FROM THE UK!
ANDY FAIRWEATHER-LOW
LEWIS HAMILTON
ANDY TWYMAN LITTLE DEVILS
PAUL LAMB
FROM THE USA! CHAZ DEPAOLO JON CLEARY ALVIN LEE
OL i N B L u NS t ONE FOC u S
OLivER-dawSON SaxON
B a N d OF FR i EN d S
a C ELEBR ati ON OF R ORY g a LL ag HER F E at. gERRY M Ca v OY & tE d M CkENN a
Hawkwi N d
W OODSTOC k L EGEND
L EO L YONS & J OE G OOCH
HUNDRED SEVENTY SPLIT
B L u E C O u PE (EX FOUNDING MEMBERS OF BLUE OYSTER CULT & ALICE COOPER)
MiCk RaLPHS BLuES BaNd (ORIGINAL BAD COMPANY)
BL u ES M att ERS S tag E:
Includes 3 nights of great music and access to all of Butlins resort facilities. Book by 31 Oct to take advantage of this fantastic offer!
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, Sybil Gage, Nick Garner, Stuart A. Hamilton, Brian Harman, Nat Harrap, Gareth Hayes, Trevor Hodgett, Billy Hutchinson, Peter Innes, Duncan Jameson, Martin Knott, Brian Kramer, Frank Leigh, Mike Lightfoot, Geoff Marston, Ben McNair, Michael Messer, Martin ‘Noggin’
Norris, Merv Osborne, Mike Owens, Frankie Pfeiffer, Thomas Rankin, Clive Rawlings, Chris Rowland, Paromita Saha, Pete Sargeant, Dave ‘the Bishop’ Scott, Graeme Scott, Andy Snipper, Steve Swales, Suzanne Swanson, Richard Thomas, Tom Walker, Daryl Weale, Kevin Wharton, Mel Wallace.
Contributing photographers:
Christine Moore, Liz Aiken, Annie Goodman, 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.
What a year this is! First the Queens’ 60th Jubilee and then the Olympics!
What a time Team GB had! What a stadium!
What an opening night! So many great performances, so much effort and dedication all around us! We’ve seen what can be achieved when energy and effort are pooled and people pull together (shame the Government can’t see that more clearly) and then we have the power of the Paralympics on top showing the great depths of determination and pride that can be achieved.
That Olympic flame was an inspired creation indeed and stood for all to see, much like so much Blues music proves to be an inspiration to so many of us. That is what Blues Matters was created to do all those years ago. We’ve reached out and achieved so much and brought so many ‘names’ to the fore in different ways helping a great number of acts along the way.
As you may now be aware, BM’s Jaks stage at Butlins is finalized (page 97) and we have many great acts for you all too see. Three nights full of the Blues all under one roof. Tickets are selling out fast so if you’re planning on attending next year’s Butlins Rock N Blues event, book up now while tickets are still available. All the HQ team and many of the BM writers will be there so come and say Hi.
It is very disappointing to hear from some of our clients of malicious e-mails going around trying to discredit this publication we can assure everyone of our best efforts and if this has led to any of you have any concerns do pick up the phone or go to our web site where you can find our verified figures. Shame there is always someone who feels the need to act that way. We are improving the website, have refreshed the magazine with a new look cover, widened distribution, introduced a blog which can be advantageous to advertisers as well as supporters, improving Facebook and now being on Twitter. In short, there are more and better opportunities to reach more people via Blues Matters.
We are ‘Spartacus’ apparently… work that one out! P.S. There are some changes in both the text size and the B&W “retro look.”
Let us have your views on these changes, please send feedback in THANKS.
6 TOP TEN
Todd Sharpville.
8 FEEDBACK
10 HAPPENIN NEWS
Blues News.
40 CD REVIEWS
Over 45 reviews.
111 BLUE BLOOD
Blind Dead McJones Band (112), Buffalo Summer (111), Damascus (113), Porter (112).
118
Ben Waters Boogies Band (119), Blue to Brown (119), Ian Siegal & The Mississippi Mudbloods(121), J Alexander & The Blues Devils(120), Keith Thompson (120),Michael Chapman (121), Mitch Laddie (122), Nicky Moore (118), Philipp Fankhauser (118).
Alvin Lee (86), Andy Fairweather Low (66), Andy Twyman (28), Chas De Paolo (14), Henri Herbert (38), J D McPherson (24), Joanne Shaw Taylor (76), Jon Cleary (16), Lewis Hamilton (34), Little Devils (30), Paul Lamb (20), Robert Cray (98).
Abertillery Blues Festival (53), Edinburgh Jazz and Blues Festival (58), Summer Tyne Americana Festival (62), Windsor International Bluesfest (56), Woodstock Rhythm & Blues Festival (60).
Blindman Billy Allerdyce (104), Blues DJs pt. 2 (124), Blues in Schools (126), Johnson to Bonamassa (106), Mud Morganfield & Hugh Laurie (110), Roots Music Report (125) The Effect of the Effect (108), The Story of John Campbell (114).
ALVIN LEE, BETTY WRIGHT AND THE ROOTS, BETTYE LAVETTE, BEX MARSHALL, BLODWYN PIG AND MICK ABRAHAMS BAND, BRAD HATFIELD, CARMEL, CHRISTOPHER HOLLAND, CLIMAX BLUES BAND, DICK FARRELLY & MAT WALKLATE, EDDIE MARTIN WITH HIS BIG BLUES BAND, ELVIN BISHOP, ERIC BURDON & THE ANIMALS, GRUHAK, IKE TURNER, J SINTONI, JAMIE HARPER, JOE JACKSON, JOHNNY RAWLS, JON CLEARY, LARKIN POE, LIL’ ED & THE BLUES
IMPERIALS, MATT EDWARDS, MORGAN O’KANE, MUDDY WATERS, PAUL LAMB & THE KINGSNAKES, PAUL MARK & THE VAN DORENS, PETER GREEN SPLINTER GROUP, PORTER, RICK ESTRIN & THE NIGHTCATS, RJ MISCHO, ROBERT CRAY, RON SAYER JR., RORY BLOCK, RUSTY SHACKLE, SAFEHOUSE, SLIM BUTLER, STEVEY HAY’S, TAB BENOIT, THE A B C & D OF BOOGIE WOOGIE, THE ALAN BOWN, THE DUNWELLS, WILDCAT O’HALLORAN BAND, WILL JOHNS.
Each bag you donate could raise up to £30 for the charity
Without a doubt, Todd Sharpville is one of the most soulful blues guitarists in the world today along with having a burgeoning reputation for being an incredibly soughtafter songwriter & lyricist: a veritable “Randy Newman of the blues”! Additionally, his shows are famed for being highly intense affairs, emotionally charged and full of spirit. One of a small minority of British acts who’s a regular “face” on the international touring circuit, Sharpville is in the process of taking the USA by storm and reminding blues fans around the world of the invaluable contribution that Britain still offers to blues culture.
The first track on the first blues album I ever bought. I was 12 years old & a 50’s rock n’ roll freak. I desperately wanted to explore Elvis’s early influences so I decided to immerse myself in the blues. Went to a record store & picked up an LP with a cover that looked like the kind of thing that fit the image in my head. Turned out to be Freddie King! I had an epiphany half way through the song, deciding there & then that I wanted to quit my childhood dream of becoming a doctor & instead learning how to play blues guitar like Freddie... My parents nearly had a heart attack when I told ‘em!
The Master pure& simple! Although I stumbled across the blues thanks to Freddie King, my guitar style mainly originated from all that is T Bone... I could almost say that he’s the foundation to the building… This song particularly emphasises Walker’s lifelong relationship between his horn arrangements & his guitar playing. The two somehow weave around each other like high class boxers in their prime (Muhammad Ali & Joe Frazier spring to mind!).
The version from the original Crown album. BB’s first two Crown albums still totally blow me away. His voice was so pure & perfect in those days. The horn arrangements set up the spaces for his lead so perfectly. They frame the tasteful sweetness of his guitar. Probably the most perfect epitome of a gentleman of the genre. Damn, BB even plays like a gentleman!
4. ‘Jumping
Specifically the version from “Live At The Boston Tea Party” Peter Green at his very best. It’s almost as if this Duster Bennett song was written specifically for Peter. His guitar weeps, moans, wails, like no-one else’s. His vocals are so intimate & soulful; the dynamics of the song are so immense. If there was any justice in this world, this song would be the thing that pops up whenever you look up the word “pain” in the dictionary. A perfect example of the absolute essence of what Peter was all about. If you ever try to introduce his music to a newcomer, put this on first. Gets ‘em every time!
5. ‘Look Watcha Done’ - Magic Sam
This is messy yet tight; perfectly sloppy. His voice is enormous in every sense & totally unforgiving. He confidently croons at you, while beating the hell out of you with his guitar at the same time! I love Magic Sam for the same reason I also love Lightnin’ Hopkins; they both play each note with the conviction of the devil! Even when they mess up, they do it with so much self-belief; they can’t help but make everything sound right. I rarely record covers, yet I had to do a version of this on my “Meaning Of Life” album.
6. ‘I Can’t Stop It’ - Jimmy Liggins
The one other song I covered on the “Meaning Of Life.” Jump blues at its finest. The band arrangement on the original track is simply awesome. I’m a total horn nut, and I wouldn’t change a single note of this. Not many folks know about Jimmy Liggins & his band (The Drops Of Joy). He was one of the first bluesers who unwittingly crossed over into the world of Rock n’ Roll with his song ‘Cadillac Boogie’. Recorded on the speciality label, you can find a lot of it re-issued on Ted Carroll’s Ace Records label. Pick some up & you’ll get hooked!
7. ‘Tell Mama’ – Etta James
I can’t cite Etta James without also mentioning Koko Taylor. I love them equally. This particular Etta song is one of the
things I turn up loud in the car when I’m in a hurry. Likewise, it’s my “open the blinds & drink my coffee” tune in the mornings. Bright, positive, upbeat, energetic... I’ve always loved everything Etta ever did, from tunes like this one to “Damn Your Eyes” (possibly one of the finest modern blues ballads ever written).
8. ‘Let’s Have A Natural Ball’ - Albert King
Another killer horn track! A 100% perfect arrangement that frames Albert’s hallmark guitar licks. I adore so much of what Albert ever put out, but I especially love this early stuff. It really helps the listener understand exactly where he was coming from in regards to his approach behind all the later material. I’m also a glutton for his ballads. “I’ll play the blues for you” has to be one of the most enduring blues songs of all time.
9. ‘The Gift’- Joe Louis Walker
Joe was my mentor through my teens, so I hear a touch of him in almost every guitar solo I play. Although The Gift isn’t really indicative of what Joe’s mainly known for, I have a huge amount of personal affection for it. I always felt that this song (the title track of his second solo album) was Joe’s first real foray into expressive, stark lyricism. This ballad speaks of his family’s moral ethos, the plight of his race, the death of his friend Mike Bloomfield, his personal battle to quit heroin, and it somehow manages to tie all these things together under a banner of faith &self-belief. Anyone who thinks blues lyrics are all about cliches& tired stereotypes are deluding themselves... To this day, Joe continues to make great music.
10. ‘Too Hot To Handle’ - Duke Robillard
I’ve always felt that Duke Robillard and Jimmie Vaughan are two perfect American examples of what I love about Peter Green’s musical ethos. They all play to express as opposed to impress. Simple, tasteful, heartfelt, classy. The things great blues guitarists are supposed to be made of... It’s hard choosing one specific song of Duke’s (after all, he’s been hugely prolific in his career to date), so much to choose from! However, this early track from the Pleasure Kings days (after he’d founded Roomful Of Blues) is SO indicative of everything Duke’s known for. His style is steeped in T Bone Walker to such a beautiful extent that it somehow manages to evoke everything that’s cool about T Bone without emulating him at all. I discovered his music back in the early 80’s, and am honoured to now be his friend & working with him all these years later. He did an amazing job as the producer of my “Porchlight” album & I relish every opportunity I get for us to gig together. A true gentleman and one of the greatest living blues guitarists in the world today. I recommend that everyone look up his “Blues For T Bone” on youtube (from a live German TV appearance); mind-blowing stuff!
11. ‘74 Years Young’ – Buddy Guy OK, I know this is number 11 out of a list of 10, but the blues has NEVER been about conforming! Neither has Mr Buddy Guy, which is why I’d say he’s still one of the most exciting players out there. I’ve loved him since the first time I saw him on stage (along with Junior Wells) & I always will. Very hard to pick a specific track, which is why I’ve decided to go for something really recent. The song was written by his producer, Tom Hambridge. Despite his age, Guy still kicks the shit out of most guitarists, & his voice somehow teases the lyrics out of each song like a naughty schoolboy in a playground who’s managed to convince the girl with pigtails to show him her knickers...
“Leave your ego, play the music, love the people...” - The late, great Luther Allison
The writer of every letter published will receive Three FREE JHS ‘The Blues’ Harmonicas courtesy of JHS & Co. Ltd. (www.jhs.co.uk).
This 10 hole vamper model is available in keys: C, D, G, A, B, Bb, E and F. Please advise your choice of keys when you send in your letter.
Hi Alan &Gez, This is not sent so much to get into Feedback but to let you know how much I personally rate Blues Matters as a magazine. Over many years now I’ve read about the blues, played the blues, wrote about it, discussed it, goodness knows how many live gigs over the time and still loving every one goodness twenty seven years going to Famous Oxford Blues, and it still keeps getting better all the time and buying blues CD’s. Along the way I’ve bought at one time or another pretty well every blues mag. that comes along from Blues Revue, Blueprint, Juke Blues, Blues & Rhythm and Living Blues. Then just recently this new one produced by Classic Rock magazine, all colourful and all that. But, and this is my real point, Blues Matters is in my opinion ,other than your USA equal Living Blues comes anywhere near to the level BM does. They may have gloss, boast great writers and all that, what none of them have is that very special quality that reading BM you feel part of a blues family, that the whole scene is covered, the live gigs, not as some do just the selected ‘big name’ gigs that come (no offence at all to the big names love em!), most have a very selected choice of reviews by again the best known names, whereas BM has introduced to us so many new names, and I mean over the years folk like Matt Schofield, Oli Brown, Ian Siegal, Joanne Shaw Taylor, Danny Bryant and oh a certain Mr Joe Bonamassa plus many more, artists we’ve been able to catch up and see live following your articles and reviews. As I’ve said I’ve read and subscribed at one time or another to most of them, but BM is the one I come back to every year because it’s simply the best of the lot. Sadly since Borders closed Living Blues is not so easily obtained anymore. I believe BM goes from strength to strength because it doesn’t boast about the so called best writers, because those you have are very good, it doesn’t boast about the credentials of its reviewers because again they write fairly and honestly out of a love for the music. The articles are not sprinkled with four letter words that seem so sadly to be a common part of some rock based magazines around these days. BM and yours and the teams work pays off producing just about the most looked forward to magazine, I look forward to each issue and read it right through, often at least a couple of times, your reviews lead very much into what I’m more likely to purchase ‘blueswise’. This may seem a bit of a long letter but I just wanted you to know how I feel and how
surely every other reader of the magazine feels, and also a massive vote of thanks to the fabulous promoters who continue to put great nights of live blues on throughout the country. So again, you’re the best mag that there is in blues today. KEEP IT UP!
Pete Clack (Oxford)
BM:We blush with pride and thanks
Best wishes and well done on keeping producing an interesting and enjoyable magazine - I particularly like the mix of old and new - without Blues Matters I wouldn’t know about a lot of great new music - and it’s always good to hear about people like TS McPhee - to know they are still keeping the music alive.Cheers
Graeme
Little Devils
BM:Graeme, thank you, this is what we are all about the mix is so important and being able to bring new names to the fore as we have done over the years and an unpredictable range of features, we get entranced too!
Hi Blues Matters, I just finished reading the excellent interview with Otis Grand. I have to say I don’t fully agree with everything he said as I am a big fan of the burning guitars of post-SRV, but at the same time he made some excellent points. We want to see the traditions of Muddy Waters, Freddie, Albert & BB King, etc. etc. We don’t want to see the greatest musical genre on earth lose its roots. However, at the same time, we don’t want to see the wide range of expressions to be stifled and narrowed. I was recently at the Abertillery Blues Festival where we saw so Guitar genius in the form of Virgil and the Accelerators, Blues Rock in Devil’s Creek, Traditional British blues – Steve Roux and The Brass Knuckle Band and so much more. I also had the privilege of meeting the lovely Christine Moore, one of Blues Matters fabulous team. Blues Matters presents us with all this and more, the spectrum of the Blues! Thanks a Million.
Stephen Atmos
BM: Never one to beat about the bush is Otis and has some fine albums behind him and to come! The Roots and the branches as Muddy used to say, the Blues is the roots and the rest is the branches. We hope we are a trunk that grows form the roots laid and helping to bear the fruits that are to come, bringing the new along with the existing and seeking the variations, so interesting and fascinating!
www.
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
Roots Music encompasses a variety of different musical genres and their offshoots. Deeply rooted in, and directly proportional to, the ongoing development of American culture and society, Roots Music features alternative and traditional country, American folk, roots rock, blues, and bluegrass music. The Roots Music Report was developed to mirror the activities of these various formats and will feature weekly music charts and reviews, as well as articles on roots music, artists and labels. These charts will identify and help develop new recording artists, independent record labels, and bring to light the careers of many exceptional but otherwise “unknown” performers. These charts will reflect the radio airplay spins of some of the most prominent people in the genre, worldwide. Reporters to the chart include radio stations who are playing the roots music; record stores and distributors selling the products; clubs booking the artists; and key music correspondents throughout the world. he Charts provide important information to numerous companies. Radio stations are assisted in their selection of records for airplay; Distributors and Stores as to which product to stock in their own areas; Bookers and Promoters as to the acts who will sell tickets in their areas. In addition, the chart is an important tool for keeping local media in touch with the happenings of records and artists spanning all of these formats.
Each individual aspect of roots music has its own Top 40 Chart (Roots/Americana Country Music Charts, Roots Rock Music Charts, Blues Music Charts, Jazz Music Charts, Bluegrass Music Charts, and Folk Music Charts). All aspects will flow into a communal chart, which, ultimately, will weave the “Root Stock” into the Roots Music Top 100. Each individual aspect is also represented with its own section in the Roots Music Report, featuring artist news and reviews of new product, and live performances. Reporters are currently being lined up for each genre. Charts, reviews, profiles and advertising can be accessed by anyone on-line. However, only subscribers have access to the in-depth chart reporting information (the so-called “raw material”) of the actual chart listings.
To underwrite the costs involved in maintaining the Roots Music Report Top 100, advertising is accepted on the web site from those companies with products pertinent to our audience, or whose music appears in any of our charts. Since the majority of labels in the roots music arena are independent, we have structured our on-line advertising prices to be significantly more suitable to the independent label budget than those of printed publications. With this strategy, we hope to enable small record labels and artists
to afford the same quality of advertising that the major labels have always enjoyed.
For further information about the Roots Music Report, send an e-mail to rmr@rootsmusicreport.com or mail us at:Roots Music Report, 13501 Ranch Road 12, Suite 103-327, Wimberley, Texas 78676. USA.
CURTIS SALGADO Soul singer/harmonica master, undergoes successful cancer surgery
Award-winning soul blues singer/harmonica master Curtis Salgado underwent successful surgery on July 18 in Portland, Oregon, to remove a cancerous growth from his lung, according to his manager Shane Tappendorf. Doctors removed the entire lower lobe of his left lung where a metastasized mass was found. Salgado will return home
within a week, and will require a recovery time of up to four weeks. Doctors anticipate a complete recovery. Salgado had a similar mass removed from his lung in 2008. Winner of the 2012 Blues Music Award for Soul/Blues Artist of the Year, Curtis Salgado has recorded eight critically acclaimed solo albums. He tours internationally with his own band and has also toured as vocalist with the Robert Cray Band, Roomful of Blues and Santana. Salgado is also credited with being the inspiration for John Belushi’s character of Joliet Jake in The Blues Brothers. Salgado’s new CD, Soul Shot, on Alligator Records, is being hailed as his greatest album to date and continues to receive rave reviews and radio airplay worldwide. Blues Revue calls Soul Shot, “A joyous celebration of life. Soul Shot is this millennium’s finest soul blues record...deep, commanding, and essential.”
“I am extremely grateful for the overwhelming support of my family, friends and fans and the courageous people that have faced this fight before me,” the 58-year-old Salgado wrote from his home this week. “I also want to thank the promoters and venues for their understanding regarding my medical situation. We will do our best to reschedule all of our performances affected by my surgery.”
Salgado, who was diagnosed with liver cancer on March 23, 2006, underwent successful liver transplant surgery on September 30, 2006 at the Nebraska Medical Center in Omaha, Nebraska. Donations to help with Curtis’s expenses can be made online at: http://curtissalgado. chipin.com/curtis-salgado-medical-fund. Donations can also be made to the Curtis Salgado Fund c/o Odaglas LLC Donation Account at all US Banks or by mail to US
Bancorp, 2550 NW 188th Avenue, Hillsboro, OR 97124. For additional information please visit www.curtissalgado. com and www.facebook.com/CurtisSalgado
BETTYE LAVETTE Legendary american soul singersongwriter celebrates 50 years in music by releasing her new studio album “thankful n’ thoughtful” in the uk on monday 1stoctober
To mark the UK release, Bettye will perform a rare one-off concert at London’s JazzCafeon Tuesday 11th December. Table reservations: 0207 688 8899, Box Office: 0207 485 6834.
Released by ANTI-Records, the new album is produced by Craig Street (Norah Jones, K.D. Lang, MeshellNdegeocello, John Legend) and features contemporary tracks written and previously recorded by Bob Dylan, The Black Keys, Tom Waits, Neil Young, Patty Griffin, and Gnarls Barkley, and others.
“Thankful N’ Thoughtful” opens with the funk injected Bob Dylan cut ‘Everything Is Broken’ and, as Bettye moans and howls the title refrain, you have no doubt as to the trouble she’s seen. On Gnarls Barkley’s ‘Crazy’, she slows the pace down, thenwrings every drop of sweat and blood from each and every syllable till your spine tingles. ‘On Dirty Old Town’ (The Pogues/Rod Stewart), Bettye reworks the lyrical setting to ‘Detroit’ - singing about her first love at Northern High and the Detroit race riots. When she takes on The Black Keys’ ‘I’m Not The One’,the sensual grit of the song sizzles with her all-knowing rasp.
ALLIGATOR Gives Buddy &The Professor the Vinyl Treatment
Blues great Buddy Guy and New Orleans music legend
Professor Longhair will get the vinyl treatment on October 16, 2012 when Alligator Records releases a seminal album by each artist on glorious 180-gram vinyl.Buddy Guy’s 1981 album Stone Crazy! was originally recorded and released by the French Isabel Records label during the guitarist’s unfortunate exile from the U.S. record biznone of the major labels were willing to give Guy a deal!
Alligator Records picked up the album and another,Alone & Acoustic, recorded by Guy with his lifelong friend and musical foilJunior Wells, for stateside distribution. At six songs and 40 minutes,Stone Crazy!is short, but strong, offering up some of Guy’s most incendiary houserockin’ performances.Rolling Stonemagazine, in its review of the album said “the artist at his frantic and frenzied best... savage guitar and fiery vocals...both a fine blues record and one of the year’s most passionate albums.”
Professor Longhair’sCrawfish Fiestaalbum is widely considered to be a highlight in a lengthy career littered with such, and a labor of love for Alligator Records founder and the album’s producer Bruce Iglauer. In our2011 interviewwith Iglauer he said “the idea of recording Professor Longhair - somebody of that status, somebody that had been making immortal records since I was five years old - it was beyond my wildest dreams.”
Working withDr. Johnin the studio, the artist threw himself into the making ofCrawfish Fiesta. As Iglauer remembers, “Fess took that album so seriously; he helped craft every note on that record. We’d do a take and it would sound great to all the rest of us and he’d say ‘no, no, I can do it better,’ and then he’d prove it.” As a result,Crawfish
Fiestaearned Longhair a 1980 W. C Handy award as “Contemporary Blues Album of the Year,” and was termed a “masterpiece” by theVillage Voice.Both of these classic albums have been out of print on vinyl for better
than 20 years now, and have been re-mastered by the Alligator crew to bring them up-to-date and sounding great for the digital age. Guy’sStone Crazy!and Professor Longhair’sCrawfish Fiestawill also be available for purchase from all the major download services.
Tennessee Gov. Bill Haslam and Tennessee Department of Transportation (TDOT) Commissioner John Schroer today announced three transportation enhancement grants to the city of Memphis totaling nearly $1.5 million.
The grants will provide $666,523 to fund Phase 4 of the Wolf River Greenway, $285,944 to the Memphis Blues Trail, and $529,436 to the first phase of the Walker Avenue Streetscape project.
“While each of these projects is very unique in nature, they all serve to enhance lives of those who live and visit the city of Memphis,” Haslam said. “These investments create new recreational opportunities for residents and visitors, showcase the city’s heritage, and make much needed safety improvements for pedestrians.”
The Memphis Blues Trail project is designed to recognize and promote blues music’s heritage in Tennessee and
Memphis. The project will make physical improvements to an 11-mile section of Highway 61, from the Mississippi state line to Crump Boulevard. These improvements will consist of trail marker, directional and historic site designation signage; blues music crosswalks; gateway art projects; and landscaping at key intersections.
“Through transportation enhancement grants, TDOT has funded more than $270 million in non-traditional transportation projects,” Schroer said. “This program has assisted communities all over the state in their efforts to revitalize downtowns, highlight historic areas, provide alternative means of transportation, and increase opportunities for economic development.”
The grants are made possible through a federally-funded program administered by TDOT. A variety of activities such as the restoration of historic facilities, bike and pedestrian trails, landscaping and other non-traditional transportation projects are eligible for grant funds under the federal program.
State Sens. Jim Kyle (D-Memphis), Beverly Marrero (D-Memphis) and Ophelia Ford (D-Memphis) and state Reps. G.A. Hardaway (D-Memphis), Barbara Cooper
(D-Memphis) and Antonio Parkinson (D-Memphis) represent affected portions of Shelby County in the Tennessee General Assembly.
Bluesmove UK is organising a very interesting and innovative event in Calabria, Southern Italy, in May 2013: a festival and holiday lasting all of four weeks! The event will be based at two adjacent holiday villages in Capo Vaticano on “The Coast of The Gods”. Guests will be accommodated in purpose built bungalows and have access to all the usual holiday village amenities such as bar facilities, swimming pools, tennis courts, private beach and even a boules court. The countryside and coasts in the area can only be described as spectacular and it’s usually very warm and sunny in May but not as stifling as it can get in August so it’s a great time to visit the area!
Bluesmove has put together an exciting and eclectic array of blues performers with headliners including Eugene Bridges, Otis Grand, Cherry Lee Mewis and Todd Sharpville backed by maestros of their instruments such as Nikke Strom, Deak Harp, Guitar Ray, LeBurn Maddox, Pippo Guarnera and Mike Paice. Four gigs on and three gigs off site each week with every gig featuring two of the headliners, instrumental workshops during the day led by the musicians you’ll be seeing on stage and jams whenever! The off-site gigs will also give the guests the opportunity to visit places of beauty and interest in the area before enjoying the gig in the evening. The festival will also incorporate the Olive Tree Project which is designed to give promising young musicians the opportunity to have a free holiday and free workshop participation.
Bluesmove tell us this is a deliberately small scale affair with no more than 250 guests in any one week so it’ll be a very intimate not to say exclusive experience and, since the musicians will be accommodated on site too, an opportunity to hob-nob with some of the best blues players around.
Bluesmove hope to do a repeat performance in 2014 in Calabria and maybe elsewhere if they have they energy! Have a look at www.bluesmovepromotions.com if you want to find out more.
HMV GROUP has completed the £32m sale of Hammersmith Apollo following clearance by the German Federal Cartel Office and the Office of Fair Trading.
The venue has been sold to a new joint company formed by AEG and CTS Eventim,Stage C Limited.
As a result of the sale, HMV is expected to amend its existing £220m Bank Facility with its existing lenders and extended it to 30 September 2014.
The venue was owned by Mama Group, who HMV paid £46 million to acquire in 2010.
HMV CEO Simon Fox told Music Week last year the company had invested little over £60 million in the subsidiary in total - and that it was looking to recoup that amount and more with the sale of its live music assets.
Mama Group continues to operate the following London venues; HMV Forum (2300), Heaven (1000), The Garage (800), Barfly Camden (450), Jazz Cafe (400) and The
Borderline (300), and regionally the Manchester’s HMV Ritz (1500), Edinburgh’s HMV Picture House (1500) and the HMV Institute in Birmingham (1500).
RY COODER has a politically charged album titled Election Special on the way. The album is due on August 21 just ahead of the U.S. Presidential election in November. Ry wrote all the songs on the album except for Take Your Hands Off It with his son Joachim. Here is what RyCooder has this to say about the tracks on the album:
1. Mutt Romney Blues: Reverend Al Sharpton said, ‘How he treated his dog tells you a lot about him.’ Where did Mitt Romney learn that hollow laugh of his? A correspondence course on how to scare your dog shitless? He sure scares me, I don’t mind telling you.
2. Brother Is Gone: The only logical explanation for the Brothers I could come up with is, they made their deal at the crossroads with Satan. Satan will need to get paid, but in the meantime, they are doing everything in their power to hurt you and me. The big hurt.
3. The Wall Street Part of Town: Is there a Wall Street part of town in your town? Start your own, it’s easy. When the police come, remind them that you pay their salary, such as it may be.
4. Guantanamo: There’s a beautiful Cuban song about a country girl from Guantanamo. The lyrics were written over a hundred years ago, and they say something about peace and freedom, so I guess the problem hasn’t been solved yet. Prisons are the new growth industry.
5. Cold Cold Feeling: The president, alone in the dark, walks the Oval Office floor. Before you criticize and accuse, walk a mile in his shoes.
6. Going to Tampa: As a mother, will Sarah Palin lead the Republican convention in a prayer for Treyvon? Will ‘Stand Your Ground’ stand? Don’t forget your bed sheet and keep your money in your shoes.
7. Kool-Aid: A lament for this guy Zimmerman, and all the many Zimmermans. Too late, they find their masters have given them gun rights and new ‘Stand Your Ground’ lynching laws instead of good paying jobs and secure futures. They drank the Kool-Aid, they really drank it down.
8. The 90 and the 9: A possible political discussion between a father and child. Here in Los Angeles, they allow military recruiters in public schools. If you speak against it, they come down hard on you. I don’t even know what name you give to a criminal conspiracy like that.
9. Take Your Hands Off It: Woody said, ‘This land is your land.’ There’s a famous photograph of a sign that reads, ‘Don’t let the big men take it away.’ On the other hand, James Baldwin believed the concepts of nationhood such as freedom, equality, and democracy are superstitions, nothing more.
BLOGS will become a feature in the forthcoming issues a new update for all those not on the internet. But if you are then start checking the Blogs and joining the Blues Tweet @ Blues Matters
The New York State Blues Hall of Fame does not usually celebrate those from another jurisdiction, but that was not the case with New Jersey native, Chaz DePaolo, who was honored on June 10, 2012. The choice was clear as he has toured widely in the U.S. Canada and Europe. This blues/rocker has performed on stage with Leon Hendrix, Commander Cody, Bernard Purdie, BuddyMiles, Jose Feliciano, Harvey Brooks, Blue Lou Marini, Stir Fry, Brian Downey, Pete Brown, Monster Mike Welch, Vince Converse, Leon Russell, Rory Gallagher Tribute, member of the Groundhogs rhythm section, and the legendary David Maxwell, Steve Phillips of The Notting Hillbillies, as well as the Grammy nominated Reese Project. His roots are very New Yorker being that his mother was a Broadway show-girl and one of the famous Rockettes, a precision dance company performing out of the Radio City Music Hall in Manhattan, which has existed for over seventy-seven years.
You returned not long ago from a successful tour of Poland, with Leon Hendrix, doing an exhilarating thirty-three concerts in forty days. That must have been difficult at times, how did you keep your momentum up?
For me, being on the road for me is like breathing. It is what I do so I have no problem living out of a suitcase, using Laundromats, or long drives; this all goes with the territory. I could travel for eleven hours over night, do a sound check, and when it is time to hit the stage you do your job. I love every minute! I like the challenge of being pushed to the brink and then playing the best show I can!
In the December 2011 issue of Poland’s “Gitarzysta” magazine you had a two page spread. Has that changed into how your audiences now react to you in Poland?
The “Gitarzysta” article was definitely a highlight in my career. All musicians dream of being featured in the magazines’ that feature their peers. Blues Matters included!! More people did begin to recognize me after the article. I have performed over 250 shows in Poland in three years so it just reinforced my presence in that country
You have a background with the business side of the music industry. Did that influence you in any way to become a full time performer? Was there a ‘magic moment’ that made it all come together for you?
I always wanted to be a full time performer. I was surrounded by show business. My mother was a ballerina and a “Broadway Show Girl”. I had performed on stage in one of her productions in 1980. I always wanted to play music and express myself through the guitar. I ended up working in the “Music Business” side due to a hand injury that occurred when I was twenty-two years old. I could not use my right thumb very well and had to change my major in college from performance to music business. I was shattered. Eleven doctors told me I would never play professionally due to a severe chronic tendinitis in my right thumb and wrist. So I became a music intern on the Blue Note label in New York City, and then started working in radio promotion. I promoted releases that ranged from Ice Cube,Carole King, and Gospel music. My last employer was Priority Records which was the number one Hip Hop label in the world. I was setting up sales and
in store promotions for Snoop Dogg, Ice Cube, and Jay Z. One night in 1992 I had to attend a “meet and greet” at “The Limelight”, with one of our artists in New York City, it was a rock act the label was releasing. I remember how it killed me to watch these guys on stage while I was in the audience. I told myself right then, “I will find a doctor to help me so that I will play again.” I found that doctor!I began treatment with a nasty medication and a cast I slept in every night for three years and at age twenty-seven, I started to play again. It was a slow process.Atthirty-one I released my first CD.
Every musician has unique techniques for writing their songs and composing material. Can you please share where your inspirations come from and how you translate them into compositions?
Song writing for me comes from an emotion, or a situation. My songs are written about everything from relationship issues to my battle with depression and alcoholism. The CD “Flirtin’ With The Blues” covers the depression issues. The title track ‘Flirtin’ With The Blues’ contains my favourite lyric…”loving life but fearing it is no way to live…” the “Bluestopia” CD covers my relationship issues and childhood trauma. The song “Pearly Gates” was written in Ireland on a train ride between Galway and Dublin. It is the conversation I will have with my brother and sister who passed away when I was eight years old. They were in their teens and I was the last one to see both of them alive. My songs are therapy for me with the stories that describe the path of my living.
Your discography is impressive with eight albums: Bluestopia - 2009 Rojer Records/Blue Skunk Music - Flirtin’ With The Blues - 95 North Records 2005/ Rojer Records 2006 - Fins Chrome And The Open Road (Compilation) - 95 North Records 2005 - Inundations (Compilation) - Origin Records 2002 - NY Jazz And Blues Society Compilation Volume 1- 2002 - Quintessence: Fret Essentials Volume 1-2002 - Live From Montreal - Rojer Records 2000 - Eclectic Impressions - Rojer Records 1999. Do you have material you are working on at present and when will it be released?
I have new material for a CD called, “Serendipity”. It will be released in 2013. I will then be following that up with a full length release called “Flirtin’ Acoustic”.
We noticed that you have some interesting endorsements, being Chaz De Paolo Limited Edition Signature Model Guitar - Wicked Instruments- www.wickedguitars.com - Jazz Kat Amplifiers- www.jazzkatamps.com - Curt Mangan Strings- www.curtmangan.com - Spectraflex Cables-www. spectraflex.com - Guyatone Effects Pedals- www.Guyatone.JP/musician/guya_scene.htm - Please explain to our readers about your Chaz DePaolo Limited Edition Signature Model Guitar. How did that come to be manufactured?
The ChazDePaolo Limited Edition Signature Model guitar is one of my most cherished accomplishments. It has Lollar P90s with a hollow body. The guitar is manufactured by Wicked Instruments of Greenfield Park, Quebec, Canada. The owner Nicholas Djikman, and I worked closely on designing it. Nicholas came to see me perform one night in Canada after he heard that I was interested in his instruments. I did not know he was in the audience. After my performance he asked to speak with me. We sat down and Nicholas started asking me questions about my music and life. After about two hours of talking he sat back,put his hands behind his head, and said, “How would you like to be my first artist to have a signature model guitar”. I was floored! This is every musician’s greatest dream! Having just returned from a popular run at the Quebec, Canada, Beauport Blues Festival, are you planning to return to Europe anytime soon?
I will return to Europe in January, and February, with dates in Norway, Sweden, and Poland. Hopefully several other countries may be added.
What advice can you give to younger musicians out there now who wish to follow in your footsteps? My advice to young musicians is to love the music first! Be professional at all times. Keep your instrument in good repair. Keep writing songs and always follow up every lead. Create your own sound, and be a step ahead. Stay away from alcohol and drugs. It sounds like a cliché but it does end careers when abused. Do not trash other musicians. Especially when they are successful! Be inspired by them! Most of allstay true to yourself and is honest with the music you create. People will hear your integrity when you play.
We look forward to seeing you along the ‘Blues highway’, Chaz. Many thanks for your time spent with Blues Matters. May you have even greater success and inspiration in the years to come.
Suzanne Swanson“The Blues And Nothing But The Blues”© copyright
British born Jon Cleary has been based in New Orleans for two decades, and has firmly established himself as a New Orleans artist receiving critical acclaim from within and outside the Crescent City. He has played with the good and great of the blues scene including Taj Mahal, B.B King, Dr John as well as regularly jamming with the great Fats Domino. He has recorded several albums as a solo artist and with his New Orleans band, The Absolute Gentlemen. His new album ‘Occapella,’ (Having Fun with the Songs of Allen Toussaint), takes you on a vibrant journey of the Toussaint songbook and features contributions from the likes of Bonnie Raitt and Dr John. This summer, Cleary has been touring with Dr John as a member of his band and as his support act. Blues Matters Paromita Saha (who is also fellow Brit living in New Orleans) went and caught up with him while he was performing in London to discuss his new record and to hear his great anecdotes about playing with some of New Orleans greatest R&B legends.
BM: How did the concept for this album come about?
JC: It started with Toussaint’s tune ‘Occapella.’ It occurred to me that a capella version of it had never been done. I just started fooling around with it one day. I had an idea to put some finger snaps to it and started rocking out vocal parts. At there same time, there was talk that I had to make a new record and somebody said why don’t do you do it around Toussaint, and then one thing led to another.
Did you have to seek Toussaint’s blessing at all? Has he heard it?
Not really. He has heard it. It took a long time to make it and at various stages. I would send him one thing and another thing to keep him in the loop. He is a man of very few words. I think he likes ‘When The Party’s Over,’ is his favorite on the album. I think he digs it.
You said it took a long time to make? Why is that?
Well I played everything myself and I did it in my studio as well as all the engineering and mixing. My studio is in the Bywater of New Orleans.
Allen Toussaint has a big catalogue of songs, how did you go about choosing the songs that you did?
At first, I wanted to do the most obscure songs that I could find, but my manager said, ‘you need to throw in a few things that people are going to recognize. You’ve got to strike the right balance.’ So I phoned a few Allen Toussaint experts and some tunes were suggested. I would listen to as many as I could. The idea was to take each of them and do something different. ‘Poor Boy Got To Move,’ a song that Allen Toussaint sung as a kid and it was obvious at the time that he was taken by Curtis Mayfield and The Impressions. It was recorded in the early 60’s at a time when Jamaican vocal trios were doing the same thing. So, I thought why not do it like a rock steady track. A lot of rock steady stuff sounded old because the recordings were really rough. When I started putting it down using modern equipment, it sounded cleaner so I thought why not shift it over as Lovers’ rock which happened when I was in England about fifteen and sixteen years old. I also did ‘Occapella’ without any instruments.
Why did you choose to record the Toussaint classic Fortune Teller without any lyrics? I think many would say its lyrics are the highlight of the song
It’s a great story but there is not very much happening musically. So I thought I use that fragment of the melodyone simple chord progression and hardly even use it at all. I just kind of quote it and just play a bunch of rammed stuff on the front and gradually let it morph in and let it morph out again. It only gets quoted for a few minutes in the middle of the thing. I just made it up as went a long.
You have some interesting guest appearances from Dr John, Walter Wolfman Washington to Bonnie Raitt on your record – how did you get them involved?
Different people come in for different things. I have a band called the Absolute Monster Gentlemen. I brought them into sing. They are great musicians and players. I wanted to showcase their singing so they came in and sung a couple of tunes. They sang on ‘Occapella’ and ‘Popcorn Pop Pop.’ On the first track, we got Mac Rebennack (Dr John) and Bonnie Raitt. I played with her for ten years. She was out on a gig so her vocal part was done in a dressing room somewhere. I recorded her vocals on a laptop with a pair of headphones. I already had cut the track and I put her vocal part down. Mac Rabennack came down to my studio. Terence Higgins from the Dirty Dozen band played drums. James Singleton the bass player who played with James Booker came and played the bass. I played all the stuff on the other tracks.
Tell me about the first time you met Dr John?
Dr John came over to England, and I got a gig where I played guitar with him. I was in awe of him.
Do you think the record would have sounded any different if it was recorded outside of New Orleans – say like in London?
Not really, at the end of the day the studio is a room full of microphones and machines. I was able to take as long as I wanted with this record because it was my own studio, which meant I could get up in the middle of the night, put everything down and get back to bed. I could spend two days playing one song. This is the luxury of having your own studio. You can work at your own pace, which is something I prefer. You play music when you feel like it. It’s not something that you turn on and off.
The reason I ask, is because there are British artists like Marianne Faithful and Huey Laurie who choose to record in New Orleans because of its unique ambience and also because they want to create a particular kind of a record. I guess it’s different with you as New Orleans is your home?
I went to New Orleans with the same idea, but to do that properly takes more than a couple of weeks. It took me to thirty odd years to get to that sound.
Has the record been received differently in New Orleans to the rest of the world? I can imagine the New Orleans audience is a pretty tough one to please
Not really. Music in New Orleans is not an academic subject. Outside of it is when people tend to get precious about it. They are more likely to be forgiving about it in New Orleans than they will be in London. In New Orleans music is just music – it’s either good or just bad. It works or it doesn’t work. New Orleans music is meant to make you feel good. It’s meant to make you dance. People in New Orleans who make the music, don’t read the books about it, they just do it. What’s great about this record, it alerts people to Allen Toussaint because he is so important. He is one of the few guys amongst all the musicians that have come out of New Orleans who has the ability to turn around raw talent and get it onto seven inch of plastic that you can carry around the world and put on a record player. New Orleans is full of great musicians but it doesn’t have that many people who are organized, and can write songs. He is able to take raw element and go through the whole process that ends up with a record. Producers Paul Gayten and Dave Bartholomew were also like that. Allen Toussaint stabs a certain sound that have evolved over a period of time from the classics like Fortune Teller right up to the seventies funk, with Labelle. Tell me how your connection with New Orleans evolved to eventually make you want to up and leave England?
It was family really. I had an uncle who lived in New Orleans. I grew up with a lot of musicians in the family. My mum loved New Orleans jazz, so at home I grew up with getting a great education in New Orleans rhythm and blues. As a kid I would hear stories about New Orleans when my uncle came back. I always wanted to go. So I went as soon as I left school and I just fell in love with it. I had no desire to come back and I just stayed. As someone who has been to New Orleans – you get it. Most people don’t. If you like the funk and the character, which seems to be gradually disappearing everywhere else, you come to New Orleans as it’s there.
The New Orleans R&B artists that you listened to when you were young, like Fats Domino, Ernie K Doe, Earl King and Johnny Adams, what was it like getting to play with them?
JI played with all of them. I moved to New Orleans, and spent the first two years just listening and I had a lot of good stuff to listen too. Then I had to leave and come back to England because my VISA expired and I couldn’t live there much longer. When I came back to London and started playing the pub circuit, where I learned to hire a band, hustle a gig, get paid at the end of the night and plug a PA system. I learnt to be a bandleader and as a side leader too. I did that for two years and when I moved back to New Orleans. I started playing with the bluesman Mighty Sam McClain at a place on Valance Street, which is not there anymore. It was a hip little gig back then. One evening, Walter Wolfman Washington came and sat in and asked me to join his band with Johnny Adams. I started playing weekend with Johnny Adams and Walter from 2am and 6am in the morning. Then the first road trips I did in the States were with Johnny Adams where we would ride in Walter’s station wagon and little gigs in
the black clubs in Mississippi and Texas. At the same time, I started getting hired by Earl King, Snooks Eaglin and we were playing with Jesse Hill. All the R&B cats were around. I started getting hired to put bands together to play at renowned venues like Tipitina’s, Snug Harbour and the Maple Leaf. I also got to play solo gigs. I got Professor Longhair’s gig at Tipitina’s and when James Booker died, I got his gig at the Maple Leaf.
It must have felt as though you had some pretty big shoes to fill?
Booker used to play every Tuesday evening but now that he is gone -everybody is like ‘wow!’ I guess I just fell into it in.
How did the New Orleans music community take to a Brit coming along and playing their music?
I was lucky to have a good education in New Orleans music. For example when I got hired by Earl King to play ‘Those Lonely, Lonely Nights,’ I knew the Huey Smith piano solo. I done my homework, I spent a lot of time paying dues and learning all that stuff. If you play well, you get the gig, despite the fact you may have funny accent. If you are hired, then you have to deliver the goods.
And how did the British music community respond to you when you returned from New Orleans with this wealth of knowledge?
Diz and the Doorman were very popular at the time and he plays Professor Longhair kind of Jack Dupree style of piano, so that was going on. I saw this in Time Out as soon as I got back. I thought to myself New Orleans piano? Let me go and check that out. He invited me up to play and everyone loved it. The owner asked if I could make a gig the following Wednesday. I think there was a general interest in New Orleans R&B, but there wasn’t that many people that played that piano style. I was quite purist about it. There were a lot of musicians over here that could play bits of everything. If anything, I had a real pure New Orleans ‘take,’ as that’s where I really learnt. Everyone seemed to dig it. In New Orleans the standard is high. You have to go upstage and you have to work it, and make sure everyone is happy at the end of the night. Otherwise, you won’t be asked back to do a gig.
As someone who is a regular to New Orleans, and plays at a basic level, I am too scared to pull out my guitar or even open my mouth to sing. How did you feel when you first came to New Orleans as an up and coming musician?
It is because you have the utmost respect for it. I was kind of the same way for the first two years. I have been playing since I was a baby. I was a guitar player when I was out there. In New Orleans, when you hear James Booker, and I never really saw much of Dr John at the time as he was living in New York and Allen Toussaint really didn’t do gigs so Booker was the only guy that I could get up close to. You realize that the standard is very high. If you are going to do it, you’ve got to do it right. I didn’t have time for people who were going to take shortcuts. I spent two years listening. There was a piano outside my house. I would play for hours every night, figure it out and work on it. I more or less heard Booker every day nearly. He would play at the Maple Leaf bar when I was working there. The Meters used to sound-check across the street at Jed’s Bar. Albert King used to come and play at Tiptina’s. There was music all the time.
You must feel lucky to have been in New Orleans during a golden age, when the good and great of New Orleans R&B scene like Fats Domino, Johnny Adams, Ernie K Doe, James Booker, Snooks Eaglin as well as Earl King were all alive and playing?
Generally, you feel that the golden age was always sometime before. In 1981, I was thinking how I missed Professor Longhair. I wish I were there back in the day to see Smiley Lewis who died before I could see him. But in retrospect, it was kind of a golden age. At that time, New Orleans was a jewel town as a lot of business was booming. Looking back, it was good time, as I had access to a lot of this good music.
What’s next on the agenda for you?
I play for another month in the States. After that I play in Australia and in October I return to Europe to hopefully to play at the Jazz Café in London.
What sort of set are you thinking of doing? Will you have a band?
I am not sure what I am going to play. I have been touring with a trio. I like playing with a trio as it gives me a lot of room to stretch out. The trio is called the Philthy Phew. The quartet is called the Absolute Monster Gentlemen. They are two different sets of line up. Stylistically, it’s different but by virtue of the fact that the musicians from the band are New Orleans, it comes out sounding New Orleans even though the songs are not necessarily about Mardi Gras and Bourbon Street.
What is going to be your next project?
There are several records I could make. I might do a solo record, which I haven’t done yet. It could be a Monster’s Gents’ record which could be a soul and R&B thing. There are several different ways to go and or I could produce several other people. Right now I’ve got a new record out so I will let it sink in.
PS: I hope it goes really well and good luck with it. See you in New Orleans! Thank you very much and see you in New Orleans too!
Paul Lamb has in illustrious career spanning 30 years, having started playing the harmonica during his childhood. He is now widely regarded as a true British master of this classic blues instrument and was recently inducted into the British Blues Awards Hall Of Fame. With a packed calendar of dates not just in the UK but throughout Europe, it’s not surprising that Paul and his band the King Snakes are still in popular demand!
BM: Paul, you first started playing the harmonica at a very young age, in your early teens, what was it that inspired you to start playing harmonica?
PL: A school friend called Paul Woods played saxophone and his Great Grandad was Stan Laurel & his brother Keith played drums for Frankie Vaughan, so he gave me a head start into show business. Then Paul played Strangers on the Shore for our class and I was hooked on music. Then I heard John Mayall and I picked up the harmonica and then found my holy grail in Sonny Terry.
Sonny Terry was a great influence to you, what was it about his playing that set him apart for you?
He was the whole orchestra on his own…the real deal. He didn’t need a band he WAS the band.His rhythms were fantastic, his foot stomps were his drums ...along with his great voice and all those whoops and hollers he was a one man band.
In your DVD ‘Paul Lamb’s Personal Journey Through The Blues With A Harmonica’ you talk about and demonstrate the different styles of various harmonica players who have influenced you over the years and indeed you dedicated the DVD to both Sonny Terry and also Big Walter Horton one of your other all-time heroes, what can you say about him?
Well Big Walter was the top for acoustic tone. His fantastic control of that tone makes him, for me the King of the Chicago players.
There are some very talented harp players on the blues scene at the moment,both in the UK and Europe, who each have their own individual styles and this is great to see but do you think the harmonica is still as popular an instrument today as it was in the early days?
It’s like fashion; it’s always ebbing and flowing with new and interesting talent emerging. The harmonica will always be popular because it’s so versatile and expressive whilst being relatively cheap and transportable.
You’ve also worked outside the blues industry in other musical fields working with people such as Pete Waterman, Mark Knopfler, Rod Stewart and The Who!What can you tell us about those experiences and are you still involved in other projects?
I have been very privileged to work with so many different musicians and projects. I call them my bonuses in life. On a lighter note, we headlined at the Colne festival with Pinetop Perkins in 1996 and I had a rehearsal with him in the afternoon. After a great half an hour he looked up from the piano and said to me “you play real great …shame there are not too many people in “ . I had to let him down gently that this was just the rehearsal and we played a capacity crowd that night to great applause!
He was indeed a true Gentleman. I certainly hope that I continue to receive new and varied projects to keep the creative juices flowing.
So what lies ahead for you and the band, you play a lot in Europe and of course the UK, do you have any plans to go to the States or further afield?
I have worked everywhere except the USA, that’s not to say I wouldn’t go there if the price was right. It’s just that there is a mountain of red tape/ work permits etc. that makes it difficult to raise the money enough to support a 5 piece band. Also they have a lot of home grown talent at their disposal. As for the rest of the world we have been fortunate to play Far East, Middle East and closer to home and long may it continue.
Do you think the blues will ever achieve popularity again in the ‘commercial’ main stream music world and do you think it’s important to do so to reach young audiences to keepblues music alive?
Blues originally had chart successes back in the 30’s 40’s 50’s and then along came The Beatles and The Rolling Stones that based their new style on the Blues.The Blues had a baby and they named that baby Rock & Roll. I believe that it is only a name and that the word genre is an uncomfortable tag that pigeon holes various styles. I played the Gloucester Rhythm & Blues Festival recently and the kids went crazy. They had never heard of the Blues but knew good music & had a great time.It is so important to keep all music alive and live.
Blues music seems to cover a very wide spectrum these days, ranging from rock to folk, how do you feel about this and do you think that in Britain particularly, we’re moving too far away from the traditional roots of the blues and becoming too diverse?
Blues is about inner feelings and covers all the topics of life, such as relationships, money, drink, love, truth and happiness. With this in mind it will always cover a wide spectrum but with the same core values that are still pertinent today.
Now you must be excited to have a new album out ‘The Games People Play’ which is a handpicked selection of songs recorded over 4 live shows, how did you select the songs for the album?
This was a very random selection. Every show I feel / gauge the audience before the show and write out a brief list of songs but depending on the audience, this can and does change as the show progresses. I believe it makes for a unique live experience that has come out on this recording.
The title track I remembered from the 70’sby Joe South and whilst on holiday in Barbados heard it again and I just had to do my version.There’s a lot of talk at the momentthat it’s getting tougher and tougher to make a living as a musician, particularly in these tough economic times. How do you see the current live music scene and what advice would you give to anyone starting out in the business?
The music business has always been tough and certainly today it isn’t going to be an easy ride for anyone starting out. However you must firstly believe in yourself and remember,what doesn’t kill you will make you stronger. My Father also told me to get a day job but joking apart, just go for it.
Paul, you’ve had a wonderful and long career as a touring musician andI’m sure you havemany stories to tell, having played alongside the likes of played alongside the likes of Junior Wells and, Buddy Guy but what would be your most special memory if you had to single out one?
Back in 1975 I submitted a tape to Sounds Magazine that was holding a competition to win a place to represent the UK in the World Harmonica Championships in Offenburg Germany. I didn’t know then but one of the magazine writers and judges was a man called Steve Rye (he sadly passed away some years back), who also had a love of Sonny Terry’s style and the tape I sent was me playing Sonny Terry’s ‘Blues For The Lowland’. He apparently was blown away and so I was immediately entered into the competition. This was my first time out of Blyth never mind out of this country, so in Germany, I won 2nd prize for an individual and 1st as Team GB. Steve Rye & I became firm friends and he went on to introduce me to Sonny Terry and Brownie McGee at a show in Cambridge,they were touring with Chris Barber’s All Stars. Later on in London,Sonny took sick one night and Brownie asked me to fill in for him….that’s my highlight!
And if you hadn’t taken this career path, what do you think you might have done if you hadn’t been a musician? Maybe a game keeper?
Game keeper? Tell me more are you a country person at heart?
Oh I suppose this all comes from my Grandfather. He was a bit of a rogue and I loved to be around him and hear all his
stories. He travelled the Baltic in the First World War with the merchant navy. After surviving that he went on to be an artist and also a poacher “gentleman of the country side”. He always respected the land and when food was short the family never went hungry… he also played the harmonica, quite a character. I do have my roots in the country and am also a keen bird watcher / twitcher hence the gamekeeper notion.
For anyone learning or wanting to play the harmonica, have you any special tips or do’s and don’ts?
The harmonica is a vehicle for expressing your inner soul and feelings. Find yourself a role model and practise acoustically until you are notes and tones perfect. Then move on to your own style and develop your own personal style.Maybe another tip is “less is more”…sometimes players try to cram in so many notes and if you can get that one note it can be the only one needed.
And finally I have to ask this question, do you think that there is room for more female harmonica players? There is always room for more harmonica players especially of the female variety.. Competition is good for everyone.
Thank you Paul, it’s been a real pleasure and in the next edition of Blues Matters, I have the pleasure and will be reviewing Paul’s DVD ‘Paul Lamb A Journey Through The Blues With A Harmonica’ which is dedicated to Sonny Terry and Big Walter Horton.
JD McPherson and his fellow band-mate/ producer Jimmy Sutton have been hitting the airwaves here and abroad with their 21st century yet purist take on black R &B and fifties rock & roll. Hailing from Chicago, the band started drawing considerable attention following the online release of their video ‘North Side Gal,’ which featured the band singing in an antiquated looking studio, attracted over 300,000 views. Their debut album “Signs And Signifiers,” and packed out shows have been receiving critical acclaim on both sides of the Atlantic as well as attracting a huge following much to the surprise of JD, a former art teacher from Oklahoma and Jimmy Sutton, a working musician and producer from Chicago. Paromita Saha caught up with the jet lagged pair just before they were due to go on stage at London Camden’s Dingwalls.
BM: How did both your paths cross?
JS: In a way, JD and I are very likeminded, which was one of the things, that made the recording process was very enjoyable for both of us. He originally he approached me on My Space five years. He sent me a link to his work and I was really impressed with his singing, his songwriting, wordsmith and his sense of melody. (At this point, JD walks into the dressing room.)
JS: There is he is right now! We’ve been talking about you!! After I invited his band up to Chicago couple of times, he expressed an interest in putting out a solo album on rhythm & blues and black rock & roll. One of the reasons, why he started to talk to me about it, was because all my previous bands were Jump Blues like the Jimmy Sutton’s Four Charms. I had another band called the Del Morroccos that was like Link Wray meets The Shirelles. As we talked about this record, I told him that I was building this studio over the past eight years about putting much more emphasis into my label HiStyle records. To put in a nutshell, we wanted to create a record that was timeless, yet wasn’t trying too hard to get away from the things that we love about old music. At the same time, we wanted to use words that he writes in the third person fictionally as well as personally from his own experience. We wanted a record that didn’t lie. How difficult is it to retain a balance of sounding authentic and faithful to the music you love yet produce it for the 21st century audience?
JS: It’s a real fine line. I as a listener wanted to hear that a record and we are really proud of it.
On the cover of your record Signs & Signifiers and in your shows, you are surrounded by antiquated recording equipment, is that something you have used a lot?
JS: The fact JD was the first one to record a full-length record in my studio – which I had been building when he came to me; it was almost as the stars were aligned.
Did you already know about his studio?
JD: Yes I knew. You had stuff going from your picture on My Space. I knew he was recording people.
JS: He is referring to an early video, where I was interviewed years ago. I started collecting this equipment and building this studio. I had no idea back then, but I felt I was onto something.
It sounds like you were definitely doing it for the love?
JS: Imagine starting to play music because you want to make money, that’s the worst scenario. I guess we are just fortunate that we are able to do this for the fun of it and at the same time make a career out of it too.
I have to say from listening to your music, is like a history lesson as you can trace the evolution from blues to black R&B to early rock & roll. Tell me about your influences?
JS: The sounds from the early fifties and sixties from New Orleans to Chicago from Specialty Records to Chess Records and a lot of the rock& roll that came out of south Michigan are a big influence on us.
Is there one particular record for both of you that would have kicked off this passion for black R&B and black rock & roll?
JD: I really remember being affected and paying attention to ‘Keep A Knocking,’ by Little Richard on Specialty Records. It’s a successful record. You will probably hear it once in your life, even if you are not into music. I guess remember listening to it over and over again because it was like guts and blood. It makes our hair stand up. It’s so intense. I guess that’s the one, which pops up into my head.
JS: For me, it’s everything by Chuck Berry to Bo Diddley. And also there is another side, as when I grew up it was The Ramones, Debbie Harry and The Clash. For me, it’s also listening to Bo Diddley and that slow instrumental called Aztec. I love stuff like the mood type music from back then. It’s almost kind of ethereal. Yet when I was coming of age, I felt The Clash took you to another land, as did authentic rock & roll.
JD, on your website you say that rock & roll was programmed into American minds to understand swinging blues.
What was your thinking behind this?
JD: That was a pretty broad generalization that I made. I have seen it over and over again. We would be playing this stuff and people would come in and they probably would have never have regarded it in their entire life. They would be moved by it, start dancing, buy beers and listen to the band for the night. They don’t know that they like it. It’s like the same reason why everyone likes New Order’s Blue Monday when it comes on the radio. It’s immediate and gets you ready for a good time. I really think that the blues and simple one, four, and five structure and twelve bar blues are a really important form. Think about how many English artists are captivated by it?
JS: The Beatles, Stones, Zeppelin.
JD: There is so much you can do with twelve bar blues.
JS: It’s a good point about people not knowing this kind of music. At the same time, we would like to think that people like the album not because it belongs to a genre, but because it’s good music. As Ray Charles said, there are two kinds of music – good music and bad music.
Is getting mainstream success something important to you as artists?
JS: Neither of us has been playing in the mainstream. I have been playing since I have been sixteen years old. This is what we do.
JD: There are ten thousands of bands out there that play knowing they probably won’t want to leave their town because it’s just what you do.
JS: Chicago has got an amazing music scene. Some of the bands will not even take an attempt to go on the road. Why do that when you can play four or five nights a week in Chicago. If you have something special and you can feel the momentum, and all people are interested are being there to see you first, that’s when you say time to hit the road!!
When you took your sound out of Chicago, did you ever worry about how it would be received by audiences?
JD: When we put our records out into the digital world like Facebook and You Tube, we were immediately getting requests to play festivals over a year. At the time, I was working full time in a job and so I was like okay let’s do this. We played a few things and once in a while we headed up to Chicago and do a gig there and we just tried doing our best. Meanwhile Jimmy was running his label by himself, doing a great job, all of a sudden, things started happening.
JS: The video release of ‘North Side Gal,’ started getting passed around within the industry from label to label, management companies. It seemed to turn a lot of heads and we thought to ourselves. “Mmmh.”
Why did you pick Rounder Records?
JD: First of all, we talked to a few labels, and then I saw Rounders’ archive. It was everybody from Jimmy Rodger, to Jamaican artists to this band like Delta Spirit, which were this big rock band. I knew they were career- building label. I mean look at Alison Krauss. She has won 30 something Grammy’s and she could have left to go to any label she wanted but she stays with Rounder because she knows she is well supported by them. We know for a fact that they trust us to do right by them and at the same time they will not influence us to do anything.
JS: Rounder is a career-based label. They are interested in the whole album as opposed to just getting a hit. However, we are lucky that we have a single that is doing well.
JD: We are very fortunate in that respect.
JS: They are interested in physically coming out to the shows. They feel the energy and presence of the shows. You could tell that they were excited. The owners were really into it. Everybody on all levels of the company was really into us and we felt that energy.
What’s the next kind of record you are going to make? Will you stick to this sound?
JS: I would say we would be moving in the same direction.
JD: If the first record is going in one direction. We are going to keep going in the same direction. It will still sound different from the first record
Isn’t there the risk that if you stick to one sound – you could end up being pigeonholed or being trapped in a niche?
JD: No-one can help being pigeon holed, that is always going to happen to everybody. You are always going to be compared to be someone else. The people who say, “Oh I really like this because it sounds like Elvis,” even though it really doesn’t sound like Elvis, they are making some kind of connection and I appreciate that. But there are always people who will say it is like a rhythm and blues record but there are different things on here and the packaging isn’t quite or retro thing. There are new people showing up to the shows all the time and the audience is getting growing more diverse. That is an incredible thing to witness.
JS: It’s like when people say the record says it sounds vintage, timeless and refreshing. We are happy to hear those words. As for being pigeonholed, it’s more about the quality of the music. You can’t dwell too much on what people think as to what genre of putting this onto. We just want to be good and put out good recordings, and write good songs. We want to create an environment where JD feels he can run.
On this particular record, you got a particular group of musicians together. Will you be doing the same for your next project?
JS: We are all Chicago musicians. It’s hard one to say as we are starting to play with guys on a regular basis. It’s a good question.
JD: We meet people all the time. We have some great players in mind. I will like to play with some of these established folks.
Would you consider working with someone like T Bone Burnett, who is also known for his interesting production techniques?
JD: I thought about at that first. It could be interesting but T Bone Burnett records are unmistakably “T Bone Burnett.’ He has a unique sound. I am just wondering. I am really curious as to what it will sound like.
JS: Who knows?
JD: We love his records.
JS: You can hear our wheels turning. It’s a great question, but I don’t know if we can answer that right now.
JD: One thing I love about him is that his records are very atmospheric. I like that quality. I really would like to steal a bit of that from him. He adds greats tone and atmosphere in songs, which bring an ethereal quality.
(At this point the rest of their band and crew rush into the dressing room as it is thirty minutes before they are due on stage. I quickly wrap up the interview.)
Anything you would like to say to Blue Matters readers?
JD: We love the blues and hope they like the record.
(On that note, JD and Jimmy Sutton rush off to play to another packed house in London.)
Recently featured in our Blue Blood section about the potential stars of the future, we’ve been keeping an eye on the progress of one man Blues boogie band Andy Twyman for some time. Why? Because we’ve seen him live and heard his recordings and we’ve been impressed. We’ve also noted that very experienced musicians we respect like Robin Bibi and John O’Leary have strongly praised Andy. Above all, he combines an aptitude to play blues standards in a refreshing but respectful way with the kind of innovation in tunes and lyrics that can connect with the younger audiences that are vital to the future of the blues. So, when Andy writes about Pot Noodle, he is clearly using his Noodle (and for the benefit of our international readers the latter reference to Noodle is some old British slang for brain and wits). So, we believe Andy is a must-see act who blows away any tired perceptions of the blues and reminds the listener of the joy and irreverence and originality that the music can provide. As a must-see act, Andy becomes a must-interview act, which is exactly what we have done with the questions and answers below.
BM: For people who may be new to your music, how would you describe it?
by Darren Weale
AT: It’s high energy one man band boogie and blues with drums, guitar, harmonica and vocals all played live and together, no backing tracks or any of that stuff. My song lyrics are usually of a comical surrealist style. I’ve got a particular fondness for lyrics about food and chickens although I’m not completely against non-chicken and food based music. The act is a bit like Dick Van Dyke meets John Lee Hooker.
Listening to your music, I’m curious as to what made you take this alternative take on the blues lyrics? I don’t see it as particularly alternative really. Old blues was about kidney stew and my blues is about Pot Noodle. Old blues was about the chicken shack and my blues is about chickens snorting cocaine. I’ve never had kidney stew or been to a venue called the chicken shack so I write about what I know. I’ve had plenty of pot noodles and I know for a fact that cocaine is the drug of choice for poultry these days as rolling spliffs is just too hard when you have claws. I think people latch on to my lyrics. It’s bizarre, if I’m playing to a crowd that aren’t already familiar with my music, nine times out of ten, they’ll be singing the chorus line of ‘I Eat Pot Noodle With A Plastic Fork’ along with me before the song is over. In some of my more regular venues, some of the crowd have turned up with rubber chickens and pot noodles!
I understand that you have a new album in the pipeline? What can we expect?
Yes. It’s nearing completion. A large portion of the album will be boogie. There should be a good helping of blues, maybe a little country and rockabilly. I’ve rerecorded a couple of my favourite tracks from previous albums and EPs and added some fresh tracks. I’ve got a nice one about my obese cat on this one. I’m also currently working on a ‘space blues’ track to give the album a more intergalactic feel. There is a sample EP up on Spotify and iTunes now and shortly the album will be complete and available to buy through the website, iTunes and all that malarkey.
You’re 20 years old, how do you find life as a one man band?
Well there’s a lot of driving around on my own but I quite like listening to Radio 4 in the car. I’m never alone when I get to
Website: www.andytwyman.com
Myspace: www.myspace.com/andytwyman
Facebook: www.facebook.com/andytwymanboogie
the gig and I’m lucky to have some great clubs on the circuit that I play, such as the Green Door Store in Brighton, The Lock Tavern in Camden amongst others, which are always very busy and the crowd dance less than a meter from the end of my bass drum. I’m particularly fond of the trendy Brighton and London clubs when I get to see all the young people really getting into the blues, enjoying themselves and going crazy! I don’t want to be ageist though. I recently did a great gig for the Veneratio charity, where a large part of the crowd was made up of people in their seventies and eighties. They enjoyed the act too. One person remarked that ‘It was a damn sight better than ‘It’s A Long Way To Tipperary’
You mention the young people who enjoy your brand of blues. As a young person, how do you see the present and future state of the blues?
That’s quite a frustrating question because I don’t know what blues is! I mean, if I said that I was going to put a blues record on, I definitely would not be referring to Eric Clapton or Gary Moore, I’m talking about Howlin’ Wolf, Slim Harpo, Sonny Boy Williamson. Some people may refer to Eric Clapton as blues though. He does use similar notes to blues players like Hubert Sumlin or Albert King, but the phrasing of the old players and the groove that their bands laid down are entirely different – more like jazz phrasing, less like rock. The vocal delivery is entirely different too. That’s not to say that I don’t enjoy the Beano album, for example, or Johnny Winter, who was one of my childhood heroes, but they don’t deliver their guitar licks or vocal lines like Muddy Waters. Anyway, I’m digressing. Young people are listening to lots of old music at the moment. There are great blues and rock and roll scenes in the South East, where great young bands play surf, rockabilly, blues, all that great stuff, many of them with really fresh original takes on the music. I play regular blues dance nights where the entire crowd is in their twenties. On those kind of gigs, the DJs are usually playing the Chicago blues and Rock and Roll because of the amazing grooves that those guys were laying down. They’re brilliant to dance to. I’d like to see that era of blues getting more recognition. It wasn’t all about playing fast and playing as many notes as possible. The grooves were outstanding. If you listen to Johnny B Goode really closely, you’ll hear that the drummer and bass player are actually swinging, almost like a shuffle, and Chuck Berry is playing in straight time. A lot of records from that era are seemingly in straight time but there’s actually a shuffle going on at the same time. I think it’s fascinating. At that time, popular music was such a melting pot with different influences coming in. The blues side was brilliant too. Those guys were masters of tempo. They could play shuffles all night and each one would sound completely different because of the subtleties of the groove.
I’m quite intrigued by your ‘Boogie Machine’ guitar. Could you tell me a bit more about it?
It’s a one string diddley-bow guitar. I put the D string from a bass guitar on it because I wanted a fatter sound than the average diddley bow. The bridge is a flat head screw and the nut is a piece of Meccano with a small dip cut in it. The neck is a piece of two by four cut in half and the body is just a plank of wood I found. It has broken in half once or twice, I should take better care of it really, but I’ve managed to glue it back together fairly solidly now. I generally play it with a glass slide. People always really like it at gigs. It has a pickup on it that makes a great percussive sound when you hit it with a plectrum. I sometimes take ‘drum solos’ using the pickup and my foot operated drums. There’s a good video on You Tube of me playing the Boogie machine at the Green Door Store.
Your one man band sounds almost like a full band, but have you considered collaborating with any other musicians?
Well, what I find interesting about doing a one man band is that it doesn’t sound like a solo act or a band. It’s a peculiar sound. There are quite a few blues acts that have just had guitar, vocals, drums and occasionally harmonica; R.L. Burnside is one of my favourites as well as Jimmy Reed and T Model Ford. I like the sparseness of the sound. There’s a lot of space in the music and the space is important because it shows what you are covering up with sound. It’s very interesting to perform as a one man band because you have complete control over the groove and interaction between the instruments. I have worked with plenty of other musicians though. My background was pub blues jams which I started playing at aged twelve. My favourite place at the time was The Grey Horse in Kingston which had a great scene when Robin Bibi was running the jam. There were always good players around. John O’Leary often turned up. I did a set with Robin, Alan Glen and Papa George amongst others at the Bulls Head in Barnes recently which was great fun. There’s some footage of that up on You Tube too. As I got older, I formed a few bands and then did a solo acoustic act for a while before starting the one man band. More recently, I started a comedy progressive rock project with renowned jazz drummer Dave Trigwell’. The style is quite influenced by the likes of ‘Gong’ and ‘The Bonzo Dog Doo Dah Band’. We’re going out under the guise of ‘The Two Wrongknees’ and the video for the first single ‘Funeral FM’ is up on YouTube too at the moment.
Finally, what are your plans for the future?
I’m really looking forward to completing this album for starters! I’m going to keep performing as a one man band but I might be looking to start up some other projects too. I’d love to expand my circuit a bit more next year. I play gigs and festivals largely around Sussex, Surrey, London and Kent but I’d love to do more outside of the South East and get out on the continent. I’m quite eager to attach a car honker to my one man band set up too. I think that could add another dimension to the sound! I have also found an excellent chicken hat which I’d like to wear on stage.
At this point even the hardened Blues Matters writer has no choice but to slap his head and concentrate hard on avoiding chicken puns and jokes like “What did you have for lunch? Chicken, but it was fowl and I only had a poultry portion.” It is up to you whether you like that particular joke, but if you get a chance to go and see Andy Twyman play live, do so. You won’t be disappointed. Don’t chicken out.
Stop press: Andy will be appearing on our JAKS stage at the Butlins Rock and Blues Festival in January
Little Devils were formed in 2010 and in the short space of time since then have built a solid reputation on the live blues circuit. The 2012 edition of the New Brunswick Battle of the Bands saw the UK blues outfit make it to the final at the New Crawdaddy. Their new CD “Diamonds And Poison” is receiving enthusiastic reviews. Graeme Wheatley gathered the band together to answer questions from BM’s Clive Rawlings.
BM: A fair bit of your publicity refers to you playing ‘21st Century Blues’, apart from an album a few years ago by Chris Thomas, how does that description sit with you?
LD: We were recording our first album “This is how it starts…” in The Music Complex, in beautiful downtown Deptford. As we were working on the songs, we seemed to be chronicling a new depression –greedy bankers, corrupt politicians and desperate lives in dangerous times – that’s what many of our songs are about – ‘Dress Down Friday’, ‘Orphans of the Storm’, ‘Last Orders’ – it was the ‘Same Old, Brand New, Good News Blues….Again’! We were struck by the similarities between the 1940s, when a lot of blues music was born and right now. So we try to reflect that in some songs, although it’s not all doom and gloom – that’s the balance the blues has – good times and bad times always co-exist.
For the uninitiated, can you introduce the band?
Certainly, step right up boys and girls and make yourselves known: Yoka (the Dutch Diva) – lead vocals, flute (with some occasional sax) Vivienne Soan – saxophone, vocals (with some occasional harp) Big Ray – lead guitar, Bill Austin – percussion, vocals, Graeme Wheatley – bass, main songwriter (and rather guttural vocals)
How did the ‘Dutch Diva’ Yoka appear on the scene?
Yoka came to England to get into the London music scene. She ran a music bar in South East London, where she was the house vocalist. The bar quickly got a reputation as the coolest place around as her voice was stunning. I sometimes played there – trying out new songs – which always sounded better when Yoka sang them! Vivienne and Bill and some other great local musicians would join in the jams so it just grew organically. From that came “This is how it starts…” which we released in 2010 and the rest is history – Little Devils were born but the music bar died, which is a shame but probably best for our health!
What pedigree does the band have?
We are all strays from Battersea Dogs Home – no pedigrees – mongrels all! Vivienne has played with lots of luminaries including BJ Cole and Billy Bragg and is the cousin of the late great Gus Gudgeon. Yoka played and recorded with Thijs Van Leer back in Amsterdam. Bill and my past is murky punky stuff – we almost played together years ago – I was doing some recording sessions for Ten Pole Tudor and Lena Lovitch and Bill was one of the drummers at the sessions – but our paths didn’t cross til years later! As a songwriter – I have written for quite a few people including The Weinstein Company and Ronnie Milsap. Big Ray is the newest little devil. He spent the last four years based in Antwerp performing alongside the likes of Howlin’ Bill, Kathleen Vandenhoudt and Jasper Steverlinck on the blues circuits of Belgium, Holland and France.
You’re one of those rare bands who release only original material, presumably they relate to personal experiences?
Yes, lots of them do – some from my life and some are how I feel about situations – close to home and the world at large. One of the most personal songs off “Diamonds & Poison” is “Black Diamond” based on the Easington Colliery Pit Disaster of 1951 which claimed 83 lives including My Granddad’s brother, Bob Noble. My Granddad was the sole survivor. Like many other kids, I would be taken to the memorial each Sunday to look at the names of the dead miners. The price of coal was high that day. My Granddad never got to hear the song, but he did live long enough to see the entire community destroyed when they closed the pit.
Even his local pub closed. It was called The Black Diamond. We toured North England earlier this year and it was very emotional to take the band to the memorial. I think we all had some quiet words to say.
How has the new album been received by the press and public?
Brilliantly. We’ve had some great radio and press reviews and the CD is selling very well. All the praise might go to our heads – but we’ll keep our feet on the floor (that’s an in-joke off the album!). One of the nicest things said, was by Mary Wheelan, producer of the TV show “The Song, USA” who loved “Soho By Night” and wants us to play it on the show. We are currently looking into making a live video for the show. All the press and radio reviews are on our website along with a free download bonus track, “Diamonds”, that isn’t on the album.
Must have been a buzz to have been finalists in the New Brunswick Battle of the Bands this year?
We felt like winners just to be at the South East Heat in The New Crawdaddy – meeting the other bands and people like Ashwyn Smyth from Digital Blues – all of whom were great – to get to the finals and make friends with more people like Gary Grainger (we Geordies have to stick together) at the Garage was icing. We had a blast – we keep in touch with the other bands – hope to share some stages with them down the line a piece. Incidentally, it was Ashwyn who pointed out the link between ‘Black Diamond’ and Matt Anderson’s ‘Coal Miners Blues’ – he was kind enough to play the two songs back to back on his show –which we thought was really powerful.
Do you have a favourite track that you keep coming back to ‘live’?
‘Orphans Of The Storm’– it’s a blues progression musically but never stops changing – it’s like a chimera – as soon as we think we are familiar with its shape – it becomes something else. I don’t think we will ever stop re-defining this song – and I don’t think we would ever want to – it’s very much part of Little Devils being – at the heart of the band. It gets such a strong emotional reaction from audiences – the vocal, the sax, the guitar – all seem to raise the bar. It’s a song that is somehow bigger than all its parts.
What do you think makes Little Devils a bit different “live” from other bands?
There are loads of great bands out there, the scene is really healthy in terms of talented musicians - there’s something for everyone. For us - well, there’s Yoka’s voice that can stop traffic. And, as a 5 piece band with 2 female members I think one thing that catches people on the hop is when Yoka suddenly joins Vivienne on dual saxophones – then switches to flute. We are also lucky to have Bill adding a touch of the great Levon Helm with his simultaneous vocals and drumming. We are not a three piece guitar band – but Big Ray is an awesome guitarist adding more pure blues into the 21st century mix – all that and Vivienne’s weird selection of hats and assorted paraphernalia!
What was your first encounter with the blues?
I was 15 and living in Hartlepool. My friend and I had tickets to see Rory Gallagher at Newcastle City Hall (I still have the stub). This was my first major concert and it was incredible. Towards the end, we had the choice – do as we had been told by our parents and leave early to catch the last train home – or stay for the final number. Needless to say, we stayed and Rory played 5 encores. The last one, ‘Sinner Boy’, was played to about 20 of us at the front of the stage. My life was never the same – but did we get into trouble! Spent the night in Newcastle train station – my parents went crazy – grounded for a month – and worth every minute! I loved Rory ever since. My son was born on the day he died, in the same hospital.
Early influences?
Beatles, Stones, Muddy, Dylan, Cohen, Waits, Wolf, Clash, Springsteen, all 3 Kings and Elvis (Costello) and a supporting cast of thousands. Yoka adds Etta James, Bessie Smith, Big Mama Thornton and Eva Cassidy, Vivienne cites Jan Garbarek and Big Ray says Dave Gilmour inspired him to pick up the guitar then Walter Trout inspired him to turn the volume up to 11. Bill says he was a toddler in a pub somewhere listening to some old guys jamming – and that was it for him – the idea that you can get paid for being in a pub still hasn’t lost the magic for Bill!
What, in your opinion, is the public’s perception of the blues nowadays? Have we come full circle? Back in the blues-boom days, the young punks of the new blues scene were fighting against the “trad-jazzers” – who didn’t want anything to change. There are some places now who only want bands to play a set of blues standards – week in week out – they don’t want anything to change.
Are the punks of the blues-boom now the “trad-jazzers”?
Still, there are bands, music lovers and magazines – who view “Blues Without The Blinkers”! If blues doesn’t continue to evolve it will become redundant. There is room for everyone – it’s a wonderful genre of music that can be inclusive, all embracing and all the more rewarding because of that – or it can wither and die – what’s it gonna be? I can still feel a healthy pulse.
Being a songwriter yourself, are there any songs you wish you’d written?
There is a cast of thousands – revolving in my head constantly – but I am reminded of the exchange between Oscar Wilde and Whistler – Wilde remarking on a witty jibe said “I wish I’d said that”, to which, Whistler replied, “oh you will, Oscar, you will”.
How important is song collaboration in a band?
Collaboration is vital – music is all about connecting – Little Devils are like a gang – all for one and all that jazz. Everyone inputs into every song – if you heard me sing some of my demos and play the guitar parts you would quickly realise how vital it to have a vocalist with the range and sheer power of Yoka, and musicians as brilliant as Vivienne, Big Ray and Bill all contributing to make the songs come alive.
Any interests outside music?
I must confess to a degree of self-interest – but I’d like to see the planet survive for a little while longer, maybe even become a better place to live – so I am happy to support Amnesty International, Greenpeace (Yoka used to work for Greenpeace incidentally), Avaaz, People Before Profit, Shelter, Childline, WWF and The New Cross Gate Benevolent Fund for wayward Little Devils (all donations gratefully received).
What music would we find playing on the tour bus?
We rehearse in the tour bus! Some of our best arrangements happen on the way to gigs – gotta keep things fresh! When the music stops, we play games. Our favourite – and it’s been killing us for some time –is looking for fish musicians – such as Skate Bush, Squid Vicious and Slim Carpo (Walter Trout and Julian Bream don’t count!). It’s addictive. Last year, we asked fans for help and got inundated – fish everywhere (Les scaled the heights!) – our Facebook was more like a fish tank. If anyone thinks they have spotted a rare one – let us know via Facebook.
Where do Little Devils plan to be in, say, five years?
I was going to say anywhere above ground would be good, but Yoka, Vivienne, Bill and Big Ray say –bigger and better stages, kicking up a storm!
Favourite biscuit? (my standard question, all answer!!) Vivienne says Hobnobs, Bill says Choc Digestives. Yoka says “Farewell Custard Cream – live at The Albert Hall”. Big Ray says Rubber Biscuit and I gotta go for King Bizkit!
What’s coming up next for Little Devils and how can people get in touch?
In September we are playing Farnham Blues & Rock and Roll Festival then The York Blues Festival. In October we are off to Belgium and Netherlands. Back for a gigs at Gloucester Blues Club and Saltburn Blues Club. Next year, we have a Boogaloo Weekender at Alvason Hall, Cheshire in March. In May, we are playing at a festival / holiday in Calabria, Italy (a month of sun, sea, sand, and blues!) with Otis Grand, Todd Sharpville, Eugene (Hideaway) Bridges and lots more. Check out all the STUFF on the website www. littledevilmusic.com
Any message to BM readers?
Support the network – the independent mags, the blues DJs and all the venues and festival people who work tirelessly because they love this music. Thanks a million to Blues Matters!, the readers (we subscribe!) and to anyone who has been to see Little Devils – where ever we go - we’ll be back.
And finally?
If there’s one thing I could leave you with, it’s something written on the memorial plaque in Easington Colliery. Easington has been ripped apart by the loss of its’ one dirty and dangerous industry. The people are living in real hardship and have a lot of problems. The memorial is spotless. On the rock taken from the pit, amid the 83 trees (one for each dead miner), there is a message. It reads “Get understanding and promote good will in all things”.
The last two years has seen the emergence of Lewis Hamilton as a rising star. Hailing from Rural Perthshire, his act the Boogie Brothers can genuinely claim that they are the hardest working blues band in Scotland, having played over 200 shows in that time. These shows have included prestigious slots at many of the Scottish Blues festivals and most recently Hebden and Maryport. From his first demo EP, and throughout the subsequent albums “Gambling Man” and “Empty Roads,” Lewis has developed his strong song writing, providing his own style of rocking blues which is sure to see his profile rise in the UK and beyond. Duncan Beattie spoke to Lewis to talk about his development to date and views on the current blues scene.
BM: Lewis, the Hamiltons are a musical family as your Laurie Hamilton was one of the finest jazz guitarists in Scotland during the sixties, appearing as session man on numerous Grampian and STV shows, while your cousin Steve, a Berklee graduate, has played piano with such notable names as Ray Charles and Percy Sledge. Did this background influence your decision to perform music?
LH: It definitely did. Having a musical family made a huge impact on the way I looked at musicians, and guitars themselves. I remember at the age of 10 playing my Uncle’s original 1970s Stratocaster just after seeing an article about Jimi Hendrix’s Woodstock guitar in an early 80s guitar magazine. I knew I wanted a guitar just like that! Given your family’s background in jazz, what was it that inspired you to turn to the blues?
At first I never listened to blues, it was all Led Zeppelin and Red Hot Chilli Peppers, then one day I stumbled across Cream’s version of Crossroads from the late 60s. That just blew my mind.
Your first regular stage appearances were as a guest artist for Lazy Poker (who were signed to the Blues Matters record label) and then you joined The Jamie Harper Band. How did this experience serve you and at what stage did you decide to form your own band?
Playing with the Jamie Harper Band really helped me to learn stage confidence in a live situation. Jamie also taught me a lot about stepping back in the mix a little bit and that you don’t always need to be on eleven at every moment in time. That’s something I really appreciate learning at an early age and I think every young musician could benefit from. It was great fun but eventually I wanted to start singing and writing my own songs.
The strength of your own material is very significant. Having heard the songs on your demo EP I wrote in Blues Matters that I felt you were a bluesman of clear distinction. In your live set, your original songs far outnumber cover versions. How has your songwriting developed?
I started writing guitar riffs before I tried singing. The riff for ‘Gambling Machine’ was in my head for many years before I actually put words to it. However, in the last two years I’ve started writing songs. I’ve begun with a topic, phrase or melody first and moved onto guitar parts afterwards. I don’t know if its better, it’s just the way I’ve learned to do it.
You formed Lewis Hamilton and The Boogie Brothers at age 17 and have played in excess of 200 shows, which is an exceptional number of live shows for someone your age. Please tell me about the band and how your live show has developed during that time?
Well at first the band played mostly blues/rock covers like ‘Black Magic Woman’ and ‘Roll Over Beethoven’ so we didn’t really have our own sound. The more we gigged the more we began to interact with each other. We started to add little riffs and subtle dynamic changes that many people wouldn’t notice at first. The more we did this the more interesting our set became. Once you add in two albums worth of original material to that, the band really developed it‘s own sound.
You released your first self-produced album, Gambling Machine in February 2012 which came out to some very positive reviews. How would you describe the album and what do you like most about it?
I would say “Gambling Machine” as a reasonable first album, and I’m happy with it. Since we didn’t have much live experience as a three piece, the album has more of a restrained studio-recorded sound, whereas “Empty Roads” is a bit more raw and dynamic.
The album featured some notable contributions from Steve Hamilton on Piano/Keys, Fraser Speirs on harmonica, Donald Lang on saxophone and Owen Nicholson on lap steel. How did their contributions enhance the album?
It really helped to thicken out the sound. It made it slicker and more professional sounding than it would have been with just the three of us at that time.
In a short space of time, you’ve played at nearly all of Scotland’s blues festivals, but more importantly, you’ve had a very busy schedule playing shows in all parts of Scotland. How do you find the Scottish
appetite for blues, does it vary from region to region and do you feel that you’re established within Scotland?
Scotland has a great blues scene during the festival time. Every festival we have played has been great fun and we always get a warm reception and a good crowd during that time. We get a lot of repeat bookings once people see us and they tend to come back in greater numbers. Also, having so many gigs does help to spread the word. Now that we are established around Scotland, I think it’s time to focus on going abroad and pushing our music further out.
You’ve now started getting bookings south of the border, with the first being the main stage of the Hebden Blues Festival before Maryport trail. Are you keen to get more into the English blues scene and what are your first impressions of it?
First impressions are great ones. It was nice to travel all that way and be given such a warm welcome at both
festivals. We’ve had return invites. I really think English bookings are mandatory to further our career in the music world.
Would you say your location in rural Perthshire, has been to your detriment as far as your wider known profile concerned?
I don’t think it helps being away in the hills as far as profile is concerned. However it is useful to be away from a noisy populated area when it comes to writing, practicing and recording music.
Your second album “Empty Roads” came out recently. In contrast to your debut, it is stripped down to yourself on guitar and vocals, Nick on bass and Santa on drums and represents more what you see in a Lewis Hamilton show. Was that the specific intention?
It was very much intended. We all felt that the band’s live sound needed to be captured on CD, in a way that “Gambling Machine” didn’t. Hence the three of us being the only musicians featured on Empty Roads.
What are your favourite self-written songs?
I’m particularly proud of ’Like A Burning Tree’. It’s a slow delta-blues track from the new CD. I do love playing ‘E
You had a preliminary song writing nomination in the British Blues Awards and have been nominated in blues/jazz category of the Scottish New Music Awards. How do you feel about award recognition?
I’m really grateful to be nominated for an award and it feels great to be appreciated! But if somebody is voted higher and is considered to be ‘better’ it won’t bother me because I don’t think it matters in the bigger picture. The view I have is that I don’t like anything that suggests one person’s music or musical talent has to be voted better that another persons. The beautiful thing about music (especially blues) is that it’s about the way it makes you feel when you listen to it, and not about whether it wins or loses a competition.
You’ve studied sound engineering (at Perth College) and produced and engineered both your albums. How easy is it to engineer and produce your own work – are you self-critical in the studio?
I personally find it a challenge (although very exciting one). Simply because I want to get the best results possible and this can be hard to achieve when you don’t have a big record label backing you financially. On the plus side it’s really good fun and it gives me complete artistic control over my albums. Something that labels don’t always offer.
Last year you were given the last minute opportunity to support German guitarist Henrik Freischlader (after illness to the original support act) on several dates. How was the experience and how has watching Henrik at close quarters influenced your own sound?
I can honestly say Henrik is one of the best musicians I have ever heard. The crazy thing is that I had never heard of him before! I’ll openly admit that I took a huge amount in from his show and it will definitely influence the way I play and write in the future. Yeah! It was great fun to support him again this year and such an honour for me to share a stage with him!
Which other artists would you like to play with?
I have always been a big fan of Davy Knowles and I would love to jam with him someday. I also like Oli Brown’s playing a lot, he’s a very sweet player. Maybe Aynsley Lister when I support him in early December. I think being onstage with Bonamassa would top it all for me!
There are many very talented blues musicians in Scotland, yet readers may struggle to name many. Which do you particularly admire and why do you feel others have not become as well known?
I particularly admire Dave Arcari for his originality, stagecraft and work ethic. I also love Gerry Jablonski’s stuff. The Jensen Interceptors and Wang Dang Delta are in my top ten as well. Scotland is filled with talented musicians and most of them are known in local areas but maybe not so much out of the country. The only reason I can think of is that Scotland doesn’t have the same blues and rock heritage that England has, meaning there is less of a market for our kind of music.
We’re working on a compilation of Scottish blues artists, which you will release on your own Lewis Hamilton Music record label. Can you tell the readers a little about the project and your plans with the album?
The project has a few goals. It will help promote some great and talented musicians that deserve a lot more exposure than they get. It also gives something for bands to sell at gigs who don’t already have a CD. I’m really looking forward to having it out!
(The album should be out in September. Look out for a future review in Blues Matters!)
As a teenager, what do you think can be done to ensure other young people listen to and appreciate blues music?
There’s nothing that can be done to ensure that. Blues music has always been and will always be a specific taste in comparison to mainstream rock and pop. I think it’s good for younger people to hear it and decide for themselves if they like it or not. So many people are learning guitar right now. I’ve noticed guitar related music, including blues, is being explored by kids of young ages more than in years past. Which I think is great!
Tell me about your guitar collection? You’re mainly a fender man, although you’ve recently bought a resonator guitar.
I’ve always felt comfortable with Telecasters. I love playing and owning many others, but I always go back to those odd shaped work-horses and I feel right at home. I’ve always wanted a resonator though. Since I’ve started playing slide at the end of last year, I couldn’t wait any longer … I had to have one! It’s not a complete change in direction, but a little versatility can’t hurt.
Is there any message you would like to give to the readers of Blues Matters?
Keep going to gigs and buying CDs of the great, talented musicians of today, to help a great music form stay alive!
Darren Weale
The Jim Jones Revue are a rompin’, stompin’ all out Rock ‘n’ Roll outfit with added leather and brylcream. What are they doing in the pages of Blues Matters? Well, they’re here because we like them, and because the attacking style of Henri Herbert, their piano player, reminded us of Jerry Lee Lewis, who had a bit of Blues in his repertoire. We asked Henri about this and other things.
BM: As the piano player of The Jim Jones Revue, you might need to be fit, but what explains all the muscles?
HH: Genes! Seriously, though, fitness is very important to us as a band since we all work so hard on stage, and our tour schedule is relentless – we’ll often go for several days without much sleep. I like to keep fit by going for runs. Our upcoming tour schedule to promote our new album “The Savage Heart” is pretty extreme!
Why did you take up piano and go on to play this type of music?
I think it just happened. My dad was a big influence. He is a very fine classical guitarist and my earliest musical memories are of him playing his guitar. I suppose my earliest memories of recorded tunes are Chuck Berry, Jerry Lee Lewis, Elvis and Jim Reeves. My dad gave me an Elvis record for my birthday when I was about five years old. It had “Money Honey” on it and I distinctly remember loving the piano part on that tune. He also had and a Jerry Lee record called “Jerry Lee Lewis and his Pumping Piano”. I played both these records over and over on a small player till they wore out. Jerry Lee and Chuck Berry impressed me the most at a very young age. We had an electric piano in the house when I was growing up. I would spend hours studying the records and learning Jerry Lee’s solos. I then played with various bands on the Blues scene before joining The Jim Jones Revue which is now my only band. I’m lucky to be in a band where the piano has such a big role. I am very excited to be a part of it, and am looking forward to the new album release and tour.
The Jim Jones Revue played the Letterman TV show live in the US. What was that experience like? It was incredible! I’m amazed we got on to the David Letterman Show! Before I joined the band, the Jim Jones Revue were scheduled for an appearance on the David Letterman show at the start of their last USA tour. However, the main celebrity guest on that edition of the show wanted to play an extra song which meant that there wasn’t time for the JJR so their performance slot was cancelled. This time around our performance was again cancelled because the devastation caused by Hurricane Irene cancelled all flights to New York on the eve of our scheduled performance. I remember I had packed my suitcase for a three week tour of the USA, and was just about to set off, when I was told it wasn’t happening. We were told that it would be rescheduled, but we were doubtful. When we finally got the thumbs up that it WAS rescheduled we were all very relieved but we all knew that we wouldn’t believe it was really going to happen until we actually hit the stage. It was great to play on that stage at The Ed Sullivan Theatre where Elvis and Jerry Lee Lewis had done their thing all those years ago. The rearrangement of our performance date meant that we had to change flights and other travel arrangements, travelling through several time zones. Having seen the tour schedule for our new album it looks like we’ll be doing a lot more of that over the next few months.
What advice would you give to a young pianist learning the classical way but actually wanting to rock like you?
I never really applied myself to learning “the classical way”, I was seduced by boogie woogie at a very young age and that was all I was interested in playing. I love to listen to classical piano music, but from a playing perspective I have very little understanding of the classical discipline and practice. What I would say to anyone wanting to play Rock n Roll piano is to listen to Jerry Lee Lewis, Fats Domino and Little Richard. For me they are the greatest and they’ve been a huge influence on me personally and also on The Jim Jones Revue. I was lucky because at a very young age my dad played me music that I became passionate about. If I had not been exposed to all that great music at such a young age things may not ha
How do you feel about the new Jim Jones Revue album and the upcoming tour?
I am very excited about this album, it’s something very personal to me since I have been involved in the song writing and arranging. It’s called “The Savage Heart”, and our producer was Jim Sclavunos, the drummer for Grinderman and Nick Cave and The Bad Seeds. Jim produced the previous record and we were delighted to have him on board for this one too. It is different to the previous Jim Jones Revue albums; we’re exploring new musical and lyrical territory but it retains the energy and trademark powerhouse feeling. The piano is still very much up front and key to the overall sound. I’ve been able to bring influences from my favourite piano players Jerry Lee, Albert Ammons and Otis Spann into the mix, and also influence from film composers like Elmer Bernstein and Ennio Morricone. It’s been fascinating to be part of the process from the early jams and song writing sessions up to the finished product, and working with Jim Sclavunos was a valuable experience. Now that the album is done we’re getting ready to tour the songs. I love touring and performing, and I’m very excited to be going to Japan in November. It’s the first time there for me and most of the band. We’re also touring the UK, France and Spain. It’s a relentless schedule but well worth it in my opinion.
Jerry Lee Lewis has an enormous amount of blues feeling in everything he plays and sings. He’s been a massive influence on my contribution to “The Savage Heart”. He is my number one influence, but I am also hugely influenced by Otis Spann and Champion Jack Dupree. Also John Lee Hooker, I love his rhythm and often try to replicate his attack. Guys like John Lee Hooker and Howlin Wolf were great innovators and I draw inspiration from this too by trying to find new sounds and ideas. Albert Ammons and Pete Johnson are big influences. Like Jerry Lee neither of them were strictly blues players but they had a strong blues sentiment in everything they did, and they were also great innovators. I’ve been lucky enough to bring some of my blues influences to our “The Savage Heart”. The whole record, to me, sounds very blues-driven.
The Jim Jones Revue will release their new album “The Savage Heart” through Play It Again Sam/Punk Rock Blues Records on 15th October and will be touring the UK in October. For a full list of dates go to: www.jimjonesrevue.com/website/live
For Alvin Lee fans, it is like waiting for a London bus; there is no sign of one for ages and then three come along at once! The month of July 2012 brought this excellent compilation album, news of his eagerly awaited and critically acclaimed “Still On The Road To Freedom” CD, and notification that Gibson had nominated Lee the greatest musician ever to have played an ES-335 guitar, deservedly ahead of Clapton, Berry and BB King. Oh yes and there was confirmation that Alvin will be appearing next Easter at L ’Olympia in Paris with that other blues legend, Johnny Winter. It doesn’t get much better than that. “The Best Of Alvin Lee” is proof that legendary status is well deserved by a man who started out as the fastest rock guitarist in the west and matured into a creative and highly original and talented all-round musician and lyricist. Too many of the English progressive rock bands of the late 60s/70s have -+ended up as pale shadows of their glorious past, exacerbated by personnel changes. Fortunately, Alvin’s decision to embark upon a solo career ensured that he avoided that fate and continued to advance musically. The compilation starts with the high octane ‘Keep On Rocking’ from the 1994 eponymous album which is well represented here, the next two tracks being the excellent ‘My Baby’s Come Back To Me’ and ‘Boogie All Day’. Fast-forward a decade to ‘Rock And Roll Girls’, my personal favourite which gained Alvin, Richard Newman and Pete Pritchard a standing ovation on their last UK tour. Indeed, all of the choices from “In Tennessee” prove that it deserved wider recognition than it achieved. Other major highlights include the raw energy of’ ‘I’m Writing You a Letter’ from ‘”In Flight”, the shared vocals with Sam Brown on ‘Long Legs’, and the classic guitar duets with George Harrison, ‘So Sad’ and ‘The Bluest Blues’. A common theme throughout is the magical interplay between Lee and Tim Hinkley whenever the keyboard genius performs. Appropriately, the 30th and final track is the national anthem, ‘Going Home’ from “Ride On” with Ten Years Later, a 3-piece format which Alvin has reverted to in recent years.
Bishop
I’m not one for Soul Music, per se; but “Betty Wright: The Movie” at 77 minutes, sure knocks a whole load of other albums into the bin. Comprising a lady who has been singing for decades, accompanied by an extremely tight and funky soul band, The Roots, who can lock into a groove as easily as turning on the lights, and armed with a cache of self penned songs, this is truly an album of quality, joy and damn good music. To top this list of plus points, Betty has a truly great voice and delivers a powerful performance, whether in a soulful, melodic
romantic mood or in a full-on rocking powerhouse roar, this is quality from the start. Opening with ‘Old Songs’, she exalts the quality of old songs and is a true tribute to soul songs of yesteryear, whether on old vinyl or 8 track, with name drops of Stevie Wonder Prince and Patti Labelle. Yet as retro as this may sound, she is also a lady of today, and Calvin “Snoop Dogg” Broadus features in a rap segment on ‘Real Woman’, a song dedicated to her nephews and sons, giving a moral standpoint in terms of the need to have proper relationships in life. Again however, she adopts an opposite position with “…adult theme music, time to put the children to bed” in ‘Tonight Again’ a romantic and sensuous love song. Never one to take the moral high ground, ‘Hollywould’, a song about a girl named Holly who would do anything sexually, walking the streets smoking dope and pimping herself for cash. Again, powerful stuff. Throughout, the Roots lock and groove in a way that reminds of the phatt Philly sounds of the 70’s and 80’s. I’m not a soul convert, but Betty Wright sure has hit it for me.
Merv Osborne
R&B legend Betty LaVette marks her 50th anniversary in music with this release. Produced by Craig Street (Norah Jones), ‘Thankful N’ Thoughtful’ features a selection of contemporary tracks written by and recorded by amongst others Bob Dylan, The Black Keys, Tom Waits, Neil Young and Gnarls Barkley. Bettye has a built in way of consuming each song in their entirety, her voice filled with longing, rage, desire, survival and victory in equal parts. Sounds obvious, but her voice is her instrument, rough, tender and sensuous, sharing her hard earned wisdom and story throughout these tales of her reinvention. Special mention here goes to her band, Chris Bruce on guitars, Jonathan Wilson gtrs/banjo, Glenn Patscha keys, Jennifer Condos bass, and JJ Johnson on drums/ percussion. The album opens with Dylan’s ‘Everything is Broken’, you can tell by Bettye’s moans and howls on the title refrains, the troubles she’s seen. On ‘Crazy’ she slows it down a bit, wringing every syllable till your spine tingles. ‘Dirty Old Town’, for the purposes of this album, relocates to Detroit with it’s references to her first love at Northern High and the Detroit race riots. With ‘I’m Not the One’ the sensual grit of the song sizzles with her all-knowing rasp. Every song here is a testament to her life and her unrivalled skill for interpretation. By the time Bettye finishes a track, she has fully inhabited the body and soul of the song. From Neil Young’s ‘Everybody Knows This is Nowhere’, to Savoy Brown’s ‘I’m Tired’ to the title track, a lesser known gem from Sly & The Family Stone, Bettye expels every word with such passion, you can feel her in the present moment.
Clive Rawlings
All of the tracks on this album are originals, written and produced by Bex herself. The band members are clearly
collaborators and work very well together. When female singer/songwriters are plentiful, instead of comparing Bex to her peers, I would rather think of a younger version of Bonnie Raitt. Seldom do we hear such blues inflected rawness in female guitar players, it’s refreshing to hear it done with such authenticity and assurance. The sharp guitar licks and gritty vocals make a statement saying that this girl means business and in no uncertain terms. From opener and title track ‘House of Mercy’ with it’s funky feel, you know you’re onto a good thing. Bex has recruited amongst others dobro master BJ Cole and there is violin from Eileen Healy, banjo from Don Wayne Reno, mandolin from Dale Reno, not forgetting husband Barry on harmonica. These musicians crop up from time to time, and, apart from drummer Crispin Taylor and bassist Barry Payne are not a constant, but Bex’s own work on Resonator doesn’t go un-noticed. Outstanding tracks for me and illustration of the afore-mentioned have to be ‘Gone Fishin’ and ‘Rattlesnake’. If I had a song written for me like ‘Barry’s Song’, I’d consider myself a lucky man! As you can guess, this is a must - buy, Bex has hit the nail on the head in all departments, writing, musicianship and production.
We Brits are often pretty adept at putting ourselves down, having a whinge and a moan. Yet sometimes your chest just puffs out with pride when we take in the fact that we can do stuff with music which is the envy of the world. Hailing from the Bath/Bristol area, Eddie Martin is a fine example of just what a bloody good job the UK can make of the blues. Eddie sums up this cracking album thus: ‘I love the humour and stinging guitar of Johnny Guitar Watson, the guitar innovation and suave sophistication of Big Band T Bone Walker and the spontaneity and blistering slide of Elmore James. And I love the fantastic horn arrangements of all three.’ Well, it certainly contains hefty elements of all these. 14 tracks, all self-penned except for Funky
One Too, which was co-written with his featured guest artist, Pee Wee Ellis. Martin knows his blues inside out. He even lived in the USA for a time, holding down residencies in Beale St in Memphis and in the Juke Joints of Clarksdale Mississippi. Great harp player and vocalist, he’s also a guitarist and drummer. Why a brass section has never thought of calling itself The Little Big Horns before is beyond me – but Eddie’s brassmen have that laudable title, and they complement this big, fat and tasty collection no end. Just get down with tracks such as Frog in The Long Grass and Zombie Attack and you’re in big band blues heaven. T-Bone, Watson and Elmore would’ve been proud. With bands like this around, the blues is in safe hands.
Roy BaintonThe first time I heard this release, it made reflect on how
important, yet underrated the band Blodwyn Pig were. Indeed, during ‘See My Way’, a song I remember well from those heady days, I had to check to ensure that it was Blodwyn Pig and not Roxy Music, so influential was the sound of Jack Lancaster on horns. Mick states in his booklet that this album presents rare stuff from the first two incarnations of the Mick Abrahams Band as well as some previously unheard material from the ‘Pig’. There’s plenty of energy here although the sound on the opening three tracks suffers a little form “age”. Of the thirteen tracks, six are given over to Blodwyn Pig with the opener, ‘Ain’t You Comin’ Home’ demonstrating the power that Rock in the 60’s and 70’s seemed to exude. Yet, this was a time of experimentation and change, so instrumentation was differed from the norm, and time changes were introduced. John Peel introduces ‘City Of Gold’, the first of the Abrahams Band tracks. The song is the complete antithesis of the Pig, with a more countrified melodic air a la West Coast Bands as opposed to the Blues Rock of Blodwyn. ‘Greyhound Bus’ is a fast rocker, name checking many of the places the band has obviously visited whilst in the States. ‘Not To Re-Arrange’ visits a “Flying Burrito Brothers” sound with a lush west coast sounding slide. To me, the Blodwyn Pig tracks have the edge, although dated they tend to represent a far more exciting blend of music than Mick’s own band. Definitely one for the fans and collectors.
Merv OsborneAnd now it’s time for some Chicago blues. Which makes me a very happy man indeed. Brad Hatfield is a new name to me, but he’s come along to entertain with a mainly original set of songs, alongside some well-chosen covers of Blind Willie Johnson’s ‘John The Revelator’ and Son House’s ‘Death Letter’. Now, to be fair, no-one can really add anything to those particular songs, so it’s the original material that really takes your fancy. The band - Brad Hatfield vocals and harp, Jon Justice on guitar, Bernie Hatfield on keys, Michael Bram on drums and Scott Hornick - really know how to kick up a storm, and along with a great production, courtesy of Justice, the material really does move and groove along. There’s a good slow blues on ‘One More Night’, a cracking roadhouse tune in the shape of ‘Headstrong Baby’ and the rocking ‘Witness To My Misery’. Hatfield is a great harmonica player, and moothie fans will love his, and the guesting Dennis Gruenlings work. Vocally, he’s got the chops as well, as the closing a-capella version of ‘John The Revelator’ will testify. Definitely an album worth hearing.
Stuart A HamiltonThis album released in the USA as a double album in 1968 and culled to a single release in May 1969 for the UK market, effectively marks the end of the Animals, apart from occasional reunions. The name had been retained largely for commercial reasons, and was and is forever associated with the Animals’ classic trans-Atlantic hits. Burdon, by now ensconced in the USA, and converted from, as the liner notes put it, “erstwhile Geordie boozer to beatific flower child”, had recorded two albums in the
previous 12 months, and new material was therefore scarce. As a result, some strange covers were chosen and given the acid influenced rock treatment, so here we have what had been Spector’s wall-of-sound ‘River Deep, Mountain High’, on the same album as versions of the Bee Gees ballad ‘To Love Somebody’ and even more remarkably the country standard ‘Ring Of Fire’ The more understandable cover of Traffic’s ‘Coloured Rain’ has a guitar solo of over 4 minutes, and this typifies the album’s problem – more is less. The long-winded and tedious ‘Gemini’ contains long spoken sections, and like the other extended tracks loses its way after a promising introduction. One hesitates to generalize or condemn, but this like Hendrix’s later work may be another occasion when mind-expanding drugs did not help to focus the artistic process. This band combined the incomparable voice of Eric Burdon with amongst others the talents of Zoot Money, multi-instrumentalist John Weider and of course Andy Summers, (later to find fame and fortune in Police), which makes the resultant disjointed affair all the more puzzling and frustrating. What might have been...
Nogginas a download, from the usual outlets, is his first solo album and is fully self-composed. It is a long awaited, his first issued work since Lazy Poker’s ‘Positively Blue’, issued on Blues Matters record label. Time though has not blunted his fine talents. Harper has his own trademark style which consists of a funking opening riff, some melodic guitar lines and a grooving rhythm, heard in the opening ‘Silver Lining’. A melodic vocalist, Harper has always been a fine song writer with sensitive worded lyrics, notably on ‘Legbone Break’ and the helpless tale of the narrator in ‘Midnight Train’. It may be this album has been an emotional release for Harper, with the subject of broken relationships appearing regularly. However there is plenty of variety with songs such as live favourite ‘Gotta Give It Up Again’ and the atmospheric ‘Keep On Movin’,’ both standouts. Jamie Harper is not the only one of his family to shine on this album, as his son Dale appears throughout on drums and clearly relishing giving it laldy on his kit, particularly on the slide lead ‘Shame’ and closing instrumental ‘Blue Smoke.’ It’s an album well worth checking out.
Duncan BeattieThere is not usually a happy ending to a story that begins with “I met this guy in a bar in Amsterdam, and we decided to play together”. Thankfully, this is the exception to the rule, and sees Mancunian Mat Walklate and Irishman Dick Farrelly teaming up for a really enjoyable album of acoustic blues. A couple of months after their Dutch jam session, Dick Farrelly flew over to Manchester and the two men spent 9½ hours in the studio. And with no further ado, they had an album in the bag. Something that should be a wakeup call for all these layabouts who spend years making a record. Both men have a pedigree in the business, with Farrelly having played with Eric Bell, Mary Coughlan, Van Morrison, Mick Taylor, Noel Redding and many others, whilst Walklate plays Irish traditional music on the flute, harmonica, whistle and uilleann pipes as well as fronting a couple of blues bands including Depot and The Moocher. So what you end up with is a wee treat, with two great musicians, kicking back and enjoying themselves on a set of mainly Trad Arrs, including ‘Good As I Been To You’, ‘Bottle Up And Go’ and ‘Black Cat Bones’, with a few originals thrown in for good measure.
Stuart A Hamilton
This is the second album from Italian guitarist, vocalist and songwriter J Sintoni, following on from his 2007 release “The Red Suit”, and it’s really rather good. Signor Sintoni has been leading his own band since 2000, and is a regular on the European festival circuit, playing the likes of the Pistoia Blues Festival, the Chianti Blues Festival, the Voodoo Child Blues Fest and many others, as well as opening for musicians of the stature of John Hammond and Popa Chubby. All ten songs have been written by J Sintoni, and alongside his cohorts
Andrea Taravelli on bass guitar and Carmine Bloisi on drums make up a fine blues trio. It’s no great surprise to see that the record ends up with a tune entitled ‘Song For Stevie & Jimi’, as his influences are very apparent at times, but there is enough talent here to indicate that he could end up very much his own man. It’s his guitar work that shines the most, so when that’s stripped back on songs like ‘Consequences’, you can see where he needs to work harder. The band are comfortable on straight blues, slow blues and even a wee bit of funk, and on album highlights like the blues shuffle of ‘Love Should Never Lose’, ‘Good Vibe’ and ‘Two Feet’, you can’t help but nod your head in approval
Stuart A HamiltonJAMIE
Jamie Harper is a well-known live performer in central and northern Scotland. Now in his mid-30s, Harper was a member of long standing Dundee blues band, Wolftrain, before making his name as singer, guitarist and primary song writer in The Lazy Poker Blues Band. For a decade they toured heavily and appeared at many prominent blues festivals. ‘Blue Smoke And Silver Lining’ available
A reissue of outstanding quality, this catches Elvin Bishop at his best ever live. Released in 1977, this is a full on “cultural event”. The concerts were recorded in five American cities. All the way through this release there is a great sense offun and exuberance, he can really work a crowd, his banter much appreciated in a live setting. He is an accomplished
musician, and the concert stage is a better place to express himself in the confines of the studio. Most the time the feeling is upbeat and raucous shown in such tracks as ‘Stealing’ Watermelons’ and ‘Struttin’ My Stuff’, whilst bringing the mood down on the bluesy ‘Little Brown Bird’ and also his hit song ‘Fooled Around And Fell In Love’. Throughout, his guitar playing is effortless and surprisingly only sings lead vocals on four tracks. But his stellar first class band take main stage as well, including Mickey Thomas vocals simply soar with Elvin’s guitar work. While Elvin Bishop started off with the blues, working with an all-star group of musicians in the Butterfield Blues Band, he found his real space when he slipped back home and was a major pioneer of the Southern Rock movement and although this is not a blues release, the raw energy and differing styles of music, funk, country rhythms will keep people’s feet tapping for many years to come.
Colin CampbellBlues Roots/Bad
Dreams
B.G.O Records
At last, two of Ike Turners seminal works from the seventies, available for the first time on compact disc. Although probably known for his work with Tina Turner, he was well known in the rhythm and blues circuit in the 1950’s.On the Blues
Roots release he cut twelve tracks full of intense guitar licks and soulful vocals. He plays all the instruments and recorded it at his home studio a great accomplishment, even quirky numbers with his own interpretations of such classics ‘If You Love Me Like You Say’ and ‘Rockin Blues’. There is also a bizarre self-penned track ‘Right On’ where he certainly seemed to enjoy playing with the mixing desk. Bad Dreams opens with ‘These Dreams’ a fairly wacky and possibly over use of mixing desk this time. The overall feeling is that this is a bit of a strange release interlaced with monologues and other little oddities, but it also has some great tracks, including a stunning version of Elmore James’ ‘Dust My Broom’ full of swampy blues and girl group backup vocals culminating in a gospel type finale. ‘Rats’ just seems odd but musically competent a rap about rats. This release was obviously not for the “popular” market more experimental and pushing his own boundaries as producer and entertainer. These releases will serve as a memorial to a very talented and sometimes maligned musician.
Colin Campbellthe instruments list. There are some beautiful melodies, with some cracking accordion on the opener ‘Everything’s Clear’. In fact, this strikes the note for the entire album, with a cheerful interplay of instruments overlaid with Chris’s mellow vocals. ‘Run Wild And Free’, a faster track, has a Gerry Rafferty and indeed Beatles feel to it. It is also easy to pick up some sounds throughout reminiscent of Wings, Chris Rea and even the Bee Gees. ‘Under Her Smile’ is an uplifting love song, and later ‘Grapes Of Love’ is about as Blues as the album gets, and is an outstanding track. A whole array of demo tracks grace the album, offering both value and some highlights, notably ‘Beautiful Fish’. Mention should also be made of some outstanding female vocals on the album, notably from Katy Shotter on ‘Spread Love’. No, this is not so very Blues. It is a different outpouring of the soul, and something good to listen to when in a glass half full mood, between the songs of hurt, sex, drugs, betrayal, drink and discrimination that populate much of the Blues. Nevertheless, this is a happy, dreamy album to listen to and may just put you in a good Moog. Sorry, mood.
Darren WeakeOccapella!
FHQ
When we think of the battering New Orleans experienced with Hurricane Katrina, followed by the unforgivable dismissive neglect of Dubya’s Big Government... then it’s remarkable that the city’s beating heart – music –has survived with such vigour. Here is ample evidence; subtitled ‘Having fun with the songs of Allen Toussaint’, this is a joyous celebration of great compositions put through piano man Cleary’s unique funk machine. There are stirring performances by Bonnie Raitt and Dr. John and Cleary’s totally uplifting musicians, the Absolute Monster Gentlemen and the Philthy Phunkateers. (Can band names get any better than this?) Right up until the last piano glissando there are startling twists and turns on this journey through the Toussaint songbook that will make you smile and get you up on your feet. As well as the eponymous title track, there are true Toussaint classics, such as ‘What Do You Want The Girl To Do’, and a terrific version of ‘Pop Corn Pop Pop’ which even your kids will enjoy. The whole set culminates with a moody Fortune Teller, and all told, this album is a fine reminder of how truly great songs can sound when handled by great musicians – and Cleary is certainly one of the greatest.
Roy BaintonCorner Green
Cosmic Harmony Records Inc
Whilst we are unlikely to be reviewing any of Madonna’s albums any time soon, we do take a look at some less Bluesy offerings at times. Just as Blues artists like Piano Red and Robert Johnson played Blues songs of joy and celebration, we have here a whole album of upbeat tunes. Corner Green is chock full of happy songs played by an artist who clearly feels on top of the world and who wants to share that feeling. This album is an organists and keyboard players dream with magic words like “Moog” in
JOE JACKSON
The Duke Ear Music
Joe Jackson – singer/composer/arranger/keyboardist and five-time Grammy nominee, is one of the more intelligent and adventurous survivors of the world of big-shoulderpadded UK 80s pop. We all remember ‘It’s Different For Girls’ but even whilst Adam Ant was slapping on his war paint Joe had progressed – does anyone recall his Jump’n’Jive Tour when he celebrated the music of Louis Jordan? So – further up the tree of jazz respectability, what have we here? “I revere Duke Ellington, but I didn’t want this to be a reverent album,” he says of The Duke, his new tribute to American jazz giant Ellington. If you’re looking for musical convention, don’t look here.
Ellington’s pioneering spirit is evident throughout, but the
way Joe has showcased these classics is not only exciting – it also demonstrates the true durability of the Duke’s compositions. If you’re an old time pipe’n’slippers jazz buff, then yes – Iggy Pop singing ‘It Don’t Mean A Thing’ (If It Ain’t Got That Swing) is going to be … irreverent. Here are 15 Ellington classics stretched across ten tracks, interspersing melodic and rhythmic elements which would easily fit with Ellington’s own, original freewheeling approach. As well as Joe’s own vocalising on I’m Beginning To See The Light, Mood Indigo, and I Got It Bad (And That Ain’t Good), we get R&B diva Sharon Jones as well as Iranian singer Sussan Deyhim performing an exhilarating Caravan in Farsi, plus Lilian Vieira, of the Brazilian/Dutch collective Zuco 103, with a stirring Portuguese version of “Perdido”. The stunning range of musicians includes contemporary jazz stars, violinist Regina Carter and bassist Christian McBride; rock guitar hero Steve Vai and ex-Steely Dan/Sting/Dylan sideman Elliot Scheiner, who’s a 7 time Grammy winner. A tribute album it may be, yet it’s also very much a Joe Jackson album, from a creative mind with an eternal sense of musical adventure.
Roy BaintonJOHNNY RAWLS
Soul Survivor
Cat Food Records
Fairly apt album title as Johnny Rawls has been playing professionally since the 1970’s, in those early days he backed musicians like Joe Tex and O V Wright although he did not release his first album in his own right until 1996, since then he has released solo albums on a regular basis, drawing from his experience on the road in his early formative years. The material on this album is full of silky soul tunes impeccably sung by Johnny, while Johnny has won several Blues awards for his song writing and performances this album sits firmly in the Soul Blues category, all the material has Johnny’s trade mark silky smooth finish, fully supported by the band members who additionally help out with the song writing; the title track written by the bassist and keyboard players is the pick of the songs. The supporting musicians include a full horn compliment that provides a funky edge to some of the material on this impressive album that is a must for Soul/Blues music lovers.
Adrian Blackleeancient Elmore James lover like me. ‘Musical Mechanical Electrical Man’ is a bit of a mouthful to say but no worries as it rocks and swaggers along like hell on wheels. The pace drops occasionally as with the harrowing minor key Blues ballad ‘You Burnt Me’ which features intense vocals and expressive guitar as Ed tells of a lover caught smoking crack. A chiming slide guitar riff introduces the funky and frenetic ‘Born Loser’ and then some almost jazzy guitar licks lead into the bragging jump Blues of ‘Jump Right In’ with the rest of the band joining in on backing vocals. ‘Life Is A Journey’ is a melodic minor key slow Blues which features a particularly fine and expressive solo from Williams. ‘World Of Love’ is a blast of jaunty rock ‘n’ roll and ‘Weatherman’ is another speedy rocker as the band positively race to the finish. The wonderful JB Hutto was Ed’s uncle and musical mentor and the sole cover on this CD is a superb heartfelt version of Hutto’s slow Blues ‘If You Change Your Mind’ which features guest Marty Sammon on piano who trades licks in exhilarating fashion with Williams corruscating slide guitar. The humorous and rollicking’No Fast Food’ finds Williams exclaiming “Why go out for hamburgers when at home I can eat prime steak?”. Quite so! ‘My Chains Are Gone’ features atmospheric organ from Sammon and pretty guitar arpeggios from Williams as he relates a sad tale of the end of a love affair. Closing track ‘Moratorium On Hate’ is a heartfelt statement from Williams as he declares “a veto on violence and a referendum against crime”.This is a set of exciting, raucous, exhilarating and raunchy Blues from musicians who just may be one of the best bar bands in the business. Call up some friends, lay on a few cold beers and fire up the barbecue. The party starts right here!
Dave Drury
LIL’ ED & THE BLUES IMPERIALS
Jump-Start
Alligator
You know what you are going to get with Lil’ Ed and happily as soon as opening track ‘If You Were Mine’ crashes through the speakers you get the feeling that in spite of recessions, cutbacks and the weather etc everything is OK. Opening track ‘If You Were Mine’ features crashing drums, a raw, loose limbed, but hard driving rhythm section and, of course, Ed’s scintillating slide guitar and fierce, passionate vocals. In fact a veritable rocking rave up. The good times are here again and it all adds up to an irresistible package for an Blues Matters! 44 Blues Matters! 44
The Stables Commissioned by The Stables in Wavendon, Milton Keynes for its International Festival 2012 and produced by Adrian McNally, keyboards player with contemporary folk band The Unthanks, this CD release is basically a folk and singer/ songwriter album inspired by The Lone Twin Boat Project - which has successfully built and sailed a boat made from donated wood. Fittingly, the 13 tracks bring together young and old, established and upcoming, American, Australian and British acts, though non-folk fans may be familiar with the names of Janis Ian and Ralph McTell (who can play fine ragtime blues guitar - but doesn’t here), and many will recognise Nick Hornby’s name, though maybe not in this context - yes, it is indeed the author. Readers with a taste for Americana should find plenty to enjoy in this thoughtful and sometimes hauntingly beautiful album, but if you are looking solely for the blues, pass swiftly on.
Norman DarwenThere are some albums that sound sterile, with every single note carefully chosen and blended, so much so that any life is removed from the recording. ‘Make It Good’ is not one of those albums. It sounds good, but it sounds full of life. It captures perfectly the sound of musicians having fun playing together. The group, led by vocalist and harmonica virtuoso RJ Mischo plough their own furrow of funky bluesy rock, with plenty of time for solos
and interjections. From the opening blast of ‘Trouble Belt’ and the fun instrumental track ‘The Frozen Pickle’, or the slower blues tracks ‘I Am Not Your Good Man’ and ‘Minnesota Woman’ there is something for fans of blues and funkier music here. The guitar playing of Johnny Moeller and Nick Curran perfectly blend themselves together, and the rhythm section of drummer Wes Starr, Pianist Nick Conoly and bassist Ronnie James Webber are all perfectly in the pocket, and although there is nothing really new here, there is still plenty to like and admire in a group that clearly knows how to have a good time together.
Ben Macnair
This is a Croatian band who present their first album as ‘The rebirth of classic rock’. Influences are drawn from the late sixties/early seventies rock era with the flavour of Led Zeppelin, The Doors, The Who, C-DC, Rory Gallagher and The Allman Brothers getting a special mention. Opening track ‘Free’ is a rock ballad which starts with acoustic guitars and builds in intensity to a soaring conclusion with Boris on vocals and Ivan on lead guitar giving it their all. Title track ‘Make A Stand’ is a heavy riffing rocker with a touch of Focus and Thijs Van Leer in the guitar work. ‘Into The Dark’ is a slow burning rock ballad which builds to a climactic crescendo of multilayered guitars and overwrought vocals. Incidentally the production and engineering duties on the CD were handled by the band and are both excellent. ‘Your Song’ is propelled by acoustic guitars and good vocal harmonies and there is no doubting the passion and commitment of Gruhak and their retro music. A good time riff stolen from The Small Faces introduces the raucous party workout ‘No No No’ - the only thing missing is Rod the Mod’s dulcet tones. ‘End Of Days’ utilises a Zeppriff and develops into a Free style workout with phased guitars and the band in full flow. Gruhak have clearly listened to plenty of their favoured bands and many snippets appear in their songs through the vocal styling and guitar layering. My favourite track here is ‘So much To Say’ which is another densely layered song with a pleasing Southern Rock feel to it and which is enhanced by the addition of mandolin, organ and piano. Yes a definite feel of The Allman Brothers about that one and it certainly has the WOW factor! ‘Mother’s Son’ opens with power chords and rasping lead vocals from Boris as it is driven along by the intense, hard riffing, guitar. Closing track ‘Gruhak Boogie’ opens with a boogie riff stolen from Mud or Quo and the band batter it to a speedy conclusion. Phew! If Classic Rock is your thing then you’ll love this. Somebody should get these guys over here.
Dave Drury
This live album was recorded at Whistlebinkies, my favourite live venue in Edinburgh because of the
magnificent atmosphere generated by the legion of enthusiastic fans who gather there most nights to listen to and celebrate the blues. It speaks volumes that the audiences for Safehouse gigs regularly include fellow musicians such as local legend Neil Warden currently with Stevey Hay’s Shades of Blue, and Jed Potts from the Jake Cogan Band, two of the best guitarists I have heard in a long time. The set opens with the classic Creedance Clearwater Revival hit, ‘Born On The Bayou’ followed by The Allman Brothers’ ‘Midnight Rider.’ However, this is anything but a mere covers album because of the unique, vibrant interpretations of these tracks and others including ‘Dear Mr Fantasy’ and ‘I Can’t Keep FromCryin, Some Time.’ Indeed, the quality of the vocals, the individual instrumental solos and the sheer power and dynamism of these excellent Scottish musicians enhance the originals which represents a massive achievement for any band. Bassist Andrew Stirling is the founder member, with Chris Peebles on vocals, John Bruce, guitar, Ali Petrie, keyboards, and drummer Sean Scott. Otis Rush’s ‘Double Trouble’ and Toussaint’s ‘On Your Way Down’ providing the perfect platform for Bruce’s intricate guitar phrasing and piercing solos, Peebles’ impassioned vocals and Petrie’s dexterity and versatility on keyboards. Similarly, the rhythm section excels on the stunning version of Bo Diddley’s ‘Pretty Thing’ and also ‘Buffs Bar Blues.’ The changes to the line up have altered the direction of Safehouse and if this album is anything to go by, it is for the better, with more original material like ‘’When The Lights Go Down’ in the process of development. “Absolutely Live” is a stellar performance of innate talent and scintillating energy, a slash and burn blues/rock extravaganza interspersed with tenderness and pathos.
The Lovell Sisters of Jessica, Megan & Rebecca who hailed from Calhoun, Georgia were firmly established in the bluegrass camp, when the eldest sibling left at the start of 2010. The younger sisters later re-emerged as a duo and brought out a series of four EPs, taking the four seasons as their titles. This, their fifth EP consists of 7 tracks and comes with a bonus live DVD, which serves as a superb introduction to the band’s new more rocking and soulful approach, which is added to strong songwriting. The performance entitled “Live From Stongfjorden’, filmed at the Sunniford Geo Center, Norway in October 2011 is wonderful; the band play a great set in cramped conditions, with the drummer under a stairwell, and the others huddled feet from the bar. The intimate nature of the gig all adds to the effect. Rebecca is a natural as a front person, and her voice is tremendous, all guts and spirit. The playing is superb, with Sister Megan starring on dobro and lap steel. The synergy and evident warmth between the sisters is obvious and the band, with Rick Lollar on electric guitar, is rock solid.
The set list includes versions of four of the tracks which appear on the studio EP. The album sleeve and stagewear give the impression of folk-come-lately, but the sound is much more varied and powerful. ‘On The Fritz’ has a vibrancy and playful appeal, while their cover of ‘In My Time Of Dying’ is excellent. The studio disc is naturally more polished and Rebecca’s vocals and the harmonies are therefore enhanced. The final track ‘Russian Roulette’ is stunning. The potential for them to explore more musical directions, especially Blues is certainly there.
Nogginthese versions lack in emotion. The choice of material is marvelous, and the covers are worthy, like ‘Nobody Knows You When You’re Down And Out’, ‘Honest I Do’, ‘Crawlin’ King Snake’ and the outstanding ‘Help Me Through
Matt Edwards Music
FollowThe Plan’ is Oxfordshire born Matt Edwards’ first solo release and the completion of a lifelong challenge: to see if he could record an album playing all of the instruments himself, on the evidence of this release he surely has accomplished this goal and more besides. It was recorded in six days at the Grange studios in Norfolk, recording in analogue to tape, all tracks being played live as it were a great achievement, and the end result is the making of a very accomplished blues rock type recording. It has an easy listening, lively flowing feel to it. Heexhibits a harmonic and gutsy singing voice throughout, plus he’s very talented on the bass and drums, he indeed plays all instruments on this release and has produced it too. Aside from one guest appearance from his friend Mitch Laddie who was very honoured to play on this release on the up-tempo blues rocking duo ‘What Else You Gonna Do?’ Nonetheless it’s to the guitar work that resonates and style of same that stamps his authority on this release. This evident on the more laid back feeling of ‘Hearing Poems’. Other highlights include the opening title ‘A Whole Heap Of Trouble’. Possibly for me the stand out track is ‘Standing In A Storm’ which has lots of angst and attitude in it. The album closes well too with the stripped down acoustic blues of ‘Poor Man’s Lie’.
The re-release of this 2001 album pays homage to many of the artists who had a powerful influence on Peter Green and other Splinter Group members in their musically formative years. The spirit of the originals are captured, with no fuss, but sadly not much more in terms of excitement. Most of the tunes are taken at a leisurely pace. On one hand the band deserves great credit for rescuing Green from the musical abyss, and this album has its charm in the affectionate and respectful nature of the tribute paid to so many Blues giants. But on the other hand Green’s own alleged reluctance to re-do classics, such as ‘Honey Bee’ (Muddy Waters), ‘Little Red Rooster’ (Willie Dixon), ‘Don’t Start Me Talking’ (Sonny Boy Williamson), seems to come through, because
The Day’ the last of which has tantalising and haunting echoes of Green at his best. The playing by all the band is flawless. The sad fact remains that for one so absolutely bristling with talent and confidence, (some say better than predecessor Clapton in the Bluesbreakers), and brilliance in Fleetwood Mac, this is a testament to a man who simply could not recapture the magic of his Blues revival dominance of the late1960s, when ironically his songwriting, playing and singing were the envy of some of those he now seeks to emulate.
Noggin
Out of Essex, Porter have a sleazy and sophisticated jazz,-blues sound on several tracks here, with smooth vocalist/ guitarist/ bandleader Gary Porter no doubt flashing big brilliant smiles at the audience as he keeps the band tightly drilled through a very appealing programme of jump ‘n’ jive ‘n’ ska. The three horn players (trumpeter/ saxman Dave Melling also doubles – er, triples – up on keyboards) know their stuff, sure enough, and the bass and drums can push along or provide that delicate pulse, as on the romantic slowie ‘Hanging On’. The title track has a 60s vibe, with echoes of Sam Cooke in the vocal and a reggae sound; ‘Happiest Day’ ditches the reggae, replacing it with an early 60s Rhythm & Blues arrangement and more beautiful singing, though the blues-ballad ‘Drive’ is the big vocal performance of the album. Think of an act that is part Ray Charles, part Charles Brown, part James Hunter and part original (there are no borrowings on these dozen tracks), and you get some idea of just how this CD sounds. Take a listen to Porter – you know you oughter…
Norman DarwenFirstly great credit to BGO for releasing these two original MCA albums together on one CD, neither was a great commercial success when originally released in the late 1960’s but for other reasons they were landmark albums. The Electric Mud album recorded in 1968 was a very bold attempt by Marshall Chess to try and re-invent Muddy as a Psychedelic Rock artist on the back of the developing music scene at the time, he brought together a new line up, some of who had played in the Rotary Collection and a ‘wild Hendrix’ styled guitarist in Peter Cosey, who between them really went for it, the blues critics at the time slammed the album and much late Muddy himself was quoted as saying the album was ‘dogshit’! From my perspective this is an album that just has to be heard, the playing is sensational but Muddy just does not sound comfortable throughout and the
versions of ‘I am a man’ and ‘I’m a Hoochie Coochie man’ are certainly some of the poorest renditions I have heard, countering that ‘Herbert Harpers Free Press’ is a track Hendrix himself would have been proud of. The After The Rain album was the immediate follow up to Electric Mud and while retaining the same line up there were additional inputs from Otis Span and Paul Oscher, all helping Muddy to crawl back to traditional blues music, the track listing includes several Muddy classics and it is remarkable how the musicians re-adapted to the blues after playing psychedelia less than twelve months earlier, not a classic album by any means but a worthwhile purchase.
Adrian Blacklee
The Games People Play Secret Records
Harmonica ace Paul Lamb has been a fixture on the UK and European Blues circuit for about thirty years and this live album was recorded in various European venues. Opening track ‘I Got A Woman/ Folsom Prison Blues’ is a medley of the Ray Charles and Johnny Cash songs which starts off in acoustic mode and then builds in intensity as the full band join in. The original song ‘Let Me In’ is a rocking Blues featuring Ryan “Junior” Lamb on guitar and it’s nice to hear a (relatively) young man who has confidence enough to play understated and melodic lines without feeling the need to constantly overplay.
‘Come To The Conclusion’ is a catchy Slim Harpo style boogie which should keep the dancers happy and the toes tapping. Gershwin’s ‘Summertime’ is a tour-de-force harmonica solo for Paul Lamb who gets to display his dazzling technique. ‘Depressing Recession is a rocker written by vocalist and rhythm guitarist Chad Strentz. A cover of Big Walter Horton’s classic instrumental ‘Easy’ is the perfect harmonica workout for Mr Lamb (senior). Ray Charles slow Blues ‘Black Jack Games’ gives everyone a chance to stretch out and show their chops in fine style. An unusual choice here is a cover of Joe South’s 60’s pop song ‘Games People Play’ which is given a jump Blues treatment with a hint of reggae. Roosevelt Sykes’ ‘Ida Mae’ is a classic old Delta Blues number which is handled as a guitar/harmonica duet. Lee Dorsey’s ‘Ya Ya Blues’ is a rollicking Louisiana swampland workout complete with audience participation. The album closes with Leadbelly’s ‘Midnight Special’ which is given a stunning treatment in gospel style. Paul Lamb’s credentials and stature are undoubted and the current line-up is superb and they have produced a very fine album.
Dave Druryas talented as other emerging prog-rock bands, such as for example Genesis or Family who took more of the plaudits, but like so many others The Alan Bown! had the unwelcome tendency to limit their success through a combination of bad luck and bad timing. Witness this album, as a case in point; buoyed by a new label deal with Deram, and a line up which included charismatic vocalist Jess Roden they recorded this album and were about to embark on a US tour when Roden up and quit. The vocal parts were then re-recorded with the new but still maturing talent Robert Palmer, previously of the superb Mandrake. He stayed only for this album, before a similar departure, this time to Vinegar Joe – a bad case of leaving you! Rather like many other reminiscences there is an ambivalence associated with listening to the albums of this time, part warm nostalgia, part embarrassment. The songs vary, occasionally wonderful, (‘All I Can Do’), sometimes whimsical, (‘Kick Me Out’) and other times weird like the mini rock opera ‘The Prisoner’. This rerelease adds two bonus tracks, the excellent ‘Still As Stone’ and ‘Wrong Idea’. The over-riding feeling is that this was an under-rated band, that are now for ever locked in a special era.
NogginThat’s Axel Zwingenberger, Ben Waters, Charlie Watts and Dave Green, by the way. Drummer Charlie you all know of course, and many will be familiar with ace pianists Axel and Ben, whilst Dave is a vastly experienced jazz bass player who played with his neighbour – the aforementioned Mr. Watts – back in the late 50s. There is therefore plenty of expertise brought to bear on this thoroughly entertaining set recorded at the Duc Des Lombards Club in the French capital. There are no great surprises in boogie-woogie these days, but the skill lies in the interpretation and ability – so there are no problems here. After a duet opener from Axel and Ben, the latter sings Cousin Joe’s slow, humorous ‘Evolution Blues’ to open his four song segment, then he hands over to Axel for another four numbers. After this, all four men join together to close out the show with a further five tracks. The set builds up a real head of steam, with a few blues items interspersed (sung by Ben), and the result is a fine old-fashioned album. Modern day piano blues is getting harder to find - this is some of the best around.
Norman Darwen
The Alan Bown!, formerly the Alan Bown Set, carved out a niche in the liberated mid- to-late 60s music scene that was based upon relentless touring and innate musicianship. Bown’s trumpet added a different flavour. Lyrically and sonically the album is typical of the times, introverted and explorational. The group were every bit
Not the easiest of albums to listen to. “Smartest Man In The Room” is the latest offering from Paul Mark, and the stand out feature here is the rasping voice that does take a little time to get used to. Paul is the singer songwriter, instrumentalist and owner of Radiation Records and has been performing for over 25 years. Recorded in Memphis and New Orleans, the album reflects the rich
musical history of these two cities. Based fully in the Blues Rock genre, the sound of the band is a coming together of the fat guitar riff sounds from the beat era of the fifties through to the eighties. The title track is easily the most memorable of the dozen self penned songs on offer here, a strutting shuffle that has feet tapping from the outset. Staccato guitar a la SRV is served up in ‘Time Will Tell’. The next track ‘When God Finds the Time’ is a much heavier work, bordering almost on a voodoo style rant. ‘Barrio Stroll’ is an instrumental rich with Latin flavour and thick luscious Santana drenched guitar. Jazz is given a heads up in ‘Wrist Rocket’ with an almost Django Reinhardt sounding guitar. Next up is a Dr John sounding Blues piano boogie in ‘Can’t Remember Nothing’, even the vocal phrasing recalls the great gumbo man. Most interesting track of all is the closer, ‘The Creature Walks Among Us’, a threatening blast of horror, emanating from the sewers and a strange blend of sounds and voices. Neither the best nor the worst album I’ve ever heard, but thoroughly entertaining. Throughout however, I couldn’t help thinking of Hokie Joint, not a bad thing in itself. And by the way, watch out for the hidden 13th track not listed on the sleeve. Sneaky eh?
RICK ESTRIN & THE NIGHTCATS
One Wrong Turn
Alligator Records
Merv OsborneWhat you have here is a modern day blues band led by Rick Esterin, who previously spent over thirty years fronting the Little Charlie & The Nightcaps band, clearly a contradiction in terms but the band sound so very fresh here. Rick is a masterful Harmonica player who works well with the talented Norwegian guitarist Kid Andersen in creating at times a hard edge to their electrifying blues sound, very reminiscent to the Fabulous Thunderbirds, particularly on ‘Met her on the Blues Cruise’. Rick covers all the vocals with confidence, his delivery is very much in a Rock’n’Roll style although he generates plenty of humorous undertones , aided by some great material; the title ‘Desperation Perspiration’ brings a small to your face even before hearing the track, there are two contrasting instrumentals on the album that veer away from the Blues; ‘Zonin’ a 1960’s jazz club feel which is led by organist Lorenzo Farrell and ‘The Legend of Taco Cobbler’ which could have been performed as a film score for a 1970’s Spanish Western, not Blues but great fun. A really entertaining harp driven blues album by a band determined to ensure you have a good time listening.
Adrian Blackleewas recorded at Cardiff’s Acapela Studios. Their local following is passionate about Rusty Shackle’s rewarding live shows. The band comprises main lyricist Liam Collins with Nottingham born brothers Scott & James McKeon (fiddle & banjo and guitar respectively), together with a rhythm section Baz Barwick and Owen Emmanuel. The lyrics are wordy and observational, with highlights being ‘Works Of Art’, the poignant ‘Factory’ and historically based ‘The Fight For The Queen’, with its nods to Drake, Shakespeare and the Spanish Armada. This is all set to a backcloth of fiddles and banjos which all adds to the edgy atmosphere. For a first album this makes up what it might lack in maturity and variety with energy and enthusiasm in abundance. Sometimes, when the group provides the shade with the light, as in ‘Tomorrow’, there is the promise of more to come. Their strength and immediate future surely lies in whipping up a storm within the live setting, but in the studio environment the strained lead vocals could be tempered with more harmonizing and some slower tunes. The lengthy last song ‘Sunrise’ might indicate the next direction. A hidden track, the traditional ‘John Henry’ appears after a pause following that track.
NogginDylan’s Talking Blues: The Roots of Bob’s Rhythmic Rhyming
Righteous
You might think rap and hip-hop are ‘new’, but you’d be wrong. Here’s their simplistic precedent. The talking blues is a fine old art form which seems to be neglected these days. The great thing about it is that you don’t need a great singing voice – as long as you can talk clearly, have a sense of rhythm, three chords and some nifty rhyming, you’re up and running. In fact, one of the original talking blues stylists whose pre-WW2 tracks are featured here, Chris Bouchillon took up the form simply because he had ‘a terrible singing voice’. Apparently the roots of talking blues lie in the black community in the early 20th century, when spoken, rhyming verses were used to slag off whitey. I suppose this collection, by featuring Bob Dylan’s name prominently, will spark the necessary interest of the Dylanophiles, because Bob’s been adept at this form in the past, inspired as he was by the master, Woody Guthrie, who has 7 of the 23 tracks here. And that’s something else talking blues had – acute and incisive social commentary. If Woody was around now in the UK you’d get a Banker Blues, a Bad Cat Lansley NHS Blues –whatever bad was going on in society, this was the way to broadcast it. There is a drawback, though – it’s a repetitive form and almost every track seems to be in the key of A. But that’s nit-picking – just compare Red Murrell’s version of Ernest Tubb’s Talking Blues with the Anglicised updated rendering by Lonnie Donegan, and you’ll realise how much fun this can be. Get your pen and pad out, play A, D and E chords and you won’t even need auto-tune on your voice. Fascinating stuff.
Roy BaintonKissan Productions
The Anglo-Welsh quintet Rusty Shackle got it together in 2010, and their debut album cannot be easily categorized - perhaps Celtic folk meets Squeeze, highly-charged and with a contemporary twist is close. The album
‘Nothin’ But Love’ is Cray’s sixteenth studio album and was produced by that man Kevin Shirley (what isn’t these days!), who refers to it as “the dirt under the fingernails”. It was recorded live over two weeks at the Revolver Studios in L.A. and includes material written by all four band
members, Cray himself, Jim Pugh (keyboards), Richard Cousins (bass) and drummer Tony Braunagel. The album consists of the soaring break-up blues of opener ‘(Won’t Be) Coming Home’, the jazz chops of ‘I’ll Always Remember You’ to the souldrenched ode to repossession ‘Great Big Old House’, not forgetting the 50’s flavoured rocker ‘Side dish’. Suffice to say, that you get what you expect from any album by Mr Cray, what can I say that hasn’t been said fifteen times already? Pure class oozes from every note the band play, their pedigree is second to none, but I am left with the feeling I’ve heard it all before. That’s not to say it’s bad, there is an amazing fan-base around the world who will jump at this. Cray is still laying his cards on the table, testing his talent, fusing that dazzling voice to some of his most powerful material
in his three decade career, offering his fans ‘Nothin’ But Love’.
Clive Rawlings
MORGAN O’KANE
Pendulum
Independent
OK. This is downright fantastic. No question about it. But it is mainly a bluegrass album, so if that doesn’t float your boat, well just move along, nothing to see here. You’re also an eejit, as you miss out on one of the best bluegrass albums I’ve heard in years. His is a raw and ragged take on an old fashioned genre, that might just be the kick in the arse it needs to take it away from the sweetness, light and dullness of the Alison Krauss’s of this world, and back into a wide-eyed and legless, relevant form of musical expression. To this end he mixes up his take on bluegrass with some blues licks, some country hoedowns and some dirty rock’n’roll in his quest for bluegrass perfection. He’s got some amazing musicians to come along on the journey with him. Folk like the newest Carolina Chocolate
Drop, Leyla McCalla on cello, Ezekiel Healy on dobro and some fantastic fiddle work from Ferd Moyse. With O’Kane setting his banjo on fire on a set of original songs as vibrant as ‘Hello Soul’, ‘Hold Your Fire’ and ‘Railroad Blues’, this is without question, the bluegrass event of the year.
Stuart A Hamiltonon his own original numbers - try the title track, ‘If You Won’t Do What I Want’ (love the banter on this!), the blues-rock riffing ‘Redneck Woman’ or in fact, just pick any track at random. There are few bands who make you smile (or even laugh), get your feet moving and still leave you feeling like you’ve had a damn good blues experience - Wildcat and his crew most definitely do.
Norman DarwenIndependent
The blues! Three chords and the truth? Yes, it’s all that. Simplistic art form? Maybe. Perhaps you don’t need to be able to read music, either, to get the best out of the blues.
First of all, putting this CD on, I was wondering – who is Ron Sayer?
This is damned good stuff –fiery, lyrical, it has all the heat of a furnace with the doors open. The opening track, Bad Thing, pins you to the wall and the powerful Your Pleasure, My Pain and Little White Lies are just two examples of Ron’s rugged blues ability both as composer and musician. Who is Ron Sayer?
Over to his web site, which tells us he has a BA (Hons) in classical music, trained at Homerton College, Cambridge University and won the coveted title of Guitarist Of The Year a few years back. Ron began playing guitar at seven, was gigging by the age of 10, took grade 8 in both guitar and bass guitar, went on to be an examiner for Rockschool, taught guitar for many years (and still does) and is still giving lectures in blues improvisation at various colleges including Cambridge University. Naturally, you’d expect a man of this talent to rub shoulders with the greats, so it’s no surprise that, among others, he’s played with Buddy Guy, John Mayall, Imelda May, Nine Below Zero, Stan Webb, Oli Brown and Buddy Whittington. But Ron’s own band on this CD are a revelation – especially Andy ‘Mojo’ Robinson’s keyboards and Charlotte Joyce’s soulful backing vocals. So; between jamming in pubs to punting on the Cam, there’s no academic gulf when it comes to the blues. Dissertations and Degrees aside, what blues needs is passion, creativity and emotion. Ron Sayer Jr. has all three in spades. The BA (Hons) is a bonus.
Roy BaintonAccording to the sleeve notes, “Inner Blues” was recorded in ‘the sunshine city of Rovaniemi’, which in case you didn’t know, is in the Arctic Circle within Finnish Lapland. Slim Butler is known to his friends as Jarmo Puhakka and the recording comprises mainly of local musicians. Yet much like was the case with Little G Weevil, several months ago, upon listening I was not able to decipher that the recording had not been made by Americans somewhere in the Deep South. This is another great indication of the quality of blues acts emerging from continental Europe at the current time. This is Puhakka’s debut release, and with the exception of the title track is fully self-penned. It has all the hallmarks of a classic blues record, from the strong and catchy songs which average around 4 minutes each, the refined musicianship its sound and feel recorded on old analogue recording equipment. There’s also the touch of Otis Grand throughout the recording, who mixed and co-produced the album. ‘(Call Me) Mr Big Shot’ opens to a trademark Albert Collins guitar lick which is repeated through the song, with guest vocalist Andrew Black providing A Stevie Ray Vaughan style vocal. Black alternates singing duties with Sugar Ray Norcia, best known from his recordings with Ronnie Earl. Norcia takes to the mic for ‘What Have You Done’ which is a blues ballad with a latter day Robert Cray vibe. ‘A Heart of Ice’ is embellished with some great lap steel playing from Raimo Hakala. ‘Mexican Tears’ may be the weakest track with its rather repetitive rhythm, yet ‘Hey Bartender, Give Me Back My Fender’ is as memorable as its title. It culminates with the melancholic ‘I Can’t Imagine Why’ and an enjoyable take of Grand’s ‘Inner Blues’ with simultaneous, contrasting acoustic and electric guitars. I can’t say how often the sun does indeed shine in Rovaniemi, but Slim Butler certainly does!
Duncan BeattieRORY BLOCK
I Belong To The Band: A Tribute To Rev. Gary Davis Stony Plain
Dove’s Nest
New York City born though for many years Massachusetts based, Wildcat doesn’t take himself too seriously but lays down fine, fun-filled blues that hit the spot. He picks his musicians to match the track - there is some fine horn work here occasionally. Overall, his sound is loud and tough - he’s definitely an alumnus of the growling school of blues vocalists - and his guitar playing impressive enough for him to turn in an excellent rendition of Magic Sam’s ‘All Your Fault’. Although he also covers Sam & Dave’s ‘Hold On, I’m Coming’ as a nicely rocking roadhouse blues, James Hunter’s ‘Better Luck Next Time’ (an inspired choice) and Robert Johnson’s ‘Come On In My Kitchen’ as an acoustic duet, he comes across even better
This is the fourth in a series of affectionate tributes to major influences in Rory Block’s musical education, which respectively have acknowledged the contributions of Robert Johnson, Mississippi Fred McDowell, Son House and most recently the Reverend Gary Davis. Again Rory Block has drawn upon her personal experience; as a teenager she was introduced to Davis by the older and streetwise Stefan Grossman. The memories of meeting the Reverend on two memorable occasions both at Blues
his home and in her apartment have clearly left a deep impression upon her. The CD sleeve includes two lovely portraits she did at the time. As part of this project she admits to struggling to master his unique and complex style of playing, but her faithful yet personal interpretation of his songs is filled with all the warmth and inventiveness that perhaps only a mature person could have brought to his work. Despite his obvious inclination to the blues, the songs are drawn inevitably to the direction of his higher calling. This feeling is beautifully captured by Block’s whooping and hollering, not to mention some inspired backing vocals. The entirely acoustic set include tunes like ‘Goin’ To Sit Down On The Banks Of The River’, ‘I Belong To The Band’, and ‘Lord, I Feel Just Like Goin’ On’ and appropriately concludes with the moving ‘Death Don’t Have No Mercy’, in which Rory Block excels both vocally and instrumentally. While ever artistes like Block and John Hammond are around the legacy of the early Bluesmasters is surely in safe hands.
NogginSeasick Steve proved that age is no barrier when it comes to making the big time and I hope that Stevey Hay and the boys follow in his footsteps with their authentic and unpretentious blues.
The Bishop
It is hard to believe that this is the debut album from a veteran of the Scottish blues scene, 35 years after taking up playing the guitar. A full time musician following his redundancy from his community centre job at the tender age of 50, Stevey now has time to pursue his career with a new band, Shades of Blue. His pedigree augurs well for future success as his CV includes touring with Charlie Musselwhite, appearing with Robert Cray and supporting Popa Chubby and Matt Schofield. The late Tam White, also from Edinburgh, respected Stevey’s talent and offered much encouragement. Indeed, Shades Of Blue comprise drummer Dave Swanson and bassist Paul Manson, both former members of Tam White’s backing group, The Dexters. Similarly, guitarist and composer Neil Warden, who masterminded this project, recorded and performed extensively with Tam whilst also working with other luminaries such as Maggie Bell and the late Boz Burrell. Not surprisingly given the blues DNA in the line up, this is a high quality CD with some well-chosen covers and a sprinkling of Hay originals. Stevey puts his own stamp on B B King’s ‘Sell My Monkey’, with the assistance of the excellent John Burgess on tenor saxophone. Similarly, The Fabulous Thunderbirds’ ‘Why Get Up’ is given the Hay laidback groove, as is Mark Knopfler’s ‘Fade To Black’, with guest pianist Brian Kellock giving a very good impersonation of Otis Spann. However, it is the original material which stands out, notably ‘Keep Out Of Love’,‘ Backyard Blues’ and the despairing ‘Losin’ with The Boozin’ showcasing Hay at the peak of his vocal and guitar prowess, ably supported by the innovative axeman and co-writer, Neil Warden. Stevey has the determination, the ability and the musicians around him to be a great success. He is an inspiration to the hundreds of other blues men and women out there who have plied their trade and paid their dues over many years without the recognition they deserve.
Judging by the title of the album, and the cover with Will “Neptune” Johns rising from the ocean guitar in hand, Will is a lover of the sea. Which is apt, because like the sea this albums starts off with the explosive, frantic froth and foam of “I believe” before slowing to more soulful depths with “Angel”, where Will’s emotion-laden voice and some top notch backing vocals are to the fore. The album then works through a succession of songs all with their own appeal until, just as gold is found on the ocean floor, at the end of the tracklist is its own gold. “Smuggler’s Blues” is perhaps the best fast number on the album, with some excellent, bright guitar work and sweet sax. “Need your love so bad” rounds off the album, and is reminiscent of classic “The night time is the right time”, with some really exquisite guitar notes. In general, this is a great Summer album for listening to while driving with the car window down. Particular praise must go to Lee Spreadbury, as a good deal of his keyboards bring to mind those of the late, great Jon Lord. There is exuberance here, there is soul here, and there is “I don’t love you” which is a good song for anyone who has dumped someone and feels better for it. And there is a lot of pleasure to be had. There is definitely life in this salty sea dog.
Darren Weale
Out of Essex, Porter have a sleazy and sophisticated jazz,-blues sound on several tracks here, with smooth vocalist/ guitarist/ bandleader Gary Porter no doubt flashing big brilliant smiles at the audience as he keeps the band tightly drilled through a very appealing programme of jump ‘n’ jive ‘n’ ska. The three horn players (trumpeter/ saxman Dave Melling also doubles – er, triples – up on keyboards) know their stuff, sure enough, and the bass and drums can push along or provide that delicate pulse, as on the romantic slowie ‘Hanging On’. The title track has a 60s vibe, with echoes of Sam Cooke in the vocal and a reggae sound; ‘Happiest Day’ ditches the reggae, replacing it with an early 60s Rhythm & Blues arrangement and more beautiful singing, though the blues-ballad ‘Drive’ is the big vocal performance of the album. Think of an act that is part Ray Charles, part Charles Brown, part James Hunter and part original (there are no borrowings on these dozen tracks), and you get some idea of just how this CD sounds. Take a listen to Porter – you know you oughter…
Playing In Traffic Records
Norman DarwenThe Dunwells are a highly rated 5 member group from Leeds, who have been building themselves a following in Europe and started making inroads in the USA. Recognition of this is shown in the fact the album was recorded at Willie Nelson’s Pedernales studio in Austin, Texas, by John Porter (BB King, Elvis Costello, The Smiths). It’s an eclectic mix of roots rock, folk and occasional forays into gospel and blues. Four of the band members sing on the recording and its most distinguishing feature is when they combine to produce four part harmonies which come over most prominently on the rootsy work song chant of ‘Follow The Road’ and through the chorus of ‘Only Me’. The material is all self-composed, well-crafted and does illustrate a good future for the Dunwells. I found myself more drawn to the more uptempo tracks such as ‘Hand That Feeds’
which pack more of a punch than some of the more mellow folky songs which do at times come over as a little lightweight. The emphasis is certainly on their vocal talents, rather than their musicianship, however there are some brief instrumental intervals in ‘Perfect Timing’ and ‘Oh Lord’ with occasional support from Porter himself and others, including Jon Cleary on one song. In the main the recording will have more interest in fans of Mumford & Sons and Noah and the Whale than perhaps your typical blues fan so you may also find it attracts more attention from others within your household.
Duncan Beattie
Your feelings towards this double album will depend very much on your tolerance for elongated tracks. The shortest track on the double album is more than 5 minutes, the longest more than 16. If you like live interplay, and solos that show a player’s real ability, than this is the album for you. The group, led by the hard working husband and wife team of singer and guitarist Susan Tedeschi and
Back in 1969 the then Climax Chicago Blues Band issued an album called ‘The Holocaust’. It was somewhat of a hit in the US but not at home in England where they were a little too much Blues and not enough Progressive Blues to fit with the theme of the time. The US took them to heart and their second album ‘Plays On’ made the Billboard top 200, also in1969. By the time of these five albums the name had changed to drop ‘Chicago’ from their name and the style had also moved on and these albums contain almost nothing that could be considered Blues without a very long stretch. That doesn’t mean that they aren’t any good – quite the contrary. They had, by the time of ‘Shine On’, moved into classic US mid-rock territory sounding more like the Doobie Brothers than Johnny Winter and the only track that really has any balls about it is ‘Champagne And Rock And Roll’. ‘Flying The Flag’ was released in 1980 and showed that all of the harder edge of the band had been subsumed into a synth-laden soft-rock and it is noticeable that the biggest number on the album was the love ballad ‘I Love You’. The same is really true of the other three releases through the mid-eighties period with little to suggest that they were any closer to finding their Blues roots. The musicianship all through their career was superb and Colin Cooper played some brilliant sax as well as handling lead vocals while Peter Haycock was an underrated guitarist. They finally called it quits after ‘Sample And Hold’ before Cooper resurrected the name some years later. In reality, their title is a misnomer although there are some fine soft rock numbers scattered all through these 5 albums and none of them is a duffer – it just ain’t Blues.
Andy Snipper
slide guitar virtuoso
Derek Trucks incorporates many styles into their live set, playing with a large ensemble of musicians. Keen to play more than the usual blues and rock classics, the album incorporates Indian Raga music, and a touching nod of the head to the Allman Brother’s band, who Derek Trucks has also played with in a solo version of the classic guitar instrumental ‘Little Martha’ .The set encompasses a reworked, slightly funky version of Fred Neil’s ‘Everyone’s Talking’, and John Sebastian’s ‘Darling Be Home Soon’ a massively reworked version of Stevie Wonder’s ‘Uptight (Everything’s Alright)’ which features solos from all of the members, which includes two drummers, and blues staples such as ‘Rolling and Tumbling’ and the spiritual ‘Wade In The Water’. The ensemble, which features a strong rhythm section, a full time brass section, and the type of soulful singing and guitar playing we have come to expect from the leaders means that this a worthwhile release of top quality music, played by musicians who are willing to push the envelope.
Ben Macnair
TAB BENOIT
Telarc
Really this is a selection of titles from his thirteen years on the Telarc label .This also comes on the back of his
most acclaimed release ‘Medicine’, the title track of which has been chosen for this issue, a multi award winning production this collection is a reminder to those of his huge fan base how much he has improved and that the Mississippi delta blues scene will continue to fascinate and inspire new followers. He formed his first band during 1987 and released his debut album, “Nice And Warm”, in 1993. He has constantly touring for the past quarter century. He is a composite and well respected electric blues guitarist and singer, straight from the Delta. His voice is gruff and mean ideal for his chosen style of music. The high point of any of his albums is his powerful and improvisational guitar play. He makes each note sound distinct and manages to incorporate rhythm and lead guitar into a style that is solely his own. Buddy Millers’ ‘Shelter Me’ opens proceedings with Tab interpreting the style to perfection, encompassing his adaptation of the delta format. ‘Night Train’ is also a highlight a Big Easy going foot tapper. There is also an adaptation of ‘I’d Rather Go Blind’ with a slow and seductive twist to it. Other outstanding tracks are the driving ‘Muddy Bottom Blues’ and a live ten minute version of ‘Bayou Boogie’
13th – Saturday 14th July 2012
Another year and the valleys welcome back the blues and the big top under chilly skies but no rain... with more tents and camper vans using the on-site camping facilities. This Welsh festival has built its reputation by having the most amazingly friendly supportive and helpful staff as is reflected in the positive comments from festival goers and the musicians themselves. The staff wants everyone to have a great time and have a positive experience of the Gwent valleys and then the centre piece of every festival the music itself and this year’s line-up has been planned well so that the festival has two top acts as a crescendo at the end of each festival day. Unusually the festival was launched ten minutes early as popular and talented Cardiff band J Alexander & The Blues Devils took to the stage, without being introduced by Abertillery’s regular compares the ever vivacious and favourite double act of Bob & Norm from GTFM Monday Night Blues radio show. J Alexander and The Blues Devils played a solid set of traditional and ever popular blues numbers, taking a chance by singing Muddy Waters, ‘Forty Days And Forty Nights’ with the long wet summer and St Swithin’s day just around the corner... The tempo was pushed up by Cornwall’s Devil’s Creek, a confident mix of covers and own numbers with their rockier take on the blues so in the first two acts the Rock & Blues element of the festival had been met. What a great start to the evening and crowds were enthusiastic about the bands and waiting in anticipation for the next two bands as the evening flew by, next the McMahon brothers from Aberystwyth stormed onto the stage raising the temperature with atmospheric and stellar guitar playing that is the hall mark of Virgil and The Accelerators. This is a young British band which has taken its influences from Stevie Ray Vaughan and modified the sound with influences from Joanne Shaw Taylor and The Hoax creating their own take on the blues which continues to develop as they relentlessly improve their musicianship and stage craft. The comments from the audience were complimentary as jaws dropped at the quality and precision of the guitar playing supported by brilliant percussion and solid bass playing, the audience was captivated; though there were lots of comments and confusion when Virgil spoke with his faux American accent which adds nothing to the act. Finally, “Vintage Trouble” what an ending to a brilliant opening night, this band hits all the right chords and gets the crowds up, dancing and
Colin Bllunstone
feeling good about themselves. Vintage generated a real unique ‘party atmosphere a real contrast to the typical 2012 summer festival weather yes, it was pouring down outside of the marquee! They took the roof off the place and had the audience feeding out of their collectively talented hands. Charismatic lead vocalist, Ty Taylor, built an amazing rapport with the crowds with up tempo blues soul music with great songs including ‘You Gotta Believe Me’ with enthusiastic audience participation. By the end of the set the rain had stopped and the festival goers left the first evening on a high following such great music and all eagerly awaiting the treats in store tomorrow. Saturday was full of promise with a great mix of local, solo, young and famous artists and bands so the anticipation was high. Opening an afternoon session is always daunting and local band Panic Station were certainly up to the task with their mix of covers and own tracks showcasing blues musicianship they certainly kick started the proceedings getting people into the marquee to hear the music and soak up the atmosphere and the pleased the locals with self-penned ‘Rocking Down the A48’, the highway 49 of South Wales. For the next solo artist no stage is either too big or daunting as he fills it with his gigantic presence and personality this Marmite solo artist of the modern blues circuit, Dave Arcari, love him or hate him this guy has bucketful’s of talent and is in my opinion, with his high octane stage presence, a Scottish Wizard of the resonator. His set was full of verve and energy and showcased his talent on the slide guitar with a selection of his tracks including ‘MacPherson’s Lament’ he is magic and as he leaps around the stage his energetic performance leaves the audience gasping for breath. ‘Steve Roux and The Brass Knuckle Blues Band’ changed the tempo yet again with their brass instrument section and opening with an instrumental ‘You’re Gonna Need Me’ got the crowds swinging and swaying, the horn/sax section adding an extra dimension to the proceedings. The sound is very full rounded off with Steve’s slick guitar licks and soulful voice. This was a band where the whole was greater than the sum of the individual parts and great afternoon festival set, pleasing the crowds and raising the spirits. Next up strutting the stage was Dani Wilde Band, with Dani showcasing her guitar skills throughout the set, ably accompanied by her brother Will with superb blues harp playing and Stuart Dixon on lead/rhythm guitar. As a band they produced a set of controlled professional musicianship of the highest order, with Dani’s vocals providing the icing of a rich cake of musicianship. The title track of their latest CD ‘Juice me Up’ – demonstrated the great interchange between Stuart and Dani, during what overall was a great set delivered with real authority by Dani, leading the band from the front. They are definitely growing from strength to strength they certainly gave, aptly as their previous CD, ‘Shine’ to the festival.
Jon Amor Blues Group the band members the Doherty brothers Chris (Bass) and Dave (Rhythm Guitar) and Si Small (Drums) complimenting each other creating their own distinctive sound were the penultimate act. The band took the opportunity to showcase of two new tracks that may be included on their next CD due to be recorded very soon, ‘Wayfarer’ and ‘Good Thing Back’ As ever this band delivered a polished British blues set of the highest order and the members of the audience who had not heard Jon Amor before were blown away… they certainly gained a few fans at Abertillery. 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. All too soon it was the last act and eagerly awaited by everyone as there was a definite surge to the front to hear The Zombies. They took us back to the ‘60’s and early 70’s with a selection of their classics spanning fifty years. Rod Argent delighted the fans with an excellent display of keyboard work, and the appreciative crowds really enjoyed the set. They haven’t lost their voices after over fifty years, and were formed before the Rolling Stones. This was a great nostalgic set, though Rod Argent’s interludes were informative but for many were irritating and self-indulgent, breaking the flow of the set. Overall this was a headlining act that took many of the audiences down a road of nostalgic memories and the fans enjoyed the set immensely. Overall the running order of the festival worked really well with the atmosphere growing and moving on an upward spiral to a crescendo on each day. Yet again a fantastic festival with everyone saying roll on Abertillery 2013.
Liz Aiken
It was the eighteenth season of Bluesfest International, and I have to say there is not a bluesfest of this size that does not get the adrenalin up. As you step onto the grounds and look up at the large cement stage, tingles of excitement cannot help but creep up your spine.
The line-up this year was stellar! Stars such as Edgar Winter, closing the first night; Saturday offering Big Brother & the Holding Company, followed by Bobby Rush’s Big Band, and Alto Reed’s Motor City Allstars with special guest Mark Farner (Grand Funk Railroad), to be topped off with Sunday presentations with Mo’Blues (Argentina), Popa Chubby, Canada’s Jimmy Bowskill, and the dynamic closing with a long set from the Brooks Family Blues Dynasty (Lonnie, Ronnie, and Wayne Baker Brooks). That is not to say that the other performers did not shine brightly, because they most definitely did.
The added attraction every day was watching and listening to Randy Scott, a hot guitarist from Los Angles, via Detroit. Mr. Scott had won a Guitar World contest in 2010. MAVTV (a cable television outlet from Los Angles), was filming a series called, “Chasing the Dream”, which will be aired next year on cable and satellite. I even had the pleasure of sitting in during a rehearsal one night.
The Howling Diablos jump-started the festival, coming from across the Detroit River, and bringing wide smiles from festival promoters, Ted Boomerand John B Liedtke. The Diablos lead vocalist, Tino Cross produced two of R.L. Burnside albums for Fat Possum Records and their song ‘Wine Spo Dee O Dee’ was featured on Sun Records tribute CD that lead to the PBS series, “American Masters” featuring the band.
Sugar Ray & the Bluestones, with Grammy nominated and multi Blues Award winner Ray Norcia, had something to prove and they certainly did. Monster Mike Welch, on guitar blistered his way through the set. Ray Norcia, harp and vocals, has a powerful presence, showing what excellent tone and timber can do on ‘Funky D’ and ‘Junkyard’. Piano man Anthony Geraci, Mudcat Ward (bass), and Neil Gouvin (drums), had the audience yelling for more.
A little after ten o’clock Stacy Mitchhart, who is a must-see anytime you are in Nashville, kept the temperature rising. In honor of playing in the Detroit/Windsor area he included “Cadillac Assembly Line” in the set. The drummer with him, Jeff Pegus, displayed great feel for every tune. “St James Infirmary” was a standout. Every tune hit the mark and prepared the crowdfor the legendary Edgar Winter who took the stage to finish the evening. Edgar’s long jam on tenor sax, scatting included, on ‘Tobacco Road’ got everyone to their feet. The place was electric as Edgar stood with one hand on his hip, strutted back and forth across the stage, at one point hanging a keyboard around his neck, while throwing out guitar riffs like pebbles on a beach, all the while giving us ‘Frankenstein’, ‘Promised Land’, and ‘Free Ride’. We were left wanting more.
Reverend Raven & the Chain Smokin Altarboys opened Saturday’s offerings. This Chicago native, who collaborated with Madison Slim for ten years in Milwaukee, played his Chi-town blues just the way we like it. He also was part of Ken Koekstat’s Long & McQuade Guitar Clinic the next day, giving some insightful comments and memories along with Johnny V (1991 Juno Award Winner), Fede Teiler, (Mo’Blues), and Randy Scott. The Reverend demonstrated how his philosophy of, “chords with no root notes give color”.
Randy took the stage after Reverend Raven excelling with his “Mean Hearted Woman”.
Sophia Ramos took us on a trip back in time when she sang, no let me rephrase that, blistered tunes with Big Brother and the Holding Company. Surviving member Peter Aubin (bass), displays the touch we remember and every aspect of this band Ben Nieves (guitar), Sam Andrew (guitar), Jim Wall (drums), and the incredible Sophia, glow with otherworldly magic on ‘Sometimes’, ‘Mean Old Woman’, ‘Me & Bobby McGee’, ‘I Need A Man To Love’, ‘Turtle’, ‘Piece of My Heart’ and ‘Ball & Chain’.
A favorite, wherever he goes, Mr. Bobby Rush and his Big Band, stepped it up a notch. Mr. Rush has two hundred and forty-nine albums to his credit, either his alone, collaborations, or produced. For someone who will be turning seventy-nine this October he has not slowed down for a split second of the 56-year career in music. His antics on stage are celebrated and his dancing brings joy to all. Of course the set began with his lovely ‘Booty Ladies’ showing us how they react to the groove of the band, Miss Paula Moffett, being the center of attention. Classics like ‘Garbage Man Blues’, ‘Move That Thing’, and the Willie Dixon tune written for Bobby ‘Hoochie Coochie Man’ excelled. Part of the way through the set Bobby wanted to play an impromptu trick on his band (and the audience). He had Miss Paula raise the collar of his jacket, and hand him sunglasses affixed with fake long sideburns. It was all that band mates Dexter Allen, and Stevie Jay, could do to keep playing while laughing as Bobby broke into his Elvis impersonation with cheers
from the now 15,000 attendees. The magic continued as Alto Reed’s Motor City Allstars with Mark Farner (Grand Funk Railroad lead) came on. Kathleen Murray’s vocals on ‘Standing On Shaky Ground’ had the crowd jumping, even with rain clouds emptying on the festivities. ‘Homesick Blues’, ‘I’m Going to Love You’, ‘Someday’, and a heartfelt ‘If I Can Change The World’ with Alto’s saxophone phrasing that is second to none. As part of the Bob Seger’s Silver Bullet Band, Alto is best known for his introduction to ‘Turn The Page’ and his solo on ‘Old Time Rock And Roll’. Victoria Reed, Alto’s daughter, entered the stage and charmed with ‘Come On Into My Kitchen’. Randy Scott came out and traded licks with Alto on ‘Tore Down’. At this point, Mark Farner appeared ripping into the Stones ‘Start Me Up’, followed by ‘Do The Locomotion’, with the crowd singing along. ‘Getting Closer To My Home’, with the audience singing the chorus, ‘Dr. Feel Good’, more of ’Old Time Rock And Roll’, Alto’s solo turn on ‘Santa Fe’, Bob Seger’s ‘On The Road Again’, ‘Give Me Some Lovin’, and a wonderful climax by Mr. Farner on ‘Some Kind of Wonderful’. What a fabulous night of excellent performances! Sunday began with a bang when the high-energy of Reverend Robert Sexton’s Allstar Blues Review. The Reverend Robert, clad in white suit, fedora, and shoes to match sashayed, strutted, and psyched us with ‘Rag Top Baby’, ‘Cutting Heads’, ‘How Long’, ‘Mississippi Winn’, and ‘Boogie Woogie Blues’, to name a few, all timed perfectly by drummer, Cymone TC. There was very fine harp work from Matt Zacharias. Argentina blues/rock band Mo’Blues burst into the stage and tore up any preconceived ideas that blues is not revered south of the equator. Federico Teiler (guitar & vocals), Sebastian Casis (bass & vocals), Gabriel De Pedro(piano & vocals), and Ruben Tissembaum (drums) literally wowed everyone. This band was formed in 2000 after they had been playing around Argentina with other projects. Sebastian had planned with Ruben (drums) in three other bands 1986 and 1998 and with Fede Teiler (guitar) in 1999 just before joining Mo’Blues. The dynamics of this group is musically superb and great fun to watch. At one point Sebastian and Fede perform what they call “the two-headedoctopus”, when they play side-by-side with hands crossed on the other’s instrument. The song is ‘No Aguano Man (Can’t stand It No More)’. While Ruben played a searing drum solo the other members of the band left the stage only to return wearing red t-shirts with the Canadian maple leaf thus bringing wild cheers from the audience. This band has played in venues in New York City as well as other dates, to good reviews. Their blues is searing and personally, I am looking forward to seeing them again.
New York native Popa Chubby, who was the house band at the legendary Manny’s Car Wash in NYC, and won a W.C. Handy Award for his 9/11 song ‘Somebody Let The Devil Out’, started his set with ‘I Got A Woman’. As a three-piece he impressed with playing melodic runs and tasteful chording. Siting on his stool, he drifted into ‘Somewhere Over the Rainbow’, ‘Angel On My Shoulder’, an emotional ‘Somewhere Down The Road’, as the sun was setting in a fiery blaze, closing with asoaring, show-stopping, Leonard Cohen’s “Hallelujah”.
Jimmy Bowskill, the youngest Juno nominated artist in Canadian History (age 14), captivated the crowd with his power trio. His playing is reminiscent of Rush’s Alex Lifeson. His fingers scorched the guitar strings throughout his hard-driving performance. This auburn-haired baby-faced young man demands you respect that he is a guitar phenomenon. His closing ‘Seasons Change’ left us breathless.
Chicago’s First Family of the Blues, the Brooks Family Blues Dynasty, lived up to its reputation with Lonnie (father), and sons (Ronnie and Wayne Baker Brooks). Wild cheers erupted as the two brothers began to play some good ole’ blues. Wayne introduced a new tune of his ‘I Can Read Your Mind’, a fast blues that satisfies. On the recording, Sugar Blue handles the harp solo. Jumping into ‘You Make Me Bleed, Baby’, ‘Leaving You’, and ‘Born In Chicago’, prepared everyone for the entrance of Lonnie, who poured out ‘Blues All Around Me’, ‘Tell You Why’, among others. It was lovin da blues to the max! Every member of the band shone with a tightness, respect for their craft, and deep enjoyment in what they do. Moving back and forth across the large stage, the three men controlled the tunes while always making it look spontaneous and oh so easy. The last tune of the night, ‘Sweet Home Chicago’ brought everyone to their feet singing along at the top of their lungs. It was a marvelous music festival.All those who worked hard should take a deep bow for putting it together. From promoters, publicity, back-line crew, stage managers, food crew, and all the hundreds of volunteers as well as the sponsors of this major yearly event, we wish to praise you. If you have not attended this festival it might be an excellent idea to mark it on your calendar for next July, as Windsor Bluesfest is the place to come and really enjoy good music. “The Blues And Nothing But The Blues”
Suzanne Swanson
The anticipation amongst blues fans for the Edinburgh Jazz and Blues Festival line-up is sometimes like that feeling on Christmas Eve, hoping for some pleasant surprises, yet braced for disappointment with the knowledge that most of the gifts are in the jazz genre. The outcome on this occasion was pretty good. Where in previous years, there was a blues weekend, the blues concerts are now dispersed throughout the festival program. A few eyes were raised when three blues events were scheduled for the opening night. With regulars Blues N Trouble with Maggie Bell; and Barbara Morrison on elsewhere, one may have thought that enthusiasts only who would purchase tickets to see the North Mississippi Allstars on their first proper UK tour in over a decade. Yet the festival is the one time of the year when Buddy Guy sported t-shirts consistently appear in their masses; and the band met a packed crowd in the Voodoo Rooms. Luther Dickinson on main vocals and guitars, his brother Cody on drums and a stand in bass player played a thrilling set of Hill Country Blues and Southern Rock. They opened with ‘Shimmy’, distinguished with Cody’s military style drum beat. ‘Mississippi Boll Weevil’ saw Luther play his two string cigar box guitar. In contact to usual drummer’s showpieces Cody gave us a fast paced washboard performance with delay effects and wah wah pedal emitting unique sounds. ‘Going Down South’ was expected, however the Dickinsons were keen to mix it up, with Cody appearing occasionally on second guitar to provide an Allmans style sound and, less effectively, lead vocals on one track. Then came a glorious trio of tracks from their Grammy winning debut “Shake Hands With Shorty” – ‘Po Black Maddie’ segued to ‘Skinny Woman’ before ‘Shake Em On Down’. A brilliant version of ‘Rollin N Tumblin’ on tin can guitar brought huge cheers while. ‘Mean Ole Wind Died Down’ showcased Luther’s fine slide playing. As a finale a haunting Junior Kimbrough song ‘All Night Long’ prefaced the unscheduled, funky ‘Jumper On The Line’. A long awaited event for me, I enjoyed it thoroughly. Saturday saw the familiar Mardi Gras event take place in the Grassmarket, with acts on three stages. Making his first appearance at the event was country blues guitarist Sleepy Eyes Nelson. His laid back style had people watching in their hundreds and he soon ran out of CDs. Dana Dixon then led an impassioned performance in an upbeat set, culminating in ‘Going Down’. The evening saw a combined performance by two of the regularly returning performers to the festivals in Jon Cleary and Dr John. Cleary, on his third appearance in four years, demonstrated why he has become a festival favourite with a combination of well-known and self-penned tracks which encompassed everything from boogie-woogie to the Latin/Caribbean inspired habanero. Regardless of his omission from a recent awards nomination, there is little doubt Cleary is one of Britain’s top piano players. He returned as part of the Lower 911 backing band to Dr John. The Night Tripper himself sauntered onto the stage toting his voodoo walking cane. Attired in a flamboyant red suit, the man known as Mac Rebennack to his friends, sat centre stage beside his skull mounted piano centre stage. They opened with ‘Revolution’ one of the lead tracks from his highly rated new album “Locked Down”. His band was excellent, with Jon Cleary providing support without taking aside from Dr John’s own playing. The rhythm section grooved though the evening with interjects from the brass section and guitar. There were some minor glitches and Cleary’s keyboard had to be rescued at one stage with masking tape, but the Lower 911 were not knocked out of stride. Newer songs such as ‘Big Shot’ appeared as familiar as his self-penned standards ‘Right Place Wrong Time’ and ‘I Walk On Gilded Splinters.’ His New Orleans funk was lapped by the crowd, with the occasional excursion into blues such as on ‘Junko Partner’. Once the performance ended, it was easy to find several blues acts performing in local bars as nearby publicans took advantage of the passing trade. Many of the remaining blues shows were housed in the temporary sited Teatro Spiegeltent within a city public garden. Sadly I was not able to see the performances of Stevey Hay’s Shades of Blue, nor the Jenson Interceptors, two excellent bands recently formed Scottish blues bands, on this occasion. One of the most intriguing shows was that of Lazy Lester, who had personally requested the appearance of former Blues N Trouble guitarist John Bruce to appear in his backing band. Both Bruce and drummer Sean Scott has appeared with Lester on his WC Handy winning album 26 years ago. With only one rehearsal, the band, completed by Paul Manson on bass and Ali Petrie on keyboards, had a loose feel. After an opening instrumental, Lester appeared on the stage and took what seemed like an age to choose his harmonica for the evening, before addressing the crowd. Yet he settled within the first song, the boogie, ‘Blues Stop Knocking’ which showed his
harp playing was still crisp, before a funky version of ‘That’s All Right’. Lester was soon in his element, making jokes with the band and the audience, relishing the sold out crowd. While his broad style is Louisiana swamp blues, he does add variation, following a Jimmy Reed song, he then picked up his own guitar for a country styled instrumental. Feeding instructions such as “this is somewhere in the neighbourhood of G”, the musicians did function as a competent outfit, enjoyable to watch. ‘Sugar Coated Love’ was one such return to the “Rides Again” album. Before challenging us to listen to him play a bluegrass song, the 79 year old explained, “I play for me, but I dedicate it to you.” And long may he do so! There was a return to the same premises on the Friday night to see Todd Sharpville’s Blues Cruise Review featuring Nick Moss and Debbie Davies. With Mark Mondesir on drums, Scott Wiber on bass and Dan Burnett on keys, Sharpville launched into a fast paced ‘Can’t Stand The Crook’. ‘Everything’s Gonna Be Alright’ saw the band swing before Sharpville stepped off the stage to perform melodic licks though ‘Need Your Love So Bad.’ Great as the performance was, we were keen to see those special guests, and duly the moment arrived when Nick Moss took to the stage – a sizable presence, with a sizable guitar tone. A run through Freddie King’s ‘Boogie Man’ demonstrated he could play some tasty licks, and provide space between them before ‘Louise’ from his album “Privilege”, which saw some memorable adlibbing at its close. drummer Mondseir was watching Moss’ every move, as he provided some Buddy Guy style solos while Wiber was visibly relishing the occasion, with Sharpville content to step back and play rhythm on an extended slow blues from Moss’ “First Offence” album. Moss appealed to have his guitar sound turned down, before leading on slide guitar for a funky version of ‘Death Letter Blues’. After an intermission, Sharpville returned stage centre and during this third song, ‘Lousy Husband’, Debbie Davies was welcomed to the stage. It’s an entry she will remember, as she was unable to get her guitar amp to function, until an exchange of solos with Sharpville at the close of the song. She then took centre stage to lead the band through ‘Done Sold Everything’, a shuffle from her new album “After The Fall”, Her signature tune ‘I’m A Blues Woman’ followed and her stinging guitar lines were a reminder of her late mentor, Albert Collins. A sublime slowburner was to follow and Davies had on balance shown more of her musical stamp than Moss had done earlier. He duly returned for the closing jam wrapping up the evening in a very satisfactory manner. The performance had continued for almost three absorbing hours, yet it might have benefitted slightly from less guitar interchange and a few more songs from each of the guests. The remaining acts were mainly in the jazz field and the festival ended with a Jools Holland show two nights later. Diverse and well organised, the performance standards were high as was the attendances at each of the above events. However as a regular at live blues events within around the city, it would be desirable to see more of the festival attendees supporting more shows taking place at other times of the year.
Duncan Beattie
WOODSTOCK RHYTHM & BLUES FESTIVAL, Belfast 9 – 13 August 2012
Decades after his hit parade days with Thin Lizzy Eric Bell’s performance at this year’s Woodstock festival was a reminder that he remains a seriously exciting, soulful and risk-taking blues man .‘Hoochie Coochie Man’ was sung with genuine menace and featured a wonderfully acerbic slide solo, followed by a startlingly unpredictable non-slide solo that ventured into avant-blues territory, making even that somewhat overplayed song sound refreshingly original. The same trick was repeated with ‘Rock Me Baby’ while his version of Them’s version of John Lee Hooker’s version of Big Joe Williams’ version (continue according to taste) of ‘Baby Please Don’t Go’ was electrifying.Bell was accompanied by a splendid pick-up rhythm section comprising bassist John Quearney and ex-Skid Row drummer Noel Bridgeman. Quearney and Bridgeman reappeared with their own band Left, Right And Centre, who also included guitarist Ed Deane and keyboard player Trevor Knight, a band who gave a satisfying sense of having power in reserve, as on a marvellously restrained ‘Susie Q’.Cream’s ‘Outside Woman Blues’ and Willie Dixon’s ‘The Seventh Son’ also impressed.
Chris Farlowe totally blew the audience away with a super-funky version of ‘Standing On Shaky Ground’, ‘Stormy Monday Blues’, his most famous songs ‘Handbags And Gladrags’ and ‘Out Of Time’, and others, all sung with massive authority and with sensitive and apposite accompaniment from the Norman Beaker Band. The dynamic and extroverted Mama Kaz was in full-on, leathertrousered and leather-tonsilled rock chick mode on the likes of ‘Rock Me Baby’ and ‘Hoochie Coochie Woman’, backed by three expert veterans, Peter Spratt (guitar), Ali McKenzie (bass) and Johnny Crawford (drums).The magnificently tight Mercy Lounge were fronted flamboyantly by ex-Nine Below Zero and Yardbirds star Billy Boy Miskimmin, a striking, often spectacular, harmonica player and a strong singer. The set mainly comprised wellcrafted originals including ‘Love Song Don’t Sing It Wrong’ and ‘She’s Gonna Put Me In The Ground’ although gentler souls may have winced slightly at some of Miskimmin’s misogynistic lyrics.
The band, characteristically, hit a perfect groove on their cover of The Stones’ ‘Miss You’. The Hard Chargers, a three piece, played with a youthful intensity of punk proportions on country blues classics like ‘I Can’t Be Satisfied’ and powerful originals like ‘Suicidal Hosepipe Blues’ and ‘Bumpin’ And Grindin’’, a ‘Rollin’ And Tumblin’’ derivative, with frontman Chris Todd playing resonator guitar. With Todd switching to electric guitar the band stormed through other originals like ‘I’m A Hard Charger’ and ‘Spanner In Your Works’, the latter a classic power trio workout. Taste, now led by John Wilson from the band’s classic Rory Gallagher-fronted line-up, played with thunderous power on ‘Morning Sun’, which included a long drum solo of jaw-dropping virtuosity, variety and imagination, and on other originals like ‘The One’, as well as on standards like ‘Feel So Good’.Guitarist Sam Davidson, stepping into Rory’s shoes, played with appropriate flash but also contributed a pleasingly delicate solo to ‘Daytona Dreaming’.‘Same Old Story’, from Taste’s 1970 album On The Boards, was played with brutal conviction while Davidson’s solo on ‘Messin’ With The Kid’ was venomous.
To the delight of all, Wilson, recovering from serious illness, was awarded a Lifetime Achievement Award by the festival.A second such award was presented to Eric Bell, an equally deserving recipient.The accomplished Spoonful Of Blues played fiery versions of ‘Hey Joe’ (via Hendrix), ‘Messin’ With The Kid’ (via Rory Gallagher) and ‘Cross Road Blues’ (via Cream).The musically ambitious and versatile Ronnie Greer Almost Big Band were stunning on interpretations of Herbie Hancock’s ‘Cantaloupe Island’, blues standards like ‘Stranger Blues’ and ‘Roll ‘Em Pete’, and songs by Bob Dylan, Will Jennings and others. Tom Waits’ ‘Clap Hands’ was sung with spooky panache by keyboard player Kyron Burke, while the anguished reading of ‘I’d Rather Go Blind’ by guest Grainne Duffy was hair-raising. The audience – in a Belfast bar, late on a Saturday night! – were hushed and transfixed.
With her own band Duffy, an increasingly forceful presence on stage, rocked with lethal force on ‘Drivin’ Me Crazy’ and other impressive originals.One of the great heroes of Northern Irish rock and blues for his work since the 60s with bands like the Mad Lads, Them, Spike and Sk’boo, Kenny McDowell is now performing solo, specialising in country-ish material. His ability to communicate the lyrics of great songs like Tim O’Brien’s ingenious, Western Swing-flavoured ‘Melancholy Moon’, Zachary Richards’bleak ‘Sunset In Louisiana’, Dave Mason’s romantic ‘Every Woman’ and Gary Nicholson’s bloke-ish fantasy ‘The Upside Of Loneliness’ is peerless.
Trevor Hodgett
No mention of the ‘B’ word in this event – but as the masthead states ‘Blues without the Blinkers’ –and it is a broad church! The 7th year here for what has become not only a draw for music-heads but also a great family weekend to enjoy the fun. The atmosphere is very friendly; nearly everything is on site and the iconic backdrop of the Tyne and its bridges breathtaking. Especially so seeing the organisers had put a good word in with the weather fairies!
The three day festival works on so many levels, all based from the one site. Outside during the day is a free programme provided and staged by the excellent Jumpin’ Hot Club. Here at tables, if you’re early or on the stepped grassy bank you can see a variety of quality international acts free of charge.
Inside the Sage building there are ticketed gigs during the afternoon and evening using the two main halls. Spread throughout the beautiful building there are daily workshops in various skills. (I stood in awe of B.M. reviewer Geoff Marston as he turned a battered brown suitcase into a work of art featuring Tom Waits portrait!)
There are impromptu solo sets by many of the artists in the practice hall and also river cruises featuring some of the other acts. There is plenty of ‘Southern’ cooking to be had, but the less said about that the better!
So to the music;
Friday night in Hall Two – Vintage Trouble. Ty Taylor (or was it James Brown?) led the band in a sharp set of soul and blues. The band move and play well, although Rick Danielson’s drums were mixed a mite too high. The smaller hall was packed with the converted plus an onstage dancing contingent so the band had only to launch into another Otis/Wilson/ Cooke style number to have the place jumping. There was plenty of Stones riffing, on numbers such as Get It, gospel pleading on Run Out Of You and slow soulful guitar soloing from Nalle Colt on the superb Gracefully. Saturday morning, and armed with a Sainsbury’s Pasta Pot, sandwiches and Factor 20 I sat on the grass bank to enjoy some sunshine and song. Local lads Rob Heron and the Tea Pad Orchestra played some enjoyable rag-time/jazz and hokum blues. This young and nattily- dressed band delivered material from their forthcoming album and started things off on an up-beat. They were followed by some blue-grass, courtesy of Vancouver s’ Viper Central and alt-country from City Sinners from Glasgow, before Errol Linton and a slimmed down band blew some ‘Blews’ for us.
Inside, in the practice hall (or Northern Rock Foundation Hall to give its full title) Luther Dickinson played three rather shaky acoustic numbers at tea time which left us a little apprehensive of the gig to come. But when he took the stage with brother Cody (again in hall two) much later that night he was ‘on fire’! The North Mississippi Allstar Duo played a selection of numbers straight from the Southern hymn book of the Allmans. Shake, Rollin’ and Tumblin’ among them were driven along by Cody Dickinson’s rhythmic drumming and the blistering fret-work of Luther. A deserving hand to their pick-up bass player Carwyn Ellis. Cody moved out from the drum stool for the extended woogieboard workout (a wired-up washboard) which he played through a wah-wah and drenched in feedback. The hall went wild at the sound and calls for more continued even after the house lights went up.
Sunday lunchtime with the weather still holding saw an unscheduled appearance by Lera Lynn – some beautifully crafted alt-country songs. Next on stage were local lads Big Red and the Grinners with their Cajun/rockabilly/ country take on numbers such as Walk This Way and Word Up. The band were an instant hit with the crowd for their stage banter and fresh look at musical styles as well as for Big Red’s wellys!
Tree Top Flyers next, and the clue is in the name – they embodied the spirit of Buffalo Springfield in their Stills-Young guitar work coupled with CSN harmonies. They can also do heavy and with their first full CD out soon are worth checking out. Larkin Poe includes the lovely Lovell sisters who play
numbers and more gentle songs where her voice reminds me of Imelda Mae.
The revived Slim Chance closed the afternoon outdoor sessions as the wind gathered strength and started to play games with the audio. The sound techs did a great job to keep it from blowing away but by then the crowd were on their feet to old favourites such as How Come, and the whole thing ran over time in a party atmosphere that Ronnie lane would have approved.
In Hall One a little later Phantom Limb opened the last night with stand out songs from their latest C.D. Title track The Pines, Missy and Gravy Train and closing number I’ll Have
some mean slide, pedal steel and mandolin with a mixture of beefy Southern rock and down home roots music.
Grainne Duffy and her band were a treat, and had the ladies up dancing in front of the stage as the road guys attempted to stop parts of it blowing away! An Irish band, with the roots of their music the late ’60 early ’70 blues bands. Great no-nonsense songs – both original and covers. Grainne has great emotion in her voice on standards such as I’d Rather Go Blind, while band and come across as a very tight outfit, in backing her. She sounds equally at home with Janis-like throat tearing
Mercy which showed off Yolanda’s full vocal range. Yolanda Quartley is one of the best British vocalists currently around, and her soulful voice interprets their self-penned numbers perfectly. This is in contrast to her mousey-quiet ‘between-numbers’ voice and general lack of connection with the audience. That said the band play with style and the sound is superb.
Dr. John brought the festival to an end and brought the house down! From the first voodoo notes the Night Tripper led the Lower 911 through some down dirty delta music, both old and new. Such a Night/ Right Place, Wrong Time and Ice Age showed he had lost nothing of his talent with advancing years. The 911 provided excellent backing and were each given time to perform solo breaks during songs, as was Jon Cleary who gave keyboard support. Trombonist Sarah Morrow was outstanding in her solo work and in her duet with Max on Makin’ Whoopee. All in all better leave it to the music to sum the weekend up ‘Let The Good Times Roll’ – Just what the Doctor ordered.
(I did not get to see a number of other acts who performed over the weekend including John Hiatt, Wanda Jackson and Mama Rossin.)
Mel Wallace
Blues on the Farm
Blues on the Farm
Blues on the Farm
Dave Acari Abertillery
Will Johns Blues on the Farm
You know who you are! Colne
If you see the Blues Matters! Roadshow at any festival. Pop over & have a chat.
ML: I’ve been listening to your latest live album lively, and I’ve really enjoyed it. It’s an album of old number. Is this the sort of music you used to listen to as a youngster?
Yeah, and the good thing about it is that we get asked so many times at gigs, is this song on the album that we were selling, either Sweet Soulful Music or the Best Of and the answer was no. These are just numbers that I always wanted to play and now’s the time to play them. So I mentioned it to Dave (Bronze) and said we should just make an album of these numbers. There are plenty of albums out there with songs I’ve recorded before whether they are the Amen Corner songs or some of my solo albums but there was nothing out there with our versions of Baby What You Want Me To Do or Got Love If You Want It and some of the instrumentals, Peter Gunn or Lightning Boogie. It’s just an exercise in let’s do this and when someone asks at a gig whether there is a CD with say Peter Gunn on it, then yes there is you can get it on this CD.
ML: I’ve noticed that with a lot of live albums that are coming out nowadays, the audience is well down in the mix. The band recording is usually very very good but there is very little of the audience.
AFW:
Well, I can only hand that over to Dave Bronze who mixed the album. It’s down to his expertise that he’s managed to make the tracks sound good and a great job blending in the audience. Some of it was recorded in big arenas, some in smaller clubs and some in larger clubs and I think he’s done a great job.
ML: What type of venues do you prefer playing.Large arenas or the intimacy of the small club. Small clubs every time.Big arenas if you were lucky enough to play them and we were lucky enough to play them in the company of other people who were more successful. But the truth is the best gig is the club gig or the theatre gig. Once you start getting above 500 people into larger venues the dynamics from the band is less controllable. It becomes who’s in charge of PA and then it’s about how much money you can make. That is why people play the bigger venues not for the sound but because you can get more people in them. If you ask me about the sound of some of the bands I’ve seen in large venues, it’s not that good.
NG: We know you from playing Club Riga, every year, as always a fantastic little venue. I notice you are playing a lot more in the Essex area, is that because of Dave Bronze.
No, it’s because John Taylor, who’s my manager, who’s put this tour together was just trying to spread out and get the word out to more people. It’s like festivals, if I’m not playing a festival each year, it’s because they don’t want me to play the festival. To me, it’s as simple as that, actually that might not be true for this year, but it certainly was for last year. I put myself up for most festivals, whether it’s Guildfest or the Big Weekend in Cardiff or whether it was Cropredy. Wherever they are I put my name up and never got them, so there you go. That’s fine, its people’s decisions and I’m fine with that. NG: Who were your influences when you were growing up.
Early days, the Rolling Stones, most of the beat generation like the Kinks, Yardbirds, and the Animals, extremely influential. Then Sam and Dave, Booker T and Otis Redding. That kind of stuff swamped me and the truth is it still does in the way they construct the songs and how to attempt to sing them.
NG: Well, I think you sing them well and of course Gin House was your first recording. Yeah, in 1967, I caught that from Zoot Money’s and the Rollo Band. Bands like Zoot Money, Georgie Fame, and the Amboy Dukes all played the club scene and there were plenty of clubs back then. I saw Zoot Money in Newport and that’s where I heard it and we included
it in the set of the band I was playing in, and was part of the set when Amen Corner started. The rest of the set was covers of Soul Music like Knock on Wood and You Don’t Know What I Know.
ML: You’ve got a new album on the way out. Yes, it’s being mixed now as we speak by Dave Bronze who’s in Vienna as we speak. We are due to meet up to discuss it and listen to the mixes and if we make any changes we will. I saw Paul Carrack and he’s agreed to play keyboards on a couple of tracks and I’m really looking forward to that.
ML: It’s your third solo album in 32 years!!
In truth, let’s put it this way, Sweet Soul Music, the Best Of which is a compilation but we did re-record them, the live album is what it is, but this is the second really and they are all original songs, so we are talking about 32 years or something. It’s not much of an output really (laughter)
ML: I suppose because you’ve been playing with Roger Waters, Eric Clapton and Bill Wyman, you probably haven’t found time.
Well yes, it was pretty much all consuming, in fact I’m still working with Bill Wyman and I would have been working with him at the end of the year had I not been going out on my own tour. The Roger Waters thing finished in 2007, Eric finished in 2004 and it is very consuming. If one wasn’t working, the other was and it was fabulous, but if I was going to become the guitar player I wanted to be play I had to something on my own rather than play with all these fantastic people.
ML: When you play with Roger Waters, it goes without saying you play a lot of Pink Floyd material and when you are out on your own it’s blues, soul, country, how do you find the contrast
Well obviously it’s a big contrast, size of venues, size of audience and different styles of music but it’s like a duck to water. It’s wherever you are, wherever you are standing and whatever you are doing, that’s what matters. Not who you were, or who you might be but who you are and that’s what takes over. Certainly when we toured Germany last year, we played a few clubs; it took 13 hours to get there before the first gig. That will get you acclimatised.
ML: What, in the van?
Yes, it’s a splitter van, with the gear in the back and us in the front and that’s very much what we do when we tour the UK. In my time with Eric and Roger, I may have picked up a bit of luggage but not a guitar. There was always someone to do it for you, but believe me we are right in the zone now.
ML: I’m house DJ at the New Crawdaddy Blues Club in Billericay so I understand all about loading and unloading of gear.
We have a great guy from Leigh-on-Sea, Steve Russell and in truth his help is invaluable from driving to helping with the gear, but it’s very much more hands on and that’s the way it has to be. You can’t pretend and say well that’s how we used to do it. It takes care of itself and it is what it is.
NG: Are you enjoying this more?
Oh yes, yes. I have to, to keep on doing it. Don’t get me wrong the other gigs were fabulous , the travel, the hotels and the money were fabulous but the amount of work I actually did to being a guitarist was rather like cruising because I was the guy who played a bit of this and a bit of that. I played very little electric guitar with Roger and with Eric, I played the parts and Eric the solos. I was always reticent about taking a solo at an Eric Clapton gig because the people don’t want to see me, they want to see Eric. But if you are going to play, do it in a different style than Eric because nobody plays Eric like Eric.
NG: I did see you supporting Eric at the Royal Albert Hall and I did like your bit of carpet...
There you go see, I think the carpet says it all (laughter)
NG: We’ve spoken about Dave Bronze. You two go back a long way. Can you tell us how you got together? Started about 20 years ago, through Gary Brooker. We started at the village hall in Dunsforth and it went from there and the gigs became from frequent. We’ve both played with the Hamsters, and Dave also played with Eric. Dave’s now mixing the album and we’re co-producing it and it’s grown from there. He’s all encompassing, knows about tour managing, but he really knows about sound. I know what I like and what I don’t like, but Dave understands the mechanics and he’s also up to speed on the computer side of things which has been a big help with the album. He’s currently playing with Tom Jones, but my band are over-qualified and underpaid for playing with me and that’s the truth.
NG: I think it’s the enjoyment of it all though, having met the fabulous drummer and saxophonist. This particular band with Nick Pentelow on sax is the most comfortable and certainly Paul Beavis (drums) and Nick are just fabulous musicians. This new album is almost like my first for A&M called Spider Jiving and on that album I had the Memphis Horns. I’ve not got anything like that going on, but certainly there are good horn section parts and solos from Nick.
NG: The rhythm section of Paul and Dave is just brilliant. On the lively album, you don’t need anything else, it’s just so tight.
It’s the fact that the instruments sound so fantastic that you don’t need to worry about the sound and whatever style I think I might like to go in. They can both play in that style and be in front of me on it. There is nowhere musically that I can’t go with Dave and Paul. It’s just phenomenal. And that’s covered on the new album. I’m hoping to have it out on the road for October, September will be a bit of a push, but definitely October.
NG: Is this going to be available through the shops or through proper.
Proper, through the internet and at gigs. We are discussing having it made available through retail outlets and Amazon.
ML: It’s getting crazy with so few retail outlets.
Yes, I see my place as, it’s getting hard to be played on the radio and I’ll make more impact playing in front of people at gigs and that’s how I hope to make a living and the rest but it’s a bit of a game. If you have a bit of money, you can get involved with it, but we are restricted a bit with outlay and cash but these things need to be discussed.
ML: That seems to be the norm these days for musicians of your ilk. Merchandise and CD’s are nearly always available for sale at gigs and the artist has more control over it. Well I have an arrangement with proper and that’s ok. They press them and I sell them at gigs and I like the arrangement.
NG: Where do you see yourself going? Do you think you will stay at this level or move up a bit?
I’d like to move up but much what I want will be dictated by what happens and at the moment I’m happy to keep doing that. I just hope to keep the band together, so we can keep doing this because with other commitments there has to be a good reason for staying together. I hope to create that good reason, because other things from outside take over and no one can turn down good paying work and that includes me.
NG: I like your guitar sound, your guitar sound is you... Well I’m still working on it Nick. Practise practise practise. There are too many gadgets available to kids nowadays that make them sound like Jimi Hendrix in the living room and believe me, if you had Jimi Hendrix in your living room, you wouldn’t be in it (much laughter). The early guitarists all had tone and tone is very important to me. I couldn’t be happier with my amp made by Dennis Cornell. My guitar is a Knight, Arena model and it is made by Gordon and Robert Wells.
ML: Did you do much writing when you were with Eric. No, it was all consuming. I spent my time practising and learning my parts and it was the best gig I ever had. I was there for 13 years, I wasn’t there as an equal, I was doing the bits, so Eric could do the solos but I realised that I had to do my on parts.
NG: Do you still see the guys from Amen Corner. Yes, Neil and bass player live very near to me, Blue lives in Germany and Spain, our Sax player promotes the gigs I do in Cardiff and Dennis lives in America but we do have a get together when he comes over.
ML: Thanks very much for giving us your time Andy, it’s been a really enjoyable chat and good luck for the new album and tour.
The world’s most comprehensive guide to record valuations, spanning all formats & genres.
★ 100,000 entries, thousands of revised prices reflecting current values.
★ Catalogue numbers, B-sides, release dates and current valuations for singles, EPs, CDs & LPs.
Special price: £29* (including post and packing)
To order Call: 0208 7528193 or visit www.rarerecordpriceguide.com
*UK softback price only. Call for other rates.
HANS THEESSINK p HANS is probably Europe‘s blues export no 1. After more than 7.500 concerts, 40 years “on the road” and more than 20 albums, an instruction video, a songbook and a DVD to his name, HANS THEESSINK has become a roots and blues institution. With his sonorous baritone voice and unmistakable guitar work Hans is in great demand –delighting audiences around the world with his rich and emotional sounds. The US blues press called him “An international blues treasure” and “One of the world’s pre-eminent pickers”. The legendary Bo Diddley called him “One helluva guitar player”.
TERRY EVANS p TERRY hails from Vicksburg, Mississippi. At a very early age he was exposed to gospel music in the local church and knew that singing was his call. In a career that spans over 50 years, Terry has done several albums under his own name and has a long working relationship as a backing vocalist with Ry Cooder. Terry‘s voice is pure “Mississippi Magic” –the real deal and one of the most soulful voices in the business. His singing can be heard on countless productions e.g. with John Lee Hooker, Pops Staples, Eric Clapton and John Fogerty.
–THE DUO p Hans Theessink and Terry Evans may be from separate sides of the Atlantic Ocean but they work together beautifully and make sense as a natural combination. These two vastly experienced and respected musicians are committed performers who are a perfect foil to each other. Theessink’s lazy baritone and Evans’ extraordinarily soulful gospel tones are tailor made to blend together with spine-tingling results. Timeless blues-, gospeland soul related music, comes alive in the capable hands of these two masters. With just two guitars, and two remarkable voices they bring forth honest and straightforward power in a stripped-down musical situation –an unhurried vibe that’s contagious and fl ows with the easy rhythm of buddies with mutual respect having a blast singing and playing together. Hans & Terry’s fi rst duo album “VISIONS” (2008) was very successful: 15.000 copies sold on vinyl and CD. Visions won several international prizes and was nominated for the Blues Music Awards in Memphis, TN in 2009. From fi rst note to last this is pure blues magic. Living Blues (USA)
“A match made in blues heaven”. Blues in Britain (UK)
Two deep blues voices: Hans Theessink, one of Europe’s most respected keepers of the genre, and Terry Evans, whose music carries the heritage of his Mississippi ancestors, connect here like soulmates united by music. The pairing of Theessink’s deep, emotive baritone with Evans’ gospel-colored tenor makes this record one of the year’s best acoustic outings. Blues Revue (USA)
ITEM SUMMARY Artist: Hans Theessink & Terry Evans Title: Delta Time Label: Blue Groove Format: Compact Disc (13 tracks59 min.) | vinyl (11 tracks45 min.)
HANS THEESSINK & TERRY EVANS
File under: Blues Box lot quantity: 70 Release Date: September 18, 2012
Catalogue Number: CD: BG 2220 vinyl: BG 2210
EAN Number: CD: 9004484022207 | vinyl: 9004484022108
MUSICIANS Hans Theessink: vocals, guitars, mandolin, banjo, harmonica, footstomper Terry Evans: vocals, guitar Ry Cooder: guitars on 2,4,8 Terry Evans, Arnold McCuller, Willie Greene Jr.: backing vocals on 1,6,8,10,13
DISTRIBUTION
UK: Proper Music Distribution
A: Sony D, CH: in-akustik Benelux: M & W DK: Pladekisten S: Soundcarrier
DOWNLOADS on all platforms
“DELTA TIME“, THE NEW ALBUM
Recorded in Los Angeles –like the prize-winning predecessor album VISIONS, DELTA TIME is a naked and intimate, bare to the bone, recording, that leaves a lot of space for Hans‘ and Terry’s expressive voices and instruments.
FEATURING: RY COODER
The great Ry Cooder contributes with some phenomenal trademark guitar sounds while Terry’s singing colleagues Willie Greene Jr. and Arnold McCuller add some gospel-blues drenched vocals to die for.
Management: milica, milica@theessink.com
Radio, marketing & promotion:
I: IRD North America: City Hall Records Australia: Only Blues HANS
1. Various: Vaudeville Blues (JSP 4CD)
2. Lil Ed & The Blues Imperials: Jump Start (Alligator CD)
3. Albert King: I’ll Play The Blues For You (Stax CD)
4. Various: Hollywood Blues (JSP 2CD)
5. Hedy West: Vol 1 / Vol 2 (Vanguard CD)
6. Ken & Bob: Escape To Jazz Island (Grass Skirt CD)
7. Johnny Ace: Ace’s Wild (Fantastic Voyage 2CD)
8. Various: The Bristol Sessions (4CD)
9. Magic Sam: Raw Blues (Floating World CD)
10. Various: We Juke Up In here (Broke & Hungry/ Cathead CD & DVD)
11. The Nighthawks: Damn Good Time! (Severn CD)
12. Various: Screaming And Crying (Fantastic Voyage 3CD)
13. Michael Burks: Show Of Strength (Alligator CD)
14. Muddy Waters & Rolling Stones: Live At The Checkerboard Lounge (Eagle DVD & CD)
15. Benny Spellman: Fortune Teller – Singles Collection 1960-1967 (Shout CD)
16. Taj Mahal: The Hidden Treasures Of Taj Mahal 1969-1973 (Sony 2CD)
17. Dudley Moore Trio: Down Under – Unabridged (Martine Avenue 2CD)
18. Chris Smither: Hundred Dollar Valentine (Continental Song City CD)
19. Various: Jamaica – Rhythm & Blues 1956-1961 (Fremeaux 2CD)
20. Peter Green Splinter Group: Blues Don’t Change (Eagle CD)
Red Lick Records, PO Box 55, Cardiff CF11 1JT
Email: sales@redlick.com
www.redlick.com
THE FREE DESIGN
The Family That Plays Together: An appreciation of the greatest harmony pop band of all time
BILL FAY
British pop’s first outsider troubadour breaks a 40-year silence
THE STRAWBERRY ALARM CLOCK
Part two of our in-depth story: from Psych-Out and pop stardom to breakdown and rebirth
GARY FARR
The forgotten golden boy of the ’60s and ’70s rock underground
PLUS: KEN STRINGFELLOW • LEE HAZELWOOD • SWEDISH RETRO ROCK • THE GRATEFUL DEAD • THE VELVET UNDERGROUND...
SHINDIG! No.29 from www.shindig-magazine.com + newsagents, record stores, bookshops, Amazon
Featuring: Lee Bates & Billy Newton
Tom Attah
Poorboy
Half Deaf Clatch and much more!
http://www.beverleyblues.com
Royal Southern Brotherhood
S/T - Ruf Records
UK Tour November
6 Milton Keynes The Stables
7 London Jazz Café
8 Southampton The Brook
9 Wolverhampton The Robin
10 Kendal The Brewery Arts Centre
11 Manchester Band On The Wall
Joanne Shaw Taylor
Almost Always Never - Ruf Records
UK Tour October
9 Wolverhampton Robin 2
10 Derby Assembly Rooms
11 Bristol The Tunnels
12 Tavistock The Warf
13 Falmouth Princess Pavilion
14 Poole Mr Kyps
16 London Leicester Sq Theatre
19 Brighton The Haunt
20 Norwich Arts Centre
21 Sale Waterside
22 Milton Keynes
The Stables
23 York The Duchess
24 Newcastle The Cluny
26 Glasgow ABC
27 Stockton Arc
28 Nottingham Rescue Rooms
The Andy Drudy Disorder takes he time-honoured traditions of guitar-based blues, mangling and twisting the form into a modern context. It demands repeated listens and a fresh bottle of bourbon!
One Wrong Turn - Alligator
Award-winning harp player, songwriter and vocalist Estrin and his band The Nightcats make a wholly unique blend of cutting edge blues and roots rock that sparkles with sly, savvy songs and world-class musicianship
For more information, news, competitions
For more information, news, competitions
Absolutely bursting with the white-hot intensity that made Burks one of the greatest bluesmen of his generation. His sudden death in May of this year robbed the blues world of one of its brightest stars.
Three of the hottest female musicians on the contemporary blues scene, Kansas City native Samantha Fish and Dani Wilde marking her third Blues Caravan go-round and young, in-demand , debutante bass player Victoria Smith.
The first national release by the eldest son of Muddy Waters who proves to be a chip off the old block with a powerful 12 song set of in the classic Chicago blues style.
Lead singer-harmonica player extraordinaire Mark Wenner joined forces Jimmy Thackery and formed The Nighthawks in 1972 adding the best rhythm section the area had to offer: Jan Zukowski on bass and Pete Ragusa on drums.
The veteran bluesman & Detroit blues legend is joined by musicians from two popular Detroit bands, The Brothers Groove & The Motor City Horns for this soulful, funky outing.
Drawing its sound from field hollers, work songs, spirituals, soaring gospel voices and hard-driving rhythms of the the delta,the Heritage Blues Orchestra digs into innovative musical territory making a unique and exhilarating contribution the blues.
and much more visit www.propergandaonline.co.uk and much more visit www.propergandaonline.co.uk
by Pete Sargeant
Back in February 2009, around the time of her first album release, Joanne Shaw Taylor was put in the chair by Pete Sargeant for one of his arcane Q&A’s.
Name an instrument that you’d like to own and one you’re proud to own?
Probably a vintage Tele Thinline, my favourite guitar. I own a 1966 Fender Esquire that’s my main guitar right now but a vintage Thinline or a nice custom would be great.
Name a departed artist that you miss?
Sean Costello.
Choose a film where the soundtrack really works, for you? ‘Batman’ – Prince. I remember watching it shortly after it came out. Jack Nicholson (The Joker) terrified me. The scene where he walks into the art gallery with the boombox playing. Incredibly cool.
Give us a song that makes you smile (artist/song/source album)?
Prince – ‘Baby I’m A Star’ – from ‘Purple Rain’.
Nominate a male and a female (from any walk of life) that you consider dress with style?
Lenny Kravitz – I think he is pretty much the epitome of the cool rockstar. Lucinda Williams – there’s not many women that can pull off the cowboy hat.
Select a song where the bassline really appeals to you?
‘I Want To take You Higher’ – Sly & the Family Stone.
Name an album you can listen to in its entirety?
Freddie King – “Pack It Up”.
Name a TV programme you can’t stand watching (and why)?
Any reality show because most of them are extremely unrealistic.
Suggest a recording that evokes sadness?
‘Hurt’ – Johnny Cash (Original was done by Nine Inch Nails).
Give us a favourite Bob Dylan song? ‘Don’t Think Twice, It’s All Right’.
Who is a singer that has influenced you?
You know I don’t have many singing influences. Just because I never thought to listen to singers, it was always something people did between guitar solos. There are people I would love to be able to sing like, i.e. Rosie Gaines, Tina Turner...but singing has always been a second instrument to me and I still feel like a guitar player that sings. It was never something I focused on too much I just wanted to be able to front my own band. If I could sound like anyone it would probably be Tom Waits, but I guess that’s a bit unrealistic.
Name an ‘own composition’ that you’re really happy with?
‘Just Another Word’ – I wrote it on the plane to Memphis the day before we went to record. Turned out to be pretty good considering. That and ‘Heavy Heart’ are probably the most honest songs I’ve written, at this point.
Quote a song lyric (by anyone) that you think holds true?
‘I’d rather laugh with the sinners than cry with the saints – sinners are much more fun’ – Billy Joel.
What guitar strings do you use and why?
GHS 11-58 – Stevie’s influence (heavy strings tuned down half a step) but it helps my voice as well. I have quite a low voice for a female.
What’s your favourite album on the RUF label and why?
Luther Allison “Blue Streak” - reminds me of a nice period in my life when I was about 13 and just discovering all these great blues artists. This was one of the first blues albums I heard and my first introduction to Luther. I got to meet his manager/widow Rocky recently. When we finished recording in Memphis she came out and met us (me and Thomas Ruf) and we drove down to Mississippi for a few days. Amazing trip, amazing woman. Other than that The Imperial Crowns... they are the coolest band in the world (apart from The Detroit Cobras).
The best and the worst thing about being on tour?
The worst thing for me is the hanging around at venues, in between soundcheck and showtime there’s usually a 4-hour gap where you’re just sitting around. Best thing is just being able to spend every night onstage, being surrounded by other musicians all day. Talking music, trying out new ideas etc.
Which player do you feel you will never be able to match?
Most of them. Somebody like Joe Bonamassa, I’m certainly not a virtuoso player and technically I don’t really know much about the guitar. I would say my biggest strength as a player is the personality in my playing and the attack. I’m very ‘fly by the seat of your pants’…
Which track on ‘White Sugar’ would you like the uninitiated to take a listen to and why?
Probably ‘Going Home’. I’m very happy with how that turned out. Again it was last-minute addition. I was still working on the lyrics up until the day we started recording. I think it has everything I want to get across about myself to a listener, rocking song, plenty of guitar, voice but it’s also a very honest blues song.
Name a record that finishes or fades too early, for you?
The Paladins – ‘Million Mile High Club’.
Johnny Depp or Johnny Winter?
Winter, of course!
Discusses her latest album “Almost Always Never” with fellow Telecaster aficionado Pete Sargeant. On her last record cover, Miss Taylor was looking away, to our left. This time she’s looking straight at us, but it’s not evident from her expression exactly what she’s thinking….time then, for your scribe to run some post-listen thoughts to the alluring gunslinger and vocalist.
I’ve done my homework, Jo and listened through to the album a few times so I have some notes thereon... shall we do that first and pick up some other stuff in a minute? Sure Pete – go for it.
Where are you right now?
I’m at my parents’ house – they have a barn conversion in Leamington Spa (lower part of England’s Midlands, international readers).
Ha! I came out to Leamington Spa a while ago, to see Delai Assembly Rooms?
Oh yeah – I have played there a couple of times, it’s a really cool venue actually. With an Italian opposite!
Yes and just next door they’re opening up a Fifties style diner.
But usually you’re based now in Detroit aren’t you?
Well yeah the band is based in Detroit but my home sin
A quick detour – I saw a band called Vintage Trouble last week and they are West Coast but they sound like a Detroit outfit.
They do!!! I did see them on a TV appearance.
They have to have grown up on Detroit music?
Yeah! The lead singer has Temptations style about him, for sure.
It’s like one of the Temptations fronting The Small Faces.
Would have been perfect for Berry Gordy to sign – yeah, they’re great.
But you also dig some friends of ours from there- The Detroit Cobras/ I do,
Now this new album of yours that was sent to me – just going through the tracks, now ‘Soul Station’ it’s got this insistent, edgy feel to it and your voice is shown off pretty well on this cut. There’s a tinge of Nikka Costa maybe here, but I don’t know whether you know her…
Yeah I do, I love her actually, and I’m a huge fan, touch of Prince there. Well back in the day I was on the fringe of what Prince was doing, strangest guy I ever met, we had a cat & mouse thing going on my writing…still not sure if I was cat or mouse….but this is a great opener and I love the counterpoint from the keyboard…what overdrive or fuzz were you using?
I think we ended up using two…the producer (Mike McCarthy) and the studio had all kinds of gear and FX and guitar pedals so a lot of what I had brought went straight out of the window and we ended up experimenting a lot of the time. I think coming out of New York, it’s was death by audio stuff …probably a fuzz one and an octave klang. We hooked the two up together through a Marshall stack.
We had to take into account what we wanted the solos to do, some were funkier than others and JJ the drummer had a hard sound for those, so we just chose what seemed to work, for each song.
New York guys tend to use Electro Harmonix stuff. I have some first-issue effects they put out?
Yeah they do - it was about getting something different really, away from the usual Tube Screamer sound. And it takes you a step or two away from the classic SRV tones, doesn’t it?
Quite, I think I had got into a kind of rut – if I’m being honest because I was comfortable (we’ve all been there) and it was easier to not change my ways.
They do say – never write songs when you’re in love. It was one of those things, with that track – I didn’t want to do what I normally do.
I did pick up that, Jo – now ‘Beautifully Broken’, it’s got the skipping Hendrixy chords and you sound heartbroken, I have to say. And I do wonder whether you have been mistreated that badly by these horrible creatures called men, or is it poetic license?
I’m actually blissfully happy and have been for a while… so I don’t know where this angst comes from… the track I wrote was really uptempo, probably sounded more Hendrixy.
The other thing is – you’re not here pushing your voice at all, it’s more a narrative? Exactly Pete – and that was Mike’s idea, to slow it down and then it took on this Rolling Stonesish vibe.
And the reedy Hammond as well?
It’s kinda like something I haven’t done before. Can you see yourself using keys on live dates?
Yes. We’re going to start using keyboards in shows.
I’m already booked in to see the London show.
Well you’ll see us with the keyboard player all being well.
I didn’t know, I just thought I’d ask you ‘You Should Stay’ – it’s got a great determination to it, unusual chords. Seemed to me be a touch Dylanish?
Really? I am a big Dylan fan. It’s a kind of gamble, that song. I just wrote it for fun. I have stuff I don’t ever intend to do myself.
More of this later, Jo…it struck me as Dylan / John Prine-ish...’Piece Of The Sky’ has a Southern Rock leaning….but having listened to the album this far, it does occur – you don’t really want to be categorised , do you ?
No. Now no-one’s ever picked up on that before. No I don’t, if anything just wants to be categorized as Joanne Shaw Taylor. And whatever I choose to do, under that umbrella. (I explain my notion that I don’t like being in bands that are country, blues, rock, whatever in the act name) No it’s not any fun to be squeezed into a box…like you, I just like music… sometimes blues, sometimes rock but Blues Matters has always been very kind to me, given me attention though I’m no purist blues player.
‘Army Of One’ has that folk-rock sound, but it almost sounds like it’s going to be a protest song…
(Chuckles) Oh no I try to stay away from politics in my music.
Why do you take that line?
Just because – and this is a personal choice thing – it irks me when certain musicians decide to use the attention as a platform... to preach to me about something, so I take religion and politics out of my music.
End Bono now??
If only we could. I kind of think music –and it goes back to what you said about not being categorised – is there so people can listen to any genre of music, to get what they want out of it.
And if you buy a Dylan album you’re listening to blues, country, folk, rock, protest… Yes…I don’t think it’s a musician’s job to preach.
At this point the album goes into ‘Jealousy’, an organ-soaked ballad. Shoot me down if you like, but this is a key track is it not?
That’s a surprise as we weren’t sure whether or not we were going to use it. I don’t do many covers. But it ended up sounding really good. I would have put a John Lennon delay on this…
Well we ended up just using the live track, we all sat in one room for that. We tried to keep it simple, there.
My own thought is: jealousy is the worst trait you can have. It’s acidic, it’s illogical. It causes worry and stress. There’s a video on YouTube for that song just of someone shooting someone else such an eerie vibe (At this point I suggest a song that Joanne might consider doing a version of. As she could sing it much better than the
Now ‘Almost Always Never’ it’s very understated, I will ask you outright – did you write this for Bonnie Raitt?
(Laughs) No, I actually wrote ‘Diamond & Dirt’ for Bonnie Raitt. I had it in my head as a big rock ballad, my producer told me to think otherwise, to make it more simple.
It’s one of the most affecting moments on this record.
Thank you, it’s favourite with me, to be honest.
Tied & Bound’ it’s got this great ascending chord intro, I’m a sucker for this stuff cos it’s what play, a very barbed fuzz sound on this one?
It’s a Les Paul with no effects whatsoever. The bass player was in Watchtower and lent me this Marshall gear. There’s a line in there I love: ‘Where persist and prevail collide’? That just came to me.
It’s like a Glenn Hughes phrase…
(We discuss Black Country Communion, Joanne did some opening spots on their tour. Glenn is a diamond bloke to meet, Jo and I would agree).
It’s got the best arrangement in the record, terrific guitar break? Yes I really liked it.
This album, it’s by turns laidback and relentless? When I was putting it together I did think it would be more uptempo than it has turned out.
‘Hand In Love’ is the closest you’re getting here to jaunty.. Mavis Staples could do this number? Yeah like to try a Motown style song now and then.
Your voice can do that very well and it must be tempting to do more in that vein... but something stops you?
Hmm, it’s not great from a guitar player aspect… sometimes I think I’m just a singer and sometimes a guitar player. BB King doesn’t do too badly, but not at the same time I guess I mean more in my song choices.
‘Standing To Fall’ – is that an opener?
But it goes into progrock for a while… not sure I could open with that!
‘Maybe Tomorrow’ – it’s a tread of a beat to that, isn’t it? Now that was another one where the demo version was really up-tempo, then we just kind of changed it has a Dr John / Voodoo vibe now.
It’s what I’d play to a stranger – from this record - to put you over? Oh c
The album ends with ‘Lose Myself’, with that gentle tremeloed sound. Why did you want end the record on that mood?
Blues
We’d decided that ‘Jealousy’ was going to have to go into the middle of the album, the way it turned out…it’s a love / end of a relationship theme so I thought I would finish on that reflective sound.
Why do you look different in all your pictures?
I don’t know… I photograph really weirdly…I just don’t look like myself in photographs on ‘White Sugar’ I’m smiling….on ‘Diamonds’ I’m not.
No on ‘Diamonds’ you look as though you’re just working a song out and some b***ard’s knocked on the door, disturbing you!
I was trying to look mardy!
Gotta ask you quickly about the Jubilee thing?
(Joanne was asked by Annie Lennox to pay guitar on ‘There Must Be An Angel’ in the London show for the Queen’s Jubilee 60th whatever- in London) I’ve known Annie for a long while from working with Dave Stewart and she rang me up to enlist me. It was a huge day off really….the day itself as you can imagine was chaos. There was a dress rehearsal for us about a week before at Buckingham Palace, and it was all shut down for us.
I thought roots music was terribly under-represented…..I know it’s a mass-audience thing but… (I would have replaced Cheryl Cole with Oli Brown for a start!)
Yeah well I think you have to thank Gary Barlow for that. I didn’t see much of it to be frank. (but she did hang around to see Stevie Wonder – this lass has her priorities correct)…my Mum was very pleased.
The new “Almost Always Never” album is released by RUF September 17th and JOANNE
commences UK and European dates in October. Details from the Ticket Hotline 0944 478 0898 – www.thegigcartel.com
Pete Sargeant
SHAW TAYLOR
Is back with the best album of her career!
"
ere is lots of great music to be heard on this exemplary release from a classy soulful singer and superb band. What more can you ask for?" - Blues & Rhythm
Confirmed artists include:
Oli Brown
• Catfish Keith
Todd Sharpville
with special guest
Marcus Bonfanti
Rob Tognoni (Australia)
Kent Duchane (USA)
Tim Aves and Wolfpack
Little Toby Walker (USA)
Grianne Duffy Band (Ireland)
Beggi Smari (Iceland)
Arthur Ebeling (Holland)
Jamie Francis Band
Henry’s Funeral Shoe
many more Welsh and International names to come!
For fans of the legendary blues/rock musician, it is like waiting for a London bus; there is no sign of one for ages and then three come along at once! Last month brought the excellent compilation album “The Best Of Alvin Lee”, news of his eagerly awaited and critically acclaimed “Still On The Road To Freedom” CD, and notification that Gibson had nominated Lee the greatest musician ever to have played an ES-335 guitar, deservedly ahead of Clapton, Berry and BB King. Oh yes and there was confirmation that Alvin will be appearing next Easter at the prestigious L ’Olympia in Paris with that other blues legend, Johnny Winter. It doesn’t get much better than that. Blues Matters caught up with Alvin to hear about what he is up to at present.
BM: What inspired you to write ‘Still On The Road To Freedom’ and tell us about the logistics of getting the musicians together and recording it?
AL: I write all the time, my inspiration comes from within my mind. George Harrison once said that I have a very avantgarde mind to which I answered “Yes, avant garde a clue!” Writing, recording and playing with other musicians is both a labour of love and a hobby. Maybe even an obsession. It certainly beats playing bowls or darts.
Can you talk us through the new Freedom album track by track to give a context for each song?
Normally I prefer to let the music speak for itself, but I’ll give it a try. The title track ‘Still On The Road to Freedom’ is based on the rhythm of the original On The Road to Freedom song and the freedom I’m referring to is explained in my liner notes. You may notice a night bird singing in the intro, this guy was chirping outside my studio at 3am in the morning so I recorded him and put him on the intro. He fitted perfectly and no fixing or editing was necessary. ‘Song Of The Red Rock Mountain’, wrote itself while I was testing a microphone. ‘Back In 69’, was a previously written poem I fitted to a Bo Diddley rhythm. For ‘Listen To Your Radio Station’ I experimented with electronic drum loops and matched them to an Ian Wallace drum pattern that he had played on one of my recordings from 1971. It’s kind of a mixture of Blues and Hip Hop. I think I will call it Blues Hop or Hip Blues. ‘Love Like A Man 2’ was inspired by the Smiley Lewis rhythm in I Hear You Knocking. It’s R&B with a ‘chug a lug’ groove and it is one of my favorite rhythms. Blues wise there’s ‘Save My Stuff’, I played the harmonica thru an old guitar amp to get that authentic dirty blues sound. ‘Blues Got Me So Bad’ has an interesting intro plus a turn around that goes both up and down at the same time and crosses in the middle, it is very hard to do smoothly and I have been trying to fit it into a song for years.
Your very honest liner notes refer to the possibility of an early demise had your lifestyle in the 60s and 70s continued? Can you elaborate on any particular moments or incidents when this might have happened?
I remember waking up once with roadies throwing water on my face. It wasn’t a joke as nothing else could wake me up. I decided there and then that some changes had to be made to my lifestyle before it became a death style.
Is song writing still easy for you and what is the process you employ?
I start with a rhythm or a groove and the rest seems to come as if by magic. That is the biggest buzz of all. “Where did that come from?”
Will there be another album soon given the songs already in the pipeline from working on ‘Freedom’? Definitely maybe.
How pleased were you about the Gibson nomination for best ever ES-335 guitarist?
I can’t imagine why they put me above Chuck Berry and BB King, but I have no complaints.
Have you ever felt that you should have received more awards during your career, and indeed, does it bother you?
I have seen people who make a career out of receiving awards. It is definitely not for me. You won’t get me in the Rock & Roll Hall of Shame standing next to the BGs. What’s that got to do with Rock & Roll?
You have toured with Edgar Winter before so you must be especially thrilled about the prospect of the forthcoming gig with his brother Johnny?
I’ve done a bunch of gigs with JW on the same bill over the years, but we’ve never played together. Probably won’t this time either. I was at the L’Olympia a couple of years ago with Tony Joe White and the packed house generated a great atmosphere. There could be a lot of lead guitarists coming along to the gig next Easter!
Can we expect a DVD of the concert because a DVD of you with Richard and Pete is a must at some stage, in the fans eyes at least?
I really don’t like recording live shows on video, it inhibits me and makes me play safe and that takes the real buzz out of playing on the edge to a live audience. We played a festival in Holland recently and although we hadn’t played together for 8 months it was one of the best gigs we’ve ever done. It was so tight because we were all listening to each other and not playing on auto like what happens when you’re on a big tour. We didn’t even have time for a sound check.
Do you have any other performances lined up? The UK and USA would be popular destinations?
Not at present. I like to play open-air festivals, I will play anywhere that will have me but with the USA and Canada, it costs a lot to get my band there and there is a big hassle with work permits and immigration. It’s not viable for one or two gigs and the days of two months of touring are over for me. I love to play but not so often it gets mechanical. For me it has to
be fun. There was a time when for me being on tour with a Rock & Roll band playing practically the same thing every night got boring, and believe me if that gets boring you have a big problem because where do you go from there? That’s where the road to freedom comes in.
Who would you most like to perform with (past and present) if you could include them in your dream line up?
Jerry Lee Lewis, D J Fontana, Bill Black and Brigitte Bardot. I still wake up on my birthday and play Jerry Lee’s ’Whole Lotta Shakin’ that’s my kind of rock and roll. D J Fontana was Elvis Presley’s drummer for many years and I played with him on the “Tennessee” album. When I returned to England and played the tapes of the recording, his tempo was in perfect time with the computer; he would lift the tempo in the solos but come back to the exact same tempo for the next verse. D J is totally unique in that he only plays what is necessary; he lays down the groove and never strays from the beat. Your website (www.alvinlee.com) shows your talent as an artist. How is this creative side of you developing and would you ever paint pictures for commercial purposes a la Ronnie Wood?
I am nowhere near good enough. I only paint for fun. I pretend I’m Salvador Dali. What is interesting though is the range of reactions I get from people who look at the pictures on the web and tell me what they see in them. Often, their interpretations are totally different from what I imagined or intended.
Who do you rate on the blues scene at present? Geoff Aitchison is doing some amazing things on acoustic guitar. The best version of ‘Very Superstitious’ was done live on Paul Ravens Blues boat.
What is your ultimate musical goal?
To keep surprising myself and write the world’s greatest riff.
What are your personal goals?
My main ambition, verging on obsession is to keep my head down and remain low key. However I want as many people out there to hear my new album so here I am again.
What are you playing on your iPod at the moment?
I don’t have an iPod, I prefer to listen to radio, that way you get to hear music of different styles you have not heard before. Favourites are Ravens Blues, and for music from around the world, Gilly’s World, both on Talk Radio Europe,
What is your opinion of music journalists? I know that you rate Chris Welch for example? All music journalists are an unnecessary evil. No, just kidding.
Thanks for taking the time to talk, have you any messages for Blues Matters readers? Save your stuff for the one you love.
Tourism New Brunswick are looking for the best unsigned Blues act in the UK, to play at the Harvest Jazz and Blues Festival in Fredericton, New Brunswick, Canada in September 2013. Regional heats will be held at:
True Blue Club, Newton le Willows, 11th January
New Crawdaddy Club, Billericay, 24th January
The Brunswick, Brighton, 25th January.
Redcar Blues Club, Redcar, 8th February.
Blues and Beyond Club, Cupar, 23rd February
If you’re a unsigned soloist, duo or band, have your own original music and want to apply for a place at your local heat then visit www.tourismnewbrunswick.co.uk
The winning act from the final in London, will be flown to Canada on an all expenses paid trip, plus win a prize of £1000.
This former Virgin records/pointblank recording artist returns with a stunning new album and is taking the festival scene by storm.
‘Anyone wanting Blues in their face will like this. Just twiddle with the volume knob’ Gareth Hayes - Blues Matters! magazine - June 2012
‘Absolution are... a group that could go places. With a great rhythm sound and scintillating guitar behind fine vocals, this trio are a complete and very tight rock/blues package.’ Maverick magazine - January 2012
‘Blues flawlessness...these guys are incredible musicians (with) an incredible album that requires many listens!’
9/10 - www.bluesrockreview.com (USA) - January 2012
Both Released 15th October, via Proper Distribution
Don’t Blame It On The Tune is the new single out late September (from the forthcoming album ‘Brian’ )
Fri 14 Maltby The Rock
Sat 15 Gatehouse of Fleet The Mill on The Fleet
Sun 16 Glasgow Woodend Tennis & Bowling Club
Tue 18 Edinburgh The Caves
Wed 19 Glasgow The Glad Cafe
Thur 20 Gourock Café Continental
Fri 21 Airdrie Airdrie Town Hall
Sat 22 Rothesay Craigmore Bowling Club
Tue 25 Leigh on Sea The Hoy
Wed 26 Matlock Bath The Fishpond
Thur 27 London Surya
Fri 28 Bristol Colston Hall 2
Mon 1 Leeds Milo
Wed 3 Manchester The Castle Hotel
Thur 4 Kendal Bootleggers
Fri 5 Stranraer Ryan Center Theatre
Fri 9 Lisburn Island Arts Centre
Sat 10 Wexford Wexford Arts Centre
www.eleanormcevoy.com
Neil O’Brien Entertainment presents
Butlins sKEGnEss fri 25 - Mon 28 Jan 2013
Friday: 8.30 - 10.00
tHE mEntulls
one of the new younger acts on our exciting scene will be performing songs from their latest amazing album. The band are booked to support Dr. feelgood, focus and Wishbone ash as part of their autumn Tour. a band not to be missed!
10.30 - 12.00
aBsOlutiOn
This three piece Blues/rock outfit have a wealth of experience across Blues/Jazz/rock influences and have a tremendous new CD is out soon.
12.30 - 2.00
rOy mEttE
after his astounding acoustic set last year for you we have invited roy to bring the boys in and play for you this year and he is sure eager to please. Be prepared folks!
saturday aFtErnOOn:
12:45 - 4pm
sEssiOns
These ever-popular have become synonymous with this super weekend and always in great demand, including short sets by roadhouse themselves to start and close. always popular – and with many festivals under their belts, always crowd pleasers. The JaMs get packed out every year!
saturday niGHt:
8.30 - 10.00
tOny mcPHEE & tHE GrOundHOGs
The very start of their 50th anniversary year events. This is the first gig of their anniversary year so pay homage to a legend
10.30 - 12.00
liam tarPEy
one of the exciting young breed in UK Blues players with his debut album
12.30 - 2.00
rytHmn ZOO
Exciting up and coming band growing popularity at festivals around the country, featuring sax
sunday aFtErnOOn acOustic:
12.00 - 1.00
andy tWyman
a one man band, a rarity today, so stand back and enjoy!
1.15 - 2.15
lucy Zirins
Lucy is one of the countrys’ most accomplished solo acoustic Blues performers.
2.30 - 3.30
JO Harman
This young lady is certainly getting noticed where-ever she plays, here performing her brand of acoustic Blues with accompaniment by acoustic guitar and keyboards. What a fabulous afternoon this is set to be!*
sunday niGHt: 8.30 - 10.00
rOadHOusE
Staple of so many events and ever popular here!
10.30 - 12.00
rOBin BiBi Band
To expand on last years’ excellent acoustic set we bring robin back with his band to blow you away once again, but differently!
12.30 - 2.00
KEitH tHOmPsOn
This UK act are very popular in Europe, so this is a rare chance to see them on home turf. The Live album ‘Snapshot of reality’ is a damn good taster for this act!
At the start of his UK tour, Robert Cray invited Blues Matters’ Clive Rawlings to hear about his forthcoming album “Nothing But Love” and his thoughts on life in the world of the blues. Clive met up with the blues legend at his London hotel the morning after his Shepherd’s Bush appearance as part of the London Blues Fest.
A very successful concert last night – I enjoyed it, how did you feel the vibe there last night, Robert?
The vibe was great; it was great to see such a large audience for us. We haven’t been here for a while so it was nice. This is all part of the London/Manchester blues festival which is running this month; I thought you were going to Manchester but you’re not. But, let’s go on to the new album – it’s called “Nothing But Love” and it’s released at the end of August and can you believe it’s your 21st album?
Well, it is if you count all the extra albums that have been released, the ‘Best of’ and the live records but I think it’s like, number 14, 15 or 16 in terms of studio records.
Yes, and this time you’ve gone for Kevin Shirley on production – it seems to be nearly everyone in the blues world and the rock world is going for him – how did that come about?
Well, we’re now with Provogue Records and Kevin’s been working a lot with them so when I had discussions with the label, we talked about the idea of working with Kevin Shirley, the record company in fact brought it up, and I said I’m not going to close my mind to it so I’ll have some meetings with Kevin and I did and we hit it off pretty well.
And you recorded it quite quickly didn’t you?
Oh yeah, which is the best way to do recordings.
I interviewed Sandi Thom recently – she went and did her album with Kevin Shirley in two or three weeks and you as well. Did you find it easier to just go in and lay it down in a couple of weeks?
It’s better to go in and knock it out, rather than spend too much time and dwell over it and spend too much time trying to make something perfect that never will be, no matter how much time you spend on it.
I’ve obviously heard the album and I noticed again last night, dare I say, a lot of reggae or off-beat influences on a couple of songs. Is this a new direction for you or an influence of the whole band on song writing?
Well, there’s just that – I guess we’ve always had this kind of exploratory kind of sense in the music that we do. Over the years, even in the blues music, stuff by Elmore James for example, there’s a song called ‘No Love In My Heart’ and BB King has one too that has that Latin beat and then it breaks into a shuffle, it’s that kind of groove. So Blues has always explored that as well and there are a few songs that we do that have a Caribbean feel to them and that have Latin beats. So yeah, we’re into all that stuff.
I suppose that’s also a result of the band corroborating on the song-writing which the promotion makes a point of highlighting. Is this a new venture, or have you always had an input? We’ve always all had an input and I’ve always encouraged it because I think that it brings, for the album as a whole, a lot of different feels.
The touring band has remained fairly constant over the years, hasn’t it? The drummer is a ‘newer’ addition, Tony Braunagel, yes?
Yes, Tony came in four or five years ago.
But, without being disrespectful, you’re not a showman as such, a brilliant guitarist but you don’t go in for the theatrics, as such, purely ‘up and at ‘em,’ and I think that is to be applauded. Thank you.
It’s good to be able to sit and take it in rather than watch the pyrotechnics that you see so much nowadays. You know you’re going to a Robert Cray concert and you’re going to get entertainment and for me, that was outstanding. So you’ve got the tour now, on the back of the new album – where are you off to next?
I think we’ve got six or seven more shows, across the UK.
So, let’s go back to the beginning – how did you get into the blues in the first place? You were born in Georgia, yes?
Born in Georgia yes, but my dad was in the army so I only lived there for about 11 months, so Georgia doesn’t really have any particular bearing on my life. But I heard music at home – my dad was a big Ray Charles fan, on Sundays he would listen to gospel music so we would listen to Dixie Hummingbird, Archie Brownlee and all that. And we had Sarah Vaughan, Ray Charles, Sonny Stiff – my mum was into the singers. People like Sam Cooke, Bobby Bland, so all the good music was at home.
Talking about those great artists, have you ever had a brass section, or ever had the yearning to perform with a brass section perhaps? Something slightly more on the jazzy side of the blues?
Not a big section, but we did work with the Memphis Horns for a long time but they were just two, but no, when I guess when I listen to my Bobby Bland records and hear all that stuff, like anyone else that’s a fan, I’ll walk around the house singing to those great Gill Scott arrangements and all that stuff. But unless I wanted to do a thematic type of production or a show I don’t think that we would do anything with like a five or six piece horn section although maybe, sounds nice...!
(chuckles)
You’ve had so many collaborations over your career, is there anyone that you haven’t worked with that you would still like to get up on stage with? Well there are a lot of people out there...
Do they not come knocking on your door?
No, it would be up to me to go pursue that – I’m more concerned with what’s going on with this particular unit right now and while collaborations are great it can be hard to pull focus on a record that has so many names on it – it’s not something that I’m looking for right now. However, if there was something that I wrote and I could see a different name on it then that might be a possibility.
So, what was the first blues record you bought? Or the first record that switched you on to the blues?
I’m not sure what was the first blues record I bought...
Or the first record that you learnt? Because you started out on the piano, right?
Yes, I started playing piano, that was when I was really young, and then I started playing guitar and I was listening to Beatles records back then.
So were you a Beatles or a Stones man back in the day?
I was a Beatles man...
Going back to the new album, your 21st, it makes you something of a veteran. So what do you think are the best and worst things to have happened in the industry since you started?
Well, the best thing that has happened is that when people were selling albums, as in a group of ten or so songs on a record, we were there when that was going on – because nowadays people will go on the internet and buy a single and that takes apart the concept that has been in place for so long that people put an album together and they really work on the sequencing and trying to make it a whole. And now it’s just picked apart because everyone has access to everything and they put together their own mix. I’m also really thankful we were around when we were able to get onto MTV and get out to a big audience both here, at home and elsewhere. As a band like ours, that plays music that isn’t always on the pop airwaves – that gives us a foothold with a fanbase and the opportunity to tour which is always what we’ve been about anyway.
Talking of touring, you’ve maintained a love of touring – how do you keep this enthusiasm going and do you get to any blues concerts yourself? Off-duty, if you like?
The enthusiasm comes from the joy of playing, I just love playing and every night that we’re on the bandstand together, we just want to do something a little bit different. We don’t use a set list, which keeps everybody, including myself on their toes – we just turn around and call a song and a lot of times, the pressure is on to see if we can remember something if I turn around and call something that we haven’t touched for days and I think that draws the fans in as well...
Well, as you said last night, when you announced a song from the new album, a lot of the crowd wouldn’t have heard it so if you had got it wrong they wouldn’t have known anyway! There was a particular song last night that really seemed to touch the crowd, with the lyrics “I’m Still a Man”, what you can tell me about that, dare I ask where the inspiration came from?
Well, that song is called ‘I’m Done Crying’ and the inspiration came from the situation at home in America and probably here too, the lyrics talk about not having a name, losing your job, losing your house but not losing your dignity and still being a man... With so much going on in the economy, mortgage foreclosures and all of that, I guess it’s observational – I still have my job but I’m speaking for those that don’t.
Well, lyrics like that blow me away and create goose-bump music in a way. You’re the youngest living inductee into the Blues Music Hall of Fame, how did you feel on being given such an honour?
Well, the thing is, you think about all those who have come before, who I respect and who need to be in there. It’s a great honour, to me it’s nice that the people that voted for me look at what we did and deem that worthy. I don’t know what to think – it’s cool!
Looking at some of the youngsters coming through, both British and American, have any of them caught your eye and thought they might go places?
Keb Mo said to me “Hey Robert, I wanna show you something” and he took out his iPhone and showed me a YouTube clip of Gary Clark Junior, this was a couple of years ago. And Gary Clark was on stage with this band that had several horns and a bunch of musicians that were a lot older than he was and he was fronting this band like he was a veteran of 60 years old.
And how old is he?
He’s only in his twenties I believe. We’re both sitting there and he kept shaking his head and saying “Who in the hell is this?” and it was awesome to see.
We will check him out
Well, he’s from Austin, Texas and he’s got some new stuff out and he was at the last Crossroads. But what he’s also doing is he’s brought another element into the music now, he’s bringing a younger element in with the hip-hop thing too and it’s cool.
I remember years ago, the first album I bought by Chris Thomas King, was a sort of hip-hop/blues record. ‘Da’ Blues’ I think it was called.
Well, we did a tour of the UK and he was calling it ‘Blues in the 21st Century’!
Well, what goes around comes around I guess. Where I live in Brighton, on the South of Coast of England – we have The Institute Of Modern Music and that brings out a lot of bands and I feel that that’s a great grounding for the kids. Is that the same in the States with Blues music in schools?
There is some, in some locales, there is. I think in northern Mississippi, and in Memphis Tennessee, there’s some blues in schools.
And do you get involved in that at all?
It’s a bit too far away from where I live, sadly.
Sure. Right - picture yourself, as an 18-year old just starting out, what advice would you give yourself? Well, I think that it’s really good for musicians to get together with other musicians to make music – there’s nothing more fun than that. And fun is the first and most important thing, it’s gotta be fun, it should not be about getting on the television and seeing who’s going to get signed to a record deal, that just takes the whole groove out of it. It should all be about fun and enjoyment. When you see these programmes on television, everybody just wants success and that is not what it’s all about..
Well, today’s newspapers are tomorrow’s fish and chip wrappings… because these guys don’t have a long shelflife and yet there are genuine hard-grafting blues guys that are struggling along. I’ve met them, at both ends of the spectrum and it’s hard.
I think if you can get kids playing together and having fun then that’s what it’s all about. And play what you like, with the same people, or experiment with different things and let it be about that and you know, if you pursue the idea of working then it only sounds better when it sounds like it’s fun. People will see that when you’re having fun that you enjoy what you’re doing and I think that’s the most important thing.
Agreed. You played ‘Smoking Gun’ last night, from your back catalogue, are there any other songs from your catalogue that still sound as fresh, live, as they did when you first performed them? That was an early track... Well, that was from ‘Strong Persuader’, in 1986
Do you update them and choose the ones that sound fresh or is it down to the crowd requesting ‘Smoking Gun’? Well, I don’t think we’d be allowed out of the door if we didn’t play ‘Smoking Gun’!
No, right! And any others, ‘Phone Booth’, for example? Or ‘Don’t Be Afraid Of The Dark’?
Well, we didn’t play ‘Phone Booth’ last night but we do play it. We don’t play ‘Don’t Be Afraid Of The Dark’, that’s not on our master list, but we do play some of the older ones.
Is it judged by audience reaction?
No, it’s just dependant on how we feel, on the bandstand. On occasion, someone might call out something and then we might do that.
Quite a few were calling for ‘Smoking Gun’ last night...
Yes, and then one lady was calling for ‘Chicken In The Kitchen’ but when she said it, it wasn’t the right time but then when we came out for the encore, the first one we played was ‘Chicken In The Kitchen’.
What’s playing on the tour bus at the moment?
Well, what have we been listening to? I still listen to my old favourites, Howling Wolf and stuff like that. But there hasn’t been that much music, mostly we’re watching stuff on politics and DVDs, but we have been passing round the Buddy Guy book, the one by him and David Ritz. That’s a great read, I just finished that.
We touched on the recession earlier – why should fans of yours go out and buy your album, “Nothing But Love” in these straightened times? You’ll probably say, because it’s me and they’re my fans but... What’s going to grab them about it?
Well, I think there are some good songs on it and in this time of recession, there are some songs that touch on that and I think that part of the way that blues music reaches its fans is that it touches on things its fans can relate to and there are those songs on this record. We talked about ‘I’m Done Crying’ which is the song about losing your job, losing your house and there’s another song on the record called ‘Great Big Old House’ which is about losing your house...
You opened the show last night with the first song on the new album, ‘Won’t Be Coming Home’...
Yes, that’s a blues tune - that was written by Richard our bass player and a good friend of his Hendrix Ackel. They have two songs on the record and the second of their two songs is called ‘A Memo’. That song is President Obama speaking to you, and it goes “I’m gonna warn ya; It ain’t over yet; got ya out the hot water; but you’re still all wet; and if you don’t pay attention, you get what you deserve” And that song is where we got the title for the album from and it’s the president telling you, ‘we’re in this boat, we’re not out of the hot water, we’ve still got a long way to go but we got nothing but love for ya’
Did you get the gig at the White House? I don’t remember?
No, I think there was some politics involved – not through The White House, but elsewhere.
I know Warren Haynes went...
Yes, Warren Haynes went and Shemekia Copeland was there and a lot of people. It was funny because we had been touring with Shemekia Copeland and she was leaving from Florida to go to the White House and we were leaving from Florida to go somewhere near to the White House, we had the day off that the gig was happening but we didn’t get the call. And was that a shame?
Well yes, but we did get the opportunity to meet the President because we did a fundraiser, I think it was last summer and we got into the greeting line and we met the President so that was cool.
Brilliant. Now, nearly finished but my trademark question, that I ask all my interviewees – don’t look worried! It sounds stupid but, what’s your favourite biscuit?
Wow, my favourite biscuit, what do I like? Well, we have these biscuits that we eat at home and they’re by a company called Paul Newman. He’s got a bunch of different foods out like popcorn and cookies and these ones in particular our son likes too; they’re chocolate with a cream filling. They say they’re low fat but you can’t just eat one!
Is there any likelihood that your son will follow in dad’s footsteps?
He loves music, he’s got a good feel for music, he’s got a little drum kit and he’s got a guitar, obviously. But he’s just listening right now, it’s up to him. Right now he’s into trucks and trains.
Well, thank you so much for your time. It’s been an honour and a pleasure. Thank you.
Robert Cray’s new studio album “Nothin But Love” is released by Provogue Records. Further info: www. robertcray.com, www.mascotlabelgroup.com
‘Rhythm & Blues to me meant rip -off & bullshit!’ – BO DIDDLEY
OF
A contributor to Blues Matters from the very beginning, Roy Bainton is the author of the highly successful Talk To Me Baby: The Story of The Blues Band. His new book, Good Time Charleys, Tough Tales from R&B uncovers the seamier side of the history of the music we all love –rhythm & blues. This is a story of rip-offs, unpaid royalties, the Mafia, the Ku-Klux Klan and racialism, going all the way back to slavery and the very early roots of jazz and blues. It includes a blues glossary, a compendium of blues quotes and lots more. Why did A rthur ‘Big Boy’ Crudup – who wrote million-sellers for Elvis, die in poverty? How did the great Ruth Brown, Atlantic Records ’ greatest female artist, end up driving a bus, or Roy ‘Good Rockin’ Tonight’ Brown wind up selling encyclopaedias?
Good Time Charleys is exclusive to BM readers at £11.50 post paid. Talk to Me Baby is also available £10 post paid. All signed by the author.
SPECIAL BM OFFER: buy bothbooks £18 post paid Order today from jenny@bluesmatters.com 01656 745628 10 am – 4p m
The elder statesman of the Scottish blues scene lost his battle against cancer on 21 August 2012. He was the longtime drummer with Papa Mojo, a Blues Hall of Fame inductee, organiser of The Dundee Blues Bonanza, chair of The Scottish Blues Alliance and administrator of The Blindmans’ Blues Forum.
Allardyce was born in Aberdeen in a dance hall during World War 2. As an infant he listened to his father’s 78’s of Lonnie Johnson, Bessie Smith and Fats Waller and Blues became a lifelong passion. By 12 he was the drummer of a skiffle group, which won a competition as Scottish skiffle group. His blues collection was supplemented by a local sailor who brought back records from the USA. He supported Tubby Hayes locally aged 13, before at 16 wider touring playing mainly jazz clubs and folk clubs. One memorable night in the north of England, his band was asked to support “some American guy”; who turned out to Howlin’ Wolf. In 1965 he starting working with Stefan Kocemba and the two would form a lifelong musical partnership. With Just Us they toured for three years in Europe, and became the first rock band to tour Morocco; in a tour which lasted several months. While there, they recorded an album of original material, before setting fire to the master tapes after an altercation with studio bosses. The band evolved into Gully Foyle, auditioning a 16 year old Jim Diamond who became their singer. Based in London, Gully Foyle recorded frequently for the BBC, including the John Peel show. Yet in 1973 the band folded and Allardyce and Kocemba moved back to Scotland. They played as an acoustic duo, Blues Revue, which eventually evolved into Chicago styled Barrelhouse Blues Band. Scotland’s hardest working blues band of the time, which played up to 25 nights a month. After 18 years, the nucleus of the band, Dave Blair, Kocemba and Allardyce with sound engineer formed Papa Mojo as a 3 piece Delta and Country Blues Band. Papa Mojo’s last show was at the Dundee Blues Bonanza on 1st July 2012, an event he had helped organize since its inception. Allardyce established the Blindman’s Blues Forum in 2004 which became the largest Internet Blues Forum. Its membership includes many blues artists, producers, writers and photographers from around the world. In 2007 he was inducted into the Blues Hall of Fame as Scottish ambassador. He was an expert on pre-war blues, chairman of the Scottish Blues Alliance and a regular reader of Blues Matters; known to the editorial team. Billy was also a thoroughly decent man, always keen to offered encouragement, assistance and impart knowledge to blues musicians and younger blues fans, including me, He will be sadly missed.
Duncan Beattie
For anyone who was at JAKS bar at Skegness Rock & Blues Weekend in January this year the name will be one they remember. Maggie sang her heart out in her usual manner and won the hearts of many listeners. Neither she, nor the audience knew at that time that she was suffering from lung, and brain cancer, diagnosed giving only 3 to 4 months to live. After the diagnosis, she didn’t give in to the condition even though she was told it was terminal. She focused her efforts on making some good out of the situation, and set out on a campaign to raise money for the Charlie Bear Scanner appeal in Newcastle. Which incidentally started out in 1978 and as part of the fundraising effort, a song ‘Come On In’ was written by local composer/musician, Mike Bersin, and Maggie was asked to record it! Sales of the single helped to achieve that £1,000,000 target.
Maggie recently organised a fundraiser on 23rd August, with not only her own band but many more artists from the North East including Ray Minhinnett of Frankie Miller’s Full House, Lorraine Crosby vocalist on Meat Loaf’s ‘I Would Do Anything For Love’ as well as many friends in the music business and young artists she has mentored and encouraged over the years. As well as this well attended fundraiser all the sales of Maggie’s CD “Don’t Mess With Me” (all songs written by Maggie) are being donated to the charity. You can buy them online from her website and from Blues Matters! All proceeds to go to Charlie Bear charity.
Her last gig after this fundraiser was the British Stage at “The Great British Blues Festival” on 27th August, when even though she had to sing in a much lower key that usual and was suffering. She was determined to get through this gig as it had been one of her ambitions to perform at this premier festival in the UK. She didn’t disappoint and even talked of her illness and explained the reason she was donating all sales of the CD on sale to the appeal.
Unfortunately Maggie passed away on 2nd September. R.I.P. Maggie you touched many people’s hearts with your songs and your amazing strength in your final days. Blues Matters! will remember you and your contribution to our stage at JAKS bar in Skegness 2012. Hats off to Maggie she was a trouper to the very end!
JOHNNY DICKINSON - Update on his progress and “Dylan Day”
The event was extremely well attended by both artists and fans, friends and family of Johnny the all day event raised £6,000 which is a massive total for a one day event and shows the esteem that all who know Johnny hold him in. The day started at lunchtime in Cluny 2 (Newcastle) with acoustic performances from too many names to mention, but I am going to as they deserve it for giving their time freely. The Ghostdancers, Jack Burness and Finn McCardle, George Welch & Christine Jeans, George Browski & Phil Middleton, Paul Lamb Chad Strentz & Brian Lynam (with a harp masterclass thrown in for good measure) Katriona Gilmore & Jamie Roberts, Tom McConville & Friends and last but not least for the afternoon session Jinski.
Recovering only slightly from the afternoon session many stayed for the evening session in The Cluny and were joined by many more filling the room to near capacity. Starting the proceedings were The Hillbillies (one of Johnny’s bands) & the Poorboys with Johnny Whitehill & Paul Lamb, Tonto’s Horse, Rod Clemments, No Time for Jive (best dressed outfit of the day!) Stan, Martin Stephenson with Shipcote & Finn McCardle, Snake Oil ending with Archie Brown and the Young Bucks with the Hillbillies.
To say everyone had a great day is an understatement, many friends artists and family enjoyed the whole event and gave very generously, along with the raffle the whole day raised money and awareness for the rare complaint Johnny is suffering from Gulliain-Barre syndrome - www.gbs.orrg.uk
The latest news is Johnny is working through a twelve week rehabilitation programme which should see him walking unaided by its completion, at the moment he is walking with two sticks (like a skier) rather than a wheelchair. He is able to get home at weekends fom hospital. His occupational therapists and medical team are delighted with his progress to date. Plainly, there is still some hard work ahead for Johnny but with the support of his medical team and his family and friends his determination will be rewarded. His hospital release date is early October.
In about 8 unlikely steps; taking time to leave the main Blues Highway to follow a less well trod, but sometimes more interesting route.
slob Bob HiteThe latest instalment of this ongoing homage to some of the less-publicised characters that have illuminated Blues is a retort to what I consider to be an unkind jibe about one of the genre’s most interesting (and instantly recognisable) personalities. In April 2010 within the pages of Canadian daily The Globe and Mail, journalist and author Stephen Cole reviews The Doors documentary “When You’re Strange”. In a piece entitled “A mish mash, but the music’s great”, he quite reasonably suggests that in common with much of the other coverage of that band, there is a tendency to feature Jim Morrison to the exclusion of almost everything and everyone else. Inferring that good looks play a major part, Cole suggests that it may have all been different and the attention would have been less intense had “The Lizard King” looked like Bob Hite – the “slob” singer of “another worthy Los Angeles blues band” Canned Heat (2010).
Hey there, just wait a moment will you? True, by any reasonable measurements, the “engagingly extroverted “Bob Hite (Davis Winters 2007, p4) was “an awfully big man” (Marcus 2008). Pete Fornatale’s suggestion that he weighed in excess of three hundred pounds (2009, p130) is representative of most estimates. Having said that, at the time of his death in 1981 Hite was also reported to have been “5-foot-9-inch” and “370-pounds” (The New York Times 1981; The Associated Press 1981). Pierre Perrone even calls him “gargantuan” (1997). So, overweight, or to use the modern word – obese – certainly. But “slob”? That’s much more contentious.
The Collins English dictionary suggests that a slob is “untidy and lazy”. Certainly, there is widespread evidence suggesting that Hite lived a chaotic and indulgent life, described by Canned Heat drummer Fito de la Parra as “a loose kind of a guy” who just wanted to “have a good time, partying and playing music” (Mervis 2012). De la Parra asserted that despite being the obvious leader in Canned Heat, Hite lacked the experience of how to run band and how to manage ghoulish issues like “members dying”, “replacements” and “things like that” (ibid 2012).
Untidy maybe, but despite his size and that enormously long beard, Hite was still capable of cutting a dash; I cite an onscreen interview by Jimmy Savile between acts during an edition of Top of The Pops. In 47 bizarre seconds, the BBC presenter pulled Hite’s beard and comments on his weight (“actually I’m going down – 20 stones instead of 21”). Hite goes along with all the nonsense, feigning delight at Savile’s mock complements about his handsome looks and his natty brown suede jacket. The big man, increasingly bemused, is even persuaded to remove his smart brown shoes for the benefit of the viewers. Still, I will concede untidy; seemingly most of the time it was jeans, t-shirts and that magnificent belly.
Lazy though, I will not brook. Hite is widely credited as a prolific collector of blues records and a scholar of the genre (Davis Winters 2007, p73 ; Mervis 2012) who amassed over 60,000 blues records which were eventually bequeathed to United Artists (Talevski 2006, p271). Davis Winters describes Hite’s penchant for collecting as “fanatical” (2007, p80). Surely such a hobby, nay passion, would be beyond the motivation of a “slob” who lazes around eating carbohydrates and taking drugs? In an interview just a few months before he died, Hite suggested that as a kid, his family upped sticks and moved from California to Denver his records accounted for three quarters of the weight of everything that moved. “I was shining shoes at age five so I could get enough money to buy records for my collection” said Hite, and “when all the other guys were out working on their cars, taking chicks out on dates, to the prom; I was out hunting for phonograph records” (Mattox 2008). Not very slobbish at all.
Moreover, in his excellent book about John Lee Hooker, Charles Shaar Murray asserts that in the collaboration “Hooker n’ Heat”, in order to give the Mississippi bluesman “the kind of sympathetic setting which would allow him to present his music as pure, uncut and untampered-with”, Hite and the rest of the band “worked their collective assess off” (2000). Lazy? I’m not having any of it. His deep love of Blues was not clouded with any of the “moral, personal or sociological” issues that many accompany a white man playing what was traditionally black music (Davis Winters 2007, p80). As Hite pointed out, he had lost plenty of women too, had had plenty of furniture repossessed and experienced plenty of tough time of his own – these were experiences that were multicultural (ibid, p80). With the equally ill-fated Alan “Blind Owl” Wilson, he provided the motivational spine of Canned Heat – “a jug band” that grew and morphed towards “international success” (Sullivan 2007).
They made an odd couple. Hite was huge and extroverted, and Wilson was by contrast slight, short-sighted and much less demonstrative – a Blues version of Penn and Teller; Laurel and Hardy eat your heart out. John Savage suggests that the pair combined to make two different and distinctive Canned Heats; Hite led the way with “gruff,
often excruciatingly long blues workouts” and Wilson offered “a high voice and a way with melody that turned old blues tropes into international hits” (Savage 2009) French singer-songwriter Claire Denamur recalls being blown away as an 8-yearold by hearing Canned Heat on the radio in her parents’ truck on Route 66. Noticing the contrast between the two lead voices of Hite and Wilson, she calls it a “violent discovery” making her “open-minded about music and how voices are used” (Heinrich 2012). They made their mark, that’s for sure.
Canned Heat first registered on Blues radar in a big way at the Monterey Pop Festival in 1967, and by the time they appeared so memorably at Woodstock in 1969 their standout numbers ‘On The Road Again’ and ‘Going Up The Country’ were universally known. Indeed, the latter become part of the iconic soundtrack of the whole event, even appearing over the titles of the film. Matthew Greenwald suggests that the track fitted the “pre-Manson bucolic hippie summer” like “a glove”, with Wilson’s falsetto the “ icing on the cake”, culminating in something “not unlike what Brian Wilson would have possibly come up with, had the Beach Boys been a blues band” (2012). For me though, that Woodstock appearance just underlines the mammoth presence and superstardom of Hite. With folks hanging off lighting towers to get a view, he orchestrated that performance, grinning, gurning and whipping the crowd into delirium, albeit that was a short journey for most of them to make. He showcases the beard, the personality and the music, his mesmeric head movements transmitting to his plimsolled feet and threatening the precariously thin-looking stage which looks like it’s ready to give way at any moment. Pete Fornatale reflects ironically that following Hite’s antics, with the similarly rotund Leslie West and the rest of Mountain on next, “an even greater test of that fresh plywood was waiting in the wings” (2009, p133) Bob Hite was a hard man to miss, and as Marcus reflects, “was not called Bear for nothing” - a “veritable mountain of a man with a mane of shaggy black hair and a black beard” who could have been authentically biblical if he hadn’t been “so wonderfully profane” (2008). Given that as Winters suggests, his tendency to “extremes” (2007, p73) in his lifestyle apt to create a hazard to himself and everyone around him (ibid p73) and the alcoholic and drugs-fuelled bouts of depression (Perrone 1997) that blighted his last years, perhaps it’s something of a shock he actually made it to 38 years old at all. The party, according to Davis Winters, “never ended in his house” (2007, p141). This is not just a fat man’s rant or one chubby chap defending another. I claim special affinity in the Bear for reasons other than our generous waistlines. He is one of the vocalists that fired my enthusiasm for R&B. As I write this during London 2012 when all shapes, colours and ages are part of the marvellous bricolage, despite leaving us 31 years ago he remains a reminder that above all others, Blues music is inclusive, varied and non-judgemental. Bob Hite – big, wild, boisterous and tragic maybe, but I’m not having “slob”.
References
Cole, S. 2010. A mishmash, but the music’s great. The Globe and Mail. April 15, 2010. p3 Davis Winters, R. 2007. Blind Owl Blues: the Mysterious Life and Death of Blues Legend Alan Wilson. Publisher : Blind Owl Blues.
Fornatale, P. 2009. Back to the Garden: The Story of Woodstock and How It Changed a Generation. Publisher: Touchstone.
Greenwald, M. 2012. Going up the Country. (Online). Available at : http://www.allmusic.com/song/going-up-thecountry-mt0001787568 (Accessed 9th August 2012).
Heinrich, J. 2012. Classic American folk and blues, via France; Singer-songwriter Claire Denamur doesn’t fit the mould, and she’s just fine with that. The Gazette (Montreal). June 12, 2012
Marcus, R. 2008. Music Review: Various Performers. Rarities From The Bob Hite Vaults. Blogcritics.org Music. January 30, 2008
Mattox, T. 2008. The Bear. (Online). Available at : http://travelingboy.com/tim/travel-tim-march08.html ( Accessed 9th August 2012).
Mervis, S. 2012. On the road again after 40-plus years Canned Heat perseveres with three members of Woodstock Line up. Pittsburgh Post-Gazette. 19 July 2012.
Perrone, P. 1997. Obituaries: Henry Vestine. The Independent. November 8, 1997
Talevski, N.2006. Knocking on Heaven’s Door: Rock Obituaries. Publisher : Omnibus Press.
Savage, J. 2009. Jon Savage on song: Canned Heat’s Woodstock anthem. (Online). Available at: http://www.guardian.co.uk/music/ musicblog/2009/aug/19/canned-heat-woodstock-anthem ( Accessed 9th August 2012).
Shaar Murray, C. 2000. Boogie Man: The Adventures of John Lee Hooker in the American Twentieth Century. Publisher: Penguin Books.
Sullivan, S. 2007. Canned Heat warms up Blues by the Bay Eureka Times Standard. July 12, 2007.
The Associated Press. 1981. ‘Canned Heat’ Founder Dies At Age 38. April 7, 1981.
The New York Times. 1981. Robert Hite. April 7, 1981, p10.
Mayer, Everett, and Laddie
Perhaps the most spectacular instrument in blues and rock music is the guitar. You can burn them (please don’t), play them behind your back, play them with a bottleneck slide, have wood ones, steel ones, small ones, big ones, ones with one string, four strings or just about any number of strings, do glorious power slides with them, and probably eat off the cleaner ones. If you really have to, and the names of the guitar and those that play them are legendary: Jeff Beck, Stratocaster, Robert Johnson, BB King, Les Paul, National, Jimi Hendrix… Now, Jimi Hendrix, there’s a name to conjure with. A man who probably did or contemplated most of the excesses just mentioned. A man who put his stamp on music in a way few others dream of.
To do justice to the technical history of the guitar and the technology it plugs into would take a lot of issues of Blues Matters. So, instead we decided to choose some of the more interesting people and topics around the instrument. We proudly lead off with Roger Mayer, a British guitar effects guru who has had an enormous impact on many musicians, including Hendrix, Jeff Beck and Jimmy Page. We also have contributions from guitarists Mitch Laddie and Geoff Everett.
Roger Mayer
Since he started out in the 1960’s, Roger Mayer has been and still is one of the most influential “backroom boys” of the guitar, and music more generally. He is responsible for some of the most innovative engineering behind some of the best known performers in music. Before touching on Roger’s past, we couldn’t resist asking what breaking news he could share with us.
What new things are you working on now? What should ardent lovers of the Octavia and other foot pedals look forward to?
The areas that I believe will benefit from more development include Spatial Audio that gives an immersive audio experience. The ability to use your foot as a performance control element, using ergonomics to give a transparent connection to the brain. We already manufacture the Low Line Vision Series of pedals which are acknowledged to be the most comfortable and easy to use.
Which young musicians excite you and why?
I think it would be unfair of me to single out any up coming musician as I have not heard many of them owing to the simple fact that their music has not yet become popular and widely distributed. The advent of social media and video channels leave us with a huge amount of material that has not been filtered in any way making the choice even more difficult than in the past. People still rely on word of mouth recommendation and this of course has its limitations. However, one of the many people I have enjoyed helping is Billy Walton of The Billy Walton Band, for whom I built a guitar. Billy plays free form, with the songs as a framework, and he improvises with his solos. You can’t remember improvisation by definition. You also can’t remember magic. People such as Billy playing live will concentrate on the spirit of their playing and how it reflects their soul, and not just trying to recreate an exact replica note for note of their studio recordings and sound. I personally am excited by musicians who want to extend the horizons of music and use the past to propel themselves to the future. I am not a fan at all of copyists of any genre as in my opinion they do bring anything fresh to the party. I however do like musicians who take the vision and spirit of the music they love from the past and make it their own giving it a new modern twist. The quality of a recording must stand up to those of the past in all aspects if it is to be accepted in the same light. There is no room for excuses to release anything that does not meet these criteria as how many badly produced recordings can the public be expected to purchase?
Is there major new ground to be broken in guitar effects and what do you think it might be?
I am a firm believer in real time control of a performance and this area of promoting and enhancing the experience of the listener whether it is for a recording or live performance. A musician truly has a gift when the listener is transported by the
music to another space or when you are lucky to see a great live performance to feel part of it by just being there. Painting a moving audio soundscape throughout a song to leave a lasting impression is my idea of a successful recording. Too many recordings are boring with no depth of soundscape and have not taken advantage of many audio tools available. A man with a fabulous past, Roger Mayer moved in interesting circles in the 1960’s. He met Jimmy Page and Jeff Beck, who were in local bands, and other professional musicians. While at school he’d started to make treble boosters and experimented with guitar tones, and then at University studied both mechanical and electrical engineering before working at the Admiralty Research Laboratories in London. He worked on vibrational acoustic analysis, which had practical applications including submarine detection, using hydrophones to pick up and interpret sounds. Ironically, Roger was encouraged to take hobbies that helped him at work, and music fitted the bill. However, it is quite a hobby if you can say, as Roger can, that in 1964 he designed and made the first fuzz box recorded in England – which was on a Number One record, PJ Proby’s ‘Hold Me’.
Roger first met Jimi Hendrix at the Bag of Nails nightclub (along with The Rolling Stones and The Who and Paul McCartney) and then showed him an early model of his Octavia pedal in the odd and, literally, underground setting of the then Chislehurst Caves venue in London. That pedal was developed further and the pedal was used on ‘Purple Haze’. On moving to the US, Roger commercially made studio consoles, equalizers and limiters and was involved in the set up of Record Plant and Electric Ladyland. He spent a lot of time with Hendrix discussing the emotion that Hendrix was seeking to convey in his sound, and experimenting with amps, processing and other technical wizardry. Roger argues that there is no Holy Grail or Pick of Destiny to guitar effects, nothing that a musician can pick up and rock out perfectly in all situations and settings – there are always variables of scale, atmosphere, and many more besides. One thing that certainly stands out are Roger’s foot pedals. First built in the early 1960’s, they were commercially launched around1980 with the Octavia model. Nor are they famous among guitarists, but their early rocket shape – inspired by US motor car designs – stood out from the crowd. And this was followed up in short order by the Axis Fuzz, a Metal Fuzz, and the Mongoose pedal and as of now, 43 models of pedal.
So what lessons can Roger offer to future generations of blues guitarists?
Anyone taking on music that is not native to them has to be very careful. If you haven’t been and lived with the musicians from where the Blues emerged in the US, you can’t really claim play it authentically. Music does not sound the same anyway when listened to away from it’s home environment, any more than Reggae will not sound the best if heard away from the hot sun and sea of the Caribbean. You can create a semblance of the sound, but that many times doesn’t add anything new and worth listening to. If you took some of the acts now – and I include some of the biggest and most wellestablished names in the Blues who I’ve seen live and know personally - and had a blind listening test, you’d be hard pressed to tell them apart. When they play live they reproduce their songs without much content that is free form and without really interacting with the audience. They’d have been laughed off stage by the old Chicago juke joint audiences, because in five minutes they would realise that they were seeing a crafted performance, and not an artist playing to share his soul and feelings with them. It is important to do your own thing, and do something different on stage according to how you feel and how the place and people are, just as Steve Marriott did with The Small Faces, and as you see when Dylan plays live, and as Rahsaan Roland Kirk and other jazz performers do. And there is a risk of being boxed in by the label “blues” as many people interpret it narrowly. Jimi, who liked to play blues, deliberately moved away from it to avoid that being restricted by a small box. Finally, the musicians who are doing their own thing and might not be picking up the audience numbers yet must persist and stick at it. I was approached by Stevie Ray Vaughan’s people to help him. At that time he couldn’t crossover to a wider audience and had trouble to command a sizeable audience outside of Texas – and with hard work and great songs he became famous “.
Mitch Laddie
The process I apply when using guitar effects is similar to that of an artist painting his perfect picture. It starts with a blank canvas - one or two vintage valve amplifiers, clean, clear and loud to get the best out of them. Next comes my palette - my pedal board. Both are solid and comfortable foundations to begin painting my picture. The tools follow this. My guitar, its pick-ups and my cables are my pencil and brushes. Using poor quality tools are always going to limit the quality of any work and both cables and pick-ups have an immense impact on your sound. Now that I have laid out my foundations and my tools are in place, next comes having an idea of what I want to create and sketching it out. Then comes the paint - the effects themselves. I think of effects as a way of colouring my sound, adding texture, depth and shade, however as a painter would; it’s determining what colours blend next to one another.
Effects sound different depending on where they are in a chain and again quality plays a huge part. Much like painting, I don’t want colours, or in this case sounds, to clash or obstruct one another as it would hinder my work. This is something to work on when “sketching” out my ideas to create a starting point. Taking time to experiment and patience will greatly benefit me in creating my “perfect picture.” Next is reaction. How the sound reacts to my fingers and ears will tell me whether I’ve achieved what I set out to create much like an artist uses their eyes and imagination. The final steps for me is remembering or “framing” my chain of effects so that I can exhibit my “picture” to an audience in a live situation and much like a painting; allow each individual that experiences it to evoke their own emotional response from it.
Geoff EverettMy relationship with guitars goes back further than I care to remember, let alone confess. In those early days, unless you could afford a Watkins Copicat tape echo (my brother could and did), then guitar effects were pretty much unavailable, although my Vox AC4 combo had a tremolo (really a vibrato) unit built in. I invented for my acoustic – by accident, as I
refused ever to put the guitar down even whilst laying in bed - my own effect. I called it “walking up the hallway in my house while playing.” This gave a ‘phasey’ sort of sound years before its time, though the Leslie rotating speaker was based on that very phenomenon. Later, Jeff Beck arrived on the airwaves with a “fuzz box” and the adolescent boffins at school started manufacturing weird and alarmingly dangerous circuitry in Old Holborn tobacco tins to emulate this. No one was killed as far as I remember.
I keep effects to a minimum these days; I am horrified by the “Pod” type of multi effect devices which are favoured by many. A few untutored phrases through these things can sound amazing but deliver hackneyed, limited and soon irritating “widdley” performances. A little bit of overdrive suits me and I leave the rest to the amplifier.
The passing years have seen me with a Colorsound sustain pedal, various distortions and echo units such as the Copicat and Binson Echoret and one of the first phasers to hit the market – a Dharma Sound. They have long gone. My old Boss BE5 is still plugged in at gigs. My new album made much use of a Boss Turbosound pedal (with the Turbo turned off!).
A foot tremolo unit was invented by me and patented by my Dad when I was 14 and years later, after a good review and ads in Music Mart Magazine, I was selling the things. It cost more to produce than I ever recouped!
On visiting Charlie Watkins (the famous Copicat originator) years ago at his factory on a different matter, he asked me to try out a solid state version of his famous unit. At that time, it had just been crammed into a temporary tin box and not yet even turned on. I tried to be positive about this prototype but thought he should have stuck to the old version. If it ever saw production, I don’t know. I hope not.
I have shunned such effects over the years as the Ebow hand held string vibrator; silly “dive bomb” effects and the unusable-by-serious-gigging-guitarists weird space- age noise boxes that don’t sound like anything it particular, in favour of “The Guitar And Amp sound”. A subtle echo effect or the simulating of an amp having its guts bashed out while on a low volume setting is fine in my opinion. A guitar effect in my view should enhance the sound of an electric instrument and not mask it, nor should it try to replace the dynamics and skill of the guitarist.”
Links:- Roger Mayer: http://www.roger-mayer.co.uk Geoff Everett: http://www.thegeoffeverettband.co.uk
Mitch Laddie: http://www.mitchladdie.com/HOME.html The Billy Walton Band: http://www.billywaltonband.com
Rahsaan Roland Kirk: http://www.alfanet.hu/kirk/index2.html
On 21st August Mud Morganfield, eldest son of Muddy Waters, joined Hugh Laurie at his gig in Chicago’s Park West Theatre in Chicago, adding to the history of Chicago greats teaming up with great Blues artists from across the Atlantic. In Mud’s words:“The show was great. Hugh was great to me and my family. His music was a little different than what I do, but we had a ball. Me and Hugh sang “Walking thru the park” together. I sang “Health”. The people loved it. At the end, everyone was gone in the theatre, but about 50 people were standing outside. When me and my family left, the people started to clap for me as we got in the car….”
Mud, who has been around Bluesmen from birth and is the son of one of the biggest legends in music, was clearly impressed by Hugh. Mud said, “I think Hugh is a genius. Very cool cat. And a great showman.”
Hugh Laurie commented afterwards, “Mud Morganfield carries himself like a prince of the blood. He wore the third best suit in the world and sang the paint off the walls. It was a great night.”
Buffalo Summer are Jonny Williams – Guitar, Andrew Hunt – Vocals, Gareth Hunt – Drums, Darren King – Bass. From Neath/Swansea in South Wales. Rocking and a-rolling since the summer of 2010.
The band was formed by family and friends who go way back. The proverbial seed was planted when Jonny and Andrew bonded over a mutual love of The Black Crowes. Many summertime hours were spent in Jonny’s mountainside garden overlooking Swansea Bay, guitars in hands, jamming blues standards and originals. The boys quickly realised they were onto something which saw them installing Gareth and Darren on the drums and bass respectively. The boys play bluesy rock and roll in the way it is meant to be; with swagger, groove and pure raw energy. The sound is something familiar, but fresh like a summertime breeze on the ocean. Wholesome, organic and earthy. Think the funk of Mark IV Deep Purple, the bombast of Led Zeppelin and a sprinkling of the soulfulness of Free.
From the band’s inception, the boys hit the blues clubs, and the spit and sawdust rock clubs of the valleys to pay their dues, and to bankroll the self titled debut album. It was recorded at Mwnci Studios in the deep woodlands of West Wales. Ten songs were completed in five days to capture that raw, old school live vibe. Produced by the band along with local sound guru, Robert “Coach” Jones at the helm, the album was then mixed by Tom Manning and mastered by Donal Whelan (Hafod Mastering.)
The album was recently described by Classic Rock Magazine as “Blood and Thunder Blues” and is available to purchase directly from the band from www.buffalosummer.net
Buffalo Summer live can only mean intoxicating onstage chemistry, cuban heels, flares, sweat from the ceiling, and a whole lotta rock & roll.
You can see the boyos live supporting Status Quo at Singleton Park in Swansea on August 25th and also opening for Robin Trower at Pontardawe Arts Centre early next year. (Full gig listings can be found at the band’s website.)
In addition, the track “Down To The River” will be appearing in the film/documentary “Last Shop Standing” which is released on the 10th of September 2012 and tells the story of how local independent record shops are surviving in today’s modern musical climate.
To hear Down To The River and other Buffalo Summer songs, please visit http://soundcloud.com/buffalo-summer-official
Growing up in Essex in the seventies I spent my early years listening to my parents’ record collection, which included the likes of Sam Cook and Otis Redding. As a teenager I became heavily influenced by the local music scene following bands like Dr. Feelgood and Eddie & the Hot Rods. Deciding that music was the path for me I began playing piano accordion at school and later added guitar to my repertoire beginning what was to become a lifetime of playing in bands.
I formed the band Crisis Days in 1997, after one gig we bumped into Debbie Bonham (sister of Led Zeppelin’s John Bonham) who agreed to produce our album ‘Common Denominator’. The albums success led to shows throughout the UK and Europe, not bad for a kid from Essex. It was while working on an EP with producer Dave Vella in Malta that I first gained an appreciation for blues, jazz and ska. After writing new material and playing with Ron Rogers of T’Pau fame, I returned to the UK assembling a new line-up of musicians and recorded two studio albums with Al Vospa (Beverly Knight, Paul Young, Chris De Burgh) & Simon Davis. The transition from rock to a more blues based band was surprisingly easy as previous tracks such as “Steamtrain Blues” (featuring Nick Fell on harmonica) were already deeply infused with blues roots.
Our live performances have featured appearances from some of our musical heroes including the great Lew Lewis (Dr. Feelgood, Eddie and the Hot Rods, The Stranglers, The Clash) Growing older I have realised that when you’re in your younger music should be about using your energy as a writing/art form. As life goes on your experiences shape you as a person, which is a big part of writing blues/jazz music.
I’m now working on a series of albums in which I intend to add a twist to the blues genre. In the first, ‘Can’t Keep Still’, ska and soul meet the blues in tracks such as ‘Drive’ and ‘Out Of My Hands’. This album has been met with great report from Radio 2, BBC Cambridge and BBC Essex and the media has attention has led to a slot at this year ’s Great British Rhythm & Blues Festival. The second album, which is currently being written, will be more traditional blues, the twist on this album being the introduction of a flute. This may sound wrong but take a listen to some Alexis Korner material. You can catch the Porter band at the Great British Rhythm and Blues Festival on August 26th. The new album ‘Can’t Keep Still’ is now available in shops and online. www.garyportermusic.com
Earlier this year, The Blind Dead McJones Band announced they had received a text message from their great front man Blind Dead McJones. The text read, “ey up lads, am in Mexico, fancied a burrito :). I want you to make an album but i don’t want to play on this album as my fingers hurt Come see me in Mexico when you get stuck, i expect you tomorrow ;) jus kiddin, im sure it’ll be great. Lots of love, Blind Dead McJones xx”.
To most bands this might seem very odd, a front man instructing his band to record an album without him. For The Blind Dead McJones Band, this is simply another day at the office because the absence of Blind Dead McJones has become as predictable as the ticking of the clock on the wall. In true Bluesman fashion, Blind Dead McJones is notoriously unreliable and has repeatedly left his band stranded at Showtime. This has lead to the band developing as they have. In the early days, “The Boys” would generally stick to the 12 bar classics but over the years they have revelled in the opportunity to experiment with their music, taking the great blues lessons learned from McJones and infusing them with their youthful rock energy and quirky sense of humour.
The album “Last Resort Mexico” is the result of the above mentioned text message. This is their first full length album and consists of 11 original songs. It was recorded at Factory Street Studios and produced by Alex Eden (Crosscut Saw), “The Boys” and Alex have all claimed a “REAL COOL TIME” was had during the recording process. Advanced copies were sold following their performance on The British Stage at The Great British Rhythm and Blues Festival this year, ahead of the official release on the 23rd September. Tour dates are being put together to follow the release, so look out for The Blind Dead Mc Jones Band performing at a venue near you.
In other news, a bluesumentary has been made about the great Blind Dead McJones simply titled “Who is Blind Dead McJones?” The hour long film features interviews with those who have been closest to McJones as well as rare archive footage of the legend himself. The trailer can be seen on Youtube and DVD’s can be ordered online.
For more info check out
www.blinddeadmcjonesband.com
Back in the early 90’s, seven to twelve piece (depending on how many brass players turned up) soul band ‘Puckerlips Now’ were looking for a new guitarist. Singer, Derek Williamson, had already been with the band for a couple of years, indulging his passion for 60’s blues and soul music, covering songs from the likes of Otis Redding, Wilson Pickett, BB King, Bobby Blue Bland and Marvin Gaye. Auditions were held in the beer and cigarette stained Winlaton Mill working men’s club where they rehearsed. Out of the many guitarists that auditioned there was only one choice for the band (turning up with a Les Paul, Fender amp and not a pedal in sight), step forward Mr. Chris Gooch.
Derek and Chris being the two youngest members of the band, and sharing a lot of similar musical influences, immediately struck a connection and enhanced the band’s sound and performances. Something was missing……songwriting! Chris and Derek had started to write together, but ‘Puckerlips Now’ only wanted to play soul covers.
The decision was made to break away and form a new band; ‘Wanted’ that would allow the songwriting to flourish. It was in forming ‘Wanted’ that Chris and Derek met ex-studio session bass player from Salford, Bill “Fingers” Smith. Four original songs were immediately added to a far more varied set. A bit more blues and some rock covers entered the repertoire, but it was the originals that were the stand outs. One of those songs, Three Shots Too Many is still a staple in the current Damascus shows. After a couple of years, there grew a reluctance to learn new ‘original’ songs from the rest of the band, and disillusioned by this, Chris left the band.
Derek stayed with Wanted and they continued to perform as a popular North East Band, and Chris worked on a series of other musical projects over the next seven years.
A chance meeting brought Chris and Derek back together, and it was apparent that Derek was also missing the songwriting and starting to become bored with playing covers only. From this meeting they felt that they “had seen the light” (hence the name DAMASCUS) with where they wanted to go musically – and songwriting had to be at the centre of whatever direction they were to take from now on.
A very creative and productive period of songwriting followed over the next nine months, and they debuted a full set of new original material, as support to Eugene “Hideaway” Bridges at a packed Blaydon Blues Club. It turned out to be a great debut gig, and from that night, DAMASCUS was born. Derek and Chris quickly tempted long time bass playing collaborator, Bill “Fingers” Smith to join them. Finger’s musical knowledge and ear for arrangements enhanced the original songs and they begun to take on a new fuller sound. The selfpenned material was woven into a set that would also include songs by the likes of Free, Van Morrison, Robert Cray and Creedence Clearwater Revival.
The original songs tackle issues such as Hurricane Katrina in ‘Born I The Wrong Place’, the death of Sam Cooke in ‘Three Shots Too Many’, and the age-old love story in ‘Evangeline’. The varied influences that inspired each member of the band make it difficult to pigeon hole the sound that you get from DAMASCUS. There a hints of soul, blues, country, funk, Americana and rock in the original material and the covers, which are often deconstructed and re booted in the band’s own inimitable style. Common inspirations amongst the members of DAMASCUS include Little Feat (with Lowell George), Jackson Browne, The Band and Free.
Around two years ago, the phenomenal drummer, Malcolm Dick joined the band, who for the previous ten years was also touring with Richie Blackmore in the USA and Europe. Malcolm was the final cog that underpins what is a very exciting dynamic live band.
The last two years have seen DAMASCUS share stages with The Band of Heathens, Billy Joe Shaver, Marlena Shaw, Shooter Jennings, and Eugene “Hideaway” Bridges, and their long awaited album is scheduled to be finished for the end of 2012.
Damascus performs as two piece acoustic and/or the full four piece electric band.
New songs are being written as we speak, and long may it continue!
“The great power of the blues is that the blues will address any issue no matter how tough it may be. That’s the thing about the blues, it’s a victory’’
By Steve Yourglivch
I first encountered John Campbell whilst browsing through the blues section of my local Andy’s Records. Suddenly that face, the intensity, was staring back at me. It was the cover of One Believer, and I knew I had to hear this. Thank goodness I did.
This was 1992, little did I know then that a year later John would have released “Howlin’ Mercy”, his masterpiece, only to sadly pass away on the verge of international recognition whilst preparing a third album in as many years. The music John Campbell produced is among the darkest, deepest and most intense blues ever recorded, yet at the same time exciting, raw and uplifting.
John Campbell was born in Shreveport, Louisiana on Jan 20th 1952. He was given his first guitar at the age of five and was hungry to learn as much as possible. His family moved around a lot in his early years and John was always seeking out musicians to learn from. By 13 he was playing professionally, opening for top acts like Clarence ‘Gatemouth’ Brown, Son Seals and Albert Collins.
In late 1968 a traumatic event occurred. John was the passenger in a horrendous car accident. It is a miracle that he survived at all. John suffered several broken ribs, a collapsed lung and lost an eye. He required over 5000 stitches to reconstruct his face. He was still only 16. In the many long months of recuperation John found strength in listening to the blues he loved and pushing himself through the pain barrier to practice what he was hearing. John later referred to this time, ‘You have to be prepared to go the point of death. When I started playing the blues I was literally at the point of death, and it was physically very hard for me.
When I reached for a note and to do a thing, physically it hurts but you gotta push through that’. Still only in his teens, and with his families support John left home to live as a travelling bluesman, to immerse himself in the hardships and traditions his heroes had endured. He moved to and from New Orleans, Corpus Christi, and many parts of Texas. For a time John formed a 3piece band called Junction, and later another band that included his brother Bill. At other times he travelled and played solo. He played wherever he could, petrol stations, pool halls, street corners, all manner of small venues and clubs. Always studying and always was absorbing the blues. During this period a recording was made of John playing many of his favourite old blues tunes solo and acoustic. This was eventually released posthumously as Tyler Sessions in 2000. Only 1000 copies were pressed. They sometimes crop up on eBay but expect to pay in excess of $100.
At some point in the early 80’s John acquired a guitar of legendary blues status. It was the 1934 built National Duolian beloved and played by Lightnin’ Hopkins. Hopkins had requested that it was played at his funeral, Rocky Hill, brother of ZZ Tops Dusty and himself a bona-fide Texas legend, obliged, performing Amazing Grace.
In 1986 John moved to New York and this began a period where his career started to move upwards, albeit with some setbacks and disappointments. As before, John initially performed solo with his semi-acoustic, sometimes supporting top names, at other times in clubs, cafes and bars. His reputation was growing and causing quite a stir within the music community. He became friends with top guitarist Ronnie Earl who arranged for a recording of John’s delta roots blues accompanied by Ronnie, Jerry Portnoy (Muddy Waters Band), Per Hanson and Darrell Neulisch. All well respected bluesmen who helped out for little reward in the hope of helping John along. With little promotion the album, “A Man And His Blues” still received a W.C. Handy nomination and lead to John playing at the New Orleans Jazz Festival, exposing him to bigger audiences. His club dates were becoming the stuff of legend and attracting larger crowds all the time. Eric Clapton, Rick Danko, Mick Taylor, Keith Richards and John Hammond were regular attendees, Taylor and Richards especially were admirers. It was around this time that B.B.Becker, Dr. John’s road manager became involved helping to organize things and make introductions.
By the early 1990’s John was performing at large blues festivals all across the U.S. and had begun touring Europe. He soon came to the attention of top record labels and eventually agreed to sign for Elektra. They saw John as a natural successor to Stevie Ray Vaughan who had re-ignited sales of rock tinged blues music internationally. Things in New York were not always easy however. It took a while to get his own apartment, often sleeping on friends or fans couches. There were times when he needed to sell blood to pay for guitar strings. To try and make ends meet John sometimes helped out at the famous Matt Umanov guitar shop. Unsuspecting customers were occasionally treated to impromptu guitar master classes. There was a dark period after the Abilene closed suddenly bringing an abrupt end to John’s residency there. He stopped playing for a time and even ended up sometimes sleeping rough on the New York streets. He never forgot those times and later was a driving force behind and performer on a charity fund raiser CD, “Strike A Deep Chord”, and would play tours of soup kitchens and town squares where the homeless gathered. John had always taken an interest in magic, especially Native American and Voodoo cultures. After signing with Elektra this part of John’s persona began to show itself more. Many who know him well were always aware of this part of John
although it might have been marketed a bit more by the label. There are many stories around John of strange things happening, ghost stories etc. It is well known that John had the ability to perform mind boggling magic, especially close up card tricks. He was also known to perform extremely difficult trick shots on the pool table. Pretty impressive for a man with severely reduced vision. I think more than anything this says it all about his dexterity and speed of hand movement. Despite these voodoo images everybody who ever met John talks enthusiastically about how he never took a dislike to anyone. He seems to have been one of life’s true gentlemen, always charming, always freely giving his time. He had a gift of making contact with his audience, making them feel special and meeting and chatting easily after shows. On stage though he became transformed playing with ferocious intent and passion. Witnessing a single gig often made people lifetime disciples.
John was also very generous towards other musicians, especially if he thought he could see potential in young performers. He enjoyed passing on skills and techniques. Perhaps one of the better known youngsters he helped is Malcolm Wellborne a.k.a. Papa Mali. Help that Mali acknowledges at most live shows even now. John’s bassist Jimmy Pettit tells of a trip to Stockholm when John gifted a handmade Trussart guitar worth at least 5k dollars to a young unknown Ukrainian because he had sensed something special in the young man’s playing.
Around the time of signing for Elektra John started to assemble a top class band to record and tour with him. Grammy award winning producer Dennis Walker was brought on board to produce and help write. Walker had achieved great success with introducing Robert Cray to a wider audience. The album One Believer was released in September 1991. It is a powerful album with dark imagery and social comment made even more powerful by John’s growling vocals and a tight band supporting his fluid playing. Having settled on a lineup of Zonder Kennedy, Jimmy Pettit (Joe Ely Band) and Davis McLarty the band supported Buddy Guy on a gruelling tour of U.S. and Europe. Witnesses tell of a band on fire, most people after the shows talking more about John Campbell than the headliners. John often got the chance to jam with Buddy at these shows sometimes joined by special guests like Sonny Landreth. John mostly came out on top.
Less than a year after “One Believer” and straight from the tour the band went back to the studio with Dennis Walker to record “Howlin’ Mercy”. This time it was completed in just in few days, capturing even more the raw energy of a well drilled road honed band. John’s vocals were even more unworldly and the dark imagery just as powerful. Almost immediately they were back on tour, this time co-headlining with Chris Whitley, and then in the New Year back again touring U.S.A. and Europe. By now Robert Medici (John Cale, Lou Reed, Roger Daltry) had replaced McLarty on drums. In June ‘93 John was starting to rehearse a third Elektra release in as many years and preparing for another national tour with Buddy Guy. Tommy Shannon, Stevie Ray Vaughans bass player, had joined John in the studio for rehearsals.
Less than two weeks later John had died. He had poor health ever since the accident, his lung never fully reflated, and the constant touring and workload must have taken its toll. He had always struggled to sleep, talking about a recurring nightmare that he would die whilst asleep. This proved to be true cause John suffered heart failure sleeping at home in New York.
John had married his third wife Dolly two years earlier and left a daughter Paris just six months old. The wedding ceremony had been performed by ordained minister Dr. John and the best man was the president of the New York & East Coast chapter of Hells Angels.
The funeral service was attended by many top musicians who had been touched by John. Buddy Guy broke off his tour to attend and remains a family friend to this day. Tony award winning actress Elizabeth Wilson was a friend and read a poem dedicated to John’s memory, while Dr. John delivered a eulogy saying,’ he gave us more than music, he gave himself. He came from that delta roots and Mississippi mud and showed us the way to something much higher’. John’s body was cremated and his remains were driven by a Hells Angels escort through New York before being taken to the family church in Baton Rouge.
A few weeks after the funeral a benefit concert was held to raise funds for John’s daughter Paris. Those performing were Jimmie Dale Gilmour, Chris Whitley, John’s band calling themselves Cruel 13 ( John died on 13th June), and special guests Voodoo Children which included members of Metallica and John Popper of Blues Traveller, all big fans.
I don’t think Elektra ever gave the CDs John recorded for them enough promotion at the time. Most people discovered him through his live performances. It is thought that John planned to issue some live recordings before his passing. A surprising number of musicians make a point of praising John whenever they can. This list includes, Big George Watt, Innes Sibun, Hans Theessink, Jack Michaels and Michael John studied the old blues masters and was the best I ever heard at combining the delta roots with some Louisiana swamp, Texas country blues, New York urban grit and pure rock attitude and making it sound new and vibrant.
If you are interested in discovering more about John check out Tom Geigers awesome web site www.devilinmycloset.net or the accompanying Yahoo group. There are lots of memories and stories shared by John’s family, band mates, friends and fans.
Next year marks twenty years since John died. Down the years there have been many reunions and celebrations of his life and music at the various places he called home, from Shreveport to Baton Rouge and others. I think it’s about time Elektra re-issued One Believer and Howlin’ Mercy complete with any unreleased material there might be and with sleeve notes that re-evaluate John’s true position in the blues canon.
John Campbell was not only an amazing blues musician but a unique, wonderful human being.
In recent years, rock and blues music fans have been treated to confessional autobiographies from rock and roll bad boys Keith Richards and Eric Clapton. In both cases, their apparent self - indulgence is overridden by the wit, emotional honesty, and candor in which they are written. Gregg Allman is the latest sixty something year old rock star to put his heart and soul to paper. It also comes as no surprise, given his recent close encounter with death. Up till now Allman is known to be reticent in interviews when it comes to talking about certain episodes in his life, like the tragic motorcycle death of his brother and band-mate Duane Allman as well as his infamous marriage to Cher. The autobiography seems to provide the Allman Brothers’ front man the cathartic space to open up about these major life events as he has never done before. Indeed, there are very poignant moments in the book, which include a vivid recollection of his childhood growing up with elder brother Duane, playing together as aspiring musicians as teenagers to when Allman heard the tragic news of his brother’s sudden death in 1971. A year later, a grief stricken Allman had to also deal with the subsequent demise and death of his bassist Berry Oakley. In the aftermath of these tragedies, Allman resolutely affirms that ‘after my brother’s funeral, I told myself that the only other funeral I would attend aside from my mother’s, would be my own.’ Allman Brothers’ fans will enjoy reading about the early Fillmore East jams to the conception of classics such as ‘Melissa,’ which Allman gratefully attributes to an older Spanish lady calling after her granddaughter at a 24-hour grocery store. Yet, there are times when “My cross is to bear,” does feel crammed with anecdotes chronicling the endless alcohol and drug abuse, overdoses, murders, suicides, rehab as well as the endless random encounters with women and the six marriages. As a result, the narrative can come across as convoluted and overcrowded with various characters coming in and out of the book. Nonetheless, the book is written to true Gregg’s talking style, which brings to life his funny and frank observations of his contemporaries and his life. By the time you put the book down, you realize it is hard not to like Gregg Allman despite the multitude of his sins and as with Eric Clapton and Keith Richards, it’s his brutal honesty that ends up being his saving grace.
Reviewed by Paromita SahaHEAD, HANDS, & FEET
A Book of One Man Bands by Dave Harris
ISBN 978-0-9878650-0-7
www.myspace.com/daveharrisonemanband
Dave Harris is apart from a band player, a One Man Band practitioner himself, and has been on a mission to put out the very first book solely on the subject. Though this is his first time in print, and self-financed, you would never believe it. This is a hefty 400+ page hardback, in vivid colour on quality paper. Dave Harris tackles the logistics by giving us an overview, a glossary, and then the history, before chapters that categorise via country, era and genre. The Blues takes up the lion’s share of musicians covered. Towards the back Dave has further info on those OMB’s who have been featured in the Guiness Book of Records, those not strictly OMB’s, those that sit vs. those that stand to play, along with Dave’s conclusions to all his research. The most famous being more extensively examined, with previously unseen photos of Jesse Fuller; Dr. Ross gets a nice spread; our own Duster Bennett, Ray Stubbs, and Eddie Martin. Dave gives legitimacy to OMB’s. He sees beyond the caricature of the fuddy duddy clowns. That said, quite a chunk of the guys have an eclectic look about them, some looking very intense. There are also some One Wo-Man Bands including the late Jesse Mae Hemphill, and at least 10 others. While Dave lists his shortcomings and fears the shoot-downs of reviewers in his conclusions, I feel he has done a brave and bang up job here. The sit down or stand up style chapter, gives us an insider’s view of the dayto-day complications OMB’s face. Novelty doesn’t have to be weird and funny. Dave has proved OMB’s are highly honed and alive today. Straight out of the traps, this is a definitive work, which will, no doubt, not only a treasured possession by OMB musicians and fans, but also be an invaluable reference guide. This OMB guy may be blowing his own trumpet, but he is blowing it, kicking that drum and sucking the hell out of that rack harp for every OMB guy on the planet! With a market burgeoning with books, Dave Harris has filled a gap with an important omission.
Billy Hutchinson Blues Matters!Paul Freestone
Incompetent Publishing
ISBN 978-0-9568652-0-5
This is not Paul Freestone’s first McPhee book. Way back in the late ‘70s his college project got a limited print run… it was a slim volume dedicated to the man’s career (a mere 20 years long at the time). Tony had returned to gigging in pubs and small venues, his audience a loyal bunch, his media profile near-zero. I remember dodging the heavies in a biker bar just so I could meet a bloke who actually owned an original copy the ‘Split’, the incredible 1971 progressive blues LP by Tony’s band The Groundhogs. Thanks to Paul launching a fan club (‘The Yelping Hounds’) and keeping the faithful informed by mailing out copies to as many of us as possible, Tony McPhee got his dues. Well, some of them.
Eccentric Man’ is Paul’s new book on the life and work of Tony McPhee. Calling it a labour of love barely does it justice. As a reference source for fans of Tony’s life it covers everything; from his Shadows-influenced the Seneschals turning into blues band The Groundhogs, the ‘Hogs continuing through five decades, myriad lineups and thousands of gigs.
Then there’s the solo career, and the collaborations with legends such as John Lee Hooker, Billy Boy Arnold and Jo-Anne Kelly. Beyond the music we have a life of vegetarianism, animal rights support, musical self-sufficiency (he builds a lot of his own gear and even constructs studios) and Reliant Regals (he didn’t have a full driving license for many years, so the three wheelers had to suffice for gigging). Then there’s the recent brushes with ill-health (TS has had four strokes, the latter of which has robbed him of his voice) and the respect of fellow musicians such as the Fall’s Marc E Smith and The Damned’s Captain Sensible. All-in-all an incredible and complex life and one well-worth chronicling.
We also get gig lists, a huge discography, a ‘Hogs family tree (no easy task), a complete list of all of his radio and TV broadcasts, chart entries, even a technical section that lists all of the McPhee’s guitars and equipment is included.
‘Eccentric…’ is also littered with rare photos, press clippings (including a great shot from 70’s teen mag ‘Jackie’!), priceless material for any McPhee fan.
This house brick sized, 484 page monster of a book is worth the cover price alone just as example of how to do things properly. Future music bio writers please take note.
Martin Cook
with its superb sax and trumpet delivering the “fat sound” that the Blues Brothers loved – nailed the classic Stax sounds. It is clear why they are a Boisdale favourite. “Let the good times roll” made writing notes hard as the foot tapped and knee shook and head nodded without any apparent orders from the brain, which means, of course, that it, like the night, was a hugely entertaining number, with a great keyboard solo. Other highlights of Reuben’s set were “Mustang Sally”, which was perfect for the added dancers, and a great, funky cover of “Knock on Wood”. In conclusion, the acts complemented each other perfectly. On this night, the Blues Terminator met the Soul Conductor, and they put on quite a show. It really was a privilege to be there.
See http://www.boisdale.co.uk for future events.
The night the Blues Terminator met the Soul Conductor
On 7th July, Nicky Moore’s Blues Corporation and Reuben Richards and the Soul Train played on the same bill together at a busy Boisdale Canary Wharf, a place where fine dining and fine music meet. The two acts graced the venue and, appropriately, the Corporation were at home in the heart of London’s financial district.
First up was Nicky, resplendent in a blue velvet jacket, and sitting on his stool like a Blues Buddha. His voice is world class, perhaps the most powerful and best controlled in British Blues, and the audience received the full benefit of it as he roamed through Corporation classics like “Resting in the Blues”, “Hear Me Howling”, and “Picture”. Guitarist Timmy Moore was on fire all night, from his very first solo in “Ain’t Superstitious”. The band had the audience paying rapt attention with “Resting in the Blues”, a song of elegance, but which became a Blues steamroller as it ended with a literal screamer of a conclusion, underpinned by some serious power from the bass and lead guitars. Even as the audience were served with their dinners, Nicky served up his signature tune, “300 pounds of joy”, and joy is just what it created. Some of the audience got up to dance even at this early stage of the night, and those seated clapped and whooped after Nicky’s slow and soulful rendition of BB King’s “The Thrill is Gone”. Nicky closed with “’47 Pontiac”, another for the dancers to enjoy. The last word on Nicky’s set goes to one of dancers, Bernice. Asked for her impressions, Bernice said the Corporation were “amazing, fantastic, exciting, full of energy - I’d come back specifically to see them.”
As the candlelight was reflected in the picture window along one side of the venue, Reuben Richards and his Soul Train took centre stage. Perhaps the most elegantly dressed of all the company present, the tall and imposing Reuben launched into Sam and Dave’s “Hold on! I’m Comin’” with panache. His vocal ability is outstanding, reminiscent of Sam Cooke and Ray Charles. His band –
Playing the Swiss National birthday party on his first visit to London, Fankhauser kicked ass to a highly enthusiastic crowd comprised of a rainbow of nations.Complete with his touring band, the 90 minutes of soulful Blues was full of variety and no little talent and the result was a set that showed exactly why so many of the US stars have rated him – the gig was first rate.He opened with a driving ‘Greater Man’ followed by ‘It’s Gonna Rain’ from the new album and the first surprise was that the guitar playing that I had assumed were by Marko Gencarelli were actually Fankhauser himself and damn fine too. Coupled with his strong vocal the songs came over clean and powerful and Hendrix Ackle’s Hammond gave the sound a wonderful richness. There are synths that have a ‘Hammond Sound’ but there really isn’t anything like the real thing and this was being played brilliantly.When he slowed it down for ‘Try My Love’ the hardness went out of his voice and he quietened the crowd in the classic manner – he isn’t exactly Ben E King but he cancarry a tune and the song is a joy.Bass player Angus Thomas got plenty of opportunity to show what a Chicago bassman brings to a band and his solo on ‘Flying High’ was one of the few that didn’t send me to sleep while drummer Tosho Yakkatokuo took his moments with aplomb but for the rest did a great job driving the music along without being flashy or over the top. I had heard the album before – and rated it a genuine 8/10 stars – but with the horns and the production stripped away the band had to do it without any tricks and this set proved that if you are good enough you can.
Andy Snipper
Cray’s set tonight, as part of the BluesFest, highlights how as a musician, he is happy to carry on riding his own wave of creation, consistently reworking the blues wheel by affecting its groove from anywhere but the genre he is so widely attributed to being a key part. His soulful voice, rich in diverse melody and tone, recalls much more Motown than perhaps Chess Records, whilst his toying with the standard form of the blues has meant that he still appeals to new audiences with a fresh approach to the genre. Backed by the immense Jim Pugh on keyboards, the barefooted Richard Cousins on bass and Tony Braunagel on drums, Cray strolls out in a pair of slacks, open shirt and flip flops, ready to perform songs he feels are the best, not just what the crowd want to hear. “Like this”...was the refrain as he began each scintillating number, starting with the classic ‘Don’t You Even Care’. It was to be the theme throughout the night as stories of faithless women and broken hearts gave some heartfelt soul to the music, which borrows from funk, gospel and soul to give Cray’s blues a distinctive style. He has the archetypal blues voice with crystal clear diction and a wonderful range which compliments the virtuosity he displays on his trademark Stratocaster (annoyingly changed every song). The atmosphere is lacking somewhat, in part because of the venue being half seated, but Cray struts his stuff and his solos are unique, you feel part of something special. There are a fair share of tracks from the new ‘Nothin’ But Love’ album, but Robert does not have a setlist, which makes it difficult to identify each track. A few classics were thrown into the mix, though, including ‘Smoking Gun’ and ‘Chicken in the Kitchen’, complete with a superb guitar break. He caused some amusement by informing the audience after that song that “You know, these things play themselves”, yeah right! He ended by taking the tempo down with the beautiful ballad ‘Time Takes Two’, which showcased both his wonderful voice and sensitive guitar playing. Ultimately, Robert Cray is a bluesman with a sight for continuously moving forward; not allowing himself or his music to stagnate and become irrelevant, tonight’s performance illustrated just that.
Clive Rawlings
It was a cold wet miserable evening but that did not daunt the spirits of those who turned up on the Quayside to board the Blue Line Ferry. Most of us settled into the upper
deck lounge where the band had set up and where it had suitable flooring for dancing – you do not sit through a Ben Waters boogie woogie gig- no way! Having a pint in hand and discharged with outer waterproof clothing we were given a delicious hot fish and chip supper as we set sail. No sooner were we clear of our moorings Ben took to the keyboard, Clive Rand sax, Tom Waters sax, Richard Hyman guitar and Ady Milward on drums - we were cruising. ‘Chicago Calling’ was the opener I believe – as we were all looking back to shore while the boat headed out into the dark waters and off towards Brown Sea Island. People originally in lower bar room and open deck area soon came into the ‘music room’ and as it crowded up more took to the dance floor and before you knew it the infectious rockin’ and rollin’ rhythms emanating from the starboard side soon had feet shuffling and then bopping around – me included. Numbers played included the likes of New Orleans rumba/Latin influenced songs and tunes. Ben played superbly and then slowed a little to give a few details about the next number they were to play – Pine Top Boogie. We passed Sandbanks and its’ show off celebrity houses (money but no taste I thought!) But I’m just jealous. Heading towards the Isle of Wight where we did not see the sun set between Old Harry Rocks – we didn’t see the sun at all that particular day - but we didn’t mind the deck was steaming as was the sizzling performance of Ben and the boys. Now into a medley of Jerry Lee Lewis with a few Chuck Berry songs and guest hairy rock singer from Somerset we turned back to shore. Moored just off the harbour side we sang along to Tommy Steele’s hit ‘Singing The Blues’ and Fats Waller’s ‘Ain’t That A Shame’. Then it was all up on deck to see a great firework display courtesy of Poole Harbour authorities/council etc. Everyone was buoyant and had a fantastic fun night. I only wished I could have been there for another piano master class from Ben Waters and his band on their next Boogie Woogie boat trip the following Thursday!
Diane Gillard, Sister Feelgood BLUE TO BROWN ALBUM LAUNCH @ The Cuckoo Club 30 May 2012
Guitarist Dom Brown has had a busy time this past year. Not only has he recorded his debut album with Blue to Brown, he has chosen to launch it in the middle of his world tour as lead guitarist with Duran Duran. With his father Rob Brown (Gets/z Loose) on lead vocals, bassist Stan White, drummer Andy Treacey and keyboardist Mike Bramwell, the band performed a storming set at the Cuckoo Club in Piccadilly, a swish venue packed with an enthusiastic crowd. Before playing their entire album of original material, they opened with an infectious version of Howlin’ Wolf’s “Howlin For My Baby”, where Rob demonstrated that when he howls you’re going to know about it! First original track was “Going Down But Not Slow”, one of the real standouts from the album, which showed a great connection between father and son, with thunderous vocal from Rob and blistering guitar work from Brown junior. “I get loaded”, a SRV-style shuffle, had the solid rhythm section (comprising members of Faithless and Groove Armada) locked in and, after dropping to a quiet breakdown, built to a frenzied finale of inspired guitar playing. Dom has great playing style and the ability to send a solo somewhere unexpected that never comes at the expense of the song. Tracks such as “The Heat Has Gone” demonstrate this quality very clearly. “Bad boy” showed
Rob at his most charismatic–he had all the presence of an evangelist preacher when he yelled, “You’re Gonna Go Down…” Other powerful but contrasting highlights from the new album were “Sweet Mercy”, “Blue Boy” and “Please, Please” which show the band’s deep and wide feel for the genre. A great cover of “Voodoo Chile” had Dom take lead vocals and showed his knowledge of all things Hendrix while still managing to put his own distinctive stamp on things. The mood continued with a fantastic Red houseflavoured version of “Little Queen Of Spades”, which showed Dom’s phrasing at its best and Rob’s quirky and idiosyncratic style.The Stones “Sympathy For The Devil” had everybody on their feet before the show was driven home with a raucous “Mannish boy”, with Rob displaying his trademark power and eccentricity and some great slide from Dom. There is a pleasing variety across the tracks of Blue to Brown’s eponymous first album. All are well crafted and executed and driven by a great singer and a phenomenal guitar talent.
David Tweedie
and meeting up with many more within the friendliest pub in the city. Here at The Lichfield Vaults in the shadow of Hereford’s magnificent cathedral once a month -a Sunday afternoon ‘bout 4pm you can catch some of the finest local blues bands on the circuit today. The weather had been lousy and there was the FA cup final on TV but there were plenty there in the narrow bar to cheer on and dance to the earthy blues grooves being laid down by J A. and the The Blues Devils. Dave Durnley is on lead/slide guitars, Paul Higgins bass/backing vocals and new comer to the line up Lee Whiles /drums took us through a medley of well known songs and instrumentals. Familiar – yes- but done with that change of tempo here and there a different slant on another and so on. Humour and gentle banter between band and audience/ landlord came in abundance. Shoppers on their way back to car parks stopped listened and came in and joined us in wonder at the fantastic R&B being laid down in that darkened pub backroom. After a grand helping of numbers such as ‘My Babe’, ‘Don’t Bite The Hand That Feeds You’ ‘Momma Talk To Your Daughter’ ‘Scratch My Back’ and ‘Hoodoo Blues’, ‘King Bee’ and my favourite ‘Sugar Coated Love’ and many more classic blues anthems played with panache and extreme passion with great solo moments from each band member we reluctantly left The Vaults. The pubs’ selection of fine real ales and ciders served by a lovely team of bar staff will no doubt lure us back when ever we’re in Hereford either shopping, viewing the Mappa Mundi and chained library or just seeing another band!
Diane Gillard Sister FeelgoodKEITH THOMPSON BAND - June 8th 2012 @ Wotton
Concert Room, Gloucester
Once upon a blue moon, Sunday nights meant two pints of dodgy lager and a pedestrian “Crossroads” performed by middle-aged men in cheesecloth shirts and ill-fitting jeans….that’s no longer the case. With the likes of Joe Bonamassa, Oli Brown et al leading the charge (and let’s not forget the dearly-departed Gary Moore), blues-rock has shaken itself down, revved up the motor and re-invented itself as a vital and newly-energised genre.
Out of the ashes of Wale’s premier Blues Band “Snatchit-Back” rose the phoenix known as J. Alexander and the Blues Devils. Chris Rees, Snatch -it-Back’s founder and remarkably gifted musician , singer and front man for more than two decades, stood down a while back due to poor health. The rest of the band floundered for a while but then Justin Alexander, talented singer/harp player who had been mentored by Rees, stood in and restored the band line up and full fill their gig dates. In respect for Chris Rees whose name is synonymous with Snatch it Back they changed the name but continued the wild harp blowin’ Chicago style blues for which Rees and the band had become so well known in Cardiff, surrounding valleys and Blues circuit generally. When I heard they were playing one of my favourite blues haunts I went along taking two friends
Keith Thompson deserves to be right up there with them. A seasoned musician who has plied his trade for many years, he is one of the most talented and versatile guitarists around. Good things come to those who wait - and, over the past ten years, Keith has built a formidable reputation and a solid following, both in the UK and in Europe, based on regular touring and a series of albums for Swiss label, Brambus. Keith’s new, live album is entitled “Snapshot of Reality” and features a selection of concert favourites recorded on tour, mainly in Eastern Europe.
Keith chose the Wotton Concert Room in Gloucester to launch the album’s UK release and the band (Neil Simpson on bass, Roy Adams on drums (both ex-Climax Blues Band) and Patsy Gamble on sax and backing vocals) provided sterling support to Keith’s emotive guitar and roughedged blues voice. Constant touring, along with years of collective experience, has honed the band into a superb outfit and the crowd were treated to nearly two hours of vibrant electric blues. As a songwriter, Keith has found his niche; his material sits comfortably alongside the well-chosen covers (“Tore Down”, “Stormy Monday” and a brilliant “Take Me To The River”) and when, on occasion, the band push a more funky direction, it does not sound forced or ill-advised, especially when Patsy Gamble’s sax stretches out. “Promised Land”, “All My Friends Are Gone”, the sub-
lime “Young Girl”, “Road To Recovery” and the hard riffs of “Getting Ready For The Burn” all illustrate the command Keith has on the genre and how well the band operates behind him, seamlessly following where he leads. Powerful stuff and much appreciated by the sizeable crowd. Blues in the UK is in robust form right now. Let’s hear it for the young guns, let’s hear it for the girls (Sue Foley, come back soon!), but let’s not forget those that deserve a greater platform for their undoubted talents. Keith Thompson assuredly fits that bill.
Nicholas John
between giving the listener time to reflect upon the music. Not surprisingly, John Fahey is right in your head, but so is Kelly Joe Phelps and Mississippi John Hurt; above all Michael Chapman is unique. As Charles Shaar Murray explains, Chapman’s music grows from, “The gritty solidity of the blues, from fields to factories, from Delta electric slide to chugging overdriven funky electric, deeply rooted in struggle, sensuality and hard work.” He tells stories in a Dylanesque kind of way but in a much gravellier voice, and his lyrics are inspired. In ‘Just Another Story’, a song about a truckstop waitress, he comes up with the immortal line, “With her ponytail and pickup truck, she’s high on her heels but down on her luck.” The riff underpinning ‘Kodak Ghosts’ from the “Survivor” album is remarkably similar to Jimmy Page’s ‘Stairway To Heaven’ but Chapman got there first, enough said! Some of the songs are essentiallyin the folk idiom but the themes are rooted in the blues, such as the fear of ‘That Time Of Night’, the abandonment of ‘Shuffleboat River Farewell’ and the train journeys ubiquitous to both genres, encapsulated in, ‘’The Mallard’. As Michael was writing the latter on York station he reflected on how “It’s the glamour that gets you down.” Well, his existence may not seem glamorous to him but it is a glorious one for those who are priviliged to see and hear one of the best English guitarists and song writers of his generation.
The Bishop
Rothbury Roots was started by Lindisfarne legend Rod Clements with the laudable aim of “keeping music live” in this picturesque village in the heart of Northumberland . His successor is the amiable Scotsman Andy Craig, local entrepreneur, professional photographer and male voice chorister, who is doing a superb job in attracting the best in folk, blues and roots music to this rural venue. Recent artists have included Johnny Dickinson, State of the Union and Claude Bourbon, such is the ambition to bring the best of American and European blues to the Simonside hills. The visit of Michael Chapman filled the venue to its 100 capacity, with fans travelling from all over the country to see the 71 year old self-confessed white bluesman who turned professional in 1967 and has been touring ever since. His set opened with a medley of his trainsong guitar compositions, including, ‘The Last Polish Breakfast’, ‘Little Molly’s Dream’ and ‘Flahey’s Flag.’ This virtuoso performance made Tommy Emmanuel look like Bert Weedon, as Chapman used the slide to sail effortlessly across the strings, complemented by intricate finger-picking, his thumb providing a deep, steady bass. Somehow he also added innovative riffs and solos, producing a mellifulous tone which put the audience in a trance, the subtleties in the notes and the spaces in
The evening started with fellow Nugene artist Simon McBride opening the show with an assured acoustic performance. It was interesting to hear songs associated with his band played in this cut down style and introducing us to songs including ‘Once Upon a Time’ from his forthcoming album, September 2012, definitely a great warm-up act for the highly anticipated Ian Siegal. The show was being recorded for Radio 2’s Paul Jones, and the crowd greeted Ian Siegal and The Mississippi Mudbloods onto the stage with a loud and excited cheer. We then experienced from the off musicianship of the highest standard as we left a wet British summer and were transported to Louisiana swamps and bayous as the temperature rose. This was real swampy blues of the highest calibre, simply pure genius as new songs and those from “The Skinny” were played. Opening with ‘Stud Spider’ which was ripped out in a dirty funky style with Ian’s voice growling in his own charismatic way. Luther Dickinson and Alvin Youngblood Hart seamlessly swapped rhythm and bass guitar as they
MICHAEL CHAPMAN @ Rothbury Roots, The Queen’s Head, Rothbury, 24/08/12demonstrated the depths of their skills on both of these instruments.
Cody Dickinson on drums delivered percussion that gave added depth and colour to every song performed including using a maracas at times as a drum stick! New track, ‘I am the Train’ introduced the audience to the new music on Ian’s forthcoming album along with other tracks showcasing this album which will be much in demand when it hits the shelves and at gigs in October. ‘Picnic Jam’ saw outstanding slide from Luther and when asked “do you want to party?” the resounding response was yes we do. The audience was treated to a coffee can diddly bow played by Luther producing a real low down dirty blues sound. Everyone wanted the evening to go on and on appreciating the dirtiest, swampy guitar playing by Ian. The 12 guitars on stage were not there for show as each one was played ensuring the right tone and sound for every track performed. This was a live performance that did not compromise and from the beginning to the last chord of the encore the music was roots blues down’n’dirty delivered with confidence and the finest musicianship seen for a long time. The whole gig was a highlight and everyone left much warmer and aflutter. A great end to the Northern part of the Blues Fest....
Liz Aiken
It was a typical August Bank Holiday evening, the beer was flowing and the small but enthusiastic crowd were in good cheer. They had descended on a very wet and muddy Tow Low Football Club pitch to support a very special little girl called Tilly Lockey who sadly lost both her hands at a very early age to Meningococcal Septicaemia. This is a deadly form of meningitis that there is still no vaccination for. Throughout the day the crowd had been entertained by a number of North East bands and performers who all gave their time for free to support Tilly.
The day started for Blues fans with Bishop fm’s own DJ, Gary Grainger, who treated the crowd to an acoustic set comprising of Blues standards and Americana favourites. Gary cut a lonely but sensitive figure on the stage singing about all the women he had loved and lost. It takes some mettle to get up there, just you, your voice and your sixstring partner. He truly is in love with his guitar and you could tell by his soulful set that his guitar loves him right back!
Later in the afternoon, Mojo Hand took to the stage and Blues Matters! 122
played an astonishing set of Blues and Soul covers. They played a robust set and the audience, now nicely lubricated by the real ales, were more than willing to unite their voices with the band. They played regular favourites like the notorious “Mustang Sally” with precision and class. One of the highlights was when the band invited Gary Grainger to join them up on stage to add a little more guitar on several numbers before he had to shoot off and jock his radio show, namely “ Flip Flop Fly” and a stonkin’ version of Wilson Pickett’s “6345789”. Boy did they fly and their numbers went down a storm.
As darkness fell The Mitch Laddie Band took to the stage. They opened with “Time Is Running Away, the first track of their Burning Bridges album. “Mother take my hand . . .”, were the first lyrics Mitch sang with a passion, a poignant reminder of why we were all here? Next up was a tribute to Stevie Ray Vaughan who sadly passed away twentytwo years to the day. “So Excited” showed why Mitch is one of the most talked about guitarists on the British Blues scene - his enthusiasm, precision and musicianship far outreaching his twenty-two years of age. Excellent handling of the guitar shows that he is worthy of the reputation he is building for himself. Indeed, he regularly supports the legendary Walter Trout on his tours. The band were now in full flow with bassist, Rhian Wilkinson having to concentrate on the job at hand as the girls in the crowd kept shouting out his name, a bit of a stud is our Rhian! The band followed with a few more home-penned numbers from Burning Bridges. When a member of the crowd shouted out “Sing something we can sing along with” the un-phased Mitch and the boys changed their set list to deliver several crowd-pleasing covers that included Hendrix’s “Foxy Lady” and The Temptation’s “Shaky Ground”. The latter is available to view on Youtube so you can see for yourselves just how tight this band is and how well they were received. With their set coming to a. close, the band finished with “Changes” complete with a spirited drum solo from Matt Connor. “Changes?” An apt ending –watch out, the young guns are coming! Oh, I almost forgot, I like Mitch’s guitar too!
Jo Jackson-Raw
Photograph of Mit h Laddie by Paul Knight, Starshot Photography 2012
How did you first get interested in radio?
It goes back to the late 1970s when I got involved in the American style CB radio which was becoming popular, albeit illegal in the UK! As soon as I got behind a microphone, I knew that I loved it and from there, my passion grew. There has always been music in my life - my mother was an established opera singer - and at that time I listened to a lot of jazz. This led to me joining a pirate radio station in Surrey and I presented a programme which let me indulge myself in my fondness for jazz funk and jazz fusion. Sadly, as pirate radio was illegal too, the station was closed down by the authorities in 1983 so I got together with one of the other presenters, Rob James and ran a mobile disco. This carried on the name of Surrey Sounds for another ten years and included residencies in local pubs and clubs; at the same time, I was doing some voiceover and narration work for films too. How has your broadcasting career changed over the years? In the same year that I finished broadcasting with Surrey Sounds, I joined Radio Wey, a purely hospital radio station based in Weybridge. I had to pack away my microphone after a couple of years though as the demands of a fulltime job limited my free time. However in 2008, I rejoined Radio Wey which had moved to Chertsey and become a community and internet station. My Friday night show back then was called Something for the Weekend and I played predominantly rock music with blues rock in the second hour. Despite the programme controller of the time thinking that it would upset the hospital listeners, feedback from the outside world was extremely positive! A change of programme controller led me to explore the possibility of presenting a specialist show and in March 2009, The Blues Session was born.
Over the last 3 years, I have developed my skills as a sound engineer and had more and more live music in the studio to the point of having guests almost every week. Each show, I try to play a complimentary style of music; I think this goes back to my days on the road as a mobile DJ where I honed my skills in mixing songs to create a flow. Two years ago, I found myself a producer, Heather Harrison, and she has had a considerable impact on the changing format of the show; making contact with potential guests, creating live online dialogue with listeners and co-presenting too.
In 2010, I was proud to get the HBA gold award for best specialist music programme and I was nominated again in 2011. And now I feel honoured to have been nominated 2 years running for independent broadcaster in the British Blues Awards. Early in 2011, I approached Troy Schell of Kansas City Online Radio and started presenting the Blues Session which I record weekly from my home studio sometimes using edited tracks from the Friday night live sessions. I like the fact that on both shows, we interact with our listeners - on KCOR we’re in the chatroom and we use e mail and Facebook in the UK, where we get live responses to music and where questions can be posed to our guests. Apart from the shows, I also have the website which keeps my listeners informed of my latest news, generates interest in the show with bands sending me CDs to play and continues to help me forge links with promoters and record companies. www.thebluessession.co.uk
Where did your interest in blues music come from?
I’ve always liked blues music but I didn’t fully appreciate it until had some emotional upheaval in my own personal life. There’s a saying that you don’t have to live the blues to play the blues but I after that, I felt more connected and I was touched by the music of Buddy Guy and Stevie Ray Vaughan to name just two. I have deepened my knowledge through reading and by visiting the southern states of America on a Blues pilgrimage last summer and again at Easter this year. On both trips to Houston, I was lucky to be invited onto James Nagel’s KPFT show where I showcased British talent. I have also been inspired to take up harmonica myself and I now play at local jams and even on my own show when invited to accompany guests.
What does the future hold?
We have both just completed a 2 day broadcasting course with the National Broadcasting School at Radio City in Liverpool and I am about to embark on a post graduate diploma in broadcast journalism there. With its BJTC accreditation, I am hoping to fulfil my ambition and become a fulltime presenter on an FM station. This year, my whole life has changed; redundancy actually gave me the chance to follow my dream.
You may recall in previous issues of BM I contributed accounts of The Spikedrivers in the UK and Dan Treanor in Memphis doing BITS workshops in schools. Here from the Caribbean was another amusing one. When planning my Legendary Rhythm and Blues Cruise for this January 2012 I noticed that when the ship called at the island of St Croix the two bands aboard were scheduled school visits. I thought it would be a nice follow up article and consequently arranged with Joe Louis Walker’s manager, Dave ‘Big Daddy’ Jones, to accompany them to the school. Joe took just his drummer Ronnie Smith and bassist, and former school teacher L B Bradford. Also with us were Big Daddy and a hefty young roadie nicknamed ‘Shrek’ plus the ship’s videographer. The other school trip was with the youthful IBC 2011 award winning ‘The Homemade Jamz Band’ to a more upmarket school. We had the hard-nosed kids 11 to 16 year olds, in a school that was being turned around by a dynamic new principal. The music master had assembled his group of musicians for a morning workshop in a large auditorium that had seen a more prosperous past. This master was on a high with such august visitors and was mourning the passing earlier in the week of Etta James and had rehearsed the kids to perform a shaky version of ‘At Last’ as a tribute. Joe and his band patiently worked with the kids, the majority surprisingly girls, on instruments that had obviously been begged or borrowed. The keyboard for example had three malfunctioning keys, but we had a school here where the malcontents were dumped. A tiny girl about 12 was manfully playing keys and was shyly responding to LB’s patient help and gathered volume with confidence. A robust girl surprised us with her feel for drumming but she was in need of some finesse, with which Ronnie duly gave her help. The real ‘star’ of the bunch was another slight little lad on bass who coolly lounged on an amp, fingering chords up and down the frets. Again LB stepped into help. The songstress I suspect had never heard Etta’s renditions but had learnt the lyrics, as she nervously sang without any feeling and struggled with range. I comment in this way not put the group down but to highlight the sad paucity of facilities and the need to educate them as to their musical inheritance. Obviously money would help and I hope the Blues Foundation’s BITS initiative continues there to encourage the motivated teaching staff.
The workshop done, the stage drapes were drawn in preparation for the concert. The kit had to be set to one side of the stage as the short power leads needed to stretch to the sockets at the sidewall. The relevance of this will be revealed. The whole school were then brought into the auditorium in classes, who slouched into their seats, the boys with bored expressions of the ‘cool’ with dead eye looks at all and sundry. The music master then came front of house to threaten his personal attention should anybody step out of line!!! Not exactly the way to set the mood! He then asked for 20 seconds silence in memory of Etta James. The kids looked at one another mouthing ‘who’? He obviously had not brought them up to speed as to who and what of Etta. The school band then manfully performed their set piece, slightly polished by JLW’s band attention. Joe then greeted the kids, explaining he was going to do a set that brought them from the roots to Chicago. By the end of the second number he clearly wasn’t getting through to them as stony silence greeted the end of the first two numbers. ‘Who’s this guy?’ was the discernable reaction despite his snappy white clothes. A teacher later explained that live music and the tradition of applause would not normally be part of their pupils’ experience. Sensing the reticence, Joe moved in to funky number, which got them at least sitting up attentively, the girls giggling at some teachers stood at the side of the hall, who were gently swaying to the beat. I was standing in the wings alongside the senior girl (our hostess) who was also starting to gyrate a little as Joe and the band worked away at getting some groove into the kids. The kids’ response was still wanting, their attitude I suspected, clouded by the master’s warning. What to do then?
As my friends will avow, I’m into dance of the high-energy kind despite my years, as those of you who might have picked up from my BM Blues jive articles. So I asked the senior girl if she would join me out on the far side of stage slightly back and out of the eye line of the band, facing the audience of some 500 kids.
I had asked her to just follow my moves, which she did with enthusiasm. I report smugly that the kids just lit up, yelping and hollering. Joe, who couldn’t see us initially and obviously was wondering what the hell was going on until he turned, saw us and a wide grin spread across his face. Thumbs up, the girl really got into it and we finished to - applause! Joe brought us front of stage to take a bow, said that I was all the way from Wales (apologies to the Welsh readers). The kids probably thought I was Noah! Joe then cried;” Who says white guys can’t dance!”
We later packed our gear and as we walked a path to the bus, a large black lad stepped out in front of me in a rather intimidating pose with hands on hips. Uh, uh, here’s trouble I thought. He leaned forward and grumbled into my ear, “Man, you got style!” then walked off! I had been jokingly offered a job as dance coach by one of the lady teachers but declined preferring instead Joe’s offer to join his road show.
The videographer had recorded the event, which was later played out on the ship’s CCTV system! I duly endured some ragging. One for the memory bank… if I can ever find it again.
So in summation, it was probably less proactive than The Spikedrivers or Dan Treanor experiences, but given the situation it was one that the kids had finally appreciated. Joe had generously donated a guitar to the school; a nice gesture and I hope that The Blues Foundation and The Legendary Rhythm and Blues Cruise will encourage further help there.
ASHWYN SMYTH – DIGITAL BLUES ON GATEWAY 97.8 - Wednesdays 21.00 to 23.00 repeated Sundays 20.00 to 22.00 – 97.8fm in Basildon, East Thurrock & surrounding areas and at www.gateway978.com
Podcasts available on i-Tunes and PodOmatic – visit www.digitalblues.co.uk for listen links, Playlists and music submission details – e-mail music@digitalblues.co.uk
BARRY-MARSHALL EVERITT - http://www.houseofmercy. net e-mail - barry@houseofmercy.nett
BLUESSHOWBOB WILLIAMS – GTFM BLUES SHOW - Mondays 20.00 – 22.00 – 107.9fm in and around Pontypridd and at www.gtfm.co.uk – e-mailbluesshowbob@aol.com
CLIFF MCKNIGHT – NOTHING BUT THE BLUES – Weekly Podcast available at http:// www.nothingbuttheblues.co.uk/ - e-mail - cliff@ nothingbuttheblues.co.uk
DAVE RAVEN – The RAVEN AND BLUES – Weekly Podcast every Friday available at http://raven.libsyn.com/ and on i-Tunes - http://www.raven.dj/ - e-mail - dave@ raven.dj
DAVE WATKINS - BLUES TRAIN – Alternate Sundays 16.30 to 17.30 on www.fromefm.co.uk podcast available at http://itunes.apple.com/gb/podcast/fromefm-blues-train/ id482994881 e-mail - bluestrainradio@gmx.com
GARY BLUE - STAR BLUES – Sundays 22.00 to 24.00 on Star FM - 107.9fm in Cambridge and surrounds - www. star107.co.uk -- NO DOWNLOADS ACCEPTED
GARY GRAINGER – BLUES SHOW – Sundays 18.00 to 20.00 on Bishop FM - 105.9fm in South West Durham and at www.bishopfm.com - repeated on www.lookerradio. co.uk – playlist & blog at http://thumbrella.blogspot. com/2011/11/blues-show-134-playlist-stream.html e-mailgarygrainger@gmail.com
IAN MCHUGHES - BLUES IS THE TRUTH – Mondays 21.00 to 23.00 -www.ukjazzradio.com – e-mail - ian. mchugh@me.com
IAN MCKENZIE – WEDNESDAY’S EVEN WORSE –Alternate Wednesdays 18.00 to 20.00 on Phonic FM 106.8 in Exeter and surrounds and at www.phonic.fm – More details at www.bluesinthesouth.com – e-mail ian@ broonzy.com
JIMMY CARLYLE – HAMBONES’ BLUES RUMSHACK podcast -http://www.therumshack.com and SHADES OF BLUE on BBC Radio Shetland. EMAIL - therumshack@ gmail.com
KEVIN BEALE - BLUES ON THE MARSH – Fridays 19.00 to 21.00 at www.lookerradio.co.uk e-mail - bealekev@ gmail.com
KEVIN BLACK - BLACK ON BLUES – Weekly Podcastwww.blackonblues.com e-mail - kevinwilliamblack@gmail. com or black.kevin51@yahoo.com
LES YOUNG – WALL TO WALL BLUES – Mondays 20.00 to 22.00 repeated Friday 22.00 to 24.00 on Penistone FM 95.7fm in the Barnsley area and at www.penistonefm.co.uk – e-mail - les.young@penistonefm.co.uk
MARION MILLER – LADY PLAYS THE BLUES - Fridays 20.00 to 24.00 on 107.9 in the Stroud, Glos. Area and at www.stroudfm.co.uk/ - e.mail - marionmiller@talktalk.net
MARTIN CLARKE - THE BLUES SESSION - Fridays 21.00 to 23.00 at www.radiowey.co.uk – e-mail - martin@ thebluessession.co.uk
NICK DOW – LANCASHIRE BLUENOTES - Fridays 21.00 to 22.00 on BBC Radio Lancashire – 95.5 and 103.9 fm and at www.bbc.co.uk/programmes/p001d74y
PAUL JONES - PAUL JONES SHOW – Monday 19.00 to 20.00 on BBC Radio 2 and at http://www.bbc.co.uk/
PAUL STILES – UK BLUES TODAY – Sundays 06.00 and 18.00 on Radio Seagull 1602AM and at http://radioseagull. com/ - details at http://ukbluestoday.co.uk/ & http:// bluesfromoxford.com/ e-mail - paul@ukbluestoday.co.uk
ROB ALLEN – MEDECINE SHOW INTERNET RADIOwww.internetradio.co.uk
STAN COCKERAM – OUT IN THE WOODS - Tuesday 20.00 TO 22.00 REPEATED Saturday 16.00 to 17.30 – on The Park FM 96.9fm in the New Forest and at http://www. thepark.fm/ - e-mail - stan@riversidebluesband.co.uk
STEVIE SMITH – RETROSMITH RADIO – AFCUK Radio – Wednesdays 21.00 to 23.00 at www.wix.com/retrosmith/ retrosmith-radio-show - e-mail - retrosmith@hotmail.co.uk
TERRY KNOTT - ROADRASH BLUESSHOW –Podcast also broadcast weekly Saturday 18.00 and Sunday 19.00 on www.coventgardenradio.com , www. radioukinternational.com , www.roadrashbluesshow. podomatic.com – e-mail - podcastalleybluesgroup@gmail. com - road_rash_blues_show@myspace.com
TIM AVES - THE BLUES IS BACK - Sunday 20.00 to 22.00 on 94.7fm in the Maldon district and at www.saintfm. org.uk – e-mail – blues@saintfm.org.ul
TONY FITTON – BLUES IN THE NITE - Sundays 22.00 to 01.00 on Phoenix Radio 96.7fm in Calderdale and at www. phoenixfm.co.uk – e-mail - bluesinthenite@live.co.uk
TONY NIGHTINGALE - BLUES UNLIMITED – Mondays 19.00 21.00 on Lincoln City Radio 103.6 in Lincoln and surrounds and at www.lincolncityradio.com EMAIL - tony. nightingale@yahoo.co.uk
Information from the On Line Blues Radio group on Facebook. Programme times and day taken from station schedules as shown on their websites April 2012.
Many of these shows or variations thereof are also available on Kansas City Online Radio – www. kconlineradio.com
We hope you all enjoyed reading issue 68. We have loads in the pipe line for this year and beyond. Read on and find out what’s coming next in issue 69!
Interviews – Stacie Collins, Steven Dale Petit, Blue To Brown, Bex Marshall, Sir Oliver Mally, Bob Bozman, Joe Caruso, Andy Frazer and more!
Features – A load more features.
Red Lick - Top 20 Chart.
Top 10 –
By Tobi
Blue Blood – New Blues artists and bands to look out for.
Blues News – All the latest Blues news.
Feedback – We publish your thoughts on the Blues scene.
