seem, for the most part, to come from their parents. So if these performers are to have an audience twenty or thirty years hence, then it’s the younger generation that we, and they, have to woo if the music we love is to survive.

The younger generation these days have a welter of musical genres thrown at them by a raft of new media sources that previous generations never enjoyed. Sadly, it is rare that the blues are part of that experience although to the educated ear the essentials of blues can be detected at the base of most of it. So how do we address this issue? Issue 58 of BM contained an interview by Alan Harvey last June 2010 with that talented trio, ‘The Spikedrivers’. In the interview Alan touched on the fact that the band plays in schools and despite that eternal juvenile thought, ‘that if Mum and Dad like it can’t be cool’ they seem to be bucking the trend.

I thought that this evangelical movement by Ben Tyzack, Constance Redgrave and Maurice McElroy worthy of further exposure as to the how and why they do it and in so doing, perhaps encourage other bands to also bring ‘the devils music’ to the young!

So I managed to get an interview with the three troubadours during a busy season of touring.

As you mentioned in your interview with Alan Harvey last June, your touring itinerary sometimes includes visits to schools. How did this laudable enterprise first come about?

Photos supplied by artists

BT: We signed up to be part of a thing called Big Arts Week, which covers all of the arts and they place you in a school. It works on a volunteer basis so there was no fee but it was a great experience. The basic format we came up with for that event is still the framework of what we do now.

So since that first foray, have subsequent gigs come from your promotion or word of mouth?

BT: Most of the workshops we do in schools come from someone seeing us live and they might be teachers themselves or know of a school that would be interested in what we do. There have been some that search the web and found us. We do have a workshop page on our website which covers all the details of what we do, and there are some priceless comments by the kids. (www.spikedrivers.net)

With the paranoia that surrounds involvement with children these days; did you have to undergo some sort of screening/qualifying process by the authorities?

BT: All three of us have been cleared by the Criminal Records Bureau and as members of the Musicians Union we also have liability insurance.

CR: There are also teachers and school staff in the room at all times.

What age ranges do you play to?

BT: All ages from infants to GCSE music students, we adjust the content and presentation to ensure that each one is pitched at the right level.

CR: We have also done this workshop with special needs groups and even adults. We try to make it accessible to everyone.

As a band you have a very wide repertoire encompassing most of the Blues variants. Do you cover the whole range with the children or are you selective?

BT: Usually our workshops run at about ninety minutes, which is a good amount of time and even the little ones really stay focussed during that time. We try to cover a wide range, from early field hollers, Gospel and county

Knowing you guys, I would guess you are proactive in your teaching methods. So what additional kit do you take with you?

BT: You guessed it; we carry a whole bunch of stuff. As well as the normal drums, bass and many guitars, we also bring a lot of percussion. The students love the goat’s toenails and as a result of our workshops we have schools buying Cajons for their music department.

Then there’s the rough and ready Diddly Bow, to demonstrate the beginning of slide guitar and we also have started having the students join us playing kazoos. This works like a horn section, we have had up to a 24 piece Kazoo section which a hell of a sound!

CR: In the end, our message is that music is available to everyone because it all starts with clapping, stamping, singing and instruments you could make yourself. You don’t need a lot of money or even a music store. You don’t even have to like our music. Just turn the dial on your radio and find out what you do like.

MM: Then of course there are the times when you turn up and find yourself in a room full of kids armed with every conceivable instrument from keyboard workstations to tubas. Then it can get really interesting!

I have no wish to be intrusive but you are all said and done, professional musicians, so how are these activities funded in these times of financial strictures?

BT: It’s hard for schools. I don’t know how all the funding works but most of them work it into their budgets. Some others combine with other schools to help with the costs and they will bus the kids in. Other schools have asked parents to contribute a £1 to help with costs.

It’s usually one teacher that really feels inspired to have us visit and they’ll find a way of doing it. I think that as a result of doing this work for many years now, we all have a huge respect and admiration for teachers. Do you think there is a need for other bands to follow in your footsteps or is the market a small one?

BT: There are a lot of schools out there, so there’s most definitely room for more bands. The three of us love doing this work and find it tremendously rewarding. It might not be for everyone. Some musicians are more comfortable just as players rather than getting into teaching. I think we are a bit of both.

MM: You do have to be prepared to get up rather early though. Setting up at eight o’clock in the morning isn’t for the faint hearted!

Have you ever been surprised with a talented youngster from the audience?

BT: Every single time we do one. The talent and enthusiasm from so many of the kids absolutely amazes us. When we are playing you can some of them really switching on and there is a light that comes on and boy do they get it.

CR: It’s a real buzz to have a group of 200 little ones clapping in time and then stopping altogether. The teachers are amazed and so are we.

MM: Sometimes you wish you could drop in a few years on to see what happened to them. We’ve seen one or two kids develop into serious musicians and hopefully there’s a lot more out there.

I am saddened by the fact that the blues audiences in this country are almost exclusively white, even when black musicians are playing. So what has been the response when you have worked in schools of mixed ethnicity?

BT: We’ve played for a really wide range of students from all kinds of backgrounds and they all seem to connect with the music. Especially the smaller ones, I think the rhythms are so infectious that even if they have never heard any of this music before they just get into it. They always surprise us in how much detail they are taking in.

MM: The thing about the younger ones is that they have no preconceptions. They either like it or they don’t and that’s it. With the older ones there’s always the element of ‘is this cool?’ or ‘does my friend like it?’ but it doesn’t seem to have a lot to do with ethnicity.

As always with children you must have had some amusing experiences to recount?

BT: I remember at one school we got all the kids up and dancing about and they were getting a little wild.

I know a few adults like that!

BT: Afterwards, one of the teachers said; ‘we like enthusiasm and excitement but not hysteria.’ As a result of those comments at our next workshop, which was in Orkney, we were keeping things a little calmer until one of the teachers asked if we could play something really, really energetic for everyone to dance to. It turned into complete madness and we definitely reached hysteria but they all loved it including the staff. I suspect single malt in the pudding!

Spikedrivers

CR: We also get some great feedback from parents the following day. A mother in the Channel Islands thanked us ‘very dryly’ for all the kazoo recitals the family had enjoyed at last night’s dinner and again at breakfast…… We told her they were only cheap toys and would probably break quite quickly, but I don’t think she believed us

MM: There was one time when we were doing the big finale and there was a boy playing the Cajon. He was pretty small so when he sat on it his feet didn’t touch the ground. The Cajon was way out front as always but he got so into it and was hitting it so hard, that he made it slide all the way back into the drum kit. If you want a good laugh though go to out website and take a look at some of the pictures the kids have drawn of us. See yourselves as others see you!

Finally, is there any other pertinent aspect of bluesin’ schools that we haven’t covered so far?

CR: I might add that one added bonus of doing these workshops, is that often these kids have never seen or heard a drum kit or a slide guitar in isolation, or know what a bass guitar is, much less that it’s not just for the guys. The X factor is great for finding ‘stars’ but not everyone in this business is in it to be the ‘star’. Some of us just want to play our instruments well and enjoy the buzz of playing with other people. I would hope that our workshops are planting a seed in the minds of the next generation that maybe wasn’t there before.

MM: Yes to your question, funding. We know that there are a lot more schools who would like to have us and other musicians, come and work with them but they can’t afford it. While there are some enlightened authorities and individual teachers who know how valuable something like this can be there are still too many who don’t. Music can open kid’s minds and that’s what education is supposed to be about. Even if the powers that be can’t understand that then at least they could get their heads around the idea that music is an industry that earns billions of pounds for this country every year and it starts in a school.

What no commercial?

BT: Well I’d just like to say that if anyone is interested in booking us for a workshop please get in touch and also to say thanks for your interest in this side of the band’s work. www.spikedrivers.net

So there you go readers. If the Blues is to have a future and you are a teacher, a governor or parent on a PTA committee or a band prepared to give time to spreading the gospel of the Blues – get your clearance and go to it! Promoters - perhaps you could persuade your local school to take an afternoon gig prior to your evening one?

The opportunity appears to be there – let’s take it.

Bob Koester - Owner of Delmark Records/Jazz Records Mart

BM: What are the sensibilities required in recording blues music?

BK: To me the most important instrument at a Blues session is the voice. I consider Blues a vocal music with incidental accompaniment. Mixing the voice down into the accompaniment, to me, makes me totally disinterested in a recording. If I want to hear splendid guitar I’ll listen to a jazz musician. Of course, oddly, some blues fans don’t like jazz. To me it’s all part of the same picture of Afro-American music. Don’t get me wrong of course I what to hear a good band behind the voice.

Repertoire is also important. Nobody seems to realize that some of the Blues greats were perhaps greater than is commonly acknowledged. I speak of Bill Broonzy (who wrote most of Washboard Sam and Jazz Gillum’s sides), Roosevelt Sykes, Sleepy John Estes, Curtis Jones, etc. Other artists were song collectors: Big Joe Williams, Lightnin’ Hopkins, etc.

From an engineer¹s point of view, what is it hard to curb or convince a musician to do or not do?

I’m not an engineer, but have never witnessed such a problem. I understand the New York engineers on the first Paul Butterfield album did sessions without miking the speakers a few times before they finally gave in to the band.

From a musician¹s point of view, what are the major issues you have with studio staff, A&R and/or Producers? Not being a musician, I guess I could pass. Some guys complain that they can’t hear what they want to on the headphones. At our Riverside studio (and, I’m sure, many others), each guy (or lady) can have their own mix with the controls at hand in the studio; so that problem is solved. Engineers interrupting takes due to technical problems has bugged me, and some musicians I assume. Producer of leader should be the only ones to cancel takes.

Define the differences between the ‘studio experience’ and live work?

You can correct fluffs in a studio, but pro-tools makes it possible to do so on live recordings. In the studio, musicians don’t have to play requests for Sweet Home Chicago (The Saints Go Marching In of blues), etc.

Is there such a thing as studio fright?

I am amazed but I have never noticed this. You’d think there would be among young musicians but perhaps their ego hides it if it’s there.

What makes a great Blues studio recording?

A leader who knows how to run a band, a singer with balls, and accompanists devoid of superegos; because they are great!

How hard is it to keep in budget these days?

Very difficult, but we know most of our releases will not bring back their cost for years, or ages. Nowadays, second year shipping, even of a big seller, can be little better than 10% of release year shipping. (We speak of shipping because in this biz if it doesn’t sell, the shop can and will return it.) Once it’s up there for downloading, sales disappear. If Delmark didn’t have the Jazz Record Mart we’d be out of business.

How often is the recording down to much compromise, and how often does the result appear compromised?

Not on Delmark, the artist is usually totally in charge though there are producers who can work with artists to improve things. Although guys like Muddy Waters, Howling Wolf, Junior Wells were great leaders who knew just what they wanted from sidemen, and knew how to get it.

Everybody wants to make a great recording, but how important is it to get a distinctive studio sound?

If the band doesn’t have a distinctive sound, a producer can sometimes make it happen, but at Delmark we judge leadership to be second in importance only to vocal uniqueness and ability. I guess Delmark has generally done documentaries rather than dramas.

Can you describe how magic happens in the studio, giving one particular experience.

If we record a good band, once they are comfortable in the studio, a lot of magic happens. Music IS magic when it is truly musical.

Which is the most wicked amount of talent have you been amongst in a session?

I’m not sure what you’re asking. We did have an ego problem with a sideman once and solved it by replacing him at the next session, but that’s once in almost 60 years.

Blues Matters realizes this is a tough time in the record business, with many strains put upon Bruce Iglauer and Bob Koester. If these men had not loved Blues music as they do they would have transferred their assets long ago. Apart from the historic significance and sheer enjoyment of the records they have produced, we are honoured they went to so much care in sharing their valued opinions and humour.

Trevor Steger of BabaJack is known for his slide style and his homemade ‘Winebox’ guitars: unique instruments he has made out of old wooden wine boxes and literally anything else lying around, including bits of a wardrobe, the dog’s bone, old piano keys… They provide part of the very distinctive and rootsie BabaJack sound. But what drives a modern day slide player to make his own instruments?

The homemade guitar is nothing new to the blues: Carl Perkins grew up playing ‘a box, a stick and baling wire’ and famously wrote Blue Suede Shoes; Blind Willie Johnson, Charlie Christian and ‘Beans’ Hambone recorded with them; Son House, Robert Johnson, Muddy Waters and Elmore James were heavily influenced by them, and BB King’s dad made BB’s first guitar out of a cigarbox. More recently, Seasick Steve gets his grungy sound from playing one.

The history of these instruments goes back to the African ‘banjars’ - a gourd based stringed instrument - buttheir hay day was in the States from the 1870s right up to the 1930s depression years. In post-civil warAmerica and onwards, there was widespread poverty and folkhad no money to spend onmusical instruments, sothey improvised with whatever they could find. Cigar boxes were very commonly used for the body because cigar smoking was fashionable in the 19th century and the boxes were simply lying around, but they also used oil cans and anything else that was handy. They were often simple instruments which typically had no frets and were played with a coke bottle, a rum neck or a bow. And from this necessity and the playing style, the Delta Blues Slide was born! But with Gibsons, Resonophonics and Weissenborns available, what makes a modern day bluesman want make his own instrument? In Trevor’s case, it was a combination of the quest as a musician and a slide player for a grittier, rootsier sound, and his ambition as a woodworker to make his own guitar. He made his first ‘winebox’ guitar a year or so ago: the four stringed ‘Beast’ (affectionately known as!). 6 strings puts about 30 pounds of pressure on the neck so to avoid having to insert a truss rod, Trevor decided that he should stick to a 4 string for his first attempt at guitar making. He used a piece of ¼ sawn elm to fashion the neck and made the fret board and sound holes with a bit of walnut salvaged from an old wardrobe. He pinched the dog’s bone to make the nut and the markers, and stripped an old electric guitar for the pick up and tuning pegs. He bought fret wire and the socket from ebay and there you go: the great growling semi-acoustic vibrant sound of a ‘winebox’ guitar!

Buoyed by this success, Trevor decided to attempt the six string version. This time the body was made from the top of a wine box donated by a friend, fixed to an old wooden art box. He made the neck from an off cut of ¼ sawn oak and a stainless steel rod was inserted into the neck to deal with the pressure. The headstock was made out of American black walnut and his son, Jack, inlaid the ‘TS’ in bird’s eye maple. As it happened, someone was dumping a broken piano, so the bridge and fret markers are made from piano keys. The dog lost her bone again to make the nut. Thetuning pegs were salvaged, and the fret wire was left over from the Beast. His only indulgence was to buy a piece of ebony for the fret board this time and a second hand Gibson Epiphone Humbucker pick up. And so the sweeter, more complex, but equally gritty and powerful sound of ‘Joanna’ (cos she’s made of bits of ole pianna!) was born.

There is no doubt that these are not the naïve instruments that Carl Perkins refers to: no ‘stick, box and baling wire’. Being a furniture maker and joiner means that a great deal of craftsmanship went into the making of them and they are a great combination of the homespun cigar box tradition and acrafted and beautifully made instrument. Their unique quality comes from the combining of these two: drawing on the old, original cigar box guitars with their gritty roots and adding the finesse of a modern neck and electrics to create a unique instrument and a unique sound. And they do look and sound great!

Trevor is going into the recording studio with BabaJack to record their 3rd album starting this month, and of course the winebox guitars will be featuring in the new tracks. If you want to have a listen and I recommend that you do, go to www.babajack.com . But most exciting of all, to help finance the new album, as part of the pre-sales, Trevor is offering to make two more guitars! Can you resist?

If you’re interested in finding out more about homemade guitars and how to make them go to: www.cigarboxnation.com UK http://reddogguitars.com US. Information about the Winebox Guitars from: www.babajack.com

THE DUKEROBILLARD BAND

The Duke Robillard Band returns with a collection of the high energy uptown and lowdown blues that Duke is so fond of, some of which he learned when he was a teenager! A dynamic album that brings out Duke’s ‘wildest’ guitar playing and singing yet. These ‘direct to 2 inch tape’ tracks have a great feeling of urgency.

SOUL-BENDER DAVIDGOGO

David Gogo is one of Canada’s hardest working blues-rock guitarists. His brand new Soul-Bender album features great Gogo originals and a few covers that run the gamut of his influences (Procol Harum, Elmore James, The Doors, Michael Jackson), all infused with a Gogo twist!

THE DELTA SAINTS

The Delta Saints have spent the last few years cultivating aserious buzz and a strong fan base around Nashville and throughout the American southeast. With their special brand of Blues, Swamp music, revisited Southern Rock and Funk, they epitomize a new generation of artists bearing the torch of glorious bands such as The Allman Brothers or The Black Crowes.

BLACKWOOD BJØRN BERGE

Bjørn Berge is a true virtuoso. Those who’ve seen him live can testify to the man’s astounding mastery of the 12-string guitar, to the bewildering fluency of his slide work. A mix between a steam train at full speed and a four-piece band. “Blackwood” gives proof that blues, heavy metal and country music share roots that have spawned tasty fruits in the North as well as the South!

KEITHB.BROWN DOWNTHELINE

The formidable impersonator of Skip James in the Wim Wenders film Soul of a Man is back with a Delta-oriented album that mixes blues with gospel hymns, folk songs and country music. Acolorful, deeply personal set written, produced and executed by Keith himself…!

DRESS TO DIG HELL’S KITCHEN

Rural roots, urban rock and tribal trance are the main ingredients ofthe highly original blues recipe cooked by Hell’s Kitchen. This surrealistic Swiss group fuses post-industrial influences and deep blues with an incredible primal and hypnotic energy, light years away from the bland, politically correct sounds of FM radio.

DFGCD8711

DFGCD8710

DFGCD8704

From Johnson to Joe Bonamassa in about 8 unlikely steps; taking time to leave the main Blues Highway to follow a less well trod, but sometimes more interesting route.

Part 2 - Bukka’s Genuine Experience.

Described by Herzhaft et al (1997) as a “master of Delta Blues”, my impression of Bukka White is that he is something of a forlorn and forgotten pioneer. Perhaps this is a humble attempt to redress the balance, or indicative of my obsession with the oddball and unusual. One thing is more certain; as with the last episode about Blind Willie McTell, the study of ancient musicians can generate cotemporary lessons about Blues, all musical genres and beyond.

Fred Hay (2005) makes an important fundamental point about White and a host of other semi-legendary Blues characters. He suggests that it is “very difficult” to write anything factual about him, since he was a mischievous provider of misinformation, and that his “vivid imagination” meant that stories about himself and others were rich with embellishments. Indeed, White himself admitted to giving the year of his birth as anything between 1906 and 1909 again echoing the contention of Blind Willie and his moveable origination. Most sources, including Guthrie (2010) and Burton (1981) agree that White was born in Houston, Mississippi in 1909, and that he was named after the inspirational black political leader Booker T. Washington. His name was later corrupted to “Bukka” by a recording session producer, ignorant of its significance (Guthrie 2010) and it stuck, apparently much to the chagrin of White himself. Like so many fellow Blues legends, his beginnings were humble. His father worked on the railways and introduced him to the guitar at an early age. Hogan (1970) reports that he was raised mainly by his grandmother and that because of her mistrust and dislike of Blues, he had to take himself off to the woods to learn his trade in solitude. He was soon good enough to give informal, impromptu performances for tips and food. His music soon became more organised, and in 1930, with Memphis Minnie providing backing vocals, he made some recordings for Victor Records. Success, it seems was not immediate, and subsequently White made some bizarre career detours into professional boxing and then into “Negro League” baseball as a pitcher with the Birmingham Black Cats. At this point, the two perhaps most significant events of his life occurred. The first was his conviction for shooting a man dead in what Oliver (1969) calls a “muddled fracas”. Unsurprisingly, the exact details seemed to have been obscured by the passage of time. Some say that White was set upon a group of men jealous of his success with the ladies, others are more sketchy and even contest that the victim even died at all.

Claims that his silver-tongued philandering was perhaps to blame are perhaps reasonable; Burton (1981) suggests that White had a number of relationships during his life and was indeed married at least once, but consistently failed to make serious commitments, ungraciously once suggesting that there was “no need to buy a cow if someone was prepared to give you all the milk you want”. Whatever the details of the incident itself, or the validity of what seems a fairly misogynistic attitude, there is no doubt whatsoever that White served two years at the notorious Parchman Farm. It seems that he kept out of trouble and served his time without incident and while incarcerated was visited by a young cousin from his mother’s side of the family, one Riley B. King (Yardley 1994). Young Riley of course, was eventually to become known as BB; Blues royalty if ever there was any.

White was helped in his parole bid by the fact that The Library of Congress sent a team to Parchman to record him singing some of his songs. The dozen songs he recorded upon his release in 1940 were highly reflective of the miserable existence within the prison walls, and just as he was beginning to make an impact, War came and the world changed for everyone, not least for White who had glimpsed the shining

light of success only for it to be quickly extinguished. Burton (1981) confirms the story of lost momentum; after the war ended White remained in obscurity for many years. He was rediscovered playing the coffee house circuit (Kostelanetz 2005) in the early sixties by some Berkeley students who had painstakingly tracked him down, and recognition from a wider audience was at last his. His last album, released on Biograph in 1974 was called “Big Daddy”.

In 1976, David Johnson sought out Bukka White in the rehabilitation unit of a hospital in Beverly, Massachusetts. He was recovering from the stroke he had suffered en route to Boston where he was scheduled to play a serious of gigs. Johnson found White eager to leave the hospital and continue the trip to Boston since the daughter of his long-term girlfriend had just been murdered there. He was at first reluctant to speak at any length without payment, but sensing that here was a chance to get a few things off his chest before his time was up, he opened up in a final interview . He chronicled of his life and its memorable events (Johnson 2010) and how he was “rediscovered” by the students from Berkeley. Johnson also paints a bleak picture of his last days....

“The death of the great Blues singer Bessie Smith following a car accident in 1937 gave rise to widespread rumours that she had died after being refused treatment in a white hospital; in 1959, Edward Albee wrote a play based on this incorrect premise. The rapid decline of Bukka White’s health may not have been as dramatic, but forty years later it raised similar issues. In a world where to be middle class and white were significant assets, White was at a disadvantage. The more respected of two Memphis hospitals was not willing to see or treat him, and he would die seven months later.”

So much for the biographical detail, but White’s contribution to The Blues and its rich history is more than historical filling. Atherton (2000) describes White as breaking new ground “with his coarse vocals and jagged steel guitar riffs” but Robert Croan’s review (1994) perhaps gives the definitive musical summary...

“What makes Bukka White’s music so compelling is his intensity instrumentally, vocally and poetically. Snapping strings, melodic interchanges between voice and bottleneck guitar, and rich, sometimes disturbing lyrics delivered in White’s driving style qualify these early recordings as prime examples of what makes Delta blues so entrancing and rewarding.”

All this is despite some feeling, described by Hay (2005), that White’s authenticity was questioned by

some. His “non delta childhood and idiosyncratic sound”, meant some critics labeled his style “hillbilly” and that he himself was something of an “Uncle Tom” – a sell out to hegemonic preferences and sensibilities. There doesn’t seem to be much to back such claims – Hay quotes White himself as saying “If you play music you have to learn something yourself”. This suggests that he derived his own satisfaction from his art and perhaps the one thing he certainly learnt was to give your audience what they wanted – irrespective of their colour. Another of his great contributions is the mentoring of his young cousin. He gave BB King his first guitar – a stellar acoustic (Martin 2005) but the influence went deeper - according to Weinraub (2003), for King it was a “formative experience” as the older and more worldly White sang about “his rough times and fast times and loving times and angry times” Not that the schooling was confined to a musical level; White found him a job (Kostelanetz 2005, put him up for a while (Weinruab 2003), and King was drawn to the older man’s “charisma and whimsical personality” (Danchin 1998). The lessons extended to stagecraft too; he told King that as a musician, he should always “dress like you’re going to the bank to borrow money, because if you look like you came out of a sewer, they’re going to turn you away from the door” (St. Louis Post 1993). Soon, Jack became better (or at least better known) than his master, and when King moved to be nearer the centre of the Blues hub in Chicago, White realised that “his role as passer of torch was over” (Burton 1981). It is perhaps, his contribution to authenticity that marks him out most of all. While many can write or sing about those character-building episodes that are such a rich source of material, White’s time in Parchman Farm gave him the deepest of insights into first hand misery. “Judge gimme life this morning down on Parchman Farm” he wrote, “I wouldn’t hate it so bad, but I left my wife and my home /Oh, listen you men, I don’t mean no harm /If you wanna do good, you better stay off of Parchman Farm.” As Williamson (1998) so pithily asks, could those “who grew up in the affluent suburbs of Macclesfield and Surbiton” really replicate music with the aura of “poor black sharecroppers in the Mississippi Delta”? In this regard, Bukka White read the book, lived the life and had the T-shirt. And since “nice clothing was extremely important to him” (Burton 1981) no doubt it would have been the most sartorial available. Bravo Bukka – you were the real deal.

References

Atherton, B. 2000. Men of Steel. Evening News (Edinburgh) March 30th 2000.

Burton, T. 1981. Tom Ashley, Sam McGee, Bukka White: Tennessee Traditional Singers. Knoxville: University of Tennessee Press.

Croan R. 1994. The Complete Bukka White. Pittsburgh Post – Gazette (Pennsylvania). August 21st, 1994. Danchin, S. 1998. Blues Boy: the life and music of B.B. King.University Press of Mississippi, Jackson

Guthrie, B. 2010. Small town big on blues; Blues fest honors music legend and area’s rich history. The Atlanta Journal-Constitution. September 12th 2010.

Hay, F J. 2005. Goin’ Back to Sweet Memphis: Conversations with the Blues. University of Georgia Press.

Herzhaft, G et al. 1997. Encyclopaedia of the Blues. University of Arkansas Press.

Hogan, H. 1970. Poetry of relevance. Methuen.

Johnson, D. 2010. “Fixin’ to die blues” the last months of Bukka White with an afterword from B.B. King on Bukka White’s legacy (Interview). Southern Cultures.

Kostelanetz. 2005. The B.B. King reader: 6 decades of commentary. Hal Leonard Corporation.

Martin P. 2005. Kingly shade of blues. The genius of 80-year-old B.B. King is best rendered by the music. Arkansas Democrat-Gazette (Little Rock) October 4th 2005.

Oliver, P. 1969. The story of the blues. Barrie & Jenkins.

St. Louis Post. Playin’ the Blues: The great BB King talks with his guitar. St. Louis Post. February 21, 1993, Weinraub. B. 2003. Spinning Blues Into Gold, the Rough Way. The New York Times. March 2nd 2003.

Williamson, N. 1998. Rhythm sings the blues. The Times. 4 September 1998

Yardley, J. 1994. Around the South Mississippi Parchman Prison has a mean reputation but official denies violence is typical. The Atlanta Journal and Constitution. July 10th 1994.

ANOTHER MAN DONE GONE: BOB BRUNNING, 1943-2011

Once again the season of funerals takes us into its melancholy embrace...

The ranks of those who laid the foundations of British Blues, those who learned from the great originals first hand, are beginning to thin out.

On October 18th, a musician who inadvertently played a part in my creative life, died, one Bob Brunning, original bassist with Fleetwood Mac, one time member of Savoy Brown, author, a fount of knowledge on Britain’s R&B history. He was just 68; it was sudden, a heart attack.

Bob’s career in music began in the early 60s down in Bournemouth, where he played with, among other people, DJ Tony Blackburn, back in the days when TB had aspirations as a singer. With his band at college, Fives Company, he got signed to Pye Records and released three singles.

Then came his stint with Fleetwood Mac, followed by the earthier experience of hard-core blues with Savoy Brown – as Bob quipped – “more money and more gigs!” But Bob fancied a real ‘day job’ and in 1969 became a teacher, a career which would span three decades. There were other notable acts he played in, too – such as the legendary Brunning Sunflower Blues Band with Savoy Brown’s Bob Hall (piano).

He also recorded with Fleetwood Mac’s Mick Fleetwood and Danny Kirwan under the name Tramp, with fellow ‘South London Delta’ legends JoAnn and Dave Kelly. Yet his prowess as a blues bass man is best represented by listing all the great names he played and/or recorded with – a veritable ‘who’s who’ of true Blues: J.B. Hutto, Johnny Mars, Eddie Burns, Jimmy Dawkins, Lightnin’ Slim, Whisperin’ Smith, Homesick James, Snooky Prior, Eddie Taylor, John Wrencher, Erwin Heffer, Dr. Ross, Errol Dixon, Jimmy Rodgers, Dave Peabody, Otis Grand, Paul Lamb, Chuck Berry, Memphis Slim, Jimmy Witherspoon, Eddie Clearwater, Georgie Fame, Charley Musselwhite, and many, many more. In 1980, he formed The De Luxe Blues Band featuring Danny Adler, Bob Hall, and Mickey Waller, which eventually welcomed the talented sax player player Dick Heckstall-Smith into its ranks. And now he’s gone, leaving his wife, two grown up children and three grandchildren. As a writer, Bob was the wellspring of all British Blues history. I treasured his book Blues – The British Connection as a valuable archive of source material. It was the book I would have loved to have written, but far better done by a man who was there, at the centre of it all, as it happened - a major player who worked with the greats in a musical movement which has meant so much on both sides of the Atlantic. He wasn’t simply a footnote in British musical history. He was a stand-alone chapter, and will be greatly missed by many.

RIP, Bob Brunning: 1943-2011.

Photo supplied by Bob’s son

FESTIVAL

BUIS BLUES FESTIVAL 2011, Le Buis near Limoges, France 19th & 20th August 2011

The festival in Le Buis isn’t like any other Blues festival! Despite over a thousand festival goers this year, the intimate family atmosphere is what makes this event so special. Le Buis is a small village which opens its doors to you as if you were a faithful friend and as if you’d always visited this little corner of the Limousin area.

The party starts in a neighbouring town of Le Buis with two acoustic concerts: first on stage is singer/ guitar player Olivier Gotti. Armed with his lapsteel guitar, he stuns the audience with famous blues, reggae, folk and rock covers to which he has added his own stamp. This taster gives a great flavour of things to come. It is then up to Mathieu Pesqué & Roland Pignault (aka Roll) to entertain us for the rest of the evening. Two of the world’s last troubadours, Mathieu Pesqué’s voice leaves us spellbound whilst Roll’s harmonica intermingles with Mathieu’s acoustic guitar to play to a rapturous audience.

Saturday evening starts with the energetic Davide Lipari on the main stage in the middle of Buis village. A kind of Italian style One Man Blues band, Davide performs a vintage John Lee Hooker style solo

before being joined by Ruggero Solli on drums. It is then time for the French band, Cotton Belly’s, to perform Blues that goes back to its roots. We can’t recommend seeing this young band live enough… Not only do they conquer Blues fans, they also win the hearts of the ladies in the audience. Cotton Belly’s is the French band to watch and let’s hope we can see them in the UK soon.

After a feverish gig, Cotton Belly’s are followed by Awek who represented France at the European Blues Challenge in Berlin and received the Best Harmonica Player Award in Memphis from Lee Oskar. Awek takes us on a journey through colourful ‘made in France’ Chicago blues. We are treated to a hot and spicy session of Blues and the audience responds with an enthusiastic standing ovation. It’s now up to The Buttshakers to take over the stage with such a high decibel level that it nearly destroys our eardrums! It’s time to retreat to one of the barns in the heart of the village and enjoy a great blues experience with Jérôme Piétri and a guitar made out of an oil drum like the original bluesmen. A totally improvised set during which he is joined by Davide Lipari also playing one of those strange guitars to a spellbound audience begging for more of the same. The perfect end to this great Blues Festival … We can’t wait for the next one in 2012!

Frankie Bluesy Pfeiffer and Nat Harrap & Photos: Frankie Bluesy Pfeiffer

Mathieu Pesqué

Roland Pignault (aka Roll)

Davide Lipari

SECOND ANNUAL DAYTONA BLUES FEST ~ Daytona 2011

The Second Annual Daytona Blues Festival took place on October 7, 8th and 9th 2011 at Jackie Robinson Ballpark in Daytona Florida. All expectations were on the line up of stellar performers, outstanding jams after every day of entertainment and VIP parties. Emphasis was placed on volunteers knowing their responsibilities and stagehands moving the bands in and out quickly. I was hired to EmCee, and to sing the National Anthem acapella. Seth Walker opened the first evening with his jumping rootsy Blues. Not however, before we had a wet taste of things to come. Walker was delayed by about an hour as a thick and heavy rain presented itself at the exact time we were to begin the festival. Our crowd, from all over the United States and Canada, was stoic, and they waited until all was safe. They were rewarded with great shows from Seth Walker, Brandon Santini (harmonica) who was brought in to replace Joanna Connor Band (they had car trouble and were unable to perform the festival). Santini was backed by Victor Wainwright and The Wildroots Band. The winds began to whip about us and lightening regularly flashed out on the open field, but, no rain so we kept on. The crowd was magnificent and on their feet for the blazing hot Blues of guitarist Sean Chambers. Harps man John Nemeth closed out the first day with is R n B, Blues and soul based influences. He was visited on stage by Brandon Santini for an impromptu harp showdown which had the audience cheering for more. As we closed out the first day of the show the rain began to come down hard, and steady. We considered ourselves lucky to have concluded day one, and the jam at UNO’s was well attended. Day 2 early morning, I am in my hotel room and I open the curtains to see what looked like a tropical depression. After coffee it looked more like a hurricane, with bending palm trees and soaking rain. Hummmm, Jackie Robinson Ballpark? I don’t think so at all. So, I jump to my laptop to find out info. That’s the way we were communicating. I find out the while I was sleeping , calls were made to Daytona State College, about saving the Annual Daytona Blues Festival from the scrap heap. Within 2 hours Jake Nicely, of the Music Technology program offered up the Lively Arts Centre in Daytona to hold the rest of the festival in. Donna Sue Sanders, one of the colleges VP’s called the media and asked them to announce the change in venue. Sanders bought sheets; spray painted them and hung them herself in Jackie Robinson Ballpark, to re route everyone. It was a brilliant move to be in the state of the art theatre. Chad Smith, director of the Lively Arts Centre, opened the doors and provided security and technical support. Brady Ballard manager of the Daytona Cubs alerted all of the restaurants on the strip to expect crowds as his concessions and beverages could not be transferred to the new location. This show went on. It was 90 minutes late the second day but everyone in the performing arts center felt they were in on a very special, once in a lifetime experience. Darren Johnson opened day two of Daytona Blues Festival. The tall Canadian appeared barefoot and beat out an acoustic set on his Harmony guitar that included whistling and foot pounding and a voice like that of Tom Waits. He’s one of those musicians that you just don’t see coming. The Lively Arts Center was pin drop quiet for him in appreciation. Johnson was the perfect opening act. He was followed by Sklya Burrell Band, high energy electric Blues , played by a lady in a hot red dress, that would be Skyla. Great Blues with a country edge. The crowd was on for the following act, Joey Gilmore. They were up on their feet in the aisles and stayed up from his opening number ‘Ooh Poo Pa Do’ to his encore of ‘Mr. Pitiful’. JW Gilmore was featured on Harmonica. Dave Shelley from South Florida gave a much appreciated set. He is diverse in his style, having toured with Cher in the 90’s. He has opened for the Kinks, played in reggae bands, only to finally settle on the blues. The Headers played that day as well as the theatrical Davina and the Vagabonds. Albert Castiglia came on ready to play and cranked it up a bit. The legendary Walter Trout knocked the crowd out and sent them away ready for the evening’s jam as he closed out day two of the Annual Daytona Blues Festival. By day three of the Annual Daytona Blues Festival we were used to the rain and plastic poncho’s were beginning to be a fashion statement. I had them in yellow and red. The Pit Bull of Blues Band was the opening act. They were in great spirits for a noon gig. These three guys Deny ( Bass) and Josh Rowand (Guitar) ( father and son) and Ritchie Correcelli (Drums) put on quite a nice jazzy bluesy show complete with a little surfing music with Deny riding the imaginary waves on a padded guitar case. It’s always a change of pace when a woman steps up to the plate. Nicole Hart backed by the Nucklebusters had the full house in the palm of her hands with her soulful singing and raw energy. Eric Culberson gave us a fine sampling of his many different styles of blues. For a minute there I thought I was back home in New Orleans! Reba Russell is a veteran and she is completely comfortable on stage. Her vocals are mighty, and she is the secret weapon of Memphis. We were treated to some funky blues by Motor City Josh. Nick Moss and the Fliptops is high energy rock blues with a hint of gospel. The closing act was a Daytona favourite Victor Wainwright along with his Wild Roots Band. Victor, from Memphis by way of Savannah, is a hard working energetic Boogie Woogie Piano player. He had the crowd on their feet and ready for the last jam at

FESTIVAL FEVER

Uno’s. Wainwright was the host of the every night jam sessions. The festival was developed and promoted by Dominic Benecasa, a local veteran in honor of his late brother Benji who played the blues in the Daytona area for many years. It was his desire to create such an event and to have all proceeds go to local charities. This year Benecasa teamed up with doctors at Halifax Health foundation to support the issues of women and children’s health. Currently the Neonatal Intensive Care Unit and Camp Boggy Creek, a camp for seriously ill children and their families are the focus of the festival and will receive all of the proceeds. Plans are already in the making for the Annual Daytona Blues Festival next year 2012.

by Sybil Gage

NEWARK BLUES FESTIVAL, @ Newark - 9th to 11th September 2011

The second year for the festival held in the grounds of Newark Castle, a fitting back drop for a cracking festival that successfully combines great music with the British Blues Awards organised by the Nottingham Blues Society. In addition to the stage in the Castle various pubs also had Blues bands playing free of charge. Friday night kicked started the festival off, with the entertainment provided at five venues providing a wide selection of acts to be enjoyed. The pubs around town continued to provide high quality music throughout the festival, including Kent Duchane, Mustangs and My Name Is Earl. This gave the whole time a festive air with music enticing people in off the street into the bars and pubs. Saturday saw the castle grounds open for business in brilliant Autumn sunshine; the afternoon was an opportunity for the next generation to show that the future is in safe hands with three strong acts with a depth of talent, The Mentulls shone out as an act to watch, mix together their own distinctive Blues/rock distilling influences from artists including Wishbone Ash, Jethro Tull and Gary Moore, this is a dynamic trio that combines blues guitar with rock drumming and the keyboard blending the genres together. This was followed by a mellow Acoustic set delivered by Booba Dust and My Name is Earl. The afternoon of free high quality music in the sunlight gave a wide spectrum of people to enjoy the Blues. The evening was the high point of the festival in terms of quality acts the evening has to be the bargain of austerity Britain 2011 with 6 hours of live music for a ten pound note! The Fat Chicken Blues Band, this local Newark three piece band started the evening off by delivering well loved blues classics, demonstrating why this band is so popular in the East Midlands. Jon Amor Blues Group, stormed on to the stage, this is the latest incarnation of guitarist Jon Amor, supported by the Doherty brothers –Chris (Bass) and Dave Guitar) and Si Small (Drums). Showcasing their new CD ‘Jon Amor Blues Band’, the crowds were treated to ‘Like a Juggernaut’, ‘Repeat Offender’ and ‘Underdogs’ a tribute to the trying times we are all living today. Dave not only provided the depth of a second guitar but also provided impressive backing vocals. The rhythm section, were rugged providing the ideal platform of robust syncopated rhythm that allowed Jon to perform his brilliant lyrics and guitar playing with assured freedom. This new band f old playing friends delivered a polished professional performance that delivered new songs and those that Jon has been recently performing from his last post ‘Hoax’ CD. This is a Blues band delivering original Blues numbers, my only surprise was people remained seated and didn’t dance the evening away whilst being superbly entertained. Hokie Joint delivered their own instantaneously recognisable sound, JoJo Burgess sung and performed with confidence and freedom that has become his own brand supported by musicianship of the highest order delivered by Joel Fisk (Guitar & Slide); Giles King (Harp); Fergie Fulton (Bass); Stephen Cutmore (Drums). The set was energetic, as there live act gets better and better blending favourites from their début album and newer songs from their latest album ‘The Music Starts To Play’ to pick out individual songs is very difficult as each had its own distinctive sound. ‘Apologise’ got this set under-way and Hokie Joint never have to apologise for the sound they make and the quality of all their performances. ‘Back to Where We Are Going’ including solo’s by Joel and Giles demonstrating how accomplished they are on their blues instrument of choice. ‘The ‘Way It goes... Sometimes’ finishing the set left you breathless and in a word phenomenal, follow that… The organisers

Andrew Pipe from The Mentulls

had thought through the line-up as Ian Siegal Band, took command of the stage delivering Ian Siegal’s special mix that defies pigeon holing but is the complete band. Tonight was not about presentations it was about showcasing the depth and talent of the modern British Blues Scene... The Tim Aves announced that Ian was to be presented with a Custom made ‘Mark Riley R & B Ian Siegal Model’ guitar. Ian was totally surprised and taken aback, he had ordered a ‘Steel Jason Lollar pick-up’ and did not expect it to come in the form of a signature guitar. The band then performed tracks from Ian Siegal’s latest CD ‘Skinny’, including ‘The Skinny’ and ‘Devil on My Shoulder’; both these demonstrate the skill in Ian’s lyrics and musical ability. Interspersed throughout the set were Tracks from previous CD’s including ‘Kingdom Come’ and Hard Pressed and a great version of ‘Revelator’ with a stroll through ‘Back Door Man’ This is without doubt modern Blues delivered to the highest level, merging Rock n’ Roll, with Blues, Americana and a swampy sound, live music does not get better and the crowds confirmed this with energy running through the crowd as they we thrilled and entertained, no sitting during this set... The downpour didn’t dampen anyone’s spirit and the encore included Ian playing solo versions of Elvis Costello ‘I can’t Stand Up’ and cover of Chuck Berry’s ‘Brown Eyed Handsome Man’, he was then re-joined by his band Andy Graham (Bass) and Nikolaj Bjerre (Drums) to end a fabulous set with ‘A Walk in the Wilderness’ from ‘Broadside’. Ian is in a class of his own, and there is no argument that Newark Festival is a class operator. Sunday morning, dawned bright and breezy and the festival started with a buzz of excitement as everyone started to think about who had won and why they are the tops in a vibrant Blues scene in Britain at the moment. During the morning there had been a workshop for young would be musicians and they kick started the afternoon with a short set, this gave the youngsters the taste of Blues music at a great festival with, stage, sound check and lightening. Approximately 80,000 votes were cast with participates from over 100 countries, so congratulations are due to everyone that was nominated you are all winners by being recognised for your talent, hard work and dedication in entertaining Blues fans in Britain and beyond. A new award this year, to remember Kevin Thorpe (Vocalist/guitarist Tipping Point and Out of the Blue), he was a popular part of the Blues scene, who tragically passed away last year at the festival after finishing a superb performance. A tree and plaque to commemorate his life was unveiled and then the first presentation of the day – ‘Kevin Thorpe Songwriter of the Year Award’ - this went to Joanne Shaw Taylor - for her song, ‘Same As It Never Was’. The format for the afternoon was a mix of bands and and awards so boredom was not on the agenda. Cliff Brown Band, a good band with great renditions of classics and their own material including ‘Torn Down’. Then the first tranche of awards, MC Simon Redley did a great job, especially as many of the winners were unfortunately absent. Blues Festival of 2011 - presented by Richard Pavitt (Nugene Records & Blues Alive foundation),- Colne

The Great British Rhythm & Blues Festival; - Overseas Artist of 2011 - Joe Bonamassa, - Other Instrument presented by Tim Aves which went to Son Henry for his outstanding musician-ship on Pedal-Steel and Lap-Steel. Best Guitarist of 2011 which went to Matt Schofield for the second year and was accepted by Richard Pavitt (Nugene Records- Matt’s record label) quickly followed by - Best Keyboard Player of 2011 which went to Jonny Henderson (Matt Schofield band) on behalf of Jonny the award was, once again, accepted by Richard Pavitt (Nugene Records - Jonny’s record label). Last award in this section before the music stated up again was - Best Blues Album 2011 which went to The Oli Brown Band for ‘ Heads I Win, Tales You Lose’, Next up were ‘Hooson’ who had stepped in at the last moment, Jenna Hoosan (vocals) had a powerful voice but not a Janis Joplin of today as introduced! Hoosan were full of energy and gave a spirited performance, but not the best band of the day... Onto next round of the awards 2011 - Best Harmonica Player 2011- to Paul Jones (BBC 2 Radio, ex Manfred Mann); - Best Drummer 2011 which went to Wayne Proctor drummer with King King; - Best Bass Player 2011 - Andy Graham (Ian Siegal Band) for the second year around; - Best Female Vocals 2011 - Joanne Shaw Taylor, her second one today so it was unfortunate Joanne could not be with us because she is currently touring; - just as the crowds were getting bored the last award was for - Best Blues Band 2011 - The Oli Brown Band and for the second time today Oli Brown was invited to the stage. Idle Hands now stormed the stage to entertain with Phil Allen (vocal)

Jon Amor

FESTIVAL FEVER

flamboyantly getting everyone’s attention as a with his great voice and bare-feet this showman strutted his Blues. This act was ideal for an interlude in an award as they were fun to watch and listen too. They were launching their latest CD so lots of tracks to showcase. Final presentations of the day were; - Best Blues Broadcast 2011 - Paul Jones; I am sure the internet broadcasters were disappointed as this was a mainstream programme with producers, though it is a great show. Best Young Artist 2011 -

Chantel

McGregor, a popular deserved award for this talented spangly guitarist accepted her award; Male Vocalist 2011 - Ian Siegal; then the last award of the afternoon - ‘Lifetime Achievement Award’ - Paul Jones was invited onto the stage to receive this award. The awards had been sponsored by a variety of organisations involved in the world of British Blues, and thanks to all of them for ensuring this award ceremony was such a success. Closing the festival and awards was Tim Aves and Wolfpack and it was time to party with Tim providing vocal/harp and guitaring to high standard. Tim is a real entertainer and the crowds were delighted as the set proceeded and they had had the opportunity to show case their new CD ‘Wolfpack Burnham Sessions. Tim then invited on stage; Giles King and Ian Siegal for a jam of the highest order who closed the festival in the best tradition. Newark is a great festival and the volunteers and Nottingham Blues Society that has Barry Middleton at its helm as Chairman it is not surprising that the music was so good and the organisation flawless. Sum up the festival brilliant, Oliver Cromwell may have destroyed the castle as he silenced music after the civil war he is truly defeated as music poured over the ruins of this beautiful festival location.

Liz Aiken

BLAST FURNACE BLUES FESTIVAL @ Bethlehem, Pennsylvania – September 16-18th

What do you get when you throw molten steel strings, a bloomery of brass and a few sets of “blind” pig iron lungs into a cauldron, and use accomplished Pocono’s Festival producer Michael Cloeren as the catalyst? You get a blast of fiery Blues that could only be the Blast Furnace Blues Festival in Bethlehem, Pennsylvania, which took place September 16 -18th. In its first year, the fledgling festival delivered what it can take years for a major music festival to establish: a solid three days of local and national blues acts performing against the surreal backdrop of the oldest, and once the second largest steel producer in the country, the Bethlehem Steel Factory. The location of this industrial giant once responsible for forging bridges, railroads and skyscrapers has now been transformed into a performing arts and entertainment district aptly named ArtsQuest Center at SteelStacks.

No conventional stage would do for this event, but rather the festival took advantage of the many musical ecosystems available at SteelStacks, with music taking place on the lawn, at the intimate indoor cinema stage and also at the European-style Musickfest Café. Levitt Pavilion SteelStacks offered breathtaking views of the blast furnaces along with the live music experience. The resulting multi-venue melting pot for Blues has this event earning what will be a regular slot on the East coast Blues circuit.

Micheal Cloeren Productions all but stacked the event with a line-up rivalling established blues gatherings. The full three day line-up included headliners The Kinsey Report, Eddie Shaw and the Wolf Gang, Missippippi Heat, Cedric Burnside, Andrew Jr. Boy James, Johnny Rawls, Eden Brent, Homemade Jamz, Dana Fuchs, Charlie Musselwhite, Buckwheat Zydeco, Bernard Allison, Sharrie Williams, Chubby Carrier, Guy Davis, The Holmes Brothers, Ruthie Foster, Teeny Tucker, JJ Grey & Mofro and the legendary Chicago Allstars with Bob Margolin, Bob Stroger and Hubert Sumlin. Cloeren threw in ten regional bands as Blues slag to fuel the fire. Festival goers could get up close

Jo Jo Burgess of Hokie Joint

Willie “Big Eyes” Smith

and personal at each venue, as well as rubbing elbows with the musicians between sets.

Collegian Blues study sessions with Blues legends were offered. The Blues greats had an opportunity to put down their instruments and offer anecdotes from their personal histories, and tell about their lives living the Blues. Saxophonist Eddie Shaw, the feral Blues child raised by the legendary Chicago Howlin Wolf, related tales of Howlin from the colour of his Pontiac station wagon to growling lyrics from beyond the grave. Teeny Tucker gave a musical slideshow about two of the “biggest” women in her life and the Blues, Big Maybelle and Big Mama Thornton. The sessions were complete with film clips, narratives and the occasional musical outburst. Participating artists performed their own musical set and jammed into the evening with one another. Notably missing from the line-up, the festival mourned the sudden death of Willie “Big Eyes” Smith. Fellow band members Bob Margolin, Bob Stroger and Hubert Sumlin performed like they were possessed by the newly liberated spirit of Willie and all the legends past. The Blues mantle was passed over to JJ Grey & Mofro to carry on the spirit of the music into the future. With its unique venue, eclectic offerings and stellar line-up, and its proximity to New York and Philly, the Blast Furnace Blues Festival is a sure bet to be burning up the blues at the SteelStacks next fall.

Laura Carbone

Charlie Musselwhite

Dana Fuchs

FESTIVAL FEVER

THE GREAT BRITISH R&B FESTIVAL @ Colne - 26th to 29th Aug 2011

Since being at this festival it has been announced that they are the worthy winners of the British Blues Awards “Best UK Blues Festival” in their 22nd anniversary year. The BBC outside broadcast team were at the festival to catch the highlights, that have and are still being played on Paul Jones Blues show every Monday on Radio 2.

The festival is the premier Blues Festival in the UK, there are many venues showcasing Blues and Rock, with UK and international artists covering every type of genre of Blues music. If only some of the millions of viewers watching X Factor could just spend a day at this festival they would see that there is real talent outside the living room. There is nothing more moving than watching and listening to Real Live Music being performed by people who just feel the passion of the music and can convey that to an audience. The festival takes some organizing and hats off to all the staff who work to make this festival the success it is. From the main venue, The Municipal Hall, that has International artist as well as the cream of British artists performing. Your festival ticket, only £100, lasts for 4 days and is well worth the price for excellent music. The Leisure Centre stage has British artists as well as young local artists who are part of the Jessica Foxley stage that was started last year after an accident that robbed the Leisure centre of four young talented people. This stage was organised by Jessica’s parents to encourage young talent in the Colne area. Last year they took over a whole day, but this year they were intermingled every day sharing the stage with established musicians. This worked with better effect for the bands, as they were seen by a wider audience.

Attached to the Municipal Hall is a very small bar where they stage the acoustic artists, it is so popular it is always full, with queues outside waiting to gain entry. One artist on this stage I really enjoyed having not seen live, though I have a couple of his CD’s, was Tom Doughty. A lap slide steel guitar player. Entry to this stage is by a pledge badge, which can be purchased for £5 for the whole weekend, Bargain!! Alongside these three major venues, are many pubs that you also need the badge to gain entry. As if that is not enough to do for the weekend a Blues Train also rolls down the track a couple of times over the weekend where you can travel and listen to blues artists. The atmosphere in all of these venues is really positive as most people who attend this major festival are there to hear the blues artists.

Many people have been attending this festival for years so it’s a great chance to catch up with friends and exchange blues information. Why do people go year after year I hear you ask? Well it’s the quality of the line up plus the unexpected. This year the main headliners at the Municipal Hall were; Jack Bruce who captivated the crowd harking back to the days of Cream, Wilko Johnson who gave the crowd exactly what they expect from this 70’s talent.

Mavis Staples is one of those people who has been on my wish list since the 60’s and I was not disappointed with her performance. She oozed the charm that she and her family have been captivating audiences with for decades. Mavis had a wonderful band with

Lisa Mills

Sharrie Williams

Sherman Robertson

Mud Morganfield

EdStephenson

backing singers complementing her performance making it an outstanding experience. Texan Sherman Robertson just can’t step on stage without giving his all; he is a truly talented musician who can turn his performance to suit any crowd or genre. Mud Morganfield son of the greatest (in my opinion) bluesman gave us all the chills, it was like watching and listening to the ghost of Muddy Waters. His voice and mannerisms are uncannily like his father, but he doesn’t stick to his father’s songs he has his own repertoire, but I have to say one of my favourite songs Manish Boy was a highlight for me.

As well as those luminaries of the Blues world on the Muni stage there were also outstanding performances from the Hamilton Loomis Band who never fails to please the crowds with his funky catchy tunes and boundless energy on stage. James Hunter is the smooth operator whose 50’s RnB makes your feet tap and your heart race. Lisa Mills though playing acoustic was joined on stage by Ian Jennings on Bass, their friendship and musical syncopation could be heard to be totally genuine and they made a massive impression on the crowd. So much so she was signing CD’s for 45 minutes after her show with one of the longest queues for sales that I have seen for a while at Colne. Talented musician Oli Brown has been working hard over the last few years or so and gained a considerable reputation. One of my favourite US singers Sharrie Williams returned after a couple of year’s absence from the UK scene and took us on a spiritual soulful journey, taking the audience to a high level of emotion. At one stage in the performance she asked the whole audience to dance, also encouraging her whole band to display their dancing ability one at a time!! Larry Miller took the stage by storm, to give a thoroughly entertaining rocking performance. He is often compared with Rory Gallagher and showed why people compare his style by running through a medley of Rory’s songs, which was a real crowd pleaser. The penultimate performance from former member of Procol Harum as well as numerous other 60’s bands was Robin Trower. He has inspired many budding guitarists, which was in evidence when showing off his talent to a captivated audience. Last but not least Buddy Whittington gave a lesson in guitar dexterity sending the crowd from the Muni home happy after a packed musical weekend.

At the British Stage in the leisure centre there were some outstanding performances too. The Revolutionaires an RnB band from the North East with enigmatic front man Ed Stephenson, as well as outstanding sax, bass and drums that can pack any venue and raise its rafters. There were many new talents to be see of which I am pleased to say there was a heavy bias on women, such as Lucy Zirins & Friends & Cherry Lee Mewis who have both been featured in past Blues Matters magazine. One of the surprises for me was a band called Bright Shapes, a young band with an outstanding girl singer called Jane Sweeney, the band have only been together for a year. Joni Fuller was another surprise find not really blues more folk, but a definite one to watch for the future.

My apologies to the many of the artists who make up this festival but space and logistics mean I can’t see or write about all that is available over the weekend. If this year and past years are anything to go by this festival is a must on any festival newcomers or old hands list. Make sure you get your early bird tickets when they come out next year. I can guarantee that you won’t be disappointed with the varied line up; there is something for every taste at this festival.

Christine Moore

Mavis Staples

HJAck Bruce

Photos at Colne by Christine Moore except for Jack Bruce by Paul Webster

J. J. GREY & MOFRO Brighter Days

JJ Grey/Eyeball Music

There are those who claim that the Blues in America is struggling; dwindling venues, etc. Well, listen to this January 2011 live recording, the huge, ecstatic audience at the Variety Theatre in Atlanta, Georgia and if nothing else, you’ll be convinced just how healthy the genre remains. Florida country boy JJ Grey has shared stages with B.B. King, The Allman Brothers Band, The Black Crowes, Los Lobos, Jeff Beck, Ben Harper, Lenny Kravitz, Booker T. Jones, Mavis Staples and many others. Some of you may have experienced his band’s power in 2011 when they invaded the UK. This guy has form. Debuting in 2001 with Blackwater, following up in 2004 with Lochloosa (both albums reissued by Alligator), in 2007 Grey released his Alligator debut, Country Ghetto, and followed by 2008’s Orange Blossoms. With each album his audience grew ever larger. With the release of 2010’s Georgia Warhorse, Grey stepped into the bigger spotlight, and this CD/DVD release will keep him there. His very personal, lyrically sound songs delivered with a passionate vocal force are underpinned by a fine cast of musicians. Listen to the deft application of wah-wah guitar on Dirtfloorcraker or the mean funk of On Fire, to say nothing of JJ’s gutsy harp playing, and you realise just what’s making this audience so excited. The CD is one thing – hot, sweaty and terrific, but the accompanying live concert DVD lets you into the gig and tells you what you need to know about JJ Grey. Fisherman, surfer, passionate environmentalist. This live, atmospheric Alligator Records footage, excellently directed by Spookie Daly, is absolutely thrilling, as apart from the Atlanta concert, we see JJ’s home environment, and when he talks or sings about Lochloosa, it’ll put a tear in your eye and you’ll just want to be there. So, thanks, Blues Matters, for introducing me to Brighter Days – because that’s what JJ Grey will give you.

J P SOARS

More Bees With Honey

Independent Release

Roy Bainton

Winner of the 2009 International Blues Challenge, J P Soars from South Florida, has foregone the traditional label route and releases this, his

second album via the independent route. For an artist who is relatively new to the international scene, Soars displays extraordinary maturity both in his song writing and guitar playing. He readily encompasses a great many differing styles and I love his voice, a powerful growl that helps to portray far more than just the lyric. ‘More Bees

With Honey’ opens the set with aggressive soul styled sax and punchy guitar riffs guaranteed to get people dancing. ‘K.Y.N.O.M.B’ or “Keep Your Nose Outta My Business” is a classic shuffle and Soars growl adds menace to the warning “don’t let your mouth write a cheque your ass can’t afford” The ballad ‘So Many Times’ a song of hurt and misplaced love has Soars wringing the emotion from his vocal chords whilst the solo is measured and complimentary to the song. ‘Hot Little Woman’ is very difficult to follow as it moves from swing to shuffle and back again on almost every line. ‘The Hustle Is On’ is a classic Ronnie Earl sounding shuffle, whilst ‘Lost It All’ is a slow, almost morose, Django Rheinhart sounding jazz/Blues with haunting harmonica playing by Jasson Ricci. ‘Twitchin’ is an out and out rocker with some great boogie piano. My favorite, ‘Doggin’ is the track where Soars and the band, The Red Hots, really shine in a funky, foot stomping style. The beat has attitude and Soars slightly distorted guitar rips beautifully. This young man certainly shows a lot of promise for the future, judging by his successes so far. J P Soars, he certainly does!

Merv Osborne

ABSOLUTION Issues

Absolution Music

From the ‘Absolution’ logo on the front cover, you suspect this will be grungier and heavier than most. That’s some good graphic designer you have there boys. It all starts with a perfectly serviceable R&B number in ‘Train Ride’ though it was a little confusing; for a second I felt we were off into something from ‘Tales from Topographic Oceans’. ‘Blind Man Crying’ was similarly upbeat without the prog rock undertone. Frontman Joe Fawcett is the chief songwriter, although the tight Gardner/Lang rhythm section deserve fulsome praise; especially for their work in combination on ‘Broken Man’ and for unselfishly allowing their guitarist so much freedom. Fawcett generally

doesn’t disappoint, has some elastic fingers and is occasionally sublime, but some licks seem rather telegraphed and formulaic. There are a dozen full length tracks and pure Blues fans will perhaps appreciate the delicate simplicity of ‘Slipping Away’, but Fawcett’s high end vocal delivery is a little incongruous. While many will like the raspy guitars and nifty production, there wasn’t enough here to get my own juices flowing – I felt that one or two numbers, notably ‘She Got The Money’ were a touch repetitive. No little skill here though, and a nice rough vibe which would normally float my boat; the reason it doesn’t score higher is difficult to put a finger on. If everything was as earthy as their logo, perhaps it would have hit the spot, but no doubt armies of R&B types on the London scene would strongly disagree.

Richard Thomas

ROD PIAZZA AND THE ALL MIGHTY FLYERS

Almighty Dollar

Delta Groove

After more than four decades in the business and over twenty five releases, Rod Piazza could be forgiven for taking it easy. However, on “Almighty Dollar”, both he and the band sound fresh and pumped up. Rod says on the liner notes that the band took things to a new level and it certainly shows. Along with Miss Honey on Piano, Henry Carvajal on guitars and Dave Kida on drums, rod exploits his extensive experience of the West Coast scene to produce a mature, complete yet exciting release. Opening with a great swing style Blues in ‘Move Out Baby’, Rod gives his lady her marching orders, insisting she takes all her clothes cos’ she won’t be coming back. Throughout, Miss Honey’s ivories are working overtime and she is given her own extended solo where she showcases some great playing. The band is augmented by Hank Van Sickle on upright bass, Rusty Zinn on guitars and Jonny Viau on tenor sax and together, the resultant music is filled and pushed into a bigger sound format than what may be Rod’s norm. This allows a wider variation in tone and style. Following the opener, ‘What Makes You So Tough’ comes over in gospel feel complete with angelic backing vocals, whilst the hard Blues edge of ‘Blue Shadows’ benefits from the wailing sax in the background. ‘Wine, Wine, Wine’ has a very clean jazz sound whilst the classic ‘Ain’t Nobody’s Business’ is dealt a very retro, almost acoustic style with Sickle’s bass giving a very deep, almost reverent compliment to Miss Honey’s playing and Rod’s no-nonsense vocals. For me though, the best is saved for his own harmonica work, whether on Little Walter’s ‘That’s it’ and ‘Confessing The Blues’ or his own instrumental closer, ‘Con-Vo-Luted’.

Merv Osborne

TERRY HANCK Look Out Delta Groove

Sixty six year old native Chicago musician Terry Hanck grew up with music all around him, yet it wasn’t until after he had taken up the saxophone and moved to California that he formed his first band, which included the legendary Chicago Blues player Luther Tucker. Elvin Bishop cites Hanck as his favorite sax player and it took three offers before Hanck relented and joined Bishop’s band. He stayed ten years before leaving in ’87 to pursue his own musical route. “Look Out” is a very retro sounding album, mixing elements of the Blues, Doo Wop, Jazz, Soul and Rock & Roll, with Hanck’s soulful sax swooping, chirping and wailing throughout. Backed by some talented musicians that include Johnny “Cat” Soubrand on guitar, Bob Welsh on piano and organ and his good friend, the Norwegian Chris “The Kid” Andersen on guitars, Hanck delivers some moving music, all capped off by his own superb voice. Whether it’s the soul of his own song ‘I Keep A Holding On’, where his sax and voice drip raw emotion, or the Junior Walker sounding ‘You Give Me Nothing But The Blues’, a song guaranteed to get the feet moving, the feeling is of a group of musicians who are really enjoying themselves. Not surprising as they tried to capture the live energy when recording the album. Tiny Bradshaw’s ‘Train kept A Rollin’ is given the big band treatment with a controlled sax solo and Freddie King’s ‘Side Tracked’ rolls wonderfully, yet it is Hanck’s self penned songs that steal it for me. The seven minutes of ‘You Could Have Let Me Go’ just ooze that soulful Blues feeling that go to make this one of the best releases of this year.

Merv Osborne

MAGGIE ROSS

Don’t Mess With Me Self Produced

Maggie Ross is a wee blonde bombshell from Geordie-land – its cold up there - I know; she told me – it snows in July (well OK, maybe she didn’t say that) so the music needs to be hot. This certainly is hot, especially the boogie based opening title track ‘Don’t Mess with Me’. They got it dead right on this one and its cooking – great boogie feel, fat dirty guitar and wildcat vocal. Seriously if they voted Joanne Shaw Taylor best British female blues vocalist in those blues awards then they were looking in the wrong place because Maggie is by light years a better singer – and she’s singing in her own natural voice. It sounds ‘real’.

This is her first album and its is classic rhythm and blues, it’s not wildly original, but it doesn’t need to be –the sort of stuff you’d go out to hear at your local venue – short raunchy songs – not overloaded with indulgent guitar – just short solos that fit the tune. It’s good and live at a gig it’d be good to drink real ale to. It’s good-time R&B to lift the spirits, warm the heart and get those feet tapping. Twelve songs and they’re OK, might need a listen or two to get into some of them but they’ll be growers. Notable are the title track and the ballady ‘Silver Bird’, the rocking ‘Lover Man’ and the raunchy ‘I Will Wait’. As a first album this is an excellent effort and we look forward to hearing future efforts. Maggie & Co are to be applauded for stepping out writing their own tunes and sticking with it – all power to them – and Joanne Shaw Taylor look out; your vocal crown faces a real challenge.

Vicky Martin

of this hard-working road musician. ‘The Greasy Chicken’ and ‘Pass The Biscuits Please’ add some variety to the diet. The first two spawned their own dance moves. Many of the twenty-seven songs in this collection are frankly not very memorable, but the performances are certainly different.

AARON WILLIAMS AND THE HOODOO

10:45

Independent

ANDRE WILLIAMS

Mr. Rhythm Is Movin’!

The Original 1955-1960 Recordings

Hoodoo Records

Andre Williams, born Zeffrey Williams, Alabama 1936 had a colourful upbringing, he regularly truanted, then he was sent to reform school, and finally was discharged from the navy for fraudulent enlistment. Thus began his life as an itinerant musician, searching for a unique niche. He has cultivated a reputation as the harbinger of dirty and greasy Rhythm & Blues, with a salacious, almost caricatured vocal style. These early recordings for the Fortune Label set the precedent, taking rock ‘n’ roll, retaining the smooth doo-wop backing, (provided by the Don Juans and The Five Dollars), but broadening the lyrical content and singing to even more raunchy and liberated post- Elvis proportions. In the sleazy clubs of Detroit he perfected his sharp-suited stage presentation, and developed a lifelong preoccupation with sexual innuendo. Sometimes he is more obvious, such as in the warnings of ‘Jail Bait’. What he lacks in vocal ability is compensated for with his talksinging or rapping, long before its present American domination. This allowed him considerable freedom to express the true, and all too apparent, double meanings. His most well known song is ‘Bacon Fat’, a tribute to the toasted bacon sandwich, staple food

Noggin

A friend of mine stateside has been raving about this trio from Wisconsin for some time so it was with high anticipation that I spun their nearly released this album for the first time. The band is led by Williams, the son of US bluesman

Cadillac Joe Andersen, who cut his trade with his father and has performed live with luminaries such as Shemekia Copeland, Coco Montoya, Jimmy Thackery and Carey Bell. The band which comprises Williams on guitar and most of the lead vocals, Eric Shackelford on drums and a bassist known simply as Z, specialize in stripped down original blues and rock n roll. The Williams’s penned ‘Boom Boom’ opens the album and it’s a great starting point to his cigar box slide which commences before the tight rhythm section make an entrance to the quick paced opener. ‘Sick And Tired’ is a garage rock n roll cut which is sure to see you tapping your foot, and features a great off the cuff guitar solo from Williams. A Hammond organ heavy introduction presents the impassioned Blues of ‘My Turn’ before the back to basics

‘Red Headed Woman, composed and fronted by Shackleford. The title track is the rootsiest track with a memorable melody, dobro and shared vocals from Williams with guest Ken Olues, who adds his wailing harmonica. ‘Devil’s Playground’ sees the return of the cigar box which is probably as close to the band’s trademark sound, yet there’s good variety evident in the Elmore James inspired ‘Let Me Love You’ and the funky ‘Tease Me, Please Me.’ A release well worth hunting down, yet I suspect their best is the next to come.

Duncan Beattie

ANODYNE BLUES BAND

Full Time Bills

Independent

This band are from New York and describe themselves as purveyors of Blues, psychedelia and rock. The album opens with a Blues/rocker

‘She’s Been Telling Me Off’ featuring Chris Botta on guitar and vocals and great Blueswailing harp from Christof Knoche. ‘Full Time Bills’ is driven by a stop time beat and features tasty duelling between harp and guitar as it describes our desperate economic times. ‘Can’t Call Your Name’ is a tale of unrequited love that features tasty slide guitar. ‘Saint John The Baptist’ includes semi-

rapped lyrics and features a gospel tinged female backing chorus and a fierce harp solo. ‘I’m Leaving You’ is a stomping rave up based on an Otis Spann number featuring more good interplay between slide and harp. Most of the material is self-penned and ‘Just Ain’t Right’ is a rave-up with Botta’s slide displaying a touch of Duane.Allman. The pace drops for ‘Lonely Girl’ a slow burner about a girl who manages to stay single. A funky R&B feel and a catchy chorus drive ‘Rebound Blues’ and then the pace increases for the frantic ‘Drunk Dialer’ which features smooth fuzz tone guitar from Botta. The album closes with a heavy cover of Robert Johnson’s ‘Stop Breaking Down’. I didn’t actually detect much psychedelic here but there is plenty of decent original Blues/rock featuring particularly good slide guitar and harp backed up by a solid rhythm section. I believe these guys gig intermittently in New York and they sound worth seeing so the next time you’re on Bleecker St. looking for a Blues bar check them out.

Dave Drury

ANTHONY “SWAMP DOG” CLARK AND THE BLUES ALLSTARS

Raw Independent

BILL BOURNE AND THE FREE RADIO BAND

Bluesland

Linus Entertainment

Canadian Bill

Bourne has making music for over 30 years. A born collaborator (no pun intended), he’s worked with musicians such as Shannon Johnson and was part of the bands Tri-Continental and Bop Ensemble. Now he’s back with ‘Bluesland’, his first album with the Free Radio Band (a fivepiece that includes son Pat on lead, Pa Joe on ‘electric smooth jazz’ guitar, Moses Gregg on bass and Miguel Ferrer on the drums), along for the ride. And what a ride it is. ‘Bluesland’ sounds more Austin than Alberta – broken bottle bar room Blues, cut ‘live’, sunny side up, mixed with a dollop of country and a slice of folk, beefed-up rock and swing cuts that harks back to the days of Sir Douglas Quintet, ZZ Top and Little Feat, not what you’d expect from a bunch of Canadians. Most of the numbers are Bourne originals, bar a cover of Dylan classic ‘Maggie’s Farm’ and Bourne’s unique take on traditional number ‘Columbus Stockdale Blues’. Bourne junior lays down some astonishing lead on top of his dad’s crackling vocals, the whole thing swings along a treat and you get an amazing sleeve, with a great band portrait by Emily Bourne (his daughter). Now turn that volume up to ten and pass me the Jim Beam.

Martin Cook

Anthony moved from his home in York, Pennsylvania to live in the capital, Washington D.C. and it is from there that the ripples and tales of his evident musical talent has emerged from in recent years. His performing of concerts all along the East Coast has greatly improved his standing in the Blues world, also, the no small matter of winning in two thousand and ten the Washington Blues Battle and during this year he qualified for the semi-finals of the International Blues Challenge in Memphis. Now, with the release of this, his debut album, the word of his evident talent should reach a far wider audience. The album consists of seven numbers, two of which are covers, and what covers they are too. Helping Anthony create this marvellous music is his band The Blues Allstars, who are; Ken Sparks and Glen Alexander on guitars, Charles “Reds” Adkins: bass and Andy Hamberger; drums. A simple but effective plan seems to have been adopted for this album, Anthony plays with a warming rich Chicago edged harmonica style that seems to so effortlessly and commandingly breeze in and out of the numbers leaving more than enough space for the exquisitely rich textured Jazz hued guitar fills and flurries that are found throughout the album. James Cotton’s ‘One More to Go’ contains clean crisp solos within the effervescent shuffler, Anthony’s powerful smoky relaxed vocals compliment his edgy harmonica style. “Do Unto Others is in the same relaxed shuffling mode with the added bonus of Nadine Rae’s groovin’ and oozing, drool inducing guest vocals. ‘Moanin’ is an exquisite slow burning Blues with wonderfully restrained and emotive guitar work from Linwood Taylor adding to the driving yet sensitive harmonica refrains. The undoubted gem here though, is the eight minute tribute to Muddy Waters, the classic number ‘Hoochie Coochie Man,’ performed at an unhurried pace with rich bass lines and satisfyingly understated heartrending guitar, the emotive wailing harmonica is delivered as a taught coiled spring about to explosively open wide. This is a corker of a debut.

Brian Harman

B.C.READ

1000 Miles

Rawlco Radio Records

B.C. who hails from Saskatoon is another fine

example of the quality artists who make excellent music in Canada. Thoroughly steeped in the Blues this is a worthy addition to the canon of the music that captures our hearts. Whilst it could be argued that there is not a terrific amount of originality contained within these twelve I don’t really care. What I hear is good music played well and really what more do we need? The influences stretch from the Mexican border ‘Rosalita’ via Chicago ‘1000 Miles (from Chicago)’, Funky Soul ‘That’s The Deal’ or the back stoop on ‘Jellyroll Baker’. Want to tap your feet of dance around to a big band sound? Then look no further than the instrumental ‘Diamond Bop’ with its infectious beat driven along by a cracking walking bass line and fine brass section. The age-old question posed by the ending of a relationship ‘What Could Have Been’ is eloquently dealt with. Dipping his toes in to the political and world conflicts arena are given a big band treatment on ‘(Why Can’t We Just) Walk Away?’. It may be a short track but it works and gets straight to the point but of course that is a question that will never be resolved. All bar one track are originals the exception being a cover of Neil Young’s ‘Are You Ready For The Country’ which moves along with some rather nice Dobro slide. B.C. even has a hint of similar vocal delivery to Neil on that bonus track. So there we have it. A nicely produced album with good strong songs well delivered by B.C. and the merry men that surround him.

Graeme Scott

Little Walter-ish ‘Juke Joint Friday Night’ are good examples - whilst ‘Good Rockin’ Mama’ is, contrary to expectation, a slide-guitar driven slow- to midtempo Blues. Other tracks have hints of southern rock, country or R&B (one is even in French), but realistically, I cannot imagine any readers being disappointed with this one: interesting and very, VERY enjoyable.

BROTHERS REID

Top Of The Old Road

Fat Hippy Records.

Norman Darwen

BILLY C. FARLOW

Alabama Swamp Stomp

CrossCut

Singer, harp man and composer Billy C Farlow makes interesting records. He has done ever since he was a founder member of hippie roots band Commander Cody & His Lost Planet Airmen in California in 1969, but prior to that he grew up in Alabama listening to Blues, country, and rock & roll before he headed north to Detroit where he played the blues. In the 80s he headed back to his home state and has since enjoyed a reasonably healthy solo career. This set shows just how cosmopolitan the modern Blues is.

Recorded in France with a local trio called Mercy, the CD title is totally accurate: it contains lazy, sinuous, swampy sounds such as ‘Snake Eyes’, slightly spooky songs in the vein of Doctor John (try ‘Magnolia Darlin’’), and good timin’ down-home material – ‘Drive Me Like A Mule’ and the rocking,

The first thing the Brothers did right is the name; personally I tend to favour fraternal organisations like the Doobies and Allmans and those musically superb though reticent interviewees the Deadstrings. You’ll need dungarees for the opening number ‘Done and Dusted’, a frantically upbeat engine-starter showing plenty of twiddly bluegrass dexterity and some rather nifty vocal harmonies which threatens to break into 12 bar and then something akin to prog rock before it ends – not especially tidy or easy to categorise but intriguing nonetheless. ‘Flea Circus’ continues the happy ethos with Alan Hastie thumping the tubs in this and ‘Three Minute Slowdown’ with parradiddling perfection. The collective and individual vocal performances are strong throughout, with Michael Reid’s rather Bolanesque delivery especially prominent in ‘Farmboy Blues’. Musically too, there can be no doubt that the Brothers Reid know what they’re about ; Rory Comerford’s accomplished and melancholic fiddling in ‘Let You Down’ really catch the ear. In truth this is a probably a couple of tracks light in terms of quantity and lacks the real killer number to elevate it to the very highest level, though the excellent ‘Roll On’ and mesmeric ‘Three Minute Slowdown’ both come very close to being the one. There will be few more spirited collection than this; there is nothing grim about these brothers and I have placed them very firmly in the “ones to watch – they could be very big indeed” column. This will also make it from office to my car – a short transition made by precious few non-grungy R&B offerings. Buy it.

Richard Thomas

BRUCE HORNSBY AND THE NOISEMAKERS Bride Of The Noisemakers 429 Records

I have no idea what happened to The Range and indeed lost track of Bruce quite sometime ago but this new double release containing live cuts culled from performances between 2007 and 2009 finds him in cracking form with a very fine band around him. All the songs were new to me, with nothing from ‘The Way It Is’ for example, so that made this an interesting journey of discovery. His very distinct piano sound is evident throughout

this collection as I suppose you would expect. It is a difficult album to place as far as genre is concerned so I am not going to try. For sure there are Jazz elements and Blues in there with some long extended workouts but whatever it is I liked it. Most of the songs are Hornsby originals with just the occasional addition of other works included within originals for example on ‘Fortunate Son/ Comfortably Numb’. The seamless transition between those two and other examples like ‘Little Sadie/White Wheeled Limousine/Just One More’ is brilliantly executed. This is clever intelligent music on all levels. However do not think that this places it out of reach for the general listener. Quite the reverse is the case. It is good to open up our ears, minds and hearts and be carried along into areas that may previously have remained closed or unknown to us. So for those of us out of touch with the creative juices that have fuelled Bruce since he first became known here in the UK over twenty five years ago this is a cracking chance to catch up. I for one have enjoyed this ride very much indeed and I would heartily recommend checking this collection out.

Graeme Scott

CANDYE KANE

Sister Vagabond

Delta Groove

Mother, actress, porn star, punk rocker and big-voiced Blues singer in the manner of a modern Bessie Smith. This is Kane’s first recording since beating pancreatic cancer and she puts all of this experience into her latest album which features some jump, a healthy dollop of Blues, a pinch of soul and a greasy, swampy reworking of Brenda Lee’s pop rocker ‘Sweet Nothin’s’. The album opens with a rocking cover of Johnny “Guitar” Watson’s ‘I Love To Love You’ with Miss Kane in brassy, sexy voice and great spare guitar lines from Laura Chavez. The self-penned and Bluesy ‘Love Insurance’ swings furiously and features great honking horn backing. Kane growls out the vocals on ‘You Never Cross MyMind’ which features swinging guitar from Chavez and rolling piano from Sue Palmer. James Harman’ superb harmonica gives an authentic Bluesy edge to the rocking ‘Everybody’s Gonna Love SomebodyTonight’. There is more impressive guitar work from Laura Chavez on ‘You Can’t Take It Back From Here’ which she co-wrote with Kane to benefit the Blues for the Gulf Project. The atmospheric feel and dark lyrics of ‘Walkin’, Talkin’ Haunted House’ are augmented by chains, wind and percussive sound effects which recall

the ghosts of former lovers. Spooky! My favourite track on the album is a fore mentioned re working of ‘Sweet Nothin’s’ with its scorching vocals and reverb-drenched guitar from Chavez who contributes massively throughout the album. Miss Kane’s recent health problems seem to have given her a new strength and focus and she has certainly pulled it all together for this new album. The nine original songs, mostly co-written with Chavez, are strong and the covers are well chosen and the playing throughout is excellent. There are some tight harmonies inspired by the Boswell sisters on ‘You Can’t Hurt Me Anymore’ which was written for an ex lover. Accordion from Matt Hensley gives a Cajun feel to ‘Have A Nice Day’ which describes an unceremonious kiss off from a former lover. You somehow get the feeling that Candye Kane has not had much luck in her previous love life. The CD closes with the uplifting ‘I Deserve Love’ which features fine slide guitar and jaunty acoustic harp from Billy Watson. An excellent album which is probably her best yet

Dave Drury

CHRIS DUARTE GROUP Blues in the Afterburner

Provogue/Blues Bureau

Chris Duarte came out of Austin Texas in the early 90’s, a Blues hurricane, passing the mother of all auditions in front of a crowd of music industry execs at the South X Southwest festival. Signing to indie label Silvertone soon afterwards, Duarte shifted an amazing (for a blues album) 100,000 copies of his sophomore long-player ‘Texas Sugar/ Strat Magic’ back in 1994. Seventeen years and eight albums later, we get ‘Blue in the Afterburner’. ‘Blues…’ comes resplendent in a psychedelic digipack, a pretty good indication of what’s on the disc itself. Slabs of psychedelia meet the blues, pumped up by a production courtesy of Blues Bureau owner and production legend Mike Varney (Leslie West, Pat Travers, etc.) Duarte and his rhythm section of Robert Watson (bass) and Aaron Haggerty (drums) pin down twelve technically flawless guitar excursions, with the tunes to match. Opener ‘Another Man’ could be a long-lost Stevie Ray Vaughn classic, whilst numbers like ‘Black Clouds Rolling’ are glorious, a Duarte blend of groove and riff. ‘Searching for You’ is one of the albums non-blues numbers – Lenny Kravis meets Red Hot Chilli Peppers, whilst album closer ‘Prairie Jelly’ is a jamming spectacular – six minutes of lightspeed blues/jazz/rock hybrid. ‘Blues…’ is a 21st century take on the formula made popular by the likes of Ten Years After, Cream, Zeppelin, etc. and well worth diving into.

Martin Cook

CORNELL DUPREE

I’m Alright

Dialtone

Now there’s a name to conjure with, Cornell Dupree, a name known by so few, yet whose guitar playing has been heard by so many. The man has a pedigree stretching back to the 60’s and it is purported that he has played on over 2500 recordings. Working with such luminaries as Miles Davis, Grover Washington Jr., Wilson Pickett, Aretha Franklin and scores of others, he has always been Mr. Cool in my eyes. Mastering the genres of Soul, Jazz Rock, Blues & Funk, he has maintained his tenet of “staying with the feeling of the song” and as such is an artist, and I quote, “I don’t press and I don’t try to impress” “I’m Alright”, recorded just before his death in May of this year, is eleven tracks of instrumental perfection. Wrapped tightly in the jazz/funk mould, this set finds a group of talented musicians that include Kaz Kazanoff on sax, playing in what can be best described as a late night, laid back almost smoky atmosphere. Opening with ‘Doing Alright’, one of four originals on the album, (these were the last words he uttered to his wife before dying), the inter play between guitar, sax and keyboards sets out the style on the remaining ten tracks. Cover, such as Jimmy McGriff’s ‘The Bird’, Bill Wither’s ‘Grandma’s Hands’ and Pee Wee Ellis’s ‘Ham’, are all given the Dupree makeover and the wash of the funky guitar is never far away. Surprisingly the one track that sounds flat to these ears is Tony Joe White’s ‘Rainy Night In Georgia’, a song which proved so successful for Brook Benton and on which Dupree played. As for the rest, I love it.

Merv Osborne

Am I’ and ‘Mountain To Climb’ reinforce that he can pick country Blues with the best. Recorded at home in one take, he has managed to capture the authenticity of a live take with a crisp but unfussy studio sound – them there must be good acoustics in Barcelona. It’s attractively presented too – lyrics this subtle and poetic deserve an airing in their own right, and though it may not be quite raunchy enough for Blues fans who are a little ragged around the edges (goodness knows I have claimed to be so many times) but David Philips has a moody talent and rich voice that are wholly compelling. Apparently, ex pat Philips writes and arranges the tracks on his Barcelona rooftop terrace. City noise that could never be called pollution - lucky neighbours I say. Bravo.

Richard Thomas

DAVID RAPHAEL BAND Where Have You Been All My Life? Independent

DAVID PHILIPS

The Rooftop Recordings

Black and Tan Records.

Listening to something new, wise owls would tell you to keep your counsel and give a thoughtful assessment based on knowledge not intuition. Good advice of course, but I knew I would like this three notes into moody opener ‘Help Me To Forget’. Spartan, direct and yet sometimes gaspingly good, second up ‘Our Own Hands’ is a doleful standout capturing the general spirit of the whole collection, perhaps also pointing towards to the album’s one, albeit minor shortcoming in that at least one change of pace would elevate it even higher . No doubt Philips would counter that he is more Dylan than Duane, and that’s fair enough. ‘Raised In The North’ shows he can plays harps too; ‘What

Although this is a flawed set, anyone who opens with a fine version of Howling Wolf’s atmospheric ‘Who’s Been Talking’ is welcome in my house, and thankfully this is not the only highlight on the CD from harpman and singer Raphael, who is based in the south of England. I guess it helps that he has the cracking rhythm section from The Mighty 45s, plus the impressive keyboards player Vanessa Lewendon and long-time musical partner Nick Hyde on guitar and vocals. David is obviously a fan of Louisiana legend Larry Garner as he covers two of Garner’s songs, including ‘High On Music’ with a reggae beat (ironically, the track is a paean to the power of the blues), and he also turns in a frantically rocking version of Homesick James’ ‘Can’t Afford To Do It’ plus a fine cover of Willie Dixon’s ‘300 Lbs Of Joy’. Nick’s ‘Where Did You Go’ also has a vintage rock and roll tinge to it, and my disappointment with this set comes from the quality of David’s own originals, which are rather weak – the closing, inconsequential, “let’s all jam”, sing-along item was a big mistake as it leaves the listener liable to forget all of the preceding good stuff!

Norman Darwen

DEDE PRIEST Kinky At The Root Creeping Fig Records

Born and brought up in Dallas, Texas, Dede Priest became classically trained on the violin from the age ten before her discovery of Blues and Gospel led her to concentrate on her first natural instrument, her strong and rich voice. Tagged early on as a modern day Blues queen, Priest’s international recognition has grown significantly since the release of her first album release ‘Candy Moon’ in 2007. In recent years she has performed in much of continental Europe, and is particularly

known in the Netherlands. Indeed she chose to record ‘Kinky At The Root’ with an impressive group of Dutch musicians in Utrecht. Each of the 15 songs are co-written by Priest and bridge a broad range of styles including blues, jazz, funk and soul. Despite the variance, the styles combine well to make a rounded collection. ‘Lips Of A Friend’ opens with a familiar blues riff, yet Priest’s vocals immediately catch the attention, and once her story is closed, the track finishes with a flurry of guitar-keyboard interplay. ‘Chicken Or The Egg’ is mellow jazz with a trumpet accompaniment. Priest’s preference is to provide upbeat and optimistic songs, such as the sassy and soulful title track, and playful ‘Blues Gypsy’. Another highlight is ‘Freddie King Way Down Deep’ and he’d certainly approve of the funky groove on this track bearing his name. Later, over the slide guitar of Richard Van Bergen, Priest pays tribute to some of her influences including King, Muddy Waters and Lightening Hopkins. While she knows her roots, Priest’s focus though is very much in the present, her songs have a contemporary feel, while songs such as ‘Gotta Die To Go To Heaven’ are quite revealing in her personal beliefs. This is an assured release likely to give Priest a larger profile, and hopefully she will be due some exposure within the UK too.

Duncan Beattie

and combine to do the business again in highlights ‘It Hurts Me Too’ and ‘Champagne Blues’ with consummate skill that delights and impresses. My gripe is with what must be the worst album cover I’ve seen for a long time. Posing rather uncomfortably, both look like they know that this is going to turn out a bit naff and they’re spot on. Don’t judge it by the cover though; otherwise it’s terrific.

DUDLEY TAFT

Left For Dead

String Commander

Richard Thomas

DIANA BRAITHWAITE AND CHRIS WHITELEY

DeltaPhonic

Electro-Fi Records.

The opening bars of brassy opener ‘Cool Cat’ suggest that Blues fans will be rather pleasantly surprised by this. Braithwaite has the multi layered voice like honey, while Whiteley can produce something genuine-sounding from whatever he picks up; guitar, harp or trumpet. Second up is ‘Twice as Good’ which seemed a funky reworking of the Fabulous Thunderbirds ‘Tuff Enuff’- if that’s the case then it loses nothing; indeed Whitley’s slide work is splendidly grungy and just the way I like it. ‘Shake Blues’ is another harp and brass tour d force; ‘Don’t Apologize’ offers a welcome cog change; just what the doctor ordered and very good indeed. I suppose the production may be a little crisp for the rufty tufties, and ‘Midnight Stroll’ was a swing number that didn’t hit the spot with me at least, but no matter. Whitleley was the first Canadian act at the Chicago Blues Festival and Braithwaite’s passion for the Blues is informed by the discrimination suffered by her father in Montreal when she was young. Subsequently, both are fully qualified for Blues,

Now, this is a bit of a cracker. Mr Taft has been round the block a few times, as a member of Seattle rock bands, Sweet Water and Second Coming, something that gave him the time to grow a ZZ Top approved beard, before putting together his own blues-rock outfit a few years back. This was the resulting debut album, which after a limited release last year, is now getting a worldwide release. And it really is right up my street. He’s now working in seventies power trio format, and has written some great, original material, alongside a select band of covers that really show his fantastic guitar work and vocals. Straight from the opening number, ‘Ain’t No Game’, the trio – Taft, bassist Evan Sheeley and drummer Scott Vogel - are on fire. I kept waiting for it to drop in standard, but I’m still waiting. Of the covers, it was Charlie Patton’s ‘When Your Way Gets Dark’ an Billy Myles’ ‘Have You Ever Loved A Woman’ that really shone, the latter in particular showing just how to do a slow blues ballad. To be fair, I could have done without the closing Led Zeppelin cover, but it’s a minor blemish on an awesome record.

Stuart A Hamilton

DIUNNA GREENLEAF Trying To Hold On Blue Mercy Records

Diunna Greenleaf, lead singer with Blue Mercy is a new discovery to this writer, and her style instantly brought to mind Mississippi Heat’s Deitra Farr’s smooth-as-honey vocals. This album consists of a colourful variety of Blues, laced with a heavy dose of gospel and mixed with soul and jazz, and it is a joy. Falling under the influence of her grandmother, parents and the likes of Aretha Franklin and Koko Taylor, this wonderful vocalist aspired to being the first woman President Of The Houston Blues Society, but it as a mature Blues singer that she excels. The lyrics are smart, the music superb,

the tunes effortless and her voice stunningly authentic. She has gathered touring friends like Anson Funderburgh for the Bluesy ‘Sunny Day Friends’, Rich Del Grosso’s mandolin for the gospel song ‘Beautiful Hat’, Bob Margolin (guitar) and Bob Corridore (harp) play on ‘I Can’t Wait’, and best of all Smokin’ Joe Kubek adds his delicious guitar embellishments to ‘Taking Chances’. Bob Margolin appears on five of the fourteen tracks, and his contributions propel this album from very good to excellent; check out his economical and intelligent fills and solo on the title cut ‘Tryin’ To Hold On’ and on ‘I’m A Little Mixed Up’.. Diunna Greenleaf wrote most of the material on an album, which is just shy of an hour long and never fails to delight. If there is any justice she should be a major new Blues artist, just as the likes of Koko Taylor pass on.

EDDIE COCHRAN

Singin’ To My Baby Hoodoo Records

Eddie Cochran’s vertiginous rise to fame was matched only by its abrupt and tragic end, his death in a car crash at the age of 21 robbing the nascent rock’n’roll world of one of its most innovative and charismatic performers. Part of the late-1950s wave of rock’n’roll singers including Chuck Berry and Elvis Presley, Oklahoma native Cochran was a major influence British bands such as The Who and Led Zeppelin, both of whom covered his hits. And despite his brief career, Cochran had many hits: ‘C’mon Everybody’, ‘Summertime Blues’, ‘Have I Told You Lately That I Love You’ – all are here in this collection, a combination of two previous greatest hits albums. Cochran and his peers emerged on the world of music like a hurricane, sweeping away the tired and staid old crooners like Frank Sinatra. For the first time, American teenagers had music created by them, for them – the adolescent angst in his songs resonated with a generation who also worried about sex, cars and money. Unlike Berry and Elvis however, many of Cochran’s most enduring songs, such as ‘Summertime Blues’ and ‘C’mon Everybody’, were self-penned. As with any artist who dies young, be it Jimi Hendrix to Jim Morrison, Cochran’s oeuvre has been pored over by fans, analysed by critics and packaged and then repackaged by record companies. Unlike Hendrix and Morrison however, Cochran was not a member of the 27 club, and dying much younger meant he produced

far less music, with a back catalogue of little more than 17 songs, most of which are repeated twice even on this collection. To put it simply, Cochran’s material has been exhausted, and there is nothing new here, making this collection seem slightly redundant. More interesting are the extensive liner notes, offering a detailed biography of Cochran’s transient but eventful life and career. Eloquently written and full of interesting factoids (did you know that Summertime Blues, his most durable hit, was in fact a B-side?), Gary Blailock’s essay is a must read for the Cochran acolytes and uninitiated alike.

Adam Bates

ERNEST LANE

72 Miles From Memphis Rough Trade

The Blues can often be like some big, fat encyclopaedia, and we just rest our gaze on the paragraphs we’ve become familiar with. Thus, we miss the entries before and after our target. You might be forgiven for not immediately recognising the name Ernest Lane. But look again. His best friend at school and throughout life was Ike Turner. When they were both kids, a guy used to come round to the house and teach them piano. His name was Pinetop Perkins. He’s Mississippi to the bone; born in Clarksville in 1931, lied about his age and barely into his teens served with US forces in Italy, Germany and France. He was still just 17 when he got back home. Before long, he was working with Robert Nighthawk and recording for Chess Records, then worked with Earl Hooker and Kansas City Red, until in the 1960s Ike Turner recruited him into his hard-travelling Revue. Ernest even formed a backing band at one time for (of all people!) The Monkees, then his own outfit, the Goodtimers. He now heads a band that remains essentially as Ike Turner’s Kings of Rhythm. So, here’s 14 slabs of pure joy from Mr. Lane; his piano playing is exemplary and uplifting. From the moody slow blues of After Hours to the jaunty, Louisiana-style roll of Brand New Cherry, with its stabbing brass, this man is a compendium of all the foundations of what we now call rock’n’roll. His vocals are superb, and if you want to plug an important gap in your R&B history, this is for you –a fine collection by a proper legend.

Roy Bainton

EDGEHILL AVENUE Just Out of Sight Departure Records

Edgehill Avenue draw their musical aspirations from everything Americana and on ‘Just Out Of Sight’, the music conjures up images of wide open spaces, open roads, motorcycles and the everlasting American dream. The album is more of a mini album, containing six original songs and lasts only thirty minutes. Opening with the Country

Noggin

inspired ‘Blood & Fire’ with a solid bass and drum backing. However, the song benefits massively from the powerful backing vocals of Donna Mason, who sadly only sings on two of the six songs. ‘After All’ is another simple song but with a solid groove to it. With an attractive guitar hook and restrained backing vocals from the band, ‘After All’ is a pleasant warm song. ‘Manifesto’ opens in a far more aggressive manner with distorted bass and vocals and here both guitar and keyboards solo in a song about life and religion. ‘Reckoning Day’ sounds more like a slow Southern Rocker, and has some pleasant piano playing behind the vocals. ‘Wishing Tree’ another Country sounding song and the closer to the album is perhaps the best track here. This is a fine road song, solid, dependable and constant. The band doesn’t hang their abilities on any one individual or solo unnecessary. Theirs is a tight unit, where the music is the primary source and the strong point. This won’t blow the music world apart, but it’s a fine sounding body of work.

Merv Osborne

wave of seamless and relentless intricate guitar fizzing fireworks, with ‘Altered Destiny,’ we also get to hear a genuine blues slowburner in the form of ‘Sometimes Wrong Feels Right,’ this number slows it all down as it envelopes itself around your mind and ears, while proceeding to take you to another level of delight. This album may not be for the purists or lovers of idealised blues but it is forward move for Eric and certainly shakes off the cobwebs. I found it thoroughly enjoyable.

Brian Harman

ERIC GALES Transformation Provogue

It is, I am given to understand that, an accepted fact that the Blues is an ever evolving permutation of music that reflects and possibly documents the feelings and emotions of the individual or artist, be they happy or sad. This is very much the case for Eric, for on the twelve numbers featured on this album the strong commanding, muscular music he creates is evidence of a singular directness of thought energy and determination. Some people would call this Blues Rock, others might suggest that it is Hard Rock with blues inflections but, I would venture to say that it verges on Heavy Metal with serious Blues leanings. He skilfully translates his feelings into a hammering barrage of swirling, swerving riffs, flurries and bone crunching solos, cranking up the volume as he performs complicated dexterous finger movements all along the fret board, no note is wasted, lost or thrown away. The surging power of the numbers is easily matched by the boundless energy of the band that is Eric; lead guitar and vocals, with Aaron Haggerty; bass and Steve Evans; drums, together their faultless powerhouse of sound is simply stunning. ‘Tortured,’ is a very apt title as the rolling beast lifts you up and along, while a rocket powered piece of toe-tapping Jump’n’Jive is delivered in the form of ‘Double Dippin’’. Just as you are being carried away on a

GRAHAM ROBINS

The Shipping News

Global Sessions

Graham Robins sounds as if he’s lived a thousand lives, and ‘The Shipping News’ gives the listener an insight into all of them. A forty-year veteran of the festival circuit, singer-songwriter Robins’ music – a fusing of Blues, Celtic, gospel and folk – has a timeless quality to it, even in an album as dominated by the past as ‘The Shipping News’. Far from maudlin though, songs such as ‘Walking

In Silence’ and the latino-tinged ‘The Gangsters

Of Rock n Roll’ have a real joyous quality to them: Robins isn’t lamenting his past, he is celebrating it. Indeed, this is an intensely person album. The intimacy is aided by a stripped-down recording style that sees Robins and his excellent backing band (featuring a particularly folksy upright bass) playing live as an ensemble in the studio, with minimal overdubs. It is not just Robins’ past the listener is privy to on ‘The Shipping News’, but also his beliefs. The singer’s Christianity is writ large his impressive gospel piece ‘The Heights of Abraham’, and throughout the album, one wonders if his muse is a woman, or a more ethereal being. This album is not a religious tract however, and the emphasis is very much on Robins as a person, faith and all. Graham Robins sings “pack your bags, meet me in the comfort zone”, and if you join him on this journey, the past need not be a foreign country.

Adam Bates

FATS DOMINO

This is Fats & Rock & Rollin’ with… HooDoo

How do you review something like this? One word - fabulous. The pride of New Orleans who didn’t leave his house when Katrina struck is still going strong at 83, and anyone who saw him at Tipitina’s in New Orleans in 2008 will confirm the fact that his powers remain undiminished. 23 of Fats Domino’s rhythm & blues records sold more than a million copies each. Many of them are on this CD. In fact, all in all, he’s sold over one hundred

million records. His voice and ebullient enthusiasm makes millions of people happy, and he’s in the vanguard when it comes to promoting the uplifting New Orleans Rhythm & Blues Style. This set encompasses two terrific albums from his greatest period – 1956’s Rock and Rollin’ With Fats Domino and 1957’s This Is Fats. Just get down with that bold, strident piano on Fat Man – thrill when his voice cuts in. Taste the hot gumbo with the rolling New Orleans style of Hey La Bas, throw your head back and sing along with classics like ‘Ain’t That A Shame’. 24 songs by a founding father, all representing the very foundation stones of R&B and Rock’n’Roll. Get up, dance, give your Jambalaya a stir and make yourself a mint julep. Did I have a good time listening to this? The tears (of joy) ran down my legs …

Roy Bainton

on acoustic or electric guitar as he is sliding a bottleneck up the frets and he displays his breadth of skill to great effect on this CD. Listen to the excellent ‘Willie Dixon’, a song which was originally part written by the late Jim Riley and given to Guy by Jim’s wife Sally to ‘do something with’ or drift away with the haunting ‘Wayfaring Stranger’. Guy has produced another gem of a CD that is a real delight and should be filed under Tortorana!

HENRY’S FUNERAL SHOE

Donkey Jacket

Alive Records

Ashwyn Smyth

GUY TORTORA

Prodigal Songs

Turtledove Records

The wait for a new CD from master song smith Guy Tortora is over as his eagerly anticipated offering, the wonderful ‘Prodigal Songs’, is released. Californian Guy now lives in the UK and is one of the top purveyors of what many might categorize as ‘Americana’ but is, at heart, roots music that draws in Blues, jazz and folk to create a melange that is uniquely Guy Tortora. Guy has a wonderful way with words, painting great pictures that ring so true to the listener. The title track, ‘Prodigal Song’, cannot fail to strike a chord with anyone who has had to go through the possessions of a departed family member whilst the up tempo ‘That’s Against The Law’ is a perfect example of Guy’s wry humour and his great way with a lyric taking a pop at today’s political correctness gone mad! Listen too to his excellent take on Eric Bibb’s ‘Too Much Stuff’ and tell me you don’t identify with the lyrics? The achingly gorgeous ‘Miss You So’, featuring some glorious harmonica from guest Giles Headley and underpinned by a rich, dark bass line from Dave Evans genuinely moved me to tears, it is such a heartfelt song, laden with emotion. Alongside Guy’s originals, he has a great way with covers as is demonstrated by his own Tortoresque takes on ‘Rag Mama Rag’ and the wonderfully New Orleans flavoured ‘Viola Lee Blues’. Guy is not only a fine singer and songwriter but he is also a very accomplished guitarist, as at home finger picking

Formed in 2008, Welsh two-piece Henry’s Funeral Shoe comprises the brothers Aled and Brennig Clifford. Singer/Songwriter Aled learnt guitar to his father’s record collection - The Who, Creedence Clearwater Revival, Peter Green and Robert Johnson featured heavily – and with his younger brother learning drums from a young age, there was something providential about the forming of Henry’s Funeral Shoe. As a duo, lazy comparisons with the Black Keys and White Stripes are inevitable, but Henry’s Funeral Shoe have an identity all of their own. Their brand of blues is as raw, but eclectic as they come, the hypnotic riffs of ‘Be Your Own Invention’ and wah-wah drenched solos of ‘Love Is A Fever’ balanced by gentle ballads such as ‘Heart On Fire’. As well as playing along to his dad’s impressive record collection, Aled Clifford learnt the nuances of guitar from Ned Evans, long-time collaborator with Van Morrison. With such a pedigree, it is no surprise Aled is an excellent guitar, his incendiary solos matched only by his brother’s dynamic drumming. The follow-up to debut album ‘Everything’s For Sale’, ‘Donkey Jacket’ sees Henry’s Funeral Jacket continue to carve a niche for themselves as one of the few authentic-sounding British blues-rock bands touring the circuit today.

Adam Bates

JACKIE WILSON

He’s So Fine + Lonely

Teardrops

Hoodoo Records

It does not seem that long ago that I reviewed the two albums Clyde McPhatter recorded after his departure from Billy Ward & The Dominoes, so perhaps it’s apt that I’ve now received those of his successor in the Dominoes, Jackie Wilson also available on Hoodoo Records which seems to have become a home for under-rated rock n’ roll pioneers. Wilson was known as much as an

onstage performer who’s stage moved influenced Elvis Presley and James Brown as he was a polished singer. Certainly he was not much of a song writer which makes for one of the most interesting aspects of this collection as many of the songs on this collection were written by song writers Roquel Billy Davis with Berry Gordy Jr. Gordy of course went on to for Motown Records in 1960, while Davis became A&R manager and song writer for Chess Records. Yet their first successes in the music industry came with Jackie Wilson penning the tracks that made him a sensation, particularly with female fans. Amongst others Davis and Gordy wrote some of the finest songs on this collection ‘You’d Better Know It’, Lonely Teardrops’ and Wilson’s most famous song, the catchy and energetic ‘Reet Petite.’ Sadly this partnership came to a halt due to monetary disputes which in addition to Wilson’s alleged mob connections hurt his career from an artistic standpoint. Other highlights on this collection include Wilson’s interpretation of ‘By The Light Of The Silvery Moon’ and ‘Come Back To Me”, seen as the inspiration to the Isley Brother’s hit ‘Shout’, plus some additional earlier tracks recorded with Billy Ward. This is a welcome insight into the best work of an under rated artist taken too early from us.

Duncan Beattie

not need to be a fan of Bluegrass to enjoy it; while the playing is impeccable the song writing is at another level, predominately down to the exGrateful Dead lyrist Robert Hunter, who has written every song here in collaboration with Jim Lauderdale, each song tells a story, played very simply with Banjo, Mandolin & Fiddle at the fore. This is not the first collaboration between Jim & Robert and clearly highlights there is a spark here between the two musicians, that allows them to work together in such a relaxed and productive manner. Jim Lauderdale is an excellent acoustic guitarist & vocalist whom I am sure would be at home with most styles of music, this album is his ‘Bluegrass’ showpiece where his clear ‘sleepy’ vocal style is backed by some of Nashville’s finest, if you think Bluegrass music is just for ‘Barn Dances’ think again, this is the real thing.

Adrian Blacklee

HILLFOLK NOIR

Skinny Mammy’s Revenge Independent

Every now and then along comes a little package of ultimate oxymoron; traditional originality. This could be one. Sub-titled ‘The Gage Street Market Sessions’, the hissy compatriots that make up Hillfolk Noir take it right down a notch in iconic lo-fi to reveal the perfect backwoods ensemble of some twenty tunes. Most are written by frontman Travis Ward, although the origin is fairly irrelevant as they are all tales of ache and resilience. The rest of the band, Alison Ward (Mrs Travis), Mike Waite, and Jared Goodpastor, add authentic instrumentation through snare, stand-up bass, laundraphone and saw. The song titles of ‘Washboard Blues’, ‘Ragged And Dirty Blues’, ‘Before The Farm’, ‘The Lord Will Come’, and ‘Choo Choo Stomp’ speak for themselves and deliver exactly what is on the old-time tin. The Wards are from Sandpoint, Idaho, a settler’s region near the Canadian border. Images of those roots and dusty innocence display perfectly in their hillbilly version of innovative nostalgia.

JIM LAUDERDALE Reason and Rhyme Sugar Hill Records

Gareth Hayes

While this is very much a traditional Bluegrass album it oozes real class and you certainly do

JACKSON SLOAN Saturday Clothes

Shellac

Saxman Ray Gelato regards our man Jackson as “one of the best jump-blues singers around”. He then puts his money where his mouth is by contributing some dirty, booting sax to the dozen tracks of this CD. Even without that though, there is no doubt that Ray’s opinion is correct. Jackson just has the voice, whether he is belting out the opening ‘Jumping On The Kansas Line’ or getting a little jazzier with ‘Don’t Make Me Love You Again’ – and it is also pretty unusual to find a jump-blues album consisting entirely of original material. Mind you, Jackson did front Rent Party and OoBop- Sh-Bam, both leaders on the UK scene, so he has no real need to establish his credentials. Not that he rests on his laurels here. Ray, pianist Gunter Kurmayr, ace guitarist Richard Studholme (he knows just what is required), and the cooking rhythm section wouldn’t let him, even if he wanted to – which I guess he doesn’t, judging from this gutsy, jumpin’, jivin’ set. Recorded live in the studio, this is jump-Blues as good as it gets these days – and the closer even adds a fine rave-up rockabilly tinge.

Norman Darwen

JAMES LEE STANLEY & CLIFF EBERHARDT Wood And Doors

Beachwood

James Lee Stanley is a prolific American folk musician, who in recent years in combination to his own solo career, has collaborated with other

similar styled musicians, including John Batdorf. His recording with Batdoft, entitled “All Wood And Stones” was an acoustic interpretation of songs by the Rolling Stones. So if the title has not already given it away, this is a recording of songs by The Doors, which Stanley recorded with Cliff Eberhardt, after encouragement from John Densmore. He endorses the recording by playing percussion on some of the tracks, while Robby Krieger also appears; although the notes do not specify which tracks they appear on. It’s a very interesting listen, each song is radically reworked. It works best on tracks such as ‘Love Me Two Times’ which comes over as particularly bluesy, and ‘Chrystal Ship which is given an atmospheric interpretation. There’s some laidback picking on this version of ‘Moonlight Drive.’ Of course some of the quirky chord changes to the originals do require some clever play, such as on ‘Strange Days’ which appears to embrace several styles, while elsewhere ‘Riders On The Storm’ fits very well to the prevailing folk style. Harmonies introduce the beginning of ‘The End,’ which is surprisingly one of the shortest tracks on this release, and it’s a family friendly version too; with some tasty lap steel. So if you’re a fan of The Doors, give it a listen.

Duncan Beattie

like an album of variety, then this may be one for you.

JIM STAPLEY Live Upstart Crow

Stuart A Hamilton

JIM ALLCHIN

Overclocked

Sandy Key

Well that’s one way to spend your pension from Microsoft. Turn yourself into a jazzy guitar weilding bluester. Because that’s exactly what Mr Allchin has done on this album of all original material. Of course getting in top Seattle Blues players to strut their stuff on your album would be pointless if you didn’t have the chops. And, rather annoyingly, he does. It’s not a pure blues album, as he rocks in a couple of places, rolls in a few others, and throws in some ballads for good measure. The best of the bunch is probably the duet with Leely Whitney, ‘One For The Money’, which is everything a saucy little Blues number should be. Elsewhere, he does a good job of channelling Stevie Ray Vaughan on ‘Don’t Tell Me What To Do’, whilst the best of the jazz influenced numbers is the delightful ‘Opening My Eyes To Love’. With a great rhythm section, some good arrangements and a tight horn section, there’s a lot to enjoy here. He may have tried to cover too much ground on one record, but if you

A debut ‘live’ album is a very bold move, especially with all the material being original but what you have here is a very promising Rock album, that includes Jim’s strident vocals supported by a three piece band who between them create the sounds of seventies heavyweights like Free & the Faces. The band work to their strengths throughout the album, delivering ‘kick ass’ rock music, which they deliver confidently, ok there may be a couple of flat notes here an there but at least they do not have to rely on any studio trickery to get their music across. The album was recorded live at the Bedford in Balham supported by an enthusiastic crowd; it appears to have been recorded during one night, as the band are definitely looser as the album progresses towards the obligatory encore, the guitarist really lets rip with a stunning solo on ‘This Ain’t Living’. Evidence here that the band are more than competent to handle the larger pub venue market but will have to put in some more miles before they can meet their aspirations of becoming a ‘stadium’ rock band. With some excellent songs here, the band definitely has a firm base to work from and this album is sure to gain them an increased fan following.

Adrian Blacklee

JIMMY DASHER

The Waiting Game

Melodic Undertone Productions Records

The first slightly unusual thing about this album is the opening track. I believe that in most instances artists opt for a powerhouse cut to grab the listeners’ attention. Not Jimmy though! Instead he presents a slow, rather maudlin Blues instrumental ‘6 In The Back’ which I assume is a Pool reference. Oddly enough the track works placed here as from there the album builds quite nicely. Jimmy has kept the writing short and sweet, bringing in the vast majority of tracks well under three minutes. With the exception of drums and some fiddle Jimmy handles all the instrument workload and production duties himself. This has allowed him to let his imagination run away in several different directions but leaves the listener a little unsure of what is going to come next. It is clear for example that he has absorbed Smooth Jazz Steely Dan influences on another instrumental ‘8 On The Way’ that segues straight into ‘Square One’ with a vocal that sits somewhere between Americana and Folk. I really liked the cut ‘When It Comes To Love’ that follows

along from those last two. Jimmy’s vocals are a tad on the thin side but this provides a rather tender element to the songs and in truth I can not see him really rocking out. Two further instrumentals ‘3 In The Front’ and ‘10 In The End’ makes me think Jimmy has spent quite some time in Pool Halls. ‘We Should Get Hitched’ has a lovely simple old time feel to it and is perhaps, for me the standout track. So not a Blues album at all on balance but a pleasant enough listen on a wet Saturday afternoon and let’s face it there’s plenty of them.

Graeme Scott

JOHN BUTLER TRIO

Live at Red Rocks

Jarrah

The John Butler Trio have been on the scene since the late nineteen nineties – 1998 to be approximate. Hailing from Freemantle in Australia they describe themselves as an eclectic roots and Jam band and they certainly have touches of folk, bluegrass and Blues in their sound as well as a very Red Hot Chilli Peppers-esque funk and groove. The mainstay, John Butler, is not averse to changing the line up to ‘freshen the sound’ and

the current line up of himself on vocals and guitar with Byron Luiters on bass and Butler’s brother in law Nicky Bomba on drums and percussion is the fifth line up so far. I have to say that their music is superb even if it has very little Blues in it. On the other hand they have a great deal of roots in their songs and while they are funking it up on tracks like ‘Don’t Wanna See Your Face No More’ there is an almost bluegrass feel to some of the guitar work. In reality they are a superior jam band and their natural environment is the stage – ‘Live At Red Rocks’ captures them brilliantly and John Butler proves that he is up there with the likes of Warren Haynes and Derek Trucks as a Jamming guitarist. They can play short numbers as well as extended kams – ‘Johnny’s Gone’ tells its story without stretching out and ‘Ragged Mile’ is a lovely bluegrass-ey number but numbers like ‘Treat Yo Momma’ with some stunning resonator picking extending into a full on psychedelic and funk jam are really what the band are about. Sure, they can go on too long - ‘Good Excuse’ is too much codreggae for this listener - and they rarely stray into Blues as you or I would know it but they are never less than listenable and when they stretch out they generally manage to do so much more than simply chunter on.

Andy Snipper

JOHNNY “GUITAR” WATSON

Space Guitar Master: The 1952-1960 Recordings

Hoodoo Records

Simultaneously a major influence on his contemporaries like Etta James and a subsequent generation of artists, yet largely ignored by the mainstream, Watson was a paradox. Born in Houston 1935 and moving to California as a teenager, he died some 61 years later performing on stage in Japan. In between times he garnered a reputation as a consummate boogie woogie pianist, innovative guitarist, songwriter and supreme showman. Some say he first exploited feedback and reverb in the electric guitar and this is displayed on the instrumental title track ‘Space Guitar’. His stage persona was wild and many of his tricks were later emulated by Jimi Hendrix and fellow Texan Stevie Ray Vaughan. This collection focuses on his early career for a number of labels, and after making allowances for some less than perfect recordings and thin sound, what is evidenced is a man on top of his game. Many of the cuts feature his aggressive and stabbing guitar solos and fills passionate vocals and a great gift for memorable tunes in the rock, Blues and swing style. The twenty-eight tracks include well known tunes like ‘I’m Tired’, ‘Hot Little Mama’ and ‘I Love To Love You’, plus of course the brilliant ‘Gangster Of Love’, which he adopted as an alternative nickname, and was revived by Steve “Guitar” Miller in 1968. Sometimes he strays into the insipid world of bee-bop and straight ahead rock ‘n’ roll, but mostly it’s all good, and the lead vocals of Cordella de Milo on recordings made in 1955 of ‘Ain’t Gonna Hush’ and ‘Lonely Girl’ are brilliant.

Noggin

term sometimes implies - try ‘Sober Up Baby’ for a West Side Chicago influenced blues, and elsewhere there are clearly audible touches of BB King, John Lee Hooker, Albert Collins, good old soul music - take a listen to the Sam Cooketinged ‘Already Found’ or the Stax-flavoured ‘Only You’ (yes, Josh can sing too!) - and Stevie Ray Vaughan. There is some lovely playing on this set (each song individually arranged), and Jeff Young’s organ playing in particular supplies a fine foil to the leader. The first 3000 CDs include a fine fourtrack instrumental CD, which is well worth having – Roy Buchanan fans should check out ‘Penance’ especially.

JUNIOR WELLS

Hoodoo Man Blues

Delmark

Norman Darwen

JOSH SMITH

I’m Gonna Be Ready CrossCut

Early in his musical career, Connecticut-born, Florida-raised singer and guitarist Josh recorded two Blues albums, with his next two sets produced by the renowned Jim Gaines - but he then went on to work as a sideman in various styles from pop and rock to hip-hop, after moving to California. This excellent CD finds him back with the Blues, where he so obviously belongs. The regard in which he is held by his peers is evident as this CD has harpman Lynwood Slim and guitarist Kirk Fletcher among the backing musicians. Although I won’t argue with anyone who casts Josh as a blues-rocker, he is far more subtle than that

Onstage, Amos Blakemore junior was an evillooking son-of-a-bitch. Using the stage name Junior Wells, Blakemore looked more rock n’ roller than bluesman. Keeping this persona up until his death in 1998. Wells was raised in Memphis and tutored by his cousin, Junior Parkerand the great Sonny Boy Williamson II. Small wonder that he moved to Chicago a fully- formed blues singer. ‘Hoodoo Man Blues’ (surely the ultimate blues LP title) was Well’s long-player debut and his first release for Bob Koestler’s Delmark label. Koestler had doubts about his new charge’s commercial potential, cutting Wells and his crew little slack in the studio, so ‘Hoodoo…’ features the same band that Wells played with at his beloved ‘Theresas’, a club in downtown Chicago. There’e the man himself on harp and vocals, ‘Friendly Chap’ on lead guitar (in reality non-other than Buddy Guy ducking out of imagined contract issues), Jack Myers on bass and Billy Warren on drums. Shattered amplifiers and first-take pressure in the studio got the ‘Theresa’ sound of to a T, albeit by circumstance rather than choice. ‘Hoodoo…’ holds twelve cuts of the finest blues ever to come out of the city that defined the genre. From opener ‘Snatch It Back And Hold It’ (Credited to Amos Blakemore), to original LP finale, ‘traditional’ ‘Yonder Wall’ (originally written, during world war II by one Jazz Gillum). The definitive re-issue of a definitive recording, you get alternative takes and a fine booklet, with unseen photos of Wells and co. working in the studio.

Martin Cook

KEB MO

The Reflection Rykodisc. Inc.

Keb Mo, may be a new name to you, but is in reality the re-branding of three-time Grammy Award winner for best Contemporary Blues album, Kevin Moore in fact his past is steeped in

the tradition of the Blues. Unfortunately, like so many re-branding you do not get the sum of the total but something completely different and that is true with this name change. ‘The Reflection’ is most definitely more soul/folk reminding you of Bill Withers, Bobby Womack as singer/songwriters. The title of the album sums up the essence of this project as the twelve tracks are the outcome of change in Keb Mo’s personal and professional life. The album is smooth and relaxing the downside to this mellowness is that the tracks can meld into each other and become part of the background. That aside this is a CD that showcases a great talent with support from notable guests from the world of music including country music superstar

Vince Gill ‘My Baby’s Tellin’ Lies’, saxophonist Dave Koz, ‘One Of These Nights’, and veteran session guitarist David T. Walker, ‘All The Way,’ ‘The Reflection,’ ‘The Whole Enchilada’, so it may not be the blues but it is a great studio sound.

Liz Aiken

JULIUS PITTMAN AND THE REVIVAL

Live Tonite

Eller Soul

A few years back Richmond, Virginiabased keyboard player/ vocalist Julius Pittman decided to form a band that could bring his vision of soul and blues to life, after years of paying his dues as a musician.

‘The Revival’ are an eight-piece, horn-lead combo that lay down songs reminiscent of the golden age of 70’s soul and blues bands: Tower of Power, Southside Johnny and the Asbury Dukes and (Pre AOR) Chicago, along with Sam and Dave and the late, great Soloman Burke. The Revival’s debut ‘Bucket List’ came out in 2009 to great reviews, this time round Julius has recorded on the road. Cut live (in a bar in Virginia) ‘Revival’ is pure aural Prozac, the best musical pick-me-up that anyone could hope for. Ten tracks of overdub-free soul and blues, pushed along by funky horns and Pittman’s soul veteran vocals. Its impossible to hear the audience, but that’s hardly cause to complain, as the songs are all amazing – from the full-on opener ‘She’s Looking Good’ through to grand finale ‘Shotgun’, things never slack off. You can imagine the audience during recording, every one of them sporting a shit-eating grin, floating away on a glorius sea of beer and soul. Wish I was with ‘em.

LOUISANA

JOINT

When Louisiana Red made Back to The Black Bayou for Ruf Records in 2009, the combination of this genuine Old Master and Little Victor resulted in an armful of awards from the French, the Germans, as well as highly favourable praise from both Downbeat and Rolling Stone magazines. Based on this outing, he might well do it again. Recorded in Memphis, on tracks such as ‘Goodbye Blues’ and ‘No More Whiskey’ you’ll hear influences like Wolf and Hooker, there’s some great harmonica on the swinging, urban ‘Boogie Woogie Boogie’, and a fine, wailing, towering vocal on ‘I’m Getting’ Tired’ with a louche, laid-back rolling backing pierced by Red’s primeval guitar licks. ‘Why Don’t You Come On Home’ ambles along with a steamy, swampy feel, and the hard core traditional sound of the poignant Grandmother’s Death sums up the overall feel of this rugged album. True blues, from the Bayou all the way up the river – this reeks of the earthy power you get when listening to all those old 1940s and 50s waxings. It ain’t fancy – but it sure is damn good blues.

MEYER ROSSABI Blues Is The Color Bluesman Production

Roy Bainton

Martin Cook

RED & LLTTLE VICTOR’S JUKE

Memphis Mojo

A new American Blues powerhouse from Brooklyn, New York State known in the Brooklyn clubs but probably less known over this side of the pond. This, his debut album, is an absolute stunner comprising many musical styles and influences. He intertwines jazz, Blues, rock and a bit of funk to make for a very interesting eclectic mix giving a nod to some artists who have influenced him including Johnny Winter, noticeable on ‘Hurricane’. Part of this release was brought out last year under the guise of ‘Just A Little Taste Of The Blues’ in America and was much acclaimed. One of his tracks ‘Deadly Ties’ being used as soundtrack in the film ‘Brooklyn Boys’ with a Muddy Waters style riff. He is a multi instrumentalist and sings all vocals also joined by Marky Ramone a close friend on three tracks ‘World Gone Crazy’ a blend of funk and power, “Crash “, a catchy tune and the studio version of ‘Sky Is Crying’. There are twelve tracks, two covers, Elmore James ‘Sky Is Crying’ (two versions, one live showing his undoubted talent and guitar technique) and a blistering first track a new arrangement of Nick Gravenites’ ‘Born In Chicago’ where he gives it big licks his fretwork mesmerising, all others are self penned. A very

good release and a name to watch out for and hope that new listeners will appreciate his talent and work rate.

Colin Campbell

LITTLE FEAT

40 Feat: The Hot Tomato Anthology 1971-2011

Proper Hats off to Little Feat!

They took their first step forty years ago and it has been quite a journey. Serving a similar longevity as the likes of The Rolling Stones and Status Quo puts them right up there with the very best; although they might prefer to be referenced alongside The Allman Brothers and The Grateful Dead. The Little Feat line-up has only changed four or five times through some thirty albums, and their Blues rock and Dixie boogie vibe remains engrained. This is a fantastic forty song retrospective that features a suitable mix of live numbers, rare demo alternates and the band’s own bootlegs. Spread over three discs it is tricky to pin-point any track that stands out above the rest, and certainly not any duds. Maybe Bonnie Raitt guesting on a chatty ‘Sailin’ Shoes’, a timeless ‘Cold Cold Cold/Dixie Chicken’ combo, and a low strung funky ‘Skin It Back’ deserve a special mention, but then again ‘Hoy Hoy’ and ‘Candy Man Blues’ Oh, just love them all.

Gareth Hayes

engaged, with only the occasional temptation to hit skip. Certainly not for the humorous ‘Okolona, Tennessee’, where the Oak Ridge Boys appear to add some swamp-funk, nor rockabilly gospel of ‘Don’t Leave Home Without Jesus’. Vaughan is a steady vocalist yet I found my interest grew particularly during the three instrumentals within the album, in particularly the atmospheric “Mysterium” where he combines with organist Charles Steadway for some particularly impressive playing. So “V” is worth checking out!

KENNY ‘BLUES BOSS’ WAYNE

An Old Rock on a Roll Stonyplain Records

Duncan Beattie

KENNY VAUGHAN

V Sugar Hill Records

Kenny Vaughan may not be a household name, yet for decades he has recorded with the cream of Nashville’s Americana scene, including Greg Garing, Jim Lauderdale and Rodney Crowell, performed a three year stint as guitarist to Lucinda Williams and for the last decade been a member of Marty Stuart’s Fabulous Superlatives, including weekly television appearances on the Marty Stuart Show. In fact Stuart and the rest of his band perform with Vaughan throughout this album of Vaughan originals. While I tend to have a natural aversion to a track named such as the opener here, ‘Country Music Got On A Hold On Me’ it’s a bebop influence that runs throughout the track and Vaughan’s guitar tones are crisp and extensive. So even for the country sceptic such as me, I was surprised to find much I did enjoy about this record, largely due to Vaughan’s superb guitar playing. The country twang of his telecaster is infectious and an every changing style and tempo keeps the listener

This album is so refreshing, nothing pretentious here just good old fashioned soulful Blues music played by a top class Blues vocalist and piano player, supported and produced by guitar maestro Duke Robillard. Kenny, who is now based in Canada, has been playing professionally since the 1960’s, initially supporting Rock bands, he did not start releasing solo albums until well into the 1990’s, this being his seventh album release. Throughout the album Kenny receives some quality support from current and ex-members of Roomful of Blues, while the music is predominately easy going Soulful Blues the supporting musicians do generate some jazz influenced swing on a couple of tracks and there is even a touch of Zydeco here and there. Not withstanding the style being played here the star of the piece is Kenny Wayne; besides writing all thirteen tracks he has a great smooth vocal tone and rattles the ‘ivories’ with both vigour & subtlety, the song ‘Wild Turkey 101 Proof’ is a fine example of his talent. The work put in on the album by Duke Robillard is priceless, besides his fine guitar playing; his production brings out all Kenny’s strengths, look forward for more to come from this partnership.

Adrian Blacklee

LAURIE MORVAN BAND Breathe Deep Screaming Lizard

There seems to be a notable rise in the Blues guitar woman at the moment. Think Ana Popovic, Erja Lyytinen, Sue Foley, Samantha Fish, Debbie Davies and now Laurie Morvan; except she’s been around a while (debut in 1997). A regular on the US festival circuit and those Blues Cruises, Morvan’s red hot Blues has been a staple Stateside phenomenon way before this, her fifth, album. It rocks off from the start with ‘Saved By The Blues’ and ‘Mojo Mama’. It’s all the houserockin’ that used to make labels like Alligator so irresistible, and it works here too with Screaming Lizard. Big eyes, big teeth and big hair abound as the guys take a back seat, as

alongside Morvan is band member Lisa Grubbs in the production chair. Every song grabs the bull by the horns and strikes no-nonsense phrasing from the inflammatory ‘Beat Up From The Feet Up’ to the sinewy ‘Thelma And Louise’. The closest thing to a title track, ‘It Only Hurts When I Breathe’ is a red hot red rose Blues that is destined for the IPod have no doubt.

Gareth Hayes

MARK T. SMALL

Blacks, Whites & The Blues

Lead Foot Music

This album allows Mark to demonstrate his acoustic roots with intelligent covers of a selection of Blues favourites with a few surprises to make you really sit up and listen including a self-penned number ‘Boogie Woogie Guitar Man’ and Scott Joplin’s, ‘Solace’. This CD spans the Blues of the 20th Century with its varied guitar styles which, Mark exhibits with style and originality bringing a freshness and deftness of touch to every track. Whether it is the flat-picking country style on ‘Old Gray Mare’, or down the Delta, Fred McDowells’ ‘A Few More Lines’. His performances of Chicago Blues are accomplished with a great slow, soulful interpretation of Hawkins & Darnell’s ‘The Thrill Is Gone’, whilst tipping his plectrum at B.B. King who made this song his own. This is a CD of roots music both Urban and Country, the fourteen songs all have their place on the album and as you listen you think of others you would have liked to be included to be given the Mark. T. Small treatment.

Liz Aiken

was spread it on thick boys. On ‘Slideville’ Kevin uses (yes of course) slide, weissenborn and lap steel and all tracks are instrumentals from his archive and previously un-released tracks totalling 20 in all from one of the masters of the style who needs to get his name ‘out there’ more and we are sure he will soon. His music may not set the house on fire but there are days and times when that is the furthest thing you need and for those times these albums most defiantly score high. Check them out!

MIKE SPONZA & EUROPEAN BLUES CONVENTION

Continental Shuffle

Sonic Shapes

Frank Leigh

KEVIN BROWN Slideville

SHACKDUSTERS

Home And Dry

Doodah Records

Kevin Brown seems to have been in hiding for a while to me so I started asking about him and we made contact and you will read or have read an interview with him in this issue (he also selected his Top Ten Blues for BM). In 2010 he had three new CDs out yet did nothing to profile them sadly it seems, they just snuck out quietly. Here are two of them and mighty well received they were. We still have not received the third ‘Abundance’ and will cover that again. ‘Home And Dry’ is sheer relaxation, so smooth doth the acoustic lap steel flow, close your eyes and you want to put on a bright shirt and paddle, the twelve tracks relax and warm throughout, breath them deep folks, a joy! There’s even one titled ‘Mayonnaise’ co-written with Gypy Mayo (well I laughed), all I could think

An amazing double blues studio album here, Mike Sponza has pulled together thirty three musicians from twelve European Countries to perform on this album, each guest artist was recorded in their home country, with the common theme being Blues based music. The two CD’s cover nineteen tracks performed by a range of artist that cover a broad section of blues music, Mike Sponza plays lead guitar right through the CD’s, while providing occasional vocals, the ‘guests’ cover the majority of vocals as well as providing some instrumentation. I am not an expert on European Blues musicians but there are some names here that I will definitely be following up on, two in particular are; Greg Zlap (Vocals & Harmonica) and Janez ‘Benc’ Boncina (vocals), who both have strong vocals and Greg plays a mean harmonica. The packaging is superb and gives the line ups for each track, by studying these I have established that the recording does include some musicians that I am more familiar with, these include; Dana Gillespie & Erja Lyytinen. In releasing this album Mike Sponza has firmly put European Blues music on the map, the album is full of strong material and talented musicians, led by a very fine Blues guitarist, whose role here is more than just playing the Blues, he has worked two years to facilitate this project and Mike must be very proud of the results, as will everybody purchasing this album.

Adrian Blacklee

MARIA MULDAUR Steady Love

Stony Plain Records

Since the sixties Maria has brought out many albums with many influences and differing types of music styles and adds her signature interpretations

to them. This release is no exception and indeed she seems to be going back to her bluesy gospel soul roots. But not forgetting this was produced in New Orleans, she has produced a veritable gumbo of spicy sounds. This noted in the swampy ‘Get You Next To Me’. Her voice is getting more gritty compared with recent releases and impassioned on gospel favourites such as her interpretations of songwriters such as Eric Bibbs ‘Don’t Ever Let Nobody Bring Your Spirits Down’ and ‘Please Send Me Someone To Love’ a very powerful song with a message to the world reminiscent of keeping in touch with her Greenwich village influence. An eclectic mix of both electric and acoustic styles makes this a really good mix and am sure the first track ‘I’ll Be Glad’ a song written by Elvin Bishop would make anyone dance, this is an uptempo version. On the title track she adds sultriness to her voice and this entwined with a horn section and backing vocals including her daughter Jenni. When listened to once, the listener will certainly start to tap feet and get up and praise their own lord!. This is her best release for many years instrumentally, has a tight band and the tracks blend into each other very well.

Colin Campbell

POPPA CHUBBY Back To New York City Provogue

Well I knew Mr Howowitz was popular, but was surprised to read that this CD, dedicated to the city he made home at the age of 18 was his 20th album release since 1994. In truth while he’s done some good albums in that period, the bench mark for me has always been the Tom Dowd produced ‘Booty & The Beast’ from 1995. It’s fair to say that this one comes quite close, although it’s certainly a case of ‘big rock, little blues’. The album opens impressively with the riff led title track which features his beefy guitar solos, lyrically referring to the changes he’s seen to his home city. A more reflective tale of the city comes later in the expansive ‘A Love That Will Not Die’, yet it’s perhaps the semi epic ‘Pound Of Flesh’ that best demonstrates Chubby’s fine song writing, and both tracks stand strongly and demonstrate the more melodic side to his guitar playing. It would seem likely that both will get an airing on his November UK tour. As per his earlier releases, the material straddles blues and hard rock. One of the straightest blues cuts comes in ‘She Loves

TOP 20

1. Son House: Son House In Seattle (Arcola 2CD)

2. Watermelon Slim & Sup[er Chikan: Okiesippi Blues (Norhern Blues CD)

3. Muddy Waters: Natural Born Lover (Jasmine 2CD)

4. Various: The Bobby Robinson Story – Selected Sides 1951-1960 (JSP 4CD)

5. Various: Vee-Jay Records Presents The Blues (Charly 2CD)

6. Leon Russell: Live IN Japan (Big Beat CD)

7. Johnny Otis: Midnight At The Barrelhouse (Ace CD)

8. John Lewis Trio: The Billy Banks Sessions (Press Tone CD)

9. Hound Dog Taylor: Natural Boogie (Alligator CD)

10. Charlie Parr: Cheap Wine (Tin Angel CD)

11. Philip Sayce: Ruby Electric (Provogue)

12. Errol Linton: Mama Said (Ruby)

13. Dduke Robillard: Low Down & Tore Up (DixieFrog)

14. Various: The Flash Records Story (Ace)

15. Little Victor: Boogie All Night (El Toro)

16. Ry Cooder: Pull Up Some Dust And Sit Down (Nonesuch)

17. Buddy Whittington: Six String Svengali (Manhaton)

18. Etta James: Call My Name (Kent)

19. Maria Muldaur: Steady Love (Stony Plain)

20. Junior Wells: Hoo Doo Man (Delmark)

Everybody But Me’ which is a Texas shuffle in the style of Stevie Ray Vaughan, while in contrast the overriding influence that comes through on ‘Warrior God’ is Motorhead. ‘The Future’ is a dip into the well-thumbed Leonard Cohen songbook with its mainly spoken vocal and some tasteful blues licks. The token oddball track comes in the closing take of Johan Sebastian Bach’s ‘Jesus Joy Of Man’s Desire’ which is a fine cut which dovetails what is a strong and coherent release

Duncan Beattie

MONKEY JUNK

To Behold

Stoney Plain Records

The name Monkeyjunk comes from a Son House song. I’m talking about the Blues, I ain’t talking about Monkeyjunk. But I am going to talk about Monkeyjunk, they are brilliant and have produced one of the best albums I have heard in a long time. The CD sets the standard from the intro to the finish and there is not a lull at any time.

‘Mothers Crying’ has a jumping riff which will have you boogying in the front room. The only cover is the Hank Williams Jnr.’s standard ‘You’re Gonna Change (Or I’m Gonna Leave)’, but cover isn’t the right word cos they give it their own slant. Throughout the collection the vocals are blinding by both Tony D and Steve Marriner, the harmonica and guitar work by Steve are to die for (check out ‘The Marrinator’). If you want funky blues just listen to ‘Right Now’ and ‘Running In The Rain’. ‘Let Her Down’ is a soulful Blues which again has Tony D singing his socks off. The ‘With These Hands’ has backing vocals that really takes your breath away.

‘You DON’T Know’ has a great rollin-n-tumbling riff, ‘While You Are Mine’ is a harp driven number and is pure Blues. Ten tracks that prove that this Canadian band is here to stay. And as Son House would have said if he had seen these boys. I’m Talking About The Blues, I’m Talking About Monkeyjunk!!

SHANE DWIGHT

A Hundred White Lies

R-Tist Records

Bob Bonsey

With an average of over 200 gigs per year, headline slots at blues festivals across the world and live performances with the likes of B.B. King, Johnny Winter and Jimmie Vaughan, Shane Dwight has undoubted credibility as a bluesman, and this musical integrity can be heard in his eighth album, ‘A Hundred White Lies’. I needn’t tell you about Dwight’s prodigious skill with the guitar - in one so experienced, that can be taken

as a given; nor his warm and slightly gravelly voice - after 2000 gigs in ten years, that is hardly surprising; but what people must be informed of is the incredible sincerity and authenticity of his recordings. A remarkably versatile musician, Dwight can seemingly take any genre and make it his own: ‘Call Me’ is a soul song Motown would have been proud to call their own, the title track is a piece of riffery reminiscent in many ways of British blues rockers Elbow, and ‘She Struts 22’ is a boogie John Lee Hooker himself would have showered with approval. That is just the first three tracks; truth be told, from the acoustic ballad ‘True Love’s Gone’ to the Gospel and country inflected ‘Broken’, every song on ‘A Hundred White Lies’ is a gem, from a musician at the top of his game.

Adam Bates

MIKE GARNER

Why A Woman Gets The Blues Ode Records

This a first for me in as much as I can not recall having any Blues records cross my desk from New Zealand before and I like what I hear. If this is a sample of what might be available down there then bring it on. A nice shuffling boogie Blues gets things underway with ‘Devil Played The Harp’ with fine slide and appropriately harp before we move into the fairly succinct ‘You Gonna Wreck My Life’ a tasty acoustic Blues. In this we find the central character somewhat bored and frustrated with his life and his woman so it is no surprise when we hear the other side of the coin in the following title track. What goes around comes around buddy! Mess about in another kitchen and don’t be surprised that your lady is gonna look in other places. This is good simple writing that looks at life, the choices we make and the subsequent consequences that result. The treatment on ‘Circle Round The Sun’ is so redolent of just sitting around on the porch jamming that you can’t help but smile with delight. A similar result comes from listening to ‘When I Was A Boy’ another simple Blues. Overall this album works really well with little clutter in the production which is kind of the way I like it. A very tasty cover of the Jagger/Richards classic ‘Honky Tonk Women’ is so far removed from the original to be almost a new song but of course balanced with those oh so familiar lyrics making this a highlight on an already fine body of work. So apparently this is album number six from Mike enjoy this and go search out the others via the Internet.

Graeme Scott

PATRICK MCLAUGHLIN

Patrick McLaughlin Bolt

Coming from Columbus in Ohio may not directly

influence Patrick

McLaughlin’s Blues heritage, so he tops this up nicely taking band members from Harlem and Memphis. McLaughlin has had a band of his own for around a decade, but this current band have only been with him a year. It is this crew that have given him the encouragement to release a long-awaited debut. It is a cracker and promises much more as he hones his obvious talent. References are made to his Robert Cray style and this is certainly true, particularly on ‘Burn A Little Brighter’, although too many he will be closer to an early Joe Louis Walker. Subtleties aside, he’s sure to prefer to be known for his own style anyway, which is deliberate and focused. The album features two marathon Blues numbers, ‘Motion Of Emotion’ and ‘Ready Set Leave’, that really give air time to the guy’s potential; he adds sensitivity and grace to the Blues-rock playground.

THE RANDY OXFORD BAND Festival

Della

Gareth Hayes

Recorded live at the Sunbanks Rhythm and Blues Festival, this CD presents Seattle’s premier Blues trombonist leading his band through a varied set, opening with Dinah Washington’s ‘Big Long Slidin’ Thing’, which has a wonderful, strident vocal by Jada Amy – and that is the problem I have with this CD. When Jada is singing – as she does on most tracks – the album is wonderful, with sassy or sultry, funky or straight-ahead blues, biting trombone breaks which make me wonder why more use is not made of this instrument within the Blues, and a tight and impressive band. However, when she takes a well-earned breather, the tracks degenerate into long improvisations which lose focus in an attempt to allow everyone some blowing time - the drum solo was definitely not needed, no matter how visually impressive it was (judging from the audience reaction). The CD contains enough to show why this band were finalists in the International Blues Challenge in Memphis in February 2011, but it also shows perhaps why they were not overall winners – impressive but a little long-winded (pun not altogether unintended).

RICK PAYNE Radio City Blues Independent

Norman Darwen

Now I’m not being kind to this CD, solely because

Mr Payne is donating 10% of the proceeds to charity. As an acoustic / country Blues picker, he feels he’s been earning a living from the work of early Blues performers like Blind Willie Johnson and Blind Lemon Jefferson, so decided to make an album, with radio related lyrics, and to donate a percentage to the British Wireless For The Blind, a charity that provides user friendly radios. And it’s a very enjoyable release, as he works his way through a record of eleven original songs. With some added harmonica, jaw harp, cittern (a stringed instrument dating from the Renaissance) and keyboards, there is enough flesh on the songs, so that you don’t end up with a sparse set of acoustic guitar tunes. There’s no doubting the expertise of Mr Payne, who’s a regular at festivals, as well as contributing to BBC radio shows and providing tuition. Acoustic guitarists will find a lot to drool over, and even those of us who don’t appreciate the intricacies will be drawn into tunes like ‘Transmit’, ‘Open Skies’ and ‘Baby’s Got A Radio’.

Stuart A Hamilton

ROBERT BROWN Road Dog Topers Rant Records

With no information on the album as to who plays alongside Robert Brown, or indeed what instrument he plays, it is interesting to listen to the spectrum of interesting playing going on behind the vocals on this twenty two minute, six song mini album. Make that five different songs as the title track is revisited and given an acoustic makeover. ‘Road Dog’ opens with some fluent acoustic finger picking, accompanied by a canvas of electric instrumentation behind. At the crescendo, when many bands would thunder into a full blown rock song, Brown about turns and continues in this constrained manner. Compare this to the closing track, the acoustic version of the same song and the difference is quite striking. Gone is the air of mystery and the depth of musical feel, instead, it is a simple folk inspired song. In my case I had to listen to the words more because the other distractions had gone. ‘Your Good Girl Is Gonna Turn So Bad’ is a joyous up-tempo, country sounding song with simple but attractive guitar hooks. You can’t help but sing along, even on first play and I’ve no doubt this would be very radio friendly. The breathy vocals and laid back feel of ‘No Fool Like An Old Fool’ made me think of Robert Plant and his Band of Joy. In fact the Zep connection continues in the intro to ‘On My Head’, an acoustic song that recaptures the Page/Plant

country feel. ‘Ocean Of Stars’ is a solo folk song, with powerful vocals from Brown and a distant female backing voice. Although not my favorite style of music, I found this album to be open and interesting. Check out Robert Brown.

Merv Osborne

SAVOY BROWN

Voodoo Moon

Ruf Record

Ah, it’s been a while coming this new album and as anyone who knows the band and Mr.Simmonds might expect there is yet another new line-up to the legendary name of Savoy Brown. So, does the ‘magic’ still work? The answer is YES indeed ladies and gents. Kim produces his inimitable guitar sound and some really neat solos and runs. The latest vocalist is Joe Whiting who has made appearances with the band in the past and fits in well (Joe also plays Sax). Holding it all together we have Pat DeSalvo on bass and Garnet Grimm on drums. Co-produced by Kim and his old compadre from Blue Wave Records we have Greg Spencer (a neat NY based label featuring some of the best local talent including Joe when he was in a band called Avenue Breakdown). All nine tracks are originals written by Kim with Joe co-writing two of them. The opening ‘Shockwaves’ reminded me a little of ‘Little Wheel’ and is broken up with some jangling piano dancing with a guitar solo. I must admit I rather liked ‘Round And Round’ for it’s easiness. The title track carries some of that Voodoo threat in the build up and unleashes a pounding rhythm and some stinging guitar as the whole thing swells then recedes then builds again. The closing ‘Meet The Blues Head On’ grabs you from the off with swelling organ (Andy Rudy) that runs throughout this blistering track where Kim keeps the chords pounding away in classic form with a few neat solo outbursts. It seems that Joe has a good stage presence which will be an added bonus for Savoy fans if/when the band get over to the UK/Europe on tour in 2012, let’s keep our fingers crossed coz it’s been a long time coming for this Brit to step back on the UK stages

ROMI MAYES

Lucky Tonight

MeMy Americana

Frank Leigh

This is the fifth album from Canadian country Blues singer Romi Mayes and with it she decided to not only take a chance with recording a single live concert but she also doubled her gamble by performing a set comprising of previously unreleased material. Joining her onstage is Jay Nowiki the lead guitarist with the Canadian blues band ‘The Perpetrators’ also, adding depth and texture are Ken McMahon; kick and snare drum, Damon Mitchell, Harmonica with Jaxon Haldane

supplying backing vocals. Together they played to a four-hundred plus audience in the middle of winter at the West End Cultural Centre, in her home town of Winnipeg. The rich, dense, expressive guitar work of Jay smoothly blends in with Romi’s sweet and husky voice. The ten numbers here range from rousting rowdy crowd pleasers such as the toe tapping title track, ‘Lucky Tonight’ to the bluesy, slow ‘Easy On You.’ Jay’s frequent emotive stirring solos never overstay their welcome or try to steal the show, his sensitive playing on the almost front porch cosy ‘Make You Love Me Tonight,’ greatly adds to the homely intimate atmosphere. The very juicy and tasty blues harmonica led shuffler ‘Don’t Mess With Me’ simply just fills your ears with pleasantness. Romi certainly excels on the more gentle expressive ballads such as the poignant piano and vocal soulful ‘I Will’, also there are shades of the melancholy Emmylou Harris on ‘Ball and Chain’, and ‘After The Show.’ A pleasant little blues shuffler in the form of ‘Not My Baby’ builds on a riff and swings easily into the tasty rockin’ ‘Can’t Get You of My Mind’ This album is a wonderful slice of emotive and toe-tapping Americana. Thoroughly Recommended!

Brian Harman

RICKY SKAGGS Country Hits Bluegrass Style

Skaggs Family Records

After 40 years as a professional musician playing with the likes of Emmylou Harris and having many hits in his own right Skaggs has produced an album of his old country hits done in more of a bluegrass style. Skaggs plays guitars, mandolin and occasional piano and the excellent accompanying band includes fiddles, accordion, pedal steel guitar and banjo which all gives the sound an authentic country/bluegrass feel. I notice from a well known online retailer that Skaggs has 50 CD’s available and I also note that some bluegrass snobs have taken issue with the use of a drum kit and electric steel instead of dobro. Being an old Bluesman I know nothing of these things and can only report that to my ears this CD does what it says on the tin. The other thing I note is that Skaggs name does not appear among the writing credits but there are songs from Guy Clarke, Mel Tillis, Sonny Curtis and of course Lester Flatt and Earl Scruggs. Opener is Guy Clarke’s classic ‘Heartbroke’ featuring superb harmony vocals over a lively backing of fiddles and finger picked

guitars. ‘Honey (Open That Door)’ rocks along nicely with Skaggs’ twangy crooning leading the way accompanied by more of those exquisite vocal harmonies. My favourite track is ‘You’ve Got A Lover’ which features beautiful pedal steel guitar from Paul Franklin and reminds me of The Byrds country/rock sound from the mid 60’s. Showing my age again! Classics, including the accordion fuelled, ‘Cajun Moon’ and the mournful fiddle led ‘Crying My Heart Out Over You’ are superbly done and the musicianship is excellent throughout. At last a song I recognise - Albert Lee’s showpiece toe-tapper ‘Country Boy’ which features frantic picking and a race to the finish between guitars, fiddle, banjo and mandolin. I think that song comes from Albert’s days in Heads Hands & Feet and it still features in his live shows. The album closes with a beautiful and uplifting ballad ‘Somebody’s Prayin’’ featuring the Nashville String Ensemble. This is a very fine album which would be of interest to anyone who likes country and bluegrass.

STEVE CROPPER Dedicated 429 Records

Dave Drury

The influential Steve Cropper first came to prominence as a member of Booker T and The MGs. His sineway, melodically simple guitar work help to make pieces such as ‘Green Onions’, ‘Time Is Tight’ and ‘Soul Limbo’ hits. As a songwriter he helped to write such classic soul songs as ‘In The Midnight Hour’ and ‘Knock On Wood’ and he was also a sought after record producer in his time. ‘Dedicated’ is Cropper’s homage to his own personal musical hero – Lowman Pauling who was the guitarist and songwriter in The 5 Royales. Cropper has invited many top flight name musicians to bring life to the songs that first inspired him many moons ago. We have Steve Winwood playing organ and singing on the album opener ‘Thirty Second Lover’ ‘Baby Don’t Do It’ is a perfect fit for BB King’s guitar and vocals, whilst the gravel voice of Lucinda Williams is heard on two of the songs, ‘Dedicated To The One I Love’ which is probably the most famous song on the album, and the set closer ‘When I Get Like This’. Brian May turns up on ‘I Do’ but his playing seems slightly too mannered in the company it is keeping. The twang fest that is ‘The Slummer the Slum’ is a worthwhile duet for the

guitars of Cropper and Buddy Miller, whilst two instrumentals allow for the soul guitar styles that peppered many of the 1960’s best known songs to shine in new settings. This is a fine album, and it is as fun to listen to, as it probably was to make.

Ben Macnair

RY COODER Pull Up Some Dust And Sit Down Nonesuch

Ry Cooder has earned considerable respect for his unique and varied contribution to Americana across six decades, in which he has stubbornly refused to conform to trends and fads. Whether it was making Blues with Taj Mahal during the days of progressive rock, writing soundtracks when few others routinely recorded them, or embracing World Music during a period of acute musical parochialism – he has always done it his way. So has he done it again with ‘Pull Up Some Dust And Sit Down’? Not quite, but this oddly engaging album evokes a feeling of warmth and affection that only he can. It is certainly quirky and often relevant, (‘No Banker Left Behind’) but at the same time it verges on the anachronistic and frankly he sometimes suddenly sounds old and struggling vocally. The quiet understated vocals are still there, except in the angry ‘Quick Sand’. Folk tunes like ‘Baby Joined The Army’ and ‘Christmas Time This Year’ are weak, but the traditional themes of ‘Lord Tell Me Why’ herald a future classic. Brilliant simple tunes like ‘Humpty Dumpty World’ and the reggae beats of ‘Dirty Chateau’ remind us of the great talent that is still there, and it stops you in your tracks. Typical accordion accompanies the humorous ‘Dreamer’. Other tracks like ‘Simple Tools’ are throw away offerings, but ‘If There’s A God’ addresses more serious topics. This album is patchy and the highs and lows are in stark contrast. There are similarities with Willie Nelson’s recent work, maybe they were cast from the same mould.

Noggin

SADIE JEMMETT

The Blacksmith’s Girl Wildflower Records

This debut CD introduces us to the folksy voice of this young British songwriter who has been inspired by Joni Mitchell which is apparent from here style of delivery. The music is all Sadie’s work, the only ‘cover’ being the title track which is her arrangement of Judith Wrights poem ‘The Blacksmith’s Girl’. This girl has talent has been recognized by American folk legend Judy Collins, with wildflower being her label. The lyrics are very reflective and at times feel as if you are a voyeur looking at a private diary. Sadie, admits that writing and playing for the CD has been a personal and cathartic experience opening up the doors of her singing career. The CD is roots music, but definitely not Blues, but that set aside her voice

is clear and delivers her lyrics with feeling and emotion.

Liz Aiken

THE BREW

The Third Floor Jazzhaus Records

The Brew, is led by talented young guitarist Jason Barwick, the quality of the CD’s design and booklet hints at the quality that awaits you on this latest recording. This trio is an amalgamation of 1970’s & 1980’s rock, with allusions to bands such as Cream, Led Zepplin and Hendrix, but this is no tribute retro band the sound is modern alive and fresh. Great drumming ( Kurtis Smith) provides the perfect foil to the clear guitar work of Jason, and the bass provided by Tim Smith is disciplined so that every song has shape and a rhythmic form. This is not a traditional blues album but one cascading the rich heritage of R&B into a perfect form. This band is so busy on The Continent that they rarely visit the UK this is a loss on a gig circuit that enjoys and flocks to the likes of Bonamassa, Philip Sayce etc. Each track is different with changes in tempo and emphasis showcasing Jason’s melodic voice with great words that are sung with feeling. The title track, ‘The Third Floor’ demonstrates their excellent timing as sounds are delivered not in contest but making the most of everyone’s skills. Then as a total surprise like a fruit cream in a box of hard centred chocolates is a beautiful acoustic track ‘Hard Times’ yes, this band still has a foot in the blues tradition.

SAINT JUDE

Diary Of A Soul Fiend Independent

Liz Aiken

Powerful five piece rock’n’roll outfit from Kentucky fronted by the soul-drenched vocals of Lynne Jackaman. The album contains 10 original tracks and has been completed after a journey of seven years of love, sweat and tears. The influences include The Stones, The Faces, Free, Black Crowes and, almost inevitably, Big Brother and the Holding Company. ‘Soul On Fire’ kicks in with some suitably Stones/Faces guitar and horn riffing with Jackaman’s dynamic vocals leading the way. Good slide guitar from Adam Greene plus wailing backing vocals make for an everything plus the kitchen sink approach to this opening number.

‘Garden Of Eden’ is a driving rocker featuring wailing vocals and an excellent wah-wah guitar solo from Greene. ‘Little Queen’ is another number which positively leaps from the grooves and hits you between the eyes with its ballsy riffs. There

is a softer side to the band which is displayed in the rock-ballad ‘Down The Road’ and the gentle soul-ballad ‘Down And Out’. Jackaman’s vocals have been compared to Janis Joplin but they are much more controlled and less raucous whilst still packing a considerable punch. ‘Pleased To Meet You’ is a walking pace song with impassioned vocals which builds to a climax as Jackaman pleads furiously with her lover. ‘Angel’ opens with an atmospheric twin guitar figure before building steadily into a heartfelt affair featuring imploring vocals from Jackaman and wailing backing vocals. An acoustic guitar intro to ‘Rivers And Streams’ prefaces a more reflective sound featuring gentle slide guitar and tinkling piano. ‘Parallel Life’ is a heavy stomper featuring wah-wah guitar complete with feedback with Jackaman’s vocals, as ever, leading from the front and a grandstand finish. Closing track ‘Southern Belles’ is a paean to strong ladies everywhwhere and features more of that “kitchen sink” approach with everyone and his mate chipping in. Their live performances should certainly be exciting and they have been nominated in The Best New Band category by Classic Rock! Until they come to UK this album would be a good place to start.

Dave Drury

STOMPING NICK AND HIS BLUES GRENADE Punk Blues One Man Band

Independent

I can imagine getting tired of listening to this but probably not until I’ve listend a couple of hundred times. This is one of those albums that Ronsons it – does what it says on the cover. His band are formed of such performers as ‘Mouth’ on harmonica, ‘Left Hand plays a mean lead guitar while ;Right Hand’ is equally accomplished on the rhythm guitar, ‘Right Foot’ will win friends on bass drum and its partner ‘Left Foot’ does a bang up job on Snare and Hi-Hat. I can’t spell it out any more clearly – this is a one man band that plays Blues with a punk heart and completely irreverent tone, I love it. 7 of the 10 tracks here are selfpenned with titles like ‘One Man Band Fury’ or ‘Baby I’m Your Dog’ but when he plays a classic like ‘Orange Blossom Special’ he takes it by the scruff of its neck, shakes off all the niceties and delivers a blast of ferocious harmonica and speed king drumming – Lonnie Donegan should hear this in heaven and smile. He certainly understands Blues and he plays it pretty damn well but I get the feeling his heroes might just be Chuck Berry and George Thorogood and ‘Apple Wine’ has the storytelling style of both but he can be pretty angry and snotty with just vocal, harmonica and right foot on ‘I’m Not The One’. ‘Word Gets Around’ boogies

like a bad-ass and ‘Sewer Man’ is downright dirty. He closes with a surprisingly tuneful version of Robert Johnson’s ‘Preach The Blues’. This is so much the way that Blues should be played – solo and with huge heart and total integrity. It doesn’t hurt that he plays pretty well too.

Andy Snipper

SAVOY BROWN

Hellbound Train

Secret Records

Secret Records coming up with an un-issued live set some of which I’m sure I’ve heard on a couple of bootlegs I have but the running order does not match. Of the many and varied line-ups Kim Simmonds has had this was a good one and featured the big presence in physical and vocal terms of Nathaniel Petersen (also on bass). I once stood and watched this band in London and several folks around said of Nathaniel when singing Smokestack Lightnin’ that if they closed their eyes they’d have thought they were actually listening to Howlin’ Wolf himself!! Some praise! The following is still loyal after all these years despite the band not returning to UK shores often enough. Tracks here include ‘Ain’t No Need To Worry’, ‘Going Down To Mobile’, ‘Headline News’, a well extended ‘Hellbound Train’ where Kim explores his fret board as you would expect, ‘Street Corner Talking’ and ‘When You Got A Good Friend’. Sadly the notes only say this was recorded live in Amreica and let us know that Al Cash played drums in this three-piece version of the band. Nothing says when it was recorded although we can guess the period as Nathaniel was there for a few years despite other members coming and going. Why Kim sang on some of the tracks would be questionable when Nathaniel was there but none-the-less this CD will be a MUST for any Savoy fan and a welcome addition their collection though not one of the best Kim and the name of Savoy Brown are legendary.

SOCIETY

A Crooked Mile Independent

Frank Leigh

Top quality Americana/roots/rock from the Wild West of Sussex. It’s ploughing the same furrow as The Band and their many followers, but even though they never hit those heights, this is an album that Society - Matt Wise on guitar / vocals, Ben Lancaster on bass / vocals and F Scott Kennedy on drums / vocals – can be proud of! They’ve brought in a few guests to add some

pedal steel, keyboards and melodica to broaden out their sound, and it all works very well. It’s Matt Wise who writes all the songs, and there are a handful here, out of the eleven, that really are top notch. However, it’s the first half of the record that holds all the aces, with the second batch of songs flagging. It might have been better to bung out the likes of ‘Wheels A’Turning’, ‘40 Days’, ‘Roll Home Sweetheart’ and ‘Light Of The Morning’ as part of an EP or mini-album, because by the time you reach the closing tracks, ‘Morning Star’ and ‘Martyr’s Avenue’ you’ve kind of forgotten just how well it all started out. Regardless of that, though, Society are certainly a band worth hearing.

Stuart A Hamilton

THE BLIND DEAD McJONES BAND Back to School Blues

Independent

Is this a parody? A wind-up? Or just sheer bloody mindlessness? Or perhaps even a serious intent to shake up the normal expectations of a Blues album; whatever the intent of the Blind Dead McJones Band, I have to say, it works and it works very well indeed. From the strangulated or even throttled, rasping, growling mechanical megaphone vocals to the cranked-up music. Obviously to the purist and serious aficionado this album may be seen to be in poor taste or worse. The gentlemen that have created this album originate from the bustling Leeds Music scene and consist of ‘Big’ Ben Slack; vocals and guitar, Andy Johnson; bass and Steve Nixon; drums, with a guest appearance of Al Bampton on ‘Back To School Blues’. The album itself consists of seven numbers and an eighth of verbal ode to cake making with a spade. The music is a different matter for the band are tight and on time and have in fact to seemed to have merged an exciting fusion of Blues and Rock ‘n’ Roll as in ‘Hang on There Boys,’ ‘Haunted’ and ‘Today Was a Good Day,’ which races out of the speakers with the brashness and speed of Motorhead and Hawkwind (in their ‘Silver Machine’, period) resulting in a fast crashing, guttural screaming swirling guitar sound that is way past the finishing post. But with ‘Tired,’ and ‘Good Scratch Boogie,’ we have a tasteful, thoughtful slowburning Blues. While, ‘Back to School Blues’, is a terrific rolling tumbling eight minute guitar burner. This is a great little debut, recommended!

Brian Harman

THE DUKE ROBILLARD BAND Low Down & Tore Up Stony Plain

When time-served Blues artists reach a certain age and return to their roots, the result is usually passionate and highly listenable – as with the case, say, of Jimmy Vaughan. I saw the Duke

Robillard Band at a Jazz festival in Normandy and what struck me then was that successful striving for authenticity. Pardon my grammar, but this man does it good! Here, the title says it all – this album really is ‘Low Down and Tore Up’. As well as Robillard’s excellent, gritty vocals throughout, the arrangements are a lounge-style thrill. The guitar on the opening track, Guitar Slim’s ‘Quicksand’, is enough to crush a beer bottle, and the riotous Overboard pins you to the wall like a dance hall bouncer. If you’re into all that techy stuff about different antique guitars and vintage amplifiers, then Dick Shurman’s elevating liner notes will have you straight onto e-bay or browsing in your local pawn shop. There’s lots of fun with ‘I Ain’t Mad At You’ and two excellent Tampa Red covers, ‘Mercy Mercy Mama’ and the extremely naughty, coverup-the-budgie ‘Let Me Play With Your Poodle’. If you love your Blues with a big, bold city bounce plus genuine, traditional feel, then Robillard’s your man. This is one you can’t afford to miss – driving, drinking, or just supping your morning coffee, it’s a gas.

Roy Bainton

not acquainted with their work, an ideal insight into early pop culture, a great compilation.

THE IDLE HANDS Ready For Business Bone Idle Productions

Colin Campbell

THE EVERLY BROTHERS

The Everly Brothers / It’s Everly Time!

Hoodoo Records

Another rerelease of two seminal Everly Brothers earlier recordings. All the favourites are here and a few less well known tunes. The first release, originally on Cadence label sees them in their embryonic stages of developing into one of the worlds’ best known singing brother duos of all time. Although mostly cover versions of such standards as ‘Be Bop A Loola’ and ‘Keep A Knocking’ there are gems like ‘I Wonder If He Cares As Much’ and ‘Should We Tell Him’, giving a slight taste of things to come from them and exhibiting their undoubted song writing abilities. “It’s Everly Time” their second album originally released by Warner Brothers, .showed them to be a more popular band with their own brand of pop music, nonetheless suffused with a large country music edge such as ‘Memories Are Made Of This’ ‘What Kind Of Girl Are You To Me’ and the well covered ‘I Want You To Know’ for me a song that encapsulates the essence of this duo. Though produced in America this release was their first to reach the UK charts. There is also ‘Sleepless Nights’ a rare gem of a tune again exhibiting their vocal skills that also encapsulate the rhythm of their guitars. With in depth cover notes also, this makes a great introduction to those

Recorded in the home of the crooked spire, there is nothing crooked about this release it is pure and honest Blues, played with power and pinache. Although there last release seemed a bit more in the Blues rock category this is a whole different prospect, exhibiting the band’s undoubted talent. Fairly low profile on the British blues circuit this band should get more recognition with this release. Having said that, they have had a bit of airplay and good testaments from fellow songsters. Enough said then, does this release match their pedigree? simple answer to this, but go and buy this release to find out! This release flows like a meandering river of Blues styles from the rocky title track ‘Ready For Business’ to the excellent ‘Lay My Burden Down’ with soulful and lilting vocals by the phenomenal Phil Allen who is also the lyricist and powerful front man of the group. Especially on such a standard as ‘When I First Met Chicago’ and the haunting ballad ‘Take A Closer Look’ certainly a statement relating to these boys in general. The release ends with a funky Blues style ‘Everybody Talkin’ a song the band showing their prowess as a close knit unit and much accomplished musicians. They have their own slant on the Blues, go and see them in concert and spread the word, British Blues doesn’t get much better than this!

Colin Campbell

THE ISLEY BROTHERS

Shout! The Definitive Edition HooDoo

What can you say about The Isley Brothers, Ronald, Rudolph and O’Kelly? Well, here’s a few things. They were Tamla Motown’s main act in the 60s. Jimi Hendrix made his first recordings with The Isleys. They were idolised by The Beatles and The Rolling Stones, who both covered their work, as did The O-Jays. Twist and Shout, anyone?

Caledonian songbird Lulu all but owes her career to the stirring title track here – in its full, glorious parts 1 and 2. This superb compilation includes the eponymous 1959 album plus 8 scintillating bonus tracks. These guys had such drive and vocal energy and the way they could take songs such as ‘When The Saints Go Marching In’ and the classic old ‘Saint Louis Blues’ and do something totally original with them still stands out. They can soothe you with beautiful balladeering – just listen to the fine tenor singing on ‘Gypsy Love Song’ - or give you a heart-warming shot of gospel with the

lively ‘Yes Indeed’, with some really far-out vocal tricks. There’s all the skill and joy you’d expect from that golden age of vocal groups in the bonus tracks such as ‘Say You Love Me Too’, with its odd arrangement and perky piccolo solos. ‘I’m Gonna Knock On Your Door’ sounds as bright and bouncy as it did over half a century ago. These records were the treasure chest of inspiration we used to dig into in 60s Britain – and musical careers were founded on them. As you’d expect from a collection of gems from stars of this calibre, there’s not a dud track among them. It might be winter outside, but The Isleys will always be a summer breeze. Highly recommended.

Roy Bainton

some pretty guitar figures a la Gary Moore. Good album which should appeal to the Blues/rock lovers.

THE ROBERT BOBBY TRIO

A Brief History of Time I Like Mike Records

Dave Drury

THE ROY METTE BAND

The Silver Bullet Kid

Zebra

Roy Mette came out of the Thames Delta Blues scene during the 70’s and this is the latest album from his sturdy Blues/rock power trio containing 12 original studio tracks. This setting gives Mette plenty of opportunity to display the influences on his guitar playing which include Eric Clapton, Jimi Hendrix and especially Rory Gallagher. Title track ‘The Silver Bullet Kid’ sets the pace and rocks from the opening bars with Mette riffing furiously with tight backing from Andy Bostock on bass and Wayne Bronze on drums. ‘Ain’t Dead Yet’ is a stomping mid-paced rocker with plenty of guitar pyrotechnics from Mette and then by contrast comes the almost gentle and understated ‘Bitter Sweet’ with its slinky riff and wah-wah solo. Then it’s back to the frenetic pace with ‘Around And Around And Around’ which has a touch of Stevie Ray Vaughan feel in the guitar work. ‘Saturday Night Boys’ is a rock/ballad featuring a lengthy guitar intro with Mette in contemplative mood and delivering a fine understated guitar solo. But never fear the bone-crunching rock is never far away and ‘Rolling Roadblock’ delivers a ZZ Top style thump in the solar plexus. ‘Head In The Boneyard’ has an almost country feel to it with Mette contributing some speedy guitar picking. A menacing bass line introduces ‘Sleeping Dogs’ an atmospheric number featuring a lengthy jazzy guitar solo. Powerhouse riffing leads into ‘Another Guy’ as Mette relates a bitter tale of lost love and takes it out on his axe. Gallagher;s influence is clear on ‘The Road You’re On’ and the album closes with ‘The Lyneham Lullaby’ with Mette crooning gently and adding

The roots based singer songwriter Robert Bobby has released an attractive set of his own songs and some well chosen covers on ‘A Brief History of Time’. Playing guitar, with a slightly less nasal Dylan like voice, he is accompanied by his Wife playing bass, and Bill Nork on Dobro, Mandolin, Banjo Guitar and vocals. The songs are on the light side, poking fun at the aging Rolling Stones, science, and nature in the opening title track, or in Mark Ellington’s ‘Wild About My Lovin’ which is a list song of what men look for in an ideal partner. The genre is folk, but there are also elements of blues, bluegrass, and acoustic crossover. The Jimmy Witherspoon song ‘Money’s Getting Cheaper’ is a dobro laced jazz piece, whilst ‘The Peace song’ is a mandolin powered protest song that is part Dylan and part Springsteen. ‘My Baby’s Back’ is a bluesy, lilting shuffle, whilst ‘Ain’t No Way’ is a slow bluesy ballad. All in all this is a fine collection putting the music central. It has something for blues fans, jazz fans, as well as folk and bluegrass fans.

Ben Macnair

THE OLYMPICS

Doin’ The Hully Gully

+ Dance By The Light Of The Moon: The Definitive Collection

Hoodoo Records

The Olympics are reckoned to be amongst the best in a long history of uniquely and peculiarly American R&B vocal groups. This group marked the growth of one branch of R&B’s popularity; a slow development from rock ‘n’ roll and doo-wop to Tamla and later soul. Many of the Olympics’ songs were eminently danceable, and hark back to a time of innocence, high school and short lived but obsessively drilled dance routines. The members originally came from two High Schools in Compton, Ca. and 56 years on the group still play the revivals, albeit with only one surviving original member Eddie Lewis. Another original member Charles Fizer was tragically shot in the Watts Riots in 1965. There have been comings and goings amongst the other members, but the high register baritones still suit the music perfectly. The lead vocals on these recordings from 1959 and 1960 are by Walter

Ward, and his urgent and soulful voice set the Olympics apart from many of their contemporaries who concentrated on the close harmony aspects, without the presence of a truly charismatic leader. This set comprises all the eight and nine tracks respectively from each of their first two albums on Arvee, plus five bonus tracks. One anomaly is ‘Peanut Butter’, which is by the Marathons, but was considered to be of such similar style as to warrant inclusion. So get up out of your recliners and your feet will shuffle and hips shake to ‘Hully Gully’, ‘What’d I Say’, ‘The Slop’ and ‘Shimmy Like Kate’. From a lost age!

Noggin

energy and exhaustion is the only way out.

Gareth Hayes

THE SUNSHINE DELAY Keep It Together Independent

Successfully fulfilling the genre that is Scottish Americana, the Edinburgh-based The Sunshine Delay finally deliver their second album (the first was way back in 2004). It’s a delightfully competent affair that gentle strokes in and out of soft rock pop and genuine country leanings. Paula and David McKee take the lead in vocal duties, and do an unselfish mature job, while Iain Barbour works hard with competitive guitar. After a rocky start, they slow it right down for a lovely ballad, ‘Slow Day For Love’ from Paula, that sweeps sweetly into David’s own heartfelt lament ‘Roll Off The Treble’. The band cites REM, Tom Petty and Lucinda Williams as references for their sound and to a degree they are correct, although they have it on the nail with Scottish Americana. It’s a valid teasing to seeing them play live.

Gareth Hayes

THE SEAN CHAMBERS BAND Live From The Long Island Blues Warehouse Blue Heat

Live albums can either work very well or die in the ditch. Phew, thankfully this one is more than okay. Recorded in the Spring of 2011 at the club who claim Buddy Guy, Johnny Winter and Greg Allman as previous interns, it combines studio recording panache with out-on-the-floor firestarter live Blues. Chambers served his apprenticeship under Hubert Sumlin and is clearly now a professor of more is more rather than the power of restraint. This is cool, and suits the up-tempo Chicago and Texas blast of the three-piece SCB. ‘Full Moon On Main Street’ sounds a little like one of those big Gary Moore Blues, and ‘Dust My Broom’ does high-octane favour to Elmore James. Those iconic references aside, it’s a fire cracker performance of Chamber’s gruff style and isn’t for the timid. Indeed, ‘Hip Shake Boogie’ should come with any number of major artists in the credits, but stand back, this is Chambers’ own. A ten-minute ‘In The Winter Time’ closes the live set with breathless

THEE FACTION

Up the Workers!

Soviet Beret

Headline: “Socialiism served via the medium of R’N’B as we awaken to the lie of Capitalism” and featuring in the credits “Thanks to Karl Marx, Friedrich Engels. All at the Half Moon in Putney etc. I don’t think they are hiding their political values too well. On the other hand they are making a good noise. I would guess the musical influences here are Beatles and Hendrix with a fair amount of The Fugs and even some Freddie & The Dreamers and they write in all sorts of genres but all about the politics of it all. ‘366’ sings of their commitment to socialism 366 days of the year, ‘Ready’ opens with ‘I’m Ready, ready, ready for the revoluuuuuuution’ and quickly builds into another diatribe against monetarism albeit with a terrific guitar break and ‘Marx, My Main Man’ sounds like a cut of T Rex and calls the reader to enjoy Das Kapital, “It’s Got all the angles covered”. I have a great deal of respect for their playing and this is a fine listen but the melodies are nothing original and the sheer hammer blow of the earnest politics song after song after song is exhausting. I thought that this might be a joke but you can’t maintain the joke over 11 tracks of diatribe and if you aren’t part of their revolution you are going to feel very put upon by their ‘holier than thou’ attitude. Listen once but you can do that to the Lancashire Hotpots too.

Andy Snipper

VIRGIL AND THE ACELERATORS

The Radium

Mystic Records

This is the debut by one of the youngest Blues/ Rock outfits around – led by 19 year old Virgil McMahon on vocals and guitars, on drums is Virgil’s brother Gabe 17 and Jack Timms 21 years old is on bass. Virgil has a superb playing technique and has obviously listened to Hendrix and the rest of the Blues / rock canon. There is at present a bewildering stream of brilliant young guitarists around and rock/Blues guitar based trios – but what makes Virgil stand out among several of his contemporaries is not his guitar –that’s excellent – but so are many – it’s his voice. I would suggest it is his voice and subsequently the vocals that stand out. It’s a better voice than most – rich timbre and with character that will develop as he develops his music. It’s that which ultimately enable Virgil to stand right out – coupled

with his guitar playing it is a formidable weapon. Ultimately it’s the voice and the songs which has to stand out in order to project the music beyond the confines of the Blues/Rock circuit – because in the end people remember songs and singers not guitar solos. Solos are for instant thrills so to speak songs are there to last (hopefully). The opening track ‘Working Man’ is a good song, the best on the album – it seems to be the cornerstone of the band’s repertoire – after a one minute intro on resonator guitar to set the atmosphere Virgil launches into the song; the structure is similar to Neil Young’s ‘Ohio’ but Virgil has a killer hook line on the guitar that makes you listen. This track builds and enables Virgil to deliver lashings of killer guitar. It’s a storming opening track. The rest of the album is good with ‘88’ probably the other very strong number. ‘Backstabber’ is a ZZ Top inspired bar-room boogie rocker. I’d recommend the album if you like Rock/ Blues – Virgil sings better than almost any of his contemporaries. The album brings us to the question how do you make something original in the light of the huge catalogue of classic Blues and Rock that already exists?- this album and in particular the opening track is a very good start. Virgil has great technique; he has the voice and (God willing) a lifetime to develop his gifts. This album is a great start and we look forward to what is to come.

Vicky Martin

background, really excels on ‘Stormy Blues’, but the three originals that fill out the mid-section don’t really grab me. I did enjoy it, but whether it will be played much in the future is up in the air.

Stuart A Hamilton

TOM FULLER BAND Ask Independent

This is a strange one, at first hearing it didn’t tickle my pickle but on further plays it began to grow on me. This is not a Blues album; in fact it has a Macca feel to it (not surprising considering the line up has two McCartney sidekicks in it namely Abe Laboriel and Brian Ray). If your bag is music in the style of Beatles, ELO, and 10cc then this is certainly up your street, definitely not blues but still good quality pop tunes. ‘Merci Beacoup’ and ‘Morphine Maureen’ are indicative of the Fab Four. ‘Anthem Man’ and ‘Doing Nothing’ have a great sixties vibe, in fact the whole thing has a nostalgic feel to it. ‘Hellfire Angel’ and ‘Garden Dreaming Days’ are pure Liverpool driven goodies. It won’t keep you up all night or make you sad, but it might make you seek out your old Mop Top records.

Bob Bonsey

ZOE SCHWARZ Blues Commotion

33 Records

Well it’s more jazz than is it Blues, but that shouldn’t really come as a surprise to anyone who recognises the name of Ms. Schwarz from her work with The Baddest Blues Band (Ever!). Her cohort here, Rob Koral, says “it appeals to a much wider audience, but retains all the jazz qualities that we love...material by the likes of Ray Charles, Nina Simone, those sultry Billie Holiday ballads that Zoe is so good at, and an occasional Blues by greats such as Koko Taylor and Willie Dixon.” And that’s a fair enough summary as they stroll through songs by Leroy Carr, Ray Charles, Buddy Johnson, Willie Dixon and Muddy Waters, as well as a sprinkling of originals. It’s all impeccably played, as you would expect, although there are moments when it seems to lack in excitement, as you listen to the 500th version of ‘I Can’t Quit You Babe’ and ‘I’m Ready’. Ms. Schwarz has a strong command of the jazzier material, and, as you would expect given her jazz

TORI SPARKS Until Morning/Come Out Of The Dark Glass Mountain Records

The blurb that came with this double CD states: a study in dichotomy (what?) which actually means divided into two opposing parts. Why couldn’t they have just said black and white or light and shade in the first place? The first album “Until Morning” is dark and sensuous, full of angst, lost love, I miss you, I wish I had never met you, its over but I still love you (get the picture?). Six tracks expertly written and sung by Tori. This is real heartfelt blues. The other album: ‘Come Out Of The Dark’ again is all angst but it is JOYOUS, full of pedal steel guitars, uplifting vocals and tender ballads. ‘Judge A Book’ is a killer song about falling in love. ‘Tennessee Line’ tells of passion. This may take a couple of plays to get there but it is worth the effort. Tori Sparks has been compared to Bonnie Raitt, but Bonnie is not in the same league as this lady when it comes to passionate lyrical song writing, but mind you she is a damn good slide player.

Bob Bonsey

BABY ISAAC

Blues Epidemic Perdovan Recordings

This is a delightful introduction to ‘Baby Issac’ if

you haven’t caught them at the many festivals at which they have played their infectious interpretation of classics and their own penned blues. The sound they create is definitely ‘goodtimes blues’ as encapsulated in tracks on their CD, especially ‘Soulful Dress’ & ‘See See Baby’. They add their own take to classics such as ‘Hit The Road Jack’ and ‘Nobody’s fault’ so that this isn’t merely a regurgitation of the number. This band has everything, great guitar work delivered with class by Derek Welsh, dynamic vocals from Angela Moore with her distinctive smokey, emotive voice & Gary Arnott who also provides a generous dash of blues-harp & a swinging rhythm section courtesy of Dave Welsh & Graeme Smith. This CD brings Blues that mixes the essence of 50’s Chicago Blues with West Coast Swing creating a style that is all of their own giving them a recognizable sound that makes them stand out in a crowd creating a real ‘Blues Epidemic’.

Liz Aiken

Saunders on bass.

This band has the respect of other musicians in the music business, and this is borne out by the guest appearances of Andy Fairweather Low, Paul Lamb and Ben Waters, all adding their particular talent to this great album. It’s hard to say which tracks stand out on this album as they are all so good. Certain tracks I have to mention for special attention

100 YEARS OF THE BLUES

Various Artists – 4 CD Set

Universal UMC

This is a nice box set from Universal and includes 98 tracks covering everyone from Robert Johnson to Lee Ritenour – along the way you get something from most everybody – Blind Willie McTell, Blind Boy Fuller, No Shoes MaNab, Louis Jordan right through the twenties, and every decade of the last century right through to the 21st Century. Here you get Susan Tedeschi, Chris Rea, The Answer, he who pops up everywhere Marcus Bonfanti, Lee Ritenour. There are plenty of great 60’s & 70’s legends – Canned Heat, the Stones, Johnny Winter, SRV –one track by each artist. I didn’t get sleeve notes so I’m not sure what the thinking behind the selection is. It is a good general compilation but unlikely to be of interest to anyone with a deep or specialist interest in the music – they’ll have full albums by many of these artists. As an introduction to someone who doesn’t know any of the music it may work but it is hard to see where this fits when relating to real music fans.

THE PRODUCERS

London Blues

Independant

Vicky Martin

I am sure anyone who was a fan of ‘The Producers’ in the past is really glad that the band have reformed.

In the new line up, including two new members, Ray on keyboard and Biff on drums, with original members, Harry Skinner, vocals/guitar, and Dave

“Presentation Blues”, “Come Back For You”, “Little Miss Sunshine” (great reggae beat with a Beatles riff thrown in), “London Blues” (has a smoky blues feel), and anyone who has a credit card will relate to “The Money Lender”. While “The Wrong Way Home” will strike a chord with the people in the North East as it mentions a local beauty spot !!! Being a fan of this band for many years I know what a hugely talented group they are. This collection of self penned songs beautifully written and performed, reinforces their reputation for quality.

This album is well worth adding to anyone’s collection, every song is different and has merit. Five stars in my book, Buy it and try it you won’t be disappointed.

Christine Moore

KING MOB

Force 9

Steamhammer SVP.DE

This brand new band will at the time you read this have launched themselves on the world, and if I am not mistaken from listening to this CD they will have made their mark. Even though I say brand new band it probably should be super group, they have a hefty pedigree, with Chris Spedding (Motorbiking) and Glen Matlock from the Pistols and Faces, Martin Chambers from Pretenders on drums and Snips member of the Sharks (vocals), lastly a newbie on guitar interestingly named Sixteen. Their combined experience of 150 years knocks for six the thoughts of them going through the motions when you hear them; they are full of vibrant youthful enthusiasm. This is a high energy CD where they are pumping out excellent music from start to finish ‘Va Vah Voom’ ‘China Waters’ ‘Selene Selene’ ‘Secret Song’ are all well worth listening to, in fact it’s hard to pick out tracks as they are all great. The music has an instantly recognizable sound; once you have heard it you will play it over and over again, IT ROCKS. Can hardly wait for the next CD which I understand is already conceived!

Christine Moore

BLACK COUNTRY COMMUNION, Manchester Saturday, 30th of July 2011

On the last night of the Manchester Jazz Festival and just two days after Iron Maiden’s gig, Black Country Communion descended upon the city to play the last gig of their UK tour safe in the knowledge that their disciples would come. And they weren’t wrong: there were long queues to get into the Academy. First up were the Michael Schenker Group and its talented and flamboyant musicians who turned up the thermostat to boiling point in the packed venue. The congregation was now ready to take communion with the four eagerly-awaited high priests of Rock and blues and after an introduction to Wagner’s Ride of the Walkyries, we were ready for the apocalypse! And then they came to save us... The “Voice of Rock” himself, Glenn Hughes was the messenger sent from the “Black Country” and together with his apostles, the American guitar hero, Joe Bonamassa, impressive drummer Jason Bonham and sensational keyboard player Derek Sherinian, they gave us a breathtaking performance which left us in awe. They took us on an amazing Rock ’N’ Roll journey. Pure magic! Yes, this is a Rock super group but my God, weren’t they having fun! And so were we… we weren’t just watching and listening, it was a calling from above. Hughes’ Zeppelin-influenced ‘Save me’ was monumental and his performance of ‘Cold’ sent shivers down the spine. Bonamassa’s ‘Ballad of John Henry’ with its rocked-up arrangement and fantastic, long riffs was breathtaking, particularly with his more mature and bluesy voice. He also shone when duetting with Glenn Hughes in ‘The Battle For Hadrian’s Wall’ and an unbelievable performance of ‘Song of Yesterday’, proving once again that he is one of the best guitar players in the world. But it wasn’t just Bonamassa’s halo shining, they were all incredible and keyboard player, Derek Sherinian, gave us an exceptional solo performance, bringing us closer to redemption. But we didn’t want to go quite yet, we wanted more from those high priests of Rock who didn’t want to let us go either. They treated us to one last encore, the classic and magic Deep Purple’s ‘Burn’. Upon leaving the temple of Rock, the only thing we wanted was to get back in for the next Black Country Communion gig and listen to their next album.

Nat Harrap

PHILIP SAYCE @ The Borderline London

25/07/2011

After an excellent set by Marcus Bonfanti, playing solo and really bringing the audience to life with great songs and no little humour, Philip Sayce took to the stage at the Borderline and suffice to say he blew the place away. The sheer power and energy of the man is incredible and from the opening chords of ‘One Foot In The Grave’ he was in action rippoing out huge solos and burning out eardrums with the sheer intensity of his playing. ‘Love Is A Powerful Thing’ was full of Hendrix flavoured tricks and effects but he never lost sight of the song or his audience. When I saw him previously he tended to go off into long rambling solos that lost the crowd but here he was tight, in command and so much the Bluesplayer. The solo in ‘Slip Away’ was enormous with all his tricks and changes shown off to their ultimate and ‘Changes’ itself saw him running into the full coterie of guitar techniques. Material from the new album wasn’t neglected either with a powerful ‘Ruby Electric’ and one of the best versions of ‘Cinammon Girl’ I have heard other than Mr Young himself. He is a hugely talented player and he has a great following here – the crowd was well served with both sexes and ages between sixteen and seventy I would guess – and when he plays numbers like ‘Bitter Monday’ he is well into Walter Trout Bluecollar Blues territory with the crowd absolutely rocking with him; if he could only manage to keep the volume down to eleven he would be one of the real champs on the circuit – I even saw youngsters covering their ears at some points and that is a shame as he is a superb live performer and when he isn’t ripping you apart with the volume he is ripping you apart with his sheer talent.

Andy Snipper

Philip Sayce by Philip Woodford

MONEYMAKER Queens Head, Rye, 6th August 2011

This is the third time that I have seen this highly talented four piece playing live, and this time it was with their new line up showcasing the new lead guitarist Vitor Bacalhau, all the way from sunny Portugal. They took a lot of care in setting up and sound checking, making sure that the balance was right, I know that that is pretty basic stuff, but not everybody takes quite as much care. Not only was it a new line up, it was a new set list, and they opened up with,’ Mama’, followed by ‘ So Much Love’ Vitos then took lead vocals on ‘You Don’t Love Me’ and they had a nice bass solo from Rob on ‘Everything I Do’. They followed this up with their very own version of ‘The Thrill Is Gone’ and this is quite possibly the best version I have heard any band apart from BB King playing! They then closed the first half with Etta James ‘Blues Is My Business’, ‘Got My Mojo Working’ and the Gary Moore ‘All Your Loving’ with some great guitar work from Vitos. A short break and back they came, opening up with a rousing version of ‘Fine, Fine Fine’ followed by ‘Don’t Mess With Little Sister’ They had dropped a couple of new numbers in the set and they were well received, and I particularly liked the beautiful slow Blues ‘Damn Your Eyes’, which started off slow and ended with screaming guitar and some lovely violin swells on the volume from Vitos, a great addition to the line up. ‘Shame On You’ and then Sarah really coming in to her own as a raucous rock chick on ‘Rock Me Right’, head flung back, hair swirling round as she belted out both the vocals and the terrific sax work. They then closed to terrific applause from the audience with their signature ‘Shake Your Moneymaker’. They were good before, but the addition of Vitos seems to have given the band a new dynamic, they were much more animated and together, and as Rob said “We’re having so much fun now” Great band, great gig, they are rerecording the guitar parts and re-mastering their first CD for rerelease (Reviewed in issue 62), if they are in your neck of the woods, look out for them, you won’t regret it.

Dave Stone

THE ROBERT CRAY BAND @ Cadogan Hall London 28/07/2011

A fairly packed house for the Robert Cray band and a gig that I had been looking forward to for weeks – the only gig by Robert Cray in the UK in 2011. The sound was great, the Cadogan Hall has a rich acoustic if you don’t turn the wick up too far, Robert Cray was in fine voice and his band is superb – Richard Cousins has been with him for years, playing funky and easy bass and Tony Braunagel was doing a great job on drums. Personally I am not big on Jim Pugh’s keyboards but he has also been with Cray for years. Altogether they really are a very talented and ‘together’ outfit. Just a shame that the set didn’t catch fire. The spark of musicians playing together on the edge of the soundwave wasn’t there and the mannered way that they applauded each other was hackneyed – bordering on cheesy. Cray is a brilliant guitarist –technically. He does things that other guitarists just don’t dream of and some of the sounds that he coaxes from his Strat are completely wrong until you realise that he is making whole new statements in the music. But this night he just wasn’t doing anything that he hasn’t done a million times before and at times I was in danger of falling asleep listening to him putting on a show. There were some terrific numbers – ‘Our Last Time’ was superb – slow and emotional – while ‘Love 2011’ was cooking along nicely. ‘I Can’t Go Home’ probably saw the best playing of the night and the first encore of ‘No More Chicken In The Kitchen’ bas breezy and his playing terrific. Unfortunately he hit the stage at 20:20 and with leaving the hall, finding my way back to my car and driving half way across London I was still home before 10:30. Technically unmatched but there just wasn’t any ‘Edge’.

Andy Snipper

DAVID SINCLAIR TRIO @ Live at Lexington Islington 31/07/2011

You can clearly hear that David Sinclair knows the Blues and an awful lot of other music forms as well. He

Moneymaker by

also knows his way around the fretboard of a Telecaster and his trio played a cracking set of original songs on Sunday to launch his new album – his third. He cut a lean and long figure and with his long time bassist George Andrew impassive with black shades and bald head and son Jack on drums the trio played some excellent new songs as well as a few old ones. They opened with ‘Living Like A Yoyo’ and it had a real Clash-esque rasp to the guitar as he rattled off the tale of his life (one of them!). ‘Fajita Hell’ followed and by now he was warming up, long coat flapping behind him as he strode across the stage and riffs pumping out of the wonderful sounding ‘Tele’. You couldn’t describe his voice as ‘pure’ but he got the songs across and on ‘Looking For The Big Idea’ his reedy vocals told the tale passionately. ‘Years Disappear’ had an almost country twinge to his guitar but the gentle reflections on a life spent as a music journalist – “I took a trip to the sixties, on my minds time machine” “Hanging out at the Roundhouse back in ‘76” – had no sense of lost years but rather the warm ennui of someone who has had a life that they have enjoyed – not necessarily at an end but well into the heart of it all. David Sinclair’s stories were the heart of this gig and I got a huge amount of pleasure from hearing someone who has heard the best and picked up a little from many of them. He is well worth seeing live – he didn’t say anything remarkably new but what he did say was honest and crafted.

Andy Snipper

MARK HARRISON AND FRIENDS Finchley Arts Depot 28/05

Mark Harrison took to the stage at the Finchley Arts Depot (well, the foyer actually) with three friends –Charles Benfield on the double bass, Canadian Ryan Carr on Mandolin and on harmonica and backing vocals, Will Greener (aka Capt Bliss). He and his friends then proceeded to treat the assembled audience to an hour or so of excellent acoustic Blues, some of it contemporary and much of it pre-war, but all of it played with a real sense of enjoyment and lack of the arrogance that some performers can leak into their music. They started with ‘Talkin’ About The Here And Now’, pleasantly low keyed and getting the feel of the place. Harrison’s playing was delightful and it is nice to see a genuine finger picker today. His 1934 Trojan Resonator was sounding very clean and sweet and Ryan’s Mandolin added some texture and fullness. Sometimes it’s easy to miss the importance of having a shade in the music that lays down a bedrock for the lead to stand ion relief from byt the mandolin was doing that with some real aplomb. Will Greener’s harmonica was its usual simple and effective and it seems that the less he does the more effective his contribution. Lightning Hopkins ‘Early In The Morning’ followed and the audience started to get right behind the band – Harrison is very good at the little comments and stories that make the context real and the crowd appreciated his knowledge. Numbers like ‘Reckless’, ‘Temperance Way’ and ‘Primrose Hill Street Rag’ showed off his skills on the 12 string guitar as well and the whole band were making subtle contributions as the music flowed. It was a rare thing to see a band that had no need to either play loud or solo like loons and the time spent with the band was very much worthwhile. More gigs like these please Mr Promoter.

Andy Snipper

SAVOY BROWN @ BB KINGS NYC. Oct 7th 2011

Kim Simmonds and Savoy Brown came back to BB Kings with three things on their agenda: first and foremost to celebrate 45 years since the Savoy Brown Blues Band’s “I Tried/Can’t Quit You Baby”(Purdah 3503) first debuted back in ’66; secondly to help promote their brand spankin’ new Ruf Records release “Voodoo Moon” ; and thirdly to continue their ever-evolving tradition as one of the hardest-playin’, most tasteful blues-rockin’ outfits of all time (but you already knew that, didn’t you?). Playing four new songs off “Voodoo Moon” like the rockabilly-tinged “She Got The Heat” and the slow-burning groove of “Natural Man” only prove the point that as great as Savoy Brown’s back catalog of songs/albums are, their best work may lie ahead. Their set reinforced long-time mainstay Kim’s assertion that “Voodoo Moon” is all about the songs, and the re-working of such classics like “Gypsy/ Looking In”, Street Corner Talking” and “Train To Nowhere” hammered that point home like a shot of straight bourbon. Wham! Then they hit you with “Wang Dang Doodle”, “Voodoo Moon” (hey, hey, hey!) and “Hellbound Train” and you not only shake your head (and wonder has it really been 45 years?) but your ass, too. Man, I’m signing on for the next 2 score plus 5, and like the band I’m always ready to “Meet The Blues Head On” (also from the new album). Hell yeah, it’s a challenge but guitar-slingin’ Kim, along with newest members Joe Whiting (lead vocals and saxophone), bassist Pat DeSalvo and drummer Garnett Grimm are ready, willing and able to get on with it. This band has been together about a couple of years now and “Voodoo Moon” is their Savoy Brown recording debut. Kim’s goal was always to “put all the pieces together” (listen closely and you’ll even hear some Kim vocals, both live and on record) and now all the pieces really do fit! Time to get fired up and burn down “The Moon”…

Arnie Goodman

WILKO JOHNSON – Supported by Ian Siegal Band @ Gloucester Guildhall, Gloucester 06/10/2011

No wonder this was a sell-out with Wilko Johnson and special guest Ian Siegal in Gloucester tonight. Ian started a short but sweet set with ‘Kingdom Come’, from the award winning album ‘Broadside’, what a great introduction for anyone that hadn’t heard the band before. The set comprised a selection of tracks from past albums and some from favourites including ‘Ride on Josephine’. Both ‘Revelator’ and ‘Hard Pressed’ were twists on the studio version with inclusion of medleys making this a truly live sound Ian was obviously enjoying touring with Wilko and his band. After a short break with the excited crowd full of anticipation onto the stage strode Wilko Johnson (Guitar), Norman Watt-Roy (Bass) and Dylan Howe (Drums). Tonight they were treated to some authentic Feelgood, with guitar playing delivered in Wilko’s own unique style, combining the sound of both rhythm and lead guitar. Lots of old Dr Feelgood favourites were delivered ‘Roxette’, ‘Going Back Home’, Sneakin’ Suspicion which were delivered with energy and an excitement as if they were playing the songs for the very first time. There is no doubt his ex-Blockheads Rhythm section featuring the incredible bassist Norman Watt-Roy and drummer Dylan Howe ensured Wilko was every inch the master of the stage as showcased in the delivery of ‘Machine Gun Guitar’, when he wielded the guitar as a weapon of choice, brandishing it towards the audience as a machine gun spitting out the notes with ferocity and had everyone mesmerised and eating out of his hands. The set ended with a roar of disappointment and the obligatory encore only fuelled the excitement with an extended version of ‘Bye, Bye’ Johnny’ everyone went home knowing they had heard live music at its best and we all had that special feelgood factor.

Liz Aiken & Sister Feelgood

Wilco Johnsion photo by Liz Aiken

Scott Barretta:- answers questions from Billy Hutchinson

BH: Can you simplify the roles, when they were established and the funding of the MS Blues Foundation and the MS Blues Commission?

SB: The Commission founded in 2003, during the “Year of the Blues”, by then Governor Ronnie Musgrove. Our present governor, Haley Barbour, later continued it.

I’m not aware that the Blues Commission is funded -- I think it’s a voluntary board. There is not a large state appropriation for the Blues Trail. Most of the funding comes from a) a variety of grants, notably from the National Endowment for the Arts, the National Endowment for the Humanities, and the Mississippi Department of Transportation and b) local communities where the markers are to be set in place. I assume that the Mississippi Development Authority covers much of the administrative costs, where Alex is in the employ of the Tourism office.

A board of volunteers forms the Foundation. I believe it is responsible for raising its own funds, though it has also been the beneficiary of non-profit events, including some Grammy events in Mississippi over the last years. I don’t know when it was founded, but it was after the Blues Trail began in 2006. Alex?

Musicians Aid Fund

BH: Is it discreet to ask who or how many have benefited from this program?

SB: he utilisation of the fund has just begun. I believe there is a limit of $500 -- I’m aware of musicians who have received money getting it to help cover funeral expenses and get dental work done. You can look at its definition on the blues trail website.

I guess you have to be rigorous in checking out enquiries. Can you check to see if someone is submitting simultaneously to several musician aid programs?

As far as I am aware, the monies go towards specific needs. When there are problems with musicians it’s usually not they that initiate getting help, but, instead, people who know them and have more contact with the workings of non-profits. In a recent case, I simultaneously sought help for an artist from the program, MusiCares, the Blues Foundation’s assistance program, and the Music Maker Relief Fund.

Site links and calendar

BH: Do you review your links periodically to see if they are broken, and do you feel there are more to add?

SB: I can’t speak for this or the following. I know that much of the information on the site regarding upcoming events draws from Roger Stolle’s Cathead site, with his knowledge and assistance.

The Mississippi Blues Trail Markers

BH: I have seen several of the MS Blues Trail Markers first-hand and I view them as a tasteful and quality product. Who makes them? What is their material make-up? What is their cost? How long will they last?

SB: Will have to check on issues of cost - I think it would be safe to say something like $4 - 5000. This includes the physical markers, shipping, labour and administrative costs, etc.

Mark T. Small introduces his new CD Blacks Whites & The Blues. Solo Delta & Chicago Style Blues

We use a forge out of state to make the markers, including the raised letters on the front side. I believe all of that is made of aluminium. This has to be done at least a month in advance because of the shipping time, and all the work that goes into the forge process. The backside features a vinyl panel, produced at a local sign shop. The vinyl allows for reproduction of colour images and the great amount of text on the markers.

Do you get much feedback about what/who is the subject matter, and what/ who is not?

This varies considerably -- in some communities there are organized groups that help in the planning, execution and dedication of the markers, and they might help with finding images, people to interview, etc. In other communities there’s considerably less input, and just basic communication regarding payment and marker dedications. Some dedications are relatively bare-bones, while others become the centre of -- or are placed in the context of -- larger celebrations.

One of the interesting issues with many of the markers is simply that very few people in the communities know much about the subject of the marker. This would certainly be the case when we discuss things that happened in, say, the ‘20s or ‘30s, or of the careers of people who were really only born in a community, and then grew up elsewhere. Therefore, in this sense, the markers are really playing an educational role; all of them do in a sense, but in some cases, it’s really alerting people to something they didn’t know about.

How many more are in the planning stage? Is it to be an ongoing program? We recently completed the 131st. Our master list has about 180 potential markers, and we could have more. It’s really mostly an issue of funding, as there’s no set deadline for completion. Last year the affiliated Country Music Trail began, and now has about ten markers, and in the last month the Mississippi Freedom Trail, addressing Civil Rights topics commenced. The Mississippi Development Authority’s Division of Tourism administers all of these.

Who gets to choose the validity/ proposed Blues Plaques?

We had a meeting shortly before the full program was initiated (there was a charter program that resulted in the first ten or so markers) in which a master list was created. This meeting included Blues “experts” including Dr. David Evans. The first 50 or so names came from the Mississippi artists inducted into the Blues Hall of Fame, in which is it self overseen by an “expert” panel. What kind of market research have you gleaned on the benefits to tourism from their installations?

I’m not aware of any specific market research.

How do the communities, in which they appear, view them?

This would be entirely speculative and you have to assume that there is no uniform way that everyone in a community would view the marker. It’s clear that there’s always at least a small cadre of people who are very interested, and one hopes that the marker’s presence will lead to people in the community becoming increasingly aware of their cultural heritage.

Interviews will include: Nicky Moore, JJ Grey, Baddest Blues Band, Tony McPhee, Mo Blues, Charles Shaar Murray, Izzy Young, Allen Toussaint, Grainne Duffy and Will Johns features; Part 3 of Michael Messer’s series on the acoustic guitar in the Blues, there should be a starter to a series on the role of the Harmonica in the Blues, and of course all the regulars...........

We are also talking about our font size and have tried out a one point increase but in the Cd section alone it took an extra seven pages which would mean a cutback on other items like less interviews or features etc.........do feel free to let us know your thoughts on this for the Feedback section.

Question for you readers; where are your submissions for the top Blues Cd record shops out there?? We’ve had one submission only to date, does that mean you all buy online now?............

Winner of BM62 competition: the Eric Clapton/Derek & Dominoes set inc. vinyl/ expanded double Cd/single Cd is: Dawn Baldry

The runners up were; Dennis Williams and Tom O’Toole.

Winners of the Chris Barber Double Cds ‘Memories Of My Trip’ are; David Asbury, Alan McDonald, Kenneth Lee and Steve Prior.

NEW CONTEST for issue 63- TO ENTER CONTEST –

For all contests you MUST be a current subscriber to BLUES MATTERS magazine.

(Entries will be checked against memberships) (Following us on Facebook or any social media does not qualify).

COMPETITION for BM63:-

On offer in this issue we have, GARY MOORE DVD Live At Montreaux and two SAVOY BROWN Cds on the Secret label: ‘Hellbound Train Live’ and ‘Train To Nowhere Live’.

To win the GARY MOORE DVD simply answer this:

In what year did Gary team up with two former members of Cream and what was the name of that band?

To win the SAVOY BROWN Cds simply answer this: Name the piano/keyboard player who auditioned for the band but was turned down and later changed his name and became a superstar in his own right? Blues Matters! 130

Ben Poole