Blues Matters 65

BLUES MATTERS!

Your local Cancer Research UK shop needs donations Clothes, accessories, DVDs, CDs, books and quality homeware all accepted.

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

To find your nearest Cancer Research UK shop please visit

BLUES MATTERS! EDITORIAL

PO Box 18, Bridgend, CF33 6YW. UK

Tel: 00-44-(0)1656-745628

Opening hours: Mon-Fri. 9am-12.30pm & 1pm-4pm.

Website: www.bluesmatters.com

Facebook: www.facebook.com/bluematters

MySpace: www.myspace.com/

bluesmattersmagazine

Follow us on Twitter: blues_matters

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, Barry Ficsh, Linda Fisher, Sybil Gage, Stuart A. Hamilton, Nat Harrap, Brian Harman, Gareth Hayes, Steve Hoare, John Hurd, Billy Hutchinson, Peter Innes, Duncan Jameson, Edward Killelea, Brian Kramer, Frank Leigh, Geoff Marston, Ben McNair, Vicky Martin, Michael Messer, Martin ‘Noggin’ Norris, Merv Osborne, Mike Owens, Frankie Pfeiffer, Thomas Rankin, Clive Rawlings, Paromita Saha, Graeme Scott, Dave ‘the Bishop’ Scott, Pete Sargeant, Andy Snipper, Richard Thomas, Tom Walker, Daryl Weale, Kevin Wharton, Philip Woodford.

Contributing photographers:

Christine Moore, Liz Aiken, Annie Goodman, 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

© 2012 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 to your latest issue of the best value Blues magazine around, more reading for your money. We are sorry to announce the first ever price increase in our history. The only previous price adjustment was a downward one eight years ago when the cover price went down from £4.75 to £4.50, unfortunately since then we have absorbed all the increases in paper costs, postage, packaging etc but with all the latest increases we have had no choice but to make the first price increase ever!. Subscriptions will now be £27.50 for the year and single issues are now £4.75. (Note: those of you who have recently received renewal letters, the old price will remain as in your letters).

On 21st February the Blues was celebrated in The White House and First Lady Michelle Obama addressed a room of guests to announce that their ‘home’ was open to all and on this day was celebrating the Blues and giving the message encouraging people to take part in the Blues and grow with it. Guests at the performance included B.B. King, Trombone Shorty, Buddy Guy, Shemikia Copeland, Susan Tedeschi, Derek Trucks, Gary Clark Jnr., Warren Haynes and our own Jeff Beck and Mick Jagger. At the end President Barak Obama joined in on ‘Sweet Home Chicago’. There is a smashing web link which we have shared via our web site and Facebook so if you haven’t checked it out do so it is worth it, and watch the speeches citing W.C. Handy, Ma Rainey, Charlie Patton etc. a worthy viewing. It’s 39 minutes long so be prepared with a cuppa. Wonder if we’ll ever get a Blues Day in No.10 or The Palace?

In this packed issue we have; interviews with Nicole Hart by one of our U.S. contributors Sybil Gage, musician and producer Joe Louis Walker. Fresh off the Jaks BM stage we have the return of former Sony artist Steve Roux, causing a stir across the water Mo Blues from Argentina. See contents page for the rest of the mix

It was great for some of our team to meet some of you at Skegness for the Butlins Rock’n’Blues 2012. Once again Alan did the trick at JAKS and the reviews and comments have been most complimentary indeed. The first Sunday night opening went very well and was highly praised by all who were there. Well, you did let us know that you wanted JAKS on Sunday nights and through talking to Bourne Leisure we achieved that for you. Do let Butlins and us know how it all went as they do seek your feedback as we do (you’ll read a few in the Feedback column)

We’d like to send our wishes and support to our friend and supporter Billy Allardyce (The Blindman’s Blues) who was recently being treated for an ear infection which has followed the path of our Founder Alan P. and been diagnosed as cancer tumours and Billy is now being treated by Chemo/Radio Therapies. Billy our thoughts are with you.

Music is possibly the greatest healer and point of inspiration for many of us. It’s one of the greatest motivators, calmers, uplifters and much less likely to give rise to the problems that can surround sports, religion and politics. Let’s hear it for The Blues.

Alan & Gez and all the BM ‘Team’....

130 COMPETITION

Win Rory Gallagher CD’s

18 INTERVIEWS

Eric Bibb, JJ Grey, Jo Harman, Joe Louis Walker, Mo Blues, Nicole Hart, Gypsy Bill Williams, Oli Brown, Samuel James, Steve Roux, Tony McPhee.

68 78

FEATURES

Clare Free (one year on), Blue Blood, Johnson to Bonamassa pt 3, and Pawnshop Guitars.

FESTIVAL FEVER

Skegness Rock and Blues Weekend. New Brunswick, Theatre of Blues and Torquay.

126 OBITUARIES

Etta James, Louisiana Red and Drazen Buhin. Buha.

BABAJACK, MANFRED MANN’S EARTH BAND, GRAINNE DUFFY, CLARE FREE, ERIC BIBB, DANNY BRYANT’S REDEYE BAND, WISHBONE ASH, STEVEN DALE PETIT, THE BLUES BAND, JON AMOR BLUES GROUP, STATE OF THE UNION, THORBJORN RISAGER, RUBY MUSE, KEITH B. BROWN, LISA MILLS, JULIAN SAS, SHARRIE WILLIAMS, DAN RAZA, TIPITINA, THE MUSTANGS, PHILLIP FANKHAUSER, THE PHIL LANGRAN BAND, IKE TURNER, LITTLE AXE, MAGGIE ROSS BAND, ISI DEE, NINE BELOW ZERO, THE MUSTANGS, LITTLE JUNIOR PARKER, THE HARDCHARGERS, THE JIMMY BOWSKILL BAND, HOWLIN’ SMURF, DEBBIE BOND, JIMMY DONLEY, HARRISON KENNEDY, JAMES ARMSTRONG, ALY COOK, KARIN RUDEFELT & DOCTOR BLUES, BOY WELLS, BUSHMASTER, TWILIGHT HOTEL, DAVID MAXWELL & OTIS SPANN, etc. etc.

Cover feature

Tony McPhee

Born Anthony Charles McPhee 23 March 1944 in Lincolnshire. He is an English blues guitarist, founder of the Groundhogs. They backed Champion Jack Dupree and John Lee Hooker at UK concerts in the mid 1960’s. They evolved into a blues rock trio that produced 3 UK Top 10 hits in the UK Album charts in the early 1970’s. He has also released many solo acoustic blues records, as well as duets with Jo Ann Kelly as well as paying with Herbal Mixture, The John Dummer Band and Tony McPhee’s Terraplane, Tony McPhee’s Turbo and the Tony McPhee Band.

NicoleHart

JJ Grey

Mo Blues

Jo Harman

Eric Bibb

Oli Brown

Gypsy Bill Williams

SamuelJames

Joe Louis Walker

We spent a happy evening battling out between us to put this list together. In no particular order, but starting with the songs we both immediately agreed upon and ending with the ones we had to punch it out for:

1. Taj Mahal – ‘Queen Bee’

This is the first song that we both absolutely agreed on. There is nothing that Taj Mahal does that doesn’t fill us with happiness: Great African American Blues playing style, inspirational in so many ways. And this one sexy track!

2. Etta James – ‘I’d Rather Go Blind’

This is a desert island disc for us both, without a doubt. Trev has memories of hearing this song played by Chicken Shack on the pub juke box when he was a kid, but Etta James really takes the song to whole new level.

3. Ry Cooder – ‘Paris Texas’

There could be no top ten for us without Ry Cooder: His iconic slide style and the sheer and simple heart wrenching quality of his playing on this track does it all. And it was inspired by another favourite artist and track of ours: Blind Willie Johnson’s ‘Cold Is The Ground, Dark Is The Night’.

4. Leadbelly – ‘Black Betty’

Leadbelly is a huge influence on both of us. He sang the chain gang songs and the field songs from the very early days of blues and this is one of those. This is the earliest known version of Black Betty, Leadbelly sings acapella and claps to a field rhythm. Beautiful and simple.

5. Sonny Boy Williamson II with Matt Murphy – ‘The Sky Is Crying’ from “Portrait In Blues”

We chose this one for his honey voice and of course for the harp style. Trev grew up playing in punk bands, until, aged 16, he heard Nine Below Zero and then bought a harmonica and Sonny Boy Williamson’s Portrait in Blues album.

6. Charley Patton – ‘Shake It And Break It’

Through the crackly old recording a voice like honey shines through and makes you go weak at the knees. In this track, you can really hear why Charley Patton is considered the great granddaddy of blues!

7. Nina Simone – ‘Sinnerman’

Nina Simone is another of the ‘must haves’ in our top ten. Huge heart and a huge voice! We chose ‘Sinnerman’ because it is an old gospel song that we love to play, but it could have been ‘Feeling Good’ or so many others.

8. John Mayall – ‘Room To Move’ from “Turning Point”

Turning Point is one of Trev’s all time top albums and who could disagree! John Mayall’s delivery, power and harp style take a lot of beating. And of course there is the ‘chicka chicka’!

9. The Neville Brothers – ‘Yellow Moon’

The Neville Brothers throw that New Orleans swing and groove into the mix and Yellow Moon was the first album that Becky gave Trevor. Sweet memories!

10. Ali Farka Toure – ‘TimBarma’

He was the king of the desert blues men and his African blues, particularly with Toumani Diabate are an inevitable a draw to both of us. For Bec it’s the rhythm and cadence, for Trev it is a connection to Africa and that fabulous playing style

Hi BM,

Just read that there’s been little response as to shops doing great blues, well I would certainly like to put in a word for a great shop in Witney, Oxfordshire. One really superb independent, called Rapture. First class sales team, always incredibly helpful, a good regular selection of our music, Buddy Whittington, Ian Seigal, Oli Brown etc. always in stock, regular imports and they are always more than quick and helpful getting in things to order. All in all I think the best record & DVD shop I’ve ever purchased from, They are more than worthy of a mention also because they also have Blues Matters for sale on the counter. What more could you want from any store?!

Pete Clack, Oxford.

BM says: Pete, once again we thank you for your input let’s hope others are now encouraged to let us know about their best Blues stores.

Hi Blues Matters,

Please renew me for issues 64 – 69, it’s the best £26 I spend every year many thanks David Gray, Bedford.

BM says: David, thank you for your support.

Dear Blues Matters,

Thanks for the review in BM64 fyi.. The capital X in RoXi stands for a little kiss to our friends, fans and supporters... and a hint that in the tradition of the blues. Some lyrics may be a bit cheeky or have a double meaning. RoXi and the Blue Cats are a family friendly band so whilst some lyrics are cheeky, they are never rude, crude or likely to offend young ears. Keep up the fine work the Blues needs you!

Kind regards, Tracey.

BM says: cheers Tracey. Keep us posted on future successes and our best wishes to the band.

Hi Emma(BM), a little feedback from the Skegness Rock and Blues weekend, so here is my bit, for what it’s worth, I was with a group of 7 guys, and we practically lived in Jaks for the whole weekend and the Blues Matters stage, it was by far the Blusiest venue, the acts were superb, The Maggie Ross Band on the Friday were a revelation, and Cherry Lee Mewis on Saturday were absolutely awesome, Roadhouse and the Jam on Saturday was my highlight as I just love how people who never play together can create such great music, I especially liked young Carlos Linnett, both on his own, and when he played with Tommy Jones, but

it was all fantastic, I did think the Acoustic blues on the Sunday could have been a little better, not in terms of talent, but they had too long for each set, so not enough variety, and we all thought there was going to be an acoustic jam as well, but don’t let the last bit detract from what was a well organised weekend in Jaks, thanks.

Nigel Johnson

BM says: Nigel, so pleased to hear you enjoyed Jaks, the feedback has been very positive indeed although we can always learn a little each day and indeed perhaps the acoustic acts did have sets a little too long on reflection although Roy and Robin had plenty to offer. Let’s see what we can do next year to keep it going or vary it a little more. Thank you on behalf of BM and Butlins Entertainments.

Hi Blues Matters,

What a great weekend, my 9th Rock and Blues one! Overall it was really good, spent most of the time in Jaks. The Cherry Lee Mewis Band and Roadhouse were the highlights for me oh and the Jamming session. The best improvement was drinking out of glass instead of the horrible plastic things they normally have!! It’s the first time I haven’t lost my voice at Butlins due to the bacteria that you get in the scratches in the plastic!! (nice to be treated like adults).The staff were on the whole brilliant! So to improve mmmmmmmm oh yeah they kept running out of glasses and we re-used ours when poss so more pint glasses behind the bar please!! And get Cherrys’ band back next year.

Andy Green

BM says: Hi Andy, you are among a throng who have already asked for Cherry to come back next year and the many who have expressed their admiration for the work Gary Boner and his Roadhouse put in to the event year after year. It was a proud moment to have them play a full set in Jaks at last (so we were pleased that the spot in Centre stage had not materialised)

Hi Emma (BM)

What a great weekend it was, so many great bands, shame we couldn’t see them all, the young talent on show (Chantel McGregor, Virgil and Krissy) was amazing. My highlight though was Larry Miller, god he can rock! The only criticism I have is I had wristbands for the Sky Bar and people still queued to get in there, the whole point of getting them is so you don’t have to queue for ages, and you can’t get in ‘til the queue has gone in, it would be better if they had opened the other door and let those of us

with Sky Bar wristbands in go in that way. Anyway still had a great weekend, hope you did too

Best wishes Adrienne

BM says: Adrienne, well Butlins Entertainment will see your comment so maybe it is something they can improve on for next year, hope to see you there again! We were so pleased for Larry after playing for us in 2011 in Jaks.

Dear Blues Matters,

I wanted to touch base before I go into the studio for the new album -- and say thanks again for your support of “Quit Your Job - Play Guitar.” Since its release in September 2010, the CD has been named to several ‘Best of’ lists, and the reviews and radio play have knocked me out. And there’s even a Mark Robinson Signature Slide from Rocky Mountain Slides, along with a couple other endorsements.

I couldn’t be more grateful and appreciative of the reception to the project -- turns out that quitting my job to play guitar was a really good thing. The review in Blues Matters really opened up a lot of doors in Europe for me.

One of the best things that happened as a result of ‘Quit Your Job’ was that The Mark Robinson Band got to back up the legendary Tracey Nelson for a set on Alternate Root TV. Tracy sang back-up on my cut ‘Try One More Time,’ so it was great to return the favour.

Mark Robinson, Musician

BM says: Mark, good news indeed and we hope to hear more from you as you progress.

Dear Blues Matters,

I picked up a copy of Blues Matters in my local newsagent a few months ago. Since then I’ve kept buying BM and have discovered that a whole new wave of the blues exists, with my horizons broadened by the worldwide coverage of new music that it covers. I’m amazed at how much the blues scene is thriving and how truly international this music is. Thank you so much for all you do

Regards Martin Thaw

BM says: We thank you for your support which is how we are able to do what we do for the Blues and the more support we get the more we can achieve so do spread the word and encourage friends and fans to seek us out in stores or better still to subscribe.

Hey Blues mates, I loved Butlins once again. I’m fairly new to this but this was my 3rd year with the guys and wow! To see the original Argent was a total blast, add to that Krissy Matthews and Virgil and his Accelerators was so sparking for the young generation of Blues players, they hit the spot. But then I spent most of my time in Jaks, it was without doubt the best of the venues with a great layout and ‘real’ atmosphere, it

was what the Blues is all about, no wonder so many folks love it in there. I realized that it is in fact you guys that book the acts for Jaks and must compliment you on the choices at least for the years I’ve been going and one of my mates has been coming for more years and tells me that it has always been damn good and I don’t know what I’ve been missing. Now I really believe him. Idle Hands were great again and it was good to see them back and even after Virgil they still impressed highly. Cricky I was busy rushing around, I saw a bit of Maggie Ross who was super but then dashed over for Virgil and back for Idle Hands. It was like a bit of keep fit but the being careful not to spill the beers! I ran from Cherry of who I wanted to see so much more as I really really wanted to see my heroes of old, Argent. I got back then to Jaks to see Steve Roux and wow what a set that was, amazed I did not know his name but I was told about him on the way home by one of my know it all mates and was even more impressed then. I enjoyed Roy Mette’s solo set on Sunday afternoon; he can really turn those guitars inside out. I’d seen some of Roadhouse before and knew about the ‘famous’ Jams at Jaks and have to say it was an inspired choice to have them open the proceedings for the 1st Sunday night in Jaks, for all the work they put in for Butlins they certainly deserve to be there! Well thank you at Blues Matters and Butlins for another great year in Jaks and thank you to Butlins for getting you to do it.

Yours impressed Thomas Henry.

Tedeschi Trucks Band Live Album Coming Soon

If you caught a Tedeschi Trucks Band show last fall, you might have heard Susan mention that the band was recording for a future live album. We’re pleased to announce that this spring/summer; TTB will release a full-length live album, entitled ‘Everybody’s Talkin’, culled from their run of shows in October. The band is hard at work listening to each of the shows and they’d love to know what songs you’d like to hear on the live album. www.tedeschitrucksband.com

Stony Plan’s MonkeyJunk Scores At The Maple Blues Awards

The Ottawa-based trio MonkeyJunk once again scored strongly at the 15th annual Maple Blues Awards, held in Toronto last night (Monday January 16). The band’s Stony Plain debut, ‘To Behold’, was chosen as ‘Recorded of the Year’, winning over strong recordings by Suzie Vinnick, Rita Chiareli, Bill Johnson and another Stony Plain release, Strictly Whatever, by Harry Manx and Kevin Breit. MonkeyJunk — the band took its name from an offhanded comment by the late Delta blues singer, Son House - were also chosen Electric Act of the Year, and band member Matt Sobb was chosen Drummer of the Year. The band’s Steve Marriner told the sold-out audience in Toronto’s classy Koerner Hall that the band owed its success - last year the band played ac roes Canada four times, and toured in Europe and the U.S. - to its fans and “an incredibly supportive blues community. “Stony Plan, which last year celebrated its 35th anniversary, is Canada’s leading roots music record label; its head, Holger Petersen, continues to host CBC Radio’s Saturday Night Blues, which last fall marked its 25th year on air. Another Stony Plain artist, Vancouver’s Kenny ‘Blues Boss’ Wayne, was chosen Keyboard Player of the Year, following the recent release of his first album on the label, Old Rock on a Roll.

New Brunswick Battle of the Blues

Announces heat winners and London final line-up. During January the 4 regional ‘heats’ for New Brunswick Battle of the Blues, a UK-wide search to find Britain’s best unsigned and original blues talent, have been taking place. The competition now has 4 regional winners to go head to head at the London final on 27 March. There will also be a public vote for the best runner up and they too will join the final line-up. The Canadian Province of New Brunswick has been looking to the UK to provide new performers for its worldrenowned Harvest Jazz and Blues Festival, which celebrates its 21st Anniversary in 2012. Competition organiser Lee George; “The competition this year was fierce and we’ve uncovered some incredible talent. The winner will get an all-expenses paid trip to the beautiful maritime province of New Brunswick to perform on one of the main stages at the Harvest Jazz & Blues Festival in the provinces’ capital Fredericton in September. They will also be given the chance to tour around – last year’s winners went whale watching and sampled the very best of the province’s hospitality! The ‘winning’ runner up will perform at the London final, which takes place at The Garage, Highbury in London, on 27 March. Lee George again; “New Brunswick is not only a wonderful part of Canada, but it has a musical heartbeat like nowhere else in the world. Travelling to the Harvest Jazz & Blues Festival could be a life-changing opportunity to perform amongst the very best and to sample ‘the jewel of Atlantic Canada’ and all that the Province has to offer.” So far the London final line-up includes: Chris James from Carlisle (winner of the North West heat), Paint It Blue from Bournemouth (winners of the South West heat), Little Devils from London (winners of the South East heat), The Groove-A-Matics from Gateshead (winners of the North East heat). The nation’s favourite runner up will also perform. For more information about the competition and the province of New Brunswick, visit www.tourismnewbrunswick.co.uk

Hebden Bridge Blues Festival 2012

It looks as though one of the hottest tickets this summer is going to be for the Hebden Bridge Blues Festival June 1st, 2nd and 3rd. Coming from nowhere last year, the first festival was widely praised by visitors and musicians alike for its great line-up, vibe and laid back attitude and in 2012 the organisers are sticking with their successful and innovative formula of mixing high profile talent with the up and coming young guns. Over forty bands will be playing in seven venues all within walking distance of each other. The hugely popular ‘Women Of The Blues’ night is back with Cherry Lee Mewis, Lucy Zirins and Jenna Hooson certain to pack in the crowds at the Picture House and once again the sell-out Paddy’s Midnight Jam Sessions will blast off every night when headliners and the rest of the days acts crowd onto the stage and party like crazy. The headliners this year will be Todd Sharpeville, Marcus Bonfanti, Paddy Milner and new rising superstar Ben Poole and with three dozen more top class acts like Mitch Laddie, Crosscut Saw, Hooson,

Thorbjørn Risager

Ten tracks of absolutely excellent blues with some great playing and a wild and throaty vocal from Mr risager (preious review by Andy Snipper, BM)

new CD

Hardcore Blues anno 2012, a real electroshock for the collapsed twelve-bar-format (Rocktimes DE)

risager has songwriting skills that match his larger-than-life voice

Kyle M. Palarino, BluesWax (US)

www.risager.info

The Revelators and The Barebones Boogie Band on the bills across the town, these three days are going to be hard to beat. The prices have been kept simple and reasonable (£55 gets you a full festival pass) and the impressive festival website www.yorkshirebluesfestival.co.uk is packed with useful information about everything from artists to accommodation. Also, if you like to ‘blues muse’ there is a small bonus on the website in that they have their own tame hat-wearing festival blogger who is quite mad but very funny - so check it out now.

UK Music Has Hailed The Passing of The Live Music Bill Through The Commons On Friday As “A Great Day For Music”.

As a result, small venues wanting to host live music events will no longer need a local authority entertainment license, cutting bureaucracy and expense as well as making it easier for pubs and clubs to host live performances. “This is a great day for music. The Live Music Bill will make a real and positive difference to lives of musicians,” said acting chief executive of UK Music Jo Dipple. “There is no doubt that the current Licensing Act has created needless layers of bureaucracy - making it complicated and expensive for pubs and other small venues to host live gigs. “The entire industry would like to thank Lord Clement-Jones and Don Foster MP who have made this change possible.” Musician’s Union general secretary added: “We are delighted that the Live Music Bill has finally made it through Parliament. It is a real achievement for a Private Member’s Bill to get through and the MU would like to thank Lord ClementJones, Don Foster and all of the other MPs who helped to pass this Bill. “Over the past few years our members have been telling us that the number of gigs available to young musicians who are still perfecting their craft has gone down. This is primarily due to a reduction in the number of smaller venues which traditionally offered this level of gig, and is directly linked to the Licensing Act. The exemption that the Live Music Bill introduces will be hugely beneficial to these small venues.”

Provogue Records Are Pleased To Announce The UK Blu-Ray & DVD Release Of “Joe Bonamassa: Beacon Theatre – Live From New York” on Monday 26th March 2012.

The follow-up DVD to 2009’s hugely successful Live from the Royal Albert Hall, Bonamassa kicks off proceedings with Slow Train, from his 2011 album Dust Bowl, followed by the fan-favourites Cradle Song,

HAPPENIN’

Dust Bowl, Blue & Evil, Mountain Time, and many more. The landmark concert features a string of special guests, including Beth Hart, John Hiatt, and Paul Rodgers. Beth Hart joins Bonamassa for the soulful duets ‘I’ll Take Care of You’ and ‘Sinner’s Prayer’, taken from the recently released ‘Don’t Explain’ album – a collection of soul covers the pair recorded together. John Hiatt, a Nashville Music Lifetime Achievement Award recipient and American Music Award (AMA) winner, joins Bonamassa for renditions of ‘Down Around My Place’ and ‘I Know A Place’. Legendary rock singer Paul Rodgers (Bad Company, Free) joins Bonamassa to perform ‘Fire And Water’ and ‘Walk In My Shadows’. The Beacon Theatre release coincides with Bonamassa’s March 2012 UK Arena tour. Dates include Brighton Centre (Mar 23), Sheffield Motorpoint Arena (Mar 24), Newcastle Metro Arena (Mar 25), Edinburgh Usher Hall (Mar 27), Liverpool Echo Arena (Mar 28), Bournemouth BIC (Mar 30), Birmingham NIA (Mar 31), Capital FM Arena Nottingham (Apr 2), Glasgow Royal Concert Hall (Apr 4), and Blackpool Opera House (Apr 5).

Blues Foundation Announces - 2012 Blues Hall Of Fame Inductees.

The Blues Foundation has announced the 2012 inductees for the Blues Hall of Fame, including Chicago harp master Billy Boy Arnold; blues-rock guitar virtuoso Mike Bloomfield; brother/sister recording act Buddy & Ella Johnson; South Louisiana swamp blues artist Lazy Lester; Memphis bluesmen Furry Lewis and Frank Stokes; guitar genius Matt ‘Guitar’ Murphy; and New Orleans musician, songwriter, an producer Allen Toussaint. Among the other individuals being recognized by The Blues Foundation this year are: Chicago Blues radio force Pervis Spann; German ‘American Folk Blues Festival’ promoters Horst Lippmann and Fritz Rau; and song writing legend Doc Pomus. The books Bessie by Chris Albertson and The Voice of the Blues: Classic Interviews from Living Blues Magazine, edited by Jim O’Neal & Amy van Singel, will also be inducted into the Blues Hall of Fame. These albums are also being honored: Damn Right, I’ve Got the Blues by Buddy Guy (1991) and Bad Influence by Robert Cray (1984). The following singles will be inducted during the ceremony: ‘It Hurts Me Too’ by Tampa Red (1940); ‘Pine Top’s Boogie Woogie’ by Pine Top Smith (1928); and ‘All Your Love’ by Magic Sam (1957). The induction ceremony will be held Wednesday, May 9, at the Memphis Marriott Downtown in Memphis, Tennessee, the night before the 33rd Blues Music Awards. Plans are underway now to individually honour each of the inductees that night. The Blues Foundation is currently engaged in a $3.5 million campaign to establish a physical Blues Hall of Fame at its headquarters at 421 South Main in downtown Memphis.

The Blues Hall of Fame committee, consisting of scholars, record producers, radio programmers, and historians, is chaired by Jim O’Neal, founding editor of Living Blues. On May 10, the night after the Blues Hall of Fame inductions, The Blues Foundation will present the Blues Music Awards for the 33rd time. Performers, industry representatives, and fans from around the world will celebrate the best in Blues recording, song writing and performance from the previous year at the Memphis Cook Convention Center in downtown Memphis. The evening will see performances by 2012 Hall of Fame inductees and Blues Music Award nominees. Major funding is provided by Arts Memphis and the Tennessee Arts Commission. The 33rd Blues Music Awards and Blues Hall of Fame events are also sponsored by Blue Mountain Artists, BMI, Catfood Records, Eagle Rock Entertainment, FedEx, First Tennessee Foundation, Legendary Rhythm & Blues Cruise, Memphis Convention and Visitors Bureau, the Sierra Nevada Brewing Company and Sony/ Legacy Records. Inductees’ biographies are available, as well as all Hall of Fame inductees, at www.blues. org/halloffame

Wallingford Blues And Beer Festival Is On Friday 1st & Saturday 2nd Of June

Heading acts are The Mud Morganfield (eldest son of Muddy Waters) Band, Friday evening, and King King, Saturday evening, with support from 24 Pesos, Russ Payne, The Shark Dentists, Friday and Earl Green and The Right Time, The Riverside Blues Band, Saturday evening. Saturday afternoon is TBC. For more information visit www.bluesandbeers.co.uk

C-FAB - A Fresh Approach! Cabourne Folk & Blues Festival Nr. Caistor In The Glorious Lincolnshire Wolds

Music Community Education Family Friday 5th to Sunday 7th October 2012

Entry from 12 noon Friday. Last organised performance at 6pm Sunday

Music: A truly International flavour of bands and artists, from old favourites to newcomers’ names and acts will be announced in March 2012 when tickets go on sale. Main stage is scheduled from 6pm to midnight on Friday, 12 noon to 3pm and 6pm to midnight on Saturday. 1pm to 6pm on Sunday, with a Jam Session afterwards. In addition there will be a ‘Chill’ stage/areas for Acoustic gatherings, recorded music and informal jam sessions. Bring your guitars, drums, flutes, bagpipes, squeeze boxes, etc. Community: This festival is for all, from those who wish to hear good music, to those who want to brush up and learn new

skills and techniques, to those who always meant to start but never got around to playing music, now’s your chance! There will be other Folk/Blues/Traditional acts and performances, details and more words in March. Come and be a part of your music community. Education: Workshops to cater for all levels of abilities and skills, to be arranged around the main stage playing times. Talks on a varied selection of musical related topics, Jam sessions and impromptu gatherings, a chance to put into practice all the stuff learnt in the workshops and talks. Family: Something for all the family from kids to adults’ activities, a great array of stalls, gorgeous food and fantastic hospitality. Every age is welcome. Tickets: This is an advance ticket only event and for our first venture the number of tickets will be limited. Weekend Adult: £30.00 Weekend Teenager (13-17) £20.00 accompanied by an adult. Weekend 12 and under FREE All weekend prices include camping. Day ticket prices: Friday and Sunday £15.00 adults & £10.00 teens, (no camping). Saturday: £20.00 adults & £15.00 teens (no camping). Keep your diary free for this Fresh Approach to Music Festivals. We look forward to seeing old friends and making many new ones.

Full line up of artists, workshops, and ticket sales to be announced by end March 2012. Keep and eye open for www.c-fab.co.uk/facebook

New Brunswick Battle of the Blues reaches last stage –London final at The Garage, Highbury in London, on 27 March

The UK-wide search for the best in original and unsigned blues talent reaches its climax on 27 March when five blues acts go head to head at the London finals at The Garage. Winners from 4 regional heats plus the public’s favourite runner up will perform at an electrifying night of the best of British blues. All blues fans are welcome to attend.

The line-up for the final is: Chris James from Carlisle (winner of the North West heat), Paint It Blue from Bournemouth (winners of the South West heat), Little Devils from London (winners of the South East heat), The Groove-A-Matics from Gateshead (winners of the North East heat). The nation’s favourite runner up is How Askew from Newcastle.

The Canadian Province of New Brunswick has been looking to the UK to provide new performers for its world-renowned Harvest Jazz and Blues Festival, which celebrates its 21st Anniversary in 2012. The winning act from the final will be taken on an all-expenses paid trip to the beautiful maritime province of New Brunswick to perform on one of the main stages at the Harvest Jazz and Blues Festival in the province’s capital of Fredericton in September 2012. They will also be given the chance to look around – last year’s winners went whale watching and sampled the very best of the province’s hospitality! Says competition organiser, Lee George; “We’re coming to the end of what’s been a fantastic competition with some fabulous talent coming forward. Travelling to New Brunswick could be a life-changing opportunity for the winner to perform amongst the very best and to sample ‘the jewel of Atlantic Canada’ and all that the Province has to offer.”

Doors open at 7pm with the first act on stage at 7.30pm. Tickets are £7 in advance from Ticketweb or HMV Tickets, or £10 on the night. For more information about the competition and the province of New Brunswick, visit www.tourismnewbrunswick. co.uk. All proceeds from the evening’s ticket sales will be donated to a charity, which will be announced on the night.

MartinPart2by Cook

By the summer of ’76 the pub rock scene in London was beginning to turn spiky. A fledgling Sex Pistols had played the 100 club… the ‘Hogs regular venue. Slowly, but surely, venues across the city had cottoned on to the potential of punk. Three chords drew crowds and sold beer. Tony McPhee was being frozen out of his home turf by the new wave. After surviving psychedelia and glam the ‘Hogs finally bowed to the inevitable – they split after 13 years in October. By 1977 Tony had formed another band, named after a Robert Johnson, Terraplane played the blues. Neither Terraplane, nor their successor, Turbo, got a record contract. It would be six long years before Tony McPhee managed to get another album out… with a new Groundhogs. This time round we talk to Tony about life after punk, indie chart success and surviving the business after fifty years. What made you wipe the slate clean in ’77 and form Terraplane?

I decided to go back to a simpler style playing R’n’B and Blues, (hence the name), we were playing the 100 Club one night and somebody came to me and asked if I’d change our name because they were also called

Terraplane, I said “No”

Despite the fact that punk had a ‘year zero’ approach, slagging off anyone over 25 and moaning about ‘rich rock stars’, you were sympathetic to it.

I was totally broke having been ripped off, as a lot of bands of the ‘70s were! I liked the fact they were shafting the record labels, who were more interested in accountants than bands (I remember watching Slaughter and the Dogs at the Nashville after they’d got a huge advance, which I understood was non-returnable!)

You went back to basic with Terraplane, playing rock and roll and blues numbers. Was ditching the synths and progressive numbers a reaction to punk?

No, but cutting my hair and moustache off was!!

Was it true that you were sick of playing ‘Cherry Red’ by that time?

Yes, along with most bands you get fed up with their ‘anthem’

You managed one LP with Terraplane, as a backing band for (US blueman) Billy Boy Arnold…

‘Checkin’ It Out’ How did that come about?

The original Bass-player, Dave Bowker, left and someone I’d met, Alan Fish, joined he knew Pete Shertser who ran Red Lightnin’ records and Pete asked us (Me, Alan and Wilgar Campbell) to back him, that’s a great album, one of the Blues Mags said I was a good rhythm player but my solos weren’t that good.

Why did Terraplane split so soon after starting out?

Drummers! Wilgar Campbell joined a Rock N’ Roll band, we tried Billy Rankin, ex Brinsley Schwartz, for a few gigs and Brian Wren for a while ending up with Harry Rix who left to become a grave-digger so over a few years we played a lot of gigs once being billed as ‘Terror-Plane’ in Newcastle (liked that!) and ‘Terrapin’ at a teacher’s training College in Paddington.

For a few months you played again with (ex-‘Hogs drummer) Clive Brooks and Paul Raven (sadly deceased ex-Killing Joke bassist) in Turbo. Turbo lasted even fewer months than Terraplane. Again, why such a short period of time?

Paul was my then wife’s 2nd cousin who’d been kicked out by his parents, came to live with us in Haverhill. It was the advent of NWOBHM, so I wrote a few new songs for the band and three were recorded for a Capital radio session. Then Paul got an offer to play with Adam and the Ants, he didn’t get the gig but stayed in London and the rest is history. So that’s why Turbo was so short-lived!

You went out under your own name by 1983. I remember seeing the Tony McPhee band and couldn’t get over how bloody fast that band were. Why so fast?

At that time a lot of ‘70s bands that were playing their old numbers at breakneck pace, we conformed. I suppose it was a hark back to early Punk.

At this time a chap called Paul Freestone was publishing newsletter, called ‘Yelping Hounds’ and running a fan club at the same time. In those pre-internet days it must have felt good to get that kind of support from the fans.

I first heard from Paul when he phoned me that he was making a book about me as a project at College, I was very flattered because I thought that nobody remembered or even cared about what I’d been doing.(Sob!)

In 1984 indie label Psycho Records pressed up a double live LP of vintage ‘Hogs – from ’71 and ’76 gigs. (I was glad to finally buy some ‘Hogs product, as by now the only LP you could get was a budget copy of ‘Split’). ‘Hoggin’ The Stage’ shifted a lot of copies and made the ‘Sounds’ heavy metal charts. How did it feel to find out that you were up there with the likes of Iron Maiden, especially after so many years away from the mainstream?

Very, very heartening, still got a few copies! The Tony McPhee Band became ‘The Groundhogs’ a few months later. Same lineup, same set…

After seeing you play under your own name to a small crowd at Thetford I saw you as ‘The Groundhogs’ a few months later in another venue and the place was packed. There were a lot of old fans back in the crowd. Bringing the name back seemed to matter a lot.

It did, we played the same set which over time had included more and more of my early numbers, and so I thought “time for a name-change”.

The new Groundhogs recorded an LP in 1985 –‘Razors Edge’. You had a few problems releasing it though…

It was a strange time, dealing with strange people. Then

Dumpy Dunnell (of Dumpy’s Rusty Nuts fame) nicked

your rhythm section! I knew Mick Kirton was leaving but when Alan went with him, I felt a bit let-down!

Then some sod nicked your beloved Gibson SG, you wrote a song about it, ‘54146’ That was after a gig in Irvine, we were having a drink and Gonzo, our roadie got bored and got my guitar out of the van which was in a secure lock-up they’d built after a band had all their gear nicked but when we went back to the dressing-room there was just a strap on the floor and an empty guitar-case, I used Gonzo’s own SG for a long time after that!!

A new Groundhogs came together soon afterwards, with ex-Hawkwind bassist Dave Anderson on-board. You recorded another LP ‘Back Against The Wall’ and a live album

‘Hogs On The Road’.

Dave’s been a long-serving on and off Hog ever since. Every now and again I have to sack Dave, it’s tradition! Then I relent he comes back like a bad penny. The BGO label (short for Beat Goes On…) had re-issued the classic Groundhogs material on vinyl. Then EMI cottoned on to the selling power of the band and put out extended versions of the early 70’s albums on CD.

Did you get involved in any of these re-issues?

Yes, there was somebody involved at EMI called Tim Chacksfield, a good man, who told me what was planned, before I was the LAST to know their plans. BGO always kept me in touch, good people I’ve known since the 70s.

By the late 80’s you went back to solo gigs and finally released a second solo LP ‘Foolish Pride’. What made you return to acoustic playing after years of playing heavy music?

‘Foolish Pride’ was not an acoustic album. I used a drum machine and sequencer +tone generator for the bass parts, using a tape machine with time code. Later albums ‘Slide TS Slide’ and ‘Bleachin’ the Blues were all acoustic, felt the need to record both mediums, still do.

You also kept the Groundhogs going as well, gigging all over the UK and Europe. Then in 1993 you had a stroke onstage. Is it true that you carried on playing, finished the gig and drove home afterwards?

1993 was a busy year, lots of gigs and a tour of Germany supporting Jefferson Starship. Then going to a gig at the Robin in Brierly Hill I tried a new route which left me stuck in traffic and arriving at the venue well stressedout, I was totally unaware that my blood pressure was sky-high then I suffered a brain bleed at the beginning of ‘Split pt. 1’ and it popped and all of a sudden I couldn’t play my left arm was totally weak and wouldn’t work, but I finished the gig, plus they shouted for encores but I wanted to get my stuff home afterwards knocking down our front garden gates and driving over them! I’ve seen bands storm off after ten minutes...

The Show must go on! We had a Roadie that used to moan at the audience if there wasn’t a lot there, I said to him “These people are here, moan at those who didn’t turn up!”

A benefit event was organised not long after your stroke, in Islington. Wilko Johnson, John Otway and others turned up to offer their support, you showed up as well… This must have perked you up, as you were gigging solo a few months later.

You get to know some great people that were a minor stroke; I now know what a major one is like now, a fecking nuisance!!!

Speaking of support, by this time several noted musical types, such as Julian Cope, Karl Hyde (of Underworld), Captain Sensible and comedian

Artist

Vic Reeves were publicly stating their support for the ‘Hogs. You were finally getting your dues. Even veteran post-punk band the Fall covered one of your songs: ‘Junkman’. They took a few liberties with the lyrics, though! Mark E Smith, a Legend! I went to see them at Manchester shortly after I heard their version on John Peel’s radio show where John said he recognized the song from somewhere, Mark gave me a hug and they all signed a copy of the album, apologizing that whoever sorted out the sleeve put ‘Junk man” being written by ‘McFree’! That album along with Captain Sensible’s 12 copy of ‘Happy Talk’, have pride of place in my collection.

In 2004 your original manager, Roy Fisher organized a reunion of the early 70’s ‘Split’-era Groundhogs. You played the Royal Festival Hall, made a live DVD (60/40 Split) and made the odd live appearance before announcing that it was over and that the Groundhogs had finally split for good. What was the reason for the announcement?

Don’t remember saying that, I realized that it was foolish to expect it would be the same as it was in the good old days, things change.

You were back with a new version of The Groundhogs after a few months. Why the change of heart?

I thought of the name, wrote the majority of songs, why not?

We’ve now got a ‘Groundhogs Rhythm Section’ also playing live, with Ken and Pete from the 70’s line up. Ever see them?

Yes, backing Dave Weld at Maryport festival a few years ago

You were due to play another ‘Classic…’ tour when you suffered another stroke. You were recording at the time… sessions that you are now going to put out as…’At the Third Stroke’. Lesser men would have gone into ‘why me?’ mode, you just took the piss!

That was a bugger, I hoped my voice would come back, but no, this was a Big’un!, Missed out on festivals in France playing alongside Billy Boy Arnold. I was looking forward to seeing him again. To make matters even worse Dave Anderson (long-serving ‘Hogs bass player) had two heart attacks. That was March 16th,2009. June 16th same year I was doing a bit of gardening and some clot interrupted blood flow to the left side of my brain. BUGGER!!

Yet you were back on tour again in 2010! Over 20 dates!

Dave wasn’t sure about Jo singing with us when it was `suggested, but soon realized that she was the frontperson we needed. Now we have grunge maestro Jack Endino producing your new single ‘Dry Land’. Jack was the producer for Soundgarden, Nirvana, Mudhoney and other Sub Pop label acts.

‘Dry Land’ was a pre-stroke number which had your vocals on it. I met Jack long time ago when he came over to the UK with Blue Cheer, he was a ‘Hogs fan and a really nice guy and great producer.

For the foreseeable your partner Joanne is handing the vocals, seems to work out pretty well. How’s she taking to the heavier stuff?

I have to sing ‘eccentric Man’, Jo did at first but how eccentric can a man be? Otherwise, no problems

So what’s next? You’re coming up to the 50th anniversary of the Groundhogs. Anything up your sleeve?

Just to finish the Third Stroke’ album then we’ll see...

And so the mighty Groundhogs continue… Tony McPhee seems oblivious to the concept of retirement, even after 50 years of working his arse off, Long may he continue to hog the stage! A very special thanks to Paul Freestone, for kindly letting me pick his brains and supplying me with several chapters from his new book: “Eccentric Man: A biography & discography of Tony TS McPhee”. This is the definitive history of Tony McPhee & The Groundhogs. It includes complete discography, technical sections about guitars and equipment. Also, featured are rare photographs, detailed notes, sources, glossary, gigs list, Groundhogs’ Family Tree with all line-ups of the band.

Order directly from Incompetent Publishing, Circus Workshops, 38 Cowley Rd, Oxford OX4 1HZ, priced £14 inc p&p. www.incompetent-publishing.co.uk

JO HARMAN

by Christine Moore

Jo Harman is not a familiar name on the blues scene at the moment but without doubt she will soon be a household name on the circuit. She is packing out shows in prestigious venues in London and recently did support on The Average White Band tour by their request for her. Testament to her talent is the seasoned musicians that are willing to play in her band. All great kudos; for any newcomer to the blues scene, many artists take years to get to this stage. But as they say cream always floats to the top. Jo is now excited to be pursuing her own artistic direction.

BM: You started out in the pop arena, what made you change tracks and start on the Blues train? Did you get disillusioned with the pop business?

JH: Yeah, the ‘pop’ thing wasn’t planned, but when you’re fresh out of music school and a Grammy winning producer comes knocking on your door you’d be silly not to invite them in, wouldn’t you? And, also to be fair, it wasn’t a shallow pop thing, it was a serious project with well written songs - and simply amazing production values, as you’d expect. It was a fantastic experience and I’ll always be grateful for the opportunity. Like I said I was just out of music school so didn’t really have a clear idea then of who I was or what I wanted to be but once I did ...well, there is no choice; for better or worse, I realised I’d only truly be fulfilled doing my own thing.

Who were or are the artists you admire and do they influence your singing or performance?

It’s quite wide and varied - I enjoyed a lot of my parents music like The Beatles and Cat Stevens - and like a lot of singers my age, Lauren Hill and Jill Scott were big influences in teens, followed, inevitably, by Amy Winehouse. But overall the musicality of legends like; Aretha Franklin, Ella Fitzgerald and, in particular, Etta James have really informed my style. These days I’m increasingly drawn to Gospel singers plus I’m really enjoying discovering old school soul/blues artists like Millie Jackson and other classic male and female Memphis voices.

What is your background, do you have family or friends who perform? Does your family encourage and support you in your choice of career?

I don’t actually come from a musical family and it’s always a matter of amusement to them that I sing like someone from the Deep South..and not Deep South Devon! But what I do come from is an incredibly supportive family who have always encouraged me to follow my own path. My father sadly died before I started singing professionally but his sister and her family helped put me through music school and, at every level, I’m very blessed to be allowed and encouraged to pursue this, often challenging, career. My mother and brothers are incredibly supportive, without ever interfering, which is everything you can ever ask for!

Your live shows seem to be capturing a following, not having seen you live myself I can only appreciate your vocals and performance from the CD & DVD I have been watching and listening to. I am looking forward to seeing you live. Do you have a tour planned for 2012?

Yeah, not so much a ‘tour’ tour, but certainly we’ve getting out there playing some really lovely arts centres, theatre and festival venues around the UK. I’ve got a very good team around me - not least my amazing musicians who are genuinely some of the best musicians of their type in the country, with the CVs to prove it. We do have to be a bit selective about the number of gigs we can undertake - given our respective commitments - but they really put themselves out for me, for love rather than money certainly, and that’s another fantastic essential area of support for which I’ve truly grateful.

Can you tell the readers what drives you to perform live?

Listen, getting out on stage playing your own music - together with music you want to cover - with a band like mine, to people who seem to dig it, is the best feeling in the world. Because of the calibre of musicians, it’s not an over rehearsed gig which I also really like so we can pull and push thing around a fair deal and play ‘in the moment’. Moreover I find over the hour and a half we’re on stage that we can really change gear and do something really intimate like ‘That’s Why I Got To Memphis’ through to really rocking out and most things in between. We like to try and take the audience on a bit of a journey; emotionally and musically.

On the subject of live performances what has been your favourite to date and why?

Oh, so many it would be hard to single them out. Each has it’s merits, whether it’s making our debut playing to a full house at the Pizza Express Jazz Club- which we did recently - or another great London club like Hideaway, where we return regularly to play their Friday night crowd. I’m sure it’ll come but so far we haven’t had such a thing as a bad gig yet! I do like playing places where no one has heard of us - Chagstock Festival and Exchange Arts Centre in Dorset come to mind - and watching the audience feedback change from polite to warm to ecstatic over the course of the set. Like I say, with a band like ours, I’m lucky that I can just ride their fire!

Do you write any of your material and do you play any instruments yourself? How easy do you find writing or constructing songs?

I do write my own material, sometimes alone, and often with others, not least fellow band members. I’m an OK, if lazy and unpracticed, guitarist and pianist. I’m a classically trained musician so I can normally find the chords I need easily enough. But I do like vibing off the ‘feel’ of players who can play so much better than me, particularly the more up-tempo guitar driven things. I’m also so spoiled by the quality of my musicians I feel very uncomfortable and inferior playing guitar and/or piano myself on stage, which I’m aware I need to address, but there it is!

You have some great musicians playing for you which means they must rate your talent and want to help you give the best with a little help from your friends. If you could have any musicians in the world dead or alive back you as a band, who would you choose?

The guys I got are fine by me, trust me! Seriously, my bass player, John McKenzie is a legend. He’s played with Dylan, Bowie, Tina Turner, Dr John, and dozens more big name acts..I mean how greedy do I need to be? What’s more John is so sympathetic, and critical, to our music..he never overplays, but has a beautiful sense of melody and invention, he can drive the bus and take us through the gears when needs be; the cat can play in any style with total authority and authenticity..the man is a master, master musician. And that’s just John...they are all equally as good in their own way. Plus we sound like a band, we play like a band, not like a load of session players, and I love that!

Your album from last year, Jo Harman & The Company ‘Live at The Hideaway’ has been getting some good reaction since its release, do you have any plans for a studio album? Yeah, it’s a good record, I’m proud of it and it really captures the spirit of how we sound live - or how we sounded a year or so ago, at least. We never rehearse and each gig is different and because we haven’t been going that long we’ve developed quite a bit since then already. We got a couple of great girl singers who have joined the show since then, for example, and on that recording we also deliberately held back some of our songs for the studio record. In some ways the live album and the live DVD are stop gaps. Don’t get me wrong they are excellently recorded, a real representation of the raw excitement of our set and, like I say, I’m proud of it in that context. But, yes, I feel I - and we- have so much more to offer on the debut studio album. I’m in no rush on that either. I’m aiming high..I wanna make a classic record and, in many ways, I still feel like I’m an artist in development; I’m 28 but I’m still maturing, both vocally and as a writer so I’m in no rush, but I’m getting there.

Do you think women have work harder in the music business to get recognition and who is your favourite woman singer?

Not really, there are as many advantages in being female as disadvantages surely? Like I say I ‘m lucky I’ve got a great team around me and the boys in the band always watch out for me in any case. And fans are great too; as are the media; I really haven’t had any problems with anything yet. I just feel very lucky and supported. Oh, my favourite singer? Right now, the American gospel singer Kim Burrell.

Would you say your voice is more suited to Blues Jazz or Pop? Or should I be asking which genre you prefer to sing?

I think, naturally, I have a signature voice, with quite a trademark vibrato, so whatever I sing it sounds like me! I’ve learned, however, to be more versatile though, through doing sessions and singing other material as a guest vocalist, which I quite enjoy, albeit as a sideline. I’ve done jazz, I’ve done pop, I can belt and I can sing in half voice, I can pull a lot of things out of the box if I need to. But overall and at it’s most natural, people tell me I have a classic old school soul/blues voice which is handy cos, by and large, that’s really all I’ve ever wanted to sound like!

I hear you went on tour with The Average White Band. What’s the story on that; as its good to have such an amazing band who want you on their tour with them?

I supported AWB in Brighton when I first started out and I think musically I had a real connection with a

All photos of Jo by Alexis Maryon

couple of their guys who generously joined me on stage during my set. I think ‘my people’ subsequently talked to ‘their people’ and they kindly allowed us to do a mini UK tour with them last year. I also then ended up doing a few gigs as vocalist for their saxist Freddy V’s all star UK band. You know, the ‘old school’ funk and soul community is quite tight and there are always connections at one level or another..someone knows someone which leads to something. I also really, really enjoyed doing some major guest singing with another of AWB’s contemporaries, the legendary cult band Kokomo. Jesus Christ, those guys can groove like a mother and I’ve become close friends with those guys..They are lovely, gifted, people who you can really learn from; they really have been there, done it and got the T Shirt! It’s a nice feeling when you suggest singing ‘A Little Help From My Friends’, the guitarist says ‘great, I haven’t played this for 30 years when I last did it with Joe’ ...and yes, he does mean Joe Cocker!

Are there any stories you can share with us about touring with the band?

Tour stories...you know the rules! What goes on tour, stays on tour! Seriously, all very tame but highly, highly enjoyable all the same. Laughter in the van all day and all night!

You have recently had Mark Butcher cricketer/guitarist playing as a guest guitarist with you, are there any plans to make that a regular guest appearance?

Yeah, Butch is another great guy who I just feel comfortable with, if he’s in town I’ll always drag him up for a number and vice versa. Again, we share the same musical landscape ...he’s a really under rated guitarist. Got a great ‘down home’ style and feel.

As your early beginnings were playing classical music have you any plans to sing with an orchestra?

Not so much classical vocals. I was a classical musician - a bassoonist if you must know - but I’ve always only ever been a dirty voiced rock and roll singer! But would I love to sing to strings? Yes! If it was good enough for Etta it’s good enough for me!

What would be your ambition in the music field? Or do you have any personal ambitions outside of music you would like to share with us?

Musical ambitions? Well to keep doing what I’m doing on my own terms, building it year on year, gig on gig, whatever it takes. Do I want to be famous and successful? Of course! But equally I’m sensible enough to know it’s all about the journey, not just the destination and so far I’m having a blast. I’m afraid to say music consumes me; I live and breathe it, so much so my plans to be a Nobel Prize winning scientist are going to have to stay on hold for a while yet :)

What do you do to relax when you’re not performing or is your life constructed around music?

I hate myself for saying all this, as I know I’m gonna sound dull - but I enjoy working out at the gym, seeing friends, eating peanut butter when I’m not meant to (ruins the diet!). I had many years of partying and fun while I was at university and many years after, but nowadays my enjoyment seems to come a nice cup of hot chocolate and an early night! As a working musician I’m forever getting dressed up, putting my face on etc, so my favourite thing nowadays is a Saturday night on the sofa in my jammies! I’ve completely quashed the rock’n’roll myth I know (sadly), but there you go - it’s the life of a professional singer unfortunately! Oh and my beloved Arsenal Football Club. Obsessed. Up the Gunners!

Thanks for taking the time to talk, have you anything you would like to say to Blues Matter readers?

Thank you very much for your kind support and interest, not just for me but for all of us, out there, doing our thing. It’s publications like yours, and your readers, which help us do what we do and I’m very grateful for the part you guys play in keeping the scene alive.

Thank you ‘Blues Matters’...it does matter!

SAMUEL JAMES

by Mark Harrison

Samuel James is a young acoustic Blues artist from Portland, Maine, who is quickly making a name for himself. Already he has two fine albums under his belt – ‘Songs Famed For Sorrow and Joy’ and ‘For Rosa, Maeve and Noreen’ – which have pricked up people’s ears and alerted them to the presence of someone with something new to bring to the table. With his distinctive songwriting and guitar style and his barnstorming live shows, Samuel is moving the music forward. I spoke to him on a recent tour that took in Britain.

BM: Is it true, that you‘ve never played an electric guitar? Most young guys sooner or later go there. So what hooked you on the acoustic?

Samuel:- That is true, electric never really interested me. I‘ve always felt that I‘ll keep up with the acoustic until I run out of new sounds to be made on it. Fred MacDowell said that he started playing electric because, with age it became more difficult to play acoustic, and the ease of electric on the hands lengthened his career. Maybe I’ll play electric when I’m older.

When did you start playing guitar? Was there music in the family that led you to it, or was it just something you found yourself?

I‘ve been playing the piano since I was eight, and as unlikely as it may seem, I have only been playing guitar for the last seven years. My father was a session jazz pianist in the late 60s, and thought it would be a good thing for a child to learn young.

Were there aspects of your childhood or teenage years that led you to Blues music?

No. It‘s something that came to me very late in my very short life.

You‘ve obviously absorbed the influences of the pre-war Blues greats such as Skip James, Mississippi John Hurt and Son House. Where does your interest in, and knowledge of, those guys come from?

Honestly, I think I‘m just trying to be Bill Withers. Without his influences he couldn‘t have been him, so how am I supposed to be him without his influences? I am half-joking.

How did your guitar style develop? It‘s very individual and certainly doesn‘t sound as if it‘s come from studying tabs or instructional stuff!

Well, thank you very much! I think it just came from very intense practice. I like the idea of Son House‘s guitar style eventually becoming Leo Kottke’s. But more than that I like the idea of that only being the middle of where it can go.

What led you to becoming a professional musician – a bit of luck or a load of hard graft?

Probably a bit of both, I think it really just came down to the idea that I am an ‘all-your-eggs-in-one-basket; kind of guy.

Your albums both consist of all original material, and your songs really aren‘t like anyone else‘s. What‘s your approach to song writing?

Yeah, well, original acoustic black Americana only died because of the Great Depression - not because the style ran out of ideas. I try to write how I think Bill Withers writes. That is, I attempt to say something that everyone knows, but no one has said yet. It‘s pretty difficult, and I don‘t always hit the mark, but as far as song writing goes, I think it‘s the most important goal, that and being awesome.

Your songs often have characters and tell stories, don‘t they? Are these wholly from your imagination or are they about or at least based on real people and events?

Yes. Well, some are from my imagination, and some are from reality, and some are half-way in between. For instance, “John Ross Said” is about the first elected Chief of the Cherokee Native Americans, and what happened to him causing the Trail of Tears. That‘s all true. Then there‘s ‘Love & Mumbly Peg’, which is about a knife fight between Tiny Bill McGraw and Knife-Throwin’ Jones over the love of a woman. I made that one up. Then there‘s ‘The Sad Ballad of Ol’ Willie Chan’, who is someone I made up, but the song is about Chinese railroad workers. They are a group that is absolutely overlooked in the American folk cannon, despite their immeasurable contribution to the building of America. So, maybe the correct answer is: Yes.

Do you consider yourself more of a ‘Songster’ than a Blues singer? What exactly is meant by ‘Songster‘?

Yeah, I used to tell people I‘m a songster instead of a bluesman. I say this because a songster is thought of as a black, American troubadour, whereas to me a blues man sings primarily blues songs. I have written very few blues songs, so I usually go the way of describing myself as a songster. The problem there has become that very few people know what a songster is, so I think it seems a bit clinical and presumptuous to talk like that. Nowadays I describe myself as a roots troubadour. How‘s that for clinical?

And you also do some original instrumentals. What‘s your approach to those? What makes you decide that an idea is going to be turned into an instrumental rather than a song?

For those, if the music is so good that I think lyrics would only distract from the music, then I leave it an instrumental. The same goes in reverse for ‘Wooden Tombstone’, my acappella song.

SAMUEL JAMES

In your live set, you also do a few covers of songs by the pre-war greats. Lots of people think of them as always being old blokes, but of course they were young when they first recorded. Do you think their songs can have an impact on younger people today?

It‘s difficult to tell. On one hand I think it can be difficult for people of different classes and races to relate to each other. Add in a generational gap, and I think it can become nigh impossible. On the other hand it has been said by many people that there are two kinds of music: good and bad. In my experience, if given the opportunity people will usually respond accordingly to each.

What‘s your approach to these covers – they‘re obviously not note for note copies of the originals?

No. No, I‘m not a believer in note for note copies. I think it‘s worth studying and learning them, but as far as performing covers that way... well, it‘s not for me. I think there are enough people doing them that it would be ridiculous for me to do it, too!

I‘ve heard you describe Son House‘s ‘Death Letter’ as ‘the greatest song ever written’. What‘s that number got that makes it so special?

The thing about that song is that it touches describes the ultimate tragedy: to love something that can die, and in this case, has just died - moreover, in the beginning of the song he has just received word that the woman he loves has died. Then he begins a journey. At first it‘s to see her body. Then it‘s to see her buried. Then the journey becomes to go on living without her. Finally, in the end he goes insane. Now, all of this is riding along what is the greatest (if not, the most copied) slide guitar hook of all time. If you can tell me of a song that can match ‘Death Letter’ in these epic ways, well, tell me quick, so I can hear it!

You‘ve obviously got your own, very individual thing. Are there any artists out there right now who you particularly admire?

Thank you. There are some I admire, but only for what they do as individuals. Not as something that I emulate. The people I emulate, or attempt to surpass are mostly dead. Or, in the case of Bill Withers, retired.

Have you played on the same bill as any of your heroes?

Not yet...

The best gig you‘ve done ... and the worst?

The best? Always the next one. The worst? Always the last.

What‘s life like as an acoustic Blues artist? Is it harder to get heard than it is for the electric artists? It can be difficult, but mostly it‘s a lot of people trying to have sex with you, and giving you insurmountable volumes of money. I‘d say that‘s the main difference. If you‘re in an electric band, mostly people try to give you old tube socks filled with expired Brussels sprouts. That‘s what I‘ve heard, anyway. I‘m not too sure because I‘ve only been a solo act.

You‘ve done a fair bit of gigging outside the States, how do other countries compare with the US in terms of Blues ‘scenes’ and appreciation for what you do?

I am almost certainly always more appreciated outside the US than inside. I think this is because we, as Americans don‘t include art into our national identity. Art is thought of as a hobby instead of the expression of one‘s self. Furthermore, I don‘t think it‘s all that important for us, as Americans, to express ourselves as individuals. Has this interview become too heavy?

You came over here and did some gigs recently? How did that go, and any plans to come back? Yeah, it was great! I can‘t believe how great it went! I‘m hoping to come back next year around the same time, but I don‘t have anything on the books yet... I think... so far.

You‘ve got the life of a wandering solo Blues artist – have guitar will travel. What are the advantages and downsides of that?

I can think of very few downsides. I‘ve always been someone who enjoys being alone. I like the idea of driving from gig to gig, seeing something off of some highway exit worth checking out, and going to check it out. No discussion. No arguments. Also, being a solo guy means no one forgets their drum sticks, or forgets to rehearse. I’ve never written a set list in my life. And I hope I never do! The one downside is that I do miss my darling Rosa.

And what‘s coming up in the future? What‘s the aim?

Well, I should be recording a new record with Northern Blues in the next couple of months. It should have some nice surprises for everyone. After that, It’s a mystery.

There is more to Blues singer Nicole Hart than just being the first white Shirelle. She has the kind of soulful voice that can morph easily into many genres. See a performance and you will note the energy she puts into a show. Working Musician Magazine says of Nicole Hart “Imagine that classic band fronted by a beautiful blonde with a gospel voice and all the moves of Tina Turner. Get the picture?” I got the picture when I caught up with Hart at the Daytona Blues Festival, where she gave a superb performance backed by South Florida’s ‘Nucklebusters’. She graciously agreed to talk openly with me about the jolting highs and cruel lows of the last few years, and how she remained focused after the death of her husband producer and keyboard player Lance Ong.

BM: You are used to being lead. Describe your experience working with the Shirelles as a background singer?

NH: I have loved singing harmony since I was a very young girl. I began in church singing soprano in a group with 3 or 4 part harmonies and, as I grew older, I sang in acapella madrigal groups and in large choruses with up to 8 part harmony performing music by composers such as Handel and Copeland. For me, singing harmony with other vocalists and blending well is another art form, and one I absolutely love. Any opportunity to blend with or back up other vocalists is always welcome for me.

Did touring with Rock and Roll Hall of Famer Shirley Alston for almost a year give you any preparation and strength as you continued to strike out on your own? Her voice is a truly unique instrument, and her phrasing, well I just don’t think you can teach phrasing like that. So natural at the time, I felt Shirley was like a second mother to me. She is a total sweetheart and used to call me her “Pink Baby.” Watching her go out on stage night after night and just kill the audience was very inspiring to me. Sometimes she would have a little stage fright, but would pop a piece of “Big Red” chewing gum just before the show and gracefully walk out on stage wearing a huge smile. So, yes, I think watching a pro so up-close definitely did help me prepare. Whether I’m afraid, in a good mood or not, or tired - I just go out and think about giving the audience the best I have to give, no matter what.

What challenges do you face daily being a lead singer? It’s kind of a man’s world out there. Yes, ma’am, it’s kind of a man’s world but, fortunately, there are a lot of nice men, nice people, out there too! Seriously, as a woman working with so many men, I learned fast how to keep boundaries, but I think I also know how to enjoy the fellas, appreciate them and let them be themselves. We’re all in the same crazy business, and they have their roles to play as do I. Sometimes, there’s no getting around certain prejudices, however when problems do arise I have found that they lie more with the individual rather than the gender as a whole. There are plenty of cool guys and plenty of jerks. There are also plenty of cool girls, and plenty of jerks there, too! I think one has to have the attitude that you want the best from people - and expect it. Vocally, I face challenges daily with an instrument that is subject to being a part of my body - the human voice is so sensitive to things such as lack of sleep, stress, over singing or talking, and I have a lot of allergies, especially to certain foods. You’re a vocalist, too, so I am sure you understand!

How many CD’s do you have now and are you working on a new effort?

I have 3 CDs released, one being with a band called, ‘The Shades,’ which featured myself and a wonderful vocalist named Julius Dilligard, Jr.; we had an absolutely effortless way of singing together. He was a real joy to work with. My second CD is called, ‘Nicole Hart & The NRG Band – Live’ which was a self-release with my husband, Lance Ong. That CD brought us to the attention of Blues Leaf Records, and the third release, a studio project, is called, ‘Treasure’ after the title cut which I wrote inspired by my husband. I was very fortunate to have Lance as arranger and musical director on that project as well. I am currently choosing new material with executive producer, Joe Morabia, for the next project.

You were living in New York, and have moved to Florida. Why the change?

In 2007 I signed with an agent and began touring in 2008 to support The NRG Band record. I went from Maine to Ohio, Nashville to Asheville, Georgia, Alabama and Florida. I met so many wonderful people along the way, but I kept feeling a pull toward Florida. Your next question really holds the answer as to why I moved.

2008 found you riding on a wave of happiness. You married your long time best friend and keyboardist Lance Ong. The very next year Ong lost his battle with lung cancer on Dec 7, 2009. How have you been able to move on? Where do you find your strength?

I read a book which advised no major changes for a year after the loss of a loved one, especially a spouse. Everyone’s experience with grief is unique, but knowing I wasn’t thinking too clearly in the months after losing Lance, staying put in New York seemed to be the right thing. However, getting past the memories there proved extremely challenging - in every direction was another heartbreaking reminder which held me back from being able to truly move forward. I have met a lot of wonderful, wonderful people in Florida through touring and, though it was very difficult to leave New York, it has become increasingly obvious that the right decision was to come here. It’s truly a fresh start with a new landscape, and without the painful echoes of the recent past. Remembering to have gratitude gives me strength. Sometimes it is just an exercise, but more and more I feel myself truly coming back to life through simple things such as petting a cat or dog, hearing an amazing lyric, witnessing the kindness of total strangers and courageous acts of people - focusing on something other than myself!! Additionally, there is new love in my life which is good fortune in and of itself. Of course I still have deep ties to New York, and do miss my many close friends there. Thank goodness it’s only a 2.5 hour plane ride away!

Where would you like to see yourself professionally next year this time?

Touring Europe and Japan have always been on my wish list. My goal is to manifest that reality.

Please describe a favourite mind blowing moment that you have experienced on stage. No one particular moment comes to mind, but what drives me despite all the obstacles is music, which is transcendental. I am often so moved by the interaction that happens onstage - be it a particularly brilliant solo from one of the players, or a deep and amazing connection with the audience - that I am really outside my body experiencing through music something much bigger than myself. In the end, it’s really about the intangible relationship with other musicians, the audience, as well as the spiritual element. It’s about connecting, and I live for that privilege. “See you in the nightlife.”

by Barry Fisch

We sat down with Joe Louis Walker, blues guitarist extraordinaire originally from the San Francisco area during his recent four night/eight show residency at the Iridium in New York City. A tribute to Michael Bloomfield was the occasion for this run of shows, and Joe was kind enough to take some time to talk to Blues Matters about his new CD, his career, and of course Michael Bloomfield.

BF: It’s been about three years since you issued a studio album hasn’t it?

JLW: That’s about right.

Tell us about your new album ‘Hellfire’, and what led up to the recording of it. ‘Hellfire’ was actually myself and my manager. We put the money together to make the album; we put in over $20,000 to make it. Fortunately producer Tom Hambridge kept asking me to record an album with him. I’m real funny about producers so I turned him down the first two times. Not because of anything he’s done; he’s very successful. But I’ve been around some great producers; Ike Turner produced me, so did Scotty Moore, Steve Cropper did three records with me, so I figured I’d get to know him. So I went to him, and we wrote thirteen songs in two days! I got to know him a little bit more through Buddy Guy because Buddy’s a good friend of mine, so I got to know him. So we decided we’ll make this record! They call me a blues guy. I’m really a little bit more diverse, but I’m proud to be called a blues guy in the tradition of Muddy and them. But I can’t play “Mojo” any better than Muddy, I can’t play ‘Dust My Broom’ any better than anybody, so I came up with my own stuff. It may have been a little bit off to the left because I’m from San Francisco originally. You know there were some people; Jimi, Mike Bloomfield….I lived with Mike, I knew Jimi….so my taste is a little different. I listen to Youssou N’dour, I’ve done gigs with him, I’ve done gigs with Papa Wemba, I’ve done gigs with Bobby Weir, and so my music is more inclusive. To me, ain’t but two kinds of music; good and bad. I like to experiment. So when Tom and I played, we experimented, and it worked. It worked to the point where we took it to a bunch of record companies, and we heard back from some. Bruce Iglauer (Alligator Records) was flying to Seattle and said “well I’ll listen to it on the plane”, it was on a Thursday, and then he wanted to sign me on Friday.

Of all the musical influences you’ve had in your career, would you say the music you are doing now is a convergence of all of them?

It’s not all of it because there’s so much. I’ve been fortunate to play with so many people; I’ve just been in the right place at the right time, you know? I mean I’ve done gigs with Thelonious Monk, Charlie Rouse, different people like that. Things you couldn’t write; you’re just lucky. ‘Hellfire’ is an amalgamation, like the first songs got a little wild Jimi feedback, and the second song’s a bluesier song, and it’s got some rockin’ stuff and some traditional blues. You know I used to go to Willie Dixon’s house to learn to write, to become a better writer. About after about a week Willie said “I know your style.” I said “what is it?” He said “it’s all over the place! But that’s a good style for you”. So it’s not all over the place “jack of all trades” just to be different. When I do something that’s a little bit jazzy I’m thinking of somebody. I did a jazz record with Ernie Watts, Ndugu Chancler and Wallace Rooney and half the songs were songs I wrote when I was sixteen. But THEY made the record work. They knew the jazz! There were only two guitarists, me and Philip Upchurch. My next record project is ‘S.O.S. Sounds of San Francisco’. It will include myself, Mike Carabello, and Jerry Miller from Moby Grape. Jerry’s going to sing “8:05” and we’re going to update the San Francisco sound. We’ll do some Beau Brummels stuff because they’re from Pittsburg, California where I used to live. I’m one of those guys that‘s just an adventurist musician; I’ve always been that way. I have more fun that way.

On this new record, there’s a track ‘Soldier For Jesus’ with The Jordanaires… how was it working with them?

It was great. I met the Jordanaires when I was living in France for awhile. I got a call from Scotty Moore. For some reason I get along with all the old guys; they see a little of themselves in me, so they trust me. They were inducting Scotty, Ike, and Alex Chilton into the Hall of Fame. They all had guests. Ike’s guest was Pinetop Perkins. Scotty called me to sing ‘Mystery Train’. He said everybody connected with Elvis Presley was going to be there. And everybody was except for (James) Burton. For some reason Burton was locked in his hotel room or something. So everybody was there including the Jordanaires. I was backstage singing gospel, warming up. Ray Walker, bass singer and manager of the Jordanaires heard

me. So he said “I didn’t know you sing gospel”, and I said yeah, so he said “sing me something”. So I sang him “Soldier for Jesus”. This was like five years ago. Ray would then call me every once in awhile and say “when we gonna do that song?” I said what I wanna do is put the so called ‘Black Gospel’ and the so called ‘white gospel’ together. It was gonna be me and the Jordanires and Clarence Fountain, and Ray says to me on the phone “I was thinking the same thing Joe!” We were going to do it with the Five Blind Boys of Alabama, but then Clarence got sick. So it’s a little bit different. But I plan on one day doing a whole gospel record with the Jordanaires and Clarence if he gets well. Or somebody like Joe Ligon from the Mighty Clouds of Joy, and some of the older guys that are still alive.

Speaking of gospel, it was a ten year period in the ‘70’s and ‘80’s that you were pretty much a gospel musician. From that experience, do you find yourself inserting it into blues music and do you find it to be an easy marriage?

Well not really, there are some songs…. people talk about soul music. Soul music is nothing but gospel singing to a funk track. There are certain things that fit and certain things that do not. You couldn’t see Chuck Berry singing a soul version of ‘Back in the USA’. There’s a time and place where it will fit, and there’s a time and place on a song that I write. ‘Soldier of Jesus’ actually comes out of a song we did with the Corinthians when I was in there called ‘Hang on Soldier…’ I took it a step further, I wanted to do something different…so I did like we used to do in the thirties when they’d talk to you through the radio… ”everybody out there put your hand on the radio…now send your contribution to 634-7255….”. It worked, and with the Jordanaires it was incredible. I didn’t hear them record it, I was in Europe; they sent me the track and I was like, oh man! Its good when you write a song, and you sing the song, and then it comes out ninety times better than you thought it was going to be. That’s happened to me on a couple of occasions and that’s because of the musicians that contributed.

Back as a teenager, the San Francisco music scene, the Matrix club…I know that was a whole section of time that you played, but what are your memories from that time. I know every musician from that scene came in and out of there. Well I gotta say one thing, I gotta thank Marty Balin and Jorma and Jack for basically babysitting for me because I was kicked out of the house when I was sixteen. I lived with a woman who was 26…she got a good thing! But the major thing about the Matrix was I opened up for everybody. The first person I opened up for was Mississippi Fred McDowell. I got to spend a lot of time with Fred. I had a guitar I got from Sears.

It had about 89 knobs on it, little buttons; it literally looked like one of those Ramblers where you’d bush buttons, and Fred was transfixed by that guitar! He was like “come here son!” And he told me the first night “You done played up all of your good guitar licks, what you gonna play next?” Because you know when you’re young you go and play everything. I played every note known to mankind. I said “Fred, I guess I’m just going to have to play ‘em backwards!”. He said “You know you need to slow down. Pace yourself!” So he gave me some advice. But he said, “boy I sure like that guitar”. He kept saying it, so I said “here Fred, go and play it”, and he played it on the gig and he got used to it a little bit. I’ll never forget, when he signed with Columbia, he went and bought a Fender Trini Lopez! One of the worst electric guitars! I always liked the name of that album ‘I Do Not Play Rock And Roll’.

Fillmore West, any memories from there?

Well now people get confused, there’s the Fillmore auditorium which is on Geary and Fillmore which was about a half a block from where I went to Junior High School. We used to have Battle of the Bands there. And then there’s the Fillmore West which was down on the corner of Market and Van Ness which was started by musicians…the Dead really helped start that. But they never really both ran at the same time. Some kind of way Bill Graham got control of the Fillmore West. But the Fillmore Auditorium is where a lot of bands played. I’ve seen Fleetwood Mac and Ray Charles and Aretha Franklin there because I got in free… Bill Graham took pity on me a lot, he liked me, he loved the blues, so he put me on a lot of shows and it was very nice of him. But at the old Fillmore I got to see a lot of people. I was in a band called Oxford Circle which morphed into Blue Cheer. We opened up for people like the Kinks; that’s where I met Van Morrison. I remember seeing the Yardbirds when Jeff Beck was quitting. He got his best friend to play with him, and he treated him like sh*t, I mean he really dogged him, and this guy just was wailing on a telecaster! It wasn’t ‘til two years later I heard more about him, it was Jimmy Page.

You crossed paths with Jimi Hendrix in that period?

Yeah, if there ever was a poster child for a hippie, and I mean the good part, being nice, kind, soft spoken, and free love, it was Jimi. Several guys kept that same love for music. One was Mike Bloomfield. Another one who kept that love was B.B. King. He’d be “Show me that lick, what’d you play right there”. Stevie Ray Vaughn was the exact same way “Where’d you get that guitar? You know you can take that, put that here, move this there…” you know that same kind of love.

Of all the people in those days from a guitar playing point of view, who was the one that influenced you the most?

Well you know I was fortunate. I got to play in the so called chitlin’ circuit, I got to play the hippie circuit, and gospel; the one person who personally influenced me is the person I lived with, Mike Bloomfield. There were also a lot of guys out of the mainstream who maybe you wouldn’t know, like Claude High and the Hightones, Marvin and the Uptights, and then there was the guy who started Con Funk Shun, Michael Cooper, he was great. There were so many guys, a guy named Prince L’Shea. These are guys that never really made it. Then there was Travis Williams who started with Rick Estrin. Then all the hippie guys when they came, Jerry Miller was one of my favourites all the time as well as and one of my best friends. Then there was Jorma, Reverend Gary Davis, always loved it you know. Guys like that, and John Cippolino, not so much for fancy stuff, just for groovin’. John could groove better than anybody, real groove, you know? You had a lot of good musicians but on a personal and musical level the one that really, really could play live every night and take chances was Michael. Every guitar player who lived in San Francisco at that time will tell you that. First time seeing him was like somebody had you by the throat and wouldn’t let you go. And he played like that every night; sometimes it worked, and sometimes it didn’t. But that’s the mark of a true musician. And the diversity, he played on ‘Like A Rolling Stone’, ‘Subterranean Homesick Blues’, then

he could play with Sunnyland Slim the next day, and then he could play with the Woody Herman Orchestra, and then he could play with Eddie Cleanhead Vincent. It’s not so much the playing with them, it’s being able to relate to all those different cultures you know, because that’s not easy. Then you got Al Kooper riding his shoulders. Yeah, Michael was cool.

Blues guys, Fred McDowell, Albert King, Ike Turner, Freddie King, Lightnin’ Hopkins…all this stuff is in your bio. It would be safe to say these are people who have influenced your playing today. Is there any one guy out of all of those that really struck a chord with you? You’ve met them, you’ve played with them, there are so many people, and today they’re such legendary names. Anybody who has spent time playing with these guys such as yourself, people want to know…. what was it like?

Well believe it or not it’s the guys that didn’t get the names, like Mel Brown, Wayne Bennett, and Jimmy Rogers. Those guys influenced me probably more than anybody. I mean those guys would sit me in a room and show me. Mel Brown taught me how to play a certain lick, and now that where he is, rest his soul, they’re mine. They’re known Joe Louis Walker riffs. And all my puppies playin’; Todd Sharpville, Murali Coryell (sings a riff) it’s not just playin’ it, you have to know when to play it. Anybody can play fast, you have to know when to play fast. Anybody can play loud; you have to know when to play loud and when to come down. To be quite honest, Buddy Guy was always (since I was sixteen), and Michael, my role models as far as just total sheer I don’t give a damn! I’m gonna play what the hell I feel like, I’ve seen Buddy play with a handkerchief one night, with a violin bow the next night, hangin’ the guitar up, Jimi Hendrix got a lot of stuff from Buddy. I always used to say you never know what you’re gonna see Buddy do because Buddy don’t know what he’s gonna do. But man when he’s on, he played the BMA’s last year. It was devastating! I saw him backstage and I said “You got that look in your eye, man”. And he went up there, it was just wow. It was about the closest you’re gonna hear, to what Jimmy Hendrix would be now.

Are there any guitar players out there today….any of these new young guys that have caught your attention or impressed you in any way?

Yeah, I like a lot on this side of the pond. I like Tyree Neal, Kitty Neal’s nephew, he’s just too much. I like Murali Coryell who plays with me, his dad is Larry Coryell. I like Marquise Knox who plays over here; a lot of people haven’t heard of him but they should soon. In England of course my main puppy Todd Sharpville. I’m a big Ian Siegal fan, and John T-Bone Taylor. I call them younger guys; I’m 62, they’re getting up there now but I’ve known them all since they played in England in the 80’s, playing the Half Moon Pub in Putney and stuff like that, sleeping on the floor and all that. There are a lot of young guys coming up now that I think are really good. But the big question for them is to find a spot. All the young guys that sort of grew up on me, I like that they all do various things, they don’t do just one thing. It’s a learning process, a little shortcut to experience.

You have a whole big tour scheduled for this year, I know you’ll be in the UK, do you know what you’ll be doing over there yet?

I’m doing some stuff with Todd Sharpville and his group, and hopefully I’ll bring my own group over to the UK. As you know right now the money situation around the world is extremely tight, so you have to find musicians that wanna play and don’t expect to make a zillion dollars. I come out of that generation, so it doesn’t bother me. I’d rather reach people. I always say you could make Sgt Pepper’s Lonely Hearts Club Band, but if nobody can hear it, nobody will buy it. I think that’s probably what really frustrated some of the people because they didn’t get a chance to see a great live band. If you listen to some of that Beatles early BBC stuff, the stuff that was not George Martin produced, they were John’s band…you could see why those girls were screaming. I mean they were rockin’ it HARD. And once in awhile they’d do ‘Besame Mucho’ but 9 times out of 10 it was John doing Larry Williams ‘Boney Maroney’ or George doing Chuck Berry stuff; it had morphed into that.

For our guitar freaks, do you have an extensive guitar collection?

I used to. Right now I have a specially made Les Paul called a JLW Les Paul. Not made by Gibson, but by a guy in Delaware that makes it. I had five of them, but one of them just got stolen in France on a tour And I have the other one, my gold top (they all have three pickups), the neck got cracked; somebody set something on it or the guitar gremlins got it, so it’s being worked on. So I have sort of my own guitar, but I do have a few guitars.

The main one you play?

Oh, it’s the JLW right there on the stage. Pretty colours, isn’t it?

Speaks to Vicky Martin

JJ Grey is from Florida in the States, he’s doing really well, selling records, doing big shows and he is one down to earth guy; he’s coming to England in March for a one-off show at London’s Borderline- he is JJ Grey and he knows our little corner of the world quite well. He’s lived in England; Tottenham and Wickford Essex, he’s a big fan of Tottenham Hotspur – Spurs that is and one of his ambitions is to get to see a match at White Hart Lane – he knows all about the Essex Delta – Burnham-on-Crouch and all those places. He Loves Essex, knows Southend very well; now he loves Essex even more – because yours truly told him that Doctor Feelgood came from Canvey Island – “Wow,” he says “from Canvey? What a great band.” It’s easy to imagine sitting in the pub with JJ, sharing a few beers and chatting about everything. He’s grounded – he’s got the common touch…but let his own words tell the story.

Current activities?

I’m in the middle of a major US tour and we’re flying here there and everywhere. Then I’ll be comin’ to Europe and we’re stopping by for a show in London at The Borderline.

On travelling?

Yeah, it gets pretty tiring, it’s 9am here right now and I guess that’s why I sound a little tired y’know, but hey, it’s what we do and I love it.

On living in the UK

I lived in England a while back, Tottenham in London and Wickford in Essex, it was great, I felt really at home – and I loved UK Soccer, especially Spurs – I follow their results and I’d love to catch a game at their stadium (White Hart Lane) Wickford in Essex and all around there.. Southend, I liked it there. Yeah I remember Burnham-on-Crouch. I loved all those British bands – The Stones, Yardbirds all of them, and Doctor Feelgood, yes they were something. I was really surprised when you told me the Feelgoods came from Canvey Island – yeah I like all those places – real down-home with roots.

Living in the USA

Yes, I’m from way down on Florida, it’s a good place, but like everywhere there’s lots of things goin’ down –big supermarkets destroying all the small stores and stuff like that – some of the songs are about that loss of things and trying to hold fast to the things we really value.

Local gigs & venues

Well, like we play all over the country now, but places like Jacksonville would be local to us.

Being on stage

I can get totally wrapped up on stage, at one with the audience…it’s like I don’t see one person; I see everybody and nothing. I don’t see any of the mad things that happen out there, the band has to tell me about them. It’s not a lack of focus, or a particular skill it’s more like a total focus.

On the new live album and DVD

It was shot at the Variety Playhouse in Atlanta, happened on a whim. My friend, Spooky, called me up and said he’d love to shoot me live…Spooky shoots all my videos, and he wanted to do one of my shows. So I said, ‘Cool,’ and we decided to do it at The Playhouse, which wasn’t too far from home. Spooky arranged for nine cameras and an audio truck. So we did the show. The video was shot and you know what, I didn’t really notice the cameras.

Do you do solo shows?

Well yes, but not that often, I did some at the Bamboo Room when it re-opened. I was just glad they got it open. That was a favourite venues of mine from anywhere in the world I’ve ever been. I loved it and so do a lot of other people I know that play it. There is just something a little different about playing solo, and I enjoy it when I do it-it’s fun. What it is, it turns more into a ‘sittin’ on the front porch drinkin’ a beer, bullshittin’, and playin some songs.’ And that kind of an intimate thing…

Is it different with the band?

Not really, you can do that with a big band. The size of the band is nothing to do with it. It’s really more down to an audience’s expectations and what the room puts off -- if it’s conducive to sittin’ down, playin’ the guitar, singin’ some songs, tellin’ some stories, drinkin’ a few beers, and laughin’ with people.

The live gigs seem to be very close with the audience

Yeah, in a way it’s like just hanging with a few friends. Yes I would say that. Live shows generally feel that way. There are some bigger moments, that’s all. Like I said, it’s being totally ‘at’ one with the whole.

Repertoire for live gigs

Well I’m gonna draw on the whole catalogue, like the live album and DVD doesn’t have any new songs as such – I’m working on some, but I’ll just draw on that whole list of things we’ve got.

On remembering his back catalogue of songs

Oh yeah. Man, jeez; I forgot lyrics and everything! I often have to go back and really dig in, but that’s fun too.

Favourite artists and influences

Well the whole of that Stax thing, especially Otis Redding the way he used to stretch out on a song… and Tony Joe White, you know? He’s really laid back, funky and really understated, and live he’s that way but there’s still a lot of soul coming out, coming across. He wrote ‘Rainy Night In Georgia,’ and ‘Polk Salad Annie’ a lot of things. He’s like a swamp funky guy. Muscle Shoals did a lot of backing him up on his records. He’s of that whole J. Wexler deep south crew. Tony Joe White, man. Check him out. For me one of the greatest is Toots from the Maytals, he is one of the greatest soul singers ever. Obviously people say “that’s reggae,” but to me it’s all soul. I guess if it’s your first time listening, then you should grab his greatest hits. Then from there you just get into his deeper stuff like ‘Funky Kingston’ and all that stuff. I love that one ‘Funky Kingston’. That’s a favourite. Then there’s Corrine Bailey Rae. She’s great. And let me think of somebody from the old school days. Umm, there is a record by Sonny Terry and Brownie Mcghee, I think it’s called ‘Sonny and Terry,’ and it’s a great record. People think of it as blues, but it’s got soul in it as well. And obviously I like all of the main folks…and Van Morrison…we sometimes do ‘Tupelo Honey.’ I also love that one ‘Half A Mile To The County Fair’ and it stoned me, that’s a great tune… stoned me, to my soul. Listen to Tony Joe White, and check out Jerry Reed, especially songs like ‘Amos Moses’ and ‘The Ballad of Gator McKlusky.’ Jerry Reed, he revolutionized Nashville. I tell you what, you can go online to ‘YouTube’ and just type in Jerry Reed, and look for him. He’s playing on the Porter Wagoner show. You can probably type in ‘Jerry Reed Porter Wagoner’ and it’ll come up, and watch him play ‘Wabash Cannonball’ guitar with

the house band. It is insane! He’s so funky, and he starts to play a Ray Charles song at the end of it, back before Ray Charles was real big. He kind of saw Ray Charles playin’ and he really liked what he was doing. But he revolutionized Nashville. He brought that funkiness, that kinder wam-ba-dam-dam-dam-da-ba-dada, that poppin’ sh*t on the guitar, you know? He’s the cat that brought that to Nashville. Him and Tony Joe White are my two favourite swamp players.

The soul that pours out of JJ’s own music

It’s just me man…honestly I can say, I don’t even try to do. I guess if I tried to, it wouldn’t have that on it. It’s sort of like just how you walk. You don’t think about how you walk, you just walk. It’s sort of the same thing for me with it. You just sort of do it. If you tried to walk, say like the Fonz, people might look at you like you’re ridiculous because you’re not pulling it off. For me, it’s sort of like that with music and everything. I just do what I do. I’ve tried to do what I thought I should do years ago, many years ago. It just didn’t work for me. I didn’t feel good about it. I just do what I do and kind of let things fall where they may.

The ‘natural’ not over-produced sound of JJ’s songs and albums – the organic feel

It’s the way I want it to be. Kind of hard to explain but t comes from someplace way deep than what I think. Thinking is kind of shallow compared to that. The less I’m involved with the process of writing a song, mentally involved I should say, the better. Words or labels are shallow compared to what they talk about. I always compare it to like making a map. It’s like map making, so to speak. Here’s the Grand Canyon on a map. Well, that’s not the real Grand Canyon. The real Grand Canyon is when you see it. It’s so much more than the word Grand Canyon or the picture of the Grand Canyon on a map. It’s sort of the same thing with all of life for me, same way with songs. In other words, the less I stay out of the label side, the thinking side, the more I stay in the soul side of it, if you will. It just happens. In all honesty, I can’t take credit for any of that. It just happens.

The down home ‘local issue’ feel of JJ’s songs

It’s about looking at the things that matter…the things that important. It helps to be grounded, grounded to the dirt you live on. It helps to be centred. So they’re about life and things and places. You’re not getting blown every little direction. Every little thing is not blowing you around, causing turmoil, so to speak, in your life. You can’t be grounded by faking your way into being grounded. You’re either grounded or you’re not. Grounding yourself is a process and that whole process is what we’re all going through, everybody. That just inspires itself. It inspires everything out of that. It inspires music you do. It inspires anything you do, no matter what it is. The whole band is playing on the same page and the audience has an expectation of what’s going to happen. Inside that, there’s going to be times where people improv, things happen, and things become creative. Balancing out all those worlds, that’s what centres somebody. Ultimately, where my inspiration comes from is from somewhere beyond what I can think about, what I can name, what I can call it. It comes from those places. Your thoughts might be about those things and then you’re inspired by those things.

The concentration on local and environmental issues

The old saying, you teach best what you most need to learn. I was sort of preaching best what I most needed to learn. So many of those songs about particular subjects are songs I was writing to myself. They’re like memoirs, dairies, where you’re reminding yourself what is important. That’s what I was doing with those songs. I had been asleep at the wheel and not paying attention to what was going on right there at home and what I was a part of as well but then I kind of hooked in. What I’m still a part of. What we’re all still a part of. In life, there’s a smart way to do things, and there’s a stupid way to do things sometimes. We’re all faced with those choices. A song like ‘Florida’ or ‘Lochloosa,’ any ones of those songs came about to remind me I’ve got to remember what’s important.

The music connects with the people

It’s a wonderful thing. It pulls me into the moment because all these people are there, ready to let go. They make you let go, and that makes them let go. It’s this dance that you do. You can do it

with one person or you can do it with 10,000 people. It doesn’t matter, it’s an energy, it feels great, it happens at concerts. Lots of times, the band onstage or the artist up there are the one responsible for that happening, but they’re not. It’s everybody’s equal responsibility. It just happens. It’s a collective thing. Everybody gets together and chips in to have a party, by buying a ticket. Then we all get there, and we all try to get to this point together. The best way to do it is to not try at all. Just show up and let the night be what it is. Do what you do. The next thing you know, you’re there. The audience is always a huge part of that.

Advice for artists starting out?

You’ve got to have the passion to do it. It’s not going to happen the way you daydream it’s going to happen. Don’t worry about daydreaming. Dream the idea and go do it. While it’s happening, just let go and enjoy it the whole time. It won’t happen the way you think it will happen. That’s what discourages a lot of artists when they get going. They think that it should happen this way; you get this record deal or something. Most people know those days are over like that. I should be here. It should be like this, and it’s not. Life is never that way. That’s what life is always trying to teach you, is that it ain’t ever going to bow to your whim. When you learn that, then you’re halfway home to doing what you really want to do and doing what you’re supposed to do. That’s the advice I would give people. A lot of people don’t want to hear that. I didn’t want to hear that. I wouldn’t want to hear that either if I was starting out. I’d want to hear, “All you got to do is get a manager, and then all your problems are solved.” It’s like winning the lottery. All you’ve got to do is win the lottery and everything will be fine. People that win the lottery still have problems too. Just enjoy what happens, let go and be there when you do. It will be awesome.

Sailing along his life; swapping stories and spec’s with Geoff Marston

Gypsy Bill Williams is one amazing talent both as a guitarist and as a vocalist. Quite why he continues to remain something of a well kept secret is a complete mystery to me and a number of equally loyal fans. Hopefully after you have read this article you will make every effort to catch him ‘live’ and discover for yourselves a helluva talent!

Well Bill good to catch up with you again. It seems ages since we first hooked up and I did the art work for that early album cover.

Yes, plenty of flood water has passed along the Tyne and Ouse deltas since then! (Bill should certainly know as he lives on board a converted coal barge, which he himself worked on more or less single handed).

What were your first recollections of music? Was yours what you could call a musical household and family?

Yeah it was. When I was a kid my Mother used to sing, she was a dance hall singer, and some of my other relatives played stuff.

You’re Dad?

He was a sea captain. No singing but plenty of stories!

Was guitar your first instrument? Can you recall when you first started playing?

I actually started as a singer. I didn’t take up the guitar until I was 30. I did the Working Men’s Club circuit around the North East of England.

What sort of band was that?

Pop and Rock music that’s how I started. It wasn’t until my 30’s that I got turned on to the Blues. I was living up in Aberdeen and my brother in law was an A&R for some record company. He used to get music sent up to him. I was working as a nurse in a nursing home and he was working on the rigs. One night we were sitting around drinking and he put on some music it was the Blues and that was it! I just knew from then that’s what I wanted to do. That’s when I first recollect someone saying ‘now that’s a blues record!

Who do you regard as your biggest influences?

Son House Big Bill Broonzy and Fred McDowell. Theirs were the first Blues records I recall hearing. Although I had probably heard Blues on and off all my life, the likes of BB King etc. stuff like that which was around in the 80’s.

I saw Son House, along with Skip James and Bukka White all together in concert on one particular night.

Wow! I bet that was something!

In addition to all those Blues artists you have mentioned – I know there are a number of others you like such as Tom Waits.

I am using Tom Waits as a sort of template for my own music and song writing. I really admire his song writing skills, how he puts together and crafts his songs. I think if I could learn from that it could help me with my own song writing.

I think a lot of your fans would go as far as saying that he (Tom Waits) may not have the most musical of voices but it’s how he uses it and what he achieves.

That’s right; he has so many textures to his music. I have heard him doing really soft ballads, then moving to a heavy raucous raspy type of song. He started off as a jazz singer with a clear voice and over the years he has developed and honed his approach.

Not unlike Dylan in some ways?

Very much so; Dylan’s song writing is prolific.

Moving on. So, at this point in time how healthy do you personally feel the blues scene is? Do you feel the blues can survive without necessarily going down the rock/blues road totally?

photo by Christine Moore

That’s a hard one that! I am not into Rock music at all, but the Blues has always survived alongside everything else. It’s a genre on its own and it will stand the test of time I feel sure. Personally I think the Blues scene is getting healthier. There are more Blues clubs opening up and people putting more Blues festivals on. Maybe it is having a bit of resurgence again, I hope so anyway!

Yeah I think you are possibly right. Incredible really given the current economic climate and as things are still tight and uncertain.

There are a lot more younger people getting into the Blues now which is really great. That’s one of the things I like about certain artists they have turned the youngsters onto Blues and they are picking up on it, and really getting into it. The older guys have to help them and school them in the music. If you ram rock music down people’s throats they will end up playing it. But if you educate youngsters in the Blues and show them that is where Rock and popular music came from they will begin to see it for themselves. No doubt things will change and even come out sounding somewhat different.

And it does change it’s bound to evolve, don’t you think?

There is new stuff coming out all of the time and different people’s interpretations of it all.

When you look at the current music scene generally, do you despair, or take the attitude that you’ll just keep soldiering on?

Well you know Geoff I spent 20 years on the streets (busking in York) so I will probably say I will soldier on! But you must see manufactured groups that appear on the X factor and other such programmes –what do you think?

I don’t watch it I think it is all Gobbledygook. My wife may watch it!

Whilst it might not be out’n’out blues, I imagine you take some comfort that cream does occasionally still rise above mediocrity and the murky effluent, even in popdom! (I’m thinking of the well deserved success of Amy Winehouse, Adele and James Hunter in recent times).

Well in actual fact I think Adele has one of the best voices I have heard in years she is a fantastic singer and songwriter. James Hunter is a great talent, he should have had even more recognition. It was a guy called Sol who turned me on to James Hunter years ago. (Sol ran the gigs at the Zetland Hotel in Marske, and was responsible for bringing a whole host of other ‘left of field’ artists such as Arthur Ebbling etc. to people’s attention).

And Amy Winehouse?

An incredible talent and a sad loss.

What are your plans for the future? Would you like to work with a bigger band? (Numerically, that is).

I am quite happy to keep to the three or four piece and bring in guest artists. Tonight I have Lyndon Anderson playing harp with us as a guest. I would like to keep it like that as it’s good to use different musicians. At the moment I am bringing on a young guitarist called Mark Winn who is an up and coming singer songwriter in his own right. He was schooled in the early Blues stuff which is where we come from, and I have to say he is coming on nicely.

Do you still enjoy playing as a duo with Del?

I love it, I don’t think I will ever not love playing the acoustic stuff, it’s my cornerstone. We have been playing together so long, it just feels right. I don’t want to stop doing that. But I am having fun with the band. The duo is more developed than the band. But I am hoping to develop the band too and do both. Why not, people are then getting the chance to see both sides of me. About 15 years ago I tried putting together a

Dancing the night away at Redcar

band but it didn’t work. I wasn’t ready then to swap over from acoustic to electric. I feel I am ready for it now. I have enough under my belt to carry on playing both.

So Bill, what albums and CD’s do you currently have available?

I have got the duo albums, one is called, Gypsy Bill’s String Dazzlers ‘Sidewalk Blues’ – BC 98 502. The other is ‘Rural Urbanite’. At the moment I am busy working on another duo CD. The band were supposed to be doing a CD last year but there was a change of personnel, so hopefully it is something we are going to get around to doing together this year. Do you have a website that people can refer to?

We have a website under construction at the moment; however there are the normal internet routes of Facebook, MySpace, Youtube etc. Lots of people complain about facebook etc. but I have to say it is getting me work so I am happy with it!

Well, for the time being I think that is it more or less. Just time to wish your good self, Del and the rest of the Resonators a happy and prosperous New Year. Time for you to go out on stage and give the Redcar Blues Club crowd a taste of some REAL BLUES!!

Thanks very much Geoff and I hope the Blues Matters’ readers check out some of my work.

What followed this interview was another great night at the Redcar Blues Club. This is relatively recently formed, fantastic club run by a group of hard working enthusiasts who really hold the Blues close to their hearts. Try to get along!

SMALL FACES

The Immediate Pleasure: acid, freedom and Ogden’s – 12 months of magic

BEE GEES

Horizontal, Idea and Odessa

Strange Wings, Strange Things: folk-rock from a higher place

PUGWASH

This year’s REAL Olympics: pop music for now people

GOING BACK TO HIS ROOTS

Frankie Bluesy Pfeiffer can’t help falling deeper under Eric Bibb’s spell

Forever young, Eric Bibb, a troubadour, keeps spreading the Blues throughout the world in case we forgot its roots. Nominated many times for multiple Blues Music Awards and a Grammy, Eric cannot help touching us by his sincerity, honesty and humanity. If only there were more Eric Bibbs in the world…

BM: Rather than talking about the album that is just about to be released by Dixiefrog, ‘Deeper in the Well’, let’s go back to the previous one, ‘Blues Ballads and Work Songs’. You seem to have gone back to your roots?

EB: Yes, that’s right because I felt that their style of playing and the songs were too good and too important for them to be forgotten. The most important thing for me is that I feel connected to some kind of tradition, to the old guys and their music, there’s a kind of lineage. I wanted to join a band and play that kind of music; I felt I had to be included in this lineage. I felt I should contribute because of my own way of playing too.

Do you feel you have this special relationship with this style of music because you are an African American?

That’s an interesting question! It’s true that many white players play very very well but I think when you’re singing tradition, it’s a little different, a little more mysterious. Maybe there is the African connection but I also believe there may be a genetic connection to this music, not just cultural. I wanted people to know that there are younger African American musicians who are still keeping this tradition and for a long time this style of music was kind of ignored by African Americans and the interest came from young white coloured people. I felt that all these musicians should not be forgotten; I wanted to play tribute to my heroes.

Do you think you had to do this album because even though you only look as if you are in your thirties, in fact you are now 60?

It’s true, I thought it was time to take stock and I was ready to make this statement, to tell people that we shouldn’t forget where we came from, where my music came from. I felt I had reached the necessary maturity to make this contribution. To make this kind of statement, it takes time, you know.

How did you choose these songs?

I chose songs which were close to me, songs which meant something to me. I chose songs that my father and his contemporaries had sung. I have to feel personally connected to these songs, I have to feel them otherwise I am just a copy. They have to feel close to my world, to my own experience.

Most of your albums have been nominated for awards? How would you feel if your next album wasn’t nominated for anything?

You know it’s nice to be recognized by your contemporaries. It’s nice to know that people are listening to you and appreciate what you do, but that’s not why I make records. I make records because I love playing music and I love sharing it. I feel I have been out here long

enough to put out songs that I feel are right for me. And in the end, I don’t feel bad if I don’t get the award, it’s not really important. I don’t get upset because to be honest, I am always more excited about the next project. For me, the most exciting is to write a new song, to get a new guitar. If I had to choose between getting a Grammy and writing a new song, I will always choose a new song.

Is it more exciting to create a new song or perform in front of your public?

(Smiles) It goes hand in hand because you know, you may be alone in the kitchen in the middle of the night, you light a candle and all over sudden, you get this new song and it’s a great feeling but really I am very eager from then on to share it. I want to record it; I want to sing it live.

The ‘Troubadour Live’ is a live album like ‘Live à FIP’. Out of the last three albums, two were recorded live. Is that what you prefer?

I love recording and performing live. It’s like I need both sides of the coin

Between the ‘Troubadour Live’ and the ‘Live à FIP’ albums, you also recorded ‘Booker’s Guitar’ which was a tribute to Bukka White. And before that you recorded another album which was also a tribute to Paul Robeson. Why did you choose these singers?

I have to feel a personal connection; the connection to Bukka White was the guitar. This was unexpected and I thought there must be a reason why I got his guitar, why did it happen. I knew Bukka White of course but I went a little deeper, investigated and I felt I could do a tribute not only to him but the whole genre. This was my

In the past you have worked with other musicians but lately you’ve worked alone, right? I like working with good musicians. It’s very exciting. I am working on a project I have just finished, which I recorded in Mali and it’s great but it is also important to prove to myself that I can be a one man band and with Blues Ballads and Work songs, I think I have established I can do it, that I can produce good work on my own.

Do you believe one single guitar can be more than just one instrument?

Yes, that’s my goal. I was always fascinated by the fact that you could even play orchestral with a guitar. You can play melody, you can play bass line and lots of other stuff and it should feel like nothing is missing. It may not be as harmonic as a mandolin but for me, the goal is one voice and one instrument. Which one is the most important to you? The voice or the guitar?

If you have to choose, the most important is the voice. Absolutely.

You’ve always preferred the acoustic guitar. Can you imagine that one day you would look at playing and recording with an electric guitar?

Well, I play some electric guitar. I played one or two songs where I used electric but I don’t play an electric guitar like Hendrix played an electric guitar, I play an electric guitar like an acoustic guitar. But basically the style is the same, it’s just the sound that’s different and in a way that affects your singing too.

Do you think you would ever record a tribute to an electric guitar player?

It’s difficult because most electric guitar players are known for their soloing and their fast playing and that’s just not my style. If I play electric guitar, you’re going to hear my finger picking style. But I love to work with musicians who can improvise and play a solo to accompany me because I am not a solo player. I love this kind of collaboration, I think that sound is something very special.

But surely collaborating with electric guitar players must be difficult because they could overshadow your style?

No, because the musicians I work with understand my style of playing and appreciate it, so they complement it and it’s really exciting. It works very well. It’s like when I worked with Amar Sundy; he adapted his style to suit mine. We have to contribute separately, that’s the secret of collaboration when you write a song together. It’s a democratic system, you don’t want to dominate. You know the contributions must be equal.

When will the new album be released?

I think it will be next October also through Dixiefrog of course.

And so we will see you soon in Paris?

I hope so and I am hoping to be touring in Europe. I have some dates in Germany and in the UK already and I am hoping in France too, so yes I hope to see you there too.

2ND, 3RD, 4TH, 5TH AUGUST 2012

HAGGIS FARM POLO CLUB, CAMBRIDGE RD, BARTON, CAMBRIDGE, CB23 7PZ

SIGNPOSTED AND JUST YARDS FROM M11, JUNCTION 12

THURSDAY 2ND

ULTIMATE EAGLES ZZ TOPS

BUSTER JAMES ✺ WHO'S NEXT CRF INTRODUCING STAGE: BAND OF BROTHERS JOKER ✺ THE SIMPLETONE

FRIDAY 3RD

FOCUS ✺ IT BITES

TYGERS OF PAN TANG

REMUS DOWN BOULEVARD

JOHN OTWAY BIG BAND ✺ HEATHER FINDLAY

VIRGIL AND THE ACCELERATORS

PARADISE9 ✺ GETMEONSTAGE.COM

THE CLASSIC ROCK SOCIETY STAGE: KYRBGRINDER ✺ JUMP EXHIBIT A ✺ HALO BLIND ✺ JOANOVARC ✺ SANKARA

SATURDAY 4TH

CARAVAN ✺ BONAFIDE

MOTT THE HOOPLE'S VERDEN ALLEN & SOFTGROUND

X-UFO ✺ CHANTEL MCGREGOR ✺ STRAY

PANIC ROOM ✺ STOLEN EARTH ✺ SILVERJET ROTARY ROCKS STAGE WITH BLUES MATTERS: THE BIZZARROS DEL BROMHAM'S BLUES DEVILS ✺ WHEELZ ✺ ROY METTE ✺ THE MUSTANGS THE IDLE HANDS ✺ SIDEWINDER ✺ FAT PENGUINS ✺ WILL JOHNS

SUNDAY 5TH

SNAKECHARMER MOSTLY AUTUMN

TOUCHSTONE ✺ STAMPEDE MR SO & SO ✺ MARSEILLE

FLAMBOROUGH HEAD ✺ CONCRETE LAKE ✺ MANNING ROTARY ROCKS STAGE WITH BLUES MATTERS: NITROVILLE

DAVE EDWARDS 3 PIECE SUITE ✺ BEN POOLE BAND ✺ ROSCO LEVEE ✺ SNAKEWATER STEVE ROUX & THE BRASS KNUCKLE BLUES BAND ✺ AM5 ✺ SHARON COLGAN

by Clive Rawlings

Following a chance meeting in leafy Hampshire at the Boarhunt Blues Club, Blues Matters’ Clive Rawlings has been tracking the resurgence of Steve Roux and the Brass Knuckle Blues Band, who triumphed on the Blues Matters stage at this year’s Great British Rock and Blues Weekend at Skegness. Clive caught up with Steve after their amazing Saturday evening set and put some questions to him.

BM: Hello Steve, how are you this morning after the great set last night & what did you make of the reception?

SR: What a great gig it was, the reception was fantastic. We had a great time. Really glad we have been able to play the Blues Matters stage at Jaks Bar and with the full band. What an atmosphere! I would like to say at this point that if it weren’t for a chance meeting with you, Clive, at the Boarhunt Blues Club watching Buddy Whittington, and consequently you putting us in touch with Alan Pearce (of Blues Matters) and the kindness and support that we’ve received from you both and all involved we probably wouldn’t be sitting here now. So thank you.

For the un-initiated, who is Steve Roux?

Um, who is Steve Roux? A mad guitarist who can’t stop playing the music he loves with a bunch of mates who are equally mad. I’m married to Tammy, whom the rest of the bands believe will receive her reward in heaven for putting up with me. I have 3 children whom I am very proud of - Sam will be 18 in a week, who plays drums and is at college doing the music technology and recording course I would love to have been able to do when I was young. Then there’s Holly, who is 14, a dancer with Most Wanted and Neptune Girls dance crews, doing really well and amongst other things was recently on the TV, part of Alisha Dixon’s street dance stars. Our youngest is Georgia who is 12, she does some acting and is seriously into photography.

What are your influences?

I know Gran and Jono (Saxes) would both be on my shoulder saying “It’s the beer, tell him it’s the beer” which is partly true. Musically, Albert Collins, Albert King, Freddie King, Johnny Winter, Stevie Ray, Tony Joe White, Delbert McClinton, J.J. Cale, Little feat, Jon Cleary, early Clapton.

Your first album on Pointblank was co-produced by your father, John. Is it right he was in a band called the ‘Graduates’ who opened the Star Club in Hamburg before the Beatles? Do you have any recollections of that?

I wasn’t there Clive, a bit before my time, but yes, they were out in Germany at that time with not just the Beatles, but Gene Vincent, Tony Sheridan, Little Richard… The band in which Dad played bass also had his brothers, Dave and Paul on guitars; they all lived together sharing the same flat with the Beatles. You have to remember this was before the Beatles were famous, so they were just ordinary young guys all out playing music, partying and hanging out. The true story contradicts some ‘official’ stories which states the Beatles were the first band to play because actually what happened was that they flipped a coin as to who should go on first, and the Graduates won the toss and went on first. But actually, as it turned out they had to because George Harrison turned up late. The Beatles and the Graduates were actually the only bands that played at the Star Club from I think it was April ‘62 up until the beginning of May ‘62.

Have to ask, where have you been hiding since the aforementioned CD in 1993 till now?

I haven’t really been hiding. I’ve never stopped playing. After recording the album in Memphis, Bernie (Fox) who played the drums on the album went on tour with Sherman Robertson and I put together a band including Dave Bronze on bass, Henry Spinetti on drums and Josh Phillips on Hammond and piano. I did some promo gigs in the UK and Europe. The wheels came off the wagon with the record deal when EMI bought out Virgin and the Pointblank label and that is another story. Myself and Josh Phillips became firm friends and have collaborated on music for adverts - the best one was The Perrier crossroads spinning bottle ad. We did a version of Robert Johnson’s ‘Crossroads’ which we got to record at Abbey Road. We played together on other projects, one of which was playing in ‘The Conrods’ or ‘Damon Hill & the Conrods’ also known as ‘The Six Pistons’. This band played together for a couple of years, playing at Grand Prix and other sporting events, we played The Royal Albert Hall twice. Through this band we raised a lot of money for The Down’s Syndrome Association. Also throughout this time The White Knuckle Blues Band had been formed as a trio with Bernie Fox on drums and Rob Vick on bass. We have been playing together as a

band for at least 16 years now. There is a mutual respect and appreciation of each other’s musicianship and over the years we have kept each other musically on the straight and narrow and not deviated from the path of playing the music we love to the best of our abilities. We’re kindred spirits I think and bring out the best in each other. This band has been the basis of everything that I do and we are a band. I am not totally comfortable with my name being used separately in the title of the band after all this time, but obviously I can see the benefits, because I have a history and we are branching out it is best to use everything you can to gain awareness. You have 2 bands, WKBB & the Brass Knuckle Blues Band, what’s the story behind those projects?

Well they are really the same band. The story is that myself, Bern and Rob became involved in a band called ‘The Sensational Jonny Deps’ or ‘The SJDs’ for short, which included Steve Geary on vocals and Jon Gooding on the tenor sax and Steve Grainger (aka Dr. Gran) on alto sax. This came about from us all depping with each other for various reasons and this, which is Grans fault, became a band. Now during this time as the Knuckles, Bern, Rob and myself were playing mainly for free entry gigs at pubs and support slots in clubs and we needed to re-invent ourselves with a bigger band and new set a) so that local promoters who had always liked the band but because we were playing for free could do nothing with us, on the bill of their paid entry gigs and b) because we were always loved the idea of a big band. Just like BB King and Albert Collins. A master plan was hatched and The Brass Knuckle Blues Band was formed. Jon and Gran brought in Tom on the trumpet and I got in contact with my old friend Josh Phillips to play the keys. As you may have noticed Josh wasn’t with us last night, he is very busy doing his stuff and Bern, myself and Rob thought it would be better to bring in someone closer to home. We now have the services of Mr. Cliff Chapman on the keys; he is also another great musician from Portsmouth whom has played with Bern, Rob and Gran over the years. Cliff had joined the White Knuckle Blues Band and was already playing with us; now he’s learnt the BK stuff we can now play together as a unit all the time and expand and contract the band from 4 to 7 piece to suit all gig opportunities.

The band members have interesting and diverse C.V.’s?

It’s amazing that we all live so close and are great friends. But also have played with a fair few other known artists between us. Readers can see the website for details at www.bkblues.com

What is your most memorable musical moment?

Playing in Germany on the same bill as Albert Collins and being invited on stage by Albert along with Robben Ford to play Albert’s instrumental ‘Frosty’. I did have to pinch myself. I have a poster from that gig framed on my wall at home.

Your set list is very varied - blues, funk, soul, what does Steve Roux the listener have in his CD collection?

It is a wide variety of stuff but there is a common thread, it has to be real, it has to have feel, soul, groove.... from The Meters, Little Feat, Colin James, Boz Scaggs, Bonnie Raitt, Free, Albert Collins and loads more I can’t think of right now. Albert Collins not only was he an amazing blues guitar player and singer but he had funk, soul and groove going on in all his music and always had a great band. That’s what we strive to do. What can the public expect from you in the future? Any projects on the horizon…?

Well, Bern, Rob and myself as the White Knuckles have a CD called ‘It Might Just Be Too Late’ (which it may prove to be???) which has just received a great review in the latest version of Blues Matters or the last edition as you’re reading this. This is the 3 piece with a couple of guest players on it, Josh plays keys on a couple of tunes, Gran plays some sax and we have harmonica played by Matt Beckwith, another local muso who played with us for a while. The selection of tracks on the CD is us tipping our hat to artists and tunes that we love and that we have played live and have ‘Knuckle-ised’ over the years to make our own versions of. Plus a couple of originals one being a tune from the original ‘Steve Roux’ album ‘Can’t Change the Time’ which has become a favourite live tune that always seems to go down well. Because we have honed this through playing live we decided to record a totally live version in the studio, we just dimmed the lights and went for it, and this is what happened with no overdubs. The other original tune ‘It Just Might Be Too Late’ the title of the album is a tune that we have written ourselves more recently, hope you enjoy it. Going forward we also have a few tracks in the can that we would like to bring together with the horns to make a CD which represents more of what we are currently doing live.

If you keep up performances like last night, it won’t be long before promoters come knocking - is that the long term plan?

Thanks Clive, I hope so, our main goal is to have the opportunity to play live in front of a wider audience and see what happens from there. Playing some festivals would be great. I think there were a few promoters who saw our set last night so we will be on their case to try and get some gigs. You know who you are.

Where do you expect to be in, say, 5 years?

I don’t know. I’ve got to find my way back from Skegness first…

Good luck with it all - pleasure talking with you - what’s your favourite biscuit?

Thanks, Clive, it has been a pleasure. My favourite biscuit - It’s got to be a chocolate digestive from the fridge.

by Gareth Hayes

It is over half a decade ago since we started to tell you about Oli Brown. His steady rise has been suitably iconic; a growing fan-base around the world, recognition amongst his peers and mentors, and emergent trademarks such as his thumb-picking style, vocal supremacy, and the coolest of dress sense. His second album, “Heads I Win Tails You Lose” garnered him Best Album of the Year at the 2011 British Blues Awards, which also tested his humility with the Best Band of the Year going his way too. On the road with Ruf Records’ Blues Caravan, and New Generation Blues put him alongside the unique alumni of new Blues players that really are regenerating the genre. He’s not intending to break away, but he is keen to tell the world where he is and who he is. He’s a 22 year old who doesn’t try to be Stevie or Jimi. He’s a 22 year old who is Oli Brown. Gareth Hayes looks for more than just fashion tips.

So, what is the title of the third album and why?

Oli Brown: It’s called “Here I Am”. Well, it was the first song that was recorded for the album and it fits the statement we have tried to put over. There has been a bit of a change in the way the album has been recorded. It’s about this sound; this is the sound I’m trying to be. This is the sound I am.

Is it a sign of maturity then?

Oh yes (laughs). This is what the whole thing is meant to mean. We’ve got Wayne Proctor as the producer. He’s the drummer for the band and so is intimate with the evolution of the sound already. Originally we went over producers and then Wayne put himself forward. He suggested we go to a studio and do a couple of songs as a pitch. They were ‘Here I Am’ and ‘Thinking about Her’. We liked it. I mean we were really

happy with it. So we rerecorded the songs with full production. We ended up doing the whole album at that studio. He’s done an amazing job with it. Of course, he knows the songs. We have an understanding. Wayne and I can read each other’s minds. We hold a great mutual respect for each other and the decisions we make. Wayne’s involved with that studio in Nottingham and we also had time on our side this time too. There was no rush to get the album done in ten days. We’d go in the direction we felt it was right to go. We’d try new things. We would record a whole song and if we weren’t happy with it we’d do it again. It helped to develop the sound, to give it the sound that it’s got.

Did you burn the midnight oil?

We didn’t do any twenty-four hour shifts. We felt that would have been counter-productive like that. We’d get in at nine and work through until nine, and longer occasionally, but we did try to avoid that as we didn’t want to get in a place where it wouldn’t allow creativity. We didn’t want to do it tired, certainly not too tired; especially when it comes to vocals. There was one night when we were up to really early, five or six in the morning, and we thought it was sounding good, until we played it back the next day. It ended up that we rerecorded every harmony. Lesson learnt.

Did you put down more tracks than those that ended up on the album?

I’d written a lot of the songs before we went in. In fact, before we did any recording I had it all on my iphone. We recorded little bits, and of me singing little bits, and so every song grew through that process. So, we narrowed it down as we grew it if that makes sense. We picked the twelve songs from that. Because of the time frame we were working too and because we were really being quite specific with the songs, we knew we were recording the twelve best that we could get.

How is the order of tracks realised?

We kept on changing around the order. It’s funny as I tend to listen to albums on a shuffle anyway. I’ll listen one to twelve and then put it on shuffle as I like not to know what’s coming up next; but we did spend a long time doing the track order!

And you have a new bass player, Scott Barnes?

Yeah, he’s on the album. He’s fantastic. He’s learned the parts and plays them amazingly. Wayne and I think he has the potential to be something amazing. He has a great stage presence. He can play before the beat, after the beat and he knows where to play. It’s in his character; he’s sure and confidant and that goes through his instrument. He’s got a great high voice too and that helps the harmonies. Wayne used to do those high ones but it’s more natural for Scott. Wow, he’s a great addition to the band.

There are whispers about a special guest?

We have two! We have Paul Jones guesting on harmonica on the final track ‘Solid Ground’, and on one of the two covers, Nikka Costa’s ‘Like a Feather’, I’ve got Dani Wilde come in to sing with me. I’m a massive fan of Dani. I’m so appreciative of their time with us. We were explaining the song to Paul and he’s just fantastic, he just nailed it in two or three takes for each piece. And Dani is such a natural. She was done nice and quick as well.

Does Thomas Ruf still get involved?

Oh yeah, he does. He heard the album not long ago. He loves to get involved with his artists. He commands respect for that. He’s been so supportive of this album; it means the world to me. He, of all people, has seen me grow as a performer, and I’m pleased that he seems very excited to get this album out. I’m excited too. I do feel that I’ve developed and do have something to say.

Do you keep in touch with the Ruf stable-mates?

Occasionally I speak to Sam Fish. And I have a special bond with Dani. We’re fans of each other’s music. We got signed around the same time. And we try to get it out there. Dani is the greatest singer. She’s a kind hearted woman too. She goes to Kenya to help those kids and educate them with the music. She’s just so genuine.

You did your own charity thing too?

Yeah, it’s called ‘Strings For A Cure’. I send my guitar strings away and this lady makes them into jewellery. She sells them and gives a percentage to breast cancer. They look great too. She just takes the strings. We can’t sell them at gigs though as she lives over the other side, and it’s more cost effective to leave it to her to do. She sells them all the time; we gave her a lot of strings!

How does it feel to get so many awards, a hatful in 2010 and more in 2011?

It’s amazing. I mean especially for the ones we got; album of the year was a shock. We want people to

come to gigs and think it is a fantastic show so to get the vote for band of the year too... well, last year was a great year.

And it’s by no means a no-brainer, with respect; you’ve got the likes of Ian Siegal and Matt Schofield pumping for the same thing. They’re amazing people. I like their work. Listen, it was shock, totally a shock. They’re discovered artists too whereas I’m still searching and developing. I’ve learnt so much with this album and now, I’m ready for the next album. We’ve got a different way we want to approach the next album and look forward to that as well. It was exciting to get that sort of accolade and means the world to me although, you know, I’m happy just playing. If people want to come to the shows, enjoy it, have a good night, then that says everything to me as well.

You’re just back from America and Canada, what did you get up to?

First time out there we did a lot of festivals; massive ones in Canada. We even played the Ottawa one where the stage collapsed. We were on the same stage but two days earlier. Then we went to the New York side of America and did a lot of showcases. Oh, we played in Bethesda; that was The Mansion at Strathmore. It was a festival thing too. And the great thing is we’re beginning to get a following there now. It’s a whole new world for us; and a big one. We played at B.B. King’s twice now and that’s an amazing club. We supported Johnny Winter on our last trip. He was in top form and played a great show. I saw him a few years ago and he’s playing has changed again. He’s become a stronger person again.

From playing with Blues Caravan, and New Generation, to taking centre stage, you must have had to modify your set times accordingly?

It does depend on the venue. Sometimes it’s ninety minutes, but for some of the American venues they wanted two seventy-five minute sets. I am more of a fan of doing an hour and a half. I don’t want people to get tired! I like the feeling that people want to see more, and with two and a half hours you get to see plenty. I mean, I’m happy playing as long as needed. I think an hour and a half gets the best of our performance out there.

Your UK tour includes a sweet selection of on-the-rise supporting acts from Mitch Laddie to Dana Fuchs.

Yeah, I played with Dana first in Germany. Fantastic, she’s got a Janis Joplin vibe. And Mitch is a phenomenal technical guitar player.

What about touring Mainland Europe?

We’ve developed a following in Germany and it is definitely a good country to play in. There’s an enthusiastic crowd over there. Every time we go the audiences are getting bigger. It’s funny, there was one venue that we were all dreading and not looking forward to because it was a Sunday night and we thought no-one would come. Ha ha, and it was sold out with three hundred and fifty squeezed in. We’d been filmed at a festival in Germany and the whole show was broadcast so that really helped giving us a good plug in Germany.

Blues Matters may claim to have discovered you?

Oh, I would agree. They really helped me out when I was first heading out. One of those first interviews had you citing Chris Cain and Sean Costello as influences on your work.

Well, with my song-writing changing then I’ve started to listen to more too but Chris Cain is still my favourite guitar player. I’ve a huge fan of Sean Costello and always will be. As a songwriter, guitar player and singer he has been a huge influence. The song that Paul Jones guests on is homage to him. He inspires me to be more aware of my songwriting and singing. His loss has been devastating. Rest in peace. He could have gone so far with it all. I do my bit. I plug him on Facebook and make sure people who haven’t heard him go and seek him out. I’m a big fan of The Black Keys. And on this new album we have Brian Lacey mastering it. Brian did The Black Keys new album “El Camino”. I think their studio albums are amazing. They’re a great cross-over band. They’ve pushed the Blues genre and done something completely unique. And to have the guy who masters

their albums master ours, well, it’s made such a difference to the sound. It’s hard to explain what I mean; it just sounds more albumy. It sounds complete, every song links with the next in a way. He helped us use the right things. To record the vocals on the album we used a U47, which is a twelve thousand pound large diaphragm microphone. Sinatra used one. John Mayall too. We were trying to get something that was really big. It really makes songs, like the other cover, Donny Hathaway’s ‘I Love You More Than You’ll Ever Know’, sound intimate and deep. For every song we tried different microphones and every time we did a new song we’d make sure we used the right microphone. And every time in the microphone shootout, the U47 won!

You also seem to like spend money on living up to the reputation of being the smart dressed man of the Blues? (laughs) Yeah, it’s always something I’ve gone out with. I don’t know whether it has been my call or whether I’ve been told to do it. When I went to America a long time ago with Blinddog Smokin’, he said that I should make sure I looked good on stage. I have gone on stage with jeans and t-shirt – we did it recently at a jam night – and it felt like we were only putting on half a show. It was weird, it just didn’t feel right. If I was just doing jeans and a t-shirt then I’d know now that I would have to wear something else, like a ridiculous hat. I like wearing the suits and I like feeling smart on stage. For the next tour we’re working on the image and tidying it up even more; maybe monochrome.

The other sharp dressed man, Joe Bonamassa, is also cropping up in all sorts of projects. Do you get the chance to be sidetracked to guest elsewhere?

He is working so hard. Yes, I do, and it’s a complete coincidence. We’ve been approached by Cleopatra Records who are doing a compilation album about The Black Keys, and they’ve asked me to do a track on it. I’m doing it! And it’s one of my favourite songs too, ‘Next Girl’ from the “Brothers” album. Hey, I’m very happy. I just like playing. This new album has definitely honed in my focus on what I should be doing. We’re making things more relevant too. That’s hard to explain but I do feel this album delivers what I’m trying to say.

Featuring Gretchen Peters, Tom Moriarty, David Olney, Lisbee Stainton, Bap Kennedy and

It’s a little known fact that Argentina means ‘Land of Silver,’ but in the hearts of 4 ambitious musicians from Santa Fe, it means ‘Land of Blues.’ In 1999 hard driving drummer Rubén Tissembaum formed the band Mo’ Blues hoping to introduce blues music to a new audience in Argentina. He carefully assembled the band with most talented musicians he knew, who also shared his passion for the blues. Sebastián Casis, who learned to play bass listening to 70’s classic Rock and Blues, was asked to join the band on bass and vocals. Fede Teiler, whose style is reminiscent of Albert Collins and Albert King, was brought in on guitar and vocals. Gabi de Pedro, who was a recognized tango pianist, brought Latin and jazz licks into the mix. Mo’ Blues was ready to become one of Argentina’s finest high-energy Blues/Rock bands.

Mo’ Blues knows the blues. They’ve studied the genre and have put their own distinct spin on the blues with an Argentinean flavour. They combine Spanish and English in their version of the blues and deliver tremendous musicianship across the entire band. Each member truly adds value to the group, which separates them from many other bands.

Rhythm & Blues music had gained popularity in Argentina in the late 50’s with artists like Elvis Presley and Bill Haley who toured Argentina in 1958. But it was the underground music scene of the mid-60’s where the most influential figures of early Argentine blues and rock would emerge that would set the stage for Argentina to become an important rock producing nation.

“When I was 8 years old I started listening to rock bands that where happening in the 70’s. Later on, I discover which guys my idols listened to so I went down the timeline and discovered Cream, Willie Dixon, Muddy Waters, BB King and many more. It wasn’t easy to find those records in Argentina at that time.” recalls Sebastián Casis.

The band would soon realize it wouldn’t be easy to find a break in the US market either. Mo’ Blues had been touring the US twice a year since 2000, steadily building a loyal fan base. The Birmingham Blues Society was the first blues society to recognize the band’s talent and brought Mo’ Blues into Alabama in

2007 where they have become a staple on the circuit. Later that year they participated in the International Blues Challenge. They were invited to the IBC again in 2009. But the turning point for Mo’ Blues wasn’t a showcase or gig, but an impromptu performance at the famous Earnestine & Hazel’s Bar & Grill in Memphis in 2009. Gabi de Pedro noticed a piano sitting quietly in the corner of the bar and strolled over and began to play. One by one his band mates joined in, lending their voices to classic blues tunes.

They sang in Spanish with their unique infusion of South American flavour and captivated the entire room. Several key industry people happened to be there, including, concert promoter Ted Boomer who was sold on the band and became an early supporter, convinced that Mo’ Blues was something extraordinarily special.

“They take an American art form and mix it with a South American flavour and in the process they create something that is uniquely their own.” says Arnie Goodman, President of the label. Mo’ Blues is the first and still the only Argentinean Blues band touring in the US, twice a year for over a decade. Over the years they have performed with great musicians like Bob Margolin, Deacon Jones, Bobby Rush and Bertha Blades from Joe Louis Walker’s band.

For the band that melds two major cultures, there seem to be no barriers to stop Mo’ Blues from delivering their special blend of high-energy blues/rock. As audiences continue to be enthralled by this talented Argentinean band, the old idiom that music is the universal language is proven true once again. http://www.moblues.com.ar

Discography

2011 DVD - DEACON JONES & MO’ BLUES - Los Guapos Tour

2010 CD - MO’ BLUES

2008 CD/DVD - VIVO EN SANTA FE LIVE

2005 CD - COMBUSTIÓN ESPONTANEA

LARRY GARNER BLUESFORSALE

With ten CDs to his credit and thousands of blues miles travelled, Larry is no doubt one of the top contemporary bluesmen of this era. “Blues For Sale” proves that he is still in contact with the world and has his finger on the pulse of the people. With this new record, Larry still exemplifies what a true bluesman is all about and in this high tech overproduced blues world that we live in Larry has managed to find that happy medium once again!

ROB TOGNONI

ENERGY RED

From Tasmania, Australia, Rob Tognoni delivers a 100% powerfully charged experience with every performance. After 30 years his explosive guitar playing and unique songs are now being compared with the greats of his genre. Here is the Rob’s new studio CD : “Energy Red” which contains 9original tracks, as well as 4 covers from The Marshall Tucker Band, Crowded House, Rolling Stones and Chain. A real boogie-rock oriented record, full of ideas and inventiveness!

DAVE ARCARI

NOBODY’S FOOL

Slide guitarist & songwriter Dave Arcari’s alt. blues sounds owe as much to trash country, punk and rockabilly as they do pre-war Delta blues. Nobody’s Fool was recorded in Glasgow, Scotland and Helsinki, Finland. As well as Arcari’s trademark National slide guitar playing and original material, Nobody’s Fool presents another side of Arcari with ‘normal’ guitar and some material from key traditional, geographic and musical influences.

NICO WAYNE TOUSSAINT LONELYNUMBER

Nico is bouncing back in a dazzling way towards a dynamic and groovy blues, at times even sticky with Rock and Louisiana influences. Guy Davis, Rod Piazza, Monster Mike Welch and David Maxwell invited themselves to the pagan celebration...!

“Lonely Number is the record I have always wanted to do, areal blues album where originality takes over tradition with the consent and the support of the masters and the peers.”

Nico Wayne Toussaint

DFGCD8725

DFGCD8724

Clare was featured in Blues Matters! last year Lars has taken time out to catch up with her to see what she has been doing since then.

BM: You have a new album coming out in March, how has your music moved on?

CF: The new album sees me focusing very firmly on the blues. I’ve been working hard on bringing musical influences from outside the genre which means that there are influences from rock, country and metal as much as blues. For me it makes the music more interesting. You say you are bringing other influences in, how have you done that?

I have broken away from the standard blues format in several ways. I love choruses so I have included those on several songs. I also write about things that are real and modern and about the things I think about, they are more akin to someone like Alanis Morissette than Robert Johnson! The band wanted to try some unusual time signatures so Creepy has bars of 4/4 then bars of 7/8; it makes the track feel just a little bit more weird, and creepy! So who has influenced you in this direction?

I’m always listening to a huge variety of artists. Derek Trucks has been constantly in my car stereo this last year. I’ve also been listening to Nickelback, Taylor Swift and Aerosmith. Not a standard collection of blues artists by any stretch but these are the sorts of people that influence me as well as the other blues guys of course.

All your songs are about real life, tell me more…

I believe that I can only talk as an artist and a person about things that I know and understand. It makes my songs honest. I have the same experiences as most other people and guess it helps to make my songs

Year after update

easy to relate to. If something makes me sad, worries me or makes me smile, I’ll write about it- for me its exploring my own thoughts and feelings as much as writing the songs. Do you have a favourite song on the new album and why?

All the songs are very personal but the song that moves me the most is ‘Small Miracles’ which is about the pain of seeing my friend and her struggle to have a baby and how elated I was when it finally happened for her. When I play it, the hairs on my arms stand up and I’ve had people come up to me in the middle of my set to tell me that they love that song and even to show me pictures of their own babies! It’s a straight from the heart song. I also love ‘Scars’ and ‘Creepy’ both of which have great riffs and the lyrics were fun to write.

The last year has been amazing, what have been the highlights?

Blimey, there have been so many great things that have happened. Having Funky Mama’s Kitchen Blues in the British Blues Awards was a big thing for me, as was winning the WRC Award for the Best Acoustic Performance of 2011. I also got to play at some fantastic venues and meet some wonderful people.

Do you use the same band live as you do recording? Yes, the guys in my band work really hard on my music and I do all the band gigs and recording with them. Pete Hedley (drums) played on my first album ‘Be Who You Are’ and Dave Evans (Bass) and Matt Allen (2nd Guitar) have been with me since before the ‘How It Is EP’. My songs are really structured and working with new people would be difficult and besides, I really like my band, there’s a cool magic there. I also do a fair amount of solo acoustic gigs which I am really enjoying too. Playing with the band is a real highlight for me but I love the intimacy of the solo acoustic gigs and I am taking these much further afield now, I’m even going over to Belgium to do a few dates in April which is the first time I’ve done that. I’m really looking forward to that.

So, what does 2012 hold for you?

I’ve got some fantastic gigs coming up and some lovely festivals too. I’m also, as always, very busy writing new material for future albums.

What do you do when you’re not writing music or on the road?

I love to be at home with my husband and children. They are the most important things in my life and my music is the icing on the cake. We do stuff that all families do like cuddle up and watch DVDs or go for walks. The kids think it’s really cool that I’m a musician and Dave (my husband) is very supportive, so whenever I need to go somewhere I can always go. I’m so lucky. I like to read, go to the gym but I don’t really have a hobby as such- I view song writing as my hobby, it’s all I ever actually want to do when I have time to myself.

RHYTHM ZOO

Rhythm Zoo are rapidly gaining a solid reputation within the UK blues music scene and as their reputation continues to grow, 2011 has seen the band booked for many of the UK’s blues festivals this year including Maryport, Limetree, Colne, Swanage and headlining at Orkney Blues Festival in September . The band use a great blend of originals and standards and refuse to be bound by any one style. Their recently released CD, features original material, including the title track ‘Crazy Kitten Blues’.

Ashwyn Smyth tipped the band as ‘one to watch’ in 2011, when he played the CD on his Digital Blues show on Gateway fm back in January this year.

Rhythm Zoo is fronted by Andi Jones, on lead vocals, who has a reputation for forging a bond with her audience, using her own individual style and identity, drawing influences from the likes of Etta James, Big Mamma Thornton, Reba Russell and Janis Joplin.

Lead guitarist Carl Smith, brings a totally unique sound to the line -up that enhances and compliments the rest of the band, his 30 years of experience in the industry shining through with absolute class solos. Sax man Jon Sanderson, has previously played with the likes of Irma Thomas, Wilson Picket and Screaming Jay Hawkins, with Irma Thomas once describing John as having a ‘real feel for the blues’. This year saw John nominated in the Best Instrumentalist category in the British Blues Awards.

The Zoo rhythm section is solid and the back bone of the band with Dermot Hall on drums and backing vocals. Early exposure to bands such as Groundhogs, Free and Rory Gallagher proved massively influential to him. Dermot’s the traveller in the band and complete with his drum kit, has been around the world a few times! Completing the line- up is Dave Wilmore on bass guitar whose rock steady playing adds to the solidity of the rhythm section. Dave is well respected, with his work taking him to all corners of the UK and abroad. www.rhythm-zoo.com

LINCOLN DURHAM

He’s an intense-looking young man with an old bastardized Gibson acoustic, worn-out trousers, suspenders and a crop of long, wavy hair. But there is something in his eyes, something that suggests he knows something most people don’t, the eyes of an old soul. The soul of an old bluesman, withered, weathered, worn but primed and ready to burst out of this young man and preach the news of some new kind of depraved music. Lincoln started his musical roller coaster ride at the age of 4 when he began sawing on a fiddle and eventually becoming an accomplished player around Texas, Arkansas and Oklahoma. He won the Texas State Youth Fiddle Championship by the age of 10. Lincoln had afterward followed the path so many musicians have, finding his voice in the seductive, siren-like callings of the electric guitar. Or really acoustic slide guitar with gnarly pickups screwed into it.

At 2 years old his dad used to listen to Willie Nelson’s ‘Red Headed Stranger’ while Lincoln sat on top of his favorite classical guitar. Eventually learning tunes by the likes of Waylon, Willie and Mr. Cash. From there, again influenced by his father, he began to dig the blues. At first Stevie Ray Vaughn and other likely cats, but he wanted to know who their influences were. That traced back

to Jimmy Page and Jimi Hendrix, etc. But he kept digging. Eventually he made his way to Son House, Fred McDowell, Sam Hopkins working backwards through the decades until he found a music that was so real and honest that he had to stop and appreciate. From these roots is where he began to grow his own musical existence. Finding him both, musically and personally; evolving, devolving and honing his craft to ‘The Shovel vs. The Howling Bones’. The debut record is an album of self-destruction. “It is my agony put into words and music via 11 songs,” Lincoln explains. “It is the story of building dreams and tearing down those dreams all in the same moment. I am both the shovel and the howling bones. It is my existence.”

As a live act, Lincoln Durham simply owns the stage! “He is a raw, floor-stomping roots-rock revivalist.” Equipped with old, makeshift 1950s amps, resonators, fiddles, harmonicas, tin can microphones, slides, stomp boards and whatever else he can find, Lincoln gives birth to a sound that transcends genres. His dark, poetic and raw writing style is reminiscent of his mentor R.W. Hubbard, telling tales that Poe would have been proud of. His guitar work is like a locomotive pumping and driving the runaway train that is Lincoln Durham and his music. Make no mistake, it takes something beautifully “off” to get up on stage with just hands and feet for a band driven by an amazing voice to perform some of the most solid music I’ve heard in a long time. Music that harkens back to the old blues masters, Son House and Fred McDowell, infused with the likes of Tom Waits and Ray Wylie Hubbard himself. Lincoln Durham’s passion seems to know no bounds. He has taken the roots of the blues and bluegrass and has carried them to a new place. Intelligent lyrics, strong musicianship, and a seriously infectious vocal style that slays – he’s rolled them all together into a perfectly dark package that can only be called Lincoln Durham.

CRY BABY AND THE HOOCHIE COOCHIE BOYS

In 2008, Mr. G (Graham Sells) walked into the bar to the sound of wailing harmonica tones cutting across the blues outfit that was covering a number of Rory Gallagher songs. The bar was in the Potteries area (Stoke-On-Trent), the harmonica player was Rob Wilkinson aka ‘The Cry Baby’, a discussion between the two ensued and a common interest in blues music sparked the birth of Cry Baby and The Hoochie Coochie Boys. Through a number of connections in the area the band started to form, Vince Cutcliffe (guitar) brought his experience from different blues bands as well as his time with 70/80’s alternative rock band The Transmitters, Trevor Pinson on bass (The White Lightning Blues Band) and Andy Carr on drums (Kickin’ n Screamin’) formed the rhythm section. The band soon cut an EP for demo purposes and as a means to get gigs. The EP was titled ‘Salt Glazed Blues’ and as well as landing the band gigs in local venues, it also picked up a couple of awards from across the pond.

The band started to pick up some UK festival spots in 2010 and also started making appearances at a number of Blues Clubs and it was at a club called ‘The Crossroads Blues Club’ in Birmingham where they were introduced to Freddie Pirotta. Freddie, a regular of the Birmingham Blues and Jazz scene, quickly became a Hoochie Coochie Boy and joined the band on keyboards. During 2011 the band finished writing and recording their first album, which was recorded at Tremelo Studios in Newcastle Under Lyme. The album titled ‘Sweet Thing’, includes original numbers that showcases the depth and variety of blues that the band covers. The song writing on many of the tracks has been inspired from Mr. G’s trips to Louisiana, Mississippi & Chicago, retracing the roots of the blues, equally the sounds the band offer up are heavily influenced from the British rhythm and blues scene, with suggestions of Dr Feelgood and Nine Below Zero sprinkled across the album. Released in November 2011 the album has been well received, again winning an award from a Canadian blues organisation, Blues Underground Network for ‘Debut Blues CD – UK 2011’

Through a collective affection / devotion to the blues the band has developed a friendship and a bond that has in the bands mantra enabled them to ‘Blues Ya ‘til We Lose Ya.

proper Blues

Bonnie Raitt

Slipstream

Proper Records

Slipstream marks Bonnie Raitt’s first new album in seven years and is daring, bluesy, and steeped with the inimitable slide guitar and soulful vocals that could only be hers

Danny Bryant’s Redeyeband

Night Life - Live in Holland

Jazzhaus Records

Ask Danny Bryant about the events of September 17th, 2011 and he says “I feed off the crowd and if they’re good, it makes the gig.” Available on CD and DVD

April Tour Dates

06 - Blakeney, Harbour Rooms 07 - Pontypool, Borough Blues Club 26 - Essex, New Crawdaddy @ The Belvedere 27 - Derby, The Flowerpot 28 - Stockton on Tees Cleveland, Sedgefield Rock and Blues Club 29 - Ferryhill Station, Co. Durham, Mainsforth Community Centre

Janiva Magness - Stronger For It

Alligator Records

A blues star quickly crossing over to a larger audience with multiple awards to show for it. Janiva Magness sings her heart out on some great material from Tom Waits, Shelby Lynne, Matthew Sweet, Grace Potter and more

For more information, news, competitions

Dawson Smith - Took The Night

Annson Records

Recorded with his crack road band, The Dissenters and a host of special guests, expect bar room rock and roll, deep blues and top notch Americana

Bluesmix - Flat Nine

Bluedust Records

The standout third release from critically acclaimed band BluesMix, blends vintage funk sounds with authentic soulful blues producing a truly original album

Eamonn McCormack - Heal My Faith

In Akustik Records

It is said that in hard economic times the sales of comfort goods such as sweets and candy actually go up. Maybe myth or cliché, it makes Eamonn McCormack’s new album Heal My Faith is as sweet as a bar of pure dark chocolate

Dani Wilde - Juice Me Up

Ruf Records

One of the leading lights in contemporary British blues, Dani Wilde returns with a release full of meticulously arranged soul, funk and southern grooves

Heritage Blues Orchestra - And Still I Rise

Raisin Music

With a distinctly contemporary and adventurous vision, the Heritage Blues Orchestra give us bold brassy sounds from New Orleans as well as modern jazz horn sounds and a heavy back beat

Mud Morganfield - Son Of The Seventh Son

Severn Records

The first national release by the eldest son of Muddy Waters, Mud Morganfield proves to be a chip off the old block with a powerful 12 song set of mostly original tunes in the classic Chicago blues style

Erja Lyytinen - Songs From The Road

Ruf Records

This cd/dvd set from Erja Lyytinen is the newest entry in Ruf Records’ award-winning Songs from the Road series. Her songs skillfully blend slide guitar-driven, down-home blues with elements of rock, pop, jazz and soul

and much more visit www.propergandaonline.co.uk and much more visit www.propergandaonline.co.uk

Part 1 by Dave Stone

Leo Fender designed the Telecaster and the Stratocaster to be easy to build and to repair, he probably didn’t realise that this would also make them easy to customise! Of all the guitars in the world, the Strat must be the most copied, altered and modded. Fender have long ago realised this however and over the years have brought out many alternative versions, but it was only quite recently that they launched what they call the Pawnshop guitars, being models that Fender never made, but over the years have become popular hot rodded changes. Built in Mexico they retail for around £500. I decided to see if it was possible to come up with yet another take on the theme and by acquiring all of the bits on eBay, to build a decent and unique guitar for less than £200?

First stop, the computer, and over the course of a couple of weeks, I managed to bid for and acquire the following;

Fiesta Red Strat body ( copy, not an original)£20.00

Telecaster neck - £16.00

Assorted gold hardware, tuners and bridge£32.00

White Pearl scratchplate (new) - £12.00

That left me with the need for a set of decent pickups, control knobs, pots etc for under £120 if I was to meet myself imposed budget.

I turned to the classified ads in Guitarist magazine, looking for a set of Texas Specials, and almost missed the ad for “Burns Brian May Trisonic pickups, unused, still in box £50” I realised that a set of Texas specials fitted to a Strat with a Tele neck wouldn’t be particularly unique, but I was damned sure that these would do the trick!

Knowing how good these are in Burns guitars, I lost no time in acquiring them too. It was now time to lay it all out and see what was still needed, and to get an idea of the scale of the job in hand. First off, the body although accurate in dimensions, was definitely not from the US of A and had obviously seen at least two different scratchplates fitted to it. Apart from that however, it was generally in pretty good nick and just needed a damned good clean and the various screw holes filled in and sanded smooth. Next up, the neck, a very good copy of a genuine Fender Telecaster neck, apparently accurate in dimensions and actually bearing a Fender US logo, all maple and quite nicely figured with the frets all still in good nick, so no problems there. The white pearloid scratchplate was still in its packaging, and although once again, it wasn’t a genuine Fender part, it was definitely correct in its dimensions and looked terrific against the red body.

http://www.bluecats.co.uk/

The gold plated hardware was brand new, but purchased from E Bay at less than one would normally expect to buy retail. Chinese kit, but none the worse for that. This included the jack socket, Bridge, strap buttons and machine heads, but didn’t include the neck plate and holding screws, so they need to go on the shopping list. Those sharp eyed ones amongst you will see from the photo that the machine heads are set at the wrong angle, coming out parallel with each other, rather than at right angles to the headstock, that was a basic error on my part, as I was fixing them from the back and hadn’t realised that they were in the wrong place, but hey, this is a unique guitar after all, so why follow the crowd.

I have a large spares box which is full of assorted screws, nuts, washers, old pickups, switches, tone and volume pots etc., so I was certain that I wouldn’t have to buy anything more . So let’s see about putting it all together. And that is where it all started to go wrong!

Simon McBride

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 3 - Beverly “Guitar” Watkins; Rescued, Restored and Real “She was prowling the sidewalk like Jimi Hendrix” proclaimed Tim Duffy, “... flailing, playing the guitar behind her head, falling to her knees as if she was performing for a packed concert hall. She was on fire. I couldn’t believe my eyes” (Jacobs 2004). Anyone who plays the guitar in anything other than the way the Good Lord and Bert Weedon prescribed is predictably compared to Hendrix, but this quote has hidden depth past such an obvious comparison. Tim Duffy was talking about Beverley Guitar Watkins. But who is Tim Duffy? Here’s the rub.

Tim Duffy is pretty much a saint actually. He and his wife realised that Blues history was out there, playing on street corners and not finding the rent money. He started the non- profit Music Maker Relief Foundation which you can find here http://www.musicmaker.org/musician_sustenance/. Their raison d’être is a simple one –“After a lifetime of toil, the working poor often find themselves in their “Golden Years” with inadequate resources to maintain even the humblest of lifestyles.” They cite J.C. McCool, an “old time guitarist of Black Mountain, NC” who “just can’t make ends meet with his $400 Social Security check. JC is legally blind and 89 yrs old and can no longer work or perform publicly. The $125 MMRF sends each month allows him to buy his medication and keep up with the electric bill.” The shame that such an organisation should exist at all is something for all to share and equally shameful is that the women who plays her guitar upside down and backwards, 70 years old and still tearing it up, was ever even partly reliant on Music Makers to get by.

At 8, Beverly Watkins acquired a guitar she called “Stella” and on Friday nights she accompanied her Grandfather on his banjo (Provencher 2004). In some rich autobiographical musings for Music Maker, she recalls remembering the music of “Bessie Smith, Ma Rainey, Memphis [Minnie], the bands back then, Louis Jordan, Count Basie...” before showing her true instrumental colours by adamantly suggested that “mostly I liked the guitar players”.

Her first public performance was ‘Blue Suede Shoes’ (Reed 2009); she joined her first band in High School when girls just didn’t do that sort of thing, and her spirit of the unconventional has never abated. “Me and some guys got together and we formed a band,” she recalls, again for Music Maker. “We named it Billy West Stone and the Down Beats. I was like tryin’ to play bass, but what I would do, every song we would do I would tune the first bass string down and run the bass line like that. So we kept that group for around about two years, then I met this drummer, Bobby Tuggle. And he carried me and introduced me to Piano Red... That was around ‘59”.

Meeting Red was a career changing meeting for the young Watkins, very much a solitary woman in a man’s world, years before James Brown had any such ideas. Still in her junior year at Archer High School they formed a band called Piano Red and the Meter-tones. There were hits, then gigs in all the big cities. She opened for Ray Charles and Aretha Franklin and completed her schooling by post (Provencher 2004, Reed 2009).

After some shenanigans about their name, the band hit upon the rather innuendo-laden “Dr. Feelgood, The Interns, and The Nurse, which sounds like the working title of a Carry On film. ‘I Was the Nurse’ suggests Watkins, and you can almost taste the sourness as she adds “I didn’t want to wear the little cap”. She was pragmatic about the experience and her general apprenticeship though; “I was around good musicians back in those days “she says,” and that’s how I really learned to play, you know, correctly”(Reed 2009).

In 1965 the band broke up and a short stint with Eddie Tigner and the Ink Spots followed. But Eddie had a stroke early on, and as Watkins reflects, the realities of life rather displaced rock and roll for while. “I

came back into Atlanta and I stopped playing for a while and started doin’ domestic work, like house cleaning and doin’ office cleanin’ work, workin’ at car washes.” She kept her eye in though – “I never did let my music go. I always found somewhere that I could go out and play” (Reed 2009). As Jacobs muses ruefully, “no one ever said the blues was any way to make a living” (2004).

Enter Tim Duffy and his philanthropy, ready to sure things up for Beverly Guitar Watkins and numerous old time talents who may have been struggling to keep their heads above water. As Provencher (2004) chronicles, her debut album at the age of 60 under the Music Maker banner received a nomination for a W.C Handy Award. It was like opening a floodgate – there have been critically acclaimed others since, including “The Feelings Of…” and in 2007, “Don’t Mess with Miss Watkins”. And she knows what she likes. As she explains on Music Maker, “I would describe [my] style as versatile. Versatile musician. Like I can play all types of music. Now, I don’t like reggae. This rap, I don’t like that... but church, blues, bop, rhythm and blues, calypso, stuff like that... I like that real Lightnin’ Hopkins lowdown blues... I would call that hard classic blues, hard stompin’ blues, you know... railroad smokin’ blues!”.

She is clearly still a live draw, and YouTube enables us to share the experience – treat yourselves. “Inconspicuous in the crowd, save for her black leather britches, the petite Watkins looked more like a sweet grandmother in attendance than the star of the show” wrote Lesemann, reflecting that she “still has plenty of chops....her audience enjoyed it all.” (2010). Juke Joint Jimmy goes further with the assertion that “...she kicks butt. She’s engaging. She’s entertaining. She was born with an umbilical cord to American blues” (Smith 2009).

Inevitably, much is made of the novelty of a matronly lady of advancing years getting down and dirty in a young ‘uns industry. “She shuffled on, an arthritic old lady in her Sunday best “ reports Neil McCormick of the Telegraph, “and (despite having fingers so stiff they barely seemed to move) proceeded to rip out some blazing and soulful blues solos, at one point playing with her guitar balanced on the back of her neck behind her”. Langston suggests that “Watkins could probably pass for a mild-mannered grandmother” but that onstage “she growls and whoops, struts, and mugs for the video camera in a most ungrandmotherly-like manner”. He summarises that “Oh, there were a couple of flubbed notes, but when her hand travels way up the neck for some musical smoke, who begrudges her the odd slip?” (2004).

So much for a story of talent, graft, philanthropy and women in man’s world. Partially due to the vision of a couple of Blues fans who asked why such talent was on the street and not in the auditorium, Beverly Watkins is still cutting it in 2012. All this resonates with what early British Blues pioneers did for American talent working as janitors and sweepers ; then as now, sheer quality will out, and so add to talent, graft, philanthropy with guts, determination, and a sheer will to keep your gander up and to relentlessly move forward whatever. The final world to Watkins herself in Music Maker – “the Lord fixes it like this: whatever He wants you to do and wherever He wants you to go, you gotta be humble and let him carry you where He wants you to be.” Hats off to you Madame, Don’t Mess with Miss Watkins indeed.

References

Jacobs, A. 2004. For blues musicians down on their luck, a savior. The New York Times, 25th March 2004.

Langston, P. 2004. Taj Mahal tunes up for the old-timers. Ottawa Citizen, July 11, 2004.

Lesemann, T. 2010. Beverly ‘Guitar’ Watkins delivered soul and chops. (Online). Available at: http://www.charlestoncitypaper.com/charleston/beverly-guitar-watkins-delivered-soul-and-chops/ Content?oid=1772251 (Accessed 15th January 2012)

Provencher, N. 2004. Ottawa Bluesfest: Delivering a little magic If you want the full birth story of the blues, you gotta get past the traditional views, as Norman Provencher discovers. Ottawa Citizen July 9, 2004

Reed. 2009. At 70, Beverly “Guitar” Watkins is still in business. (Online) Available at : http:// www.charlestoncitypaper.com/charleston/at-70-beverly-guitar-watkins-is-still-in-business/ Content?oid=1198729 (Accessed 7th January 2012).

Smith, S. 2009. Veteran Beverly ‘Guitar’ Watkins remains a fierce performer. (Online) Available at: http:// www.postandcourier.com/news/2009/feb/05/veteran_beverly_guitar_watkins_remains_f70686/ (Accessed 7th January 2012).

FESTIVALFEVER

EVENTS THAT HAVE HELPED SHOWCASE THE BLUES

GREAT BRITISH ROCK AND BLUES WEEKEND at Butlins, Skegness

January 27th - 29th 2012

Blues Matters Stage at Jaks Bar

Chinese New Year weekend, Year of the Dragon; Butlin’s Rock and Blues Weekend, Year of the Girls - and what great girl blues singers we were treated to this weekend, kicked off by the charismatic Helen Turner of Bare Bones Boogie Band as they opened the weekend on the Jaks stage. She drew every eye in the room as she grooved through the set, reminiscent of Janis Joplin in her vocal style and depth. Some sound balance issues (which might well have been the result of a late arrival and hasty sound check) masked the guitar work of Iain Black, with the drums -despite the screen- tending to overpower both guitar riffs and bass lines. A better balance was restored by the fourth song into the set and on ‘Falling For Your Fooling’ we got to hear some fine, lyrical guitar work. Helen’s vocal style relies heavily on the blues feel, sometimes working her voice harder than the lyrics deserve, losing some of the diction and subtlety; ‘Since I’ve Been Loving You’ was powerful, if loud, but ‘I’d Rather Go Blind’, a tribute to the late great Etta James, lost its way for me - this soul-wrenching classic did not fare well at volume 11. Helen has a great blues voice and is an impressive performer, but for me the band needs to vary the tempo on their set list and find more light and shade in the vocals - sometimes less is more.

They say that comparisons are odious but the next band, Maggie Ross and Phoenix Blues, with its identical line-up, unfortunately invited such a comparison, and came out the winner for me. Following their appearance at last year’s jam session, Maggie Ross and her band were invited back this year to perform in their own right. The band is a four piece out of Newcastle, fronted by Maggie, a diminutive blonde with big, throaty vocals, Dave Dodsworth on drums, John Chaytor on bass and Martin Craggs on guitar. With her commanding stage presence, Maggie soon had the audience under her spell, leading the boys through a tight and well-rehearsed set comprising original material and classic covers. Maggie’s wide vocal range is natural and effortless, and her sultry versions of ‘I Put A Spell On You’ and her tribute to Etta James of ‘I Just Wanna Make Love To You’ were sung from the heart and a treat for the audience to relax to after their energetic dancing to ‘Messin’ With The Kid’ At the end of the set Maggie cheekily plugged her debut album ‘Don’t Mess With Me’ a collaboration with the boys from the band resulting in a twelve self-penned tracks. However she didn’t need to plug it that hard as the crowd were up on their feet and queuing to buy it before the echoes of the last chords had faded!!! My vox pop quote: “Brilliant, great varied vocal styles”.

On the Jaks stage the headliners each night have the advantage of playing the only venue open at 12.30am (until 2am) and are assured a good crowd - to keep them there the band has to be good - and Idle Hands were very, very good. Led by their charismatic bare-footed singer, Phil Allen, they took to the stage to a rousing reception and drove into some cracking blues/rock, dynamic and full of energy; from the opening ‘Smell The Funk’ the crowd was in the palm of their far from Idle Hands. With a set largely culled from their ‘Ready For

by Sarah Reeve

Maggie Ross

PhilAllen Helen Turner

Business’ CD this Chesterfieldbased band demonstrated the talent we have on our doorstep. ‘Voodoo Child’ segued into ‘Whole Lotta Love’ as the room swelled to a standing room only crush. Special mention to Jamie Burns (bass), Paul Heyden (drums) and firebrand guitarist Dave Robinson whose work in the closing medley of ‘Oh Well / Bullfrog Blues / Rock n’ Roll’ left us all breathless - this was blues/rock at its very best.

Saturday lunch time is a misnomer at Skegness; most have us have just finished breakfast and then it’s time to head to Jaks for the now traditional jam session led by the brilliant Roadhouse. Pulling in the crowd with a warm-up set featuring each of the three talented girl singers in turn we heard newbie Ria for the first time, eight months with the band and well settled into the vocal team with Suzie B and Mandy G. Four songs, and then the wonderful Gary Boner took charge of calling up all those who wanted to take part in the jam - guitarists, bassists, harp players, vocalists - the queue to sign up stretched across the room and Gary skilfully created groups of complete strangers who played together like old friends. We had some excellent guitar work (I noted Carlos, Gizmo and Alex and a lovely resonator slide player whose name I failed to note, sorry), some tasty and creative vocals (Sue) power blues singing (Tom Jones..no, not that one, much, much better) plus the bonus of three ready formed bands - Break For Cover, Monkeyhangers and Medicine Men who all proved that there are just so many talented amateur musicians out there. For many, this session was the highlight of the weekend, because whether you play for the love or the money, the blues brings everyone together - this was sheer fun and the bar was absolutely rammed at the end - a ‘Jam’ session indeed. My apologies to the other talented jammers whose names I couldn’t get written down in time - you were all great!

Saturday evening opened in Jaks with one of the best acts this year on any of the three stages; after a short intro from her band, Cherry Lee Mewis bounced onto the stage, grabbed the audience by the scruff of the neck, and held them mesmerised for the full set. She is dynamite, parading a voice that covers so many styles from 60’s rock n’ roll, Mississippi blues, to forties swing - this girl has it all and her band is there tight by her side. The first three numbers were segued and left us in no doubt of the entertainment we were in for - because this is a singer who engages us with her eyes, her movement on stage and her brilliant voice, defying us to miss a single word or a single note. Stand-out numbers for me were ‘Wade In The Water’ with shades of Ella Fitzgerald and the fabulous Coco Taylor/Kebmo duet ‘The Man Next Door”. She injected swing into the Robert Johnson classic ‘Red Hot’ and the dancers went into overdrive. ‘Mercedes Benz’ sung better then you’ve ever heard it before and a superb ‘Piece Of My Heart’ brought the house down. My vox pop said “Awesome! Imelda May meets Caro Emerald...”

Cherry Lee is charismatic, bouncy, fun, joyful - she sparkles and she rocks; she has it all - get to see her before she goes stellar, which I have no doubt she will.

Such a hard act to follow with the audience shouting for more - and Moore is what they got.....The Blues Corporation took the stage. Featuring Junior Moore the band launched their set with a classic. ‘John The Revelator’ growled out by Junior Moore with intensity, but with a twist, that being the injection of brother Timmy’s elegant electric guitar as the band took the song into new territory. ‘Resting In The Blues’, a Corporation classic, brought up the first dancers from the audience, before ‘Ain’t Superstitious’ showed that the band

photos of Cherry Lee Mewis & Babajack by Liz Aiken

Cherry Lee Mewis

Babajack

FESTIVAL FEVER

can echo more than one classic, this one especially suiting Junior’s Howlin’ Wolf-like growl and he clearly loves this number, practically hopping across the stage as he sang. The band were in the zone by this stage, and followed up with a ballad which built into a cracking guitar solo, and ‘Sweet Love’, an almost manic, drum-propelled, fiery lust-fuelled song. More variation followed with a funkier number pulling in still more dancers, who were then treated to ‘Sea Of Blues’, a mesmerising poem of a song with the ebbs and flows of sound that the title suggests. ‘Have You Ever Heard Of Bobby Bland?’ was another from the Corporation’s songbook, and typified their core, well-paced, slick sound. The band finished with ‘47 Pontiac’, the band at its best, a driving song with a Bo Diddley jungle beat at its heart. When they finished, it would have been good had there been ’Moore’.

Ian Black

Headliners Steve Roux with his Brass Knuckles Blues Band closed the evening and this is where I have to confess my partiality - this is one of my very favourite bands at the moment. This south-coast outfit just does it for me, kicking and swinging blues with a three piece brass section (Steve Grainger, alto sax; Jon Gooding, tenor sax; Tom Edwards, trumpet) adding the big band sound to the grooving guitar. Within the first few notes of all but a few more down tempo numbers, the dance floor was jumping - it was standing room only in every corner of the room - and very, very few people were standing still - you just have to groove along to this infectious band. Stand out for me were the opener ‘Make Time Count’, the bouncing ‘Satisfy Suzie’ and the soulful ‘Can’t Change The Time’. Steve has a solid rock pedigree (see the interview in this month’s magazine) and the tight collaboration and intuitive unity of this band is evident, having been together some years, Steve (guitar and vocals) Rob Vick on bass and Bernie Fox on drums since 1997. Sadly, the regular keyboard player Josh Phillips (Procul Harem) was absent from this gig and he was missed as the keyboards were just a little muted in the mix but the huge reception of the knowledgeable Skegness crowd left no-one in any doubt that they should be brought back to this stage again. The Jaks stage logo says ‘This Joint Is Jumping!’ and it was never truer. Organisers please note! Absolutely the best band to close the evening and send the punters happy to their beds.

Isn’t it great when you can turn things around to your advantage? The Sunday afternoon acoustic sessions are a favourite at Skegness but this year the editors of the programme mistakenly advertised it as another open mic jam (although this was not what the booked artists had expected) but thanks to Butlin’s amiable stage manager Pete and his crew, the Blues Matters DJs Clive and Andy and the willing participation of Robin Bibi and Roy Metté we were treated to another taste of the talent that is out there in the world of the blues in this country.

Roy Metté opened the afternoon with a beautifully crafted set of acoustic numbers, just the right tempo and feel for the session, a gentle infusion into our tired veins of melodic, articulate music; poignant songs of life and love and loss. No histrionics or gizmos, pure mellow pleasure. There was beautiful 12-string slide work on ‘It’s A Long Way Down’ and we ranged into a more folk-blues groove with ‘Zookeeper’; there were delicate tones on the hollow-bodied electric guitar in his personalised version of ‘Love The One You’re With’ and as my vox pop this time said “Mmm, a touch of Ian Siegal...”When I asked Roy for a set list to help my review, he sweetly replied “Oh, I just make it up as I go along” ... and all I can say is that it worked! Next up in the acoustic session was Robin Bibi, another veteran British bluesman. Robin has played with many of the luminaries of blues/rock, notably Page and Plant. What a treat it was to catch him in more sombre mood in a set that to be honest, gave me the goose bumps! Stand-outs for me were his version of ‘Pride And Joy’ and ‘Judgement Day’ and his audience interaction was second to none, an example to some of the other artists at the festival. His session was well received and I was pleased to be able to see him, for the first time, in acoustic mode. He generously and courteously then allowed two young musicians to join him on stage for the ‘Jam’, namely Alex Butler on acoustic and Robert Brown on resonator. Alex had also shown a little of his potential in the electric jam on Saturday, and here he had a chance to show some more of his talent - this young man is one to watch. Robert Brown’s interpretation of ‘In My Time Of Dying’ was mind-blowing and as Robin Bibi gave him free rein, we had a good look at this fine player. This

session may not have been all guns blazing blues/rock but it raised an ovation from the crowd who loved the change in tempo.

For the first time this year, Jaks stage was opened on the Sunday evening, and despite fears that the headliners on the other stages might steal the crowd, Roadhouse filled the bar, playing this festival for the ninth year and to their friends they are the face of Jaks; one of the UK’s most established blues/rock big stage acts and playing some of the best original material in the UK, they go from strength to strength on the festival circuit and at blues venues throughout the country. No-one is left unaffected by the line-up of the three girl singers, Ria, Suzie and Mandie who dance and weave their way through the set, largely culled from their current excellent ‘Dark Angel’ CD. Gary Boner leads from the front on guitar and vocals with Danny Gwilym and the backline keeping things tight and rocking. Powerful blues lyrics in ‘Preacher Man’ and ‘Swamp Girl’ give the girls all the space they need to showcase their vocal range and it was good to see them more co-ordinated in their choreography this time! Even stepping off the stage to let the band work an instrumental, they had all eyes on them at the side of the stage, still rocking to the music! The 90 minute set flashed past and the house came down, as usual, at the end of a Roadhouse set. And then, something completely different... invited following a set on the acoustic jam last year Babajack showed us that it isn’t always about guitars and drums - this line-up is refreshingly different. Becky Tate accompanies her vocals on African drum, Trev Steger sits quietly producing magical sounds in the early delta blues tradition on his home-made winebox guitar and Marc Miletich completes the outfit on mellow bluesy double bass. Trevor and Marc make every note count and Trevor’s growly vocals are the perfect foil for Bec’s sweet yet powerful, emotional voice. Playing their fusion of blues, folk and roots they have a contained energy which is addictive and Becky’s engagement with the audience drew us into the world of their songs. Stand outs? - got to be ‘Rooster Blues’, ‘Gallows Pole’ and their amazing rendition of ‘Black Betty’; yes, that one. This was my first Babajack gig, and I really hope to catch up with them again very soon - this is the sort of performance you want to see again and again and it was so fresh and attractive. I defy any aficionado of the blues/rock genre not to be impressed with the stage presence of this band. This set list was culled from their CD ‘Exercising Demons’ and a much anticipated follow-up, ‘Rooster’ is due for release in March. Take the time to catch this band live, you will not regret it. I’d like to say we saved the best until last but sadly - I can’t. Understand that Early Mac played last year in the form of Green Mac and that band changes have created the new line-up but they have clearly lost something in the process. This Leeds-based band emulate the great; but fall far short of the mark I’m afraid - not a fan of ‘tribute’ bands anyway, I can’t see how any band can recreate the incomparable sound of Peter Green and his classic band. This set made up of covers taken from the catalogues of several great blues men (including Gary Moore’s ‘Parisienne Walkways’!), disappointed in both quality and energy. There has to be a very good reason for the lead singer to have a folder of lyrics on a music stand in front of him - and even if there is, to turn the page during a guitar break is a crime! It takes more than a hat and a headscarf to take us back to the great man himself - especially as a lot of the Skegness crowd remember PG himself first time around. The band needs to refine their set and produce what it says on the tin...early ‘Mac’. I am sure that they are well received in other settings but at Jaks they were on the same billing as some truly amazing artists and paled in comparison.

Huge congratulations to Alan and the team for a brilliant programme over the three days - feedback suggests that Jaks was the most popular stage, and it’s not hard to see why!

Footnote: what was it with that screen around the drummers?

Every band on Jaks (and some on the Centre and Reds stages) had to play from behind a Perspex screen. I understand that the idea is to mute the drums and assist in balancing the sound but the visual impact is wholly negative - I personally love to see drummers doing their thing and the screen prevented this as it is far from truly transparent; I spoke to some of the artists about this hideous intrusion - a drummer said he felt detached from his band and couldn’t see what they were doing and a singer said that it prevented him from performing as he wanted to, rocking up to his backline. I was also reliably informed that a good sound desk and

MartinCraggs

FESTIVAL FEVER

engineers should be able to bring up the front line sound to balance the drums so PLEASE, Butlins, give that screen the heave-ho next year!

Clive Rawlings, Barbara K, Sarah Reeve GREAT BRITISH ROCK AND BLUES WEEKEND at Butlins, Skegness. January 27th - 29th 2012. The cold east coast has become an annual event for many as Butlin’s Skegness hosts the annual Rock & Blues Festival, over the last weekend in January. Quick glance of the events being held on the three stages, Jaks; Reds and Centre Stage showed that the audiences would be spoilt for choice and all tastes catered for with a mix of established favourites, and up and coming stars of Rock and Blues. John Verity (ex Argent) started the festival off on Centre Stage. This three piece delivered rock licks from the off; delivering twentieth century rock with a mix of high octane numbers and the slower delivery that had definite links with the blues. All the experience of playing live shone through as John Verity played to the crowd who loved every minute. Whilst in Reds young Krissy Matthews delivered a very different sound with his three piece band; blues with attitude that displayed what a potential talent this young man is, delivering strong guitar, at times and the poses were a little predictable as were the guitar breaks. The ever popular Roger Chapman delivered

an accomplished set with all the hallmarks that this straight talking artist is famed for combined with his spectacular showmanship and soaring vibrato. Reds was packed for this performance with established fans and those hearing him for the first time delighted and no-one seemed disconcerted by his trademark swearing that is an integral part of this rock icon’s act. Centre stage was packed to the rafters as they listened with awed amazement to Woodstock veterans, Ten Years After, comprising three of that classic line-up, Chick Churchill, Ric Lee & Leo Lyons are joined by guitarist Joe Gooch. Every well loved favourite was delivered with passion, as Joe Gooch, breathes his own personality onto every number. Headlining Friday saw two young guns of the British circuit going head-to-head, Chantel McGregor introducing her new drummer, Chris Taggart and delighted her many fans in her Blue sparkling evening dress. She showcased her CD and delivered the covers of Hendrix et al the crowds love and have come to expect. There is no doubt the she is the Princess of ‘The Rocking Blues’ and as her stage confidence grows and her repertoire grows she will gain more and more followers – let’s hear unexpected covers such as Lady Gaga! So you really stand out in crowd of three piece bands as your guitar playing soars to ever higher brilliance. Virgil and The Accelerators put on an awesome performance showcasing the original material from their début CD ‘The Radium’. There is no doubt that Virgil is a dynamic, dramatic and devastatingly good guitarist but when combined with his soulful vocals you get a true artist that is in reality mature beyond his years. He is supported by two scintillating musicians his younger brother Gabriel McMahon (Drums) and Jack Timmis (Bass). The crowd was begging for more and given the opportunity this band would have played on and on. The rush at the end for CD’s was all the proof you needed that this young band had wooed the crowds and won them over. What an end to the first evening at Skegness, brilliant start and the rest of the bands will have to live up to the stellar performances of Virgil and Chantel.

Saturday afternoon saw the first act of the day on Centre stage at 12.30 – Steve Rodgers stepped forth to a subdued audience still stunned by the excitement of the night before. Steve Rogers was just the antidote with his delightful voice and easy style of playing the acoustic guitar. With his easy charm and obvious talent he is being compared to the likes of James Buckley and of course his father Paul Rogers! This laid back acoustic set mixed in the Blues, with some gospel and soul and interesting eastern influences as highlighted on ‘Sunshine’. This was a creative set, perfect to kick start Saturday afternoon. What a contrast as Stealer featuring Paul Wright took to Centre Stage with a rock set of well loved covers. The Stumble were a great act to close Saturday afternoon with their distinctive funky blues. Yes, they performed their standards as they introduced their new band member Rob Livesey. As ever Paul Melville led from the front, taking to opportunity to introduce to the appreciative Skeggy crowd ‘Lie To Me’ from their much anticipated

second album due out during 2012. The performance as ever was energetic and the crowds loved to join in whenever they were given a chance, the set finishing with everyone on a high wanting more music. After a break the entertainment on the stages continued with a rock fest on Reds and popular blues on the Centre Stage. Deborah Bonham, diva of the rock circuit got tonight’s rock storm under-way, bringing verve, vitality and a rock pedigree that the crowded stage adored. Deborah, brought skill and freshness to every song that she belted out to the crowd who just got more and more excited as Deborah’s energy poured off the stage. Introducing new songs that will be included on her forthcoming CD due out September 2012; ‘I Need Love’, was a hauntingly, dramatic and emotive rock ballad of all the hurt living without love entails, as ever emotions were running high as she left the stage. Argent followed, delivering what everyone wanted a dramatic prog rock extravaganza, the band were definitely back after a 37 year break, performing their greatest songs. This was a set that brought back many happy memories, the crowds had a collective feeling of well being as their back catalogue spilled across the stage hitting the right note every time. Who could possibly follow this set that had the auditorium buzzing with delight?...

Martin Turner’s Wishbone Ash were just the outfit to achieve the challenge of headlining Reds on Saturday night. Fans were delighted at the quality of performance with Martin’s voice in fine form and superlative inter-play between lead guitarist and Martin. Anyone in the audience hearing this band for the first time must have been blown away by the music; for this was how Wishbone Ash should be heard, and a packed audience was appreciative it was a standing room only sell out start to their 2012 ‘No East Road’ tour that kicked off tonight in Skegness. Leaving the audience spellbound and hyped up as they left the venue on an exhilarated high.

On Centre Stage the music was delighting fans of the blues with Steve Gibbons delivering rock and roll style blues with a country feel that got the crowds dancing from the off, the rhythm section was tight and gave consistent support to Steve’s guitar and vocals. The charismatic front man delivered a skilful set of ‘Americana’ that contained a wide range of musical styles pleasing the Saturday evening crowd at Skegness. His set list was a tour through the greats, Chuck Berry and Carl Perkins were given the Gibbons treatment combined with self-penned songs ‘BSA’ about motorbikes and TT Races on the Isle of Man. Pigeon holing Steve Gibbons band into genre is impossible but his great music that had the crowds eating out of his hands. The Animals and friends featuring John Steel (drums) an original member of the band. The audience was delighted and needed no asking as they willingly belted out the chorus to ‘Don’t Let Me Be Misunderstood’; the music rang out still delighting audiences forty years since many were originally penned. The line-up may have changed and no doubt Eric Burdon is missed but no-one can argue that Pete Barton’s gravelly vocals and superb bass playing delivers the well known songs with panache; ensuring that the essential spirit and sound of the Animals can be heard today. The line-up tonight was minus John Williamson and at times his lovely bluesy guitar playing was missed, but did the audience really care? No! They just wanted to singa-long to favourites including ‘We Got Get Out Of This Place’ was as relevant today as when first sung in the sixties. For the second time in three years the Skegness crowds were delighted to welcome this band back demanding an encore and it just had to be ‘House Of The Rising Sun’. The crowds were truly warmed up with over two thousand festival goers

Giles Robson

wanting more music. The Larry Miller Band, obliged as he strutted onto centre stage following the high octane late Saturday night set to a very overcrowded Jaks Bar last year. Larry took to the big stage with aplomb and set off rocking the blues with ‘Rebekah’. It was great to see this consummate showman on a large stage in front of a massed audience. To anyone looking on it was not easy to decide who was enjoying the occasion most Larry and his band or the audience. The large crowd was feeding from his palm as he belted out firm favourites linking the numbers together with his own brand of wit and repartee. The band who are familiar to many on the blues circuit as part of Storm Warning provided solid backing to Larry’s vocals and energetic guitar playing. Ian Salisbury on keys gives this band an added depth and dimension. It is Larry’s showmanship that stole the show as he demonstrated again and again why this true master is said to fill the void left by the late great Rory Gallagher. As Larry strutted the stage he maintained form and shape and this was an energetic, confident performance delivered to the crowds with love and passion. From Jaks to the big Centre stage was not a leap too far, more a homecoming for Larry Miller and his band. Sunday midday felt like dawn on the last day of this festival, the temperature may have been dropping outside but inside it was still rising. Centre stage saw Bowden & Williamson not the duet that has entertained Skegness Sunday crowd before but a band with addition bass and drums. The mix of songs were from their first acoustic CD given a new band treatment and from their latest CD. What a great start to a Sunday afternoon the crowds were delighted with this chilled out laid-back blues with a definite edge. Giles Robson and the Dirty Aces delivered their own take of dirty blues showcasing their début CD ‘Crooked Heart Of Mine’ this is blues with a hard modern edge making them refreshingly different and very pleasing to the ear. This band definitely is one that gets your feet tapping and dancing along to the strong blues tempo led from the front by Giles Robson (Vocals & Blues Harp), supported by excellent guitar work and rhythm section comprising double bass & drums. The re-working of ‘House Of The Rising Sun’ with the distinctive Dirty Aces signature worked especially well as the original version had been heard from the stage twelve hours earlier. Centre Stage was really swinging and grooving and this band just gets better and better, with Giles voice shinning through with confidence the demand now must be for a follow up CD very soon please! Closing the afternoon session Gerry McAvoy’s Band of Friends, a true tribute to the late great Rory Gallagher. With Gerry McAvoy on bass previously with Nine Below Zero, in this band he is using all the experience he gain playing with Rory for twenty years and appearing on every album. The sound produced was evocative of Rory and this was a tip top crowd pleaser with every Gallagher fan wanting more definitely an act to the raise the temperature before the final session of a festival weekend that had gone all too quickly.

Sunday Evening Reds was buzzing with festival fever as a trio of Rock bands were on offer, getting the final session for this year in Reds was Skinny Molly, This popular Rock group was going to raise the temperature Lynyrd Skynyrd style thanks to Mike Estes their guitarist and vocalist combined with Jay Johnson Ex Blackfoot. They delivered a great mix of numbers from their own ‘No Good Deed’ album, a selection of Blackfoot songs and of course what the crowd had all come to hear, old favourite Skynyrd numbers. This band delivered southern rock of the highest calibre and no-one was left disappointed by the quality of the music they just wanted more. FM have been described as a melodic rock band and they definitely were! This is a band that produces big choruses, lots of melody and crashes of heavy guitar riffs, this band is a mix of sounds with AC/DC and Deep Purple evident. FM are the Kings of the rock ballad with many of them mini epics in their own right. Closing the festival for the Red stage was Crucified Barbara, this quartet of women hail from Sweden and deliver hard rock, which is upbeat, energetic and fast. The audience left feeling energised and ready to rock the night away if only the act had continued to play into the night a real contrast to the head-liner on Centre stage Mud Morganfield you couldn’t get two more different acts at a festival!

Centre stage had their own trio of delight, the adored Hamsters on their goodbye tour as they take up their planned retirement in March. The popularity of this group was demonstrated by the queues that formed

PeteBullick&DeborahBonham

two hours before the doors opened. Hamsterheads were out in force catching the band before they quit the circuit. The set was crammed full of old favourites that they have become famous for whether delivering their own numbers or covering so superbly Hendrix and ZZ Top. Slim and the boys delivered the set with enthusiasm and passion with everyone in the crowd still not quite believing that these stars of many a festival were really going to hang up their musical instruments and settle down into the slower lane of life, though Slim assured us they were all looking forward to life off the road. They left the stage with cheers of genuine affection and a real demand that they should play more. As ever with The Hamsters the set is never long enough. Many in the audience were just as delighted with the penultimate act of this evening Dr Feelgood, crowd participation was always going to an integral part of this set as they played the many loved songs, including ‘Back In The Night’ and ‘Milk And Alcohol’. Tonight they did not disappoint as they delivered their trademark high energy performance; The Centre Stage was alive as people crammed in to watch this act the temperature was certainly rising. All too quickly Mud Morganfield was on the stage the headline and last Centre Stage act for the 2012 festival. This was the blues as he delivered songs from his father’s extensive catalogue supported by class musicians including Ian Jennings (Double Bass); Mike Hellier (Drums) and Simon ‘West’ Weston (Blues Harp). The audience were packed in to listen to a master-class of Chicago based blues, then all too soon the set was over and the lights went down on Skegness 2012.

Skegness Rock and Blues Festival was a sell out and seems to be growing more and more popular, there were times when the scheduling felt a little ‘safe’ as highlighted by the Sunday evening trio of favourites, but they pleased the crowds and very few complaints could be heard, As ever the rockier end of the Blues

Michael Messer Resonator Guitars

With over thirty years experience of playing and collecting resonator guitars behind me, I have been working with a small guitar workshop to create what I believe are the most authentic and playable metal-bodied resonator guitars at a realistic price.

With no frills or unnecessary design features, these are properly built affordable musical instruments for working musicians. Based on original 1930s designs, these guitars are hand-built in a small workshop under my control to my own specifications. I have done everything possible to get an authentic sounding hands at a realistic price.

Each guitar is serial numbered by hand. If Blues Matters! readers would like to ask me questions about MM guitars, please visit the forum on my website.

Shine on

Michael Messer

Michael Messer BLUES (Painted steel body)

Michael Messer LIGHTNING (Nickel-plated brass body)

Louisiana Red playing a Michael Messer LIGHTNING

Larry Miller

FESTIVAL FEVER

was well represented and this represents the size of the audiences and the fact that crowd pleasers are what people are after to cheer up the winter blues at the end of January, and for anyone wanting a smaller more intimate setting there is Blues Matters own Jaks Bar!

The biggest gripe heard was the quality of the sound, especially Centre Stage where the bass was too dominant at times which at times was detrimental to the performances of the acts. Enough of the moans what another brilliant festival and I know many who have already bought tickets for 2013 and counting the days until Butlins, Skegness is once again the Winter home of British Rock & Blues.

Liz Aiken

NEW BRUNSWICK BLUES FESTIVAL 2011

The Big Society is alive and well and residing in the Canadian city of Fredericton. That’s where you’ll find one of the best blues festivals in the world and what makes the event even more special is that it’s almost entirely run by volunteers. I had the great pleasure of attending the 2011 Harvest Jazz And Blues Festival which is held in the capital of the beautiful maritime province of New Brunswick and I was bowled over by how much of a community effort it was. Fredericton has a population of 60,000 and has the same sort of feel as an English market town. For six days in the middle of September each year the city comes alive to the sound some of the best Blues and Jazz on the planet. The latest was New Brunswick’s 21st music extravaganza and speaking to members of the province’s Tourism and Parks department it was the biggest and most successful yet. It would be hard to imagine the festival being able to grow much more at its current downtown location and I didn’t get the feeling from the hard-working organisers that it needs to expand. Quite simply, it’s perfect as it is! It’s not broken so there’s no point in trying to fix it! Only weeks before the festival, the legendary Gregg Allman was forced to pull out due to ill health. That came as a huge blow, but the Harvest team were soon able to line up not one but two suitable replacements. Chicago great Buddy Guy and The Levon Helm Big Band were drafted in and as you might imagine, they provided the festival with two of its most memorable moments. Sadly, I missed Buddy Guy’s opening night appearance but I did arrive on site in time to catch Levon’s magnificent set which featured many of The Band’s finest songs. Those familiar with his Grammy-nominated ‘Ramble At The Ryman’ live CD from 2011 will have known what to expect. Levon’s large group was led by multi-instrumentalist Larry Campbell who along with Levon’s daughter, vocalist and mandolinist Amy Helm, are the main focal point of the show. Levon hasn’t enjoyed good health in recent years which means he’s been forced to cut back on his vocal duties. His drumming remains undiminished and there are few better sounds in rock than Levon Helm laying down his distinctive rhythm. Buddy Guy and Levon Helm had set a very high standard but thankfully Harvest Jazz and Blues had plenty more where they came from. After all, it’s never good to peak too early! The New Brunswick UK Battle Of The Blues winners 24 Pesos were in fine form throughout the festival and copies of their debut CD “Busted Broken And Blue” soon became one of the biggest album sellers on the merchandise stalls. Their funky take on the blues went down an absolute storm in the Mojo Tent where local hero Matt Anderson also starred on the Thursday night. From then on 24 Pesos were a must-see act and soon built up a festival following.

As the weekend approached, the city got even busier and while blues-rocker Warren Haynes had the Budweiser Blues Tent crowd eating out of his hands I was taking in another all-time great Taj Mahal. The Taj Mahal Trio performed at The Playhouse Theatre, situated over the road from The Lord Beaverbrook Hotel where I was lucky enough to stay during my visit. Opening for Taj was a Canadian singer and guitarist by the name of Rick Fines. Earlier in the day I’d witnessed the culmination of his week-long residency at Connaught Street School. An amiable figure, Rick hosted a Friday lunchtime concert featuring the young students he’d been acquainting with the blues. Rick is based in Peterborough, Ontario but regards Fredericton as his second home. Rick Fines hasn’t yet made it over to the UK which is a great pity. His warm stage manner and, most importantly, his skillful playing would go down well with British

Mud Morganfield

audiences so let’s hope it’s not too long before he makes it over to our shores. As good as Rick was, and he was very good, even better was to come in the shape of Taj Mahal. Henry Fredericks, to use his real name, is now 69 years old and sounding better than ever. Having seen him with The Phantom Blues Band I wondered whether fronting a trio he’d still pack his usual punch. I needn’t have worried. Almost effortlessly it seemed he filled the auditorium with his unique growl and his masterful guitar playing. Backing Taj these days are drummer Kester Smith and bassist Bill Rich. In all my 30 years of listening to the blues I don’t think I’ve ever heard a better rhythm section. In fact, I’d go further than that. Kester was absolutely sublime and gave us a master class in shuffle drumming. Thankfully there was no sign of a solo. He simply laid down the beat and from time to time put in little fills that provided the icing on the cake. After a night like that I just had to catch the trio again the following teatime when they opened proceedings in the Blues Tent. The set was similar to the previous nights with the added bonus of a stupendous rendition of Ray Sharpe’s classic ‘Linda Lu’. Later that evening Jonny Lang tore the place apart. Surely things couldn’t get much better! Remarkably they did thanks to Alligator recording artists J J Grey and Mofro. I had the great pleasure of chatting to JJ in his hotel room before the show and he told me of his love of the UK and how he’s looking forward to touring Britain with Jack Bruce in 2012. If I was a performer, I wouldn’t fancy following J.J. Grey on stage. His soul-drenched music is sung and played from the heart and he’s backed by the tightest group you’ll ever hear. As you’ll have gathered, by now I was in blues heaven and struggling to catch everyone I’d love to have seen. In many ways that’s a good problem to have. British blues sensation Oli Brown was one of the acts I didn’t actually see. I did get to meet up with him before the first of two performances and he too was full of praise for the event and how friendly everyone was. I’ve been lucky enough to see Oli on many occasions, including his International Blues Challenge performances in Memphis a few years back which landed him a contract with Ruf Records. I’m pleased to report he wowed New Brunswick as well and a return to Canada later this year must be on the cards.

Oli’s fellow Ruf recording artists Girls With Guitars were also in town and with the UK’s Dani Wilde in their ranks it meant there was a strong British contingent at the festival. That’s something that will surely continue in 2012 and beyond. Harvest Jazz and Blues isn’t just about the main stages. Many pubs in downtown Fredericton get involved. My favourite bar was a place called The Lunar Rogue where rock and roll singer Matchstick Mike was almost a permanent fixture. He and his wonderfully titled band The Chain Smokin’ Altar Boys knocked out numerous blues-tinged sets over three days. The festival closed with a free family show which attracted a big crowd in Officer’s Square overlooking Saint John River. It was a fitting end to another hugely successful event, the biggest of its kind in New Brunswick’s year.

Stephen Foster

THEATRE OF BLUES, Severn Theatre, Shrewsbury Saturday 4th February 2012

On a grey cold Saturday afternoon with the threat of snow the inaugural Theatre of Blues got underway with one of the hottest and original acts on the circuit BabaJack. The innovative percussion from Becky Tate who uses a combination of an African Hand Drum, Djembe and the Cajon (Spanish for box) on which Becky sits with aplomb combines with her great voice with its vibrancy that Trevor Steger on Guitar (including Wine Box Guitars made by Trevor) and Marc Miletitch (Double Bass) build on to create the BabaJack sound. The set is a mix of self penned numbers including strong tracks from their much anticipated third album ‘Rooster’; and their own arrangements of traditional blues from Sleepy John Estes, Blind Willie Johnson et.al. BabaJack manage to conjure the Deep South, traditional music. The use of the African drum also brings deep African rhythms evocative of heat, and raw emotions of slavery taking

Oli Brown with Stephen Foster

FESTIVAL FEVER

the blues back to its roots. The great lyrics, including use of biblical references combined in a way that reminded me of a very early Led Zeppelin. This band has a rootsy style that is drenched in the essence of the blues what a fantastic sound they create. The afternoon was crammed with acts, and next up was a young man from Shrewsbury, ‘Blues Boy Dan’ with his Acoustic guitar, blues harp and a stomp-box made from a shortbread tin covered in fabric! He delivered an accomplished set of well known classics and his voice shone through with a fantastic range accompanied with skilful acoustic guitar playing. This young man is a blues-man in the making and will be heard on the festival circuit very shortly as talent shines through as he includes his own take on these classics. Then a contrast again, Andre and Dermont from Rhythm Zoo, have definitely thought about the sound and tempo as they mixed up the acts, repetition was not going to happen today. Northsyde stormed the stage next full of energy and life as the musicians support Lorna up front the second female lead vocalist if the day. Once again the set was a clever mix of Northsyde favourites such as Allman Brothers, ‘Whipping Post’, ‘Mercy’ and new tracks from their much anticipated album including ‘Rocking Chair’. The surprise of the festival had to be their version of Phil Collins ‘In The Air Tonight’. Northsyde is an accomplished band combining Fothergill’s immense musical talent with Jules silky guitar licks, Lorna’s exceptional voice and a rhythm section, Haydn Doyle (Drums) and Ian Mauricio (Bass), to rank with the best in the business. Northsyde create once again their own distinctive funky blues to wow the audience, the temperature was rising despite the cold outside the Theatre. Last act of the afternoon section was Dave Arcari bring to the stage his punk acoustic blues, bold sound from his National Resonators including his electric resonator. His slide playing is magic and as he leaps around the stage his energetic performance leaves the audience gasping for breath. This Scottish wizard of the blues is a bit like Marmite you either love or hate him and today he made some new fans and the crowd loved the tracks including ‘Devil’s Left Hand’, title track of his latest album and ‘Got Me Electric’. With a short break everyone gathered their thoughts and sat down for a well earned rest and a catch up with the musicians who where all in the foyer all to happy to talk to fans both new and old. Rythym Zoo opened the evening session producing a strong set with the third female lead vocalist Andrea Jones, who added loads of energy despite the stress of being integral in the organising of this exciting new festival. Andrea’s powerful vocals were supported by four strong musicians, a solid rhythm section comprising Dermot (Drums) and Dave (Bass); Carl (Guitar) and John on Flute and Saxophoone making this band just a little bit different. They certainly lived up to their slogan ‘keep it blue, keep it zoo’; this was blues with confidence and animal magnetism. Andrea was witty and warm introducing the numbers with relevant anecdotes great set full of original material and a beautiful cover of Robert Cray’s ‘Playing In The Dirt’. For their encore they invited Blues Boy Dan to join them on the stage, now brandishing an electric guitar for a mini jam – ‘Shake You Money Maker’ demonstrating that his talents stretch beyond the acoustic fitting the band as neatly as a glove. Jon Amor strode onto the stage with the band strutting their stuff, this set upped the tempo for the evening with a selection of numbers off their excellent album. The polished performance showed that all of Jon’s

DaveAcari

catalogue now belongs to The Jon Amor Blues Group, the band members Doherty brothers Chris (Bass) and Dave (Rhythm Guitar) and Si Small (Drums) complimenting each other creating a bluesy sound. ‘Juggernaut’ and ‘Repeat Offender’ from their début album had the festival rocking on their collective feet. Once again a great set at a fast pace with Jon letting the music do the talking and keeping the talking between songs to the minimum. Now with a festival hum around the theatre Big Pete from Netherlands introduced his band, he is a blues harpist with extraordinary talent and a lightness of touch. The set included self-penned numbers, traditional blues all performed with style, probably the most traditional act so far, a pleasant contrast to the more modern blues sounds that had preceded Big Pete. He was anything but staid as he varied the pace of each number from long-drawn out slow blues through to high octane 12 bar-blues that got the dancers dancing and we heard the first drum solo of the day. This was a classy performance from a great band and superlative harpist delivering quality harp-inspired blues with very colourful style of harp playing from Big Pete, embellished by his smooth vocals. All too soon the last act of the day Big Joe Louis and his Blues Kings, including Little George Sueref (Harp) took to the stage. What a sound Big Joe Louis produces, something very special that sets him out from the rest. There is an innate authenticity about his act. He delivered all the favourites you would expect from this accomplished showman including ‘Catfish Blues’ delivered in Big Joe Louis own indomitable style making the song truly his own. The audience were delighted dancing with the great rhythm being offered whether Big Joe Louis renditions of old favourites or his own penned offerings. This band was the icing on the amazing cake of sound that went into making Theatre of Blues such a success. The sound and lighting was fantastic and the brilliant MC Lionel Ross who did a sterling job as last minute MC introducing and thanking the bands. Above all great to see people out supporting and keeping blues music live, that is what it is all about. I am positive that the 2013 Theatre of Blues will be bigger and better if that is possible but on the evidence of this year the standard has been set very high indeed anyway.

Liz Aiken

TORQUAY BLUES FESTIVAL Friday 4th – Sunday 6th November 2011

The inaugural Torquay Blues Festival was kick started by a one man band Mike Whellan he did with style, this as he described himself as ‘a wee man who makes a hell of a noise’. ‘Jammin’ The Blues’ got the festival underway with a tour de force of skills that can only be displayed by a one man band at the top of the game, confident drumming overlaid by skilful guitar playing and the blues harp sung with the addition of vocal percussion. The selection of blues included Leadbelly’s ‘Sweet Mary’, Jack Dupree’s ‘Shim Sham Shimmy’ and Sonny Terry’s ‘Meet Me At The Bottom’ using the microphone for percussive effect and the harp to create train sound effects so evocative of early Blues. Mike produced a lexicon of the Blues a great start to a Blues Festival, that was anything but old fashioned and boring as he layered the big bold sounds, as he entertained the audience from far and wide including USA, Scotland, Brighton, Burnley, Wales & Germany. Will Wilde followed keeping continuity with this blues harp led young band. The festival crowd was treated to a young charismatic harp player Will Wilde, who ‘liberated’ his first harmonica from the kitchen table at a party – and as they say... the rest is history. Will developed quickly a rapport with the audience with his self-penned track ‘Malaria’ from his latest CD ‘Unleashed’ which took its inspiration from a recent trip to Kenya. This is a modern topic – with all the despair so often found in the great blues/harpists of the past that mixture of death/loss and love whilst taking modern blues back to Africa. The added bonus tonight was his sister Dani had stepped in to play guitar supporting his strong rhythm section. This was true modern inventive blues even incorporating Rap creating his own Rap Blues. Will on the harp is the equivalent of a coloratura Soprano in the world of Opera – he played the harp with a rainbow of colours and a palette of textures as demonstrated throughout the set whether covers or original

material. Will produced a superb imaginative set that had the audience all a buzz for the Friday evening headline act of Todd Sharpville. There can be no argument that Todd puts passion, emotion and more than a twist of his own petulant style of blues guitar playing that comes with the inner confidence that you are a great musician who has experienced trials along the way, this is reflected in the music. There is nothing subtle in the opening of this final set of the evening it was full on electric blues with control and considered guitar work delivered on Todd’s unique take on Leonard Cohen’s ‘Bird On A Wire’. The live act demonstrates Todd’s powerful playing as he was ably supported by his fabulous band as he showcased the great tracks from his latest CD “Porchlight” which has been rightly receiving rave reviews. It demonstrates his depth of talent not only as a guitarist but as a singer and powerful songwriter displaying all the emotions of love, grief and family, the highlight of the set was a great cover of Peter Green’s ‘I Need Your Love So Bad’. Todd did not intersperse his high charged playing with anecdotes and tales, he left the talking to his guitar and the lyrics and they communicated to the audience touching the nerve and spreading delight as Will Wilde joined to add a harp to the band. What a great evening to open this fantastic new festival.

Saturday afternoon kicked off with ‘The Untouchables’ who introduced the festival to its first slap bass as the four piece kicked of the afternoon session. This is a difficult slot as it was definitely the case of the morning after the night before, though a brisk walk along the seafront had assisted in clearing the head. It is also strange to be listening to bands more used to playing into the night. This set was a walk through some favourites delivered with style and panache, allowing all the band members to showcase their talents, including Sonny Boy Williamson, ‘Can’t Do It All By Myself’ and Jimmy Rogers, ‘Walking By Myself’. Interspersed were some great self penned blues songs that were personal to the band such as ‘Leave The Light On Baby’, Keith Barker, led the band from the front with great vocals and harp playing, with Peter Ellison on the guitar delivering a great sound filling in and complementing Keith the interplay between them was free-flowing, and relaxed due to the support of the rhythm section of Chuck Green (Bass) and Eddie Butler (Drums).What a great warm up act they did a great job and by the end of the session there was a full dance floor at 2.30pm in the afternoon.

The Baddest Blues Band followed and this six piece was lead by Zoe Schwartz whose vocals were moody but at times lacked the power to really ignite the audience. This band delivered a wide array of covers and not the usual suspects including Bobby Parker’s ‘Blues Get Off Of My Shoulder’, Coco Taylor’s ‘That’s Why I’m Crying’, with the strength of the catalogue of songs they delivered a set that was perfect for mid afternoon on a Saturday with hours of music still around the corner. They were followed by something completely different Son of Dave. Often you hear the word unique this was definitely unique! This is modern cutting edge blues he certainly ain’t tail dragging the past behind him as he sits on the stage in Pyjamas, dressing gown and battered suitcase and don’t forget the hat, he looks vaguely like a travelling salesman who has forgotten to dress. He uses his whole body as an instrument, blowing on the blues harp, the other handshaking a percussive rattle and his foot stomping a wooden percussive board. The music is centre stage as he blends in hip hop, playing drums with his lips and beat

Catfish Keith

Ian Siegal

boxes and then there is the looping via a footpedal creating layers of sound that is relevant to the songs being sung and the tales being told. The audience is engaged wanting for the next percussive sound he is going to create, then his twist on audience participation, no it is not a sing-a-long of a simple chorus this is two members sitting on the stage, provided with wine to drink, an array of percussive instruments and encouraged to be the backing artists for the rest of the set. This is a cutting edge, great use of modern technology, provided a surreal, entertaining and at times odd act as he delivers blues with a quirky and artful twist. I am sure like another famous brand you either love or hate him, for me I was delighted to be entertained and have something totally different and thought provoking at a festival. This is a one-off talent that I personally love. Saturday was building up just fine and dandy and the evening promised to be a delight with two acts; Big Joe Louis and Ian Siegal, with this amount of prodigious talent there was no need for a warm up act, the excitement was enough as the audience excitedly returned to the festival stage. Ian Siegals’ solo act is always larger than life blending his own distinctive take on the blues melding in country, cowboy and rootsy, swampy music to create an atmosphere that fills the auditorium making Ian seem larger than life with all its’ joys and sorrows. The set was string filled with favourites from his vast repertoire of songs opening the set with ‘Silver Spurs’ from his solo CD ‘The Dust’, Ian interspersed the music with anecdotes and quips and he was no apologist for the eclectic mix of songs and styles, a good song is a good song – he is a true troubadour delivering this mix with ‘Mary Don’t Yo Weep’, ‘Dublin Blues’ and old favourite of ‘Ain’t Nobodies Business’ which set off at a gallop through a trusty stable delivered with poise, energy and enthusiasm demonstrating all his singing and guitar playing talent, charisma and a dollop of magic. The room went silent as he performed a faultless rendition of ‘Gallo del Cielo’. The whole set was awesome with an array of his own music and classics the highlight was back to the 1850’s and “the gather of American music”, Stephen Collins Foster, ‘Hard Times Come Again No More’ a (July 4, 1826 – January 13, 1864), known as the “father of American music”, the song contained all the irony as once again we are living through tough economic times! How to follow this! But Michael Cramner the organiser had given this a lot of thought, with a big entrance creating a big sound the perfect foil to the previous acoustic set was Big Joe Louis Band , delivering the blues with vim and vigour and from the off a big bold sound with his superb band comprising, King David (Guitar); Nat Ratford (Double Bass) and Peter Greatorex (Drums) augmenting Big Joe Louis immaculate guitar playing and delicious vocals on blues classics such as Memphis Minnie’s, ‘What The Matter With The Mill’; Sonny Boy Williamson’s ‘My Little Machine’ and ‘Catfish Blues’ delivered in Big Joe Louis own indomitable style making the song truly his own. The audience were delighted dancing with the great rhythm being offered whether Big Joe Louis renditions of old favourites or his own penned offerings including a love song written on a hot afternoon in Spain ‘I Like To Kiss You’; the rapport with the audience was magical and once again Big Joe Louis demonstrates Chicago-style Blues at its very best. The before the schedule jam Ian Siegal joined Big Joe Louis and The Blues Kings with a magical bonus set with Ian on guitar

Son of Dave

FESTIVAL FEVER

FESTIVAL FEVER

and Joe singing and then a swap round, this was free flowing blues at its very best. All too quickly it was Sunday afternoon and the festival had only one more session, Catfish Keith delivered a set that included early bluesman Leadbelly’s ‘On A Monday’, a little bit of gospel ‘True Friend Is Hard To Find’ and the introduction of a brand new 12 string guitar made for Catfish by Ralph Bown, included ‘Boys Were On The Western Plains [When I Was a Cowboy}’ and ‘I Can Holler’. Catfish’s easy going friendly, relaxing style was just the antidote the festival goers needed after the high octane Saturday evening. Catfish delivers a clean clear guitar picking style using picks/slide and his fingers to maximise the beauty of both lyrics and melody. His rendition of Jessie May Hill’s ‘Eagle Bird’ personifies this with its’ shear musicality as his guitar produces notes of bell like clarity evoking birdsong on a clear summers day, he evokes the true soul of the blues uplifting whilst amidst all the adversities that life can throw at people. Catfish combines his mesmerizing skilful guitar playing with his left hand working so hard to produce this gorgeous sound, his voice has power and richness that Catfish uses to achieve the sound that suits the song and can be gentle and charming or have an undercurrent of menace, then he will holler and bellow with a growl. Combined with this easy going charm of a man dressed in a suit that would have been at home in any 1930’s speakeasy whilst at the same time is modern and fresh as a daisy. The next act is at the opposite end of the Blues spectrum, touring the circuit and appearing at many festivals on this their farewell tour. The Hamsters are hanging up their touring boots and settling down much to the disappointment to the many hamsterheads out and about on the circuit. This had the crowds on their feet from the off as they blasted the stage with a mix of ZZ Top,Hendrix and their own numbers delivered in the instantly recognisable style of the band. Slim has with him a selection of guitars, which he uses with considerable talent, style and panache. This is their goodbye tour so they were here to please the crowds and this they most certainly did as favourite after favourite, ‘Purple Haze’, ‘House Of The Rising Sun’, ‘Little Wing’, was delivered and they will continue to as the clock ticks down to their well publicised retirement end March 2012 a mere 25 years after their first rehearsal. Then started the requests from the floor they satisfied many by playing ‘Burn The Church House Down’, Slim admitted long time since they had played it but would give it a go but warned us he could forget the words, but that was never going to happen with this professional group of musicians. Then came some Hamster style acoustic numbers as they turned the volume and pace down to give everyone a breather – this wasn’t Hamster Unplugged but Andy on bass did sit down! It is hard to imagine this group of rockers settling down to retirement but slim assured us they were looking forward to it. The Ben Waters Band was the last band of this superb inaugural Torquay Festival and saw the first Saxophone of the festives. This was definitely a high voltage set that was entertaining with Ben Waters delivering great boogie style piano playing. Soon the floor was alive as everyone was jumpin’ and a jivin’ to the infectious sound being produced each track melded into the next creating a medley of delight. The tempo changed with pure Rock n’ Roll then songs straight from the prohibition/depression era such as ‘I’ve Got An Uncle In Harlem’ and Bob Dylan’s ‘Watching The Rivers Flow’ was simply awesome. Then all too soon the clock was ticking down the minutes until this festival was going to close with a barnstorming collection of songs, ‘Josephine’, ‘Great Balls Of Fire’ and then a Boogie Woogie jamboree of tunes that even had the theme tune to the Dam Busters woven in. what piano playing, brilliant singing and a festival that has to be repeated next year....

Do you enjoy live music?

Do you want to let others know about it?

ToddSharpville

Do you think you could write a piece to promote your favourite venue? Then why not get in touch with the Editor :- editor@bluesmatters.com

Liz Aiken

BABAJACK Rooster KrossBorder Rekords

The much anticipated third album from this amazingly different band will not disappoint, due to be launched in March anyone catching them live will be able to purchase a copy early. BabaJack have managed to capture the vitality and originality of their live show onto this studio album. BabaJack are a trio with the component parts are greater than the sum of the three as they play off each other. The rearrangements on the album, these are not covers but great songs given the BabaJack treatment especially ‘Gallows Pole’. The self-penned tracks are clever combining strong lyrics and the glorious vocals of Becky Tate, and the deep warm tones of the double bass whether played by traditional plucking or using the horsehair bow delivered with French style and panache by Marc Miletitch another layer of sound is introduced by seductive blues guitar playing by Trevor Steger whether using traditional acoustic or self made wine box guitars. The other dimension that cannot be ignores is Becky’s percussive talents on the Cajon (Spanish for box) and Djembe an African hand drum. No track is the same they all strengths and a story to tell, if pushed for a couple that stand out it would have to be ‘Gallows Pole’, ‘Skin and Bone’ and the title track ‘Roosters Blues’. For the purist this may not be Blues, yet the very essence of the blues is found in every track, from instrumentation, lyrics and the use of African beats taking the music back to the homelands of the slaves displaced in America that created our ‘traditional blues’! This is a five star recording and could well be the CD of 2012, why? They have set the standard very high.

BIG PAPA AND THE TCB Dance With The Devil BPTCH

Liz Aiken

This Californian based trio, led by guitarist and singer Chris “Big Papa” Thayer present the duel facets of their musical approach on ‘Dance For The Devil’. Comprising two CDs, the first is an electric recording of their new album; the second is the same collection of songs recorded acoustically. The electric version of ‘Play With Fire’ puts the focus upon Thayer’s slide guitar and distorted vocal lines. The band’s political and

social conscience comes through on ‘No Good Deed Goes Unpunished’ which relates to the struggle of the honest man against the system, and its repetitive chorus is a feature of this album. The diversity of the album is represented from the slide heavy ‘Sooner Or Later’ to the funky groove that bassist Steve Brown and drummer Ray Wilson lay down on ‘Naughty And Nice’ and the melodic ballad ‘Three In The Morning.’ In addition to these is a hard hitting version of Willie Dixon’s ‘Evil’ and a smooth updating of Lowell Fulson’s ‘Bending Like A Willow Tree’. This is only one side of the coin and the acoustic disc features the same material in a down home acoustic setting. Tracks such as ‘The Preacher’ benefit from this reading and the band are joined on occasion by a harmonica and a banjo player on the aforementioned Fulson track. With greater emphasis on the vocals and melody, the unplugged versions confirm the initial impression that this is a great collection of material that one will enjoy listening to on a repeated basis.

Duncan Beattie

ERIC BIBB

Deeper In The Well Dixiefrog

‘Deeper In The Well’ was recorded at a studio in Louisiana, a state where Eric believes the traditional folk music of North America has thrived and developed. The musicians taking part were the result of a meeting with Matt Greenhill of Folklore productions and features Eric on vocals and guitar, multi instrumentalist Dirk Powell, guitarist Cedric Watson, Danny Devillier on drums and harp player Grant Dermody. As with most, if not all, of Eric’s work, it is a pure work of art and readily accessible to all listeners, the musicians proving to be more than capable of holding their own. Opening with ‘Bayou Belle’, the sounds of Louisiana hit your ears instantly. Frugal and simple but with fiddle and percussion stick backing Eric’s vocals and the harp soloing during the middle section. ‘Dig A Little Deeper in the Well’ is a traditionally based banjo rag, using the analogy of digging deeper in the well to find a cooler drink as a way to improve one’s life. Bibb never complicates his music and this is amply shown in ‘No Further’, where even the guitars are simply plucked to great effect. ’In My Time’ an autobiographical observation of his life, “…Been

treated like a tramp, treated like a star”, has slide to fill behind Eric’s laid back vocal. ‘Every Wind In The River’ shows a little more edge to Eric’s voice, but still with the hill folk sound of dueling guitars. Country Blues is dealt a true nod with ‘Could Be You Could Be Me’, the fiddle playing really making the difference on this cut. Even the surprise inclusion of a Dylan classic, ‘The Times They Are A Changing’ is given a country makeover with the banjo adding a different dimension to the song. Another super release from the maestro of the understated.

Merv Osborne

flavoured ‘Forever Yours’. ‘Ain’t No Pleasin’ You’ has a jazzy country tinge (well, a little more than a tinge, to be honest), whilst ‘A Little Wine’ has an almost urban contemporary approach. All of which should hopefully serve to prove that Brandon is an original performer, steeped in the blues but not afraid to stretch out. Certainly worth investigating – Canada does seem to keep turning out these guys…

Norman Darwen

BOY WELLS

Blue Skies Calling

Marcel Marsupial Publishing

Boy Wells, otherwise known as Mark Schultz, has produced an excellent album here; with some varied musical styles that at times almost seem to be performed by different artists, such is their diversity. The first three tracks highlight this perfectly well; the album kicks off with a Jazz Funk instrumental called ‘Mr Coluzzi’, some great work here by saxophonist Bill Watson, this is followed by a real ballsy blues rocker ‘World Weary & Blue’ driven by lead guitar and harmonica, the third track is ‘Bring it Back’ which kicks off with a Paul Rodgers style vocal but then slips into a funkier groove. Boy Wells has come from the USA Southern Rock school and he is clearly a very talented guitarist, who wrote, composed and jointly arranged all the material here, if I was honest the first three tracks are the stand out tracks on the album, the remainder of the tracks have their moments but do not ‘grab you’ like the early songs. For guitar connoisseurs this CD release includes a CD-Rom recording from the 1970’s of the late Danny Gatton giving Boy Wells a guitar lesson. Overall a good debut album by a talented artist, who has pulled together some quality musicians to join him here.

Adrian Blacklee

CLARE FREE Dust & Bones

Funky Mama Records

Clare is but one of a number of exciting British female Blues performers on the current circuit. The tracks on this are a rarity in that they are all self-penned and arranged by Clare and her tight band, Dave Evans ( bass), Pete Hedley (drums) and Matt Allen (rhythm guitar). With such licence it enables Clare to develop and deliver her unique style, a veritable mélange of blues for today and I guess, drawing from her own experiences. The title track, related to the old blues chestnut, infidelity, oozes with sensitivity and emotion. It’s not all modern blues though - there’s a punk feel to ‘Scars’, a classic! ‘Stronger Than You Think’ is more traditional, illustrating perfectly the aforementioned tightness of the band. So, it’s not all about Clare - every band leader needs a dedicated group of musicians around her/him. Whilst not doubting for one moment Clare’s prowess on the guitar, I cannot over-emphasise the shift her rhythm section puts in. A must have CD.

Clive Rawlings

BUSHMASTER featuring Gary Brown Revolution Rhapsody aka: Uprising Music Independent

BRANDON ISAAK

Bluesman’s Plea Independent

Also known as Yukon Slim, Brandon is front man for acclaimed Canadian jump band The Twisters, but this is his debut solo set, featuring him on vocals, guitar, foot percussion, harp and bass, with just his brother Chris helping out on drums and backing vocals. Brandon’s approach is blues-based and eclectic. In the middle of the CD there is a sequence that shows the depths of his talent: he can do the tough stuff - Howling Wolf styled singing over a droning rhythm interspersed with some lupine harmonica on ‘Tell Me Why’ – or come across more raucous, upbeat, and good-timin’ on the ragtime

Gary Brown is a Washington, DC resident and having played with a number of local bands including the Spoilers he formed his own band in 1992. Bushmaster is the vehicle for his considerable talent as songwriter / composer, principal vocalist and powerful axeman. It is the last mentioned facet that shines through, not either as experimenter or copyist, but taking all the solid sounds of the 1960s and 1970s period he reapplies them to the 21st century. The album stands out from the crowd because of the intelligent lyrics, with, as the title suggests, some social commentary and protest, for example ‘Victim Of Nostalgia’, ‘Arizona Shame On Ya’ and ‘War On The Poor’. The guitar playing is impossible to pigeon hole, sometimes rock, sometimes funk,

sometimes Blues. There are some truly wonderful moments, like the Stevie Ray tones of ‘Ball ‘N’ Jack’ and the funky instrumental ‘Sidewalk Strut’ The outstanding ‘Nothing Up Your Sleeve’ utilises clever rhymes with sleeve, like conceive, grieve, believe, etc in each chorus and this all adds to the drama of this epic track. Some of the riffs are monster, like in ’We All Fall Down’. The ultramodern remix of ‘Victim Of Nostalgia’ is a great finale and bridge to the modern age. Excellent stuff.

Noggin

voice is melodic, on the positive it is great to see self-penned songs being performed by the artist but when starting out a couple of skillful covers that show your skills sets a clear bench mark and give you the opportunity to shine as you make timeless classics your own. The tracks tend to merge into each other there is very little difference in tempo, vocal tone or guitar playing. Need to see a bit of this fledgling talent to really judge from a selffinanced EP.

Liz Aiken

DAN RAZA

Dan Raza

Auralee

Bedfordshire, UK born singer and guitarist Dan Raza’s debut album has a brooding intensity that suits his folky, rootsy style with its breathy vocals. No, he is not a blues performer as such, but the names of guests such as BJ Cole, Geraint Watkins and Ed Deane will be familiar to many followers of the British blues scene, and their contributions are significant - though none quite as important as that of multi-instrumentalist and producer Charlie Hart, whose musical associates include Eric Clapton, Ronnie Lane and Mose Allison. Enjoyable and intriguing too are the couple of tracks featuring West African kora player Mosi Conde - the music of the kora has in the past been viewed as one of the African roots of the blues; ‘Cool Dark Night’ has a traditional cajun feel (Hart on the wheezing accordion) and ‘No-One Shed A Tear’ is a fine slab of country tinged Americana, with whining pedal steel from BJ Cole and some vaguely TexMex accordion. So, to sum up, this is definitely not a blues album as such, but there is certainly enough here to interest those with wide taste who appreciate the efforts of some of London’s (and beyond) finest blues-based musicians behind a very talented artist.

ISI DEE

Guitars and Elephants

Cry Baby Records

Norman Darwen

Isi Dee, a teenager from Leeds has recorded this EP of six self-penned tracks, along with a few notes about herself the titles of the tracks would have been helpful, luckily they can be found on her website. Her guitar playing is simple and none of the tracks have the structure of the blues in the widest form this genre types. The Lyrics are at times overcomplicated and lack poetic shape. Her

LINCOLN DURHAM

The Shovel vs The Howling Bones

Rayburn

A pair of eyes stare out at you from the cover, at once glaring and angry but with a spark of an amused guffaw – this is just daring you to look under the cover and hear his stories. And great stories they are too, tales of hard life and hard work but tales of hard play and hard love as well. Musically he cinches right into that hardship with a tough, harsh and resonant voice and strident playing – this is Southern Texas writ in blood and stone. But all through there is a sense of pride and joy and even of fun. When he sings of ‘Clementine’ he is asking her not to cry but coupling it with gentle playing and a tuneful voice in opposition to the opener ‘Drifting Wood’ where his rasping voice is calling to the river to “have mercy, mercy on the drifting wood”. This whole album sounds as though it could have been recorded anytime from back in the days of the depression through the hard days of the fifties or in the revolution of the ‘60’s but it could only come from the hardlands of southern Texas. There is a quote in the liner notes that sums this up brilliantly: “Recorded at George Reiff studios using early to mid-century Gibsons, Kays, Silvertones, Voss, Bell & Howells, guitars found in potted plants, cardboard boxes, bird feeders, oil pans, hacksaws, feet and anything else that would make a noise” – you can hear all that in here and it still makes for musical satisfaction but doesn’t overshadow wither his voice or his songs. When he plays hard his guitar is right alongside his vocal, underpinning his Texas drawl but emphasising it as well and I can hear the likes of Son House proclaiming through his songs, I love to listen to tracks like ‘Mud Puddles’ where a simple repetitive drum beat sits behind his playing on a 1929 Gibson with a harmonica howling quietly behind his vocal – the dense and almost impenetrable sound is almost touchable. Eleven tracks and eleven different takes on his raw Blues but there isn’t a single track that doesn’t deserve a place on any medium I happen to be listening through. This guy is a rare talent, even more so as there are so many playing this style of music without a tenth of his quality and a hundred times

les integrity. Debut albums aren’t supposed to be this confident and powerful – or as good.

Andy Snipper

JON AMOR BLUES GROUP

Jon Amor Blues Group

Six Six

Jon Amor has a long history in British Blues, starting with The Hoax and solo for about ten years. He is rough, raw and a perfect example of how the Blues should be played. The sheer dynamism of the band shines through every track on this album and I would have to say that there isn’t a duffer or filler among them. Jon Amor doesn’t release new material every five minutes and it is well worth it when he does. Tracks like ‘Juggernaut’ are his stock in trade: pounding bass and drums, Simon Small’s drums hit you like a V8 at full revs and Chris Doherty holds the line like a metronome, while Amor’s vocals and both his and Dave Doherty’s guitars tear at you like buzz saws. ‘Repeat Offender’ has all the snotty attitude of bands like Jon Spencer and hoarse vocals over a hammering rhythm while ‘Sweetheart’ is anything but sweet and ‘Angel In A Black Dress’ is raunchy and hot. ‘The Underdogs’ is bordering on punk and ‘She Thought I Was An Eagle’ ramps it up and has elements of Howling Wolf and a lot of the Mississippi sound. The longest number on the album is, for me, the best thing I have heard from Jon Amor – ‘When The Time Comes’ builds the power and emotional intensity without a wasted moment: it has the rawness and brute force that Credence Clearwater Revival did at their best and is one of those number that leaves you gasping at the end. The album was recorded in two weeks and sounds like it. It has all the excitement of songs that have been recorded in two or three takes and finds the band at their most potent – brilliant.

KEITH B. BROWN Down the Line Discovery Records

Andy Snipper

Keith B. Brown sings “no more swimming against the tide, took a while but I finally hit my stride”, and Down the Line is most definitely the work of a bluesman at the peak of his powers. Acoustic singer-songwriter Keith B. Brown offers on “Down the Line” an eclectic and entirely self-penned collection of gems. The slide guitar work and lyrics are superb on the album’s title track, and Brown displays his blues literacy with ‘Them Boys from Memphis, a paean to the legends of that locale, referencing Bukka White, Furry Lewis,

and even Al Green. Brown possesses a relaxed, rich voice in the Mississippi John Hurt mould that really immerses the listener into the nuances of his music: indeed, ‘All I Need’ is an intricate and joyful finger-picked piece of country blues that Hurt himself would be proud of. Brown also sings, ‘I got to keep on moving... if I stand still I don’t stand a chance’, and with an album this good, the only direction Keith B. Brown will be going is forward.

Adam Bates

MAINSQUEEZE

Live at Ronnie Scott’s 1983 Trapeze Music

Mainsqueeze were successful say the sleeve notes, “despite operating in an unhelpful market alongside post-punk, disco and emerging electronica”. Certainly, a glance at the hits of 1983 reveals a bland stewpot of Lionel Richie, Michael Jackson and Duran Duran. In her excellent essay “Seventy Years Of The Godfather On Tenor Sax: Dick Heckstall-Smith In Perspective”, Stephanie Thornburn reports that harmonica player John O’Leary described the point was to “not only deliver cutting edge blues, but to also look good and be overtly entertaining”. If that’s the point of the CD too, then, ladies and gents, we have a winner. This all-star lineup of the cream of 60’s British Blues delivers a performance snorting and supreme in equal measure. O’Leary himself shines in the outstanding ‘Born In Chicago’ with Victor Brox growling menacingly when appropriate. The atmospheric ‘Itch’ gives a chance for HeckstallSmith to come over all moody, providing welcome contrast to the general trousers –on-fire pace of almost everything else, exemplified by ‘Casting My Spell’ featuring the also excellent Diana Wood on vocals. With sublime licks notably on ‘Frosty’ and ‘Voodoo Man’, I finally get the fuss about Eric Bell as a Blues guitarist par excellence; an indifferent festival performance a few years back left me in some doubt but his chops are perhaps the most sensational part of a sensational set. The whole multi-talent project thing could never last of course – dragging so much talent and their gear across Europe was a non starter, but if there was a better live gig in 1983, I would have willingly have taken my mullet and bootlace tie along to see it. Find the money down the back of the sofa and buy it.

Richard Thomas

LITTLE JUNIOR PARKER Ride With Me Baby Fantastic Voyage

Mississippi born Little Junior Parker was one of the youngest casualties in the Blues world, dying in 1971 at the tender age of 39. Influenced by Sonny Boy ‘Rice Miller’ Williamson, Parker performed

with the Wolf and was a member of the Memphis based B.B.King and The Beale Street Boys which included Bobby Bland and Roscoe Gordon. However, this singer/ harmonica player recorded and released a remarkable number of hits and influential releases, and this double album contains both sides of all 23 single releases from the ten years 1952-1961 as well as nine other releases from that period. His recordings for Bihari Records led to his signing to Sam Phillips’ Sun Records and the subsequent recording of his ‘Mystery Train’ by a certain Elvis Presley. The fifty five tracks offered here range from the straight forward Blues of ‘Mystery Train’, ‘Sweet Home Chicago’ and ‘That’s Alright’, through the big band sounds of ‘I’m Tender’ and ‘Peaches’ to the pop and early rock and roll sounds of ‘My Dolly Bee’ and ‘Barefoot Rock’. The sound quality varies according to the era when the original was recorded and although Parker was acknowledged as an accomplished harmonica player, that aspect of his musical life is not a feature of this release. What is enjoyable is the simplistic approach to the whole musical spectrum. Not knowing his music, I wondered just what I would be hearing on first play, but found myself singing along and swinging to the very enjoyable sounds that Parker created, and whilst some of his screeches in the earlier recordings grated on my ear, the overall result was a very pleasant one. This is a great introduction to a significant influence in the development of Blues music.

Merv Osborne

as with any production some have that little extra bit of style for me; ‘The Lady Lives The Blues’, the rockier ‘Game is on’ and ‘I’m A River’ with its wonderful Gary Moore style intro showcase the cocktail of blues styles this CD delivers with the skillful blending that creates a smooth, balanced and enjoyable listening experience.

Liz Aiken

SOMETHING BLUE Grass Roots

Independent

ZED MITCHELL Game Is On

Acoustic Music Record

Zed Mitchell’s, music is definitely a cocktail of the blues demonstrated in his latest CD ‘Game Is On’; with hints of Gary Moore, Deep Purple, The Doors, Mark Knopfler in fact this CD has been shaken not stirred creating a unique sound from this German based musician. Throughout the CD on every track the self penned lyrics shine through, delivered in the husky tones of Zed at times reminiscent of Chris Rea and hauntingly like the late Kevin Thorpe. The solid musicianship is demonstrated throughout on this beautifully produced album but no-one dominates, with unnecessary solos. This is definitely a CD you want to listen to often and every time something will catch your attention, that you had tuned into previously. It is difficult to highlight specific tracks as they all have merits but

Regular readers of Blues Matters will have recall several impressive reviews of MoneyMaker. The Surrey based quartet fronted by Sarah Rayner on sax and Rob Skinner on bass. With the band currently on hiatus, this has allowed Rayner and Skinner to form a more stripped back, rootsy outfit. ‘Grass Roots’ is the first release by the new duo and shows they still have a promising musical future, with an eclectic repertoire comprising largely of pre-war blues classics. A highly danceable of ‘They’re Red Hot’ opens the disc with Skinner’s upbeat vocals underplayed by Rayner’s saxophone. There’s a gospel slant to Terry & McGhee’s ‘Cornbread, Peas & Molasses before Rayner takes the lead on the self-penned ‘Cheap Champagne and the humour runs to the country styled ‘Brown’s Ferry Blues’ featuring Skinner on mandolin. The duo co-wrote the folk tinged ‘Hell No’, while Delmore & Delmore’s ‘Blues Stay Away From Me’ is a sublimely laid back recording with its haunting harmonies. Skinner recreates Blind Boy Fuller’s picking on the closing ‘Baby You Gotta Change Your Mind, which features Rayner’s finest vocal performance. Trust me, by this stage, you’ll be keen to replay the whole disc again. A highly enjoyable set which straddles several genres, it comes highly recommended. Finally judging from the large amount of bookings the duo has been taking of late, it’s apparent many others agree.

Duncan Beattie

LISA MILLS Tempered In Fire Analog

A singer of tremendous range and passion, that American Lisa Mills isn’t more well known this side of the pond is something of a travesty. However, that should change with Tempered in Fire, an album that showcases the veteran blues woman’s talents to great effect. Mills’ sultry, ever so slightly gravelly southern tones are perfectly-suited to the material here. Album opener ‘Tennesse Tears’ is a beautifully fragile ballad, Mill’s soaring vocals matched by the soulful guitar playing.

Indeed, having supported Eric Clapton for well over a decade, guitarist Andy Fairweather Low knows what makes a great backing musician, and his fretwork on this album is both vibrant and tasteful. The mellower tracks on this album are by far the best, with the up-tempo ‘Why Do I Still Love You?’ Rather plodding, and ‘Blue Guitars of Texas’ not much better. ‘My Happy Song’ is a simply gorgeous and atmospheric lament, andencouragingly for a genre dominated by subpar covers - is self-penned. Bravely, Mills covers Otis Redding’s ‘These Arms of Mine’ and that she does so with aplomb is testament to her talent. Lisa Mills has been tempered in fire, and emerged as one of the finest blues chanteuses of her day.

Adam Bates

and solo from Stewart Cole. This is good quality, well played, middle of the road rock music.

Dave Drury

MICHAEL LOCKE & THE REPEAT OFFENDERS

Pleasure King!

Locke Music

RUSTY ANDERSON

Until We Meet Again

Hypertension

Singer/songwriter and multi-instrumentalist Anderson has played as a session man with some of the best known names and is known in the business as the musician’s musician. He has recorded with The Police, Van Halen, Ramones, Neil Diamond, Belinda Carlisle, Little Richard and many more. This album is in fact a compilation of material from previous albums plus a few new songs and is his first European release. For over a decade he has played lead guitar in Sir Paul McCartney’s band and, indeed, the blessed Macca plays bass on opening track ‘Hurt Myself’ an anthemic and tuneful rocker featuring great guitar and, unusually, a flugel horn in the middle section. ‘Born On Earth’ opens with a string octet and then builds into a thumping stadium rocker featuring plenty of guitar pyrotechnics and sturdy vocals. The gentle and intimate love song ‘Where Would We Go?’ features gentle acoustic guitar and softly crooned vocals from Anderson. ‘Devil’s Spaceship’ is a blistering Blues/rocker with a touch of ZZ Top in the guitar work while ‘Catbox Beach’ is a thundering instrumental featuring Ventures style surf guitar licks from Anderson and sturdy drumming from Stewart Copeland of The Police. The whimsical love song ‘Julia Roberts’ features softly sung vocals and a pretty harmonica solo from Anderson as he relates the tale of his fantasy. The songs here are well crafted and the playing is excellent throughout with standout chiming guitar from Anderson. The 60’s influenced ‘Electric Trains’ features harmony vocals and some Beatleesque touches. It was written about Anderson’s late brother who died young. ‘Coming Down To Earth’ is a big rock ballad with a dense backdrop which includes backwards guitars. The newest song in this collection and the final song on the album is the aptly titled ‘Until We Meet Again’ which is a speedy rocker featuring a trumpet intro

Michael Locke was brought up in South Florida and immersed in jazz from tender years by his father. After majoring in jazz guitar at the University of Miami he developed a growing passion for the Blues in San Francisco, opening for a who’s who of internationally acclaimed Bluesmen. His coast to coast performances have honed the chops. On this live album he is backed by an excellent band comprising Stephen Keith drums, James Higgins bass and Da’ Rosa Richardson keyboards. The album consists, with one exception, of covers, and half are instrumentals. This is just as well, because Michael Locke is not a convincing vocalist on King’s ‘I Get Evil’ or ‘You Done Lost Your Good Thing Now’ or Chris Kenner’s ‘Sick And Tired’. To balance things, even on those tracks and the instrumentals Locke proves that he is a master of the Fender Stratocaster, and without ever being too showy, he wrings plenty of emotion out of his instrument. Also he gives plenty of space to Richardson to provide fills and solos. The running time is 48 minutes, so each of the 6 tracks gives plenty of scope for extended solos and light and shade. The quality of the recording is superb and very occasional feedback and audience appreciation does not spoil what is an exciting live recording from a performance at The Oregon Express.

PHILLIP FANKHAUSER Try My Love Membran

There are two very distinct kinds of Non-American Blues & Soul singer. There are the ones who try to sound like the Americans and end up with some kind of godawful mid-Atlantic strangled squawk or there are those who say “I love the music and I’m gonna sing it in my voice and that is how its gonna be” – you might have guessed that Mr Fankhauser is in the latter camp and thank the heavens for it. Fankhauser delivers brilliant Blues & Soul ranging from the Southside Johnny-tinged ‘It’s Gonna Rain’, through the New Orleans sleaze of ‘Make My Home Where I Hang My Hat’ and the charged soul of Dennis Walker’s ‘Don’t Be Afraid of The Dark’ and he does it all in a husky voice, full of character and excellent intonation. ‘Don’t Be

Noggin

Afraid…’ in the wrong hands is a nasty and dirty number but here the tone is caring and protective rather than the voice of a child molester. He does ballads like ‘Please Come On Home’ with a lot of passion or ‘Roadhouses And Automobiles’ with a heartbreaking tone in his voice over a crying pedal steel. The last four tracks are live recordings and suddenly we get another side of Phillip Fankhauser. While the first part of the album is excellent – truly one of the best albums I’ve heard in a while – the live section shows a performer who is completely in his element. In command and just from the tone of his voice he sounds totally at ease. Phillip Fankhauser has a unique voice, and superb presence, you can hear just why Johnny Copeland was so excited by his talent.

Andy Snipper

TWILIGHT HOTEL Where The Wolves Go Blind Cavalier

Just in case you’re not interested, I’ll flag this up as Americana/Roots music, so the diehard bluesters can move along, nothing to see here. Although to be fair, Twilight Hotel aka are actually Canadians, who now live in America. The duo of Dave Quanbury, guitar, vocals and Brandy Zdan, guitar, accordion, lap steel, vocals, have been on the go for about 10 years now, putting out their debut album in 2006, and a follow up two years later. And what they’re

a disparate and eclectic bunch of influences and styles and melding them into a kind of acoustic country Blues. Five days were booked in a Glasgow studio to record the album, using vintage microphones and recording equipment. In less than two days it was complete. The results seem far from rushed, and a natural warmth and chemistry pervades every moment of the 33 sublime minutes. The songs are mostly self-penned and are marked by an inherent economy of words and music - everything seems so wonderfully effortless and indeed timeless. The Williams arrangement of traditional ‘Peg and Awl’ follows a quite exceptional version of the Pet Shop Boys ‘Rent’ – an object lesson in how to eschew affectation and posturing and make a good song sound genuinely convincing. Other songwriting credits are evenly shared, and the strains of a bygone age in ‘Distant Memory’ are so evocative. This is an album to play a few times before the many nuances and subtleties emerge, and then it will provide a calming and beguiling late night listen.

THE MICHAEL LANDAU GROUP Organic Instrumentals Provogue

Noggin

doing,

mixing up folk, seventies West Coast sounds and a wee bit of alt-rock is rather nice. It all works best when they head down the folky route, which means songs like the accordion drenched ‘What Do I Know About Love’ are considerably more entertaining than ones like the title track ‘When The Wolves Go Blind’, which stumbles into the world of indie-rock-lite. But they more than redeem themselves on songs like ‘Mahogany Veneer’ and ‘Dream Of Letting Go’, which channel a mid-seventies Fleetwood Mac vibe. The record is probably a couple of tracks too long, as some of the material can be repetitive, but there’s 30 minutes worth of material here, which is well worth repeat plays. Of the singers, Mr Quanbury is the quiet one, Ms Zdan the loud one, but they can both carry a tune on an intermittingly entertaining album.

Stuart A Hamilton STATE OF THE UNION State Of The Union Reveal

On the face of it this seems an odd collaboration between Boo Hewerdine the English leader of fabled indie band The Bible and Brooks. Williams, a slide guitar virtuoso from Statesboro, Georgia, USA. And yet perhaps surprisingly it works, taking

Landau is a West Coast session musician who in his early days toured with the likes of Robben Ford, Boz Scaggs, Joni Mitchell, James Taylor and many more. His influences include Weather Report, Pat Martino and Jaco Pastorius and this album pretty much does what it says on the tin. The basic line-up features Landau on guitars backed by drums, bass and Hammond Organ with judicious use of effects and the album was recorded in his home studio. I find it very difficult to categorise this music but immediately took to it and found it very pleasing indeed. Although Landau clearly has a background in blues and roots/rock the influences here are mostly freewheeling electric jazz. Opening track ‘Delano’ has an acoustic guitar intro before building into a full on jazz-rock duel with Larry Goldings’ hammond organ. ‘Sneaker Wave’ is a hot slice of fusion featuring sparkling fretwork from Landau and standout drumming from Vinnie Colaiuta. The material is all original and Landau has also acted as both engineer and producer. The playing is stellar throughout but the group resist the temptation to overplay and disappear up their own fundaments. The less is more principle certainly comes into play with this classy and inventive music. ‘The Big Black Bear’ features Gary Novak

on drums and Andy Hess on bass and it has some lovely melodic playing from Landau but an air of rumbling menace is never far away. ‘Big Sur Howl’ has further colour with beautifully restrained flugelhorn from Walt Fowler and good interplay with Hammond organ. ‘Woolly Mammoth’ lumbers along at walking pace whilst always managing to stay light on its feet. ‘Smoke’ proves an elusive tune and then closing track ‘The Family Tree’ finds the solo Landau in reflective mood. This is a very fine album and I shall certainly be looking out for Landau’s upcoming venture with Robben Ford in a band called Renegade Creation. Sparks should fly between those twin guitars.

Dave Drury

vinyl then this would be a good place to start.

THE BLUES BAND

Best Of...

Repertoire

Back in the mists of time (1979) Paul Jones felt the need to cut back on his acting and get back into playing Blues again. He eventually put a band together for occasional gigs at The Hope & Anchor in Islington and their success surprised everyone. Over 30 years later, with a few personnel changes, they are still gigging and recording new albums. This re-mastered compilation sounds great and none more than opening track Willie Dixon’s ‘Twenty Nine Ways’ with the whole band thundering along and the sainted Paul Jones singing and playing Blueswailing harp! A stonking version of Dylan’s ‘Maggies Farm’ features more great harp fills and superb slide guitar from Dave Kelly. The guys in the band are all consummate musicians (PR talk for grizzled old veterans) and are as equally at home playing ‘Georgia’ as they are at knocking out the blue-eyed soul ‘Treat Her Right’. I’ve always loved the Ann Peebles song ‘I Can’t Stand The Rain’ and there is a fine acoustic version here with nice harp and slide interplay. There is a touch of Zydeco with Kelly’s ‘Longing For You Baby’ which features a guest spot from the wonderful Geraint Watkins on accordion. CD2 kicks off with another of the band’s enduring favourites the rocking ‘Find Yourself Another Fool’ and this is followed by Paul Jones’s homage ‘Noah Lewis Blues’. Other standout tracks include a rocking cover of Chuck berry’s ‘Come On’ and a couple of Willie Dixon numbers with ‘Down In The Bottom’ and ‘Little Baby’. The big band swing of ‘Let The Good Times Roll’ is contrasted by ‘Leave My Woman Alone’ which features superb harmony vocals and lovely slide guitar from Dave Kelly. These musicians are nothing if not versatile as proved by the gentler acoustic sounds of ‘Mean Old Frisco’ and the beautiful ‘Sweet Temptation’. The album closes with a funky cover of one of my favourite Bo Diddley songs ‘I Can Tell’. If you don’t already have a collection of Blues Band CD’s and

Drury THE BACON BROTHERS

Philadelphia Road – The Best of Trapeze Music

Dave

I proceeded with an inbuilt wariness of albums made by famous people. It seems that the addition of a name can boost the sales irrespective of the quality. Mind you, despite a few miserable grumblings about his vocal performance, Hugh Laurie largely pulled it off. So to the Bacon Brothers Kevin and Michael, and not the Canadian ne’er do wells and alleged collectors of firearms. It’s not the Blues, but read on; the prospect of Kevin (of ‘Footloose’ fame) and brother Michael’s sixth release sent Blues critic Amanda Chamberlain into raptures – “sizzling” she purred. First up ‘Unhappy Birthday’ is a storming curtainraiser, penned by Kevin; a catchy hook crisply produced. Lyrically interesting throughout, the harmonies are a compelling feature, as are the simple arrangements – for the uninitiated the novelty of a Hollywood actor disappears and you stop thinking about ‘Apollo 13’ and ‘Flatliners’ very quickly. It’s a serious collection of well-penned and thoughtful numbers – there are plenty of standouts but ‘July Away’ has a smooth James Tayloresque / Ralph McTellian charm and once again the vocals are engaging and honeyed, also exemplified by ‘10 Years In Mexico’ and the happily optimistic ‘Baby Steps’. Its more country than anything else, even classical at times and it won’t move the rufty tufties, but please be uninhibited by my classification – ‘Best Of..’ albums are by definition creamed-off selections, from in this case, a good sized back catalogue and this is top notch. Even despite one or two numbers that are little anonymous within a generous 19 strong listing, “sizzling” does it for me.

Richard Thomas

STEVEN DALE PETIT The BBC Sessions 333 Records

As the name indicates, this is a collection of recordings that the UK based American blues rocker has recorded for the BBC. In chronicle order the first four tracks date back to 2007 from the Paul Jones show and feature a horn section. Highly influenced by John Mayall’s Bluesbreakers, Petit opens with a great take of ‘Stepping In’ which deviates little from the version on the Beano, yet allows some improvisation to make his personal stamp. This is immediately followed by Petit’s own

instrumental ‘Sacramento.’ This allows Petit to stretch out while Hannah Vasanth holds down a tasty rhythm on the keyboard. After this scorching start follows a superb version of ‘As The Years Go Passing By’. Four songs recorded in 2009 follow and joining Taylor is former Rolling Stone Mick Taylor. He performs the same role behind Petit as he did behind Jagger on ‘Love in Vain’, with Petit providing an appropriately Jaggeresque vocals. ‘Goin Away Blues,’ written by Jimmy Rogers keeps a similar vein, with the distinctive slide guitar from Taylor. ‘A Better Answer’ demonstrates more of a punk influence, yet it surpassed by the semi acoustic version of the same song, the aptly named tribute to Dylan ‘My Friend Bob’ precedes a Harris interview with Petit. These records may be snapshots in time, but they are an important reminder of Petit’s great talents, well worth a listen.

Duncan Beattie

THE MUSTANGS Shaman & the Monkey Trapeze Records

With an enigmatic title, this all kicks off with ‘The Line’ - starting like ‘Stone Fox Chase’ on Valium, Adam Norsworthy’s grungy licks build then retreat, almost morphing into ‘The Chain’. The quality benchmark for this 6th album is set high, and one or two dips aside, it’s adhered to well with Norsworthy’s enunciation a welcomed clarity throughout. Though generally moody and hardedged, ‘Didn’t I Say’ is altogether lighter altogether and accents Derek Kingaby’s harps; indeed this collection is at its most memorable when this is the case. Norsworthy suggests their old British influences have been joined by Bo Diddly, Robert Cray and JJ Cale, but ‘Cracking Up’ is delightfully Canvey Island with a riff which owes plenty to Wilko in ‘She Does It Right’. The standout amongst numerous contenders is ‘Monkey On Your Back’ although ‘Shut It Down’ with its engaging country feel runs it close. The odd number like ‘Highwire’ and the short but jolly instrumental ‘Reynolds Jam’ are both perhaps little bland, but this slight midway lull is broken by the vigorous menace of ‘The Chancer’. This dashing quartet from Hampshire are not feted in the highest echelons because they’re good looking ; they have the material and a tight, compelling delivery and if you’re looking for a baker’s dozen collection to represent the modern manifestation of traditional British Blues, then this may be it. The final number is the thoughtful ‘Too Much Is Never Enough’ – my summary is that one “bravo” is also sometimes insufficient, so bravo, bravo and bravo again.

Richard Thomas

THE PHIL LANGRAN BAND

Juke Box Love Songs, Leaving Blues, Border Crossings & Lovers’ Laments Folkwit

The CD title might lead a potential buyer to expect a blues album and the note on the back sleeve to the effect that eight tracks have lyrics by Langston Hughes could seem to confirm that - but let’s take it slowly, shall we? Langston Hughes (19021967) was one of the leading poets of the ‘Harlem Renaissance’ art movement, but much of his output was concerned with the Black working class, and elements of folklore abound in his work. I recall one jazz book many years ago reservedly recommending ‘Tambourines To Glory’ as there was little material back then on Black sermonsbut it did note Hughes had put them into verse. He also collaborated with the great Zora Neale Hurston on the play ‘Mule Bone’ (in which Kenny Neal appeared some years back). So maybe it is fitting that this album isn’t quite the blues either. Phil and company have crafted a folky, sometimes jazzy or soft-rock inflected set, with the bluesiest item a John Lee Hooker styled boogie on ‘Lament Over Love’. ‘Homesick Poor Boy Blues’ and Langran’s own ‘Never Been To Harlem’ echo the folk-blues revival with some nice ragtime guitar, but on the whole this is an interesting bluesy set from this Midlands-based outfit rather than a definite purchase.

THE PROPOSITION

King Snake Devil Shake Cowboy Town

Norman Darwen

– I’m tempted to say “it shows too”, but even on the band’s own terms, The Proposition is certainly tempting.

Norman Darwen

TIM BASTMEYER

Tim Bastmeyer Cry Baby Records

This is a structured CD with the lyrics taking centre stage rather than the instruments being used as the vehicle to show-off. This approach is only achievable, and it really works here, if the musicians are at the top of their professional game. Tim Bastmeyer uses the full range of his voice to ensure that every track is different combined with skilful guitar playing whether on electric or acoustic. Julian Fauth on piano brings the full force of this versatile instrument, and the rhythm section ensures that the shape is always compact and secure through strong Bass playing by James Thompson and Corey Richardson ensures the drums never dominated but all compliments the song beat after rhythmic beat. There are a wide range of recognisable influences including Bob Dylan, Leonard Cohen, Lou Reed and definitely more than a soupçon of Jim Morrison. This is modern blues with eleven strong tracks delivered by Canadian Tim Bastmeyer, the highlights for me are down beat ‘Hell Of A Ride’; ‘I’m Going Down’ with its traditional piano introduction evolving into contrasting the full on electric guitars and it more than tips it hat at Freddie King. At times this is not a happy CD but it is definitely thought provoking modern and very relevant yet still retaining the essence of the blues.

Liz Aiken

The debut album from this rather mature acousticbased three-piece out of Norwich (England), following up 2011’s very well-received EP release ‘Dirt Tracks’, is an energetic, rootsy set that blends all kinds of styles, from Pogues styled folk-punk to blues and rockabilly. It is the latter that opens the set in a nicely chugging fashion (and with hints of bluegrass), before it leads on to items vaguely reminiscent of Bob Dylan, Neil Young, Hank Williams, Reverend Peyton, Carl Perkins and several 60s beat groups. In the finest traditions of Americana, there are some quite dark songs set to incredibly catchy melodies – lend an ear to the strongly blues-based ‘Don’t Let Me In’ with its sting in the tail - and plenty of fine musicianship. Readers who are still a little unsure should try to take a listen to the driving ‘Levon’, with its rocking rhythm and wayward slide guitar. Oh, and producer Nick Brine has also worked with Seasick Steve

THORBJORN RISAGER

Dust & Scratches

Cope Records

This is a real ‘Balls & Brassy’ Blues album, Thorbjorn has an original gritty blues vocal which complements his six piece band superbly well, while the basis of the sound is electric blues, the majority of tracks have a brass section which really fills out the sound although never veering into a swing style blues. I have reviewed many European blues artists over the years and I have to say that Thorbjorn’s album here is one of the most authentic blues/rock albums I have heard, he may have Danish roots but this band would be at home in America’s blues heartlands, the quality of the original material is strong and the musicianship is exemplary, the two stand out tracks for me are ‘Back Home’, which is a chain

gang slow blues style of song and ‘End Of Time’ another slower paced track that incorporates both piano and the brass section to full effect. This album is Thorbjorn’s sixth release in the past seven years and highlights that he is not only prolific but a very talented blues artists who deserves to be heard by a wider audience

Adrian Blacklee

TIPITINA

Taking Care Of Business Big Bear

I am a sucker for New Orleans boogie woogie, juke joint, rolling Blues or Brickyard Blues and Tipitina seem to tick just about all the boxes in the stack! Any album that starts out with The Meters ‘Hey Pocky Way’ and makes it sound new and different (not better than the original – I don’t blaspheme) is going to get my attention and Debbie Jones vocals get the tone right, somewhere between raunchy and sassy with a touch of sultry and then there is the weapon that is Justin Randall on piano. They follow up with Allen Toussaint’s ‘Brickyard Blues’ featuring some superb bass from Tom Hill and then a heartbreaking version of Randy Newman’s ‘Louisiana 1927’. You really can hear Ms. Jones background in Gospel in that number but when the band roll into ‘Fess Medley’ you can’t avoid a dirty shuffle and a big smile. Postie Jones guitar is delicious and Nick Millward adds some excellent and subtle brush drumming. The album was recorded live in Birmingham in June last year as part of the Birmingham Jazz & Blues Festival and while the audience noise is muted I would reckon they had a rare old time. The band covers the cream of New Orleans here including Dr John and Huey Smith – lovely versions of ‘Such a Night’ and ‘Rockin’ Pneumonia And The Boogie Woogie Flu’ – as well as Amy Winehouse with a wicked version of ‘You Know I’m No Good Tico Tico’. The couple of songs penned by Debbie Jones herself show she is no mean songwriter and I particularly enjoyed ‘You Are A Blessing’. Tipitina are superb musicians and obviously have great love and understanding of the music that they play and for the 71 minutes of this CD I found myself transported to a place far warmer and funkier than North London.

Andy Snipper

Treasa Levasseur has released a fairly unique album here as it has been recorded at three different studios with backing provided by four different bands, which include the acclaimed Canadian Blues band Monkeyjunk on four tracks, one of their supported tracks is Randy Newman’s ‘God’s Song’, which has a great vocal from Treasa and is a stand out track. The majority of the twelve tracks on the album have a blues base but do incorporate other musical styles, including Soul & Jazz, all of which suit Treasa‘s vocal range and style very comfortably, she utilises the supporting bands well and another blues band ‘Raoul and The Big Time’ include a very talented harmonica player Raoul Bhaneja, who excels on ‘Davey’. The separate band recordings are dispersed across the album, I personally would have preferred to have had them alongside each other for some continuity, notwithstanding this, the album shows a lot of promise, Treasa has a great Blues voice although she is not what I consider an ‘out & out’ blues artist, mind you this is probably why she chose the album title of ‘Broad’!

VARIOUS ARTISTS

The Blues, An Evolution

Electro Glide Records

Adrian Blacklee

TREASA LEVASSEUR

Broad Slim Chicken Enterprises

Canadian solo artist and multi instrumentalist

Chicago based Electro Glide Records release this sampler which features four distinctive artists, each showcasing three songs. Big Dog Mercer, Brandon Santini, Dan Baron and Tom Holland. Big Dog became a blues fan after watching the film ‘The Blues Brothers’ and lives close to Joliet Jake’s temporary incarceration, Statesville Prison. Three original songs show him both as an aggressive guitarist on ‘Some Other Fool’, or gentle and full of feeling as on ‘Helpless’, my favorite Big Dog track. ’Big Dog Blues’ hits the harder side with vocals that remind me of the Bachman Turner sound. This release marks the solo debut of Memphis based vocalist/harmonica player Santini, The shuffle ’She’s Sweet Like Honey’ and the boogie of ‘What Can I Do’ amply showcase his harp playing. Guitarist Dan Baron fronts the trio Danny and the Devils, and is an explosive artist, ploughing through a solid Blues/Rock sound. Three self composed cuts are featured here with ‘Don’t Come Back This Time’ reminiscent of Irish rock a la Thin Lizzy. ’Jealousy’, played to a ‘Rock Me Baby’ beat, possesses attitude and swagger, allowing Dan space to attack his axe. Keyboards on ‘Mama’s Boy’ enhance the sound, giving a fuller sound and different perspective. Tom and his band, The Shuffle Kings, are themselves Chicago based and follow the Chicago sound more strictly than the others. Tom, who I have seen twice in Chicago, has worked with many of the Blues greats and has for the last eight years been James Cotton’s

musical director and guitarist. His guitar sound is crisp and clear, and my favorite track here is the seven minute ’Keep On Playin’, a great slow Blues with Tom on slide. ‘S A Blues’ is another slow tune with some great guitar hooks. The album closes with ‘Zeb’s Blues’, the happiest instrumental you’ll ever hear.

Merv Osborne

VARIOUS ARTISTS

New Orleans Metro Select

This is a 2 CD compilation containing 50 songs ranging from the early flowerings of jazz in the 20’s through to the Blues, soul and R&B of the 50s and early 60s in the greatest music city on earth. The opening track is the lively ‘Potato Head Blues’ by Louis Armstrong’s Hot Seven which is followed by the wonderful ‘I Thought I Heard Buddy Bolden Say’ from pianist Jelly Roll Morton who later claimed to have “invented jazz”. There are a few further jazz offerings from the likes of Sidney Bechet and King Oliver before we get some piano blues with ‘Mail Order Woman’ from Champion Jack Dupree who, incredibly, later settled in Yorkshire! Roy Brown composed one of rock’s great anthem’s in 1948 with ‘Good Rockin’ Tonight’ and we also get songs from Lloyd Price and the superb Smiley Lewis. Naturally there are many references to Gumbo, Crawfish, Carnival and ‘Gators sprinkled through this album but we also get the sublime ‘The Things That I Used To Do’ from Guitar Slim which influenced Jimi Hendrix and many others and is still covered to this day. A particular favourite of mine is Bobby Charles whose ‘Later Alligator’ was such a huge hit when covered by Bill Haley & The Comets. Charles also wrote the huge hit ‘Walking To New Orleans’ for Fats Domino which is also featured here. Art Neville assembled The Hawketts for 1954’s ‘Mardi Gras Mambo’ and his 1957 hit ‘Cha Dooky Doo’ is also included. Shirley and Lee composed and sang ‘Let The Good Times Roll’ and Frankie Ford had a huge hit with Huey ‘Piano’ Smith’s rollicking ‘Sea Cruise’. We get the piano prodigy James Booker’s ‘Gonzo’ and also the maverick piano genius of Professor Longhair & His Shuffling Hungarians. Needless to say The Prof. was bald as a coot. There are contributions from Ernie K-Doe and also Clarence ‘Frogman’ Henry’ who croaks his way through ‘Ain’t Got No Home’. Soul singer Lee Dorsey had a huge hit with ‘Ya Ya’ which was written by Allen Toussaint who also contributes the instrumental ‘Java’. Big Boy

Myles sings a cover of the huge Gary US Bonds hit ‘New Orleans’. Teenage piano and guitar whiz Mac Rebennack cut his solo debut ‘Storm Warning’ in 1959 and later achieved huge success as Dr John..The album closes with ‘Soul Queen Of New Orleans’ Irma Thomas’ 1960 hit ‘Don’t Mess With My Man’. This is wonderful stuff and it certainly brought a smile to my face and it’s available at a bargain price. If you’re looking for a brief history of New Orleans music this would be a great place to start.

Dave Drury

WISHBONE ASH

Elegant Stealth

ZYX Records

Now the name Wishbone Ash is easy to get confused over these days with two versions touring. This album is from the version led by original member Andy Powell (not the original member Martin Turner led one that played recently at the Butlins Rock’n’Blues Festival). This album is as powerful and melodic as ever with their famous twin guitars, Wishbone Ash are back with ‘Elegant Stealth.’ It’s an album which testifies to their unrelenting evolution. It was a great joy to place this disc on the CD platter and let it run, I think that this is their best for several years, it seems more fluid in content and it runs better, less jerky, still riff laden but smoother than releases of late. Fans will thoroughly enjoy this. The album has eleven new and original tracks (with one hidden bonus remix of ‘Reason To Believe’) I gather that this magazine have been offered to interview Andy a while ago with regard to his love of the Blues but nothing has been followed up on to date apparently as his link to the Blues is not generally regarded as an obvious one but maybe the powers that be might just consider it as an interesting voyage to follow up on, after all just take a look at artists like Tom Jones, Cyndi Lauper etc who are not regarded as Blues but who have declared their ‘love’ for the genre in recent times. Now just what might a Blues album by Wishbone Ash sound like?

Frank Leigh

JULIAN SAS Bound To Roll

Cavalier Recordings

This latest release is, in my mind, one of Julian’s best to date and he really grabs your attention with a great hook to the opening tune, good tone used and a live feel to it, yes

‘Life On The Line’ is a fine opening number

indeed. This guy could be Europe’s answer to Mr Bonamassa on this form. He is merciless with the groove he sets down and ‘Mercy’ keeps it going, not in your face like he has done in the past but controlled aggression that simply has you following his lead and on repeated listens the title of the album speaks for itself as you are ‘Bound To Roll’ to this and it just could be one of the albums of the year if it gets around enough. Julian pays tribute to his all time hero Rory Gallagher (as BM is doing in issue 66) with his take on ‘Shadowplay’. This is Julian’s 8th studio album and took over two and a half years to make; he regards this as a very personal album which “is about pleasure, enjoyment, love, loss, pain and sadness. About real life, about the Blues, about experiences that (he hopes) made him stronger and a better human being”...phew. As well as the Rory cover he also has Dylan’s ‘Highway 61 Revisited’ which made him fall in love with slide playing, and Humble Pie’s ’30 Days In The Hole’ on which he loves the aggression and regards it as having one of the greatest rock riffs ever. On top of that all the songs are great to play live, so do watch out for Julian at a gig near you and make sure you get there!!

Frank Leigh

her keyboardist and husband Rick Asherson. Even though she’s best known for her guitar playing, it’s all about the songs with the almost funky ‘Dead Zone Blues’, and the big ballad ‘Falling’ the highlights for me. Of the covers, it was her interpretation of the country tune ‘You’re the Kind of Trouble’, originally by The Wrights that really works. There are no real duffers, just the sound of a singer and a band playing the music they love.

Stuart A Hamilton

KARIN RUDEFELT & DOCTOR BLUES Walk The Walk

Independent

DEBBIE BOND Hearts Are Wild Blues Root

Debbie Bond has been cranking out the blues for nigh on thirty years, but this is only her second solo album, belatedly following on from her 1998 release ‘What Goes Around Comes Around’. But she’s been keeping herself busy over the years, working with the likes of Johnny Shines, Jerry ‘Boogie’ McCain and Willie King. She also worked on the Alabama Blues Project, which runs a school programme showcasing many of the great Alabama blues musicians with whom she regularly performed. Her work on that led to a KBA from the Blues Foundation and her listing as an Alabama Music Hall of Fame Music Achiever. She’s never stopped touring and performing, but she’s finally found the time for this release. And it’s a good one. She’s been described as a cross between Bonnie Raitt and Janis Joplin, which isn’t a million miles away from the truth, although musically it’s more Raitt than Joplin, although her vocal rasp twists things the other way. The album is a very enjoyable listen, comprising original material co-written with

Doctor Blues began life back in nineteen eightytwo when Lennart Olofsson from Sweden and Dan Bindel from Denmark found that their mutual love of the Blues melded into a fruitful musical partnership when they combined Dan’s love of playing delta slide and Lennart’s heavier mixture of Chicago / British based blues of the sixties; for the best part of sixteen years band members came and went playing mainly rough sounding covers, as time went by Lennart began to write his own compositions and slowly fed them into their evolving live act until they ceased to be a covers band. The arrival of Karin, who joined the band in nineteen ninety-six ensured not only a greater degree of stability within the band but also a singular purpose and direction. Now, with this their fourth album release the band have a settled line-up of Karin Rudefelt; lead vocals, Lennart Olofsson; lead vocals, lead, slide and Rhythm guitars, Peter Borgstrom; bass and pedal tambourine, Tobias Magnusson; drums and Sven Torstensson; keyboards. The music has an enticing and enjoyable elemental, almost primal mixture of rock, jazz and funk which leads to a thickening and heavy sound that crashes and roars from the speakers like a scything double headed axe slicing through armour. On ‘Walk The Walk,’ Lennarts’ slide is a swinging joyful affair that boldly underpins Karin’s confident, brash vocals that are not unlike Chrissy Hynde, while lennarts’ gruff vocals complement Karin’s splendidly. The urging shuffler ‘Paradise of Love’ leads you into a rockish winding fun footapping guitar solo. On jazz inflected mover ‘Angel on my Shoulder’ and the slow burning delta inspired ‘Guts to Live,’ the Finnish Blues Queen Erja Lyytinen supplies superlative and emotion laden slide. One of the more engaging, haunting and no doubt soon to be crowd pleaser is the highly accessible goodtime number ‘Devils’ Child,’ a fast paced guitar jangling shuffler boasting a splendid slide guitar that weaves in and out. The Sweden based American blues player Brian Kramer also contributes a heartfelt vocal and Dobro slide piece that weaves emotively in and around Karins’ hauntingly

pleading vocals on the slowburning ‘Unknown Fate’. A splendid export from Sweden that I for one think we should hear more of.

Brian Harman

DANNY BRYANT’S REDEYE BAND Night Life Jazzhausl Records

I’ve said it before, but it was only after seeing the Redeye Band live, that I can claim to have ‘got’ Danny Bryant. His studio albums always seemed a little safe to me, so how pleased was I to see a live album popping through the letter box, five years after his last live release. It’s strange to think that Danny Bryant is still only in his early thirties because he seems to have been touring and recording forever, and all that roadwork has paid off, as this live album, recorded in Rosmalen, Holland back in September 2011, is the best release he’s put out to date. The trio are as tight as a you know what, which is a testament to the number of gigs they play, and as blues-rock power trios go, they’re up there with the best. From the opening ‘Tell Me’ onwards, it’s a master class in blues-rock, with a startling cover of the Buddy Guy tune ‘ My Babies A Superstar’, an out and out show stopper. But it’s on his own songs that you realise just how good he’s become over the years, and

whether he goes all acoustic as he does on ‘One Look’, or grinds out some mean riffs, he and his band are never anything but excellent. The one false step is his version of ‘Knockin’ On Heaven’s Door’, a dirge so tuneless, it should be banned, but it’s a minor detail on an excellent album. It’s also out on DVD with a couple of extra songs.

Stuart A Hamilton

VARIOUS ARTISTS

Further Mellow Cats n Kittens

Ace / Modern

Oh, but this is good. Volume 5 of the ongoing series from Ace, which sees them digging out some rare rhythm and blues jams from the nineteen forties and fifties, somehow manages to keep the high standards of the earlier editions going. This just goes to show how much good music there was on the go, back in the olden days. Sadly, they’re saying this will be the last in the series, but it’s a release for celebrating, not mourning. It’s hard to even contemplate picking out highlights when there are so many top drawer cuts from the likes of Sylvester ‘Big Duke’ Henderson, The Herb Fisher Trio and the awesome boogie woogie piano of Pete ‘P.K.’ Johnson. But I’ll give it a go. There’s the opening ‘Rompin’ The Boogie’ from Luke Jones and his Orchestra, the Three Bits Of Rhythm with the naughty and sad ‘The Man That Comes To My House’ and Felix Gross giving his all on

‘Mary You Are Mine’. Jimmy Witherspoon lives up to his legend status on ‘Motel’, and the aforementioned Sylvester ‘Big Duke’ Henderson goes all out on ‘Trouble In Mind’. The two Herb Fisher tracks are superb, but it’s the mind blowing ‘Cold Blooded Boogie’ by Jim Wynn and his Orchestra with a vocal from Snake Sims that comes out tops. There are some excellent sleeve notes from Tony Rounce and not an ounce of filler across the 25 tracks.

Stuart A Hamilton

JIMMY DONLEY

In The Key Of Heartbreak Ace Jimmy Donley? Never heard of him. This is strange, considering the rollercoaster life he led, which has all the elements of a biopic movie of the week. Alcohol, drugs, sex, violence and thuggery peppered his short life, although he still managed to fit in a handful of marriages before his suicide at the age of 34. A quick scan through his biography, ‘Born To Be A Loser’, shows him up as a thoroughly rotten sort, yet some of the songs he wrote are nothing short of spectacular. Some of them you’ll know through covers by the likes of Fats Domino and Jerry Lewis. Unless, of course, it was one of the many songs he sold for cash to his unscrupulous manager, the Reverend J. Charles Jessup, who then published them under his own name. These 2 CDs present 56 tracks of heart breaking and soul wrenching swamp rock meets soul meets rock’n’roll, although often tempered with a sense of humour. But it’s on the torch songs - ‘You’re Why I’m So Lonely’, ‘My Forbidden Love’ and others - that really bring the pain on home. Over on the second disc, there’s a pile of mostly unissued demos, they don’t add much to the main offering, but with a backing band, The Vikings, overseen by a very young Mac Rebennack (Dr. John), they’re certainly worth a listen. It’s a remarkable CD, and one I’ll be listening to for years to come.

Stuart A Hamilton

many bells of recognition but, if the mention of the name ‘Chairmen of the Board,’ was to be uttered a good number of soul aficionados would warmly remember their truly singular sound that burst out on the Holland Dozier Holland Invictus and Hot Wax labels in the late sixties through to the early seventies. Unfortunately after the financial meltdown of the Invictus label, Harrison’s career also melted away and he left the music business altogether and worked firstly, as a millwright, he then spent a number of years as foreman at Allied Chemical near Detroit. He remained outside of the business until nineteen eighty-two, when he began to start performing again, he could be found playing in Blues, R&B and Jazz clubs of Detroit. He eventually returned to his native Canada in nineteen ninety-eight, It was about this time that he received the Reverend John C. Holland’s Art and Culture Award. Since then he has continued to build upon a solid performing base as a singer of not only Blues but, also encompassing Gospel, R&B, Soul and Country inflected material too. All but one of the fourteen numbers here are Harrison originals and that one is a magical rendition of the Ray Charles standard ‘You Don’t Know Me,’ Harrison manages to inject a relaxing and inviting mood that envelopes you in its comforting surroundings; his voice uncannily has the cool unhurried resonance and warmth of the late great Nat ’King’ Cole, superb. A natural toe-tapper is the Hill Country sounding ‘Hound and the Rabbit,’ which features a fast paced accordion and banjo backed with energetic, enticing spoons, Harrison’s eager sweet hollerin’ is simply icing on the cake. The burring B3 of Keith ‘Nappy’ Lindsay elegantly matches the jogging Harmonica of Harrison as he sweetly preaches about having the courage to face the Devil in ‘Shame The Devil.’ Another highlight is urban almost Curtis Mayfield sounding ‘That’s Just Stupid,’ which contains a wonderfully laconic mournful banjo lead that counterpoints Harrison’s pleading vocal. While the bubbling mellotron sound of ‘How Long,’ is sweetly conjoined with the uplifting and satisfying falsetto of Harrison, a fitting tribute to Memphis Minnie. I have to say that this album is an extremely soulful, satisfying, earthy and warm collection of down-home music.

Brian Harman

HARRISON KENNEDY Shame The Devil Electro-Fi Records

To most people the name Harrison Kennedy of Hamilton, Ontario Canada, would not ring

HOWLIN’ SMURF

Downright Ugly Blues Catharsis

Although possessing a moniker parodying one of the Blues masters, there is nevertheless something of spirit of Wolf and company in the music of Howlin’ Smurf. Just

as Muddy Waters and Son House et al fashioned their instruments from whatever was at hand and were initially recorded on the plantations by the Lomaxs’ low-fidelity mobile studio, Smurf’s music is very much guerrilla musicianship; indeed, he states how’ Downright Ugly Blues’ was recorded “on an absolute shoestring with borrowed equipment and gifted instruments”. And what an album Downright is. Don’t let Smurf’s irreverence fool you: just like the blues legends a talented multi-instrumentalist (he played everything on this album, from guitar to bass, drums to harp), Smurf is a superb songwriter who clearly takes his craft very seriously, and has a natural feel for the Blues. This is an eclectic album, and Smurf has a wide range of music reference points, from the traditional blues fare of ‘Face the Lord (You’ll Have to)’ to the David Bowie-esque –and album highlight – ‘A Man Needs a Woman?’ It took Smurf a year to record this album, and, a real hidden gem, “Downright Ugly Blues” was worth the wait.

Adam Bates

DAVID MAXWELL AND TOIS SPANN

Conversations in Blue

Circumstantial Production

Otis Spann released Otis Span is The Blues on the Candid label in nineteen, sixty-four and just six years later he died at the very early age of forty. This was a sad loss for the blues world and especially so for a young David Maxwell who was only just starting out on his musical career; After watching Otis perform in Paris, in nineteen, sixty-three and in Cambridge, Massachusetts in nineteen, sixty-four a young David was inspired enough to seek out and be-friend Otis and by the late sixties they became firm friends. Now some forty odd years later David has decided to use the Candid album as his datum point from which to create his own homage to a great pianist and a greatly missed friend. In that time David himself has made the journey from being the pupil to becoming the master; for in amongst all his awards and the work he has done with such artists as; Muddy Waters, Freddie King, John Lee Hooker, James Cotton, Otis Rush and Buddy Guy to name but a few he is also now a visiting Faculty member of Longy School of Music in Cambridge, M.A. Due to the wonders of the digital age in which we live in David has managed to insert his playing within one number from the original Candid album, this number being; ‘Otis in The Dark,’ and we hear the only Spann solo number from that album with ‘Otis’s Great Northern Stomp,’ the other duets are Champion ‘Jack’ Dupree’s ‘Walking The Blues,’ ‘Get Your Hands Out Of My Pockets’ and ‘Spann and Bob,’ which actually features horns and some rather tasty guitar work from Robert Lockwood Jnr. The rest of the fifteen numbers are by David

alone. When you sit back and listen to the album, I promise you, it is impossible see/hear where David stops or Otis starts tinkling those ivories on the duets but, what I can wholeheartedly say is that the music pulsating from the speakers is pure unadulterated joy, whether it’s’ the pounding foot tapping enthusiasm of ‘Otis’s Great Northern Stomp,’ or David’s energetic and irresistible ‘Cow, Cow Boogie,’ and the duets well, they are simply a match made in heaven, this, is one of the best piano albums I have heard for quite a while.

Brian Harman.

JAMES ARMSTRONG

Blues at the Border Catfood

This is the first album from James in eleven years, mostly as a result of serious injuries he received to his left hand when he was violently assaulted during a burglary of his home, to this day he continues to suffer from nerve damage to his hand; nonetheless he continued to perform, touring up and down the country re-adjusting his playing style to suit his injuries. He is a native of Los Angeles; he started performing at the age of eight with the combined influences of his Blues singing mother and his Jazz guitar playing father, by the age of seventeen he was playing and touring as professional musician which he has continued to do for over twenty five years; during this time he has played alongside such prominent artists as; Albert Collins, Keb Mo, Coco Montoya, Roy Brown, Joes Louis Walker, Chaka Khan, Ricky Lee Jones and Jan and Dean. His three Hightone albums have been considered of such that quality that several numbers from them have been used in film and television soundtracks. James’s style is a mix of contemporary blues with the underlying attraction of smooth jazz inflections buoyed by an engaging soul edge. The album’s crisp, clean production certainly brings out the chocolately smooth edges of James engaging vocals that warmly resonant from the speakers. The grooving urban guitar from James gels wonderfully with George Papaegeorge’s confident intuitive organ, the rock solid musical backbone is provided by Malcolm Gold; bass and Warren Grant; drums. The title number contains an urging superior, grinding slide from James as does the driving toe-tapper ‘Good Man Bad Thing,’ On the funky ‘High Maintenance Woman,’ we hear fine sparring verbal’s between James and his long-time girlfriend Madonna Hamel on the age old subject

of money and attention. The haunting, slowburning ‘Yong Man With The Blues,’ has a more than pleasant running thread of sparkling soul searching guitar / organ work. This album simply oozes class; I look forward to hearing more from James.

Brian Harman.

SHARRIE WILLIAMS Out of The Dark Electro-Fi

Now that the great Etta James is sadly no longer here to thrill and chill, a number of us music lovers may have felt that there was an aching void which can no longer be filled but, I think that we may have a timely candidate to fill that void with the return of Sharrie after two years of battling with ill health and other problems; she and her band ‘The Wiseguys’ have created an album that is a phenomenal mixture of thundering Soul, blues and gospel. Her confidently, powerful voice contains not only a naturally fiery passion but also a sweet heartfelt pleading softness that can lift your very soul. There is a thread of genuine righteous appreciation of what we have and also

of what and who we have lost. At the same time there is certainly a level of indignation at those who would harm and cheat as a matter of everyday life within the fourteen spellbinding numbers; they range from the strident staccato guitar / horn led angry ‘What Kind of Man,’ that asks the question of what turns a man into a wife beater? Elsewhere, we have the bluesy keyboard driven grooving ‘City Limits Musician,’ about the ever present problem of the reluctant travelling musician. ‘Out of the Dark,’ is a subtle, slowburning, building dramatic gospel flavoured number about life, love and god in which Sharrie truly excels. The jaunty, swinging horn/ guitar led Jumping n’Jiving ‘Need More Money,’ is a footapping joy. The pleasing late- night burbling bass of ‘Although I Sing The Blues,’ leads a very laid-back horn, keyboard, guitar combination that simply bubbles away under Sherries’ rich sultry world-weary voice. The rocking, jazz organ/ guitar driven mover ‘Prodigal Son,’ is a heartfelt message to her own son to come home after his less than pleasing social habits. ‘My Old Piano,’ is a rollicking piano led Blues-Jumping thank-you to all those who over the years have tinkled the ivories and gave us all so much pleasure and joy. The final number ‘R.I.P’ is a fine slow burning solid Blues tribute to all those greats that have passed on leaving us with the fruits of their musical labour.

TOP 20

1. LES BLANK: The Blues According to Lightnin’ Hopkins (Hallso DVD)

2. HOWLIN WOLF: Smokestack Lightning - Complete Chess Masters 1951- 1960 (Hip-O Select 4CD)

3. BO CARTER: And The Mississippi Sheiks 1928-1940 (JSP 4CD)

4. VARIOUS: The First Rock And Roll Record (Famous Flames 3CD)

5. 13: Featuring Lester Butler (Floating World CD)

6. BIG PETE: Choice Cuts (Delta Groove CD)

7. SLIM HARPO: Rocks (Bear Family CD)

8. SEAN COSTELLO: At His Best - Live (Landslide CD)

9. GEORGE JACKSON: Don’t Count Me Out - Fame Recordings Vol 1 (Kent CD)

10. VARIOUS: The Profile Records Story (Floating World CD)

11. VARIOUS: The Fame Studios Story 1961-1973 (Kent 3CD)

12. MUDDY WATERS: After The Rain (Get On Down CD)

13. VARIOUS: Barbecue Any Old Time - Blues From The Pit 1927-42 (Old Hat CD)

14. JOHNNY WINTER: Roots (Megaforce CD)

15. JAMES BOOKER: King Of The New Orleans Keyboard (JSP CD)

16. ARTHUR CONLEY: I’m Living Good - The Soul Of Arthur Conley 1966-74 (Kent CD)

17. VARIOUS: I Have My Liberty - Gospel Sounds From Accra, Ghana (Dust To Digital CD)

18. BALFA BROTHERS: Play Traditional Cajun Music (Ace CD)

19. SON HOUSE: Raw Delta Blues (Not Now 2CD)

20. ARTHUR ‘BIG BOY’ CRUDUP: My Baby Left Me (Fantastic Voyage 2CD)

I would say that the wide ranging themes and styles found within this album merely accentuate the enormous talents of Sharrie and her band.

Brian Harman.

MANFRED MANN’S EARTH BAND

40th Anniversary box set (x20 CDs)

Creature Music

This is a truly stunning box set of 20 albums which includes an album of ‘Leftovers’, tracks that were 7 versions, alternate versions, un-released, acoustic mix etc, a deeper insight in some cases to what you may expect and worth the journey. Then there is the bonus 8 tracks of ‘Live in Ersingen 2011’ which is a joy in itself and a hard back booklet called ‘Thoughts & Reminiscences’ which is in sections such as ‘Early Family And Life Background’, ‘A South African Cycle Accident’, ‘Wendy’, ‘Fame’ and more, again a smashing insight into the Mann himself. On top of that there’s 36 page sleeve note booklet by Nigel Stanworth which is excellent and includes press clippings et al. All this in a sturdy black box emblazoned with the band motif makes a compelling presentation of the work of a Mann who’s career spanned breaking the UK charts with his brand of R&B (OK not included here obviously), a string of chart topping singles and whose members have moved on into commercial recording and song writing success and some back into R&B including the BBC champion of the Blues Mr. Paul Jones with his bands, The Blues Band and The Manfreds. Many of the songs in this collection are the backdrop in our lives to many of us in our ‘younger’ days and who could forget songs like; ‘Joybringer’, ‘Blinded By The Light’, ‘Solar Fire’, Davy’s On The Road Again’, ‘Father Of Day’, ‘Don’t Kill It Carol’ and many more. Ok not Blues you may say but this Mann and his assorted ensemble has given so much over the years that we can still be joyful about....and so we should, roll on you Joybringer!

RUBY MUSE

Red Guitar in a Red Room

Liquid Air Music

Frank Leigh

Ruby Muse are Malcolm and Jools (Julie) Heyes who started out as part of Coalshed Music, a collective of likeminded musicians who approached their subject matter from a somewhat different musical perspective. The Coalshed have relocated to Looe in Cornwall

but Jools and Malcolm are based in Cambridge. Jools takes lead vocals, rhythm guitar, mandolin and piano, while Malcolm provides lead guitar, bass and drums, Hannah Gimeno-Palmer adds a heartfelt violin and harmonies. The eleven enticingly original numbers here caressingly embrace a wide entwining spectrum of sounds and genres ranging from a swooning rich echoing sound that feeds on an alternate country style which emphasises on the merging of tranquil solitude and the rather refreshing brusqueness of the English countryside with the Americana of the open prairie or even, the dense dark backwoods, accentuating also somewhat on the nuances and quirkiness of traditional English acoustic Folk-Rock ; a fine example of this is the arching, escalating ‘Zeppelinesque,’ ‘The Climb,’ while also creating with ‘Reverie, (Blue Room Mix),’ a sublime blues thread that is embroidered with an aching and lilting violin Jazz breeze. Overall an overwhelming softly floating other worldliness is created by Jools huskily gossamer and ephemeral vocals especially so on the stinging ringing steel guitar laden ‘Can’t Figure You.’ The mandolin led ‘The Painter,’ adds an almost courtly feel to the proceedings. The lush, rich sounding violin and acoustic guitars that wend and wind through your mind evoke a magical mysterious atmosphere. The lazy ‘Mr. Horizon,’ is a very late night smoke filled slow Jazz fuelled candle burner. The album finishes with ‘Cats Whiskers,’ an urging swinging violin, harp and fuzzy guitar led footstomper, sadly though as soon as you get into it… it’s gone. Indeed, a very, very interesting album.

Brian Harman.

ANDY JUST Electric Roots

Feelin’ Good

California’s Andy Just is best-known as a high energy, no- quarter, blues wailing harpman and singer, but this set is something a little more unexpected among his large discography. This is Andy the down-home bluesman, with raw accompaniment from just guitar and drums, or, on four tracks, the loose, fun-filled sound of the Red Wine Serenaders, with vocalist Veronica Sbergia. The result is a richly varied album that maintains interest throughout and remains unpredictable –the opener sounds a little like Big Walter Horton’s early 50s recordings, whilst ‘Dirty Mother Fuyer’, sung by Veronica, allows space for Andy’s highend Will Shade type licks, and some fine slide guitar from Max De Bernardi. Howlin’ Wolf’s ‘Well, That’s Alright’ and ‘How Much More’ continue the Memphis groove – lovely rhythm guitar from Tiziano Galli – and then it is into Andy’s solo

country blues, ‘Chicken’. So hopefully you are now getting the picture; and that’s without the great Slim Harpo sound of ‘Layin’ Sick Bed Blues’. In case you are still wondering though, the liner notes are courtesy of none other than the great Rick Estrin – and that also exemplifies the love and care that has gone into this highly recommended release.

Norman Darwen

album as it is the lead singer’s. Sure to be fun live and this is a perfect complement to that.

Gareth Hayes

ALY COOK Brand New Day de

Records

Citing her genre as country-crossover

New Zealander Aly Cook clearly loves her music on this, her eight track debut. Her pulse appears to be closer to the likes of Nashville rather than her home country and it’s a very easy, if nonremarkable, album to listen to. The album is full of the traditional sounds of fiddle, piano accordion, bodhran, mandolin and banjo, and best fuels their fervour on ‘Ruby Jean’. With bleached blonde hair and ornate cowboy boots, she looks and certainly sounds the part. There is a silent mystery to her that may or may not be part of her story. It’s been a lifelong ambition for this mum of three to release an album and who knows where she will go now. The energy is there in ‘Spend It’ too and the rockier Bluesy vibe of this track suggests more than the purest Nashville sound exhibited elsewhere. And the last track ‘Laughing In Silence’ best illustrates her vocal potential as she gets ready to soar.

Gareth Hayes

BLUEY WILLIAMS & THE TOBACCO DOCK BLUES BAND Live Independent

Despite the fantastic band name and iconic (but brief) sleeve livery, this lively collective is let down by their absence on the World Wide Web. Who are they and where are they from? Well, maybe the music has to do the talking. It does, and it’s a sprightly live performance with Bluey Williams leading on gruff vocals and his twin guitar band having an awful lot of fun. Starting with ‘Crossroads’ is a valid way to start the ball rolling before the pace slows for the heartfelt Blues of ‘I’m Steady Holding On’ and ‘Nightime Is The Right Time’ (sic.). Closer inspection and searching reveals these guys to be a true road band with a wealth of experience of doing it for real. Jim Mullen and Stevie Paul have their own back catalogue of claims to guitar fame and it is very much their

IKE TURNER

Jack Rabbit Blues – The Singles 1958 to 1960 Secret Records

Ike Turner was one of the seminal figures of classic American rhythm & blues, blues and rock ‘n roll – a superb guitarist & pianist, arranger, bandleader songwriter, producer his contribution is incalculable. His first recording is widely regarded as the first rock ‘n roll record ‘Rocket 88’ with the Kings of Rhythm, his band, credited on the recording as by ‘Jackie Brenston & his Delta Cats. This recording is a companion to the box set ‘That Kat Sure Could Play’ which featured his singles 1951-1957. It includes Annie May Bullock who later became Tina Turner. There are 31 tracks and several gems among them including early tracks by Buddy Guy and Otis Rush. Turner’s reputation was much sullied by his portrayal as Tina Turner’s autobiography and the subsequent film, and his cocaine addiction also undermined his career. Now at a distance these recordings show just what a great contribution he made. If you love American R&B then this record will be for you.

Vicky Martin

LITTLE AXE If You Want Loyalty Buy a Dog On-U Sound Records

Little Axe is Skip ‘Little Axe’ McDonald and his band of musos, Style Scott a noted drummer who played with Dub Syndicate & Roots Radics, the band also includes Doug Wimbish on bass, Keith LeBlanc on percussion, Alan Glen on harmonica and guitar, Bernie Fowler, Ken Booth, Saranella Bell and Tom Cobley on backing vocals. The album was produced by Skip and notable Dub producer Adrian Sherwood. Skip Mac’s voice draws on several classic styles most obviously Howlin’ Wolf and Blind Willie Johnson for the lower range, he uses the upper register quite a bit vocally as well and here he sounds just like…Skip McDonald. He’s got lots of classic Dub and ‘Blue Beat’ vocal touches. The overall sound is like a dark bubbling gumbo of Blues / Dub / Reggae grooves – in fact it’s a groove album – you’ll also hear flashes of Tom Waits, and much else. There’s a lot to listen to here and throughout the album Alan Glen’s exquisite slide guitar and harmonica voicing’s remind us of home base one – the blues – the grooves and percussion remind us of home base 2 – Dub / reggae. The themes of the songs are classic blues, quite misogynistic in some of their themes, but there is also spirituality – the standout track on first listen ‘Grace’ is in fact the hymn

‘Amazing Grace.’ I say first listen because there is so much to hear, in one sense, this is a record

to just play in the background and you’ll start to hear all sorts of subtleties; it’s a listening record and a party record - producer Adrian Sherwood has conjured the sound texture of early reggae and Blue-beat – it took me back to the sixties when in our North London streets Jamaican house parties would fill the air with the sound of that original Ska and Blue beat…I was also reminded of Daniel Lanois’ productions- in summary it is a dense atmospheric record that will repay repeated listening and provide a great background at a party – real ale, wine, grass and grindin’, wine and chillin’ – this really suits every mood and is highly recommended.

Vicky Martin

‘Keep Control’ to the final track ‘Silver Bird’ this is very personal and quite explicit song about the deeply felt loss of a loved one on armed service abroad – it’s a very brave song and comes right from the heart. I reckon it’s the best track on an excellent album which avoids the twin traps of over production and instrumental self indulgence. This should secure Maggie and Co a fair few gigs this – she’s wee, she’s blonde, she’s raunchy, with a real gravelly voice. What more could one you ask? Bookers please take note.

Vicky Martin

MAGGIE ROSS BAND

Don’t Mess With Me

Privately Produced

Maggie Ross is a wee blonde bombshell from Newcastle and this is her debut album. This is the full and developed version of the six track demo reviewed in a previous issue. She presents a dozen original songs – the final one is noted as a ‘bonus track’ (not sure why it’s a bonus as its damned good). This is a good album and much of it recalls a cross between Stone the Crowes and Free. The opening track is a boogie song ‘Don’t Mess With Me’ rocks nicely and kicks everything into gear. Track 2 ‘I Will Wait’ is where the Free influence really shows, a slightly overlong drum intro leads into a slowish heavy rock number, I was reminded of ‘The Hunter’ (I think, but as an aging rockers I could be adrift there) a Kossoff inspired solo (best guitar sound on the album) sets it all off nicely – good stuff. Hendrix ‘Manic Depression’ seems a strong influence on the guitarist here – a riff inspired by that segues into the slow minor blues track 4 ‘Talisman’ a good song this. The album rocks nicely through to track 7 ‘I Can’t Stand It’ – this is the best track on the album a good riff, solid groove and it swings. Bearing in mind the struggle that everyone is having financing albums such as this producer Stu Emerson has come up with a good sound. He also plays keyboards on the album and it’s a significant contribution. He’s to the fore on the descending minor ballad track 8 ‘Ain’t Got the Blues No More.’ It’s a good song this with lush synth-ish keyboard sounds. I felt that the keys Jarred a little against the raunchiness of the rest of the album – this would have possibly have been better with piano – it’s Ok but the keys take some of the edge out of the song. It all moves along through the minor key ballad ‘Sunshine Blues and the SRV influenced

ROY TREVINO

Roy Trevino

Troubadour

Hailing from Southern Texas is a good start for Roy Trevino. Having your album produced by Jim Gaines is a great start. With nine of the ten tracks written by Trevino it’s a fantastic initiation. This is by and large Texas Blues but of a gentle variety. The gospel hinted opener ‘Gloria’ and ultra-homage ‘The Boy Can Play’ are talky duets of his sweet vocal against his intricate and articulate guitar. It’s mostly slide where he excels although his electric guitar and crafty lyrics confirm his talent lies across the frame. He is allowed to go Santanaesque for ‘Sin Ella’ and adds authority by singing in both English and Spanish; the same is true for the acoustic romantic mood-piece ‘La Luna. The one cover is Bob Marley’s ‘Lively Up Yourself’, which along with the jazzy ‘Trinidad’, could have been misplaced inclusions but he carries it off with aplomb. We can only wait with whetted appetite for his sophomore album to realise a signature sound, and any one of those shown here would do.

Gareth Hayes

THE HARDCHARGERS

Bumpin’ And Grindin’ Independent

This six track EP is worth a fiver at a gig and maybe even prove to be a collector’s item should the three committed gents take off with their retro rock and rootsy Blues. This is actually the third EP from Chris Todd, Dave Thompson and Richard Hodgen, and this one features a guest slot from ex-Yardbird harpman Billy Boy Miskimmin. It is high octane and is close in pitch to those very early jamming Fleetwood Mac records. Recorded at the Doghouse Studios in Lisburn and with a tour schedule taking in Belfast and neighbouring towns, we can assume the origins of the trio. It figures too in the intonation of the frenetic singing and playing. The title track, ‘Crazy About You Marilyn’ and ‘Suicidal Hosepipe Blues’ are penned by the band and worthy comparators to the Howlin’ Wolf and Muddy Waters covers ‘Howlin’ For My Darlin’

and ‘Can’t Be Satisfied’. It’s suitably manic and certainly one to clear the cobwebs.

Gareth Hayes

THE JIMMY BOWSKILL BAND

Back Number

Ruf

Anyone that Thomas Ruf signs up has to have promise – his track record speaks for itself. Latest in the stable is this nineteen year old Canadian, strongly influenced by Jeff Healey, and it shows, Bowskill is in your face from the off with the powerhouse ‘Take A Ride’. In the best tradition of the rock Blues genre, the band is a trio, and one that allows Bowskill’s guitar to take centre stage amongst a heavy and non-stop beat. His southern rock styled vocal is suited to the dynamic fret work. All the songs are penned by Bowskill apart from a couple that he co-wrote with Ron Sexmith. Not all the songs are powerhouse, and the anthemic ‘Spirit Of The Town’ shows that he is able to carry off the big ballad too. Amid all the guitar frenzy there is time for trumpet, piano and organ to make appearances, although in the whole it is not a subtle album. Long hair and head’s to the floor will undoubtedly be the norm amongst the air guitar, and rightly so. The album closes with a country Blues, ‘Least Of My Worries’, which serves to evidence his versatility and promise.

Gareth Hayes

she is not what I consider an ‘out & out’ blues artist, mind you this is probably why she chose the album title of ‘Broad’!

Adrian Blacklee

TREASA LEVASSEUR

Broad Slim Chicken Enterprises

Canadian solo artist and multi instrumentalist

Treasa Levasseur has released a fairly unique album here as it has been recorded at three different studios with backing provided by four different bands, which include the acclaimed Canadian Blues band Monkeyjunk on four tracks, one of their supported tracks is Randy Newman’s ‘God’s Song’, which has a great vocal from Treasa and is a stand out track. The majority of the twelve tracks on the album have a blues base but do incorporate other musical styles, including Soul & Jazz, all of which suit Treasa‘s vocal range and style very comfortably, she utilises the supporting bands well and another blues band ‘Raoul and The Big Time’ include a very talented harmonica player Raoul Bhaneja, who excels on ‘Davey’. The separate band recordings are dispersed across the album, I personally would have preferred to have had them alongside each other for some continuity, notwithstanding this, the album shows a lot of promise, Treasa has a great Blues voice although

THE LEGGETT BROTHERS

I’m Going Home Another Way

Feelin’ Good

Gospel and the blues may sometimes seem a long way from each other; at other times they seem close enough to be indistinguishable one from the other. This set from these six young California gospel veterans - they began recording in 1982lies about mid-way between those two extremes. Of course, gospel fed into rock and roll and more especially soul music, both became absorbed into the blues, and the cycle continued... Having written that, the opener is good old church rocking gospel, with the group responding to a fervent lead vocalist and the musicians rocking away - not too dissimilar from Ray Charles in the 50s; this contrasts with ‘Tribute To Daddy’, which is very close to the blander sound of modern soul music, as are several others - more reminiscent of the smooth side of Stevie Wonder and Lionel Richie, maybe. Things pick up again with the up tempo ‘I Know He Lives’ and ‘Stand By Me’ (not that one!), and ‘Where Will You Run’ combines old and new extremely effectively. That, in fact, goes for all this set, which the group originally put out themselves for their core audience. Don’t consider this if you’re looking for another Blind Willie Johnson, but if you want a modern gospel set with a strong sense of tradition, do investigate by all means.

Norman Darwen CRY BABY AND THE HOOCHIE

COOCHIE

BOYS

Sweet Thing

Cry Baby Records

This debut CD, that includes tracks for their EP ‘Salt Glazed Blues’ with a blended mix of self penned and artful covers, with the bonus track a live number that all allow the skills, talents and musicianship of the band shine through right from the off with the the title track ‘Sweet Thing’ not a cover of Van Morrison but a self-penned blues number laced with a John Lee Hooker riff gets the CD off to a great start.

‘Cry Baby And The Hoochie Coochie Boys’, deliver blues you want to dance to there is definitely a feel good factor running throughout ‘Sweet Thing’ an antidote to the austerity of the times. This musically talented six piece, consists of Graham Sells (Vocals/Guitar), Rob Wilkinson (Harmonica/Vocals), Vince Cutcliffe (Guitar), John Davies (Keyboards),

Trevor Pinson (Bass) and Andy Carr (Drums).

Joining the band for this album on Keyboards, for 9 of the Tracks, was Freddie Pirotta. The covers selected reflect their style and strengthen the CD by highlighting the quality in the self penned numbers, that all their own in this nest of classics. Highlights on this joyous album are ‘Ain’t Nothin But The Blues’, gritty tribute to the blues that has a slower tempo providing the album texture. The track that seems to encompass and showcase the band though is definitely ‘Don’t Lie To Me Baby’ This is a classy high octane blues album and reflects the talents of the band comprising skillful musicians and ‘Sweet Thing’ is an amazing debut album.

Liz Aiken

VARIOUS ARTISTS

Blues You Can’t Refuse

Feelin’ Good

There are 36 tracks on this double CD, giving a concise introduction to the music that the Feelin’ Good label has released on over 20 albums from its base in Italy – and they are also artists with whom label boss Tano Ro has worked closely over the years. There is a wide range of blues styles on offer here, though with a marked Texas/ California bias, (for a change!). Sonny Rhodes is the veteran in this company (and deservedly gets the cover shot – he has worked with Tano since the very early 80s), but other Lone Star guitar slingers include Texas Slim and the adopted Oklahoman Shawn Pittman, California is represented by Andy Just, Gail Muldrow, The San Francisco Gospel Singers, and Cassandra Mathews & The San Francisco Gospel Divas, and then European resident saxman Detroit Gary Wiggins, Chicago’s Vivian Vance Kelly, and Boston’s Brian Templeton (of The Radio Kings) prove the label does not stick to a strict formula. There are some famous names too, among the backing musicians. With music that runs from Andy Just’s jug-band-ish cover of ‘Dirty Mother Fuyer’ to Gail Muldrow’s version of ‘Play That Funky Music’ and Shawn Pittman’s rocking ‘Looking Good’, this is certainly a release to consider, not refuse!

Norman Darwen

ALAMO LEAL AND THE BLUES GROOVERS

Delira Blues

It’s been some time since Alamo wowed us with his presence and a new album. It was his Rythm Oil 1997 (Armadillo Records) that blew us away and he became the ‘darling’ of the British Blues scene and managed to get astounding press reviews and even a 3track exposure and interview with Paul Jones! Much water has flowed beneath the bridge since then and Alamo’s return to his native Brazil made the gap even wider. He seemed forgotten

by all but a few trusty friends/fans and fellow musicians. Then - just before Christmas 2011 he returned to the West Country for a lightening mini tour and was now selling his latest CD recorded in 2008 that has a deservedly fine tribute from Scott Duncan ‘British Blues Connection’ within the sleeve notes. The 12 track disc has an eclectic mix of standards from the likes of Willie Dixon ‘The Same Thing’ Chuck Berry ‘Wee Wee Hours’ Lowell George ‘Two Trains’ Skip James ‘Hard Times Killing Floor’ and Muddy’s ‘Look What You’ve Done’. Then there’s Kevin Brown/Alvin Lee’s ‘Dallas’ Brown again – ‘Hard Working Man’ Jagger/ Richards/Taylor ‘Ventillator Blues’ Hiatt’s ‘Memphis In The Meantime’ Hiatt/Cooder/Keltner/Lowe’s ‘Big Love’ The bonus track is ‘Must Have Missed a Turn Somewhere’. He puts in a nice track of his own ‘Thinkin’ About Baden Baden Powell’. Having travelled widely and met and played with some of the all time greats and being from such an exotic Brazilian multi racial and rhythmical background his influences are many and varied and a pleasure to the ear. Surrounded by fellow South American musicians on this album the overall quality is brilliant and I have spent many hours listening to this vibrant blues mix from a master blues man and his excellent Blues Groovers! Welcome back Alamo and don’t leave it so long next time!

Diane Gillard - Sister Feelgood

GRAINNE DUFFY Test of Time

Independent

Well it seems I reviewed Grainne’s old album in the last issue!!! So let’s bring you up to date with her latest album. No surprise if I say I love this one too, and if it’s possible to improve she has! Grainne has a voice that just compels you to listen. ‘Everyday’, which just happens to be the first song on the album has some great keyboard backing. It’s followed by a raunchy number called ‘Let Me In’, great beat and guitar solo. Grainne has written some great numbers for this album, changing pace to keep listeners interested from start to finish. ‘Sweet Sweet Baby’ with its reggae beat works well, and has as the rest of the tracks some sweet guitar. ‘Test Of Time’ has a great opening with a catchy tune. If you like dancing, ‘Falling For You’ has a classic dance beat, it just may be my favourite track with a definite Rolling Stones influence, it will definitely have the dancers in the crowd on their feet! All of the songs on this album showcase her vocals perfectly. Country, Soul, Reggae,

Rock and Blues, it’s all there in this album. The change of pace keeps you intrigued to see where her fabulous voice and band will take you next. Grainne’s voice has a haunting quality, one of the best voices I have heard in a long while. Grainne is definately one to watch closely in the next years as I predict she will be a favourite with the blues crowds.

Thoroughly recommend you buy this album, its 5 stars in my book.

Christine Moore

NINE BELOW ZERO

Live in Europe 1992

Floating World Records

This is an interesting re-release; it’s not mentioned on NBZ’s new website- so we wondered if the band actually had much to do with it? Notwithstanding, it’s an interesting listen – NBZ at their raucous and edgy best, punk tinged British R&B – I recall the fan’s perspective at the time they hit big – thank God there’s still someone doing real R&B amongst the tide of punk and Indie music. NBZ was probably one of the few places where you could hear a drummer playing the backbeat and a touch of swing at the time as punk was encouraging an all round drop in musicianship standards. These boys upheld the standard for R&B and in particular ‘British’ R&B for a long while (along with the Feelgoods of course). All the more surprising then to notice that Alan Glen the harmonica playing supremo is dressed as Napoleon (he’s French you see) on all of the artwork – a blues playing Napoleon in dark shades – cool image – may have been better to choose Nelson (to dress as); also it might have been difficult to explain if Alan had been pulled over by the old Bill – ‘Yes, play in a blues band do we sir…I see…have to dress as Napoleon eh? – blow into this bag please sir’ Well it wasn’t quite like that according to the man himself (Alan Glen that is, not Napoleon) he was asked to dress like this because otherwise ‘the band looks just like everybody else’. Well it probably worked at the time, but much more importantly it is Glen’s harmonica that really adds a colorful edge to this music –he pops up everywhere on a very lively set that includes NBZ anthem ‘Riding on the

L’ and ‘N’, ‘Watch Yourself’, and a great medley of ‘On the Road Again’, She Gives Me the Shakes, and ‘I Can’t Quit You Baby’. This was the reformed NBZ kicking back into life and they were as good as ever – this is good stuff very ‘90’s, very lively. The line-up of Dennis Greaves on vocals and guitar, .Gerry McAvoy on bass, Brendan O’Neill on drums, Alan Glen on harmonica really kicked. This album is not to be confused with NBZ’s other live album recorded in 1980 at the Marquee- this 1992 set has a much better sound. So if you like that very lively period of British R&B give this a listen…and if you see anyone out dressed as Napoleon…it might just be Alan Glen The sound for a live album is acceptable. The first half of the album is certainly of better sound quality than the closing tracks which are a little muddy, but still manage to capture the excitement of a live Nine Below Zero gig. As with all live albums, if you were at the gig then the album is a mustbuy. If you are a Nine Below Zero fan, then you’ll have already snapped up this CD as it’s not an unattractive package and the sleeve notes are very informative, but I can’t see this particular issue making the band any new fans. That’s not to say

R2 is a bi-monthly magazine packed with folk, roots, blues, rock, singer-songwriter and world music coverage. Our extensive, authoritative review section and fascinating, insightful interview features plus FREE cover-mounted Un-Herd CD (every issue) will keep you informed and entertained.

R2 is available at WH Smith and from your local newsagent (we’re distributed by Comag). You can also find us in HMV, Barnes & Noble and numerous independent record and book stores across the UK and around the world. Alternatively, order online (single issue or our special offer, recession-beating six-issue subscription at only £19.75 – UK rate only) at •

Three Stars ★★★ “Ramminger brings honest wit to entertaining original songs, mainly about domestic squabbles... Some of the leading roots musicians in the Mid-Atlantic area help him out.”

Downbeat Magazine, March 2012

“What a treat this album is… And what a joy to hear Ramminger strutting his stuff through 11 original songs that veer from slow blues, boogie woogie, and shuffle to the Mardi Gras groove of ‘Real Fine Gumbo.’”

Blues Matters Magazine (BM64), March 2012

“Scott steers with a firm hand, owning microphone bragging rights with low slung delivery that fits the Dixie mix of blues, soul, and roots rock with which the band testifies.”

The Alternate Root Magazine

“Ramminger puts a modern twist on Southern influenced textures emblematic of Robert Cray.” —Yahoo Entertainment

GOT LIVE

SLEEPY EYES NELSON @ The Ale House, Edinburgh 28th January 2012

With the advent of electrified blues, finding authentically sounding country blues artists can be a hard task, in particular those with a degree of creativity and desire to take forward the music in a contemporary setting. One of the finest pursuers of this style is the man known as Sleepy Eyes Nelson. Not yet aged 30, the Ayrshire based story teller has a fine picking style which is reminiscent of the recordings of Lightnin’ Hopkins and a vocal style which resembles Tennessee blues singer Furry Lewis. This was the second date of his ‘Graveyard Full of Blues’ tour with Glaswegian bluesman Craig Hughes. Hughes’ bottleneck style had impressed and as he closed his set with Skip James’ ‘Crowe Jane’, (nonsleepy) eyes turned to Nelson. Having been buoyed by the recent title of British Blues album of the year by Blues Underground and a fine review in the previous issue of Blues Matters, for his album ‘Where The Town Ends,’ he then demonstrated why he is been garnering so much interest from many of the country’s blues festivals. After the recent storms to hit his homeland, many in attendance could identify with the words to the opener ‘Power Cut Blues’ as Nelson’s clear vocals made each word decipherable. Despite the sinister name and dark lyrics, ‘The Razor’, the song is a toe tapper akin to the style of Mance Lipscomb. ‘Preacher Blues’ penned by Mike Snow is a plaintive song as the narrator begs for entry to the sacred land. Nelson’s picking rhythm even temped several off their feet to dance as he repeated the main guitar line for their benefit. An ancient dwelling place near to his own forms the inspiration for ‘Old House Covered In Blues.’ It’s as an absorbing acoustic blues track as you’re likely to hear, which in parts featured some tender slide guitar. The angst of the current financial situation came to the fore during ‘Postman Blues.’ Having been asked by a transfixed audience member who wrote one of his self-titled tracks, the closer was the one cover of his set, an upbeat take of Blind Boy Fuller’s ‘Step It Up And Go’. In recent months Nelson has played in locations as far apart as Memphis and the Shetland Isles. Make sure you catch him when he reaches your town.

Duncan Beattie

MIKE HODDINOTT BLUES ALL STARS @ Tubby’s Blues Club, Cheltenham January13th 2012

I just love this popular, well organised, patronised and friendly Blues Club. Hats off to Otis who took it on after the death of the charismatic “Tubby” and kept it going – onwards and upwards ever since. This night we had two bands for our post Xmas hang over s (heads and guts!). Blues Business over from Surrey have been here before but I had missed them so were new to me. They’re a five piece band who set the pace and get things going. They love the music and it shows and they set out to entertain and warm up the punters there on that cold, damp January evening. They are a hard working band and really enjoy every minute of performing – as much as we had jiving and listening to them. Next –well the brilliant Mike H and his Blues All Stars. Mike has an illustrious C V having worked and toured with his own band and the likes of Eddie Martin, Innes Sibun, Larry Garner and Johnny Adams. He is a drummer – steady, rollin’ and in control without the overcrowded solo hogging moments some other stick bashers can give you. Pete Gage, vocals/ harp – first replacement for the late great Lee Brilleaux of Dr Feelgood fame just shines. He gives you great gritty , worn leather coated larynx throated vocals and tremendous harp such as in the Killin’ Floor where they are so nice, sharp, shrill and strident following the easy but then quickening paced drum solo intro from Mike. Roger Sansom (keys) breaks in with stunning dexterity and aplomb during most numbers and rides shot gun to the band throughout. His best moment (for me) coming in ‘Who’s Lovin’ You Tonight’. Richie Blakemore (bass) is fantastic to hear and watch as he keeps the pace perfectly and stunned Blues Matters! 118

MIke Hoddinott

the audience with his solo jazz / blues / reggae / funky moments all night. Richie performed with good grace and modesty – just beautiful. The last few compliments apply also to Paul Hartshorn who has long been my favourite local guitarist. Paul’s opening bars in ‘Help The Poor (Poor Me)’ put me in mind of my all time guitar hero Peter Green. Nuff said! My friend Jean, me and other dancers had our own killin’ time down on the lovely sprung United Service’s Club ballroom floor as having consumed several Speckled Hens I had to work off that and Xmas excesses off!

Diane Gillard (Sister Feelgood)

JUNIOR WELLS TRIBUTE @ Beaverwood Club, Chislehurst, 5th January 2012.

An array of top Blues talent turning out in January to celebrate the life and work of the late Blues harmonica great Junior Wells. The cast included John O’Leary’s Sugarkane, Marco Pandolfi and his band, Clare Free, Paul Cox, Brendan Hobban and Alan Glen. An array of Blues nobility, who have played with (or still do) Savoy Brown, The Yardbirds, Nine Below Zero, Southside, Sherman Robertson Jools Holland and The Barcodes. Owing to their numbers, the musicians worked in shifts of sets all night.

The great line up produced great songs, all of which were played by Junior Wells. First came John O’Leary and Sugar Kane (with Alan Glen) guesting on ‘That’s Alright’ – and remarking afterwards. “That’s Junior Wells as played by the Allman Brothers!” There was a brilliant mix of slower Blues and stomping rocking tracks, such as ‘Early In The Morning’ – from Wells first album Hoodoo Man Blues, and in which John O’Leary’s strong vocals complemented his harmonica and Jules Fothergill’s great guitar work. Next up was Marco Pandolfi ‘I’ve Been Mistreated’ was fantastic, his harmonica quickly reminding me of why I revere Junior Wells. He was joined by Paul Cox, who ripped out ‘Stormy Monday’ –played slow and stretched out at first, then building into some passionate playing. ‘Rock Me Babe’ was another stand out offering. Paul Cox paused to pay tribute to Junior Wells, saying “He was one of the unsung greats of the Blues, really good at what he did.”

Clare Free then stepped up and reached a terrific high in ‘Let Me Love You Baby’ when riffing alternately with the harmonica. It was great to hear a female vocal accompanying Wells’ tunes. Clare later commented two Junior Wells songs particularly influenced some of the rhythms in my playing, namely ‘Little By Little’ and ‘Messing With The Kid’. The evening wrapped up memorably as the musicians joined in with ‘Help Me Baby,’ as Paul Cox sang for help and John O’Leary interjected “Ignore Him” and “Don’t Help Him.” Sheer entertainment! The show was an amplified harmonica fest and a fitting tribute to Junior Wells. John O’Leary later summed up his own take on Wells. “Along with Paul Butterfield, Junior Wells was one of the people who pointed the way forward of working with modern guitarists and he demonstrated how to play in a much more modern context.” Congratulation too to Clare Free, presented with her “2011 Best Acoustic Performance Awards” by the Wrinkly Rockers Club on the night. All hail Junior Wells – and his modern followers. www.wrinklyrockersclub.co.uk check out the WRC Awards 2011

Darren Weale

HOT TUNA AND FRIENDS @ Beacon Theater NYC - 12th September 2012

Hot Tuna and Friends hit New York City’s Beacon Theater in support of their recent Red House Records release ‘Steady As She Goes.’ Jorma Kaukonen and Jack Casady recruited some nice friends for their first studio record in 20 years, and Barry Mitterhoff (mandolin), drummer Skoota Warner (please give the funky drummer some!), guitarist Larry Campbell and vocalist Teresa Williams all reprised their studio roles live in concert. Add to the mix special guests Charlie Musselwhite on harp and all-around guitar whiz G.E. Smith and you’ve got a recipe for some really “Hot” Tuna! First set opener ‘Hesitation Blues’ started things with just Jorma/Jack on acoustic; electric blues was next with ‘Highway 61’, ‘Can’t Get Satisfied’ and ‘Rock Me Baby’ all featuring the blues harp of Charlie Musselwhite; and a mess of tunes from ‘Steady As She Goes’, like the excellent ‘Angel Of Darkness’ showcasing Larry and Teresa, and Rev. Gary Davis’ (a Jorma favorite) gospel-ly ‘Children Of Zion’. They wrapped set #1 with ‘Hit Single #1’, and then it was on to set # 2. Both ‘I See The Light’ and ‘Talkin’Bout You’ had a wind-milling G.E. Smith on guitar, and ‘Easy Now’ (originally on Phosphorescent Rat) is now ‘Easy Now Revisited’ and is on the new ‘Steady As She Goes’.

John O’Leary

Also from the new release is ‘Mama Let Me Lay with You’ a bluegrass number featuring Larry Campbell’s fiddle. Larry’s also heard on two more songs from the new album, ‘Second Chances’ and ‘Mourning Interrupted’, while Mr. Charlie brings some more blues to the party with ‘If I Have Bad Luck’. He also lends some haunting harp to ‘Christo Redentor’ before old favorites ‘Keep Your Lamps Trimmed And Burning’ and ‘Funky #7’ lead into the grand finale ‘Bar Room Chrystal Ball’, with Larry now on pedal steel guitar. This line-up was like an all-star band of band-leaders, with everyone taking a turn and then letting the next guy have a shot in the spotlight. A worthy concept to be sure, but pulled off without a hitch. Here’s hoping Hot Tuna has more friends waiting in the wings.

Paul Aaronson

BARE BONES BOOGIE BAND/LOZ NETTO BAND @ Grand Central, Worthing. 21st January 2012. In line with the club policy of booking so-called (lesser known) acts for the monthly Blues night,the somewhat sparse crowd were treated to an awe-inspiring night, kicked off with an amazing set from the Loz Netto Band. If readers are familiar with their ‘Bridge of Dreams’ cd from last year, it pales into insignificance in comparison to them live. Loz handles guitar/vocals with a tight rhythm section of Nigel Ball on bass and Rob Kenny on drums. In their allotted time, they rattled through both original and cover material in equal measure. Standouts for me were their own ‘Crossroads’ and the Ry Cooder-esque take on ‘Get Rhythm’ and ‘Little Sister’; Loz certainly plays a mean slide. They impressed so much that they’ll be back headlining later in the year. London based Bare Bones Boogie Band are busy showcasing their second eponymous cd (this one has blue writing on the sleeve, as oppose to the first one being red). From the opener ‘Penicillin Blues’, they were straight in the groove. Helen Turner (vocals) has a voice to die for, Iain Black leads the line on guitar, with lovely touches, yet again praise goes to the tight rhythm section , Trev Turley on bass and Andy Jones on drums. There is a great understanding and chemistry between the four of them, making their set pleasing on the ear. Whilst drawing the set list from two cd’s might appear to the uninitiated to be limited, they do not disappoint. Original material abounds and shows great enterprise, ‘Midnight 02’, ‘Travellin’ Light’, Black Cat Strikes Back’ illustrating the point perfectly. Personal favourite ‘Baby, Baby, Be Mine’, with its cracking bass line was perfection, preceding a tribute to the just departed Etta James, ‘I’d Rather Go Blind’. It was a good move to finish with some boogie, ‘Mary Had A Little Lamb’, ‘Live With Me’ and ‘Full Tilt Boogie Man’. All in all, a great evening, two contrasting bands, doing what they do best, entertaining people and having fun along the way.

Clive Rawlings. WILL JOHNS BAND @ The Ranelagh, Brighton. 19th February 2012. Since interviewing Will for Issue 64, I have struck up a good friendship with him and his band. This is the second time I’ve had the pleasure of seeing them live and I can’t help but think this was an ‘I was there moment’. Sometime soon, believe me, he’s going to be big! Originally a three piece, since I did the interview, Will has added Lee on keyboards, a good move, in my opinion, giving the band a fuller sound. With Chris Scott on bass and Chris Gale on drums, deputising for Craig (on paternity leave), they act as a perfect foil for Will’s wizadry on the frets and his charming vocal delivery. Opener ‘Everyday I Have The Blues’ got us off to a flying start, straight into ‘Sweet Home Chicago’, excellent guitar playing throughout. What I noticed from the off, was the interaction Will has with his audience,if you catch his eye, he has a knack of making it sound and look like he’s just playing for you. A couple of originals next, ‘Comin’ Home’ and ‘Smugglers Blues’ illustrated he can write a good song as well. Then, as if to demonstrate his versatility, he closes the first half with such diverse covers as ‘Lucille’, ‘Badge’, ‘Need Your Love So Bad, ‘All Along The Watchtower’ and a truly funky ‘I Feel Good’. Slide dominated the start of part two, a selfpenned ‘Call Me Willy’, and ‘Rollin’ and Tumblin’. ‘White Room’ preceded the beautiful original ‘Count On Me’, just prior to a special moment for two very young guests. Will introduced Alex Butler on lead guitar and Ramona Miller on vocals for a stunning ‘The Thrill is Gone’. These two are half of a new young band starting up in the Brighton area called Red Butler, whom Will is taking under his wing. Judging by what I heard last night, they’re in good hands. Alex’s guitar work was showcased to full effect, while Ramona

Charlie Musslewhite

SMALLTHOM(UK)BLUESTRAP(GR)TOMMYCASTRO(USA)

the BluesMatters!FRONTPAGE

blinkers!”

BLUES MATTERS!

without the blinkers!”

JOHNO’LEARY(UK) KEITHTHOMPSONBAND(US) MATTSCHOFIELD(UK) KINGPLEASURE&THEBISCUITBOYS(UK) NORMANANDYPOXON(US) BEAKER(UK) PPARNOLD(UK) Apr 11/May 11 Issue 59 £4.50 www.bluesmatters.co GREGGALLMAN NEW BRUNSWICK HARVEST FESTIVAL-featureandinterviews. Gary Moore Deborah Bonham BluesMatters!FRONTPAGE BLUES MATTERS! “The BLUES without the blinkers!” CASSIEAMARSUNDY TAYLORCHRISBARBER EDDIEDANAFUCHS KIRKLAND HUNDREDSEVENTYSPLIT IDLEHANDS JOEBONAMASSAMAMAJONCLEARY(US) ROSIN(CH) THEROGERSTOLLE(US) PRODUCERS (UK)TOMMYTODDSHARPVILLE(UK) EMMANUEL(AUS) June July 11 Issue 60 £4.50 www.bluesmatters.com JOEBONAMASSA TOMMY EMMANUEL CHRIS BARBER DANA FUCHS Blues Matters! FRONT PAGE BLUES MATTERS! “The BLUES without the blinkers!” Aug Sept 11 Issue 61 £4.50 www.bluesmatters.com WILKO JOHNSON MICHAEL MESSER SAMANTHA FISH BUDDY WHITTINGTON (US) DOUG MACLEOD (US) GERRY JABLONSKI (UK-POL) JIM SULHER (US) JON AMOR (UK) MAGDA PISKORCZYK (POL) MICHAEL MESSER (UK) SAM HARE (UK) SAMANTHA FISH (US) SCOTT BILLINGTON (US) TEXAS SLIM (US) WILKO JOHNSON (UK) . . . . . . . . . . . . C U T D O W N T H I S L I N E . . . . . . . . . .

CUSTOMER DETAILS PLEASE USE CAPITALS

Blues Matters! is available in digital format, making the magazine available to read on your PC (this ensures you receive the magazine quicker than anyone else and at a lower cost - £27.50 anywhere in the world!): www.exacteditions.com

You can subscribe to the magazine for a conventional print -copy at: www.bluesmatters.com, or simply indicate in the options below the subscription period required, e.g. , fill in your personal details in the space provided and then post this flier back to us.

I wish to subscribe for *: 6 issues (£27.50 UK/£42.50 WORLD)

12 issues (£55 UK/£85 WORLD) 18 issues (£80 UK/£125 WORLD

* NOTE Blues Matters! is released every two months

Title (Mr/Mrs/Miss/MS)............First Name....................................................

Surname........................................................ Address......................................................................................................

Postcode/ZIP..............................................................................................

Telephone (Day).........................................................................................

PAYMENT METHOD

Cheque/Postal Order

I enclose a cheque/postal order for the total amount £..........made payable to Blues Matters!

Credit Card

Please debit my (VISA/Delta/Mastercard/Switch delete as appropriate) card for the total amount £.......... (switch issue no ....................... valid date / / )

Cardholder’s Name (as it appears on card) ..............................................

Card Valid From / / Card Expiry Date / /

Card No.....................................................................................

Security Number (last 3 digits on signature strip)........................................

Signature.....................................................................................................

has a voice way beyond her years. Will carried on after that with ‘Purple Rain’, his own ‘Skool’, before stunning us with his interpretation of ‘Fire/Voodoo Child’, what joy! After ‘Brown Sugar’ and ‘Superstition’ the youngsters came back for an encore of ‘Johnny B Goode’.What an evening was had by the full house. Great to see such talent, both experienced and fledgling. There were a few comments re the choice of covers, but I would suggest that with the teacher Will had, he’s bound to steer towards tracks from the man’s back catalogue and his contemparies. In my opinion, the set-list is so diverse it takes a special talent to attempt such numbers and get away with it.

Clive Rawlings

LISA MILLS @ Cluny 2, Ouseburn, Newcastle upon Tyne. Wednesday 15th February 2012

Being a stateside, southern belle, playing guitar and singing the ‘Blues’, I suppose it is inevitable that Lisa Mills will be compared to Bonnie Raitt. This is unfortunate, as Lisa proved tonight, yet again, that she is very much her own woman! If comparisons need to be drawn, and I’m not at all sure that they need to be, she is closer in many ways to the great Barbara Lynn… ’nuff said!! Now back to the gig. It possibly suffered from being a mid week venture. But quite why there were only thirty odd people present remains a complete mystery. Lack of publicity possibly – I don’t honesty know. Nevertheless those present appeared to be hard core blues enthusiasts. Lisa herself also seemed to genuinely appreciate that fact, and she worked her black leather boots off, neither short changing in effort, nor set length and finishing the night with a brilliant encore. The set consisted of a main menu of rarefied blues, some served face down others sunny side up. There was also a healthy dollop and generous portion of Dixie fried soul, which included ‘What Am I Living For’, The Chuck Willis classic and southern soul burner later popularised by Solomon Burke. Also, ‘These Arms Of Mine’ the Otis Redding tear stained soul jerker. There was even a side dish of swamp spawn, served up courtesy of ‘Country Side’, echoes of Bobbie Gentry, Tony Joe White and Dorothy ‘Goldwax’ Williams, ever present. The whole set was an incredible mix of light and shade. Other stand out tracks being ‘The Richest One’, ‘Tempered In Fire’ and ‘Black Draws/Sugar Coated Love’. A very special mention must be made of Ian Jennings on Double Bass. Who on the night was the sole soul orchestra behind Lisa’s vocals and guitar. He plucked, slapped and bowed to great effect all night. He, alongside Ross Lewis, Cluny 2’s resident sound guy, helped make this a great night. So, I for one look forward to Lisa’s return, by which time word will have undoubtedly spread and the audience will be a capacity, sell out one. What would be nice would be to see Lisa fronting a band. Now that really would be pay dirt!

Geoff ‘The Silver Fox’ Marston

BOB BRUNNING TRIBUTE NIGHT 5th February 2012 @ BB’s Blues Club, Colour House Theatre, Merton Abbey

The BB Blues Club was founded over fourteen years ago by Bob Brunning who had a CV that shouldn’t be forgotten. He was a founder member of Fleetwood Mac until John McVie took over, and then played with Savoy Brown for a while. In the 80s he started writing. His ‘Blues, The British Connection’ still remains a definitive guide to the 60s Blues scene. He has also appeared on over 40 records. This evening’s music was a fitting remembrance to all he achieved. Simon Pregar, an acoustic guitarist and great friend of Bob’s opened up the evening with Bill Broonzy’s ‘All by Myself’, ‘Alberta’s’ ‘Send Me a Man’ and Louis Jordan’s ‘Saturday Nite Fish Fry’ which was swiftly followed by The Robin Bibi Band who were the house band for the event. Savoy Brown’s ‘Hey Mama’; the Band’s’ Work Together’ and then a stunning version of ‘Albatross’ on which Robin played every guitar harmonic you could wish for! Obviously the evening was going to be very Fleetwood Mac based. So Buffalo Bill Smith (a local stalwart) complete with his bandolier of harps gave us ‘The Sky is Crying’ and ‘Every day I Have the Blues’. Another local band Bemused did Peter Green’s ‘All your Loving’ and Bad Company’s ‘Good Loving Gone Bad’ The David Raphael Band did ‘Woke Up This Morning’ followed by a great version of Savoy’s ‘Laudy Mama’ and finished with a blistering

rendition of Elmore James’s ‘Gotta Move’. Next on was Paul Cox, who for me was the highlight of the evening. Accompanied by Robin Bibi’s Band he gave a really sensuous reading of ‘Need Your Love So Bad’ which had a spine-tingling guitar solo from Robin. Paul then put his unique stamp on ‘Oh Well’ and finished with Lennon’s ‘Don’t let me Down’ which had the entire room singing their heads off! Follow that I thought! And the biggest surprise of the evening was the fact that 15 year old Cloee Christmas did just that. ‘Why I Sing the Blues’ sequewaying into ‘Stormy Monday’ and ending with the Joplin opus ‘Mercedes Benz’. This young lady had a voice beyond her years, and I can promise you’ll hear a lot from her in the future. Throughout the evening Mr Bibi gave a master class in guitar accompaniment (no matter what the genre was!) And considering there was no rehearsal, Robin definitely did it in spades. Bob Brunning would have been very moved by the eulogies and the evening’s tribute.

Bob Bonsey

STEVIE NIMMO & SEBASTIAN VAIVRANDS @ ‘Cluny 2’ Ouseburn, Newcastle upon Tyne. Friday 24th February 2012. I, like many others went to this gig uncertain as to what exactly would be ‘served up’. Doubtless it would have a quality, premium, grade ‘A’ stamp all over it, with Stevie Nimmo on guitar and vocals. As for Sebastian Vaivrands on Hammond organ, well, he was unknown to me and, I suspect many others. A big smile crept across my face, simply looking at the instruments set up on the stage. Memories of Dan Penn and Spooner Oldham’s tour of the UK in 2006 came flooding back. I also recalled Al Kooper and Mike Bloomfield’s ‘Super Session’ from even further back.

It proved to be a very special night, Stevie Nimmo as bluesy and soulful s ever. His guitar work was a master class in what is needed. No overplaying, quite economic for the most part, allowing his vocal nuances to stretch out when required. Meanwhile, Sebastian appeared content to play a supportive role, but was afforded plenty of opportunity by Stevie, to illustrate his keyboard skills. Sebastian’s gospel background came shining through time and time again in his superb use of ‘call and response’. He proved the perfect foil and true underpinning agent.

As for the set it was a superb mix of Stevie’s originals and imaginatively worked covers. Things kicked off with ‘A Good Day for the Blues’ (coincidentally, Lisa Mills’ opener only a handful of days earlier on the same stage.) This was quickly followed by ‘Eye of the Storm’. Then, with ‘Stop Breakin’ Down’ and ‘It’s a Hard Life’ we had the first hint of Sebastian Vivairands’ wizardry on the Hammond B3. ‘If You Need Me’ appeared to owe more than a little to the Solomon Burke and Wilson Pickett sixties ‘Atlantic’ label hit. Nothing wrong in that though. Just proving yet again you should always build up from a good chassis. Things moved on to ‘Moving On’. Next it was the turn of the first of a couple of shuffles, Willie Dixon’s and Little Walter’s ‘My Babe’. When Stevie then announced the next number was one written by Amos Lee, I prayed it was going to be ‘Mission Bell’. Sadly it wasn’t, but nevertheless it was a finely worked and well crafted title. The set finished very much in Gospel mode with Sam Cooke’s ‘A Change is Gonna Come’ and ‘A long Road to Heaven’. A revivalist tambourine even surfaced above the waterline!!

A truly memorable night thanks to ‘Nimmo the Elder’. Hopefully not too long a wait before it happens again.

Geoff (The Silver Fox) Marston

ETTA JAMES OBITUARY

& Brief Overview of Her Recordings, Music & Legacy

by Geoff ‘The Silver Fox’

Marston

Etta James died at the age of 73 on the 25th January 2012. She died from leukaemia but was also suffering from dementia. Etta (real name Jamesetta Hawkins) was born on the 20th January 1938 to a fourteen year old black girl named Dorothy Hawkins. Initially she was raised in Los Angeles by adoptive parents. However, after her adoptive mother died when Etta was twelve years old her real mother returned taking her back to San Francisco. Theirs was a troubled and difficult relationship for many years. It was claimed by some that she never knew her father or even knew who her father was.... but more of that later. Etta entered the music business at the tender age of fourteen going on fifteen. She herself could never be considered tender. She appeared to climb over the cot sides hurling abuse and spitting out profanities!

January 25, 1938 –

January 20, 2012

Her first group was a vocal trio called ‘The Creolettes’. Their first audition with band leader Johnny Ace quickly lead to a recording contract with ‘Modern’ records and the subsequent solo hit for Etta called ‘Roll With Me Henry’. (Later retitled ‘The Wallflower’, as the original was considered too risqué and explicit). Other ‘Modern’ hits followed in the fifties including ‘Good Rockin’ Daddy’ which funded Etta’s first Cadillac (presumably pink?). Then in 1960 she moved over to Chicago’s ‘Chess’ label where she remained until 1976. Leonard Chess working alongside Ralph Bass was certainly the most sympathetic and successful producer partnership she ever encountered in my view. ‘Chess’ were responsible for many of her legendary sides – ‘At Last’, ‘Tell Mama’ and ‘I’d Rather Go Blind’ are three monumental hits frequently quoted and referred to. But don’t overlook the others. My personal threesome would be ‘Something’s Got A Hold On Me’, ‘Pushover’, and the sublime country tinged opus ‘Almost Persuaded’!!!!! (There are two incredible ‘Chess’ compilations of Etta’s material, 1 ‘Etta James’ – “The Chess Box” MCA. 088 12 288-2. A long case 3 CD collection which contains a superb, lavishly illustrated forty page booklet - but it is expensive!! 2. “The Very Best of Etta James – The Chess Singles” Spectrum 982 7041, another 3CD collection available for under £5 - if you know where to look!!!!!).

After leaving ‘Chess’ her output and recordings were somewhat patchy and uneven. However her albums “The Seven Year Itch” (1988), “Stickin’ To My Guns” (1990), and “Matriarch Of The Blues” (2000) are without question the ones to beg, steal or borrow. Her final recording – ‘The Dreamer’, is not unlike Johnny Adams’ last recorded work “Man of my Word” in that it is a quite brilliant final offering. It appears that Etta had three demons. Firstly she had a drugs abuse and dependency problem, having been introduced to drugs early on in her life. Even when she managed to overcome her addiction to heroin she then became addicted to codeine. Secondly, she had a fascination for what she claimed were ‘wrong headed men’..... scumbags in today’s universal language. Finally, she had a constant issue with her weight. At one stage she went over 400lbs. At that point she had surgery to have a gastric band fitted and subsequently lost an incredible 200lbs. (one wonders if after the operation she ever sang ‘Something’s Got A Hold On Me’ again!!). Returning to the question of Etta’s father, she always claimed he was Rudolf ‘Minnesota Fats’ Wanderone, the white pool hall shark. (Played by Jackie Gleason in the Paul Newman film ‘The Hustler’). When she finally managed to meet him later in life things did not go as she had hoped or anticipated. This was known to cause her great distress. It must have been a severe blow to rock her so much, as she was known to be ‘one tough cookie’. A sad end to what was largely an even sadder life... but one incredible talent nevertheless. Here’s hoping Etta you get a better deal and gig in the next life!

Blues Matters!

photos of Etta James & Louisianna Red by Arnie Goodman

LOUISIANA RED

Memories of time spent with him

by Geoff

‘The Silver Fox’

Marston

Memories of Louisiana Red

(Who died 25th February 2012 aged 79)

I not only had the pleasure of seeing and hearing Louisiana Red playing ‘live’. I also had the privilege of driving him around for a couple of days on one of his frequent visits to the UK.

We had booked him to play a solo headlining slot at the North Shields Fish Quay Festival. But that never happened! After seeing and hearing Big Joe Louis and Steve Weston earlier in the afternoon he asked about the possibility of them backing him, along with the rest of the band. There was no time for any discussion let alone rehearsal. Alistair and the rest of the boys kindly agreed; it produced one of those spell binding sets that remain etched in the memory for ever. For me the stand out title had to be Lightin’ Hopkins’ ‘Shotgun Blues’ – words fail me as to how inspired it was. The blues touch paper had been lit and exploded!

On one of our drive around discussions he admitted that he also was a massive fan. ‘Who I enquired’? Fully expecting the name of some little known bluesman! He laughed and revealed ......Sherlock Holmes!!!!! Apparently he had built up a huge collection of Sherlock Holmes memorabilia.

In the passing of ‘Red’ the blues has lost a real ambassador and mankind a true gentleman.

There are too many great Blues Musicians who have passed away over the last year. We are sorry we cannot cover all of them in the magazine. But if anyone feels the need to write something about their favourite Blues Musician who has departed the stage in the last year, please direct your article to The Editor, it will be included providing there is room in the coming issues.

editor@bluesmatters.com

Michael Messer is writing a piece about Louisiana Red for issue 66. He was a good friend of Reds....he loved the guy and toured with him.

DRAZEN BUHIN BUHA

(September 7, 1965 – February 11, 2012)

by Tomislav Goluban Croatian Blues Forces, President

Genuine founder of Croatian Blues Forces, a great man, an honest friend and a true man of music, passed away on Saturday 11th of February 2012 in Zagreb. Severe desease unfortunatelly collected its toll.

Drazen Buhin was a founder, general secretary, spiritus movens and main organizer of all Croatian Blues Forces activities. Also he was the executive secretary of the Croatian Musicians Union. All of us, the blues people, called him Buha. Whatever part of the day it was, morning, evening or night, Buha was ready to jump in and help with solving any problem we might have. He was an endless source of ideas. When he had realized that nobody was capable of realizing his ideas, he did all the work. The rest of us just couldn’t keep up with his pace. He was always simply one step ahead. Unfortunatelly, this great man left too soon. Everyone who knew Buha, especially those involved with music, are familiar with his diversity. He was equally good in music, painting, publishing, editing, production.. you name it! He established the Croatian Status award and organized a line of humanitarian concerts. Croatian Blues Forces was Drazen’s true love up to his very last moments. Even in hospital, he loved to hear all the news from the branch and stories that go around. He wanted to know if CBF is moving ahead or backing up. During the hard hospital period he never stopped thinking about the ways to improve the complete scene and how to help the musicians. I have personally met Drazen back in September 2006 at Zagreb Music Fair. However, our story of CBF stared in 2008 when he invited me for a cup of coffee to one Zagreb bistro. I remember it was hot, humid and sticky day, but we didn’t get distracted with it. He told me he found out about the 1st European Blues Conference which was about to take place in Parma, Italy. Obviously, he did the homework before we had that coffee. Actually, he was looking for someone who is willing to take part at the conference, and represent Croatian Blues Forces. I was thrilled with the idea and went there, eventually our Parma mission was a success. This was actually Croatia’s first official international appearance among blues musicians. After the Parma conference, Drazen took the initiative to establish a blues section within the Croatian Musicians Union. This idea came true on 22nd of September 2008. Soon after the registration, Croatia’s first appearance in blues homeland, Memphis, Tennessee, USA took place. It was the 25th International Blues Challenge, the world’s biggest Blues competition which is anually organized by the Blues Foundation, the international home of blues music. Drazen’s idea lives on, therefore, every year from 2009 and on, Croatia has a blues representative at International Blues Challenge. Today, American hosts of the event address the audience with ‘Dobra vecer’, which is Croatian for Good evening.

After the USA, there was the 2nd European Blues Conference in Norway 2009, the 3rd in Spain, 2010 and the 4th in Gemany last year. Each of the Conferences had the Croatian representative, thanks to one special man – Drazen Buhin – Buha.

Except the abroad presentations of Croatian artists, Drazen was very active in domestic field as well. Let me name just few: two seasons of blues concerts at Zagreb Sax! club, several seasons in other clubs, two international blues festivals in Zagreb, educational project Blues at School, several CD’s of the blues evenings where most of the artists had their first record, national TV and radio show ‘Blues at Bajsic’ and finally Croatian Blues Challenge, which proved to be an open invitation ticket for Croatian artists to perform in Memphis.

Drazen’s true intentions and efforts were also recognized by the Croatian Music Institute. At Drazen’s suggestion, in 2010, Institute added the blues category to the Porin award, the highest Croatia discography award (croatian version of Grammy).

It is very difficult to sum up Drazen’s personality, efforts, humanity, dedication to music and work, his positive vision and put it all in just a few lines. The above text refers to only few past years of his work, especially his involvments in blues.

In behalf of all Croatia Blues Forces members I wish to express my true grief and sorrow, now that our initiator, founder and general secretary has gone. Gone to some better place, I hope. Untill we meet again, my dear Buha, Rest In Peace.

INTERVIEWS COMING SOON!!

What’s coming up in Blues Matters?

Blues Matters 66 - Loaded with interviews and with great acts within the Blues world.

Interviews – Ben Poole, Alice Stuart, Stony Curtis Band, Charles Shaar Murray, John Verity, Joe Bonamassa on the Rory Gallagher

40th Anniversary, Paul Rogers and more!

Feature - Blues In Spain (Part 2), The Blues Cruise, The Blues Foundation, Tin Guitars and More. A tribute to the late Louisiana Red by Michael Messer.

Red Lick:- Top 20 Chart

Top 10 – By Arnie Goodman

Plus The Magazine Regulars: News, Feedback, CD Reviews, Gig Reviews, Festival Reviews, Blues Blood and more!

Michael Messer will be writing about the life of Louisiana Red

COMPETITION

Subscriber Competition Winner 64

Winner of the competition in BM64: David Asbury, Nottingham.

A copy of Charles Shaar Murray’s book ‘The Hellhound Sample’ is on its way to you.

Winning answer was – B – Blast Furnace and the Heatweaves.

COMPETITION Time

For a chance to win 6 Rory Gallagher CDs - Irish Tour 74, Tattoo, Bluesprint, Live! In Europe, Deuce and his self titled album Rory Gallagher. Answer the following question to:contests@bluesmatters.com

Question:- Where in Ireland was Rory born?

A: Drogheda

B: Ballyshannon

C: Silgo

(Entries will be checked against membership) (Following us on Facebook or Twitter does not qualify)