Blues Matters 85

S K E G N E S S R E S O RT, 2 2 - 2 5 J AN U A

RY 2 O 1 6

THE GRE AT BRITISH ROCK & BLUES FESTIVAL

GRAHAM BONNET

( EX RAINB O W, MICHAEL SCHENKER )

OTIS

G RAN D

STAGE

STAGE

GRAHAM BONNET

( EX RAINB O W, MICHAEL SCHENKER )

TH

H I CKLI

N G

TH

(EX A RGENT )

CRAZY WORLD OF ARTHUR BROWN

FRIENDS

JEFF RICH

(EX-STATUS QUO)

CRAZY WORLD OF ARTHUR BROWN

B ERN I E TORM E (E X GI L LA N ) AYNSLEY LISTER

JEFF RICH AND THE TRIPLE J BAND (EX-STATUS QUO)

SEAN WEBSTER

CO UR TN E Y P IN E

M

SEAN WEBSTER BLUES AND TROUBLE AND

HO NE YBO Y H

PAUL LAMB AND THE KIN G SNAKES CHERRY LEE MEWIS

I CKLI N G KEN T

ANIMALS AND FRIENDS

M THE

BLUES AND TROUBLE

SNAKE DAVIS BAND

B LU ES MATTERS STAG E

one of the saddest days occurred as our previous issue was on the print rollers, the passing of Riley B. King. His funeral was held in Memphis and true to tradition there was a parade to celebrate the his life.Thousands lined the streets of Memphis, Tennessee to pay tribute to BB King on Wednesday 27th May with a Dixieland jazz band walking ahead of a black hearse down Beale Street where the young B.B. was nicknamed the Beale Street Blues Boy, later shortened to just ‘BB’. His legend will live long in our hearts and minds. At the street procession honouring King's memory, the Memphis-based Mighty Souls Brass Band played the song When The Saints Go Marching In. Rodd Bland, son of Bobby 'Blue' Bland, carried one of King's signature Lucille guitars. Many artists including singers Ruby Wilson, Bobby Rush and the Ghost Town Blues Band all performed tributes on stage. An emotional day and a celebration of a true Bluesman!

What do we have for you in this packed issue? You’ll note the touch of glamour on the cover that is the slide genius of erja Lyytinen who talks about the Live in London set plus those lovely, lively, still kickin’ ass Pretty Things and the young bluebloods that are The Strypes. Great interviews with Beale Street Queen Barbara Blue, bass man William ‘Bill’ Wyman (didn’t he used to be a Rolling Stone?), latest new Blues from Switzerland that is Little Chevy, from Sweden we talk to J. Asling and Blues Pills. And there’s more!

Don’t forget that there are plenty of reviews that we cannot fit in these pages so we put them on our web site: www.bluesmatters.com.

www.bluesmatters.com

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GENErAl - AlAN: editor@bluesmatters.com

NEWS/FEATURES/INTERVIEWS/

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FOUNDER

AlAN PEArcE: alan@bluesmatters.com

PrINtED by: pensord

DIstrIbutED by:

coNtrIbutING wrItErs:

Liz

Andrew Baldwin, Adrian Blacklee, Bob Bonsey, Eddy Bonte (Bel), Colin Campbell, Norman Darwen, Dave Drury, Carl Dziunka (Aus), Sybil Gage (USA), Diane Gillard, Stuart A. Hamilton, Brian Harman, Gareth Hayes, Trevor Hodgett, Billy Hutchinson, Peter Innes, Duncan Jameson, Brian Kramer (Sw), Frank Leigh, Andy Mann, Geoff Marston, Ben McNair, Christine Moore, Toby Ornott, Merv Osborne, David Osler, Thomas Rankin, Clive Rawlings, Chris Rowland, Paromita Saha (USA), Pete Sargeant, Dave ‘the Bishop’ Scott, Graeme Scott, Ashwyn Smyth (Fr), Andy Snipper, Dave Stone, Suzanne Swanson (Can), Jed Thomas, Tom Walker, Dave Ward, Liam Ward, Daryl Weale, Kevin Wharton, Steve Yourglivch.

coNtrIbutING PhotoGrAPhErs:

Christine Moore, Liz Aiken, Annie Goodman, others credited on page

© 2015 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

Aiken, Roy Bainton,

REGULARS

07

HAPPENIN’

All the blues news, including the 36th Blues Music Awards, plus our great regular features, Harp Attack, Australian Blues, Kitchat and more.

21

88

102

106

BLUE BLOOD

New blues talent from The Rumblestrutters, Robbie McIntosh and Jack Blackman.

RED LICK TOP 20

The regular round up from our friends at Red Lick with the hottest sellers.

RMR BLUES TOP 50

The Roots Music Report in depth independent air play chart.

IBBA BLUES TOP 50

The Indepenedent Blues Broadcasters Association half hundred.

INTERVIEWS

26

30

36

42

PRETTY THINGS

The legends return with a brand new album and new band members.

BARBARA BLUE

The Queen of Beale Street. Her new album. Her amazing story.

JORGEN ASLING

The undisputed King of Swedish blues tells it like it is.

LITTLE CHEVY

Vintage Blues from Switzerland, keeping classic sounds alive.

48 LUCKY 3

Chicago Blues veterans blowing up a storm and keeping time for the blues.

52 THE STRYPES

58

64

70

74

Northern Ireland’s youngest blues band get ready to take on the world.

CHERYL LESCOM

From Canada, with a tale of survival and a determination to succeed

ELLEN LARSEN

The Blues Pills vocalist updates BM on that not-so-difficult second album.

MIKE ZITO

The Texan trouper on life after Royal Southern Brotherhood

BILL WYMAN

The former Stone releases first solo album in over 30 years.

fEATURES

84

UNDER THE RADAR: JARED JAMES NICHOLS

Imagine a hybrid guitar monster made from Ted Nugent, Johnny Winter and Leslie West...

REVIEWS

89

CDS AND DVDS ALBUMS

Now even bigger and better than ever! Featuring the best new releases and re-issues on CD and DVD.

114

fESTiVAlS AND CoNCERTS SHOWTIME

Festival reviews from Ashburton, Bowness Bay, Preston, Yeovil and Burnley. Gig reviews galore, including Paul Lamb, Little Devils, Robben Ford, The Strypes and more...

TJ nOrTOn & THe suiTcase aT BOwness Bay BLues fesTivaL

LiTTLe cHevy

Jared James nicHOLs

all the blues that’s fit to print, from around the world

“For many of us the thought of not having BB King on this earth seemed surreal. A man larger than life who was a constant, something you can set your watch to. The sun will rise and fall and B.B. King will play the blues. Sadly, today the sun rose but the music was silent. To say that the loss of B.B. King is devastating to the blues community is an understatement. He defined the blues, he WAS the blues. He brought blues to an audience that would never have found the blues if B.B. was not the conduit. Never again will there be another as good, gracious or as kind as Mr. King. Thank you Mr. King for the inspiration, the motivation, the support, your friendship and, most importantly, the music which I love so dearly. Rest in peace, my friend.”

FAReWeLL to the KinG

beale street says gooDbye to the worlD’s greatest bluesman

IT WAS A BITTERSWEET day of remembrance and celebration of life for Beale Street, the city of Memphis and all of the BB King fans who made the

journey to say farewell to the King of the Blues... BB King was a great loving man. He and the sweet sounds of Lucille will truly be missed. RIP until we meet again!

VErbAls: stEVE yourGlIVch

Joe bonamassa remembers bb

JOe BOnamassa (aged 12) wiTH

B.B. King

PHOTO: J&r advenTures

malcolm bruce

We Would like to correct some errors that appeared in the Malcolm Bruce interview from BM84. The venues mentioned in New York should have been The Cutting Room and Iridium, not The Cutting Rooms or Meridian.

The bass player Malcolm has recorded with is Jon Harvey not Jonathan Hardman. Jon is the well respected London based player. Apologies for any embarrassment or problems caused.

Jo ann celebrateD

Five Women blues artists: Katie Bradley, Fran McGillivray, Val Cowell, Jess Hayes and Bex Marshall are coming together to celebrate women in Blues and honour the late great Jo Ann Kelly, a woman whose authenticity and delivery has never been surpassed. We’re all looking forward to getting together and having fun playing

music that was close to Jo Ann’s heart. We hope that future generations of Blues musicians and blues fans will have access to her music and be inspired in the same way that we have been. Our tribute to this great British Blues artist which will celebrate her work will be on Saturday 26th September at the Ship Theatre, Sevenoaks, Walthamstow Hall, Holly Bush Lane, Sevenoaks, Kent, Tickets are available from Stag Box Office +44(0) 207 492 1532, price £14.

wenDell Holmes r.i.p

Wendell Holmes oF tHe Holmes Brothers passed away on June 19th aged 71 years, following complications from pulmonary hypertension. Wendell and his brother Sherman formed The Holmes Brothers with drummer Popsy Dixon as long ago as 1966. Blending blues with gospel and

soul they were widely recognised as timeless and original. They recorded 11 albums down the years, most recently Brotherhood in 2014, released by Alligator Records. Wendell’s death follows quickly after the loss of Popsy Dixon earlier this year.

Sherman plans to carry on working with The Sherman Holmes Project to carry on the legacy of the original trio.

PHOTO: c/OaLLigaTOr recOrds

wiZarDs oF oZ #3

Bluesfest - An A nnuA l pilgrim Age to musicA l he Aven

Verbals and VI s U als : c A rl DZI u NKA throughout the year, and when you look closely, throughout the world, there are hundreds of music festivals cropping up all the tim

in its 26th year and like every year previous, a huge procession treks down the freeway for the annual pilgrimage to Tyagarah Tea Tree Farm for a weekend of continual music and social interaction.

What could be the secret to Bluesfests success? Well for a start, it has got to be the incredible line up of acts that grace the stages each year. If you want to see some of the biggest names in music, both current and legendary, then this is the place to come. The list of artists that have paraded through the gates has been phenomenal.

Some only seem to manage to last just for the one time, others may be lucky enough to have another go the following year. Then there are the lucky ones that come back year after year and keep providing dedicated music fans with the one thing that they love best. The chance to see their music idols up on stage belting out a set that will be burnt into their memory for eternity. There is nothing like seeing your all-time favourite artist playing live.

That is exactly what happens every Easter Weekend at Byron Bay in New South Wales, Australia. The Byron Bay Bluesfest is held over 5 days and is the biggest music Festival to be held in Australia annually. This year the Bluesfest was

The likes of B.B.King, Buddy Guy, Taj Mahal, Keb Mo, Robert Cray, John Mayall as well as a new generation of blues players like Ash Grunwald, Hat Fitz and Cara, Joe Bonamassa, The Backsliders, Claude Hay, Genevieve Chadwick and the list keeps on going. The artists that come to Bluesfest are not just from Australia, they are the best on the planet. The music isn’t just locked into the Blues genre either; the line-up is made up of a diverse range of artists from the multitude of genres that makes the music community so engaging. There is always something for everyone to enjoy and if there isn’t, then you must

e

THe crOssrOads sTage

Having been to blueSfeSt for quite a few yearS, i muSt Say tHe organiSerS do a damn fine job

have breathed your last.

Even with three major acts having to cancel this year, which was the first time in Bluesfest history, the festival still rolled along like a welloiled machine. Lenny Kravitz, Ben Howard and The Black Keys were due to be major drawcards for this year but had to cancel due to various circumstances. If you hadn’t known previously that they were supposed to feature, you wouldn’t have realised anything was untoward. Just like the old saying ‘The show must go on’; well it did and did it in style.

When you attend a Bluesfest festival, walking through the gates on the first day could feel a little bit daunting due to the sheer size of the site. It is fairly big but for all the goodness that is packed inside the perimeter of the fence, size really does matter. To accommodate all the artists that will be playing over the five days that the festival is held, there are five stages to host the performances. Crossroads, Mojo and Jambalaya are the three big stages which hold the most people and are where the headline acts perform. The Delta and Juke Joint are the smaller stages but they still have some of the biggest names in the music industry playing their sets on them.

There is also a sixth stage which is used to showcase the upcoming talent. This is the busking stage and every year the busking competition is held which gives the winner a chance to play the bigger stages and hopefully go on and create a career in music for themselves. This

year’s winners were a Blues and Roots duo called Grizzlee Train This means they are automatically going to appear at Bluesfest 2016. Previous winners of the busking competition have gone on and started to form a very successful career with tours overseas following their musical dreams. The previous winners include Minnie Marks, Hussy Hicks and Kim Churchill.

atmospHere

The atmosphere is alive with music, laughter, singing and groups of people are continually moving between stages to either catch their favourite band or embrace one of the newer artists that they may never have heard of. After all, the new artists of today could become the headline acts of tomorrow. That is the beauty of the sheer diversity of this festival, it is a great opportunity to expand the musical knowledge and see acts perform that you wouldn’t go out of your way to see. That way, you get to experience something that could grab your attention and the band gains some new supporters that help them on their way to further success. All in all, it’s a win-win situation.

You can always tell the continued success of something and it’s by seeing the same people coming back year after year. In some ways, this makes Bluesfest part of an extended family. Every year you will bump into people you have met in previous years and always meet new people who will become part of the growing crowd you will continue to see in future years.

A stranger is just a friend you haven’t met yet and with the fun filled, friendly vibe at this festival, you are certain to go home with more friends than when you arrived. That’s a given.

Having been to Bluesfest for quite a few years, I must say the organisers do a damn fine job. The

logistics of putting on an event of this magnitude must be incredible but they manage to do it every year, and do it well. The Festival Director, Peter Noble, starts planning the following years festival pretty much as soon as he’s shut the gates on this one. He has his detractors, but you are never going to satisfy everybody every time but with 105,475 people attending this year’s festival over the five days, I think you can safely say, that is one huge chunk of satisfaction. There is only one drawback that I can see, and this is just a personal criticism. The time just goes too damn fast. The festival starts on the Thursday before Easter and finishes on Easter Monday. The timetable is usually planned out for the weekend of what are the must see acts and which stage I need to be at to see my selections. I also take in some of the names I’ve never heard of so I can get a new experience of what’s on offer. Then before you have had time to blink, it is all over for another year and the Bluesfest faithful stream through the gates for the last time. It’s at this stage that “I guess that’s why they call it the Blues.” One things for certain, I will be heading back next year to do it all again and enjoy another incredible line up of musicians, some of who I am familiar with and some new names, but a festival that is engraved on my calendar for years to come because it is my musical paradise.

for more information on the festival, go to: www.bluesfest.com.au/

genevieve cHadwicK

best oF tHe blues

the 36th Blues music AWA r Ds

Verbals and VI s U als : sus AN sw AN so N as you approach m emphis, tennessee, the second week of may every year the excitement in your body increases. you really cannot help it!

this is the pinnacle for all the hard work during the past year for blues musicians, records companies, and everyone else who has anything to do with the blues industry.

It is “family reunion” time. It is a gathering of old friends, colleagues, agents, managers, and a time for networking those contacts with radio personalities in order to further your “blues brand”. It is the time to

sell your latest product, to connect with producers and engineers who will further your career in the music world.

Ballots from The Blues Foundation have been sent out to all the membership. The nominations were carefully selected in each category to represent the best offerings in the previous qualifying year (the organization has members in more than 50 countries now).

At this time of year the hotels in Memphis are totally booked months in advance. There are those eagerly awaiting to attend the investiture dinner of the Blues Hall of Fame recipients, the awards dinner and presentation is the following night. There are also those designated to play on historic Beale Street. This is where bragging rights come in. You can return home happily telling that you witnessed some amazing jams

cHrisTOffer Lund andersen

grady cHamPiOn, scraP irOn, sOuTHside JOHnny

BOBBy waLKer, Terry HancK, sOuTHside JOHnny

with Terry Hanck, Tas Cru, Big Llou Johnson, Roger Earl, Bobby Rush, or any other of the icons attending this event. Or better yet, you had a chance to chat with them or perhaps share a beverage.

It was a sell-out crowd of 1,500 people in Downtown Memphis Thursday night. The festivities began at the Memphis Cook Convention Center with a reception with nominees Austin Walkin’ Cane and Annika Chambers performing in the lower lobby. The proceedings continued two flights up in the main ballroom. The music flowed during the program, interspersed with presentations, until well past midnight. Twenty-four Blues Music Award winners were announced. The show featured twenty ten-minute sets, including one set by Blues Hall of Fame recipients John Hammond and Charlie Musselwhite, as well as Keb’ Mo’ and Elvin

tHe bma winners in Full:

ACOUSTIC ARTIST: John hammond

ACOUSTIC ALBUM: Timeless – John hammond

ALBUM: Can’T even Do Wrong righT –Elvin Bishop

B.B. KING ENTERTAINER: BoBBy Rush

BAND: Elvin Bishop Band

BEST NEW ARTIST

ALBUM: Don’T Call no ambulanCe –sElwyn BiRchwood

CONTEMPORARY BLUES ALBUM: blues ameriCana –KEB’ mo’

CONTEMPORARY BLUES

FEMALE ARTIST: Janiva magnEss

CONTEMPORARY BLUES

MALE ARTIST: gaRy claRK JR.

HISTORICAL: soul & sWagger: The CompleTe “5” royales

1951-1967 ThE “5” RoyalEs (RoCK BeAT)

INSTRUMENTAL –BASS: lisa mann

INSTRUMENTAL – DRUMS: Jimi BoTT

INSTRUMENTAL –

GUITAR: JoE Bonamassa

INSTRUMENTAL –

HARMONICA: chaRliE mussElwhiTE

INSTRUMENTAL – HORN: dEanna BogaRT

KOKO TAYLOR AWARD: RuThiE FosTER

PINETOP PERKINS PIANO

PLAYER: maRcia Ball

ROCK BLUES ALBUM: sTep baCk – Johnny winTER

SONG: Can’T even Do Wrong righT

WRITTeN AND PeRFoRMeD BY Elvin Bishop

SOUL BLUES ALBUM: memphis grease –John nEmETh

SOUL BLUES FEMALE

ARTIST: sisTa monica c. paRKER

SOUL BLUES MALE

ARTIST: BoBBy Rush

TRADITIONAL BLUES

ALBUM: For pops (a TribuTe To muDDy WaTers) – mud moRganFiEld and Kim wilson

TRADITIONAL BLUES

MALE ARTIST: luRRiE BEll

eLvin BisHOP

coNtINuEs oVEr...

N� o N� sHO�lD fA�E c � �C�r aL�Ne

No mums. No dads. No brothers or sisters. Not your next-door neighbour or the lady from the corner shop. No grandmas. No grandpas. Not the chap from the chip shop or the noisy lads at the back of the bus. Not your best mate. Not a single stranger. No one whatsoever. No one should face cancer alone.

Text TOGETHER to 70550 and donate £5 so we can be there for everyone who needs us.

Texts cost £5 plus your network charge. We receive 94p of every £1 donated in this way. Obtain bill payer’s permission first.

Macmillan Cancer Support, registered charity in England and Wales (261017), Scotland (SC039907) and the Isle of Man (604).

MAC14175

Bishop, among others. Mr. Bishop was the night’s big winner as he took home three Blues Music Awards on the strength of his “Can’t Even Do Wrong Right” release which took the top song and album honors. The Elvin Bishop Band was voted best band. Mr John Hammond and Mr Bobby Rush each won two Blues Music Awards.

gooDbYe to JaY

Jay Sieleman, longtime president and CEO of the Blues Foundation, will be leaving the organization in September after a 12 year tenure began the proceedings accompanied by Priscilla Hernandez. Then Bill Wax, formerly of B.B. King’s Bluesville on SiriusXM radio, was joined by Mike Kappus to introduce the attending Blues Hall of Fame inductees, Tommy Brown, Bruce Bomberg,

Bobby Rush, Charlie Musselwhite, Denise LaSalle, Eddie Shaw, Dick Waterman, Billy Boy Arnold, John Hammond, Otis Clay, Bruce Iglauer, and Mike Kappus. One of the best speeches of the evening was by Tommy Brown, about to turn eighty-four years young. He is best known for his R&B Top #1 Hits, Street Walkin’ Daddy, Little Red Rooster, Tra-La-La and Weepin and Cryin.

In the course of the evening, Mr. Tommy Brown, Eric Clapton, and Little Richard were inducted into the Blues Hall of Fame.

The most dynamic performance of the night, and there were several

nominationS were Selected

qualifiers, was by Sugaray Rayford, who brought the house down with Monster Mike Welch, Jimi Bott, Willie J. Cambell, Anthony Geraci, and Bob Corritore.

The In Memorium segment produced a slide show of all those who had furthered the love of the music that had died during the past twelve months. A sad time indeed as Delta Groove Records founder Rand Chortkoff had just passed away on May 5, 2015.

tHe ballroom perFormances in Full

maRK hummEl’s goldEn sTaTE/lonE sTaR REviEw wiTh anson FundERBuRgh and liTTlE chaRliE BaTy

John hammond – SoLo

EdEn BREnT Band – WITH BoBBY WALKeR oN DRUMS

ERic BiBB – SoLo

sugaR Ray & ThE BluE TonEs – WITH ANTHoNY GeRACI oN KeYBoARDS

Elvin Bishop

doug maclEod – SoLo

chaRliE mussElwhiTE and his Band – AN eNDeARING FAVoRITe WITH TIGHT PeRFoRMANCeS

Eg KnighT

KEB’ mo’ – SoLo, VANeeS THoMAS

sugaRay RayFoRd – oUTSTANDING PeRFoRMANCeS

candy sTaTon, nicK niXon and andy T Band – A VeRY SoLID SeT

davE and phil alvin

John nEmETh & ThE Bo KEys – WHo PoSITIVeLY SHoNe AFTeR HIS WIN!

KEnny waynE shEphERd Band WHo PLAYeD WITH ReAL VeRVe

John moonEy

JEREKus singlETon –ALLIGAToR ReCoRDS NeWeST STAR

sElwyn BiRchwood –INTeRNATIoNAL BLUeS CHALLeNGe WINNeR. ALBeRT KING GUITARIST WINNeR 2013 FRoM TAMPA, FLoRIDA

tHe

in eacH category to rePreSent tHe beSt offeringS in tHe PreviouS year

TOmmy BrOwn wiTH His granddaugHTer

Home recorDing For tHe bluesman

hey y’all. welcome back to our second and final episode of getting our music recorded for posterity, or maybe as a welcome xmas gift for mother in law, through the medium of home recording systems

Hopefully we can recall setting up our home computer to accept our potential masterpiece from last issue so let’s get to work and lay down a track or two. Having hooked up your instrument/mic to your system you should be seeing a “project” type screen with numerous separate tracks running across the screen. Usually you will see an audio track which is showing that an instrument, mic, etc. has been connected. Things we need to set up before pressing the red button are invariably remembered too late like tempo and key so let’s do that now. You need to ‘arm’ the track and you are then ready to record – just press the red record button and fill yer boots. OK, hopefully when you have done and stopped recording you should see the audio image filling the track and can then rewind and press play to hear your first attempt. If it sounds anything like my first attempts did you will feel a little queazy! But never fear, big oak trees from little acorns etc.

The beauty of recording via the DAW is that whatever mistakes you

may make can be readily rectified. A process called ‘Non Destructive Editing’ is built in to almost all systems these days and means your original ‘take’ is always retained in the system and any edits you make to the sounds can be re-done time and again, so you will undoubtedly get fed up before the system does.

So, having put some music into the system you might feel the need to extend the riff or whatever to maybe 40 bars instead of just the two bars you laid down. This is easy peasy on all DAW’s and can be accomplished in various ways, you can copy the clip you record multiple times and stitch them together or ‘time stretch’ it by clicking on to the end and dragging the clip to the length you need. The amazing part of this procedure is that the tempo and key of the piece is kept entirely in time with the original clip. Probably the most favoured method to do this nowadays is by ‘looping’ the clip for as many bars/ minutes you like and then recording more tracks, maybe with different instruments, over the clip which is looping.

My own preference is to use

samples or loops, which you can make yourself or find within a sounds library which many DAWS have built in. The system I personally favour is one called Mixcraft made by Acoustica in the U.S. I have used Mixcraft6 for a number of years and it is full of amazing instrumental samples, loops and sound effects and I mean FULL, like in the latest Mixcraft version seven which has a library of 7000 sounds! The library is sliced up into instrument sounds from many, many genres of music and for example there are blues riffs comprising drums, bass and guitar loops that are really awesome sounding loops, completely recorded in audio format by top rate musicians to give you the best backing band you could wish for, except it doesn’t hump your gear around and take you down the pub. What do you expect for 50 quid or so? I will give more details/examples of some DAW’s available at the end of the article with some useful web links etc.

On the matter of recording sounds the DAW usually offers recording by way of audio and/or MIDI tracks. You may recall from Part one last issue we mentioned manipulating the recording and the use of virtual Instruments. MIDI is the method used to control the sound of virtual instruments you play. You need a midi controller to achieve this and some are built into the DAW in

tHe beauty of recording via tHe daw iS tHat wHatever miStakeS you may make can be readily rectified

the shape of an on-screen keyboard, you can also use a physical MIDI keyboard, and indeed a MIDI guitar to play the virtual instruments. The range of instruments is as big as any major orchestra plus many more ethnic, synthesized techno sounds and probably any other you can possibly imagine.

If you want to make a simple drum track to accompany something you want to lay down MIDI is a good way to learn the basics of recording as you will find that putting a drum track together is very much a matter of simple mathematics in the first instance. Whilst it is a great learning process to me, I find MIDI drums can sound a little artificial although you

can use recording techniques such as ‘quantizing’ etc. to humanize the sounds a little more, making it sound less like a drum machine and more like Ginger Baker on steroids! The information, support and help available these days courtesy of the internet is unbelievably wide ranging, inexpensive, free even and, of course instantaneous. The DAW manufacturers have every level of support you can wish for and there are as many online music production facilities, schools, forums and You Tube video lesson programmes as you can shake a drumstick at. Most of the major DAW manufacturers have YouTube University style educational module movies which are really useful, although some of the American made series could do with a little easing back on the pace of instruction.

miXing anD mastering

Lastly I would mention two final subjects, Mixing and Mastering. Firstly mixing or mixdown is the process of initially refining the sounds within your recording once you have the masterpiece ready. All DAWs normally have a mixer screen built in and here you can for example refine your end sound by placing different instruments within the stereo spectrum. Panning instruments so that they appear to come from the left, right or centre of the stereo image is very important to the resulting overall sound. Also this is the point where you may wish to add some effects to the track. All DAW’s these days are dripping with FX of all types, delays, reverbs some now even feature Autotune where you can make pitch changes where maybe your vocal is less than perfect. Yep, you now can have Hellhound on my Trail sung by The Spice Girls. Well maybe not but you get the drift. I said last time how important it is to have the best speakers and headphones you can afford as listening for the soundscape and making the mix adjustments to volume, equalization (tone) and levels of individual sounds. Once all the tweaks are made and

you are happy then if you wanted to produce a CD or MP3 for posterity or to advertise your prowess then the final mixdown can be mastered to produce the finished end product. Mastering is really the pinnacle of the Dark Arts of recording and frankly, is pretty technical, requiring excellent hearing ability to finalise and accommodate the music to the very highest quality possible. The final recording may be in the form of an MP3,CD or other physical media, whichever it is will have varying levels of quality and the formats most often used in home recording are MP3 and WAV, the latter being the nearest to CD quality listening.

Some of the music production programmes I have used in the past include Cubase (www.Steinberg. net), Cakewalk (www.cakewalk. com), Garage Band (Apple - Mac OS only (www.apple.com), Pro Tools (www.avid.com), Reason (www.propellerheads.se), Reaper (www.reaper.fm), Mixcraft (www. mixcraft.com)

There are so many more out there but the above are all top quality products. Some are extremely highly spec’d and maybe not for the first timer until more familiar. However since the dawn of the Tablet/Smart Phone era there are many cut down versions of these programmes which are simpler and much less costly. Two good examples areCubasis which is the baby brother of Cubase but still great quality, for use with iPads Tablets etc. – and Garage Band for I Pad only which is just a couple of pounds or so if you are an iPad / iPhone owner. I mentioned that I personally use Mixcraft which is a great and really affordable product with it’s extremely useful You Tube teaching modules, although at present only available on PC software format. I believe a Mac version may follow sometime soon. (Many thanks to Mixcraft for their screen shot illustrations).

w ell that’s Dr. D D one for another installment of Kitc hat. hope you enjoye D an D sen D me a copy of your first big hit when it breaKs!! s ee y’all next time

TOP THree sHOTs: miXcrafT. BOTTOm sHOT: LOOP LiBrary

tHe Harp pHenomenon!

rAchEllE PlAs is still just 22 and she has already taken her native france by storm and shared her blues in places as far-flung as canada and cyprus

Part of the new breed of fast hard-hitting blues harp players, she is also one of the refreshing increase in female players on the instrument. BM caught up with her to talk songwriting, improvisation and… judo.

Lovely to meet you. For anyone not familiar with your music, could you describe it?

It’s a kind of mix between the styles of our influences of music that we love (such as Dire Straits, Queen, Aretha Franklin, Pink Floyd, Michael Jackson, Rolling Stones, The Beatles), It’s a little pop, most rock, a sound which makes you think of blues and soul. It’s a music where vocals and harmonica are like a red line, where the guitar has a very important place, and where bass and drums are especially completing the quartet.

Your debut album, Profile, is big and bold, and I understand you wrote all the songs yourself. Yes, I wrote all the songs on my debut album Profile. When I write my songs, I search the general idea, the melody, the theme of the song, the universe of the music. For example, ‘Shake’ is talking about the fact that on stage we do fifty per cent of the

show, but that the people who are listening to us are doing the second fifty per cent part of the show. Because without them, our music wouldn’t be alive. This is a song to honour people who are listening to us at concerts, then at home after. The song ‘Profile’ is talking about the search for sincerity, ‘Back in the 70s’ is a song which is talking about freedom, life and the passing of time.

‘Shake’ is certainly powerful and the song channels all your positive energy. Do you think music is as powerful today as it has ever been?

I think that music is in a perpetual evolution and the creativity is eternal, we just need to find new concepts.

Your vocal style is very emotional. Does your love of music inspire that?

Yes, music means a lot. It’s all my life, and it’s a land of full freedom. Most importantly, it is a place without limits. We are constantly putting off the limits. That’s absolutely exciting.

And your singing heroes?

Ray Charles, Freddie Mercury, Stevie Wonder, Aretha Frankin, Phil Collins, Michael Jackson, and so many others…

Your harmonica playing is loud and fast and powerful. Are you a fan of players like Jason Ricci? Aha, I know Jason Ricci - we met several times when he came with his band to France. He is an amazing performer. And yes, it’s true, sometimes I play fast. I also love Charlie McCoy, Jeff Beck and many others, they are wonderful. I also love Stevie Wonder.

‘Crossover’ is an interesting track. It almost sounds Middle Eastern. What brought this on? Crossover is the only instrumental song of the CD, it was like a travel and it’s called crossover because It’s one of the themes of ‘Profile’. The concept of this album was to show some of my different musical sides. Each song is like a facet, and all eleven songs are forming a whole

Verbals: l IA m w A r D V I s U als: VI r GINIE l E roux

“Harmonica iS like a Second voice, it’S our breatH wHicH makeS tHe Sound, goeS StraigHt to tHe Heart”

group with eleven different facets.

Your songs have some very intricate harmonica and guitar parts playing in unison or harmony. You must have worked hard with your band?

I love when harmonica and guitar are playing in that way, very close together. Yes, it’s some work, but a lot of pleasure!

How did you get the band together?

With my actual band, we met around eight years ago, in different concerts, events, we played together sometimes. But we decided to create the band and to be all the time together, as it’s today only three years ago. And we were working on recording the second CD last week.

So will there be a new album out soon?

Yes! We have just finished recording the rhythm tracks and I just have some vocals to record soon. But we already are mixing the first songs. So we are working very hard on it.

Let’s talk harmonica. You learned the instrument from a young age. Where do you get the inspiration for playing the blues?

I don’t know, it’s a natural thing, and I take inspiration in different styles of music. I started to learn harmonica at five with my mother - she gave me a harmonica on Christmas Day, and I’ve never stopped playing since!

And then you studied with Greg Zlap at the School for Blues in Paris.

Yes, I needed someone to explain me the technical part of the instrument: bending notes, overblows, musical culture etc. And one day, at eight, I arrived at Le Souffle du Blues in Paris. It’s a school of the harmonica. At that time, the teacher was Greg Zlap. We did some concerts all three months, so it was a very attractive experience, it was a great motivation, to play with true musicians, and discover improvisation, learn to listen to ourselves all together.

You say you prefer to learn by ear - by improvisation - rather than from sheet music. Is playing a very intuitive thing for you?

Yes. Today I think that it’s the best way for me to express my music. But I started at five with sheet music. You’re right, playing is a very intuitive thing for me.

You were a judo world champion before you took up music full-

time. What made you jump ship? I’ve always done both music and judo at the same time, but after the world championships, the French judo team changed their mind and wished that I stopped music. I refused, and I stopped judo to take up music full-time, because you can’t do judo competition all your life. But music you can. We can do music all our life. And I loved music so much!

coNtINuEs oVEr

racHeLLe PLas OnsTage

And the song ‘Killer’ is about judo?

Yes, my trainer often said to me “You’re a killer” and I wrote the song about it.

The world of harmonica is still very male-dominated. How do you see the future for women on the instrument?

There is much more women who are playing harmonica now. I think and hope that women will continue to find their place in this men’s world.

Your website mentions appearances in Canada, Cyprus and Thailand. Can you tell us about those experiences?

Some amazing festivals happen in different countries in the world. We discovered Canada, in Montréal, with the very impressive big dimension of things there. Probably FestiBlues International de Montréal was the highlight of my career so far, where we played for 10,000 people. In Thailand it was for a national jazz

festival, where there was almost every style of music. We were the rock part of the evening. And in Cyprus, we were playing in front of the sea of Paphos, for a rock festival. It was a very beautiful experience.

Wherever you take your music, people connect to the harmonica. What makes the instrument so perfect for blues music?

Harmonica is like a second voice, so it’s our breath which makes the sound, which goes straight to the heart. Blues is a music full of feeling. Harmonica is the instrument which is the most close to the voice, with the full use of the breath. I think that’s one of the reasons.

Do you have any advice to aspiring blues musicians? I think that I’m too young to give advice to people!

On that note, who is your favourite young harmonica player?

If young means less than 25 years, I can’t answer another man than [prodigious jazz harmonicist] Konstantin Reinfield, he is the youngest harmonica player than I know.

Konstantin has played at the National Harmonica League Festival in Bristol in the past, as have you and your band. Any plans to come to the UK in the near future? Not yet, I would love it so much but I’m waiting for someone to propose something to develop our career further in the United Kingdom.

f in D out more about r achelle p las at www.rachelleplas.com

LIAM WARD is a harmonica player, teacher and freelance writer based in south Wales.If you’d like to learn harmonica online with Liam, visit www.learnTheharmonica.com.

What ’s happenin’next...

Interviews: James Cotton, Maggie Bell, Sugaray Rayford, Little Devils, Richard Townend, Blues Rebels, eli Cook and more...

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Robbie Mcintosh

V erbals: GE o FF DAVIE s V I s U al s: l IVE shots

robbie says his band play “a mish-mash of all the stuff that i like. it falls between the b lues and country. little feat were one of my favourite bands, and early steely dan”

idon’t like pigeon-holing, it ruins the music industry to have to be one or the other. Basically its a Rock band, thats as defined as I want to be. Paul Jones played some of my music and Bob Harris loved the album Emotional Bends.

“I’ve always loved playing guitar. I had my first one probably aged six or seven. I had two older sisters and we all learned to play. For example, Songs From A Room by Leonard Cohen, learning finger picking patterns. We had a gut string guitar, classical, I’d recommend them. You can get a tune without the pain, not slicing your fingers to bits! Then I had an Echo guitar and mum insisted I had proper lessons in classical guitar, between thirteen and seventeen, eighteen years old. I did all the grades. The exams were nerve cracking.”

“Michael Lewin, the guy who taught me guitar, because of his discipline he enabled me to play – a lot more than just Rock guitar. Being able to finger pick, he turned me onto other music, like Django Rheinhardt, my dad had some. Sibelius, Debussy, Delius, Ravel. I love all that impressionistic school. Still listen to a lot of classical music, new and old. I love Mozart and Bach. Steve Reich from the US modern. Turned me onto a lot of lovely stuff.”

“I was way ahead of the others [learning guitar] when at primary school, around ten, eleven years old when I would pick out Beatles tunes. Me and my mate played a school concert, we adapted the lyrics to Thank You Very Much by The Scaffold. That was in 1968! I was in more bands at school and left without going on to University, to join a band.”

The bands Robbie has appeared with are numerous – The Pretenders, Paul McCartney, John Mayer, and more. Robbie recalls a favourite, Norah Jones, “Playing with her was a real feather in my cap. At the audition I played a couple of songs and was invited to join the band. She’s such a great singer, it couldn’t get any

better, really. Being with Norah was a high for the whole tour, for a year we went just about everywhere. It was just brilliant, like being on a camping holiday, on a bus together.”

Now Robbie is with Sir Tom Jones, “Just amazing playing with a singer who is amazing every night! He never sings a wrong note. The crowd love him. It is nice to play to a crowd who are so far up for it. A high was playing Monte Carlo Sporting Club with Shirley Bassey and Tom. They threw a spotlight on her and Tom dedicated a song to her. My dad’s a Welshman, from Barry Island. Nice with the Welsh heritage! I’m writing after the Sir Tom Jones tour, will get back in the studio and get another album sorted.”

for more information, go to: www.robbie mcintosh.com

the RUMbLestRUtteRs

hy tapping a rich musical source, south wales trio the rumblestrutters bring you blues from as far back as it goes! this band bring you feel good blues, jazz and jug music of the prohibition era and beyond

beginning in 2014, the Swansea-based acoustic three-piece have quickly garnered critical acclaim, with David Crosby and Spencer Davis among their high-profile admirers. The band’s vivid evocations of the music of the 1920s and ‘30s has earned them a reputation as one of the most authentic and popular roots bands around the UK circuit, with highlights including stellar performances at Birmingham International Jazz Festival and Gloucester Blues Festival among many others. Started during a spring clean when Jon Toft (vocals, mandolin, and banjo) found an old ink jug at the back of a cupboard, the band also features the virtuoso acoustic guitar-playing and voice of Jonathan Nicholas, and National Harmonica League winner Liam Ward on vocals, harmonica and jug.

The range of instruments makes for a varied and eclectic set – with washboard, swanee whistle et al putting in cameos - but the boys are picky when it comes to material. “The selection process is simple but strict” Ward says, “the songs must be great - and ideally older than our combined age!”

The band’s performances are full of fun. The musicianship is striking too, with each member obviously

honing their craft individually, and the band working hard as a whole to get the sound just right. Most of the band’s songs hail from a time few of us remember. The Rumblestrutters are bringing an under-appreciated side of the blues to a new audience. Songs of bootleg liquor, all-night parties and bacchanalia abound, tapped from a rich musical source, presenting the authentic sounds of 1920s and ‘30s America with fresh verve and energy. This is a part of the genre that we would all do well to re-examine, or indeed uncover for the first time.

The band are a consistent feature at arts centres and theatres. Pontardawe Arts Centre said of the band’s performance: “It is really heartening to know such relatively young guys are into playing this sort of material and with so much authority. They really are keeping roots music alive and well!”

Not that the Rumblestrutters are interested in being a novelty act. The band’s originals keep true to the genre while pushing the style forward, and they are currently working on their debut album – featuring original and traditional songs - to be released later in the year.

f or information visit www.therumblestrutters.com

Joe ALLen

joe allen is one of northern ireland’s top blues slide guitarists, drawing inspiration from charlie patton, son house and robert johnson

joe picked up guitar at the age of twelve after being bitten by the Blues bug when he chanced to hear a Leadbelly album.

Chasing down any Blues albums he could find he soon got heavily into Patton, Son House and Robert Johnson as well as bands like Zeppelin, Cream and Peter Green’s Fleetwood Mac.

Also a big fan of Rory Gallagher, especially his acoustic playing, and of course Muddy and Wolf.

Making his live debut at fourteen at the prestigious Flamingo Ballroom in Ballymena with local band Angel, he has since been a regular on Northern Ireland’s music scene playing in bands like AGS, Harper’s Hill Blues Band, The Flood and Willie Drennan’s Folkabilly Band.

Also maintaining a solo career as an acoustic Blues man, he has supported acts like Devon Sproule at Ballymena’s Braid Arts Centre. Joe plays a Gibson J45 and an Ozark Resonator and has recently played at the

Voodoo and The John Hewitt venues in Belfast.

Currently playing in a duo, Biddy Early, with Christine Banks, Guitar/Vocals, and hosts the hugely successful Biddy Early’s Open Mike on the first Thursday of each month at the B T Club, Ballymena. The Open Mike has been going for eighteen months now and Joe says it is going from strength to strength, attracting an enthusiastic audience and performers from across the country.

Joe is also a published poet with five collections of poetry, most recently: ‘Looking for Robert Johnson’, which can be obtained from Lapwing Publications, Belfast. It contains a sequence of poems on the mysterious death of Robert Johnson. He is getting ready to record some solo and Biddy Early tracks for a CD release.

c opies of the c D, n othin’ but the Devil, can be obtaine D D irect via, joeallen1961@hotmail.co.u K an D more information, vi D eos, gigs can be foun D on, www.faceboo K/j oeallen

the bLUes ConsoRtiUM

V erbals: mIKE lIG ht F oot V I s U al s: Ell E c urr AN formed in 2012, the blues consortium appear to be relative newcomers to the essex blues scene. a closer look at their line up reveals this is anything but...

founded by vocalist Del Stoton aka Toad, he carefully set about this new venture by asking veteran guitar player Chris Campbell to join him.

Del had made his name with Hair of the Dog which featured the late great Pete Gale on guitar and The Legendary Undertakers, whohad a substantial following in Europe. Chris cut his teeth with the semi-legendary Victor Brox.

Listening to both Del and Chris, their influences are immediately obvious: Delta Blues played in the style made popular by bands from the British Blues boom.

The choice of bassist and drummer was at first a surprise but turned out to be quite inspiring. Two youngsters in the shape of Adam Wright (bass) who is actually a very accomplished lead guitarist in his own right and Paul Beddow (drums) who is actually a bassist and plays saxophone.

A live recording emerged as the album Railway Tracks in mid 2014 to a plethora of glowing reviews. Although all covers, it showed why Chris is well respected among his peers and why Toad was rated by the highly respected New Crawdaddy Blues Club as one of the finest frontmen on the circuit. This is a masterclass

of light and shade, deftness of touch and controlled aggression.

A recent headline at the New Crawdaddy Blues Club saw the band introduce a new acoustic set featuring Adam and Chris on acoustic guitar, with Paul adding percussion and saxophone. Not only was it well received, but it also marked the introduction of some self-penned material.

In fact, as we write this, the band are in and out of the studio recording material for their second album of originals with hopes of an autumn release. Two veterans and two youngsters playing a wonderful gumbo of hardhitting, dynamic and electrifying blues. In Toad’s own words, “the blues just got bluer.”

f or information visit www.thebluesconsortium.co.u K

liStening to botH del and cHriS, tHeir influenceS are immediately obviouS

JACK bLACKMAn

having just completed his third and final year at leeds college of m usic, 21-year-old jack blackman is preparing to pursue his own brand of original blues-based roots music full time

jack’s first break was in 2008 after being invited to guest with Paul Jones and the Blues Band at Cox’s Yard in Stratford-upon-Avon. This was shortly followed by his finger-busting arrangement of Blind Blake’s ‘Police Dog Blues’ being aired to a national audience via Jones’ BBC Radio 2 show.

In sharp contrast to the blues-rock direction pursued by many of his peers and contemporaries in the genre, Jack’s passions lie in the honest and earthy sounds of pre-war blues and roots music. His interpretations of pre-war artists including Blind Blake, Rev Gary Davis and Skip James in addition to his own unique compositions have been met with rave reviews from those in the know. He is also arguably the best slide player of his generation. Acoustic magazine has described his voice as sounding “older and more care-worn than his tender years should allow” and his guitar playing has been branded ‘exquisite’ by FATEA magazine.

After two trips to the Mississippi Delta, which saw him perform at Morgan Freeman’s Ground Zero Blues Club in Clarksdale and appear on the legendary King Biscuit

Time Radio Hour, Jack released his eponymously titled third CD in 2013. Featuring nine original tracks, including the haunting ‘Charles Walton Blues’, which tells the true account of an alleged witchcraft murder on Meon Hill in his native Warwickshire. The song was later featured in a BBC Radio 4 documentary telling the story of the murder and Jack was commissioned to record the incidental music for the program.

Jack is currently working on his fourth full-length album of original material, which will see his fingerstyle guitar and vocals accompanied by a double bassist and drummer on record for the first time. In addition to this, keep your eyes peeled for the release of a five-track solo E.P recorded at Strawhouse Studios, an eco-friendly studio in the heart of the Warwickshire countryside.

Jack’s forthcoming summer live appearances include Blues at the Fold, Upton Blues Festival and Folk on the Water, and look out for Jack’s upcoming gigs throughout the country across the next few months.

V erbals: chr I st INE moor E V I s U al s: m A tt b A xt E r

Pretty Things BEDTIME STORIES

It has taken seven years to get here and is well worth the wait! It sounds so natural and organic and full of the essence of The P.Ts. This works like a good bourbon or whisky in the maturing process, so enjoy our chat with Phil and Dick (not a comedy duo) as they discuss the process, then go and buy the album...

PHIL MAY SPEAKS:

Phil, I’ve been playing this new album of yours and In The South has this real Bo Diddley 6/8 beat but the song is something else, mystical, apocalyptic. It’s the mood we were after, yes, a bit unusual.

And Dirty Song, the closer, it sounds like it should open a film, about a train robber gang or something.

(Laughs) Well I’m glad you like it, anyway.

Sky Saxon, You Took Me By Surprise, your version is on here. The Seeds had their moments, didn’t they?

(Emphatic) They did! The whole thing about is when he died, his widow wanted to do a tribute album featuring

several bands and artists, I think to fund some kind of idyllic wildlife situation or project. I never really got to the bottom of it all. Anyway we recorded a couple of things for it and it must have gone belly up however we were pleased with both the songs that we had completed and as a nod it did seem appropriate to stick one on the new album.

Yes on the album, the cut Turn

My Head sounds terrific, it could almost be off Parachute, y’know whenever we’ve met before you said Parachute is city music, reflecting city life and concerns, moments of great beauty, but you couldn’t mistake it for rural music. I’m very loath to put or to post information into things that people hear, because in essence, I think what it means

to you is what it means to you. It’s not right to interfere, y’know. Best you interpret it your way rather than have your take in it changed because of something I say, when you drop the needle down on the record, your experience starts, that’s your moment, a choice that you make when you listen to something. If someone says, say this song reminds me of my dad I just say fine, great that’s what it’s bringing to you, I’m not going to say no. it wasn’t about that.

And if you and I were staring together at a painting in the Hayward, you might get something out of it that I don’t, or vice versa. Exactly, once you make a record, Parachute was very much interwoven with our lives at that point, it was mainly Waley and my record, a lot of it was done in Westbourne Grove and Terrace initially and reassembled on the floor of Abbey Road with everybody contributing at that stage. So once you get it out

Verbals: PE t E s A r GEAN t VI s U al s: court E s Y o F INDI scr EE t r E cor D s

The Pre TT y Things are sTill here and sounding as good as ever, if noT be TTer, on Their laTesT album ThaT has been Too long coming

VINTAGE 2015. IN FIGHTING FORM. Their first studio album for 7 years, and the 12th studio album in a career spanning 52 years. A thundering and potent new recording from the legendary band. Recorded as true as possible to their ‘live’ sound - a cool, vintageedged sound. The band is extensively touring in the UK and Europe in 2015.

OTHER COLLECTABLE PRETTY THINGS RELEASES

LIVE AT THE BBC Remastered 4 CD set. 60 track collection of archive and rare recordings.

Detailed liner notes with band quotes.

LIVE AT ROCKPALAST 3 Disc set. Restored film + Remastered soundtrack. Rockpalast Christmas Special 1998 (DVD+CD)

Plus 2 Bonus concertsCrossroads Festival 2004 & 2007 (DVD).

www.repertoirerecords.com

there, all you can do is ask or hope that people listen to it. Maybe you are hoping it’s going to stir some memories or thoughts, something perhaps in their lives that they can resonate to.

I don’t know of a better sound picture, whether I am picking up the ‘right’ vibes or not, than the Soho portrait of Cries Of The Midnight Circus and this Hogarthian range of folk that you and I know are out there in late night London. When we’d finished playing in that area, we would just go down and drink with the hookers, y’know until four or five in the morning. It was great, they’d show you pictures of their kids back in Prague that their mum was looking after, or their gran and I felt we were kind of doing the same thing, we were selling ourselves, to me, they were perfect company.

When I came down to see you play at Cranleigh, we were chatting in the break and I gently reminded you that your version of the Byrds’ Renaissance Fair hadn’t made it on to a PT record and here it is, a kind of magic about it.

(Laughs) Fantastic, Pete, we found an eighteen-minute version of it. Mark came across it on some tapes, but it must have been a live on stage one.

You did play it at what was Ewell Tech?

Yes and we used to do Why, the Byrds’ Eight Miles High flip, too which went on for ****ing half an hour!

You just can’t wrap it up. Happens to me on Pushing Too Hard! What are your overall thought about this new record, Phil?

It’s funny for me, because we were working on the box set and Mark suddenly said how about a studio album? Seems Repertoire were really keen for

the current line-up to release something. I don’t think any of us had really thought with the box set coming out, part of the reason I think that with us going through the material on the 51 year history we realised that Jack and George who have really energised the group hadn’t got anything out there of theirs. This has blown them away, they now have their own first Pretty Things album.

The bass playing is cool and the drumming absolutely ferocious, for example Greenwood Tree! He’s brilliant and the idea of putting a drum solo on a record. Who would have thought it would ever happen again? Used to be obligatory, didn’t it?

The only thing sounding this fresh is The Strypes and Temples. Aha, apparently we are huge heroes of The Strypes. They recorded where we did Balboa Island and the guy that runs it said they couldn’t believe that we’d recorded there. They’re only young, that’s very cool isn’t it?

DICK tAYLor SPEAKS:

Talking of drums, Dick, Jack Greenwood plays up a storm on this new PT album! (Laughs) It’s probably the only album in thirty years on the rock side, anyway with a drum solo. He and bassist George Woosey are living their dream and playing out, so Phil and I can kind of sit on top of that, but yeah, having all that youthful energy, it really does help, live and in the studio. This release means that they have their name on a new record which really is only right and we are happy to make it happen for them.

And Renaissance Fair is here.

Yes, now we used to do that live and it used to twist off into all sorts of things, but we thought we’d so a version that was pretty crisp for this album. Greenwood Tree came out sort of psychedelic, just take off and see what you can do, very much what we did late ’66 to ’69, in spirit.

As did the Dutch band Golden Earring. Oh yes, and we used to do. These songs are very good vehicles to go to places you don’t know where you’re going. It’s just good to have a platform to do that at some points, they tend to solidify as you play into something that has a shape to it.

It’s the essence of Miles Davis, the theme you take somewhere and back.

Yep, heading somewhere different when you play that piece, somewhere you may never go back to as well. When we started out there was a lot of free jazz around the scene, not in the mainstream but we heard it, so there has always been some of that in what the Pretty Things do, when we want to.

check ouT www.rePerToirerecords.com for for more informaTion

DISCogrAPHY

The Pretty Things 1965 Get the Picture? 1965

Emotions 1967

S.F. Sorrow 1968

Parachute 1970

Freeway Madness 1972

Silk Torpedo 1974

Savage Eye 1976

Cross Talk 1980

Rage Before Beauty 1999

Balboa Island 2007

The Sweet Pretty Things Are In Bed Now, Of Course... 2015

Born and raised in Pittsburgh, Pennsylvania, she has notched up many, many miles on the road across the USA before finding her spiritual home in Memphis. She has been playing at Silky O’Sullivan’s on 3rd and Beale since Friday June 7th 1997 and it has become ‘home’. The list of people she has played with is a real who’s who but to name just a few; Taj Mahal, Jeff Healey, Delbert McClinton, James Cotton, Zac Harmon, Maceo Parker, Marcia Ball and so many more! Those names will tell you that here is a truly respected lady possessing of a voice that oozes Blues and deep tones that caress a song into new life or takes it as her own and she can craft, grind and wail out the Blues.

Barbara, a warm hello to you, let’s see how far we can probe you. Hey Frank and all the Blues Matter’s Readers! A GREAT pleasure to be here in the UK and beyond in print!

You were born in Pittsburgh and I noted that you came into to the

world with colic! How did your family cope with that in those (so) early days? Seems like you came in screamin’ and hollerin’ and still are! My mother “Rose” says she used to rock me in the dresser drawer next to her bed! I joke with her and say “I KNOW you closed that drawer once

or twice to get some rest! Coz I’m so claustrophobic!” We laugh out loud! We also joke that I came into this world screaming and plan to go out in the same fashion!

Like many of us your early introduction to music was via what your parents listened to on the radio, were they musical themselves?

Yes the radio, yes they played cool records... Ray Charles, Johnny Cash, Frank Sinatra, Petula Clark, The Beatles, Eddie Arnold, The Platters, The Drifters, Louis Armstrong, Vicki Carr on, and on and on, and somewhat musical parents. My mother took all of us (My four brothers and myself) to church EVERY Sunday and my father sang some barber shop quartet with my Uncle Dave (My Godfather). There

ThE QuEEn Of BEalE STREET

The reigning Queen released her 10Th album TiTled mem P his blue – s wee T, sTrong & TighT. in m ay as she was honoured wiTh her own comemoraTive brass music noTe (The blues e Q uivalenT of a hollywood sTar) in The hearT of her kingdom

Barbara Blue

“My TIME In MEMphIS haS BEEn lIkE BEIng On ThE ROaD 365 DayS a yEaR”

was always music, be it records, radio, TV or singing in the car.

I read that you sang at Church and in school choirs etc. what really hooked you into singing, the spirituality/harmonics/rhythms/ release/energy?

I believe I was born singing, and all of the above just added to my cultivation and enlightenment of music as a grow-and-learn and vice versa way of life. I was born to sing!

What is your earliest main musical memory (good and bad) and favourite song?

I use to sit at my Dad’s workbench, I was four years old, he was a carpenter, and hammer nails into a block of wood while he worked and we would listen to the radio and he would sing and I would sing along, songs like The Tennessee Waltz (Patti Page) or Crazy or Walking After Midnight (Patsy Cline) or Roger Miller or Hank Williams. My dad listened to a lot of country at his bench.

Your first instruments were piccolo and flute, when and how did the guitar take you?

I’ve been playing guitar since I was 9 or 10 years old, still not very good... just chords... but enjoyable enough for me and my friends! never in public or a gig! I had to play the flute/piccolo because I went to a catholic grammar school. I remember that day so vividly. I was so excited to join the school band! I

was going to play drums!!! We were all standing in line in the cafeteria waiting to tell the nun in charge what instrument we were choosing. When my turn came, I said sister I want to play the drums. She looked me right in the eye and said “No!” girls don’t play drums. It’s either the flute or the clarinet! I couldn’t believe my ears! All I could hear in my head was squeaky reed sounds so I said flute. I played it all the way through High School/ Marching band. never learned to play drums properly, but I play a mean tambourine!

You played in a number of Rock ‘n’ Roll cover bands before settling to do Blues only. 1983/4 led you into City Limits Blues Band, how long did that ride last and how far did it take you and change you as a singer?

I played all kinds of music before the blues showed me we were related. I think the City Limits Blues Band lasted two or three years. There was lots of musical and spiritual growth back then. I was heavy into jazz also. Dinah Washington, Sarah Vaughan, Billie Holliday, Etta James,The Trio, Stan Getz, Charlie Parker and Miles Davis. I found the intonation amazing. Again growth and knowledge.

So you started in Pittsburgh then, along with travelling, played in Detroit for four or five years, went back to Pittsburgh then landed in Memphis and stayed. What is the difference in the feel of each place that led you to decide on Memphis?

Memphis IS Music!! Memphis has felt like home to my soul since the very first day. My time in Memphis has been like being on the road 365 days a year. My Mom came to visit me not too long after my father had passed and spent

some time with me. At the end of her visit she looked me in the eye and said “This a good place for you and you belong here.

The music is here.” So with that I was at peace to stay so far away from her and my family. Pittsburgh Is My First Hometown, My Birth-Town. I Will Always Love It. I Have Spent Some Time In Arizona 1977-1980

Playing Guitar In Biker Bars And Doing Lots of cover songs. This was growthtime. Detroit 1980-1987 was a major growth spurt musically. I fell in love with the blues there. Got to play with some greats there, some wellknown, some not known at all in some great venues.

Would you term yourself a singer or a vocalist? Define the difference.

Vocalist/Entertainer. I believe a vocalist knows their voice is their instrument. It takes practice and listening skills to be a vocalist. I hear more singers than vocalists.

Did you choose the Blues or did it choose you?

I think the blues and I are related – you can choose your friends but you can’t choose your relatives!

When you write your own songs, how does it work for you (on guitar or piano), what comes first etc., lyrics, events or riffs?

Songs are gifts from my subconscious. They’re are in there and come out at special times. Flashback moments happen sometimes and feelings overwhelm me and I write down the words (use to be on paper but mostly in my phone these days) but Ronnie Earl gave me a dear gift when we were in the studio recording some tracks for my

new CD. A small hand-bound leather book of blank paper for writing songs. Sometimes I say something and I know it’s a Great hook for a song, so I write it down, it might be a week or a month or a year till I pull it back out, or I can get obsessed and have to sit down and write all I can at that moment. I finish most of my songs just before I head into the studio. Some are finished-refined-rewritten in the studio. Track 13 on Memphis Blue – Sweet, Strong and Tight was a one take song written between me and Ronnie Earl, a very special gift!

Which of your songs did you complete writing the fastest and which was the longest struggle to make work?

Too many to remember. I don’t really have any that were a struggle but on this new CD, I wasn’t quite happy with the way I sang Me & Jesus and I had a piano track added by an old friend Sonny Barbato the I had to re-sing the track because his phrasing helped my soul feel what I wanted to sing all along.

We’ve been listening to your latest album – Sweet, Strong and Tight (and have to say it is getting worn

out with repeated plays). How did you select the songs to cover on This Album And After Your Previous Releases How Do You Decide On The Balance Between Covers And Originals?

This is a very special record. It’s titled Memphis Blue –Sweet, Strong and Tight. It’s my 10th co-produced (by me!) record and I just thought it needed to be all Memphis. I sent emails, text messages made phone calls and told most of the Memphis music community I was looking for songs for my new CD.

I think some folks thought I was joking around, but in the end I had just enough songs. I figured I wanted to record songs from hardworking folks that I knew personally. it generated a lot of

love. There are some co-writes with Lester Snell (Memphis musician extraordinaire) and myself and we made it work. I’ve been around a long time and I get air play and wanted to generate money for folks I knew that could use it instead of strangers.

You have the honour of your own brass note on Beale Street’s Wall of Fame now, how many are there at present and how important is this to the regeneration of Beale Street?

My brass note is number141. There is a list on a website somewhere in cyberspace, the Memphis Music Foundation is being incorporated into a new project headed by David Porter and I’m not sure where that all is at the moment.

Any plans to tour Europe/UK?

I just had a promoter contact me and we have it in the works! I’m so VERY excited. I’ve heard France, Spain, UK, Belgium, Denmark and Norway mentioned. After being on Beale Street 18 years, five nights a week I have many fans in UK and above mentioned areas I would love to re-visit.

Do you know how many gigs you have played at Silky O’Sullivans? 52x5x18 actual number of possible gigs. Minus 10x18 out of town gigs and holidays.

I make that 4500! There will be few who can beat that I reckon. So readers we have the prospect of seeing this lady amongst us in the future so keep an eye and ear out for news on tours and dates and make sure you treat yourselves to a dose of Memphis brought to you by Barbara Blue.

Footnote: Built in 1891, only the facade remains today of the Gallina Exchange on Beale Street which contains the famous Silky O’Sullivan’s, where the heart of Memphis beats loud and clear today!

for more informaTion, check ouT: www.barbarablue.com

DISCogrAPHY STUDIO

Out Of The Blue 1994

Sell My Jewelry 2001

Love Money Can’t Buy 2003

Memphis 3rd & Beale 2004

Royal Blue 2010

Jus’ Blue 2012

Memphis Blue 2014

LIVE ALBUMS

Live @ Silky O’sullivan’s, Vol. 3 2009

Live@ Silky O’sullivan’s Vol 2 2008

Live @ Silky O’sullivan’s 2008

Jorgen Asling

MEET SwEDEn’S BluES kIng

Verbals: A D r IAN b l A c K l EE

new rising blues sTar (and full-Time Teacher) Jorgen a sling d iscusses his m usic (and h is d reams) wiTh blues maTTers! magazine

Like a lot of artists Jorgen Asling has a fulltime job (as a teacher in his native Sweden). Following his latest release, The Stockholm Sessions, Jorgen may have to start reducing his teaching hours, although he mentioned to BM the words of wisdom he gives to his students: “Go for their music, but balance it with another job (initially) – that way you will avoid the stress and also gain the positive feeling of playing for pure joy and spirit. I know far too many frustrated musicians suffering from stress and bad economy.”

I recently reviewed your Stockholm Sessions CD release and I was very impressed by it and the quality of both material and musicianship, how pleased were you with the album?

I am very pleased with the album, we all knew we had something special after we had finished the recordings, there was not a lot of time scheduled to record it but after the African/Zydeco influenced tune Will There Be Peace Tomorrow everything loosened up and

then it all went smoothly. The whole process was different since I presented the songs and then we recorded it shortly after.

Will There Be Peace

Tomorrow was just a rehearsal (first take) but we kept it in as I was looking for something different, not just the ordinary 12 bar blues formula.

I must say that I’m extremely proud of the music since we recorded everything in only one to three takes.

How representative is the Stockholm release compared to your previous CD releases? This album is different because I normally play with a horn section in my other band Sir Jay & His Blue Orchestra (J. Asling aka Sir Jay), the Stockholm Sessions was more like a jam session, playing my own original music nobody knew. I wasn’t even sure if I wanted to do the recordings, so it was more like: Let’s see what happenes.

I Think that we all played great, very focused and spontaneous, I loved the vibe we had together and also the fact that I brought in the banjo/dobro player for the recordings creating a new fresh sound. I also recorded everything on a Les Paul with Peter Green Bareknuckle michrophones into a Fender Vibroverb amp. Using the amps Vibrato a lot. I normally play old style semi acoustic

Gibsons into different amps but with a Les Paul I played differently myself. That also affected how I presented the songs.

Difficult to pick favourite tracks as the material is so strong but I felt there are two standout tracks in Paps Is A Good Friend and the instrumental Blues For Tarrantino, how do you rate these?

I especially like Blues For Tarantino. I was thinking about Tarantinos crazy Movies (the Music he normally uses) so I went for some weird notes, and the organ player Svempa is playing a great solo with that. This song I believe best describes the bands spontaneous feel when playing gigs. The song Paps Is A Good friend was just a riff I had and I told the band to try it and we worked on it including a great harmonica solo. While I am fond of both tracks mentioned my favourite track on the album is Tarantino.

Tell me something about your musical career; is this the release that brings J. Asling to a wider audience?

I started playing the guitar when I was 18. A friend of mine one day asked me if I was interested in owning a six string semi acoustic Goya guitar, from the sixties, which had loads of different weird buttons on it?

He didn’t have enough money to collect his guitar from the local pawn shop in Malmö. Therefore he sold his receipt to to me. and that’s

how I started – just by coincidence. I’m extremaly greatful for that and I have thanked my pal a million times since!

When doing my military service shortly after I spent all my time in a basement copying Peter Green and Santana solos. Got absolutely nuts about playing the guitar. I wasn’t their favourite Soldier for sure.

I’ve been running a swinging big blues band: Sir Jay & His Blue Orchestra for 15 years. In that band we play a lot of BB King and T-bone Walker stuff, very 40’s and 50’s style plus some Little Milton and other old up tempo party songs. A hard swing horn section combined with a rough old semi acoustic guitar sound.We have recorded three albums highlighted below with this band, so The Stockholm Sessions is my fourth album.

In 2001 I released Let’s Jump Tonight. Half of the songs were T-bone Walker. In 2008 I released Blues For Uncle Sam. An album that includes 13 original songs by me plus one cover. We got tremendous reviews for that album but I divorced at that time and didn’t have the energy to promote it. I expected it to sail away by itself but that didn’t happen. I was really disappointed at the time, almost felt like stopping playing. In 2013 I released Two Happy Nights – recorded live! From a jazz club (Nov 07) in Brno, Tjeckue republic

The response and reviews we have received for the latest album have been great all the way. Blues news Germany really liked it. Some nice American reviews as well.

I also know that some blues radio stations in Germany have played the music; they all seem to pick the Blues For

Tarantino track every time. What really makes me optimistic is how some of my friends have bought the CD to sell on to their friends and family. Normally males appreciate blues Music but this version of soulful blues with different instruments has attracted females as well which makes me happy.

This time I’m investing more time in promoting the album myself as it was released on a small Swedish label called Do Music Records, which is distribution by Plugged Music Stockholm.

A really exciting thing is that I have a deal with KariOn Productions in Georgia, USA. Who have taken 275 CD’s of which 225 are for radio stations and then 50 for reviewers.

I invest absolutely everything I’ve got in this Project, playing my own Music with these fine and well experienced musicians, who all have good careers playing in the musical world although I feel it’s all or nothing this time round and hopefully the album may take off. We’ll see...

How hard is it to break into the Professional Music scene and bring your music to a wider audience?

“I SpEnT all My TIME In a BaSEMEnT COpyIng pETER gREEn SOlOS”

I understand the business a little more and therefore I feel prepared to bring this band/ music further but without genuine promotion and a booking Agencies support it’s pretty hard to break new ground so that’s what I’m looking for. Since the album reviews have all been so positive, I might think of trying to bring the music to a bigger label. If that doesn’t happen then I don’t think we will sell too many albums but I will see how this develops first. We have a positive flow now with some nice Concerts coming up in the near future, which with the fore mentioned USA promotional deal gives me reason to feel optimistic. I would love to play in UK and in the USA. It would feel like a real honor if this could happen as I have got tremendous respect for the “bluesy” heritage of both.

Have you done any gigs with your Stockholm recording band?

Yes! But only in Sweden so far. With my other Blues Orchestra we have toured in Tjeckia, some in Germany but mostly in the Scandinavian countries. Norway is a huge market with all their blues clubs which are often very well organized events.

Who have been your Blues influences and inspirations?

I would say: Peter Green! His super sensitive singing and almost prefect guitar playing is to my ears outstanding! Nothing beats his feeling on Love That Burns. YouTube is nowadays fantastic, with new uploads from old live footages. There’s one version of Stop Messing Round from a college in England somewhere. Think it is from 1969. I keep telling people over facebook to check this version out.

T-bone Walker and B B

King Duke Robillard for his enormous feel for swingin’variation. Don’t like his rock playing though.

Charlie Parker, the bluesy horn maestro. If you are a guitar player and need some new inspiration you should pick some riffs from him. That’s what I do. And the Allman Brothers’ two guitar players. I would say that I prefer Dickie Betts melodic playing.

Is there a strong Blues scene in Sweden?

There is a very strong blues scene in Sweden, but not very good money to earn. Thousands of musicians are going crazy about playing the blues. A good thing is that many develop a genuine feel for the music, not just playing blues rock with a lot of distortion – but that can be nice too. There are some really successful touring bands touring quite a bit here. I had been running different jam sessions in my home town Malmo for nine years although recently these have ended. That’s what I’m singing about in Down At The Wicked Pick, 450 sessions all together between 2005 –13. I also enjoy going to Stockholm to jam or playing some gigs with some great musicians up there. Sven Zetterberg the guitar/ harmonica player lives there.

I was particularly impressed with Sven Zetterberg on Harmonica, is he a musician you have previously worked with?

No, I have always admired him but never played with him. But I will split a bill with him in Stockholm and Sodertälje in October this year, a weekend at two different blues clubs which I’m looking forward doing.

The fact that he wanted to

play on two songs on the album gave me a good boost. I’m also happy that he really enjoyed the album himself.

In my review of your CD I likened your music and you as a musician to Duke Robillard, do you understand this comparison?

Yes, you were absolutely right there. I am very influenced by him. He has recorded a few fantastic albums, especially the Dukes Blues album. I was surprised that you could hear that on this album. There’s more Duke Robillard influences in my earlier albums.

BM really enjoyed talking with Jorgen, who has provided a different perspective on playing the blues and the challenges of running a band in Sweden.

for more informaTion check ouT: www.Jasling.com

Let´s Jump Tonight 2001

Blues For Uncle Sam 2008

The Stockholm Sessions 2015

LIVE

Two Happy Nights 2013

Little Chevy REvvED up anD REaDy TO gO!

n ever ask a lady her age They said! a nyway e velyne PéQ uignoT began singing only ThirTeen years ago, when she was 26 (you can do The maThs)

Evelyne and the other band members, all musicians and friends had been playing separately but then got together and entered and won! a Blues Competition in Switzerland in 2010. Since then they play 50+ gigs a year in the small country of Switzerland and when fans began to demand an album, not being happy to simply release one of covers, decided to write a full album of original material! No mean feat! That album is titled Sweet Home and has fourteen tracks of sumptuous sounds to take you on a journey.

The cheeky 40’s glamour and mischievous green eyes of Evelyne plus her expressive, smoky, soul voice, the talented boys which include boyfriend Illinois born Andy Lang on drums (also co-writer), Markus Werner, guitars & backing vocals, Roland Köppel, Hammond (proud to own a 1962 Hammond), Christoph Schwaninger, keys & piano, Rainer Schudel, bass (has his own recording-studio and works also as a sound-

engineer). They have produced a sound and an album that deserves acclaim so let’s get under the bonnet and find out more about Little Chevy.

Hello to Little Chevy, love the name. I see one (Chevy) features on the cover of your album. How did you choose the band name (and, wow, is that car yours)?

Hello Blues Matters! (smiling) I would really love to own that beautiful Chevy Bel Air! But to be honest, I’m still

riding an old bicycle as I can’t (yet) afford such a precious car. And as I’m unlucky at cards, lucky in love I’ll never win the Lottery, neither. But fortunately enough I own the name…

Being a young girl, my friends and family used to call me ‘Evy‘ and as I am the bandleader, we wanted this short name to be included in the Band’s name. We then added the ‘little‘ as I’m not very tall and because we wanted the band’s name to sound charmingly.

Should I mention that the band’s name was formed late in the night after sharing one or two bottles of good red wine)!

So what finally brought about you all getting together and deciding to form the band after individual careers?

Well, I can only speak for myself, but I didn’t want to

Verbals: F r ANK l EIGH VI s U al s: PIN o buoro / bor I s GA s (PAGE s 42 AND 45)

play in a cover band, anymore. It slowed me down singing songs that didn’t fit with my voice just because the other musicians wanted to play Blues-rock. I wanted to do my ‘own thing‘, I wanted to entertain people and I wanted to do this with musicians I like as people and appreciate as musicians. For me it is important to share what I love with people I like! That’s what makes me feel comfortable on stage and what makes me so happy! It’s like winning the lottery to have a band that supports me the way my bandmates do. I’m very lucky!

Before you came together how different were each of your musical styles? (Because you cover a wide range in the style you have melded together)

Rainer played (and still plays) bass in the Reggae-Band called Famara, Markus and Andy played with the Lazy Poker Blues band and with a Swiss-German Pop band, Christoph is still studying at the Jazz-School and Roland is on the road with different Jazz-Projects.

As a Vocal Coach you have to feel comfortable in different styles, it doesn’t matter whether you sing Pop, Rock, Gospel, Soul, Blues, Jazz – for my students, I am open to any style and teach them to sing in a healthy way – BUT as for myself, I sing Blues because Blues is always honest, mostly rough and it comes from deep down in my heart and soul. Blues means telling stories, and I have so many stories to tell. But a good cook never reveals his secret recipe…

How did you (Evelyne and Andy) set about writing the material for this album and select the subject matter of songs? How did Roland, Christoph and Rainer contribute? Andy is a great strategist

and I’m a dreamer – I always need a dead-line. (So he’s the head and I’m the Belly). First of all, we created a timetable and discussed about how to finance the Album.

Then we had two months left to write songs and two months for rehearsing them with the band.(I am serious)! As we go through life with open eyes, we’re inspired by what we see and experience. With every melody that came into my mind, I learned to play one more chord on the guitar and when I got home from work I played and sang my ideas to Andy, who himself played me his ideas. Together, we refined and that’s the way every song was born.

The band got a CD with 14 rough played tracks and I am so excited how Roland, Christoph, Markus and Rainer applied themselves and created that warm ChevySound!

Did you compose and put it all together in the Rainer Ton (Rainer’s) studio so that it was contained and organised or whereever it happened?

I wanted my musicians to concentrate on playing the songs and creating the right mood and sound for every tune. That’s why we didn’t do the recordings at Rainer’s studio. We recorded at a small, very nice and cosy studio in Frenkendorf (that’s a village 20 minutes from Basel). Serge Krebs, our sound-engineer is known as an old schoolenthusiast and he helped us

creating the warm sound we were looking for.

Inspiration for some of the songs like the closing Same Old Story (slavery), You’re Fired! (Odd title to start an album with), Homeless Man...

I’d love to get you to know all our inspirations, but as it would fill too many pages of The Magazine, I’ll just tell you what made me write Homeless Man: on my way to work I daily cross a place in Basel named Aschenplatz where in Summer and Wintertime we have a lot of homeless people there, as it is located near to the station and some parks where they live and sleep.

They’re sitting there with their beer and cheap wine when I go to work and are still sitting there at the same place, when I go back home. It’s so desperate! It makes me sad but it also makes me aware of how lucky I am! You’re fired! Was inspired by an ex-boyfriend. When you realize that the person near to you tears you down, you should really get rid of him and fire him. That’s what I did. Love should give you wings and strength!

Musical and vocal influences on you as a band?

At the age of 15, I bought a CD of Aretha Franklin. I didn’t know her and hadn’t listened to her before, but I looked at her picture on the CD cover and I thought: This lady looks like she can sing! It was the best purchase ever! I then started discovering Susan Tedeschi, Rita Chiarelli, Ian Parker, Imelda May, Brandi Carlile and of course, the unbelievable Beth Hart! In 2010 we started playing as a cover band and we played songs by Susan Tedeschi, Freddie King, B.B. King, Nina Simone, Muddy Waters and many others, but we always

played them in our way.

Describe Switzerland for us as a musical country and where the Blues fits. Mostly it is known for Montreux (not so much Blues), Lucerne and Basle festivals but what more is there?

Lots of you will think of yodelling and cheese and chocolate eating Swiss people. But we do have many good festivals here in Switzerland! The Blues-Scene is not that big as in other countries, but Switzerland isn’t as big, neither.

The Blues Festival Baden is a great festival, then in the French part of Switzerland there’s a Blues Festival in Vully, a small wine-village. Bands play there in different wine taverns, what’s very unusual but too cosy!

What’s tedious, is the fact, that for a Swiss Blues band it is nearly impossible to get air-play in Switzerland, as our country is (musically) very American and English orientated and unfortunately don’t support their locals as I think they should. Philipp Fankhauser, the most known Swiss Blues act, first had to succeed in America before Switzerland even took notice of him. So world – here we are!

Your best gig and festival and why? A gig to remember was last year at the festival ‘Summerblues‘ here in Basel. It was a beautiful day and we should play at ten in the evening. There were about 2000 people around the stage and exactly 10 minutes before we should play, heaven turned deeply black and it started to rain in torrents! In 10 seconds, the whole place was empty except of about 30 people, soaking wet, who

EvElynE: “lITTlE ChEvy IS nOT a fanTaSy ChaRaCTER, IT’S juST ME”

were standing in front of the stage and waiting for us to play. The Director of the festival came to us, paid us and said: “No problem in going home, guys!” And I remember my bandmates looking towards me and it needed no words among us – we nodded and we got on stage and played the funniest, craziest and wettest gig ever!

Markus your influences and heroes?

Markus grew up with the Beatles and the Allman Brothers and, of course, with B.B. King!

Evelyne did you simply grow into your fun style and image or how did you arrive at it?

Little Chevy is not a fantasy character, it’s just me. But as Little Chevy I am more courageous, flirtier and more adventurous than I am as Evelyne. There’s much more glamour around me on stage where I wear playful dresses and my lips are far redder than they are in my everyday-life. When I work as a vocal coach, I wear blue Jeans and a T-Shirt and just a touch of make-up. Being Little Chevy means that I can show parts of Evelyne I maybe never would as Evelyne. Does that make sense to you? (laughing)

You’ve got a really good grouping of pedigrees within the band; vocal coach, guitar and music teacher(s) x three, studio technician, mechanic so is there any aspect you haven’t got covered? Yes – we’re still looking for the

one with the money and the connections!

Where to next in your Little Chevy? We’ve been chosen as one of four finalists for the Swiss Blues Challenge on third July and of course, it would be an honour to win that thing and represent Switzerland at the European Blues Challenge somewhere in Europe, but I do not think much of contests. For me, music is team play and not a contest. But it may open new doors for us, so please keep your fingers crossed for us on third July! (No matter how things come Our Chevy is ready to play on stages outside of Switzerland!)

Where-ever it is we do hope it is a good ride to success and congratulations on a fine debut! Thank you!

c heck ouT www.facebook.com/ Pages/ l iTTle-c hevy for more informaTion

“wE’vE BEEn ChOSEn aS fInalISTS fOR ThE SwISS BluES ChallEngE”

Arelatively unknown blues band from Chicago have just released a CD, Blues Time to great acclaim. They are vocalist Jim Desmond, harpist Frank Raven and guitarist Jay O’Rourke who, stripped of ego, pretention and fame, are raw, honest performers. With around 150 years of playing the blues between them, it is not surprising that they are the real deal in contrast to so many of their better known counterparts.

Congratulations on your excellent new EP, Blues Time, it is an authentic, raw blues album of great integrity; we need more people like you on the music scene today, both sides of the pond. When and why did the three of you form the Lucky 3?

JD: In the mid-60s some older teens in my neighborhood were record collectors, blues and folk fans. They turned me on to records by Junior Wells, Howlin Wolf and Sonny Terry. Right after, I saw Junior Wells and Buddy Guy perform at the University of Chicago folk festival, I bought my first

harmonica and started playing along with my records. My favourite albums to play along with were Chicago, The Blues Today especially Junior Wells and Johnny Shines with Big Walter tracks, the first Paul Butterfield album and Little Walter’s Greatest Hits.

When I turned 21 I occasionally went to the afternoon Blue Monday jam session at Buddy Guy’s Checkerboard lounge on 43rd Street. Lefty Dizz hosted the jam and the place was always packed with postal workers. Buddy would sit at a table and

play cards with his friends and usually play a short set with Dizz and the band. Lefty would always bring me up to play with Buddy. I guess it was unique to see a long haired white kid playing the blues on 43rd Street. For a couple of years in the early nineties Jim Desmond and I with the Blue Watusis hosted the Blue Monday jam at Buddy Guys Legends club. We got to perform with many blues legends who would stop in to have a drink with Buddy and get up on stage with us. B.B. Odom and Larry McCray were regulars and we were also given the opportunity to open for many great performers such as A.C .Reed, Tinsley Ellis and Junior Wells just to name a few.

In 2012 Jay O’Rourke had the idea to put the three of us together for a blues based project as we’d known each other from playing on the

The Lucky 3 Blues Band ThREE STEpS ClOSER TO ThE BluES

Chicago scene in various bands since the 70s. He had produced the first Blue Watusis album Welcome To The House Of The Blues

What are the names and your bassist and drummer? They do not exist! We work with loops created by Jay, and use antique drum machines.

What is your typical gig schedule? Opening shows for big name blues artists such as Janiva Magness, the late Johnny Winter, Shemekia Copeland, The Blasters and others. We also do full nights on our own to help pay the bills!

What are your ambitions?

To take it as it comes.

Who influenced your harmonica style Frank and how has it changed over the years?

My original influences on

harp were Junior Wells, Paul Butterfield plus Big and Little Walter. I still look to them for inspiration. The harp was my first instrument but I later learned guitar sax flute and keys. In recent years I have focused exclusively on the harmonica.

Talk me through the band’s process of composing a song or instrumental. Where does the inspiration come from?

We have notebooks with song titles, ideas for musical grooves and words. We get together on a regular basis, compare notes and take it from there. As I got older I learned to sing less notes with more feeling.

Tell us a bit about your early days growing up. How did you get started on your instrument?

The music was everywhere, late night on the black radio

stations and weekends at the Maxwell Street market. We all played in a succession of bands through high school and after each band got to be a better musician and more professional. There were a lot of places to play back then and learn your craft.

Give us some insights into living and working in Chicago. Life in general is tough and life in the blues world can be especially raw. Two bluesmen that I know with positive mental attitudes are Eddy Clearwater who is always smiling and my good friend, harper Joe Filisko who teaches harp players around the globe not only to play well but also to relax and enjoy. Most of the band has had tough times in their lives in and out of the blues world. It is important to stay positive and be happy that we can play the music we love.

What’s your favourite blues album?

Hard Road by John Mayall and East West by Paul Butterfield because they really showed me that the blues were colour blind, and Chicago, The Blues Today on Vanguard.

Who is your favourite live performer?

Our favourite blues men are Junior Wells and Paul Butterfield at least partly because we saw them both so many times in our youth and have great memories of them. Favorite blues woman is Shemekia Copeland because

she’s a great singer and a sweet person too.British blues back in the day was also awesome. Fleetwood Mac with Peter Green, John Mayall with Peter Green and Mick Taylor. Also, Van Morrison, Georgie Fame, The Yardbirds with Eric Clapton, and Eric Burdon and The Animals.

Who is the best performer you have shared the stage with?

In the mid-seventies Bob Reidy the piano man and bandleader brought me on stage to play a three harp jam with Jerry Portnoy & Cary Bell. Also, at the third anniversary party for Buddy Guy’s Legends, Jim and I with the Blue Watusis went on right before Junior Wells. We were very excited and performed our dueling harps set closer. We were on cloud nine when Junior got on stage

and asked his guitarist George Baze “Who was that band?” Turning to the audience he said “I want to say thank you to those Blues Watusis” and started his set ferociously blowing his harp. Since Junior was not known for being friendly to or even acknowledging other musicians we were completely blown away and also convinced we had inspired our hero to start his set in such an atypical manner.

How do you see the future of the blues?

ln Chicago we have a program called blues in the schools where kids hear live and recorded blues. As musicians we are encouraged to teach blues classes for kids at schools of rock.

f or more informaTion, check ouT: www.lucky3bluesband.com

“ThE haRp waS My fIRST InSTRuMEnT BuT I laTER lEaRnED guITaR...”

The Strypes

“That’s what you do, charging headlong into the fray, you play gigs”

b ehold. b efore you is a band ThaT is aT The cuTTing edge of music. ThaT has young, adoring fans. ThaT Packs ouT venues. w hose members wear shar P ouTfiTs and deliver a shar P er, high Tem P o sTageshow. ye T aT The same Time, These P erformers demonsTraTe a dee P love of The old b lues masTers

Is this The Rolling Stones, circa 1964? No. We’ve got news for you. We’re not talking The Stones, ‘64. No. We’re talking The Strypes. In 2015. What strange magic is at work? What fiendish brew? Aliens, if you listen to the Crocodile Rocker. Elton John, not exactly an unknown himself, and who started out with Long John Baldry and Bluesology, has said of The Strypes, “I’m just dumbstruck by these four little kids from Cavan, it’s like ET or something, or as though Close Encounters has suddenly dumped them down in Cavan, like a messenger from somewhere saying ‘This music is alive, and we’re bringing it back’, and I love them for that.” Getting Elton’s attention is quite something and this is not a man likely to be this enthusiastic based on the kind of hype that often appears with new Blues acts.

You’ve probably seen it all before. Claims that the act in question is personlly keeping the Blues alive, or saving the Blues, or other empty slogans shouted out without the talent to back them.

So, are The Strypes all hype? Or are they worth playing close attention to? Read on to find out. You can also listen to the audio of an interview with The Strypes and some of their young fans on the podcast on the Blues Matters website. Hear what they say about Dr Feelgood, the acts they themselves enjoy, and much more.

Interview tHE StrYPES

Blues Matters! met up with The Strypes days after the TV airing of the documentary ‘The Strypes: Best Thing Since Cavan’. These Irish lads, all under twenty years old, come from the lake-dominated countryside of County Cavan in Ireland. Yet they are hitting the big time, or at least giving it a good hard smack here and there. Record deal? Check. Management? Check - Elton John’s company, no less. Big tours overseas and big support slots to the best in the business? Check.

So, on a sunny day, in a loft of Tunbridge Wells venue The Forum, while band manager Niall deftly did the ironing and made calls on his mobile, we sat with The Strypes, next to their fruit, Fanta, bottled water and precious chocolate coated digestive biscuits. Compared to their first ever interview, this one was ordinary fare. That very first was a radio interview by Irish Eurovision winner and local DJ Charlie McGettigan in Monaghan, in the Credit Union. When interviewed now, the band members, Evan Walsh (drums), Ross Farrelly (lead vocals/harmonica), Josh McClorey (lead guitar/vocals) and Pete O’Hanlon (bass guitar/harmonica), chip in on every answer, responding as a band.

As the documentary showed, these young men have supportive, musically-minded (and in a couple of case, musically experienced) parents. Here is an insight into the story so far. An early milestone was the choice of band name, as Evan told us:

“It was out of necessity. The first thing we ever did was a school Christmas concert in 2008, without Ross, preknowing Ross, it was myself, Pete, and Josh, and two other school friends. We didn’t have

a name and one of us was wearing a stripy jumper and my sister was very small at the time and she suggested The Stripes and we couldn’t think of any other name so we used that. The Y thing came about a few years later because of The Byrds and the Beatles spelling the names differently and it just seemed a thing bands did. By the time we started properly gigging it was too late to change the name, it had stuck.”

In 2010 the band went onto Irish national television in The Late Late Toy Show. Serious practice sessions led onto live appearances around Cavan and beyond. At this stage, unsurprisingly, the band were playing covers – The Kinks, The Beatles, The Animals and more.

An inspired video (by Finn Keenan) and version of Bo Diddley’s You Can’t Judge A Book By It’s Cover took the band literally overnight to the top of the iTunes Blues chart and a highly successful launch for their debut EP, Young, Gifted and Blue. That led to The Late, Late Show, and a scrum between music industry suitors for the services of The Strypes. London, Gaz’s Rocking Blues, and Ronnie Scott’s (Jeff Beck in the audience) ensued.

Elton John became an admirer at this stage and they joined his management company, before they signed with Mercury Records. Original songs followed, the best known so far probably being Blue Collar Jane.

Yet for all their parently help and the more recent outside deals, the band follows its own way, as the band confirm. Who created the success they enjoy now?

“We are our own, it all came about through our own hard graft. Being signed and being

juST a fuCkIng BanD, gET On wITh IT.”

in the situation we are in now just came about from our own gigging and proactivity in that we didn’t expect people to come looking to sign us. We were just doing gigs and making our own EPs for fun, just as a hobby. It turned out that it made a momentum around us.”

However, for all their growth and success, at one point the record company took a listen to songs for their latest album, and asked the band to do better. That surprised The Strypes.

“That was a bit of a body blow at the time, a kick in the balls. The story behind the second album was that we came up with a batch of songs that we demoed in Ireland, we had a meeting with the record company, and a lot of the tracks were rejected. They thought we were capable of better, a higher standard of work. Which we did really in the end, we’re kind of happy we went through that to get where we are, to come up with a product we’re satisfied with. Songs that probably wouldn’t have been written if we hadn’t been given that, better songs. It’s something that is part of it, that happens to the majority of all bands. You always hear the story, the label turned that down, then you just have to keep going, keep trying. You have to reach some sort of compromise, but you have to be happy with what you’re doing as well. We were happy all the time, we were happy with the songs we had before, and these new ones. It happened to [Paul] Weller on [The Jam’s album]

“wE’RE

All Mod Cons and he got a full album rejected before that, then he was like, ‘Fuck you, I’m writing All Mod Cons’, and he did. We’ve done that on a shitter level!”

The band sound has, unsurprisingly, moved on from The Strypes early days.

“Its changed naturally over the course of doing gigs and listening to music, new influences, we have a new album coing out in the summer time, it’s kind of just an extension of what is already in the band, kind of bluesy, garagey rock stuff. Josh has new ways of writing songs, you can’t be repeating yourself all the time, you have to be doing other things, it’s definitely heavier.”

A bit of heaviness is to be expected when your lead guitarist and main songwriter’s favourite guitarist is AC/DC’s Angus Young. Josh agrees.

“He’s pretty savage, proper Chuck Berry riffs. If Chuck Berry was technically better, he’d sound like Angus Young. If Angus Young was cooler, he’d sound like Chuck Berry. No, that’s a shit quote!”

The songs develop collectively, as The Strypes say. “It just happens, it seems to just fall into place really, as you’re playing a new song you go, well, I’ll play this bit, you play that bit. You just work with the song till you go, right, I’ve done with that, I’ve done my creative bit, it is now what it is. With the new record we had a bunch of songs, and the ones that worked just worked, we didn’t sit down and say we need to do this or that, we just jammed and then a couple things worked out, and we kept it going in that vein for the record.”

As their fame advances, do the band feel they particularly

represent anything? That sparks more than the usual range of responses.

“Yeah, Cavan people everywhere! Don’t really know. It’s hard to say we stand for this, we represent that. We have a voice that ties in with this, sort of thing. We’re just a band.There’s no one carrying torches behind us going ‘These boys’ll lead us to freedom’. We’re just a fucking band, get on with it.

We just represent ourselves doing what we want to do musically. And we represent our schools and our families! People saying we stand for this or that can sound a bit swanky, above our station. That’s nothing to do with Rock ‘n’ Roll, its meant to be a kind of music you enjoy listening to. That’s what you do, charging headlong into the fray, you play gigs.”

Have they been pigeonholed by the media?

“No, maybe initially when we started out, some bad journalists said we’re really really young, that was about it, for about a month, then it was grand. Funny thing, people came and went, ‘You’re the young Beatlesesque sort of band’, which wasn’t really the case, although we like the Beatles, everybody should, but we were young. It’s stopped now. We aren’t the most widely covered band in the media anyway, so we’re fairly accurately represented.”

What music is going down best with their live audiences?

“Our songs, Blue Collar Jane is a big one. Generally the singles off the album. New ones, like I Need To Be Your Only, we finish the set with. Scumbag City Blues. The lead track off the current EP we have out. Some of the covers are really pent up and fast,

people go mad for them even though they don’t even know them.”

Scumbag City? (as it is named on new album, Little Victories). Songwriter Josh explains the meaning behind the title, “It’s just about Cavan, its my home town, its like my relationship with it, from not liking it when I was younger, wanting to leave it, then being away with the band, and then finding out I quite like it, by the end becoming a requiem for Cavan.”

Starting so young, The Strypes began on a set list of covers, though that has changed. What do they bring to them?

“Speed, youthful aggression, our arrangement of them. Its hard to say what you contribute to anything, you do what you do within the band, put the most effort into what you do. When we do a cover song we’ve never

actually thought ‘What are we going to do different to this’, we just do it and go, ‘This is awesome, we’ll do that cover’. The only one we’ve ever really fucked around is Rollin’ and Tumblin’ off the first album. It being a traditional blues song, we did our own complete arrangement of that, it was the previous set closer, it had a lot of energy in that, an extended sort of workout, a lot of solos.”

In developing your own sound, you took in a lot of music. Has that stopped?

“No, there’s always new bands, new clips to find, to watch. By new, we mean acts we haven’t discovered. We’re always on the look out for new stuff to listen to. It could be from any era, we aren’t very strict in the parameters of genres, we’ve got very into different genres of music over the last while. Its the best way when you’re in a situation like ours, you’re on the move all the time, to have some sort of video representation of things you’re interested in is great, we’re living in an age when you can do that. You can’t go to many gigs when you’re playing them. While we’re away all the time, You Tube’s very good for discovering old stuff and finding things that you’re interested in.”

wE wERE InTERESTED in whether the band are hype or stand a chance of making history and storming the popular charts that the Blues has become a stranger to.

check ouT www.ThesTryPes.com for more informaTion

ThE BIggEST vOICE In CanaDa

There’s a roughness to her voice and the occasional growl that so many wannabees don’t have yet. There have been countless summer festivals in Canada and winter fests in Jamaica, clubs in Toronto, Detroit, and her home town of Kitchener, Ontario, all helping Cheryl hone that voice which can range between the sweet idle of a Harley chopper to the scream of an incoming enemy round. Her professional career began after high school singing in bands and on award winning jingles in the 80’s, then on to backing Ronnie Hawkins, Jeff Healey and Long John Baldry. Cheryl has five previous albums, plus this new release, 1953 on Busted Flat Records. She laughs easily, cracks wise and her conversation is peppered generously with tour band language.

You won an award for singing jingles!

I sang on a lot of jingles in the 80s. But I won an award from the national jingle writers for a jingle where I cloned Janis Joplin’s Piece of My Heart. I did the jingles cuz the money was good. But I have always

been singing in my own bands or as a backup singer since 1975. I took time off to have my sons and when I had cancer going through chemo. It would be nice to finally make enough money in the music business to ensure I go to the “nice home”.

We hear that you’ve beaten cancer. Yes I have. I had it in 2003, so I am twelve years cancer-free. Non-Hodgkin’s Lymphoma. I was very lucky we caught it at an early stage. Thank God it wasn’t in my boobs. We are going for it. I’m 62 years old this year, have been a musician for 40 years and I love singing in front of an audience. I started in church choirs and then sang in talent contests in bars in the early 70s. That’s when the bug hit me. They’ll have to pry the microphone from my cold, dead hands!

I couldn’t help but notice, married? I was married. He left me when my kids were young. It’s funny, the first thing he loved about me was my singing. And it turned out to be the first thing he hated about me. I have no one in my life now, but I’m taking applications.

They should start flowing in again

Cheryl Lescomb

s inger\songwriTer, cancer survivor, c heryl l escomb has a P owerful voice ThaT smooThly crosses from blues To counTry To a swee T ballad or rock solid rock

DOUG MACLEOD

2014 Blues Award: “Best Acoustic Ar tist”

“Best Acoustic Album”

“…exactly, precisely, what we expect from this gifted minstrel of sass and deep blues spirit plying his expressive vocals in the rollicking company of his National acoustic guitars.”

Nelson Brill, Boston Concert Reviews

NEW

E X A C T LY L I K E T H I S

“I can’t give this a 12 for recording quality, but that’s what it warrants ”

Jason Kennedy, HiFi+

REFERENCERECORDINGS.COM/BLUES.ASP REFERENCERECORDINGS@GMAIL.COM

“ easily one of the most accomplished and admired acoustic bluesmen of his generation this is an album that showcases MacLeod’s captivating, talented ar tistr y to the full.”

Iain Patience, Music News Nashville

after this. I love the retro feel of 1953. Soul Shakin’ Romance has that Philly street harmony thing going for it, dredging up Dick Clark and American Bandstand memories. It’s got a good beat and easy to dance to.

Thank you for saying that. I really wanted that feel. Like I wanted to have the Jordanaires behind me. You know, that feel. My voice is such an in your face kind of

voice that I wanted everything else not in your face.

The insert and liner notes have those early LP design and colour flavours.

That’s kind of what we were going after. I didn’t want it to be too 50’s because the colors then were just awful. When you get close to the 60’s the pastels and the pretty colours appear, but the early 50’s, not so much.

Tell us about The Tucson Choir Boys. They are from Mississauga, Ontario. Tucson sounds much more interesting. Plus they are funny fools that like to f**k with people! They are a talented group of musicians

and we are all friends that love to play together. We’ve been together for seven years and this is the second album that I’ve done with them, but this is the first that I’ve got an actual label and a publicist.

Great label name, Busted Flats Records.

Mark Logan is the real deal. He puts his money where his mouth is. His wife, Lynn wrote two of the songs on my CDs, Surrender and Places I’ve Been.

Nice. Surrender is one of my favorite cuts.

We did this album live off the floor in two days with some overdubs added later. It’s mostly acoustic with a standup bass player. It’s so cool that I don’t have to contend with screaming guitar players and all that shit anymore.

That’s just been nonstop for, I can’t tell you how many years that the guitar player’s been too loud. Asking them to turn down is like telling them, oh excuse me, your penis is too small. 90 percent of the time when I was doing a concert they didn’t even go through the house system because they were so frickin loud you couldn’t mike them.

There’s a tone now, a db level that just fucking gets me and it’s the lead guitar and an awful lot of my friends are feeling the same way. To me, there’s nothing better than a good acoustic guitar player. I love the sound, so this is awesome having these guys because they are so tasty and everybody pays attention.

What music do you pay attention to, to decompress to?

I listen to all kinds of music. Opera on Sunday mornings

“wE aRE gOIng fOR IT. I’M 62 yEaRS OlD ThIS yEaR”

and Led Zepplin’s first album on Sunday night. The 60’s channel on Sirius Satellite and my sons, 22 and 25 make me listen to some really rude shit. I love Janis, Etta, Tina, Aretha, Anne Lennox and I’m in love with Eva Cassidy.

The new album, 1953, has some tasty country electric licks on Too Much Time and I love the Bo Diddley, “shave and a haircut” beat during Nice Mix of Crazy. Bluesy, Surrender knocked me out lyrically, vocally and musically with the Fats Domino piano and sweet acoustic work. Hormonal rock with everything but the orgasm. Any man keeping company with the shadows would be lucky with your company on a cold night. Blues and country are roots music. They are the soul behind the good stuff.

There is good stuff coming out of Toronto and Kitchener. You guys host that killer blues festival in the summer.

Yes we do, but just in a two mile radius of Kitchener there’s gotta be fifty festivals in the summer. And it’s all our demographic of music. My biggest thrill is working with the kids. We do a blues camp and then the kids open the festival on one of the big stages. They just get such a thrill and work so hard all week to learn a set of music, you know, all blues standards. This is the fifteenth year of the Kitchener Blues Festival, twelfth for this camp and we’re starting to really see the kids that are coming up

like, Matt Weidinger and Colin White. Matt is playing with me on the festival circuit this year and he’s just 22. A kid!

You also play a festival in Jamaica during the winter. We go to Blues in Jamaica every year down there. This was our sixth year. There’s a drummer down there we know that’s from Toronto and we took a keyboard player and a guitar player then we then we just grab people down there.

No time for rehearsing when you’re in the middle of having fun. It’s just jammin’ stuff so you feel around with the people you’re playing with. And the music is just unbelievable. The people are so talented and from instruments that the people of North America wouldn’t even be able to tune. I like the culture and I like the way the women are revered in their culture.

Tell me about Long John Baldry. He was such a gentleman, such a trip. We did a cross Canada tour in the early 80s. I was on the road with him for almost a year. I was his backup singer while Kathy McDonald was in jail. And then there was the strangest thing later. I started singing with a group out of Detroit called The Detroit Women and she was in that band. So I took her place and she moved out to Spokane.

They are both gone now and any stories I have will remain in my mind and heart forever. Let’s just say Long John Baldry was a class act with a fierce appetite for all the good and bad things that were floating around in a pre-AIDS world. This was back before cell phones and his personal telephone book was like, really? Are you kidding

me? I couldn’t believe it. He was looking up like, Paul McCartney and Elton John. It was the early 80’s and a crazy time, I’ll tell you that. What a sweet guy and he started so many people’s journey. You know, like Rod Stewart and Elton John.They basically paid for his funeral because when he died he wasn’t a rich man.

There’s a lot of famous names running thru your background. Del Shannon, David Wilcox, Paul James, Billy Durst and The Detroit Women, Jeff Healey. He was just one of the many fuck ups in my life. I was living in Toronto. Jeff was just starting out, about sixteen or seventeen years old and comes down to a Saturday afternoon jam and he wants to get up and play, but he didn’t bring his guitar. So Jeff and I for years have laughed about that. He became so big in doing the road house movie and my guitar player wouldn’t let him touch his guitar. Well now he would! Jeff was a gentle, gentleman and a super talent. Hey, thanks so much for the interview and memories. You’re a fun girl and I absolutely love the album. When is your blues camp this summer?

The Kitchener Blues Festival and blues camp is August sixth through the ninth. You should come!

cheryl lescom and The Tucson choirboys, 1953 can be ordered Thru, www.busTedflaTrecords.com/sTore/

“I STaRTED In ChuRCh ChOIRS anD ThEn Sang In TalEnT COnTESTS”

MuSICal MEDICInE wOMan

b lues Pills are one of The mosT exciTing young bands To emerge in recenT years, crossing blues wiTh re Tro blues rock inTo a P oTenT blend ThaT aTTracTs much needed fresh faces inTo The music

Led by the stunning vocalist Elin Larsson (from Sweden) this mult-national line up includes Dorian Sorriaux (France), plus halfbrothers Zack Anderson and Cory Berry (USA). The highly acclaimed EP Devil Man quickly put the band on the map and last years debut album has taken them to another level. Watch this space for album number two early in 2016.

Hi Elin, another UK tour, how’s it all going?

Oh I don’t know, I’m loving it so far, all good. Lots of pre-sale tickets for the shows so that’s great. Happy to be back.

Yes, last time you were in the UK you supported Rival Sons. Yes, That was great, so much fun to be on tour with them. Really inspiring. Before that we played our own show at The Dome, Tufnell Park and that was pretty well sold out.

You certainly seem to be on

the cusp of a really major breakthrough, do you sense that? Yeah, sometimes (laughs). I think you know, you get caught up in the daily stuff. What I’m most happy about is people get to come to our shows and see us. People keep coming back even though we haven’t released our second album yet. That gives you so much pleasure, you know.

The second album, is that close? We’re working on it, we’ve been touring a lot since May last year when the album came

out so we’ve been going back and forth from the tours to the studio. Sometimes it’s hard to fit the time in. We’re working hard.

When you are on the road so much is it hard to find the space to be creative?

Yeah, definitely. When I’m on tour lyrics you can write, but it’s hard to make them into songs. Of course sometimes a melody pops up in my head and then I just record it.

How does the writing process work, are you the main lyricist? Zack and I are the main lyric writers. On each song we collaborate, which was the same on the debut album. Although Zack is the bass player he can also play guitar and drums. Same with Dorian, multi-instrumentalists. I’m really lucky to have them. If

“wE jaMMED OnE SOng fOR aBOuT fORTy

anyone has an idea we share it and then they all put in their own input.

You don’t rule them with an iron fist then? No, no, no. We have fun, they are all so skilled musicians and they give to the band in good heart. It’s a lot of fun.

You can sense that when you are together on stage.

I think that’s important, nobody stands by themselves but as a unit.

Was it 2011 when the band formed? Late 2011 we recorded two demo’s and put them on You Tube, Dorian wasn’t in the band then. Dorian joined when we recorded our debut EP. So in Summer 2012, Dorian moved to Sweden from France and we all got together.

That first EP made a big impact I remember. Yeah it went really fast. I remember our first gigs were in Spain, and they want you to play for two or three hours and we only had one EP out! We jammed one song for

about forty minutes. It was an experience, all good learning. I remember the venue owners face when we told him it was our very first show, oops.

When do you think the second album will be ready? It was planned for January 2016 but to be honest I think it will be pushed back a little. We’ve been swamped, and it’s better to make it good rather than rush it.

As a band you bring lots of different sounds together. You appeal to blues fans, and retro rock, how do you pull that all together? Lots of influences?

MInuTES”

Yeah, I think for me, when we first got together it wasn’t planned to be like this. It was the music we loved listening to, like Peter Green era Fleetwood Mac, especially the album Then Play On, that was a big inspiration. It just organically happened. Dorian brings his psychedelic to it too.

What’s your background Elin, how did you get into music?

I’ve played in a few different projects. As a teenager I was in a band, an all girl stoner rock band. We lasted about 18 months. In Sweden almost everyone plays in bands, it’s so inspiring. The first contact I ever had with music was at school, I loved learning about African Beat Rhythms, just dancing.

For me I’m so happy I have rhythm. I was in a Black Sabbath tribute band too at school. I’ve been writing music since I was really young. My

grandad used to sing but in choirs.

Apart from the second album, anything else in the pipeline?

Of course, world domination, haha. I guess it would be good to get the opportunity to support some really big bands. We were going to The States but we couldn’t get our visas, we hope to get there soon. Also Zack’s family live there and he hasn’t seen them for ages. It’s difficult to finance it.

As you have grown and are playing bigger venues I guess you have to think more in terms of putting on a show as much as the music. Yes for sure. You know I’ve always been comfortable singing but I’m really nervous about speaking in front of people. I think I’ve been improving this year.

That’s the thing touring with people like Rival Sons, you observe the way they do

things and learn so much. For us it was inspiring to be with such a big band. I have to work hard at the between songs stuff but I don’t want it to sound too practised, I just want to be myself. I remember we played in Berlin and I was so nervous, there were TV cameras and a catwalk and I’d never done that before.

Well good luck with it all. Thank you, it is always a pleasure.

check ouT www.bluesPills.com for more informaTion

DISCogrAPHY STUDIO: Blues Pills 2014 Bliss (EP) 2013

LIVE: Blues Pills Live 2015

Mike Zito

‘‘I got my first guitar when I was eight years old from a department store catalogue’’

w here do you sTarT wiTh m ike z iTo? m ike has P layed wiTh so many greaT musician, d elberT m c c linTon, s onny l andre Th for exam P le

Zito was part of the successful Royal Southern Brotherhood with Devon Allman, Cyril Neville, Charlie Wooton and Yonrico Scott. Mike left the Royal Southern Brotherhood in 2014 to concentrate on forming his own band The Wheel, which consist of Jimmy Carpenter (sax/vocals), Scot Sutherland (bass/vocals), Lewis Stephens (piano/organ) and Rob Lee (drums/ percussion). They have just finished a tour of the UK in support of their DVD/CD Songs From The Road. The Wheel is every bit as exciting as Royal Southern Brotherhood, so be sure to catch them next time they are in the UK.

What motivated you to start playing guitar, and at what age, also was it the first instrument you learned to play?

I had heard Van Halen and

had to have one. The guitar was my first instrument. I just fell in love with it and feel the same way today. I got my first guitar when I was eight years

old from a department store catalogue.

How long have you been song writing? Do you find this an easy process where songs just come to you, or do you have some ritual you go through when you are trying to be creative?

I started writing my own songs in high school, I was about 14. It’s mostly easy, although not all of the songs I write are very good. It seems I’ll write many songs at once and only a few pass the grade. No rituals, I find that writing in the morning is best for me, while my mind is fresh.

Have you a song which means

more to you than the others you have written?

I guess I have songs I like better than others. Maybe not just one that’s so special. It’s kind of like asking which one of my kids I like best. Depends on the day. “Greyhound” is very important to me.

How many guitars do you own, and are you a collector?

I guess I’m a collector, but not of expensive or vintage

instruments. I think I have about 30 guitars, which my wife tells me is a lot, but I don’t think I agree. I have a lot of guitars that I REALLY love.

Do you customise your guitars in any way as many guitarists do? Well I’m fortunate to have my own signature guitar with Delaney Guitars in Austin Texas. Mike Delaney is the builder and we are very close friends. Over the years I would always customize my Fender Guitars and now Mike builds me the guitars I’ve always wanted, with all of my custom ideas.It’s a dream come true to work so closely with a craftsman like Mike.

Have you a favourite guitar?

Yes, my prototype “Mike Zito” Delaney Big Sky. It was the first guitar Mike built

to my specs. It’s perfect to me and sounds amazing. It’s been around the world many times now and has an Allman Brothers backstage pass stuck on the front along with a Gregg Allman, Warren Haynes and Derek Trucks autograph on the body. I don’t take it out much anymore.

Which amp do you use?

I’ve been using the Category five Camille amplifier for years now. It’s a very vintage Fender style amp. I recently got an Oldfield amp I like and a Dr. Z amp that’s great. When flying in on tour I always ask for a Fender Twin, they’re usually reliable and get the job done.

Many guitarists prefer to be in a band, do you play acoustic gigs at all?

Yes, I do that a lot. I enjoy

“I’D lOvE TO play wITh ThE ROllIng STOnES If wE’RE juST DREaMIng hERE...”

the band and rocking, but I also really enjoy playing solo acoustic and really digging into the songs and stories.

I know a couple of artists from Texas but as it is such a big state you will probably not have come across them, but they tell me there is a healthy music scene in Texas. How much are you part of this? Texas is a huge music scene. I’m very fortunate to be quite successful in my home state. There is plenty of festivals and great dance halls for playing live. I’m always working on building my Texas fan base, as we have about 30 million Texans to work with.

Do you ever jam with other musicians in Texas?

Oh yes, I play a lot with other fellow Texas groups and musicians. Hamilton Loomis is a dear friend as well as The Band of Heathens and Jim Suhler.

You are from Saint Louis but you now live in Texas and in your bio you say “Texas Saved my life”, can you tell the readers why you say that?

I was a really bad drug addict and alcoholic for years. I just couldn’t stop. I ended up running away from St. Louis and living on the road for a year or so that ended with me in Texas. I met my wife and she helped me get clean and sober and now I have a life worth living. Texas has been good to me and I’m truly thankful.

Your band The Wheel you say is your dream band why is that?

I picked the best musicians I had played with in various situations over the years and put them all together in one band.

They’re the best of the best to me and they play my music perfectly. I literally put

them all together and assured them it would be great. I think they believe me now!

Do you have a favourite player or band alive or dead you would like to play with or have played with?

I’d love to play with the Rolling Stones if we’re just dreaming here...

You have toured a couple of times in the UK with Royal Southern Brotherhood and with your own band. What is the difference for you to be touring with your own band?

Well, RSB was great and a lot of fun but I love my music and if I’m going to leave my family and tour the world, I wanna play my music.

You will be back in the UK again in the autumn, are there any new venues you will be playing? I believe we are playing the 100 Club in London and that’s new for me, should be very cool!

Can you recommend any venues in Texas that visitors from the UK should try out if they are in Texas? Dosey Doe in The Woodlands, TX it is such a fantastic room. We filmed our Songs From The Road DVD there. Of course, Gruene Hall is the oldest dance hall in Texas and is really a treasure.

Will you be touring with a new album for us to buy?

Yes! I have a new album being released on Ruf Records in October titled Keep Coming Back. We just finished recording in June.

Thanks so much for agreeing to this interview. No need to wish you luck with your UK tour I think your reputation precedes you now. Mike Zito and The Wheel will be back in the UK in the autumn, a must-see band.

for more informaTion, check ouT: www.mikeziTo.com

DISCogrAPHY

STUDIO:

Blue Room 1998

Slow It Down 2000

America’s Most Wanted 2000

Slow It Down 2004

Superman 2006

Today 2008

Pearl River 2009

Greyhound 2011

Gone To Texas 2013

LIVE:

Live From The Top 2010

Songs From The Road 2014

Bootleg 2014

Bill Wyman

not an upfront sort of guy. I can’t do that sort of thing”

sP eaking wiTh The sTones’ former bassisT, b ill w yman, sTarTs off on a musical noTe buT before long you’re being swe PT along boTh by and wiTh b ill and his oTher P rimary Passions, P hoTogra P hy and hisTory/archaeology

All in all it’s an interesting ride, a surprising adventure where one minute he’s quipping about musicians and the next about finding Roman coins, international photo exhibitions and the ironic fact he was never able to photograph the Stones on-stage because he was up there with them. “I’ve got all the backstage photos, though. The more interesting ones. Mick Jagger putting on his socks” he laughs

There’s something lurking round every corner with this complex guy who has interests in so many more fields that it can be exhausting and exhilarating just listening to him, let alone pursuing those multifarious pursuits as he approaches his four score year milestone.

With the impending release of his first solo album in over 30 years, he explains that the material included on the new album, ‘Back To Basics’, comes from a mix of old songs he’d written and recorded as demos but never released, and new ones written specially for the project. All were recorded on

a home tape, stripped down, pared to the bone – back to basics, indeed – and the musical support work added in a similar way, with Wyman himself on Bass and vocals together with support from some of his best buddies, soulblues singer Beverley Skeet and guitarist Terry Taylor, both of whom form the core of his other great band, The Rhythm Kings. Add Mark Knopfler’s pal, Guy Fletcher, on keys and producer Glyn Johns to the stew and you have a singularly powerful, poised and confident album. The album’s already gaining positive reviews around the world, and Wyman

“I’m

The Storm Inside is the 4th album from Little Devils and the first to feature the current line up of Yoka on lead vocals, saxophone and flute, Big Ray on lead guitar, Sara on drums and Graeme on bass and occasional vocals. This is the line up that has drawn fantastic reviews for their storming live performances at festivals and venues throughout UK & Europe.

100 Club, London – named by Music Riot as one of the BEST 5 GIGS OF 2014 It’s blues Jim, but not as we know it; Little Devils are fronted by singer and multi instrumentalist (sax and flute), Yoka. The rhythm section of Graeme Wheatley and Sara Leigh Shaw (aka the Pintsized Powerhouse) built a solid base for Big Ray’s guitar and Yoka’s vocals and solos. The quality of the playing alone would put this gig up there with the best this year but this is also great fun; the band obviously enjoy themselves and audiences will always pick up on that. Great performances and big smiles all around the room; that’s a pretty good combination for a great night.

Allan McKay, Music Riot

Carlisle Blues Festival

It was nice to see a 'full on' stage performance, giving blues a fresh edge with hints of rock and funk.

Rosy Greer, Lancashire Blues Archive

Saltburn Blues Club A band with real presence, brimming with talent, energy & performance knowhow. Lead singer Yoka had the audience rapt. There were no glasses clinking or background chatter just a room mesmerised by talented musicians & the story they were telling. Fantastic! Liz Ayres, Blues Matters

Gt British R&B Festival A brilliant set, loving Little Devils music.

Liz Aitken, Blues Doodles Magazine

Banana Peel Blues, Belgium Little Devils claim they play 21st Century Blues which is exactly what they do Yoka with the graceful smile, charm, finesse & pure power had the audience eating out of her hand.

Antoine Legat Roots Time

The album is released on Krossborder Rekords and is available in all record stores, from the website www.littledevilmusic.com and at gigs from the band.

Like a blast of pure ozone the energy & commitment of a Springsteen gig

is clearly gratified to know he can still produce the goods, seemingly almost at the drop of a hat.

“It’s interesting” he remarks. “The feedback so far has been great, really positive. Some – other musicians mostly – have told me they think some of the lyrics are a bit quirky.” One track, the opener on the 12-track album, What & How & If & When & Why also launches as a single, a song with a slightly menacing, nearsinister undertone. He says it was originally written having seen Bob Dylan’s video for Subterranean Homesick blues

where he throws aside the word sheets. But the resulting song is, he adds, nothing like Dylan’s. The lyrics reflect his concerns about the way of things generally and life out on the streets nowadays. “Glyn Johns and loads of other musician friends listened to it and all thought it would make a great single. So that’s what I’ve done” he confirms. Asked why it’s been so long between solo albums he simply states what is evident from his substantial CV - he’s just been too busy getting on with life and his myriad other passionate interests, photography, history/archaeology, metal detecting and The Rhythm Kings. He’s also clearly and deservedly proud of his award winning book, ‘Bill Wyman’s Blues Odyssey’ which scooped the US Blues Foundation ‘Keeping The Blues Alive’ award for literature back in 2002: “Buddy Guy and BB (King) told me they thought it’s the best book about the music they’ve read, which meant a lot to me.”

A man of many unexpected parts is our Bill, much more than just another old Rock ‘n’ Roller, for sure. A career at the very top of the musical tree with the Rolling Stones would be more than enough for most but instead Wyman didn’t just retire when he left the world’s greatest Rock and Roll and R&B band in 1993.

tHE HIt Song

During the 1980’s, while still with The Rolling Stones, he carved out a new career in music with a huge surprise international hit song, originally written as a demo for the late Ian Dury, ‘Je Suis Un Rock Star’, but recorded by Wyman himself to great acclaim. He then went on to found the band Willie and The Poor Boys, an outfit he says was a “template, a prototype” for what became his current touring and recording vehicle, The Rhythm Kings.

Back To Basics is an album that effortlessly blends rock with blues undertones and a crafted aura of deceptively casual listen-again - get under your skin – songs. And though he’s doing lots of radio promotion and media exposure to promote the new solo release, he won’t be taking to the road with it anytime soon, if at all. “I’m not an upfront sort of guy. I can’t do that sort of thing. It’s one

“MuSICIanS havE TOlD ME ThEy ThInk SOME Of ThE lyRICS aRE a BIT QuIRky”

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of those things you’ve really got to work at. It’s not me. Sting works at it, I don’t. I find it too difficult to try singing and playing Bass at the same time! I do it with the Rhythm Kings with our old songs but if I’m playing bass, I forget the words and if I’m singing I tend to forget the bass-line. So it’s not for me,” he jokes ruefully. “I was usually at the back, with Charlie (Watts), keeping the beat strong and solid, holding the rhythm; not up front with a mic like Mick.”

LoVIng tHE BLUES

Nowadays he composes with the help of an acoustic guitar where he brings the melodies together with bass runs and single string-work. “I don’t do chords,” he says. “I did play piano a bit, too, though,” he adds.

When I casually mention my own love of blues music,

he again explodes with interest remarking on how surprised he is to find one of his teenage daughters now beginning to take an interest in it, a musical genre he acknowledges appears to have little attraction to many younger people these days. So, I ask, does he have a personal favourite blues track? He goes quiet and after a few seconds thought says: “Howlin’ Wolf and ‘Goin’ Down Slow’, the version with Willie Dixon on it. And Muddy (Waters), goes without saying.” Wyman of course recorded with Howlin’ Wolf and remembers the session well.

To finish, I can’t resist the temptation to ask if he has a personal favourite Stones track. Again, he thinks it over before confirming that one of their lesser-known songs, ‘Parachute Woman’ from the 1968 release, ‘Beggars Banquet’, is his favourite.

Not only that but the man immediately launches into the lyrics with his characteristic gritty voice, before adding that it’s one of those tracks that is seldom heard or played. “Reminds me of Bo Carter and the double entendre of many old blues numbers”, I suggest. “Parachute woman, land on me tonight,” he quips in agreement with a laugh.

Bill Wyman’s new album, Back To Basics, is released on the Proper label. check ouT www.billwyman.com for more informaTion

Erja Lyytinen BRIngIng ElMORE TO lOnDOn

The stunning 100 Club show from that tour is now available on CD and DVD entitled simply Live In London. It was the ideal time to phone Erja at her Finnish base and catch up.

I wanted to talk to you about the Live In London album. I’m really enjoying it. You recorded it in October of last year.

Yes, it’s been awhile already, but there is so much involved in getting a release ready.

Are you pleased with how everything has turned out?

I am very pleased with this album. It sounds great. Always you think maybe something could be different.

Every artist I speak to says that. Exactly! So you mustn’t be too hard on yourself, we always want to be better.

Having that drive is what keeps you going and pushes you forward. That’s it!

At the time this album was recorded you were promoting The Sky Is Crying album. I love the blend of Elmore James material and your own.

Lots of people have said that the blend works well. I’m writing material from the view of a female in the 21st Century and then singing songs from around 1955 written by Elmore James. When you do other people’s music you just have to put your own stamp into it. You sing them from your own personal experience, put your own thoughts and feelings into the song.

You are particularly a big fan of Mr James.

I love Elmore but also lots of other old blues as well, Robert

Johnson, Muddy Waters, they all made great music. Elmore James was one of the first slide guitarists I started to listen to. I remember buying a compilation CD back in the 90’s and that was when I heard Dust My Broom. I thought that’s a cool song, I’m gonna learn it, so I started to learn to play slide in open tunings.

It’s great that you are introducing those songs to a new younger audience.

We need younger people to be inspired by this music so we have continuity in blues music.

A particular favourite of mine on the album is your song, Grip Of The Blues. It’s got an almost psychedelic opening intro. That track talks about how in life you might have bad people around you who use you in many ways, it’s so easy to put

e r J a ly yTTinen is one of The mosT exciTing, s P ellbinding slide P layers in e uro P e righT now. l asT year she Toured uk P romoTing her s ky i s c rying (her TribuTe To e lmore James) To criTical acclaim

people down. We shouldn’t give people bad blues, we want good blues.

You have some UK dates coming up soon Yes we are playing a few festivals, really love coming and doing those. And we are coming back in October to tour for a few weeks playing various blues venues. Plus of course other festivals in Finland and Sweden and so on before the UK tour. I’m planning to start work soon on my next solo album this Summer.

So middle of next year as a release date?

Yes, something like that. I already have some songs written down. I just need to get into the studio and make the best of them.

Will that be all new material? Yes, I’m intending to have just my own material

I’m sitting in my office or a cafeteria or wherever really and I can just dig into the text and how the story would go. I usually have something to start with, something that has touched me or something that has happened to me or someone close to me. I like to play with words. Then again I like to arrange things, put the chords in, and try to find the suitable style for each song. For The Sky Is Crying album I wrote some horn arrangements.

That must be quite challenging? Yeah, it’s very challenging. If you can hear it in your head its about putting the right notes in the right places. It’s difficult to get the right pitch level, horns play at different octaves and different keys.

or stuff I’ve collaborated with other people. I’ve been writing with Alan Darby, who I wrote some songs with that were on my Forbidden Fruit album in 2013. I like to co-write songs, you can get more ideas. You might have a different approach to the song so it’s nice.

You are both a great vocalist and guitar player, what perspective do you mostly write from?

I really like to write stories. I like it when

Another thing I like on the live album are your solos, sometimes people overdo the soloing so the song just becomes a vehicle for that. You perfectly match the track. Thank you. I am aware of that at the time, I do like sometimes to go a bit crazy. For me it’s like, everything you learn you forget it on stage. You have to be there in the moment, you can’t correct it later. You have to be100% present.

You’ve been playing and recording for a while now, do you get nervous before a performance?

On stage you mean? Yes, I still get butterflies, not as much as like ten years ago. There is always this anticipation right before you go on, the adrenalin is getting up and you wait so much between each show, you want them to be successful

and people enjoying it. It does take a lot of energy to do a live show because of all the expectations. If you achieve everything it’s brilliant. I think the nerves show you have respect for what you’re doing and the people coming to see you. You have a lot of responsibility to people who have bought tickets.

For the next tour what will the sets be like? Will it be similar to Live In London or more of your own material?

Of course there will some of the Elmore James stuff because I’m really hooked on it now. I like to play lots of slide guitar and Elmore’s stuff is brilliant for that. Also some old stuff and some totally unheard new things.

So you are going to test out some of the songs for the next album? Definitely yes. We just did a 24 date tour in Finland and we tried some of the songs and they were really well received. It’s very encouraging. In particular there is one song which I thought was going to be too contemporary for a blues audience, but actually it wasn’t they all really, really loved that song. So I have to put it on the next album now. You never know what people will really like, just do it from within yourself.

People can tell if it’s real and genuine, not formulated. That’s it. Not too calculated. This song I wrote over ten years ago when I was studying

in Los Angeles. I never really played it anywhere and it’s been in my drawer for almost a decade. It has suddenly become like this really long, deep blues ballad and people keep coming up and going wow, how did you write that, it’s a great song. For me, I think I wrote the song but I didn’t have the ability to do it myself at that time. I needed to grow more for the song.

Maybe the time is right now. What is the song called?

It’s called You Made Me So Sad. It is a very personal song. It’s about a relationship as most blues songs are. This is a very straightforward song, very old school, like OK, you cheated on me, done. Sometimes it’s easier for people to identify with than having all of these fine metaphors.

Your twins are still very young, do you still take them on tour? Actually I do, some of the shows, if it’s only a day or two away they stay with Granny because it’s just easier. Then I can have a bit more fun, I am a party girl. I have to balance it, I’m bringing them to the UK this time. I’m a travelling blues musician and a mother so I have to find a way to balance this. It just takes more arranging but it’s do-able. It’s a good time in my life right now, I’m feeling very happy about everything.

The big changes in your life, will they be reflected in the new songs? I already have one called Lullaby, a sweet soft song. Of course everything goes into the music. I also have some very dark songs starting to develop that were written before the twins.

Thank you Erja, good luck with the projects you have going on. I also just want to thank everyone who voted for me as second-best international artist in the Blues Matters! magazine writers poll. I felt so happy when I heard that, I’m very grateful to you all for that!

check ouT www.erJalyTTinen.com for more news and uPdaTes

DISCogrAPHY

STUDIO:

Pilgrimage 2005

Dreamland Blues 2006

Voracious Love 2010

Forbidden Fruit 2013

The Sky is Crying 2014

LIVE:

Live in London (CD/DVD) 2015

“yOu havE TO BE ThERE In ThE MOMEnT, yOu Can’T CORRECT IT laTER”

JARED JAMES NICHOLS

A FORCE OF NATURE

Verbals: st E v E Y our G l I vc H VI s U al s: l A ur EN c E HA rv EY

Try To imagine a hybrid guiTar monsTer made u P of a young Ted n ugenT, a P rime

Johnny w inTer and a P owerful l eslie w esT and you are somewhere close To The force of naTure ThaT is Jared James n ichols

Still only 25 it is obvious that here is a real talent to challenge the heavyweight players and it’s frightening to think how much better experience and confidence can add to his already impressive armoury.

BM caught up with Jared at his recent London performance at Camden’s Black Heart. Meeting this tall, lean but muscular young man pre show was a real pleasure, he had an easy relaxed demeanour, was happy to chat and exuded friendliness. Once on stage though, welded to his guitar he gave a show full of grit, power and energy full of great songs throwing Texas, Chicago and British Invasion Blues into a Southern Rock stew that bubbled with class.

Although now based in Los Angeles, Jared was born in Wisconsin and was brought up only minutes away from The Alpine Valley Resort where Stevie Ray Vaughan played his last ever show. Bought

his first guitar by his mother at age 14, within weeks he was travelling to nearby Chicago and jamming with road hardened blues players, learning and competing as he went along. Jared told me, ‘ It was amazing, I only had began playing for like two weeks, and my Mum took me into Chicago and I sat in playing with these incredible guys. The music just immediately connected with me, it was all about the feeling and soul. They were playing what they felt, that resonated with me and has always stuck. I learned and loved the music of people like Robert Johnson and Otis Rush.’

By the time he was 21 Jared has played over 500 gigs. After a short spell at

the famous Berklee School of Music in Boston he moved to Los Angeles and the world renowned Musicians Institute and soon began gaining numerous accolades, winning the 2010 Jerry Horton Guitar Contest, the 2011 Les Paul Tribute Contest, and the 2011 ‘Outstanding Guitarist’ Award.

When we talked Jared was 55 shows into a 57 show schedule in 65 days all across Europe, with some of those dates supporting Lynyrd Skynyrd.

‘We just finished some sessions in the South of France and then we hit the ground running! We did the support shows with Lynyrd and then we did 53 of our own concert dates.’ He certainly made a big impression on the Lynyrd guys, Gary Rossington in particular, who invited Jared on stage to perform Sweet Home Alabama with them, the first time anyone

had ever been given that honour.

‘With the Skynyrd guys, I had supported them in America the first time I met them and they were all real cool. It was wonderful being on stage and looking over and seeing Gary Rossington, Ricky Medlocke and all the others watching us. On this European tour they said come and hang out which we did and by the fourth show in front of around 8,000 people, I’d just got off stage, completely drained, and Gary comes up and he goes, great set man, come up and play Sweet Home Alabama with us. I was stunned but said yes, of course. I mean coming from Gary, one of the original guys, wow! And then we’re onstage jamming and he goes, why don’t you take the solo. So there I am thinking, oh oh, it’s now or never, but it was mind blowing.’

The relationship with Skynyrd is building into a strong one, with Jared planning to spend some time with Ricky Medlocke in his home studio soon exploring some tracks together.

Although Jared is now based in Los Angeles his music retains an authentic Texas Blues vibe with a dominate Southern feel.

‘To tell you the truth blues is my first love in music. As a youngster I lived about an hour away from Chicago, and I played at places like

“I gOT TO hEaR CREaM, MOunTaIn, BlInD faITh, huMBlE pIE, TEn yEaRS afTER...”

Buddy Guy’s Club and The Checkerboard Lounge at jams with guys that had been playing forever. So, the first blues I did was the Chicago based stuff, Buddy Guy, Otis Rush then I started to hear Stevie Ray and Jimmie Vaughan, Anson Fundersburgh and the Texas sound. I just got hooked so my playing started to go that direction. I grabbed onto that real tough edge. At that time at my age other kids were trying to play Metallica or Eruption by Van Halen, but I heard something in that Texas Blues that was a little meaner, even if you listen to Lightnin’ Hopkins and that older stuff.’

CoLoUrED VInYL

The debut album, Old Glory and the Wild Revival, is just out on the Listenable records label, perhaps better know for having heavier bands on the roster but Jared tells me that once they heard the recordings and attended some shows they said they loved the music and wanted to put something out. As well as the normal CD release they have put it out on vinyl in an assortment of colours, red, white and blue as well as black. There is also a live EP available, Live At The Viper Rooms.

BM asked Jared how that came about. ‘So what happened was this is the first time I’ve ever worked with a label, the first time we started touring in America they told us we needed something to sell at the shows, we played at The Viper Rooms in L.A. and they said would you like us to record your set? We’ll do it for free. After we got the board mix back we thought man, this doesn’t sound half bad, so we made a little three song live EP, and somehow it ended up in a few of the guitar player

magazines which gave me a bit of recognition. We recorded a second EP which has now grown into the album.’

Jared is certainly attracting the notice of top notch people in their fields. No less than Eddie Kramer of Hendrix, Zeppelin and Humble Pie fame spent time in the studio with the band helping to create the album alongside Warren Huart of Aerosmith fame.

‘I went into the studio with Eddie taking a bunch of different mixes and ideas. He has worked with so many of my heroes, Hendrix, he worked on Layla, so many people. It’s crazy, when we were in the studio I asked him, did you go to Woodstock? He looked at me and goes, I recorded it! And then he sat with me for about twenty minutes and told me how it was. I was thinking to myself, I’m so outta my league right now. I learned more in that one week in the studio than in the past couple of years. Things about recording and the way things get done. Watching him mix, watching the way that he flips the tape for the echoes, all these little old school tricks he has, everything was on tape, it’s the only way he works. He says it’s my way or the highway. You better be on it, you better be ready to record cos he does not waste time. He doesn’t want anything but the best of you.’

British Blues was another big influence on Jared’s playing.

‘I love the British blues bands. Somehow perhaps it doesn’t come out in the sound so much. Paul Kossoff is one of my heroes, so many of today’s bands were influenced by those people, I love listening

to that retro stuff, Humble Pie is another favourite. From when I was 15 to about 19 I only listened to straight blues but then I got to hear Cream, Mountain, Blind Faith, Humble Pie, Ten Years After, all that kind of stuff. I guess I wanted to take the edge a bit further. They put on a real show when they perform, I watch clips of them because obviously I wasn’t around then, people like Peter Green or Rory Gallagher, you feel you are seeing something special. No smoke and mirrors just deliver.’

UK fans will get another opportunity to catch Jared later this year when he returns supporting Glen Hughes in October. ‘We just hooked up with a company called TKL and they made it happen. I just got word that we are doing ten dates, and Glen has Doug Aldrich in his band so that’s going to be great.’

Jared Tours The uk wiTh glenn hughes in ocTober. for more deTails, check ouT: www.noblePr.co.uk/Press_releases/ JaredJamesnichols/ukTour.hTm

Old Glory and the Wild Revival 2015

lavern Baker

the Complete SingleS a’S & B’S 1947-1962

(acrobat 3CD)

ClaSSiC ameRiCan BallaDS

(smithsonian Folkways CD)

loWell GeorGe

FeatS FiRSt – the liFe & muSiC oF…

(Pride DVD)

15

Buddy Guy

FiRSt time i met the BlueS 1958-1963

(souljam CD) 16

17

eddie Bo

BaBy, i’m wiSe the Complete RiC SingleS 1959-1962

(ace CD)

eriC Gales gooD FoR Somethin’

(Cleopatra CD)

18 ian sieGal

19

one night im

amSteRDam

(Nugene CD)

sonny terry & BroWnie

mCGHee

the Sonny teRRy & BRownie mCghee StoRy

(Proper 4CD) 20

roBBen Ford into the Sun

(Provogue CD) 21

seasiCk steve

SoniC Soul SuRFeR

(there’s a Dead skunk CD) 22

sonGHoy Blues

muSiC in exile (transgressive CD) 23

Buena vista soCial CluB

loSt & FounD

(World Circuit CD)

laurenCe Jones what’S it gonna Be (ruf CD) 25

Joe Bonamassa muDDy wolF at ReD RoCkS

(Provogue 2CD)

the

Bill Wyman BaCk to BaSiCS

Proper records

A new release from ex-Stones bassist, Wyman, is inevitably going to be of interest to a vast army of music fans. For Wyman, it must be difficult at times to ditch some of the overhanging burden of having been an original member of the world’s greatest Rock ‘n’ Roll and rootsy R&B band, but with this 12 track album, he seems to have shrugged off the hound of history. And it’s not for the first time in his career.

Over the course of a remarkable 50+ year lifelong career as a music top-feeder, this guy has moved away from the old, raucous roar of Keef and Mick to produce a steady stream of quality stuff that includes many albums and steady annual, international tours with his wonderful eponymous band, Bill Wyman’s Rhythm Kings, an ad-hoc, ever changing group of absolutely top-dollar UK and US musicians with a huge following worldwide. With this album, Back To Basics, Wyman gives us his first solo offering in over thirty years.

Wyman says some of the material here comes from an overlooked back-catalogue of songs he wrote and squirreled away some years ago. They only came to light when he was doing a tidying job, cataloguing and stashing old tapes away for a rainy day. Listening to some of this material, he decided to revisit it, rerecord some and write a few new tracks and put together a fresh solo album.

As you’d expect from someone with his stature and musical maturity, there are some fine tracks of a mostly lightish rock style and yet others with a cool, rhythmic groove bordering on classic pop. It’s clear from the lyricism that Wyman is more of a wordsmith than many might give him credit for; he seems to relish rhythm and rap-like rhyming couplets, which positively suit his faux East London accented voice (remember the horror that was Bill’s 1982 hit ‘Je Suis Un Rock Star?.’ Well, that will give you an idea of what to expect. At times, you can hear the same, growling background vocals and music that gave the world the classic post-punk anthem Je Suis Un Rock Star back in the 1980s. Wyman is a guy who has no need to prove anything and the relaxed feel of this release echoes that sentiment.

IAIN PATIENCE

astrid younG one night at giant RoCk Independent

This is the fourth album from Neil Young’s half-sister and she is equally as distinct in her musical ventures as Neil. Her musical history is eclectic to say the least apart from performing as a back-up singer for Neil for nearly fifteen years she has also released four albums of her own as well as providing lead vocals for Glam Metal band Sacred Child during the eighties. She returned to providing backing vocals for a good number of albums on and into the nineties; she has also collaborated with artists such as; Nancy Wilson and West Arkeen. Now, with her first album in over ten years Astrid has certainly provided an album full of diversity and imagination giving everyone food for thought. While in Los Angeles Astrid spent a good deal of time south of the city, in fact, she spent quite a while in the Mojave Desert where she became fascinated with a nineteen fifty-nine spherical building named The Integration, Allegedly possessing powers of time travel and regeneration; it became not only the album’s title but, the focal point of the album. The number is a lonesome acoustic guitar and slow, wheezy harmonica, it creates an overwhelming

feeling of desolation, introspection and desperation, her plaintive pleas seem to wander into the ether. Try This, is an enjoyable funky, squeaky saxophone stomper in the style of a very early Roxy Music.

The Nerve is a blasting, straight down the line twangin’ rockabilly rouser. Your New Drug is a beautifully crafted, engaging acoustic love song, as is My Patchouli Boy, which evokes very pleasant memories of The Beatles Don’t Let Me Down. Amy’s Song, is a piano led haunting and heartfelt, rousing tribute to a dear departed friend. Impressive!

BRIAN HARMAN

suGaray

rayFord

SouthSiDe

Nimoysue

Texas born Sugaray began singing in church, which should not surprise anyone who hears his powerful blues wailing; nor should it come as a shock that this is the man who has fronted Delta Groove’s flexible but always traditional blues slanted group The Mannish Boys over several albums –Sugaray just has one of those voices. He apparently stands at six feet five inches tall (as he sings on the storming Texas Bluesman),

best blues reviews guide – Accept no substitute!

Guy tortora BlueSman in a BoneyaRD

turtledove records

Guy Tortora already has at least five excellent albums to his credit and his latest is full of the sort of wonderful tunes, great musicianship, meaningful lyrics, and ironic social commentary that we have come to expect from one of this country’s finest exponents of Americana. It features a couple of covers, including a very tasteful interpretation of the Sleepy John Estes classic Going To Brownsville featuring Guy on vocals/mandolin with Ben Tyzack on slide guitar/harmonica. The other is the Blind Willie Johnson song What Is The Soul Of A Man.

However the rest are all new songs backed by Guy’s familiar band of international troubadours; Janos Bajtala on keys, Costa Tancredi on bass, and Pete Hedley on drums. There are also a number of excellent guests sitting in, including Giles Hedley on harp. The album starts with a blues tango contemplating the almost platonic origins of true love; The Damage Was Done. However, I have a feeling that the track that may receive the most airtime will be the wonderful Boneyard, an extended story of one man’s visit to the grave of his blues ‘Saint’. This could prove to be a classic in it’s own right. It’s certainly a well-structured number, laid back for the first half, the tension gradually building before the final release.

Another very original track is the catchy Ballad Of The Boll Weavil. Initially it appears to be a song about the damage done to the cotton crop by verminous beetle, but is it? Do Boll Weavil’s drink coffee, for instance? Other tracks are Live Fast; about the ultimate folly of a life without direction, One Way Ticket; a Dylanesque talking blues, and From The Heart; a traditional R&B number complete with stirring brass section, backing vocals, and an emotionally charged guitar solo from Guy.

The CD is rounded off with a catchy and lighthearted Cajun/Zydeco inspired number, Les Bon Temps. I don’t speak French, but I think I understand the international language of music and this is all wonderful stuff. Spread the word. Highly recommended.

and he certainly sounds like it! Hopefully we will get the chance to see for ourselves soon, as Southside is his third solo album, and a superb effort it is too. Our man announces his arrival with the mighty Bobby Bland flavoured, jazzy lope of Southside Of Town, and the band and Sugaray get a similarly huge sound on Miss Thang (“she rocks like an old fishing boat in a very,

very rough sea”) – the rhythm gets it just right behind the singer’s lascivious vocals. Now’s a good time to mention too that the band is as tight as the proverbial, and guitarist Gino Matteo is right on the button every time, whether playing sweet and low, funky, or when given free rein as on Texas Bluesman. Live To Love Again is a fine funky modern blues, Take It

To The Bank an informal acoustic jam session with lovely harmonica work from the acclaimed Bob Corritore, and Call Off The Mission a pointed social commentary set to a contemporary blues arrangement. Sugaray closes out the set with a percolating soul tinged All I Think About, and a couple of impassioned slow(er) blues, ensuring his supremely soulful vocals are highlighted to the max. A timely reminder that the blues is primarily a vocal art and that this man knows and understands that perfectly. Highly recommended of course.

NORMAN DARWEN

Blues enGine valentine, thiS little heaRt anD tumBleDown

Independent at lone Pine studios

A second single for the cosmopolitan group Blues Engine from London, though this one has three tracks which was confusing when it is termed a single. Confusion aside, this single has quality all the way through it. From the sultry sounding Russian songstress Katya Chernyakova through to the guitar playing of Messrs Cooray and Liutai and the sympathetic drum work of Ovais, this recently formed band made their debut in Ronnie Scott’s and you don’t get that gig without ability, especially on your debut. Valentine opens this AAA sided single with Katya’s soulful vocal rendition allied to support musically from the troops which never overpowered the vocal aspect. I ought not to focus too much on the sultriness of Ms Chernyakova, since the overall production from the

group is well above average and surprisingly, for the short duration they’ve been together, worthy of praise. Tumbledown is the final track and it has Cooray’s skilful mastery of the guitar well to the fore and drumming and base support which complement again the svelte-like vocals of the Matryoshka Katya.

TOM WALKER

sCHuld and stamer

kuDDel muDDel blue streak records

Yet more blues from what seems to be a vibrant Canadian scene. Kuddelmuddel is a German word describing an unstructured mix of components, a mish-mash, a jumble. A perfect description of the music on this album containing elements of folk, jazz, rock, world music, techno, funk and above all blues. Vintage instruments are mixed and mastered on computers with samples, loops and modern production techniques.

The opening track is Robert Burnside’s Jumper On The Line a highly infectious dance groove featuring coarse vocals, superb slide dobro and shimmering electric guitar. Even old chestnuts like Midnight Special and Rock Island Line are given the treatment and come out the other end totally invigorated. Gershwin’s It Ain’t Necessarily So gets a lovely acid jazz treatment and features smooth flowing tenor sax from Steve Hilliam.

Andreas Schuld contributes programming and all of the excellent guitar work and Hans Stamer’s rough, world weary vocals work perfectly. The traditional Frankie

BERNIE STONE

And Albert swings mightily and the shuffling Voodoo Music is a real toe tapper featuring wailing harp by Butch Coulter. I’m a big Son House fan and the pair’s trancelike version of his song Grinnin’ In Your Face is a standout track for me. Memphis Minnie’s Joliet Bound gets a funky workover with bar-room piano from Graeme Coleman and distorted guitar from Schuld.

Probably the perfect song for this fearless approach is Willie Dixon’s Spoonful and the pair do not disappoint with a throbbing and lengthy atmospheric makeover which made the hairs on the back of my neck stand up. For a survivor of the 60’s Brit blues scene it is exciting to hear blues music sounding vital and exciting again. Give this one a try and, like me, you’ll love it.

DAVE DRURY

tHe BlaCk CirCles

FRom the top

Independent

Hailing from Warrington, Black Circles consist of Sam Bractly on guitar and vocals and Martin Saunders, bass guitar and on this four-track EP they are joined by Phil Wilson and Tim Harding on drums and keyboards. The opening track Gypsy Girl kicks off at a blistering rate whilst Bad Luck has slow melodic guitar riffs that are reminiscent of Bonamassa or Clapton in their heyday. The EP is engineered by members of The Hoax and shows their confidence in these boys. The final two tracks I’m Leaving and Stop Acting This Way are blues to be proud of.

BOB BONSEY

Zoe sCHWarZ Blues Commotion

i’ll Be youRS tonight

33 Jazz

Following three excellent studio albums in successive years, a live CD representing the best of these is undoubtedly the only way in which Zoe and her band could have exceeded expectations for 2015. This is because all 12 tracks are extended versions recorded at an intimate village venue in Surrey in front of their most devoted fans. Every member of the seven-piece band was on fire that night with Zoe once again proving that there is not a better female blues and jazz singer in the UK and probably far beyond. The scene is set with the gut wrenching Your Sun Shines Rain from Blues Don’t Scare Me with its mesmeric chants, hypnotic guitar solo and powerful rhythm section.

The spontaneity, energy and throat shredding vocals make this live performance of the song even more memorable than the original. Similarly, Fine And Mellow reaches heights of emotional intensity far beyond the Billie Holliday cover on Good Times, Pete Whittaker delivering a superb Hammond organ interpolation complemented by Rob Koral’s intricate guitar. On the up-tempo Let Me Sing The Blues, Zoe sings with honesty and intensity and Rob’s guitar solos are compelling, tasteful and interspersed with memorable blues and rock grooves in tribute to Jimmy Page and other blues greats.

Also from Exposed, Smile benefits from the superb backing of trumpeter

Andy Urquhart and Ian Ellis on tenor sax. This leads triumphantly into the breathtaking Angel Of Mercy with its clever tempo and mood changes as it reaches one crescendo after another. The up tempo blues, Liberated Woman like the other 10 Schwarz-Koral compositions showcases the immense talents of this song writing duo which sets the band apart from others on the contemporary scene. We’ll Find A Way finds Schwarz relentless in her pursuit of communicating

feelings with utmost integrity, sincerity and emotional depth. It takes a singer of immense versatility to switch from sultry to sassy but Zoe achieves this as she struts her way through Say It Isn’t So. Drummer Paul Robinson skillfully maintains the meticulous pace and rhythm of I’ll Do Anything, his long time backing of Nina Simone having prepared him well for his current role. Beatitudes, a single release

The Alabama Shakes, have in Brittany Howard one of the most distinctive vocal talents in modern blues/rock music, as their debut album, Boys and Girls attested to. The album was a fast seller, projecting the band of Howard, on vocals and guitar, bassist Zac Cockrell, guitarist Heath Fogg, drummer Steve Johnson, and keyboard players Ben Tanner and Paul Horton to a worldwide tour and Grammy nominated success. However, that was 2012, and the band could have done the easy thing, produced more of the music that took the music world by storm, and continued to sell by the millions.

They could have done that. Sound and Colour is definite proof that they did the opposite. Where Boys and Girls worked within strict song structures, with Howard’s part honey part gravel voice pushed to the front, Sound and Colour is a beast of completely different colours. It is experimental, and lacks the immediate warmth of Boys and Girls, but the sonic structures bring out the strength of the ensembles joint song writing and playing ability.

Years spent honing their sound and style show a new found confidence in their abilities and confidence in delivering songs and sonic sculptures of the highest order. There is something new, something to discover on this album, from the space-jam rock of Gemini, to Shoegaze, with its down-home sixties blues boom beat, or the ballads that inform much of the second half of the album. There is something of prog rock’s exploration, with none of the excess, whilst long instrumental passages and more involved chordal changes show the band’s open minded approach to song-craft. If you liked Boys and Girls, you will like this, but be prepared for a far different listening experience, and if you like music in all of its forms, this would be a good album to give a listen to.

BEN MACNAIR

alaBama sHakes SounD anD ColouR rough trade

dennis Greaves and mark FeltHam

Duo

Zed records

Duo finds the founding members of Nine Below Zero, singer and guitarist Dennis Greaves and Harmonica ace Mark Feltham plying their road worn musicianship to a number of classic blues and pop songs, as well as a number of their own original compositions. Pieces by Sonny Terry and Brownie McGhee feature heavily, but they also cover songs by Randy Newman, Led Belly, Jethro Tull, and a couple of instrumentals help to the re-inforce their musical pedigree.

Most of the songs are recorded live, with little studio trickery, with the guitar providing their accompaniment, it is left to the harmonica to do the musical heavy lifting, which it does with aplomb. Tuneful, resonant and resigned during album closer Amazing Grace, it snarls and is joyful during Stone Fox Chase, which is the only track with added instruments, whilst it is slow and mournful on songs such as Sail Away by Randy Newman, or Warren Zevon’s Carmelita. Songs from Nine Below Zero’s own history also receive a new lick of aural paint, such as Egg On My Face, and Ballad Of Dombovar. This is a fine album, with some fine performances, and although there is nothing really new here, the mature song-craft, harmony and solo singing, and musicianship means that if you like acoustic blues, and the Harmonica, this is an album that would be worth your time and attention.

by the band, remains an inspiration whatever the personal faith, or none, of the listener. The finale is the captivating Take Me Back, yet another great story to tell and further interludes of sublime, melodic, technical virtuosity from Koral, Whittaker and harpist/ backing vocalist Si Genaro.

THE BISHOP

A new name to me upon opening the very neatly presented CD in gatefold card sleeve with sixteen page notes carrying good images and lyrics. This is a four piece

outfit from Israel that came together as a duo in 2012 of Andy Watts (guitars) and Dov Hammer (vocals/ harmonica) who let the chemistry take its’ course. With a number of powerful stage shows behind them Blues Rebels became four and having played with such luminaries as Joe Louis Walker, Lucky Petersen and Bernard Allison they then opened for Johnny Winter their stature grew. The solid rhythms are provided by Amos Springer (bass) and Avi Barak (drums/ percussion). The album has fourteen original and varied songs recorded over three days which capture the live essence of the band. They catch a groove, work it well adding to that gritty vocal, tasty harp and neat guitar

over the rhythm section and you have a pretty complete album that has stood a lot of playing already.

The opening All I Want starts that neat groove without overpowering you, the chunky chords and flowing harp break into a duel during the second third of the song and it is fine. Before The Jubilee has thoughtful lyric, as do the rest, there is much here to like and enjoy while nothing will grind you down. Devil By My Side is a good driving song, there’s a bass driven funk to Turn Back The Clock, a mournfulness about What If while Reason To Live skips along delightfully.

There’s a plaintiff harp intro to Looking In which is gentle, Living The Dream strides along with some menace, I Don’t Mind is mellow and restful. I loved Trying To Get Paid again with that neat unassuming rhythm and the closing title track Open Road is as gorgeous a piece of music as you will ever hear, peaceful, calm yet chilling while being so restful, the tone of the guitar solo is superb, and Matan Ashkenazy adds Fender Rhodes piano to the mix (and he mixed and mastered the album). Don’t wake me up, that was a beautiful way to end a super album. I am sure that we will hear more from this band and I for one will look forward to that

FRANK LEIGH

Pi

A delightful EP from Pi Jacobs in the singer/ songwriter/ rock-chick vein. She has a warm and expressive voice and writes a mean song – in fact she is more noted as a

songwriter with over 60 credits for film music, adverts and many songs recorded by other artists. She hails from San Francisco and from the sound of this she is plugged in well and truly to the Laurel Canyon scene.

There is no shortage of this style of music, impassioned and based around acoustic guitar, but there is a shortage of singers who can actually get through to the listener and songwriters who are prepared to allow their song to speak without overlaying it and burying it beneath overblown production and excessive riffery but Pi Jacobs is definitely a singer with class and her songs carry real weight and melody on their own. The EP consists of five of her own songs as well as a brilliant version of Anne Bredon’s Babe I’m Gonna Leave You that is miles away from Zeppelin. There is a touch of the Christine Perfect about her songs and that is no bad thing, in fact, opener Want To Want To could very easily be by Mac or even Heart. Very good stuff and one that grows on you with repeated listens.

ANDY SNIPPER

tHe BlaCk sHeeP

liFe on maRSh

Independent

On first glimpse this looked like a comedy CD, on reading the info sheet it sounded like one with reference to ‘driving blues with riffy rock and often tongue-in-cheek vocals, it is an eclectic mix of original songs that ponders life and love on the marshes of Kent – both for humans and sheep’. Makes you think doesn’t it!? Well I

BEN MACNAI

can assure you dear reader that this is a damn fine album indeed that stands much playing. The band have supported Wilko Johnson at the 100 Club a couple of times and the word is spreading and I am not surprised. The playing is top notch with fine guitar from Neil Roberts, who also provides the vocals that deliver throughout, John ‘Barney’ Barnes provides bass, Peter West the drums and Elaine Roberts further vocals. If the titles such as Surf ‘n’ Turf, Wrong Tree Baby, Slaughterhouse Blues and Jeff Bin In? amused then pay attention to the lyrics that lay atop the chunky and rhythmic music and you will indeed be pleased.

Black Dog Boogie chugs along with neat slide middle section and great boogie rhythm, Wrong Tree Baby opens with lovely guitar and vocal about a dog that has had its’ day, this is a fine tune, listen and pay attention. Shame they didn’t produce a lyric sheet. Monopoly kicks in at a pace and yes it is about the players, streets and characters in the game itself and done so well.

Slaughterhouse Blues with a menacing intro that catches you nodding your head in time works very well with Neil and Elaine taking vocal in turns over slide guitar then end in acapello. Sheepish is about, well it’s about sheep, loves and life of sheep. Keep your tongue firmly in your cheek coz you are gonna laugh, and there is a fine solo as well. Jeff Bin In? lyrics are about tell tale signs that someone has indeed been in, but do listen to the words again! A bit NCIS if you dare. The closing Life On Marsh has a neat almost funky feel, tingling guitar with good tone, solid drum

and moves along nice and gently as a lovely short closing instrumental. I do recommend this to your ears.

TOBY ORNOTT

BourBon Blues ensemBle vol.1

Old Nick records

Another new one for me is Bourbon Blues Ensemble. Hailing from Mexico, this quartet was formed in 2014 when singer/songwriter/ guitarist Lannch invited guitarist Fernz and bassist Alessandro Bergamo to record a song with a bluesy feeling. When finished they realised the time was right to form a band to create Blues sounds. They were soon joined by pianist Jonathan Stephens and added new instruments like cigar box guitars and harmonica. Their sound has been inspired by the usuals, namely, Robert Johnson, Buddy Guy, BB, SRV, and Clapton as well as John Mayer.

All tracks on the album are written by the band. Opening with heavy keyboards that recall the opening bars to Deep Purple’s In Rock, there is an interesting juxtaposition when the drums come in, seemingly playing a different tempo. The whole comes together in time for the first guitar solo and by the end of this; each member has had a chance to demonstrate their own soloing ability. Devil’s Outta Get Me is a Blues rocker with vocals provided by Lannch. Not A Sad Tale (... But Not A Happy One) is a slow Blues with heavily distorted guitar in the mix. Lannch struggles at times to reach pitch on some of the vocal, almost shouting

out the lyric. Bourbon Blues is an outright belter with some great playing by all the musicians. In fact I was quite out of breath at the end of the track.

My favourite track is When which opens with quite an angelic sounding choir, and finds Lannch at his best vocal, including some sweet harmonising. The guitar solo is constrained and apt for this slow Blues styled track. On the whole I prefer the instrumental tracks here and personally, I feel that whilst being more than competent musically they would seriously benefit from the addition of a good vocalist. Not knowing whether the fault is Lannch’s singing or

Gov’t mule

DuB SiDe oF the mule

Provogue records

if his voice has been played down in the mix leaves some questions about the vocal that detracts from the quality of the songs here.

MERV OSBORN

slam allen Feel theSe BlueS

Independent

High-energy blues and soul from the powerhouse frontman who spent nine years as lead guitarist and singer with James Cotton’s band. The hard driving title track Feel These Blues opens the show with Allen leading his band with some

This review represents two promo CD discs although I understand the full release will be a four box set comprised of three CD’s and a DVD, these two discs cover live concerts on or near New Years Eve and include several special guests, the first has a starring role from Toots Hibbert who provides vocals on the majority of tracks on disc one which has a strong Reggae influences, disc two covers more traditional “Mule” music with guest appearances from Gregg Allman and John Popper. Gov’t Mule are becoming a very popular band and are fairly prolific currently with several releases hitting the stores but it is these live concert recordings that bring out the best of Warren Haynes on guitar and vocals, he shows a genuine respect for a variety of musical styles and artists.

The disc one highlights are the rambling 54-46 Was My Number and the crowd pleasing Reggae Got Soul, for me though it is the second disc that brings out the best of the band, who along with their special guests deliver some superb live music across eleven tracks of Blues Rock bliss, to provide a flavour I have named a couple of tracks; Just Like A Woman, It’s A Man’s Man’s Man’s World and It Hurts Me Too, while these are standards for a lot of bands the performances here are sublime, I just wish I had been there! Gov’t Mule will shortly be undertaking a European tour to celebrate their twentieth Anniversary, if you get the chance get a ticket as they are currently one of the best live bands around.

ADRIAN BLACKLEE

Albums reviews

string-bendingly ferocious guitar work. The bluesy minor key groove of All Because Of You finds Allen trading licks with John Ginty’s fine Hammond B3 organ and singing soulfully. The rhythm section of Jeff Anderson on bass and Dan Fadel on drums are excellent and all the material is self-penned bar one track with the whole album sounding fresh and joyful. The smooth soul sounds of In September are followed by The BB King styled The Blues Is Back featuring Allen’s assertive vocals and proclamation “look out BB” as he fires some vicious guitar licks. Baby Please Don’t You Go is a Stax style rocker with Allen doing his best Otis impression on vocals. 35 Miles Outside Of Memphis has a touch of Creedence Clearwater

Revival as the band brew up a rich swampy gumbo which certainly got my toes tapping. The slow blues World Don’t Stop Turning gives everyone a chance to stretch out and the sweet soul sounds of Can’t Break Away From That Girl would soothe any fevered brow. Allen and his band inject some funk into When The Blues Come Around with some tight grooves and wailing organ from Ginty. You’re Wrong features more fine BB style call and response guitar and vocal work and then we come to the most unusual cover which closes out the album.

Prince’s classic Purple Rain is a soulful tour-de-force with heartfelt vocals, great slabs of organ from Ginty and a smoking guitar solo from Allen. Enthusiasm and passion shine throughout

Gov’t mule StoneD SiDe oF the mule vol 1 & 2

Provogue records

Another live Gov’t Mule album I hear you shout but why should the band change something that is not broken, live performing is what the band do best so long may it continue, full albums of other bands material can sometimes be tiresome but the band give it their heart and soul on this release of Rolling Stones material, which all gets the “Mule” treatment.

There are thirteen tracks on the album that cover known and lesser known tracks recorded by the Rolling Stones during their lengthy continuing career, the obvious tracks covered include Paint It Black, Brown Sugar and Under My Thumb although it is the more obscure tracks, to me anyway, that are more enjoyable, songs like Ventilator Blues only ever played live once by the Stones gets some great extended treatment from Warren Haynes and his band, with good support from an unknown Harpist and saxophonist Steve Elson, while this track is the only out and out Blues track this should not deter you from making this an essential purchase.

The album was drawn from a 2009 Halloween concert performance at the Tower Hotel in Philadelphia and is being released as a limited edition double vinyl LP only release, the quality of the recording is excellent and the focus is definitely on the music, as the crowd applause is kept to a minimum.

this enjoyable album. Perfect music for the BBQ season.

DAVE DRURY

aliCe dimiCele Swim

alice Otter music

Alice DiMichele has been touring, recording and performing for almost 30 years and is categorized as folk blues or acoustic soul. She has a multi-octane voice that dives deep and soars high and is reminiscent of Rory Block in its passion. Alice is not afraid to surround herself with top-class musicians. Open Road has dobro and fiddle, then When Jade Rides Scout has a tex-mex horn section and tells of the many facets of love be it a woman, a horse, a partner or a tractor. She sings of the earth, life and love and is a songwriter of sensual qualities. Bonnie Raitt states ‘She’s for real’ and that is no mean compliment. Schoolhouse believe it not is a love song to a wave. The title track Swim showcases what a funky powerhouse DiMicele can be when backed by a top-notch horn section and the spiralling keys of a Hammond B3. The sparsely arranged Inside and This Love, highlights Alice’s voice as a powerful and emotive instrument while exploring the depths of saying goodbye. A haunting album which I will return to often.

BOB BONSEY

sam CoCkrell tRying to make a living FRom my

guitaR

teletone records

the type of blues we are going to hear. Every note played and lyric sung is full of soulful Chicago blues infused energy on this album of eleven original songs that have been given a zest of modernity.

The album is full of Chicago shuffles, dancetune funked up feet tapping delights and then the soulful ballads, the glue that gives the album its shape is the soulful Sam Cockrell vocals who textures and shapes the vocals with blues timing and tempo. The musicians are all superb with Sam’s bass playing adding a depth of tone that makes the rhythm section buzz with the combination of drummer Brian McGrew, the soulful heartbeat of the band.

The title track half way through the album is a slow blues number with a stylish full sound opening that leads you into the lyrics and then you are taken on a musical journey that is compelling listening, the horn section provides that extra dimension that adds to the class of the album. Blindsided By Love allows Dan Tabion Keyboards and David Berger guitar to really give the track shape with the musical emphasis of the trumpet acting as an underscore of the message being delivered.

The influences that have shaped but not dictated the musical tone can be heard they include Ray Charles, Steely Dan and Earth, Wind and Fire. Finishing with a seventies infused funky tempo She’s Hot certainly keeps your attention and reminds you what makes Chicago Blues so special when played with verve and flair.

Opening with I’m From Chicago this album stamps its links, and

LIZ AIKEN

tHe Boom Band Deluxe eDition boom recordings

ADRIAN BLACKLEE

This was originally released as a collector’s vinyl edition. Now after a lot of rearranging of songs and incorporating four bonus acoustic tracks here comes the definitive pressing. What an outstanding release this is. It is an eclectic lucky dip of music genres from rhythm and blues honky tonk down south riffs and Southern Rock, this band are so talented and dedicated to their music they exude happiness leaving the listener in a similar mood level.

All accomplished craftsmen there is no particular leader as such because they all chip in with great singing and songwriting styles underpinning such a group that has four lead guitarists. First and last track is We Can Work Together exhibiting the undoubted talent and big sound resonating through the rest of the songs. All guitarists sing lead vocals also. Diamonds In The Dust is growled out by Marcus Bonfanti Under The Skin has Mark Butcher clear harmonies Jon Amor plays moody guitar and cheerful vocal tone to Moonshine. Matt Taylor goes country on Red Eye Of The Devil Paddy Milner excels on Waste My Time. The flow to this release is unique the more it is played more intricacies of patterns develop. The bonus acoustic numbers are all well arranged with highlight Jon Amor cranking up the pace on You Can Bring Me Flowers. Presented in a panelled card wallet with twenty four page booklet this is a definite contender for album of the year a fabulous project.

COLIN CAMPBELL

loWell Fulson the BlueS Come Rollin’ in the 1952-62 ReCoRDingS

soul Jam records

Nowadays, little known but nonetheless influential artists like the West Coast guitar legend Lowell Fulson nowadays, seem to have been neglected in favour of more high profile performers such as, B.B. King, (who adapted with Lowell’s blessing his hit, Three O’clock In The Morning Blues) into his signature Three O’clock Blues. Lowell was also a shrewd judge of talent for he included in his early touring bands, such (later) greats as; Ike Turner; guitar, Ray Charles; piano, and Stanley Turrentine or King Curtis on tenor saxophone.

Born in Oklahoma, in nineteen twenty-one he had by the age of twelve learned to play the guitar and practiced on Country and Western tunes, the influences of Texas bluesman Blind Lemon Jefferson and East coast stylist Blind Boy Fuller led him to develop his endearingly warm and mellow style. One major step forward in his career took place in nineteen thirtynine, when he replaced one Chester Burnett (Howlin’ Wolf) in the band of Texas Alexander.

After the war he moved to California and formed his own band which incorporated the smooth urbane influences of T Bone Walker and the goodtime swinging band sound of Louis Jordan. The twenty-eight numbers on this album are taken from the ten year period when he recorded for a various number of labels such as; Swing Time, Aladdin

J. aslinG roots & Friends

From the south of Sweden J. Asling has put together an eclectic recording band who perform a rootsy style of Blues, recorded authentically using old style analogue equipment, the material is self written and the thirteen tracks were recorded over one weekend, which gives the album a good spontaneity feel to it, I am really impressed with both the musicianship and the song writing here, the mix of electric and acoustic instruments works well throughout.

When listening to the album I kept being reminded of Duke Robillard in the way the vocals and guitar are handled and on reflection I believe this is a justifiable comparison, there is a solid cultural streak that runs through the body of this material, it is authentic blues music but with just a slight subtle twist of originality. The style of blues is also varied, on Paps Is A Good Friend the band are augmented by Harp player Sven Zetterberg and dish out a big slug of Chicago style blues while on the instrumental Blues For Tarantino, it is the Hammond organ that gets centre stage, the other tracks incorporate styles which include boogie woogie and zydeco. A very impressive album that is full of originality and style highlighting that there are Blues artists hidden away across Europe that are deserving recognition.

ADRIAN BLACKLEE

and Chess subsidiary Checker. Among the many musicians providing sterling support are these blues heavyweights; Willie Dixon, Billy Hadnott; bass, Otis Spann, Lloyd Glenn; piano, Fred Below; drums with Jackie Brenston, David Fathead Newman, Leroy Cooper, Earl Brown and Fats Morris on horns. Among the aural treasures to be found here, gems like Trouble, Trouble, Blue Shadows, Do Me Right, Coming Home, Blue Shadows and the classic Reconsider Baby, which Elvis covered for his sixties comeback album, Elvis Is Back, shine in the limelight. One for the Collection!

BRIAN HARMAN

david knoWles

FootStepS Independent

Coming hot on the heels of his debut EP, The Alchemist, released back in January Footsteps sees the Scotland-based singer-songwriter given the space to fully realize his musical identity and deliver it to an already curious audience. With a depth and darkness that belie his relatively tender years, as well as possessing the stories and scars to match (including a period of sleeping rough on beaches), Knowles nomadic songwriting style is equal parts Kerouac, Blake, Leadbelly and Dylan. The record’s sound is somewhat apocalyptic – all lo-fi vocals, droning strings, and

chain-gang percussion, and calls to mind the similarly minimalist stylings of Fink or Jose Gonzalez. Knowles voice conjures comparisons to the sultry smokiness of Eddie Vedder’s more pensive moments, as well as the more evangelical ‘fire-in-the-belly’ hollering’s of Ray LaMontagne or Foy Vance.

Album opener On The Road sets proceedings off nicely with unrelenting drums propelling the track along, eventually melding with the drone of a didgeridoo and layered vocals. The Alchemist is also particularly fine, a folky and breathy composition with elements of Celtic mysticism and subtle atonality, Knowles’ evocative vocals, bruised and tender, riding a mournful surge of strings as the track builds momentum before pulling the rug out from under your feet suddenly. Child Soldier sees the singer at his most aggressive, and also where the Vedder comparisons ring true the most, but it is a powerful track nonetheless and serves well to change up the album’s pace midway.

The hymn-like album closer, Silence In The Storm, echoes Knowles’ past experiences living the life of a vagabond, as ambient sounds and waves ripple around his smooth baritone as he declares ‘you have to lose yourself, to find out who you are’. This confident and unapologetic release certainly seems to unveil a highly self-assured and brave new artist unafraid to bare his soul in his writing and performance and share the compelling road he’s travelled.

RHYS WILLIAMS

The muchanticipated new record from Giles Robson and his band is here at last. The teaser EP Sinnin’ Gainst Me came out about a year ago, offering glimpses of exciting things to come. Some won’t hear this as a blues album, but its essential music for harmonica fans. The Dirty Aces create a polished modern backing with space for Giles to weave in and out with sharp signature licks and fiery solos. Like the previous record, From The Basement is full of catchy hooks and again the songs use punchy emphatic repetition of a chorus lyric or lick – if a line is good it bears repeating. Good harp tone is a product of the player rather than the instrument. Giles’ tone is exceptionally good and it’s captured perfectly on this record. It’s warm and clear but with a little edgy bite –sort of clean-but-dirty. Giles uses standard Marine Band and Special20 harps out-of-the-box (none of that obsessive tuning and tweaking), and rather than relying on gritty overdriven amps that many harp players favour, his edge comes from playing technique. If the meat of Giles’ harp work is the signature licks, then the Specials on the menu are the solos. They twist and turn and flick, Giles brandishing his iron like a samurai sword slashing through a web of Christmas lights, sparks flying everywhere. There is nice guitar work throughout, it’s the kind of understated complementary rhythm and riffing you might find on a Charlie Musselwhite or Jason Ricci album, but there are several great guitar solos too. My favourite tune

layla Zoe live at SpiRit oF 66 Cable Car records

Layla Zoe is a vocalist of remarkable depth and presence. The live environment is as natural to her as breathing and this set shows her in all her glory across 2 CDs of excellent Blues and rock. Her band are pretty damn fine as well, with Jan Laacks on guitars, Gregor Sonnenberg on bass and Hardy Fischotter laying down the drums – they sound as though they have been playing together for years and sync perfectly with Ms Zoe’s vocals. Layla Zoe hails from Canada, often called “Canada’s darling of the Blues”, and, to judge from the pictures on the sleeve and her Wiki, makes great play of a fresh face, long hair and tattoos, putting up an image of classic rock chick; sultry and sexy – every young man’s dream. It is all for naught if she hasn’t got the voice of course and she does – power and a dark edge to her voice, often compared to Janis Joplin (who isn’t?) but also capable of really subtle and pretty singing. On a track like The Lily she sings with real raw emotion and honey-sweet tone over a slow and gentle backing, every word taken deep into her heart.

Put that against Why You So Afraid with rock hard beat and huge riff and Ms Zoe in full cougar growl. Her cover of James Brown’s It’s A Man’s World takes the song to a new place, slow, dark, almost unbearably intense and Zoe intones the song as a poem to womankind rather than the chauvinistic bruiser it is so often played as – at nearly 20 minutes you would expect the number to be too long but the performance is outstanding. I can’t say that the album is perfect – Laacks’ guitar occasionally moves into shredding territory and he ain’t no Satriani – but aside from that it is a brilliant representation of Layla Zoe at her best and there aren’t many better belters out there.

ANDY SNIPPER

is still the rocking, exciting Ain’t No Forgetting. Like Dr Feelgood reborn for the 21st century, perfect, modern, British, R&B.

ANDY ‘HONEYBOY’ SMITH

CHarlie Parr

StumpjumpeR

red House records

Leo Kotkke-esque barrelling twelve-string acoustic guitar picking rips this odd mix of modern Americanacum-blues release to a rocking start. Parr spent much of his youth in one of

the USA’s lesser-known rural areas, the home of the great post-war menu filler — Spam — Austin, Minnesota, never a noted musical centre, unlike its big Texan brother. Despite — or perhaps because of — this seemingly inauspicious background, he manages to capture the essence and thriving, driving power of modern country roots music, coupled with striking Americana influences to great effect. Strangely enough, Parr also appears from this offering to have

Albums reviews

clearly swallowed the music menu from the Lone Star State as right from the off, the eleven tracks wash into each other with a marvelous, rolling rhythmic quality that captures the full range of modern country, Appalachian tradition and

roBBen Ford into the Sun

Provogue

roots music. Still based in rural Minnesota, Parr recorded the intriguingly titled Stumpjumper in North Carolina, a state with an overwhelming tradition of producing top quality musicians of legendary stature and quality – Rev

Ford’s last few records have seemed to hint at a move more towards his jazzier leanings, which, whilst still instrumentally impressive, has maybe seen his songwriting craft take a back seat. Into The Sun is perhaps both a more straightforward and complicated record then, seeing the sophisticated and well-seasoned guitarist returning somewhat to more familiar and commercial territory, yet displaying a much more diverse array of styles, sounds and songs than we’ve seen from him in recent times. His lyrical guitar playing remains as strong, engaging and inventive as ever but that’s almost a given now when approaching a new Robben Ford release. What is interesting then is how much space of his own record Ford is willing to share, albeit with the most high profile of guests, and how he uses this very aspect (which could have possibly seen him somewhat sidelined) to his advantage to lend real credence and consistency to an album of, at times, schizophrenic influences.

The honky-tonk blues of Justified features the caramel-throated vocals of modern Blues legend Keb’ Mo’ and is given further flair through the call and response between Ford’s guitar, guest Robert Randolph’s flamboyant lap-steel, and the uplifting interjections of a gospel choir. Likewise, fellow blues/ rock legend Warren Haynes trades licks with Ford on the Meters-funk of High Heels And Throwing Things to great effect, augmenting each other’s playing without ever stepping on each other’s toes. Ford’s voice has long been his second calling card but his natural sonic resemblance to the great Boz Scaggs has never been more obvious, nor more effective, as it lends itself beautifully to the almost exclusively upbeat material here. Still it’s nice to be delivered some contrast in the form of ZZ Ward’s sultry vocal on Breath Of Me, the album’s only real ballad, made all the more emotionallywrought by this woman’s touch, and backed up by fluid Eric Johnson-esque lines from Ford.

Modern, yet coming out of tradition. Upbeat, yet still possessing plenty of the soul, drama and intrigue typically associated with the blues. Ford has deliberately delivered a contemporary and mainstream record so funky, uplifting and musically impressive that is sure to delight fans and convert the uninitiated.

RHYS WILLIAMS

Gary Davis; Blind Boy Fuller; Doc Watson etc. With one exception, the old standard blues-roots number Delia, all of the tracks included here are self-penned and resonate loudly with a deeply imbued knowledge of the southern roots tradition and music.

Shades of Woody Guthrie, Leadbelly style picking at times, even Charley Patton and Lightnin’ Hopkins, jump out and grab the attention, while his banjo-work is also surefired and sparkling. Parr is without doubt a wonderfully talented guitar picker and at times the sheer speed of delivery is near breathtaking. Fortunately, he never falls into the trap of simply being yet another too-fast picking monster and succeeds in remaining tasteful and tight throughout. A mighty fine release.

IAIN PATIENCE

roy BroWn payDay jump –lateR SeSSionS ace

Hollered vocals, dirty, booting sax, band members chanting the chorus, wildly up tempo – it really couldn’t be anything other than classic jump blues, could it? That’s the opener, the aptly titled Boogie At Midnight. Then next up, it’s The Blues Got Me Again, a slow soulful vocal (“the blues follow me wherever I go”) over moaning, mournfully riffing horns and a skittery piano. Welcome to the world of New Orleans born Roy Brown, one of the true blues greats of the late 40s and 50s. If his name is unfamiliar, chances are you know his 1948 song Good Rockin’ Tonight (which was a bigger hit for Wynonie Harris, to whom Roy offered

it). This is the second volume of Roy Brown acetates from Ace, following on from last year’s Good Rockin’ Brown CD and covering the years 1948 to 1951; it includes eight previously unissued tracks, though these are in no way inferior to the material that did come out on DeLuxe and King Records at the time. Roy’s declamatory blues shouting style or intimate blues crooning has led to him sometimes being put forward as one of the pioneers of soul music, but this CD offers blues all the way with sax blaster Leroy “Batman” Rankins frequently blowing his brains out. The packaging is as informative and visually impressive as we have long since come to expect from Ace, making this CD a must for lovers of jump blues, rocking blues, double entendre blues, slow impassioned and classy blues – or simply top-notch blues.

NORMAN DARWEN

douG adamZ

playS national Steel

magi Productions

The third solo album from the American acoustic guitar virtuoso Doug Adamz, and yes, it is spelt like that. Seventeen tracks all self-penned and played solo except for two tracks where he is joined by singer Pete Rowan, (High Roller and Stranger On The Street). As the title implies, all songs are played on a National steel guitar with occasional harmonica, also played by Doug. The songs are all typical Americana if not actual blues and deal with the everyday trials of life. Doug is not the world’s best singer, but somehow that doesn’t matter as it is the message in the songs

and the guitar that are more important. Doug’s previous two solo albums were played on standard acoustics so I am not sure if he is well known for his Steel work, but don’t expect the sheer variety and skill of say a Michael Messer recording, as the guitar is not as much in the face as you might expect from the title. There are some great tracks here though, I particularly liked Mr. Huffin Puffer and Ode To An Old Guitar. But as I said, if you are buying this album expecting to find a National steel slide master class, you will come away disappointed, buy it instead for a different flavour of acoustic Blues.

DAVE STONE

A native of Cape Breton on the coast of Nova Scotia, Chin Up is John Campbelljohn’s twelfth release. A guitarist who prefers slide and acknowledges Sonny Landreth as an influence, he is also to be found playing bass and organ here. All songs are originals, although he likes to co-write with others. Opening with swing boogie The Mumble Boogie, it’s an upbeat song that seems to have sunshine pouring through the happy sound. I Got It All is total contrast, a hard driving song with a tinge of country and no doubt a good one to dance to. Meet My Maker is a Country Blues style song, subject matter obvious, with some fine finger picking guitar. The Poor Man Pays is a great piece of what has been described elsewhere as swamp rock. In truth, it has an extremely funky bass

line and with the line “the rich getter richer and the poor man pays” it is a comment on society. Notwithstanding that, it’s very difficult to ignore the groove on this one, particularly Pat Riley’s funky bass playing. Things get decidedly heavier with Castaway, a heavy Blues rocker with some great bass playing by Ronald Hynes. The heavy vein continues with Attitude, a song that recalls some of Dylan’s style of speaking instead of singing, all the while rhyming in short stanzas. How Stupid Is That is a song that could almost be described as a Country ballad.

The lyrics are quite funny to listen to; indicating Campbelljohn’s sense of humour and the guitar sound of the resonator is delightful. Again, shades of Johnny Cash can be found here. I can’t get too excited about Fantastico Supremo, an extremely energetic song with and almost zydeco sound. Recorded in a hotel room in Brescia, Italy, there are some strange backing vocals that I can’t make my mind up about, but the guitar work is magnificent nevertheless. The album concludes with a beautiful plain and simple song called She’s Gone – My Little Love Song. The resonator making this lovely track a true gem.

MERV OSBORNE

Henrik FreisCHlader live 2014

Cable Car records

He does like a live album, does Herr Freischlader. After all, it’s only a couple of years since he had a fourCD live box set out there. But you can forgive him another one, as

tHe Pretty tHinGs the Sweet pRetty thingS (aRe in BeD now, oF CouRSe…) repertoire

Ladies and gentlemen! For your sheer delight (after a seven year hiatus) we have for you at last a new album from the celebrated, original, irreverent, naughty boys who allegedly out naughtied the Rolling Stones (a while ago) yes you will put your hands together for The Pretty Things in all their glory. Very much with a live feel and recorded on analogue equipment this is pure Pretty Things and loaded with energy in their classic way. This is a compulsive album that gets you from the off, it is vital, it is energetic, it is quality that few can match after fifty years. It is classic, rough and ready yet also has the harmonies that the band do so well with the Rock ’n’ Roll music and they have even raised the mellotron up once again so that we have all the classic sounds here, compulsive rhythms, soaring sounds, Dick Taylor’s guitar has not diminished one jot, the playing and solos are classic.

Opening with The Same Sun Phil May proclaims ‘the same sun is in the sky’ and indeed it is as this album rises up to shine on us. Nice to see the McGuinn/Crosby song Renaissance Fair included here at last which I believe was an old band and live favourite of some years ago. Dick Greenwood, on drums, lends a terrific solo to Greenwood Tree which he co-wrote and the band really work out on this instrumental that will surely become a live must play for any audience. Hell, Here And Nowhere with acoustic and vocal intro builds moodily with some typical harmony butting in to make it a bit ethereal and glorious. Tumbling drums and moody bass give rise to a repeating guitar riff and chant that combine to hypnotise for a mere two and a half minutes of In The South. Closing with Dirty Song that holds all that you could wish for in a BIG number that drags you to the volume control saying up, up, up. A shining album and a must have! Why are they not headlining at Glastonbury?

FRANK LEIGH

this documents his farewell tour. I’m not sure why he’s packing it in, as he’s made a decent name for himself over the last ten years or so, fitting into the place where Gary Moore used to be. Or if you couldn’t afford Joe Bonamassa for a weekend show at your blues club. So say hello to muscular riffing, semi shred solos and workmanlike vocals on lengthy workouts like Disappointed Women and Desert Love, both of which

last long enough to boil the kettle twice. Not that I’m saying it’s rubbish, because he is good at what he does. It’s what he does that lacks in light and shade. He has a decent enough backing band, and there is no doubting his ability as a guitarist. I’m sure that the people who’ve supported him thus far will enjoy another live rendition of the Henrik Freischlader show.

Buddy Guy FiRSt time i met the BlueS (1958-1963 ReCoRDingS)

Jam soul records

As the liner notes by Gary Blailock state: ‘Buddy Guy renowned for his raw blistering vocals and his high voltage guitar playing has remained a vital and modern musician, moving blues forward without losing sight of its roots. He was a chief guitar influence to blues rock titans like Hendrix, Clapton, Jeff Beck and Stevie Ray Vaughan as well as a pioneer of the Chicago fabled West Side Sound and a living link to the halcyon days of electric blues.’ Highlights include the potent title track First Time I Met the Blues which dates from his first Chess sessions in 1960. Sit And Cry is another exceptional number featuring both Guy and Otis Rush with Willie Dixon.

Other gems are Try to Quit You and You Sure Can’t Do, his tribute to Guitar Slim and the ballad I’ve Got a Strange Feeling, Stone Crazy and This Is The End are some of Buddy’s greatest recordings. All tracks are raw and powerful featuring his slashing and stinging guitar licks. Also noteworthy is Junior Wells’ appearance on Let Me Love You Baby and Ten Years Ago. An album to appreciate Buddy Guy’s influence and creativity and his inspiration to many of today’s guitarists.

However, if you’ve missed out on his music to date, then I wouldn’t be rushing to catch up now.

STUART A HAMILTON

tHe Juke Joint PimPs

Boogie pimpS

Voodoo rhythm records

Raw power

German blues punk, anyone? Here it is. This recording sounds as if it was recorded on a 1980s cassette recorder with the band trapped inside an IKEA wardrobe. But bear with me, because I have to quote a couple of things from Voodoo Records, based in Bern, Switzerland. First, the slogan on the label: ‘Records to ruin any party’. There’s honesty for you. Second, the 12-panel liner tells us ‘This recording has been done the way

recordings are meant to be done: played live by real human beings, straight onto two inch tape, with very few overdubs and without all the digital bullshit that makes a lot of today’s music sound like sterilized, bleached diarrhoea’. Well, after reading all this you might think, “I don’t like it”, but once you take the band and the studio’s philosophy on board, what it says on the tin is what you get. This is fat, thickly-layered heads-down sweaty blues played by a duo of Mighty Mike on vocals, drums and harp, with T-Man on guitar. The tracks have a relentless beat driven by Mighty Mike, whose growling Howlin’ Wolf via Hound Dog Taylor style vocals on original compositions such as Slim Stepped in Some Shit and A Thing You Gotta Face, although buried in the mix, still possess an earthy

power. Any bets they’re a riot live. I liked this album, but as with all explosives, you have to handle it with care.

ROY BAINTON

GreG naGy StRanDeD

Grand Blanc, Michigan based singer and guitarist Greg obviously believes in the cathartic, healing nature of the blues – he has detailed the break-up of his 24 years long marriage – and if the blues is a feeling, then Greg certainly achieves that on this release. Not that this is uncomfortable listening as such, though it is certainly intense in places. Anyone who has been involved in the break-up of a long term relationship will find plenty to empathise with here, but Greg takes the opportunity to ultimately show his resilience – take a listen to the ballad I Won’t Give Up, originally a digital single release.

Greg was formerly a member of the acclaimed and award-winning mid-west band The Root Doctors, and broke through to a wider audience as a solo artist with his debut album Walk That Fine Thin Line in 2009 before following it up with 2011’s Fell Toward None. On Stranded he refines his mix of hard blues like the John Lee Hooker-ish (with just a suspicion of Jimi Hendrix) Long Way To Memphis, soul-blues as on his cover of Ain’t No Love In The Heart Of The City, drawing on Bobby Bland’s early 70s version, funky guitar blues as on Been Such A Long Time, and often hinting at a gospel fervour, tinged with flavours of pop and more contemporary R and B. The

resulting album is a very strong personal statement, though one which will definitely hit the spot for many listeners.

VICTOR IAN LEYLAND

douG mCleod

exaCtly like thiS reference recording

This is an album that is a complete pleasure to listen to, the tales created through the lyrics are interesting and the accompanying booklet is well worth taking time to read as Doug has some valuable insights in the creativity in producing this collection of eleven self-penned tracks. The album is about collecting together, distilling and re-shaping musical sounds that have shaped the twentieth century, opening with a rockin’ number; Rock It Till The Cows inspired by Louis Jordan delivered by Doug.

The album is a journey of music that has influenced Doug with a lovely jazz guitar vibe on Too Many Misses For Me, above all though he is a blues player that sings and writes the songs telling stories he wants to share with you. Ain’t It Rough opens with talking blues as the story unfolds against the rhythmic beat of the drum and Doug’s voice; the country music picks up the voice gets more melodic on a great country blues tale with a twist of ironic humour.

We have a change of tempo as demonstrated on Vanetta a driving blues number in the style of John Lee Hooker. This is an album that keeps the momentum going across all eleven tracks, you just want to sit back and listen to the mastery. The

BOB BONSEY

instrumental Ridge Runner, full of twists and turns, has a country fair blues feel with wash board and the underlining bass line which picks up the beat and improvises again picking up a gently jazzy feeling. The album incorporates many influences and the result is Exactly Like This. This, his third album, is full of music driven shapes and textures creating a sound that is full of key changes, beats and tempos that keeps your musical ear appreciatively engaged.

LIZ AIKEN

album squeezing his notes out effortlessly and bringing the track to a crunching crescendo, there is one track that has slightly less intensity which is the Robert Johnson Stop Breaking Down Blues. For solid electric guitar led blues this is a fine album although without any self written material it does highlight some limitations for future releases.

ADRIAN BLACKLEE

Jesus on a tortilla gone to main StReet

Independent

musicianship, the mono production and the overall sound of the album all prove that this band is very, very familiar with those old records. A release like this underlines not only how far the blues has evolved since the originals of these tracks were first laid-down (mostly on shellac), but also emphasises the debt that today’s blues owes to these sounds, just how timeless this music really is, and how it has become available for all to pick up on.

NORMAN DARWEN

vladi BaCk pain

DPP records

Vladi are in Italian blues rock band, who are very much in thrall to the sound of the British blues boom of the sixties. So in no particular order, that means the Rolling Stones, the Animals, the Yardbirds, Cyril Davies, Alexis Korner and John Mayall’s Bluesbreakers.

JorGe

salan maDRiD/texaS

rockestatal records

Spanish-born Jorge certainly plays a mean fiery guitar, his musical career has seen him recording and playing with a selection of bands bordering on the side of heavy metal, on this album though he tackles some renowned Blues tracks, which will have fans of Blues/Rock drooling for more.

One gripe here is that the eight tracks only clock in at just under thirty five minutes which these days is short for a full CD album although you are not short changed on getting your “energy’s worth”, the tracks are all covers and follow a similar path with Jorge’s powerhouse lead guitar at the forefront supported by himself on vocals, with additional support from his band the Majestic Jaywalkers, who include a couple of female vocalist who do add some variety, particularly on his version of Jimi Hendrix’s Fire

Another highlight is the final track the Sky Is Crying, which showcases his best guitar performance on the

The rather Forteansounding group name belongs to an Italian four piece blues band that came together in 2011. There is nothing flashy about them – they consist of harp, guitar, upright bass and drums, with leader Lorenzo “Mumbles” Albai handling the vocals, and their intention is to play music in the style of the Chicago blues of the 50s. They succeed in this aim extremely well.

The repertoire consists of a dozen numbers associated with Muddy Waters, Little Walter, Johnny Young, Big Walter Horton (also known as “Mumbles”, I should note), John Brim, Jimmy Rogers, and Jimmy Reed, with Young’s Tighten Up On It being the most modern sounding item here – and that was first issued in 1966.

On a pedantic note, I could say that Easy was first recorded in Memphis rather than Chicago, but that really is splitting hairs –and Horton did later record it in Chicago. I would think these guys already knew that, as the quality of the

BarBara Blue

memphiS Blue: Sweet, StRong & tight big blue records

This album literally took my breath away! This has everything you want from a lady singing the Blues. Barbara delivers with great aplomb and style and a depth of feeling that is rare. We have presented here thirteen tracks of which there are three original numbers and from the off you are in for good ole Memphis sounds in Hands Off that swings along with sweeping brass and vocals that smile through your speakers, even though giving a warning! A taster of what is to come.

Classic playing from the band which has Steve Potts on drums, Leroy ‘Rick’ Hodges and David Smith taking turns on bass, Michael Tolls on rhythm guitar with Lester Snell sittin’ at the mighty Wurlitzer and Rev Charles Hodges at the B3. Backing from the super Royal Horns and guests including Bobby Rush and Ronnie Earl plus Cody Dickinson, Sonny Barbato and Dedrick Davis with backing vocals by Shontelle and Sharisse Norman who all together combine to produce this slick unpretentious and delicious album. Rudy’s Blues pulls you along for the ride, Voodoo Woman gets some swinging Cajun treats, before Me & Jesus eases us down a pace and tells a story. Love Is After Me gives out some compulsive Stax sounds then Coat & Hat gets sad with a tale of a two timing man.

The title track, and first original number here, comes in at track nine and sounds like a classic straight away. I loved the treatment to I’m Going To Tear Your Playhouse Down so mightily rounded out yet smooth. Memphis Stomp gives you party time and swells and flows so neatly and you will not sit or stand still. Closing the album Barbara gives us 800 Mile Blues, co-written with Ronnie Earl who plays real moody and tasteful guitar (again) while Barbara gives us a wonderful feeling vocal. If you had wondered where the real Blues is today look no further...

FRANK LEIGH

Blues Top 50 February 2015

Which isn’t a bad thing at all and which led to the formation of the Vladi Blues Band over 20 years ago. Since then they’ve been performing all across Italy and into the rest of Europe in clubs and at festivals, with the requisite lineup changes.

They’ve also punted out a few records along the way, including an Eric Clapton tribute, leading to this latest set of original songs. And it’s quite enjoyable without ever becoming essential.

They’ve got their sound down pat, and there are some nice fills and trills along the way. Thing is, though, the songs don’t really stick in your head, with the exception of Run Away Home, The River and the sole cover, Season Of The Witch (the old Donovan tune). That said, though, the band are all extremely proficient musicians and if you were to encounter them on a stage, I’m sure a good time would be had by all.

STUART A HAMILTON

roBin BiBi & tony marten

live at the Ram jam

recorded in the ram Jam Club

This is the epitome of guitar playing by two superb exponents at the very top of their profession and to the credit of the audience in the Grey Horse there is rapt silence while Robin and Tony are actually playing. Live recordings can be a bit hit or miss with audience sometimes letting their emotions get carried away. Not so in this album, patently the lucky punters in the Grey Horse Pub in Kingston on Thames appreciate the efforts of the musicians during live recordings and keep quiet.

The opening track is an adaptation of Earl King’s Come On and if the lyrics are a bit dated, the feeling with which they’re put across with the superb finger work on guitar is top drawer. This is duly followed by a Bibi own number Love Don’t Mean A Thing in which yet again, the superlatives for the guitar playing just aren’t enough. Vocally though it is Southern sounding from two guys from the deep south (of England).

The 12 bar Blues number from Earl Jones is suitably transcribed in Things That I Used To Do as track four, and yet again the guys play their guitars like celestial harps. If you think I’m waxing too lyrical over the guitar aspect of this live show then you’re in for a treat when you get hold of this diamond example of string work by two maestros of the instrument. Every one of the tracks is a real pleasure and what a live recording should be.

TOM WALKER

This is the first of two EP’s sent to me as opposed to full length compact discs and it is a super little aperitif of Robin Bibi; in that it is all him both vocally and on guitar, and boy can he play the guitar with aplomb. This is a maestro at work and is to be regarded as a virtuoso by his peers and when you look at the list of those with whom he’s worked then the praise is wholly due.

The opening track Love Don’t Mean a Thing is a visceral bluesy number in which his vocal capabilities are ever so slightly vibrato

toots lorraine make it eaSy

Greaseland records

Toots (Tyra Dant) Lorraine and The

Traffic are from and continue to reside in the Jacksonville, Florida area. The music they focus upon with such obvious delight and relish, is straight down the line blues, with particular attention being paid and displayed to the sounds and flavours of classic Chicago and West Coast club blues also, in their music are delightful and highly satisfying reminders of the likes of Otis Rush, Magic Sam, Freddie King and T-Bone Walker. Helping Toots to create this very pleasant and highly absorbing collection of twelve numbers are; Chad Dant (husband of Toots) guitar, Lorenzo Farrell; Piano and organ, Mike Phillips; bass, June Core; drums and percussion with guests; Aki Kumar on harmonica with Chris “Kid” Andersen; popping up on guitar, bass and piano; in fact the album was recorded at his Greaseland studios in California.

The lazy, wheezy harmonica on the opener Make It Easy, combines with an amiable shoulder shufflin’ percussion that merges seductively with Toots’ tantalizing vocal mixture of late night crooner and blues shouter, this easily entices you into the groove. Big Mama Thornton’s Let Your Tears Fall Baby, allows Toots to really let her hair down with this seriously rolling and tumbling foot tapper, while Get Back To Lovin’, is a slowburner that contains splendid vocals backed by twisting, turning guitar and bubbling, percolating organ. Hindsight, is another aching, pain filled piano and vocal slowburner. On Howlin’ Wolf’s Built For Comfort, Toots sticks with the original lyrics and enjoyably blasts them out with rollicking, romping and stomping support from the band, This footloose feeling is continued with Big Joe Turner’s Low Down Dog which amply displays that the band know how to have a good time. Highly Impressive!

but with his raucous voice added to his finger work on the strings makes it quintessentially Blues direct from the Delta.

The second track on this superb release, In Too Deep is a cornucopia of guitar work on several different instruments and is a perfect foil for the opening number. Robin is the epitome of a cliché, in that Bibi is the eponymous “Musicians Musician” and that accolade is well founded. A little cracker of an EP.

TOM WALKER

lynn JaCkson & CHris Boyne the aCouStiC SeSSionS

Flatt busted records busted

This is the seventh album in a career that has to date spanned ten years for the Kitchener, Ontario, based singer-songwriter Lynn Jackson; it is not exactly a retrospective but, it contains starker acoustic renderings of songs of past albums;

roBin BiBi BiBi at muSCle ShoalS Fame studios

BRIAN HARMAN

little CHevy Sweet home

Independent

Here is an act I had not heard of previously but I let the music do the talking and find that this five piece outfit really have a good grip on what they are doing. Perhaps they are a little unusual in that for this, their first album, they chose to write fourteen original songs to satisfy their fans demand for an album. Having played individually the five friends decided to get together and entered a Swiss Blues competition and won it! They have been together for five years now honing their Blues and image and have done a fine job of it. This is a snappy and tight album and all the songs stand up very well. Vocals are from Evelyne Péquignot who has a smokey, soul sound and sure has fun with it.

The band consist of Andy Lang (also co-writer of all the songs with Evelyne) on drums, Markus Werner, guitars, Roland Keopel piano/Hammond, Christoph Schwaninger, piano, Rainer Schudel, bass and they are tight! Fun to start an album with a track titled You’re Fired! But it trips along in a most friendly way with cheeky vocal and the music is super. Honky piano intro to Honey that then rocks along in fine form with skippy drums and flitting guitar, next is Rocking Chair and the boys harmonise here after a rocking guitar and Hammond intro.

What A Shame gives a sample of funky Blues and again most excellent, Broken Heart features tasteful guitar breaks and solo, deep slide introduces Sally that has hypnotising beat, Watching Over Me is bar room sad and builds, this could be a stage epic. Homeless Man is the moody track and how, That’s Me has lots of tempo changes and some catchy whistling and grabs you, Sweet Home is the song of hope and the closing Same Old Story is an historic song of slavery and hope. This is a fine album and I really look forward to hearing more of Little Chevy as they rev up more Blues! Most certainly one to recommend.

FRANK LEIGH

she has with the help of her acoustic touring partner Chris Boyne (of the band Sexdwarf) and musicians

Joe Dunn; National steel, Scott Fitzpatrick; upright bass and mandolin, Nick Storring; cello, Steve Wood; pedal steel guitar and Wendy Wright on violin, who, have in the past played with Lynn at some point or other in her career and now here they conjure up a very inspiring and atmospheric set. The setting for these thirteen

numbers is the Spaghetti Studios in Ontario, Canada. The sparse open sounding numbers are filled with a homely but, stark back porch mixture of Folk, Roots and Americana, Lynn’s soft and lilting vocals are well supported by the crisp, clear and spectrally inviting bass and cello, while the violin and the pedal steel add extra depth to the proceedings.

The ever inviting and entwining harmonies from Lynn and Chris effortlessly

swoop and soar, this is particularly evident on Come Down and Paper Airplanes, here the sweet pedal steel provides a poignant lyrical and emotional emphasis and most definitely underpins a wistful feeling.

Mark The Spot, is a less than cheering tale of a failed marriage and the wife’s eventual motorised escape but, our spirits are most definitely uplifted by some highly enjoyable mandolin playing. The combination of violin and mandolin on Sweet Relief certainly evokes wonderful memories of an old fashioned twostep, on this, a fragile and mournful tale of lost loves and regrets. Impressive!

BRIAN HARMAN

tad roBinson

Day into night severn records

After a four year wait here comes the new release from long time blues and soul singer songwriter Tad Robinson encompassing twelve songs. This has a flow of differing musical approaches gaining a true feeling of a band oozing style. With a backing band featuring such guitar worthies as Alex Schultz and guesting Anson Funderburgh this release exudes class.

Well produced by Kevin Anker also David Earl and Steve Gomes this is a very professional and polished eclectic mix of tunes. The starter track is a sure fire winner Soul Lover introduces Hammond organ mellow guitar work and then it hits the spot when Tad Robinson overrides this with intoxicating soulful vocals a taste of what is to come. Lonely Talking features some great

guitar licks from Anson Funderburgh and underpins the emotion portrayed in the lead vocals evoking a broken relationship. Overall this release emphasises the quality and range of Tad Robinsons sublime vocals taking the listener back to a Stax record feel on He’s Moved On and Love Is A Winner.

The only cover is the Bobby Bland Lead Me On which has a laid back funky beat some up tempo rhythm and blues. Love Is A Winner continues the effortless flow to this release. An undoubted highlight is the melodic Nightwatch which incorporates the smooth guitar work of Alex Schultz. A cracking collaboration that works in so many levels of emotions and vocals that leave the listener spellbound a real winner.

COLIN CAMPBELL

Giles Hedley

Rain iS SuCh a loneSome SounD Independent release

There are probably a hundred thousand guys out there who play classic songs on an acoustic guitar and call them Blues but the number who can actually make the songs relevant and set the hairs at the back of your neck on edge can be counted on your fingers and toes – thankfully Giles Hedley is one. It probably helps that you have actually played with Son House, Fred MacDowell and Juke Boy Bonner but if you don’t have the chops you won’t get the biscuits and Mr Hedley gets the gravy too.

Every song on this album, with the exception of three Hedley originals, is a well known classic including Terraplane Blues,

Death Letter Blues, You’re Gonna Miss Me When I’m Gone and Death Don’t Have No Mercy but Hedley plays them absolutely straight and somehow give them a whole new relevance – 21st century music played just like the originals.

It may be in the way that Hedley’s vocals are shorn of much of the accent of the originals but you begin to see the power of the words written by Robert Johnson of Muddy Waters and on Rev. Gary Davis Death Ain’t Got No Mercy his chiming guitar and strident vocals make for a song that is harrowing and bleak as appropriate to Mississippi, Afghanistan or Nepal equally.

His harmonica playing is excellent, playing two simultaneously on nose and mouth on Sidevalve Stroll and his slide playing is equally fine utilizing a “Short, heavy bottleneck cut from a Bulmer’s cider bottle 40 years ago” and he plays a 1928 Aristone guitar, 1935 Grimshaw Archtop and a 1917 Levin parlour guitar he bought on eBay. Artists of the quality of Giles Hedley are rare and the ability to make this music, so familiar, sound fresh and not hackneyed is a wondrous thing. Apparently there are more issues to come from this recording session – I can’t wait.

ANDY SNIPPER

JoHnny adams

i won’t CRy – the

Complete RiC & Ron

SingleS 1959-1964

ace records

Known fondly as the Tan Canary this release of all his early singles exemplifies just what a voice he had and what modern music has

lost. Although seeking for notoriety on a popular scale he only had mediocre hits as such. These are six songs that featured on the rhythm and blues charts, this in a career that spanned forty years. Arguably he was the best New Orleans male vocal singer of all time.

This is a collection of his earliest work of singles for Ric and Ron Records edited and remastered by Ace Record producers but originals were cut at Cosimo Matassa studios. It starts with his best known song I Wont Cry. His smooth melodic tones and eloquent vocals resonate throughout even this release pitching at a falsetto voice style a trademark on most songs he sung very recognisable and unique.

A lot of these singles were produced in collaboration with Malcolm Rebennack also known as Dr John who wrote a lot of the earlier songs starting with Come On also the catchier The Bells Are Ringing and Someone For Me. He also helped write Johnnys first hit A Losing Battle. There are also two bonus tracks No Way Out For Me and Walking The Floor Over You. With a wellproduced booklet crammed with pictures of the singles this is a must for anyone who appreciates that great Down South sound.

COLIN CAMPBELL

arlen rotH

SliDe guitaR Summit aquinnah records

Arlen Roth has certainly assembled a stellar cast for this diverse album and it pays off handsomely. Opener Do What’s Right is a 50s style country rocker featuring Jack Pearson on slide guitar

and lead vocal and the pair trade licks ferociously on a race to the finish. Lee Roy Parnell takes over the guest spot for a spirited and joyful romp through Dust My Broom also featuring great bar-room piano pounding from Kevin McKendree. A complete change of pace comes with a lovely, sumptuous, Hawaiian style Stranger On The Shore featuring Cindy Cashdollar on lap steel guitar.

A cracking, jazzy, instrumental Sonny Skies features Roth and Sonny Landreth accompanied only by double bass from Eddie Denise. Johnny Winter (his last session) joins the fun on slide for an infectious Rocket 88 and you can feel the wind blowing through your hair on the open road. I defy anyone to stop their toes tapping to a wonderful

and funky Dixie Chicken. Not only is the musicianship first rate throughout there is always a sense of fun and commitment by all involved. Jimmy Vivino joins the party for acoustic country blues workouts of Poor Boy Blues and Laura Nyro’s And When I Die. Greg Martin provides slide and vocals on Jimmie Rodgers’ country rocker Peach Pickin’ Time In Georgia complete with yodels. Rick Vito plays with Roth on the Hawaiian style, jazzy ballad Paradise Blues and also features on an instrumental cover of You Really Got A Hold On Me. Roth and David Lindley both play lap steel guitar on Roy Byrd’s tasty little blues Her Mind Is Gone.

If you love all the varied styles of slide guitar then

Junior Wells Cut that out (1953-1963 SiDeS)

soul Jam

This is an album that is for all lovers of blues, Junior Wells and the harmonica with thirty tracks spanning the decades it is an album that spins along from one track to the next. This is a re-release of an album originally released in 1977 and is a showcase of the single, around three minutes long they show how much music can be crafted into the time. Many of the tracks are blues standards, but these have a clean blues originality with a hint of menace of a young man determined to play the blues.

These are singles recorded when he was Muddy Water’s harmonica player. Picking out stars on an album that is crammed with a whole constellation is impossible; Hoodooo Man is special with the slide guitar of Elmore James making this track smoulder and smoke with Junior’s punchy harp playing and hits all the buttons. Other stand out Tracks are Eagle Rock a fine instrumental, Come On In This House with the wail hinting that in time this teenager will sing great blues as well as play perfect harp. The rendition of I Need Me A Car is sassy with a Latino rhythm that gets the hips shaking and dance floors filled. This is Chicago captured in all its glory and is a little bit of blues history we can own, listen to, and relish and definitely enjoy again and again.

LIZ AIKEN

you will love this fine album which certainly lives up to it’s billing.

DAVE DRURY

Hat CHeCk Girl at 2 in the moRning Gallway bay

This album is the fifth in a series of musical and cerebral collaborations of singer/ songwriter Annie Gallup and writer/producer Peter Gallway; their singular approach to the eleven numbers here is simple and very effective. Two voices, two guitars and a distinctly detached atmosphere. To accurately describe what one hears is to imagine a musical marriage of Eric Taylor, Leonard Cohen, Joni Mitchell and the poet Charlie Smith. Sparse use of Dobro, lap steel and banjo, combined with near talking, whispering tones infer an almost conspiratorial atmosphere in the magical thoughts and feelings that are conjured in one’s mind during the very early hours of the morning.

You feel the music more than you hear it. Texas, more than exemplifies the singular desolate feelings of trepidation and fear you may well experience when faced with the reality of knowing of one’s own imminent demise; a tantalising image of clarity and honesty is imbued into future thoughts and actions towards the friends you leave behind.

The whole album possesses arrangements that combine an eerie, clinging and unsettling ambience. Leaving and Three Wives, focuses on failed marriages and broken relationships, they each maintain spooky, depressing, conscience provoking images that

burn into your mind. The poem I Speak To Fewer People, by Charlie Smith which concerns an ageing fruit picker describing the unravelling of his marriages and the loneliness of living in a motel, is given a reverential hymn like soaring and slowly crashing melancholy Dobro. This album delves into both sorrow and happiness but, mostly sorrow. The effect of these numbers is depressing and heartrending but, the honesty and clarity of the storytelling is to be applauded and admired, for someone has to go there and tell us these stories. A darkly impressive release well worth tasting.

BRIAN HARMAN

tHe mCCrary sisters let’S go

I first knowingly heard The McCrary Sisters on Etta Britt’s excellent Etta Does Delbert CD released last year. However, they have worked or recorded with many familiar names, among them Doctor John, The Black Keys, Jonny Lang, Robert Randolph and many, many others. Their father was the great Reverend Samuel McCrary, one of the founder members of The Fairfield Four, a long-standing gospel group who really hit their stride in the classic era of Gospel music in the 50s.

The present members put in a fine guest appearance here on Don’t You Let Nobody Turn You ‘Round, and certainly live up to their formidable reputation. The four McCrary Sisters – Ann, Deborah, Regina and Alfreda – obviously grew

little devils

the StoRm inSiDe Krossborder rekords

I was chuffed to receive this to review. Having heard so many good comments about them, seeing them at Skegness (wow!) and having Deep Inside on the Krossborder Kompilation Vol.1 where it stands as a stunning opening track to any album. This is the bands third album and how they have grown since the wonderful Diamonds and Poison and About Time.

Delivering here fourteen tracks with running time 57 minutes, the first thing you hear is a bit of storm rumbling then lovely, eerie slide guitar, Yoka howls and the opening 1.31 minutes of Storm Warning closes. Getting into stride on Wounded about the confines we build ourselves and the guilt we can feel, beautiful flute section dances around Sara’s drums.

Deep Inside demands that you reach the volume control and turn it up, moody, atmospheric, challenging, stirring, charged, great, sexy/moody saxophone (a la Rafael Ravenscroft), staggering guitar breaks, lots of mood infused here, great use of voice by Yoka, so tasteful guitar that builds just like a storm as we progress blowing over all too soon. Skin Sin boils along with solid beat and a positive message in the lyric.

The Birth Of The Blues thumps in on solid rhythm before the contrasting vocal of Yoka joins and challenges the balance and it works so very well, Sara commands the skins so solidly and Big Ray steps in with another soaring solo with Graeme putting in some great bass work before Yoka brings in the sax again ending so suddenly. A Long Time Ago very neat, gruff vocal, fluttering flute, a fine foot tapper. I Still Want It Back has chunky chords and glorious guitar breaks over solid drum and bass with Yoka duelling with the guitar at one point, oh yes. Stand literally strides into the room like a powerful, heady Tamla tune, there’s a lot going on on that drum stool, horns come in and surprise and give good feel as they breeze through this thumper. Lovely intro to Cold featuring Diana Stone (Delta Ladies) guesting on violin, one of the gentler numbers here. Loved the way that the closing Heavy Weather ended with stylus noises (remember them?)

Already having been at No.1 in the IBBA charts and receiving lots of world-wide airplay this is a thoroughly recommended album purchase.

TOBY ORNOTT

up surrounded by gospel music and went on to forge reputations as singers on an individual basis, before they formed their own group in 2011. This album – produced by Nashville’s Buddy Miller, who also

guests – is a gospel set and one which reflects their wide musical experience, from classic a cappella group sounds to the driving rhythm and blues

inflected I Am Free, and Fire, an immensely powerful performance which sounds like it is accompanied by a modern New Orleans brass band.

He Split The Rock is a sacred number with a tough blues format and some blistering electric guitar by Marc Copley; if you are a little unsure about this set, try this track first if you can, but if you enjoy good, soulful music and have an interest in gospel or Americana, there’s no reason whatsoever to be uncertain about the value of this set.

NORMAN DARWEN

DVD

tom Feldman

FrantiC roCkers

Savage Beat rhythm bomb records

Take some classic harmonica driven blues plus a rock-a-billy feel, then add some punk attitude and what you have is a kicking album. There are 13 songs; 10 original and three covers. The Junior Wells classic Hoodoo Blues is given a real make-over while Magic Sam’s I Wanna Boogie and Billy Boy Arnold’s Crying And Pleading is done with the aforesaid punk

the RootS oF RoBeRt johnSon

stefan Grossmans Guitar workshop

It seems like only a few weeks ago that I was reviewing the DVD The Guitar of Robert Johnson, indeed, I am still working my way through those tunes that I couldn’t get my fingers round before, and now with several pages still to go, I find that we get the chance to look back at those players that possibly influenced Robert Johnson, I say possibly, because there can never be much certainty about anything that relates to the works of Robert. There are seven artists here, Skip James, Hambone Willie Newbern, Lonnie Johnson, Scrapper Blackwell, Johnnie Temple, Son House and Peetie Wheatstraw, with varying styles and four different tunings, Standard, open G, Open D and Crossnote tuning. As you have come to expect from this series, there is also a fully detailed PDF file attached that gives all of the words and music and includes a tab file. Included on the DVD are all of the original recordings of the songs together with some rare footage from Skip James at a 60s Blues festival. Tom Feldman is an accomplished tutor and guitar player and has the uncanny ability to sound like a vintage recording when he sings, (I know that’s an odd way of expressing it, but you have to watch it to understand exactly what I mean) So is there anything not to like? Well in short, not a lot, the only thing that I found a little annoying is that they seem to have gone over to a new flimsier plastic case with cutaways in both faces, making it likely that you can put your finger through it. Other than that, yet another superb offering from Stefan Grossman.

DAVE STONE

aggression. This is rocking blues with supreme harmonica and guitar solos. The vocals have a raw and passionate quality which makes this album a winner. Stand out tracks are Rolling Stone and Drive Me Insane.

BOB BONSEY

tHe Blues Bones

SaveD By the BlueS

Independent Clichés imminent... here goes; Belgian chocolate, Belgian beer are just two quality products, but with the Blues Bones you can safely add the blues as a genuine tourist attraction. If you visit their excellent website at www. thebluesbones.be you can’t fail to be impressed, and there’s a fine selection of live performances there on video. They’re a meaty five-piece with the extra ingredient of Hammond organ, and when you have a front man with the in-your-face name Nico de Cock, you’re already half way to legendary status.

There’s eleven fine tracks here, ten of which are good originals, and throughout Stef Paglia’s spicy guitar amply leads the way as a demonstration of musical confidence. I especially liked Find Me A Woman and the eponymous Saved By The Blues, and the six minutes of Runaway are a delight. This isn’t just European blues. It’s international, with all the pungent flavours of Mississippi, Chicago and Louisiana bubbling to the surface. Let’s hear it for the Belgians – this is as tasty as any beer or chocolate. Right, I think that’s enough food references for now, folks...

ROY BAINTON

BlaCk Patti no milk no SugaR rhythm bomb records

This is an excellent 12 tracker from a quality German duo. Oddly enough, Germany seems to be producing some truly interesting pre-war blues acts these days. Anyone familiar with the work of The Delta Boys, another German duo with a genuine feel and engagement with the music, will have a fair idea of what to expect here.

With Mando and acoustic guitar picking and slide work, together with fine Harp in the mix, No Milk No Sugar has a powerful, driving sound that easily belies the fact there are but two guys pouring out the mix onto analog equipment with ribbon mikes and period instruments. Material ranges from old-style ragtimey pieces and instrumentals to spirituals/ gospel numbers and Deep South, delta blues. All of it delivered with a sparkling, comfortable ease and style.

This is an album that pulses with deep blues emotion and grit. The vocals of the pair, Peter Crow C and Ferdinand Kraemer (aka ‘Mr Jelly Roll’, in Germany) combine well and the fretwork of both is always pretty well spot-on.

Overall, No Milk... is a great discovery for lovers of traditional acoustic pre-war US blues in general and modern-edge acoustic blues of gripping traditional quality, coupled with more than a dash of true originality. I reckon (and indeed hope) to hear much more of this pair in the not-too-distant future. No Milk No Sugar is a highly recommended bit of cool blues. IAIN

kinG automatiC loRRaine exotiCa Voodoo rhythm records

A French one man band, Eh? What are you trying to do to me? After all, the French and good music are very much strangers to each other. Eighties metal band, Trust, aside. Anyway, turns out that this is the fourth album from King Automatic and it’s certainly an interesting listen. There are touches of the blues hither and thither, but he’s very much a musical magpie grabbing bits and pieces from all around the world, regardless of genre. So there is some loungecore exotica, some Latin music, a few trip hop rhythms and some dance beats. All of which reminded me a bit of Kid Loco, another French musician who inhabits a much cleaner and tidier, but not dissimilar world. Where King Automatic comes out a winner, though, is when he gets a bit grubby and a bit raucous on songs like What’s Your Poison?

The track which comes closest to the blues is the splendidly titled Plan B (Adopt A Lap Dancer) while elsewhere All Crossed Out In Red goes all weirdo, Eastern European folk and En Passant Par La Lorraine is a reggae meets Calypso tune. Despite his one man band title, he does wheel in a few guests to flesh out the sound. Interesting but not essential.

STUART A HAMILTON

BlaCkBerry ‘n’ mr. Boo-Hoo the many SiDeS oF… rhythm bomb

Probably the best known duo in the blues is Sonny Terry

and Brownie McGhee and their harmonica and guitar line-up is replicated here, as is their trademark sound on the opening train blues of Black Train. However, Blackberry and Mr. Boo-Hoo – a duo from France, and it took a lot of digging around on the internet to be able to inform you that guitarist Blackberry, real name Bastien Alzuria, met harp player Frank Bailly in 2006, and that they recorded their debut album a couple of years later, quickly take a turn to the tougher side of the music, all growled vocals (so it is virtually impossible to comment on if there is any accent to the singing), driving, mostly Mississippi (derived) rhythms, wailing harp and general all-round tough attitude.

There is more than a little John Lee Hooker to their sound, obviously the Hill Country sound of R. L. Burnside, the dog-rough sound of Papa Lightfoot’s vintage down home blues, early 50s Muddy Waters and Elmore James, plus maybe a nod to the preWorld War II pioneers like Charley Patton and Bukka White, though they stay plugged in for most of the album. All in all a neat little mixture of retro influences permeate this album.

The majority of the songs on this fine release are deliberately kept within the time constraints of a 78 or 45 rpm record (though Open the Fence does run to six minutes) but even with the inclusion of the hillbilly-ish I Run In the Prairie, I was more than a little surprised to learn that they took their stage names from a couple of 50s rockabilly/country records. You’d never guess that from this raw sounding blues CD.

NORMAN DARWEN

DVD

rolly BroW the aRt oF nooDling

stefan Grossmans Guitar workshop series

Yet another in a long line of superlative DVDs produced by the mighty Stefan Grossman team, and once again I find myself thinking that there can’t be much left for them to cover surely?

When I saw the cover of this DVD, I thought it was a joke as the photo looks a lot like Harry Potter would do in thirty year’s time, without the scar (No offence intended Rolly). Now I had always assumed that noodling was a derogatory term for failing to play anything properly and just fooling around on the fret board, but it seems like I was wrong, and the fact that Stefan Grossmans team think it to be an art leads me to look at this DVD in great detail.

Rolly’s background is Jazz, especially Gypsy swing, and he is an accomplished fingerstyle guitarist, he also has several other tuition DVDs under his guitar strap, so let’s see what it’s all about! Basing the initial ideas on the scales of C major and E blues scale, Rolly shows how to take a basic practice exercise and refine it to an nth degree, producing some very accomplished jazz playing. I found that it was very helpful in pulling me away from some of the basics that I tend to fall back on when I am not really practising, just fooling around, and I soon found that I was spending more time on the guitar than I would normally, you may not think that a good idea, but when you need the work that my Rhythm playing needs, then it can only be to the good. In short another blindingly good production with all of their classy camerawork and audio that you expect, together with everything being available on a downloadable PDF file. Superb.

DAVE STONE

tHe PiCtureBooks

imaginaRy hoRSe

riding easy records

Using the DIY make it yourself aesthetic of Seasick Steve, and the sonic headspace of Led Zeppelin the Picturebooks offer something completely new to the world in Imaginary Horse. The Picturebooks are a duo of singer-guitarist Claus Grabke and drummer Philipp Mirtschink. They write all of the songs, make all of the instruments and

show no concession to what has gone before.

Guitars were rescued from the walls of pawn shops, and augmented with bells and drums, whilst Mirtschink used mallets instead of sticks on some of the songs, such as the opening title track, for reasons that only he could tell you.

Your Kisses Burn

Like Fire is one of those hard hitting, slide guitar screaming songs that would come to life in front of an audience, whilst PCH

Diamond puts story telling prowess to the fore, behind shimmering slide guitar and controlled percussion. After a while, the lack of other instruments no longer becomes a novelty, for the songs are so well structured that the addition of a bass or second guitar would only clog up and muddy the sound that these two ground-breaking musicians make. And as the Black Keys, White Stripes, et al. demonstrate, sometimes less is indeed more...

So, it is not really blues, it is certainly not Jazz, and there are moments of atonal boom and thrust, but it is not really rock, but whatever it is, it is very good, very well put together, and is worthwhile an open-minded music fan checking out. The duo are on tour in May, and should be seen, if you are not of a nervous disposition.

BEN MACNAIR

ruBy ann Running wilD rhythm bomb records

GHost toWn Blues Band haRD RoaD to hoe Independent

Yet another production that has been funded by the fans and produced in house by the band, indeed we are getting more and more discs like this and the standards are generally very high. This album is no exception and came with an accompanying short DVD entitled Once there was a Cigar Box. As it runs in at just under 15 minutes, I wasn’t sure whether to review it separately, but as the band seem to use a lot of the instruments that Matt Isbell makes, I decided to include it here.

The Ghost Town Blues band are a Memphis based outfit whose philosophy is to dress smart and play well, and chuck into the mix

I was very surprised to learn that Ruby hails from Portugal as the Rockability style music she performs on this album follows a traditional American sound that she really delivers in a truly 1950’s authentic style, I will get in early here to state that there are no strands of Blues here but any Rockability fan will find plenty to admire on the twelve tracks. This release is Ruby’s third album in her short career and she has a very compelling vocal style that is easy on the ear, the supporting musicians are excellent although it is a shame Saxophonist Josh Bell is only sparingly used as the tracks he plays on highlight the importance of the instrument on Rockability material, it really brings the tracks to life, the song Watch Dog is a good example as it brings out a funky edge to the song. All the songs appear to be covers although in the sleeve notes there is mention of ‘custom written true to life originals’ either way they are not songs that I can recollect the original artists for, which is not a problem as Ruby makes them her own anyway, while not a musical style that I have a penchant for I did enjoy the album fully appreciating the vocal talent that Ruby Ann displays.

anything that fits, including Grandmas cutlery box, several cigar boxes, an electric broom, a shovel and Matts dog, Oh yes and a bass, a Hammond B3, Wurlitzer, grand piano, Tenor sax and trombone. Throw all this lot together with 12 self-penned songs and you have a damned good album. Matt’s band came second in last years International Blues Challenge, so they know what they’re about.

You get roots music, courtesy of cigar boxes, brooms and Grandmas cutlery box, together with typical Memphis sounding blues as well as a good dash of New Orleans jazz brass. It sounds confusing, but trust me, this was a very enjoyable album, and I would really like to see them playing live. Well actually, the accompanying DVD shows a bit of them playing, and it really is the much shortened story of how Matt came to start building ethnic instruments from a range of odd boxes, (This being where Grandmas cutlery box came in) The cutlery box was Matts early inspiration, and as you can see and hear on the disc, it plays a mean tune. I had hoped to have seen more of the cigar box building process as I am a keen cigar box builder myself, but from what I did see, I am not far behind him. The DVD ends with three or four performances by a trio, who are two members of the GTBB line up, together with Josh Roberts.

DAVE STONE

tristan maCkay

Having seen Tristan

MacKay as support act for Eric

Johnson last year, this was an album I was wanting to listen to. Live, he played electric guitar and pedals, but here the songs on this crowd-funded release are acoustic, with full band backing. Although he is using musicians of the calibre of Drummer Peter Van Hooke, and the keyboard players Don Airey, and Ricky Peterson, it is MacKay’s soulful playing, singing and sensitive song writing that receives most of the limelight.

The songs on Wire and Wood are tone poems, and delicate, so there is no grandstanding or flashy soloing, so songs such as the title track are soft songs about the comfort that music can provide, or a love song to his daughter in Lullaby for Layla. Where the pace lifts a little, it is in the bluesier songs, such as Two Of A kind, or This Old Heart, where a Celtic spirit infuses the song, particularly during Ricky Peterson’s Hammond B3 Organ solo. The songs on the album though, that leave the most impact are the slow, mournful torch songs such as The Wine And Me, or A Kind Of Blue. Tristan Mackay is a talented songwriter, and this album is worth spending some time with.

BEN MACNAIR

Billie and tHe kids

Oh, now this is good. But then I am a sucker for fifties styled jump blues, and on this, their second album, Billie and the Kids have really hit the mark. A seven piece band from Zagreb, Croatia, they really know their way around their chosen style

ADRIAN BLACKLEE

on an action packed set. It’s a set of mainly original material that really sums up the spirit and vibe of the New Orleans/sing/jump blues style they’re aiming for, all topped off with the excellent vocals of lead vocalist Ana Klabucar –a.k.a. Billie.

It’s the kind of sound that Imelda May fans will recognise from years ago, backed up by a superb band. They’ve also got the look down, which could explain the huge amount of photographs in the booklet, in lieu of liner notes. Most of the original material has been written by bass player Jurica Stelma who deserves a large pat on the back for the manner in which he’s recreated the style of yore. However, I should mention that the production is very 21st century, so the songs slap you about the head, especially when they rev their motor up on tunes like Scorched, Your First Kiss and the title track. An absolutely fabulous release.

STUART A HAMILTON

HailBails

h.B.e.p. #1

Gin House records

As the title implies this is an extended play four track release.

Hailbails group gig locally and beyond the Leeds area. They are a very gifted trio stuck in a groove of a more nineteen fifties good time feeling rock and roll numbers but also encompassing bits of jazz and blues undertones.

They feature David Broad on vocals and double bass Michael Rossiter on guitar and vocals who wrote all the songs he was previously known locally as a solo acoustic before forming this band and the group also

features on drums Bruce Renshaw.

With a wide range of influences such as Carl Perkins and Gene Vincent to West Coast surf bands this group exude an uptempo spirit to what they do. First track Down In A Hole is a joyful rockabilly number with a good guitar riff hard to believe this is a trio as they have a big sound a very tight unit. Next up is Rocket Ship leaning towards early American punk style driving vocals but with a real up-tempo and powerful beat. Wildfire, the third track, rolls along and the balance between all instruments is a high point catchy guitar licks mix in with wild vocals. You Set Me On Fire is the last song and again features a hard hitting drum infused take changing the tone. Basically this release is a very good introduction to the band, whilst catching their live set seems a must as Hailbail’s onstage energy steams along like an express train.

COLIN CAMPBELL

Brian asHley Jones out oF the City

Independent

Having been recorded in Nashville, it is not surprising that there is a modern country sheen to Brian Ashley Jones’s latest release, Out Of The City.

He has written or co-written all of the songs, plays virtuoso electric guitar, and sympathetic acoustic and bass, as well as having a hand in the production of this high quality release. With a pleasingly light baritone voice, Jones leads from the front, with fine support from a roving cast of support players, who add drums, piano, keyboards,

Compilation

various artists

kRoSSBoRDeR kompilation

vol 2 the BeSt BRitiSh BlueS

As the name implies, this is the second volume in a proposed series of releases from Krossborder Rekords, intended to showkase (Must stop doing that!) new bands on the label. So here we have 16 tracks by a varied assortment of Britain’s new Blues talent, ranging from one man bands through to larger bands.

The album cover reminded me instantly of an early sixties Decca records release, complete with worn effect edges and fake inner bag. It is always going to be difficult to review a compilation that purports to be the best of anything, as to appear critical is to look like a mean minded spoilsport, and I am sure that there are several bands out there who would say well that is what he is isn’t it? So I am going to either please you or disappoint you when I say that this is a bloody good album, with not a duff track amongst them, not something that I would say about certain free issue compilations that appear occasionally!

There are new one man bands here, Andy Twyman with his Ode To Pot Noodles, and Space Eagle, who certainly doesn’t sound like one man. But we also have the pedigree of Paul Lamb (yes that one) with Chad Strentz doing a powerful acoustic number. Jack Hutchinson Band coming on strong like an early stones recording, Jo Bywater with a really nice slow blues, Saiichi Sugiyama with some fast instrumental rock, The Mighty Boss Kats, Chris Rea meets Dire Straits, good Blues/Rock from Split Whiskers and the Jeff Thomas band sounding Santanaish, and there are others that I haven’t mentioned.

A great introduction to sixteen of the bands that are out there doing their thing without having to resort to TV talent shows, so there you are, do your bit and get out to see them and support British Blues!

DAVE STONE

harmonica, fiddle and harmony vocals to a mix that is pleasing to the ear, with a foot tapping beat. Although this album has an eye on the big prize, of commercial appeal, there is also enough in it too appeal to fans of other musical genres.

The Hammond Organ that features in many of the songs has an almost progressive rock element to it at times, whilst the electric guitar that spans the gaps between fleet

fingered country and pop to blues, such as in Free To Miss You, where dobro and Harmonica dovetail together, whilst the slow blues of Meet Me In The River has a New Orleans like swagger, with slide guitar and gospel vocals adding to a laid-back feel and groove to the overall sound.

The fiddle-drenched Carolina’s Dream makes

a musical point, although it is hidden under an arrangement that is too sweet for its own good.

BEN MACNAIR

tHe Broadkasters

21 DayS in jail

rhythm bomb records

The Broadkasters consist of three members of

rockabilly band The Houserockers with the added harmonica of Ian Austen-Jones. The result is a lively rough and tumble bluesabilly which kicks off with Mellow Down Easy featuring 50’s style slap bass from Nick Hoadley, drums from Nick Simonon, wailing harp from Austen-Jones and powerful vocals and lead guitar from Rob Glazebrook. The result is a stripped back retro

2014 was quite the year for British wunderkind bandleader Laurence Jones. With a critically acclaimed second album, Temptation, followed by an equally triumphant European Blues Caravan tour, and performances at the prestigious Lead Belly Fest and European Blues Challenge. To cap it all off the singer/songwriter/ guitarist, was awarded the Young Artist Of The Year award at the 2014 British Blues Awards. How easy it would be then for this young artist to get complacent or rest on his laurels in 2015, and indeed the album’s very title seems to echo the choice laid out for Jones. However, as illustrated by this, his latest, and perhaps most fiery release yet, his recent taste of success clearly has him hungry for more.

The opening title-track is a defiant Bonnamassaesque barnstormer with a riff reminiscent of Freddie King’s Going Down, albeit with more unashamedly pop leanings. Evil, Touch Your Moonlight, Stop Moving the House and Don’t Need No Reason are similarly reverent of their blues roots, with the latter in particular rigidly sticking to the 12-bar formula to give Jones the perfect framework for some slick and playful guitar work. Whilst this (albeit somewhat modernised) Blues traditionalism is to be admired, and is certainly performed with tremendous skill and taste, Jones is perhaps at his best when letting his pop sensibilities shine through a little more. On the balladic Don’t Look Back, which features pop songstress Sandi Thom on guest vocals, Jones delivers a delicate and heartfelt (yet commercial) composition, and displays a potential knack for writing for other artists.

The only other song to feature a guest vocalist, a cover of Bad Company’s Can’t Get Enough Of Your Love featuring Dana Fuchs powerful vocal, may come across as little uninspired and misjudged but is a rare misstep in a collection of songs destined to make Laurence Jones’ 2015 at least every bit as productive and exciting as his 2014.

RHYS WILLIAMS

sound which will get the dancers on the floor. Robert Johnson’s Stop Breaking Down gets a sturdy makeover before Austen-Jones’ fine blues wailing harmonica intro on Ah’w Baby shows off his little Walter influence.

The band use vintage instruments and with their raw approach the sound they produce is close to that coming out of the classic Chess Studio in the 50’s. Magic Sam’s 21 Days In Jail tears along frantically with fine guitar work from Glazebrook and is all over in about 2 minutes. The rhythm section drive along Willie Dixon’s Crazy Mixed Up World and then Glazebrook adds distorted guitar to the swinging Down To The Bottom. Superb slide guitar lights up a cover of Muddy Waters’ classic Feel Like Goin’ Home and then Glazebrook turns to acoustic guitar for Little Walter’s Just Keep A Lovin’ with Austen-Jones on harmonica. The album closes with a rocking cover of Champion Jack Dupree’s Stumblin’ Block Blues. If you like your blues played with a touch of rockabilly and plenty of attack then you should enjoy this fine new release.

DAVE DRURY

Harrison

kennedy

thiS iS FRom heRe

DixieFrog

Most everyone reading this will not recognise the name of Harrison Kennedy, but I’m sure the majority will have heard his voice before, because he was the lead singer in the 70’s hit soul band Chairman Of The Board. Bringing his vast experience to this recording, it shines through

and shows a singer who sounds completely comfortable in his environment, relaxed and often chilled, but nevertheless producing some real quality vocals.

Harrison’s blues credentials go back to hearing Memphis Minnie as a youth in Hamilton, Ontario and when Lonnie Johnson and Billie Holiday visited his home, fostering a deep love of the music. Singing in the local church choir and visits to relatives in Tennessee and Detroit further cemented that love.

Harrison has a hand in writing six of the twelve tracks here and the album opens with Walkin’ Or Ridin’, a song he co-wrote with Jesse O’Brien, his keyboard player. With an almost angelic retort, Shake The Hand hints at his Gospel past, whilst featuring some joyful but controlled guitar from Colin Linden. Friday Dream, a song about his girl called Friday is another Blues strut with Kennedy playing harmonica and on You, Me Or Us, there are references to both his gospel and his soul days.

Not everything on this recording however is slow and laid back, Crocodile Lies, an autobiographical song, sees Kennedy rocking it out and O’Brien attacking his ivories. Milk Cow Blues, another Kennedy original, reverts to quality slow Blues, Kennedy half singing and half talking in his deep timbre. My personal favourite is Jimmie Lee, a beautiful soulful slow Blues with cultured piano tinkling by O’Brien that hinges on the barrelhouse style. Nothing about this album is rushed; each song seems to follow a natural progression that adds up to the sum total of excellence.

MERV OSBORNE

laurenCe

1927-1960

Fremeaux & associates 2CD set

Hats off to France’s Jean Buzelin and Jacques Demêtre for putting together this fine and thought-provoking collection. These 48 tracks vividly demonstrate African America’s attitude, via the blues, to the festering problems of racism, unemployment, poverty and the depression. And what a who’s who of names, too. It kicks off with two tracks, Uncle Sam Says and Defense Factory Blues, by the great folk blues singer Josh White.

There’s Tampa Red and Brownie McGhee, three classics by Big Bill Broonzy including the superb Get Back. Lead Belly’s Jim Crow Blues and The Bourgeois Blues lead us into a fabulous though poignant menu of anguish which includes Bessie Smith, Big Maceo, Sonny Boy Williamson and John Lee Hooker, and there are three sterling offerings from Champion Jack Dupree, a fine artist who put the troubles of pre-Civil Rights America behind him and became a true European, living in Paris and, of all places, Halifax in Yorkshire.

These songs are chilling reminders of the struggle a people experienced, and judging by the current resurgence of police violence in the USA towards black people, it’s a struggle which is far from over. The sleeve notes, in French with an English translation, open up the background in all its depressing detail. This is more than great blues – this is history, and if you want to understand the music in depth, you need to go out and get this release.

ROY BAINTON

Even more music reviews now online!

various ain’t gonna huSh the QueenS oF Rhythm & BlueS

Fantastic Voyage 3 CD set

I met up with Paul Jones recently and he hauled me over the coals for one of my CD reviews in BM, which he thought was out of order. I never got to know which artist or band it was, but I tend to review albums based on the creative effort of the artists concerned. Some aren’t as talented as others, and could be slagged off. But, call me a softie, yet I try not to do that. So it’s a delight and a relief to be on very safe ground with this great collection of 76 tracks.

I don’t think I’m getting this wrong when I say that any compilation which includes not only Aretha Franklin, but LaVern Baker, Big Mama Thornton, Etta James, Betty Everett and Dakota Staton among many obscure artists, is the kind of thing any R&B aficionado ought to possess. Most of these recordings, from the 50s and 60s are records by fine female singers which

had all the potential to make it, yet, to quote the label, ‘these 45s slipped through the cracks’. That’s what makes such compilations fascinating. Listening to records even I, only a year younger than Paul Jones, have never come across before, is a pleasure. I’d never heard, for instance, Little Esther’s rendition of Hound Dog, and there’s names here which have indeed ‘slipped through the cracks’, like Ruth Freeman, Varetta Dillard, June Bug Baileyor Mamie Perry.

Lots and lots of stirring, roaring vocals with superb bands, for example, check out the raucous arrangement on Paula Grimes’ You Move Me So, which segues right into the driving, bouncy I Say You’re Driving Me Crazy by Dorothy Berry, with its elephantine baritone saxophone solo.

If you had the impression that 50s and 60s R&B was a male dominated landscape, this will put you right. As fine a set as any blues fan could buy. Wherever you all went, I thank you ladies – you’re still very good company.

ROY BAINTON

the bm ! round-up of live blues

YEOVIL BLUES FESTIVAL

WESTLAND’S LEISURE CENTRE

9th may 2015

Following on from last year’s excellent but poorly attended Festival here, I had wondered if the event would go ahead. Thankfully however, word must have spread because there was a respectable size of audience and I have no doubt that Stephen Stanley must have been pleased with the turn out. Billed as the Yeovil Blues Festival, this was in truth an unadulterated day of Blues/Rock and in particular

a day where the guitar stood proudly out front. Opening act was Matt Woosey, who opened to an already good crowd who had queued to get in. Strolling on stage wearing a pair of check trousers that he later admitted he wore to piss off his father, he looked anything other than a musician. Sitting at the mike, he then failed to find his guitar lead and after telling us he had a spliff for breakfast and that he had forgotten everything, including his tuner, he proceeded to tune by ear, something he hasn’t done for ages. A good start then, and a potential to go downhill from then on. Matt however had different ideas and proceeded to

blow us all away with a demonstration of great guitar work on acoustic delivered with an absolutely brilliant vocal, something that several people I spoke to commented about. His style on the fret board is both busy with a hard rhythmic right hand that delivers a beat whilst strumming. He plays styles that range from classic Blues such as That’s My Baby to more open style songs such as Nowhere Is Home. His own rendition of Little Red Rooster was one of the best I’ve ever heard. Woosey’s set with the growing crowd was warmly received and although new to many, he can be sure they are going to check him out in the future.

chantel mcgregor

photo: geoff osborne

matt WooseY

photo: geoff osborne

Laurence Jones was next up and within a few bars the first dancers hit the floor. Laurence is growing in stature and his stagecraft is also blooming, using the large stage to move about and keep the audience interested.

Along with the ever smiling Roger Inniss and drummer Miri Miettinen, they played a selection from his latest album, What’s It Gonna Be. Having just been asked to play at a Leadbelly festival at the Royal Albert Hall, he proceeded to give us Good Morning Blues, a Leadbelly classic. Hendrix’s version of All Along The Watchtower gets an outing as Laurence proceeds to demonstrate his ability to the full. The sound from the stage is so complete, and with so much happening in the band, things can only get better. Finishing with Fall From The Sky, a song for the ladies, the band leaves the stage to the first standing ovation of the day.

Next act on stage is Danny Bryant, who in terms of stage presence is completely different to

Laurence Jones but is nevertheless a superb guitar player. Coming so fast on the heels of Mr. Jones, it is interesting to compare that the latter’s stage act is paced to keep the audience very much on his side and interested, whilst Bryant is somewhat singular in the pace of his act. Opening with Prisoner Of The Blues, his aggressive playing immediately hits the senses. Nice to hear his sense of humor as the he announces it has been many years since he was last in a Leisure Centre, and he still had a few copies of his weight loss and fitness videos for sale. Gun Town, a much slower song is played and I note that his vocals have improved, becoming much stronger as a result. Danny left the stage again to a standing ovation. Next act on was to promise mayhem and excitement at the same time.

The ever youthful Larry Miller exists in his own capsule, having a relationship with his audience that I don’t believe any other artist has. Indeed, during his act, when he’s fooling with the dancers at the front, telling his stories and jokes, one lady was pointing to her wrist, telling him to get on with it as time was precious. Larry, of course, took the opposite view and berated the lady. The day was fast becoming the day of the trio, and now that Larry has dispensed with the keyboards, he’s back to having to provide it all, something he does with relish.

Backdoor Blues, draws dancers back towards the stage as Larry epitomizes the whole essence of the Blues/Rock guitarist and this man knows how to please his audience. With Derek White on bass and Graham Walker on drums, two anchors necessary to allow Larry his tomfoolery and there isn’t an inch of the large stage that he doesn’t cover as he runs, jumps and demonstrates dozens of other moves. During the slow Blues

of Calling All The

Angels, White’s bass has a clarity of tone that is somewhat magical, and the audience respectfully listen to those parts of the song where instrumentation becomes extremely quiet, allowing the feeling to be expressed. Rory Gallagher of course gets a mention as Larry launches into Walk On Hot Coals, and the crowd is really up for this. Leaving the stage and climbing on tables, “…cos this is a festival isn’t it” and changing guitar mid song, whilst explaining the reason for the change as a verse of the song are all part of Larry’s repertoire. Mississippi Mama finishes the set and as expected, this is becoming a day of standing ovations. Changing tact slightly, the next act up is one of my favorites.

Aynsley Lister rarely fails to deliver and having watched his musical journey since 1998, and noted the style changes along the way, he is both a great songwriter and guitarist. Add to that is the quality of musicians that he has in the band, Boneto Dryden on drums, Steve Amadeo on bass and the wonderful Andre Bassing on keyboards. Together they produce great music.

The start of the set was beset by miking problems with the drum kit, so Aynsley started an open slow Blues riff to which Bassing joined and a great little jam ensued whilst the techs sorted out the problems on stage. Once complete, this thankfully did not affect the band and they proceeded to deliver a sublime set. From the outset, dancers were close to the stage and Aynsley demonstrated the niche that he has carved for himself. Never sticking to one

aYnsleY lister photo: geoff osborne

laurence Jones

photo: geoff osborne

The ever youthful Larry Miller exists in his own capsule

festivaLs

particular genre, but rather an amalgam of many styles, he deftly navigates and paces his show to maintain maximum interest from his crowd. One song that demonstrates this is Hyde 2612, written in appreciation of the TV show Life On Mars. What’s It All About off the Equilibrium CD is received with acclaim and then Aynsley rips into Freddy King’s I’m Tore Down, demonstrating just what quality Aynsley possesses. The almost signatory Purple Rain draws even more dancers to the stage, as the crowd enjoys singing along to this classic Prince song. Described by some as easy on the ear, I have no problem with that as long as the quality is there, which it most definitely was on this showing. Yes, you’ve guessed correctly, another standing ovation. Final act of the day was again a threepiece.

Chantel McGregor has been extremely busy of late, and during the last three or four years has received numerous awards and accolades for her troubles. There is no doubting from this quarter her musical ability

either in songwriting or guitar playing, I do however have some doubts as to her suitability to headline a bill of this magnitude as I often feel there is something missing or lacking in her stagecraft, and it’s not something I can put my finger on. Her stage presence is in my opinion lacking and the ‘little girl lost’ persona has worn a little thin. Her between song interaction with the audience needs guidance and it was interesting to note that the crowd began to thin early on during her set. It’s also interesting to note that she has always had great musicians behind her. Keith McPartling is a powerhouse of a drummer and whilst I was sorry to see that longtime bassist Richard Ritchie was not on stage, his replacement who I believe is Christopher Holmes is an absolute gem of a player, and one which more than suited McPartling’s drumming, a player who certainly made his presence felt. Playing some songs from the pending album, Lose Control, possibly the title of the album is a true solid rocker in the McGregor mould. Her version of Robin Trower’s

Daydream is just sublime, and whilst the song lasted for well over ten minutes, the crowd was mesmerized by her playing, just beautiful as she uses the dynamics of the song to plunge the depths of quiet and then explode in a flurry of notes and sound.

Another of her songs worthy of a mention is Like No Other, a song that again demonstrates the quality of her songwriting ability. At the end of the evening, the crowd left feeling sated, having enjoyed a full day of rocking acts that certainly delivered when asked.

Yeovil Blues Festival is a gem of a festival held in a great venue and I’m looking forward already to next year’s event, but sadly there are black clouds on the horizon as Westland’s have announced they are to close the Leisure centre because it is failing to make money. Music fans have been here before and I sincerely hope that Stephen Stanley is able to find a suitable venue in which to stage the 2016 event.

MERV OSBORNE

dannY brYant

photo: geoff osborne

larrY miller

photo: geoff osborne

ASHBURTON BLUES FESTIVAL, DEVON

Friday

This was my first visit to Ashburton Blues Festival but, despite an 800 mile round journey to get there and back, hopefully not my last. The Festival has a tremendous pedigree. Previous events had included top artists such as Eric Bibb, Peter Green, The Animals, and Andy Fairweather Lowe. The line-up for 2015 was equally impressive and included Mud Morganfield, The Stumble, Jon Amor, and Big Joe Louis. However, it was not just the headline artists that impressed; there were many lesser-known artists to discover and many other factors that made Ashburton a great festival for me.

Organised by Mike Cranmer, his extended family, and many other volunteers, the festival is clearly a labour of love for everyone involved and the informal atmosphere, great food, real ale, wonderful weather, and picturesque location in college buildings in the middle of beautiful rolling countryside, all combined to make it a very relaxing and enjoyable weekend.

The Festival incorporated several different venues, workshops, bars and food outlets centred around an open quadrangle. This quadrangle provided an ideal location for the sunny afternoon sessions. These were very reasonably priced, well attended, and featured a wide variety of musical styles and genres, not just the blues.

However, I was very disappointed to find so few people in attendance during the evening sessions featuring the headline artists. Once again, ticket prices were very reasonable, so that couldn’t explain it. Perhaps the relatively isolated location of the venue had put some people off. This had been one of my reasons for not attending previously

but I’m now kicking myself because this proved to be a first rate festival with, among other things, loads of reasonably priced accommodation on site including bedrooms for as little as £25 per night.

Everything got off to a great start on the Friday evening with Big Boy Bloater. The bands full ahead style was ideal for the opening set.

Next was TC & The Moneymakers, led by the eponymous Tom Cocks on Harmonica. Tom is one of the most exciting and talented harp players in the country, with a huge fat tone that can fill any venue. The makeup of his backing band - The Moneymakers - has become very fluid lately and, for his appearance in Devon, he had invited the wonderful local guitarist Vince Lee to join him on stage. This was a match made in heaven and one of my personal highlights of the entire festival. The sheer energy of their performance soon had the audience fully engaged and cheering on every number. Some guitarists play five or six guitars in one session yet they all sound the same. Others play one and make every number sound different. Vince Lee is in the latter category and he provided ideal backing to TC’s down and dirty house-rocking style.

Friday night was brought to a suitably impressive close with a rather more laid back set from the veteran bluesman Big Joe Louis.

Saturday

Our Saturday afternoon’s entertainment in the quadrangle started at noon and ran through until about six pm. Fine weather, extended family groups, some good food, and a couple of pints of real ale all added to the pleasure of a few hours spent listening to the Bad Knees Blues Band, Hollowbelly, Blue Bishops, Tim Aves Wolfpack, Victoria Klewin’s Mojohand, and the somewhat incongruous Gustav Bensel Hot Club!

My personal highlight had to be Wolfpack. Tim Aves is one of the most enthusiastic and devoted bluesmen in the country, which may go someway to explain why his band contains some of the best musicians around, including the multi-award winning Joel Fisk on lead guitar, the rock solid Rob ‘Tank’ Barry on bass, and top percussionist Paul Lester on drums. They stepped

out of their van and came on stage almost immediately in order to cover for another band that was late, yet still managed to deliver a wonderfully entertaining set, full of great musicianship.

The Saturday evening schedule in the main venue was even more impressive, with the wonderful Stumble starting off a session that also included Todd Sharpville (with guest Jon Amor), and that culminated with Mud Morganfield, the seventh son of the great Muddy Waters!

I can’t imagine many festivals starting an evening with The Stumble. Most would regard this six-piece band as a headline act in their own right. Tight, seamless, note perfect, totally professional, and featuring one of the best vocalists in the UK – Paul Melville – they are very hard to beat. I particularly liked their tribute to BB King, All Over Again.

The second set of the evening was a relatively rare appearance from Todd Sharpville and his band, with Jon Amor as a Special Guest. For me the musical highlight of their set was an extended version of Todd’s song Lousy Husband But A Real Good Dad with an awe-inspiring guitar solo from Jon Amor. This was only surpassed by an erudite spoken tribute from Todd who managed to distill into a few words what we all felt about the recent passing of BB King, a man full of the milk of human kindness who had started his life ploughing the fields and ended it as a musical saint. Well done Todd. Thank you BB.

Saturday night was brought to a wonderful end with Mud Morganfield

the Quadrangle at ashburton

the festival is clearly a labour of love for everyone involved

festivaLs

appearing in gold silk shirt and carrying the obligatory towel, every mannerism, shoulder twitch, fist clench, hand slap, and finger wag replicating those of the great Muddy Waters, and his son’s powerful voice replicating his father’s legacy.

Sunday

The afternoon provided even more entertainment in the quad with appearances from The Woodward Brown Trio, Russ Sinclair & The Smokin’ Locos, Tom Ford, Blues Horizon, and Stompin Dave. Later in the day The Woodward Brown Trio also provided some wonderful entertainment in the bar, with an extremely refreshing mix of laid back blues, ‘Indian-style’ blues on ‘sitar’, and a vast array of innovative covers. Their whole set created a relaxing vibe reminiscent of the late great JJ Cale. I understand they are a local band, based just a few miles down the road, but they certainly deserve to be heard further afield.

The final session on the Sunday evening got off to a great start with the return of Vince Lee with his impressive Big Combo. On this occasion Vince provided the lead vocals but was, once again, joined on stage by Tom Cocks who he had backed so effectively on the Friday night. Space restrictions make it impossible to cover the true excellence of this set in full but it ended with some of the finest Chicago style blues I’d heard for quite a while. No disrespect to Mud or any of the other world class musicians who had appeared at this Festival earlier in the weekend, but it was worth travelling to Devon just to hear Vince and his wonderful band.

Unfortunately I then had to leave to travel back home overnight, so I missed the Excellos and Mike Sanchez. However, rest assured I’ll be back next year and I do hope more people will turn up. The organisers of this Festival certainly deserve it.

BERNIE STONE

SECOND PRESTON BLUES FEST

pRESToN, LANCAShIRE

30 may 2015

The second Preston Blues Fest took place at the newly refurbished Tonic

Live Lounge in the centre of Preston, not far from the train station. It was a great success and plans are already in place for the third Preston Blues Fest on 28 May 2016.

The organiser is Colin Black, cofounder of the well known blues band, The Stumble. Colin is an amazing guitarist and harmonica player, who uses his intimate knowledge of the National Blues scene, to invite bands he believes the audience will enjoy. He wants people to enjoy playing in his adopted home of Preston, like he has enjoyed playing at numerous Festivals over the years. His aim is to get a good mixture of styles to allow the performers to showcase the best in Blues. And that was certainly the case at the second Fest.

As a fellow Prestonian, I think it is great that he is able to bring quality live Blues here, welcomed by an appreciative and knowledgeable audience. The first Preston Blues Fest was good, but there were things that could be improved. This dedication to please has certainly ensured that the word is getting out there, since people travelled from all over the UK and if it is worth travelling so far, the organisers must be doing something right. It’s just the motivation they need to do another Fest.

So who actually performed at the second Preston Blues Fest? First up was Kent DuChaine, an internationally renowned American blues singer and guitarist. During his career, he has played his beloved 1934 National Steel guitar, Lead Bessie, with many Blues legends, including Johnny Shines, Albert Collins, John Lee Hooker and Howling Wolf. It was fantastic that he could open the Festival and add Preston to his list of having played virtually every major Blues Festivals in the U.S.A. and Europe. His delta blues style and anecdotal commentary is not to be missed.

Next was Brothers Groove, the “band of brothers” from Birmingham. Their love of funk and blues dominates the band’s sound, with many songs from their debut album, Play The Game, produced by award winning producer Wayne Proctor. Their songs lyrical themes focus on life, love, the highs, the lows, the game of chance and all the emotions in-between. Expectations were high and they did not disappoint.

Blues Duo is a well-known North West band, featuring Tommy Allen on guitar/stomping drums and Johnny Hewitt on harmonica, producing some scintillating Chicago street style Blues. Another great live performance, which was greatly appreciated by the crowd.

The next band was the highlight of the Festival for me Wille and the Bandits, a Cornish based three-piece band, who play a variety of different genres and are developing a big following throughout Europe. It is not surprising that they have supported major acts such as Status Quo, Deep Purple and Joe Bonamassa.

Their innovative stage show includes the use of some obscure instruments, but everything is kept on track by the superb lap steel and slide playing of Wille, one of the best on the British scene. By playing over 200 shows a year, they are really tight and a very impressive live act. Their excellent instrumental, Angel was certainly a show stopper and will remain in my memory for a long time.

Finally, from Kent, the last act was Rosco Levee and the Southern Slide, who are described as “guitar drenched, Hammond infused, with hints of the best of 70s British and American Rocking Blues” and are one of the hottest bands to watch on the British Blues Festival scene. They were the perfect end to a fantastic day!

Whilst the Festival’s format is continually evolving, some bands have already committed for 2016. At a time when other Festivals are folding, this is excellent news. Look out for more details in the future. With Colin’s enthusiasm and the support of his loyal helpers, the Preston Blues Fest deserves to succeed. At every Festival he plays, he subconsciously takes in the good and bad aspects from a band’s point of view, in order to use these experiences to make Preston Blues Fest a band’s venue of choice.

Preston Blues Fest has started small, but it aims to grow and will hopefully become a fixture on the National Blues Festival scene. It was a great day of Blues Rock, featuring a line up of quality acts, who had different but complementary Blues styles.

Be sure not to miss it next year! Put Saturday 28 May 2016 in your diary now and I’ll see you there.

ANDY MANN

BOWNESS BAY BLUES WEEKEND

BoWNESS oN WINDEMERE

27th – 29th march 2015

This festival is organised by Windermere Rotary and has been running for a few years now, raising money for local charities and giving locals the chance to hear wonderful music. This year the supported charities were Alzheimer’s Society and Multiple Sclerosis Society as well as supporting local charities. Last year Bowness Bay Blues raised £6,000 for the nominated charities, a massive effort which they had hoped to improve on this year, they did and raised well over £6,000. With a ticket price of £45 for the weekend it was a bargain, with the line up on offer spread across 8 venues over the whole weekend. Bowness is a stunning location with remarkable views of the Lake Districts ever changing scenery, well worth a trip even if the music was not a draw.

Windemere Lake Cruises do daily boat trips up and down the lake.

Friday

Obviously with a spread of venues it is impossible to see all of the acts on offer, but to give you a flavour of the weekend we got off to a wonderful start at the Lake District Boat Club with the very talented Scotsman Al Hughes. Al was a member of Lights Out By Nine, a singer/songwriter now striking out on his own and very much in demand. Al is a competent guitarist with a voice described by some as “aged in oak casks” which I think is very apt. He has a range of guitars one of which is a huge custom built 12 string Resonator which produces the most fantastic tones. His self-penned songs and banter between them are entertaining in the extreme, Al has played many festival and concerts around the UK, a must see act. The next three bands were playing at the Hydro Hotel one of the nicest hotels in Bowness. Starting off with Buzz Elliot, a local favourite with the audience, he plays blues/

rock in The Bullfrogs as well as classic Rock with Slagbag. On this occasion he was playing an acoustic set which culminated in a version of Mike Oldfields Tubular Bells using a looper to great effect, tremendous. Robin Bibi band was next up and without fail Robin always delivers a stunning performance on guitar, he hit the nail on the head. The place was really rocking with a room full of exuberant blues fans, egging him on to produce a powerful performance. All too soon his set was over and Northsyde with Laura Fothergill on vocals and of course Jules Fothergill on guitar were belting out their repertoire of standards and own compositions. They graciously invited Robin on stage to help them pull out an extraordinary finale.

Saturday

It was a 12:30 start with Stark in the Quayside and Al Hughes at Greywalls, as we had seen Al the day before we plumbed for Stark, we were not

tJ norton & the suitcase at boWness baY blues photo: christine moore

festivaLs

disappointed, as a young up and coming band they play alt blues/folk including some very credible covers and tasteful self-penned numbers. Jamie Francis on guitar and vocals fronts the band playing resonator. This young band is one to watch out for. Unfortunately as we wanted to get as many of the acts in as possible we moved on half way through their set. It was back to the Hydro Hotel as Matt Woosey was opening the proceedings Matt played many of his songs from his recent live CD While The Cat’s Away as well as his studio album, Wildest Dreams. As a singer songwriter Matt is not strictly blues as he is heavily influenced by John Martyn, Nick Drake, John Renbourn and Bert Jansch, this gives his music an interesting flavour. Stand out songs for me were Exactly As We Please which sums up Matts approach to music and songwriting, Same Old Blues is another catchy number which Paul Jones played on his radio show. I’ve Seen The Bottom is another great song full of angst and feeling, don’t take my word for it buy the CD. Staying at the Hydro for The Deluxe, another home grown Cumbrian band who I have been following for a few years. They play classic Chicago blues influenced by Peter Green, BB King, Albert King, Freddie King and others from that generation. Christian Sharpe their lead singer who shares lead guitar with Martin McDonald are both extremely competent guitarists, even with a dep. bass player the band gave an outstanding performance.

Unfortunately if you haven’t seen the band before you missed your chance as they broke up just after the festival, which

was a tragedy really as they were one of the best bands of their type in the UK, try and get your hands on their CD Some Good Bits. It was downhill now in a downpour (we should have got a taxi down) as we were soaked when we reached The Wheelhouse where we were treated to a Southern Slide rocking performance from Rosco Levee and the Southern Slide great guitar and hammond solos in abundance taking us back in time to the 70s which most of the packed out audience could remember. They were exciting and genuinely deliver something new. By the time the Laurence Jones band was on stage you could hardly move, the venue was at full capacity. The atmosphere in the Wheelhouse went up another couple of notches, Laurence seems to grow in stature every time we see him, tremendous stage presence, he had the audience in the palm of his hand. He was supported by Miri Miettinen on drums and Roger Inniss the funkmeister on bass. Five star performance.

Sunday

Another dilemma TJ & The Suitcase and The Blues Duo both starting off the proceedings, one at the Quayside and one the Burnside Hotel, we decided to see some of TJ as it was on the way to The Burnside from our accommodation, we watched the first half of TJ and then went up to the Burnside Hotel for the second set of The Blues Duo (Tommy Allen & Johnny Hewitt), these two have the ability to convince you there are more than a duo on stage, belting out Chicago Blues at its best always getting the audience participating vocally as well as dancing. We stayed at The

Burnside as

Rosco Levee and the Southern Slide were due on stage next and we had enough time to catch their first set where Rosco and his band showed us why they are becoming favourites on the festival circuit with their 70’s style of Southern Rock. Not to be missed for any reason we made it down to the Wheelhouse to catch David Migden & The Twisted Roots, who I have to say for my money were the band of the weekend. They play my kind of music, jazzy funky soulful blues, all five musicians are brilliant interpreters of their instruments and a must see for any serious blues fan. Another five star performance.

The festival organisers should be applauded for their efforts to bring great blues music to the North West, as well as giving back to the community in both revenue from the festival crowd and the charities they support. This festival is well run and very friendly, give it a go next year if you can.

CHRISTINE MOORE

BURNLEY INTERNATIONAL ROCK AND BLUES FESTIVAL

BURNLEY, LANCAShIRE

2nd may 2015

Following a few funding issues, it was great to see the latest variant of the Burnley Blues Festival take place at the

christian sharpe of the deluXe at boWness baY blues

photo: christine moore

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festivaLs

historic Mechanics Hall, in the centre of Burnley,.

This excellent venue is a firm favourite with local music enthusiasts and has been recently refurbished, with a modern large main room upstairs, with good additional smaller rooms, bar facilities and car parking close by. And what a brilliant lineup we had for a fantastic night of blues rock. The evening commenced with the Birmingham based three piece Virgil and the Accelerators, one of the best young British bands on the Blues Rock circuit.

It was 2009 before they exploded onto the blues rock scene and they have been making a huge impression ever since, being renowned for pushing the boundaries of the blues rock genre and delivering memorable live sets. They also have made some good albums, with 2011 seeing the release of their critically acclaimed debut album, The Radium, followed in 2012 by a live DVD/CD. Their latest

album is aptly named Army of Three, released in September 2014.

They were a well-received opening act, consisting of three young highly talented musicians, mostly playing their own material. Loud, proud and definitely at the rock end of the Blues Rock spectrum. They have got the look and talent to be a force on the circuit for a lot of years to come.

They were followed by a man who needs no introduction – Mike Zito, the St. Louis born American guitarist, singer, producer and songwriter, with his band, The Wheel. Mike is an influential multiple Blues Music Award winner and co-founder of Royal Southern Brotherhood, a band he recently amicably departed from to develop his more bluesy Americana sound, with its Texas influence.

The audience was privileged to hear a good selection from the CD, one which Mike rates as one of the best he has done. This was another excellent performance, which the

Burnley audience really enjoyed. After his set, Mike was happy to sign CDs and after a quick chat, I found him to be a nice, friendly guy, like so many others on the international blues circuit!

What can you say about King King which has not already been said? They are currently the hottest draw in British Blues Rock and have taken only five years to rise to the top, since their debut at the Monaghan Blues Festival in 2010. Their astronomic reputation it is not just based on their undoubted outstanding talent, since they are also one on the hardest working bands out there. Surprisingly Burnley was one of their few UK Festival dates this year. Supported by numerous fans and arA perfect end to a great evening. Hopefully the Blues Day will take place next year and the performers will continue to be of such quality. But this year’s line-up will be a hard act to follow!

ANDY MANN

JimmY carpenter at burnleY

photo: christine moore

virgil mcmahon at burnleY

photo: christine moore

mike zito at burnleY

photo: christine moore

alan nimmo at burnleY

photo: christine moore

concerts

PauL LaMB and tHE KinGSnaKES GUILDhALL LIChfIELD

sat 9th may

Two days after a different type of blue swept the country, one of the country’s leading blues harmonica players, Paul Lamb led his band the Kingsnakes through a set of blistering rock, blues and funk when the group hit the Guildhall stage on May 9th to close Lichfield Arts Spring 2015 season.

The group, which consists of Paul Lamb on vocals and harmonica, Ryan Lamb on lead guitar, Chad Strenz on vocals and rhythm guitar, Rod Demick on Bass and drummer Dino Coccia put on a show that was full of musical inventiveness, playing that was both spectacular and sensitive, and Paul Lamb’s own contribution showed no signs of being affected by recent ill-health.

They played songs from throughout their career, and included many pieces from their latest release,

Hole In The Wall, as well as covers of songs by luminaries such as Sonny Terry and Brownie McGee, and songs from the traditional blues repertoire.

The action packed concert started with the swinging blues of Hole In The Wall, but they changed tack for a fine performance of Smokey Robinson’s You Really Got A Hold On Me, which was a fine showcase for the soul infused vocal prowess of Chad Strenz, whilst Jumping Julie was a fine piece of jump jive swing jazz, with unison harmonica and guitar parts, whilst The Adopted Child was a slower, more politically charged ballad. The Pillow was a fine original about the vagaries of love and relationships, whilst set closer, Joe South’s The Games People Play was a singalong number for the audience to join in with.

The second half of the concert seemed to be slightly more downbeat, starting as it did with a fine performance of Ida May, a song by the harmonica and guitar duo of Sonny

Terry and Brownie McGee, who also wrote the more upbeat Preaching The Blues which followed.

Ryan Lamb’s own Your Cheating Eyes was another fine performance, father and son trading musical ideas over a rocking 4/4 beat, whilst the instrumental The Groove Hall was a fine display in musical telepathy between all of the musicians, whilst the set closed with the topical, and surprisingly upbeat Depressing Recession, Chad Strenz’s voice echoing the sentiments within the song.

An encore of Hootin And Tootin, a piece written in tribute to his first musical heroes featured everything from train sounds, train whistles, atonal chromatic note clusters, and a walk around the appreciative audience, before the rest of the group joined him onstage for a rousing acapella version of the Midnight Special, a fitting way to end the concert.

BEN MACNAIR

the king snakes

photo: arthur radecki

paul lamb

photo: arthur radecki

paul lamb

photo: arthur radecki

GirLS WitH GuitarS ruF BLuES CaraVan 2015

BooM BooM CLUB, SUTToN

saturday 25th april 2015

Having seen a number of the Ruf Blues Caravan Tours before I thought I knew what to expect. First one singer, then another, followed by the third and the usual jam session as a finale, but I was totally wrong-footed this time. The three girls hit the stage together. Eliana Cargnelutti (an Italian beauty with a guitar style to match); Sadie Johnson who looked like she’d come straight from school and was auditioning for the X Factor; and the trio was completed with Heather Crosse, the oldest lady of the trio at 30 years old, carrying a bass which she could certainly play. Each of these girls have their own catalogue of songs and each supported each other during the evening. You had selections of Elaina’s which included Girl Band, Life and I Wish You Hadn’t Gone.

The Sadie collection included This House Just Ain’t My Home and Give Me A Kiss. Heather’s songs which mirrored her maturity, sampled I’m A Woman, Why A Woman Plays a Bass and You Don’t Love Me Anymore. The surprise for me was their interpretations of some blues classics. Robert Johnson’s Walking Blues; Howlin’ Wolf’s Wang Dang Doodle; Mamma Thornton’s My Man; Dave Mason’s Feeling Alright and believe it or not ZZ Top’s Tush. These were turned upside down and inside out. The three Bo-Peep look-alikes turned into wolves in sheep’s clothing, each with their own killer style. Beware; these girls will be back flying their own flags.

BOB BONSEY

MOJO rOGuES ThE BRASENoSE ARMS, CRopREDY.

april 18th 2015

Cropredy village is no stranger to live music, most famously every August for Fairport Convention’s annual festival. The rest of the year is catered for with regular quality gigs at the village’s traditional pub The Brasenose Arms. In this tiny bar, the musicians have to wait to for the diners to finish off before they can set up! At 8.30 the furniture by the inglenook fireplace is cleared away to be replaced with drums and assorted

LittLE dEViLS aLBuM LaunCH Party TAMESIS DoCk, ALBERT EMBANkMENT, LoNDoN

14 th may 2015

To be fair, it sounded like a great idea. Have the launch party for the new Little Devils album on a boat moored on the Thames; it’s mid-May and the weather should be lovely. The album’s title is The Storm Inside so maybe it was tempting fate. Anyway, the inevitable happened and it turned into Stormy Thursday. As if that wasn’t enough, there were a few problems with the sound and even Yoka was almost inaudible at the start of the set; Fate was playing diabolical tricks on Little Devils. Turns out it would take a lot more than a bit of rain to dampen the spirits of these imps and Little Devils is the type of band to triumph in the face of adversity. If anything, it spurred the band on to a great gig featuring every song from the new album. One incident towards the end of the set typified the evening; for the final song, Stand, the line-up was to be augmented by a brass section which had gone AWOL. Just as the atmosphere was starting to dip because of the delay, Yoka launched the band into an unscheduled rip-roaring version of Love Me like a Man. It bought a little

bit of time and it almost brought the house (or boat) down.

It’s not the first time I’ve seen the band but tonight they were absolutely on it. The set opened quietly with the moody resonator guitar of Storm Warning moving seamlessly into Heavy Weather (the album’s opening and closing tracks) before running through the entire album. Sara and Graeme supplied the platform for Yoka’s vocals (going all the way from a spine-tingling whisper to a bloodcurdling roar), sax and flute and Big Ray’s muscular rhythm and lead playing. The new material runs through a variety of styles from the funky Wounded and Skin Sin to the more traditional slow blues of Deep Inside and My Perfect You with a few diversions such as Cold (country blues) and Stand (a bit of a Motown stomper) and it’s all pumped out with power and panache. There was even an encore of their long-time crowd pleaser Orphans of the Storm.

As an introduction to the new material, the night worked perfectly. All the new songs were received enthusiastically and the varied textures and instrumentation created a well-paced set which held the audience throughout. Job done.

ALLAN MCKAY

photo: tommY chat

THE BEST OF BRITISH BLUES

amplifiers. Tonight the transition is swift and simple.

This evening’s music is from Rugby trio The Mojo Rogues a guitar, bass and drum outfit performing blues in Chicago and Mississippi styles. A quick warm up/sound check with Badge and Red House hints at the quality of the music to come. We’re not disappointed. The repertoire is mainly covers with impressive takes on titles from Willie Dixon, T Bone Walker and Elmore James. Stylistically, guitarist/vocalist George Connor is a strat slinger in the Clapton mould with some real fine chops emanating from this talented player. Alternating between guitars with regular tuning and open E, we are treated to some impressive slide renditions. Notable is an unexpected Can’t Let Go, the Lucinda Williams song coming at Y’all like a ‘gator from the depths of the bayou. Former Bearcat George is ably accompanied by drummer Tony Gibbard, an idiosyncratic skinsman with Mick Fleetwood tendencies and bassman, the solid Terry McCranor

who doubles on vocals and assorted harmonicas.

Original songs were kept to a minimum for the enthusiastic traditional crowd although they did enjoy the boogie Baby, Can’t You See? and the catchy jive song Don’t Come Knockin’ (when the car starts rockin’). Highlights for me included the aforementioned originals, a brace of Seasick Steve pieces performed on a 3-string biscuit tin and the Gary Moore staple, a stunning Walkin’ By Myself. Chatting with the band, I discover their in-depth knowledge and genuine affection for a genre of music that is sadly ignored in its homeland. A CD is expected later in the year. These talented players are all surprisingly, part-time musicians with day job obligations so they won’t be touring too far away from their Rugby, Warwickshire base.

All in all, a great evening from a tight little band in a great little venue. I share the opinion of the crowd in hoping that it won’t be too long before we catch them again.

ANTOINE

rOBBEn FOrd

o2 ACADEMY, ISLINGToN

29th april 2015

Robben Ford once released a guitar instruction DVD by the title of The Blues And Beyond, and that’s pretty much on the money as a four-word summary of what this guy does. His show at London’s O2 Academy highlighted his uncanny ability to incorporate elements of jazz, rock and soul and even pop into his music, while all the while remaining resolutely bluescentric.

The 14 song set – with not a duff number all night– drew heavily on Ford’s recent catalogue. So it was we got six tracks from latest release Into The Sun, as well as selections from 2014 offering A Day In Nashville and 2013’s Bringing It Back Home.

Older stuff include Freddie King tribute Cannonball Shuffle and the Otis Redding classic Nobody’s Fault But Mine, the latter recently dusted off by none other than Robert Cray.

Regular Ford sidemen Brian Allen on bass and Wes Little on drums were augmented by keyboardist Jonny Henderson, more usually seen backing Matt Schofield. Slightly embarrassingly, Ford managed to get Henderson’s surname completely wrong the first time he introduced those on stage. That minor faux pas is understandable, given that the two men had never met before the day of the gig. You’d never have guessed that from Henderson’s playing, though, as he took his Hammond everywhere it needed to go, from Jimmy Smith to Ray Manzarek.

The evening was topped off with a final encore of the Paul Butterfieldpenned Lovin’ Cup, complete with the insanely ear-wormy riff and slightly risque lyrics that make it perennial crowd-pleaser.

DAVE OSLER

rEVErEnd PEytOn’S BiG daMn Band

ThE CLUNY, NEWCASTLEUpoN-TYNE

29th may 2015

This was the band’s fifth appearance at The Cluny in as many years and the packed venue was testimony to their growing popularity especially amongst the many heavy metal enthusiasts in the audience. The ceiling, walls and floor

BANBURY robben ford at the academY

GREAT BRITISH BLUES

IN TWO AMAZING KOMPILATIONS

RED VINYL EFFECT PRESSING!

FEATURING:

ZOE SCHWARZ & BLUE COMMOTION, DAVE THOMAS BAND ROADHOUSE, TOM GEE, SHARON COLGAN BAND, THE WHITE KNUCKLE BLUES BAND, RED BUTLER, THE IDLE HANDS, INNES SIBUN, ALEX McKOWN BAND, DOVE & BOWEEVIL, ROY METTE BAND, JACKSON SLOAN, PLANET GRAFITTI, LITTLE DEVILS, ABSOLUTION

KAT & CO, JO BYWATER, SPLIT WHISKERS, JED THOMAS BAND, SAIICHI SUGIYAMA, THE MIGHTY BOSS CATS, DR. A’S RHYTHM & GROOVES, ROBIN ROBERTSON BLUES BAND, SPACE EAGLE, PAUL LAMB & CHAD STRENTZ, JACK J HUTCHINSON BAND FRAN MCGILLIVRAY BAND, ANDY TWYMAN, SHORTSTUFF, GWYN ASHTON THE BARE BONES BOOGIE BAND

www.bluesmatters.com/krossborder-rekords

shuddered from the first bars of Easy Come Easy Go and it is unlikely that a less robust building than a former spinning mill could have survived the onslaught of the next couple of hours. By the second song, Let’s Jump a Train, the chugging beat of Ben ‘Bird Dog’ Bissell’s five gallon drum and Breeze’s washboard percussion is at full speed and getting louder. Peyton adds lightning-quick fretwork on guitar, his thumb playing the bass lines and the remaining fingers producing ripping riffs.

The set comprises mainly the sensational new So Delicious CD, epitomized by the compelling Pot Roast And Kisses with its recurring advertising-type jingle. Front Porch Trained is ragtime boogie with echoes of Seasick Steve; Dirt is a slightly slower tempo expression of anger at the establishment whilst Hell Naw is more of a full-scale rant. The grooves are highly addictive, the vocals powerful and personal, the underlying rhythm relentless and pulsating. However, there is also a monotony about the overall sound and one dimension to the voice. The Big Damn Band has been described as “authentic blues meets homespun, punk fuelled rock”. Tonight there is little of the former and an abundance of the latter which suits the fans who connect fully with the hell raising Peyton and his fanciful conundrums. Blues purists would have loved the opening set by local blues duo Monkey Junk who brought their brilliant traditional acoustic music to the Tyne delta and won a lot of new friends. Vocalist and wailing harpist John Nellist and the sinuous slide guitarist Andy Turnbull were the best musicians by a mile on the night and deserve a much wider following.

THE BISHOP

HaMiLtOn LOOMiS and tHE BLuESWatEr

ThE VooDoo RooMS, EDINBURGh

11th June 2015

This is the Texan’s second visit to the popular Edinburgh Blues Club which brings an array of international blues artists to the Scottish capital whilst also showcasing local talent. Representing the latter are The Blueswater whose musical history of the genre is one of the highlights of the city’s annual Fringe Festival. Their guitarist Jed

Potts is inspirational throughout the opening set, rising to the occasion and setting the scene for a blues-wailing, soul-drenched party. His repertoire encompasses tasteful interpolations, clever licks and inventive, searing solos. Baby Please Don’t Go climaxes a full-scale aural assault from the band to tumultuous applause from an appreciative audience. Loomis starts as he means to continue, playing his soul-tinged blues with verve, style and passion on the opening song Eternally. The timing of bassist Dante Ware and drummer Armando Aussenac is impeccable throughout, providing the perfect backdrop for Loomis and saxophonist and keyboard player Fabian Hernandez. She’s Had Enough reveals the darker side of the otherwise affable band’s sound with its haunting, infectious groove. On Give It Back dedicated to BB King, Hamilton shares the knowledge that was given to him as a young musician by his mentors as he learned his musical trade.

The scintillating saxophone solo is the highlight of Time whilst Hamilton’s harp blast, axe pyrotechnics and impressive vocal range stand out on Loving You Makes Me Feel High. The climactic finale includes Bow Wow and Take A Number (Stand In Line) during which the band members swap instruments! Overall, a spellbinding performance from a great showman, clever lyricist and funky multiinstrumentalist who pours his soul into every note he plays.

THE BISHOP

tHE StryPES

ThE foRUM, TUNBRIDGE WELLS

10th may 2015

There was a decent-sized queue at The Forum, with fans of all ages, some of whom who had seen The Strypes several times before, and all of whom were very keen to see the band. Hence the words ‘sold out’ penned across the

coNtINuEs ovEr

hamilton loomis

photo: stuart stott

daVid SinCLair FOur BoRDERLINE, LoNDoN may 14th 2015

Meet the latest in the long line of quirky song-driven bands that this country has thrown up time and time again over the last fifty years.

The David Sinclair Four is led by veteran rock journo David Sinclairthe clue is in the name - who strums a Stratocaster and sings in one of those middle-class English accents that American women allegedly find so appealing.

Making up the rest of the current line-up are Jos Mendoza on bass, Geoff Peel on lead guitar and David’s son Jack on drums, all providing musicianship of the calibre required to match the quality of the material.

There’s blues there in the mix,

though it rarely predominates, and most of the time takes a back seat behind Sinclair’s more obvious Ray Davies and Paul Weller influences.

The Borderline gig marked the official launch of a new album, called Simply 4, with a set consisting of all the tracks in the order they appear on the recording.

Thus they opened with the purposefully hooky Sick of Being Good, a minor key paean to sundry sins ranging from cigarettes and rough sex to getting high.

Other highlights included the most obviously blues-influenced numbers, World Turns Round, featuring a guest slot from harp merchant Laurence Garman, and the riff-based Crude Emotion. The Click-Clack Man went heavy on the Americana references, while Coming Out Of The Rain, featuring Scottish chanteuse Lorna Reid, celebrated permanent relationships that blossom as a result of pub chat-ups.

Not an outfit for 12-bar diehards, perhaps, but check ‘em out if you like your rock served literate and tuneful.

DAVE OSLER

Strypes were preceded by a fellow Irish band, Raglans. Raglans are a four-piece, Indie outfit who play fast Rock ‘n’ Roll with plenty of melody. Tracks including Icarus and The Bitter End featured in a short, but impactful set.

Then, in darkness and to the strains of The Pogues Dirty Old Town, the smartly dressed Strypes took to the stage. This band is slick, polished, very together. They are in your face, energised, and Pete O’Hanlon on bass is as lively as any lead guitarist you’ve ever seen, all flourishes and gestures, and great playing on You Can’t Judge A Book By It’s Cover. Songs like What A Shame and Scum City pour out with passion.

On the whole, The Strypes songs are the short, punchy types that took early British R&B to such great heights in the 1960’s. Ross Farrelly on vocals looks cool behind his shades and plays a neat harmonica and, at times, tambourine. Meanwhile Evan Walsh is very much the hard-hitting, baby-faced assassin on drums, while Josh McClorey plays a powerful, mean guitar, with solos that don’t wander off and dilute the relentless drive of The Strypes music.

This is a band to watch, and to keep watching. Is there an incompleteness to the package? Just one, from what was heard here. There is as yet no killer tune, no chartbuster, no Strypes equivalent of those 60’s anthems by The Kinks and The Rolling Stones, ones that will kick the public in the balls in the right way. Yet this is a band with time on its side, and they are already a memorable live act.

DARREN WEALE

photo: marilYn kingWill

There’s blues there in the mix, though it rarely predominates

raglans

photo: amber charach