Blues Matters 46

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EDITORIAL

Editor-in-Chief

Darren Howells darren@bluesmatters.com

Founder/Publisher 'D' alan@bluesmatters.com

Contributing Writers

Andrew Baldwin, Adam Bates, Adrian Blacklee, Carol Borrington, Lori Borys, Richard Cartmel, Matthew Clarke, Norman Darwen, Dave Drury, Diane Gillard, Jamie Hailstone, Martin Halo, Stuart AHamilton, Alan Harvey, Gareth Hayes, Sue Hickling, Abigail Hopkins, Darren Howells, Billy Hutchinson, Randy Jones, Rick Lacey, Matt Merritt, Christine Moore, Steve Nicholson, Noggin, Merv Osborne, Thomas Rankin, Dave Scott, Graeme Scott, Andy Snipper, M.D. Spenser, Dave Stone, David Styles, Robert Walker, Kevin Wharton, Rhys Williams, Tony Winfield

PRODUCTION

Art Direction/Graphic Design

Darren Howells

Photography

As credited

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Geraint David Morgan 01656 745628

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©2008 Blues Matters!

Alan ‘D’Pearce t/a 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 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 for the statements or views expressed editorially. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without prior permission of the editor. Submissions: Readers are invited to submit articles, letters and photographs for publication. The publishers reserve the right to amend any submissions, and cannot accept responsibility for loss or damage.

Please note: Once submitted, materials become the intellectual property of Blues Matters! and can only later be withdrawn from publication at the expediency of Blues Matters! Advertisements: Whilst reasonable care is taken in accepting advertisements, if in doubt readers should make their own enquiries. The publisher cannot accept responsibility for any resulting unsatisfactory transactions. Nor shall they be liable for any loss or damage to any person acting on information contained in this publication. We will however investigate complaints.

Office Opening Hours are: Mon-Fri 9am-3pm.

credit crunch given the media's zest in reporting on the economic downturn.

Of course, print media has been feeling the pinch for sometime, particular independents like our own, which has seen increasing competition from new media - like the internetwho have taken a sizable chunk out of the already limited available advertising revenue, whilst battling rising costs in every facet of our production and distribution, and a more difficult environment to gain exposure.

As a small business, the current financial climate is particularly suffocating, and whilst the temptation now would be to appeal for more support, we understand many of you are also hurting, and in the lead up to Christmas, we'd prefer to remember what a great year 2008 has been for Blues, and have a little fun…

As we've done in the previous two years, we're looking for all readers and contributors to vote for their favourite albums covered by us during the past year (details on page 75) - a year that has seen the return of Seasick Steve (who has hit the top 10 in the British album charts, having signed to a major record label that has seen a television ad campaign - that's more we missed out on! - and an appearance reading out competition winners on a popular daytime TV show!), Paul Rodgers giving Queen (and possibly a few of Freddie Mercury idolising fans) the Blues, and three of the genre's longest serving protagonists - Buddy Guy, B.B. King and Taj Mahal - releasing career highlight collections in their twilight years!

There have been many more great releases covered by us in 2008, hopefully a few will find their way into your stockings, and they’ll give you the required lift to look ahead to 2009 in better spirit.

DARREN HOWELLS Editor-in-Chief

herever you are in the world at the moment, it's hard to avoid the doom and gloom of the

08 MAILBAG

Oli Brown, Dani Wilde, Jethro Tull…

13 BLUES NEWS

Ginger Baker, The Black Keys, M. Ward, Mary Flower, Heartless Bastards, The Stumble, Ned Evett, Howling Bells, Mavis Staples, Jeff Healey Band, Gomez, Scott H. Biram, Johnny Cash, ZZ Top, The Zombies, Ray LaMontagne, Alabama 3, Aynsley Lister, The Answer…

41 SUBSCRIBE TO WIN

B.B. King DVDs, Ndidi Onukwulu CDs…

134 FESTIVAL FEVER

Great British R&B, Norton Grange, Maryport Blues…

144 GOT LIVE

Devon Allman's Honeytribe, Walter Trout, Xavier Rudd, Deborah Bonham, Rose Hill Drive, Tommy Ludgate, Agnostic Mountain Gospel Choir, Chris Smither, Pat Travers, Little Toby Walker, W.T. Feaster Band…

157 MEMBERS’ COMPETITIONS

ZZ Top and Gomez CDs…

20 INTERVIEWS

Chris Rea, Holly Golightly, Alex Dixon, Sam Kelly, Alabama 3, Alvin Lee, Greg Koch, Layla Zoe, Doug Jay, Howlin Rain...

75 BEST BLUES 2008

Pick your fave albums of the year.

81 EASE THOSE BLUES

With "Electric Mud".

82 GETTIN' THE BLUES

Abigail Hopkins gets the Blues!

132

BLUE BLOOD

The Dagger Lees and J.J. Vicars.

158

NEVER FORGET

Nappy Brown and Maurice Reedus.

160

NOW, BEFORE WE FORGET…

Big Bill Broonzy.

Gary Moore, Joe Bonamassa, John Mayer, Nina Simone, JJ Grey & Mofro, John Hiatt, B.B. King, Little

Feat, John Lee Hooker Jr, John

Martyn, Jon Cleary, Nell Bryden, Tony Joe White, Cold War Kids, Whitesnake, Little Freddie King, Buddy Guy, Taj Mahal, Hucknall, Seasick Steve, Marc Ford, Hans

Theesink, Bo Diddley, The Pack

A.D, Black Diamond Heavies, Creedence Clearwater Revival…

24 HOLLY GOLIGHTLY

Amy Winehouse, Duffy, Adele et al, may take all the plaudits and the media's attention currently, as soul and Blues revivalists, but Holly Golightly has done more than most in keeping the spirit of great female Blues singers of yesteryear alive for nearly two decades. "I've made a little niche doing what I do and, in that respect, I've done it for so long, it's developed its own authenticity. It's just the thing I do. I think it's great if people hear it and it makes them listen to the proper stuff that had a big impact on me."

photo: Alison Wonderland

photo: Eden Batki

GIVE US A PUSH

About a year ago, I was being a complete t**t, hassling you over a review, and now a year on I was about to send you a copy of my new album for your consideration when I realised that I had never thanked youfirstly, for running the review in the first place, after I had been so rude, and, secondly, for the review itself, which was amazingly generous. It did me the power of good, for what it's worth, and lead directly to me getting on the bill at three fairly sizable festivals this summer. So, thank you!

And while I'm about it, thank you for putting out Blues Matters! and bringing to my attention the likes of Ash Grunwald, Otis Taylor, GravelRoad, Hillstomp, The Carolina Chocolate Drops... and I loved the piece on the North Mississippi Allstars the other issue.

Stuart

Turner Rochester, Kent BM! Says: It's nice to hear how our features help underground artists gain more opportunities, and also belief in what they are doing.

BETH'S BLUES

I did chuckle to myself as I read your editor's piece, and, of course, you are right - we blokes have become so obsessed with fashioning another hard-rocking "guitar god" in the mould of a Hendrix or SRV, we've lost sight of where these acts were taking their influences originally, whilst totally disregarding today's listeners' tastes and agendas.

I'm not a fan of Beth Rowley or Katie Melua per se, but I can at least respect and appreciate that their music is coming from the right place, that they are able to express their influence from Blues and not alienate fans through a contrived or outdated sound.

How many male artists today are taking inspiration from great Bluesmen, updating it for our times and connecting with audiences in this way? I couldn't name one.

Brendan Eddy Cardiff

I was disheartened when I saw Beth Rowley on Maryport's "pop/rock" line-up this year, but I was more disappointed at your decision to feature her as your main cover artist this issue (45).

I know you like to push things more than other Blues

magazines, and you need to sell copy, but surely your obligation is to artists outside the charts. Singers like Beth Rowley and Amy Winehouse are pop, not Blues.

Kevin Allen Newcastle-upon-Tyne

ENOUGH'S ENOUGH

Another great issue - particularly enjoyed the North Mississippi Allstars article (one of America's best bands) - but I'm starting to grow tired of your publication's sycophantic praise of Dani Wilde and Oli Brown.

I can't remember an issue where there wasn't a gushing letter or review, or a prominent feature for either act - Dani Wilde apparently even deserving a cover inclu-

Is Dani Wilde more than a pretty face?

A LEADER

I'm pleased Blues Matters! is recognising the contribution of singers like Beth Rowley in keeping the Blues alive, and not turning up their noses simply because they sell records or appear on TV.

As your "Ed, er" piece rightly pointed out, too many listeners dismiss an act when they gain mainstream exposure or use modern production techniques, but these same listeners probably came to the Blues from rock and pop acts anyway.

From the Stones to The Blues Brothers, from Zeppelin to The White Stripes, it's always been how the Blues has been adopted and incorporated which has been so vital to its continuing relevance and interest amongst listeners.

Without new artists like Beth Rowley showcasing their Blues influence and being recognised for it by the media, the music, its history and its influence will soon be forgotten and lost on new generations.

We've been fortunate in our lifetimes, let's not spoilt it for new music listeners and let's ensure - and your mag will play a vital role in this - with any popular act using the Blues in their music, that their fans know about it and seek out the originals.

BM! Says: We'll keep covering any contemporary Blues/Blues-based act, and we hope more acts make an impact on the music industry in the future, so more listeners will discover our music.

sion ahead of Papa Mali or Spencer Bohren!

Having bought both of their debut albums on the back of your extensive coverage in the magazine, and being left totally cold, I feel I have every right to feel aggrieved. Reading her interview, and the comments of Thomas Ruf, it's clear she was only signed for her looks, and it's disheartening that even in the Blues artists catch breaks for their visual marketability rather their actual talent.

Howard Sims Grimsby

BM! Says: Both Dani and Oli have made a sizeable impact on the Blues scene in 2008, and we've received many letters of praise from fans and positive feedback from contributors, hence their frequent coverage in our publication.

WE WILL REACH YOU!

I picked up a recent copy of Blues Matters in the local book store last month. Very impressive magazine, content-wise and design-wise.

Richard Skelly New Jersey, USA

I really like Blues Matters! It took me some time to read it all - I'm used to American Blues magazines

and, of course, yours is different, but I found it interesting. It gives a fresh perspective to the Blues world, yet still remains true to the origins.

I found the size very cool, with a good mixture of news and interviews (new artist and icons of the

Rebecca Byrne Birmingham

This issue Rebecca will receive a copy of "Chess Moves - Chess Reworked" and "Pinetop Perkins And Friends", where the legendary pianist is joined by a who's who of Blues, including B.B. King, Eric Clapton and Jimmie Vaughan.

New fans to follow Beth Rowley to the Blues.

Blues)... Ablack & white section is always deserved to the classic era, and I found the reviews section useful.

I really appreciate your work; it's definitely a good mix of new and old.

Francesco Garolfi Milan, Italy

Love your magazine! For a guy like me who puts a twist on slide Blues, I appreciate publications that stretch the envelope of what is considered Blues.

Ned Evett Boise, Idaho, USA I bought the latest Blues Matters! magazine two weeks ago in Munich station and I think it's really great, with a lot of interesting stories, interviews and detailed information.

Christian Hönniger Hannover, Germany

BM! Says: We are certainly putting ourselves about now. If you pick us up outside the UK, write in and tell us whereabouts (and what you think).

MAKING THE LAW

FREE and Bad Company are two of my all-time favourite bands, and Paul Rodgers is up there as one of the greatest rock-Blues vocalists, but I've never liked Queen and their collaboration is as awful as I expected.

'C-lebrity' has to go down as the worst song Paul has ever recorded. What next, Robert Plant + INXS?! Can't a Bill be passed through Commons to stop this kind of "crime on music" happening again?

Mitch Griffiths Nottingham

BM! Says: Look out for a review of the group's album and a live report later this issue.

NO CHALLENGE

I agree with Merv Osborne's comment that Steve Winwood has been in a comfort zone for too long. His early career set him up to go on and become one of the UK's musical greats, but he chose to rest on his laurels,

and whilst I've enjoyed his output over the years, I don't feel he ever made the classic album he's capable of.

Ian

Forbes

Staines, Middlesex BM! Says: Steve’s contribution and influence on generations of artists can not be underestimated. "Nine Lives" another quality offering.

HIP HIP HOORAY!

Your "Still Making Progress" title for Jethro Tull's interview was definitely apt for a performer unrivalled in this industry for continuing to push boundaries in both his recorded work and live shows.

I know your writer described a recent performance as representing "the worst kind of progressive excess," but to hear an artist who after forty years in the business is still willing to go a little OTT, when so many, even early on in their careers, are so devoid of ideas and stuck in a rut, should only be applauded. "Legend" indeed!

Cara Smith

Rotherham

BM! Says: You can't help but respect Ian Anderson's desire to keep challenging himself and his listeners.

When you've finished reading this issue, why not send us a letter to let us know your thoughts? E-mail your views on anything related to the mag, or the Blues scene in general, to: mail@bluesmatters.com. We also except mail the old-fashioned way, so scribble down your thoughts (well, neat enough so we can read them!) and post them to: PO Box 18, Bridgend, CF33 6YW, UK. Remember, you could win great Blues prizes!

Queen + Paul Rodgers: marriage made in hell?

photo: Jill Furmanovsky

DRUM UP SUPPORT

'60s Brit. Blues sticksman honoured

Sunday, 7th December 2008 will see the Zildjian Drummers Achievement Awards ceremony, staged at London's Shepherds Bush Empire. The awards have been set-up to celebrate the 385th anniversary of Zildjian, the leading manufacturer of cymbals worldwide. Zildjian are one of the longest running family businesses in the world. In 1998, the family created the American Drummers Achievement Award to acknowledge the remarkable contribution that drumming has made to contemporary music. The awards honour “those individuals who have made extraordinary contributions to the art of drum set playing and to music itself.” Honoured at the first British awards ceremony will be Cream legend Ginger Baker The press release read: "South London born Ginger Baker enters the Zildjian Hall of Fame having shot to fame in the ‘60s after joining one of the most successful and influential British Blues-rock groups ever - Cream. Ginger, alongside band mates Eric Clapton and Jack Bruce, went on to receive five gold albums and they were one of the first ever bands to attain a platinum disc. His flamboyant performances and pioneering use of two bass drums in place of the conventional single 'kick drum' instantly set new standards for rock drummers throughout the world." Also in attendance at the ceremony will be Simon Phillips and Keith Carlock, the highly acclaimed American session drummer whose track record includes recording and touring with The Blues Brothers. zildjian385.com

The Black Keys released deluxe double-disc version of "Attack & Release" on 18th November 2008. The bonus DVD features a recording of the band's sold-out performance at The Crystal Ballroom in Portland, OR on 4th April 2008, produced and directed by music video director Lance Bangs (R.E.M., Sonic Youth, Arcarde Fire…). In addition to the seventeen song concert, which includes favourites 'Set You Free', 'Your Touch' and 'Thickfreakness', the DVD includes behind-the-scenes footage of the making of "Attack & Release" and original music videos for 'Your Touch', 'Just Got To Be', and 'Strange Times'. theblackkeys.com M. Ward has revealed details of his forthcoming album, the follow-up to 2006's acclaimed "PostWar" collection, and his sixth solo studio album to date. Released via Merge Records and 4AD Records on 17th February 2009, "Hold Time" consists of fourteen tracks "of both eloquent and startling beauty." Tracks include: 'For Beginners', 'Rave On', 'Stars Of Leo', 'Epistemology' and 'Shangri-La'. mwardmusic.com Fingerstyle acoustic Blues guitarist, Mary Flower released new album, "Bridges", in her hometown of Portland only on 8th November 2008. The fourteen song collection will have its national/international release on 20th February 2009. Her label, Yellow Dog Records, will make more details available in the coming weeks. maryflower.com

Ginger Baker: the cream of British drummers.

PRIZED COLLECTION

Legends of the Blues on display in London

"The Blues Anthology" launched on 12th November 2008 at Proud Camden, London. Running until 1st February 2009, the exhibition offers "a photographic portrait of the icons whose music was to inform the sound of all popular music thereafter." The likes of Herb Snitzer, Joseph ARosen, Ernest Withers, Ralph Fales and Terry Cryer have provided rare and iconic images of Blues artists, including B.B. King, Muddy Waters, Buddy Guy and many more. "Amust for both blues enthusiasts and those new to field; this exhibition will showcase a part of musical history that remains as important today as it was the day of the first field holler." www.proud.co.uk

NO HEART, NO SENTIMENT

Frontwoman replaces band ahead of new album release

Fat Possum Records have announced that the Heartless Bastards are set to release their third record on 20th January 2009. Produced by Mike McCarthy (Spoon, Trail of Dead, Patty Griffin…), "The Mountain" delivers "the swamped-up rock howl that fans have come to love, but it also weaves in an adventurous sonic evolution, expanding their three-piece rock palate by adding pedal steel, mandolin, banjo and strings, all in support of Erika Wennerstrom's transcendent voice." Wennerstrom wrote and recorded the album with McCarthy in Austin, TX over a six-month period, with the eleven songs said to "represent the evolution critics and fans have been anticipating for years." Following the album's completion, Wennerstrom assembled a new band to take the album on the road, with Dave Colvin now on drums and Pearlene's Jesse Ebaugh taking over bass duties. "The new and improved Heartless Bastards are sure to leave fans reeling and wanting more." theheartlessbastards.com

(clockwise from left) Big Joe Turner, Buddy Guy and Muddy Waters.

photo: Joseph ARosen

photo: Joseph ARosen

photo: Terry Cryer

SURE FOOTING

Anticipation for British outfit's new album

Festival favourites, The Stumble released their much anticipated sophomore album, "The Houngan", in November 2008. The follow-up to the band's debut, "The World Is Tough", features eleven original songs, plus two covers, live favourites 'Ain't Nobody's Business' and "a slide turbo charged version of Howlin' Wolf's 'Meet Me At The Bottom'."

Original tracks include: 'It's ALie', 'Bus Stop', 'Your Love For Me' and 'Sugar Don't Taste So Sweet'. More details on the album's recording are available at the group's website, where they are also offering free live downloads. thestumble.com

HIS DARK SIDE

Rock guitarist finds the Blues

Ned Evett, who has enjoyed good press for latest album

"Middle Of The Middle", has informed Blues Matters! that his new record, "Evil Ned", set for release in early 2009, has taken its "vibe from the tours I've done over the past three years, including support slots for artist like Jonny Lang, George Thorogood, Joe Bonamassa and Joe Satriani." Coproducing with Curtis Stigers ("we began discussing recording an album of heavy Blues back in 2007," he said), Evett has been taking in the works of Charlie Patton, Robert Johnson, Blind Willie Johnson, Albert King and Jimi Hendrix in preparation. "Having toured recently in the US, Australia, Europe, and the UK, I'd say the Blues is alive and well, in both the musical sense and society at large," insisted Evett. "We are a planet of pain and constant change, and there's no better place to find solace and expression than the Blues." The album is being recorded in a Chateau in Boise Idaho, with Evett "playing a collection of Peavey amps and fretless guitars - playing Blues rock on a fretless guitar is like sliding down a waterfall on fire." nedevett.com

The Answer (pictured below) have signed a record deal in America, teaming up with Brooklyn-based label The End Records. The group's first US release will be a four-track EPfeaturing 'Never Too Late' (from "Rise"), 'The Doctor', a live version of 'Come Follow Me' and new track 'Highwater Or Hell', which is from the second album session. The EPwill also include an hour long bonus DVD, outlining the band's story so far, with interviews, unseen footage and promos. British fans can order the EP through the band's online shop. Meanwhile the band, who are opening for AC/DC on their Black Ice World Tour, have finished recording their second album. The sixteen track collection should be previewed on the group's website at the start of 2009. theanswer.ie Howling Bells returned on 17th November 2008, with a taster EPof their sophomore album, described as "a twilit, cinematic opus in the making", which is due in March 2009. "Into The Chaos" was released on limited edition 7" vinyl, to coincide with the band's support slot on Mercury Rev's November UK tour. myspace.com/howlingbells Arecording of Mavis Staples' hometown show at Chicago's intimate Hideout venue in June 2008 was released by AntiRecords on 3rd November 2008. "Hope At The Hideout" sees Staples, backed by her three-piece band and three back-up singers, "put on a rousing musical tour de force."

The Stumble take a break from the road.

The Answer for America?

OBJECTION OVERRULED

Family despairs at new release

Arbor Records released a controversial Jeff Healey Band double CD/DVD collection on 4th November 2008, distributed by EMI Canada. Released in collaboration with former Jeff Healey Band drummer Tom Stephen, the three-disc collection, "Legacy Volume One", features early singles, unreleased live material, as well as videos, interviews, live performances and behind the scenes footage. However, Jeff's widow, Cristie Healey, issued a statement saying she was "deeply and sadly disappointed" that the label went ahead with the release despite the Estate's objections (Mr. Stephen's had endured a long dispute with Jeff, claiming he was owed monies and rights to Jeff's music). "We ask that Jeff's fans please refrain from purchasing this compilation out of respect for Jeff and his family. This release is not authorized or supported in any way by Jeff's Estate." Ms. Healey dismissed the release as "yet another 'hits' compilation and the bonus disc is an assembly of inferior tracks that have been readily available for download for years." However, the Estate has said plans are afford to release authorised Healey recordings in future, including a Jeff Healey Jazz Wizards release to join the three already available on Stony Plain. jeffhealey.com

SIMPLY THE BEST!

Mercury winners raise expectations

Gomez have finished recording their new record, which is scheduled for release in early 2009. Posting on the band's blog, Olly said: "Where the hell have we been? Answer: making the God dam best freakin' record you ever did hear....will hear. Jeeez! Leave it owt wud cha! Yours truly along with the other cats have been beavering away writing hit singles, epic anthems, toons to make you ass wiggle, it's all in there." The album was recorded with Brian Deck in Chicago, Virginia. Meanwhile, Ben Ottewell will return to the UK in December on a solo tour. Dates include: Cardiff Sub 29 (7th), Portsmouth Wedgewood Rooms (8th), Northampton Roadmender (9th), York Fibbers (10th),Oxford, London Borderline (13th), Liverpool, Academy (14th) and Aberdeen Tunnels (20th). gomez.co.uk

Scott H Biram has revealed his new album, the follow-up to 2006's "Graveyard Shift", will be released via Bloodshot Records by summer 2009. In a statement to fans, Scott said, "I have been touring so hard for the past few years; it's taken me awhile to finish a new record for you. I record them all myself and between juggling touring and recording, not to mention general life s**t, it just takes awhile sometimes." Keep an eye on Scott's website, which has recently been rebuilt, for further updates. scottbiram.com

Blind Pig Records has announced the signing of Big James & The Chicago Playboys, "a brass band that combines Blues, soul, R&B and funk into a rollicking, horn-drenched stage party." Bandleader and trombone player, Big James Montgomery, who also serves as singer, songwriter, and producer for the group received his second Blues Music Award nomination as Horn Instrumentalist in 2008, having previously backed Buddy Guy for two years at the end of '90s. Blind Pig's Edward Chmelewski told Blues Matters! to expect the band's new album by February 2009. bigjames.com

Wienerworld's autumn album collection, released 1st December 2008, includes Chris 'The Voice' Farlowe's first CD for over four years, "Hotel Eingang" and Elvin Bishop's "The Blues Rolls On", which features guest appearances from the likes of B.B. King, James Cotton and Derek Trucks. wienerworld.com Sony BMG release a 40th Anniversary 2CD & DVD Legacy Edition of Johnny Cash’s “At Folsom Prison" on 26th January 2009. The new release includes sixteen previously unissued tracks from the 13th January 1969 concert, whilst the DVD features new footage filmed inside Folsom Prison and interviews with those who accompanied Cash at Folsom Prison, friends and family, and inmates who witnessed the show.

johnnycashonline.com The Rich Evans Band will release new album "Circus Blues" via the Studiophonics UK label in December 2008. Agroup's release stated that the new collection "could earn themselves a place in the very pantheon of classic Blues-rock."

richevansband.com Seasick Steve follows his recent sold-out tour and Top 10 album with fresh dates in January 2009. Dates include: Manchester Apollo (23rd), Newcastle City Hall (25th), Leeds Academy (27th), Wolverhampton Civic Hall (29th) and London Hammersmith Apollo (31st). myspace.com/seasicksteve

Gomez resurface with something special.

ROUGH IT UP

Rock legends working with Akron's finest on new collection

ZZ Top's Billy F. Gibbons headed to the studio with The Black Keys and producer Rick Rubin at the end of October 2008 in Los Angeles, according to Billboard. Ahead of the songwriting sessions for ZZ Top's new "back-to-basics Blues-rock album," Black Keys frontman Dan Auerbach said, "Billy came to our show in Columbus, Ohio, and played us some new songs, but this will be the first time we've gotten together in a musical way." Speaking earlier in 2008, Gibbons admitted he was a big fan of the duo, describing them as "pretty down and dirty, which is good for ZZ Top." In other news, Eagle released ZZ Top "Live From Texas" on CD 4th November 2008, the soundtrack to the band's first-ever live concert DVD that topped the Music DVD charts in America. "Live From Texas" features fifteen of the band's most beloved tracks, including 'Tush', 'La Grange' and 'Legs'. zztop.com

HE'S GOT IT SORTED

Youngster signs to label and announces details of debut release

British guitar hopeful, Jay Tamkin has signed a two album deal with Germany's Rokoko Records (in partnership in-akustik), with his debut album available in February 2009. The twelve track collection, "Sorted", will feature "an eclectic mix of songs" all written by Jay himself. Jay's manager/mother, Caz, informed Blues Matters! that the new album will combine "Jay's original rock style music with twelve-bar Blues, Latin acoustic, up-tempo Blues and hauntingly slower Blues, like 'I Remember When', a particular favourite of Jay's - a song written about the time he was in Savannah, USAand thinking of love and what you learn through those times." The hope in signing to a German label is that Jay will gain more exposure across Europe, with the label helping to secure a support slot with Hawkwind on their March tour. The album be credited to the Jay Tamkin Band, after a decision to change the group's name from Jay Tamkin & The Crackers. Athree-track EPwill be made available prior to the album's release, entitled "Almost Sorted". jaytamkinband.com

Interesting new direction promised on ZZ Top's next album.

photo: Tony Pijar

LAST CALLS

Classic album taken back on the road

Following the critically acclaim 40th Anniversary performance of their 1968 landmark album "Odessey & Oracle" over three sold-out concerts at the London Shepherd's Bush Empire in March 2008, which saw the likes of Paul Weller and Robert Plant in attendance, The Zombies have announced they will perform the album for the very last time in the UK during April 2009. The first set will see the band perform a selection of hits, as well as Colin Blunstone solo material, whilst the second will see Colin Blunstone (vocals), Rod Argent (keyboards/vocals), Chris White (bass/vocals), Keith Airey (guitar) and Hugh Grundy (drums) performing the entire "Odessey & Oracle" album from start ('Care Of Cell 44') to finish ('She's Not There'). Dates are: Glasgow ABC (21st April), Bristol Colston Hall (23rd), Manchester Bridgewater Hall (24th) and London Hammersmith Apollo (25th).

THEY ARE THE BLUES

Blues legends' albums rereleased

SPV's Blue label continues its “big name” reissue programme. Three Jeff Healey collections ("See The Light", "Hell To Pay" and "Feel This"), two from John Lee Hooker ("The Healer" and "Mr Lucky") and Aretha Franklin's "The Early Years" were made available on 17th November 2008, whilst on 8th December, the label will release Etta James' "Mystery Lady - Songs Of Billie Holiday" and two Willie Dixon collections ("I Am The Blues" and "The Big Three Trio").

Aynsley Lister, whose new album will be released in February 2009 on the Manhaton label, tours the UK during November/December 2008. Dates include: Wolverhampton Robin 2 (27th November), Blackpool Riffs (28th), Southsea Cellars (4th December), Derby Flowerpot (6th), Maltings Farnham (11th) and Leicester Musician (12th). aynsleylister.co.uk

Little Feat duo Paul Barrere & Fred Tackett return to the UK to play a series of duo shows in December 2008. Dates include: Aberdeen Tunnels (6th), Glasgow Òran Mór (9th), Newcastle The Cluny (11th), Stamford Arts Centre (12th), Bristol Thekla (13th) and Brighton Komedia (15th).

Alabama 3 follow-up the release of 'best of' collection, "Hits And Exit Wounds", with an extensive Christmas tour. Dates include: Southampton The Brook (30th November), Cardiff Sub 29 (1st December), Brighton Concorde 2 (3rd), London Shepherds Bush Empire (4th), Oxford Carling Academy (6th), Newcastle Carling Academy (8th), Aberdeen Lemon Tree (10th), Manchester University (12th) and Belfast Queens University (13th). alabama3.co.uk

Ray LaMontagne (pictured below), whose new album "Gossip In The Grain" debuted at number 3 on the US Billboard charts (selling 60,476 copies), tours the UK in February 2009. Dates include: Manchester Lowry (8th), Glasgow Royal Concert Hall (9th), Nottingham Royal Concert Hall (11th), Birmingham Symphony Hall (12th), Gateshead The Sage (13th), London Barbican (15th), Southampton Guidhall (17th), Cambridge Corn Exchange (19th), Brighton Dome (20th) and Bristol Colston Hall (21st). raylamontagne.com

The group responsible for seminal '60s album - The Zombies.

Everyone's talking about Ray LaMontagne.

ith a string of number one albums, and hits like 'On The Beach' and 'The Road To Hell', Chris Rea was one of the biggest selling British artists to emerge in the late80s/early-990s He sold more than 30 million records and regularly toured all over Europe, but the slide guitarist and singer always wanted to return to his first passion - the Blues!

After a well-ddocumented health crisis, when doctors gave him a 50-550 chance of survival, he parted company with a major record label and decided to record the Blues album he had always wanted, "Dancing Down The Stony Road" The double CD promptly went gold and since then he has not looked back, releasing the innovative 80-ppage book "The Return Of The Fabulous Hofner Bluenotes" in 2008, which contains two vinyl discs and three CDs…

BM: How is your health these days?

Chris: It's just the same. I have no pancreas and it's going to cause unpredictable problems, at least once a month, for the rest of my life. There's nothing I can do about it. I don't mind telling people, because they wonder why. Sometimes I am that man with his guitar and a stomach ache (laughs). But the music has just come along and saved me.

A lot of people probably don't realise how ill you were… Sometimes my wife laughs and says she wishes I had lost a leg, because people would look and go, "Well, he's trying hard, isn't he." But you can't actually see my discomfort.

This last project built on "Blue Guitars" What was the genesis of "The Return Of The Hofner Bluenotes"?

The working idea was there was this band called The Delmonts, who used to do all this Joe Meek stuff, and they

would move quite naturally - as they did in the '60s - into being a British Blues band.

I had never done that kind of thing where you had four musicians in a room and you do a Peter Green-style song. If you are not happy with it then you have to do it again. There are no overdubs. I was born in the world of overdubs. My first record, back in 1977, was with Elton John's producer and he only ever worked with a click track.

"Blue Guitars" was a massive project, over eleven discs "Blues Guitars" was eight different types of Blues. We should have documented it, really. We set the studio up to be like a Chicago Blues studio and then we set it up to be a Chess studio. We used the same microphones and the same sized rooms. It was joyous. March was Chicago, then April was New Orleans - completely different microphones and compressors for each. It was just fun. This is a continuation, whereas The Delmonts is not that Bluesy, they turn into a Blues band - like an early Fleetwood Mac!

What's nice is that we thought it was all over and then I came up with this music book idea. It suits me, because I write every day and so it lets me put this stuff somewhere.

Who were the Blues singers you first listened to?

The reason I first started in the business was a Blues record by Charlie Patton. I was 20 years old. I had gone through my teens. I didn't want to be a rock star or anything like that. I just accidentally heard this record on the radio and all I could hear was a voice that sounded like my voice. Up and until that point, I always thought I would never sing, because I haven't got a voice. Then I heard this guy and he sounded like he could have been my brother.

I also heard this haunting thing. I didn't know what it was. I actually thought it was a violin. I went out that Saturday night with a guy who was in a beat group and he said it's a bottleneck guitar. So, on Monday, I bought a Hofner guitar. The music shop in Middlesbrough didn't know what I was on about. They didn't know what a bottleneck was. One of my sisters had a bottle of metallic pink nail varnish and it had a

"My wife laughs and says she wishes I had lost a leg."

tube neck and that became my first slide... She went mad!

You picked the guitar up quite late I was 21, which proves I didn't want to be a rock star.

Was Ry Cooder a big influence?

He came later... After that Monday, I was part of the flock. I was now drinking in the pubs that all the musicians went to in Middlesbrough, asking lots of questions. I found in the end people like Joe Walsh and Ry Cooder. Then it got dangerous. That's where it all went wrong, because Ry Cooder would divert into Texan music with a lot of harmonies, so I would divert into that and, being Irish-Italian, it was all quite natural to me. Then there was the wrong kind of production, the wrong record company advice and, suddenly, it's all watered down.

The title of your first album in 1978, "Whatever Happened To Benny Santini" (the record company had told Rea to change his name to Benny Santini), was actually a mickeytake, wasn't it?

Yeah. I'm a very lucky boy. I know you make your own luck. To think I'm sitting here, selling out the Albert Hall, and getting called a Blues slide guitarist by the press is quite unbelievable from where I thought it would have ended. It just shows you - you should never give up.

You had quite a long slog in the '80s

Because I wasn't a rock star or a pop star, I didn't have an image that I could threaten to withhold, like Robbie Williams was threatening EMI. The actual opposite applied to me. If I disappeared then nobody would know. I was never in a position to really stamp my foot down. In fact, the only time I didn't was the first album after the illness and that was mainly because I was so unwell. It wasn't that I was a saint. They offered me a fortune to do a duets album with younger singers, who were flavour of the month in 2001. I just started to break out in a sweat and my wife told the record company to go away and come back in a few months. She said make the record you want to make.

I heard you went ahead and recorded "Dancing Down The Stony Road" and then played to the record company (East West), who turned their noses up at it?

They thought it was rubbish. Absolute rubbish! They just walked away. We did it on our own and, funnily enough, it went gold. I didn't expect that. I wanted it to be like "that's what he intended to do in the beginning."

There's a mixture of stuff on "Dancing Down The Stony Road", with some electric Blues, gospel and Delta Blues… That's what's interesting about "Blue Guitars". When we did the Chicago Blues CD, I realised I wasn't a Chicago Blues singer and I actually like to tell people who are interested in the Blues, like yourself, there are so many different types of Blues. I am the first to say that I am not a Chicago Blues player. I don't write Chicago songs. I write songs about love, about broken hearts and saving your soul.

The melodies on a lot of my pop songs came from gospel piano chords, which my mother had taught me. She was a church organist and she used to play fantastic triple-stride Blues. You write a song called 'Josephine' and it opens up with, "There's rain on my window," and you can almost hear it repeating over twelve-bars. It's completely spiritual, but when you have a strong melody, it's easy for producers to embellish. I've got to admit it's still ingrained in me.

In the 80s, few would have envisaged one of Europe's biggest soft rock acts releasing a lavish box set like "The Return Of The Fabulous Hofner Bluenotes" in 2008.

Having overcome life-threatening illness, Chris is an artist in the rare and fortunate position of being able to record and release the music he wants, how he wants without the fear of commercial suicide - and "The Return Of The Fabulous Hofner Bluenotes" is certainly a labour of love, including three CDs, two 10" vinyls and an 80-page illustrated hardback book.

"It certainly isn't going to get him back on the radio anytime soon," admitted our reviewer in issue 42, "but Chris Rea sounds more comfortable than he has for a long time."

The book tells the story of imaginary band The Delmonts, complete with mock posters, photos and newspaper cuttings, who evolved into The Hofner Bluenotes, with disc one recreating "the twangy shuffles of The Shadows, while on the other two CDs he returns to the tried and tested Blues-rock at which he excels."

If the concept sounds a little tricky, there's no mistaking the sound Bluesman Chris has quickly become associated, with our reviewer declaring: "His smoky voice and blazing slide guitar dominate proceedings and the songs, all about love, regret and loss, are as strong as ever.

"The book itself looks amazing, but be warned, you will need to set aside several hours to listen and read it all."

Given the effort Chris put into the project, that's the least it deserves. DH

Who are listening to at the moment?

I'm obsessed with where the Blues meets indistinct things. When I hear 'Porgy And Bess' and 'A Kind Of Blue', I can hear Charlie Patton and Blind Willie Johnson in there. Broadway musicals were all born down south.

It's a strange situation I'm in, and it is rather ghostly, because I'm not like Ry Cooder, where Ry goes looking for different types of music and makes a record. That's not my quest. I don't think there is any point doing it after Ry Cooder, because he leaves no stone unturned. I'm looking for what it was in Charlie Patton, what it was in Blind Willie Johnson, what it was in 'Porgy And Bess' and an Argentinean accordion player. What is that fusion which drew me in to write songs the way I write them now.

You haven't really cracked America, have you?

No. A lot of guys say how can you write a song called 'Somewhere Between Highway 61 And 49' when you've never been there. I say, "I won't go over there, because it might spoil it." I'm a bit like St Francis of Assisi as opposed to a bishop. What I understood in Robert Johnson's music about the spirit and demons - I don't need to go to Memphis to get that, especially after losing my pancreas. The Blues is not exclusive to black slaves - I know for a fact, as a musician, that Tchaikovsky had the Blues in a serious way. It doesn't have to be a twelve-bar thing that came out of the Delta. The tango is the Argentinean R&B.

You were once thrown out the "Top Of The Pops" studio by a floor manager who mistook you for a stage hand Yeah (laughs). Me and (piano player) Max Middleton were busy talking about guitars and strings. We were stood

there, talking, and this geezer comes up, starts flapping arms, and says, "Clear the stage, Chris Rea is coming!"

What's the next project?

The next one is going to be big on dance Blues. It's an area of Blues I have never done, but I've always wanted to. For some strange reason I never got the chance, and a journalist quite rightly pulled me up about it. Not all Blues is about gospel misery. I used to dance when I was a mod.

Just because I'm older, and just because a lot has gone wrong with my body, it doesn't mean to say that I want to sit in a wheelchair and wait to die. I don't think Blues-rock music is not essentially young. It doesn't have to be. B.B. King seems very happy! I don't remember God coming down from the sky and saying after the age of 35 you will no longer love music. I think the older guys are going to be the only ones left anyway, because the business side of music has disappeared so fast over the last three years. They have killed the culture of buying an album and enjoying an album. That's why we are doing this (Chris picks up a copy of "Hofner Bluenotes" - JH). This is for people who used to like gatefold sleeves. This is for people who like to face the speakers. My children don't have this wonderful experience. They don't care. They don't see it as special.

How would you like to be remembered?

I'm not bothered… I don't know… I achieved my status as being a Blues-based artist on "Dancing Down The Stony Road" and that's it… I would like a pancreas (smiles).

I'm not the kind of person who thinks about how he will be remembered. I'm thinking about the next book. I've got a great idea for the next one. JH

t may have taken her appearance on The White Stripes' "Elephant" album in 2003 to bring more widespread recognition, but Holly Golightly was already held in high-rregard by her peers - first singing with The Headcoatees and then as a solo artist, Holly's contemporary take on roots and oldtimey music saw her establish a dedicated fanbase without the media overexposure vital to the limited and unlasting success of so many during the '90s

With the likes of Gemma Ray and Congregation's Victoria Yuelet emerging this year, it seems her influence, despite a lack of column inch, on a generation of female British Blues singer/songwriters is already being felt. But Holly is an artist still progressing, and arguably her partnership with long-ttime touring bass player Lawyer Dave is baring her sweetest fruits yet Performing under the moniker Holly Golightly And The Brokeoffs, the duo have been on the road since the unexpected success of 2007's "You Can't Buy a Gun When You're Crying", the only let-uup to record a follow-uup that may once again bring her uncomfortably to the attention of a fickle music industry

BM: Holly, you’d enjoyed a long standing solo career before

releasing "You Can't Buy A Gun When You're Crying", in 2007, in partnership with Lawyer Dave Can you tell me how this CD came about?

Holly: Dave's been playing with me for around ten years in the touring American line-up, as the bass player, and we talked about doing a record. We just hadn't had an opportunity until we had a chance to record that album. We really hadn't been in the same place, at the same time for long enough to do that. It took a while to germinate. We did it for fun really and we didn't know what it would be like. We didn't have any idea what we were going to do, until we started doing it - it's a happy accident!

What difference has the success of this CD made to you?

Dave: We got a lot more mileage out of it than we would have ever figured.

Holly: We didn't imagine we'd still be touring. We did a three week tour to start with.

Dave: Originally, it was four and then we did…well!

Holly: We were going to put it out ourselves at first. It was going to be our little bootleg, with the idea of playing some shows - and this is the result! We are still doing it and we've made another record.

Holly, fans of your solo output may not have been expecting the sound on your first album with Dave... How do you feel

this new collection has progressed from the debut and how do you expect your fanbase to respond?

Dave: It's kinda similar, in the same vein as the other one. Maybe a little bit more rocky.

Holly: I hadn't really thought about what might be expected, but then I don't really think of either of these records as being alarmingly different from anything I've done with my solo records in the past. On each record, there has always been at least one country song included. It's a tried and tested formula that I like to use a lot, and I don't think I'm doing anything all that differently, I'm just doing it with Lawyer Dave as part of this 50/50 collaboration, as opposed to having either absolute or no control at all as to how a record turns out. Obviously, it's something different in terms of sound, as there are only two of us, but we're fairly resourceful and we've worked out a way of doing the songs live (in an even more stripped down fashion than the recordings) that I think works nicely. So far people have been very happy to embrace something slightly different, at least that's what they say to my face.

There aren't many songs that are sort of comparable on the two albums; they are all quite different…

Dave: Except not all!

Holly: It's just us two playing and singing...we didn't get an orchestra in for this one. There is no sort of epic going on!

Dave: Same thing again, we went into record not knowing what we were going to record!

Isn't that how some of the best recordings come about, when it’s spontaneous?

Holly: I certainly think it was with the last one, like a freak accident, really!

Dave: There is an element it could be complete crap, too! Luckily, I don't feel that it was.

Holly: Well, I've never felt like anything I do was, Dave!

Dave: Well, I have!

Tell us about the standout tracks on the new collection, or those that mean the most to you

Holly: I do have favourites, even though I am not supposed to choose between them. Lawyer Dave would most likely say they were all the same to him, but I think that 'Bottom Below' and 'Boats Up The River' standout as really nice renditions of those songs.

What is your opinion of UK Blues and how would you like to see Blues music promoted more?

Holly: I'm the worst person to ask about what is going on! What everybody else is doing, I don't really have my finger on that pulse. I primarily listen to old stuff and I don't go and see bands, so much. I have friends, like Victoria (Victoria Yuelet, from Congregation), who do things in the same vein or reference points as I do, but what they do with it as they go along is different from what I do.

I think Blues is something that is nice as an underground thing. If it was anymore commercially marketed or if it was sold as a product, I don't think that would be a good thing for it. Just because it had a higher profile or perhaps more press coverage or music TV

Following the success of the duo's debut album, "You Can't Buy A Gun When You're Crying", Holly Golightly & The Brokeoffs (Holly Golightly and Lawyer Dave) have been so busy touring the world (including two three month tours of the USA), that they had to use the only downtime on a fifty-date tour to record the follow-up, "Dirt Don't Hurt", in Spain.

"We had to record in between two tours because we were finding it tricky to fit it in unless we did it then," recalled Holly. "We went to Circo Perotti in Gijon, where an old friend, Jorge Munoz-Cobo, has a really great studio. He pretty much turned the place over to us for two weeks, with either Circo or his buddy, Mike Mariconda, keeping an eye on proceedings.

"It was really lucky they could accommodate us at short notice and I think they did us proud."

Recording off the cuff mean the duo weren't as prepared as they otherwise would have been, but perhaps the new collection benefited from the spontaneity. "We only had the gear we had with us, for the tours, so we might have been more limited in some ways, but we borrowed instruments there and anything else we could lay our hands on to make a noise with. That might have brought something we hadn't anticipated."

Despite recording in a different country, Holly ensured she felt at home in the studio - recording on analog equipment and using only vintage instruments. "I don't really know any better," insisted Holly. "That's the main reason that I do things the same way I always have. I'm a creature of habit.

"It's always been a mystery to me, whenever I've done anything in a digital studio. I don't know what is possible with all that stuff they have in those places.

"Ideally studios would be somewhere I never needed to go. Recording at home - as we did with the first record - is always going to be preferable for our projects. We are much more comfortable doing things that way."

With many believing the duo are set for even greater success with their sophomore effort, the chances are Holly will have to record album three on the fly as well - so home comforts may have to wait a little longer! DH

coverage, I don't think that's what would make the thing better. It might be gaining momentum and make more money for labels, but I think there is something special about doing it on a small scale, which is what I've always done. Keeping it very close to you is very important.

You mentioned Victoria from Congregation Victoria flagged up you as one of present day UK female mentors of the Blues Tell us about your female icons Holly: I started out because I was buying old records. I started out hearing this stuff. I grew up when punk rock was happening and this was the first time I'd seen women doing anything half way decent, women that weren't Lynsey de Paul or Kiki Dee. That was the next thing that happened, when you saw women being involved in that and being incharge. That was my introduction, when I was young and started buying records. There were women in punk bands, so I realised it was all right for women to do it. Then, as I've gone on and my taste has regressed entirely, I went backwards as opposed to forwards.

You see that it's always been the case but women weren't credited in the same way and held up as being icons at the time. It wasn't the done thing for women to do. Women that did do it were bad mouthed and given a bad runner for it really. They weren't credited with writing a lot of the songs they wrote. They weren't necessarily treated properly. If they did have any management, if they were in the fortunate

position of making music and paid for it, they were treated like sh**! That was the story from old. I think punk rock was the first time that I thought women were doing something and being in-charge of it, musically. That would probably be my influence from any one of those women from 1890 to about 1975! Then at the beginning of the '80s, it took a downward turn again for women in music, certainly in commercial terms.

What do consider to have been the contribution of women to the Blues then?

Holly: I think they were fifty per cent responsible for some of the most amazing songs ever written at the time but not credited in the same way that men were credited. So, nobody knows that!

Do you see yourself as a mentor to up-aand-ccoming young Blues artists in general?

Holly: I don't know, because I don't think of myself as a purist in any sense. So, if I am, that is nice to know, to think that is that could be the case.

I think if people are really Blues purists, they won't be that interested in what I've done and what I'm doing because I've never approached it from that angle. I never wanted to recreate something to the letter and I can only do what I do. I've made a little niche doing what I do and in that respect, I've done it for so long, it's developed its own

"I try to be quite inclusive and engage with people who have come to see us." Holly

authenticity. It just the thing I do. I think it's great if people hear it and it makes them listen to the proper stuff that had a big impact on me. That's a good thing, but I don't know if personally I'm the one to follow.

Your audience is mixed in age and gender Why do you think you are able to attract such a broad demographic?

Holly: I try to create an atmosphere when we play; it's not that intentional, I can't help but do it. I try to be quite inclusive and engage with people who have come to see us. I think that makes it more gender friendly, it makes it friendly to everybody - it doesn't exclude anybody! I also think, because it's a male/female duo, that people are curious to see what he's doing and they are equally curious to see what I'm doing. You get an even mix then. The girls only want to have a look at him, anyway!

Are you really a lawyer, Dave?

Dave: I'm not a lawyer, but I have argued in front of a judge! It's just a nickname because I was playing in the States in a four-piece band with Holly. There was another guy named Dave, and they kinda got sick of saying Dave to both of us.

It's actually quite a boring story. One day we were drinking Irish coffee, I happened to have a mug with little feet in a business suit that said "Lawyer" on it. He had one with a bear on! I became 'Lawyer Dave' and be became 'Bear Dave'. I get all the respect because everyone's afraid of me!

You play bass and many other instruments, Dave, which is your chosen instrument?

Dave: The one I'm playing! She can play bass!

Holly: I can play bass but I have trouble with playing and singing at the same time

Dave: It would make sense if she was to play bass.

Holly: I think we've worked it out with what we do; I have a very bassy, woody sounding guitar. We've worked out a way of filling spaces. A lot of people don't know there isn't a bass. If you listen to it, it won't be the first thing you miss.

Dave: Bass players don't like it!

Holly: Bass players don't like because we've made them redundant! Dave fills the spaces I haven't filled. We've built most of the live set round what we can do, as well as we can, without a full band. I don't think it really lacks anything; I don't think you notice its only two people. If you were listening to it and not looking at it, you won't necessarily miss a drum set!

What's next for the duo, and are there more solo projects and alternative band projects on the horizon?

Holly: We're pretty happy with the records we've made so far and plan to make more together. We're also are very good at touring, so for the time being we'll be doing that on and off into the New Year. Then we'll be getting the home studio set up again. CB

photos: Alison Wonderland

here has been tendency in the Blues for an artist with family connections to a past master to warrant unwarranted media exposure However, with his strong musical connection during his grandfather's lifetime, Alex Dixon carries far more credence than many who carry the junior tag and, for his efforts in helping Blues musicians today, is far more deserving of any zealous press elevation.

At the height of his success, Willie Dixon could barely support his family - the practice of Chess Records, like many labels at the time, meant despite selling millions of records, the songwriter saw little of the vast financial returns Although he did manage to bear the fruits of his labour in later life, his compassion and understanding for struggling musicians remainedleading to the development of The Blues Heaven Foundation, set up, amongst other things, to ensure the wellbeing of Blues artists who never received their dues

Alex shares his grandfather's vision; like various family members, he has been an integral part of the foundation's ongoing efforts, and with Dixon Landing Music has directly set about bringing recognition to under-aacknowledged Blues artists - promising to properly reward the label's songwriters

BM: Your first release on the Dixon Landing Music label was "The Vintage Room", with Cash McCall. Tell us how you and Cash met up

Alex: I met Cash about twenty years ago. He used to always come over to my grandfather's house and work out songs, so we met because my grandfather knew him from a long time ago. So, when we moved to California, he would come over the house and work out new ways with my grandfather. Since I was living there with my grandfather, I would always play the piano in all those sessions at the house. For this album, I called him up and I asked him to do this project

with me. I wanted to do a traditional Chicago Blues album and I thought he would be the perfect artist.

After "Hidden Charms", how come it has taken so long for you to come above the radar?

Well, I played a lot of shows with my grandfather from the age of 12 to about 17. After he passed away, I was just getting out of high school and I went up to Northern California for college. After school, up in Northern California, I decided to have a different career, and after a while I figured I wanted to play music again. It wasn't the right time before, I wasn't ready for it. I had to have more life experiences before coming back to music. Now is the right time for me.

Let's take you back, fill us in what it was like growing up around your grandfather, and the now famous Blues performers you knew as a child?

Oh, well, let me see. When we were younger, he was working a lot and playing a lot of shows in Chicago. He was a pretty humble person. His whole demeanour was that he was trying to make sure he gets his songs out, and he was always working. We would see Koko Taylor, Buddy Guy, Muddy Waters and a lot of different musicians coming through the house, just getting different songs for their album.

Back in the '80s, when he was younger and we were younger, we would go to the Blues festivals and sell his records out in the audience. You know, it was a pretty cool relationship. I actually spent probably the most amount of time with him in the family, because I was always on the piano since the age of 5.

How come you veered towards the piano?

Actually, that was his choice. You would probably think that I would've learned to play the upright bass but, when I was younger, I started playing the piano, messing around with it, and before you knew it I had a half hour a day of practice, and then an hour a day practice, and then two hours a day practice… A lot of the times he was writing the songs

"It was pretty exciting at 12 years old, going inside ofa studio and teaching Lafayette Leake how to play a song."

and he needed a piano player to get his ideas out, and that was me. When we first moved from Chicago to California, the first thing he bought was a piano, before any furniture, so I could play to get his songs out.

It is obvious that Cash is a fine singer, but do you sing at all? Well, when I was playing shows with my grandfather at a young age, I sang most of the time and he would kinda like do background. Then he would sing and I would play, also. My main focus right now, though, is just to be a producer and a writer. I do know how to sing, but my main focus is producing and writing because that's what I enjoy.

How easy does your songwriting come, and what do you find yourself drawn to or inspired by?

Actually, the songwriting is easy. It just comes natural, like any songwriter would tell you. Probably the thing that inspires me is listening to some of the things that my grandfather would tell me; about how to write songs, about the facts of life, and what's going on in the world nowadays, or what's happening in your situation. Something else that inspired me is that I read his autobiography and I thought of certain things that happened to him, and that has probably happened to me in my life, just life in general.

Was it hard at all to draw on the old style Chicago Blues in a Californian setting?

No, not really. I mean, since my layoff of not playing for a while, or publicly, the music that came out was the music that was taught to me. So, that's Blues to me - it was just

playing my style of music in a different state. I didn't feel like it was hard to do that at all.

I think it is fair to say that you largely re-wworked themes, and used Willie's tunes on the album Is this how you intend to proceed on the upcoming collection "My Family Tree", or was that just the concept for "The Vintage Room"? (Pauses) Well, the theme I have for that album is a theme that I kinda want to stick with. I wanna do some of my grandfather's songs, some of the lesser known songs that people know about, but I also want to do some of the standard songs. I have songs of my own that I actually want to get out there established. I also have a bunch of unreleased songs that I have finished of my grandfather's that will be coming out on different projects, also.

Is "The Blues Experience" to be a permanent band or just a unit set up for this recording alone?

The Blues Experience started out as a semi-permanent band but I'm hoping that the gigs that we'll have, and a lot of the different opportunities, will allow us to become a permanent band. This is basically a band that surrounded Cash, and will hopefully be permanent.

What was it like recording Willie's last album, the GRAMMY Award-wwinning "Hidden Charms"?

It was exciting for me, being 12 years old, y'know? I practiced for years, and finally had a chance to do his last album, and we didn't know it was his last album. I was staying up all hours of the night finishing up songs for the

"We need to let everybody know that Blues music is not dead or dying.There is a whole other generation waiting to get out there."

One of the main objectives for Alex Dixon when founding the Dixon Landing Music label was to bring attention to unappreciated and unrewarded BluesmenBluesmen like Cash McCall, who provided vocals on Dixon's debut album for the label, "The Vintage Room".

Cash McCall, real name Morris Dollison, Jnr, like Alex's grandfather Willie, was a songwriter and session guitarist for Chess Records, providing material for the likes of Muddy Waters and Little Milton and performing with Willie, as well as the likes of Etta James. But like Willie, and countless artists at the time, he never received his dues.

"These people were stealing, everything I had written they were stealing," declared the former gospel singer. "They did it to a lot of people. I'm just one of the latest. You could've asked Chuck Berry, John Lee Hooker or Muddy Waters. You can even go back further than than that to Jimmy Reed. All of them went through it before me."

Of course, there were any number of short-changed Bluesman Alex could have chosen to front his new project, but Cash was the obvious choice given his links to Willie - co-producing the great man's last studio album, "Hidden Charms", and becoming sideman in Willie's Chicago All Stars.

"The moment I met him at Chess, Willie was a hero to me," remembered Cash fondly. "He treated my like a son. He was good to me, and he dug me - I dug him, too! I loved the man, he was great.

Willie was not only a good friend to artists like Cash, but he would make sure they were aware of their rights, as limited as they may have been. "Willie would teach you things," recalled Cash. "He was the one that told me about BMI and ASCAP, and all of that. Nobody had ever told me about that. He said that a writer is supposed to get more than what I was seeing."

And Cash is in no doubts that Alex is the right person to keep his grandfather's spirit alive. "I came in when Alex Dixon called me and I didn't have any ideas on it," said the singer. "I just walked in and when I saw these people, I saw them wanting to do something really nice. It was fun being around them.

"It reminded me of how Willie used to do things in Chicago - it was fun." DH

album, just to make sure we got the arrangements right. It was exciting for me to go into the studio and see some of the guys in his old Chicago Blues All-stars band play it. I would just go in and explain to the artist how the song was supposed to be played. It was pretty exciting at 12 years old, going inside of a studio and teaching Lafayette Leake how to play a song. That was pretty cool.

How many descendants of Willie Dixon have taken up music? Well, basically in our family, everybody had to play a little bit of an instrument or something to be around my grandfather. You could play the piano, sing or play bass. Of the main four that have played are Freddy Dixon, he played in the Chicago Blues All-stars, and he was the band leader for my grandfather's band for many years. Then we had my uncle, Butch Dixon, my late uncle Butch, who had passed away. He was a piano player for a couple of years. Then after my grandfather got older, he still did appearances, and that's when I played with him. We also have Bobby Dixon, who plays piano.

How is The Blues Heaven Foundation doing, as I had heard the impetus has waned since Shirli Dixon Nelson's demise? The Blues Heaven Foundation definitely did slow down a lot after Shirli passed away because she was basically running the whole foundation. Due to the fact that she passed away, and then a year later my uncle Butch passed away, we had a kind of slow down in the family's business and had to reorganise what was going on. Right now, I have an aunt, Jackie Dixon, who is there helping run the foundation, and my grandmother, Marie Dixon, is still in charge.

With the Morganfield boys active, has there been a promoter wanting to put you all on stage together?

Nobody has ever contacted me about that yet, but I'm sure it will be coming soon. I mean, naturally, I'm sure it would be a big draw to have some Willie Dixon heirs and Muddy Waters heirs getting together to try to recreate the magic that basically made the Chicago Blues sound.

What do you hope to achieve with Dixon Landing Music, and what's in store for the future?

What I hope to achieve with Dixon Landing Music is to bring the Blues back to a prominent level through artists like Cash McCall and the other artists that we've been recording with. I want to make sure that we have an honest, good company where the artists will come and record with us and actually get paid. We want to make sure that everyone is happy and compensated fairly. We want to make sure we continue to make great music with different projects. We need to let everybody know that Blues music is not dead or dying. There is a whole other generation waiting to get out there. BH

Cash McCall went back in time.

here are few musicians with a comparable CV or schedule to that of Sam Kelly. Five-ttimes winner of the UK Drummer of the Year Award, Sam has been in demand of some of the music industry's biggest names (Robert Plant, Dr John ) and his popularity on the British Blues scene is such that he can regularly be found backing the likes of Errol Linton at festivals and events around the country - whilst dividing the rest of his time between three of his own bands.

However, if any band takes priority, it's Station House. The 'house band' at Bob's Goodtime Blues at the Station Tavern, London for some ten years, the group only began touring the UK after the pub's closure, but they've since released two critically lauded collections drawing from the musical influences and pedigree of all its members

Whilst Sam's commitments to the likes of Giles Hedley and Papa George may mean we have to wait a little while for the group's second studio album, few would argue with the sentiment that Sam's talent on the skins is rarely utilized better than when he's in the company of Spy (bass), TJ Johnson (lead guitar) and Root Jackson (vocals)

BM: Are Station House the first band you have pulled together yourself?

Sam: Yes, although Station House have actually been going for over twelve years. The band was originally formed when the owner of the Station Tavern PH suggested putting together an all black Blues band - unique at the time, as there was no other such band on the Blues scene.

Following the closure of the Station Tavern, as a venue, it was a pity to let the band go, so, with the odd gig here and there and a lot of enthusiasm and mutual feeling amongst the band members, the band kept going and seriously.

Being the first time you've also had to manage a band, how has that worked out?

The transition from being a drummer in someone else's band to being the band leaded of my own band is a huge step. On one hand, you are dealing with musicians you have played with and admired for years, and on the other hand, you are trying to knit a unit together, which means introducing new personnel without causing any upsets. There can be conflicts with being in charge, but I'm sure all band managers experience that.

I saw the band at my local club Blaydon and there were four band members; Root Jackson, TJ, Spy, plus yourself, but you do augment with other musicians…

Yes, when circumstances permit. We also play as a five-piece, with Paul Jobson joining us on keys/vocals and, on occasions, such as festivals, we play as a six-piece, with another guitarist, Winston Delandro. Even the four-piece core band is flexible, as we are all working musicians. We have quality musicians we know we can rely on - Winston (guitar), Michael Bailey (bass), Leburn (vocals/guitar) and Jimmy Lindsay (vocals). This way we maintain the standards we have set for ourselves - having fun and playing good music.

I am the only band member that there is no deputy for, which means plenty of juggling to fit in all the work with my other bands (Primo Blues Band and Sam Kelly's Blues Band - CM), along with the other commitments I have with the Papa George Band, Chuck Farley and Giles Headley.

Being in the audience it was clear from everyone on stage that you were having fun…

Yes, we do have fun playing together, which is generated by the combination of our backgrounds, playing history and personalities.

What would you describe the sort of Blues you play? It is very rootsy and funky, but with a Caribbean feel Home-grown Blues with '60s and '70s soul, jazz, calypso

"As a player,I always feel there are things that could be done differently."

photos: Tim Hill

It's not just performers who find the conditions on offer in Britain unattractive, punters are increasingly being turned off Blues events in this country given the settings.

In this climate, the Boogaloo weekends - which can be staged in listed buildings, with wildlife parks, for examplehave began to stand out, and for an act like Sam Kelly, whose name regularly appears on event bills - "this year I will have played at Hayling Island and Norton Grange with Papa George and in November I will be at Cricket St Thomas with Station House" - it's far more attractive than lugging your equipment around on the fringes of a British festival. "The advantage is the hospitality - good dinner, overnight accommodation and breakfast…and there is no need to rush home after the gig!"

Although the events have come in for some familiar criticism for fairly uninspired line-ups, for many they are one of the few jewels left on the live Blues circuit in the UK. "The weekends are a great opportunity to play to an enthusiastic audience," said the drummer. "A bonus is that most of the musicians like to stay around for the late night jams, so fellow musicians and jammers from the audience play into the early hours."

It's rare that an audience is allowed such access to their favourite performers - "The blues fans that come along for the weekend get up on stage and can have their moment of being part of the Blues scene" - and many develop friendships with the performers. "It's a great combination of good music and socialising, for audience and musicians alike."

Sam will next appear at the Cricket St Thomas weekend, staged between 20th and 23rd November 2008 in Chard, Somerset - a favourite on the Boogaloo event calendar for the busy musician, although this will be the first time he'll have played with Station House.

Boogaloo on down with Station House.

and reggae tinges. It incorporates the music we all grew up with, the influences of our backgrounds and upbringings. Paul Jobson, being the youngest member in the band, brings with him another slant on all these classic influences.

Where do you see this band going? Have you any major plans to tour Europe or the USA?

A tour in Europe is the natural progression. I hope one day the band will get a chance to play to audiences in the States, as I think our music and live performances would be well received.

Why was the debut CD called "Sunday Best", and why was it mixed at Down In Deep studio, Atlanta?

The name "Sunday Best" plays tribute to the Sunday lunchtime gigs at the Station Tavern, Latimer Road and to the origins of the band.

I met up with the owner of Down In Deep Studio, Marty Kearns, when I toured with Geoff Achison in the US - Marty played keyboards. I had the original master DAT tape with me at the time and asked Marty if he could mix it for me. He in turn asked me if I would play on a track he was recording in his studio with a new artist. Who said the barter system is dead!

What are your feelings on the debut album now, in hindsight? It was well-rreceived, of course...

"I've played there before with several bands," remembered Sam. "It's refreshing to get out of town for a while and play to such an enthusiastic audience. I hope my own band will be equally well received this year."

The chances of anything less are rather slim. DH

As a player, I always feel there are things that could be done differently, but my view on the first album is that it reflected where the original band was, at that time.

What were the biggest achievements for you personally with that album's release?

One of the best things for me in releasing the debut album was that I was able to give exposure to the first all black Blues/R&B band on the London circuit at that time. All the musicians in the band were from an era when R&B and Blues was being fused with other genres, and we got a chance to get in the studio and express ourselves. It also gave me the opportunity to say thank you to the musicians and to the person who came up with the idea of putting the band together in the first place - Bob, the manager of the Station Tavern pub.

Why did you decide to follow-uup with a live collection?

For me one of the strengths of Sam Kelly's Station House is what is generated by the musicians when they play live. We were all keen to do a live album, and as it turned out a chance recording at Crawley became our second album. It is a straight-forward capture of the performance, particularly as only the keyboard player knew that the gig was being recorded.

When Station House play live, you will never get the same performance twice - musically it's always growing.

Are they any particular moments which standout for you?

For me, there's no one moment - it's a raw live show. The album has not been put through any big production remix, as I wanted the live feel to come through. What probably brings a wry smile to my face is the number of drum solos, but after all, I'm a drummer - I like playing solos and I get to do that in my band!

When you listen back to yourself, on a live recording more than a studio piece, are you aware of discrepancies and extra critical of your performance?

When you record in a studio you can always do several takes and maybe get as near perfect as possible. For a live album it's not the breakdown and perfection of each track, but the overall feel and vibe of the performance.

On the live album, I was bandleader, drummer and producer. As the drummer, I have found things that I would probably play differently now, but as the producer, I took an overall view of the recording and decided that it conveyed exactly what I was after - a live show.

Do you think fans may feel a little short-cchanged that you released a live album so early? Maybe fans would expect a collection of this sort once there is an established backcatalogue of studio releases…

No, I don't think fans will feel short-changed. The debut album had been out for just over two years and people who already had the debut album also bought the live album. The band's been playing live for over twelve years

and it has only been in the last four years that we've even thought about releasing any type of album, so you could say we are making up for lost time.

You have played in lots of band with all different types of Blues music. Do you have a favourite style of Blues?

The New Orleans style - second line R&B from people like professor Longhair, the Meters and Dr. John, who I have had the privilege of playing with. The New Orleans feel has been the biggest influence on my own style of playing.

Are there any artists you have not played with that you would like to or any type of music you would like to try? Artists would be Taj Mahal, Bonnie Raitt and Dr. John again. There must be so many styles of music still to try, and give me the time and I'll try as many as I can.

You have been voted Best British Blues Drummer on five occasions What did that mean to you?

It meant a great deal to be voted for by the paying public, who are the people who keep venues going and who keep live music alive.

Which drummers do you admire, past and present?

Kieran O'Connor, drummer with the Balham Alligators and Richard Bailey of Breakfast Band and Incognito.

What lasting memory do you have from your career to date? Memories of all of it with some grey areas around the '70s and '80s! CM&DH

"The transition from being a drummer in someone else's band to being the band leader ofmy own band is a huge step."

ad, bad and dangerous to know, Alabama 3 are the greatest country Blues and acid house band in the world - in fact, they are probably the only country Blues and acid house band in the world! Their songwriting and unique blend of influences sets them apart from their peers - and no present day outfit can come close to their barnstorming live shows!

Founded by Larry Love (aka Rob Spragg) and the Rev D Wayne Love (aka Jake Black), outside of their infamous live performances, the Brixton-bbased band are best known for the excellent 'Woke Up This Morning', used fittingly as the theme tune on hit US gangster series "The Sopranos", but as recent greatest hits CD "Hits And Exit Wounds" proved, their career has been littered with many equally fascinating creations…

BM: Putting out a greatest hits record can be quite a milestone for a band Do you feel you've reached a milestone?

Larry: I'm not sure a milestone. It's maybe a millstone

around our necks! It's a stopover on our way to global domination. It's just quite surprising we've been together ten years, or longer than that - probably fifteen years, including the years spent in the techno wilderness.

We're basically enjoying ourselves. We remain perennially privileged to make a living out of this kind of lifestyle.

Like fellow Alabama 3 fan Irvine Welsh, I can't quite work out why you guys are not the biggest band on the planet I think we're pretty clever. Like Bob Dylan says, "To live outside the law you must be honest sometime," and we always pride ourselves on making future music; music which might not particularly seem relevant now, but in five years time makes of lot of god damn sense!

How did you guys start out?

We were quite involved in the old warehouse scene and it was mixed in with a love of Blues and gospel. We love our Blues almost as much as our techno dance stuff. We thought it might be a good idea to marry the two.

I was of the opinion that the music of Robert Johnson, Mississippi Fred McDowell and Hank Williams was no different to the vibe you get in warehouse parties; posh girls being naughty and getting drunk, watching ladies asses move from left to right and gangsters drinking whiskey at

the back all night! It's the same vibe. You've got to mix the two together!

Looking back, were you surprised when people heard the first album and took this music to heart?

I think, with the first album, we were seen as a novelty band. It was Britpop and it was like, "How dare these Welshman and Scotsman ignore 'Cool Britainnia'?" How dare we put two fingers up to that? Because of that, we were castigated by the Britpop scene. We came in opposition to that.

Did 'Woke Up This Morning' become a bit of millstone after becoming the theme tune to "The Sopranos"?

Not at all! We're proud to be associated with something which was of such a high calibre. We're proud of it!

Which member picked John Prine's 'Speed At The Sound Of Loneliness' for the Alabama 3 treatment?

I did! If you listen to the words, there's such a close proximity between a honky tonk saloon and an acid house party.

We once got John Prine to get up on stage and do a nine minute acid house version of that, which was amazing. Dwayne (Love) and I were crying on the stage, with John Prine singing a techno song.

You're also involved in the Rock Against Racism campaign Being in Brixton, which is one of the best multi-cultural areas in the UK, we're influenced by lots of music. It's just natural for us to get involved in something like that. If there's a chance the BNP might win seats on the London Assembly - it's just so disgusting (this interview took place before the London Assembly elections in May, where the BNP polled 5% of the vote and did take a seat - JH).

What are your favourite Blues records?

Obviously, the Robert Johnson "Complete Recordings"; Elmore James; and there's also a British label called Krazy Kat Records. There was this collection of records called "Get Right With God", and there was some wicked stuff on them.

What sort of dance music would you recommend?

Well, I could be really cruel and send Blues fans to some really hardcore stuff. The way we approach it is we can mix it up on stage. I don't know, it's just good time Saturday night music. People do get that symbiosis now that we can do country & western and techno.

You must have a pretty interesting audience!

We've had some amazing demographics. You look out and there are fourteen bikers from the local Hell's Angels chapter, and then there are these old fellas interested in Blues, then there are lecturers and ravers. It's funny, but they're all arm in arm, having a laugh.

You're busy working on your next album and giving away demos of the songs on your website...

It's called the "12 Steps Program", with three tracks every month. We're giving them away. They're all half-finished. We've giving people the music at an early stage of its development. People can choose one of the tracks from each month, which will then make a twelve-track album.

In 2008, Alabama 3 released greatest hits collection "Hits And Exit Wounds". Okay, so "hits" is pushing it - and then, the band's only real success came on the back of a popular TV series. But that one-hit-wonder has afforded Alabama 3 a longer career than most who have actually troubled the radio and the charts, and given the countless albums released since 1997's "Exile On Coldharbour Lane"as the eighteen tracks illustrate, they've managed to match the genius vision of 'Woke Up This Morning' on more than one occasion - they've arguably earned the right to release a 'best of'.

"In a field of one, they rule supreme," declared our reviewer in issue 44, before adding: "the most impressive thing is how true Alabama 3 have stayed to their musical vision."

For many bands, the pressure to follow-up on the success of 'Woke Up…' would have seen a shift away from their original values when the follow-up charttoppers failed to arrive, but as the tracks on "Hits…", culled from each of their previous albums, with no chronological order to the tracklisting, prove, "the band never faltered or 'sold out', unlike a lot of their contemporaries from the mid-90s."

And anybody doubting their Blues credentials, "check out their version of Jerry Reed's 'Amos Moses'.

"Alabama 3, we salute you!" DH

Has being signed to an independent record label helped?

Whatever we've lost in marketing money, the one thing One Little Indian has allowed us to do is develop our own ideas at our own rate - allowed us to develop as musicians.

"MOR" also has a Jerry Reed ('Amos Moses') song on it. Whose idea was that?

I don't know. It seemed quite sleazy. We did it one take on one microphone. It goes to mono on that part of the album. We were just flexing our Bluesy muscles; just showing the old folks that we can do some straight-down Jerry Reed boogie-woogie.

What bands have you recently seen?

I saw Nanci Griffiths. I saw Carl Cox DJ-ing the other night. I go to a lot of clubs. I'm going through a techno phase at the moment.

All the best Blues songs are all about sex and death Do you agree?

It has got to be, hasn't it? Early sex and an early death!

When did you first get into Blues music?

I was brought up with hymns and studying Blues. I realised one was about Jesus and the other was about drinking moonshine and f**king your best mate's wife. There's a similar vibe on both sides.

I got into The Rolling Stones. The great thing about The Rolling Stones and Bob Dylan is their great educators. I just followed that trajectory. Then I found Captain Beefheart and "Trout Mask Replica", which stopped me in my tracks.

That record stopped a lot of people in their tracks…

I spent three months on my own in my bedroom, when I was 16, just listening to it constantly. Then, one morning, I got it! 'Moonlight On Vermont' hit me. I suddenly got what he was after. I was proud. It was like the first time I read "Ulysses".

The Beefheart moment was quite liberating, because it's how far someone can take Blues. He is very inspiring to us in terms of that bravery.

How far do you think you can take things?

We can take it further, and further, and further. Alabama 3 has such a wide parameter; we can do anything we want. We can do soundtracks. We can just keep on having fun and that's the one thing that's given us longevity. What people said was a stupid novelty has allowed us to recreate.

What do Americans make of Alabama 3? It's quite interesting. Record labels don't know what to do with us. They respect the playing, but they don't quite get the irony.

Are there Blues songs that you wouldn't cover? 'Dust My Broom' by Elmore James!

We did 'Me And The Devil Blues' by Robert Johnson. It turned into a nine minute mix. When we did it, the lights kept going out in the studio and we were, "We can't, it's Robert Johnson and we're putting him in the ether!" The lights went down and the electricity went off. It took ages to record. Then we sent it to his family and they came back saying they loved it and they wanted to release it. So, that might be coming out soon.

What's (Alabama 3 fan and Trainspotting author) Irvine Welsh like?

He's a f**king hooligan! He's very intelligent. We're proud to be associated with him.

Alabama 3 are very clever at looking stupid. I would rather people think we're daft, and realise we're intelligent - rather then Chris Martin or Thom Yorke. God bless them! Use your intellect stupidly, fellas!

Do you see yourself as a post-mmodern priest on stage?

Alabama 3 sadly remain condemned to pursue their country & western/techno aesthetic because Jean Baudrillard (French post-modern philosopher - JH) is de riguer in rock'n'roll... I wish we were archaic a la Robert Johnson.

Do you believe the legend about Robert Johnson, that he sold his soul to the devil?

No. But my daughter believes in Father Christmas, so why can't Eric Clapton make millions out of exploiting that particular myth?

What's the best gig Alabama 3 have done?

We haven't done it yet.

You first performed as "The First Presleyterian Church Of Elvis The Divine", before changing the band's name to Alabama 3 Was that in reference to the Birmingham 6? Guildford 4 - Alabama 3. Birmingham 6 - Alabama 3. This is not a football result, This is M.O.J.O. (Miscarriages of Justice Organisation, a charity set-up to help people affected by wrongful criminal conviction - JH). Keep it working!

If it's our round, what will you have?

To be confirmed. I'll call you. JH

PRISON BLUES

Courtesy Chrome Dreams and Screen Media Films respectively, 3 new subscribers will win a pair of DVDs - "At Sing Sing Prison" and "Honeydripper". Described by New York Daily News as "one of the most amazing live performances in filmmaking history,” B.B. King's "At Sing Sing Prison" features the complete 1972 concert at New York's notorious Sing Sing prison, as well as offering an insight into American prison life in the early-70s. John Sayles' independent feature, "Honeydripper" stars Danny Glover, who plays the proprietor of a struggling juke joint whose hopes of survival rest on the appearance of the famous Guitar Sam. The awardwinning film stars the likes of Keb' Mo' and Dr. John, and features a superb soundtrack.

BIG LOVE

Courtesy Killbeat, 3 subscribers will receive copies of Ndidi Onukwulu's sophomore release "The Contradictor". Canadian born singer/songwriter impressed Blues Matters! with debut collection "No, I Never", a varied album that earned her three Maple Blues Awards, and the follow-up is said to build on Ndidi's songwriting "mining the extremes of intimacy, with the bigger sounds and tones she is most interested in uncovering. These are songs of heartache, heartbreak and longing." With the brassy 'SK Final' and the anthemic 'The Lady & E', Ndidi looks set to enjoy further award success and critical acclaim.

To be in with a chance of winning one of these prizes, subscribe, or subscribe a friend, by 16th January 2009.

subs@bluesmatters.com / www.bluesmatters.com

*alternatively, call: 01656 745628

lthough he originally left the band in 1974 (but for a brief return in 1998), Alvin Lee has never really been able to establish himself away from Ten Years After - well documented acrimony as the band continued to perform without their original driving forced only served to further deviate attention from the guitarist's continued creativity at the start of the noughties

With the furore surrounding Ten Years After's reformation (touring and releasing as Ten Years After Now) having died down, and with the help of Repertoire, there is renewed appreciation for one of Britain's true guitar godsthe only man to rival Jimi Hendrix in the show-sstopping Woodstock performance stakes!

Recent studio collection "Saguitar” showed a performernow in his sixties - as hungry and forward-tthinking as ever, whilst Repertoire recently released a second anthology to remind listeners that Alvin continued to be a creative force after he parted ways with one of the '70s best hard rocking Blues outfits

BM: The last time I saw you perform was at the Notodden Festival. Did you enjoy the playing the event?

Alvin: The response was great and I always enjoy Norway because the people enjoy their Blues and ethnic music.

The amazing thing for me was that when I came down for breakfast in the hotel there were about a hundred mainly black Blues musicians all sitting there who had taken over the whole town. It had been a while since I had done a gig and I said to my bass player, "I hope I can remember the tunes." He reminded me it was like riding a bike, you never forget. It is so much more fun playing a gig fresh when you haven't played for a while. If you play every night, for a few weeks, you tend to go into automatic.

Is the pattern of playing festivals, rather than touring smaller venues, likely to continue?

Yes, I don't like dirty, smelly, sweaty clubs anymore. I like the open air feeling of a festival. Concert halls are my least favourite, though, because I don't like to play to seated audiences. On my last English tour, you could feel the audience was inhibited because they were sitting down. I remember saying to Joe Brown, "It freaks me out." I looked down at the front row and all I could see were feet tapping. I prefer to see people standing up!

There was this one time in America with a really loud, crazy audience. I was standing in the wings waiting to go on and this guy was chanting "Alvin f**king Lee!" I thought “This sounds like a good audience!” I walked out and this guy was holding a pitcher of beer in each hand. He suddenly yelled, threw his arms in the air and poured beer over himself. It's always good to play in front of intellectual audiences! (Smiles)

At Nortodden, three top American female Blues guitarists played together. Could you imagine an equivalent line-uup of British male guitarists, including yourself?

It would be terrible! What a horrible noise. Eric Clapton did come round to my studio one day with George Harrison and we had a jam in the studio, and we ended up playing something we called 'Too Many Guitarists Blues', which ended up in a frenzy when I shouted "Everybody take it." It was quite awful but very funny. Last time I heard it, I was rolling around on the floor laughing.

I quite like the idea of a revue, like the Johnny Otis revue in the '50s and The Steam Package, with Rod Stewart, Brian Auger and Julie Driscoll, which was done like a Tamla Motown show, where they would take it in turn to do a few numbers each. I also saw the Stax show at the Roundhouse which was amazing, with Wilson Pickett, Sam Cooke, Arthur Conley - who stole the show - and Otis Redding.

On the subject of getting guitarists together, Miles Copeland rang me and told me he was going to do something called "The Night Of The Guitars" with one band and ten lead guitarists. I said, "What, all travelling on the same bus!? You are mad! I will do it!" Guitarists don't usually get along, as they are not always good mixers, unlike drum-

"I don't like dirty,smelly,sweaty clubs anymore - I like the open air feeling ofa festival."

photos: Bj¢rn Tore Moen

For many, "Saguitar" finally saw Alvin return to exuberant '70s form. The 2007 release - voted into our last Best Blues poll - brought attention back to Lee's musical output, which had been somewhat lost during the well-publicised bickering with previous Ten Years After band members.

So, 2008 seems as good a time as any to for his label, Repertoire, to release a second anthology collection - a selection Alvin has niftily guaranteed will appease his loyal fanbase.

"The songs were chosen by the people who contribute to the discussion board on the alvinlee.com web site," revealed the axe god. "I just counted the votes, put them in a running order and had John Astley do the cutting master.

"The first CD is red and rocky, the second is blue and more mellow. Available now at your local haberdashery!"

Whilst some artists complain compilations and 'best of' collections can distract from their current output, Alvin Lee is far more pragmatic. "I don't really worry about that. I think it's good to have your music out there to be listened to. Isn't that's what it's all about?"

And why wouldn't you want to celebrate a career that has seen you recording with the likes of Steve Winwood and George Harrison. "I have played with so many great musicians over the years and the music and memories are all very special to me," enthused Alvin.

"I particularly like 'Wake Up Moma', with Clarence Clemons on the tenor sax, and George's slide guitar solo on 'The Bluest Blues' still makes the hairs on the back of my neck stand up - he plays great slide on 'Talk Don't Bother Me' and 'Real Life Blues', too."

For those who thought Alvin stop cutting classic rocking Blues tracks after Ten Years After original disbanded in 1974, Repertoire's two anthology collections will set you straight - and we have three sets to giveaway!

For your chance to win, tell us:

Which former Rolling Stones guitarist joined Alvin's touring band in the '80s?

mers who find each other, sit together and tap on tables and swap ideas. Guitarists tend to sit in opposite corners of rooms and ignore each other.

What inspires you to write songs?

I don't know what inspires me, that is why I love writing so much. Sometimes I will sit down with my guitar, notepad and tape recorder and nothing will come, then it suddenly comes together as if the song was floating around in the ether - I just pull it out. It sometimes happens on the way to the supermarket, I get a great idea, and then the trick is to remember it until I get home. When I have finished writing a song I think, "Wow, where did that come from?" Maybe it is something really personal to me; maybe it is something I think a lot about or just a little buzz of an idea I had. There are no rules.

Music is magic when you think about what it does to people. When I think of music when I was a teenager, for example, when I hear Buddy Holly's 'That'll Be The Day', I can see myself standing on the waltzer at Goose Fair in Nottingham watching the girls… I can hear the loud, blaring music and see the flashing lights from the fairground rides, and I can smell hot dogs and diesel fumes; the memories all come back from the song. And when I hear Del Shannon's 'Runaway', I am standing in the Lacarno Ballroom watching the girls spinning round on the dancefloor with their petty-coats flying and their bee-hives bobbing - the memories, the smells and the atmosphere all

come back, its pretty amazing. Being involved in music is a privilege and being able to create it, write it and then make it still gives me a big buzz.

What does the Blues mean to you?

My musical preferences formed in my early teens and I was lucky because my dad was an avid Blues collector, so I was brought up with Leadbelly, Big Bill Broonzy, Muddy Waters, Lonnie Johnson and really ethnic stuff like Mississippi chain gang songs and worksongs from the fields and rail-gangs. The music was around me all the time and seeped into my brain and fibres;

My dad, Sam, had an amazing collection of 78 rpm records. He was a keen collector of ethnic music recordings and had many recordings by Big Bill Broonzy, who my folks actually brought back to our house after he had played a gig at a pub called The Test Match in Nottingham. I was 12 years old at the time and my dad woke me up and said, "You've got to come and meet this man." I sat on the floor looking up at this huge man playing my dad's old six-string guitar and I think from that moment I knew I wanted to be a Blues musician. Also, in my dad's collection was Muddy Waters, Ralph Willis, Lonnie Johnson, Leadbelly, Sonny Boy Williamson, Sonny Terry and Brownie McGhee, along with Piano Boogie Woogie by Pete Johnson and Meade Lux Lewis, and negro spiritual groups like The Deep River Boys and The Golden Gate Quartet. He even

had recordings under the title of "Murderers Home", which were recordings of inmates in a southern penitentiary playing and singing real chain gang songs and the like. It was a great musical environment to grow up in. Thank God he wasn't playing James Last!

Is it easier or harder for bands to achieve success now than it was in the '60s?

I would imagine it's harder now, but I don't know. It is a totally different world out there. Bands want a major record deal and a publishing deal before they go into the studio, which is not very healthy. The best thing you can possibly do when you start a band is to get a van, and, if you have a van, you can do gigs without spending too much money. If you play five nights a week for a few years you are going to be better after it; you get an audience reaction and you get to know what works live as opposed to what works in the studio. It is the feedback which makes the music; music evolves. You might not make much money playing small gigs. I don't think I made any money for the first five years, but to me it seemed easy; I just wanted to play and play, and I knew that somebody had to notice me sooner than later. I was never in any doubt that was going to happen. I was very lucky that

things worked out as they did. Chris Wright was a great manager and he made sure the band came to the attention of the world. He kept his artists in a creative bubble, so that they could be creative. It's always a fight between being creative and working because if you work too much there is not enough time to be creative.

Fleetwood Mac were a great band and then they had a hit record with 'Albatross', which is not much to do with the Blues but this reflected the pressure to do something commercial… The worst thing in the world is to do something commercial which doesn't sell because you sell-out your integrityif it's not a hit, you've wasted your time, as well. I never did that but, maybe, when I wrote 'Portable People'; that was a catchy little song that had nothing much to do with what I considered my music to be about at that time. Remember Cream did 'Wrapping Paper' and it was an embarrassing pop song, but they managed to survive it. Long John Baldry recorded 'That's When The Heartaches Begin' and that upset his Blues fans and he didn't take over from Engelbert Humperdink anyway!

Your daughter, Jasmin, has followed you into the music business; can you tell us what she is doing?

Like me, she was brought up with music all around her. There were always musicians round the house and she has a natural empathy for working with musicians and understands what kind of environment they need to bring about the best results. She has a management company and has just opened a new recording studio complex in the heart of Soho called Dean Street Studios. The studio has all the latest hi-tech equipment, as well as some great vintage equipment including my old 16 track Studer and my Hammond C3. She has a great team of people around her - musicians, engineers, and producers, but what is most important is she knows how the creative process works. She can give a band the time and space to discover their own creativity and help them develop their own style and sound. I am very proud of her because she is following her natural path.

How did you find current band members, Pete Pritchard and Richard Newman?

I went to Nashville to play with Scotty Moore and there was this English bass player from London. What I look for in a musician is the ability to listen, to blend and to empathise; it is all about chemistry. Every musician, whether they've been playing for twenty years or two months, can get inspiration for new ideas. These days, I am lucky if I can come up with a new lick every month; when you start off you get a new lick every five minutes. Empathy is important because for bands like Ten Years After, Cream and Led Zeppelin there was more of a battle going on, which is probably great for the audiences but not so much fun to play with. I prefer a little more sympathy going on and to tame some of the madness

out of the music. It might work out live but not in a studio where it can sound like a jam jar full of bumble bees; well, if that turns you on its fine!

I met Richard through Joe Brown, who is one of my best friends; Tony Newman (Richard's dad) was Joe's drummer at one time and Richard became like Joe's adopted son. Richard stood in a couple of times when Alan Young couldn't make the gigs and without any rehearsal he came and played great because he has that natural feel. He is an exciting drummer who goes for it. You can get all the best musicians in the world together and have boring music. If I could get Steve Gadd and Duck Dunn it wouldn't be as exciting as the band I have now, with Pete slapping on the double bass and Richard thraping away; it is fun and I think that is what comes over. In Notodden, it wasn't tightness or dexterity; rather it was a group of guys having a great time.

Going back to the '60s Why is so much great music from that era still so influential?

The '60s was very special because young people were taking over the world. For music, it was freedom. Prior to the '60s, the bands all wore suits and would bow after every song; it was all very showbiz, like The Shadows. Then sud-

denly a band could go on in jeans and Tshirt and play fifteen-minute guitar solos. You didn't have to perform three-minute pop songs, it was underground music and that was my favourite bit of the whole deal. It was music for music's sake, with very little showbiz. Audiences then were called "heads" and they would smoke marijuana and listen intently to the music - there was a feeling of camaraderie between artists like myself and audiences; we were all young people striving for the same hopes and desires, and very ambitious for the world opening up for us. When I went to America, I really felt like part of American society and it all came out in my music. I was on the cutting edge of experience, meeting people from all over the world, getting opinions and inspiration. Above all, there was honesty and integrity from that era; you didn't need a frontman to do the chit chat as the music spoke for itself.

I find it sad that today's so called tribute bands do not have their own music to play; it is just a way to get gigs. There is no music coming from within but that seems to be popular today. Good music is still there but the motivation now is to be a pop star, whereas in the '60s the motivation was to be a musician. That romanti-

cism to be a working musician and to lead a musician's life was more intriguing to me than being a rock star.

What's happening with Alvin Lee at the moment?

After I finished the "Saguitar" CD, I rebuilt and equipped my studio (The Shack On The Roof) with all the latest hitech and cutting edge gear, like Pro tools HD, with a big Mac, so, for the last six months, I've been learning how to work it. The new gear does amazing things but, to be honest, it's been a pain in the neck! All this cutting edge stuff never works perfectly and you waste time getting upgrades trying to fix stuff and that can cause even more problems. I think I'll go back to Ampex tape. It got us all there in the first place and it still works today. I like messing about in the studio as long as it's creative but, at the end of the day, it's all down to the songs and the performance, and if the music is happening, you get a great recording on any equipment. That's certainly the case with Blues and rock'n'roll. The secret is in the groove and the feel - you can't download that from Digidesign! DS

(above) Alvin with Pete Pritchard (background, Richard Newman).

photo: Bob Thacker

reg Koch's ability on the fretboard has been recognised for many years - a rare breed of guitarist who can combine technical wizardry with great feel, Greg has picked up countless awards since the late-880s, alongside kudos from heroes including Buddy Guy and Steve Vai (who signed him to his Favored Nations label in 2001), and becoming a Fender guitar clinician

Marrying his Blues-rrock sound with country, funk and jazz influences, his first four albums left many in awe of his considerable chops, however, it was in bringing together new outfit Greg Koch & Other Bad Men where everything fell into place With former Storyville frontman Malford Milligan lending his inimitable soulful vocals, Greg was allowed to step back and showcase more restraint"Live On The Radio" transformed from a neat idea to Gregg's most assured offering to date

Without the pressure to hit the pyrotechnic heights on Vai's label, Greg has the freedom and the personnel to play the music he loves and, so far, he's delivered

BM: What are you working on at the moment?

Greg: Maintaining sanity whilst raising four kids!

I believe that the cello was your first instrument... I always wanted to play guitar but the first instrument offered, other then some quasi successful sorties with the home piano, was the cello. I remember trying to figure out the Hendrix tune 'Easy Rider' on that instrument! It was debacular, which isn't a word really, but it should be!

I understand that playing air guitar wasn't enough for you and you made a cut out. What first inspired you to play guitar and why a cardboard cut out, and did your sister ever get the foot pedal off her sewing machine back?

I was a Hendrix junkie from the age of 9 and a friend of my sister had a brother that was a Hendrix freak and had all the records, posters etc. He had this book called "Hendrix" by Chris Welch, which I managed to pilfer, and that book gave me a very vivid attachment to the Fender Stratocaster, which I then tried to replicate with a piece of cardboard and a black magic marker. Since my favourite Hendrixian strat was white, the white cardboard made it a quick leap. My sister really never allowed me to stray from the sewing machine with the pedal but since she frequently listened to ol’ Jim while she sewed, it was all good.

Do you recall the first time you heard Jimmy Hendrix?

I can't remember the first time I heard Hendrix per se but I vividly remember my brother bringing home "Electric Ladyland" from a party and playing it the next morning. I remember hearing 'Still Raining, Still Dreaming' for the first time and I'll never forget the feeling I got from hearing it... I knew was doomed to a life of rock savagery!

Can you tell us about your other early influences?

I moved between Cream and Hendrix, Jeff Beck Group and Led Zeppelin. Shortly there after I began devouring any Blues oriented stuff I could get my hands on. All the Mayall aggregations were easily accessible - loved the Eric Clapton, Peter Green and Mick Taylor stuff. I then accepted B.B. King's "Live At The Regal" as my favourite Blues manifesto. About the same time, I began recording on my cassette player a late night public radio program called "Portraits In Blue", which gave a great history and sampling of the works of the featured artists. Everyone from T-Bone Walker to Little Walter got recorded, studied and savoured.

You studied jazz guitar for four years at the University of Wisconsin-SStevens Point Why jazz guitar and what benefits do you feel this has given you?

I didn't really have a desire to be a jazz guitarist in the traditional sense but I did want to know how to navigate over more sophisticated chord changes, read and write music

"I have always felt that the electric guitar is the most emotive instrument on the planet,and the genre ofthe Blues offers the most extreme range ofemotions."

better, and just be able to follow my vision for a period of years without distraction...

I think if you have a foundation in jazz, in some way shape or form, you have a tendency to be more cognizant of dynamics, good comping, and a more mature sense of soloing, not only in terms of harmonic variety but in building solos and working off the ideas of other musicians.

With all those different aspects, what was it that drew your focus to the Blues genre?

I have always felt that the electric guitar is the most emotive instrument on the planet, save the human voice, and the genre of the Blues offers the most extreme range of emotions on the guitar and with the voice, in my troubled opinion. I still listen to Albert and B.B. King, Howlin' Wolf, Muddy Waters, Earl Hooker, John Mayall... Love it!

How do you feel about the Blues just now? Is it still a living, developing genre or is it a style that needs to be kept to its original roots?

That's a tough one. I think the Blues can be used as a basis for an approach that can incorporate many influences and a heap of creativity - not be Blues in the traditional sense, yet be appealing to fans of Blues and roots music, as well as be palatable to a larger audience. That's what I have been trying to do since I started my first band!

Who are your favourite artists at the moment?

I listen to dead guys 90% of the time. Call me morbid. One of my fave current cats is Derek Trucks - his music and his playing is stellar... I done some shows with Joe Bonamassa and that boy plays and sings his arse off!

You are also a tutor and have instructional books and DVDs available Do you enjoy the process of preparing these, and what do you gain from the experience?

I am not your typical tutor, in that I try to entertain as I teach. I also never intended on being a teacher, so my approach is a little different. I also am not afraid to show anyone anything at anytime. I enjoy helping people learn and I think I've got a knack for it. It has also provided a nice income! People are often heard saying, "Those who can't do, teach". I know the true music business maxim, "Those who can survive, do"

For those who haven't seen these, what is the main focus and thrust of what you try to convey?

It depends on the book or DVD. "The Hal Leonard Guitar Method" that I co-wrote is very basic, introductory stuff to get you going. The Blues and country books that I wrote for the Hal Method start off at an advanced beginner level and get you playing some real classics in each genre, including some licks and lead techniques in the style of some of the greats. "Lead Licks" and "Rhythm Riffs" are more advanced insights into the way I approach morphing pieces of musical information to fit different genres. I have a DVD called "Guitar Gristle", which covers some of my techniques and approaches using the tunes from my Favored Nations releases as a backdrop. I also did, what the folks at Hal Leonard like to call, "Signature Licks" DVDs. I have done two on the style of Stevie Ray Vaughan, one covering various Blues artists and one on the tunes of Lynryd Skynyrd. In these, I take segments of songs that I think are the most important, perform them with a band, and then I slow them down and break them apart. There is

(from left) Malford Milligan, Roscoe Beck, Tom Brechtlein and Greg Koch.

Given that listeners were focussed on the fretwork fireworks on his first four albums, Greg's limitations as a vocalist were hardly an issue, but Greg wasn't too precious when the opportunity arose to bring on board one of his favourite singers.

"I have always been in awe of Malford Milligan," enthused the guitarist. "I have always wanted a vocalist to match the intensity of the music in my band - I can carry a tune and can entertain in my own way as a vocalist, but I have no delusions about the prowess of my vocals being anywhere near the dynamic range of my abilities as an instrumentalist.

"Malford is my better half on stage at this point. Anyone can see it's just a great meeting of the mutant minds."

Greg had been working with Roscoe Beck, who introduced the pair at a CD release party. "They were doing a gig at a summer festival and I got a call Friday night to come and sit in with them on Saturday," Malford recalled. "I had not really heard Greg play, but if Roscoe was involved it had to be good music!"

Although a late bloomer ("I didn't start singing and live stage work until my thirties"), Malford's resume before joining with Greg was impressive. "I was in one band before Storyville, so didn't have that much experience," revealled the singer, "so I was astonished when Chris Layton and Tommy Shannon wanted to put a band together with me as the singer and front guy!"

If anything could prepare you for working with a guitar extradoinare like Greg Koch, fronting Double Trouble would be right up there. "It was a challenge to come up to their level as musicians and the experiences they all possessed," recalled Malford. "I really had to raise my game, per se - and I loved the challenge!"

But the soul singer reserves his biggest compliments for Greg himself. "As a guitar player, his vocabulary on the instrument is vast - it's just a part of him," he enthused. "Like his wit and humour - he makes me laugh so much my ribs hurt…"

Given the pair's mutual admiration, we can expect the duo's collaboration to continue, with Greg informing us that their next album’s due early-2009. DH

no tab for these DVDs - it is strictly for the visual learner. The vast majority of folks find these extremely helpful.

What does the music of Stevie Ray Vaughan mean to you?

When I first heard Stevie it rocked my world because he was everything I was trying to be at the time. I loved Hendrix, Albert King etc. and was trying to put it all together into a savoury little soup. I was only 16 at the time.

As Stevie became more successful, I began trying to distance myself from his approach, to try to find my own style, although I had pilfered everything I could from his first records. When Stevie passed on, his legend went gonzo and I have to say I grew tired of people yelling out "Play Stevie....play SRV!" One evening, after some dude kept on yelling it, I yelled back, "Do I go to your job and yell 'Big Mac'? Shut the f**k up!" It was a little strange that I ended up doing the DVDs on SRV, but I managed to find that same love of what he did that I had when I first heard the stuff. I think it comes across. The guy was bad-ass!

How do you go about mixing those sublime techniques of yours with the feel and groove?

I am primarily feel oriented. The technique is just a means to an end. I will say that I think I have paid more careful attention to the minutia involved in some of what appears to be simpler playing. I'm obsessed with phrasing and vibrato. I always go back to the well to make sure that the 64th notes never get the better of the soul factor.

I really enjoyed "4 Days In The South", it was everything I would expect from a Greg Koch album

That record was more in line with my original direction, which I strayed from when I was signed to Steve Vai's Favored Nations label. Provogue is a Blues-rock label so I was able to go down to Johnny Sandlin's studio in Decatur, Alabama, where I always wanted to record such a record, and let the good times roll! I had met Johnny years ago, and he had been involved with some of my favourite recordings from The Allman Brothers Band to the Aquarium Rescue Unit. Some of the tunes I had around for a while and was never satisfied with the original recordings and some were new tunes ready to rock. I was satisfied with the result.

Since you were so obviously in your element at Provogue, how come the last album was released through ZYX?

I felt that, at this phase of my career, it was important to be involved with a label that utilized the last three letters of the alphabet in some way, shape or form, in the title of their company (smiles)... I am grateful to Provogue for helping me establish a foothold in Europe but I believe ZYX is better poised to build on that for me.

Tell us about how the recording came about

The recordings are from live radio broadcasts on a Milwaukee college

Malford Milligan: the perfect match.

station (WMSE) that were done to promote some gigs we had coming up in the area. Since we never really had time to rehearse with this band, as we all live in different states, they were tunes agreed upon, sometimes on the spot. The extemporaneous and carefree nature of the performances along with the organic sound of the recording, made everyone say upon hearing it, "We should release this." There is no mercy shown as, collectively, we have been shown no mercy!

It’s a unique recording, as it captures a band attempting to form. I have been working with Roscoe Beck off and on for about three years, since playing together for Fender at a NAMM show out in California. He accompanied me on some Provogue tours of Europe and a bunch of clinic tours for Fender. I ended up playing on a couple of tunes on his CD and vice versa. The chemistry between us musically is wicked. I ended up doing a gig with Roscoe down in Austin

for his CD release party and at one point the band was Eric Johnson and I on guitars, Roscoe, Brannen Temple on drums - who is on several tunes on the upcoming releaseand Malford Milligan singing. I knew right then and there that if I was ever to use a lead vocalist again it was going to be Malford. We did several gigs with a few drummers as a four-piece and found our niche with Tom Brechtlein, who will be our man from here on in, though he is only on one cut on the "Live On The Radio" release.

Milligan vocals add a soulful element to the band's sound, do you feel this is an important contrast and something that sets you guys apart? You must feel he is something special to give up the frontman spotlight…

I can say, without hyperbole, that Malford Milligan is one of the best soul, Blues and rock frontmen in the world today. And those who are aware of him know of what I speak.

I enjoy the break of fronting the band all night and getting down to one of my favourite things, which is playing some serious rhythm guitar. Chicks dig it...theoretically - a tele being mauled in a Bluesy, funkscape.

Tell us about your working relationship, and how you write together

We've had a real nice writing vibe between us so far. I might come up with the music and maybe the title and Malf will run with it. Sometimes I go back through what he has come up with and tweak it in a way we both agree upon. It's real cool and productive so far.

Do you think after recording an album like this, where everything is so natural and loose, that it will be difficult going in and recording a studio album conventionally?

Absolutely! I'm all for approaching a future recording with this ensemble in a similar format but with original material. It removes the urge to over-think things and really keeps things honest.

Are there any plans for any dates in the UK, either with the band or as a clinician, to follow-uup on this release?

I am doing a master class at the Academy of Contemporary Music in Guilford a Fender Custom Shop event at Abbey Road, both at the end of September (2008).

The band, with Malford, will be back to tour Europe in April (2009), although we don't have an agent for England.... It seems a shame that we haven't gigged in England other than in the clinic capacity. Remember folks, go to your local music club and demand Koch and co. RL&DH

Greg Koch has the feel for the guitar.

he cover of Layla Zoe's latest, "Shades Of Blue", may have you fearing the worst An attractive, long-hhaired female with a guitarany thoughts of trying to capitalise on the genre's weakness for pretty young things wielding an axe surely confirmed by efforts to 'make it' through Canada's version of "Pop Idol", right? Well, wrong

Whilst Layla is unashamed in trading off her looks, as the scantily dressed (and undressed) pictures on her MySpace page will testify, it's her songwriting and vocal clout which have attracted serious attention - drawing comparisons to Janis Joplin and industry recognition from the likes of Jeff Healey, with whom she shared a stage before his untimely passing Canada is continuing to prove a hotbed for alternative contemporary Blues, as this magazine has documented over the years, but perhaps this tenacious redhead from Victoria, British Columbia has the best chance of crossing over into the mainstream - hopefully, she won't need a TV talent show sob story and covers album to do so

BM: I have to ask if your parents dug Derek & The Dominos… Layla: Both my parents listened to an array of classic rock, and I grew up with my father's amazing record collection at my disposal. Of course, Derek & The Dominos' album "Layla" was a part of that record collection. As I am a '70s baby, the name suits me just fine, and is an honour.

What kicked you off in music?

My father played guitar as a hobby and had been a roadie when he was younger. I grew up listening to great music and hearing him play guitar while I sat on his knee. I also remember hanging out in the jam room as a child listening to his band rehearsing.

I started singing at 4 years old, and was in school band and musicals. Mostly attended poetry readings and wrote poetry and spoken word as a teen, after leaving home at 15 years old. But got into a covers band at 19.

Started singing professionally and releasing my albums in 2005, and have been going strong ever since. Music has always been there for me, through thick and thin.

Who went on to inspire you?

I have been inspired by the songwriting of Bob Dylan, Tom Waits, Neil Young, Joni Mitchell, Van Morrison, and many more. I am very inspired by the guitar playing of Frank Zappa, Derek Trucks, Susan Tedeschi, Kaki King, Roy Buchanan, Jonny Lang and B.B. King. For singers, I have been moved by Sam Cooke, Janis Joplin, Tanya Tagaq, Etta James, Muddy Waters, Billie Holiday and Shelby Lynn.

Your voice has been likened to Janis Joplin’s

I am compared to Janis Joplin so often that I’ve had to step away from doing her material, though she was a huge influence on me growing up. I listened to her records daily. I am still flattered when people come up to me and make the comparison, though I rarely cover her songs.

I noticed you are adorned with tattoos

All of my tattoos have a special story and significance, just like my albums. Each CD, like each tattoo, tells a story of where I was in my life at the time. I do not get tattoos for fashion but rather to express who I am, or have been.

Your website has you titled as singer/songwriter. Are you now moving away from Blues?

I have always loved singing the Blues and am often categorized as a "Blues singer", but, truly, I love all kinds of music, and hope to be known for my songwriting someday, just as much as I am known for my vocal ability. However, I will always sing with a Blues feeling.

Within the Blues field, who do you like listening to?

Many Canadian artists have sparked my interest lately, such as Harry Manx, Paul Reddick and Ellen McIlwaine. I listen for good songwriting, eclectic production and strong guitar and vocals. Although, of course, I still have my favourites, like Muddy Waters and Etta James.

Did you feel that "Canadian Idol" had a narrow mindset in judging you too Bluesy for advancement?

"I do not see myselfas very sexual.I merely show who I am."

photos: Antti Lumikari

"Canadian Idol" is a reality TV show/contest, and I did not have high expectations when I decided to audition. The show is geared to find a "pop" star.

The producer of the show walked up to me after my audition and complimented my singing and my attitude. I believe he is the reason my clip was shown on the TV show. It was good promotion for me.

You worked with the late great Jeff Healey

Jeff will be greatly missed by many. He was very kind to me and very complimentary, calling me one of the best vocalists in Toronto, and one of the best singers he had heard.

Performing with Jeff was one of the highlights of my life and career. He said to me later that he hoped I would have the chance to sing with B.B. King someday, as B.B. was getting on in years - little did we know then that B.B. would outlive Jeff! I feel for Jeff's family.

My family was affected by cancer as my youngest sister was diagnosed at 8 years old, and lost her leg due to the disease. I know what cancer can do to a family. I still dedicate 'Hoochie Coochie Woman' to Jeff at shows, and will continue to keep his memory alive through my performances.

How did you come about recording down in Nashville?

Friend and producer of my very first five-song album, "You Will", Alec Watson connected me with friends and songwrit-

ers in the Nashville area. I saved my money to fly there and was very lucky to write with Billy Livsey (Tina Turner) and Laurie Kerr while I was there. I also had the pleasure of meeting J Fred Knobloch, a fantastic singer/songwriter/Bluesman who has worked with everyone from Delbert McClinton to Don Schlitz.

You have been lauded from Vancouver Island to Finland

How important have awards been to you?

Awards and competitions themselves are not that important to me, though they do have a way of opening doors. I am often just grateful to be nominated, though it is always an honour to win. I believe that music is a personal taste thing, so winning is merely an added bonus.

Canadian Blues seems so strong at the moment…

There is so much talent in Canada at the moment, and, though it is competitive, I feel very lucky to have the opportunity to perform at so many festivals in Canada this year.

Although many venues for jazz and Blues are shutting down, there is still a strong need and desire for good live music. I believe that live music is making a strong comeback, since so many people are in need of musical healing. Together, fans and musicians keep the Blues alive.

How do you find being an independent artist?

It's a vital tool for the music industry, when we want to introduce a new artist to the public, to compare them to a great act from yesteryear - even if, on many occasions, these comparisons are tenuous at best (Beth Rowley and Billie Holiday anyone?).

However, for anyone listening to Layla Zoe's early output, there's one legendary name that comes instantly to mind - Janis Joplin. "I have heard from many fans over the years, and there hasn't been one gig yet where someone hasn't come up and mentioned the Janis comparison.

"Of course, there is the look of my face and my long hair, and the big raunchy Blues voice. But it's not just that I am a white woman singing the Blues or that I have a 'big' voice...it is something in the feelings people get when they hear me."

It's hardly by chance that Layla's music recalls the tragic singer - Janis was a staple of the youngster's musical diet growing up. "As a child and young teen listening, I could not relate to the heartache Janis sang about in her songs on a romantic level," said Zoe. "But as I left home at 15 years old, I could definitely relate to the heartache and pain of her family relationships and relate to the feeling of being disconnected from others, which comes across in a raw emotional way in her music and voice."

Whilst the comparison to an all-time great has opened doors, the requirement to forge an individual identity hasn't been lost on the flame-haired singer. "I hardly perform Janis' material anymore," insisted Layla. "If I am asked to sing one of her songs, like 'Merecedes Benz', for example, I often break into one of my own a capella tunes and people love it just as much.

"I still always get the Janis comparison, but I mean, seriously, I'd rather be compared to Janis Joplin than any other female singer there is. She was raw, honest, and without boundaries when she sang - and that is what I strive for everyday." DH

I live day to day and believe that this is necessary as an artist. I need only the basic things to survive - my music, food, heat, water, enough money to pay the rent, and some savings each year to help make the next album.

I am very lucky to have talented friends who have worked with me on my music videos and albums, for much less than they deserve. It takes a team to make it all happen, though I may feel alone on this path some days.

Is your independency due to mistrust of the music industry or lack of a good deal?

I am a bit of a "control freak", it's true (laughs). I am a redhead and a woman, and I feel very serious about my art and image being represented the way I want it to be represented. However, I have had some interest from labels, lately, and am considering some offers. I am looking for people who care about the art, and are not just in it for the money. That is not always easy to find in this business. Even though you have a wonderful singing voice, have you given in to the old adage that, "sex sells"?

I do not see myself as very sexual in my musical image; however, as I have grown into a young woman, I find my sexuality becoming a bigger part of my stage performance. As far as my online photos and image, I merely show who I am. I dress how I feel for shows, and am no longer afraid to wear clothing that expresses my sexuality and showcases my tattoos and youth. I have never needed to

use sex to sell my albums, as my voice and songwriting have done that for me.

Each individual, I realise, will see me through their own eyes, and there is little I can do about people's judgement of me. I sing for myself and have no time to worry about what other people think. However, I recently taught Blues In The Schools at five high schools during a tour to St. John's, Newfoundland and was very satisfied by this experience - it reminded me how precious the young fans are.

I need to stay true to myself, and yet I still want my image and music to be accessible and appropriate for young people and family oriented listeners.

You are involved in charity work

I feel strongly about so many charities. Women's groups, children's groups, cancer fundraising, and animal rights have all been high on the list.

What are your goals ahead?

I would like to perform in France, Australia, England and more of the United States, as I have fans that message me daily and buy my CDs online who live in these areas. I also would like to try some acting, and someday perform live with Derek Trucks, B.B. King and Eric Clapton. I have a strong belief in myself, and believe that these goals are all practical and attainable.

I plan to continue to release an album a year and work hard on my songwriting. I will continue to sing as long as my heart beats - and nothing and no-one can stop me! BH

Janis Joplin (right)

few years ago, Doug Jay was a regular visitor to British shoreswith his fine band, The Blue Jays, Doug could be relied upon for standout performances at the likes of Burnley Blues Festival Unfortunately, the reliance on strat wielding rockers on the British Blues circuit, and the escalating cost of touring the UK has meant the last British audiences heard from Doug was the impresive "Under The Radar" album, release at the end of 2007 It seems likely we'll have to wait longer yet for his return

Feeling homesick, Doug is moving back to the US from his long-ttime base in Germany and the only fitting send off we could think of was a Blues Matters! feature For one of the best protagonists of traditional Blues, and a mean blower to boot, it shouldn't have taken such disappointing news

BM: You stated previously that you wanted a guitar as a child, but your mother refused and that is how you came to be a harmonica player Was this due to her being a disciplinarian or perhaps disliking the music you wished to pursue? Doug: No, none of those reasons. It was purely financial - I was one of four sons and my father, being a naval officer, was often away from home. It was difficult for my mom raising four growing sons (mostly) by herself, and after their separation even more so.

Dad, being in the navy, was another reason for my family's many moves around the country, so, although I was born in Pensacola (Florida), we eventually ended up in Arlington, Virginia (a suburb of Washington DC - DG). I consider Washington my home town as I've lived in the area since I was about 13.

I've spent a couple of days in Washington and was surprised by the lively music scene I believe you're talking about the Adams Morgan neigh-

photo: Andy Ford

bourhood of Washington - it is quite a famous place for music. Did you go to the bar called Madam's Organ?

Yes! What a great place Every other bar having live music and even a second-hhand book shop was open at midnight! Yes, Washington is not as well known for its music as say New York, New Orleans or Memphis, but I assure you it is able to compete favourably with them. It's a great city for Blues. Getting back to your youth, what are your earliest musical recollections and who were influences

Well, I was a young 'hippy' with two older brothers, who were great soul fans. They collected Motown and Stax records. There was a big musical explosion happening at that time (mid-to-late-60s - DG). I liked the soul stuff but, being a bit younger, I was also really into "proto punk" bands like Count 5, Blues Magoos, Standells...

I was not exposed to the Blues until 1970-71. I bought a double Blues compilation LP with the likes of James Cotton, Big Walter, Homesick James and Junior Wells. James Cotton's 'Love Me Or Leave Me' on an amplified harmonica just did it for me!

I was working in a record store and happened to meet up with a young guy named Pierre Beauregard, who was a great harp player and a walking encyclopaedia of Blues music. In the '70s he had a band with guitar hero Tom Principato called Powerhouse. Pierre guided me as to what I should be listening to, and eventually became my best friend and harp teacher. So, I searched out Sonny Boy Williamson, Little Walter and the other classic harp players' records.

Did your parents mind your chosen career? Did they have other ambitions for you?

No. I had a job I loved and dad, being a service man through and through, was happy that I wasn't gay and not,

yet, doing drugs! No, I had a job and they were happy!

Where and when was your first professional gig? 1973-ish in Boston. I had moved there from the Washington, DC-area in late-71, and was working in a record store in Cambridge and sitting in on jam sessions, at first…then, finally, formed my own band, The Lincoln Street Raiders. The first gig with them was terrifying! I've never been that worried about my harp playing - even then - but I wasn't so confident about the vocals! And fronting a band was agonising for me - but I got used to it!

You have been very lucky to have played with some revered Bluesmen over the years What was the most memorable performance for you?

I lived for a while in the Cape Canaveral/Cocoa Beach area in the early and mid-70s, shuttling back and forth between there, Washington, DC and Boston. I hooked up with a pro band in Florida playing southern rock and boogie - Fresh Squeezed was the name of the band. I was thrilled to be making a living playing harp!

In 1976, I joined The Allstars from Charlottesville, VA - a young Blues band that worked the same club circuit as The Nighthawks, and we played all along the Atlantic coast region from New England to Florida. We often played a New York club called Bells Of Hell run by two Brits. I was fortunate to be able to meet and play support for the likes of The Fabulous Thunderbirds, George Thorogood, B.B. King, Bobby "Blue" Bland, and many other greats. I also had the privilege of actually playing onstage with Muddy Waters, Sunnyland Slim, Bruce Springsteen, and lots of other Blues and rock guys who were my idols.

How long have you been on the road?

Since 1976... Being on the road is a fact of life as a musi-

(from left) Jasper Mortier, Christoph Jimmy Reiter, Doug Jay and Andre Werkmeister.

photo: Jan Karow

There's been disenchantment from performers and fans for many years, of course, that the dominant form of Blues played at venues and events in the UK and beyond has been too heavily focused on the electric guitar - artists picking up the mantle from the showy Blues influenced guitarists of the ë60s and ë70s.

"I think it's perfectly acceptable for a band to play lots of different styles," said Doug, "but I also think that when someone plays something that they're calling 'Blues', that it should - at least somewhat - resemble one of the classic forms of that music. It should sound like they've heard a few Muddy Waters or B.B. King records, and spent some time learning from the inventors. Otherwise, what gives them the right?"

Whilst Doug is unwilling to name and shame ("Won't go there!"), a look at the majority of Blues festival line-ups and it's not hard to see which artists Doug is referring to.

"The artists who are playing this horrible Blues-rock s**t are playing hard rock music with 1-4-5 chord changes," sneered the harp player. "The music bears almost no resemblance to ANY Blues artists that I learned from! However, my biggest objection to these bands is not even stylistic. It's that they don't play real songs, just endless guitar solos with no subtlety."

With comments like this, you have to question why artists like Doug continue to play the recognised Blues circuit. "Well, what can you do? You gotta work," he insisted. "Guys like me take the work as it comes. If that means being sandwiched between the latest Blues-rock band and the latest Blues-rap band, you take it 'cause you need the gig. You can always drink in the dressing room until Showtime - and after your set!"

With Doug equally dismissive of the new generation of alternative Blues acts - "It ain't Blues. Blues is grown-up music" - it seems only a few contemporary acts are deemed worthy of the Blues classification. "Sugar Ray Norcia, Kim Wilson, Robert Cray, Roomful Of Blues, James Harman...," listed Doug. "None of these are newcomers, most are Americans, and sad to say, most are white. I say that not because they're white, but because Blues in its classic forms is largely ignored by African-Americans. Since the music was invented primarily by black people, that's sad."

Now, that's a whole nother discussion. DH

cian. When you earn your living from it, you have to travelit's what I'm used to.

When was your first UK gig?

My first UK trip was in April 2003. We came over to play the Burnley Blues Festival, but the first gig was in Berwickupon-Tweed - we took the ferry from Norway to Newcastle and it was a really good night despite the language problem! Gary Hood had been hearing good things about me and The Blue Jays from the likes of Paul Lamb. The Burnley performance just grabbed the audience and the reaction was just A1!

You mention Paul Lamb, who I understand you are a fan of… Oh, sure! Paul Lamb has to be considered a world class player - he has a style I very much admire. Mike Sanchez is another world class act with a stage performance that makes your socks roll up and down.

I like to think that I'm a 'song' oriented musician, and I'm not overly keen for the guitar-dominated rock-Blues thing. To me, the song is everything, and it's what gives meaning to the Blues. That's what I care about - and writing my own material.

You mention the dominance of rock-BBlues… Why you do feel there is a preference for this style of music, and a loss of appreciation and even awareness of more traditional Blues and also its various progressions?

I think that rock-Blues, or Blues-rock, or whatever you wanna call it - I prefer "Blues for people that hate Blues" - has always been the dominant form of Blues-based music since the psychedelic days. Prior to the late-60s, the real thing was still being recorded. It's really not hard to figure out why it's popular; the vast majority of listeners out there don't know much about the history of Blues/R&B music, and the loud guitars and driving rhythms of rock-Blues music are familiar to them. There's no learning curve with rock-Blues music, since most of it is basically repackaged/re-marketed '70s rock or a fusion of Blues and '70s rock/jazz/funk. Clearly I'm not a fan of this music; many folks are. My problem is not that it exists; only that it's called Blues when it's usually not. Then again, I'm probably just an old curmudgeon.

Regarding more traditional or "retro" styles of Blues, why a lot of listeners have a hard time appreciating something that's good - but unfamiliar to themis beyond me.

However, I've been in love with the music for thirty-five years, so I'm the wrong guy to ask. I don't really blame the listeners, I blame the whole marketing apparatus - they've been trying to reproduce Stevie Ray Vaughn's success since the day he died. Naturally, they want to sell records, so they think they're gonna find some 20-year-old kid who's gonna be the next SRV or Hendrix - and musical integrity be damned. Problem is those

Everybody wants to be Stevie Ray Vaughan.

guys were geniuses and innovators, not just pretty faces. They certainly had integrity, unlike the imitators. Since this stuff is what's been marketed as Blues since SRV's time, then this is what the general public expects to hear when you call something "Blues". Blues has very little prominence these days, and I blame that on the prominence of Blues-rock.

How do you think we can all work together to educate and interest listeners to alternative styles? Feature more artists and bands that don't play tenminute guitar solos. Talk about the greats from the '30s, '40s, '50s, '60s and beyond who invented the music, and from whom we've all been stealing ideas for decades.

Your Crosscut-ddebut album, "Jackpot", was well received, of course. How were you looking to develop things on the follow-uup? Were there areas from the debut that you wanted to expand upon?

I was thrilled with the reviews we got on "Jackpot". I tried to cover a lot of bases stylistically, but I think the tracks on "Under The Radar" are even more diverse. One thing we didn't do was any jump Blues material. I'd recorded quite a few of these on my first three CDs, and I wanted to try other things. Also, no harmonica instrumentals - sorry, harmaniacs!

How does being signed to a European label like Crosscut come about? Is it simply there's more interest for your music in Europe, than at home?

I've been really more or less based in Germany. I've spent more time in Europe than in the States. And you guessed the reason for that - there's more interest in authentic American music in Europe than there is in the authentic America. Shame, really.

So, the album's title represents not breaking through yet? Yup! I thought it was appropriate. I wanted to call the CD "Under The Radar", so I had to write a song with that title. Jimmy - my guitarist - had a riff he'd been messing around with - kind of a Creedence thing. So, I wrote some words and it became the title track. I'm pretty happy with it.

How has the working dynamics with The Blue Jays developed since "Jackpot"?

About the same, although we've cut back a bit on the endless touring. Sometimes it's pointless to stay out there for weeks and weeks on end.

Any particular tracks on the last album that really stand out for you?

Yeah! My faves are 'If It's Love' - a nice little rock 'n roll ditty; 'Temptation', which sounds just like you would expect with a title like that; 'Without Love', which I like a lot despite its melodrama; 'Call Me Back To You'like the lyrics a lot on that one; and 'It's Easy When You Know How', which was originally recorded by Lonesome Sundown, and one of the three cover songs on the CD.

How successful was "Under The Radar"?

"Under The Radar" did okay. It's sold about the same amount of CDs as "Jackpot". I think it went lead. Perhaps molybdenum… I'm still not rich!

We haven't seen you performing here for a little while? Plans afoot?

I'm moving back to the USA soon. I haven't played much in the States during my time in Europe (only occasionally when I go back to visit), but that will, of course, change now.

I haven't been to the UK in a while, mainly for financial reasons. It's tough to make decent money on UK tours. That's a bummer; I really enjoy playing there and have had a lot of fun with the English Blues fans. But tours are expensive and there has to be enough money to pay all of the overhead and still have something left for the musicians. That's why you haven't seen me in a while. But I certainly hope to be back sometime soon.

With the big move now on, what lays ahead for Doug Jay?

I wanna win $10,000 at the casino the next time I visit Atlantic City, which I do often. Wish me luck (laughs).

I will continue to tour in Europe as much as possible, but I've been living in Germany for nine years now and I'm homesick. I'll keep you posted about things in the States once I've been there a while. DG&DH

n terms of music, and in particular the Blues, New Jersey lacks the romanticism of American states like Mississippi, Texas and Illinois Although Walter Trout was born in Ocean City, and Blues Traveler enjoyed significant commercial success in the mid-990s, the state has lacked a Blues band or artist able to truly encapsulate the surroundings - in perhaps the way The White Stripes did for Detroit, Michigan at the start of the noughties Remaining fiercely independent, Jason Hill and James Hartling have appointed themselves representatives of the Blues for the state Drawing from their less than salubrious environment, the group's galvanising, punkish brand of Blues has taken the local area by storm and generated overseas interest, particularly in the UK - a country perhaps ready to jump on the next back-tto-bbasics American Blues duo Just don't expect the same level of coordination when it comes to the image

BM: Neither of you were born or raised in New Jersey, so how come the deep affinity with the area?

Jason: Actually, neither of us enjoys living in New Jersey at all, but it does kind of grow on you. We live here because it's right across the river from Manhattan; real estate is far less expensive here than on the island, and if the shit hits the fan, again, we can always flee inland. Besides, it ain't where you're from; it's where you're at. So, we represent Jersey City for the moment.

You have had formal music training at the Oberlin Conservatory of Music, yet Hartling had more of an informal musical schooling - Blues hotbeds in Texas! How do

you feel these very different musical upbringings have informed the music you make?

My 'formal' music training at Oberlin consisted of showing up to orchestra rehearsals extremely hungover, after spending the night playing small club gigs in Cleveland. Formal or informal, we learned to play music the same way everyone since Son House and Charley Patton has - by stealing from our favourite records and peers.

What musical projects were you involved in separately before you began to collaborate?

I've been playing in Blues duos, rock'n'roll bands, and funk and jazz groups for over twenty years, including underground legends like Lovecraft.

Jimmy was the original guitarist for Judas Priest, before being sacked for alcohol-related behaviour issues…

How did you two meet? And did you really dislike each other on first impressions?

We met at gatherings of an anonymous secret society and, yes, we disliked each other at first. As time has passed that first impression has grown into a deep and abiding hatred!

And how long after that first meeting was it before you agreed to collaborate?

We discovered our shared love for American music about twelve months after we first met. Jimmy was going on and on about technical issues related to guitar-building, so I asked: "Yeah, but can you actually play that thing?"

Your brand of Blues is both raw and intense Did you consciously resolve to create music of this particular feel, or did your distinctive sound simply emerge organically?

Jimmy and I are both intimate with pain. That's where the

"Jimmy and I are both intimate with pain. That's where the sound comes from - our lives and the suffering within."

photos: Michael Steele

sound comes from - our lives and the suffering within. If you can identify with that, you will love our sounds. If you are a soulless vampire living in a world where television programmes like "American Idol" make sense…you will, also, love our sound (smiles).

Speaking of your sound, a diverse range of influences shine through in your music Apart from the obvious, such as Slim Harpo and Robert Johnson - both of whom you cover on the album - which artists would you describe as influences?

Bukka White - he's always funky and keeps the party moving; Son House - he's got that God/Devil friction in spades; ZZ Top - fantastic Blues band in the early-70s; Alvin Youngblood Hart - when he plays within the tradition, there's no one better; The Rolling Stones - the only bluegummed English white boys; Little Walter - still the best harp player I've ever heard; Fred McDowell - his sound is ancient, like what you would have heard by the rivers of Babylon thousands of years ago; and on and on…

What's the appeal with ZZ Top?

ZZ Top were a killer Blues band in the '70s. Two great vocal characters, skin tight drumming, understated lead guitar work, and catchy as hell. It doesn't get any better than this.

Is there a sense that they 'sold out' somewhat?

I wish they hadn't added all that reverb and washed out guitar sound to their recordings after "Eliminator" but, come on, "every girl is crazy about a sharp-dressed man!"

Favourite songs

'Jesus Just Left Chicago' - deep Blues, and I love the idea of prophets walking around America as we speak; 'I'm Bad, I'm Nationwide' - the title alone does it for me; 'Heard It On The X' - swings like mad, and what's cooler than pirate radio?; 'Just Got Paid' - bad-ass lyrics, bad-ass guitar lick; 'My Head's In Mississippi' - deep Blues again; and 'She Loves My Automobile' - hilarious vocals and just plain rocks.

Ever considered expanding your own band?

We have recently added a mercenary upright bass playerJohnny Shell. But, adding additional musicians only adds additional egos and scheduling problems, so we avoid it.

As a guitarist, does Hartling ever grow frustrated? Has he never desired to stretch out and take solos? Does the world need another guitar solo? Does this thing of ours need another Stevie Ray Vaughan disciple?

You began your career busking Blind Lemon Jefferson, B B King, Muddy Waters and John Lee Hooker all paid their dues on the sidewalks and subways. Do you see busking as a right of passage for a Blues act?

Playing in the NYC subway stations teaches one to tune out distractions. Our music tends to attract only the most insane, alcoholic and drug-addled of the city's homeless population.

If you can smile and play an old spiritual with a screaming bum in your face, you've arrived. And, the European tourists always buy our CDs underground - they always

How Dan Aykroyd's Blues Brothers creation has divided fans. On the one hand, it introduced many new listeners to the music; on the other, it squeezed the life out of it. "Don't get me wrong - I love the movie," insisted Jason Hill. "That scene with John Belushi and James Brown in church is absolutely priceless, and the shot of John Lee Hooker playing out on Maxwell Street is choice. My dislike is that somehow that film has helped turn Blues music into a museum piece.

"I hope all of the artists featured in the film made a little extra cash from that gig, but I don't see that it necessarily 'did' anything for the artists or Blues music in general."

Whilst you can argue that the film's success led to the genre's subsequent resurgence in mainstream music, many believe the Blues doesn't need to be brought back to prominence - "it's the source of all American music!" - and anyone discovering the genre should do so through divine happenstance.

"If you are in touch with the human condition, you will find and appreciate it," maintained Jason. "If you can't identify with the pain, beauty and power of being alive, then you won't find or appreciate it.

When I was 12 years old, I had to work hard to find the Robert Johnson recordings in the suburbs of Cincinnati, Ohio, but I did find them eventually because I felt called by the music. What does publicity, and the money that comes from it, have to do with that? What price can you put on the power of discovering the archaic and unseen through hard work?"

However, the Blues' relationship with Hollywood is only growing stronger, with films like "Black Snake Moan", starring A-listers like Samuel L Jackson and Justin Timberlake, and the upcoming Chess Records biopic (with Beyonce Knowles) meaning the Blues is likely to register on the conscious of most listeners with little more effort afforded than a "Blockbuster" membership. DH

Were The Blues Brothers bad to the bone?

photo: Universal studios

seem much more appreciative of our oldtimey approach than your typical American.

How useful are social networking websites, such as MySpace and Facebook in building contacts and circulating your music?

Despite its faults - poor design, Rupert Murdoch etc - MySpace has put us in touch with many like-minded artists who we otherwise wouldn't have met!

Your interpretation of Robert Johnson's 'Sweet Home Chicago' bristles with a punkish energy

Do you feel that the Blues standards need to be continually re-iinterpreted to stay relevant and, perhaps, that Blues music as a whole needs to re-iinvent itself to survive in the 21st century?

I love to shout this one because New York City can really wear on you, and sometimes I dream of escaping back to a place where people are more human, like Chicago (where I was born). My feeling is that as long as I am singing songs that I identify with, they will be relevant whether we wrote them or not. And, in terms of survival, long after the United States has disappeared, the Blues will remain.

Blues Standards, such as 'Sweet Home Chicago' and 'Little Red Rooster', have been covered countless times Does the listener's over-ffamiliarity to these tunes bring its own pressure in matching the umpteen other interpretations?

Any song we play has our own stamp on it, by definition. We're not worried about 'matching' anyone. Take 'Sweet Home Chicago', for example. Robert Johnson's version is beautiful. So is Magic Sam's and Johnny Shines'. But now that The Blues Brothers' version has seeped into the fabric of our musical history, the tune no longer means anything. Which is a shame, because that tune really speaks to me as a native Chicagoan. That tune is about wanderlust, and thinking that the answer to all of my problems is just over the next hill, or in the next town. That feeling will always be relevant.

Do you have a philosophy on music?

Yeah, we've only got one shot at this life of ours, so our music had better be funky. Anything less is a complete waste of time, and amazingly disrespectful to all those who came before us. I mean, the whole world is at war and the airwaves are filled with saccharine love songs and meaningless dance tunes about champagne and money? That's misdirection.

What we're after can't be found in this material world, so we play for God and our ancestors.

Would you ever sign to a major label?

We've had flirtations with record labels in the past, and the issue has always been having to deal with individuals in the so-called 'music business' who don't know anything about music. The relationship has to be based on mutual respect, and how is a musician supposed to respect people who make money from music but can't play?

Our music is an oral tradition, and a sacred trust. This European notion of 'owning' music doesn't really fit our worldview. How can you harness and sell that which floats through the air, but has the power to change lives?

So-called 'major' record labels are Godless - everyone

knows this. We would love to work with a small, independent record label that shares our love of American music.

Do politics have any place in music?

Why not? Real musicians sing about real life, and life is political. I will say this, though; there is no political solution to the problems in the world today. There is only a spiritual solution. So, we stick to singing about God and the devil. You will never hear us singing about Hillary Clinton.

What's the situation for you both currently?

We'll be recording again this winter, after I get settled in to married life.

James: I am coming to London in September (2008). My friend's wife has taken the kids and left him leaving him alone and down in the dumps in the big house in Upminster that Ford Motors lets him stay in while he does blahdy blah finance work for them... I provide spiritual guidance (smiles). I won't make it very long without a work visa or an EU wife. I plan to visit my relatives in Italy. Perhaps they can assist with the latter (smiles), but who knows what the future may bring. My chances of staying in Europe past a few months are slim. It would be great if we could get some gigs over there - I am looking at it as an opportunity to get us more work. Hill's marriage just has him temporarily focused elsewhere. AB

(from left) Jason Hill and Jimmy Hartling.

oupling unique instrumentation with exceptional musicianship and alternative reworkings of over familiar classics with fresh original songwriting has seen the Spikedrivers outshine many a headliner at a British Blues festival - and made them a live drawer across the country.

Ben Tyzack (guitar/vocals/harmonica), Constance Redgrave (bass/vocals/percussion), and Maurice McElroy (drums/vocals/percussion) draw upon all their years of experience to offer one of the more compelling live experiences offered by any British Blues act Despite their veteran status and constant touring, the Spikedrivers continue to challenge themselves - and their audience!

It was inevitable there would be demand for a live collection, and finally, after a number of false starts, the band were able to offer a memento to their many adoring fans in 2008, with "Live At High Barn" - at the same time, offering an incentive to those who really should get up out of their armchair more often

BM: Ben, when did you form the Spikedrivers?

Ben: The original band was formed in March 1992 with myself, a percussionist called Shang and a double bass player called Mark Harding. That went on for a few years, different players came and went, and then I met these guys.

Tell us more

Ben: Like most Blues groups, you get deps and Maurice had filled in once. He thought we didn't like him because we didn't call him again for a couple of years, but it was a fantastic gig. Then years later I needed a dep bass player. A mutual friend had told Maurice and Constance to come and see a gig. It turned out Constance and I had already met not long after we both got here - the UK!

It was the variety of her playing which impressed. Then Constance did a dep and we had such a great time. The chemistry was right. It took a while for us to get together as they were both playing for other people, but eventually we all got together and thought, "Man, this is gonna work."

So there was an immediate respect for each other

Maurice: Yes, there was. I was house drummer for a Blues jam at the World's End, Finsbury Park, so what we did was

to all turn up there and I got Earl Green to put us up together to see how it went. It just worked and felt right.

Was it more of a Ben Tyzack Band then?

Ben: I think it's always been a group of musicians with a main songwriter/singer, but I've always wanted to have a collective energy of contributions from everybody.

Constance and Maurice, you both previously played with Otis Grand Was that at the same time?

Maurice: I was there first. We knew each other from the Wes McGhee days. I'd been with Otis about two years and got a call from Constance saying, "I wanna start playing the Blues, and people say I should talk to you." So, I invited her down to a Blues jam and she started coming to some of Otis' gigs. I split from Otis in 1996 and Constance and I started a band called Misdemeanour. We played a gig in Portsmouth, on the same bill as Otis. Not long afterwards, the phone rang at her house and she was off!

Constance: I did that for about three years. Towards the end there was a bit of overlap, which was a bit tense, but I couldn't walk away from Ben - I was having too much fun!

How easy was it to move from an electric Blues band into Ben's more acoustic, rootsy environment?

Maurice: We'd all done a lot: I've played with Otis Grand, in the theatre, soul music and the Irish scene.

You each have different musical and cultural backgrounds

How does this help to dictate the band's musical direction?

Constance: I'm a West Coast girl and Ben and I are both prog-rock kids, so there's a sound that we grew up with; the harmonies of The Beach Boys and Crosby, Stills & Nash.

Maurice: We listen to a tremendous variety of music in the car, from heavy rock to jazz and film soundtracks. I'm a big flamenco fan, which is how the cajon and udu drum have ended up in our sound.

Ben: With the internet now you don't have to have grown up in an area to fall in love with a certain type of music.

The title of your first CD together, "Delta Roots", paints a picture of the Spikedrivers' sound Your music is much more varied, though, so how would you classify it today?

Ben: It's hard to pick one word or phrase. The words that keep coming up on the website's guestbook are atmosphere, emotion and soul. They don't describe the genre, but definitely what we're trying to put across.

Even at the beginning we set our borders quite wide about what we would include, and it's got wider. We just draw on anything that tickles our ear.

Keeps your audience interested for an hour and a half Maurice: Yes. I know if I go to a concert I get bored pretty quick if the music is very linear. It doesn't matter how good they are, there is a limit to how long you can handle the same thing. As a Blues drummer, when depping, I've spent entire evenings doing swing shuffles - you suddenly wonder where in the set you are! That doesn't happen here.

Do Ben and Constance's American roots lend an extra layer of credibility to your status as Blues artists in the UK?

Ben: It's something promoters pick up on, but we've together seven years now so it's not something that's really going to promote it. Hopefully the music now promotes itself. Does having three songwriters create any problems?

Ben: Obviously, I'm the main songwriter in the band. Constance has written songs for some time; Maurice is fairly new to it. There's space for everybody and combinations where we write together, which makes everything stronger. Constance: It keeps the variety.

How does the management of the band work? Do you all have specific roles?

Maurice: Ben handles the actual gig work; I do the PR. Constance: I do the money... It's a business.

Maurice: Sometimes the business-side is tedious.

Ben: If we're going to have a rehearsal we don't have a meeting first, otherwise it just disappears time-wise. You

In 2008, the Spikedrivers were just one of many generous bands to donate tracks to the "In Memory Of John Emmett" CD project. The idea was to pay tribute to an avid supporter of live music, a familiar face to many of the acts who had performed in the High Wycombe area, who passed away from heart failure, whilst at the same time raising funds for the British Heart Foundation.

"Graham Paterson, who was Jon's best friend, got in touch in April and asked us if we would like to get involved," recalled Ben. "We were all very sad to hear that Jon had died and felt honoured to be asked to donate a track."

In fact, many bands shared the group's enthusiasm for the project, with twenty-eight bands submitting tracks for the eventual double-disc release.

"I think music should be for every occasion in life and death and Graham's tribute CD is a perfect way to celebrate the memory of Jon," said the guitarist.

Ben recalled how John would always stand out amongst the regulars when the group performed at Dusty's: "It has a very dedicated audience and, also, the folks who run it are just wonderful.

"As a performer, you can tell right away if someone is really enjoying the music. Their energy comes back to you and inspires you to give a bit more. This was Jon, always there and obviously passionate about music.”

For hard-gigging bands like the Spikedrivers, fans become friends, in fact they become "like family.

"We have always had such wonderful support from lots of people," enthused Ben. "When the band has had a little break, and I'm really craving to play live, it's not only the playing that I miss, but also the social side - just catching up with folks and feeling connected is really special.

"Last year my father died and we had to cancel quite a few shows while I went back forth to the States. All these amazing e-mails starting arriving with such kind and thoughtful words. It helped so much and is something that I'll never forget."

Anybody interested in supporting the project can find information and details on how to purchase the CD at: cd4jon co uk DH

have to be a bit disciplined. We talked about getting management at points, but we don't need that.

Maurice: You have to think, "What would they have to do to make it worthwhile," and so far we haven't seen anyone who's able to deliver what we would need.

Constance: Also, we were allowed to find our own way. We're involved and create what we create. Every album is like a snapshot of the time.

Do you all have day jobs? How hard is it to balance work and family demands?

Constance: We do, but this is the priority.

Ben: We have flexibility. There are periods of the year when we're quite busy. Working five nights a week doesn't appeal to us because you just wear yourself down and you're not keeping the quality of performance.

Are you all permanently wedded to the Spikedrivers now?

Maurice: Yes, we're nearly ten years together now. We can't dep it. If any of us don't show up, the gig doesn't happen.

Constance: It's too unique what each of us brings to the sound. I'm not going anywhere!

Maurice: When we started, we thought we'd give it a year, now here we are and it's still just rolling on.

The fun factor is clearly a priority for you on stage, and humour features increasingly in your songs

Ben: Very important. Having a common sense of humour, right from when we first met each other, was as important as the music was. When you're travelling around a lot you need a sense of humour.

How do you get the right balance between this and the serious-sside of the music?

Maurice: Humour is another emotion that goes along with the sadness, anger or whatever you're putting into a song. There's humour in the music, but it's not comedy. That's just looking at the way the world works. We've all got to the point where if you make mistakes it really doesn't matter.

Constance: That's where happy accidents help creatively. Ben: On the one hand, you've got to think that this is so important and serious, but on the other hand, it's a completely nothing thing that you can just throw away.

How do you approach songwriting?

Constance: Because I don't play guitar, most of my songs come out of pictures in my head and I write some strange poetry. Then I put it to music. I take everything as far as I can then bring it in and we work out an arrangement for it.

Maurice: Again, I don't play a melody-line instrument, so I sit down and sometimes I've got a line to spark me off, then I'll get a rhythm in my head, then work through the lyrics, then I bring it in… I'm still learning.

Ben: Mine is a variety of things. A lot of it comes from the guitar or writing lyrics first. Some of the fun ones are when things cross over, such as 'Two Left Feet' coming out of Constance turning up for a gig with two left shoes!

You all seem to have an interest in art...

Maurice: It feeds the brain, it's that simple. We figure if you're a musician you're an artist and you need to be inspired and things that feed your own creative energy.

Constance: Painting, writing, photography, architecture - all

of them are expressions of you. That's what being an artist is. It's somehow taking an emotion and somehow finding a way of expressing it. I think they're interchangeable; they're all like different languages that you can dip in and out of or combine. 'Gypsy Wind' started with a picture of something that happened in the Nevada desert years ago and we were in Orkney and I just thought, "That's where the story goes," it made sense to me. Then it's how you paint these pictures with words and music.

How important is playing live to you?

Constance: It's like breathing.

Ben: We all go a bit wobbly if we don't play. If we have a break for two or three weeks, I get this cloudy feeling, not sure exactly what it is, but then we're the van on the way to a gig and I get so excited.

You still get nerves presumably

Constance: Excitement and fear are two sides of the same coin. You learn how to stay the right side of that line and take that into the show.

Ben: Playing to an audience that's appreciative is like a drug. Constance: We can't do it without them.

Maurice: Particularly when, as we do, playing to an audience that's knowledgeable about music. You know you're not gonna get away with it if you start faking it.

How many instruments do you have on stage for gigs?

Maurice: If you look at basics, it's a minimum dozen. If you start counting all the bits of percussion and Constance's

box of tricks you're getting somewhere near thirty five.

Constance: And in the studio there are all the other bits, as we're limited by only having two hands and a mouth.

Ben plays four different guitars on a gig. Some people may think that's excessive, but they're completely different sounding guitars and the tuning for different songs is a completely different sound. Getting on a plane is a little bit hard for us...but we do it!

Do you have any favourite venues?

Maurice: High Barn is definitely one!

Constance: Spalding is very special.

Maurice: Yes, I like that a lot. There's a place called the Gable End Theatre on Hoy in Orkney which is unique.

Tell us about the workshops you run

Constance: Love 'em, grown-ups down to 4-year-olds.

Ben: A school in Ascot asked us if we would do one. We did a big Arts Week thing in Kilburn for little kids. Out of that, the school asked us if we would do one and if we would add a bit of history to throw an element of education in there. It was a challenge for us.

Constance: The songwriting is a new one, but again because somebody asked for it, we created it and it works.

Maurice: What I found was that when you break down rhythms, and things like that, to put into a form to communicate, somebody else can sometimes teach you something that you'd never thought about.

Ben: The energy of the kids and seeing them enjoy them-

Spikedrivers: (from left) Ben Tyzack, Constance Redgrave and Maurice McElroy.

selves and seeing them create, and the questions they ask us, are just priceless. Someone asked us if we could do a performance and a workshop in one night. It worked really well and tied the whole evening together. We brought the workshop in at the end, as well, to get people on percussion.

How come it took you guys so long to get to the release stage with the live CD?

Maurice: The CD was finished quite quickly; the problems were with the DVD. We don't know what they were but the High Barn put in a lot of work to try and solve them. In the end, they felt that, from a technical point of view, it wasn't good enough to release.

Knowing you were being filmed/recorded for this release, did this change the dynamic of the performance at all?

Ben: On the night, I tried not to think about it at all and just play. However, the work we did leading up to the show was one of the most interesting and rewarding processes that we have gone through. I must admit at was a challenging process. We slowly started changing and adapting what we did on stage, sometimes quite small things. Over a period time it really transformed our show - it has really helped us. Constance: Absolutely! I think it demanded that we really raise the bar line and we do like a good challenge. We spent some rather uncomfortable time watching all of the live footage that we could find; analysing and observing what worked and what didn't. We stopped doing gigs and started doing shows. It sounds simplistic but that was really where the dynamic change came in. What you call something really defines it.

Maurice: Yes! Most DVDs are filmed over two or three nights. We had one. Suddenly we had to start thinking about how we looked, how we moved, how we used the stage. We put a lot of work into all those elements before the filming and the adrenaline levels still went through the roof.

So, you all learned quite a bit undertaking this project

Constance: Absolutely! For an old-fashioned analogue style band, the technology was a sharp learning curve for all of us. None of us even owned a 5.1 system prior to this. Working with new people, in a new place and a new way. Trying to understand how DVDs and CDs are made these days with computers and the how the sound is combined with the visuals. It was definitely worth it.

I think the end result captures that wonderful Barn sound and our performance on the night well. And don't think we have given up on the DVD idea. We are working on plan B!

What's next for the band? There was talk previously of compilation, studio and soundtrack albums, which I guess have all been put on hold whilst you finalised the live release Constance: The sheer volume of things we want to do in this band continues to astonish me, even after eight years - and long may it continue! It's been had hard having everything on hold. I expect a minor explosion over the next two years.

What are your hopes for the future of the Spikedrivers?

Ben: There are areas of Europe we haven't played. Constance: I wanna play in Japan. Maurice: We would play anywhere!

Ben: It's a live performance thing. Without people turning up it wouldn't matter how many ideas we had. It's so important for people to keep going out, otherwise venues will close. AH

Blues Matters! wants to know which 3 albums you rate from the year-past, and your 2 favourite re-releases.

We will use our first issue of 2008 (issue 47) to countdown the 50 Best Blues albums, reviewed by us during 2008 (issue 42-46), and the 10 most popular reissues.

Please let us know why you've made the choices you have, and submit in descending order.

Only one submission per person, and please remember to include your fullname and address. 3 lucky submitters will win copies of the new albums from Roadhouse and The Mustangs.

E-mmail to: darren@bluesmatters com, or send to the usual PO Box address by 5th

January 2008

he cultural landscape of California is as fertile as the Nile Delta The folkies inhabit the hills north of Los Angeles, while improvisational rock'n'roll stands as San Francisco's pacemaker, but what resides in the heart of Ethan Miller is the cosmic combustions of psychedelic adventurism

"I am not sure what it is exactly that makes people great musicians in the eyes of the public," says Ethan Miller from his home in Oakland, California after returning home from a European leg of dates with Howlin Rain. "It has a lot to do with living for rock'n'roll," he explains, "an addiction to the spiritual or metaphysical side of music The engagement with people is what drives the soul There is something about making records for people and having them live and die by them that makes you continually strive to be focused on your creative path

"Music has helped people laugh, love, and make it through tough times. I feel it has to do with engagement to people and the world, but the levels go deeper than that. There are people out there that are addicted to music, its flows through their blood. If they stop playing it for a few weeks they become violently depressed and physically sick. They are junkies."

It is a poetic statement from a man who has found a niche on the very notion of passion and uncompromised expression. That was what drew me to Ethan Miller back in the summer of 2006, it was his sheer honestly and absence of rehearsed rhetoric. The connection was instant and genuine. He was tending to three projects at the time: the evolving Comets, Six Organs of Admittance, and a moaning Howlin Rain.

"If there is not sincerity about what somebody is doing musically, it seems worthless to me. That goes for all art. When people are honest and they bare their souls you can see their spirit," Miller eloquently explains. "Music is something that resonates inside of your body. It gets in your passageways, in your ears and nose. The vibration gets

Howlin Rain: (from left) Ethan Miller, Garett Goddard, Joel Robinow, Mike Jackson and Ian Gradek.

inside your chest and can actually realign your heartbeat. It is a direct and invasive art form."

THE COSMOS

Emerging into the scene in 1999, with the noise pop reverberations of Comets on Fire, Ethan Miller forged the very ideals of the psychedelic community forward with his aggressive brand of mind assaulting howl. Comets found a home at the Seattle based Sup Pop Records, and released three full-lengths before the critical acclaim that surrounded "Avatar" (2006). It was a collision that violated all safety nets throughout the audible realm. No matter how much moan emanated from the chaos, "Avatar" was obviously that of a Californian. Earthy - irreverent rock music.

Miller's origins stem from Santa Cruz, an upscale arts suburb along the Pacific Coast fifty miles south of the Golden Gate. "There was always something kind of incredible happening," leads Miller. "I lived down in this old Victorian right on the levee of the river across from downtown. For the four years I lived at that house, there must have been six serial killings on this levee walk. It basically compromised of the murder rate of the town. There is no regular crime but there is like a really high chance of being killed per capa by a serial killer," laughs Miller. "One of my best friends lived across the street with his lady and his dog. We would come out on our front porch and could just walk around all day. Go down to the record store and the local dive. There was a sense of community, even though the turnover rate was high. An incredible sense of dark and light energies in that town," Miller says. "You can touchdown there for a little bit. There are some weird energies out here in California. Forests, valleys, redwoods - they create vibes out here."

An American, as well as European tour followed through the early months of 2007. Ethan Miller was picking up steam, but little did anyone know then that a storm brewed. A storm that would shift his creative energies away from the comfort next to Ben Chasny, Ben Flashman and the ecoplex of Noel Von Harmonson; a howl buried deep within the deluge.

MAGNIFICENT FIEND

Things were changing, in a creative and physical sense,

for Ethan Miller as the summer of 2007 wore on. As the independent success of Comets on Fire grew, Miller was engulfed in a writing session that would go towards expanding Howlin Rain's catalog. The result would be a recording that stood as a sharp contrast to the hysteria of Comets. The songs were concise, digestible, and popular in their conception. Miller's songwriting was slowly taking a mature shape. The compositions would become "Magnificent Fiend".

"I really tried to write ahead of time for this Howlin Rain record," shares Miller, "which was a different approach then what I was doing before. I really tried to sit down and write a few hours a day for about a year. I wanted to see if putting more energy into writing with a regimented schedule would be as valuable as a rehearsal process. "It was different to sit down with a cup of coffee and have to put time aside. I went at it the old Hemingway style by just sitting in a corner of the room - in my underwear - and go at it for hours." In that process, Miller found a groove.

"Instead of writing subversively, I wanted to see what kind of chambers resided in more traditional songwriting. I wanted to deal with the architecture of melody and harmony. Rather than trying to find transgression through radical methods, I tired to find transgression through the complex depths of traditional songwriting structure."

The tracks were a mix of laid-back California cool

There seems to be a misconception amongst the general public on exactly how touring bands sustain a living. The myths of lavish living rock stars are a thing of the '70s and the even more indulgent '80s. The one thing that adversely affected the rarity of the musician was the global power of the internet. No longer did you need a label to pipeline your music to the public. For all argument purposes, in the case of MySpace, every thing is there for the taking.

Now the game has changed drastically. Instead of the recording conglomerates looking for jaw dropping talent that, if it wasn't for their financial funding, the public would never hear, labels are looking for self-sustaining 'grass roots' musicians that would pose a smaller cash debt to the plummeting labels.

This is a problematic red flag that can be traced back to the rehearsal sessions in your mum's garage. As much time is spent on crafting timeless music, the same effort is required in building the foundation of the fan base. The music could be the greatest ever created but, if there is no fanbase to support it a move to a major label, nine times out of ten it will end in a legal financial nightmare.

Columbia is proving the theory at this very moment with the acquisitions of Howlin Rain and The Avett Brothers. It is the American free capitalist market being applied to the music industry. Financial institutions (labels) are looking for foundationally strong and solid companies (bands) to invest their capital in; bands that are road tested, stable, and moderately popular.

This Howlin Rain feature attempts to lift the veil off of the independents and the process by which Ethan Miller sustains a living. He weighs in accordingly. "As far as advice, it is simple: ignore all that s**t. You shouldn't be out there trying to do this like starting a career. When you are starting off you have got to be functioning as an artist instead of trying to meld these worlds together.

"Twelve years after I started making music and being in bands, I didn't give a s**t about any of that stuff. This was when we were creating Comets On Fire records for the first time. That purity of music and art focused together is what defines you." MH

smashed together with an acid rock swagger of blaring guitars and whirlwind rhythms. Miller chose Prairie Sun Studios, an old chicken farm in Cotati, north of the Bay Area in the hills of Marin County, to lay down the tracks for the record.

Backed by Ian Gradek (bass), Mike Jackson (guitar), Joel Robinow (keys, horn) and Gerett Goddard (drums), the sessions for "Magnificent Fiend" wore on. Combustible acid rock numbers were laid beside thick melodies, and beautiful codas. To start the recording is an instrumental jazz piece that features the moan of Joel Robinow sorrowful trumpet. It's called 'Requiem'. Miller explains the idea behind conception.

"I just got this idea that I wanted there to be an introduction to "Magnificent Fiend". Joel Robinow re-arranged this progression and bled it into the lead melody to 'Dancers At The End of Time'," waking the beast from its slumber in a deliberate introduction. "It was a time of celebration for us," Miller says. "We were just done with the tracking and we all went out back to have some beers while Joel laid down his lines. Somebody sat Joel's acoustic guitar down behind me. We were all laughing as I shot gunned a beer and unknowingly backed right into it. I knocked over his guitar and the neck snapped sheer off. It was a terrible moment," Miller says. "Joel was shocked and upset. He

started drinking whiskey pretty hard and walked into the booth and laid down this trumpet line that was full of sorrow. What you hear is a first take. The cut wasn't named 'Requiem' then; it is called that because of a fallen axe."

As the record spins, Miller pens tale that dig deep into literature and myth, most notably include that of 'El Rey'.

"'El Rey' is a mythical place where gangsters in old '50s crime novels would flee to after they made their big score and had enough money survive. It was bitter sweet because they had to run from the law," Miller explains. "Mythically speaking, El Rey is a place where the women and booze run free; everything a gangster could want."

"When I was writing this song, I couldn't help but think of all the really good kids out that got thrown into a terrible situation, especially with a nation at war."

The eight tracks that comprised of "Magnificent Fiend" were released back on 4th March 2008.

COLUMBIA'S SWAMI

It wasn't just the music that was evolving; it was also Miller's status in American rock'n'roll. When I spoke in 2006, Miller was a man who took a lot of pride in the avenues the band paved musically.

Rick Rubin makes the best of things at Columbia.

that. I had it put together in a way that wasn't flowing particularly well. You do that sometimes," Miller offers. "When you come out of the studio it is hard to see the big picture, and Rubin was classic. He plants ideas in your brain."

The move by Columbia to focus their resources on established independent artists has been a new trend of the iconic label that was a home to Ray Charles, Elvis Costello, Bob Dylan and Bruce Springsteen. Most recently, as of July 2008, American press headlines spoke of another acquisition that involved the North Carolina roots music practitioners, The Avett Brothers, whose 2007 release of "Emotionalism" stood as arguably the

"We don't need some hi-priced producer, or Rick Rubin to identify our sound," Miller said. It wasn't a comment out of ego or spite, but rather of a man who never positioned himself out of his means. Comets were an independent project free from the watchful eyes, and sometimes shackles, of Los Angeles record executives. Miller never thought a phone call from Rubin would come. But unknown at the time to Miller, Rubin had his eyes set on a new bread of rock'n'roller who he was set on bringing to Columbia Records.

"I got an email from Rick Rubin out of the blue," Ethan explains. "It said, 'Hey, this is Rick Rubin. Do you want to hang out sometime?'"

Rubin's credits included not only the foundation of Island/Def Jam and Def American Records but also a personal and direct influence in molding the face of the American recording business over the past twenty-five years. He has worked alongside the Red Hot Chili Peppers, Beastie Boys, Jay-Z, Run DMC and Johnny Cash. The bearded mystic is one of rock's true power players.

"Most people get back to Rick pretty fast" says Miller. "I know I did. We met through a no fireworks email."

"The album was mostly done by the time he got involved. He invited me to his place and agreed to give me mastering notes. He helped me re-sequence the record. Rick didn't like the flow of it and in the end he was dead on about

year's finest release.

It is a small satellite office of Columbia reps in Los Angeles who are forging an independent approach to these scene specific recordings. "We weren't signed to Columbia because of marketability," shares Miller. "I think when they sat down to try and market the record at the label it became very obvious to them that they were going to have to use different ideas to sell it," as a burst of laughter follows in a gesture of good luck. "For the most part, except for maybe a little bigger marketing budget, Columbia took an independent model to work the release. It wasn't for MTV; that is not what was going to happen for Howlin Rain. I am just not part of that world," Miller concludes.

Howlin Rain is a musical entity that is meant to be experienced. Rock'n'roll in America has all but retreated to the underground. It is those acts that still fight for the traditional based aspects and allure of American music that we, not only hold on to, but also cherish. I do have a genuine respect for the man who has seemed to find his own niche, on a platform of integrity, in the artistically vast valleys of the American West Coast. Artists like Miller are not only the underbelly but vital in the survival of authentic vintage moan. MH

photo: Eden Batki

hen Muddy Waters first arrived on British shores in 1956, his electric band, featuring Otis Spann, horrified dogmatic young Blues fans, who were expecting only Muddy, his slide and an acoustic. Needless to say, Muddy was somewhat chastened by this experience, and when he returned two years later, he came bearing acoustic country Blues.

He was a Blues pioneer, taking the brave decision in the '40s to emigrate, like so many young blacks from the Deep South, to industrial hotbeds of the North, and in the process become one of the first Bluesmen to make the transition from stripped-down acoustic country Blues to electric big band R&B. In light of his English experience, Muddy was braver still to record "Electric Mud" in 1968, possibly the first psychedelic Blues album.

Muddy's career was in decline by that point, and the album could be viewed as a cynical attempt by a record company to cash-in on the popularity of the acid-fuelled psychedelic rock played at the time by the likes of Cream and The Jimi Hendrix Experience.

What is more certain is that "Electric Mud" saw a complete overhaul of Muddy Waters' standards. Acover of The Rolling Stones' 'Lets Spend The Night Together' sees Muddy depart from the traditional Blues structure;

'Mannish Boy' sees perhaps the first appearance of a wah-wah on a Blues record; whilst 'I Just Want To Make Love To You' is injected with some acid-fuelled funk, seeing Muddy's vocal duel with the irrepressible guitar work of Phil Upchurch, Roland Faulkner and Pete Cosey.

To an aspiring guitarist, the above might sound fantastic, but the fact is that Blues is all about dynamics, light and shade, not about the wearying constant attempts of the guitarist to overshadow the frontman. The most devastating criticism, that under a sea of psychedelic experimentation, came from Muddy himself, who said, "If you've got to have big amplifiers and wah-wahs and equipment to make you guitar say different things, well, hell, you can't play no Blues."

So, a Blues album with no Blues feel, numerous mutilations of Blues standards, unloved by both fans and the artist himself; why on earth did I pick it as my favourite Blues album? The reason is that the realm of the Blues is one of the few remaining safe-havens for the music purist, and whilst this in itself is commendable, purism can manifest itself in an insidious dogmatism, perniciously stifling creativity and experimentation. "Electric Mud" isn't a great album because it answers the question of whether anything truly innovative can be achieved the tired old twelve-bar format, but rather because it doesn't; leaving another perhaps more important question unanswered: how can any genre stride into the future if it remains mired in the past? AB

A FAVOURITE BLUES ALBUM?

Why not share your thoughts with fellow Blues lovers? Contact: darren@bluesmatters.com.

YESTERDAY IS HERE

Tom Waits

Tom Waits' energy and vocal delivery blasts along like a steam train through his songs. 'Yesterday Is Here' is a mournful and beautifully simple number, a song about farewells, with soft "ooo-d" and hummed backing vocals.

DRIVING

PJ Harvey

At the moment one of my top-10 Bluesy-ish numbers is 'Driving'. I love the sound of PJ coughing politely as she clicks on the four track tape. I love the way the guitar riff starts faintly and then gradually builds in volume. I love the abandon of PJ's vocals. One really feels the driver is trying to get to grips with her feelings of angst by the very act of driving. It sounds as if she is getting revenge on her lover, by driving in a wild state, to cause him worry and make him regret his behaviour. Sparse and dry, but it's PJ Harvey's emotion which makes the song so interesting and gripping.

MY WORLD IS EMPTY WITHOUT YOU

Diamanda Galas

I particularly like the live version of 'My World Is Empty Without You', because of the distorted and out of tune piano. Galas' voice is incredible, swinging from gravely tones - cracked, forceful and animalistic - to a velvet falsetto lilt.

Produced with long time collaborator John Winfield, Abigail's latest album, "The Memoirs Of An Outlaw", concerns itself with characters of "regret, bruised, jaded and searching for some greater meaning to life, and for a spiritual/creative freedom."

Described as a collection of "leftfield folk and jazz songs," the album was released on 1st September 2008 to critical acclaim. We have 3 copies to giveaway, and for your chance to win, tell us: What is the name of Abigail's actor father, who won an Academy Award for his role as Hannibal in "The Silence Of The Lamb" film?

WHAT'S HE BUILDING?

Tom Waits

It's a Bluesy-ish spoken word poem of a track. I like the sounds of radio interference and unexpected bits of bells, clanking and rattling sounds. The track is narrated from the point of view of an extremely nosy and persecutory neighbour. Tom Waits has a gift for portraying the ridiculous in society by satirizing the characters in his songs.

TEA IN AUTUMN

Paul The Girl

I love the sleaziness of this track. It is a spoken word poem about a girl who is pregnant having a nervous breakdown in a restaurant, although the story line is slightly ambiguous from the start. Complete with sound effects, the clinking of cutlery against cups, and the plink of a tear falling into a glass of lager. Overall, the track is ominous and menacing - gratuitously and pleasurably morbid at the same time.

HOUSE OF THIEVES

KatieJane Garside

KatieJane’s voice ricochets between screaming and child-like fragile extremes. I find myself bombarded by very powerful and evocative images.

KATIE BELLE BLUE

Townes Van Zandt

I love the simplicity of this song, written almost as if it's a prayer or a blessing for his child.

SALEM BLUES

Seasick Steve

"I've been stuck on the side of the road/Thirteen hours and nowhere to go." Asong about homelessness - simple and beautiful. He performs this song as if he were by the roadside telling you his

good story.

fate. His vocals are warm and relaxed. I like the way his laid-back vocal delivery contrasts with his brutal lyrics, making the song poignant.

HURT

Johnny Cash

'Hurt' is a beautiful song about longing and loss. Singing it as an old man, Johnny Cash's voice is broken and fragile, and at the same time brutally honest and strong. Some regard 'Hurt' as Johnny Cash's epitaph.

THE DANCER

PJ Harvey

I find the song quite funny. I love the organ and the way PJ ends every last word at the end of each line by extending the final syllable. I'm not sure what the song's meaning is, but it seems to be about a broken world-weary person, making supplications to God and asking for redemption. I love the way she uses her voice with pure unadulterated creative abandon. AH

Abigail Hopkins likes a

GARY MOORE Bad For You Baby

Eagle

Gary has struggled from time to time to equal 1990's "Still Got The Blues", but, finally, I believe he has done it. "Bad For You Baby" encompasses great guitar work, fine aggressive and emotive vocals, with some excellent original songs alongside several Blues classics that Gary has rediscovered. Gary can wring more emotion out of the neck of his axe than most any other, and it's in abundance here. Opening with the blistering 'Bad For You Baby', an aggressive Blues rocker, the music moves through the fast shuffle of 'Down The Line', the funky 'Umbrella Man' and then the tempo turns down for a soulful 'Holding On'. 'Walkin' Thru The Park' is a fast romp with Gary demonstrating superb fretwork. The slow Blues of 'I Love You More Than You'll Ever Know' will rate a popular live number as Gary's singing and emotion filled guitar picking and sustain will pluck at heart strings and may even contest with 'Still Got The Blues'. Its subtle change of tempo and aggressive edge midstream bridges well and contrasts with the emotion either side. Sure, there are elements here that we have all heard before in his singing and playing, but, overall, this is a fresh Gary Moore who becomes ever more ingrained into the British Blues psyche. Try 'Trouble Ain't Far Behind', a beautiful piece of retro playing recalling the Mac's 'Albatross', but made into a tearful ballad by Moore's unique playing.

Merv Osborne

AFRISSIPPI Alliance

Hill Country

Okay, we are all agreed that Blues music originated in West Africa - Farka Toure, Bassekou Kouyate and all have proved it well enough. Now what will happen if the Blues is added to traditional West African forms? Either an unholy mess or one of the most exhilarating albums I have heard for years. Guess what - it really is the latter! Guelel Kumba is a Fulani singersongwriter from Senegal and has found himself in Oxford, Northern Mississippi and jamming with the likes of Kinney Kimbrough (Junior Kimbrough's son), Eric Deaton and Justin Showah at the home of RL Burnside. They have produced a cross of African prayer chants and North Mississippi trance Blues that increases the power of each to an incendiary level. The album sounds as though it was recorded in a live state, and the interplay between the African chants and percussion and the western influenced guitar could only have come from a

deep understanding of each others soul. Papa Assane M'baye adds percussion and holds the African sense down, sparking Kimbrough's drums and beats, but the effect of adding trombone to a predominantly African number such as 'Leeliyo Leele' is absolutely inspired, providing a lasting link between the two cultures. Individually the musicians are skilled and have a great understanding of their music, but it is in the combination of the cultures where the music fully takes flight. Anyone interested in the development of our music should seek out a copy.

Andy Snipper

NELL BRYDEN Second Time Around

157

Pure country laments, Blues ballads and prohibition Dixiestyled jazz are the fervent themes of Nell Bryden's debut album. To me, the first half the album jumps a bit from these related genres and only settles down for the second half. This is a minor niggle as her singing voice is honey lush emotive and there's a warmth about the album that is a measure of her confidence and presence. The Dixie-cum-boogie tunes, such as 'Late Night Call' and the title track with rolling piano, immediately take you to the western saloon and the lookbut-don't-touch provocative performance. Bryden's vocal range, delivery and pacing on 'From Midnight On' and the single 'Goodbye' will engage strong comparisons to latter-day Annie Lennox. That in itself is a great place to be and could work in her favour depending how the PR people sell her talents. Apart from her pure voice, she is also a virtuoso with acoustic and twelve-string guitars and goes back to her classical training by playing cello on the record. 'Only Life I Know' and 'Where The Pavement Ends' are straightdown-the-middle country songs that satisfy but don't have the emotional punch of the other self-penned material. This is an honest record and Nell's integrity comes across with an intuitive glow and more than a glance to legitimate glamour.

Gareth Hayes

BUFFALO KILLERS Let It Ride

Alive

"Let It Ride" is the second release from Cincinnati rockers Buffalo Killers. Traditional influences shine through ten original tracks, where the band effortlessly groove through a blend of country, Blues and southern rock to give a sort of amalgam of Neil Young, Delaney & Bonnie, The Allman Brothers Band and Lynyrd Skynyrd. But from our side of the pond, there's a strong

JOE BONAMASSA Live From Nowhere In Particular

Mascot

For those who have, for many years, appreciated former child prodigy Joe Bonamassa's prodigious talent, this live album has been too long in the coming. From his debut in the sons-of-the-famous band Bloodline, Bonamassa has paid serious dues on the Blues circuit. Now in his thirties, he is close to the finished article. Now he is focussing on the song, his voice and more acoustic work and is more comfortable in a variety of styles. The mesmerising speed and sheer brilliance of his playing has been augmented by feel, which only maturity can add. This double CD set covers his repertoire fairly and squarely, and comes with a just-buy-it recommendation. CD1 includes the title track from his last studio album, "Sloe Gin"; his FREE tribute, 'Walk In My Shadows' (sic); and John Mayall's riff perfect 'Another Kinda Love'. His own compositions, like 'One Of These Days' and the moving 'Asking Around For you', stand up well. Check out his version of Chris Whitley's 'Ball Peen Hammer' for some ace acoustic work. Perhaps his only current equal, Warren Haynes provides the fabulous slow Blues song 'If Heartaches Were Nickels' - a classic! The closing medley based around Jethro Tull's 'ANew Day Yesterday' is yet another nod to the myriad of influences that have informed this major talent.

Cream influence, especially on 'It's A Shame' and even some British '70s rock with a hint of David Bowie in the vocal on the excellent 'Heart On Your Hand' and 'Black Paper'. The CD sounds beautifully dated and no doubt if Buffalo Killers were from that golden era of the late-60s to mid-70s, they would have been hailed as one of the great, influential rock bands. Joseph Sebaali, Zachary and Andrew Gabbard are fine musicians and I particularly liked Andrew Gabbard's tasteful guitar licks and vintage tone. It's absolutely refreshing to hear a band who realise that a successful formula can't be improved upon. Yet there's nothing here that makes you think "Yeah, but I've heard it all before". Buffalo Killers have taken all those influences and produced something that sounds fresh and new. A great band and a great CD.

Davide Styles

HANS THEESINK & TERRY EVANS Visions

Blue Groove

These two artists have enjoyed long solo careers, but this is the first time they've managed to record together and, to be honest, there are moments so personal that the listener feels slightly awkward. The performances are superb - both of these guys are consummate musicians, of courseand you can hear the guys had a great time recording together. Some moments on this album are breath-taking; especially those where they swap verses or support each other - the only less than satisfactory moments are when they sing together (the two voices don't quite match, for example 'Talk To Your Daughter'). The guitar playing throughout is so simple, and there lies the strength of the playing, because it takes real ability to play the simple stuff well. There are some guest performances from Richard Thompson and Bo Diddley,

with Phil Bloch on percussion throughout, but this is a true twoman-band. Best tracks are 'Demons' - atmospheric and quietand the southern fried joy of 'Vicksburg Is My Home', but the absolute joy is gospel number 'At The Dark End Of The Street', with a lead vocal from Hans, which describes an illicit relationship - and that takes us back to where we started!

Andy Snipper

JOHN MAYER Where The Light Is: Live In Los Angeles

Columbia

If previous live releases from John Mayer, "Any Given Thursday" and "Try", revealed him as an artist with tremendous promise, this new two CD set sees him realising that potential. His singer/songwriter side is displayed clearly in the brief acoustic set that opens disc one, a mix of Mayer classics and new work from his "Continuum" record. The night then progresses into a much louder, Bluesier affair, with Mayer bringing his trio line-up to the stage. The entire second disc consists of Mayer's full band, with the set drawing predominantly from his latest studio outing, alongside a rollicking cover of 'I Don't Need No Doctor', emphasising Mayer's more recent Blues influences. Mayer's acoustic playing is minimalistic, but his fingerpicking and use of open chord tones is perfectly tailored to suit each song. However, it's as part of a band that his playing really shines through. He is right at the forefront of the trio's sound and carries off the simple line-up through sheer, brazen guitar work. Within the full band he displays great taste and variation, saying something with every note, even choosing not to play at times, allowing the lack of guitar pyrotechnics to speak for themselves. The wealth of material here, and the phenomenal performances from all involved, makes this the most appealing of his live releases to date, as well as been the clearest representation of what he is all about.

Rhys Williams

NINA SIMONE

Fodder On My Wings

Frèmeaux

Amy Winehouse, Norah Jones, Corinne Bailey Rae…jazz, soul, Blues inflections, of course, but without the late Nina Simone,

Noggin

GAYE ADEGBALOLA Gaye Without Shame

FIONA BOYES/MOOKIE BRILL/RICH DELGROSSO

Live From Bluesville

NorthernBlues

Virginia-born Gaye Adegbalola is better known as a founder member of Saffire - the Uppity Blues Women, and with that reputation is an expectation of what we find here, Blues and more Blues. She hands most of the guitar duties over to her co-producer Bob Margolin. With such a talent in the room, and a back catalogue that grants her space to speak so that people will listen, she delivers an album with a message - sometimes with a smile, sometimes deadly serious. Starting with 'Queer Blues', the tone is set, mostly through metaphor, although some titles and lyrics are overt'Meet Me With Your Black Drawers On', for example. Sexual innuendo through metaphor is one of the most striking elements of the Blues, so Gaye is entitled to extend it to its limits. 'Boy In The Boat' and 'Bareback Rider' take provocative to excess. The climatic 'Déjà Vu Blues' packs an emotional punch, bridging taboo, hatred, victims, futility, and so many personal subjects that one does wonder if we have made much progress since one hundred years ago. This is also about the music, which is wholly satisfying, uplifting and, of course, suitably thought provoking. "Live From Bluesville" maintains the same Blues authority, this time being an acoustic master class covering traditional numbers, as well as originals by Boyes and Delgrosso. The recording is astonishing and one of the most intensely perfect for pitch and tone; such ultimate hi-fi the performers could be in the room. Boyes' singing fairly shimmers on her own tracks 'Homegrown Sin' and 'Good Lord Made You So', and Delgrosso contrasts with wonderful gruffness and gravitas. JB Lenoir's 'Mississippi Road' confirms this as a masterpiece. Gareth Hayes

probably none of them would mean much. Classically trained (and it shows!), Nina defied categories right from the start, and this set, a hard-to-find album released in France in 1982, even includes a cover of '70s pop star Gilbert O'Sullivan's 'Alone Again Naturally' - though bitterly reworked by Ms. Simone around her father's death. From the '60s onwards, American Nina travelled widely, and this album, with vocals in both English and French, includes Caribbean and Latin sounds (the opening track has trademark Eastern Caribbean horns), African music, funk, jazz, and gospel, including the 'classical' spiritual 'There Is A Balm In Gilead' (The Fisk Jubilee Singers recorded this in the '20s). Blues is also included, of course; 'They Took My Hand' is a short piano trio Blues, but it is worth noting that even the unlikely sounding 'Liberian Calypso' has a chorus inspired by Louis Jordan, albeit his fake calypso 'Run Joe'. This is a fine reissue and deserves to be better known.

Norman Darwen

BLACK DIAMOND HEAVIES

A Touch Of Someone Else's Class

Alive

"A Touch Of Someone Else's Class" is what happens when Dimebag Darrell's best friend starts listening to John Lee Hooker and forms a band. This ball-busting masterpiece is also how the BRMC started off and how they should have conti-

nued. "Nutbush City Limit" is exactly the trash-banging, guitarpulverising track that deserves to start off the album, barely a distant relative to Tina Turner's original, whereas 'Everythang Is Everythang' is a song that possesses a groove to make it the long-lost brother of Prince's 'Kiss'. It's easy to compare James Leg's full-on performance with Jon Spencer, but the band are more than leather clad miscreants drinking themselves to death and breaking skulls with amps up to eleven: these boys have soul. 'Bidin' My Time' is a search for happiness, a Hammond organ sweeping through the track, as Leg gives us a vocal dynamic close to Tom Waits in the '70s. The Black Diamond Heavies owe more to their greatness than a throaty yell and junk percussion, as the album moves through the second half - it is noticeable that they have won the heart and elbow grease that few Blues groups do. "A Touch Of Someone Else's Class" is an album to realise some people have the Blues, others know what to do with it.

Matthew Clarke

PAPA MOJO

Broke 'n' Hungry

Front Porch

This is a very simple album and wonderfully positive as a result. Recorded live, straight-to-tape, it truly doesn't get much better than this for Blues music. Stefan "Kos" Kocemba (vocals/guitar), Davie "Barrelhouse" Blair (bass/harmonica/

vocals) and the redoubtable Billy "Blindman" Allardyce (drums) create such an authentic blend of country and Delta Blues that you just know what attachment and love they have for this music. Eschewing the need to display their own writing skills, this trio have gone to the archives and drawn out a fine selection of traditional material and a cover or three for this second release for the label. Stephan and Billy have played together for forty years and it shows in that intuitive response that only comes with such a partnership. The songs include 'St James Infirmary', 'See My Grave Is Kept Clean', 'The Matchbox Blues', Robert Johnson's 'Ramblin' On My Mind' and 'Love In Vain'. All are treated with the utmost respect and it is like slipping on an old familiar favourite album from your collection. This is a real joy to have at any time. Just terrific!

Graeme Scott

THE LEGENDARY RHYTHM & BLUES REVUE Command Performance

Delta Groove

Born out of the Legendary Rhythm And Blues Cruises, The Legendary Rhythm & Blues Revue, Tommy Castro, Ronnie Baker Brooks and Deanna Bogart took their show to dry land and the result is presented here on "Command Performance". Compiled from the best bits of their shows, the CD is a lively affair with a good variety of material, from the straight-ahead steaming R&B of 'Can't You See' and 'I Feel That Old Feeling Coming On' to the Chicago sound of Muddy Waters' 'She's Nineteen Years Old' and Little Walter's 'Tell Me Mama' - both tracks highlighting the exceptional talent of Ronnie Baker Brooks (guitar) and Magic Dick (harmonica) respectively. In fact, the musicianship is of a high standard throughout, augmented by some good quality guest appearances, most notably Marcia Ball on 'If It Ain't Me' and 'Sea Cruise'. The quality of the musicians and some good material clearly wins the day, but I'm not sure about the production. For me it sounds too much like a studio album. It's almost too slick, crying out for one or two blemishes, and I really can't believe that an audience could be so well behaved in front on such a great band. Shame, but a good CD nonetheless.

Davide Styles

CATHERINE RUSSELL Sentimental Streak

World Village

Ms Russell was born into a jazz family, so it's no great surprise to find here venturing into that blurry territory of jazz, Blues and easy listening so beloved of record marketeers and supermarket shoppers. Yes, it's the Norah Jones, Madeleine Peyroux, Melody Gardot world we're headed off into. But, hold hard, don't run off screaming! Some of this is really rather good. It helps that Ms Russell has a truly fabulous voice, all smoky dives and late night speakeasies, in the company of some marvellous musicians and an array of choice material, mainly covers of classic old tunes. The best of these are her take on Nellie Lutcher's 'You Better Watch Yourself', which had me feeling very guilty indeed, and the Willie Dixon gem 'I Don't Care

JJ GREY & MOFRO Orange Blossoms

Alligator

If JJ Grey & Mofro's previous album, "Country Ghetto", was their "Born In The USA" then "Orange Blossoms" must be their "Tunnel Of Love". The steamy swampy grooves are all in place, and hotter than ever, but this time the songs are a bit more personal and, in places, a bit more reflective. The title track brings JJ Grey's homeland of the Florida swamps to life. The retro feel of the horn arrangements, the Fender Rhodes and the guitars give all the songs a classic vibe, like vintage Little Feat or Lynyrd Skynyrd, but JJ Grey's voice now has added soul. On 'Everything Good Is Bad' he sounds like a young Bruce Springsteen, singing for all he's worth. The funky guitar on 'On Fire' is seriously to die for and should be sampled by a hip-hop producer. "Orange Blossoms" might not be as angry and political as its predecessor, but it's the sound of a band at the top of their game. JJ Grey and Mofro are one of the best swamp rock bands on the planet right now, and anyone who doesn't own this record is seriously missing out on some scorching and hot grooves. It gets pretty hot down in the Florida swamps, but not as sticky as it does on "Orange Blossoms".

Jamie Hailstone

Who Knows'. The latter shows that Ms Russell could be a very, very good Blues singer, should she choose to head in that direction. One listen to her singing and you can tell why the likes of Steely Dan, Paul Simon and Jackson Browne have hired her in the past. Sometimes, you get the feeling that she is holding back, but the future could be very bright, if she lets herself go a bit more - and lets rip with that voice!

Stuart A Hamilton

JAKE WALKER Confidence Man Left Turn

In the '60s, Blues took a dramatic left turn. It became something that was a tool to impress. It no longer had the implications of slaves wishing for a better life. No, the Blues was now about soul and passion, and soon it would make men rich and women weak at the knees. Second to this, the record industry took an interest in making the musician the star. In Hendrix's case, his band was merely "The

HENRY BUTLER

"One ofthe things that I teach is you learn the book as it is - then you create your own book."

TINSLEY ELLIS

"I miss the old artists - Howlin' Wolf,Muddy Waters and so on... They don't make guys like that anymore."

THE AGNOSTIC MOUNTAIN GOSPEL CHOIR

"I found myselfbellowing oaths at the crags that there were Gods in the rocks, and that they deserved a gospel music of their own,a mountain gospel,in fact."

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JOHNNY WINTER Scorchin' Blues

ARETHA FRANKLIN Aretha

SONNY LANDRETH Outward Bound/South Of 1-10

TAJ MAHAL

The Natch'l Blues

SPV/Blue

All but one of these CDs are straight-ahead album reissues, but with added bonus tracks. "Scorchin' Blues", being the exception, seems a good place to start. Melding recordings from Johnny's early Columbia albums, including 'Dallas' from his debut in 1969, with recordings from his period with Blue Sky in the late-70s. Highlights include 'One Step At ATime' and a live version of 'It's My Own Fault'. Anyone interested in electric, guitar driven Blues will love it. In some respects the most interesting of these CDs is "Aretha". In August 1960, Aretha Franklin cut her first secular recordings, signed to Columbia and recorded nine albums; before Jerry Wexler snapped her up for Atlantic and the rest, as they say, is history. Her work in Rick Hall's Muscle Shoals studio is well documented, but this CD provides a nice contrast, showing a jazzy side that was rarely heard in her later work - 'All Night Long' being a fine example. But there's also a taste of things to come with 'Maybe I'm AFool'. Sonny Landreth is the kind of musician who pushes the boundaries of his art, and his skills were well and truly put on the map with 1992's "Outward Bound" and its follow up three year later, "South Of 1-10".

Born in Mississippi and raised in Louisiana, Sonny combines Blues and Cajun influences, bringing together catchy riffs, amazing slide technique and not a bad voice either. Standout tracks are 'Common Law Love' (with Sonny's guitar riff emulating the accordion) on "Outward Bound" and 'Mojo Boogie' on "South Of 1-10". Recorded in 1968, Taj Mahal's "The Natch'l Blues" was his second album, fusing a stripped down Delta Blues style, with the bigger electric sound of Chicago. There's even a little Stax style soul on 'You Don't Miss Your Water' and 'Ain't That ALot Of Love'. All these CDs are well worth investigating, and SPV/Blue should be given great credit for bringing them back to life.

Davide Styles

Experience" and John Mayall had his "Bluesbreakers", whoever they were. And then there was Clapton, arguably Jake Walker's biggest influence. What is evident from "Confidence Man" is that he is defiantly above whatever his music means. Unfairly to his writing, it is the pull-offs and the hammer-ons we notice rather than the wordplay of his lyrics or ironic symbolism he may be using. "Confidence Man" belongs to the school of B.B. King and Stevie Ray Vaughn. It is class and musicianship of the highest level, but it also highlights a society which is divided by money. The music that Jake Walker presents to us is that which is more comfortable being performed in a theatre served with wine than a crusty bar with nothing but beer and peanuts. You wouldn't go to the latter to hear Walker play, or perhaps he wouldn't go to the latter to perform. Even so, no matter how good this album is, it has no place in this time.

Matthew Clarke

O'DEATH Broken Hymns Limbs And Skin

City Slang

This New York based 'gothic/country/punk' six-piece are pretty much alt. alt. everything. According to their MySpace profile, their influences include "old songs, Appalachian mountain music, sweet melodies, punk energy," and this CD, O'Death's

third, contains some pretty anarchic sounds deeply rooted in many forms of American traditional music. Imagine a night way out in the woods of the Smokey Mountains with a gang of likeminded people listening to a group of nonagenarians playing centuries old banjo, mandolin, guitar and fiddle music. Now fast forward several hours to when the effects of the poor quality, amphetamine-laced rotgut bootleg whiskey have kicked in, you're all totally wasted and feeling rough (to put it mildly) and everyone you came with has decided that they are really unrecognised jug band virtuosi - and they all have a desperate desire to share these musical skills(?) with each other, all at the same time. You're beginning to approach the sounds you encounter on this set. Disturbing yet strangely compelling; O'Death have obviously never encountered the phrase 'playing it safe'. Dark, twisted, and great fun.

Norman Darwen

JOHN HIATT

Same Old Man

New West

I have always liked the relative simplicity of John's music and this latest offering has that same easy going charm about it that JJ Cale's releases have. 'Old Days' gets things underway with, I suspect, a story based loosely on certain autobiographical aspects of the early days of John's entry to the music business. So, we have references to meeting and touring with Brownie McGhee and Sonny Terry, opening for John Lee Hooker, John Hammond Jnr and Gatemouth Brown. It is a nice nostalgic look back, reconnecting again. That theme of reconnection continues with 'Love You Again', as the central character finds happiness again with a former lover. The pleasure of love surfaces again on 'What Love Can Do', 'Two Hearts' and 'Let's Give This Love A Try'. We are off in to country-tinged territory with 'Ride My Pony' and 'Cherry Red'. I suppose I will be taking to task for saying that John is not a singer in an accepted sense of the word, but it draws you in. The title track is a good example of this point. John sings plaintively of a lifetime spent in love with the one woman. Straining to reach the notes, somehow he makes them and you cheer this achievement and rejoice in a very good album.

Graeme Scott

CHRIS DUARTE GROUP

Vantage Point

Provogue/Shrapnel

One year on from the excellent "Blue Velocity", also on Provogue, Chris is back with a couple of new sidemen, Joseph Patrick Moore on bass and Jeff Reilly on drums. They sound like they have been together forever. Can I detect any change in overall sound or approach to the making of the music? Well, in all honesty, no. Once again, Chris comes blasting out the starting blocks like a finely honed athlete. From the off, you just want to hitch yourself to this steamroller of an album. When the album opens with the less than understated 'The Best I Can Do', you just know that you are in for some class stuff. The songs are strong lyrically, as on 'Satisfy', 'The End Of You And Me' and 'More Boogie', for example. However, when he allows himself the space on instrumentals like 'Slapstick' and 'Woodpecker' or the extended bonus tracks 'Blow Your Mind' and 'Troubles On Me', you are left in no doubt as to just how fine a player he is. For sure, there are some tracks on here that have the feeling of being cut live, or as near as damn it. It works on every level. Turn it up loud and to hell with the neighbours. This is an energy packed collection and, as with the previous outing, I heartily recommend this to one and all.

Graeme Scott

MATT ANDERSEN

Something In Between

stubbyfingers.ca

Canadian Matt Andersen has been making a bit of a name for himself, first in his native Canada, and latterly here in the UK, where he has had air time on the BBC and toured with

'Honeyboy' Edwards. Back home he has released an EP and three albums but this studio set is out internationally and should see Andersen taking a huge step up the Blues ladder. Largely recorded at Chapel Studios in Lincoln, Andersen ended up with an outstanding studio band featuring the legends that are Norman Barrett on guitar, Dave Markee on bass and Henry Spinetti on drums. With a band that good and that experienced setting off the big, rich voice of Andersen, and with some excellent, original material, this is a CD to savour. Although Andersen can rock with the best of them, it's when he indulges in more laid-back, country-tinged Blues that he and the songs shine brightest. He's also equally adept at a shuffle and even some jazzy interludes. The sole cover, 'Wrote A Song For Everyone', shows where he's coming from as he takes on the Creedence Clearwater Revival classic, putting his own soulful spin on it. Back on his own material, 'Better Man Blues' and 'Broken Man' are up there challenging Warren Haynes in power and sensitivity. The album is probably a couple of tracks too long, but this combination of youth and experience has resulted in a fantastic piece of work.

Stuart A Hamilton

CREEDENCE CLEARWATER REVIVAL Best Of Universal

I'm not sure why Universal thinks the world needs another Creedence greatest hits package, there are clearly a few good ones already available, and whilst this is an enjoyable listen, it offers nothing new. The twenty-four tracks are packed with classics, like 'Bad Moon Rising', 'Proud Mary' and 'Fortunate Son', although inexplicably they left 'Effigy' out! All their studio albums are represented, from the superb "Green River" and "Willy And The Poor Boys" to the disappointing "Pendulum". The swamp, funk, Blues rock of Creedence Clearwater Revival is still thoroughly entertaining and this 'best of' is a delight to listen to again, but you can pick up the entire back catalogue for next to nothing nowadays, and I'd recommend that option. This package might well appeal to younger listeners discovering this band for the first time, whilst perusing rock magazines, so there are advantages. In some capacity, you have to have 'Born On The Bayou', 'Lodi', and 'Have You Ever Seen The Rain', and this set is a great way for the casual or new fan to hear the fabulous songs from the pen of John Fogerty. From swamp rock to Blues, from rockabilly to country, it's all on offer on this disc.

Andrew Baldwin

MISSING CAT Lucid Dreamer Shore

If Sonny Boy Williamson was alive now he'd say that no-one could play the harp just like he could. Even if he was modest, someone would make him say that. The truth is, if you can't play the harmonica like it was part of you, not just attached to your face, then there's no place for it in your music. Good thing then that Paul Montague, of the illustrious Missing Cat, knows that the harp has become the iron lung of the operation. It makes sense then that every track is steeped in history, even

though each member look like they are in their twenties and thus no-one could have anticipated this level of heritage within their Blues. For everyone's Blues is different, it just so happens that songs like 'Insanity Is Repeating The Same Actions And Expecting Different Reactions' beg for acknowledgement within everybody's ethos. In this particular time of self-awareness, self deprecation and self loathing, Missing Cat's music is that which makes sense, and their Blues is one that fits into our current situation. This does not mean they are geniuses but it does mean they are musicians of our time, and in the Blues, nothing is more important.

Matthew Clarke

THE PACK A.D.

Funeral Mixtape

Mint

Some bands spend years working on that all-important difficult second album, but Canadian duo Becky Black (guitar/vocals) and Maya Miller (drums) have put "Funeral Mixtape" out just months after releasing their debut, "Tintype". While the first record was good, it was a bit patchy, however, this time around; they have upped their game considerably and produced a tight, dense and taut slice of rocking nu-Blues. Despite only having two instruments to play with, the band's sound is now fullyformed and opener 'Blackout' sticks two fingers up to all the competition. Vocally, Becky Black continues to develop and her wailing voice gets better and better. She can howl and moan with the best of them, as she proves on 'Don't Have To Lie To You'. "Funeral Mixtape" was recorded live and there's no escaping the raw power on show. The songs themselves also feel a lot stronger than on their previous CD. 'Oh To Be Joyful' is a real highlight and shows a growing sense of maturity and confidence in their craftsmanship. There are no overdubs and if you like your music polished, then you should buy something else. "Funeral Mixtape" certainly does not feel like a rush-release job, it is a grown-up album in its own right and shows that The Pack A.D. are now serious contenders for the crown of best newcomers, both in the Blues and the rock category. "Funeral Mixtape" is rough, ready and definitely not to be messed with!

Jamie Hailstone

ZZ TOP

Eliminator (Collector's Edition)

Rhino/Warner Bros

Guilty pleasures don't get any guiltier than ZZ Top's early videos. The potent mix of babes, cars and no-nonsense southern boogie made the Texas trio big stars on the fledgling MTV. "Eliminator" was the album which propelled them and their infamous 1933 Ford Coupe to mega-stardom and it has now been re-issued to celebrate it's 25th anniversary with previously unreleased live tracks and a DVD containing the videos from the album, which, yes, do include 'Gimme All Your Lovin'' and 'Legs'. By 1983, when "Eliminator" was first released, the Top (as they shall now be known) had honed their no-frills Blues and boogie down to a fine art. Bonus audio tracks taken from Castle Donnington prove just much they rocked. The videos themselves are pure '80s cheese and, frankly, they are all the better for it. If Jeremy Clarkson went into the music business,

B.B. KING One Kind Favor

UMC/Geffen

There is more than a little life in the old dog yet, and there is no need to be teaching him any new tricks. The "King of the Blues" has released, at the age of 83, what I feel is his best work in many a long year. The repertoire is pure Blues. Acollection of twelve tracks from the old days, none of which he has recorded before. The title of the album comes from the opening line of track one, Blind Lemon Jefferson's 'See That My Grave Is Kept Clean', something that the aging star may have at the back of his mind. Other tracks include classics like Walter Vinson & Lonnie Chatmon's 'Sitting On Top Of The World', John Lee Hooker's 'Blues Before Sunrise' and three from B.B.'s long-time idol Lonnie Johnson. The great news for fans is that on this album King is not drowned in sickly slick overproduction or relying on guest artists to boost interest. Although the sound is stripped back and rooted in tradition, this is a modern feeling album. Producer TBone Burnett has done a wonderful job. He has the star's mature vibrato vocal and wonderfully understated but still raunchy guitar work right out front. We also have the subtle, supple sound of Jim Keltner on drums, Nathan East on bass, Dr John on piano and a killer horn section. Have a listen and tip your hat to a master.

Thomas Rankin

he would come up with something a lot like 'Legs'. Political correctness was not a priority for the video director. 'TV Dinners' is a bit of a let down, but then it is a little lacking in the babe department. As a bonus, there are also four live tracks on the DVD taken from the Tube in 1983, which are another guilty pleasure. You can sit there and enjoy the rocking performance or the decidedly dodgy haircuts in the audience. It's your choice! The less said about the 12" dance remix of 'Legs' the better, though. I bet DCI Gene Hunt from BBC1's "Ashes To Ashes" was a Top fan. 'Nuff said!

Jamie Hailstone

THE LOVING CUP Goofer Dust

the-loving-cup.co.uk

If "Goofer Dust" is one word; it is infectious. To sum it up in one sentence; The Loving Cup's second release is so infectiously infectious it makes other things which could be perceived as

infectious, not infectious. But all playful pondering aside, it is hard to describe "Goofer Dust" as anything other than that because it really isn't anything but that. Just as you would describe The Hoosiers or Destiny's Child as amiable pop music, The Loving Cup have what it take to be a great popular band. It could even be suggested that repeated plays of single 'Blood On The Sidewalk' on BBC Radio 2 made the band the darlings of modern Blues in the same way that national coverage rocketed sales of Alabama 3, or most recently Beth Rowley. Sure, because it is the Blues, they will never be in the same league as McFly, but they have the likeable, imitable style that peppers the charts. In one word: infectious. However, herein lays the problem. Sticking with the same comparison to chart music, "Goofer Dust" relies on the same formula of hooks and sweeping melodies to produce elevent tracks which could all be singles. There is no depth and change, and after the third track it all gets a bit repetitive. This is great if you really, really like tracks one to three, otherwise it's hard going.

Matthew Clarke

THE REELS

Bare-Bone Reelin'

Blue Raven

Southern California outfit, The Reels are fronted by guitarist and singer Lanny Ray, who has toured with some of the genre's

MAGIC SLIM & THE TEARDROPS

Midnight Blues

ALBERT CUMMINGS

Feel So Good Live

Blind Pig

all-time greats, including Albert Collins, John Mayall and Taj Mahal. The other two band members are Pat Anthony on bass/vocals and Dylan Sardo on drums/vocals. The tight trio and rocking sound mean that it's difficult to write a review and not mention the words 'Stevie', 'Ray' and 'Vaughan'. Suffice to say, if you were a fan of the late SRV and Double Trouble, you would find plenty to like about Lanny Ray's scorching solos. "Bare-Bone" was first released in 2005 and "Reelin" came out in 2007. There is no doubt that "Reelin'" is the stronger of the two albums. Everything feels a lot bigger - the sound is ramped up. "Bare-Bone" is a fine and taut piece of rocking Blues, but there's little to distinguish it from a million other records. It does have some fine songs, including 'Soul Blue', and there's plenty of bar-room Blues-rock, but "Reelin'" has more energy and grabs you by the short and curlies. "Reelin'" also comes with a few special guests, such as Lisa Frazier on vocals and D.A. Bookman on saxophone, who both help to liven-up proceedings. The acoustic track 'Not To Worry' is a nice respite from the relentless Blues and boogie and, overall, the album is as solid as anything put out by the industry's big names in the last twelve months. This is unlikely to convince anyone who hates Blues-rock that the genre is worth listening to, but it will get people snake-necking and drinking. Can you ask for more?

Jamie Hailstone

VARGAS BLUES BAND

Flamenco Blues Experience

Warner

Formed in the early-90s, the Vargas Blues Band have steadily built up a reputation amongst their peers. They've performed and recorded, on numerous occasions, with such legends and contemporaries as Carlos Santana, Prince and Jack Bruce, earning accolades from all. To describe Javier Vargas as yet another guitarist in the mould of Hendrix, SRV or Santana would be unfair, but the influence of those great players is

Magic Slim, 70 years young, is still cranking out high-energy, high-octane Chicago Blues; his latest release is just straight up brilliant. It's how I like my Blues - red hot, down and dirty! When he put out the word that he was looking for some guest Teardrops on this latest album, the queue started forming immediately, as the likes of James Cotton, Lonnie Brooks and Elvin Bishop, amongst others, took their place alongside the master. As well as a handful of originals, which show that the man born Morris Holt has still got his compositional chops, there is an array of classics from the likes of Muddy Waters, WIllie Dixon, and a storming run through Hound Dog Taylors 'Give Me Back My Wig'. It's not all flash and fire, as he can slow things down to great effect, as best displayed on Little Milton's 'Lonely Man'. Moving on a generation, and we come to Albert Cummings and his new live album. If you know his style, you'll know he's a man walking the path created by Stevie Ray Vaughaneven going so far as to get Double Trouble to co-produce and appear on his "From The Heart". He's more his own man these days but is still whipping up a storm of electrifying Blues-rock to soundtrack the best party you've never been invited to. It's a tough, rootsy live offering chock full of treats, including a fabulous Muddy Waters/Little Feat medley of 'Hoochie Coochie Man/Dixie Chicken', as well as B.B. King's 'Rock Me Baby' and a storming version of his signature tune 'Barrel House Blues', before closing things off with a crowd pleasing crack at Led Zeppelin's 'Rock And Roll'.

Stuart AHamilton

clearly represented in his slick latino-Blues licks and incendiary soloing. The album's title also alludes something to its content, this is an unusual yet effective melting pot scenario, as Vargas blends a mixture of Blues, jazz, rock and flamenco into a stylish and unique sounding record. Right from the sinister opening salvo of 'Walking The Streets', Vargas and co. are on top form, their sound has been well arranged and produced, and there are stellar performances from all involved. The band are joined by a number of special guests, including Devon Allman, who lays down a soulful vocal on 'Blues In My Soul'. The album then varies from the funky 'Ya Ya Ya, Looking For My Baby' to the Santana-esque 'Beautiful Woman' and several other fine flamenco-Blues fusions. Whilst Vargas shows off his chops and versatility to great effect, he also steps back on several occasions. This album may be Vargas' ticket out of relative obscurity and see him finally receiving the attention he deserves.

Rhys Williams

OLD CROW MEDICINE SHOW Tennessee Pusher

Nettwerk

With Old Crow Medicine Show, it does what it says on the tin. Five guys who've been together, with a couple of personnel changes, for five years, deliver their third official album of blended American roots, folk, gospel and Blues. The first track,

'Alabama High-Test', signs the way and foot-tapping is mandatory, as bluegrass pace and Dylanesque delivery provides a suitable hit to draw you in. The pace slows as we are invited in to sample a vast selection of heartfelt edgy tales and traumas. This isn't an album of three-minute quick-fix tunes either. 'The Greatest Hustler Of All' is a mournful ballad coming in over seven minutes, and two other tracks approach six minutes in length. The trailer-trash Blues of 'Methamphetamine', the standout track of the album, is a heady message for nohope high-risk lines of drug culture. It's a conflict when the music is so addictive, each track having a hook that leaves a craving for more. 'Hotel In Memphis' is as Blues as it gets without electric or slide guitar. Many tracks are hoe-down humorous, 'Mary's Kitchen' titillates with blatant innuendo about sausages… With banjo, double-bass, fiddles and assorted country instruments, albums such as these must be incredibly difficult to produce, so with the experience of Don Was (Rolling Stones, Bonnie Raitt…) at the helm, it comes as no surprise that the balance is nothing short of brilliant.

Gareth Hayes

THE INCREDIBLE BLUES PUPPIES In The Doghouse Note

If you don't know the pups, there's Alan Glen (Yardbirds, Nine Below Zero, Dr Feelgood…), Jim Mercer (who's worked with

Paul Lamb and Pinetop Perkins), Dino Coccia (who drummed for Jo-Ann Kelly and Lowell Fulson), and John O'Reilly (Big Town Playboys). There's also room for a wide array of guest puppies, including Paul Cox, Gypie Mayo and Roger Cotton, amongst others. Unlike the first album, which was mainly covers, "In The Doghouse" only has four covers out of the fifteen tracks on offer. This time, they've dipped into the back catalogue of TBone Walker, Eddie Boyd, Leroy Carr and Slim Harpo, with the highlights being 'Mean Mistreatin' Mama' and 'Got Love If You Want It'. However, the success or failure of the album is mainly down to the writing efforts of Alan Glen, who nabs credits on eight of the original tunes. And to his credit, it's a solid, if not sensational, set of sturdy, guitar driven Blues, which sits snugly into the '60s British Blues template. Things liven up a bit when they expand their sound a bit, and I'd like to hear more harmonica work from Alan Glen, as it's a treat when it's up front. You often find that when musical veterans get together it all goes horribly wrong, but the Incredible Blues Puppies have put their pedigree to good use on an enjoyable album.

Stuart A Hamilton

LITTLE FEAT Join The Band Proper/429

Despite a career of almost forty years, Little Feat have never had what is commonly known as a 'hit'. They have produced several classic albums, and are widely regarded by their peers and those in the know as one of the greatest bands who ever walked this earth, but mainstream success has always eluded them. This CD sees the legendary rock band team up with the likes of Chris Robinson, Emmylou Harris and Dave Matthews for a walk through the best of their back catalogue. The appearance of the Black Crowes frontman is a particular highlight on the raucous 'Oh Atlanta', while Jimmy Buffett does a great job on 'Time Loves A Hero'. The rerecorded version of 'Spanish Moon', with percussionist Sam Clayton and former Feat member Craig Fuller sharing lead vocals, is just as good as the original. Guitarist Paul Barrere leads the group through The Band's 'The Weight' and Woody Guthrie's 'This Land Is Your Land'. However, the most beautiful song has to be 'Trouble', which is sung by Inara George, daughter of Little Feat founder member, the late Lowell George. Inara now has a burgeoning solo career and is in The Bird And The Bee. "Join The Band" is a fitting tribute not only to the songwriting genius of Lowell George, but also to one of the greatest bands of all time - Little Feat, who, after almost four decades, are still delivering the goods.

Jamie Hailstone

SCRAPOMATIC Sidewalk Caesars

Landslide

The second studio outing from Derek Trucks Band frontman Mike Mattison sees the vocalist teamed up again with his longtime musical partner, guitarist Paul Olsen. The duo, now accompanied by a full band, and joined by special guests, including Derek Trucks, deliver a seamless blend of Blues, soul and roots music. Opener, 'He Called My Name' is a rolling, soulBlues Matters! 96

THE RIOTOUS BROTHERS Fever

riotousbrothers.co.uk (EP)

This three-track EP is a treat. While each song is delivered in a Blues-rock style, there are some subtle variations highlighting the band's versatility in either delivering driving rock or slower Blues material. The opening track, 'I've Had My Fill', definitely pays a due to John Lee Hooker, while 'Fever' is an extended slow Blues with some fiery Blues soloing - the four-piece band really give it their all on these self written tracks. Vocalist Mash Sonnett delivers a great husky lead vocal with a rough edge, perfect for delivering the Blues. These are the initial songs being prepared for their second album release, so I can't wait to hear the full album on release.

Adrian Blacklee

CAPTAIN BLACK Sister

Bumpman (single)

I have no idea how to categorise this - I only know that I am listening to it for the third time and I'm still jumping around like a kid! Falling somewhere between folk, skiffle and Blues, this is full of energy, jangling guitars, harmonies and insistent, driving drums courtesy of Mark Austin. The vocals are impassioned, the melody is hummable and the danceability rating is a high 9. The B- side, 'Jack Shepherd', tells a classic English folk story about a dashing highwayman and his career and demise behind a military drumbeat and sweet guitar riffs. I don't know what this is but, who cares, I love it and I can't wait for the album to be released.

Andy Snipper

CASEY & THE SINNERS Nothing Comes Free

myspace.com/craigcasey (single)

This single track debut CD comes from a young, energetic and raw sounding Glasgow band of marauders. This is rough and ready Blues-rock with absolutely no frills attached and a heads down no nonsense approach, which is refreshing. This is a stomping boogie, which features driving slide guitar from Brian Tonner and an insistent organ riff from David Cowan. Craig Casey's gritty and distorted vocals add to the general frenzy and the whole thing speeds along furiously and makes for an exhilarating, if short and sweet, ride. If you like early Stones, The Pretty Things, Deep Purple and The White Stripes then you will probably find this to your taste. Best enjoyed LOUD in the back room of a scuzzy pub with a glass or three to hand. I look forward to hearing more - and visiting that pub!

Dave Drury

LIAM GERNER Dustman

liamgerner.com (EP)

Born in Australia, but now based in London, 2008 has already seen Liam start to make his mark on the music scene, supporting Jason Isbell, Paul Weller and Duffy. His vocal is strong, with a good range, full of expression and passion. Liam's songwriting is in the storytelling vein. His lyrics have memorable hooks whilst speaking to the heart of the issue. 'Dustman' is a tender ballad of love in acoustic style, with a hint of John Mayer. 'Dry River' is a sensitive folk/Blues ballad. 'Metal Horses' is dedicated to the Dann Sisters, two Western Shoshone women who led the fight to maintain their way of life and native homeland. Lyrically profound, a cry and protest …continues on page 98

BEVERLY JO SCOTT

Divine Rebel

Cut & Run - Live Dix Vagues

DixieFrog

Although born in Alabama and schooled in gospel, country and Delta Blues, much of Beverly Jo Scott's musical career has evolved during her recent adult life based in Belgium. As a result, we get a winning hybrid of those childhood roots combined with European rock. "Divine Rebel", from 2003, comes close to basic acoustic southern rock, especially on the ballad 'Tennessee Tears' and 'Great White Ghost'. They latter is also a good example of the fabulous fragility of her voice. Ahandful of the songs are sung in French and whilst retaining the emotional sensitivity, give clues to her musical direction. The last track 'Little Girls', a marathon and clearly iconic, cleverly combines many forms and being about said gender is wonderfully complicated. "Cut & Run - Live" is a live double CD from 2005, with bonus tracks to add to the excess - almost making it a prog rock effort! It's a dramatic collection, showing us than she can cut it live and is quite a showgirl. Anine minute version of 'Little Girls' and ten minutes of 'Make It Rough' on the first CD are standouts as a canvas for all her talents; storytelling, vocal passion and orchestration. Blues fans will be satisfied with an eleven minute composition called 'Whisky Blues' on the second CD that builds and builds, combining pain and release like every Blues number should. Her latest release, 2008's "Dix Vagues, is completely in French and more vocally gymnastic than her previous work. It's also highly polished production-wise and a great effort has been put in to make best use of atmospheric harmonica on 'Les Chants Les Plus Beaux', slide guitar on 'Entre Deux' and even off-kilter funk on 'Ombre Bleue'.

Gareth Hayes

ful number, with Mattison on top form, his gravelly voice playing expertly off special guest Trucks' flowing slide-guitar. Trucks again lends his talents to 'I Want The Truth', where the rhythm section is as heavy and tight as it gets, making this possibly the strongest track on the album. A brief cover of Skip James' 'Drunken Spree' is given an inspired country twist and features some of the record's most impressive guitar work from Olsen. Whilst there are a variety of styles and paces on show, veering from the frantic and funky, to earnest and poignant ballads, the record is a surprisingly cohesive. This could have something to do with the quality of the musicians involved, and whilst this no doubt plays some part, it is really the skill of the songwriters that makes their material seem both fresh and familiar. Much of the record address melancholic themes, yet there is an added twist here in the dark humour of the group's lyrics. This is a record that charts the significant growth of the band and may see them finally garnering the attention they deserve.

Rhys Williams

THE MUGGS On With The Show

themuggs.com

Every great band needs its man to take centre stage. In the case of The Muggs, we have Danny Methric, and "On With The Show" is his platform to show what he, and his band, has to offer. Already an award-winning band in their hometown of

Detroit, the group have set their sights higher, already performing on national television in the States. So, really, The Muggs shouldn't have much to worry about. 'Motown Blues' is a fine piece of psychedelic Blues in the vein of early Yardbirds and The Experience. On following tracks, such as 'Slow Curve' and 'Just Another Fool', the group stress vocals that are on par with Ozzy Osborne's disparate tonality and a rhythm section that makes The Eagles look shambolic. But the problems are as simple and as shallow as the cover of the book.

The name of the band takes away any seriousness of the project, making them sound like a Sesame Street tribute group before you even put the CD in the player. Perhaps it is their intention to prove that it is the music that means much more than its appearance, but currently they equal a Blues equivalent of the Bonzo Doo Dah Dog. No matter how good they are, the Muggs can't shrug this off. This is a shame, because the album has already proven its worth musically.

Matthew Clarke

RICHIE MILTON & THE LOWDOWN Lowdowning! Note

London-based Richie's new album for Note Records is as usual, very fine - mostly. Richie eschews the Stratocaster flash, choosing instead to be best known as a writer of carefully crafted songs, a good and distinctive singer, an understated gu-

itarist, and leader of a cooking little band which shares his aims and ideals. There is nothing at all wrong with the way this album starts; there is plenty of variety, with a Robert Cray-ish number, a vintage rock'n'roll piece, a little New Orleans funk (sung by backing vocalist Linda Hall), some deep soul and a Latin styled outing. It continues in this eclectic vein, adding some Jamaican sounds to the mix (if it's good enough for Jools Holland…), a hint of Chas & Dave, and a smidgen of Bob Dylan. So, as you may have guessed, it is the way the CD finished that I have issues with - three syrupy ballads (only one of them a Blues-ballad) and a 'dub' of the aforementioned Latin piece. It means the album comes in with a roar and goes out with a whimper - not the Bluesiest of his releases either.

Norman Darwen

AMY LaVERE Anchors & Anvils

Archer

The upright bass is back in fashion and found here in the hands of the fabulously feisty Amy LaVere. Centre-stage during the whole album, her vocals tickle and tease with a sultry sweet American twang that confirms that this gal is one hundred per cent from the country. Her picking and slapping bass playing crosses genres from hillbilly Blues to funky stomps to country love-songs. The opening track, 'Killing Him', is based on a true story of love and murder and this nourish semi-comic story-telling continues on her selfpenned numbers. The gypsy violin comes to the fore on 'Tennessee Valentine' and 'That Beat' - one can't help but joining in with some gentle foot-tapping. The tempo gets to rocking with the funkier tracks 'Washing Machine' and 'People Get Mad', both featuring lovely distracted guitar. Befitting the timeless quality of the music, many traditional instruments are added to the mix, notably pedal steel guitar, mandolin, wurlitzer and toy piano. Tightly produced by Jim Dickinson, there is nothing significant about the album title except that lyrics appear in one of the songs, and the cover picture, according to Amy herself, has absolutely nothing to do with anything. Amy LaVere packs a significant punch. One to watch!

Gareth Hayes

MEGALADON You Get What You Pay For

myspace.com/megaladonuk

Subtlety is not a word you'll find in the vocabulary of this Durham-based band that give a whole new meaning to the label 'power trio'. The legend goes that the Megaladon was an ancient shark of gargantuan proportions, and the unabashedly epic scale of this band's songs do very little to dissuade the myth. This is dirty rock'n'roll at its very best, combining Blues sensibilities with punk and, occasionally, metal influences to create a volatile energy that's hugely infectious. The ten originals are built around the band's no frills attitude, with guitarist Thomas Stabler supplying hard-hitting riffs, reminiscent of AC/DC, and furious, biting lead over the driving rhythm section. Lead vocalist and bass player Dave Sunley is a formidable frontman, spitting tales of debauchery, filled with shady and

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for the future of the land, everyone's children, the environment and human rights, with a Bluesy guitar once more mourning for another oppressed people.

Carol Borrington

WIRED DESIRE Barely Illegal

wireddesire.co.uk (EP)

This five-piece are more of an all-out metal outfit, but there is an element of sleeze; think Hanoi Rocks on speed. The Blues influence is tenuous but far from completely absent, but the opening track on this four-track EP, 'No One Sleeps', features some high paced whiney/gravelly vocals and some blistering guitar. Motley Crue at their heaviest couldn't match this. 'The Hard Stuff' is a nod at the beefed up rock'n'roll a la Motorhead, but not as dirty, obviously. 'Damn Hard' and 'Ride' follow in similar fashion. Heavy and fast as f**k. One to satisfy the latent headbanger inside the Blues fan.

Joe Geesin

SMOKE FAIRIES

Living With Ghosts

myspace.com/smokefairies (single)

The Smoke Fairies are Jessica Davies and Katherine Blamire and they play an intoxicating but intangible mix of acoustic and rootsy folk with a touch of Blues influence. Their fragile harmony vocals and atmospheric songs remind me of an early, stripped down Pentangle. They have already attracted attention from Bryan Ferry, Richard Hawley and Nick Cave and played at The Festival Hall as special guests of their friends The Magic Numbers. The single, 'Living With Ghosts', features droning slide guitar and haunting vocals, as the pair relate the tale of someone who can't get away from the past. B-side 'Troubles' is another mean and moody song, which adds a fiddle to the two acoustic guitars and exquisite vocal harmonies. They are gigging around the UK, and are certainly worth looking out for on this evidence.

Dave Drury

promiscuous characters. His raw delivery fills these real-life accounts with authenticity and not a little well placed humour. Album highlights include the head banging title track, the brilliantly written stoner-rock anthem 'Mr. Obscene', which does exactly what it says on the tin, and 'Krawling King Snake', a pumped up reworking of the Blues standard, which features a particularly impressive and creative solo from drummer Rob Carruthers. If you like your rock'n'roll with just a little more edge than most of today's bands deliver then look no further.

Rhys Williams

JOHN LEE HOOKER, JR. All Odds Against Me

Jazzhaus

The problem with being someone like John Lee Hooker, Jr. is that no matter what he does, he will always be in the shadows of his father. While this twelve-track CD is good, it's more entertaining than earth-shattering. Vocally, John Lee Hooker, Jr. is a powerhouse of a singer. His gravelly tones are perfect for the fiery Chicago Blues on this record and his band really do swing when the tunes call for it. The strongest tracks are 'The

Blues Ain't Nothing But A Pimp' and 'The People Want A Change'. The CD also comes complete with a brilliant animated video for 'The Blues Ain't Nothing But A Pimp'. However, there is a 'but' with this CD and it's a big one, in that some of the songs are weak - 'Extramarital Affair' has some pretty clunky lyrics. The end result is an album with some good tunes, some tongue-in-cheek lyrics, but there is a nagging feeling that if John Lee Hooker, Jr. got some stronger songs then he might start to be the player he undoubtedly could be. He's got the voice and the attitude, now he needs the material.

Jamie Hailstone

CICADA OMEGA These Bones

myspace.com/cicadaomega

If, in 1964, The Rolling Stones were produced by Joe Meek, the sound would be a shadowy clone of the Blues. In Cicada Omega's "These Bones", this effect has been realised. As it should be on any record, "These Bones" is as meticulous as they come. It is imaginable that the overall sound had been plagued by numerous outtakes and faulty equipment. This is only being suggested because of the album's rich and flawless sound. Through its reckless modernity, "These Bones" is able to thrive. 'Four Horseman'

TAB BENOIT The Sea Saint Sessions

MIGHTY SAM McCLAIN Blues For The Soul

MARIA MULDAUR Fanning The Flames

New Note/Telarc

is an apocalyptic prediction of what is to come and 'Ring Like Gold' feels like the beginning of the end of the world. This success could only be measured, however, by the soulful harmonies that echo behind the restrained holler of their lead singer, only known as the Rev. In essence, "These Bones" is a sacred ritual, tearing at the searing flesh of it disbelievers. The junkyard percussion on 'Flatline' shows ingenuity, if not genius, but it is these techniques that make the alum enjoyable and continually listenable. The genuinely frightful 'I Smell Smoke' combines acoustic and electric guitars with disparate moaning to create a sound which makes Scott Walker's most recent release sound optimistic. It is easy to compare Cicada Omega to contemporary Blues tyrant Jon Spencer, but that would be unfair to the effort that was put into "These Bones", which is nothing more than an aesthetic triumph in more ways than one.

Matthew Clarke

Mid-line re-releases. The 2003 release of "The Sea Saint Sessions" was originally sandwiched between Tab Benoit's two collaborations with Jimmy Thackery. This is a much looser affair with Benoit, accompanied by his regular band, taking a hands-on approach to every aspect of the recording. The relaxed vibe is enhanced by friends dropping in with songs or just to play. For example, Brian Stoltz shares guitar and vocal duties on 'Hustlin' Down In New Orleans', George Potter supplies the song and adds bass and guitar to 'Making The Bend', while Cyril Neville provides a typical contribution to the closing track, 'Plareen Man'. The whole essence of the album is summed up with a cool rendition off Chester Burnett's 'Howlin' For My Darlin', and Tab's deeply soulful self-composition 'Darkness'. Mighty Sam McClain was, until 1999, a largely ignored soul singer, when suddenly belated fame and wealth was thrust upon him, as 'New Man In Town' was repeatedly used in cult hit TV show "Ally McBeal". This was after his early success in the late-60s had been followed by disillusionment for the better part of twenty years. In the '90s there was revival of interest in his soul music, and this 2000 release is typical of his seven album output during that period. His baritone voice is well suited to aspirations of love and peace, embodied in songs like, his own, 'All We Need Is Love' and 'Love One Another'. The Bluesy 'Jesus Got The Blues' is tedious, and whatever the merits of this horn-drenched Solomon Burke genre, it evokes little of an emotional response here. Maria Muldaur's "Fanning The Flames" was released in 1996, and this wonderful singer has never sounded better. The very embodiment of a sassy and gritty Blues woman, she lays down her knowing and sexy voice over impeccable backing and occasional guest support. She is even joined by the likes of Ann Peebles and Mavis Staples as backing singers(!) on the title track. Elsewhere, Sonny Landreth's slide gives unique flavour to 'Home Of The Blues', her inspiration Bonnie Raitt duets on the upbeat 'Somebody Was Watching Over Me', and Huey Lewis' harp spices up 'Stop Runnin' From Your Own Shadow'. In succession, Mavis Staples duets on the moving 'Brotherly Love' and Dylan's 'Well, Well, Well'. Amust-have!

CINDERELLA In Concert

The Store For Music

Cinderella started their public life as a fairly average glam metal band, so goodness how their second album, "Long Cold Winter", turned out to be one of the finest Blues-rock releases of the '80s. Even more bizarre, it was also a multi-platinum seller, with songs like 'Gypsy Road' guaranteed floor fillers in rock clubs everywhere. They managed one more Bluesrock classic in the shape of "Heartbreak Station", before the '90s caught up with them and they headed off into the netherworld of halfhearted reunions, greatest hits albums and live releases. This is actually a pairing of two separate releases, the DVD part was recorded on the "Heartbreak Station" tour in 1991, when they were still packing out arenas, with the audio CD originally coming out as "Live At The Key Club" back in 1999, after a reunion tour. Both are jam-packed with classics like 'The More Things Change', 'Fallin' Apart At The Seams', 'Don't Know What You Got (Till It's Gone)' and the aforementioned 'Gypsy Road' - still a delight after all these years. Tom Keifer has one of those fabulously raspy voices that reel of whisky soaked clubs and late night dives, as well as being a great musician and songwriter. The DVD probably shades the audio CD, as it documents the band at their peak, but both brought back happy memories of a time when spandex and perms could take Blues to the top of the charts.

Stuart A Hamilton

OLIVER BUCK & THE NEW MADRIDS

Prodigal Son

Cuyahoga

Oliver is completely new to me and, when this went on the player first, I was taken by the boldness of the first verse being

sung slowly with no accompaniment at all. I think that this takes either complete confidence in your work or a touch of madness. In this case, I think it works because rather than being put off by the lack of an obviously strong hook to capture you it takes a moment to realise that this simplicity is the strong hook. 'Once Round The Sun' sees Oliver begging his departing lover, Jenna Lee, to give him one more try. Once the band kicks in with the chugalug tempo, I liked the sound of voice and the guitar blending together. It is really quite acoustic overall, but this suits the material, which borders the area between alt.country, Blues and even contemporary folk. Track two sees him now alone having lost his sweetheart but he does not worry too much as he is 'Sitting On Top Of The World'. Other strong, well-written numbers include 'Milwaukee' and 'Autumn In Kansas', which has lost love again at the heart of the song. The title track is a descriptive look at the options we all have of returning to our home base after possibly leaving under a bit of a cloud. I like the organic feel to this album but it might not be Bluesy enough for some.

Graeme Scott

JON LORD WITH THE HOOCHIE COOCHIE

MEN Live At The Basement

Edel

When ex Deep Purple man Jon Lord found himself in Australia with a piano playing preventing thumb injury, he ended up playing Hammond organ in a club with The Hoochie Coochie Men, featuring legendary bass player Bob Daisley. According to Mr Daisley, after one show where they did their first and only rehearsal, they headed off to Sydney to play two one-hour sets of classic Blues-rock, which was filmed and recorded. The DVD

GOMEZ Bring It On (10th Anniversary Collectors Edition)

EMI

When "Bring It On" first appeared in 1998, Gomez soon found themselves caught up in the cultural tsunami that was Britpop. Looking back, some of the biggest records of that era have aged better than others. But Gomez are one of the few bands to survive Britpop, and they are still going strong today. This Mercury Music Prize award-winning album has now been reissued and comes complete with a second disc, which contains two previously unreleased BBC sessions and the B-sides to the album's three singles. As debut albums go, "Bring It On" was always in a league of its own. The swampy, Blues-rock sound is fully formed from the opening seconds of the first track and never lets up. It's a solid and well-rounded album and it sounds as good today as it first did a decade ago. The second disc will get the hardcore fans drooling, but it's well worth the admission price. The live sessions are great and a real highlight is their version of 'Stag O'Lee', which was made popular by Mississippi John Hurt. Alot of things have changed since 1998, but Gomez have stuck to their musical vision. This is a fitting testament to one of our most original bands, and if you were too busy bopping to 'Common People' or 'Country House' back then, now is your chance to make amends.

Jamie Hailstone

and 2CD versions actually came out about four years ago, but now it's back in a limited edition 3CD package, which includes the original album plus a third disc of interviews, rehearsals, some odds and a few sods. With Jon Lord taking on the role of a surprisingly talkative bandleader, they put on a top notch performance of classic, predominately Chicago Blues. They have a crack at 'I Just Wanna Make Love To You', 'You Need Love' and 'Dust My Broom', amongst others, with a couple of originals thrown in for good measure. Lordy leads the charge, managing to sneak some Purple licks into 'Back At The Chicken Shack'. A bonus is when Aussie rock legend Jimmy Barnes turns up to sing on three songs on CD two, including a turn at the Deep Purple classic 'When A Blind Man Cries'.

Stuart A Hamilton

JOHN MARTYN Ain't No Saint

Universal/Island

This four CD package may create disagreements between longtime fans, those better placed to assess the justification of the selections or indeed glaring omissions, but you can't argue it amiably covers the spread of John's studio output career on the first two CDs, with thirty-four worthy numbers. The progression from outright folkie through to an altogether different performer with his loops, delays and so much more is very obvious when tracked on such a package as this. Obviously, it was a longer process in real-time but this is like an open window into that evolution. I was worried at first that the last two CDs, with live material, would replicate the studio tracks. That is not the case other than with only two songs out of twenty-seven cuts. As an entry-level exercise, for the likes of me, I really enjoyed the experience. There is truly much to savour here and yes 'Solid Air' is present in both studio and live format. Strangely, 'May You Never' is only here in a live "Later With..." version.

Graeme Scott

NDIDI ONUKWULU The Contradictor

Jericho Beach

Opening with a big band behind her on 'SK Final', this lass from Canada comes out of the speakers with a pretty powerful presence. Reminiscent in places of Amy Winehouse vocally and occupying similar territory could be a bit of a problem for her as she attempts to penetrate the UK market. I have no idea what is going on in respect of the titles of her songs, eleven of which come from her own pen. A lot of them have additional letters either as a prefix or suffix. For example, 'Forever SZ' and 'Her House Is Empty KH'. If there is a code going on, I can't break it. I am sure Ndidi will have some fancy explanation but frankly it is a distraction and just a tad bonkers. I have tried very hard to like this record but, for some reason, it just does not work for me. I don't really like Amy either, so I guess that does not help. Oddly, I do like the track 'Goodnight JF', which has a nice Parisian feel to the arrangement, and the pretty similarly arranged version of Harry Nilsson's 'He Needs Me'. Ah, well, I guess we can't like everything that comes our way. Sorry, next.

Graeme Scott

PAUL CURRERI Songs For Devon Sproule

Tin Angel

It must be an amazing feeling for a woman to have a song written especially for you. To have a complete album written for and about you, and then to have your name up there in the title is quite an honour indeed. Can such a personal album stand the test of time and be of any interest to outsiders without a feeling of voyeurism or intrusion creeping in? I think, on balance, Paul gets away with it due in no small part to the quality of the writing. What we have here is just about as pared back to basics as you can possibly get using, as it does, just two instruments, voice and guitar. These thirteen songs are in several cases just beautiful. The quality of his guitar work is very fine and a perfect accompaniment to the well-crafted songs. Paul, at times, shares the singing with the spoken word, so that you get a hybrid of poetry and song. It works very well, indeed, and I do not feel the need to highlight particular songs. Suffice it to say, if you are in love, you will relate to this.

Graeme Scott

CURTIS SALGADO Clean Getaway

Proper/Shanachie

Curtis Salgado is a veteran vocalist and harp player who has served time with the likes of Robert Cray, Roomful Of Blues and even Santana, in addition to recording a string of critically acclaimed solo albums. Having recovered from cancer two years ago, Salgado has collaborated on this album with The Phantom Blues Band for a seamless mix of Blues, soul and rock'n'roll. Title track 'Clean Getaway' is a song fashioned in the funky, greasy mid-70s style of Johnny "Guitar" Watson. 'Who's Lovin' You' is a wonderful soul ballad in the Stax/Atlantic style, with Salgado singing his heart out and the band coming on like Booker T & The MG's; the selfpenned 'What's Up With That' is a loping rocker which features organ and a full horn section; and 'I Don't Want To Discuss It' is an obscure Little Richard song which rocks along furiously with punchy horn fills and an impassioned vocal. One of the standout tracks is '20 Years Of B. B. King' whose lyrics consist entirely of the titles of songs by B.B. King. A rocking cover of Bramlett/Clapton's 'Bottle Of Red Wine' features Salgado on harmonica and closes out this excellent album. It would have been nice to hear a bit more harp but, make no mistake, this is one of the best albums I've heard this year.

Dave Drury

PEOPLES REPUBLIC OF MERCIA

Telecastered

offadiscs

Hailing from Birmingham, the four-piece describe themselves as "very much a live band." By labelling themselves in such a way, it is a struggle to gain anything but negative connotations about the group. As a band who; "declare rock'n'roll independence," it is unfortunate that there is nothing new here. Where they may show musical and technical initiative on stage, there

is little evidence of that on record. "Telecastered" makes for comfortable yet repetitive listening. Essentially a Blues-rock album-by-numbers, there is no variation within tempo and structure between songs. As the LP continues, it is hard to picture PRoM as anything more than a pub-rock band who listen to "Sticky Fingers" more than they probably should and dream of fame during their 9 to 5 working hours. Where this may be a harsh critique of what is most likely a record engineered and written with care, it is difficult to suggest that PRoM will cause a revolution with standard chord progressions and average overdubbed guitar tracks strung together in a non-existent album arc. When there is Blues available to us with so much soul and guts, it is easy to avoid PRoM, simply because they offer nothing we haven't heard before.

Matthew Clarke

CORRY MORROW Vagrants & Kings

Sustain

Singer and acoustic guitarist Corry Morrow is a prolific songwriter who has, over the past fifteen years, released nine albums. On this album, the quality of material is exceptional, covering a variety of subjects and seen by the

LIZ MANDEVILLE Red Top

CHRIS JAMES AND PATRICK RYNN Stop And Think About It

TRAVIS "MOONCHILD" HADDIX Daylight At Midnight SCOTT ELLISON Ice Storm

Earwig

artist as a 'snapshot' of his life. The musical content is predominately country rock although there are Blues and bluegrass influences throughout - saying that, the musical style is somewhat irrelevant when you have a quality artist like Austin-based Corry Morrow; this album is here to be enjoyed and not be pigeon holed. The band includes a harmony section that includes renowned singers Adam Hood and Walt Wilkins, who add some very subtle support on the majority of the tracks - the catchy driving up-tempo song 'Getting Ready To Rain' being a prime example. The final track, 'Worth It', is a bit of a teaser; after five minutes the song ends but as you are about to remove the CD from your player, a solo acoustic guitar can be heard before the song builds into something else, with some tasty lead guitar work going on for a further ten minutes. A good conclusion to a great album!

Adrian Blacklee

Liz Mandeville opens her album, "Red Top", in swing time with the title track. She has a fine soulful voice, adapting the delivery depending on the material - she is equally at home belting out a rock'n'roller as she is provocatively extolling you to 'Scratch The Kitty', 'Rub My Belly' or apply some minor punishment in 'Spanky Butt'. However, sex is not the only thing on this attractive red head's mind. The demon drink gets a look in with 'Corner Bar Blues', whilst 'My Baby's Her Baby Too' tells an all too familiar story of a two timing lover. Taking a break from popular band the Blue Four, vocalist and guitarist Chris plus bassist Patrick have surrounded themselves with a raft of fellow Chicago players on "Stop And Think About It". 'You're Gone' and Elmore James' 'Early One Morning' get things off to a rollicking good start. Stripped back to a shuffle, 'Mr Coffee' is a fairly typically lyrical innuendo laden Blues. 'I'd Like To Write ALetter' floated my boat for a slow Blues with nice harp playing. The pace picks up again on 'Someone To Love Me', the title track and the fine closer, again by Elmore James, 'My Kind Of Woman'. Travis "Moonchild" Haddix is a very fine player. All ten tracks are self-penned and backed by a fine band and plenty of horns. The opening trio of 'Word ALie', 'Backward Baby' and 'Nine Behind' are all top quality, and 'Who Could I Be' is particularly soulful. The title track sees Travis sounding and phrasing his singing a little bit like B.B. King - even his guitar sounds like Lucille here! No bad thing to tip your hat in the direction of one of your influences but it is done in a respectful way. Scott Ellison's "Ice Storm" is a cracking CD as well. From the off, 'Steamin'' ensures that there is little in the way of any chance of this CD leaving you cold or unimpressed. Scott's slightly gruff voice adds character to the delivery and he is no mean player either. Loads of fine licks are there to be enjoyed throughout. 'King Of The Blues', 'Cadillac Woman' and the instrumental title track all worked their magic on me. I heartily recommend these albums to you.

Graeme Scott

DAGO RED

Folk'n'Blues Memories And Other Tales

Straytown

On their website, Italian four-piece band Dago Red describe their music as "Blues, but we don't know it's Blues." And that's about right. They are an acoustic band, formed in 1998, who play a range of instruments including dobro and harmonica. This album, first released in Italy in 2001, contains a rich mix of material, including some juicy Blues, a few good jazz riffs and quite a bit of folk. '32-20 Blues' is a good representative track of the album, being a nice rich picked guitar Blues which moves along slow and smooth. Their version of Johnson's 'Love In Vain' is also a sympathetic but slow moving version of the original. The relaxed rhythm set out by the double bass complements the feel of the album, as does the understated harmonica. The folksy tracks are good, too, and the whole feel of the album is laid-back Sunday afternoon listening. The only slight criticism I have is that when signing the Blues, the vocals are not too credible, being more suited to folk. Having said that, this is an enjoyable listen. La Dago Red? Un Coup De Coeur!

Kevin Wharton

PETER BRUNTNELL

Peter And The Murder Of Crows

Loose

Ah, those curious collective nouns! This British singer/guitarist/songwriter does rather a neat line in an Americanaflavoured feel on this, his seventh album. The overall effect of the opening 'False Start' is of a Bluesy Pentangle, or other late60s folk-rock band. The next track, 'Domestico', continues the '60s sound, recalling The Byrds - though, for the life of me, I can't quite pinpoint why! Throughout the set, Peter's voice is

light and understated, and the acoustic-based sound is carefully crafted, drawing on rock (with hints of psychedelia - there is even a track called 'Hash Dream Craving'), country, pop, folk and the Blues in about equal amounts (even if you might have to dig a little deeper than usual for the latter). The results are very appealing, and as the purists will have already moved on to the next review, if your interest is piqued and you have an affinity with the sound of the late-60s, you will probably enjoy this.

Norman Darwen

KATHLEEN HASKARD Don't Tell Howlin' Hound

Kathleen Haskard has that unique personality trait of being completely scary on one hand and yet a compassionate softie on the other. She's in control and this comes through in her music being part-dormant Valkyrie, yet all-vulnerable. The twists and turns of her lyrical compositions serve to echo her personality; maniacal yet completely harmonious. She's drawn in two relatively new emerging talents to co-produce the album; polymath Chuck Prophet and Sunderland's Simon Alpin. The latter being buddy to undervalued Bluesman David A. Stewart. The producer roles are split between the two and it's fun trying to identify who was at the wheel for each track. Both Prophet

and Alpin contribute throughout, with guitar, lap-steel, mandolin, harmonica and more. This is laid-back stuff that takes a natural form and flow. It's late night music with a knife-edge challenge and fits perfectly into the Blues ethic, albeit more like cognitive country-noir in timbre and motivation. The lyrics have pain, loss, confusion, despair and death all at the fore; and, of course, concern relationships and sex. Tracks 'Losers Weep' and 'Will Someone Explain' are as sad as they come yet filled with hope, and 'Leave To Remain', the album's closer, is heartbreakingly beautiful. The album slipped out in the UK nearly a year ago and its recent release in the States has suddenly regenerated an interest, and deservedly so.

Gareth Hayes

LOS FABULOCOS Los Fabulocos

Delta Groove

This album mixes elements of old time rock'n'roll, Mexican, zydeco, Creole, Blues, folk and country (if I have left anything out then I am sorry). Mixing English and Spanish lyrics, it doesn't matter that, at times, you have no clue what a song is about. Once those sounds start coming at you, it carries you off to warmer climates, dancing in a taverna with a pretty girl on your arm. It is terrific and a fun way to spend some listening time. Using just a core of drums, guitar, bass and accordion, plus vocals, the thirteen tracks are a mix of originals and a few covers, some of which I even knew from God alone knows where. Huey Piano Smith's 'Educated Fool' opens proceedings and, really, it is full-on from there. Along the way, we touch in to 'If You Know', 'Crazy Baby' and 'Lonesome Tears In My Eyes'. 'Un Mojado Sin Licencia' even has a touch of the Alps about it, for goodness sake! 'Burnin' The Chicken', second from last, has the kid leading the band before 'Mexico Americano' closes out this joyous album.

Graeme Scott

WALTER JR. The River Club

Gatortone

What begins as an album of minimalist swampy funk has some entertaining tracks - and some you'd want to permanently program your CD player to skip. Louisiana guitarist Walter Jr. opens this album of eleven originals with the Bluesy, funky title track about a guy who sees a woman "dressed in red oozin' high-heeled sin," and knows she's ready for love by how she dances. It features bass, drums and two sparse guitars that concentrate on the staccato more than the sustained. Mix in tasty guitar solos, and it's a track that augurs well. But Walter starts to stumble on track four, 'Never Make It Up', about how you can't make up for infidelity. It's an absolutely gorgeous slow Blues and I would die to hear Etta James sing it. But Walter, whose vocals are effective when he bites the words and spits them out, just doesn't have the voice to carry the song's sustained, mournful phrases. The album returns then to enjoyable swamp rock. But it closes with two egregious religious tracksjust awful. 'Jesus Say' begins with a portentous spoken intro, then veers into charitable Christian lyrics like "Jesus say, blessed are the meek/For they shall inherit the arth/Everybody

else can just go to hell." The closing track expounds on how "he holds the lightning in his hand" for six minutes and twenty long seconds. Bottom line: program your CD player accordingly.

M.D. Spenser

KELLEY HUNT Mercy 88

Kansas-born Kelley Hunt reveals many talents on "Mercy". First is her powerful and striking voice. It soars from the off and never lets up throughout the album. She emulates many influences, such as gospel greats like Aretha Franklin and Blues blasters such as Etta James. The opening tracks are good examples of her Blues-soul speak and pound with lovely Blues and soft-rock predictability. It's her off-kilter jazz deviations later in the album that caught my attention, however. 'Love' changes the flavour with perhaps more thoughtful changes and all of a sudden the listener has to concentrate. Her second talent is her keyboard skills. Most songs start with a piano intro and this is clearly part of her package. Rarely do the rest of the band get a chance to shine, although Colin Linden is allowed to fly on guitar during 'Emerald City'. Eleven musicians dip in and out of the album, adding mood where required, but this is Kelley's show. For all the intimacy of female vocal and piano, this is very fitting material for stadium performance, and the title track is a gospel anthem that would have them swaying in their thousands. She throws down the challenge to boogie-woogie with 'That Ain't Love' and wins comfortably. Ending the album with 'Mountain To Move' gives reference to her other talents in film and theatre work, with this emotive track being especially written for the film 'Bunker Hill'.

Gareth Hayes

PETE GAVIN Blues Respect

Redox

Don't be put off by the ridiculous orange mohawk Pete Gavin wears in the album's photos. This is a fine album featuring mostly Blues with a bit of country thrown in, all propelled by Gavin's excellent electric slide and harmonica. This former physicist cut his teeth as a musician on the streets of London and is now based in Germany. There's some classic Blues on this album, with Gavin's slide moaning over a bass and drums. There's a mournful and effective reworking of Little Feat's 'Willin'', the truck-driving song, and Gavin's version of Leadbelly's 'Midnight Special' is acoustic, but rolling, driven and rhythmic. Not everything works. The title cut, which opens the CD, is heavy, lugubrious, almost ominous bass-heavy rock - not an auspicious start. And Gavin shows a few signs of too much club work and not enough time in the studio. Jokey novelty songs can slay a live audience but fail to fully come across on disc. And a fake American southern accent, in a spoken segment, can convulse a club of beer drinkers but not bear up on repeated listening. But that's a minor cavil. Gavin's version of 'It's My Life' is all Blues, with hard-ass electric slide, and it alone is worth the price of admission.

M.D. Spenser

JON CLEARY & THE ABSOLUTE MONSTER GENTLEMEN

Mo Hippa Live FHQ

Jon Cleary may be better known as Bonnie Raitt's keyboard player these days, but his own band are not exactly slouches when it comes to live performances. Recorded live at the Vanguard Club in Sydney, Australia, "Mo Hippa" is as funky and sweaty as New Orleans R&B gets. It almost goes without saying, but Cleary's keyboard playing is a joy to behold. This guy may have grown up in Kent, but he is New Orleans through and through. Having been adopted by the Big Easy, he is the natural successor to piano players like Professor Longhair, especially on 'Port Street Blues'. His talent is jaw-dropping to say the least and you can hear why people like B.B. King and Taj Mahal give him a call whenever they need a keyboard player. The Absolute Monster Gentlemen keep the groove lean and mean. Their rendition of the Meters' classic 'People Say' is just as funky as the original, which is no mean feat. The set also leans on original material from the group's own CDs. 'When You Get Back' and 'Mo Hippa' are just great songs and, frankly, I wish I had been there to groove the night away. "Mo Hippa" is an absolute monster of a funk record and no mistake.

TOO SLIM AND THE TAILDRAGGERS The Fortune Teller Underworld

This is simply sublime. Autobiographical and reeking with commitment and confidence; a slice of rocking Blues with large elements of funk and Texas rock, and all held together with Tim "Too Slim" Langford gravelled and growly vocals. The guitar work is classic low slung slide and swamp riffery with a sound that is waaaaay bigger than the three-piece would suggest. Langford claims that these eleven songs are all true stories, and they have the ring of something that has been lived and breathed by the musicians. Starting with 'The Fortune Teller' we are in swamp funk territory, very dark and climactic, and the mood hardly lifts into 'Cowboy Boot', a power Blues describing the solitary nature of the rambling cowboy - a metaphor for the travelling musician maybe. 'Big Guns' kicks on with hard driving guitars and some super howling slide into the refrain, "Here come the big guns/I'm gonna take me an eye for an eye." 'Motherlode' takes us right into Creedence territory and 'Spell On Me' has the feel of a bar-room New Orleans classic, but 'Givers And Takers' tells the deepest and most heartfelt story with some howling organ backing it up. This ain't gentle, and it's only occasionally subtle, but it sure as heck is good Blues.

Andy Snipper

TONY JOE WHITE Deep Cuts Munich

To be honest, I normally don't have a lot of time for re-recordings of songs that, no matter the genre, have had some sort of impact on me. All too often the new versions detract from the

originals. However, that is far from the case with this collection from the swamp man himself. "Deep Cuts" drags into this century ten well-known tracks from Tony's back catalogue and completely re-works them. So, rather than ending up with a diminished return on your investment, this feels altogether new, fresh and invigorating. For sure, the trademark deep southern growl is still firmly in place, along with his distinctive guitar sound. However, I was not expecting the wonderful use of loops, delays, digital drums and street beats that permeate throughout this record. It is a very contemporary sound and should appeal to the younger guns out there without alienating those more attuned to the more traditional elements in music. I loved it from the moment of the opening instrumental 'Set The Hook' quite literally got me on the line. I doubt that you will be disappointed by the likes of 'Soul Francisco', 'High Sheriff (Of Calhoun Parrish)', 'As The Crow Flies' or 'Aspen Colorado'. Produced by his son, Jody, this is a worthy addition to Tony's substantial musical armoury.

Graeme Scott

KITTY, DAISY & LEWIS

Kitty, Daisy & Lewis

Sunday Best

Kitty, Daisy and Lewis are, as the name suggests, a three-piece band. Comprising uniquely of teenage siblings, their music is a heady mix of jump Blues, country and old-fashioned rock'n'roll. Multi-instrumentalists across multiple genres, their music is easily recognisable and easily accessible, too. With a deliberate slant towards a '50s sound, aided by using recording equipment of the era, this self-titled production would have gone down a storm fifty years ago. That is a compliment not a complaint, as this album fairly rocks with vibe and mood. Fans of piano, banjo, ukulele, double bass, lap steel and accordion will be entertained from start to finish.

Jamie Hailstone

Even the xylophone comes in from the marginalia of the band. The self-penned tunes are very strong and 'Buggin' Blues' is a tremendous piece, lost in time, as it twitches from old-time urban to the porch. Of the work by others, the most readily identifiable is 'I Got My Mojo Working' and it's a mean and vibrant take with heartfelt vocals and effective harmonica. The time warp continues with the introduction of a vision of technicolour ambitions, with their monochrome technology in the Hawaiian pairing of 'Honolulu Rock-A Roll-A' and their own instrumental 'Swinging Hawaii' that closes the album. It's hard not to get up and boogie. Very slick indeed.

Gareth Hayes

MR KEITH LITTLE Take It Off And Get Loose With It

Independent Release

Cincinnati's "King of Blues", Keith Little has put together a CD showcasing his "best work in Blues, soul, R&B, funk and Blues based lite rock." All the tracks, apart from 'Rainy Night In Georgia', were written by Keith and he certainly does cover most of these genres. However, he should probably stay away from the "Blues based lite rock," as the awful and quite frankly cheesy 'Mr. Knocha' will testify. Easily the best of the thirteen tracks is 'Copper Tops', highlighting some fine piano and acoustic guitar. But even here Keith does his best to spoil it, with a needless narrative over the top of some fine playing. In fact, I would have to give top marks to the band and especially Marcos Sastre on guitar, who probably deserves a better arena for his talent. The CD, even down to the ridiculous cover, is just far too slick, and the result is a commercial parody of musical forms which deserve better.

Davide Styles

AARON CURTIS I'm Going To Tell You

Grapefruit

There is no doubt that Aaron Curtis is a talented Blues guitar player. His licks and tone are very traditional, pointing towards a clear Albert/B.B. King influence. "I'm Going To Tell You" presents us with his take on 21st century Blues, infusing a little soul and some funky rhythms on tracks like 'Gone Fishing' and 'Walk On Water', and a slightly more traditional feel on 'I'm Going To Tell You'although, when I say traditional, I'm talking about Albert King's "I Wanna Get Funky" era. While there is nothing particularly striking about the material, it's enjoyable to listen to, until we get to 'The Car And The Man', complete with a jazz funk bass line, flute and acid jazz lyrics that wouldn't be out of place on a Jamiroquai record. There's something quite unpleasant that happens to the Blues when you try to update it. Giving it a more commercial sound, simply doesn't work - not even for someone like Buddy Guy! Aaron's obviously listened to the right records and it would be great for a Blues musician with his talent to stick his neck out and record something far more traditional. I'm absolutely certain that a new audience to the Blues would find this a much more enticing prospect.

Davide Styles

DENNIS SIGGERY

Monday Morning Blues

Southside

They say, quite correctly, that you should never judge a book by the cover. When I looked at this first, I fell into the trap of doing precisely that. Dennis looks nothing like your average musician. From the cover he looks more like you average, maybe even a little stressed out, commuting businessman. I have not heard of Dennis before but apparently this is the third, and final, instalment in a set of albums dedicated to one Big Sailor John. It is a bit of a mishmash of styles and pace. Not sure who gave him the challenge of doing eleven songs all completely different but, for me, it then leaves you with no clear idea of the real Dennis Siggery. Having now said the above, what did I actually think of the music? Well, it is not half bad at all. Mostly all the instrumentation is supplied by producer Neil Sadler, with harp and sax by Nigel Pugh. In particular, 'Checking In' moves along very nicely, as does 'Song For H' and 'Get On Up'. The atmospheric 'Mama' and the slow Blues title track are fine, as well. So, an okay effort from Dennis, but maybe next time he should not try to cover so many bases on one album.

Graeme Scott

KILL HENRY SUGAR Swing Back And Down Surprise Truck

This duo, Erik Della Penna and Dean Sharenow, met whilst both session musicians in the '90s, before deciding to work together. This album is an eleven track collection of rootsy, sparse, country-folk, with just hints of the Blues. Whilst it was recorded in New York, it has a distinctly Irish feel, with self-written songs that sound like old folk standards. Their music definitely goes against the grain and harkens back to a different time and

THE BONNEVILLES

Good Suits And Fightin' Boots

Motor Sounds

place that has long since passed. The instrumentation is essentially drum and dobro, which is certainly engaging, and lyrically the band are very talented. Highlight of the album is 'This Is The Kingdom', which is an absolutely superb track with a great story and superbly crafted by the two. New York City politics and the corruption it dealt with in the city's early years is described in 'Tammany Hall' - deep stuff and far from pop music. Wistful, plaintive and music that demands a second listen, KHS have created a fine modern day folk record that is well worth hearing for lovers of roots music.

Andrew Baldwin

MIRANDA BARBER Lips' Decision

Barbershop

Double bass contours run throughout Miranda Barber's debut album, intriguing and enticing at each turn. It's hard to listen to her music with your eyes open, sensory subtleties demand attention. Each track is piano-led, because that's her instrument, so there's no blistering guitar-attack here, or excessive drum or anything that makes you want to shake, rattle or roll. It's also not from the redemption porch or plantation fields either; this is more Sade than shady, more Krall than crawl. It's curl up on the sofa and lose-yourself music. Lyrical metaphors take different meanings on each repeated listen, from sexual innuendo to feelings of loss and sorrow to Antipodean mischievousness. 'Show Me Yours' is a little more obvious with lines like "leave the light on/Cos I want to see/What you're doing to me." 'My Roof Has Got A Hole In It' also has a more obvious meaning relating to the fears that appear when things don't go to plan. Miranda's plan is to cover elements of many genres, a folky neo-classical approach to jazz with Blues sentiments throughout. Emotional emptiness contrasts with fulfilment and a better term may be Bluesy rather than pure Blues, although the heartfelt 'Blues

This duo describe their music as "garage punk Blues," and I certainly couldn't disagree with their opinion - it hits the nail square on the head. This is aggressive, wild and loud. Hailing from Lurgan in Northern Ireland, they cook up a stew of dark and heavy tunes about fighting, women and whiskey; this is not for the faint of heart! Similar to The Black Keys but much heavier and not far removed from the Jon Spencer Blues Explosion. The band is just Andrew McGibbon Jnr on guitar/vocals and Chris McMullan on drums. 'I Don't Like Whiskey' is a song about dying alone in the graveyard of a foreign town - Mcfly these guys are not! 'God Might Love Me (But He Doesn't Know Me Like The Devil Does)' is a slow dirge like Blues in a good way, with great lyrics and a great title. 'No Government, No Country, No King' is so heavy and earthy it seems anchored to the local waste grounds, and features a fine vocal. 'The Drag' is another highlight, which could pass as a new genre of heavy metal Blues; it's so low down and deep, with a great bass like riff. Full of attitude and stripped down to the bare essentials, this is a really enjoyable assault of Irish garage Blues.

Andrew Baldwin

Day' and superb 'Bad Man' could have you crying if the sofa is a retreat. Miranda deflects her pace with tip-toe and tease, and her undercover attraction and presence is both delicate and sassy in equal measures.

Gareth Hayes

LITTLE FREDDIE KING Messin' Around Tha House

Madewright

Little Freddie is one of the more obscure of New Orleans' musical treasures. I first came across him a few decades back via an album where he shared the billing with one Harmonica Williams. He has hardly hogged the limelight since, though his 2005 Fat Possum CD brought him some welcome attention. The straight Blues is something of a rarity in the Crescent City, but that is what this exMississippi sharecropper purveys. Don't expect Freddie King Senior styled licks from this singer/guitarist, but do listen out for down-home sounds in the fashion of Howlin' Wolf, Muddy Waters, vintage B.B. King, and Guitar Slim (from a similar background, of course). The notes also mention Junior Kimbrough and RL Burnside, and a similar rawness is certainly present. Freddie's vocals are cracked and totally authentic in a fashion almost lost these days and the little band, under the leadership of drummer/producer/label owner "Wacko" Wade Wright, is totally attuned to this style. There are also three up-to-theminute remixes of songs recorded earlier and I can imagine the gasps of horror from purists, but they work (samples, scratching and all!) and to my mind link in with post-Katrina New Orleans. I have no hesitation whatsoever in recommending this CD to all the real Blues lovers in the house.

Norman Darwen

WHITESNAKE 30th Anniversary Collection

EMI

When I were a lad, Whitesnake were my band, and to this day I will defend Mr Coverdale to the death. Now here's a triple CD celebration of all things 'Snake. Of course, it's only five years since the 2CD, thirty-six track "Silver Anniversary" collection, the seventeen track "Best Of" album, and the eighteen track "Early Years" compilation, so even I'm toiling to come up with reasons to buy this one. However, strip away the marketing and you are left with fifty-two tracks of top quality rock, which covers his entire post Deep Purple career, bar his two early solo albums. Blues fans probably won't stray past CD one, all of which is pre "Slide It In", bar 'Gambler', and is full of the material that made Whitesnake so popular in the UK. The second CD mainly takes in the shiny US years, alongside a couple of tracks from the Coverdale/Page album and some live material, leaving the third CD as the interesting one. It's the one that ranges over the full thirty years bringing in forgotten gems like 'Love To Keep You Warm', coming right up to date with 'Best Years' from their recent "Good To Be Bad" album. There are some good sleevenotes from Mr Coverdale and it's just a shame that record label shenanigans prevented the appearance of anything from the "Whitesnake" and "Northwinds"

albums, especially the latter, which is an out-and-out Blues, rock and soul classic. It's a fan-only release, but a thoroughly enjoyable one.

Stuart A Hamilton

DONNA GREENE & THE ROADHOUSE BUDDIES A Girl's Gotta Have A Little Pleasure

Dixie Blue

After setting the scene with the Dinah Washington-styled big band Blues of 'Baby Get Lost', the listener expects big things from the sultry and sassy Ms. Greene and band - but then proceedings stray into singer/songwriter territory on the next number. This is only a temporary aberration, though, as the jazz standard 'Comes Love' gets a Bluesy treatment, with a nasty sounding trumpet (that's a compliment, by the way) and Greg Loeb's lead guitar work beautifully complementing the vocals - as it does throughout the CD. The remainder of this excellent recording neatly treads that fine line between Blues and jazz, and should satisfy followers of both genres. Highlights include an excellent cover of the Johnny Otis/Little Esther hit 'Double Crossing Blues', the flirty, jazzy title track, the cool and naughty 'Shoe Boy' and a lively cover of Ray Charles' 'Mess Around'. Well worth checking out in other words.

Norman Darwen

LIAM GRUNDY

Richmond

Hot Tomale

Liam Grundy is predominately a solo pianist and vocalist. On this album, though, he is supported by friends Preben Raunsbjerg, Richard Sadler and Steven Rushton on guitar, bass and drums respectively. The musical content mixes traditional slow Blues with more upbeat honky tonk and rockabilly material. Liam plays regularly with Scotty Moore and the music here is grounded in Americana from the '50s and '60s - you can understand why Scotty selects Liam to play in his touring band as, besides being an excellent pianist, he delivers some smooth vocals that sit easily with the various styles covered on this album. The majority of the songs included her are covers; particularly impressive are Amos Milburn's 'Let Me Go Home Whiskey' and Doc Pomus & Mort Shuman's 'Mess Of The Blues', where the ivories are worked to great effect. This album is very easy on the ear and the fourteen tracks are all very well recorded, leaving you with a satisfying listening experience. If you like your Blues with a dollop of authentic rock'n'roll, this will be a must buy album for you.

Adrian Blacklee

REBECCA LYNN HOWARD No Rules

Saguaro Road

This is a belter of an album and, in a sense, the title says it all. For here we have an album that covers many of the genres so beloved by music journalists hell-bent on pigeon holing artists. By the very fact that it crosses different

VAN MORRISON

Veedon Fleece Common One

Inarticulate Speech Of The Heart Live At The Grand Opera House Belfast No Guru, No Method, No Teacher Enlightenment

A Night In San Francisco The Healing Game

Exile/Polydor

These eight albums make up the second stage of the reissue programme, with remastering and bonus tracks. The lyrics on these albums vary from introspective, spiritual, challenging and pastoral to clichéd, trite, recycled and downright odd. The one constant throughout is the quality musicianship and, of course, Morrison's distinctive, edgy, intense and soulful vocals. "Veedon Fleece" (1974) is an introspective and poignant masterpiece full of Celtic mysticism and majestic music. The opening 'Fair Play', 'Linden Arden Stole The Highlights' and 'You Don't Pull No Punches' rank among Morrison's finest work. "Common One" (1980) originally featured six extended, soothing and meditative pieces, including the beautiful and serene 'Haunts Of Ancient Peace' and the jazzy 'Summertime In England', and now includes two alternate take bonus tracks. "Inarticulate Speech Of The Heart" (1983) is a low-key affair containing four instrumental tracks and the spoken tribute to one of Morrison's influences, 'Rave On, John Donne'. "Live At The Grand Opera House Belfast" (1985) finds Morrison, in good voice and with a cracking band, performing in front of a rapturous hometown audience, who cheer his every move. Much of his best material from this period is featured, including 'Dweller On The Threshold', 'It's All In The Game', 'She Gives Me Religion' and 'Beautiful Vision'. The 1986 album "No Guru, No Method, No Teacher" contains the wonderful spiritual song 'In The Garden' and the Celtic anthem 'Tir Na Nog' but, overall, drifts perilously close to self parody. "Enlightenment" (1990) kicks off with the funky rocker 'Real Real Gone', which sets the tone for this more relaxed effort. The spoken and rather extraordinary 'In The Days Before Rock'n'Roll' name checks Elvis, John Lee Hooker and Lester Piggott. "ANight In San Francisco" (1994) is a lively 2CD set featuring various guests, including Jimmy Witherspoon, who duets on 'Lonely Avenue', 'Stormy Monday' and 'Have You Ever Loved AWoman'. Junior Wells plays harp on 'Good Morning Little Schoolgirl' and 'Help Me' and John Lee Hooker growls his way through a speedy 'Gloria'. "The Healing Game" (1997) is a mellow offering, which heavily features the backing vocals of Brian Kennedy knocking the edge off Van Morrison's delivery. The material is mostly uninspired, with the exception of 'Piper At The Gates Of Dawn', featuring Paddy Maloney on Uillean pipes. So, there you have it, eight albums by a vocal master whose Bluesy voice and jazzy feel have made him one of our top live performers for the past forty years.

Dave Drury

spectrums, it keeps your interest all the way through, from the brilliant selection of choice covers to those tasty selfpenned ones from the two times GRAMMY Award winner. The album opens strongly on the cover of 'Shakey Ground', if that is not a weird way of putting things, before the first home-grown 'New Twist On An Old Groove'. You can't help but have Shania Twain spring to mind listening to that song but then in the next moment all thoughts of her are replaced by ones of Aretha, as we have the fine Blues/soul/gospel treatment of 'Do Right Woman, Do Right Man'. Powerful ballads, like 'What Dying Feels Like' and 'As One As Two Can Be', provide the counter balance to country rockers like

'Soul Sisters' and 'Sing 'Cause I Love To'. Not a true Blues album, however, this is a really fine album and good music is good music after all.

Graeme Scott

QEveryday Drifter

myspace.com/qband

If you came across Q in a bar they would be an absolute pleasure to settle down to with a whiskey in one hand and a hot blond in the other. They describe themselves as "the Baddest band in the Bay area" - I thought that was Metallica - and claim to bring "Chicago to the Bay". They certainly do bring a classic form of Blues to the stage and most of these twelve originals and three covers would go down really well in any Chicago club. Tracks such as 'Big Leg Blues' or 'Big Fat Momma' are stereotypical choogling Blues, although they do get really soulful and Isley-esque on 'Smokey Love Song', and 'The Ballad Of J' is a fine ballad. Shadowalker's vocals are a little lightweight - like Robert Plant without the power - although …continues on page 111

Ai! Si! Si! Mambo And Latin Flavoured Rhythm & Blues

El Toro

In the mid-50s, Americans went nuts over the mambo. All across the country, people were gyrating wildly to the strains of Cuban music that presaged today's salsa. Most songs had the word "mambo" in the title: 'Mambo Boogie', 'Niki Niki Mambo', 'Mambo Baby Tonight' and even 'Mambo Santa Mambo'. All the songs collected here were recorded between 1954 and 1957; this CD documents a craze. And as with any craze, it attracted a lot of artists looking to capitalize by superimposing a bit of mambo over their true styles. Many had not a drop of Cuban blood in them. Many of these songs are doo-wop covered with the thinnest of Latin veneers. There is some stuff here of interest to Blues fans: Ivory Joe Hunter does a nice job with 'I Got To Learn To Do The Mambo', for example. The Street Singers offer 'Caldonia's Mambo', giving a Cuban flavour to one of B.B. King's signature tunes. The great Ruth Brown weighs in with 'Mambo Baby', though it's not her finest moment. The Platters and The Drifters make welcome appearances, too. A lot of these songs are fun; you can see how the craze developed. But a lot of these songs are similar; you can see why the craze petered out. And the CD is long: At twenty-eight tracks, thatsa lotta mambo!

M.D. Spenser

In Memory Of Jon Emmett

cd4jon.co.uk

This double CD compilation includes twenty-eight tracks of predominately British rocking Blues that showcases artists that would never normally be heard together on one release, and includes several previously unreleased numbers. The CD has been compiled by friends of Jon Emmett, who sadly passed away last year. Jon was not a professional musician but an enthusiastic follower and supporter of live Blues music in the High Wycombe area. There are too many artists to name individually but to give you a flavour of the type of music you can hear, you have John Crampton (harmonica king), Innes Sibun (superb guitarist), The Spikedrivers (traditional Blues) and Burn (who cover Deep Purples 'Stormbringer'). All but one track are good quality studio recordings, the one exception being Lewis Cohen's 'Long Is The Night', which sounds as if it has been lifted directly from a crackly lump of vinyl! This album includes a plethora of local Blues heroes, with all profits from the release going to the British Heart Foundation Charity, so that's a second good reason why you should

purchase this album immediately. If you need a third, I would suggest that this could become a collector's item.

Adrian Blacklee

Como Now: The Voices Of Panola Co., Mississippi

Daptone

A CD of cappella gospel tunes might not be on the top of everyone's wish list, but "Como Now" is - like everything else on the hipper-than-hip Daptone Records - an absolutely electrifying listen. For those who don't know, Como is the proverbial one-house town, deep in the heart of Mississippi. In the summer of 2006, Daptone Records put an advert in the local press, inviting gospel singers to come down to Mount Mariah Church and record their songs. The result is just astonishing. If you are not moved by at least one of these songs then there must be something seriously wrong with you. Even arch-atheist Richard Dawkins would like this one! Seriously, though, this is the gospel album of the year. The lack of any instruments is barely noticeable, because the voices on offer - particularly the Jones Sisters and Irene Stevenson - are so strong, that is really all you need. Producer Michael Reilly really has done a stunning job. This might be the first Daptone release that you can't dance to, but it is still essential listening nonetheless.

Jamie Hailstone

The Future Of The Blues Vol. 3

NorthernBlues

Seven years on and still going strong for NorthernBlues Music - and Fred Litwin is still taking on the Yanks at their own game south of the border. Some names have leftHarry Manx, Otis Taylor, Janiva Magness… - but new artists have made their mark (think Watermelon Slim, Moreland & Arbuckle, Samuel James, Mason Casey, Homemade Jamz Blues Band…). Watermelon Slim is given the lion's share of three cuts, with the great 'Dumpster Blues' coming from the yet to be released "Live At Ground Zero" DVD. Samuel James sounds like the new Larry Johnson with some dazzling finger work, while Doug Cox and Sahil Bhatt contribute one of the best tracks from their East meets West music. I was surprised by the choice from Moreland & Arbuckle who are, on the whole, let down from this particular selection. Young Mississippi sensations, the Homemade Jamz Blues Band seem to have taken their style from a broad section of artists, including Johnny Winter. Paul Reddick, like Colin Linden, is a Canadian with music seeming out of his veins. For me, Eddie Turner hasn't quite reached consistency yet, and having heard Carlos Del Junco's new release, this is the most accessible, as a lot of it is jazz orientated and technical yet sounds like a classical recital. JW-Jones and The Twisters swing with ease. Mason Casey's 'Chesterfield County' comes from solid, gutsy release "Sofa King Badass". Both Zac Harmon and Mem Shannon come from the classier end of the Blues arena, with smooth styles and worthy lyrical content. Canada's NorthernBlues are one of the record companies who mine the International Blues Challenge for talent, and long may it continue.

Billy Hutchinson

he is capable of emoting well alongside John Peternel's guitar work. The keyboard work by guest David Kessner gives the sound more depth but unfortunately, though, they do sound like throwbacks to the late-60s or early70s. It really is an album that you would buy at one of their gigs, and I'm guessing live they are dynamite.

Andy Snipper

RANDALL BRAMBLETT

Now It's Tomorrow

New West

"Now It's Tomorrow" is more rock than Blues but enjoyable nonetheless. Randall has a kind of raspy vocal quality to his performances and I am not sure even what instrument he is playing. The pounding drum pattern at the back sets things into a fine groove as Randall sings about having a sunny place in his mind where the sun will never run out, as is true of his feelings. The search for contentment continues through 'Everybody Glows', 'Visions' and 'Where A Life Goes'. In fact, the latter is like a conversation with a departed friend. Not morbid in anyway, it is actually quite intoxicating an idea. Funky rhythms permeate through 'Used To Rule The World' and 'Don't Waste Your Time' is the kind of song that when played live gets the lighters out in the crowd. To be honest, I think that this will be a bit of a grower on me. It gets better the more times you listen to it.

Graeme Scott

QUEEN + PAUL RODGERS The Cosmos Rocks

EMI

I was one of those unconvinced by this union - putting it down as just another Firm/Law faux pas on the part of Paul Rodgers. But, I have to admit, I'm rather impressed. As anyone who has seen Rodgers live recently will aver, his vocal pipes have survived the years well. More remarkably, Queen have rediscovered their ability to rock. However, the whole album has an awful lot more in common with the Blues-rock of Bad Company than it does Queen, except when Brian May lays down a guitar solo. Goodness knows what the more ethereal followers of Mercury will make of it, though. Opener 'Cosmos Rockin'' actually does exactly that, before we head off into mid-paced Bad Company for most of the album. There are some dreadfully worthy moments, though, so the global warming ballad, 'Small' is well worth missing (just in case you're wondering, Queen + Paul Rodgers think it's a bad thing). 'Say It's Not True' is also one to skip and 'We Believe' is a dreadfully hackneyed power ballad. But when they riff it up on songs like 'Still Burnin' and single 'C-lebrity', the years roll away. It's like the last thirty years never happened.

Stuart AHamilton

WALTER "WOLFMAN" WASHINGTON

Doin' The Funky Thing

Zoho

A true veteran of New Orleans music, guitarist and singer Wolfman started out backing the likes of Lee Dorsey in the '60s, had a long association with Johnny Adams ("The Tan Canary"), made some excellent albums for Rounder under his own name and almost reached the big time with his 1991 album "Sada". And if anyone knows how to do a funky thang, it's Walter. If the words "shake your booty from side to side" have ever made you feel slightly queasy, this might just be the cure. Mind you, this being New Orleans, there is a lot more to this album than funk. There's a jazz instrumental, rather unimaginatively called 'Wolf Jazz'. Better still, though, are several Blues numbers, showing that though there may be a veneer of smooth soul, Wolfman has that B.B. and Albert King style down pat - though, his guitar work is perhaps a little more comparable to Little Milton's less aggressive approach and his vocals less sophisticated. 'I'm Back', he sings proudly, and that means both New Orleans and the Wolfman - it's good to know.

Norman Darwen

MAC ARNOLD & PLATE FULL O'BLUES Backbone

& Gristle

macarnold.com

You certainly get your money's worth with this album - not only are there fifteen good length tracks but you get to hear an artist who has played with two of the Blues all-time greats, in Muddy Waters and John Lee Hooker. Mac Arnold leads the band on vocals and bass, with an occasional outing on his "Gas Can Guitar", which initially foxed me until I played track six on the CD, entitled 'Gas Can Story', which explains the history of the instrument (replace the word 'gas' with 'petrol' and you will get the picture).The sounds produced by Mac and his band are traditional, earthy electric Blues with some soulful undertones, probably gained during his production duties on the US TV programme "Soul Train". While Mac's vocals are an acquired taste, it does create a true Blues atmosphere, and the material is excellent - the live version of 'I Can Do Anything' (studio cut also included) incorporates a school choir alongside Mac's Arnold's sermon like vocal, creating a very moving finale to the 'Mac Arnold Cornbread And Collard Greens Blues Festival'.

Adrian Blacklee

THE SPIKEDRIVERS Live At High Barn Scratchy

This is the first live album from this Anglo-Irish-American threepiece and it has certainly been worth the wait. It is not difficult to understand why they have built up such a large and loyal following; the big, crystal clear sound shows they have a way with impressive rocking Blues, such as 'Ghost Train Shuffle' and 'Soul Searchin' Blues', or a slower, more introspective original, such as 'Blue Trash', with Ben Tyzack's authentic vocals, excel-

YARDBIRDS Five Live Yardbirds

CHRIS FARLOWE 14 Things To Think About HUMBLE PIE As Safe As Yesterday Is THE ANIMALS Before We Were So Rudely Interrupted

Ark

Greatest Hits Live!

Repertoire

"Five Live Yardbirds" was the band's debut and a major live album of the time. Recorded live at the Marquee Club in London, in 1964, they were told to whip the packed crowd into a frenzy - and that's exactly what they do, with Blues played fast and ferocious. Clapton doesn't shine like maybe he should, but he does play some tasty Blues on 'Five Long Years', whilst Keith Relf adds some tasty harmonica to their staple 'Smokestack Lightning'. The album also has six live bonus tracks, including an extended 'I Wish You Would'. The Chris Farlowe disc is his debut effort from 1966. Whilst he has a superb Bluesman's voice, this is more of a white soul album. It also includes twelve extra tracks (singles and B-sides) that are as good as the original album itself. There's a fine 'It's All Over Now, Baby Blue', which he turns into a soul tune, and could pass for a Stax classic had it been recorded in Memphis. Humble Pie's debut also gets a re-release. Blues, country and folk efforts are all on display, but the first three tracks are real heavy rock crunchers, and feature all three vocalists. The songs here aren't all that memorable, but the music is great. 'Alabama 69' shows their Blues leanings, but set them in an acoustic country setting. Harp, flute and even sitar are all thrown into their mix of post-mod rock. Their fabulous first single, 'Natural Born Boogie', along with the organ driven B-side, 'Wrist Job', are also included. The original Animals reunited in the late-70s to produce "Before We Were So Rudely Interrupted". It opens with a funky little rocker in 'Brother Bill', and most of the other tracks come from great songwriters. Whilst this isn't a bad album, it all just seems a little tired and uninspired. 'Many Rivers To Cross' is a valiant attempt at something a little different, but doesn't quite work. Eric Burdon tends to dominate proceedings and sounds good on a Bluesy recreation of 'It's All Over Now, Baby Blue'. "Ark", from 1983, has a bit more bite, but is less enjoyable with songs bathed in '80s sheen - it's basically pop-rock. The songs here are nothing special, but 'Loose Change' is a decent opener with a punkish attitude. Things are much more enjoyable on "Greatest Hits Live!" - taken from a New Years Eve gig at Wembley Arena in 1983. With all the original members in tow they sound great on 'House Of The Rising Sun', but the highlight would have to be a cover of Sam Cooke's 'Bring It On Home To Me', which is given the real soulful treatment.

Andrew Baldwin

lent slide guitar and its unusual, effective and insistent percussion backing. Their approach could be defined as "Delta Bluesplus", as the band is strongly rooted in the tradition but unafraid to introduce other elements - take a listen to the percussion, which can sometimes recall Doctor Ross's mention of being accompanied by someone scraping a broom across the floor or the Indian drumming on that aforementioned 'Blue Trash'. Or try the very English vocals of 'Two Left Feet'. Or lend an ear to the delicately picked 'Hold Me Still'. Or the ever-increasing energy as the set

draws to a close. Or better still just buy this hugely entertaining CD by one of the best on the circuit.

Norman Darwen

EDDIE BO

In The Pocket With Eddie Bo

VampiSoul

Singer/pianist/songwriter/producer/label owner Edwin Bocage, a.k.a. Eddie Bo, is a real New Orleans treasure, though it used to require a little digging to uncover his riches. With this set that quest should be a little easier. Subtitled "New Orleans Rock 'N' Roll, R&B, Soul & Funk Goodies 1955-2007", what it offers is exactly that. Since making his recording debut in 1955, Eddie has released more singles than any other Crescent City artist except Fats Domino (he is also a frequently tapped resource for the sample merchants). All his music has that characteristic New Orleans sound, from his earliest sides,

which influenced none other than Little Richard, to his cult-ish funk 45s, which are claimed to have inspired The Meters - and I can believe it! There are twenty-eight tracks here, including Bo's work with the likes of Chuck Carbo, Curley Moore, Oliver Morgan, Eddie Lang and others. They should all be required listening to anyone interested in N'Awlins' music, whether that be the '50s sound, the early-60s Allen Toussaint styled approach, the soul of the late-70s or the slippery funk from the following decade. The excellent booklet notes add to the value of an excellent release.

Norman Darwen

ERIC STECKEL Feels Like Home

Me And My Blues

Rapidly attaining veteran status, it's six years since Eric Steckel released his debut album, "A Few Degrees Warmer". Of course, Eric was 11 years old at the time, so 'veteran' may not be quite the right word, but he's put the years to good use, picking up tips from some top dogs, having toured with John Mayall's Bluesbreakers - even doing some session work on their "Road Dogs" record. Now he's on to his fourth studio set, augmented by well-known bass man Mike Esposito and drummer Duane Trucks (Derek's younger brother). With eight self-penned songs, alongside three covers, he's working hard at being an original songwriter, not merely content to regurgitate what went before. As well as singing and playing the guitar, he's also responsible for the tasty Hammond B3 runs that light up some of the songs. He's expanded his outlook into touches of country, roots and soul music, with the Donny Hathaway song 'The Ghetto' highlighting his flair for the latter. He's not the strongest singer out there, but he still has time to grow. There's a lot to enjoy here with the southern rock like 'Don't Look Behind'; the smooth, gliding 'Southern Skyline'; and the dobro enhanced 'Smiling Liar' all being particularly fine examples of a young man who could become one of the greats.

Stuart A Hamilton

XAVIER RUDD

Dark Shades Of Blue

Anti-

'Dark' and 'Blue' are the keywords for this latest release from this Australian multi-instrumentalist, who made his recording debut in 2002. Didgeridoo plays a large part in his music, its characteristic droning underpinning some tracks and influencing the raw, distorted sound of others. At times psychedelic rock - or at least its darker, more unsettling side - is a prime inspiration, adding a strong sense of unpredictability. The spooky vocals add to the sense of dislocation. So, where is the Blues in all this? It is most definitely present in the fractured guitar work - especially so in the slide work on 'Edge Of The Moon' - and in some of the rhythms on this CD. Maybe the clue lies in my use of the word 'psychedelic', as the Blues generally subtly underpins much of the music, as it did for Jimi Hendrix. In fact, if you like Jimi's more experimental sides, or the alt.Blues scene that Xavier Rudd could tap into, you will go for this.

Norman Darwen

RICK FORD Smoke And Mirrors

Faradawn

The album opens with 'A Red Rose', written after an inspiring trip through Eastern Europe and Russia. The sound Rick has on this song is as big as the Steppe's itself. You can taste the open spaces and the hardship of lives spent either in these landscapes or on the fringes of poverty. As a writer, Rick has the ability to conjure up visual images aplenty and you just see the farmer shooting at molehills, for example in the title track. The painting with words is particularly strong on three key moments of excellence, with the songs 'Reflections Of Madonna', 'A Song For Muktar' and 'Beyond The Clouds'. The first looks at those folks dispossessed and broken through either collateral damage or driven out by war. The second tells the tragic story of a young boy, maybe 14 years old, who is a boy soldier in the mire that is war-torn Africa. The last of the trio relates the tale of two lovers driven apart by un-supportive parents. It is a story common to many and very sad. This is a good record.

Graeme Scott

EUGENE MORGAN

Enough Is Enough!

Mojo Boneyard

Better known as the "Georgia Nightcrawler", Eugene Morgan is something of a well-kept secret among his those on his local Blues scene. "Enough Is Enough" showcases his fine, well-worn raspy voice and guitar playing. It's a fine record, with some authentic Blues - particularly 'Root Man' and 'The Other Side Of Me'. The real surprise is the final track, 'Whiskey House', which seriously does rock. Eugene summons up the spirit of Chester Burnett himself and delivers a truly spine-tingling vocal, and the studio band truly let rip and rock out. While the rest of the CD is good and gets better with every listen, this track is the 'real deal'. A special mention should also go to harmonica players Tom 'Little Buck' Coyle and Larry Siefers, who both contribute some truly scorching Blues harp on various songs. "Enough Is Enough" is an authentic slice of down home and rocking Blues. It might not be the most polished release you will listen to this year, but it's the real deal, and Eugene Morgan deserves some more recognition outside his own locality.

Jamie Hailstone

ARI BORGER QUARTET AB4

ST2

Anyone for acid jazz from Brazil? Ari Borger plays Hammond B3, piano and various keyboards and, together with his fine band, cooks up an energetic and exciting stew of jazz, rock and Blues. The self-penned opening track, 'Trip Song', is a great jazz/funk rocker featuring a catchy piano riff and wailing Hammond organ. Borger is clearly influenced by some of the great Blue Note artists and there is a superb, driving cover of Herbie Hancock's 'Blind Man', which features interesting harp blowing from Flavio Guimaraes. 'Nem Vem, Miles' is a vocal tribute to Miles Davis in his later electronic period and is, of

ANDRE WILLIAMS & THE NEW ORLEANS HELLHOUNDS

Can You Deal With It?

Bloodshot

Andre Williams' career spans fifty years in which he has worked at labels such as Chess and Motown. Apart from his own releases, he has written and produced for the likes of Stevie Wonder and Ike Turner. "Can You Deal With It" sees him paired with The New Orleans Hellhounds, a spinoff of Morning 40 Federation, which has something to do with drinking 40oz of malt liquor first thing every morning and wouldn't be recommended. The band built up a reputation playing the bars and clubs of New Orleans' 9th Ward, where an authentic taste of New Orleans replaces the souvenir shops, selling their brightly coloured voodoo dolls. So what do you get if you mix a sleazy 72-year-old R&B singer with a bunch of hedonistic alcoholics? Distorted guitar riffs, rumbling Hammond organ and stabbing horns, mixed with William's throaty roar combine well on tracks like 'Never Had AProblem' balanced with grooving R&B on 'If You Leave Me' and more traditional offerings like 'Rosalie' and 'If It Wasn't For You'. Frightening thought it might be, and like some sort of intoxicating cocktail, the first taste may be bitter, but let it into to your system and the result of this heady mix works surprisingly well. Maybe it's the fact that Williams and his backing band respectively bring with them the old and new experience of real backstreet juke joint music.

Davide Styles

course, sung in Spanish. There is a cover of Horace Silver's terrific 'Senor Blues', which is given a Latin style treatment with congas featuring prominently. The pace drops slightly for 'Acid Groove', with its loping, almost ponderous feel. 'Tributo A Oscar Peterson' features Borger swinging and paying homage to the great Canadian jazz pianist. The album closes with another original song with a retro feel to it, 'Soul 61'. The musicianship and sound quality is excellent throughout, and this enjoyable album should appeal to those who appreciate The James Taylor Quartet.

Dave Drury

CHARLIE PICKETT The Best Of Charlie Pickett And Bar Band Americanus

Bloodshot

It's the nature of the beast that many great bands will slip by largely unnoticed, not able to reap the recognition that they deserve. Even hardworking musicians like Charlie Pickett And The Eggs (later becoming MC3), who in the '80s recorded three records and gave explosive live performances, but never built anything other than a small cult following outside of their Florida home. Credit therefore must be given to Bloodshot Records, who have given us the opportunity to sample material from all three albums, rare and previously unreleased tracks and even four live cuts. Drawing on a strong Blues and roots influence, the material will appeal to anyone interested in guitar driven rock'n'roll, very much in the mould of The Rolling Stones, particularly from the late-60s and early-70s era, or perhaps a modern comparison would be The White Stripes. Indeed, The Rolling Stones influence is unashamedly evident throughout, particularly on

tracks like 'Get Off On Your Porch', the excellent 'Penny Instead', or 'Heads Up-Heels Down'. The standout track, however, is a sublime version of Son House's 'Death Letter', where Charlie and the band perform the song as if it were written for them. "Bar Band Americanus" is an excellent representation of Charlie Pickett's work and comes highly recommended.

Davide Styles

ROLAND CHADWICK Freedom Dreamer HomeFront

Roland is "a guitarist's guitarist", acclaimed by John Renbourn and Tommy Emmanuel, who has played with Steve Vai and The English Chamber Orchestra, among others. Classically trained, he was born in Australia in 1957 and eventually settled in Britain in 1998. Not much about the Blues so far then, but he has recorded Blues albums previously - 2006's "Native Tongue" included ex Jethro Tull drummer Barriemore Barlowe - and works from time to time with harmonica ace Alan Glen (The Barcodes, Yardbirds, Incredible Blues Puppies and more). Alan contributes to 'Freedom Dreamer', and the combination produces some of the set's Bluesiest moments. Roland, like some of those names mentioned earlier, is equally adept at rock, pop, world, traditional folk and singer/songwriter styles - all of which are here and of interest to guitarists and lovers of good music. The Blues underpins much of his style, as it must for anyone who defines himself, as Roland does on his website, as a "contemporary guitarist." Roland's Blues numbers avoid cliché and are experimental and exciting, but he saves the best for last, as he and Alan create a thrilling, stunning finale with a cover of Led Zeppelin's 'Bron-Y-Aur Stomp'. If some of the other material

wasn't as good as it is, I'd be tempted to write this is worth the price of the album on its own!

Norman Darwen

GARY LOURIS Vagabonds

Rykodisc

The first solo album from The Jayhawks' alumni Gary Louris is a cracker of a record. Good music transcends the obvious need of journalists to fit artists into acceptable genres. It is the same with what I call narrow casting playlists, all too often found on many radio stations. I grew up listening to all sorts of music and have never lost that childhood joy of waiting to see what was coming next on an LP or the radio. So it is with "Vagabonds", as there truly is something for most tastes hereBlues, folk, country, gospel, Americana…and it just works so well. I suppose a lot of that is down to the sequencing of the tracks. Throughout, Gary's vocals stand out beautifully in the mix. The arrangements are never overly complicated and production is kept to just about the correct level. It is an album that just sounds right from the off. I'm drawn to ' To Die A Happy Man', 'Black Grass', the title track and 'She Only Calls Me On Sundays', reminiscent in so many ways of "Harvest Moon" era Neil Young.

Graeme Scott

G. LOVE & SPECIAL SAUCE Superhero Brother

Brushfire

I never, ever, expected to be reviewing G. Love & Special Sauce for a Blues magazine. That suggests the general music scene is beginning to absorb roots back into its heart and that can

only be good for Blues and for music in general. And is it any good? Actually, it is - very good! From the Little Feat riddims of 'Communication' to the Meters style fonk of 'City Livin'', the whole thing is punchy, fluid and fine. 'Wiggle Worm' has all the sloppiness you could wish for, along with huge basslines and a wiggly rap, 'Peace, Love & Happiness' wouldn't be out of place on a Dr John album - you get the picture? This album is packed with so many different flavours but it isn't a mess; it delivers just about every style that the hip hop trio attempt, from Blues to cod-reggae and even dinner jazz. 'Who's Got The Weed' has definite links back to Cheech & Chong by way of War but the title track contains the best playing on the whole album, in a Delta guitar style but cut with Chicago rap. This isn't the album to appeal to the Blues purist but, in the multi-faceted world that the Blues inhabits these days, it is well worth the attempt.

Andy Snipper

MARC FORD The Neptune Blues Club

Provogue/Shrapnel

Someone will know if there is actually an establishment out there with the moniker that singles out this album from former Black Crowes alumni Marc Ford. Or it could be just the name that he has given the group of musicians he has gathered

around him for this cracking album. I much prefer this to 2007's "Weary And Wired", which was not a bad album in itself - this just feels more rounded. This new album is shot through with Blues influences, lots of fine guitar well to the fore and strong songs. So, this album has everything going for it as a complete package. There are twelve songs; from the opener 'Main Drain', a nice fusion of Blues and with some funky fuzz laden guitar, through to 'Keep Holdin' On'. This is much more of a band outing rather than a solo body of work. The guys are very much a part of the whole rather than bit players. As a result, 'Locked Down Tight', for example, is exactly that. This sounds kind of reminiscent of early Doors, both vocally and rhythmically, so it works for me. 'Freedom Fighter', a slow Blues, is absolutely top-notch stuff, where Marc pulls out all the stops on his solos. There is fun, too, with the Chuck Berry inspired 'Go Too Soon'. All in all, I liked this album a lot.

Graeme Scott

BAD PENNY Return To The G-Man

Greentown

German folk/rock/Blues band, Bad Penny are longstanding Rory Gallagher fans, naming themselves after one of his songs, and now they've released an entire album of Rory Gallagher cover versions. Now, I'm sure a lot of you will be thinking, "What's the point?!" Well, by and large, it's not a straight covers project. Instead they've pushed their folk influences to the fore, bringing something a little bit different to the songs. With the basic band comprising Ola Van Sander (vocals/guitar/dobro), Axel Hennig (vocals/bass) and Peter Moller (piano/keyboards/accordion), theirs is an unusual instrumental line-up that is put to good use. They've also brought in a guest violinist on a few songs, just for added flavour. So, what you end up with is a Cajun, zydeco and folk take on the material, making it more a reinterpretation than simply covering the Gallagher songbook. How you will take to an accordian driven version of 'Hot Coals' is going to depend on how devoted you are to the original material. The best track is probably 'At The Bottom', where the violin of Antolie Avacumow takes the song off into traditional Irish territory. They're certainly devoted Rory fans, trying their best to bring something new to the songs they love, but I don't think I'll be paying many repeat visits.

Stuart A Hamilton

ROY BROWN

Saturday Night! King Of Imperial Recordings

El Toro

Along with Joe Turner and Wynonie Harris, Roy Brown was one of the most influential Blues shouters of the late-40s. The writer of 'Good Rockin' Tonight', it was his 1947 chart success that Elvis closely followed, when he covered the song in 1954 (rather than the more famous 1948 hit for Wynonie Harris). Seven top ten hits followed 'Good Rockin' Tonight', but his star began to fade when he got involved in a dispute with Syd Nathan of King Records over royalty payments. Brown took legal action against Nathan and the label owner's response was to sideline him. A long spell unrecorded and poor

BUDDY GUY Skin Deep

Legacy/SonyBMG

Guy might be into his seventies now, but he lets loose with some wonderful guitar playing on this fabulous new release. 'Best Damn Fool' is the opener and states his intent from the get go, with some fine aggressive guitar playing, wailing against the backing horn section. He is also in fine form vocally - he has always been valued as a great Blues guitarist, and rightly so, but he has a great Blues voice, too. Several guests show up to lend support, namely some instantly recognisable slide work from the genius of Derek Trucks, as well as fine performances from Robert Randolph and Susan Tedeschi. Guy even manages to coax some soul from Eric Clapton on 'Every Time I Sing The Blues'. 'Lyin' Like ADog' is an excellent Blues cut, which features some lowdown and dirty guitar from the main man - warts and all it is how the Blues should be played! The title track features Trucks, and is a slow song with a message and, more importantly, feeling. Robert Randolph lays down some nice steel guitar on 'Out In The Woods', but it is not just the guests who impress with the likes of Willie Weeks and Reese Wynans in the band. Full of great Blues and funk, this is easily Guy's best release for many years. Highly recommended.

promotion meant that he faded from the view of the R&B audience and it is these forgotten sides, recorded for King between 1953 and 1955, that make up the bulk of this collection. Augmented by some of his early recordings for Imperial, songs such as 'Midnight Lover Man', 'Up Jumped The Devil' and 'Black Diamond' are as good as anything recorded by his contemporaries during the same period. Roy Brown may not have had the vocal power of Harris, or the versatility of Joe Turner, but he filled his songs with a feeling and passion that surely allows him to be hailed as one of the founding fathers of rock'n'roll.

Davide Styles

MASON JENNINGS In The Ever Brushfire

Personally recruited by Jack Johnson for his label, "In The Ever" is Mason Jennings sixth album. Jennings draws on influences that include Mississippi John Hurt, Leadbelly, Johnny Cash and Hank Williams, but while his influence from traditional American folk is clearly evident, he draws on this influence to create something slightly more contemporary. The big problem with "In The Ever" is that it clearly opens a porthole to a spiritual journey that Jennings finds himself on and, for that reason, it isolates the listener to an extent where it becomes uncomfortable to listen to. The success of most forms of folk music

Andrew Baldwin

depends on an affiliation between the performer and listener, and there's something slightly distasteful and, without wanting to be too critical of Mason Jennings, something pretentious about expressing your own emotion and then trying to sell it to an audience. However, if you succeed in separating yourself from this issue, there are some good songs - 'How Deep Is That River' and 'Soldier Boy' clearly standout from the tortured 'My Perfect Lover' and the appalling 'I Love You And Buddha Too'.

Davide Styles

BETH HART 37 Days

Provogue

I believe this is Beth Hart's fourth album, taking its title from an economic 37 day live in studio recording, mostly in Burbank California. The themes are both cathartic and challenging, in which Hart seems to find herself personally and artistically after some years in the wilderness, recovering from self-confessed over-indulgence. Now after a successful European tour, and plenty of marital support, her self confidence and stride seem to be in tact. Hart's punchy piano is featured throughout, and the lyrics have a wider coverage, from an alternative take on Robert Johnson's fabled pact with the devil, suicide, overcoming personal demons and socio-political commentary. There is no holding back in her vocal delivery - very much in the same vein as Melissa Etheridge, but using, perhaps sometimes abusing, a rhythmic vibrato, reminiscent of Roger Chapman (Family). The music is straight ahead rock, with more than hint of unbridled protest, such as the ferocious attack upon the George Bush administration in the angry-as-hell 'Sick' and 'Face Forward'. Warren Haynes' pure gospel 'Soul Shine' is better, played at a deliciously slow tempo, with Hart's tremulous voice pleading and exhorting through the positive mes-

sages and employing light and shade in a way that best highlights her talent. Three bonus tracks including the breakthrough hit 'LA Song' conclude the seventeen track album. The only criticism is that her vocal strength is somewhat overwhelming, and when she gives the screams and shouts a rest, it is a welcome change.

Noggin

RUTHIE FOSTER The Phenomenal Ruthie Foster Blue Corn

Well, finally, Ruthie Foster has made a full-throated R&B record worthy of her talent. Mining a mostly acoustic folk and country Blues vein, the Texas singer and guitarist had recorded worthy albums, notably 2002's "Runaway Soul", but for years people have compared her to Aretha, so it shouldn't have taken a genius to figure out she ought to be singing more soul, with maybe some gospel thrown in. But it did - producer Malcolm "Papa Mali" Welbourne. This is, in some ways, a break-up record: Foster recently ended a tenyear relationship. But it is an affirmation, tooof faith, the ability to feel, the solace of friendship and the miracle of being a woman. The songs range from the wistful 'Cuz I'm Here' to the highoctane soul of 'Heal Yourself,' one of five originals. Along the way, she covers Son House, Sister Rosetta Tharpe, Lucinda

Williams and Eric Bibb. The songs grow on you, burrowing inside, refusing to be dislodged. 'Phenomenal Woman', with words by the author and poet Maya Angelou, is as lush an ode to the richness of womanhood as can be found. "Pretty women wonder/Where my secret lies," the song asks, then answers, "It's in the reach of my arms/The span of my hips/The stride to my steps/The curl of my lips." It may have taken Foster a while to find her true voice. But thank goodness it's happened.

M.D. Spenser

BARB JUNGR Just Like A Woman (Hymn To Nina)

Linn

Everyone will agree that Nina Simone had one of the most distinguishable voices in recording history. It takes a certain credibility to take on an album of Nina Simone songs, and she carries it off. It's smoky jazz-tinged throughout and sub-cabaret done more for the ear than the eye. Barb Jungr is not doing an imitation of Nina Simone, the songs are sung in her own style, but her breathy smooth approach is equally effortless. She is backed by fine musicians who keep to the background, yet are clearly immensely talented, playing mbira, autoharp, mellotron, tanpura to enable the melodrama to unfold. Fans of Dylan should take a look, too, as a number of his compositions are covered here and very different from what we are used to from him, particularly 'Just Look A Woman' and 'The Times They Are A-Changin''. Her different nourish takes on 'Don't Let Me Be Misunderstood' and 'Keeper Of The Flame' grab the attention as does her lonely lament

CARL SONNY LEYLAND A Chicago Session

JOEL PATERSON Steel Is Real

Ventrella

combing 'One Morning In May' with 'The Pusher'. Barb Jungr addresses complex tunes, makes them simple and smooth with a whisper and control that is a perfect compliment to her wish to engage the spirit of Nina Simone.

Gareth Hayes

GRAYSON CAPPS & THE STUMPKNOCKERS

Rott 'n' Roll Hyena

The music on Grayson's last album, "Stavin' Chain", was good and "Rott 'n' Roll" is equally fine. Wide ranging between electric country folk and Blues, the opening cut 'Back In The Country' is indicative of what is to follow. With 'Arrowhead' you are transported to the lands of Tennessee and mellow reflection of life in the hills and valleys. 'Gran Maw Maw' is just a bit of nonsense, almost like a child's rhyme as it repeats constantly the title following a lead in line. I like the grungy guitar sound on 'Big Black Buzzard' and 'Sun Don't Shine On Willy'. The rollicking 'Big Ole Woman' does pretty much what it says in the title. 'Fear Fruit Bearing Tree' is unusual by the fact that it is a spoken Blues. It works very well and displays the often close alliance between song and poetry. It's back to the grungy with 'Sock Monkey', but, to be honest, I have no idea what it is about other than just to have fun. Let's face it; there is nothing wrong with that idea.

Scott

Southampton, England born, long-time US resident singer/pianist Carl Sonny Leyland's last album paid homage to the sound of the Bluebird label Blues of the late-30s to the early-50s. Here he comes more up-to-date, with a CD that recalls very strongly the sound of those early Blues rediscovery albums by labels such as Delmark from around the start of the '60s. The cover and production qualities of this set recall those ground-breaking thick vinyl albums, as does the music. Sonny is more than competently backed by a small jazz-based combo, bass, drums and guitar (often pedal or lap steel), as he works through a programme that includes material from such (sometimes sadly overlooked today) greats as Roosevelt Sykes, Memphis Slim, Piano Red and Speckled Red, plus some originals in the same vein. Sykes, in particular, had no problem with jazz standards, and Carl also continues this tradition, making for a very satisfying set indeed. The guitarist on Carl's set is Ventrella's Joel Paterson; for his own release he highlights the versatility of the instrument, backed by the same fine rhythm section as Carl, plus keyboards man Scott Ligon. Lap/pedal steel guitar may be most associated with country music - most specifically the Bluesy western swing style, and that is certainly here on this all instrumental set. So, too, are some excellent honky-tonk sounds, jazz (from '20s style on up to organ-jazz), Blues, Latin and Hawaiian music. In short then, this is a lovely compilation of American roots music - all with strong Blues content.

Norman Darwen

Graeme

SHELLEY JONES Faithfully

shelleytime.com

This is the third CD from Shelley, a more than accomplished contemporary singer from Edmonton, Canada. It presents music that reflects the diverse influences on her style, and also that the Blues has had on popular music. Shelley has a high, pure voice that can handle material that ranges from the subtly soul styled opener and the rootsy 'I Need A New Song', with its prominent slide guitar, through the funk-lite of the title track, with its Blues-rock guitar, and on to a cool, cocktail jazzy, bossa-nova-ish 'Because Of You' and a Samba flavoured 'Carnival Olè'. The band behind her features the excellent guitarist Jack Semple, who is responsible for injecting a heavy dose of straight Blues into the slow, B.B. King-styled 'Since The Day I Lost You'. So, the tracks are not all Blues related but then the same can be said of some of the other Blues inflected vocalists that have gained mainstream attention recently.

Norman Darwen

HA HA TONKA

Buckle In The Bible Belt

Bloodshot

Ha Ha Tonka are a good example of how traditional music can lose direction in the mess of influences rotating around the world of music these days. Hailing from Springfield Missouri, and described on their website as "foot stompin' indie rock" (is there someone employed to create these new genres?), Ha Ha Tonka thrash out distorted power chords and drench them with tortured bible belt lyrics, pouring forth comment - that I quite frankly found difficult to graspon the darker side of modern living. Listen to 'St Nick On The Fourth In A Fervo' for a taste of what I mean. There's nothing wrong with adding a little contemporary spice to a traditional form, and someone like Andy Dale Petty is a good example of how this can work well, but Ha Ha Tonka are just a little too commercial sounding and I don't think that sits well against a background of traditional music, no matter how earthy, worldly or powerful, the message is. "Buckle In The Bible Belt" has it's good moments, most notably 'Hangman' and 'You Lit Up The Night', where the distorted power chords are replaced with much more subtle piano and acoustic guitar, but unless you like experimenting, or have an eclectic taste, steer clear.

Davide Styles

MATTHEW RYAN Vs. The Silver State

One Little Indian

Matthew Ryan is one of that rare breed, an artist who has never fully broken through and gained mainstream attention, but who survives due to the passionate support of a group of impressively devoted fans. Ryan certainly has a flair for melody and the simple yet effective production here, such as the plaintive fiddle on opener 'Dulce Et Decorum Est', helps immensely. But like many of my

favourite artists (Paul Westerberg, Nick Cave, Tom Wait's and Ryan Adams, among others) his real strength is his way with words. When on 'Hold On Firefly' he sings, "The rotten apple of her eye/Talks junk on weekends/At a dump called the firefly/He's laughing with his friends," the words work perfectly to capture the emotion. I didn't know anything about Matthew Ryan before this CD, but one thing is now clear, I need to hear more!

Matt Merritt

MG BLUES Around Sonny Boy Williamson (1914-1948)

Universal

Michael Mansour, part-time doctor to the underprivileged plus lead vocalist/acoustic guitarist, and Andrè Grondin, harp man extraordinaire, are the M and G of MG Blues. The album was

COLD WAR KIDS Loyalty To Loyalty

V2/Cooperative

With their hit debut album, "Robbers & Cowards", Cold War Kids enjoyed more fame as a Blues act than any other. The raw amplification of The White Stripes was the immediate point in which everyone seemed to compare them, which, in hindsight, seemed to work. Where critics claimed that this was the second coming of the Blues, in actuality it was more of a precursor to their sophomore effort, "Loyalty To Loyalty". As a whole, the album works as a colossal mountain of pain and suffering. It works as much as a slow-burning record as it does a nosedive into speculation of what the band could have churned out. Where "Robbers & Cowards" seemed destined for radio-play and mainstream success, the band proves they are willing to write against this. The album's opener, 'Against Privacy', feels like a letter to those pronouncing them the next best thing last year, whereas 'Mexican Dogs' is more raw than anything previously heard by them so far. The jaunty way the piano accompanies the lyrics throughout the album transports the listener to a saloon in the wild-west, however, it is always grounded. There is a larger sense that the band has seen more, thus they feel more and finally, you, as a listener, feel more. It is fantastic to at long last find a group who have not found the difficult second album curse.

Matthew Clarke

recorded in the Studio Le Loft, Montreal, Quebec with what appears to be a French-Canadian backing band. The duo take the limelight in this sympathetic tribute album to Sonny Boy Williamson I, who died tragically young at 35, the victim of a brutal attack. However, he left behind a tremendous legacy of 120 compositions, some of which have survived into popular posterity and are still the staple of many an aspiring Blues artist, for example the ubiquitous 'Good Morning Little Schoolgirl'. Perhaps wisely that song is not featured in this thirteen song CD; which chooses to concentrate on some of his less well known tunes, like 'Willow Tree Gal' and other suitable contributions of the same ilk, for example Willie Dixon's 'Hoochie Coochie Man' and, naturally, Robert Johnson's 'Me And The Devil Blues' and 'Stop Breaking Down'. What is striking about this wonderful acoustic country Blues release is firstly how well the songs have stood the test of time and secondly the wonderful warmth of the recording.

Noggin

SIMON McBRIDE Rich Man Falling

Nugene

Once upon a time Simon McBride, aged only 15, found himself snapped up by New Wave Of Heavy Metal act Sweet Savage. Since then he's been touring the world as a guitarist for hire, but now he's found his voice and his muse on a very impressive set of contemporary Blues-rock. There are no real surprises, as it's traditional, hard driving Blues-rock, but McBride has a strong singing voice and a robust guitar style that will please fans of Walter Trout and Joe Bonamassa. There's plenty to enjoy here with the riff driven 'Fat Pockets', replete with southern rock style backing vocals and the slide drenched 'Devil Woman', a pair of absolute treats. Some of the tunes, like 'You Got A Problem', have a sweet, rolling funk feel about them, and the filler is few and far between. He also lets us have a peek at his influences, with a brave take on the FREE gem 'Be My Friend'. He also closes the album with the Jimi Hendrix tune 'Power Of Soul'. But his own material is good stuff indeed. His trio, completed by Paul Hamilton on drums and Gareth Hughes on bass, provide solid backing, and if he can turn on the style live, then he's certain to make a lot of friends in the Blues world.

Stuart A Hamilton

BILLY BOY ARNOLD Billy Boy Arnold Sings

Sonny Boy John Lee Williamson

Electro Fi

Neither Billy Boy nor Sonny Boy will need anything in the way of an introduction to Blues fans. In the same way, the musical careers of both artists will also be familiar to all. This new release will allow those who wish to have the songs of Sonny performed with much love and reverence by Billy within their CD cabinets. As a little bonus, there are also three of Billy's own tracks included within the seventeen songs. The band, comprising Mel Brown (piano/guitar), Willie Big Eyes Smith (drums), Bob Stroger (bass), Billy Flynn (guitar) and, of course,

Billy Boy (guitar/harmonica/vocals) are just in stonking good form from the off. They come out of the starting gate with a trio of smoking songs, '$1000 Dollar Bill', 'Love Me Baby' and 'Mellow Chick Swing'. Slow Blues is represented here by 'Sugar Mama', 'Collector Man Blues', 'Decoration Day' and the evocative 'Black Gal Blues'. It is the supreme foot tappers like 'Half-aPint', 'Around This Old Juke Tonight' and 'Good Morning Little School Girl' that float my boat a lot. This is a fabulous album. It has a ring of truth about it, being as it is a nod to what has been before, and shows that fine music lives on. Some of the songs stretch back to the '30s and yet still sound fresh and exciting today, and that is no mean feat.

Graeme Scott

MIKE O'LEARY Footprint

myspace.com/mikeolearyband

While Mike will never be classified as a great vocalist, he performs admirably on this solo release, which incorporates a range of self-written material covering mainly electric Blues-rock styles, with some small doses of country thrown in for good measure. The musicianship throughout the album is excellent and there is some quality slide guitar playing on several tracks, particularly impressive is the work on the best track of the album; 'Evangeline' (from the album notes, this appears to be thanks to Mark Wood). The material is good throughout and you have to 'pinch yourself', at times, that you are not listening to an American artist, as the varied material has a strong Americana feel to it (for the record, Mike O'Leary was born in Hackney, London and now lives in Essex). It is apparent that a lot of effort and care has gone into the recording of this album and I am sure it has been a "labour of love" for Mike. Definitely worth a listen and, if he can continue to write good material, he will undoubtedly be a name you will be hearing more of.

Adrian Blacklee

HUCKNALL

Tribute To Bobby

simplyred.com

Even Mick Hucknall's biggest critics (of which there are many) would have to concede that the lad can hold a tune. But for every decent song, there have been plenty of tabloid headlines and forgettable albums along the way. "Tribute To Bobby" has been billed as Hucknall's first solo album and is a tribute to the great soul legend that is Bobby "Blue" Bland. The good news is that Hucknall's voice is maturing well and has an added depth, which helps on material like 'Stormy Monday Blues'. The bad news is that the wine bar jazz-funk is still there, particularly on 'Poverty'. This might be good news for housewives the world over, who are missing the days when Simply Red ruled the charts, but it does detract from the overall project. The strength of the songs means this is one of the strongest sets Mick Hucknall has ever put out, but if you want to hear how it should be done, then you should really check out the original tracks by Mr Bland himself. "Tribute To Bobby" is credible, but it's too pristine and safe to

be really soulful. If Mick Hucknall could allow some grit into the production, then he might just get the record he wants.

Jamie Hailstone

MAYBE MYRTLE TYRTLE Bushwacka Trees Are Good

Maybe Myrtle Tyrtle is a conundrum. There is a feeling that they exist purely because they all bumped into the street and started chatting. This feeling is there because I doubt there is a single morose soul between them, and if there is it's probably the guy who plays sax. The Newcastle-based sextet shift effortlessly between sublime folk riffing, rockabilly and, on occasions, Blues-rock that familiarises itself with Led Zeppelin. Strangely enough, they even make skiffle interesting, and this is simply because where they harness these styles and influences, they don't dwell on them. With the inclusion of sax and fiddle, as well as the usual suspects, MMT give the listener something altogether interesting and unique. As an album, this continues to work beautifully. The style established during the opening four tracks changes into the slower, more emotional 'I'm With You', before any of what was previously heard becomes stale and this is followed by "El Rapido Bastardo", a gypsy-style instrumental packaged with Ennio Morricone chanting. All of the time, you know that they are smiling because this is happy music made by happy

GASHOUSE DAVE Blues Trip

DUKE ROBILLARD

A Swingin' Session With Duke Robillard

DixieFrog

people, and I for one am glad that in a country where Bluesrock has become so stale there is one band to use initiative and do something enlightening. Maybe Myrtle Tyrtle is an enterprise of good will and happiness, and where they still are a mystery, there is no point debating something this good.

Matthew Clarke

BILL CUTLER Crossing The Line

Magnatude

Over thirty years in the making, this album finally sees the light of day. Half the album was recorded in the mid-70s and features Jerry Garcia on six of the fourteen tracks. It was left unfinished, was about to be completed before Garcia's untimely death, and was finally finished earlier this decade. It also features Bob Weir, Jerry Miller (Moby Grape), and Jorma Kaukonen (Jefferson Airplane), amongst others. There is some great songwriting on offer here, and obviously some excellent guitar work.

'Rockingham Mill' is a nice country Blues tune and features some great guitar from Garcia. Cutler's voice is fine, if nothing special, but songs like 'Starlite Jamboree', a song

in tribute to the Grateful Dead leader, propel the album forward - the track indeed features a Garcia solo that was used from the earlier demos. The music is very much in the Grateful Dead mould, with Blues, country and bluegrass all in the melt-

The expansively entitled The Life And Times Of Gashouse Dave, aka David Randall Shorey, has written most of the tunes, played nearly all the instruments, integrated the samples and engineered/produced the great atmospheric country Blues album "Blues Trip". His own Blues trip took him from Clarksdale Mississippi to LA, and the list of tributes is just as varied, from Blind Lemon Jefferson's 'See That My Grave Is Kept Clean' to his major influence, Mike Bloomfield's 'You Took My Money And Now You're Gone''. The addition of samples and programming has given this album a thoroughly contemporary ambience, along the lines of Little Axe, but without the same total emphasis on welding the ancient to modern. The results are intoxicating, especially in his own compositions, notably the storytelling of 'The Red Dobro' and soulful 'Everyday Is Judgement Day'. I was really taken with his spoken storytelling, a la Robbie Robertson, and the salacious observations of 'The Mauve Nightgown' and 'I Told You To Leave Me Alone'. The second album is by Duke Robillard, and is his umpteenth release in a career spanning over forty years. The founder of Roomful Of Blues has produced yet another beautifully presented, played and produced example of his craft. Historically, Robillard alternately shifts between straight-ahead Blues and, as on this occasion, swing jazz. He takes classic tunes and originals alike, overlays them with his six string class and the gloss of horns to put together the type of wonderful bygone beauty that only he can. His voice has all the warmth and character that we have come to expect. From Walter Hirsch's 'Deed I Do' to the closing original 'Swinging With Lucy Mae', this is quite simply superb.

Noggin

ing pot, my only niggle would be is that it's all a little too polished. 'Ridin' High' is just one highlight of the album, a great slow burner with a lovely harmonica solo. It took a long time to reach us, but this album is well worth picking up, not only by Dead heads, but also anybody who enjoys fine musicianship played in a laid-back style.

Andrew Baldwin

IRMA THOMAS

Simply Grand Rounder

New Orleans soul singer Irma Thomas was renown in the '60s for her infectious good humour, not to mention as the woman from whom The Rolling Stones swiped 'Time Is On My Side'. Now 67, she offers this sweet and mellow album tinged lightly with the regret age brings. The concept: pair Thomas with some of the best piano players around, including Henry Butler, Norah Jones and Randy Newman. Her voice sounds wonderful - deep and rich - and she sings within herself: The songs range from a new John Fogerty tune all the way back to 'If I Had Any Sense I'd Go Back Home', from the Louis Jordan catalogue. Dr.

TAJ MAHAL Maestro Heads Up

The incomparable Taj Mahal, who celebrated his 40th anniversary in the business last year, remains as inventive and lovable as ever. "Maestro" opens with 'Scratch My Back', the 1966 Slim Harpo hitupbeat Blues, rowdy and bawdy, with a great beat, killer horns and salacious lyrics. When his baby hits the right spot, Taj squeals with delight, "Oh, you gonna get you a new car!/Ooh, you 'bout to get you a new house!" Then his restless intelligence ranges over a magnificent array of styles - West African, reggae, Blues, New Orleans - never losing his raucous sense of fun. Guests include Ben Harper, Ziggy Marley and Angelique Kidjo. The backing bands are superb: his own Phantom Blues Band, Ziggy Marley's Band, Los Lobos and the New Orleans Social Club. Never one to limit himself, Taj plays guitar, harmonica, ukulele and banjo - all very well. 'Slow Drag' is an original Blues with Taj playing the melodic lead on banjo - very pleasing. 'I Can Make You Happy', another original, is lascivious hard-ass Blues. It doesn't get any greasier than this: "I'm coming over Saturday night, baby/Now you know just what your daddy wanna do." The Fats Domino song, 'Hello Josephine', and the album's closer, 'Diddy Wah Diddy', by Bo Diddly, are joyous stomps. No one's done more than Taj over the last half-century to keep the Blues alive. Yet he's never been bound by genre. If you think that's a paradox, you just don't get it. Maestro indeed.

M.D. Spenser

John's piano on that number is among the CD's highlights. The album is graced by hard-earned wisdom lightly worn. 'Too Much Thinking On My Mind' is a catchy soul-flavoured number about having too much on her mind to worry about the little things - like bills and the rent. 'Same Old Blues", with Marcia Ball, is the Blusiest piece - slow, melancholy and nicely done. Despite the different players, the album is all of a piece: Thomas' voice is well to the fore, backed by fine piano sometimes punctuated by upright bass and tasteful drumming. On occasion, a fine backing chorus fills out the sound. These songs don't grab you by the lapels, but they grow on you. This album is subtle, stately, poised - and quite lovely.

M.D. Spenser

BO DIDDLEY

Turn Up The House Lights Last Call

The majority of this set is recorded live in France from 1989, but also features two bonus tracks from a live show in New York in the mid-70s. This is a really fun boogie and rock'n'roll record from the recently departed Ellas McDaniel. It features several of his hits, such as 'I'm A Man', 'Roadrunner', 'Mona' and 'Who Do You Love'. He seems in fine form with his crack little band, and the crowd are clearly having a ball. Clearly not the most accomplished of guitarists, he offers up a rocking party record in his hypnotic rhythmic style that is so loved. The highlight is a soulful Blues cut in 'Make Up Your Mind Tonight', which has a fine vocal from Diddley. Never one to give up a chance of a name check, he closes the main set with 'Just Like Bo Diddley Do', a funky Blues romp with some good additional guitar work from Milton Reder. The two bonus tracks are fun cuts, if a touch dirge-like. 'Can I Put My Finger In It?' is a lengthy song full of sexual innuendo and is guaranteed to raise a smile. Nothing new on offer here, but it is a thoroughly enjoyable live set. Turn up the volume!

Andrew Baldwin

"SIR" OLIVER MALLY Candystore

ATS

Kazoo fuelled Austrian Blues! That certainly makes a change. The self proclaimed knight has been working away in Austria for the last twenty-five years putting on over 150 shows a year. This solo turn sees him putting on an acoustic roots/Blues hat, which he says is rooted in traditional songwriting, like Townes van Zandt and Steve Earle. However, he is happy to say that he also takes inspiration from Blues legends like Muddy Waters, Lightnin' Hopkins and John Lee Hooker. But it is mainly acoustic roots music that occupies this CD, and if that is your thing then I really can't recommend this enough. With a warm, rich and inviting voice, "Sir" Oliver takes you off into his storytelling world which takes in love, loss, Christmas and mashed potatoes, with a couple of Townes van Zandt covers thrown in for good measure. It's also nice to see that the old Blues tradition of innuendo and smut has travelled as far as mainland Europe, as the title track goes for broke in the intercontinental smutathon! "Sir" Oliver is also an accomplished guitarist whose acoustic picking is a delight to

listen to. It's a cracking album from start to finish, with his own songs sticking with you long after the CD stops spinning, with 'You'll Never Beat The Devil' and 'Green Light / Red Light' absolute peaches. Plus, you'll never think of mashed potatoes the same way ever again.

Stuart A Hamilton

SOUL RETURN In The Meantime

myspace.com/soulreturn

Hailing all the way from Los Angeles, Soul Return are a fourpiece band, who specialise in funky, rocking Blues, a la Little Feat. "In The Meantime" is their debut CD and while it might be a little rough and ready, it does tick all the right boxes and also boasts a special guest - saxophonist Joe Sublett from the GRAMMY Award-winning Texicali Horns. Singer Kellie Rucker has got a fine voice and comes straight from the Bonnie Raitt/Janis Joplin school of wailing, and her harmonica is pretty impressive as well.

Guitarist JJ Holiday has plenty of solos to pull out of his bag, and the rhythm section of Keith Karman on bass and Michael Barsimanto keep the groove fresh and tight. The standout tracks include 'Talk To Me' and the steamy 'Kiss Me'. Like all the best Blues bands, they keep the groove raw and syncopated. They will get plenty of hips shaking wherever they play.

Jamie Hailstone

MISSISSIPPI MARVEL The World Must Never Know

Broke & Hungry

This is a half-decent CD buried under the weight of an insulting publicity campaign. The album features an elderly Bluesman singing in the Delta style, accompanied mainly by just his electric guitar in the manner of Lightnin' Hopkins. Some tracks include drums; on the best, the Marvel is accompanied also by a second guitar and harmonica. Besides traditional tunes, the Marvel covers a song by Muddy Waters, after whom he patterns himself vocally; one by Little Walter, a Muddy sideman; and one by Hopkins himself. The Marvel's vocals are powerful if a tad grandfatherly. His playing is pleasingly rhythmic, although he hits, as the producer happily observes in the liner notes, "the occasional bum note." One can debate what constitutes raw versus polished, but it's condescending to Blues performers to say that authentic equals bum notes. Speaking of condescending, the publicity campaign claims the Marvel is a 78-year-old who's never reconciled his Blues with his religion. Fearing rejection by his church friends, he agreed to record this debut only if his identity was never revealed. The label has arranged at least one live performance in which the Marvel played concealed by a makeshift tent. Sure, I believe that! If you're hankering for authentic - and skilful - Delta Blues, better to fill your shelves with Hooker and Hopkins.

M.D. Spenser

BOB CHEEVERS

Fiona's World Berkalin

Bob Cheevers is to Americana what Bobby Charlton is to football. A reliable role model that embodies everything that is

STEVE GUYGER

Radio Blues CLARENCE SPADY Just Between Us

Severn

"Radio Blues" is a tour-de-force for Blues harmonica buffs, as Steve uses every weapon in his considerable armoury to show us how it should be done. His studio band also give excellent support, particularly on 'School Is Over'. He is also a fine singer in his own right, and years of working with the likes of Levon Helm and Chicago Blues icon Jimmy Rogers have clearly paid off. If you want to know how Blues harps should be played, you could do a lot worse than listen to Steve on 'Afghan Rumble'. It's genuinely a pleasure to listen to musicians of this high calibre, and "Radio Blues" is the Blues at its very best by a maestro of the genre. Clarence Spady is a more soulful gentleman, and "Just Between Us" owes more to artists like George Benson and Robert Cray, with its jazz and funk orientated grooves. His album is a classier affair, with plenty of slinky, late-night Blues. His guitar playing is smooth and minimal. There are now pyrotechnics to overshadow all the other musicians. Instead, Clarence's solos complement his band and the songs perfectly. The Motownesque 'I'll Go' is one of the strongest tracks on the record - it harks back to B.B. King's material when he was just a young lad. Both these two albums are excellent, with "Radio Blues" being more low-down and dirty, while "Just Between Us" is a smoother and more polished affair. It's a bit like having ice in your whiskey or water. People prefer one or the other.

good about the genre of the game. That doesn't mean that every shot produces a goal. This album is inspired and dedicated to someone he met at a gig in Southampton. That person, called Fiona unsurprisingly, clearly has a mystical rapport with Cheevers and one can't deny such a gut feeling to create a whole album around the themes they have traded across the Atlantic. It almost becomes a concept album as a result, but I just found it dull. Cheever's singing is perfectly fine, the production values are exemplary and Fiona Long's own vocal contribution on 'Pictures Of Strangers' is suitably moving, but like expecting Charlton to score every game, I expected more. 'Plans To Meet In Paris' made me realise just how good Leonard Cohen is, and the two half minute 'Interludes' that confirm the concept ideal just appear lazy additions. Musically, especially on tracks like 'Every Beauty' and 'Fiona's Moon', the album is hymn-like in it's translation of country-styled Americana fertilised with Celtic roots, and this is the saving grace. Listen to the lyrics, though, and you will either admire the man's openness about the relationship or wonder if it is an obsession where the words appear to have created in about ninety uneventful minutes. I'd have preferred it distilled into one song of quality, powered in from twenty-five yards!

Gareth Hayes

STAN WEBB WITH CHICKEN SHACK

Reflections: Changes/Plucking Good Dream

Catcher/Secret

This is a double disc set of two albums that were never released in the UK. "Plucking Good", from 1993, is the first disc, and it is a decent Blues effort - slightly surprising that it didn't see light in this country when originally recorded. There is some excellent guitar work on this album, and it is definitely in the Blues vein. The songs are quite mournful and reflective and, listening to the lyrics, it seems he might well have been having relationship problems, given the nature of the songs. This particular album has all original material with the exception of his version of 'The Thrill Has Gone'. It's a Blues classic,

but Webb really shines here and puts his own authority on the tune. It opens with some slow moody guitar and the quality lasts throughout in a great track. The short, but very sweet instrumental 'If Only' also adds great flavour to proceedings in this laid-back affair. Disc two is an expanded version of the album "Changes", from 1991, which isn't as Blues-based, but has some Spanish guitar and hints of jazz. The recording is a little more commercial, and its production far slicker. Certain tracks have a Mark Knopfler guitar sound to them, whilst vocally he occasionally strays into a Chris De Burgh soundalike territory! There's still some nice guitar work to be had, though, especially his solo on 'Sweetest Little Thing'.

Andrew Baldwin

JEREMY SPENCER In Session Secret

Some fine acoustic resonator slide graces this album, but there are clunkers among the high notes. Jeremy Spencer is best known as the guitarist who deserted Fleetwood Mac in the middle of a tour in favour of a cult. His musical obsessions - now, as then - are rockabilly and Elmore James. Four of the album's fourteen tracks are by James, and they are by far the best. 'Red Hot Mama' features Spencer and his relaxed, easy slide, backed only by a fine Blues rhythm guitar. Great stuff! At 60, Spencer remains in good voice. Then there are some '50s numbers - 'Sea Of Love', for example, or Carl Perkins' 'Pointed Toe Shoes' - sung rockabilly fashion, with "huh-uh-huh-huh!" inserted in the middle of words. The album's worst numbers are the originals, which are preachy. 'Bitter Lemon' is about tak-

Jamie Hailstone

ing misfortune and making - you guessed it - lemonade. Then there's the overly defensive song, 'You Don't Have To Be Black To Be Blue'. If you want to sing the Blues, just throw back your head and sing 'em - don't explain why! Still, the slide is nice, the musicianship good. Two words of warning! First, six of these fourteen songs also appeared on Spencer's last album, the 2006 Blind Pig release "Precious Little". Apparently, Spencer didn't feel that album sold enough and thought he'd give it another try. Second, those who care where their money goes should Google Spencer. The music's good but what you'll find is disturbing.

M.D. Spenser

BLUE HARLEM I Dare You!

Harlem

We're going back in time with Blue Harlem to the jump and jive of the '40s and '50s and everything that is good time jazz, swing and Blues. Blue Harlem have been around for about ten years building quite a reputation on the live circuit for their flawless approach to the genre. This, their fourth album, is the first to feature lead vocalist Sophie Shaw. It says something that she steps into the breach with some aplomb and authority. With horns on full blow and piano going boogie-woogie throughout, the groove doesn't let up. Even on the slower numbers, 'Is You Is, Or Is You Ain't My Baby', the pace is relentless. Fans of Jordan, Ellington, Mayfield et al will be in their element. New fans, too, or first-timers will find plenty to enjoy, and only the most morose will be able to refrain from toe tapping and finger clicking. Those in the know will recognise the talents of beat composers Landesman and Wallace, who contribute three of the sixteen songs. It's fashionable at the moment to have albums in this genre Parkinsonendorsed, and this is no exception. That might put some off, however, and make it a generation too far. Give it a try if you are deviating a tad away from the Blues but still lapping up the likes of Beth Rowley and, of course, Jools Holland. Dare you!

Gareth Hayes

BOBBY "BLUE" BLAND The Best Of Universal/Island

While many Blues and soul legends have become, one way or another, household names, Bobby "Blue" Bland remains something of a connoisseur's choice. Earlier this year, Mick Hucknall released his own tribute to the soul singer, but now Universal/Island have put out this hit-packed compilation of original recordings by the man himself. It's a dazzling twentyseven track collection, with some of the greatest vocal performances ever committed to tape. Bobby "Blue" Bland's take on 'Stormy Monday Blues' is just amazing, and all his big hits are present and correct, including 'The Feeling Is Gone' and 'Turn On Your Love Light'. There simply isn't a duff track on this compilation, which also includes his version of Charles Brown's 1951 R&B hit 'Black Night'. Bobby "Blue" Bland influenced countless generations of soul and Blues singers with his gospel-flavoured singing. The tracks may be more than forty years old, but they still sound fresh - thanks in part in compos-

er Joe Scott's fantastic arrangements and Wayne Bennett's guitarplaying. Anyone who is serious about Blues and soul should have some of his music in their collection and this compilation is a good place to start.

Jamie Hailstone

WANG DANG DELTA Delta Road

myspace.com/wangdangdelta

Blues 'N' Trouble have been Scotland's best known Blues export over the last three decades or so, but there may be some new competition for that title as Wang Dang Delta are coming up fast if this CD, the band's second, is anything to go by. This six-piece, fronted by vocalist Ian McLaren who is composer or so-composer of all eleven tracks, are based in Perth and define their style as "Blues and beyond." It is frequently a subtler sound than one usually associates with UK bands, based around the harp of Jim Harcus (also a member of The Radiotones), overlaying the spacey keyboards of Alan Sutherland, with guitarist Pete Caban responsible for some slashing guitar work; there are even echoes of Dave Gilmour on a jazz-funk tinged, seven minutes long 'Shutting Out The World'. There are occasional rock (the guitar work on 'The Death You'll Never Die' always makes me think of Queen's Brian May), funk, jazz, country, and Celtic influences, even a jaunty rockabilly piece in 'The Ultimate Shoe', making this outfit one of the more original bands on the UK scene.

Norman Darwen

JAKOB HOLM Spin

Narayana/Gateway

Danish guitarist Jakob Holm has put together a tasty album here, while not an out-and-out Blues album, this does have some strong Blues influences, interspersed with both jazz and progressive instrumental rock styles. The vocals are handled by Jakob, apparently for the first time during his sixteen year musical career and, while not being a Paul Rodgers, he does a good job. There are two other band members, namely Steiner Nickelson (Hammond/moog) and Anton Eger (drums), and, between them, they create a very solid base for Jakob to improvise with his imaginative and rhythmic guitar playing. The title song, 'Spin', perfectly highlights what the band is about - it has a very loose feel to it, almost freeform, but the song hangs together through the fluent guitar bursts that are maintained at a fairly low amplification. In between are some softly spoken vocals by guest Kendra Lohman - magical. The most traditional Blues track on the album is 'Blues 62', a slow Blues with Jakob playing an original Fender 62 guitar. The remaining tracks are mostly instrumental based, with the final track, 'Srvariations', dedicated to Stevie Ray Vaughan. I found this album refreshing and a change from the normal rock-Blues material you expect from three-piece bands, these guys are all professional trained musicians and it shows. A thoughtfully put together album that is subtitled "guitar music for the new millennium" - I can't beat that!

Adrian Blacklee

THE JIM JONES REVUE

The Jim Jones Revue

Punk Rock Blues

The Jim Jones Revue say that they "strip rock'n'roll back to its base elements," a heady claim indeed, and it stands to be seen whether they can live up to it! What is certain, though, is that they aren't afraid to get down and dirty, the leering carnal urge of 'Meat Man' and the urgent thrust of 'Cement Mixer' play out with all the subtlety of an adolescent teen's first lunging kiss and are all the more fun because of that! Amid the whirling maelstrom of Hammond organ and thrashing keys, the band craft some truly memorable tunes, though. Jim Jones himself was, of course, the main man in '90s garage punks Thee Hypnotics before he formed the Revue and his urge to play things simple works perfectly here, accenting the hypnotic rhythm (no pun intended) of the band's tunes. Best track of all is 'Rock'n' Roll Psychosis', an unholy union of Jerry Lee Lewis and Nick Cave at his most heavy. Lovely stuff!

Matt Merritt

MONTE MONTGOMERY Monte Montgomery

Provogue

Considering his lack of mainstream profile, it's quite amazing to recall that Monte Montgomery was named one of the top 50 all time greatest guitar players by Guitar Magazine. Even more amazing when you consider that he's an acoustic guitarist. Add in some excellent songs and singing and you're left with a very special talent indeed. His latest, self titled, album was recorded live in the studio and has eleven original, good to great songs, and a cover of the Jimi Hendrix tune 'Little Wing'. The opening track, 'River', sets the bar high as he powers through a vibrant song before 'Let's Go' veers away from the Blues, heading off into '70s jazz rock before 'Everything About You' takes a turn into '70s West Coast rock. And that's the one problem I have with an otherwise excellent album. At times, it seems like you're listening to a compilation album that ranges across rock, pop, jazz and Blues, rather than to a cohesive work by a single artist. There is some breathtaking guitar work on offer that often brings to mind the mid-70s Fleetwood Mac work of Bob Welch. Check out 'Midnight Tango' if that sounds like your thing. I would have liked more cohesion, but when there are songs as good as 'Company You Keep' and the epic 'Could've Loved You Forever', it seems churlish to complain.

Stuart A Hamilton

JD & THE STRAIGHT SHOT Right On Time

Artist

Garage

Imagine a bar scene in a small Mexicali border town - not the brassy ones playing poor mariachi but the neighbourhood cantina where the yanqui gunman/detective/lover stops off for a lonely tequila and a brief assignation with the dark haired sloeeyed waitress. Now you have the heart of JD & The Straight Shot - they are the band playing in the corner and tipping their hats to the yanqui as he throws back the last dregs of his Dos

Equis and heads back into the burning noontime sun. Musically, they sit just the Blues side of jazz and country, with a huge dollop of Americana, but their songs are pure gold. 'This Kind Of Life' has the Mexican edge to it, with a wonderful accordion carrying the melody, while 'Leap Of Faith' is a rolling Blues with horns and honky tonk piano. Joe Walsh gives his strident guitar lines to 'Slow Motion In Reverse' but it is JD's vocals that really draw the ear - understated and low-toned but beautifully sung. They cover a few numbers - John Hiatt, Leon Russell and Bob Dylan all come in for versions, and the cover of Dylan's 'Beyond The Horizon' is all prairie moonlight and camp fires. Don't get the impression that this is cod-country because it isn't. This is simply music of a high standard that touches on the old and new west but it is always listenable and never cute.

Andy Snipper

MOTU Roadhouse Jesters

roadhousejesters.com

Vocalist/guitarist Dr Richard Michelson, who is Motu, decided to put together a band of Blues veterans to play and record an unannounced gig, booking it under the name Roadhouse Jesters. Turns out that Motu has a large array of albums out there, but based on this, it's just a wee bit tricky to understand why. I mean, some of it is very nice, all laid-back, late night Blues, taking in covers from the likes of Howlin' Wolf, Elmore James, B.B. King and more, as well as a couple of originals. It just never seems to get out of first gear, which isn't really what you want from a live album. Motu himself adopts a Howlin' Wolf/Captain Beefheart gruff style, which is complemented by the sweeter tones of Dolores Chetta, and when it works, as it does on the old Hot Tuna number 'True Religion', Jorma Kaukonen's rewrite of 'Michael, Row the Boat Ashore', then it's very good. But too often things just meander off into the realms of easy listening. The songs that do come together are the ones like 'Big Boss Man', where Ed Modzel on drums and Karl "Big Daddy" Reamer on bass lock into a tight groove, as they make a rhythm section well worth listening to.

Stuart A Hamilton

CHRIS COOK Bag Of Emotions

Bandor

Chris Cook may now be more familiar to UK audiences since his recent tour with US country music star Kevin Montgomery. His style and genre is not easily categorised, but it covers a similar crossover territory to that perfected over so many years by the ubiquitous Delbert McClinton. So, expect tunes which straddle the rockier and Bluesy side of country. The album was recorded in Nashville and produced by Cook himself with Danny White. The musicianship is superb and the production impeccable, but without any of the anodyne play-by-numbers predictability of some contemporary country fare. His husky and powerful vocals add pomp and purpose to some rocking tunes. The opening funky 'Lover Lover' is a sample of the strong songs and playing which follow throughout the album's eleven tunes. Horns and wah-wah guitar embellish the funky

BERNARD ALLISON

The River Is Rising

RICK MOORE & JIMMY NALLS

Slow Burnin' Fire SUSAN TEDESCHI

Mama, He Treats Your Daughter Mean JIMMIE VAUGHAN

Do You Get The Blues?

Blues Boulevard

This comprises a number of albums, issued or compiled and re-issued through Blues Boulevard. Bernard Allison is the son of Luther, and has carried the family torch with aplomb before and since his father's sad passing. This CD takes material from his new millennium albums, "Across The Water" (six tracks) and "Storms Of Life" (eight tracks). Aside from his own good material, Allison gives a nod to influences like Mark Knopfler - 'I Think I Love You Too Much' - and Johnny Winter - 'Mean Town Blues'. The guitar tone is thick, the backing rock steady, the vocals guttural, and the sum of these parts is great. Rick Moore & Jimmy Nalls are a pairing whose common love of the Blues drew them together to form this productive musical union. Ricky Moore guitarist/vocalist is from the cotton country of West Tennessee and has absorbed much of the local influences, while Jimmy Nalls achieved legendary status as a guitarist with Sea Level, Capricorn stable mates of The Allman Brothers Band. The combination of Rick Moore's strong songwriting, soulful voice, their respective tasty guitar licks and plenty of slow burning Blues all add up to an irresistible brew. The Susan Tedeschi re-release compilation is less essential, not because of its lack of quality, in which it abounds, but simply because it would be more prudent to purchase each of the brilliant full-length albums - "Just Won't Burn" (1998) and "Wait For Me" (2002). On the first album, she employed guitarist - sadly, the now late - Sean Costello, a stunning talent (the second soulful cut, 'You Need To Be With Me', exemplifies his beautiful clarion tone and economical solo amongst Tedeschi's pleading vocals). Husband Derek Trucks appears on a couple of tracks from the later release. Jimmie Vaughan has been in younger brother Stevie Ray's shadow. He has a smooth calm voice and is one of the cleanest and most respected pickers around. This is a re-release of his third album from 2001. If you want eleven pieces of pure A-grade authentic rhythm and Blues, look no further. Using few effects, and only the best of help, this is marvellous. Featuring the likes of James Cotton, Roscoe Beck, Lou Ann Barton and, on one track, Double Trouble, Vaughan stretches out into a relaxed, yet vital series of grooves. His brother repeatedly said Jimmie was his favourite guitarist - is there higher praise?

'Black Door'. Long organ chords introduce the mid-tempo hookladen 'Don't Go In There'; the second verse contains the album title confession, "I'm just a bag of emotions/More than just a few..." In fact the title encapsulates the essence of the man, where songs of longing, hurt and frayed emotions dominate the themes. What sets Cook apart from many other country singer/songwriters is his attention to lyrics, combining a passion and precision in equal measure. The slick key changes, ace playing and barrelhouse piano of 'Three Chord Joe' may have been done many times before, but never better.

Noggin

BILLY T BAND

A Little Mixed Up

Big H

The cover material unearthed for this album is magical and the band should be congratulated in releasing an album that includes so many quality songs, these include; 'Love Sickness' by Sir Mack Rice, 'Groovin'' by The Young Rascals and 'Lovers Rock' by Sonny Burgess. The leader of the band is New York

born vocalist and bassist William Troiani, who has pulled in musicians from his new home in Norway, who deliver an authentic funky Blues and soul feel to these songs - on the aforementioned 'Lovers Rock', the band pay homage to the original but add some additional smoothness, which works well. Besides the covers, William has penned a couple of tracks which are not lost amongst the more illustrious material - his 'Don't Do It' song is pure '60s R&B. The supporting musicians highlight that Norway has an abundant depth of Blues talent, particular mention must go to; Iver Olav Erstad on Hammond B3 organ and Ian Fredrick Johannessen on guitars. A very stylish release that brings back memories of the R&B jukebox era.

Adrian Blacklee

Noggin

THE GROANBOX BOYS Fences Come Down Groanbox

These 'boys' make music that has heart, humour and more than a little 'soul'. It plays like two guys exploring their musical roots and, while finding that they come from entirely different places, also meets perfectly where their journey has brought them. Cory Seznec's banjos, guitars and percussion hail from a Blues and country tree while Michael Ward-Bergeman brings a folk and Appalachian feel to his accordion, shackles and 'Freedom Boot' but the meeting of the two styles is seamless and consistent. The albums opens with a furious rag - 'Lightening On The Creek' - with banjo and accordion showing what fast is about while still allowing each other expression and room. 'Long For Day' is jaunty and listener may be fooled into thinking that this is lightweight and throwaway until 'Proud Papa' brings a whole new vibe - almost Balkan in the rhythm and with Klezmer handclaps. 'Spiders And The Stones' has a wonderful swamp meets hobo-jungles groove to it, with echoes of Seasick Steve, and 'Les Etiles et Les Cigales' is just delightful country Blues with an accordion twist while 'Little Sadie' takes you deep into folk territory. All ways around this is utterly individual. One of the roots albums of the year.

Andy Snipper

JIMMY COPLEY & FRIENDS Slap My Hand

jimmycopley.com

Jimmy Copley has been around for many years and has managed to build friendships with a stellar cast of musicians, most of whom are happy to give their talents to this album. Mustering the likes of Jeff Beck, Pino Palladino, Paul Jackson, Bernie Marsden, Mickey Moody - the list goes on and on - certainly proves that a lot of different players think a lot of you and you might even hope that the result is going to be a monster album. Much of this is simply irresistible and individually the tracks are pretty damn good, with some fabulous playing, but the problem is that there isn't a particular style to the album that you can hang your hat on. Jeff Beck's playing on 'J Blues' is stunning, as is Dino Baptiste's organ on 'Red Beans & Rice' and Bernie Marsden's throughout. 'East West Mardi Gras' has a super New Orleans groove to it, and 'Skank It' with Char on guitar and Yoshinobu Kojima on keys has a real Bob James meets Chic funk feel to it - all good stuff. Mr Copley's drumming throughout shows why he is so popular as a session drummer, as he turns his hand to every style in the book. It is all fine stuff and it feels churlish to carp - as a testament to a long and successful career it speaks volumes but it is still too varied in style for perfection. Mind you, I'll be playing it in the car for yonks.

Andy Snipper

THE DETONATORS

Live At The East Black Market

This is a high-energy musical experience from the Australian Blues and rock'n'roll band who rattle through the sixteen

SEASICK STEVE I Started Out With Nothing And I Still Got Most Of It Left Warner

What a wonderful album! Seasick Steve, the former hobo with the gray beard and soupstrainer moustache, burst into national consciousness with his ebullient 2006 appearance on Jools

Holland's Annual Hootenanny. His first solo album, "Dog House Music", was good. This one's better. It's laced with Steve's addictive, syncopated Blues playing - single notes serving simultaneously as rhythm guitar and lead. The slide rocks, the hobo references ring true: "I can't lose what I never had/And you can't take what I ain't got," he sings on the title track. But the delight is the love songs. Steve seems all rough edges and overalls, yet inside lives a gentle poet and musician. The single 'Walking Man' is acoustic guitar and affecting vocals: 'If you want me to stay I'll stash my sleeping roll under your bed/That says more than anything in my life I ever said," he sings. 'Happy Man' starts with acoustic Blues guitar. 'Oh this life has knocked me down to my knees/And I think it's time I get a little bit of that promised land,' Steve croons above a quiet churchy chorus. Then Ruby Turner suggests he put his arms around her - and the song turns into stonkin' gospel-soul, the backing vocals raucous and joyful. Happy man, indeed. The transfer to a major label has done no harm. There are drums, backing vocals and guestsTurner, Nick Cave, KTTunstall... But Steve retains the fierce originality that's at the core of all good Blues. And damn fine Blues this is.

M.D. Spenser

tracks, recorded live in December 2007 at the Brunswick Hotel in Melbourne, Australia, like an express train. The majority of the material is all self-written and includes band favourites from their previous four albums, including two tracks dedicated to Evel Knieval and Ike Turner, who both passed a week before the gig was recorded - the Ike track 'Rocket 88' includes some excellent harmonica, while the self titled 'Evel Knieval' track is very reminiscent of the '70s English pub rock scene. The recording quality through out is superb and the material is note perfect and free from the normal obligatory bum note, and while I doubt there was a huge attendance at the gig, the audience certainly

appear to be enjoying their night - there is some good repartee between band leader 'Rockbottom James' Moloney and the punters. A very entertaining album that will have you humming along and mouthing the lyrics.

Adrian Blacklee

DAVIS COEN Blues Lights For Yours And Mine Soundview

This was recorded over three days in December 2007 in North Carolina, though it was mixed at the famous Ardent Studios in Memphis. Coen has more of a mainstream voice and style than a rootsy one. Four of the eleven songs were self-written, with most of the covers out of copyright numbers. Davis' voice has a strained nervy quality that gives an off-key impression, and he utilises the styles of John Lee Hooker and Lightnin' Hopkins. Patrick Sweany has a similar quavering vocal inflection, though a much better tool than Mr. Coen's. Soul, Blues, oldtimey and a smattering of jazz are explored to varying successes. 'Jack Of Diamonds' is given a hill stomp arrangement that is one of the few highlights, even if the slide reaches an annoying whine. Davis' 'New Shoes' is an old styled jazz ballad that conjures up the sort of stuff Dylan and Leon Redbone have explored. Though Davis is seen playing an acoustic, he plays a fare wedge of electric guitar, as well - 'Accelerated Woman' being one of the heaviest

Blues songs, and one of the best songs on the disc. Not without its good points, but not recommended either.

Billy Hutchinson

CARLOS DEL JUNCO

Steady Movin' NorthernBlues

Born in Havana, Cuba, in 1958 but a resident of Canada since he was 1-year-old, Carlos is one of the world's best diatonic (10-hole) harmonica players - officially. He has won numerous awards playing many forms of music, though the Blues has long been a constant. I have to confess that I am always a bit wary of releases where the sleevenotes detail the key of each number and similar technical details, tending to regard them as aural training manuals; Carlos does the technical bit but remembers the music is also to be enjoyed. His solo versions of Sonny Boy II's 'Movin' Down The River Rhine' and the traditional 'Amazing Grace' are real delights, as is his funky, band-driven James Brown tribute 'Mashed Potatoes Canada' and the saxophone-like tone of 'The Simple Life'. The whole album presents some amazing harp playing in a nonstandard Blues context, and whilst harmonica players will be queuing up to buy it, those who don't blow the Mississippi saxophone will also find plenty of fine, varied Blues to enjoy too.

Norman Darwen

THE DAGGER LEES

Before we begin, let me give you a little bit of background. The Dagger Lees formed out of the ashes of numerous bands and adventures that went astray, eventually finding each other and clinging to the notion that we were sick to death of haircuts and pristine guitar licks, clean vocals and art school posing. What we set out to do was to make music with grit and grease, that vents and laments the everyday bulls**t but also entangles it with beautiful prose and makes you want to kick up your heels and smash chairs across bars.

"We want to put sweat, blood and tears back into rock'n'roll, and to celebrate the truth, honesty and poetic justice of the Blues. We want to share a bottle with you, steal your partner, rob your money, corrupt your heart and give you the night of your life. The Dagger

Lees were born out of a need to find a way to express that burning moment when you embrace your vices, bathe in debauchery and liberate your true self. We might not be there in the morning when you wake, but we'll leave you with a smile on your face.

"We write songs about jealousy, betrayal and split lips. We scream, we howl and we soar. We are two parts men, and two parts women.

"We seek to combine the soulfulness and raw passion of the great Blues artists of the past. To follow their example by baring our souls and confessing our sins using our own voice and style. We're not seeking redemption but looking to lighten the burden. Most importantly of all, we try to keep that great Blues tradition of story telling alive.

Donna Marie (The Dagger Lee's Pirate Queen) myspace.com/thedaggerlees

We're sticking close to (my) home for starters. Here, in Portsmouth, there's a thriving music scene and some of the best young artists have more than a hint of the Blues in their sound. Loz Bridge And The Box Social (myspace.com/lozbridge) have the air of something a bit special about them, from the straight up Blues of 'China' to the wonderful 'Witches', which somehow manages to mix Tom Waits and Nick Cave and still come out sounding

utterly unique. Loz, firmly taking centre stage, is a superb frontman; a great mix of charisma and humility, with a haunting voice to boot. Also well known on the Portsmouth scene, but very much at the other end of the spectrum, are The Lonely Cardinals (myspace.com/thelonelycardinals), whose take Loz Bridge

photo: Ben Murphy

The Dagger Lees: (from left) Bernadette Johnston, Justin Lynch, Donna McCabe and Grum Gallagher.

J.J. VICARS

It's all about that driving backbeat: Blues; R&B; rock'n'roll; rockabilly; funk; soul; swing; boogie; or whatever you call it - it makes your body move! That's where I'm coming from. My focus is on songs and arrangements. Large ensembles with cool arrangements get me stoked; the trick is to pull it off in a trio!

"Playing to a current audience is important. I don't worry about 'keeping da bluz alive'; Blues is the foundation of my style - it's always there. I work on entertaining the audience I'm playing to that night - connecting with the crowd. That's what sells CDs, gets the band hired back, and keeps me out of the grease pit!

Blues & boogie album like 'Sci-Fi Diner'. The four together are a musical diary starting with the stuff I cut my teeth on, going into the experimental phase, then the stripped down songwriter/rocker phase and finally coming full circle.

“I'm setting up tours in the US and Europe. The gig is where it happens; blow the roof off the joint and leave 'em wanting more. I've wanted to play Europe for years. Besides, I grew up with Benny Hill and 'Hitchhiker's Guide To The Galaxy' - I gotta go to England!

J.J. Vicars

myspace.com/jjvicars

"I got into Blues when I was a teenager. At home my mom listened to Sara Vaughan and Ella Fitzgerald, while my dad listened to Jimmy Smith & Kenny Burrell, Joe Pass, Herb Ellis and Wes Montgomery. The oldies station was always on in the car. I was digging Little Richard, Fats Domino, Chuck Berry and Jerry Lee Lewis. Digging backwards, I discovered the foundation of my musical vocabulary - Lightnin' Hopkins, Albert Collins, Freddie King, Lonnie Mack, John Lee Hooker...

"I'm a musician first and a guitarist second. Being a 'Bluesman' is a joke; I didn't grow up on a farm, pick cotton or ride the blinds. I got into music because I dig MUSIC. The more you play, the more you know, and the better off you are for it.

"I released my debut 'Sci-Fi Diner' in 2005. Straight ahead, hard driving Texas Blues & boogie. My next two albums, 'Hi-Tech Hillbilly' and 'Heartland', were recorded at my home studio. I played all the instruments myself.

"Now I'm working on 'Long Way From Home', a

on the Blues is forged more in the garage vain - screeching guitars, acres of feedback and a stripped down sound reminiscent of The Black Keys make these two a duo well worth seeing live. Emerging from a cave not a million miles away are the superb C.M. Arnold And The Delta Breaks (myspace.com/cmarnoldandthedeltabreaks), a band so feral that, were it not for the penthouse magazines and bottles of Havana Club rum evident in pictures across their page, you could almost believe had no contact with the twentieth century (save their electrical instruments). Frontman Arnold has a reputation in the area as a crazed singer as likely to leap off the stage and into the crowd as to actually deliver a verse to the audience. Not that keeping the crowd on their toes is a bad thing! Neicy

(myspace.com/neicyonlinex) is still at school but she's already crafting songs that straddle the bridge between R&B's gloss and the down and dirty world of the Blues. For such a young lady, she has a voice full of soul, and a genuine ear for a tune. If this young lady can stay committed, there could well be no stopping her! MM

J.J. Vicars: let's boogie!

photos: Tony Winfield (bluespics.co.uk)

Walter Trout: at his best!

GREAT BRITISH R&B FESTIVAL Colne

Friday, 22nd - Monday, 25th August 2008

August Bank Holiday weekend and it was time once again for arguably the biggest British Blues festival to descend upon the small Lancashire town of Colne. As always, the entertainment took place in the Municipal Hall hosting the International and Acoustic stages, with the British stage in the leisure centre and four official fringe venues around the town. We chose to concentrate on the British stage for most of the weekend, along with specifically chosen bands at other venues.

Friday evening started with Supercharge on the main stage. A seven-piece with a big band feel, they played swing and boogie, which had the audience clapping and stamping from the off. The hall filled up during the performance, setting the mood for a lively evening. Numbers included 'T Bone Shuffle' and 'Stormy Monday'.

Already, the main hall was packed out, and we'd seen Dr Feelgood numerous times, so we went down the hill to the British stage to see The Robin Bibi Band. We saw these guys some years previously at Sugarhill but had forgotten how entertaining and talented they are, with some terrific guitar and harp playing. They played a variety of songs, from slow Blues to gospel to funky grooves and some catchy original numbers delivered with style. Their arrangement of Fleetwood Mac's 'Oh Well' confirmed their place on our growing list of favourite bands.

Painter and musician Steve Jones appeared next with Karak. These guys were very original, playing a selection of their own material. Refreshingly unlike any other band, although at times we saw flashes of inspiration from the likes of Muddy Waters, Led Zeppelin and The Climax Blues Band. A special treat was a Blues number sang in Welsh. A tight and talented band, we'd love to see them again.

The close of the evening on the British stage was Little Stevie And The Business, with some harmonica led rocking Blues, including the Stones classic 'Miss You'. Confident and with humour and fun, they cruised through a wide variety of songs and styles.

Saturday dawned and an early start at the Queens where we especially wanted to see Dave Arcari. Initially, there were few people in the pub, although a few more listened from outside, but the room gradually filled up as Dave staggered and gravelled through his set. With his unique and crazy mix of punk and Blues, and his warm and friendly personality, he went down well with the punters. His 21st century twist on traditional Blues, together with the original writing and musical talent of this guy deserves to be showcased on a main stage. One not to be missed!

Off we went to the British stage to see five-piece band Cullin Blues. We saw this band last year in the Colne and Nelson Rugby Club fringe marquee and we were very impressed. On a proper stage, they were even better. Lead singer Marsha Tarvet wowed the crowd with her powerful vocals and some excellent arrangements of a wide selection of songs. Our favourites included 'Need Your Love So Bad', with some nice guitar breaks, 'Little Wing' and 'Crossroads'. The set ended with a steamy version of Etta James' 'I Just Want To Make Love To You' and she got "down and dirty" with the guitarist in a novel choreographed sexy performance. Another great British band and a coup for any festival.

We tried to get into the Crown Hotel to see the After Hours Blues Band but it was too busy with revellers and impossible to get in. Off we went up the hill and a special mention here for the Hoochie Coochie Mancunian. A very able guitarist and singer, he sat under an umbrella next to the cenotaph, as he does every year in the true festival spirit. We stopped to enjoy his performance of 'Black Magic Woman' before heading into the International stage where Swedish band Clas Yngstrom & Skyhigh were on.

A heavy rocking beat and some neat guitar work, their brand of electric Blues was well received as they powered through numbers including 'All Along The Watchtower' and 'Freedom', along with their own material, including 'Stop The Wars' and 'Restless Love'.

It was strange to see Ian Parker playing in the rain outside Uncle Neil's music shop as we walked back down the hill to the British stage to see the Bill Daison Band. Hailing from the West Midlands, this was their debut at Colne, with George Glover guesting on keyboards. Playing mainly classic Blues covers, such as 'T Bone Shuffle', 'Shake Your Moneymaker', Walking Blues', and a variety of Stevie Ray Vaughan numbers, they went down well with the crowd.

The Lyndon Anderson Band completed the evening's show. Another band playing mainly covers. Some emotive guitar and harp complemented the big voice of Lyndon. They were popular and drew quite a crowd, and we especially enjoyed their version of Slim Harpo's 'Shake Your Hips'.

A taxi ride back to the Rugby Club, where we were camped, and we joined the throng in the marquee for a great set from The Olly Alcock Band, another gem hidden away on the trail. A brilliant performance of their own material, together with a few covers, they enhanced the wild party atmosphere of this venue while enjoying every minute. Roz Sluman played sub-

lime sax perfectly complementing the excellent musicianship of the rest of the band. They rocked into the night with great humour and camaraderie. One of the best sets of the weekend!

Sunday afternoon began on the Blues Matters! stage and Lazy Poker, with a new line-up since we last saw them (Nick Hamilton replacing Grant on bass guitar). Still a very tight three-piece unit, they powered through their own blend of soul/funk/Blues, old and new, with songs mainly taken from their excellent "Positively Blue" album. This band just get better and better.

Cutler/Waterworth followed with a Lancashire slant on the Blues, and an enjoyable set, with worthy arrangements of some Blues classics, along with their own songs and a flavour of their forthcoming new album.

Back up the hill to the main stage to catch the end of the Kyla Brox Band performing Nina Simone's 'Feeling Good' to a very appreciative full-house.

A short break and then it was the turn of Nuno Mindelis, also known as the "Beast from Brazil" - a genuinely nice guy, with a natural talent on the guitar.

Together with his tight and efficient band, he played a selection of numbers from his albums interspersed with some dry humour. A solo piece was included in the set, and at times his guitar playing was exquisite. This band was recommended to us and we were not disappointed.

Another walk down to the Blues Matters! stage in time for The Mustangs and another of their terrific sets we just couldn't miss. These guys are equally at home in a small pub or on a large stage.

The catalogue from their last three albums is diverse and contemporary enough to appeal to both the Blues hardcore and to followers of the mainstream. A great band with an ever increasing following. The main hall was packed solid as Walter Trout took to the stage and, on top form, he treated us to a stupendous delivery of songs from his acclaimed new album "The Outsider". Walter's continuing success hasn't gone to his head and he remains the genuine humble guy he has always been, sharing the stage with young guests and introducing new talent to the masses. Absolutely fantastic!

Down to the Blues Matters! stage again for Roadhouse, and well worth the walk, as this is another band going from strength to strength. Three female singers with versatile vocal talents and bubbly dance moves, they performed songs from their back catalogue together with new material from their latest album. Some superb guitar playing from Gary and Danny, and the whole band had great fun.

Monday and the British stage opened with the Krissy Matthews Band. An innovative songwriter, Krissy paid tribute to the Blues legends on his self-penned songs, along with some clever arrangements of classic covers. A mature young man of 16,

he loses himself in his music and plays the guitar with confidence. We were amused and delighted with his 'Half A Dead Soda And A Stone Cold Pizza' song. This kid has a great future ahead of him!

Back on the main stage and we wondered how we had missed seeing Albert Lee And Hogans Hero's before now. A five-piece band playing a wide variety of cross genre songs, and a fair amount of country in the mix, too. With a history stemming from the '60s, Albert Lee is widely respected and continues to entertain with a class act.

Having seen the British Blues Quintet twice this year, we reluctantly passed them up in favour of The Stumble on the British stage, now fulfilling their early promise and becoming renowned as one of the best Blues bands on the British circuit. As always, they gave a great performance, with their brand of Chicago Blues, and they rocked the crowd with great numbers from their "The World Is Tough" and forthcoming "Houngan" albums. Crowd walking has become an integral part of their act, adding to the enjoyment of their set for the audience and band alike.

Back up the hill for the last time and a rare performance from Steve Cropper and The Animals. First up were Pete Barton and The Animals and a rousing performance of their back catalogue. Steve Cropper joined them on stage for a soul guitar master-class, with Micky Gallagher, in particular, backing him admirably. Hits by Booker T and the other Stax artists retained their authenticity, and the crowd sang along with every word. They couldn't leave the stage without the anthem 'The House Of The Rising Sun'. A truly memorable set!

Andy Fairweather Low has just released an anthology of his songs stemming back over four decades and this reflected in his stage show. He took the audience on a journey from Amen Corner to his more recent collaborations with artists such as Eric Clapton, picking out his own particular favourite numbers. With a collection of custom built and rare guitars, he delighted the crowd and ended the set with 'Wide Eyed And Legless' and '(If Paradise Is) Half As Nice'.

For us, this was the finale as we had to hit the road home. A great weekend!

BLUES WEEKEND AT NORTON GRANGE IOW, Hants

Friday, 10th - Monday, 12th October 2008

Tony Winfield & Sue Hickling

Norton Grange is one of my favourite spots to spend a Blues soaked weekend with Boogaloo Promotions. This was the second time that I had been to this particular venue, which is situated on the Isle of Wight coast, overlooking all of the activity in the Solent, and the sun shone for three days!

Opening the Friday evening's events was our MC for the weekend, old hand Bob Hokum, and he performed in his usual laid-back style of presentation, playing a selection of tracks both old and new.

It was soon time for the weekend's opening act, which was Storm Warning, that well respected band from south Bucks, and they just get better every time that I see them. Playing a selection of numbers from their own CDs, as well as a superb set of covers. "Son" Maxwell was immaculately dressed in a lightweight suit, and despite blowing up a storm, he remained cool looking throughout - he has got to be one of the best harp players around today.

Storm Warning were followed in fairly short order by those veterans of the Boogaloo circuit, The Spikedrivers! Always value for money, and always different, they didn't let the audience down, leaving them calling for more.

Midnight and time to rush to the bar for the jam session, but I have to confess to missing the Friday session, as I was knackered!

Afternoon acoustic sets on Saturday from Storm Warning and The Spikedrivers followed by Tony Farinha & Laurie McVay - nice! Saturday evening opened with The Werewolves Of London, who got the crowd up on the floor in a very short time, and played a full set of good rocking Blues until it was time to swap for Papa George, who was backed by Sam Kelly on drums and Pete Stroud on bass. Although the quality of their work was not in question, it somehow didn't seem to gel too well with some of the audience.

Through to the bar for the jam session, extremely well-organised and run by our old friend Tim Aves, and I did my allotted two numbers, including 'Texas Flood'.

Sunday morning was rather foggy but it soon lifted and spirits with it, as we went into another acoustic session with El Mondo Combo (Tony Farinha again with Neil Mercer) giving a superb showing of blistering twin guitar work. Then two islanders in the

photos: Alan White

shape of local man Ted Tedman and Slim Lightfoot from Jersey played a series of entertaining Blues.

Final set of the weekend opened with The Coalhouse Walker Band, who played a blinder, and the weekend closed with that shy retiring, quietly spoken polite young man Nicky Moore with his Blues Corporation! Needless to say they came back for a fantastic encore.

Dave Stone

MARYPORT BLUES FESTIVAL

Friday, 25th July - Sunday, 27th July 2008

This was the 10th festival at Maryport, growing ever larger with more fringe venues than previous, and the main stage in a marquee on the rugby club next to the campsite.

As is the custom at Maryport, the Friday evening session began with the winners of the local "Battle Of The Bands" competition. This year it was sixpiece band The Evidence. All smartly dressed, they were very well received, although not strictly Blues, playing covers from bands including The Killers, The Zutons, Snow Patrol and The Stereophonics.

Little Jenny And The Blue Beans are a female fourpiece band from Scandinavia who sing about food and men, as opposed to the usual women and beer Blues. Excellent vocals and harp from lead singer Jenny complimented by rocking guitar, often with tongue-in-cheek actions and expressions from Lotta Partapuoli. A confident band with bags of humour and self-deprecating self-penned songs, including 'Surgery Blues' about looks and plastic surgery.

Some great highlights with bass player Mia Kempff performing her own song 'Honourable Man' whilst using her thighs as percussion instruments. Drummer and raconteur Justina Lakin completed the entertainment. A great band we'd love to see again.

Alvin Youngblood Hart played a great set, as always, with his brand of funky rock/Blues. We especially enjoyed 'Just Like A Woman' and his superb arrangement of 'In My Time Of Dying'. He was joined on stage for a couple of numbers by Little Jenny on harp, which added a different dimension.

Closing the evening was Chuck Berry, a true leg-

end in every sense of the word. Accompanied by his son Charles Berry on guitar, daughter Darin Ingrid Berry-Clay on harmonica and vocals, drummer Jean Michel Biger, bass player James Marsala and excellent pianist Daniel T Rossing, they thrilled the crowd. A problem with the sound created a hitch at the beginning of the set, which bordered on shambolic, but with panache and humour, Chuck pulled off a first class show. Members of the audience were invited on stage to dance as he rocked the night away.

Saturday afternoon began with Lisa Mills and Ian Jennings with a country/folk/Blues set. Lisa has been compared to the likes of Bonnie Raitt and Etta James, and, with her powerful vocals, we could see why! Ian performed a great bass solo of 'Mean Mean Man' demonstrating the musical talents of this band.

Derrin Nauendorf and fellow Aussie Jeff Lang shared a set, with Jeff appearing first on lap steel. Between them, they performed some self-penned numbers with poetic lyrics. Rootsy Blues, with an Australian take, and influences from primal aborig-

photos: Tony Winfield (bluespics.co.uk)

ine to Indian Appalachian combined with more upbeat rock numbers from Derrin, who played songs from his forthcoming album. Both guys were backed by great rhythm sections and some superb bass playing.

For his debut at Maryport, Earl Thomas gave another of his outstanding performances, with his brand of funky soul Blues mixed with some great gospel arrangements. Dancing and grooving from the outset, and oozing charisma, he wowed the ecstatic crowd and left them baying for more. Maryport loved him!

After an hour's break, Saturday night started with Jon Cleary And The Absolute Monster Gentlemen and a session of old style New Orleans piano Blues. Jon's CV includes session work with many great artists, such as Taj Mahal, B.B. King and Bonnie Rait. Many of the numbers were too jazzy for our taste, but we enjoyed the Professor Longhair covers and the funk classic 'People Say'.

We had heard an interview with Beth Rowley earlier in the day on the radio and looked forward to her set. One of a new generation of female singers, likened to contemporaries such as Amy Winehouse and Duffy, we could see why, as she mixed some classic Blues with some great original songs. At first shy and nervous, her confidence grew as the audience gave rousing appreciation. Memorable numbers for us included 'Nobody's Fault But Mine', 'I'd Rather Go Blind' and a stunning rendition of 'I Shall Be Released'.

The evening ended on a high note with Strat thrashing Texas Blues courtesy of Jimmie Vaughan. He was joined on stage by Lou Ann Barton. Judging by the crowd's reaction, the high spot for many was the same as our own when he tore into Stevie Ray's 'Texas Flood' - on a tangent from his own style, but even the most devout fans of his sibling were appreciative.

We didn't get to see any of the trail bands but heard on the grapevine of a few sets that went down well, especially Sean Webster, Dave Arcari and W.T Feaster Band.

Proceedings on Sunday started with The Ian Parker Band. The band gave a laudable set of their particular brand of down and dirty Blues laced with sometimes over exaggerated emotional vocals from Ian. An enjoyable performance but the Ian Siegal trademarks should be left to the maestro himself. British Blues boom legend Chris Farlowe, together with the often overlooked Norman Beaker Band, followed. A fabulous set, with one great song after another, interspersed with the warm humour and tales of old that only Chris can tell. Some superb Blues standards that Little Joe Cook would have been proud of. The band could not leave the stage before playing the classics 'Handbags And Gladrags' and 'Out Of Time'. We thoroughly enjoyed this show. The afternoon session ended with The Ian Siegal Band. We've seen this guy many times over the years, so we may be slightly biased, but the general consensus in the crowd was that this was the best performance of the weekend - and his best yet! On top form and dripping with perspiration, he showcased a brilliant selection of material as only he can, with superbly arranged covers of 'Bo Diddley', 'Folsom Prison', 'Tramp' and 'That's Alright Mama' together with his own songs from their last two amazing albums. Personal favourites were Tom Waits 'Cold Water', Ian's tribute to Big George And The Business, 'Take A Walk In The Wilderness', and the encores 'Falling On Down' and 'Dreams To Remember'. As always, Andy Graham and Nikolaj Bjerre provided intuitive and top class backing.

The Sunday evening climax to the festival turned into an anticlimax for us. The vast majority of fringe venues had closed by this time and everyone converged upon the marquee - those without tickets listening from outside. The crowd inside heaved, making conditions uncomfortable and refreshments almost impossible to purchase and consume. We caught a glimpse of Sherman Robertson from the back as he gave a masterclass of Texas guitar Blues, and his huge UK following lapped up every minute.

Jools Holland and guests closed the festival and had been eagerly anticipated by the audience. They performed a mixture of genres with vocals of

diverse talents such as Marc Almond and Ruby Turner, along with the orchestra's own particular jazz/Blues blend. By this time, though, we were so far removed from the party atmosphere the music was almost incidental.

Overall, a great festival, but for us getting too big for comfort. Next year, we will consider some of the smaller festivals instead.

Tony Winfield & Sue Hickling

LATITUDE FESTIVAL

Thursday, 17th - Sunday, 20th July 2008

The first thing that struck many a fan of Latitude was the line-up. It was an odd mixture this year, and not in a particularly nice, quirky way. Franz Ferdinand supported by Death Cab for Cutie on the Friday night just didn't seem right on paper and, in reality, it wasn't. The extra ticket sales of five thousand were noticeable as soon as Franz Ferdinand took to the stage. The crowd seemed happy to sing-along to the "classics" but new material was mostly lost on a crowd begging to scream their lungs out and dance. I couldn't help feel that the musical aficionado's, who had blossomed at last year's festival, were not only bemused by the headline choice but also slightly concerned. After all, this wasn't Reading or T in the Park, this was Latitude!

The headliner for Friday did, for many, close what was, pretty much, an uneventful day. Well, that would have been true if it wasn't for Howling Bells. The chilling, sexy, grimy, dirty Blues-rock that the Australian four-piece band exudes gripped me. Juanita Stein, the siren of the group, literally had my soul on edge with her display of sultry female Blues vocals and a dripping wet sex appeal that Prince would be proud of. Songs like 'Cities Burn Down', 'Broken Bones', and 'Low Happening' cut through the general clutter of the Friday line-up and resonated in the minds of the audience. Each lyric was sung with conviction and menace as if Stein was daring you to forget them, which in my opinion was impossible. It may be early stages to call it but if Seasick Steve brought Blues to the masses last year then bands like Howling Bells are making sure you don't forget it.

In comparison to the slow start of Friday, Saturday started brightly both metaphorically and literally. Beth Rowley played the Uncut arena during the afternoon. Within five minutes of the sound technician taking to the stage, it was clear that Rowley had a good reputation and the crowd grew in a matter of moments. By the time Rowley had taken the stage, the arena was full with a crowd comprising of all ages. Rowley's voice is extraordinary, leading some to compare her to the modern pop soul singers Amy Winehouse and Adele. This is somewhat unfair, in my opinion, as Rowley cuts her own mark and is clearly definable from the mentioned. The songs are classic Blues and soul and feel like they would be at home within the dramatisation of an Ian Fleming novel. Unfortunately, though, Rowley misses, for the lack of a better word, a bit of oomph. The songs are strong and clever, and the delivery professional, but there just lacks that element of Blues and soul that really grips you and holds you by the heart. For the housewives of middle England, it certainly makes them sway, but it's a little too harmless, even if reminiscent of Nancy Sinatra.

If Rowley lacked a bit of passion then the next act I went to see most definitely did not. Seasick Steve is a modern living legend, and is revered from Suffolk to Shanghai (where he was flying to following his Latitude set). Following on from the rapturous Latitude performance of 2007, in which the modern Blues great not only filled the Uncut arena from corner to corner but touched the hearts of all that were present, Seasick Steve had been bumped up to the Obelisk arena. This threw up the inevitable challenge of whether he could transfer the energy he had in the closed arena to a stage far bigger and open. In all honesty, the challenge didn't faze him, and taking to the stage, he welcomed his support band consisting of his youngest song on pick, Eli "Paperboy" Reed (also playing Latitude) and a man that bears an uncanny resemblance to Animal from The Muppets on drums.

Seasick Steve is not only a living legend but a great storyteller. After seeing him perform a number of times live and on TV, I wondered what he could do to freshen up the stories he gripped audiences with last year. The answer is that he told more of the story, with more of the detail and with just as much passion as the year before. New and old fans were deeply engaged as the band ripped through old and new material, which left me wondering what the hell Seasick Steve must be drinking to still have so much energy! Well, perhaps it's not the drink but just the heart of the man. As Seasick stared into the crowd, he pointed out a beautiful girl from the front and brought her up on stage and seated her beside him. He emphasised that this new song had to be sung to a lady and proceeded to make this young lady's year with a one on one performance anyone with an inkling of love for the Blues would have paid their life savings for. As I stood in a field in Suffolk, surrounded by thousands of people, I felt the hairs on the back of my neck raise and I couldn't help but feel

photos: Mark Ireland

that I was witnessing something special. Seasick Steve is great in every sense of the word.

Later that night, Eli "Paperboy" Reed and his band, The True Loves, played the Film and Music arena and showed exactly why Seasick Steve regards him as the best singer he has ever seen. Eli "Paperboy" Reed is in his early twenties but his heart must be that of mid-20th century gospel, Blues and soul great. Reed tells tales of love and loss with an awesome voice which is enriching and beautiful. The band play classic soul Blues that was toe tapping, hip swaying waves of excellence. Yet, no matter how good the band is, it is Reed's voice that simply knocks you off your feet. It was a fitting end to a great day of music.

Equally impressive is the formidable Nick Cave. Although Sunday had been slow, Cave simply ignored the atmosphere and burst onto stage. Grinderman, the harder, grittier and frankly scary side to the musicians that make up Nick Cave And The Bad Seeds, lit up the day. The Bad Seeds are hugely successful worldwide and, as a result, Latitude buzzed with anticipation of what Grinderman will bring. It was, in fact, inescapable as my ears pricked up to the name Nick Cave all day long. As thousands eagerly awaited the arrival of Grinderman, the afternoon’s temperature seemed as though it were possessed. This particular field was in constant flux, with temperatures soaring one minute and then dropping to a deep chill the next. It was if Grinderman had possessed not only the ears and souls of those present, but the atmosphere, too.

Grinderman, much like the weather, would flow from heavy joyous Blues to gritty dirty rock in sharp shifts. This continual change coupled with Cave's phenomenal stage presence, which would sit comfortably in a Hall of Fame, was brilliantly unsettling. The shamanic calls of Cave were reminiscent of Jim Morrison, and songs like 'No Pussy Blues', 'Get It On' and 'Depth Charge Ethel' had an equally impressive mix of Blues and rock similar to The Doors better live performances. Cave seemed fifty foot tall on stage and I couldn't help but feel that he relishes in the creation of Blues-rock that your grandmother would expect at the gates of Hell. But despite the awesome display of Grinderman I had to drag myself away to see the The Black Lips who played at the Sunrise arena.

As I ran from the main arena to the other side of the festival, I could still here Cave's voice calling through the woodland. As I arrived at the Sunrise arena, I was surprised, considering that Blondie and Grinderman were playing at the same time, to see such a good turn out. The Black Lips, it seemed, had summoned a crowd of hardcore fans.

The Black Lips are a young but well versed band comprising of four spunky guys from Atlanta. The band have had their ups and downs with the biggest low most notably being when Ben Eberbaugh, founding member and guitarist, died in a tragic car accident. Since then, the band have toured, recorded and worked tirelessly as a rawkus Blues rockabilly band. As they took to the stage in the Sunrise arena, I literally felt the crowd explode in excitement. Flicking between dirty psychedelic Blues songs to pure pop, the band's buoyancy had the crowd in thralls of pure ecstasy. Cole

Alexander, Jared Swilley, Ian Saint Pé, and Joe Bradley bounce to their own mix of Mexicana deep-south Blues and toyed with the crowd begging them for more. The crowd responded with screams of passion and surfing and dancing on stage. Cole Alexander is insane, he plays as though he is strapped to a pogo and the guitar rarely leaves the back of his neck. The Black Lips are truly special and it was truly exciting to see a Blues band of such a young age play with such professionalism and enthusiasm.

Latitude is a magical festival, with people from all walks of British life coming together and appreciating creativity in its many different forms. The literary, poetry and cabaret tents held both the interesting and amusing, and at times simply disturbing, but it was the stellar line-up of Blues, soul and rock influenced acts that made 2008 so memorable.

Robert Walker

HERITAGE MUSIC BLUESFEST

Wheeling, WV, USA

Friday, 8th - Sunday, 10th August 2008

Nestled on the banks of the Ohio River, Wheeling, West Virginia is a dying town. Steel mills and coal mines were the staple that kept downtown alive for many years and once they shuttered, the mills and the coal began to run out and the downtown turned into a broken down shell of its once vibrant self.

As we entered the grounds of the festival, what a sight we saw. There, not more than fifty feet off the shore of the mighty Ohio River, was the stage and passing by behind it was a large barge being directed up river by a tugboat!

As the show kicked off on Friday night, Debbie

Davies took the stage and played a dynamite set. Debbie is a guitar virtuoso, getting her start years back playing with Maggie Mayall And The Cadillac's before joining the legendary Albert Collins' band in the late-80s. She played a solid hour long set before giving way to Anson Funderburgh And The Rockets.

Since his long-time band mate and harmonica legend Sam Meyers passed away a couple years back, Anson hasn't been on the road too often, so it was a thrill to see him back on stage. Joining him this year was Christian Dozzler on keyboards and accordion, and Texas legend James Harmon on Blues harp and vocals. With Anson's smooth, Texas style on guitar, the band ripped through a solid set that included some Texas swing, a little Cajun spice and some raw Blues. For their encore, they brought Debbie Davies out and they rollicked through two more swing filled songs before tucking it away for the night.

Next up came the harmonica wailing of Sugar Blue. The Chicago native, who normally spends his days overseas, wowed the crowd with his maniacal harp playing, many having never witnessed him or his attacking harmonica style (one friend said to me, "He is like the Jimi Hendrix of harmonica").

One of the more interesting things of summer festivals in the States is the consolidation of acts into a single performance. Friday night's closer was such a deal, as Michael Burks, Sherman Robertson and Carl Weathersby, dubbed the "Delta Guitar Slingers", took to the stage and proceeded to put on a guitar fan's dream. As the final note rang out, the first night closed down with a huge crowd cheering for more.

An interesting thing about multi-day festivals are the early day bands. Lionel Young, 2008 International Blues Challenge winner, opened Saturday with a scorching performance. Schooled in the classical genre of the violin, he has crossed over to the Blues quite well and plucked and bowed his way through a rousing set that had the early day crowd on their feet. It made us

photos: Randy Jones

wonder why he was on so early in the day, but we were definitely glad we came early to check him out.

Next up was The Soul Of John Black, followed by that bawdy Memphis staple Barbara Blue. Next time you are in Memphis, be sure to trip into Silky O'Sullivan's to catch her, she has a tremendous voice and is all about having a good time. Her set was one of the highlights of the festival and had the crowd screaming for more.

The Blue Bella Revue was next. Consisting of Nick Moss, Bill Lupkin, Gerry Hundt and Killborn Alley, their set was a menagerie of each individual act's songs and a hot jam with all of them together. Any of the four are a must see - together, they flat cooked. When Watermelon Slim And The Workers took the stage, the party started. Watermelon is a show that you just gotta see to appreciate.

Backed by The Workers, he cooked his way through old songs and did some from new release "No Paid Holidays" where he wailed out some killer Blues . One of the highlights of the festival occurred when Bill Lupkin and Nick Moss joined them onstage for a kick ass little session. Lupkin and Slim on duelling harmonicas was a great piece of Blues history. Between bands on the main stage, a second stage was in operation featuring local bands from the West Virginia, Pennsylvania and Ohio areas. Over the weekend, we made it down a few times and caught Billy The Kid & The Regulators as well as The Catch Blues Band. The second stage was a nice break while waiting for the main stage to get torn down and rebuilt between acts.

As twilight approached, Ana Popovic and her band took flight on a soaring slide filled Blues extravaganza. They ripped up the joint during a sexy, steaming, sizzling hot ninety minute set.

Closing up the Saturday night gig was a band I had not seen before, The Mannish Boys featuring Bobby Jones. With Kid Ramos and Kirk Fletcher handling the guitars and Randy Chortkoff on harmonica, they put on a great show to close out an outstanding day two.

Opening up on Sunday was the International Blues Challenge winning band for 2008, Trampled Under Foot. For lack of a better way to describe their performance, they kicked ass! When we saw them prepping to take the stage, I saw three clean cut white kids dressed nicely and was quite unsure what to expect.

Consisting of siblings Kris, Nick and Danielle Schnebelen, these three put on a truly great performance. It was perhaps the best performance of the weekend, definitely the one that I walked away remembering the most. Nick is a slide virtuoso and Danielle can belt out a song with the best of them.

After such a tremendous high came journeyman Seth Walker. He performed a decent set that prepped the crowd for Georgia guitarist Tinsley Ellis. I love to see Tinsley, he has that southern sound to his masterfully played guitar, and when he grabs the slide, there ain’t many better.

Up next was 2008 Blues Music Award winner Deanna Bogart. Having only seen her as part of the legendary Rhythm and Blues Revue tour, we came away quite impressed with her dazzling piano playing, soulful voice and outstanding saxophone playing. She is truly a gifted musician and her rendition of John Hiatt's 'Have A little Faith in Me' made the crowd fall in love with her.

Fittingly, as the sun was setting on the last day of an absolutely beautiful weekend, Lil' Ed & The Blues Imperials came on stage for ninety minutes of Ed Head heaven. This group of four put on the highest energy Blues show on the road currently. Lil' Ed, with his dynamic slide playing and his animated antics, gets the crowd so into his shows that they can't stand still. This marked the third time I had seen them in 2008 and if they come close to home before the year is out I will be there to see them again. To watch Lil' Ed walk on the tips of his toes through the crowd in front of the stage, and the crowd just rollicking right there with him, it can only be described as shared mayhem.

It would take a lot to follow that show, but coming out last to wrap up the 2008 version of the festival was the legendary duo of Johnny Winter and James Cotton. I do not believe anyone can play the slide quite the way that Johnny Winter does, and to be able to see him once again (my first Johnny Winter show was in the winter of 1974) make his guitar sing was truly the main course in what had become a three day smorgasbord of Blues. James Cotton joined in on harp and the two blasted their way (okay, so neither one is a spring chicken - both stayed seated throughout their performances) through old favourites much to the delight of an appreciative crowd. As Johnny gingerly left the stage, and the last note echoed off the banks of the Ohio River, Heritage Music BluesFest 2008 came to an end.

As we walked back through town to our hotel, with the sweet sound of Blues still resonating from the vacant and abandoned buildings, a spark of life came over an old dying city spawned by the Blues.

Randy Jones

LITTLE TOBY WALKER

@The Anvil, Basingstoke. 14/09/08

The fine American Blues guitarist, Little Toby Walker brought his entire band to the show in Basingstoke and, as musicians do, he introduced the members to the audience. There was his thumb, the bass player; his middle two fingers, the rhythm section; and his index finger on lead guitar. And an excellent band it was - one of the best one-hand-bands you'll ever see. Walker's picking was quick, rhythmic, Bluesy and most of all great fun. He was more than anything a highly skilled entertainer. He leavened his show with hilarious anecdotes and knew how to involve an audience: a crowd that started out quiet and very soon found itself singing lustily. "Oh, I just turned you into Blues singers!" Walker exclaimed. And his repertoire, a mix of classics and sparkling originals, was heavy on amusing sexual innuendo. 'Big Meat Shakin' On The Bone' celebrated the joys of larger women. And 'Your Buggy Don't Ride Like Mine', a traditional number, didn't have much to do with going down the road: "Don't get mad/Your buggy don't ride like mine/I got an easy ridin' buggy/It makes me go baby all the time." Suffice to say that the singer rode his buggy at every opportunity. His instrumentals were every bit as entertaining: Walker mixed a walking bass, sassy fingerpicking and a delightful slide to great effect. He covered artists from Fats Waller to Hank Williams, from Muddy Waters to Rev. Gary Davis, but made each song his own. At times, Walker's voice seemed a bit one-dimensional, though his singing was always exuberant. But his finale, a highly personalised version of Blind Willie Johnson's 'Nobody's Fault But Mine', was movingly sungbone-chilling in its acceptance of life's choices and their consequences. Walker is a master showman; by the end of the night, the audience was not just watching the show but had become part of it. And that suited Walker just fine. "Music", he explained, "is far too important to be left in the hands of professionals." An evening with him shows you just how right he is.

M.D. Spenser

JOE BONAMASSA

@Patriots Place, Foxboro, MA, USA. 25/09/08

It bordered on a religious experience. We were at the Mecca of the guitar gods prostrated at the will of more talent than is possible without divine intervention. The sheer depth of what was to be revealed cannot be explained as anything less than a canonization. With every fibre of his being, straight from his heart, and with all the soul that can possibly be bound by the corporeal casing of a human being, Joe Bonamassa offered his audience up in a carefully crafted temple of music, like a flock of sacrificial lambs struck silent by the awesome power of Gibson. He took the stage, a lone guitar man riffling through his solo introduction, each distinctive note of the thousands he played audibly decipherable from the last. Mesmerized by the spectacle, we didn't notice the other band members take the stage. The incomparable Carmine Rojas strapped on a bass guitar of a size befitting the monumental task he was about to undertake. Bogie Bowles lithely angled himself behind a drum kit and disappeared amongst the awaiting cymbals. Rick Melick was front right stage adding the additional dimension of keyboards you didn't know weren't there until you heard them added in. Four raging songs into the extended set planned for the evening, Joe addressed the crowd and roused us from the general delirium to hoot and clap full force. We had been sitting like stones with mouths agape. He must have wondered if we were still breathing! The signature

photos: Rich Singer

clean up song of 'India' merged with the crystalline ballad 'Mountain Time' floated over the crowd and lulled us back to a reverence. The guitar solo really took the crowed somewhere and it was good to be there. Each note he sang in harmonized wave conveyed the true longing the song is meant to instil in the listener. That was just the first half hour; you can imagine what the rest of the night was like.

Lori Borys

W.T. FEASTER BAND

@Blaydon House R&B Club, Tyne and Wear. 09/08/08

One of the greatest Blues success stories of this summer has to be that of the American W.T. Feaster Band's first visit to the UK. The three young men from Indiana are resident at the legendary Slippery Noodle Inn. So determined were they to make the breakthrough into Europe, which would enhance their musical careers, that they took annual leave from their day jobs and paid their own way across the pond. With the help of some English friends, a thirteen-date tour was organised and the power trio were on their way to unknown territory in the north of the country. The bandwagon started at the Maryport Festival trail where an enthusiastic fan base was established; many of these fans would subsequently follow them to every venue over the next three weeks, from Leeds to Edinburgh. I caught up with the band at the excellent Blaydon House R&B Club near Newcastle upon Tyne; it was the last night of a gruelling schedule and what a party it turned out to be. I am a Blaydon regular but I have never before seen an attendance which

exceeded 130, reflecting the Feastermania which had the whole area buzzing in anticipation. Even fans of the best of British talent Aynsley Lister and Ian Parker had travelled the length of England to see this new phenomenon. Vocalist and lead guitarist Travis Feaster, bassist Austin 'Ziggy' Shearer and drummer Jake Iseminger did not disappoint, having saved the best until last. Several original tracks from the highly acclaimed "Long Overdue" debut album were followed by Stevie Ray Vaughan's 'Couldn't Stand The Weather' and the Jimi Hendrix classics 'Fire' and 'Machine Gun'. Travis was in blistering form, so the Hendrix comparisons were not an exaggeration, his flourishes of six-string ferocity causing jaws to drop in disbelief as he played mind bending, diamond hard riffs with an edgy intensity. However, the talented frontman, who is leading a new generation of Blues afi-

cionados to the crossroads, also plays with nimble dexterity and subtle nuances.

Feaster's stunning, intricate version of 'Dear Mr Fantasy' showed that in the words of Jeff Beck, "it is all in the fingers." Travis sings with a rare passion and integrity reminiscent of Jim Morrison because everything comes from within and finds a unique expression with every performance; this is what keeps the music so fresh and inspiring. But this is not a one-man band, 'ScoMule' being the platform for 'Ziggy' and Jake to show off their immense talents as a powerful, dynamic rhythm section capable of creating imaginative, restrained solos in keeping with the theme of the song. Not surprisingly, the roof was raised, the audience scorched and multiple encores continued on demand until it was time to pack up, head for the airport and return to America. I can't wait for their next trip!

Dave Scott

CANDYE KANE

@Capitol Oyster Bar, Montgomery, Alabama, USA. 04/10/08

The Capitol Oyster Bar is a roadhouse greasy kitchen that is dedicated to great live music and by its gig calendar incredible by its small size. We sat down in an already half-filled room to find the woman who turned round sitting next to me was none other than Candye Kane herself. Looking tired even before she hit the stage, though extremely charming, Candye told us how she was doing well on her road to recovery. Candye only ate barely half her plate of oysters and salad before show time. Like a trouper, as the lights fell upon her and the music commenced, the artist blossomed. I was expecting a bawdy mama cussing, but there was a cute charm about Candye that cut through the experiences of her past. Her eyes lit up, her body language was clear and distinct - this was a honed performance, though her enjoyment seemingly as great as her audiences. Though Candye, I dare say, gave one of her less risqué performances, I was left wondering what an unusual mother/son relationship must ensue, as Candye's drummer is no other than her eldest son - Evan. The star of Candye's

band, however, was the blossoming guitarist Laura Chavez, whose best work was very Texan in style. I have no doubt we will hear much more from this gal in her own right in the unfolding years. Candye took some tablets to relieve some discomfort in her stomach, and sat on a stool for the rest of the evening, but she never let her audience down one bit. The night's repertoire heavily featured music from her, "Guitar'd And Feathered" CD. This was a show, with an emphasis on entertainment, rather than simply a gig.

Billy Hutchinson

DEVON ALLMAN'S HONEYTRIBE

@Robin 2, Bilston, Wolverhampton. 24/09/08

The Robin 2 venue, a great club that hosts some great bands, has a capacity of seven hundred people, on this occasion it couldn't have even been ten per cent full. We wonder why bands don't come over from the States, it is an expense for them, especially in the current climate, but this is the appreciation we show them. The band do have only one release to their name, and maybe this was partly the reason, but it must have been disheartening for the four band members to look out into the hall to see people randomly dotted about. Regardless, they put on a fine show for just under two hours, and they'll definitely have those in attendance with them again next time. Opening with their excellent instrumental 'Mahalo', the band treated us to some beautiful music from Blues to psychedelic style extended jams. Being the son of Gregg, you know you are going to get at least one Allman Brothers song, and we received a superb rendition of 'Midnight Rider', which was slightly rushed until the guitar solo took over. Devon seemed to turn the tune into 'Dreams', with a stunning guitar solo that emphasised the talent within the band. Vocally, he has obviously been compared to his father, whilst a good singer, he isn't in the same league - I'd compare him to a slightly less soulful Mike Farris, formerly of the Screamin' Cheetah Wheelies. Jack Kirkner on the keyboards added some tasty fills and his solo's were excellent, offering a real early-70s feel. They offered up a new song in 'Salvation' and invited the crowd to come closer to the stage, which we all did in unison; I think we felt as disappointed as the band must have. 'When I Call Home' was delivered in a Santana style and was a real highlight. A short encore of 'One Way Out' and the band left the stage to greet the few fans in attendance.

Andrew Baldwin

SEASICK STEVE

@Southampton Guildhall. 03/10/08

Steve Wold is a man of the world. Stories of him crossing the US as a teenager on a freight train have made his hobo status as important as his musicianship. The 'dog hisself' is something of a character, or so it seems. He is, to some extent, larger than life. He calls a box with a licence plate attached to it his "Mississippi drum machine" and he is well-known for playing on something called a Diddley Bo (a 2 x 4 with one string and a can of sweet corn to connect it to the mains). He is also as literal as they come. He is called "Seasick" Steve simply because he has frequently become ill whilst travelling on water. Learning this, one cannot help defining the artist as a conundrum, but what is quickly understood is that these facts are merely the smokescreen to what is waiting. It was walking past the merchandise counter and being told that Steve "doesn't play in America," which first made me wonder why an American whom embodies so many of these national characteristics (a wanderer in search of the American dream) wouldn't want to be there. After all, his stories were always so reminiscent of his old country and it seemed strange why he would prefer to play in Europe. It was apparent that what he was playing, namely the Blues, was transcendent to the point it could be played anywhere and have a dramatic response. Britain, as a whole, has needed a man of his grandeur to spice things up a little from the cold pub rock which the Blues has unfortunately become. I am grateful for the one thousand bands that credit The Rolling Stones as an R&B influence for we now have Seasick Steve. Empty, the Guildhall at Southampton is a palace. By the time Steve's voice first boomed over his crowd, also strangely before the supporting act, it had turned into a sweaty dungeon. On stage, Steve was joined by a master sticksman and his son playing the washboard. Between songs, he picked up a bottle of Jack Daniels and would talk kindly to the women in the audience as if trying to woo them. He was no coward when it came to telling some spectator's

photos: Paul Webster

to calm down, which only resulted in riling up the parts of the crowd which came to respect and appreciate the hobo with the three-string guitar hung round his shoulders by a piece of string. Musically, Seasick Steve played every song with as much soul and made few excuses for not playing standing up. His duet with support act Amy LaVere was a show highlight amongst a set of rowdy Blues numbers and sentimental country ballads, and his ten minute rendition of set closer 'Dog House Boogie' was worth the ticket price alone. It would be a waste of time calling the man mythic when, in reality, there is barely anything that comes close in the current charts.

Matthew Clarke

WALTER TROUT

@Shepherds Bush Empire, London. 17/10/08

Opening with 'Dust My Broom' and immediately ripping out a stunning solo, Mr Trout announced himself to a capacity crowd and looked as relaxed and positive on stage as I have ever seen him. You know exactly what you are going to get at a Walter Trout gig: solos, Blues, rock, rocking Blues, more solos and passion - and he didn't disappoint on any level. He mixed in material from his history with numbers like 'Welcome To The Jungle', new material such as 'Next Big Thing', and ripped out exquisite solo after delicious riff - he generally played with absolute abandon and touch. With Provogue, his new label, he seems to be in an excellent place to express himself and to deliver the stuff that Walter Trout does better than anyone else on the planet, and we could hear it in his playing and his vocals. New drummer Michael Leasure was absolutely terrific, subtle as well as solid as a rock, and the new bass man Rick Knapp proved that the sad demise of Jimmy Trapp has not taken anything away from the Radicals. Sammy Avilar has always been a soulful keyboards player and the new Radicals were playing as a team like never before. Trout's comment that "London has supported us for nineteen years and we'll keep comin' back while you do," sounded as though it came from the heart - if he keeps playing like this, we'll support him for the next nineteen years as well.

Andy Snipper

photo: Janet Morris

XAVIER RUDD

@The Forum, London. 21/08/08

The floor at the Forum was buzzing in anticipation of Australia's latest Blues champion, Xavier Rudd. They even cheered as the tarpaulins were drawn from the two platforms onstage: one, for Rudd's drummer, Dave Tolley, and the other for Rudd's three didgeridoos, assorted drums and percussives. When he finally hit the stage, the sense of anticipation was palpable - although the buzz of conversation actually drowned out the PA - and as the lights dimmed, the cheer went up, and he was there, completely encased in his kit, with only the top of his head visible to the audience. He started with the opening track from "Dark Shades Of Blue" - 'Black Water' - with a low resonant buzz from the didgeridoo and heavy, portentous drumming from Dave Tolley and power slide from his lap steel guitar. He moved into 'Dark Shades Of Blue', with his vocals slightly halting but becoming more confident as the track wore on. 'Guku' featured a didgeridoo and percussion solo before the cod-reggae of 'Coming Up Slowly'. The heavy quotient of his music was delivered number after number, but the subtlety and originality of his recorded music was rather lost in the power. Overall, however, this was a performance from a musician who knew his audience and delivered exactly what they wanted.

Andy Snipper

DEBORAH BONHAM

@Lowdham Village Hall, Nottinghamshire.11/10/08

Lowdham Village was rocked to its foundations at this gig. This was a performance of top class music from the unsung "Queen of the Blues". A mama whose every breath is the Blues and music, endowed with natural rhythm, with all the talent, style and sensuality of the great ladies past. The sheer vocal power allied to her stage persona and Blues emotion in the performance marked her out from those would be pretenders, and all topped off by a highly talented band. Featuring an array of songs, mainly from her new CD, "The Duchess", she powered her way through, like Janis Joplin, Maggie Bell and Nina Simone combined! Her new CD contains a beautifully emotive comment on life's problems and surviving them, called 'Hold On'. On the CD, this was recorded with Paul Rodgers and had not been performed live until Lowdham. Paul being busy elsewhere meant here lead guitarist/husband Peter deputised. Paul has the edge on the vocal, but what a rendition! If Blues can be defined by feeling, as well a musical technical definition, you don't get more Blues than that. Especially with Peter's lead guitar underpin and the instrumental added by soul wrenching bass and Hammond organ, with gentle, heart throbbing drumbeat. Her rendition of 'The Old Hyde' brought a lump to the throat to many in the room, who listened in absolute silence, with pure respect at the power, quality of vocal range and emotion portrayed, before bursting into an explosion of applause, jumping to their feet, as the last note faded into the ether. Lowdham is a small rural setting but that audience present were cheering, clapping and standing, as if this had been the O2 Arena itself, full of admiration and respect for a lady and her band being woefully missed by venues, audiences and critics on the circuit at present. The lady can sing the Blues with her soul!

Carol Borrington

ROSE HILL DRIVE

@Barfly, Camden, Camden. 08/08/08

Rose Hill Drive are ready to be playing the larger venues now, and the gig at The Barfly was absolutely packed to the walls in anticipation of the great new hopes from Boulder, Colorado. The crowd was varied and, for a wet Monday in Camden, surprisingly low key; until the band hit the stage with 'Freak Out', when all hell broke out. The shred-heads at the front were getting an early mosh-pit started and even the bar huggers at the back were doing a semblance of dancing. The sound from the band was full on and powerful, with Jake Sproul's bass lines and vocals to the fore. His brother's guitar was suffering from a stuttering amplifier but after giving up the ghost entirely after a monstrous 'Trans Am', the techs managed to cajole it into life and his fluid acid-tinged Blues and riffery came over clear as a bell. The newer material was more familiar to the crowd - '8th Wonder' and 'Altar Junkie' got a particularly warm response - but the middle section of the gig featured a couple of numbers that really showed the Blues capabilities of the band as they got a Cream-esque jam going (shades of Robin Trower, as well). In the end, the subtlety and pop sensibilities of Rose Hill Drive were sacrificed for sheer grunt and bombast, but the gig was a good 'un.

Andy Snipper

photo: Lindsey McWilliams

QUEEN + PAUL RODGERS

@Trent FM Arena, Nottingham. 10/11/08

A lot of eyebrows were raised when Queen announced that they were going back on-the road with Bluesman Paul Rodgers. Firstly, who possibly could front Queen after Freddie Mercury and, secondly, a Bluesman! Yet, if anybody had any doubt about this marriage of Rodgers and Queen, it was extinguished by their performance at Nottingham Arena. It was clear for all to see, Paul Rodgers, while upholding the fine legacy of Queen's power rock music, had rooted it back at the origins; the Blues. Rodgers' vocal had not only class and power, with a full register and intonation of the best of the rock on display, the man knows how to work an audience in true Bluesman fashion, and the Queen crowd loved it. It was a concert complimented by a sea of singing and arming waving punters. They were taken through the music of Queen, FREE and a good selection of songs from the new CD, "The Cosmos Rocks". May is the 'rock musician's musician' but he's also a Blues guitarist, he displayed this throughout, but at one particular moment in this gig, he and Rodgers stood at either end of a long stage platform reaching into the crowd. They went into a vocal/guitar combined jam in the best Blues tradition, and if anyone thinks Dr May can't play Blues, not only is he technically one of the best exponents of guitar technique; the feeling was sheer Blues straight from the soul of the man. If you closed your eyes dur-

ing 'All Right Now', you could have sworn Paul Kossoff was present! Roger Taylor showed, like all the best drummers, he can go with the flow, and there was a fine display of drumming, including him going out on the extended platform with just a bass drum and having a whole kit built round him, in timing to his beat, by the roadies. Rock is the fruit of the Blues root and Queen, at this gig, were both root and the branch!

Carol Borrington

GOMEZ

@The Forum, London. 02/09/08

Nearly two hours before Gomez hit the stage at The Forum, the crowd were in and jostling for position. Gomez managed to develop a loyal and vociferous following when they first launched and this gig showed just how much the "Bring It On" album meant to their fans. They played the album in its entirety, and from the opening chords of 'Get Miles', the audience were singing all the lyrics for them. 'Whipping Piccadilly' saw the first attempts at a mosh pit and the bouncing centre of the stalls didn't let up until well after the band finished 'The Comeback'. Hearing the audience lead the singing, I was struck by just how much good music there was in the album and even the subtlety of 'Make No Sound' came over beautifully. 'Tijuana Lady' was given the full treatment and set off some rapturous dancing in the upstairs aisles, before the security ever-so-politely got the miscreants back again. The playing was superb and the rapport between the band and their audience was notable - the band chiding the audience for poor quality vocals at one point! Ian Bell and Ben Ottewell

shared the frontman duties but the whole band contributed, and the tenth anniversary of "Bring It On's" release was duly celebrated in some style.

Andy Snipper

TOMMY LUDGATE

@The Cobden, London. 02/10/08

Tommy Ludgate is definitely still a work in progress, but she stepped out on the stage at The Cobden and instantly drew all the attention in the room. We were gathered to hear the first playing of her new album in its entirety and with a full sized band - two backing singers and two horn players, as well as her usual four-piece band. She made a strong and eminently musical fist of things for our delight. The music was soulful and jazzy, with a strong taste of the Blues throughout, but she has a fresh delivery without the cod-soul of Ross Stone; rather more a Peggy Lee in development. Her own songs were the strongest part of the show; although she threw in rather too many covers (she was definitely more comfortable on her own material). The band were given plenty of room to play, although there was never any doubt as to who the main performer was - Tommy Ludgate will be a star and this was a strong step on the path. 'Temporart Lover' and 'Sweet Release' were the most memorable numbers on the night, but 'Nothing To Say' showed that her voice has good range, and she also showed that she knows when to keep quiet - none of the silly squeaks when the band were stretching out that some of her less confident contemporaries use to remind the audience they are still there. Definitely well worth following.

Andy Snipper

AGNOSTIC MOUNTAIN GOSPEL CHOIR

@The Bodega Social Club, Nottingham. 13/08/08

The Agnostic Mountain Gospel Choir are Canadian, made up of the remains of several divergent bands from Calgary. Their music varied from traditional root stock Blues and mountain music to Appalachian folk and real 'get down' gospel. You knew the

photo: Patrick Cusse (ccphotoart.biz)

band were going to be something different from the first minute. This four-piece band demonstrated throughout their prowess in gritty emotive vocals, drums, banjo, slide guitar, harmonica and upright double bass. The first giveaway to their difference in sound was the drum-kit; the two tom-toms being replaced by a biggest snareless drum you've ever seen, and a tin helmet on the cymbals, which took an active musical part in the night's events! The appearance of the band was like something out of a sepia history film extract, very old colonial mode, long beards and all! The first song that kicked off the set was so tribal, with that drum of Peter Balkwill sounding as if it was coming from the very bowels of the earth, all underpinned with Vladimir Sobolewski's upright bass that gave an unearthly feel to the start of show and had the audience pricking up its ears to listen from the first beat. Boob Keelaghan's vocal throughout went from a slow Blues, emotive and gritty, to almost deep South Baptist preacher thunder. Judd Palmer on lead - and everything else - is a superbly talented musician, as was displayed by his multi-talented fluidity and emotive playing across instruments. If there was one criticism, they didn't talk enough about their music. Yet, this band didn't seem interested in any frills, just getting down and playing to the crowd, who loved every minute of it. There was a strange simplicity to this band but made complex by their musicianship, vocals and, most of all, the intense enthusiasm and joy of making music.

Carol Borrington

OLD CROW MEDICINE SHOW

@The Rescue Rooms, Nottingham. 05/09/08

A sizeable audience was in attendance for this all acoustic, roots/country band, who play with a hint of Blues. Two hour long sets entertained the crowd from start to finish, with old and new material. This talented band of twenty somethings have a great warmth to them, especially the voices of Willie Watson and Ketch Secor, and employ guitars, banjos, fiddles and harps. They have a new album out, "Tennessee Pusher", and one of the highlights went to new song 'Greatest Hustler Of All' - a witty tale about losing your heart to a 4' 9" con artist. It was beautifully played, with fine harmonica and fiddle solos by Secor. The band members were full of character, very serious musicians with great musical knowledge, but also able to tell a funny aside and laugh at each other in the process. Many comments were aimed at the next Republican candidate John McCain, but Barack Obama certainly didn't get away without the odd jibe. 'Alabama High Test' sounded a little too much like Dylan's 'Subterranean Homesick Blues', but got the crowd jumping. Excellent renditions of 'Down Home Girl' and 'Wagon Wheel' followed, with new song 'Methamphetamine' telling the pitfalls of serious drug abuse. Occasionally, the music veered a little too near hoedown territory for this listeners liking, and, at times, felt like I was at a line dancing contest, but on the whole it was a most enjoyable evening, and a change from the usual showboating that we get from some artists. For their encore, the band treated us to a Nashville meets Kingston, Jamaica version of Bob Marley's 'Soul Rebel', sung with skin tight harmonies and soul in abundance. The audience sang along with this and many other songs throughout the evening, and rapturous applause saw the five-piece finally disappear backstage, leaving the crowd to spill out onto the streets amid a torrential downpour.

Andrew Baldwin

TRAVIS "MOONCHILD" HADDIX

@Castor Village Hall, Peterborough. 27/09/08

This was Travis Haddix's fourth visit to Shakedown Blues - but his first appearance at Castor Village Hall. Eighteen months ago, he was over here with Artie White and they played with the Mike Carr Band. This time he flew in his own band, The Cleveland All-Stars, so the audience's expectations of a good night were high. They were not disappointed! The evening kicked off with a brilliant instrumental by Gilbert Zachary, which blended Oliver Nelson's 'Stolen Moments' with Bobby Timmons's 'Moanin''. Then the band kicked in with two instrumentals, followed by a Las Vegas style intro from band director and trumpeter Jeff Hager, which brought Travis onto the bandstand and, after the first bars of 'First Thing Tuesday Morning', the evening was his. The next three hours flew by, with Travis cherrypicking his massive songbook with Andy's 'Shoot Em Up'. 'I Have A Secret' and 'Daylight At Midnight' (the little track from his latest album on Earwig) and much more. The band were exceptional and Travis, who was obviously enjoying himself, supplied us with loads of his fine distinctive guitar work. Just another night in the Village Hall!

Richard Cartmel

CHRIS SMITHER

@The Luminaire, London. 06/10/08

The guitar looked small in his hands and he played with the casual ease of a Vegas card dealer doing complex shuffles while chatting with a friend. Chris Smither is one of the most delightful fingerpickers ever to pick up an acoustic guitar; his folk-Blues stylings are at the same time as intricate and as laid-back as any you will hear. That in itself would be reason enough to see him but, as he showed at the Luminaire, it's only the beginning of what he has to offer. His immense catalogue of songs, written and polished over the course of his forty years on the road, are jewels, all - each adorned with little pearls of weathered wisdom. Take, for example, 'Father's Day', a song he wrote recently for his own father. The concluding lines - these from a man in his sixties - are heartbreaking in their insight and their kindness: "Ain't I done good? I needed that from you/And all I've got to say is, by the way, you done good too". And then there's his voice, smoky and atmospheric. He seemed to sing to each member of the audience in turn; you understood the songs - their pathos and their wisdom - in more richness than is communicated on CD. He's contemplative, but he can rock, too. He did a rollicking version of his most commercially successful song, 'Love You Like A Man', covered as 'Love Me Like A Man' by fifteen singers from Bonnie Raitt to Diana Krall. He finished with 'Leave The Light On', about how at 64 he still has more to do. He was just one man with an acoustic guitar but when the last chord died, the audience rose of one accord and roared. For an encore, Smither ended where he began, with his laid-back picking to the fore. He did Blind Willie McTell's 'Statesboro Blues', played as a guitar piece of dazzling complexity that seemed as easy for him as humming a tune down by the riverside on a lazy summer day. Magic!

M.D. Spenser

DAVID 9

@The

Maynard Arms, Crouch End, London. 29/08/08

Coming across an unheralded 'discovery' is often the most pleasant part of listening to music, and finding a performer such as David 9 in a pub in North London was both pleasant and rewarding. He played a couple of sets to the Friday night crowd and the audience for his songs grew number after number. Opening with the self-penned 'Angel Sitting On A Tree Outside My Window', I was struck by the quality of his guitar work - mainly fingerpicking - and the simple but pure quality of his voice. When he moved on to numbers by Dylan ('Don't Think Twice') and The Beatles ('Help!'), he gave them an original feel. He played in a Blues/folk crossover range, but songs like 'Beautiful Day' have the feel of early Marc Bolan about them, and he is capable of delivering a tough Blues, such as 'King Pig', with real gusto.

Andy Snipper

photos: Paul Webster

PAT TRAVERS

@The New Bull & Butcher Real Music Club, Whetstone, London. 26/10/08

There wasn't a whole lot of delicacy and subtlety on show at the Real Music Club on Sunday night - but there was a whole lot of 'guitar god' in full flow. The New Bull & Butcher was packed out for the last gig of Pat Travers' European tour. The denim was severely faded, the locks were held long and the tables and chairs that Pete Feenstra occasionally puts out for atmosphere had been removed - the crowd were ready for rock and Mr Travers gave it to them in no small measure! Through classics like 'Crash and Burn' and 'Getting Better (All the Time)', Travers' guitar was chiming out classic rock clichés, but these were cliches that he had invented in the first place, so maybe that makes them signature sounds? When the likes of Metallica and Poison claim that you were a major influence, it would have been churlish of the crowd to want anything less than the pure and undiluted Pat Travers sound. He did play some more melodic numbers, especially 'Elisha', which was written for his son, and there was definitely a Bluesy touch on some numbers, but at their heart both sets were real rock explosions, and all the better that Travers has never tried to temper his sound to make it more contemporary. Pat wrote the book and we all enjoyed listening to his reading from it.

Andy Snipper

THE GOOD BURGHERS

@The Bay View Bar, Swansea. 31/10/08

One of the new talents to arrive on the Welsh Blues circuit are Swansea based band The Good Burghers. Led by the powerful vocals of Sam Linthorne, who also contributes harmonica and unusually trombone, Sam is also the frontman for another local outfit - Mudjack. The other band members are Will the guitar, Dave the bass, and the experienced journeyman Huw Rees on drums. Huw appears in several local bands, The Kings Of Despair and The Ian James Band, to name drop a couple. The opening set featured one of my personal Blues classics, 'Born Under A Bad Sign', together with rousing covers of 'If You Love Me', 'Key To Love' and 'Standing In The Station' - excellent guitar from Will on this one! The mood changed for some slow Blues numbers - 'Standing In The Rain', and Peter Green's 'Need Your Love So Bad'but The temperature rose again to bring the set to a close, with excellent covers of 'Georgia' and Bo Diddley's 'Who Do You Love?' After a short interval, the band turned up the heat on this cold Halloween night with 'Call Me Baby' and 'Life Is Fine'. It was time for members of the audience, some suitably dressed for the occasion, to take to the floor. After a couple more slow tunes, and impressive versions of 'Ain't No Sunshine' and 'I'm In Love With A Woman', the second set closed with a rousing version of the classic 'I've Got My Mojo Working'. An encore of 'Shame, Shame, Shame' ending an excellent night of Blues music.

Steve Nicholson

MONTE MONTGOMERY

@Shepherds Bush Empire, London. 17/10/08

Label mates with ‘guitar gods’ Walter Trout and Joe Bonamassa, and given an opportunity to introduce himself to a London audience in support of Walter Trout - Oli Brown supported for the rest of the tour - Monte Montgomery grabbed his chance with both hands. He only had half an hour to impress and threw in some serious soloing and wowed the crowd with the things he can do with an acoustic guitar.

'Moonlight Tango' was jazzy, funky and the solo was exceptional, almost sounding like a keyboard's solo - jaws were dropped all over the capacity audience. '1st And Repair' was mammoth and 'Lets Go', with its rising lines and intricate rhythms, showed he really has some writing talent, to rival that of his playing. His band - David Piggot on

bass and backing vox and Marcus Finnie on drumswere superb. Montgomery made noises that should be impossible with the technology he has on hand - he even sounded louder than Trout did later - but musically it was enthralling and Walter Trout's audience gave him a real, hearty round of applause - you’d have thought they had come out to see Montgomery himself!. He will be back again in the future, and this performance can only have won him new fans.

Andy Snipper

NIMMO BROTHERS

@The New Bull & Butcher Real Music Club, Whetstone, London. 19/10/08

Hailing from the frozen north (Glasgow), we don't get enough of the Nimmo Brothers down south, so the turnout for them at the Real Music Club on Sunday was pleasingly solid, and their performance was no disappointment after the long wait since they were here last. With Alan starting on his 'Salmon' Stratocaster alongside brother Stevie on Gibson, they delivered a solid and really full-on set of rocking Texas style Blues and Blues ballads. 'Black Cat Bone (My Baby's Got)' saw both of them soloing, and the different guitar voices were clear with Alan riffing away and Stevie picking and more fluid. The sight of them obviously enjoying playing together was much more fun than the usual twin guitar battles from similar outfits, and while they have different styles, they really do compliment each other on voice and guitar. 'She's All Mine' featured another solo from Alan and went fully into 'rockstar' territory, with huge smiles all round. When Alan then switched to a Gibson, the symmetry was increased and the music even went up a notch. They don't pretend to offer any great new insights into the Blues - just honest and high quality playing - and the sheer enjoyment that they manage to deliver to their audience takes their music to another level (and gets the feedback from the crowd that they obviously need to do their thing). Anytime they want to come back and do this again, I am pretty sure the crowd would turn out for them. Seriously good fun!

Andy Snipper

photos: Tony Winfield (bluespics.co.uk)

(above and right) Nimmo Brothers' twin attack.

NO ELIMINATING

Courtesy Rhino, we have 3 copies of the 25th anniversary release of ZZ Top's "Eliminator" album to giveaway. The deluxe edition features the LP's eleven song set-list (including the original version of 'Legs', which only appeared on early pressings), bonus tracks, previously unreleased live recordings, plus a DVD featuring all four of "Eliminator's" videos and four songs performed for the UK's "Live On the Tube" in November 1983. For your chance to win, tell us: Which Rolling Stone gave a speech at the band's induction into the Rock and Roll Hall of Fame?

BRING IT ON, AGAIN

Courtesy EMI, we have 3 copies of Gomez's debut album, "Bring It On" to giveaway. This 10th Anniversary edition features the original twelve-track set, plus a bonus sixteen-song disc. For your chance to win, tell us: Which Beatles song did the group cover for a Philips TV ad campaign in 1998?

SCAREY TIMES

Courtesy the one-man-band himself, we have 3 copies of Honkeyfinger's "Invocation Of The Demon Other" CD to giveaway. Although our own reviewer was troubled enough to state, "should come with a health warning," those who like a fright may want to answer the following:

Benjamin Darvell, aka infamous one-man-band Son Of Dave, was a member of which hit-making Canadian outfit?

TO ENTER...

For your chance to win any of these great prizes, send your answer(s) to: comps@bluesmatters.com* Closing date: 16th January 2009.

*Alternatively, post to the usual PO Box address.

NAPPY BROWN

12th October 1929 - 20th September 2008

Blues shouter Nappy Brown passed away peacefully in his sleep on Saturday, 20th September 2008 at Mercy Hospital in Charlotte, North Carolina - he had been hospitalised with various ailments since June. He was 78.

Apress release from his label, Blind Pig, read: "Although Brown was a well-known star in the mid-50s, with a string of hits on the Savoy label, he had largely disappeared from public view a decade later. Few knew that he was such a great, ground-breaking vocalist who had an enormous influence on a lot of R&B singers, including a young Elvis Presley, who used to come out to see Nappy whenever he performed in Memphis."

Born Napoleon Brown Culp on 12th October 1929 in Charlotte, North Carolina, Nappy started his career singing gospel before switching to R&B and enjoying hits including 'Don't Be Angry', 'I Cried Like ABaby', and 'Night Time Is The Right Time' during his tenure with Savoy Records.

Although he released albums in the '80s for labels such as Alligator, Nappy was brought back to prominence when Blind Pig released "Long Time Coming" in September of 2007. The critically acclaimed album saw Nappy receive two Blues Music Award nominations.

Scott Cable spoke of Nappy's delight in this renewed recognition. "It was a blessing for Nappy that he was able to experience that adulation," said the producer. "He was at first incredulous about it and always felt very lucky to have a second chance in the spotlight. And he was always very demonstrative about how appreciative he was of all the media attention."

Blind Pig President Edward Chmelewski added, "It was so gratifying to be able to bring attention to such a deserving but unrecognized legend in American music and to see how happy it made him."

The press statement from Blind Pig concluded, "In his last conversation with his wife, Ann, Nappy said that this last year was the best of his life.He told her he never realised who he was and how many people cared."

MAURICE REEDUS

24th March 1930 - 18th August 2008

As producer Bob Corritore rightly pointed out: "Earl Palmer was simply one of the greatest drummers of all time. He created a number of distinctive beats and drum accents that became synonymous with the early sound of rock'n'roll. Can you imagine Little Richard's 'Keep A-Knockin'' or Fats Domino's 'I'm Walkin'' without Earl Palmer's catchy beat?"

Whilst it's his work with the likes of Fats Domino and Little Richards for which he is synonymous, Earl's diverse credits included work with a who's who of legendary acts, from The Monkees to Neil Young, and he remained in demand right up until the '80s, working with Tom Waits, Little Feat and Bonnie Raitt, amongst others.

Palmer he became one of the first

Legendary New Orleans session drummer Earl Palmer passed away on Friday. He was 83.

session musicians to be inducted into the Rock and Roll Hall of Fame in 2000.

Nappy Brown liked the attention.

photo: Gene Tomko

he musical skill, the length and success of his career, and influence on his contemporaries and younger players made Big Bill Broonzy one of the most important figures in recorded Blues history. In the UK, he was instrumental in the success of the Chicago Blues sound, and his extensive travels mark him as one of Blues' most successful global ambassadors. In fact, it is claimed that no one loved him more than Blues fans in the UK...

William Lee Conley Broonzy was born into a family of seventeen on the banks of the Mississippi in 1893, in the town of Scott - or that is the date he admitted to. According to his twin sister, it was 1898. According to the 1930 Census, he was born in 1901! His parents had been born into slavery, so life was tough.

Taught by an uncle, he learned to play homemade fiddle and was performing at social functions and church by the tender age of 10. After brief spells preaching from the pulpit, and in the army, he moved to Chicago in 1920 to work for the famous Pullman Company. At that time, the Blues scene was embryonic and it didn't take Broonzy long to settle. Playing with banjo player and accomplished guitarist Papa Charlie Jackson changed Broonzy's direction, as he managed to get him to drop his fiddle and take up the guitar, an instrument he would later make his own!

Broonzy's earliest recordings, with Paramount in 1927, whilst proficient, were unremarkable, lacking dexterity in his playing and his vocals were nothing special. Whilst the Census records 'Willie Lee Broonsey' as living in Chicago and working as a labourer in a foundry at that time, he nevertheless continued recording both as a solo artist and as part of the Hokum Boys, a band promoting the new Hokum style, which was achieving great commercial success for Tampa Red. Broonzy, however, lacked his own distinctive style and couldn't make a living from recording, being forced to take on other jobs.

Spearheaded by the sophisticated Leroy Carr and Scrapper Blackwell, urban Blues arrived in Chicago in the early-30s. Anew opportunity, and Broonzy began recording under the auspices of Lester Melrose. With Melrose, Broonzy discovered his natural warm sound and some of his early-30s sides are remarkable. Early recordings alternate between standard twelve-bar Blues, ragtime, guitar and piano duets, and the emergence of Broonzy's exceptional flatpicking. Two of his best and long lasting recordings of this time are 'I Can't Be Satisfied' and 'How Do You Want It Done'. Most of the early recordings were on the Melrose affiliated Bluebird label, which was now a leading Chicago Blues label. Broonzy also learned from backing many Blues greats, such as Sonny Boy Williamson. His session work was well regarded and Broonzy was well on the way!

In 1938, John Hammond started his revolutionary "From Spirituals To Swing" African/American extravaganzas, and booked New York's Carnegie Hall for the evening of 23rd December in the hope of booking Robert Johnson. Hammond apparently only heard about Johnson's death a week before the concert was

due to take place and engaged Broonzy instead. According to John Sebastian, Broonzy bought a new pair of shoes and travelled to New York by bus for the concert. In the programme, Broonzy was identified only as "Big Bill" (he wasn't known as Big Bill Broonzy until much later in his career) and as Willie Broonzy. He was described as "the best-selling Blues singer on Vocalion's 'race' records, which is the musical trade designation for American Negro music that is so good that only the Negro people can be expected to buy it."

The programme recorded that the Carnegie Hall concert "will be his first appearance before a white audience," assuming that Broonzy was some poor sharecropper, not a big player in the Urban Blues movement. Big Bill hammed it up and made the most of his exposure to white audiences. Accompanied by boogie pianist Albert Ammons they played 'It Was Just A Dream', which had the audience rocking with laughter at the lines: "Dreamed I was in the White House/Sittin' in the president's chair/I dreamed he's shaking my hand/Said ‘Bill, I'm glad you're here.’But that was just a dream/What a dream I had on my mind/And when I woke up/Not a chair could I find."

According to Harry "Sweets" Edison, a trumpeter with the Count Basie Orchestra, also in the concert, Broonzy was so overwhelmed by the audience response that he failed to move back stage as the curtain came down and got caught in front of it. Edison also said that Broonzy did not realise he had to do a number in the second half and left the hall to catch a bus home. Regardless of the truth of this, when a second concert was organised for Christmas Eve 1939, Broonzy was there, and again with Albert Ammons, they performed two numbers, 'Done Got Wise' and 'Louise, Louise'.

After this success, Broonzy returned to Chicago to record some of his most famous works, such as the standard 'Key To The Highway', 'Baby I Done Got Wise' and the jibe at Blind Boy Fuller, 'Jivin' Mr Fuller'. Working at the forefront of the Chicago Blues scene, this was probably Broonzy's best

period. It didn't last, and when the new generation of Bluesmen, like Muddy Waters, started to come thorough, redefining Chicago Blues on the way, Broonzy fell by the wayside. For the second time, Broonzy's music was unable to support him and he went back to other work, although he continued with his music.

He began to recognise the opportunities presented by the folk scene in Europe and the States, and successfully toured Europe before any other Blues singer. As at Carnegie Hall, he acted the dumb sharecropper wherever he played, claiming he was the "last living Blues player" to audiences he knew would know no better. Back in Chicago, Broonzy's recordings had lost bite, due to his need to appeal to the tastes of the new white audiences. In the

clash between artistic purity and economic necessity, Broonzy still had to pay his bills and he ended up playing what his audience wanted to hear.

Big Bill Broonzy made a massive impact in the UK and it is claimed that no country loved him more. Many of the British players coming out of the folk Blues and skiffle movement of the '50s owe an allegiance to Broonzy.

After a final UK tour in 1957, the pace caught up with Bronzy and he spent the last year of his life in and out of hospitals and finally succumbed to cancer in 1958.

Big Bill Broonzy survives not only in the music he left us, but in the memory of the people he influenced.

If you want to distil Broonzy's work onto a single album, "Big Bill's Blues" is the one to go for. It has his most representative work, containing all his best known numbers. The best of his Smithsonian Folkways recordings are included on "Trouble In Mind". Recorded a year before his death, featuring just his voice and acoustic guitar, he is nevertheless on fine form on this album. You can also read about the life of Broonzy in "Big Bill Blues" written by Big Bill Broonzy, William Broonzy, Yannick Bruynoghe, Paul Oliver and Charles Edward Smith, and published by Oak Publications in 1964. KW

photo: Kurt Swanson