Blues Matters 45

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EDITORIAL

Editor-in-Chief

Darren Howells darren@bluesmatters.com

Founder/Publisher

'D' alan@bluesmatters.com

Contributing Writers

David Atkinson, Roy Bainton, Andrew Baldwin, Adam Bates, Adrian Blacklee, Carol Borrington, Matthew Clarke, Benjamin Darvill, Norman Darwen, Dave Drury, Matt Frost, Joe Geesin, Jamie Hailstone, Stuart AHamilton, Gareth Hayes, Jim Henderson, Sue Hickling, Darren Howells, Michael Hunt, Peter Innes, Matt Merritt, Christine Moore, Merv Osborne, Noggin, Samuel Pentony, David Petie, Dottie Pride, Thomas Rankin, Graeme Scott, Al Tait, Andy Snipper, M.D. Spenser, Davide Styles, Paul Webster, Kevin Wharton, Rhys Williams, Tony Winfield, Darren Wisdom

PRODUCTION

Art Direction/Graphic Design

Darren Howells

Photography

As credited

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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.

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t seems fitting our latest cover should be adorned by two attractive, young, white female Blues protagonists. Whilst their debut albums and success thus far, may be poles apart, their story has become all too familiar in the current musical climate.

Inspired by a background listening to classic jazz, Blues, soul and R&B, the girls join an everincreasing list of female acts gaining critical and commercial success soulfully "singing the Blues" (Amy Winehouse, Duffy, Adele, Gabriella Cilmi…).

Whilst naysayers have argued Blues music has no place in mainstream music in a diluted form (so we can erase the contribution of The Rolling Stones, Led Zeppelin et al from the history books), or it's lack of relevance today as a string of testosterone fuelled and clichéd SRV wannabes fail to ignite any serious interest outside the European club circuitsullying the reputation of many a great Blues cited giant in the process - these girls have simply gone about selling records, attracting new fans and ensuring the name and music of artists that laid the foundation for popular music today are not lost on new generations, who are being forcefed increasingly cynically manufactured nothings (basically, ensuring us guys don't destroy something else in our usual cumbersome manner).

Whilst it's easy to express distain for the safe and samey sounds of Radio 2 darlings Norah Jones and Katie Meluaafter all, we are used to the "real deal", right? - it would be short-sighted to ignore their contribution. We don't have to listen ourselves - although, it would have been a shame to miss out on "Back In Black" - us knowledgeable folk have vast record collections with the great and good of Blues history, but young listeners will inevitably seek out the music of the acts the likes of Beth Rowley and Dani Wilde are so vocal in recognising as influences - will inevitably seek out the Blues.

We may like to paint the picture that Blues music is a man's world, but "it wouldn't be nothing, nothing without a woman or a girl."

DARREN HOWELLS Editor-in-Chief

13 BLUES NEWS

Joe Louis Walker, Rory Block, Jimmy Thackery, Chris Smither, Timo Gross, Queen + Paul Rodgers, AC/DC, Led Zeppelin, Steve Miller, Mr. David Viner, Nell Bryden, The Answer, Nick Cave & The Bad Seeds, Taj Mahal, The Rolling Stones, B.B. King, Kings Of Leon…

41 SUBSCRIBE TO WIN

ZZ Top and Jonny Lang DVDs...

126 DVD

REVIEWS

Rory Gallagher, Rev. Gary Davis, Paul Geremia…

132

FESTIVAL FEVER

Linton Music, Hard Rock Calling, Leicester City Blues…

142 GOT LIVE

The Sugars, Little Feat, Mick Hucknall, Congregation, Eric Bibb, Buddy Guy, John Mayall's Bluesbreakers, Roadhouse, Melody Gardot, Mojo Buford, Tom Waits, Samuel James, The Zombies, The Black Keys…

157 MEMBERS’ COMPETITIONS

CDs from Dr. John and Double Trouble…

20 INTERVIEWS

Beth Rowley, Otis Taylor, Pieta Brown, Papa Mali, Tom Mansi, Jethro Tull, Spencer Bohren, North Mississippi Allstars...

79 EASE THOSE BLUES

With "One Believer".

80

GETTIN' THE BLUES

Son Of Dave gets the Blues!

128 BLUE BLOOD

Claire Simone and Edwin Denninger.

158

NEVER FORGET

Little Arthur Duncan, Phil Guy, Jerry Wexler…

160

NOW, BEFORE WE FORGET…

Tampa Red.

163 COVINGTON'S ART

(Part 6) Ishman Bracey.

Oli Brown, Willie "Big Eyes" Smith, Rod Clements, James Hunter, Man, The Mojomatics, Watermelon Slim And The Workers, Miller Anderson, Rob Tognoni, The Mannish Boys, Stevie Ray Vaughan, The Nimmo Brothers, Alvin Lee, A.A. Bondy, Mike Zito, Solomon Burke, Led Zeppelin, B.B. King, T-99, Rose Hill Drive, Robin Rogers, Maria Muldaur, Whitesnake, Deborah Bonham, Derek Meins, Madam…

20 BETH ROWLEY

When Charlotte Church has accompanied you to murder one of your songs, you know you've made it - but, as her booking at this year's Maryport Blues Festival proved, Beth certainly hasn't forgotten her roots. "Blues is one of those genres with 'something', so you can't fail to be affected by it. Whether you're listening to it or making Blues music, for me, it just strikes a chord. Of course, I have suffered in my own way and there are definitely extreme things that have happened in my life that I have drawn upon."

photo: Bob Bayne

WHO CARES?

Got my new issue and read your Editor's piece. Unfortunately, it goes with the territory.

Many years ago, I was writing record reviews for a local independent weekly. The magazine itself was free and could be picked up just about anywhere around town, where the people likely to read it would be hanging out. For $10 you could subscribe, that meant delivered to your door. Sadly, less than 10% of the readers did so. I wrote a published letter where I said $10 was more than fair and, since nobody was exactly poor, I was sending in $20 and that all readers should do the same. They didn't! They were all p**sed when the magazine went under, yet very few actually wanted to do anything to keep it going.

It's the same reason we have so many political problems; people think somebody else is going to take

care of everything for them. Our politicians, music, magazines, etc. are all a product of "we the people" (I'm American, so I quote the US Constitution). If the public buys it, the business prospers. If they don't buy it, the business goes under. Vote with your dollars (or other local currency). No use in complaining about what's out there.

Sadly, the general public doesn't seem to understand that the sheep just take whatever is spoon-fed to them.

J.J. Vicars

Tokyo, Japan

Can't believe the big labels are not really investing in the magazine, and I felt a little weariness at their attitude. In your current editorial, it does seem they want it all but give absolutely nothing back - sad, but typical.

More respect, please, for Robben Ford.

It's a shame because Blues Matters! is great value for money and seeing the costs these days of the US counterparts - I used to get Living Blues and a year back at my local borders it was £4.25, last week I saw it was £6.75 (that's one heck of a rise, I'm sure you'll agree)yours is now by far the best on the market.

Pete Clack Oxford

BM! Says: Hopefully more people involved in the industry will realise that supporting us how they can is ultimately supporting themselves, and we aren't left in the position of too many independents in recent years of having to take away a vital outlet for so many great, yet underexposed recording artists.

BETTER THAN AVERAGE

Your writer, Samuel Pentony should be ashamed of the obtuse insults directed towards Robben Ford in his live report (issue 44).

Robben Ford is recognised as one of the most accomplished and influential Blues guitarists of recent years - our own Matt Schofield is just one of many highly respected musicians who have been vocal in their appreciation (and I have seen him on enough occasions to know his performance is far from "average"). I would rate him alongside Jimmie

DO YOU BELIEVE?

I first got into the Blues during the British boom of the '60s - John Mayall, Savoy Brown, Fleetwood Mac, Jimi Hendrix, Canned Heat et al.

Once you're into the Blues, you're in for life, and so the early British forays led to researching the origins of this music and the purchasing of numerous American artists albums - and then, wow, these greats started to tour the UK!

People say the Blues died after the '70s - what b**locks! Who can deny that legends like Van Morrison, Tom Waits and Bob Dylan have made their best music when it has been based on the Blues? Blues is the only musical vehicle to express feeling!

We've had a succession of true giants who have never wavered and kept the flame burning brightlyB.B King, Buddy Guy, John Hammond, John Lee Hooker (god bless!), to name but a few (please note, Clapton not included! - a false 'god' for sure)

And the Blues festivals kept, and keep on goingand thankfully from strength to strength. To the moaners in issue 43 referencing unambitious festival line ups - I could not disagree more. The line-ups cover Blues in all its myriad formats, with established and aspiring artists admirably covered. These are 'true' festivals, with improvisation and feeling, far more innovative than the plastic 'pop' carnivals where ego tripping 'stars' replicate their records with a bit of 'clappy clappy' and 'join in singing' thrown in to make the masses believe they ‘belong’.

And what about the current scene? Absolutely brilliant! Never have I known such a diverse range of contemporary Blues music: Ian Siegal, Son Of Dave, Little Axe, The Black Keys, Black Diamond Heavies, Preacher Boy, Thunderbird Kingsley - just a few who bring a new dimension to the genre. The Blues will never die!

And the reason for this story - YOUR MAGAZINE! Simply bloody marvelous! The ONLYmagazine that covers all the artists mentioned - and thousands more - and appeals to all ages (from myself at 59 to youngsters just setting out on the Blues awakening path).

The moral is that all readers must become disciples of your mag - preach and promote...preach and promote! There must be thousands out there who are not aware that Blues Matters! exists, and can enrich and enlighten their Blues besotted lives.

BM! Says: We try to remain unblinkered with our coverage, and hope to offer something for all our readers, whatever their penchant. We are always looking to reach more readers and give the genre a positive showcase, so we hope readers do help in our efforts and promote the magazine whenever, and wherever they can!

Vaughan as a true great of modern-day Blues guitar, and there are few acts in the UK who can even get closecertainly not Oli Brown, an act whose tender age has afforded him the luxury of praise in the face of banality. Perhaps Mr. Pentony should learn there's more to Blues guitar than fast SRV licks!

George Scorer Lincolnshire

BM! Says: Many would agree with your sentiments regarding Robben Ford, we are sure, however, Samuel was honest with his appraisal of that particu-

This issue Phil will receive a copy of "Chess MovesChess 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.

Phil Broadhurst Tamworth, Staffordshire

Bob Dylan’s better with the Blues.

lar show, and we are equally certain our readers prefer writers that don't simply bow to popular opinion.

THE 'REAL' MAIN MAN

Hope any reviewers don't take the easy way out and just bow at the feet of the legend that is Chuck Berry. I saw him on Friday night at the Maryport Blues Festival and age has caught up - he lost lyrics for most attempted songs, even if the band did their best to cover with solos at these times. He was a hit with the crowd and I for just coming, but the music was very disappointing.

However, great show from Jimmie Vaughan Saturday night - great crowd pleaser, who returned for a twenty minute encore - and rejoice for Ian Siegal! I am new to the Blues scene but if this guy does not warrant being a mega star, who does?! Charisma, rapport, humour, sarcasm and a great wordsmith and guitarist. Ian Siegal put everything into his set and sweated as never before. An inspirational performance - one for the fans and not up his own a**e. Please big him up, he deserves it!

Steven Grant Maryport, Cumbria

BM! Says: Looks like you've beaten our contributors to the punch, but we'll have a full report and great pics from the event in the next issue (46) of Blues Matters!

SUSPICIOUS MINDS

I reckon you called it just about right with the Duffy/Adele review. I recall another British Blues magazine hyping Joss Stone's debut a few years back, and the last I heard from her, she was faking an American accent and releasing the standard US pop/R&B drivel.

With Amy Winehouse, she has the background in jazz and a genuine love of jazz/Blues music, and you can hear that in her music. Duffy's background lays in reality TV/fame seeking, so how can you not have reservations at her sincerity?

Ken Holliday Oldham

BM! Says: Fingers-crossed, the influx of female singer/songwriters citing the Blues, is more than a cynical industry marketing ploy.

SAY SOMETHING!

I was surprised to read (interview feature, issue 44)that Solomon Burke doesn't write his own songs, or at least hasn't on his latest album.

Pop acts are often derided today, and rightly so, for being mere puppets with nothing to say themselves, but surely it's worse for an act operating in the soul and Blues genres, music of real, honest feeling - you want to hear the feelings of the person singing to you, not of the writer whose paid assignment was to match a song to the requirements of the artist's fanbase.

Solomon may be a great vocalist (to be fair, so is Mariah Carey!), and he may have wrote some great numbers himself in the past, but if you aren't writing songs yourself or you've run out of things to say then, as far as I'm concerned, I have no interest in you.

Darren Lee Bristol

BM! Says: Whilst there's always something special about hearing a top recording artist singing a fantastic song they wrote themselves, at the same time, the calibre of artists who contributed to Solomon's latest, and his inimitable voice, makes it a worthwhile release for many.

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!

Solomon Burke keeps himself to himself.

ADDED FIREPOWER

New signings set for debuts

Stony Plain Records has announced the signing of Joe Louis Walker and Rory Block, with the label releasing the debut collections of both artists on 30th September 2008. Produced by fellow Stony Plan artist Duke Robillard (who also features on guitar, alongside a band including Bruce Katz on keyboard), singer/guitarist Joe Louis Walker's debut, "Witness To The Blues", is said to feature a standout duet with Shemekia Copeland in a reprise of the Peggy Scott & Jo Jo Benson R&B classic 'Lover's Holiday'. Further covers include 'Rollin' And Tumblin'' and 'Sugar Mama' (which includes special guest Todd Sharpville on guitar), but most of the tracks are originals with Joe exploring "the many colours of the Blues palette, including Delta and Chicago styles, Memphis soul, gospel and even rockabilly." Rory once again pays tribute to a Blues great with "Blues Walkin' Like a Man: A Tribute To Son House".

The album sees Rory interpret thirteen Son House songs, including 'Preachin' Blues'; 'Death Letter'; 'Grinnin' In Your Face' and 'Jinx Blues'. The guitarist first met Son as a 15-yearold in 1965, backstage at a well-known Greenwich Village club. "Son House virtually radiated a golden light," Block remembers of that first meeting. "I learned a deep lesson about the power of the music, which became an inseparable part of me."

Joe's album will be released via Dixie Frog in Europe (distributed by Discovery in the UK), whilst Proper will distribute Rory's album in the UK. stonyplainrecords.com

"Inside Tracks", the new release from Jimmy Thackery And The Drivers, is due for release on 14th October 2008.

Thackery's latest Telarc release is described as a journey of self-discovery. myspace.com/jimmythackery The Lost Brothers release debut album "Trails Of The Lonely (Parts I&III)" on 27th October 2008 through Bird Dog Recordings - "the culmination of hopes, dreams and fears."

The duo (Mark McCausland and Oisin Leech), recorded the collection over three weeks at house in Portland, Oregon, with producer Mike Coykendale's (M Ward). myspace.com/thelostbrothersmusic

Chris Smither has announced a live DVD release, "One More Night", ahead of a UK tour in October 2008. The DVD, released on Signature Sounds on 1st September, features footage from two shows Smither performed in Lyme, Connecticut in 2007, plus excerpts from a rare full-band performance from The Sommerville Theatre in Boston in 2006. smither.com

Timo Gross releases his third album "Desire" on 12th September 2008, via German label ZYX/Peppercake. myspace.com/timogross

Blind Pig Records has announced the signing of Damon Fowler. The young guitarist has drawn comparisons to the likes of Johnny Winter and Duane Allman, with the label stating: "He can play fiery guitar runs with the best of them, but it's his lyrical work on lap steel and Dobro that makes him stand out among a legion of guitar players." Damon began recording his album in Chicago during August. blindpigrecords.com

Rory Block preaches Son House's Blues.

photo: Sergio Kurhajec

LONG LIVE QUEEN

New frontman provides fresh impetus for popular rock outfit

Former FREE frontman, Paul Rodgers is to release his first studio album with Queen, via EMI/Parlophone, on 15th September 2008. Said to be inspired by The Beatles, Jimi Hendrix, Blues and soul, "The Cosmos Rocks" saw the popular rock outfit and Paul sharing writing and performing duties. "We went in and played, every day, and ALLkinds of things happened, little bits of chemistry happening between us. It's good, organic music," said the frontman. The album was recorded and mixed at Roger Taylor's The Priory studio between November 2007 and August 2008, and coproduced and engineered by Joshua J Macrae, Justin Shirley-Smith and Kris Fredriksson. Track titles include: 'Time To Shine'; '"Warboys'; 'We Believe'; 'Voodoo'; 'Some Things That Glitter'; and 'Surf's Up, School's Out'. The album is released in three physical formats: standard CD; deluxe package, which includes an additional DVD featuring fifteen highlight performances by Queen + Paul Rodgers from the band's "Super Live in Japan" concert from October 2005; along with double gate-fold vinyl release. The album will also have a special digital release including bonus tracks. Coinciding with the album's release, Queen + Paul Rodgers embark on a 33-date Europe and Northern Eurasia tour beginning mid-September. The album is dedicated to Freddie Mercury. queenpluspaulrodgers.com.

NO CGI ADDITIONS

Traditional values for legendary guitarist on new collection

During an eleven day recording stint at Star Wars creator George Lucas' Skywalker Ranch, Steve Miller recorded over three dozen Blues and R&B numbers for a new album, with second vocalist Sonny Charles, formerly of '60s R&B outfit The Checkmates Ltd. "We cut forty tracks, some originals and a bunch of Lightnin' Hopkins, Bobby Bland, Jimmie Vaughan, Elmore James, James Cotton, Robert Johnson, Slim Harpo, Buddy Guy and Junior Wells," said Miller. There’s no date set for an official release, but Miller has suggested the album could be titled "Guitarzilla". Some songs were previewed during a three night run at San Francisco's Fillmore Auditorium earlier in 2008. stevemillerband.com

Queen + Paul Rodgers = new album.

photo: Jill Furmanovsky

HEAVY GOING

New book packs it in

MBI Publishing Company will give Blues-rock legends

Led Zeppelin their first ever fully illustrated history treatment, with the release of "Whole Lotta Led Zeppelin: The Illustrated History Of The Heaviest Band Of All Time" in September 2008. Veteran music critic Jon Bream, alongside Rolling Stone's David Fricke, Creem magazine cofounders Robert Matheu and Jaan Uhelszki, and UK music author Charles Shaar Murray, details the history of the band, with musicians, including members of Aerosmith, KISS and ZZ Top, also reflecting on the group's glory days. Said to be "unlike any book ever published," the book features concert and behindthe-scenes photography from the band's first show in 1968 through to the 2007 reunion, as well as more than 200 rare concert posters, backstage passes, tickets, LPs and singles, Tshirts, badges, plus more memorabilia from the United States, Canada, the United Kingdom, Germany, France, Japan and Poland. The book will also feature an appendix detailing the band's complete discography. mbipublishing.com.

CAN'T WAIT

Blues-rock duo return within a year

Having only released "Tintype" earlier this year, a collection which drew favourable comparisons to the likes of Janis Joplin and The Black Keys, The Pack A.D. return with sophomore album "Funeral Mixtape" on 1st September 2008. Again released on Mint Record, the album was recorded "live off the floor" to analogue tape at The Hive Studios - a studio said to "capture the power of Becky Black's vocals at their best." Hailing from Vancouver, Canada, the female duo, who cite Leadbelly, The Sonics, Janis Joplin and The MC5 as influences, sound "brooding, explosive and unrestrained" on this new collection. Tracks include: 'Blackout'; 'Don't Have To Like You'; 'Making Gestures'; 'Dannemora Blues'; 'Wolves And Werewolves'; and 'Worried'. myspace.com/thepackad

Loose Music will release the new album from Mr. David Viner (pictured below) on 22nd September 2008. "Among The Rumours And The Rye", Viner's third album, was produced by Ed Harcourt. mrdavidviner.com The Soul Of John Black has signed to Eclecto Groove Records, with his debut album for the label due at the start of 2009. thesoulofjohnblack.com John McDermott, co-author of "An Illustrated Experience", has confirmed that an album of tracks featuring Stephen Stills and Jimi Hendrix is being readied. Talking to musicradar.com, the archivist said: "Stephen has been working with Experience Hendrix to compile an album's worth of sessions recorded with Jimi Hendrix during 1969 and 1970." New Jersey-based Dave Gross has informed Blues Matters! that his new album will be released on 28th October 2008, with a new collection from Gina Sicilia, which he has produced, also being made available around that time. davegrossband.com EMI will release Herbie Goins & The Nightimers only album, "Number One In Your Heart", on CD for the first time on 29th September 2008. herbiegoins.com TK Webb & The Visions release "Ancestor", via Kemado, on 1st September 2008. Produced by Matt Boynton at his Vacation Islands Studios in Brooklyn, "Ancestor" speaks of "modern day paranoia, love, and a host of other human emotions many of us face in our day-today." myspace.com/tkwebbandthevisions

Led Zeppelin at Madison Square Garden, circa 1975.

Mr. David Viner

ANOTHER CHANCE

Fresh hopes for Blues starlet

New York songstress, Nell Bryden, who cites the likes of Bob Dylan, Nina Simone and Bonnie Raitt as influences, releases new album "Second Time Around" on 13th October 2008 on 157 Records. The poet and "free spirit" toured the UK in July to preview the "anthology of ten Blues, country/modern Dixie and jazz tracks all delivered in Nell's sassy and vibrant yet elegant and sexy style." Nell, who wrote all the songs, plays electric, acoustic and twelve string guitars, as well as the dobro and cello on the new record. "Most of my songs are about some sort of longing for meaningful love, and I remain a completely hopeful romantic," revealed Bryden. "My lyrics have a darker undertone but I'm essentially a sanguine optimist". nellbryden.com

HOT STUFF

Classic material rereleased

SPV's Blue label will release a series of new titles on 29th September 2008, featuring legendary Blues artists.

"Aretha" features twelve songs recorded by Aretha Franklin during her early years at Columbia Records. Still a teenager, Aretha tackles the likes of 'Porgy And Bess', 'It Ain't Necessarily So', 'Over The Rainbow' and 'Today I Sing The Blues', while 'It Won't Be Long' gave Franklin her US pop chart debut. Released as a 2CD set, "Outward Bound & South Of 1-10" is a digitally remastered set from Sonny Landreth, featuring a line-up of great instrumentalists, including Mark Knopfler, Stephen Burton and Allen Toussaint. "The Natch'l Blues" is a remastered release of Taj Mahal's celebrated 1968 album. The Blue label also continues its new rerelease programme of the classic Columbia Records' series Roots N Blues with Johnny Winter's "Scorchin' Blues".

"Scorchin' Blues" includes the tracks 'Bladie Mae'; 'Mad Blues'; 'It Was Rainin'', recorded with the Muddy Waters band in March 1977; and 'Mean Town Blues', which was recorded live at Fillmore East in 1971, when Johnny was supported by ex-McCoys, Rick Derringer (guitar), Randy Jo Hobbs (bass) and Bobby Caldwell (drums). spv.de

The Answer are putting the finishes touches to their follow-up to 2006's debut album, "Rise". The group recorded fifteen tracks in Los Angeles, with producer John Travis, and are set to preview new songs during a UK tour in December as special guests to Black Stone Cherry. The album is due for release early 2009. theanswer.ie

Nick Cave & The Bad Seeds have announced their first four albums ("From Her To Eternity", "The First Born Is Dead", "Kicking Against The Pricks And Your Funeral" and "My Trial") will be re-mastered and remixed in 5.1 surround sound for release by the end of 2008 via Mute Records. Each deluxe double-disc collector's edition will contain the remastered stereo album, the new surround mix, a specially commissioned short film, plus the B-sides from the singles and exclusive sleevenotes. nickcaveandthebadseeds.com Fresh from a marathon six performances at Glastonbury Festival 2008, Flipron release new album, "Gravity Calling", on 3rd November 2008, via Tiny Dog Records. The new album is said to take influences of Blues and '60s psychedelia, all "subtly woven around Flipron's unique brand of pop from another planet." myspace.com/flipron Black & Tan release the new album from Boo Boo Davis, "Name Of The Game", on 8th September 2008. Given the response to Boo Boo's tour as a three-piece in 2008, the new collection doesn't feature any bass. The sound is said to be "authentic" with Boo Boo and co. focusing "on the groove, the feel, and the basic truths found in the Blues." booboodavis.com Cold War

Kids have confirmed details of their highly anticipated second album, "Loyalty To Loyalty", which will be released on Mercury on 22nd September 2008. "Brimming with the poignant, intimate narratives and brooding atmospherics," the California four-piece are said to have made a "huge musical progression" from 2006's critically acclaimed debut. coldwarkids.com Nebraska's Brimstone Howl will release the follow-up to their 2007 Dan Auerbach produced debut, "Guts Of Steel", on 2nd September 2008. With legendary Detroit producer Jim Diamond at the helm, ""We Came In Peace" is said to be another "fun explosion of fuzz and American-gothic chit-chatter, with weird fictional adventure stories, and beginner Blues guitar lessons from mongoloids." The band will be touring Europe in October 2008. myspace.com/brimstonehowl

Fall in love with Nell Bryden.

LET'S DANCE

On your feet, as Blues legend celebrates reaching milestone

GRAMMY-Award winning composer and multi-instrumentalist, Taj Mahal will release "Maestro" on 30th September 2008, via Heads Up International. Taj's first American release in five years marks the 40th anniversary of his recording career, mixing original material with classic covers and contributions from new artists - amongst the guests on the new album are Ben Harper, Jack Johnson, Los Lobos and Ziggy Marley. Described as much more than a tribute to past glories, the new collection "captures the same level of intensity and depth that has characterized every one of Taj's recordings since his self-titled debut album in 1968." Speaking of the new collection, Taj stated: "The one thing I've always demanded of the records I've made is that they be danceable. This record is danceable, it's listenable, it has lots of different rhythms, it's accessible, it's all right in front of you... It's a lot of fun, and it represents where I am at this particular moment in my life." tajblues.com

LAVISH OFFERING

Rock royalty given special treatment

Twentieth Century Fox Home Entertainment will release a special Collector’s Edition DVD of the Martin Scorsese-directed Rolling Stones film "Shine ALight", when the film is released on 10th November 2008. Featuring its own unique numbered packaging, the Collector’s Edition includes a sixteen-page collectable booklet of the movie's production notes; four additional songs; and a backstage featurette, including rehearsal footage, candid moments with the band and rare archival footage. The second disc will also contain a digital copy, which allows fans to transfer the movie onto their iPod. The film was recorded over a two day period (29th October and 1st November 2006) at the Beacon Theater in New York City, with the live concert featuring guest appearances from the likes of Buddy Guy and Jack White. The Collectors Edition has been available to pre-order since 22nd July 2008, retailing at £24.99. shinealightmovie.com

DJ Taj Mahal.

photo: Jay Blakesberg

CHILL OUT!

Hard-rock favourites are back!

AC/DC will release their first album since 2000's "Stiff Upper Lip" on Monday, 20th October 2008. Produced by Brendan O'Brien at the Warehouse Studio in Vancouver, BC, "Black Ice" will be the band's debut for Columbia Records, featuring fifteen new AC/DC compositions, including first single 'Rock 'N' Roll Train', which was premiered on 28th August. The band have also scheduled an 8th September release for "No Bull: The Director's Cut" DVD - a newly edited expanded edition of AC/DC's performance at Madrid's Plaza de Toros de Las Ventas on 10th July 1996. "No Bull: The Director's Cut" has been remixed in Dolby Digital Stereo and Dolby Digital 5.1 Surround Sound and includes the original concert showcasing more than two hours of music, as well as bonus features. To promote these new releases, the band will begin a major world tour at the end of October. acdcrocks.com

BEST OF BRITISH

Lofty comparisons for new outfit

Babel release debut album "Crooked Timber" on 13th October 2008 on People Tree Records. The group's blend of folk, Blues and rock'n'roll, has seen the Bristolian sextet compared to the likes of Led Zeppelin by the British press. "It probably sounds reactionary but, in the era of the download, we wanted something tactile you can keep," said frontman Danny Coughlan on the new collection, with the press release telling us Danny "delivers hard learnt lessons of a hedonistic past, new age spirituality, love, lust and even a modern murder ballad." babelmusic.co.uk

Kings Of Leon release new album, "Only By The Night", on 23rd September 2008. kingsofleon.com Boys In A Band will release their debut album, "Black Diamond Train", in the UK in October 2008. The album is said to combine the "reckless and danceable rhythms of classic rock'n'roll, the weighty and lofty vitality of pre-Elvis black gospel and Blues, the epic grittiness of old school country, the bare idealism of hippy protest singing and the groove of '70s cock rock." myspace.com/boysinaband

Old Crow Medicine Show release new CD "Tennessee Pusher", via Nettwerk, on 22nd September 2008, offering "a virtual American road trip, populated with characters that seem to span a century of the South." myspace.com/oldcrowmedicineshow Bloodshot Records will release "Bar Band Americanus…The Best Of Charlie Pickett And…" on 7th October 2008. Likened to outfits like Gun Club, Charlie Pickett's music drew influence from the likes of Howlin' Wolf, Yardbirds and Velvet Underground. bloodshotrecords.com

"Broken Hymns, Limbs And Skin", the third album from New York quintet O'Death, is released on 22nd September 2008, via City Slang. Co-produced with Alex Newport (Two Gallants), the new recording is said to celebrate "life, death and everything in between." myspace.com/odeath

Legendary Blues guitarist, B.B. King will begin hosting his own weekly music show for XM Radio in September 2008. King will hand-pick a range of Blues and gospel music for the new programme. The show starts just weeks after Geffen released King's latest TBone Burnett-produced album, "One Kind Favor". xmradio.com

photo: LEGO

AC/DC's Brian Johnson.

Kings Of Leon ready album four.

photo: ©Larry Busacca, courtesy Columbia/Legacy.

ou'd have to be living in a cave to miss the recent PR push behind Peru-bborn Bristolian Beth Rowley and her recent arrival on the busy scene of pretty young things singing with purity and passion.

It wasn't so long ago Beth was paying her dues - twenty minute slots at venues like the Ginglik, London - yet now she's a fully fledged "pop star", seeing her album reach the top-110, and featuring highly on the bills of most major British music festivals in 2008.

When the line-uup for this year's Maryport Blues Festival was announced, with the likes of Chuck Berry, Jools Holland and Jimmie Vaughan, it was Beth's inclusion that raised most eyebrows - an exciting booking for a stagnant and predictable circuit Her inclusion as the "star commodity" at the UK's leading Blues event, despite the inclusion of legendary figures, a clear indication of her rapid ascendency since the release of "Little Dreamer", and also her desire to stay close to her roots

BM: I last saw you in February (2008) at the Cherry Jam near Paddington. What have you been up to since then?

Beth: Those Cherry Jam gigs were little series of residencies in London before a few supporting gigs with David Gray, for example, and now my own headlining gigs.

We're now going up and down the country - we

have just done Scotland and then Birmingham and last night we did a television slot for “The Culture Show”, and I'm just leaving Lancaster in a moment for tonight's gig in Manchester. It's really busy, which is great.

Does playing to larger crowds affect the intimacy of your shows?

The venues we're playing have capacities of three hundred or three-hundred-and-fifty. They have been full, but I suppose they're not that big, so I'm pleased that we don't lose the intimacy of the tiny venues.

I still get to see the faces of people right up in front of me, and even catch the people at the back!

Maryport Blues Festival is quite a coup - for them as much as you, I guess They're making a big thing of it You're supporting Jimmie Vaughan but you're on at a peak time of 8 30-110pm Will the set-llist change for the festival?

Jimmie Vaughan - no way! Really? How cool! That's a long set, though, isn't it?

We'll probably do an hour or an hour and a quarter, so I guess we'll fill it. We're still working on the set-list as the tour gets going, yeah - and thinking about what suits which place best.

Is it the same band on the tour as on the album? A few...kind of a mixture - some of them are on the album. We worked with a couple of different producers who introduced us to new mates and musicians, and some have come in from America, who have been amazing to meet. I want to make sure everyone gets a little go, you know? (Laughs).

"There's something ofan unspoken emotional connection when someone sings;it's a personal thing."

Your debut album, "Little Dreamer", went into the charts at number 6 Are you reading the reviews?

I haven't read any reviews. I've seen a few gig reviews - for some people it wasn't their cup of tea, but generally for most it was really cool. I don't generally read the magazine reviews, though. If my boyfriend, Ben, has one, I might pick it up, but I won't go out and buy them. And my manager always censors them!

With our attention being the Blues, some Blues purists may say you have to have a dark side or suffered a bit to sing the Blues… Blues is one of those things, and gospel comes in there, as well - it's one of those genres with "something", so you can't fail to be affected by it. Whether you're listening to it or making Blues music, for me, it just strikes a chord. And yeah, of course, I have suffered in my own way and, without me telling specific things, there are definitely extreme things that have happened in my life that I have drawn upon. You know, it's personal, though.

There's something of an unspoken emotional connection, really, when someone sings, that you feel. It's a personal thing, I guess.

With the tour, and all this promotional stuff, do you get time to be creative?

Oh, yeah, for sure. Before I go to bed, I sit up and write, if I can. We don't go to bed until really late when we're on tour but it's good to squeeze in a little time with my notebook. And (laughs) there's always a napkin nearby if something fresh pops up. The tour gives us busy times, but also downtime.

Do you have any Blues guitar heroes?

Guitar? (Pauses) I can't think of one off the top of my head...

You list traditional influences as Mahalia Jackson, Neil Young, Willie Nelson, Roy Orbison and Woody Guthrie on your MySpace. What have you bought from the current crop or are listening to in your car or on your iPod at the moment?

I listen to Radio 2 a lot. To be honest, it's the old songs still (laughs). I don't listen to Radio 1 or anything like that. I'm not that in touch. I know the

names of bands like Kaiser Chiefs but doubt if I'd recognise them if I heard them. To be honest, my world is pretty much listening to that list you mentioned and similar across those genres.

I do really like finding out new music, new music to me. There's a guy on the tour who really loves Tom Petty and plays him all the time, so, I guess, I'm rediscovering him. We have a record player on tour with us and go hunting in charity shops for what looks interesting. We like don't have to spend more than a fiver on a pile and if we don't care for it then that's okay. The old stuff is still very much around, so you know so valid still.

It's a funny thing, with my record being out there, and everyone hearing it, it's amongst all of this contemporary stuff, so making my music relevant even though I kind of do live in a bit of bubble. I do find what I like but (laughs), it wouldn't be played on Radio 1.

I was with Holly Rose last night She said hello and thanks for you support You wrote a short note to her on her MySpace, just something like "cool tunes." She's supporting Reo Speedwagon soon and doing well but it was clear that she was thrilled to get encouragement from a fellow musician. Was there anyone out there that gave you a lift to keep going at the start?

Oh, wow, that's really cool. She'd taken time to listen to me, so I took time to listen to her. I try to get back to people, especially if I like what they do.

Encouragement? Yeah, there's a few people. Carlene Anderson was always really encouraging right from the beginning, and Katie Melua came to a couple of gigs - she was really lovely and really encouraging, even though our music is different.

I noticed at the Cherry Jam that you kick off the shoes and play barefoot? Why's that, is it to give you a better lift, or better sound?

Ah, no, I was experimenting with some new shoes. I've got some great boots and everyone told me to take them off and throw them away and get some new shoes, but the shoes just weren't comfortable.

I have to ask you a question about your hair? You

Since Amy Winehouse enjoyed phenomenal success with "Back In Black", the music industry has been keen to cash-in on our fondness for young, white, female soul singers with a penchant for classic jazz and Blues - or so the Brit. School CV says.

However, Amy was initially groomed to capitalise on the success enjoyed by another pretty young thing quick to pay tribute to her more revered influencesKatie Melua. And arguably, the angelic tones and inoffensive lyricism of these latest charttoppers owe more to the trailblazing path to Radio 2's MOR listeners forged by the diminutive Georgian - herself a product of the success enjoyed by Norah Jones - than the frank lyricism and distinctive intonation that stood Amy apart as such a remarkable contemporary artist, one warranting of the lofty, legendary comparisons so quickly thrown at new artists today.

In 2008, Adele has been nominated for the coveted Mercury Music Prize, having already topped the BBC's Sound of 2008 poll; Duffy has enjoyed chart success in the US (having had to settle for 2nd on the same poll); and Gabriella Cilmi gave us the theme-tune to ITV's much hyped/of course, failed soap "Echo Beach"…well!

How representative of their influences and themselves once the suits and production teams have had their say is up for debate - they may well love the Blues, but do Girls Aloud's producers? - but with Sarah Bareilles and Beth Rowley's recent success and the likes of Tristan Prettyman and Melody Gardot expected to breakthrough in the coming months, it seems the charts are set to be dominated for some time with sweet nothings.

Bringing renewed interest for the genre with a modern adaptation, or a diluted and damaging representation unaware of this music's true meaning? Our writers have responded with hope if a little trepidation. "'Little Dreamer' is a magical if flawed slow-burner that suffers from being over-produced," commented Gareth Hayes on Beth Rowley's debut in issue 44, with a warning in the same issue, “After Joss Stone, best to be careful.”

Well, at least we don't hear too much from James Blunt nowadays. DH

Katie Melua set the standard.

changed it for the video

Yeah, a couple of the videos we did with green screen, with fizzy curly hair, the outline doesn't work, so they put these curlers in my hair so that my hair had an outline. I hated it, man.

You've got Duke Special on the album Who else would you like to work with?

Yeah, the guys around us at the moment, Paul Phil, and Ben Castle (Beth's partner - GH), of course! All those guys, and if I'm friends with someone, and we're into the same sort of music, then I'll probably get them in somewhere or on the next album.

There's a guy in Bristol called Phil King - and Pete Roe, as well, who's a Laura Marling fan, and he's an amazing songwriter. It's great to work with very talented people.

If you're singing the same songs night after night,

what do you do to keep it fresh - to raise the bar?

Yeah, it's more to do with the approach to the music. Every gig is completely different and the dynamics with the band, as well, they're not just disinterested session musicians going through the motions, which would be really hard.

With this band there's not that feeling of going through the motions. We had a rehearsal earlier and it was just so much fun.

I really care about what I'm singing about. It's really easy to keep it fresh.

How important is your faith to your journey?

Well, it's a very simple faith. It's a very personal thing, as well, but it does help, with the gospel side, too. It would be hard singing some of the lyrics without the joy. It makes me so happy to sing those songs. GH

aj Mahal might be Patron Saint to the wave of Blues revivalists to emerge in the mid-990s, but Otis Taylor stands out more than anyone as a product of his time. That time is, of course, now. If this utterly contemporary Bluesman has a trademark it is the ability to shift the weight of tradition in his favour so his music comes across as neither naive nor nostalgic He won't necessarily give you a comfortable ride but you are better off for going along with him.

On his recent album, "Recapturing the Banjo", Taylor brought together Keb' Mo', Guy Davis, Don Vappie, Corey Harris and Alvin Youngblood Hart to reassert the African American roots of the instrument Roots that have largely been obscured by the passage of time and taste and which, as fans

of Blues music and where it comes from, we owe it to the music to properly recognise

We spoke to the inimitable Bluesman ahead of the recent "Recapturing The Banjo" UK tour

BM: Can you tell us a bit about your relationship with the banjo? I understand, your first instrument... Otis: Yeah, that's right. I started playing it when I was about 15, and there have always been one or two banjo songs on all my albums since I started.

When I was a kid, I discovered a little place called the Denver Folklore Centre, where they taught music and sold guitars - It was almost, but not quite, a community centre. Well, I saw a banjo sitting up there on the wall one day and it spoke to me. I thought, "This sounds cool," but, at that time, I had no idea that it came from Africa. I didn't know that until about fifteen years ago.

How did you find that out then?

I heard it on NPR, or something - some radio thing.

"There's no such thing as a superior instrument,just a superior musician."

photo: Stacy Moore

By accident, I heard it, and then thought, "Woah, that's heavy!" (Laughs) But it was, because I'd equate banjo with bluegrass and Appalachian people. That's the commonly held belief Yeah. When I was 16, there was a band called The Dillards that my music teacher introduced me to. They said I was a real good frailer and should go down south and enter a contest. I said, "What did you just say to me?!" Can you imagine? A black guy in the '60s and a folkie/hippie?! I wouldn't have lasted two days. I'd be playing their music but they'd hate me, y'know? That's why I have a lot of respect for Charlie Pride. But it's kinda sad I had no idea it was my own cultural instrument at the time. It might have changed my whole career if I'd have known that.

The banjos I play now are Ome Banjos and they're about to release a banjo called "The Otis". It's an acoustic banjo named after me, which is really good. It's a brave move to name a banjo after a black person. It's a message to all the bluegrass guys down south that, "Hey, we support African Americans." To me it's a great honour, and yet it could affect his business.

So, where did the idea for this project come from? Let's see, in '98 or '99 I taught in a place called Port Townsend. I was teaching Blues guitar and I had my banjo, so we had a banjo workshop, as well. There was myself, Alvin Youngblood Hart and John Jackson, the Piedmont player. He's from Virginia and played banjo, too - a really sweet guy who passed away a few years ago. So, the idea came to me then and I kinda kept thinking about it.

I spoke to Alvin in 2001 at a festival and asked what he thought about doing this banjo thing. He said. "If you ever do, just call me." So, I called him and he came on board.

Quite a long gestation period?

Well, I spoke with Taj Mahal after '99. He wanted to do it with white people but I just wanted to do it with black people. I might do a second one with everybody, but I wanted to make this one statement first and hoped people would understand it.

How did you guys arrive at the song selection?

I was the producer, so I made the song selection,

(above, from left) Cassie Taylor, Otis Taylor and Don Vappie.

photo: Stacy Moore

but if they brought a song then it was okay - they could do it. A few songs did get cut, though. Corey Harris was just in for a day but Alvin was hanging out for a while - that's why you see a lot of Alvin on there. Guy Davis was in for a few days... It had to do with who was in the studio when and how things went together, y'know?

It's an impressive line-uup you assembled. Was there anyone you wanted but couldn't get? The only person I asked but who didn't come along was Taj Mahal. I wanted Victor Wooton (of Béla Fleck and the Flecktones - DA) but couldn't get in touch with him via his management.

You have Keb' Mo's son on there, as well, and your own daughter, Cassie?

She's with me all the time, yeah; she's been on my last four albums. I play with her because she's good.

I used to have a famous bassist playing with me but when he quit I had to take the best I could get, and that was my daughter. She's played on three award-winning albums, and you can hear she's

will come to see you."

good. She had a few lessons and I showed her some stuff, but she learned really fast - she could basically do it instantly.

You'll have played with Bassekou Kouyate at the Barbican in London by the time this is printed... Yeah, I don't know him - don't wanna act like I do! I wasn't thinking about it at the time but a friend said once, "Oh, you'll really like such and such." Then later I was looking at who I was playing with at The Barbican, which was months away at the time, and they said, "That's the guy I was just discussing with you!"

I don't know tons about African music and I don't pretend to. I think he's better known in Europe as world music seems more popular over there.

Do you have any specific thoughts about the banjo compared to, say, the guitar?

There's no such thing as a superior instrument, just a superior musician. Blues came from the banjothe open tunings, the picking style - it all came from

"You enjoy playing in any place where people

When Otis Taylor decided to undertake the "Recapturing The Banjo" project, he was able to call on a number of esteemed musicians with equal affection for the instrument, and desire to educate listeners to its roots.

Whilst most music fans will associate the instrument with American folk and bluegrass traditions, the likes of Alvin Youngblood Hart, Keb' Mo', Corey Harris and Guy Davis joined Otis in re-establishing the instrument's links with Blues. "It's a rare and wonderful opportunity for us to get together, not only as individual musicians to share music but in a way we're reclaiming our heritage," said Davis.

For the likes of Guy Davis, the instrument has featured readily in recordings and live performances in the past, but this is the first time any of them have made much such a direct statement.

"However, I bet you any man here would play that banjo - or any instrument we play - because we love it, because it's in us, not because we're the preservers of history," insisted Guy. "It just turns out that that's what we're doing."

Originating in Africa, the instrument originally made its way to America with African slaves hundreds of years ago, becoming one of the first instruments used to play Blues music. However, a young Guy Davis wasn't aware of the history or the connotation of playing the instrument when it first caught his eye. "My father first bought me a banjo in 1960 and that was precisely the time when a black man in America did not need to be playing on a banjo," revealed Davis.

"The Supreme Court had declared segregation in public schools in the land illegal for six years, at that point, so the world was trying to look ahead towards guitars and folk music and culture and expression. He got me a banjo but that's because I wanted it. It must have taken all the courage in my father to go into that music store and say, 'My son wants to play a b-b-banjo...'

"The banjo is like the Blues - part of our cultural DNA." DH

the banjo but people don't realise it. In fact, you can trace American history by tracing the history of the banjo - slavery, the whole black experience.

There's a book, which I think was pressed in England, called "With A Banjo On My Knee" by Rex Ellis, and it talks about those minstrel guys - and it really gives you a different perspective. An instrument that came from Africa, the whites took it and used it to degrade the people they took it from. It's a fascinating story.

I played in Bristol last spring and I couldn't get them to do a story on me; it was really weird and I was quite disappointed to tell you the truth.

It's a strange thing, the sanitisation of history The part we played in the slave trade doesn't diminish over time yet the Empire can be looked at with a peculiar type of nostalgia

All the colonials did that, though - in America with the Native Americans, in Australia with the aboriginals. It's standard procedure... The Hutus did it, too, though, so I don't wanna be hypocritical (laughs). That's just what humans do.

It shows that Britain's relationship with Blues is quite a strange one, considering Then what happened here in the '50s and '60s and 'selling' the music back to America...

Europeans and the British, especially, are quite eccentric about studying other cultures. With colonialism, you'd go into a country, conquer it and take all the treasures out and study them, as little mysteries. Like the antiques industry (Taylor was an antique dealer before returning to music - DA); people travelled all over the world and took things back home.

You have to get what was going on in perspective, though. People ask why the Europeans care more about Blues and support the arts more than the Americans. Well America is younger and fascinated by 'the new'; why would the kids want to listen to this old Blues when what they thought Britain regurgitated in the '60s was new. It's just the way it is.

So, how do you find playing in the UK?

I enjoy it, y'know? You enjoy playing in any place where people will come to see you. If it's Moscow, Istanbul, Latvia - if that's what I have to do, I do it. I'm not a "rock star" or anything; I'm not a house-

Guy Davis got what he wanted.

hold name, so I have to find my audiences.

If I'm singing in England, I know people get the words better. Some places I know half of 'em dunno what the hell I'm saying! I might tell a joke and it goes completely dead (Laughs). But they listen and feel the emotion.

Tell us a bit about your relationship with Gary Moore… I met him on my first tour over there. He came to Brighton and after the gig he introduced himself, but I didn't know who he was. Everyone said how famous he was, so I called him up the next day and said, "Hey, I hear you're famous!"

He has that guitar hero image, so yours is an unconventional partnership

He's a lot deeper than people think he is. He's a real Blues fan and he also loves Irish music... We sit around and play Irish music together. He's a really talented guitar player. People know what they think they see, but what you see on stage is often not what something is.

It's a wonder why people still fall into that trap... Yeah! I like to write beautiful pretty French songs, but you don't hear them on my records. But I'll sit round with Gary and play 'em. Or we'll be on the tour bus singing Broadway show tunes, the whole band. That's a beautiful picture you paint (Laughs) Their whole musical range is a lot wider than people think it is. But a show is a show. Going back to the album then, any songs that are favourites of yours?

Well, I like the one's I didn't play on the most: 'Walk Right In', 'Les Ongions', and I play on the Keb' Mo' track 'Live Your Life’...but I wrote that!

The promo has some concert video on it? Yeah, my daughter did that promo...

The studio I used had a big sound stage next door, so we could do a little concert. It was crazy; I knew it was gonna be hard to get the six of us black people in the same room together - it just wasn't gonna happen. I got four, which I figured got

the point across, so I did a photo shoot that day, recorded and did a concert!

I'm a producer, but sometimes people don't think that I am - I take it very seriously. The record company couldn't believe I was doing it all in one day. I flew the photographer in from New York and said, "You got an hour! Get it done!"

It was freezing cold in December. We might not look like we are, but we were cold as hell!

That's a nice insight into your methods

Well, I can be a little tougher than I look (laughs). I know I’ve got a rep, but I don't know what the rumours are. I'm like the James Brown of the Blues - I might fire somebody if they look at me wrong, y'know? (Laughs)

I'm not gonna go back to my other job, so I am serious about it - it's the way I feed my family. Plus, it's competitive; people can like you one year and not like you the next, so you've got to keep fresh and keep your momentum going all the time. I'm forced to be prolific. If I don't stay fresh they're not gonna write about me. And if they don't write about me then I'm gonna disappear because I'm not your traditional Blues guy. So, I have to fight for everything I get! DA

Recapturing The Banjo: (from left) Alvin Youngblood Hart, Corey Harris, Otis Taylor and Don Vappie.

ardly a household name on this side of the pond (despite rave reviews), Pieta Brown is one of the most interesting artists to emerge from America in recent years - and a novelty amidst the surfeit of pretty female singer/songwriters with nothing to say (anything they did have lost amidst the team of songwriters/producers credited to each track) enjoying mainstream success currently

Growing up around music - her father, Greg Brown, being the GRAMMY-nnominated folk singerPieta heard many sounds, giving her an abundance of influences to draw upon when she eventually progressed from poetry to picking up a guitar and writing songs in her twenties

Pieta's unique blend of folk, country and Blues displays an irresistible pop sensibility and a talent for memorable, provocative lyrics that elevate her above many of her peers.

Perhaps, we'll yet see a female singer/songwriter enjoying deserved commercial success without the need for a hip-hhop/girl-ggroup production team

BM: How do you feel that your Iowa upbringing and experiences inform and influence your writing?

Pieta: In Iowa, there are many open spaces. Also, the land is magic. Music comes from the land itself.

This question is so big. How did my upbringing and experiences not inform my writing?

Both your mother and your father were children of preachers Was religion a large presence in your household? If so, how do you feel that has affected you as both a songwriter and a person in general? Religion was a strong presence, at least not in a practiced or organised way.

I feel very driven…and intrigued by my own and others' spirituality.

Growing up in such a musical family, music must have been an inescapable feature of your household. What music and artists did you listen to whilst growing up, and how have these influenced you? There was a lot of live music within my family and outside of it, too. So, music was always very alive for me, a living thing.

I heard so many kinds of music that I never thought about categories until I started doing interviews. I heard a lot of country Blues and a lot of traditional folk music. I also heard a lot of rock'n'roll and jazz, too. They all left their mark on me, and continue to do so.

What difficulties did you encounter as a young woman embarking upon a career in music? Do you have to weather claims of nepotism, for example? Same old story… The music biz is a hard row to hoe - for anyone. Having a sense of humour is a good shield. You have to have many shields - and know

"I love the fields,the rolling hills and the Mississippi river that borders Iowa.There is music in the land.It is a feel thing."

photos: Sonya Naumann

how to change them quickly!

By entering the music business, did you ever feel that you had to step out of your father's shadow and forge your own musical identity, or was that never really an issue? That was never really an issue, except for maybe in my hometown, but these kinds of issues seem very insignificant to me.

You were 'discovered' by Lucinda Williams' guitarist and bandleader, Bo Ramsey. Could you recount that significant event?

Bo was a friend of mine, so I sent him a tape cassette of my first few songs telling him I was thinking of trying to make some kind of record. He called me hollering and said, "Let's make a record!"

Ramsey then co-pproduced your 2005 debut album, "In The Cool", and more recently "Remember the Sun", with you reciprocating by co-pproducing "Stranger Blues" and “Fragile” Evidently you two share a close working relationship What sort of influence do you feel he has had on your career?

Bo is a very intriguing artist, always revealing new layers - I like that.

Bo’s drive and integrity, along with his openness and fierce sense of independence, have influenced me a lot. Our relationship is heart and soul related...

How did your life, professional and otherwise, change with the release and success of "In The Cool?" Did touring intensify? Things grew professionally and otherwise with the release of "In The Cool". The road is a mystery; I still have my work cut out.

Poetry was, and indeed still is a great passion of yours - with you writing poetry extensively in your youth Do you perceive yourself as a poet first and a musician second then?

I perceive myself as an artist, with songs, music, and poems being my strongest voice. A songwriter would be at the top of the list, I reckon. You have contributed to the "Iowa Writer" project, with your poem 'Switchblade'. Do feel a great affinity for your home state?

I love the fields and the rolling hills and the Mississippi river that borders Iowa. There is music in the land. It is a feel thing. This is one of the

places I come from. There are others, but this place seems to have the strongest pull, or I reckon I wouldn't still be here. The light here, the seasons and, of course, my family is here - people that I care about.

And, on a completely unrelated note, have you ever considered writing and publishing a collection of your poems?

It's something I'm working on, more of a gathering of things I've written, as an offering to my fans and to people who like to read poems.

Back to the music, could you describe your song

writing process?

With your grounding in poetry, do the lyrics come first and then music second, or is it more spontaneous than that?

I have hardly written a song without a guitar in hand, some

lately at the piano. I can't separate the lyrics from the music, which is why they are songs to me. I have never written a bunch of words and then put it to a melody. Usually a line or a melody comes in and I get with a guitar and try to stay open to see what lands. That's as best I can describe it. Songwriting is much more like receiving than any active chase for me.

With "Remember The Sun" you have emphatically overcome any 'second-aalbum syndrome'. Whilst recording your second LP, did you feel any pressure - self-iimposed or external - to match the musical or commercial success of your debut?

I did not feel any pressure in that way.

Whilst the credit roll on Pieta's albums may not show a committee of writers behind each track, or the latest hip hop sensation twiddling the knobs, there is one key factor - Bo Ramsey.

Bo has been playing the Blues in various outfits since the early-70s, and has been a key contributor to the output of Pieta's father, Greg, and Lucinda Williams, for which he is most widely recognised. However, it's his working relationship with Pieta which has borne remarkable results.

"There is an unspoken layer; an understanding… chemistry," said the guitarist/producer. "It's natural and good. We communicate well on all levels."

Recalling the excitement on hearing Pieta's first songs, Bo enthused, "Her voice, her phrasing, her choice of notes, her writing, her chord structures…the mystery!"

Anear forty year career, which has taken in work with a variety of artists and eleven solo albums, including the recent, acclaimed "Fragile" collection, Bo's clearly proud of Pieta's latest. "It was a good session. Great work by everyone involved," he said.

"There is some great writing and great performances on this record. It went down pretty quick; therefore we got some really good performances. I'm a big fan of that."

And we can expect a lot more from Pieta, with Bo stating, "I am certain it will be an intriguing and fascinating journey." DH

"Remember The Sun" is a gloriously the eclectic melting pot of country, Blues, pop and various other styles… Do you consciously strive for eclecticism, or is that eclecticism completely organic? It is 100 percent organic.

Coupled with a refreshing eclecticism, your second album also contains some of your most intimate songs to date - perhaps most notably with the beautiful 'In My Mind I Was Talking To Loretta' Could you tell me story behind that intimate song, particularly in relation to Loretta Lynn's influence upon you?

I lived along a cornfield when I was a young child. We lived in a very rundown place - a shack, really. We had no running water and used a wood stove for heat and had an outhouse. It was a beautiful spot…gravel roads. In any case, I was out driving those gravel roads one day and saw a cloud of birds descending into a big field and I flashed on this time my dad took me to see a coal miner’s daughter. I was probably about 4 and I went around wanting to be Loretta

Lynn, as I called her then. She seemed like a woman I could relate to at the time. I went home from the drive and sat down at my kitchen table with the guitar and wrote that song.

Loretta had all that music, and her own way. So, as I grew up and really got in to her music, I began to admire her as a songwriter, too. She seems, at least in my mind, like a woman I could sit down and really

Bo Ramsey offers a little help.

talk to. Meanwhile, she had put out that "Van Lear Rose" album, which just knocked me out - a woman at her age still putting it all out there in her own way. Beautiful songs and beautiful singing all her own - that's tough, man.

You have, and continue to collaborate with a diverse range of artists Without doing a disservice to those you have worked with, are there anymore artists out there you haven't performed or recorded with, but would like to do so in the future? Things like this only make sense when they come from the music, so it's hard to say really. There are so many musicians and songwriters I admire - I'd like to meet them all and play a song some day...

In your song 'Innocent Blue', you ruefully ask,

"Peace on earth, where'd you go?" In addition to this, you have also contributed the peace song 'A Soldier's Prayer' to Neil Young's "Living With War" protest site. Evidently you feel very strongly about the war in Iraq As a musician and singer, do you feel that your elevated profile gives you a duty to speak out on the war and on other emotive issues?

No, it is as a citizen of this earth that gives me a duty to speak out on the war. Music and art for me are all about connection and a collective voice - we all have to speak together.

Do you see parallels between Vietnam and Iraq, and between the Dylan-lled protest movement of the '60s and what the likes of Neil Young and yourself are doing today? I see an emotional parallel. The media is such a monster now that it is a major challenge for any kind of cohesive movement to take hold. Still, I hope and dream.

Have you discussed the war with Neil Young?

I have not met and discussed with Neil Young the war itself... I've only met Neil in an empty room through a big black speaker.

You are relatively unknown this side of the pond I've only played a few shows in the UK...

Were the UK crowds as receptive to your distinctly American sound as you hoped?

The crowds were small and sweet.

What does the future hold for Pieta Brown?

I would like to tour the UK, given the chance and the right place in time. There is another album on the horizon, and always a change of direction. Don't know if it's planned. AB

ani Wilde's been pinching herself Inspired by seeing the likes of Sue Foley and Deborah Coleman perform as a teenager, Dani now finds herself on the same labelRuf Records releasing "Heal My Blues" at the start of the year - having played with both acts to boot

Drawing favourable comparisons to her "hero", Susan Tedeschi, Dani's debut became one of the most talked about Blues-rrock collections of the year - a breath of fresh air for a male dominated genre, with the chops to match the pretty face overcoming any prejudice with ease

If signing to one of the biggest international

Blues labels, releasing an acclaimed debut album and touring with her heroes wasn't enough (Blues Caravan start their British stint at The Parc And Dare Theatre, Aberdare on 12th November), Dani even managed to squeeze in a little romanceannouncing her engagement to Candye Kane's son, Evan Caleb, in July.

Guess there’s only one thing left

BM: What led you to the Blues?

Dani: My grandfather was a jazz pianist and trumpet player, inspired by the likes of Fats Waller, Ray Charles and other American jazz artists. He was a greatly talented musician but he didn't have the opportunity to play professionally.

Since I was 3 years old, if you asked me what I wanted to be when I grew up, I would immediately say that I wanted to be a famous singer. My dad is

"When I'm feeling really down, upset or angry,I play the Blues to express myself- to get out all my pent up emotion."

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also very passionate about music but, unlike my granddad, he is tone deaf. He can't pitch a single note! However, he brought me up listening to all sorts of music from John Lee Hooker, Muddy Waters, Chicago Blues to Stax and Motown greats such as The Jackson Five, Smokey Robinson and Otis Reading.

From a very young age, my parents would regularly take me and my younger brother, Will, out to see live Blues and soul music. My younger brother and I learned our trade by watching our idols perform.

My parents have always been very supportive of my desire to have a career in the music industry. Over the years, they have shown their encouragement by helping me to afford decent musical equipment, such as home recording setups, amps, microphones and guitars. I am self-taught, as far as my singing and guitar playing is concerned.

I also studied Music History at degree level, and I achieved a first class! I was always fascinated by the history of Blues and soul music and the American Civil Rights Movement. I think it's important to have an understanding of the history of the music we perform.

What instruments do you play?

I used to play a Mexican copy of Buddy Guy's Polka Dot Fender Stratocaster. However, about eight months ago, I bought a gorgeous 1978 American Fender Telecaster. So, I gave my Strat to my brother as an Easter present. Will accompanies me on it at some shows. The Tele suited me much better but because it was so old I had a lot of problems with the intonation.

Recently, I bought a brand new standard series USA Tele with a fancy paisley pick-guard. My '78 guitar wasn't wired quite right. In Europe, in some venues, I kept getting electric shocks off the microphone whenever I was holding my guitar. I'd never had a brand new Fender before and I really wanted something reliable for on the road.

I consider my voice to be my first instrument. It is with my voice that I can really connect with my audience and convey all my emotions through my songs. I would say I am a songwriter secondly and a guitarist third. I felt like I was really thrown in the

deep end with my guitar playing when I signed to Ruf. All of a sudden people expected me to be really great. So, I've been practicing and took as many tips off of Deborah Coleman and Laura Chavez as possible when I was touring with them.

Have you had any vocal training?

As I said, I'm pretty much self taught all round. However, during my time at music college, when I was about 18 years old, I did take some 'Live Performance Workshop' lessons with James Brown's Goddaughter, Carleen Anderson. Carleen is a sensational soul singer and has been a huge inspiration to me. She gave me advice on mic technique, how to use your diaphragm to sing with more power and control. Also, advice on how to be confident on stage.

In 2008, the two most exciting debut releases from young British acts have come via Germany - both Dani and Oli Brown signing to the internationally renowned Ruf Records.

"Dani's voice just grabs you - she can deliver a song with great depth and honesty and make it all her own," said label boss, Thomas Ruf. "Recording her turned out to be pretty rough, as she is not a very strong guitarist and bandleader yet. I think we captured about 80% of the potential of what it could have been."

If Thomas wasn't completely happy with Dani’s “Heal My Blues”, he's far more pleased with the results on Oli's debut. "Recording him turned out to be quite easy - he came in with all the songs well prepared,” enthused Thomas. "I think we got 110% of what we expected. All within 10 days!"

Offering international marketing and distribution is always attractive to a new artist, or any artist producing music with a limited fanbase within their own country. Ruf pointed out: "We can offer presence and publicity in North America, Australia, Japan, as well as all countries in old Europe."

Ruf is pragmatic about the label's appeal to artists - "Let's face it: there is only a handful of internationally active Blues labels left" - and he has his eyes on a few more of our acts. "I like the energy of The Brew a lot," he revealed. “Also, Joanne Shaw Taylor has contacted me again recently."

Even if Ruf has his eyes on the future of British talent, he's not forgotten about one the old boys. "I expect Aynsley Lister to break through the roof with his next album," he said.

"Aynsley has already serves as a role model - there must be at least a dozen of young players in the UK that refer to him and his career as what got them started."

Ruf admits the label leans towards the rock end of the Blues spectrum - "Guitar-based rock-Blues will always sell when there is quality guitar playing." - but the label boasts the likes of Candye Kane and Bob Brozman, and perhaps he's found a star of the future. "I am currently looking into a well kept secret: Naomi Mather. She plays acoustic Delta style," said Ruf.

"If she can develop a contemporary Delta Blues-based sound all her own, she really could be something."

Worthy of featuring on the Ruf Records’roster, then. DH

One of your biggest influences is Susan Tedeschi

I saw Susan Tedeschi perform at Bishopstock Blues Festival when I was about 15 years old and she just blew me away. Before then I had only heard the old Chicago artists, so it had a huge impact on me seeing a young contemporary female playing the Blues with such raw emotion and such a great voice.

After seeing Susan perform, I really found my direction. I became really focused on making it in Blues. I covered Junior Wells' song 'Little By Little' on my debut album because I saw Susan cover it at Bishopstock, and that song really changed my life.

There are a few more covers on the album… I wrote all but three of the songs on my album - 'In The Mood' by John Lee Hooker; 'I'm Going Down' by Rose Royce and 'Little By Little' by Junior Wells.

I had tickets to see John Lee Hooker perform at Bishopstock Blues Festival but he was too ill to make the show and he passed away not long afterwards. I like to perform 'In The Mood' out of respect for him - to help bring his music to younger generations and keep his memory alive.

How did you get involved with recording this new CD for Ruf Records?

Having finished my music degree, I landed myself a little office job working in Property Management. The people I worked with were lovely but the job really didn't suit me; in fact, I hated it. It really gave me the drive I needed to get my act together.

I recorded a three track demo and put together a promo package. I packaged it in a bright pink envelope, so that it would stand out from the rest, stuck a sticker of myself playing guitar on the front of it. I sent the package out to all of my favourite Blues

Oli Brown is prepared!

labels. Luckily for me, Ruf were impressed enough to come and see me perform.

Making an effort with the aesthetics of my promo package turned out to be a really good idea; like many labels, Ruf often ignore unsolicited demo material but because he could immediately see that I was potentially what he was looking for - a young female guitarist - he decided to open the envelope and have a listen.

Some people are dismissive of female Blues guitarists as mere novelty acts…

I was recently on the road in Lithuania, with the Blues Caravan. Young Blues guitarist Laura Chavez plays second guitar for me in my set. She used to play guitar for Californian Blues singer Lara Price but now she is touring with Candye Kane. She's only in her early twenties but Laura is probably the most amazing guitarist I have ever heard. She can play the Blues with more feeling and skill than any man. She really is sensational.

What does the Blues mean to you?

On a personal level, the Blues to me is like therapy. When I'm feeling really down, upset or angry, I play the Blues to express myself - to get out all my pent up emotion.

How do you go about constructing a song, particularly given there is such emotion at the time?

The best songs that I have written just flow through me and out of me when I'm in an emotional mess, whether it's extreme sadness, anger or happiness. I have a song on my album called 'I Love You More Than I Hate Myself'. The lyrical story tells, from a first hand account, how a woman has cheated on her partner, cannot live with the guilt and the consequence of the huge mistake she has made. I used the relationship of a couple in the story of the song to convey my emotions in a way that I thought my audience would be able to relate to… Actually, when I wrote this song, it was not written about a partner - I was expressing my guilt and anger at myself in the relationship between me and my parents. I have put my parents through hell at times by making thoughtless and selfish decisions. Not thinking about how the consequences of my actions may hurt them. In this song, I express my shame, my regret and how desper-

ate I feel to be loved by them, even though I haven't treated them with the respect, they deserve for me to be worthy of such love.

What's it been like as a young musician in the current music business? It's definitely challenging. I try to be as aware as possible, not too quick to judge because people do try to take advantage of you when you are young and inexperienced. It can be an unfair industry but its also very rewarding. It's about building a good team of people around you who share and help develop your direction.

I have recently signed a management deal with Alan Robinson (Eric Bibb, Aynsley Lister… - CB). He is helping me a lot with moving my career forward.

Candye Kane and I became good friends on tour. She really looks out for me, too!

You've mentioned working with more experienced Blues artists, like Deborah and Candye Kane What have you learnt from the experience?

Deborah and Candye are both amazing musicians. I have learnt a lot on guitar from Deborah and vocally Candye has really inspired me. Candye has also given me lots of advice on how to take control of my career - to head in the direction I want to go in.

Candye is actually really sick at the moment and a number of benefit gigs are taking place across Europe and America to raise money for her operation. I hope to play at the European benefit concert. It'd be great if you could come and show your support. Any money you could donate, or just drop by her website and wish her some luck and love!

What are your future aspirations?

I am looking forward to touring America. I also want to perform with more of my idols.

I can't wait to record my next album. I really want to have the opportunity to co-produce my own album with an experienced producer. I want to work with a producer who has produced albums for my hero's such as Mike Vernon (Fleetwood Mac - CB) or Brendon Lynch (Carleen Anderson, Paul Weller… - CB). I would also love to find the budget to work with a brass section on my album to get some of that Stax soul influence into my sound.

Is there anything Dani would like to say to Blues Matters! readers?

I would like to say a big thank you to those of you who have bought my album. Your support really means a lot to me. CB

aving played the Blues since he was a child - taken under the wing of the precociously talented, if tragic John Campbell as a teenagerPapa Mali burst onto the scene in 2000 with "Thunder Chicken" - hailed by critics and garnering comparisons to the good and great who make up New Orleans' musical lineage (some making him next inline to the thrown of fellow voodoo practitioner Dr John).

However, it took some seven years for the eagerly awaited follow-uup to materialize, once again teaming up with producer/engineer Dan Prothero, but also bringing together many of the Big Easy's most eminent musicians - including the Dr John endorsed pianist Henry Butler - each given the sole instruction, "Do your thing!"…

Time we did our thing…

BM: How did the American press respond to your latest album, "Do Your Thing"?

Papa: Those who 'get' it, 'got' it, y'know? I suppose those who didn't never will. I am quite pleased to see that you obviously do!

Over here, it is definitely more of an underground sensation - and I wouldn't want it any other way, considering the dismal state of mainstream music. In spite of this, we did get some great press, for which I am grateful.

Does this album represent your current/future musical direction?

Yes. I would even go so far as to say it represents my past direction, as well. While other styles and

trends have left a mark, entered or passed through my musical palette from time to time - most notably '60s soundtracks, surf, garage, dub music, African, Caribbean - it is the swamp, mysterious and psychedelic that always calls me home.

The first two tracks on the album really stand out, while completely different; the Isaac Hayes cover of 'Do Your Thing' has some wonderful "spacey" guitar and vocal sounds, while 'Honeybee' is a traditional slow Blues, with some great piano from Henry Butler. Was there much thought on the song order decisions, it certainly works well for me?

Well, yes. My producer, Dan Prothero, and I rely a great deal on instinct. We are both vinyl junkies and have, on the rare occasion, spun records at select clubs and house parties. Not like raves or techno affairs, but juke joints; funky dives… Dan has a great collection of rare soul 45s. I personally have over 3000 vinyl LPs, most from the '60s and '70s.

Before Dan and I even agreed to work together, we swapped mix tapes for about a year. So, the 'art of the sequence' is something we both fell in love with at a very young age. And, I suppose, we both consider that factor to be paramount in what makes us want to give a record repeated listens. In my mind, it is the element that elevates the release from being 'a collection of songs' to the more desirable status: 'album'.

We always record more songs than we will need and then narrow it down to what works as a whole; what flows, what sets a mood, creates a vibe and leaves a desirable aftertaste.

You have incorporated some "studio trickery" on some tracks; I presume this makes it difficult to play some of these songs live?

Not as hard as one might assume. Since we take our 'special effects' inspiration from older records - Lee Perry, King Tubby, '60s and '70s hard funk and psychedelic - it only requires a spring reverb unit, a tape echo - Roland Space Echo is our machine of choice - a dirty, filtered and distorted microphone sound and a sick imagination! Dan has some patented, trademark secrets that I won't divulge, but, for my live, act I can approximate the vibe with the aforementioned tools. What is really difficult: performing a song like 'Honeybee' without Henry Butler or Kirk Joseph! No trickery can duplicate their magic.

The album does conjure up the traditional New Orleans sounds, are you proud of your representation of this style of music?

Yes! My proudest moment in this regard was when Zigaboo Modeliste called me up, out of the blue, because he "just had to let me know" that he and his wife and in-laws listened to my debut, "Thunder Chicken", "fifteen times in a row on Christmas day!"

In your music I can pick out some musical influ -

ences, including Dr John and Hendrix Dr John and Jimi Hendrix, for certain! I recently met Mac (Dr John's real name is Malcolm John Rebennack - AB) - he and I share many mutual friends, and he, no doubt, had heard the rumblings about a newcomer who was cut from a similar cloth. His manager emailed me shortly after "Do Your Thing" was released and said that Mac would like me to send him a copy. I gladly obliged and waited for a response.

A couple of months went by and I didn't hear anything. Then, a few months ago, we were sharing the bill at a big festival in New Jersey. He spotted me from across the artists' tent, summoned me over with his index finger and, lookin' all regal in his stage clothes, said, in that cool-ass voice of his, "Papa Mali! I dig yo' new s**t!" Then he kind of leaned in, lowered his voice, looked me in the eye and tapped me on the chest with his fin-

ger and said, "You jus' keep on doin' whatchoo doin'!" Damn! That was 'it' for me...I felt like I had been blessed by the pope!

As for other influences, they are many - but the one who probably deserves the most credit is John Campbell. We all called him 'Johnny Slim'. He moved to New York and made a couple of records for Electra before he died too young from the 'Blues life'. But when I was 14 years old, he took me under his guidance - loaned me records by T-Bone, Muddy, Robert Johnson, Charley Patton...showed me how to tune my guitar to 'Spanish tuning' (open G) and 'vestapol' (open D), the way the old Delta masters did...taught me how to play bottleneck. Introduced me to the mystic ways of Louisiana voodoo culture, spirit world, burning candles, carrying mojo...

Any thoughts how you will follow up on this album? I’ll just do my thing and pray for guidance.

The supporting musicians have some excellent pedigrees in the Blues/New Orleans field; will these guys feature on your future recordings? I hope so. I am proud to call them my friends.

What band members do you take on the road? There are quite a few throughout the years. For a long time my drummer of choice was Frosty (legendary drummer for Lee Michaels, Sly Stone…AB). He drummed on my debut record. Lately, it's been one of Frosty's protégés, Robb Kidd.

Big Chief Monk Boudreaux, Henry and Kirk occasionally free up their busy schedules to do gigs with me and I have sometime toured with Galactic. Then there are the occasional gigs with legends George Porter Jr., Leo Nocentelli, Bernie Worrell, Cyril Neville, Eddie Bo, Jon Cleary...many more.

I like to work with lots of different people. It keeps things fresh.

The track 'I'm Getting Over It' has an English '50s skiffle beat to the song... I have always heard about skiffle - Lonnie Donnigan

and such - but only secondhand, through The Beatles, bios, etc.

On the majority of the album, you play some classy restrained lead guitar. Do you ever feel like "freaking out" and really letting rip?

Oh, sure! Anyone who has seen me live can attest to some full blown w**k! But who really wants to hear that on a studio record? I mean, even Hendrix had enough sense to reel it in for the studio!

The track 'Sugarland' has some spiritual voodoo vibes to it...

My mother's side of the family emigrated from France and settled in Louisiana in the early 1800s. Four generations had lived there by the time I came along. My mother and her mother were both from New Orleans, but college educated and didn't believe in superstition. But my great aunts? They were full of stories about "things that just can't be explained." I would beg them to take me to the grave of Marie Laveau and the Museum of Voodoo in the French Quarter.

"Anyone

who has seen me live can attest to some full blown w**k!"

The one and only!

I once found an old book in my grandmother's library called "Voodoo In New Orleans". It fascinated me so much that at the age of 9, I did a school book report on it, complete with props - voodoo dolls, pins, tiny caskets… It disturbed my teacher and a few of my classmates to the point where I was sent to the office, my parents were notified and I was sent home. It wasn't until I met John Campbell that I began to see the positive side of it.

Papa Mali is an interesting "stage name". How does it feel to not be known by your birth name, and at what stage of your career did you stop using Malcolm Welbourne?

As a young man, my musical curiosity led me from the bayou Blues of north Louisiana, down south to New Orleans carnival and Mardi Gras Indian rhythms, and then down the branches of the musical tree toward the Caribbean and African roots of it's origin.

The title of Papa Mali's latest, "Do Your Thing", was inspired by his request of the celebrated New Orleans players he brought together for the recording: Kirk Joseph, founding member of the Dirty Dozen Brass Band; Big Chief Monk Boudreaux; Victoria Williams; guitarist Chuck Prophet and Henry Butler.

"I believe that New Orleans music has been the engine for a lot of inspiring music in the world," said pianist Butler, once described by Dr John as "the pride of New Orleans."

Butler has been compared to one of the city's most revered players, Professor Longhair, but his standing in the city is not as a mere copyist. "When I was a kid, I remember I never wanted to sound like anybody else," explained Butler. "Even though I love all these people I was listening to, including all the Blues people, I always wanted my stamp on things."

Mali has little doubt to Butler's abilities, describing how tears were shed following the recording of 'Honeybee', stating: "The recorded version with him on piano is so beautiful that it will be hard to play that song live without him."

Butler's most recent album, "Pianola Live", was described by Blues Matters! as "a treasure trove of piano playing," and we are already excited by followup's potential. "I'm creating a concept that I'm calling Appalachia meets New Orleans," enthused Butler.

"I've been spending a lot of time at The Library Of Congress the last year in Washington, DC, listening to quite a lot of stuff there. There are some great little treasures. I've been listening to these old black jug bands and there is some of that in my future!" DH

To read Carol Borrington’s Henry Butler interview, visit: bluesmatters.com.

I visited Jamaica in 1977 and was amazed to discover that New Orleans music had, in fact, heavily influenced reggae, still in its infancy. This was the golden age of dub vocal harmony groups, rebel rockers and lovers rock, but everyone I talked to knew about Huey 'Piano' Smith, Fats Domino, Professor Longhair, The Meters... I developed a love for reggae that continues to this day. Along the way, I got to meet, perform with and, in a few cases, tour with some of the top acts from Jamaica. One of these groups was Burning Spear and, in the early-80s, I was on a US tour with the group. Well, as you know, all reggae musicians have nicknames. My proper name being 'Malcolm' the Jamaican guys called me 'Mali'. When it was discovered that I was a father of four children - at that time, now I have six kids - and still in my early 20s, they jokingly added the 'Papa' prefix...

A journalist overheard this nickname, printed it in the LA Weekly, my manager put it in my press kit...soon it had taken on a life of it's own.

Considering its origins, I am fiercely proud of my name, and now that most of my kids are grown, I too have grown into the name!

Is there any chance of you performing in the UK?

I actually performed at the Jazz Cafe in London last summer, but as a guest of my lifelong friend Cyril Neville, who was headlining the bill. I performed several of my songs with him and his band backing me but, strangely, I was not properly billed for that show - though, I was on the bill for the rest of the European tour?

I would love to perform again in the UK. As my surname (Welbourne) suggests, my father's side of the family tree is rooted in England. I can't wait to return, this time for more than a day! AB

f you haven't yet wrapped your ears around the swamp rockin' Blues drenched groove of Tom Mansi and his band, The Icebreakers, then not only should you feel a little ashamed, you'd also do good to make amends directly by parting with a few groats and picking up a copy of their debut 2008 platter, "Love On The Rails". Think what it would sound like if Tom Waits, Willie Nelson and Hasil Adkins went on a 24 hour whisky-ttipping bender with the sole aim in mind of arranging a bunch of Howlin' Wolf songs in an alt country stylee. Think Bruce Springsteen working his way through Keith Moon's medicine cabinet, blank songbook at the ready to catch any hallucinogenic drips of inspiration. Yep, this record - which has been chalking up regular radio play from the likes of Mark Radcliffe and Mark Lamarr - shimmers and dazzles with a whole myriad of musical influences and references from smoky basement jazz through rockabilly, country, gospel and a big smattering of good ol’ Americana, but if there's one thing that sits at the core of every song, every note, every guttural howl, it's the big bad Bword The Blues are number one

"Blues is at the roots of all the music that I love," says Tom Mansi. "I love rock'n'roll and I like straight-

ahead Blues and I love everything that is rootsy - it just boils down to the Blues music…if you listen to any kind of music that's - in brackets - 'cool', I think you will find Blues in there somewhere.

“In some ways, I think Blues is virtually inescapable in popular music."

BASS BEGINNINGS

Tom Mansi not only pens all his own songs and hollers out the lead vox in the band, he's also a member of a very select muso club in that he's a string bass picking frontman.

His obsession for the bull fiddle all started as a young teen when Tom asked a friend to record a Hendrix TV documentary for him because he was going away. When the young Mansi finally got round to sticking the requested tape in his VHS machine, he soon realised that his mate had recorded the wrong week in a regular musical 'genius' series.

"I turned the TV on and I was all in musical learning mode with my guitar on my lap," laughs Tom, "and the first thing I saw was this black & white picture of this massive dude playing this massive instrument… I was like, 'What the hell is he playing? What is that instrument?,' but it was the coolest thing I'd ever heard and, funnily enough, it was the Charlie Mingus (who coincidentally died on the exact same day Mansi was born - MF) one.

"That's a vivid image in my mind, just seeing this

"Ifyou listen to any kind ofmusic that's - in brackets - 'cool',I think you will find Blues in there somewhere."

guy playing this instrument I'd never seen and making the coolest sound ever.

"I just spent the next three years saving up as much money as I could to get one!"

In the meantime, Mansi learned the electric bass until he hit 16 and had saved enough to afford his first stand-up.

A big jazz fan at the time, it wasn't long before Tom realised how important the Blues really was in everything he wanted to learn.

"When I first started learning the double bass, my bass teacher - before we learnt any be-bop or jazz or anything - spent a year just teaching me Blues patterns," says Tom. "My teacher was like, 'If you wanna play jazz or anything, first of all you need to know your way around the twelve bar - inside out, upside down and back to front."

Looking back now, Tom can quite clearly see that it was actually the Bluesy side of the jazz genre that had so attracted him in the first place.

"It's quite weird because all the jazz that I liked was all Blues - it was stuff that was really cooking and swinging and really in your face," says Mansi. "The ones I loved were always swinging on twelve bars, before I even knew what a twelve bar was!

"When I look back to all the stuff that I listened to when I really got into music, it's like 'that's a twelve bar and that's a twelve bar, that's a Blues riff and

that's a Blues riff!'… I guess I had a real love of jazz but it was definitely the Blues side of jazz.

"Even someone like Ornette Coleman. If you listen to his first few albums, they're actually very Bluesy. They've got a good rhythm, they've got pulse and what he's playing on the sax for example is really quite Bluesy, bending notes and things like that."

CUBAN REELS

Tom Mansi, as well as heading up The Ice Breakers, is also a professional session musician with a plethora of recording credits to his name from the Sugababes to Coldcut, and he's also toured across America with Donovan and David Lynch.

Tom's three partners in crime - guitarist Paul White, keys player Alain Man and drummer James Johnston - are also session players, and there's no doubt that the sheer diversity and variety of session work that they've been involved in has helped shape the vast array of styles the band are able to adopt, even within the same song.

Another key influence on both Tom Mansi's playing and his personal musical development is the time he spent in Cuba during his gap year prior to university, where he had Cuban music lessons and

was given the chance to 'sit in' with the fantastic local musicians who hung out in the Havana clubs.

"I was taken to these clubs where the Cubans play jazz and it was amazing - brilliant." Mansi explains. "I sat in and they really liked the way I played but I couldn't keep up with them - you've got to imagine, I've got a kit drummer who's playing like Elvin Jones, Coltrane's drummer, who was the guy who brought in the whole idea of African polyrhythms in jazz - the toms are doing polyrhythmic stuff over straight ahead rhythm. And every Cuban kit player would be like that - unbelievable!

"The lessons were more about relearning how to count beats. For the first few lessons I didn't even play the bass - he just clapped rhythm with me and asked me where the one was…and that was the greatest thing I learnt in Cuba - you don't actually have to count things in four or three!"

As far Tom's gravelly Waits-esque voice, it just came through naturally when he began writing songs and singing. "It felt comfortable slightly growly," he says (although, when I speak to Tom, he's just given up smoking and is pondering what the lack of fags might do to his timbre - MF).

"Since I stopped smoking, I think the range has moved slightly, but I only stopped smoking about three weeks ago," he quips. "But I doubt if I'll be turning into a falsetto anytime soon!"

One thing that Tom Mansi did find tricky to master was learning to sing whilst playing the string bass at the same time, perhaps highlighting the main reason why more bull fiddle players don't sing lead vocals.

"It isn't the easiest instrument to accompany yourself with," Tom says. "With a guitar, you've got the chords, so you've got all the notes, the melody in one strum, but with a bass you might be doing something incredibly different to the melody.

"When I write, I write on guitar but when I get to play, sometimes I have to reprogram myself like, 'Even though I'm playing these notes, the melody actually goes like this,' otherwise you can end up singing the notes and the fifths in the melody."

IN THE FLESH

While sticking Tom Mansi & The Icebreakers' debut CD into your player is sure to blow the cobwebs from betwixt your ears. Seeing the boys live is another experience altogether and, like all the greatest bands, they add whole new layers to their songs when they pull them out for the gigging circuit.

"When it comes to approaching live music, I guess there is a Blues mentality in that, as well, because we open things out," says Mansi. "With the new album, we're putting some stuff out that's quite punky and I'm really getting into the whole two-anda-half minute or two minute song format. I'm really

Tom Mansi & The Icebreakers: (from left)Alain Man, Paul White, James Johnston and Tom Mansi.

When Tom Mansi's friends were aspiring to the latest chart sensation or the guitar fireworks of a certain Mr. Hendrix, he was looking up to a rather different musical "idol"Charles Mingus. "I was transfixed on the opening footage of him playing that bass solo," said Tom, recalling the first time he saw him on the Channel 4 documentary. "What he played was the coolest thing I'd heard and the instrument he was playing was the most expressive - I wanted to do that!"

The American jazz bassist had struck a chord in a way rock and pop artists hadn't - "I understood the music the very first moment" - and saw Tom scouring London for cassette tapes of his recorded work and developing a more general love of jazz music. "I didn't know anything about jazz and how complicated it was supposed to be," said Tom.

"Jazz FM, at the time, was good and had a daily show call late 'Night Junction'. The program would feature bebop and beyond and drove my brother, who I shared a bedroom with, mad.

"People my age, at the time, didn't really get that sort of music and it took me a time to realise how much the Blues was the core of so much of his music, especially the up-tempo stuff."

And it's the Blues element of Mingus' music that Mansi tries to capture in his own output. "His energy also inspires me when playing live, lots of shouting and the like."

Tom has little doubt to Charles' standing in jazz circles - "Mingus is up there with the greats and I doubt you'll find many in the know that would disagree." Asentiment he'll certainly be hoping to emulate during his own recording career. DH

enjoying that because I like the whole idea of keeping it lean and mean and going bang, there you go!

"When we play live, we'll open things out and open up around the band, as well, so you definitely get to hear a lot of guitar playing and a lot of keyboard playing and occasionally the odd bass solo slips out!"

The way the band like to play around and improvise within the loose structure of one of their songs goes back to the twelve bar and the Blues legacy.

"Even vocally, depending on how I feel, I might change the melody slightly," says Tom. "The structure is the whole thing like how you embed a twelve bar into your brain, so you know where you are all the time, and when you're playing a twelve bar, you're not necessarily playing the same passing notes on the bass or the same guitar lick all the way through. But it's embedded and that's what we do with my songs, we embed the structure into our minds, and the chord changes, and then disregard it all!"

Just like the way a Blues guitarist in the south will historically extend a song to maybe even half hour at some juke joint gig if people are really digging it, so

will Tom Mansi & The Ice Breakers to a certain extent.

"If you've got something that's rocking and you've got people off their bums, and they're actually moving, then you can go, 'Do you know what, take another one Paul, how do you fancy a blow?'" says Tom. "And everyone has a little bit of the action!

"Some people think it's kind of outdated, like the guitar solo is an outdated concept, but I don't think so if you've got a good guitarist…and live, you can see it, man, you can see it!

It certainly saddens Mansi when he sees much bigger bands keeping to that rigid radio play format when they bang things out live.

"My friend plays bass in Maximo Park and I went and saw them play and, man, it was really good, Brixton Academy was sold out," he says. "But I was like, 'You've got some really brilliant songs there but why don't you open them out? F**k with the arrangement a bit and tease the crowd a bit - like bringing it down, dropping it down, having another drop. You can do that because you've got thousands of fans who are willing to hear that!'" MF

Charles Mingus: a jazz great.

photo: courtesy Atlantic Records

an Anderson has been the frontman and guiding force for Jethro Tull, as well as a leading light on the British music scene for forty years now His roots go deep into those early days of '60s experimentation, innovation and creation - and he's rarely been busier!

2008 has seen the recognisable flautist hitting the road on an extensive 40th anniversary tour with the Tull, in support of live releases, a reissue and an upcoming documentary on the band, whilst readying a brand new studio collection

Ian has led the band through various incarnations and musical territories, but every offshoot; every progression has been developed from the most solid of basis'

BM: I believe you came to prominence at the Marquee Club in 1968, as the new face of the British Blues based music scene What are your recollections of that time?

Ian: Prior to Jethro Tull being called that, we were put on with The John Edward Band. We appeared on a show just because the Marquee people would slot in some groups and try them out. The Marquee Club was known not just for the emerging Blues scene but the jazz scene - people like Chris Barber, who played British jazz. There was crossover between Chris Barber and Alexis Korner, and his efforts to build the Blues scene - John Mayall was quickly in there. There was a cross fertilization between the styles. It was a mixture of Blues and jazz and what was eventually to become progres-

sive rock that all emerged out of that period. The Marquee Club was pretty eclectic in its performances, from pop through to much more esoteric things.

Jethro Tull began as a Blues band, as I was in my mid-teens I played Blues, but we got more into jazzy stuff really, and music that was a little darker and gutsy - we were big fans of The Graham Bond Organisation. There was stuff going round then and it wasn't strictly Blues, but we were never a mainstream Blues band, even in our early days at The Marquee Club. We were charlatans, really, because the faithful more authentic Blues people were bands like the early Fleetwood Mac, Chicken Shack and Savoy Brown, who were really far more stylised within a framework laid down by a particular American artist. We didn't, I certainly didn't - I was certainly neither Black nor a cotton picker, so I didn't feel qualified to that stuff, although it was a suitable learning, a jumping off point for skill and improvisation, stage performance and so on.

Your trademark flute is not traditionally associated with the Blues. What are your feelings about the flute as a Blues instrument?

We feel we never qualified as a Blues band, and certainly playing the flute was not a way to emulate, with any authenticity, the kind of American origins of the Blues. We were one of the spin-off bands and kinda doing our own thing. Blues has continued over the years to be part of what we do, but it’s certainly not the dominant element.

The Blues scale is not found in classical music, the flattened fifth does not usually appear. It's a particular Bluesy lyrical kind of framework. The

"Time wasted imitating someone else is such a limp,lame thing to be doing."

wandering between major and minor chords - you find a lot of the elements still occur in some Asian music and classical music and, to some extent, in folk music. The Blues is a not a too distant cousin that has been important to the music of Jethro Tull. Classical music and folk music, broadly speaking, represent greater influences in our overall career rather than just that of the Blues.

Which Blues artists have influenced you?

The first one's I heard were Sonny Terry & Brownie McGhee. Sonny Boy Williamson, Muddy Waters and Howlin Wolf - these were quite moving to me, I heard these as a 16 year old.

One clarion voice that not many people know of is a fellow I actually got to see live in Manchester. It was a travelling Blues circus, really, and there were several people on it. Buddy Guy, who was young at the time, he struck me immediately as a bit of a show bizzer - he was a fiery young grandstander of a guitar player who was rather more cast in the James Brown, showing off standard. I was never really a big fan of Buddy Guy at all, but there were others, like J.B Lenoir whose clarion voice and slightly more politicised stance made him quite intriguing. Lenoir, unfortunately, did not live very long, so most of the Blues world does not know about him, which is very sad.

Sonny Boy Williamson, Sonny Terry - acoustic Blues is what I enjoyed. Particularly the so-called folk Blues of Sonny Terry and Brownie McGheeguys who really defined that term more than anyone else. These acts were more important to me and still are to this day. In fact, you can still hear them on a commercial recently - Sonny Terry doing one of his train songs, emulating a train with a harmonica, which has been done lots of times but not better than he did it.

Tell us about the "This Was" reissue

When we recorded our first album, it wasn't with a record company - basically our manager funded it and we made it, and then we hawked it around until we eventually got a deal. When we did make that record, in the summer of 1968, we had already played quite a few live sessions at the BBC. The first recordings we did were with the BBC.

A lot of that music that became the first album is the subject of sessions that took place in '68/69, so there is a whole bunch of stuff from the '68 era,

photo: Brian Smith

the original band members line-up, included in the remastered version of this Jethro Tull album. The original mono mixes are included, which is interesting because back then albums were in mono and it was the beginning of the stereo age. We did mono pressing as well as stereo, and singles were always mono until, I think, '69 - the advent of stereo singles. Singles were deemed to be played on monophonic record players, and jukeboxes and radio back then were only mono. The audio file brought LPs in stereo and so we did all our mixes in mono and stereo to cover both eventualities. The mono had a kind of solidity and thick audio quality, which is not unpleasing. So EMI decided that might be a good idea to do the mono mixes as well and the live sessions. It's a collector's edition really. And there was the "Jack In The Green" DVD

We released a live DVD of Jethro Tull's performances around Germany over the years, courtesy of ZDF Television, who had all the tapes.

Isn't there another DVD release due?

The documentary of the story of Jethro Tull, which is currently nearing completion, is scheduled for release at the end of this year.

How important is ongoing musical development?

It's what happens on stage every night, it happens with the old songs; they have elements of improvisation and development and changes of arrangement, so it happens with the old stuff just as much as it happens with new songs. We usually have in our shows two, three, four or five things that pun-

ters haven't heard before because they are either new or a new version of songs. Sometimes they are not my music, it could be a piece of classical music I have reworked in some way, or some other artists music we pay tribute to, though that doesn't happen very often - once in a blue moon!

There is kinda new stuff happening but there is also new stuff happening to the old stuff. You can go back and revisit your early works, re-examine them, twist them around a bit, just always that sense of being something new in your performance. Of course, every performance is going to be different because of the improvisational aspects.

What's next on the musical agenda for Ian Anderson and Jethro Tull?

We've been on tour, over thirty shows around the UK. We are busy all the way through to September. We have a slightly less arduous September,

October, November and December, although we go to India, Spain and Scandinavia during those three months, only for relatively short trips.

I'm happy we get some time in the studio in the latter half of the year to finish off the recording we began last year, before a couple of band guys had some bouts with a scalpel due to necessary surgery. Hopefully, we'll get back to recording some more music towards the end of this year.

Is there anything you want to say to Blues Matters! readers?

My respect for black American Blues is and always has been such that for me the ultimate insult would be for me to imitate it badly. With very few exceptions, I think what I have done has been to take elements of the Blues as a musical feel, as a musical notation and try to incorporate it into music, which I believe is very British and, some might argue, is white, middle-class, but there is nothing wrong there! It wouldn't be right to try and copy that music, which is such a pure fundamental - social, political and racial. Blues is somehow something you kind of learn from and experience. I don't think you treat it well if you go out there and try to imitate and you're a white kid from Pinna or Sunbury-on-Thames. It's on a par with being a Pink Floyd tribute band coming from Australia coining in the dosh, copying and imitating your heroes - it's a bit naff really.

To celebrate the band's fortieth anniversary, EMI reissued Jethro Tull's debut collection, "This Was", as a two-disc set featuring mono and stereo mixes, plus bonus tracks from BBC sessions and various Aand B-sides.

Before developing into a more folkstyled progressive rock outfit, "This Was" shows the original incarnation as a more recognised Blues band, with Mick Abrahams on guitar and standards like 'Some Day The Sun Won't Shine'.

"Astrong album," was the verdict of our writer, and many fans would argue Tull's debut is still the outfit's best recorded work.

In fairness, the group haven't been short of live releases in recent years, but Eagle looked to cash-in this year also, with the release of "Live At Montreux 2003" on CD and DVD.

With new songs standing up against old favourites our reviewer summed up the concert with the statement: "Jethro Tull are rightly regarded as a national treasure - this performance shows why," but a recent live performance in Cardiff, as part of an extensive anniversary UK tour in 2008, left another contributor cold, complaining of "frustration at the worst kind of progressive excess."

After forty years together, Jethro Tull are dividing opinion. What was always will be. DH

I am not a fan of tribute bands, though I can see they bring a lot of amusement to people. It's like those dreadful TV shows were people go on and imitate their heroes. I find it particular irritating and immediately that American term comes to mind, "Get a life!" Time wasted imitating someone else is such a limp, lame thing to be doing. I just think if you have any talent any skills go and find your own voice, your way to show your emotions and feelings through music. Don't copy other people, it seems pointless. That doesn't mean you don't learn from other people! Of course, you should learn and absorb and filter it through into something of your ownthat's good, but imitation is bad. So, with only a couple of slight little tribute moments to Sonny Terry and Brownie McGhee, I think I've stayed far away from imitation - I advise others to do same. You pay your respects by drawing on those things as subtle influences, not by going out there and pretending your Muddy Waters in a Blues club on the wrong side of Chicago in the '50s - that's not going to work! CB

teeped in the traditions of American music, and influenced by the Blues genre's greatest songwriters, Spencer Bohren is an artist of passion and deep feelings, with the rare gift of being able to weave magic over old songs.

Despite limited exposure in the UK, the New Orleans resident has become an artist in demand on these shores Word-oof-mmouth fuelled by previous visits, where the acoustic storyteller has wrapped his audience in the enjoyment of an emotional journey of discovery, and whose impromptu directions are a surprise even for himself!

Blues Matters! spoke to Spencer following yet another well-rreceived British stopover

BM: How long have you been playing and learning your craft, and when did you decide that being a musician was what you wanted to do for the rest of your life?

Spencer: I was raised by gospel singing parents, and have been singing in public since I was a little boy. Playing folk music on the guitar at 14. There was never any conscious decision to become a musician. I was born that way.

Who or what were your first influences and are there any artists today you feel affinity with?

The church provided my first real musical experiences, and everything I do is informed by the gospel music that resides deep in my bones.

As a teenager, I discovered the wonders of traditional American music, which kindled a lifelong passion for music made without a commercial agenda. I like popular music, though, and am a fan of some contemporary songwriters and musicians. I just feel more connected musically to the root system that includes old-timey, Blues, and so forth.

My influences are so numerous that it would be impossible to enumerate them all. Such a list would definitely include the likes of Charlie Patton, Skip James, Lightnin' Hopkins, Mississippi John Hurt, Ray Charles, Reverend Gary Davis, The Jim Kweskin Jug Band, Hank Williams, Django Reinhardt, Jimmie Rodgers, Merle Haggard, The Beatles, Bob Dylan, The Band…it's a long list.

An artist you would love to have been?

While I'm curious about the lives of scores of artists, and maybe have a particular interest in, say, Hank Williams or Django Reinhardt, I have no fantasy about being anyone but Spencer Bohren.

What sort of audience do you enjoy playing to?

"The spirit ofNew Orleans is strong,though,and we will overcome and rebuild,in SPITE of the 'help' from the government."

photos: Michel Varisco

My music tends to be quiet and slow, so my preferred venue is a concert hall or theatre where the audience can listen carefully. Of course, people like me traditionally polish their stagecraft in bar rooms and Blues joints, but I quit playing those places many years ago.

Is there any gig you would refuse to play on principle?

I have been known to pass on a performance opportunity for personal or political reasons, though the situation rarely comes up. The people who hire me are mostly familiar with my work and offer appropriate situations. There are a few artists with whom I'd rather not spend time, so I say no to those gigs.

As you play so many instruments, did you have any formal training and which is your favourite instrument?

To say I had formal training would be a stretch. I learned to read music for choir singing and trombone playing at a young age, but it didn't carry over into the guitar realm. I play from the heart, by ear. I had the good fortune to learn directly from legends like the Reverend Gary Davis and Bukka White, among others, and I'm still on the make for cool guitar tricks. I am completely enamoured with the lap steel guitar, and have come up with an original approach to the instrument, which puts me in uncharted territory every night. For an artist, that's a real honour.

When you tour England, I see you always tour solo Do you have a band?

These days, and for the past twenty years, I prefer to perform and record as a soloist, but I have been

in countless bands. I've always been a vocalist, but at different times I've also functioned as a lead guitarist, a rhythm guitarist, a percussionist, and a standup lead singer. I still perform with a band on occasion, and I love it, but I don't miss the challenge of keeping a group together on the road and I am very protective of the freedom I enjoy as a soloist.

Your shows are an experience and I really love the lap slide. How easy is that to play next to normal guitar?

I can't really say how difficult the lap steel is to play, because it comes so naturally to me. Plenty of guitarists can't seem to make any sense of it at all, but it really speaks to me. I try to play as little as necessary to get the song across, and I really do utilize silence as much, if not more than, the actual notes. The audience often sort of fills in the blanks, so to speak, and hears things I just imply.

In your show you sing a capella with a real Cajun feel to it. How long have you been doing this in your shows and who were your influences for this type of singing?

I learned to sing a capella from my mother, though there is much precedent for this sort of thing in the world of gospel music. I have no specific influence. I have always been interested in southern field hollers and work songs, prison songs, chain gang chants, mardi gras street singing, the dozens…all that kind of unconventional singing.

Do you have a favourite song of your own?

I've written dozens of songs, but have never thought about favourites. Currently, my deepest emotions are being expressed by the post-hurri-

photo: John Cohen, courtesy Smithsonian Folkways

cane Katrina composition, 'The Long Black Line'. I love singing 'Wings Of An Angel', and it moves many people... I love playing lap steel on 'Night Is Falling'.

Which artist's songs do you cover the most?

I don't think I cover artists as much as I simply cover songs I like. I'm really into the song itself. I dig lots of the old stuff by Patton and all the blind cats from the '20s, but lately I've taken to rearranging things like Bobby Gentry's 'Ode To Billy Jo' and Hank Williams' 'I'm So Lonesome I Could Cry'. It's a treat to play 'People Get Ready' by the great soul singer, Curtis Mayfield. The list is very long.

I think it is such a gift to be able to sing, play and entertain - I stress entertain as you are such a great weaver of stories in between your songs What would you like to be remembered for when you pass away?

Of course, I would be honoured to be remembered as a great artist, but for me, the present is more important. I want to be as open as possible at each gig, so that my muse can speak clearly through me, and each member of every audience takes home a personal interpretation of my artistry. On a different plane, having four children, I would also like to be remembered as a great father.

Looking at your artwork on your website, you seem to be very interested in the spiritual side of life. Are you religious also?

Spiritual? Without a doubt… Religious? Absolutely not! I am definitely not religious! In fact, I am appalled by the things that happen in the name of religion. However, I see the world around us filled with beauty and mystery. The wonders of nature can be found in a single fallen leaf, a seashell, or a rusted piece of tin, and I think that is what resonates with the viewer. I remove ordinary objects from their usual place in the environment, and when displayed in a place of honour, they somehow are transformed into sacred talismans.

My artwork is very naive in a way. I never start with an agenda, and yet, time after time, these tiny ceremonial altars emerge from a random collection of the detritus of our modern world. Many people tell me that they get the feeling that these little boxes are relics from an ancient, lost world. Some people call them medieval. I can't explain it. Nor do I want to. They are as mystical to me as to anyone else. Making art is a fairly new pursuit in my life, and I find deep satisfaction in the act of creation, though I rarely have time to work on them at home. I find the materials for each box as I travel, and typically I return to New Orleans from a tour with one or two completed boxes.

Can't help but ask a question or two about hurri -

SOUTHERN CROSS

What we said (Blues Matters!, issue 38): "As a guitar player, Spencer Bohren cannot be beaten and the depth and warmth of his playing shine through on this particular CD... His music is drenched in Americana, with Blues, soul and gospel references coming thick and fast. Spencer Bohren has always had his own voice, both as a singer and as a guitar player, and he is as authentic as they come."

THE LONG BLACK LINE

What we said (Blues Matters!, issue 41): "'The Long Black Line' is not only the album's title but the title of the opening track, the lyrics of which come from discussions with various people on the broken streets of New Orleans, post Katrina... Half the songs are Spencer's own with 'Iowa Night' tackling America's favourite debating topics - guns... Disaster is the theme of this album.”

cane Katrina, especially as you wrote what I think is the best song I have heard about the events 'Long Black Line' shows how deeply you were affected emotionally by what happened When the hurricane hit New Orleans where were you?

As it happened, I was not touring when hurricane Katrina began her approach toward our beloved city, and was able to evacuate with my wife, Marilyn, and our son, Tucker, who still lives at home. We ended up in Saint Louis, Missouri, about seven hundred miles up the Mississippi River. We moved back to very primitive conditions as soon as we possibly could, and

have been working to rebuild our lives and home ever since. There was no electricity for the first few months, so it was candle light and bonfires for heat. No phone, no computer. Only recently have we completed the kitchen enough to wash dishes, cook and sit at a table. Marilyn has been doing dishes in the bathtub for over a year!

It is impossible for the average person to imagine what we've been through in the past year and a half, and the saga is far from over. We feel that we are among the fortunate, though lucky is hardly a

word you could use to describe our situation. We lost much, but thousands of people lost everything they own, and nearly 3000 people lost their very lives. We're still finding bodies in the wreckage!

How much of your property and instruments were lost in the storm, which possession did you lose that hurt the most?

I lost several instruments and a lovely collection of old amplifiers, along with everything that was in the back half of our house. Thousands of books, records, photographs, keepsakes, as well as the stove, refrigerator, washer, cabinets, tables, chairs, beds, clothing, dishes…everything! There was almost nothing salvageable in that part of our home.

Before rebuilding, we had to remove all the walls, ceilings and floors to treat the framework of the house with cleansers and carry tons of debris to the street for pickup. Unbelievable amount of work!

Two hundred thousand houses were made uninhabitable by the storm in Orleans’ parish, though, so I have not wasted time whining over any possessions that may have been lost.

This apocalyptic event has given every New Orlean a powerful lesson on the difference between what is valuable and what is precious. We are mostly concerned for the spirit of this magnificent, musical mecca and since that spirit is carried mostly in the people here, we try to celebrate each other as thoroughly as we can. While this massive rebuilding is a slow, painful process, it is working, and we're honoured to be able to give back to La Belle New Orleans in her time of trouble. Lessez Les Bon Temps Roulez!

But things are improving…

New Orleans is getting better every day. Still, it will be a very long time before many of our citizens will have anything resembling the life they had before the storm. I'd say that 30% of the city is still deserted and barren. Thousands of residents are still unable to come back to the city, and are living all over the country, wishing they were home.

It's common knowledge that the response of the Bush administration was inept and inadequate, and those problems continue. The spirit of New Orleans is strong, though, and we will overcome and rebuild, in SPITE of the "help" from the government.

Generally speaking, I would say the situation in New Orleans is both worse and better than you probably think it is. It is still the most appealing city on earth to those of us who couldn't wait to return.

How did the recent UK/European tour go?

The tour went very well, thank you. The audiences were extremely enthusiastic about the music, my stories, and my lap steel guitar playing. There were

plenty of vintage guitar fans and American music enthusiasts interested in talking about what I'm doing and how I'm doing it.

There were a couple of art centres, a folk festival, a folk club, and a very well-attended village hall concert. I also spent an inspiring day in a Midlands high school, lecturing about American roots music and sharing music and guitar tips with about sixty young musicians.

I could have used more gigs on the tour, but other than that, it was sensational.

What are your feelings on the British live scene in general - the venues/conditions - and the crowds that came out and how they responded to you?

I love the fact that there are so many folk and Blues festivals in the UK, as well as a variety of appropriate venues for concerts. Of course, there

are festivals and venues everywhere in the world, but the British audience tends to be very wellinformed regarding the rootsier styles, and not so attached to the big-time record conglomerate idea of what is hip. They come to enjoy themselves, but they're very good listeners.

The tradition of folk/Blues clubs seems to be very much alive in the UK, which encourages camaraderie between musicians, both professional and amateur, and provides a forum and information swap for anyone interested in knowing more about the music. This in turn makes for a more sophisticated audience who understands the music they

are hearing. Plus, they're friendly, and they speak English!

How does playing in the UK compare to other European countries and, of course, back home?

Honestly, the actual performance feels similar most everywhere I play. I'm fortunate to have a strong following in many parts of Europe and the USA, and I only play where people listen, so the dynamics are approximately the same.

In England, I am not so well known, so it is fun to surprise the audience members who feel like they already know who all the good players are. They come up after every gig and say things like, "Where did you come from?!" or, "How is it possible that we've never seen you before??!!" That's fun. It's also a pleasure for me to be able to share involved, extemporaneous stories with the English audience. In Europe or Japan, I

have to keep such things to a minimum. The stories really enhance the performance for most listeners, and enable me to put some of the songs in a more powerful context.

Is it expensive for you to come over here to play a short tour? Do you make any money from it?

What's the worth for you?

Yes, it is very expensive, especially these days, with airfares being nearly double what they were not so long ago and travel costs in general going up.

I am dealing with the conundrum of not being very well known in the UK, so I can't command the fees I get elsewhere, plus I am a stranger to many of the venue managers. For the moment, I am willing to break even, or even lose money, while gathering my audience. Every single time I play in the UK, the response is so profound, that my fan base is sure to grow. Besides, no-one with half a brain becomes a touring musician for the money. This life offers much more than that!

Can we expect to see you back soon?

The current plan is to come back in the late spring next year, and stay through the early part of June. Depending on what happens, the dates could change, but yes, I will be back.

What's next for Spencer Bohren? Is there a new album in the pipeline? If so, what can you tell us about it?

There is, indeed, a new album in the pipeline. It will be a live record, my first in twenty years, recorded in Germany. I hope to have it available by next fall, when I will be touring in Europe.

I have been doing a few concerts with the great guitarist Bill Kirchen, from Commander Cody And The Lost Planet Airmen. We are paying homage to the great American honky tonk music tradition, and the response has been exceptional. It's too early to say where this collaboration will lead. We're both pretty busy.

I also plan to start putting tunes together for the next Spencer Bohren album. It's been difficult to find time to write and think with all the rebuilding of our home and lives in New Orleans, but I feel the muse whispering in my ear. CM

Who wishes they could have been Hank Williams?

t's hard to believe North Mississippi Allstars are becoming elder statesmen of America's Blues-rrock fraternitythey still look like young upstarts and, more importantly, they sound as hungry and enthusiastic as any newcomer (as illustrated on the recent Hendrixinspired collection, 2008's January released "Hernando")

Longevity isn't something we expect from bands in the modern musical climate and few reach the ten year mark recently celebrated by the North Mississippi Allstars (Luther quickly corrected me, "Actually, we formed the group in 1996, so it's eleven years, going on twelve!") - in fact, few bands ever have The Rolling Stones, Lynyrd Skynyrd, The Black Crowes a whole host of revered Blues infected rock'n'roll bands to pass the elusive landmark haven't done so without taking a significant amount of collateral damage along the way, losing key founding members through tragedy or personal conflict

"Being in a band with Cody has definitely been key to us sticking together, and Chris, as well," said Luther. "We grew up together and share a vision. As Chris says, 'You gotta have faith!'"

Brothers Luther (guitar/vocals) and Cody (drums/washboard) Dickinson formed the band with Chris Chew in 1996, following the demise of punk outfit DDT, and this core trio has remained intact, with only Duwayne Burnside becoming a full-

time member for a solitary release ("Polaris").

Of course, there's strength in numbers, or lack of - the less personnel the less likely an ego will feel confined when trying to inflate - and a harmonious sibling relationship doesn't give us hacks much of an angle (so they've avoided the pressures thrust upon by an intrusive media), but survival alone wouldn't be cause to celebrate. The ever-improving quality of their ouput certainly is.

"Over the years we have learned to work better in the studio; working up new songs, doing demos, etc." said Luther. "The more open and collaborative this process is the better.

"The records capture the different phases of our band, as our style expands and evolves."

The guitarist feels his ability to adapt has been vital. "I learned a big lesson compiling our live retrospective project 'Do It Like You Used To Do'," he said. "In a live situation, it's way better for me to listen and pay attention to the band, when the song is going, than it is if I try to teach the band… Go with the flow!"

However, for many, the band's inability to gain broader prominence for such an interesting and exciting progression has seen them fail themselves and ultimately the Blues genre.

With the weight of legendary Memphis producer, father Jim Dickinson (Big Star, Sun Records…) behind them, the group have enjoyed critical respect and industry recognition (including three GRAMMY nominations - "It's nice to be nominated

photo: Sam Erickson

by your peers," insisted Luther), but they've had to watch in the shadows as fellow Blues recyclists The White Stripes, and to a certain extent The Black Keys, have taken the plaudits for keeping the genre alive and prominent in contemporary music - and the hefty royalty cheques!

Possibly a more palatable Blues-rock collection, with this year's "Hernando", was intended to find a broader demographic?

"No attempt to attract new fans. I was trying to satisfy myself!" insisted Luther. "I love early ZZ Top, Black Sabbath, AC/DC, Hendrix… I wanted to make a classic, timeless Bluesrock record."

Given more thought, the suggestion of pandering to the market only angered the group's frontman. "Commercial appeal?! I can't get my head around that!" he decreed. "We just do what we do. We have faith in our fans. We believe they're hip and openminded."

There have been moments, though, when even the devoted fans they rely on have been left cold (and there were even been whispers the band were trying to gain some of that, err, "commercial appeal"). "'Polaris' is the record we all brought in finished songs, each with a different style," reflected Luther. "It was like three solo EPs put together."

Staying philosophical, "We had to make that record to get to where we are now - I wanted to prove that we could all contribute!

"The lesson learned was that we do have certain parameters that work for us - basically, Blues-rock. If you can't play it live, don't put in on a record!"

A band with such integrity is always likely to fall short when it comes to making serious inroads on the mainstream, but for Luther that isn't a concern. In fact, he knows they've been fortunate. "We are very grateful for the label at which we've been able

to do our thing!" he said. "We've made records on our own and with a lot of great people. We've travelled the world. We have it made!"

"We have a great fan-base and we will cater to them and do our thing," assured the guitarist.

Whereas many modern Blues-influenced rock bands - particularly those shifting significant unitsare derided for a dilution or misunderstanding of the genre's key values, North Mississippi Allstars have always been accepted and widely hailed by the Blues industry (a W.C. Handy Award serving testament to that fact).

Knowledgeable fans of Blues music appreciate how the band's output, no matter how alternative, has remained respectful of their early musical influences and experiences.

Having moved to Northern Mississippi, the Dickinson brothers grew up and played with the prominent hill country Bluesmen of the timenotably at Junior Kimbrough's infamous juke joint.

"As for growing up around Blues, you nailed it!" enthused Luther. "If you could keep the dancefloor moving at Junior's, you were really doing something. You had to 'come on with the come on!'

"I've always felt that, being lucky enough to have been exposed to traditional music and musicians, it

photo: courtesy Fat Possum

was my responsibility to take it seriously and learn as much as I could to keep the spirit alive."

In many ways the band struck gold, given the opportunity to 'hang out' with now-legendary Mississippi country Bluesmen and their families (the ties remain to this day with Othar Turner's grandson, Rodney Evans, co-authoring 'Take Your Time, Rodney' on the new collection), an education that Luther feels has enriched the band's output ever since.

"That fun and playfulness is equally what we learned from RL Burnside, Junior Kimbrough and Otha Turner," he added. "It's entertainment; it's fun, dangerous and nasty!"

Whilst the Blues remains at the heart of the band's output ("We're proud to be accepted in the Blues world, though, we are a rock'n'roll band," insisted Luther), it's acceptance on the jam band circuit which has been more lucrative, playing alongside the likes of Gov't Mule and The Black Crowes to large sell-out audiences - "I love the festival circuit!" declared the guitarist.

But it's not an association Luther is particularly comfortable with. "The thing with 'the jam' is all the pioneers of the scene had totally different styles," he pondered. "There are a lot of generic jam bands now, but in the beginning each serious band in the

scene came from a different tradition and had their own style, be it jazz, funk, Blues, rock, bluegrass…"

Even if he remains philosophical and appreciative: "Any genre has its downfalls. I am extremely thankful to the bands that helped us, like Gov't Mule, The Jon Spencer Blues Explosion, The Allman Brothers Band, and all the fans out there that dig the music."

Friendships and collaborations has always been part of the band's ethos right from album one (2000's "Shake Hands With Shorty"), and subsequent releases have seen notable names on the credit roll and even a few surprises - Britpop pioneer Noel Gallagher's appearance on 2003's "Polaris" was viewed with some suspicion.

"All of our guests, over the years, have been our friends," insisted Luther. "Usually whoever we are spending time with as we are making a record is who we have guest - it happens organically."

And Luther's willing to return the favour - Chris Robinson appeared on "Hill Country Revue: Live at Bonnaroo" and the North Mississippi Allstars guitarist helped out when Marc Ford departed The Black Crowes, playing on new album "Warpaint" and undertaking a world tour, which saw one British show and Dickinson’s performance singled

North Mississippi Allstars: (from left) Cody Dickinson, Chris Chew and Luther Dickinson.

With the band returning to their roots in 2008 with "Hernando", Alfie Falckenbach thought it was the ideal time for European audiences to be reintroduced to their classic first two albums.

"Last year I visited Mick Lloyd at Sheridan Square Entertainment in Nashville," revealed Music Avenue boss Alfie. "I'd heard that they had acquired the rights to the master-tapes of the defunct Cool Tone/Artemis labels for which the NMArecorded their first three albums.

"We concluded a deal which allowed my label, Blues BoulevardMusic Avenue, to release the first two albums, 'Shake Hands With Shorty' and 'Phantom 51' in Europe."

Alfie had come to the band in 2005, having obtained the European rights to RLBurnside's album "Raw Electric". "RL's son, Duwayne, played on it, and from there it was but a small step to the North Mississippi Allstars, since Duwayne joined their line-up for their third album," said Alfie.

"I became a big fan of NMA's unique brand of Mississippi hill-style of Blues-rock-boogie."

Having been a fan of the likes of RLBurnside and Junior Kimbrough, Alfie was impressed how the outfit had "stayed true to the spirit of their idols, but simultaneously reinvigorated that genre" on "Shake Hands With Shorty", yet "bravely rewrote the rules for their follow-up album 'Phantom 51',” instead of merely "milking a successful formula."

Although there are no plans to release the group's third album - "I admire the band's courage in exploring new paths, but personally I prefer the first two albums" - Alfie may be interested in acquiring the rights to the band's latest in a few years time, as a sucker for "noisy Blues guitars.

"Their new and improved but 'back to the basics' approach is the cat's whiskers!"

If NMAcontinue their good form and Music Avenue keep up their quality control, Blues fans will be satisfied for years to come! DH

Courtesy Music Avenue, we have 3 sets of "Shake Hands With Shorty" and "Phantom 51" to giveaway. For a chance to win, tell us: Which Britpop legend joined the group for third album "Polaris"?

out for particular praise.

Playing outside of his own band, and his own band backing luminaries such as John Hiatt (the North Mississippi Allstars trio have also formed a five-piece gospel jam band, with Robert Randolph and John Medeski, called Word), is something Luther feels has been important in ensuring the creative juices continue to flow.

"I love having people sit in and I love sitting in," he said. "Music can be an adventure and people, other artists can make it volatile!"

With Luther's commitments to the high-profile return of The Black Crowes, North Mississippi Allstars' new album has been overshadowed somewhat, but he is convinced this album showcases the band at their very best, even if he's slightly perturbed by how the press release has been interpreted.

"I should've said we felt as aggressive in the studio as we do live," Luther reflected. "We've always been comfortable in the studio, but this time we really dug in - recorded fast, live and raw!"

Despite talk of a new, straight-forward rock direction, the new album has retained all the qualities synonymous with the outfit ("'Hernando' sounds like us live. I think our fans are excited that we captured this," noted Luther) and, if anything, is closer to the band's roots (naming the new collection after the town the trio grew up in together was hardly subtle).

Luther added: "With 'Hernando' I wanted to use the Hill Country roots and plant a Blues-rock/classic rock tree".

"To my ears, it's the closest we've come to capturing what the music back home really sounded like back in the day. The playful spirit at Junior Kimbrough's juke joint, Otha Turner's picnics and RL Burnside's house parties."

Even if the recording process changed dramatically ("For the first time, we went in as a band and demoed the songs", said Luther), they were in comfortable surroundings; working with the best producer money couldn't buy. "I love writing with dad - he rocks his ass off!" he enthused (Jim Dickinson had previously helmed 2001's "51 Phantom" and 2005's "Electric Blue Watermelon"). "He knows how to keep it fresh, raw and spontaneous. That's what we wanted!"

"We have nurtured the vibe and sonic atmosphere of 'The Barn' for so long," added the guitarist, before indicating a fancy recording studio wouldn't

sit well with the band. "In this day and age, I think it's more important to have character and a unique aesthetic than a pristine, 'proper' recording."

Even if the protracted dramatic change of direction didn't materialise (the band continue to pay homage to the greats of traditional and progressive Blues), Luther is certain the band made one important alternation. "It's cool to have our own label, and we have a great distribution deal with Red," he said. "It feels good to own your art."

With changes in the industry, more bands are taking the opportunity to retain control of their music. Luther's 'other' bandmates, The Black Crowes releasing their most recent collection "Warpaint" through their own label ("All of my friends have started their own label, or are about to," he said). Yet Luther doesn't believe an established fan-base is essential to going it alone.

"I would encourage any new band to stay independent for as long as possible," he insisted. "Get on MySpace, snowcap etc."

Hardly the most prolific of bands ("The time inbetween albums is a necessary evil. Write, record, tour…write, record tour…" mused Luther), fans will see this additional commitment as a further drain

on their time and another distraction as they eagerly await new material.

However, there are plans for a new release before the end of 2008, with the long-touted 'best of' finally set to emerge. "We pushed the retrospective package back, so we could release 'Hernando', said Luther. "It's called 'Do It Like We Used To Do'. Two CDs of live music from '96-07, and a DVD with the documentary and rare footage."

Having wet our appetites with a live collection, maybe this release will be followed by a long overdue British stopover ("We can't wait to come back to the UK! No plans yet, but as soon as possible!" assured Luther), or maybe the North Mississippi Allstars will finally get to celebrate a GRAMMY win in 2009 ("Charlie Musslewhite's been nominated eight times!" he declared).

Whatever the future holds for the band, we can rest assured when they are ready to record/release a new collection, whatever the PR says, the band will be true to their roots.

"Our motto is 'don't believe the good and don't believe the bad,'" stated Luther. "Just take it day by day and do your best, whatever you're doing - don't let it go to your head!" DH

fter half a decade of Robert Cray and his "clean" Blues, it was going to take something special to knock me off my stride. That something special was the oh-too-short career of pained Bluesman John Campbell.

It was Cray's producer, Dennis Walker, that first attracted me to the album 'One Believer'; and the frightening cover shot of a scarred and scary Campbell. With track titles taking in words like "devil", "coffin" and "voodoo", I was sceptical at the prospect of the cover being more than content.

I needn't have worried. I was blown away, petrified by the intensity and shocked by the suffering; I was emotionally harpooned! Most significantly, the music was valid, audacious and had a hook that wouldn't let go.

The first three tracks announce the John Campbell signature of grumbling vocals and interjecting guitars. 'Devil In My Closet' and 'Angel Of Sorrow' announce the parade of death that underpins all of John Campbell's songs of sorrow and white-knuckle survival. Lyrics, "I got the Devil in my closet/The wolf is at my door... Give me one last breath/To tell my baby goodbye" suggest he has been to Hell and back. We find out later that he had.

'Wild Streak' and 'Couldn't Do Nothing' take the tempo up before the horrors of 'Tiny Coffin'. Crossing

boundaries of songwriting that should fit squarely in the Blues domain, it is still an uneasy listen, with the keyboard trance and repetitive chorus making the grief and rage all too real.

'World Of Trouble' is noir-ish and again takes keys and guitar combination to ethereal levels. 'Voodoo Edge' is straight from the crossroads, lit by a shimmering moon, and uses every Blues trick to capture the form of imagery that uses, for example, snakes as sexual metaphor, and then comes close to parody with lines like "cruisin' for a Bluesin'" and "notches on her stockings." But these are real tales.

'Take Me Down' is the penultimate track and it's in this that we hear about his tragedy and recovery. With a Ry Cooder-esque start, it simmers with an aura of something about to happen, as the beat picks up, Campbell, gruffer than ever, says: "Got the pedal to the metal and a suicide clutch." The intensity heightens and we live the horrific motorbike accident that should have killed Campbell as a young man. It is genuinely exhilarating and terrifying. His recovery and reward is seen in the last and title track, and his experience, strength and hope is genuinely moving.

John Campbell passed away shortly after he made a second album for Electra, his 40-something body couldn't take anymore, yet, amongst the sadness, I'm grateful for someone at Electra believing in John and giving us this humbling and haunting Blues opera. GH

A FAVOURITE BLUES ALBUM?

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

SQUAT THAT RABBIT

TaJ Mahal

This is one of the few modern Blues tunes that really gets my willy waving! It's full of loops and samples, but the earthy and powerful vocal by Taj Mahal keeps it real, and there's a great horn line driving it. One to dance to!

GOOD ROCKIN' DADDY

Etta James

I don't know whether to call this called jump Blues, jive, R&B or rock'n'roll, but it has a shuffle beat, a twelve-bar turnaround, and the horn line one would expect in any good Hollywood "race music". This is what turns people on in the best clubs these days. This is the kind of stuff young women are claiming as their inspiration when they come bouncing out of Brit. School and into a big record contract. They aren't swinging to Elvis or Eric Clapton. We've stirred up the original roots of Blues, jazz and swing that were buried and ignored.

I WISH YOU WOULD

Billy Boy Arnold

For a tune from the late-50s it has a trippy side to it which makes 'em get down and boogie. No extra notes, just hooks. And the words are about one of those evil ungrateful women we so often come across in life - but can't resist!

Expanding on the staple looping harmonica, beat-box and foot stomp, Son Of Dave's latest collection, "03", has seen the "the Sith version of Moby" add guitar, piano, organ, a plucked cello and backing vocals. Amore expansive and accessible sound, and the plaudits have only intensified. "Son Of Dave is mad, bad and dangerous to know! File under essential listening" (Blues Matters!, issue 43). We have 3 copies of “03” to giveaway. For your chance to hear one of the most intriguing performers in the music industry today, tell us: With which outfit did Benjamin score a British number 2 hit with 'Mmm Mmm Mmm Mmm'?

TEENAGE BEAT

Little Walter

My favourite instrumental harp solo stomping groove thing. An even better dancefloor filler. Find this on 45 and you will have more friends!

HOUND DOG

Mae "Big Mama" Thornton

This is a Blues progression. Elvis covered it years later and they called it rock'n'roll. This is what the rock'n'roll big business worked to hide, so they could sell the white kids a clean-cut, more profitable product. It's the Blues in my book and was top of the R&B chart for many weeks in 1952. If you haven't heard this, you can't understand where rock'n'roll came from. I didn't hear it until

I did some digging and slumming around in Soho eight years ago, where there are some noble freaks playing five decades of 45 speed records. You just don't hear tunes like this on the radio. And there seems to be an endless amount of great old R&B records that fuelled America in the '50s. Blues was only half of it!

ROCKET 88

James Cotton

Aquick boogie about a car. Great electric harp and a slick band from the later big Chicago scene. Anything from "100% Cotton" is great!

GONNA SEND YOU BACK TO GEORGIA

Hound Dog Taylor

Fierce lo-fi three-piece house rockin' Blues that tips over the china cabinet. Now we can have guitar solos, but so mean and rough they shouldn't be played on a guitar worth more than

ten quid! We like guitar playing which isn't allowed in music shops for fear of damaging the instruments; the bottle neck bashing against the wood, the strings being snapped like a bow and arrow.

DIDDY WAH DIDDY

Bo Diddley

This guy tried so many different grooves and made them all his own. Blues or rock'n'roll usually plods along on only a handful of beats. Bo Diddley was more imaginative!

I FEEL GOOD

John Lee Hooker

Hooker is the hypnotising fat tone master. He sits in the big chair at the head of the table. If a beautiful woman requests this song; put it on immediately, leave the decks and dance with her. Beg for her love - she is not like the others!

ST MARY (AT MAIN)

Big Dave McLean

This is the traditional bar-room Blues. The stuff of Sunday jams, cold pizza, a cheap hotel room above the bar and divorcees at the pool table. This is the man who let me get up and blow harp when I was too young to be in the club. I owe him and his band of hometown heroes plenty. I've never heard better! Gotta love it! BD

Son Of Dave likes the sound of his own voice.

OLI BROWN Open Road

Ruf

One of the new crop of guitar-based English Bluesmen, and Oli Brown is one of the best. At 18, he has more chops that some guitarists twenty years his senior, and he has a power trio built around him that is just dynamite (I saw them supporting Johnny Winter and the freshness of the performance was terrific). On the album itself, 'Psycho' is a hell of an opening number, with a powerful sound and superb guitar - it sets the tone through the whole album. There are times listening to this that it really does beggar belief that the whole band are under 20although Ruf have used some of their additional session musicians on part of the album, there is enough from the three to show what they are about. 'Can't Get Next To You Babe' is a superior piece of funky Blues, with a soulful keyboard in the background, and 'Shade Of Grey' has a jazzy feel, with a stunning bassline courtesy of Fred Hollis. Leadbelly's 'Black Betty' is great fun and 'Complicated' shows the leanings towards jazz/funk alongside the Bluesy guitar work (Matt Schofield anyone?). This is a talent that could explode in the next couple of years.

Andy Snipper

LISA HALEY King Cake

Blue Fiddle

There are some really awful songs on this album played by some great musicians. 'Louisiana' is a strong Blues song featuring Jerry Donahue, one of the greatest Telecaster guitar players there has ever been - he even has one named after him! Lisa plays a mean fiddle, and can sometimes belt out a good ballad. This is the best song on the album. Unfortunately, Jerry's talent is well hidden on 'Louisiana', much like to whole album. Jerry is also on 'Always Be Your Guide', although it is hard to tell. It is also a dreadful song, badly sung. Lisa sings it as if she has a marble in her mouth. The whole album seems a bit flat, without the natural energy you'd expect from zydeco or Cajun music missing. I saw Jerry play live a million years ago with the Backroom Boys and marvelled at his talent then. I would have expected the producer to play to his strengths and let his virtuosity show through somewhere on the album. Zydeco is a genre of music based around a simple format that gives talented musicians the opportunity to let rip, generally creating a really exiting sound - this album isn't it!

David Petie

NAZARETH The Newz Edel

Nearly ten years on from "Boogaloo", Scotland's premier rock band come blasting back with a brand new collection. I am completely justified in reviewing this album from a Blues perspective because "The Newz" is shot through with influences that stretch back through time. Make no mistake, though, this is a very contemporary album - and all the better for that! McCafferty's trademark vocals are strong and powerful; however, the great difference is that, finally, guitarist Jimmy Murrison has stamped his personality on the band's music. His playing is outstanding throughout and, when coupled to the completely re-invigorated rhythm section of father and son Pete and Lee Agnew, it is clear that this band have the potential to match the success of yore (the funky soul of 'Goin' Loco' and radio friendly 'Day At The Beach' won’t do them any harm there!). 'Liar' pulls no punches - it is hard and heavy, has great lyrics and rips into George Bush. When 'See Me' starts it immediately grabs you with its easy going sing-along charm - another single possibility! The love ballad, 'Enough Love' is anthemic and ideal for a film score. 'Keep On Travellin'' and 'Road Trip' are great driving songs and sure to be awesome live, with pounding beats, vocals to die for and strong guitars. Still mad, bad and dangerous after forty years, the newz is Nazareth are back!

Graeme Scott

OCTOBERMAN Run From Safety

White Whale

This is actually a marked improvement on the band’s critically acclaimed 2005 debut, "These Trails Are Old And New". An excellent piece of modern Canadian Americana from a band that is really a vehicle for singer/songwriter/guitarist Marc Morrissette, who contributes nine of the ten tracks - no relation to his famous, female namesake. Marc has one of those faltering melancholic vocals that constantly sound as though it will disappear off key or fall apart completely, but it never does. He draws you in with his gentle melodies and his imaginative evocative lyrics, with songs that can change pace and level within a single track. A simple stripped back guitar and vocal can suddenly be joined by a cello, trumpet burst or rousing chorus. Standout tracks are the opening trio of 'By The Wayside', 'Once In A Blue', title track 'Run From Safety', followed by 'Impossible Way' and, the final offering, 'Chasing

WATERMELON SLIM AND THE WORKERS No Paid Holidays

NorthernBlues

Bill Homans, a.k.a. Watermelon Slim, became "flavour of the month" back in 2005 - and guess what, he still is. Not bad for a guy who only became a full-time musician after he gave up trucking when he suffered a heart attack at the age of 53 back in 2002. He has already won more awards than most artists can dream of and, on the basis of this album, I would suggest he clears a bit of space on the mantelpiece. He has a quite unique lisping vocal style, which could be the product of a badly damaged jaw (following a mugging) or the fact that he has no top teeth. His lyrics are clever and modern - he's a bright boy (two degrees and a member of Mensa testify to that). On top of all this, he is a great harp and slide player. The album itself is a joy, with no fillers. The content is mixed. Rockin' Blues on 'Archetypal Blues No 2'. Slow social comment on 'Dad In The Distance'. Abit of politics on 'The Bloody Burmese Blues'. Harmonica led instrumental on 'Gearzy's Boogie'. Acouple of great talkin' Blues on 'Max The Baseball Clown' and 'I've Got A Toothache'. Then throw in a great cover of Chicago's 'And When I Die' - done in a cappella style, with a couple of harp breaks. In short, this album has got just about everything a discerning Blues fan could want.

Ambulances'. Not bad for a ten track album, but there aren't obvious candidates for sustained airplay. Thus, for the moment at least, they are better described as "an album band." No bad thing! Put it on, and let it flow over you.

Thomas Rankin

THE TREAT Phonography

Rockular

Oxford based independent rockers The Treat went through a lot of life altering changes while writing this, their second album. As a result, this album feels disjointed and fails to flow as a whole, though the individual tracks here are all of a high standard. It feels like the band have made a decision to experiment with different styles and approaches to songs, but what we get here, rather than something new and unique, are songs that just don't lock together. Blues tracks sit alongside swampy rock tracks and stripped back acoustic numbers. Sadly, the extremes of the band's subject matter are where they're weakest, 'Fanfare For The King' is a ham-fisted attempt to comment on the war in the middle east - the intent may be good, but the execution is rather too clichéd (though nothing on the execrable 'Black Cat Whites', an ode to the singers cat!).

Somewhere in here, a clump of classic tracks are waiting to get out…maybe they'll treat us next time!

Matt Merritt

WILLIE "BIG EYES" SMITH Born In Arkansas

Big Eye

I always approach albums by "living legends" with a bit of trepidation, as all too often their legendary status reflects material from a bygone age as opposed to their current output. Now Willie has the perfect CV for the accolade. He started as a country boy; picked cotton, moved to the big city, where he met and joined the band of Muddy Waters, and the rest, as they say, is history. I'm very pleased to say that on the basis of this offering, his history is far from complete. This is an excellent old school Blues album. Well produced and featuring quality musicians doing what they do best. The tracks are a mix of

laid-back Blues, shuffles and a bit of boogie. Lyrically they tread the well worn path of leaving ('Believe Me'), work ('Rub My Back'), love ('Old Woman Sweetheart') and drinking ('Sitting Here Drinking'). Nothing new you may think, but there is an edge and vitality here that many younger artists should aspire to. Willie has a fine Blues vocal and, on this album, leaves his beloved drums behind (to his son Kenny "Beedy Eyes" Smith) to prove what a good harmonica player he is. This is a quality album that would be a welcome addition to most collections.

Thomas Rankin

RICH HARPER

Musician Standard Time

Kanawha Street

Rich Harper's story is the classic one of the self taught guitarist, learning from the records of Eric, B.B., Rory, Duane, and others, and paying his dues in small towns before moving to the big city to form his own Blues band. Acknowledged by many as an accomplished slide player (he uses a medicine bottle just as Duane Allman did), "Musician Standard Time" is Harper's fifth album. His style of writing utilizes recognizable standard riffs over which he places his own quirky lyrics, the most interesting of which is the opener and title track, 'Musician Standard Time' - a song about how a musician's life never seems to dovetail with society due to the hours they keep. Playing in a trio format, the style is primarily guitar led, and his playing encompasses many styles. 'One Man's Blues', a slow burner, has Harper playing some beautiful slide guitar - it's the one track on which I think his voice works well (definitely the strongest track here). If anything, I feel his voice lets down the CD, sounding weak on many tracks - yet this doesn't detract from the musical side, and I like this record overall.

'Let's See Where This Love's Gonna Go' is a strong rocker and

Thomas Rankin

'Nothing Difficult Is Ever Easy', a rocking twelve bar with gritty slide and interesting spoken input from a supposed wife/girlfriend, is another example of his unique writing style.

Merv Osborne

ROD CLEMENTS One Track Mind 2008

Batsville/Market Square

1994's "One Track Mind" was the first solo album by Rod Clements. This crisp remaster includes six extra tracks and a smart booklet containing extensive notes. The album is a rootsy mixture: there are solo versions of three of Rod's Lindisfarne songs ('Train In G Major', 'Road To Kingdom Come' and 'Meet Me On The Corner'); a brace of traditional numbers ('The Train That Carried My Girl From Town' - based on Doc Watson's recording - and 'Ain't No More Cane'); and interpretations of Woody Guthrie's 'Hard Travelling', Leadbelly's 'Bourgeois Blues', Bob Dylan's 'Down In The Flood', and a groovy take on 'Evil Hearted Woman' by Oscar Woods. In addition, there's the instrumental 'No Turning Back' and Bert Jansch co-write 'Leather Launderette'. Among the extras are 'Piston Broke Again' (loosely based on a Blind Willie Johnson number); 'Long Vehicle', which was conceived as a road movie theme; and an instrumental rehash of Dr Feelgood's 'Sneakin' Suspicion'. The main highlights are two new recordings of songs from Rod's back pages: the psych-folk nugget 'A Dream Within A Dream' was part of a longlost 1971 John Peel session; while the dark and haunting 'Blues For A Dying Season' was first recorded by the preLindisfarne group Downtown Faction. The laid-back atmosphere of this album lends itself to late night play with the lights down low, so kick back and marvel at Rod's slide guitar playing while enjoying the diversity of material on offer.

Jim Henderson

JASON EADY & THE WAYWARD APOSTLES

Wild Eyed Serenade

Littoraria

From the first track, it is evident that this album is not a traditional Blues album - the music sits more comfortably in the Americana category, with country leanings. The harmony vocals are excellent and some tracks do rock, supported by some tasty electric guitar playing by Scott Davies. Throughout the album, there are several surprises; the final track 'Walking in Jerusalem' is a vocal harmony song played without instruments that works very well, while 'I'll Be Home Tomorrow' is a slower paced number that moves closer to folk and benefits from less 'twanging'. The Blues surfaced on 'Back To Jackson', a moody number, driven by strong vocals from Jason Eady and accompanying harmonica from Scott Davies - highlighting that the band do know how to play the Blues and play it well (it's just a shame, not more often). This is a good American roots album that does highlight other musical influences while sticking firmly to country rock. Musically the band all perform well, working in close harmony with supporting musicians providing some nice touches on banjo and fiddle.

Adrian Blacklee

MILLER ANDERSON Chameleon Inakustik/Wienerworld

For a man whose CV reads like a history of British Blues, and who has graced the scene since the early '60s, Miller Anderson doesn't seem to have lost his enthusiasm or any of his talent. From the opening shimmer of 'City Blues', the band hits a comfortable groove with Miller's slide guitar drawing the ear towards the vocal, and the rest of the band just doing the good thing behind him.

Kris Gray on bass, Frank Tischer on keyboards and Paul Burgess on drums are sublime, and there's never a point where they aren't up with the pace. I might not describe him as a great vocalist, but his guitar playing is what most listeners will be drawn to. He plays with a spare and timeless elegance and there is no force or edginess to his sound - forty years of playing will give you that amount of confidence! All the songs here were written by Miller and they cover a wide range of styles from British invasion Blues to American Blues rockers, and the out and out late night Blues of 'Fog On The Highway'. 'Rich Man Poor Man' is almost country and 'Eye On The Prize' is a raunchy rocker, and he finishes with the gorgeous 'Sing Your Song'. There are similarities here to many other performers - not surprising since Anderson has played with most - but the album is already a permanent fixture on my deck.

Andy Snipper

RIOT AND HIS RHYTHM DEVILS

Tough Times

riotdevils.com

Riot and his band, the Rhythm Devils, hail from Montreal, Canada, and "Tough Times" is their second release. The strength with this outfit is definitely in the overall band sound. No individual stands out in front of the others, and it's the overall sound that benefits. Riot writes all the material and styles range from rockabilly to straight forward Blues and rock and, whilst there is nothing outstanding here, the content is quite acceptable. Try the eerie 'Save My Soul', with its low key Hammond organ backing, or 'Close To You', a song whose title says it all and whose controlled guitar solo is a delight, further feeding the emotions. The title track, 'Tough Times', is a straight up '50s rocker, whilst 'Drive All Night' is a ZZ Top sounding road song. The country inspired 'Come Tomorrow' is a sorrowful song, with pedal steel guitar and accordion accompaniment. Riot and his band are no doubt a hard working outfit but, for me, the best song here is 'Purple Rain' by Prince. Riot describes it as one of the best songs ever written and, when played live, it is a great Blues song. An excellent rendition.

Merv Osborne

BAKELITE RADIO

Volume IV

Head

Two years on from "Volume III", Joe Camilleri and his project band have turned to the R&B of New Orleans for inspiration. Two Allen Toussaint songs and one from Dr John are mixed in with some original material, plus JJ Cale's 'Lean On Me', to fill

"Volume IV". The addition of Joe Creighton on bass has helped the band shift to a more soulful sound, and Joe Camilleri highlights in his booklet notes that this time around "the tenor sax is king." But Joe and his equally talented band have put together a varied CD, from the Americana of 'Don't Judge Me Too Hard' and the Latin Groove of 'Viva La Money' to the rock'n'roll of 'Every Natural Thing', which highlights the influence of The Rolling Stones, particularly in the guitar break (sounds like Keith doing Chuck to me!). 'How Many Tears' is another Camilleri composition that you could easily hear Mick and the lads performing. There is a hint of Blues here and there, for example the Albert King guitar licks in the grooving instrumental 'Sumo', but Joe and his band are not constrained by the boundaries of particular genres. They blend influences well and have put together a polished performance, but the CD will be a little too commercial for some.

Davide Styles

WILLIE PHOENIX Plastic Blues And Grooves

Junkyard Cat

Willie is a singer/songwriter/guitarist with a real pedigree. He was taught guitar by his father and Bluesman, the Rev. Willie Creagh, who played with Muddy Waters, Little Walter, Sonny Boy Williamson 2, and who is also Willie's godfather. On this

CD, Willie has taken Hendrix, Santana, Cream, The Rolling Stones, The Beatles, The '60s British Blues scene, and mixed and matched in a present day setting. He's moulded classic '60s guitar riffs, which he plays with skill and passion, with lyrics that go from intensely profound on one track to the more commercially accessible the next. The opening track, 'English Tea', is rock-Blues with mean axe and lyrics that suggest maybe the industry could do with a Hendrix-type todayjust to stir things up. Otis Rush's 'All Your Love' is the only cover on this fifteen track CD - and it is class. 'The Birthday' is the Stones meet The Beatles, who go head-banging with Status Quo! 'Burning Blues' is a slower Blues ballad, with a touch of soul and passionate guitar bemoaning lost love. 'Protest Song #99' and 'Dead Soldier', again a guitar cries for a generation of young soldiers, poignantly point out the futility of war. If anyone has grasped the true ethos and roots of '60s music, it is Willie Phoenix on this CD!

Carol Borrington

PHILIPP FANKHAUSER

Love Man Riding

Crosscut

This is the eleventh album release from the man hailed as "Switzerland's answer to Van Morrison." Although, I would not go so far as to directly compare him with the "Van the man", I can definitely see where the comparison stems from. An

accomplished vocalist who can move effortlessly from slow Blues ('One Of Them' and 'The Sundown') to soul ('You Caught Me Off Guard' and 'Are You Out Of Your Head'), piano bar style ballad ('I Didn't See (The Best Of You)') and even touch on Latino rhythm (a fine cover of Richard Torrance's 'Rio De Janeiro Blue'). The songwriting is of a very high standard. Philipp is the major contributor, with producer Dennis Walker (Robert Cray, B.B. King, John Campbell) also making his mark. In fact, the slow Blues of 'I'm Finished Here', which was co-written by Dennis and the excellent keyboard player Hendrix Ackle, is to my mind an outstanding piece of work - as is 'I Got A Love', written by onetime mentor, the late Johnny "Clyde" Copeland. As you can probably imagine, such an established artist is going to surround himself with quality musicians. This is apparent throughout the album, with some excellent understated performances. A melodic joy!

Thomas Rankin

BEX MARSHALL Kitchen Table

House Of Mercy

In these download days, the art of sequencing an album seems a lost art; yet its relevance is not lost on this fine new discovery. From start-to-finish there seems a sense and order to the album: the rocking 'Kitchen Table' is followed by the moody and acoustic 'Red Light', and so on logically through these engaging tunes, all of which were penned by this talented young performer. Her guitar playing is great - her notes reveal that she employs a 1973 Gibson Hummingbird and 2006 Ozark resonator - and I found myself keenly anticipating the next phrase or economical solo. The lyrics are to the point and never pretentious, the assertive 'Stand Up' and revealing 'Bad Bad Girl' being cases in point. Her voice is sassy and husky, but tuneful and genuine - bringing to mind a true great like Bonnie Raitt, sexy but free of histrionics. Marshall's album is of such maturity and class that it is hard to believe this is her recording debut. With its blend of Blues, rock, roots and a dash of singer/songwriter it feels like something from the other side of the Atlantic, yet in fact is a West Country lady recorded in north London. This album is without an apparent weakness or filler tune, and is superb.

Noggin

ROB TOGNONI Capital Wah Blues Boulevard

If high energy Blues-rock, driven by wailing guitar is your thing then you could do an awful lot worse than listen to this Tasmanian guitarist. Rob Tognoni was turned onto rock at a young age but it was Tony Joe White who affected him most and Blues edged into his consciousness. Finding work hard to come by in Australia, Rob has made Europe his base and this is his eighth release, yet the first to be released back home. It's very simple music, done so to suit his preference of playing in a trio format, but how it rocks. From the opening chords of 'The Rain', his vocals mean and dirty like Michael Katon, through to the closing notes of a live version of Hendrix's 'Red House',

CONGREGATION Congregation

Bronzerat

This alternative, post-punk album is a very dark affair, but a musically inventive and exciting one, too.

Congregation consists of two BritsBenjamin Prosser and Victoria Yeulet - collaborating on an album that is based largely on twelve-bar Blues, yet is also quite experimental. Prosser plays slide guitar and bass drum. Yeulet sings and, oh, yes, that's her on the leg bells. The sound is very spare - just Prosser's guitar, sometimes augmented by a thump of the drum hammering on the beat and only on the beat. Above it soars Yeulet's voice, which owes something to Peggy Lee and something to Neko Case, all bright red lipstick, brassiness and beckoning finger - except that Yeulet is usually sending her lover away and preparing to wallow in despair. "Your loving was like a dose of hell," she sings on the opening cut. "I ain't never seen someone so awful," she continues in another ('Never Forgive'). There's a passing, if remote, association with mental illness here. Prosser began his artistic career after a bout of severe depression. Yeulet came to attention in The Television Personalities, a group whose primary member, songwriter Dan Treacy, struggled with addiction and illness. There is something honest and unprotected about such darkness, something that allows us to see into corners of ourselves we normally keep covered. The music is inventive, ranging from the slow and mournful to up-tempo Blues and even what sounds like an updated version of '60s rock. Original, and beautifully done.

M.D. Spenser

there is little let up and this album certainly sounds heavier than any of his previous releases. Thirteen of the fifteen tracks here are Tognoni originals with covers of the aforementioned live 'Red House' and an excellent acoustic based version of Dylan's 'Like A Rolling Stone'. Best tracks here are the live 'Product Of A Southern Land', where the band create a moody feel and Tognoni winds his guitar into a frenzy; 'The Good Die Young', a rocker written in memory of his father who died young and has very poignant lyrics; and 'Let Your Love Fly', a solid twelve bar. After thirty years of explosive playing, I hope this release takes opens Rob up to a new and wider audience.

Merv Osborne

THE MUSTANGS

"For the past two decades,so much music has been over produced and glossed up until the soul ofit has been truly buried."

RICK PAYNE

"I'm still exploring new styles, techniques,writing courses,recording, and I'm still blown away by the guitar."

RON HACKER

"I've never had any direction or plan for how I want to sound.As far as what I play,it's just what I like coming out."

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SOLOMON BURKE

This Is It: Origins Of Soul

SHOUT!

An album worthy of its title, the sixteen tracks were recorded between December 1955 and February 1957, and are presented in chronological order. The 1955 band allegedly includes legendry jazz players, such as Lester Young on tenor sax, Mickey Baker on guitar and Lionel Hampton on vibes, with Solomon adding his powerful voice to songs we now think of as soul music. The fourth and final track from this session, however, is an out and out stroll up the rock'n'roll road. A year later we get a further insight to the origins of soul, as Solomon presents us with what would be termed ballads or rock'n'roll ballads of the era (with Ray Charles' singers on vocal backing no less), which again show where soul music developed from. The final session follows a similar musical feel. The originals were all issued on the Apollo label and indeed Solomon was originally signed by Bess Berman as a balladeer (with spiritual undertones!) in the hope of appealing to their record buyers who brought respectable quantities of records by the likes of Roy Hamilton, Al Hibbler and Ivory Joe Hunter. This compilation has been lovingly presented by the SHOUT! label with an excellent seven page booklet on the recording history of these tracks.

Al Tait

KENNY NEAL Let Life Flow

Blind Pig

Kenny Neal once gigged on bass with Buddy Guy and picked up guitar at his mentor's advice. As a solo artist, he has won many awards and accolades for his gifted guitar and harmonica playing. However, the past few years have been tough for Neal; where, apart from his own health problems, he lost three members of his close family. "Let It Flow" represents his long-anticipated return and, despite all, the album is full of positivity and optimism for the future. He plays all three of his principle instruments, with his son, Kenny Neal Jr., adding percussion programming throughout the project. The styles are invariably laid-back and soulful, and horns are used to great effect. The opening title track sets the scene, and the Blues is never far from the heart of the album, with tunes like 'Blues, Leave Me Alone' and the tasty lead guitar of the gorgeous 'Bleeding Heart'. His roots are exposed in the swampy 'Louisiana Stew', but the essence of the recording is exemplified in a soulful take on Ivory Joe Hunter's 'Since I Met You Baby'. The penultimate track 'Fly Away' is dedicated to the memory of lost family members, and the haunting harmonica on the closing track 'It Don't Make Sense You Can't Make Peace' is just wonderful.

Noggin

KENNY "BLUES

Can't Stop Now

Electro-Fi

BOSS" WAYNE

with Jimmy Reed in 1962. By the late '60s, he had become an integral part of the LA soul/R&B scene, playing with the likes of Delaney & Bonnie and Billy Preston. "Can't Stop Now" is Kenny's second release on the Canadian Blues label Electro-Fi. The CD kicks off with the sort of traditional boogie woogie that would have caught the attention of the young man growing up in New Orleans, and it's a great illustration of his talent. A really good version of Fats Domino's 1954 hit 'You Can Pack Your Suitcase' is the highpoint of the CD, followed closely by a nice Charles Brown style song, 'You Cured My Blues', which features the late Jeff Healey on guitar. It's all very well introducing a little contemporariness, but 'My Sweet Little Peach', complete with a rap from Kenny's son, lets the CD down. But fear not, we're swept back to the Crescent City with 'Let's Have Some Fun' and its Cajun feel, and this is followed by 'Ragin' Storm', a comment on the Katrina disaster and its aftermath. The CD draws to a close with a double tribute to the late great Johnnie Johnson, first with Johnnie's own 'Tanqueray' and then 'Johnnie Was Good' - a forgettable song, but the sentiment is fine.

Davide Styles

ALLISON MOORER

Mockingbird

New Line

The American country and folk singer, who also happens to be Mrs Steve Earle and the younger sister of Shelby Lynne, first came to prominence on the soundtrack to the film "The Horse Whisperer" back in 1998. "Mockingbird" celebrates the work of other female songwriters, as Allison covers some well-known and some more obscure songs. Her version of Johnny Cash's signature song 'Ring Of Fire', which was written by his wife June Carter Cash, is an interesting experiment, but Allison's powerful voice really gets a chance to shine on other songs. For the most part, "Mockingbird" is carefully crafted Nashville roots music - read into that what you will! Producer Buddy Miller, who has worked with Emmylou Harris, among others, has built a solid background on Bluesy tracks like Nina Simone's 'I Want A Little Sugar In My Bowl', which Allison delivers reasonably well. Hubby Steve turns up on Ma Rainey's 'Daddy, Goodbye Blues' and the rest of the band perfectly recreates that pre-Second World War Blues feel. It's definitely the highlight of the record, as it's the one point where the Nashville backroom boys and Allison truly let their hair down and get their hands dirty. A few more songs like that and things would get really interesting.

Jamie Hailstone

AGNOSTIC MOUNTAIN GOSPEL CHOIR

Ten Thousand Balling The Jack/Bronzerat Choir? Nope - a four-piece band. Mountain? Not unless they're talking about the Rocky Mountains of their Canadian home. You won't be surprised to learn then that there's no gospel either. But agnostic? Well, maybe, though they certainly do know more than a thing or two about making deep, dark, droning Delta Blues. But then the CD does sport the great waiverer

A child piano prodigy, Kenny Wayne Spruell's earliest influence came from gospel. By his teens, boogie woogie had taken a hold and he started working gigs, including an appearance

DR JOHN AND THE LOWER 911 City That Care Forgot

Cooking Vinyl

I guess there are different views about the social or political role of popular music, but what is in no doubt for as long as time itself, from the waters of Babylon to those of the Louisiana, it has been employed as a means of protest, raising public consciousness and indeed conscience. The news of Hurricane Katrina has been largely shelved since its initial onslaught. However, Mr Rebennack, aka Dr John, Big Easy resident and celebrated ambassador has taken up the fight in what has been described as a pointed and poignant love letter to post-Hurricane Katrina New Orleans. The thirteen tracks are dominated by themes inspired by his thoughts on the subject, and the preaching is fairly incessant and volublein fact, his sermons extend from local issues of devastation and division to associated themes of protest on war, Iraq, politics et al. This is Dr John in typical form; funky beats, unique pronunciations and barrelhouse piano, and the album will find a willing audience amongst his many fans. The presence of the equally disaffected Willie Nelson on 'Promises, Promises' and delicious lead guitar embellishments from Eric Clapton on three songs will only serve to reinforce the man's credibility during what he asserts as a 'Time For AChange'. The finest track is the short and optimistic song 'You Might Be Surprised' containing the ironic line: "Life is a near death experience". Amoving tribute and plea.

Son House on the cover, and among the composer credits, and the eerie Skip James in the title and music of 'Nehemiah's Misfortune' (Nehemiah was Skip's first name). Most numbers are big-sounding stompers, with a John Bonham clone on drums sometimes, and all hollered vocals and driving, imaginative arrangements (and a well-integrated trombone!). Where some tend to be over-reverent about the Mississippi Blues, The AMGC put the fun and the energy - lots and lots of energy - back into it, whilst maintaining a blue feeling. It is not an easy thing to do, but these guys do it so well.

Norman Darwen

STEVIE RAY VAUGHAN & FRIENDS

Solos, Sessions & Encores

Sony BMG

We are faced with so many posthumous releases when it comes to this guitar legend; picking one over another is a tough call. This delves into the archives, however, and comes up with some true gems. Of the fourteen recordings, half of them are live, including the near mythical jam with Jeff Beck at the CBS Records convention in Honolulu. I was especially warmed to see an extended version of 'Let's Dance' with David Bowie - this recording showcases Stevie's ability to play beautiful, subtle phrases that let the song speak for itself. The personal connection to his playing is no more felt than on 'Oreo Cookie Blues', with Lonnie Mack, which demonstrates a more whimsical side to Stevie's character. More than anything here you can recognise the man's love for playing, demonstrating that his work with Double Trouble was only part of a fantastic career. His tragic death in 1990 has only served to emphasise exactly how important he was to Blues music and how much of

an impact his incredible unique guitar style had on our beloved genre. Although only five of his years as an epic artist are represented here, for me it shows more about the man and his career than any previous 'best of' release.

Samuel Pentony

VAN MORRISON Keep It Simple

Exile/Polydor

This is without doubt the best album to be released by "the world's greatest white soul singer" in many a long year. Eleven Morrison originals and the arrangements do what they say on the tin - keep it simple! He touches base with country, jazz, soul, Blues and gospel - all exhibiting his usual incomparable vocal style. I can't believe it is a coincidence that we get such a fine piece of work after he has chosen to renounce his hard living ways. In fact, reference to his new found sobriety provides a loose theme to the album. In the opening track 'How Can A Poor Boy', a slow Blues featuring some fine harmonica and organ work, he sets a tone: "Had my rise, had my downfall/Now I'm gonna rise up again." This is followed by an ambling country declaration that he has survived 'The School Of Hard Knocks'. The whole thing is underlined in the wonderful 'Don't Go To Nightclub's Anymore' when he intones: "Don't need juice to unwind" and "alcohol was too big a price." Then there are moments of joy, such as 'That's Entrainment'; gospel feel in 'End Of The Land'; and soul in the song destined to be a classic, 'Soul', with its great observation that "soul is not the colour of your skin." Morrison sings, "I'm not a legend in my own mind." That may be true, but in the minds of others, he deserves the accolade.

Thomas Rankin

Noggin

ARMANI THREE

Ain't Got The Blues

myspace.com/joearmani

Hailing all the way from beautiful Denver, Colorado, Armani Three are Joe Armani and Larry Manzi. "Ain't Got The Blues" is a pleasant enough romp, with decent electric guitar riffs, and is clearly influenced by the playing of Eric Clapton, Led Zeppelin, the Vaughan brothers and Buddy Guy. It's good, old-fashioned Blues-rock with no added ingredients. The acoustic songs, like 'No More Games', are actually the strongest on the album and the opener, 'The Rail Man', is the collection's standout. The production might not be the most lavish I have ever heard, and the vocals could be remixed, but there are some decent guitar solos and the title track is as good as anything Mr Clapton has done in a long while. 'Love Letter' has a nice, radio-friendly feel to it. "Ain't Got The Blues" might not push any musical boundaries, but Mr Armani can play the Blues all right.

Jamie Hailstone

ALVIN LEE The Anthology Vol. 2 Repertoire

For many people, Alvin Lee will forever be frozen in time on the "Woodstock" movie as Ten Years After ferociously blew the hippies away. But since TYA broke up, after their 1974 album "Positive Vibrations", he's continued to release top quality albums under his own name, as well as Ten Years Later and a brief Ten Years After reunion. Repertoire first anthologised Alvin six years ago with a twenty-four track compilation, but now they've decided it's time for another one, with this twenty-seven track, double CD. There's no faulting the music, as Lee managed to maintain a consistently high standard of work even after he faded from popular view, and this picks some excellent tracks from albums like "Rocket Fuel", "Pump Iron", "'RX5" and "Zoom", amongst others. The music has been split between the red and the blue, with the red CD containing all the up tempo rockers and the blue CD taking a more laid-back approach. For once, a remastering job seems to have been done well, as the music leaps out of the headphones without losing to much of that vinyl oomph. The highlights are many, with my favourites mainly on the red CD. 'Detroit Diesel', 'I'm Writing You A Letter', 'I've Got Eyes For You Baby', and the aforementioned 'Burnt Fungus' all absolute gems. If you haven't kept up with his career, go get this now.

Stuart A Hamilton

A.A. BONDY American Hearts

Fat Possum

"American Hearts" is an acoustic driven country-Blues outing from former Verbena frontman Scott 'A.A.' Bondy. The record is a melancholic collection of beautifully sparse folk-Blues steeped in biblical imagery, all viewed through the troubadour's world weary eyes. Bondy displays a deep understanding of the Blues through his simplistic arrangements, and also shows a Dylan-esque prowess as a lyricist, "If your God makes war, then he's no God I know/'Cause Christ would not send boys

to die." The approach of the musicians involved here is minimalistic, and this, combined with the fact that the album was recorded in a New York state barn, creates a terrific ambience that runs through the entire record. Whilst the themes of doom and gloom are unlikely to deter fans of Bondy and the genre, it has to be said that the album's morose quality grows tiresome after a few plays. However, whilst Bondy's reverence for his influences verges on being derivative at times, he ultimately delivers a view of modern day events through reverent eyes. This record is unlikely to feature on any summer playlists, but come the autumn and winter months, its stark and sullen themes are likely to find a far more receptive audience.

Rhys Williams

MADAM In Case Of Emergency Reveal

If your idea of a good time is watching a David Lynch film then you have come to the right place. In fact, if you thought Mulholland Drive was by far Lynch's most commercial film ever, and made total sense to you, then this is definitely the record for you. The music of Madam, who is better known as Sukie Smith, is darker than dark and makes that Spinal Tap cover look like High Street Musical. "In Case Of Emergency" is a brooding, sensual masterpiece, full of haunting songs. One minute it is tender and one minute it is cruel. Madam's voice floats through the air like a breeze on songs like 'Strangelove' and the almost romantic 'Call America'. Like a nightmare date, there are times you want to give Madam a big hug and tell her it's going to be all right, and then there are moments when you really should leave her alone. 'Girl Down' has a lovely epic western feel to it. There are a few nods to PJ Harvey and Goldfrapp, but mostly this is totally and utterly original stuff. It's epic and captures the dark loneliness of the Blues, but please be warned - it is on the adult and experimental side.

Jamie Hailstone

CROOKED STILL Still Crooked Signature Sounds

It is often forgotten that 'hillbilly' music was advertised as 'oldtime music' back in the '20s, but a CD such as this is a timely reminder. Many of the tracks on this, the band's third release, draw on such forgotten greats of American folk music as Ola Belle Reed or Frank Proffitt, to name just two - and leader Aoife O'Donovan's voice has a wistful, timeless quality that recalls bluegrass maestro Bill Monroe's comment about "the high, lonesome sound." It is further emphasised by the fiddle/guitar/banjo/bass line-up, plus the unusual use of cello, which adds an almost orchestral quality in places, though all tracks summon up the mist hanging low over high Appalachian mountain peaks. Blues and spirituals are also part of the sound, of course, with the lyrics often referencing the latter and a jaunty cover of Mississippi John Hurt's 'Baby, What's Wrong With You?' an excellent example of the former. If only all 'Americana' (or 'alt. bluegrass', if you prefer) was this good…

Norman Darwen

JAMES HILTON Out There!

Bonedog

I can find little to recommend on this one. Twelve tracks, one original, playing at just over forty minutes. To be fair, most of the covers are not from your standard playlist. There are passable versions of Richard Berry's 'Have Love Will Travel', which is well known in the UK because it is used on a well known insurance company's TV advert, and of the late West Coast Bluesman Lowell Fulsom's 'Midnight Bells Are Ringing'. However, for the most part, the tracks fall into the "okay" category. Then there is 'Camel Walk', which may be a fun track live but here it sounds like a failed B-side for Madness' 'Night Boat To Cairo'. Follow that with the two instrumentals: 'Whip And Jerk', which is rather dated and would be better named "sound check and filler"; and 'Big City Stomp', which was not a major success for Link Wray - and there is a reason for this! One of the better tracks on the album is 'Mister Bad Luck', which is James's sole writing contribution. It may be that if he is tempted back into the studio that this is the way to go. James may have a following in his local clubs, but I feel that this album is strictly for family and friends.

Thomas Rankin

MIKE ZITO Today

Eclecto Groove

The moody look staring out at you from the cover suggested this was either a deeply soulful collection of ballads or a set of rocky Blues, with some soul - thankfully, it is the latter, and damn good stuff, too! Zito has written some fine, if not earth shattering songs, and the playing is pretty tasty, too. His voice is throaty and rich, and he seems to understand how to put a song over without overplaying it. The guitar work throughout the album has some style - generally someone else's - attached; a bit of Stevie Ray here, or some Joe Walsh there - not complete plagiarism, but it means there isn't really any of Zito's own identity attached. There are a few songs that will bring a smile of recognition - you will be frequently asking yourself: "Who did that?" Saying that, he has covered 'Little Red Corvette' without trying to copy Prince - and done a bangup job - and his originals, such as 'Superman' or 'No Big City', are actually pretty impressive. Zito, obviously, has put all his soul into this album; he just needs to add his personality next.

Andy Snipper

LITTLE ALBERT AND THE BLUESTARS

Two Thumbs & A Finger ALVON

Guitars And Cars

Pig Heaven

Albert Parks has set out to mould an instantly recognizable sound, by gathering a group of likeminded musicians to his label, recreating the ethos that surrounded Chess and Vee-Jay in the '50s. "Two Thumbs & A Finger" sees Albert leading a tal-

ented and exceptionally tight band in a brief, but charming collection of tunes - all delivered with a relaxed laid-back feel appropriate for the label's West Coast home. Original compositions, like the topical 'Bike To Work', blend with a thoughtful approach to well worn classics such as 'My Babe'. Little Albert's superb tone and tasteful harmonica licks shine through and settle surprisingly nicely against the featured artist’s energetic guitar style. Former member of The Coasters, Alvon Johnson is a talented guitarist, but "Guitars And Cars" sees him lose a little of the "less is more" approach shown on "Two Thumbs & A Finger" in favour of a note-filled flurry, which frankly leaves me a bit cold. For example, compare the opening track 'Tater' or 'The Road Is Slick' with the melismatic beauty of the playing on 'My Babe'. Backed by the same group of outstanding musicians, including Little Albert, five out of the ten tracks on "Guitars And Cars" are instrumental and Alvon only redeems himself with the elegant 'For The Love Of You', and an excellent version of Curtis Mayfield's 'People Get Ready'. Alvon could lose a few notes here and there, but generally both titles are pretty good listening, blessed with great production and good musicians, who obviously enjoy and care about their music.

Davide

Styles

AMOS GARRETT Get Way Back: A Tribute To Percy Mayfield

Stony Plain

Amos has described this as the album he has wanted to make for quite a long time, as a tribute to a man who was his primary influence as a singer.

"Get Way Back" is a truly inspired collection of some of Percy Mayfield's best songs, although his most covered songs, 'Hit The Road Jack' and 'Please Send Me Someone To Love', are left out because "…they have been sung before."

There is a subtlety and casualness to this collection that is really beautiful, as Garrett tries to replicate Mayfield's originals. In fact, I felt very comfortable with this collection from the outset, preferring to listen late at night, even though the underlying song content is often black and full of depression. This is reflected in song titles such as 'My Jug And I', a song about Percy's war with the bottle; 'River's Invitation', reflecting homicidal tendencies; or his sometimes threatening attitude to women in 'Never Say Naw'. Garrett gives a tremendous performance and, once you are used to it, his baritone voice clearly delivers. The truth here is that I would dearly love to see Garrett perform these songs in the setting of a small intimate club, where artist and audience can truly bond. This is a sublime release of class and quality.

Merv Osborne

ISOBEL CAMPBELL & MARK LANEGAN

Sunday At Devil Dirt

V2/Cooperative

Former Belle And Sebastian singer Isobel Campbell and former Screaming Trees frontman Mark Lanegan earned a Mercury Music nomination for their first collaboration "Ballad Of The Broken Seas". This CD carries on where the first one left off, with Mark Lanegan's ragged and gravelly voice, Isobel

Campbell's girlie sweet vocals and some amazing folk and Blues. The contrast between the two singers works like sweet and sour, with Campbell providing the light to Lanegan's darker than dark. There's something fairly warped about it all, particularly when Isobel goes all 'naughty' on 'Shotgun Blues' and the epic 'Come On Over (Turn Me On)'. It's a bit like Nick Cave doing a whole album with the cast of “High School Musical”, which actually isn't a bad idea! "Sunday At Devil Dirt" makes his collaboration with Kylie look positively tame. The songs are actually stronger than on the first album and go off in all manner of directions. 'Back Burner' has some fantastic slide guitar and gospel backing vocals, while Lanegan channels everyone from Lee Marvin to Johnny Cash. The gothic and sexual undertones are all there. You just might need a cold shower after listening to it, though.

STEVEN FINN Houdini's Blues Herding Cats

Jamie Hailstone

Steve Finn is a Blues, folk and acoustic musician based in London. He picked up a guitar and started playing in his early teens after hearing Bob Dylan, and has since toured with The Beautiful South and played with Rough Trade. This debut acoustic album is all self-penned, with Steve also providing all the vocal and instrumentals. There is a real dichotomy is this

CD, in that it is beautifully simple but so complex in its lyrics! It leaves you in no doubt about the ability of Steven as a songwriter. His lyrics are profound and deep, they claw in the heart of human existence in the present day; speaking of war, loneliness, and lost hope in a world tired, struggling to make sense of itself and it's current dilemmas. It is old Blues and folk crossing the boxes of musical prejudice to speak to a new age. The guitar work is crisp complimenting the lyric with precision. Steven knows how to blow a harmonica and make it talk! On 'I Wish I Had A Friend', the vocal tells the tale whilst the Blues harp emphasises the meaning. 'Heroes And Movie Stars' is a Bluesy rock ballad, basic in instrumental, but those lyrics go deep! 'Hail To The Thief' takes on the mindless violence of our times with raw passion. A good debut album and the songcraft throughout is excellent.

Carol Borrington

LED ZEPPELIN The Documentary Chrome Dreams

To all Led Zeppelin fans, go very wary with this double release. Featuring a CD of interviews and a DVD with a sixty minute film, the advertising blurb purports that this lifts the lid on the career of the band "following their progress from heady days of the late-60s to the group's demise." The interview CD, so say, brings us in-depth insight into their music, influences, history and each other. The disclaimer at the beginning of the DVD says it all for me, "This documentary contains no music by Led Zeppelin. It is not authorized by Led Zeppelin, their record company or management." The DVD uses interviews with musicians from the Downliners Sect, Tornados, Yardbirds and Fairport Convention, all reminiscing about the formation and life of the band, and how some turned down the offer to join.

Even tribute band Letz Zep talk about how they think it might have been, and it's really thrilling to know that some people mistake their singer for Robert Plant! Even the background music, whilst sounding like some of Zep's output, is unidentifiable. As for the CD, well, the less said the better. Do we need to hear Plant interviewed by callers on Wolfman Jack's show to be asked "What sign are you?" This adds little to the aura of the band and might only appeal to the most dedicated of fans.

Merv Osborne

MARSEILLE FIGS The Dirty Canon

Figs Of London

John Peel would have loved this! The blurb describes this as "featuring big booming piledrivers, lost soul singalongs, flophouse ballads, monkey grunts, thunder and lightning" - and even that doesn't fully encompass the off tune caterwauling and strangulated yodelling that constitute much of this album! The musicianship is actually superb and the vocals - while often virtually painful to listen to - are a perfect foil for the rootsy playing. The total disregard for conventional forms and the wholehearted belief in the music come over in spades and the songs, when you can begin to listen closely, remind the listener of Spike Jonze crossed with Captain Beefheart and being scared by Tom Waits. 'Caesar's Revenge' is moody, insistent and dark, played on harmonium, clarinet and acoustic guitar, before strangled saxophone takes up the musical focus, and this leads into the faux-bluegrass of 'Honey How You Like Your Eggs' (half yodelled and half whistled). There is the countrified 'Eh Joe' and the standout track, the magnificent 'Skin & Bones', which sounds like progressive Blues before descending into madness and fear, and the quality just never drops. Mainly played on acoustic instruments, this is a collection of songs that, in total, make up the freshest album I've heard this year.

Andy Snipper

BOB LONG AND KEITH MILLER I Wonder To Myself BL

Committed British Blues devotees, Long and Miller here present their interpretations of founding fathers Big Bill Broonzy, Charlie Patton, Robert Johnson, Muddy Waters and, in particular, Tommy Johnson - a largely neglected Bluesman who died in 1957. Long, particularly, is a self-confessed helpless case, adopting Mississippi as his spiritual and sometimes physical home, and this self-financed album is essentially a one-take homage to the music of the creators they love so much. Their journey travels through country Blues, jug-bands, vaudeville and, inevitably, North to Chicago's urbanisation and popularisation of the Blues. Long and Miller apply great commitment, guitar, dual vocals and harmonica to re-create Tommy Johnson's forgotten 'Big Road Blues', 'I Wonder To Myself', and 'Maggie Campbell Blues' - doing their hero proud and bringing his heritage to a new audience. Well-versed renditions of more familiar songs like Broonzy's 'Rocking Chair Blues' (also known as 'Rock Me Baby'), Patton's 'Some Of These Days' and Robert

Johnson's 'Me and The Devil Blues' (my favourite) sit comfortably alongside earnest versions of more obscure material. No attempt here to imitate American vocals, this sound is identifiably British from 200 yards away, and all the better for it - just what you'd hope to hear in your local Blues club (and rarely do!).

Peter Innes

LEROY CARR

The Best Of Leroy Carr Vol 1: Whiskey Is My Habit

The Best Of Leroy Carr Vol 2: Good Women Is All I Crave

SPV/Blue

Some idea of the popularity that singer/pianist Leroy Carr enjoyed can be gauged from the fact that he was one of the few Blues artists to be eulogised on 78 after his death in 1935. These days, he is usually best remembered for his hit 'How Long - How Long Blues', from his initial session in 1928a record which also established his partnership with the underrated but extremely influential guitarist Scrapper Blackwell. His songs are often melancholic and thematic (and, as the titles indicate, generally concern either booze or women), though he also tackles good natured hokum material; world-weary and urbane are two obvious descriptions. The first set covers the years 1928 to 1935, the second concentrates on 1934 and 1935, and although both stand on their own merits (as do all the other releases in the 'Roots 'N' Blues' series), they do complement each other and are best heard together. Worth noting, too, that 'Shady Lane', 'Mean Mistreater Mama' (Vol 1) and 'I Believe I'll Make A Change' (Vol 2) influenced a certain Robert Johnson.

Norman Darwen

JUSTIN RUTLEDGE Man Descending

Six Shooter

Already a recipient of many industry awards for his excellent songwriting, the 30-something Canadian returns with his third album, and another strong effort that will no doubt attain further admiration. It's very similar in style to the mellow and contemplative work of Ryan Adams, and the songwriting on offer is impressive. It's definitely not a Blues album, but it does contain elements of Blues, at least the country side of it, but essentially it's country-folk. 'St Peter' gets things off to a fine start, with a sweet melody and some restrained but pretty country Blues guitar work, and 'San Sebastian' is excellent, too, with its mood of genuine sadness. The closer, 'Alberta Breeze' is the highlight of the album - a fabulous composition of emotional lyrics that ought to be heard more widely. A few fellow Canadians appear as guests, including Ron Sexsmith and Oh Susanna, and a range of different instruments are used, making it sound almost too polished at times. My only other criticism would be that it all flows along at the same pace and doesn't break the cycle enough, but there's plenty here to drag you back again and again. Another name keep an eye out for in the future.

Andrew Baldwin

B.B. KING Live

Polydor/Universal

Recorded in King’s own Blues clubs, in both Memphis and Nashville in October 2006, this encapsulates what many of us heard on his farewell world tour - quality! Yes, I've got all the tracks before on various recordings but there is still crispness and vitality backed by that beautiful touch that so many guitarists attempt to emulate. Thankfully, we are spared a lot of the ingratiating verbal that I felt marred his farewell concerts. From the opening track, 'Mr. King Comes On Stage', where he is introduced by bandleader James "Boogaloo" Bolden, the spotlight is on the man himself and he never fails to delight. Offering many favourites like 'Why I Sing The Blues', 'Rock Me Baby', 'Key To The Highway', and the obligatory 'The Thrill Is Gone', you have to admire this octogenarian's ability and dexterity. Singling out U2, and Bono in particular, he does a superb rendition of the song they wrote for him, 'When Love Comes To Town', telling the audience that he was the "love" that they referred to. Finishing with the traditional 'When The Saints Go Marching In', this release is a great memento of an artist that we'll never see this side of the pond again.

Merv Osborne

ROBIN ROGERS Treat Me Right

Blind Pig

Mrs Robin Rogers is a fine mature performer, who is surely qualified to sing the Blues, having truly lived them to the full in her teens; an inter-state runaway, reform school graduate and

THE ZOMBIES

The Zombies And Beyond

Universal

Odessey & Oracle: Anniversary Edition

Repertoire

Odessey & Oracle (Revisited)

Absolute

former alcohol and drug addict, she became clean and sober in 1989. Having relocated to North Carolina in 1990, she shortly afterwards married fellow musician Troy Rogers. This is another inspiring triumph-out-of-adversity story, which after numerous false dawns and two previous album releases, led the Rogers to a high finish in the 2004 International Blues Challenge, and ultimately this major label debut. The album showcases both her and guitarist husband's great talents, in a variety of Blues styles, from deeply soulful to story-telling, and from honky-tonk to jazzy. The emotions are never far from the surface, and Robin's strong and expressive voice is ideal for getting the messages across. Seven of the eleven cuts are penned by the duo, including the masterful 'Color-Blind Angel', dedicated to the civil rights activist Viola Liuzzi, who died on 25th March 1965 at the hands of the KKK. The song commemorates Liuzzi's struggle and won second place at the 2007 International Songwriters' Competition. The grooves on tracks like 'Don't Leave Poor Me' and 'Moan' are right on the money, and the occasional harmonica parts add gloss to the excellent mix. The album closes with the brilliant 'Dark Love' - "I don't have the answer/I'm stuck here between stay and go/Your love feels like just like an anchor/Got me drowning on the ocean's floor". Jon Thornton's trumpet and Rogers’ harmonica solos cap off a fine album.

Noggin

The "Zombies And Beyond" compilation is an odd cove, released to coincide with the reformed Zombies' tour of the UK. It certainly lives up to its title, as it devotes half its running time to peak '60s Zombies material before heading off into Argent, the band, as well as Colin Blunstone solo, and with the Alan Parsons Project and Dave Stewart, before finishing up with a couple of reformation era Blunstone/Rod Argent tracks. Its taken this long to pull all the various strands together due to the plethora of record companies involved, and brings in the well-known singles, like 'Time Of The Season', 'She's Not There' and 'Tell Her No' from The Zombies; the big hitters from Argent in the shape of 'God Gave Rock N' Roll To You' and 'Hold Your Head Up'; as well as Blunstones hits 'I Don't Believe In Miracles' (although this isn't the original) and 'Say You Don't Mind' (likewise). To be honest, some of the Zombies material, like 'Indication' and 'I Love You' haven't aged well, which brings us nicely on to the Emperors new clothes blanket approval of "Odessey And Oracle" (the Anniversary Edition from Repertoire is presented in mono and stereo, and contains six bonus tracks) - there are four songs from this collection on "…And Beyond" and it gets the full live treatment on "Odessey & Oracle (Revisited)". The studio album is twee, fey and bloodless but, to be fair, it does sound better live, even 40 years on. Although the second disc of the live set gives it a thorough beatdown as the reformed band run through some truly great songs from The Zombies, and beyond. The good stuff considerably outweighs the bad, and the Argent tracks should, hopefully, get people looking more at their back catalogue. It's also time bass player Chris White was brought out of the shadows to get some praise for being an outstanding songwriter. If you know nothing about The Zombies, then this is an excellent place to start.

Stuart AHamilton

LANGHORNE SLIM

Langhorne Slim

Kemado

Slim, aka Sean Scolnick, is a 28-year-old folkie, based out of Brooklyn, NY, and this is his second long player. It's a bright and cheerful disc, if a little on the short side (thirty four minutes!). It's clearly indebted to good '60s pop, but also has folk and country in abundance, and enough Blues influence. It is a pleasant and uncomplicated little album that sounds like it should be played loud on a warm summer day - it could easily hit big, maybe striking a chord with the indie college types. He has a pretty good voice, which reminded me of a less dark Two Gallants, and his lyrics are good, if a little clichéd at times. 'Colette' is a sweet tune, sung in a heartfelt manner, whilst 'Restless' is good with a country flavour. Only one track creeps past the four minute mark, the closer 'Hummingbird', and it's a sad mournful finish - just Slim alone with acoustic guitar - but it tips its hat more to folk than Blues. An enjoyable enough first listen, but I'm not sure how much shelf life it has to pull me back - it just left me wanting a little more.

Andrew Baldwin

LINK DAVIS

Gumbo Ya-Ya: The Best Of 1948-58

Rev-Ola

The Texan fiddler/singer had turned pro in the early-30s, playing the very popular western swing style, and in 1948 we join Link with The Blue Bonnet Playboy's for a very Bluesy vocal on 'Rice & Gravy Blues', with Link putting his fiddling skills to good use. His Bluesy vocal comes to the fore again on 'San Antonio Blues', a hybrid of slow swing Blues with a solo from the steel guitar of Ted de Leon. Having learned the tenor sax whilst serving a jail sentence, Link got the opportunity to record for local Houston label Gold Star. He chose to blow some hot tenor and shouting the Blues on the aptly titled 'Joe Turner' coupled with 'Have You Heard The News (There's Good Rocking Tonight)', again retaining that hybrid line-up. It was the slow demise of western swing in the early-50s that had his then band, the Bayou Billies, looking to add different styles to their set. That's where the Cajun influence came in and subsequently 'Big Mamou', which was recorded for the revived Okeh label. Link went on to record more quality Cajun sides but never got near the hit potential that 'Big Mamou' had. Unperturbed, and with his sax playing in great demand for the burgeoning rockabilly scene, Link was able to again move on in his recording career, still chasing the big time. Ultimately, he failed, but still, he left an excellent and varied musical legacy.

Al Tait

JAMES HUNTER The Hard Way

Hear

The 2008 soul revival continues with this release by Colchester-born James Hunter. "The Hard Way" stands alongside the excellent releases by Sharon Jones & The Dap-Kings and Eli 'Paperboy' Reed as a prime example of sweet soul Blues Matters!

CAILYN New World In Blue

myspace.com/cailynrox (EP)

Cailyn Lloyd is a guitarist, who also takes care of bass and drum programming, and he has decided that what the world really needs are Blues-guitar interpretations of the classics. In this case, Dvoraks 'New World In Blue' and Beethovens 'For Elise'. To be fair, she eases us in gently with an opening cover of the much visited Jimi Hendrix song 'Little Wing', which gives her ample opportunity to show that she really is a very good guitarist indeed, despite the workmanlike male vocalist. Next up is the self-penned 'Clouds', with guest vocals from one Kelly Rose - a laid-back, reflective offering that shows a different side to her playing. Then it's ten minutes of Dvorak, in surprisingly faithful fashion, with Beethoven getting a similar, if briefer treatment. The classical element is intriguing, but it's an EP of two halves, with the second portion having more for fans of Steve Vai rather than Stevie Ray Vaughan.

Stuart A Hamilton

MUDJACK Follow Me

myspace.com/mudjackuk (EP)

MudJack only got together back in November 2006 when Sam Linthorne (hums), OJ (strums) and Kieran Forde (drums) met at a Swansea Blues jam. The line-up was completed by Tom O'Keeffe (thumbs). If you're looking for the easy comparison then I'm happy to point you towards The Answer, but with added testosterone. Opening track 'Follow Me Down' is good enough, but their hard, Gov't Mule type sound really starts to come together on 'India', a funky, rhythm led number that is absolutely fabulous. 'Black Cat' is more Black Crowes in style, while the closing 'Barrabas' isn't, sadly, a tribute to the Spanish funkateers, rather it heads of into Grateful Dead jamming territory. As a first outing, this is absolutely splendid and, hopefully, will just be the start of something beautiful.

Stuart A Hamilton

STANTON DELAPLANE

Mandibular Sweetmeats

myspace.com/stantondelaplane(EP)

'The Little Strange World Of Stanton Delaplane Has Come To An End' is a story about, well, Stanton Delaplane's little strange world basically, but at least he died with a smile! Could have been a bit pretentious but sets up this interesting five-track EP in fine fashion. Mainly an acapella harmony piece, it gives no indication to the musical setting of the next piece, 'The Vapid Comedy Of Garfield Flash' - an almost psychedelic track set around a heavy Dr. Who moog riff. 'Merrily Down' and 'Magical Bird' are more straight forward acoustic guitar/vocal ditties, before this fascinating set finishes with the upbeat 'Hipposandal', and the story of sandals, amongst other things - very spiritual sounding. The band certainly pack a lot of elements into this short set, which is superbly produced and has a late-60s/early-70s about it.

Al Tait

GET VEGAS Get Vegas

myspace.com/getvegas (EP)

Get Vegas have been taking the UK live circuit by storm, building up a formidable reputation along the way. Having honed their craft gigging extensively since 2006, they've finally taken time out to record these four tracks. This EP release sees …continues on page 98

music. It's a joy to listen to and old school R&B doesn't get any better than this. Whether it's doo-wop, Motown, soul or Staxit's all lovingly recreated here by people who have a clear and genuine love of the music. Of course, having a guest star like the legendary Allen Toussaint helps! But James Hunter is his own master, whether it's on the tender 'Tell Her' or the hipshaking 'Don't Do Me No Favours'. Close your eyes and you could almost be listening to Sam Cooke! Hunter's guitar playing continues to develop and there are some great solos. "The Hard Way" is one of those records where you are convinced the band have just got away with covering a lot of obscure Northern soul B-sides, but all the songs are originals and freshly recorded - that's how good it is. Amy Winehouse might get the platinum discs and all the attention, but if you are serious about soul music then you will track down this record because it's a little beauty!

Jamie Hailstone

MAN

Back Into The Future

Slow Motion

Maximum Darkness

Esoteric

Another three of Man's classic '70s albums have been enhanced and reissued. "Back Into The Future" is the biggie, upping the original double album to a 3CD set. The studio sides were an enjoyable romp, with the title track and the closing instrumental, 'Never Say Nups To Nepalese', the highlights. Originally, there were also three live tracks recorded at the Roundhouse in London, but discs two and three sees the entire concert issued, and it's an absolute treat, from opening with the Gwalia Male Voice Choir through to the space rock frenzy of 'C'mon'. "Slow Motion" from 1974 tends to get overlooked. As always, there was a different lineup, and it's a surprisingly dark album, with the ballad 'Grasshopper' and the rolling 'You Don't Like Us' standouts. The string driven 'Rainbow Eyes' is a song at odds with most of their material - it's almost Moody Blues like. There are six bonus tracks to bolster things. 1975 saw their final album for United Artists, with the live "Maximum Darkness", which consisted of three Man tracks and two Quicksilver Messenger Service tracks, due to the band being augmented by Quicksilver guitarist John Cipollina. It wasn't a particularly successful collaboration, with Cipollina not at the top of his game and his contribution to 'Bananas' being overdubbed by Mickey Jones, as it was so badly out of tune. The one highlight on the album is the opening '7171 551', where band and guest are totally in synch. As reissues, they're uniformly excellent, but you'll want to listen to them in sequence if you're new to Man.

Stuart A Hamilton

STORM WARNING

Something Real

Lightnin' Fingers

Storm Warning's debut album, "Breaking Out", was met with critical acclaim, and became a cult hit amongst Blues aficionados. "Something Real" sees the band delivering much more of

the same, a distinctive blend of contemporary Blues, rock and jazz that creates their trademark slick and classy sound. The album consists of eight original tunes, along with a cover of Lucky Peterson's 'Nothing But Smoke'. 'On The Road' is a haunting Blues, drenched in reverb, that wouldn't sound out of place on a Clapton solo record. The title track shows the band off in all its glory - clocking in at over nine minutes long, it gives the band room to showcases their individual abilities in a jam-type setting. With the cover of Lucky Peterson's 'Nothing But Smoke', the band manage to put their own stamp on a Blues standard, so much so that those unfamiliar with Lucky's work could easily mistake this for another original number. 'Long Ride' brings the album to a close with maximum impact. This song perhaps has the most orchestrated dynamics of any on the album and moves seamlessly from the sparse verses to up beat solo sections, with guitarist Bob Moore emulating Robben Ford, at times, with soulful jazzy guitar work. Son Maxwell's vocals and harmonica are impressive throughout and it's perhaps his performance, along with the fiery playing of Moore, that lend an air of authenticity to Storm Warning's straight-cut Blues.

Rhys Williams

MAGDA PISKORCZYK

Blues Travelling

Magda Live

Artgraff

Nouveau Blueswoman Magda Piskorczyk is on the right track, as these two innovative CDs illustrate. She chooses from a wonderfully eclectic array of sources - from Sister Rosetta Tharpe to Jacques Brel - and has the courage to use new instrumentation. The better of the two CDs is "Blues Travelling", the studio set. It's a spare affair - some songs have only two musicians - featuring Piskorczyk on acoustic guitar, often playing more single notes than chords, with either an electric fiddle or sax noodling over the top (occassionally, light percussion is added). On Sonny Boy Williamson's 'Help Me', Piskorczyk opens with a standard Blues progression, single notes on the bass string. The fiddle joins in, at first pizzicato - plucked rather than bowed - before soaring over the bass like a bird over a valley. It's new yet deeply traditional. 'Darkness On The Delta' is sparse, old-timey acoustic Blues, relaxed and melodic. During a break, whistling over the thump of the double bass creates a delightful mix of textures. "Magda Live", though, is weighed down by audience participation and Magda's screams. It's more fully instrumented - two guitars, sax, drums and double bass. There are successes: a fine cover of Tracy Chapman's 'Crossroads', punctuated by unusual and intricate rhythms; and Brel's 'Hearts', a smoky lament, jazzily arranged. But there are a few duds, as well. 'Fever' is inexplicably stripped of its bass line, one of the best in pop music, the spine of the song. And Piskorczyk, a Pole, doesn't always emphasise the right word in English phrases. Despite these failings, Piskorczyk has guts, taste, talent, an adventuresome spirit and a deep sense of the Blues. One gets the feeling of the feeling of a significant talent waiting to fully refine itself.

M.D. Spenser

ELI "PAPERBOY" REED & THE TRUE LOVES

Roll With You

Q Division

While there are plenty of girls, sorry ladies (Amy Winehouse, Sharon Jones etc.) out there at the moment doing their bit for blue-eyed soul, it's been ages since we've heard from the boys. It's definitely a man's world for Boston-based Eli "Paperboy" Reed & The True Loves, who give it their all, ala a latter-day Wilson Pickett or Otis Redding. Played with plenty of passion, "Roll With You" is an unashamed celebration of the best of American roots music, with Blues, soul and gospel thrown into the mix. The True Loves have the requisite horn section and Blues guitarist to make Eli's music really swing, particularly the stirring 'Am I Wasting My Time'. There's also plenty of stomping, good time tunes like 'The Satisfier' and 'I'm Gonna Getcha Back', which will fill a dancefloor within seconds. For too long, old school R&B has been the preserve of wedding bands and dire compilations, but not anymore. Say it loud and say it proud - soul is back! This is one band who definitely deliver the goods. They're young, they're funky and they play this music as it should be played - loud!

Jamie Hailstone

BUILT FOR COMFORT Blues Ain't Nothing

Shed

"Blues Ain't Nothing" is Swindon-based band Built For Comfort's third outing. Although it comprises of covers, it's pleasing to say that the majority of them are lesser known songs and they have avoided the usual crop of cover tunes. The album opens with the rolling rhythm of 'T-Bone Shuffle', and it is clear from the outset that this is a tight band who can certainly play. Taj Mahal's 'Blues Ain't Nothing' contains tasty slide, whilst some good harp phrasing drives Little Walter's 'You're Sweet'. The album rocks until Fred James' 'Life Is Hard', which is a slow mournful Blues with a tasty guitar solo. Perhaps the low point of the album follows with their version of Berry's 'Nadine', a very ordinary rendition before they pick up the pieces and give a good belting version of Muddy Water's 'I Don't Know Why' where keyboards hold sway. Lowell Fulson's 'Reconsider Baby' is given an interesting interpretation and it's interesting to hear a cover of Robben Ford's 'I Got Over It'.

Bruce Katz instrumental 'Hepology' closes what is an excellent album. This band truly is a product of their overall sound and whilst individuals are extremely capable, it is the complete product that makes this so palatable.

Merv Osborne

CAROLYN WONDERLAND Miss Understood

Bismeaux

Houston-raised Carolyn Wonderland was born into a musical environment, and picked up guitar from a tender age. She soaked up much of the '80s Antone's inspired influences of Blues Matters! 98

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the quartet combining the sounds of yesteryear - Humble Pie, Zeppelin and, in particular, FREE - with their own modern twist. It's lucky then that they have, in singer Jonny Cole, their very own Paul Rodgers. Cole is incredible diverse, as are the band, cooing soulfully on Bluesy ballad 'Nobody Else' one minute, rasping and snarling on 'Love Hound' the next, his vocals soaring menacingly above Kossoff-esque guitar. 'Burning Soul' revolves around a killer rock riff, whereas 'Lying Dreams', with its haunting vocal and sparse guitar, brings to mind a less subdued 'Oh I Wept'. The band combines their influences in such a way as to create a tremendously strong and distinctive sound. The songs are great and the band's sound is right on the money, all that's needed now is more of the same. This band are destined for greatness!

Rhys Williams

SMOKE FAIRIES Living With Ghosts

smokefairies.com (single)

This has the devil's mark all over it - how on earth can two Sussex university graduates, Jessica Davies and Katherine Blamire, produce this funky, chilling acoustic Blues. Possibly their time spent in New Orleans, New York and Vancouver added to the mix. You really don't want to stay too long on that muggy, lichen-grown Vieux Carré verandah of 'Living With Ghosts', a circular Blues in a deep and scary wide-landscape guitar soundtrack, where the music alone freaks you out, let alone the ethereal harmony vocals. At the same time distilling the history of English folk music and traditional Americana, this is an exceptional piece of work. Foreboding is at large throughout as the girls find dark corners that maybe reach from medieval England to hillbilly shacks. Where they got this vision, I don't know - but it is truly something special.

Peter Innes

MEGALADON You Get What You Pay For

myspace.com/megaladonuk (EP)

Legend has it 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 rock, punk, and metal influences, to create a heavy sound and volatile energy that's hugely infectious. Guitarist Thomas Stabler supplies hard-hitting riffs and furious, biting lead over the driving rhythm section. Lead vocalist and bassist Dave Sunley is a formidable frontman, spitting tales of debauchery filled with promiscuous characters. Highlights include the head-banging title track, the brilliant stoner-rock anthem 'Mr. Obscene'; and 'Krawling King Snake', a pumped up reworking of the Blues standard, featuring an impressive solo from drummer Rob Carruthers. If you like your rock'n'roll with edge than then you need look no further.

Rhys Williams

RUTHIE BRAM

Ruthie

myspace.com/ruthiebram (EP)

I know we're all supposed to be in favour of reinvigorating the Blues to try and ensure that it remains a vibrant musical form, but this may be a step too far, even for the most enlightened Blues fan.

Ruthie Bram, a Lebanese-born, Texas raised 18-year-old says that she's soaked up the Texas musical greats - Janis Joplin, ZZ Top, Stevie Ray Vaughan - and vowed to become a part of that musical landscape. So why these twee pop songs? The one redeeming feature is the exemplary guitar playing, even if it does get mixed too far back. 'Stop Right There' is the best of the tracks, a funky backbeat, solid riff and some nice guitar lines. 'No More Lies' runs it a close second as Ms Bram takes a sturdier approach to her singing, and the tune would fit nicely on an Anastacia album, although I wouldn't recommend her way of meeting guys! Maybe she roughs it up live. She has is a talented singer, guitarist and songwriter, but it's almost as if the wrong CD had been pressed up.

Stuart A Hamilton

Austin, Texas, where strong role models like Lou Ann Barton and Toni Price were in their prime, and the legacy of Doug Sahm loomed large. What perhaps sets Wonderland apart from a welcome current plethora of strong female Blues artists is the combination of so much talent in one persona superb guitarist and indeed multi-instrumentalist, songwriter, and passionate singer with a classic Blues voice. The timbre and range is reminiscent of Teresa James and Bonnie Raitt. The icing on the cake is that this, her third album, is the best by far, using the songs of occasional alternative writers, great players and a very wide selection of styles. The album opens with the rocking title track, before relaxing into 'I Found The Lions', with its quirky timechanges. Bruce Robison's country-styled 'Bad Girl Blues' follows, and sounds like it could have been written for his wife Kelly Willis. Guy Forsyth adds tasty harmonica to the gospeltinged 'Walk On'. Other highlights are the gentle swing of 'I Don't Want To Fall For You' and JJ Cale's magnificent 'Trouble In The City'. Wonderland's songwriting is never stronger than during the poignant 'I Live Alone With Someone' and 'The Farmer Song' (the latter being set to Cindy Cashdollar's superb dobro). It could be the best album of the year!

Noggin

DOC MACLEAN

Narrow House

docmaclean.com

Doc MacLean has been a professional Blues musician for over thirty five years and the reasons for his longetivity are clearthis acoustic Blues album is a real treat and oozes quality throughout. All the material is self-written and the Doc tells some great stories with his easy on the ear vocal and National Steel guitar strumming. Doc is supported on the album by a couple of friends, including Larry Taylor on bass and the album's producer, Colin Linden, who plays some electric guitar and mandolin. The majority of the tracks have fairly sombre titles, like 'Three Cards On A Coffin' and 'Dead Men Walking', which helps re-create the music and atmosphere of the Deep South - although the playing is far from mournful. Doc MacLean has a good Blues pedigree having played and mixed with some true Blues greats in his formative years, including Son House, Willie Dixon and Sam Chatmon, and I guess this album is his "pay back" to these musicians and the music he grew up with. One of the most enjoyable albums of the year, 'Angola Prison Rodeo' will send shivers down your spine with the beautiful chorus sung by the Rev Joe Rice, CC Miller and Mark Prentice.

Adrian Blacklee

WILLIE NELSON

& WYNTON MARSALIS

Two Men With The Blues

EMI/Blue Note

Blue Note is the famous modern jazz label, Willie Nelson is the famous country singer, Wynton is the famous jazz and classical trumpeter. Blues?...well, of course! Willie handles the vocals, and this 'outlaw' is no stranger at all to the Blues; his laconic style recalls a relaxed Jimmy Witherspoon, at times. He even

brought along his regular harmonica player to the two nights at the swanky Lincoln Center where this was recorded. Wynton and his crew are very much in a New Orleans mood, and the inclusion of 'Bucket's Got A Hole In It', common to both jazz and country thanks to composer Clarence Williams and the honky tonk version of Hank Williams, is an inspired choice.

Sometimes, there is the air of a blowing session about the set - try the boogying 'Caldonia' or the gospel/Blues of the venerable 'That's All' or, for an outstanding vocal, take a listen to 'Georgia On My Mind'. That song may be forever associated with Ray Charles, who brought together Blues, jazz, gospel, and country nearly fifty years ago. It's taken a while, but Willie and Wynton do the same again.

Norman Darwen

CALL ME ALBERT Keep Harping On

mysapce.com/callmealbert

Call Me Albert got together after performing at a charity event. "Keep Harping On" is their second CD, made up entirely of original material - as opposed to the mixture of covers and original material found on their first effort. Their first CD sold a staggering two copies, plus apparently an IOU from Nick Leeson! All the tracks were recorded live in two days and it's a decent effort. Most of the material is Blues/R&B, apart from a couple of nauseating ballads (sorry lads!). There are some good points, though. I liked Albert Hall's harp playing and his "growl", and Marcus Snow, aka Albert Steptoe's, guitar was good, too. Call Me Albert are the sort of band that, after a couple of pints, would be great at a wedding. They obviously had a lot of fun recording this CD and I really hope that they sell more than two copies. Oh, and best of luck with that IOU!

Davide Styles

JOHNNY DOWD A Drunkard's Masterpiece

Munich/Bongobeat

Johnny Dowd is not the kind of musician that can be neatly defined, or categorized into a particular genre. His work throws together the influence and sounds of many genres and blends them to such an extent that the result is indistinguishable. Poetry, with a great deal of black humour, set to random rhythms and riffs would be a fair appraisal. Johnny, at one point, even lifts the riff from 'Smoke On The Water'. It took this happy, but talented little bunch (four musicians in all) three days to record "A Drunkard's Masterpiece". Neatly divided into Opus I, II and III ('Everybody Wants To Go To Heaven, But Nobody Wants To Die', 'Putting Lipstick On A Pig' and Thou Shalt Not Covet Thy Neighbour's Ass'!), the material confronts the miseries of everyday life.

Specifically: relationships, sex, religion and death - themes that will be familiar to most Blues devotees. I fear that this is where any resemblance to the Blues ends and although James Brown's "Live At The Apollo" remains Johnny's all time favourite record, you probably wouldn't have guessed it. "A Drunkard's Masterpiece" may be little too abstract for anyone with a less than eclectic taste in music, but if you are brave enough to listen to this CD more than once, you can begin to understand where Johnny's coming from - on the other hand, you may prefer spending an hour actually trying to put lipstick on a pig!

Davide Styles

THE MOJOMATICS Don't Pretend That You Know Me

Ghost

The fact that Venice is probably the most non-Bluesy city in the world makes The Mojomatics all the more admirable. Tellingly, the sleevenotes give "thanks to the Still Novo Second Hand Music Instruments shop" (like I keep saying, the best new music sounds like old music). The guarantee "to get you smiling, dancing and feeling totally great about life" is a big one to live up to, but my, oh my, these guys really know their early-'60s Brit R&B and American frat rock chops. 'Wait A While' gives the Stones' 'Paint It Black' a modern fast-track lifestyle make-over and 'Miss Me When I'm Gone', with its wailing Blues harp and driving guitars, puts a Pretty Things shiver down my back. 'Complicate' wouldn't be out-of-place on Love's 1967 seminal "Da Capo" and 'Asking For A Better Circumstance' is pushing…well, too hard! The ghost of The Beatles is there somewhere in the George Harrison chords, melded with psychedelic fuzz guitar and powerhouse drums - a mighty solid sound, unbelievably created by a twoman band, their closest modern era parallel being San Diego's Loons - the groups sharing an uncanny knowledge of British beat/US garage power pop, but with the knack and talent to produce songs that are totally their own (reverential, not plagiarist). The playing, vocals and production are faultless on this album, which goes straight on the top of my playlist and which I recommend without reservation.

Peter Innes

D.A. & THE HITMEN Lucky Dog

Double Barrel

San Diego's premier hard driving Blues band, the D and A are songwriters Lance Dieckmann and Paul Alvarado, with Mr D taking care of the vocals and some hot harmonica, and Mr A responsible for firing out some mighty fine guitar lines. This follow up to their 2003 CD "Looking Past The Blues" is just how I like my rockin' Blues served up. Hot, sweaty and funky - powered along by a fine rhythm section (Bob Prater on bass and either Gregg Henning or Jaime Luna on drums). There are twelve original songs here for your delectation, and straight from the opening 'It's A Beautiful Day', they set out their stall as a swaggering, boisterous, goodtime band, built for drinking and dancing. That's not to say they don't have a sensitive side, as they demonstrate on the show stopping, eight minute long, slow Blues of 'Mrs. Sunshine', which gives the band and their

guest saxophonist, Jon Viau, plenty of room to stretch out. Elsewhere, they show they're just as adept at rockabilly on 'Bring It On'; the side splitting bawdy Blues of 'Hohner For You Baby'; and a funky guided tour of New Orleans on 'Voodoo Queen'. The closing, 'Up In Flames' even pulls in a hefty dose of southern rock. They're seasoned veterans, with a touch of Stevie Ray Vaughan, and have used their experience to put together an invigorating set of self-penned material that will please fans of rock solid electric Blues.

Stuart A Hamilton

SUPERFLOOR Kharma Baby

Fap

This is the first full album from Dutch four-piece Superfloor, and it mixes Blues, rock and soul/funk in equal fashion. Powerful female lead vocals care of Floor Kraagvanger provide a decent angle. Her career started in church before moving on to a soul band, hence a likeness to Tina Turner and Aretha Franklin. Put that voice in front of a rock band and you will find comparison to Mother's Finest. Opener, 'No Good To Me' mixes the aforementioned MF with Glenn Hughes, and the title track opens with a sitar before a solid riff comes in. The first three tracks are really solid, but then you're really put off by the more psychedelic 'You're So Cold', which just drifts in completely the wrong direction. Luckily the driving rock of 'Been Down' puts things back on track - '70s style. From then, the album does tend to drift somewhat. Some good rockers, some blistering solos and the addition of the occasional keyboards, but little else stands out.

Joe Geesin

MATT TAYLOR BAND No Trouble At All

Bluesy Eclectic

"No Trouble At All" is a slice of slick, chilled out modern Blues from contemporary Blues popsters the Matt Taylor Band. Taylor, as lead singer, guitarist, and frontman, is the focal point of the proceedings, and his smooth, quivering vocals are well suited to the band's clean-cut sound. Whilst lacking sufficient edge to be legitimately categorized as a Blues band - in the traditional sense - the influence of the Blues can be heard in Taylor's fluid guitar breaks and the emotive, soulful quality of his voice. The band's original work is particularly strong and is well arranged to give their sound a thick, rich texture that works perfectly with their glossy sound. Singer/songwriter influences are paid tribute to with the inclusion of a number of covers from the likes of Bob Dylan, Sheryl Crow, and Jose Gonzalez. Whilst these numbers give greater insight into where the band is coming from, they ultimately feel lacking and disjointed when put alongside the band's strong batch of original numbers. Taylor is obviously a strong writer and a very capable guitarist, whilst the band are all well accomplished musicians and the mix is well balanced - players weave expertly in and out of each other. However, this release feels a little underwhelming given the hype, and would benefit from the inclusion of more original material.

Rhys Williams

AUSTIN "WALKIN' CANE" Murder Of A Blues Singer

Lazy-Eye

Austin Charanghat or "Walkin' Cane", as he prefers, comes out of Cleveland playing acoustic, electric and slide guitars, but it is his deep baritone voice that holds the attention. This album was born following a late night dinner conversation with Blues legend Robert Lockwood, Jnr., whose stories of Lockwood's stepfather, Robert Johnson, abounded.

The outcome, "Murder Of A Blues Singer", is an album saturated in classic Delta Blues and one which has only two covers within.

Opening with an original, 'High Rent Lemon Girl, Aren't Ya', the listener could be forgiven for thinking they were listening to an early Blues singer, stomping heels, strong vocals and acoustic guitar, the acoustic vein then continues for the haunting title track. The mood changes for 'Devil's Backbone', as the full band swing into a great road song. 'Ramblin' On My Mind' is an acoustic guitar and harmonica tribute to Johnson. The subject of 'Georgia Moon' is true Blues style, "…comb my hair with a catfish back…squeeze a livin' outta wire and wood" - great lyrical content. 'Hold On The Night' is another full band outing with great slide guitar. The album closes with a controlled version of Blind Lemon's 'See That My Grave Is Kept Clean'. "Walkin' Cane' appears at ease in either the electric or acoustic mode, and my favorite is the

acoustic 'Late Great Singer' with some haunting harp playing, a song full of self doubt and lacking confidence. Something that "Walkin' Cane' himself doesn't suffer.

Merv Osborne

THE NIMMO BROTHERS Picking Up The Pieces

BWR

The Nimmo Brothers, Stevie and Alan, are two fine guitarists and vocalists who provide some hard Blues-rock at the heavy end. Opening track, 'All Because Of You' kicks off with beefed up 'Sweet Home Alabama' riff; certainly no bad thing and it does grab the attention. 'Bad Luck' continues in a similar fashion, with a nod at Paul Samson's Blues/metal work in the '90s. There's also a slight nod to funk, but the upfront and hard yet clean vocals avoid going too much in the Glenn Hughes direction. 'Unfinished Business' mixes electric lead with acoustic rhythm, strumming aplenty. This isn't the best track in the world but it is nicely situated to break up the album. 'Bring It On Home' is just downright dirty honest boogie and Blues, a mid-paced yet solid number that will get you nodding. So, from the acoustic to the southern to a touch of rock'n'roll, this is a good paced album that you'll enjoy throughout, but lacks a little something in catchiness.

Joe Geesin

JOHNNY RAWLS

Red Cadillac

Catfood

This is an album of slick sounding southern soul. The best I have heard since listening to the "king of Texas soul" W. C. Clark. Johnny is blessed with a classic '60s soul voice and is no

mean guitarist. There are fourteen original tracks on this album - Johnny contributes eight, with the other six coming courtesy of Bob Trenchard, the bassist with The Rays, who also provides accompaniment on those tracks. Having two writers gives a nice mix to the album. Johnny tends to follow traditional lines, with the likes of 'Hard Times', 'Cheatin Woman' and the title track, 'Red Cadillac'. Bob provides a slightly more contemporary lyric and feel on 'American Blues', 'Wash Your Hands' and the track that could be a great anthem for summer, 'Mississippi Barbeque'. After hearing a lyric like "Put on some beans, play me some Blues/Having a Mississippi barbeque," I just want to rush out and buy some charcoal! What a theme party this could be!

Johnny has been around for quite a while without making the

THE MANNISH BOYS

Lowdown Feelin'

Delta Groove

This is the fourth instalment from a band that, in just four years, has quickly become one of the most popular outfits on the American Blues circuit.

"Lowdown Feelin'"

sees the core unit of the band return, at full strength, with an array of special guests. The Mannish Boys bring to mind Blues greats of yore, such as early Muddy Waters, B.B. King and Ike Turner. Although newcomers to the scene in their current incarnation, all members have a wealth of experience from which to draw and showcase their impressive Blues credentials on the album's seventeen tracks. Lead vocalist, Bobby Jones turns in a diverse range of performances, from the soulinflected 'These Kind Of Blues' to the growling 'Searchin' Blues' and the smooth gospel moan of 'Dead Letter Blues'. Whilst versatile, he shows conviction in every note he sings and is extremely effective as the main unifying voice of the band. The guitar trio of Kid Ramos, Kirk Fletcher and Frank Goldwasser create cutting, intertwining melodies, and rhythms reminiscent of the great Muddy Waters and Howlin' Wolf backing bands of the '50s. With powerful vocal performances from founding member Finnis Tasby and Johnny Dyer allowing Jones a well earned break, and lending the album dynamics, and a wonderful sense of pace. Combined with swirling Hammond organ, a swinging rhythm section and the rasping Blues harmonica of band leader Randy Chortkoff, it's an infectious brew of West Coast boogie.

Rhys Williams

big breakthrough. His previous two albums, "No Boundaries" and "Heart And Soul", garnered a great deal of critical acclaim and this album can only add to his fanbase. Whether this will be his big moment, we will have to wait and see.

Thomas Rankin

TURNER CODY

First Light

Boy Scout/B.Y_

This is basically an indie record, but it does have some Blues to offer. Cody, based in New York, is a quirky young singer/songwriter who has recorded and self-released several album length projects. Opener, 'Irene' is clearly Blues based with nods to Leadbelly, whilst 'Corner Of My Room' has a Bluesy guitar riff, and is also indebted to our favourite genre. Cody sings chirpily about lost loves and sour relationships, but projects them in such a cheerful, breezy manner that you have to listen again to the lyrics. His voice is very young sounding, and doesn't offer any rawness or any real soul, but it fits the music well enough. It's an enjoyable album, with fourteen short songs running to only forty minutes, but the songs are decent and he's a songwriter who is clearly enjoying himself and will create better in the future. 'Lowlands' and 'Think About You Anymore' are enjoyable slices of indie pop. You certainly wouldn't call him a Bluesman, but you can hear that he has listened to the real thing, and maybe it will lead others to do the same.

Andrew Baldwin

GRAVEL ROAD Shot The Devil

Uncle Larry's Not too many Blues-rock bands would open a studio CD with an instrumental, no matter how raunchy and driving - but 'Fred #3' certainly merits those adjectives, and Gravel Road are no ordinary outfit. This Seattle based trio actually kill the devil on the title number, and not even Robert Johnson could claim that! Then there's another short instrumental, 'Hair Of The Dog', the title of which hips the listener to the fact this is the mutant offspring of Hound Dog Taylor, an influence on the raw, distorted, dirty and sometimes spooky guitar sound. The band's scratchy, mean, punky RL Burnside/Fred McDowell inspired sound is complemented on a few numbers by some forthright lyrics - no parental guidance warning, though there should be. The numbers are all originals, even the brooding, droning 'Taildragger', which is certainly not the Howlin’ Wolf song, and the CD closes with a successful remix - and I am no great fan of remixes. It is not all blood and thunder, though, as bandleader Steve Zillioux's solo acoustic interlude 'Sammy' bears witness. This is Blues without the blinkers, but definitely with attitude.

Norman Darwen

THE MARTIN HARLEY BAND Grow Your Own

Villainous

Since the release of his debut album in 2003, Martin Harley has built a global following and strong reputation as a talented guitar player, singer and songwriter. Highlighting a range of

influences, including Blues, jazz and even rock, "Grow Your Own" is a beautifully understated arena for his talents, and indeed that of the other members of the band. Graeme Ross' double bass and Pete Swatton's drumming laying the foundations for Martin's soulful guitar and vocals, showcased to great effect in the stomping 'A Thousand Miles Of Sky'. There are wonderful dynamics at work throughout this CD, for example the gentle fingerpicked acoustic balladry of 'Amelie' giving way to a thunderous re-working of Blind Willie Johnson's 'Nobodies Fault But Mine', with its electric slide and wah pedal; or the Hendrix-like guitar on 'Sail On', which really took me by surprise. The material is strong throughout with many choices for a standout track. The incredibly atmospheric 'Blues At My Window' would be a strong candidate, with Martin's subtle and beautifully melodic electric slide weaving its way through the song. The Martin Harley Band give a contemporary feel to roots music, while retaining and certainly respecting its integrity.

Davide Styles

THE KINGSIZE 5 White Light Fever

Little Genius

The Kingsize 5 are Michael Brown, Danny Howard, Coach Crowe, Coach Kelly, Ms Fifi Labomb, Keisha Downie, Zoe Alexandria, The O'Neils and Jamie Wortley. They have big band '50s sound at their foundation - great brass sections - but eclectic does not describe the music on this CD. There is Blues, swing, jazz, rock'n'roll, dance, salsa, skiffle, ska and, if it exists, swing-punk! It's a CD that grabs you by the throat and defies you not to grab your partner and head for the dancefloor, and get down and groove to the beat. Musically and

vocally of quality throughout, these guys and gals can play and sing. The Kingize 5 are big, loud, and outrageously experimental with over five decades of music. The CD opens with the album title track, 'White Light Fever', a swing Blues duet evoking imagery of Glen Miller conducting his great brass section - sax and trumpet players taking their turn to stand and sit in musical procession. 'I'm A Missile' carries on the theme and boogies on through with great vocal cross-play and harmony. 'There Is Nothing We Can Do' is Madness meets Ray Davies with Aled Jones thrown in at the end! Outrageous and different, but very good!

Carol Borrington

MARIA MULDAUR Yes We Can!

Telarc

There cannot be many albums in this magazine which get quoted on American political blogs, but the title track of this new CD has been used as an online tribute to US Presidential candidate Barack Obama. If you thought there was nothing else to know about Maria Muldaur apart from her 1974 hit 'Midnight At The Oasis', just Google 'Yes We Can!' and you'll see the video on YouTube. Her new CD is all about peace and it features her interpretation of several well-known peace

anthems, including Earl King's 'Make A Better World' and three songs by Bob Dylan. The guestlist includes Bonnie Raitt, who duets on 'Yes We Can!', and Joan Baez and Jane Fonda. The swampy grooves of the Free Radicals back her throughout, and while her voice is as listenable as ever, her slowed-down rendition of Edwin Starr's 'War' does take some getting used to. The call for peace and understanding is unrelenting and, personally, I did find the track 'Pray For The USA' a bit too much. However, the sentiments of this record must be applauded. As a veteran of the Greenwich Village folk heyday back in the '60s, it's good to see Maria Muldaur still going strong today.

Jamie Hailstone

NICK EVANS MOWERY Stone Cold Touch

Tangent Boy

A post country funk Blues odyssey is delivered to us through the craft and musicianship of Nick Evans Mowery. Backed up by the skilful beats of Billy Bilger, we are treated to a collection of songs produced by clearly skilled musicians. 'Stone Cold Touch', the opener to this album, is a solid if unremarkable introduction - feeling overpowered by the technical ability of both players. This is not to say that the Mowery's playing is just technique heavy - in fact, the contrary is often true. I was often delighted by how well this guitar talent places his phrases and licks. His ability to multitask on this album means that Nick's vision of has clearly been delivered. However, the drum solo that ends the album's final track, 'Preservative Jam', is an unnecessary indulgence on the part of Billy Bilger. Again, this is not to say the drumming is not highly accomplished - just keep it for the live setting! Standout tracks include the funked up 'Stand Up' and 'Attitude Strut'. If you want drumming and guitar wizardry, check this album out. Otherwise, best try elsewhere.

Samuel Pentony

FLOYD LEE BAND Doctors, Devils & Drugs

Amogla

The Floyd Lee Band formed in 2001, fronted by the 75-year-old Mississippi Bluesman, but this is a modern CD - a fusion of Floyd's experience and the songwriting of Joel Poluck, an upand - coming Blues guitarist. Powerful, emotive Blues-rock riffs, along with Floyd's power driven Blues vocal and class instrumental contribution from bass and drums, mould into a tight and impressive collection. The CD is also part of a documentary film, "Full Moon Lightin", an emotional journey by Floyd to trace his roots. 'Think I Got Somethin' On My Mind' displays emotive and impressive lap steel guitar by Joel, which is underpinned with bass and drums driving the whole thing through under the vocal. 'Bird With A Broken Wing' is a beautiful bluegrass influenced song, featuring washboard and acoustic guitar - it's very lively with an uplifting appeal. 'Blues Is A Beautiful Woman' is just classic Blues. The big surprise comes at the end with 'Lunar Landing', and features an almost NASA style commentary that threads through a wailing Mississippi Blues guitar. The old world meets the new in a fusion of quality Blues.

Carol Borrington

TWENTYSEVENS Sex Politics And Religion Red

Some albums grab you by the sensitive bits and make you want to keep on listening. Some albums offend your sensibilities and you have to force yourself to listen on in case you get a blinding revelation. Some albums just don't move you in any way - "Sex, Politics & Religion" is unfortunately one of those. The songs are fine, the guitar work is passable, the vocals are okay, if dated, and the sound overall is a bit late70s, without the real punch of power pop or the rocky side of Britpop. But there are some gems here. The title track is very jazzy and draws you in to the story, while 'The Straight Flush' has some lovely guitar work and an insistent bassline, with Steve Tyson's spoken vocals giving some atmosphere and focus to the piece. The band are obviously all talented players and the album does grow on you with repeated playing but the residing feeling is there's a lot more to come and this is just a decent marker to lay down at the start.

Andy Snipper

PETE HARRIS & HUGH BUDDEN

Blues From The Deep South

Time for a change of pace with an excellent album of acoustic Blues all the way from the Deep South of Hampshire and Dorset. Singer and guitarist Pete Harris has been picking the Blues for nearly thirty years, performing with the likes of Lowell Fulson, Phil Guy and many others. Harmonica man Hugh Budden was inspired to take up playing after seeing Nine Below Zero play at a couple of early-80s Reading rock festivals, and went on to play with fondly remembered British Blues band The Producers. The duo have been performing acoustically since 2006, and this debut CD seems to be a fair representation of their live set. An all covers set; it takes in material from the likes of Sonny Boy Williamson on 'Cross Your Heart', Mississippi John Hurt on 'Make Me Down A Pallet On Your Floor', Blind Willie McTell's 'Statesboro Blues' and a delightful turn at Kim Wilson's 'Looking For Trouble'. Pete Harris flavours the songs with slide guitar and mandolin, and Hugh Budden takes a vocal turn on two tracks - the Kim Wilson cover 'Learn To Treat Me Right' and the aforementioned Sonny Boy Williamson track. The tracks were all recorded live at the Ben Brief in Southampton and the Thomas Tripp in Christchurch, so there's no fancy digital trickery here. However, the down home feel, fantastic musicianship and top quality song selection makes this a real treat.

Stuart A Hamilton

DANNY REID CARTER Barcelona Tree O

One half of The Carter Brothers Band, and blood relative of The Carter Family, "Barcelona" is Danny Reid Carter's debut solo CD. Nine self-penned tracks highlighting a musical heritage from deep within the Appalachian hills. His folk roots meet with rock, Blues, country, gospel, southern soul and bluegrass to

TAMPA RED

The Guitar Wizard

BLIND BOY FULLER East Coast Piedmont Style

SPV/Blue

Tampa Red, aka Hudson Whittaker, born Hudson Woodbridge in Georgia sometime between 1900 and 1908, was a big, big star of the early Blues. His clean slide guitar technique, relatively sophisticated approach, sly vocals, and his initial teaming with future gospel pianist Georgia Tom (later it was to be the thunderous Big Maceo) sold records by the shedload for around a quarter century. This set covers some of those first 78s, mostly for Vocalion, but also including sides made for Okeh and Bluebird, with the time span ranging from October 1928 to August 1935. These are for the most part good-natured and sometimes lightly risqué, and despite the suave approach, it is easy to hear the influence he exerted over the likes of Robert Nighthawk, Earl Hooker and Elmore James. Blind Boy Fuller was one of the major figures of the East Coast Blues prior to World War II, and his set contains all twelve titles from his first sessions in July 1935, including two numbers with Reverend Gary Davis, also on guitar. Fuller's own playing has a swinging, ragtime feel to it, sometimes a little reminiscent of the great Blind Blake, and his deft touch is generally complemented by memorable songs and an easy feel - this is not the deep Blues of the Mississippi Delta but an altogether more relaxed form of entertainment. Bull City Red crops up from time to time with some rather lively washboard playing and Sonny Terry's harmonica playing can be heard on two titles from 1939. This is Fuller's show, however, and he demonstrates a largely original style; unfortunately his death in 1941 robbed us of the chance to see how his music might have developed.

give us a well blended mix. Danny got the idea for CD while touring Spain, hence the title, and there's even a Moorish influence on the opening track, 'Black As Love', before we're brought back to the Americana of 'Green River'. Danny Reid Carter is a gifted guitar player and vocalist, and he gives a controlled stylish performance throughout, seamlessly blending his influences together. An example of this is found on 'The Fire', with Danny and Tanya Dennis trading vocal lines on a track that reminded me of the rock/southern soul of Delaney & Bonnie, but then Danny hits us with a Jimmy Page inspired guitar break and it works! Backed by an equally impressive band, including brother Tim on guitar and banjo (and adding beautiful mandolin on the serene 'Voice Of An Angel'); former Allman Brothers member Johnny Neel on superb Hammond B-3 (and screaming harmonica on 'Shacktown Road'); and Jack Pearson, who has worked with Steely Dan and The Allman Brothers Band, contributing some lovely slide guitar ('My Baby Thinks I'm Great'). Good material and fine musicianship blend to make this an enjoyable and highly recommended CD.

Davide Styles

SLIDIN' SLIM

One Man Riot

Nile Mile

Slim hails from the Deep South, y'all! He's an extraordinary Bluesman, who plays some stunning, dirty slide, just as you

would expect a deep southern Bluesman to play. But Anders Landelius (that's his real name) is from another continent's "Deep South"Sweden's! Here's a dozen very enjoyable Blues compositions, all written by the man himself, and if you like your Blues gritty, pointed and in your face, then Slidin' Slim delivers. Apparently, he began playing in punk bands, and gravitated over the years to the rootsthe Blues - and has recently made his debut at the Kalamazoo Blues Festival in the USA, as well as playing in Europe with exRolling Stone Mick Taylor. By the sound of this album, he's certainly found his metier, and he'll never be out of work. Look out for this man - whatever a Bluesman needs - he's got it.

Roy Bainton

TONY O

Tryin' To Make A Livin' Counter

Named Tony O by Howlin' Wolf and Hubert Sumlin in 1971, Tony O has spent his life honing his ability as both a Chicago and Mississippi Blues guitarist. From recording and touring with Victoria Spivey, he met Willie Dixon, Muddy Waters and many others, all of them encouraging him to pursue his natural gift as a Blues guitarist. A stint in the Legendary Blues Band and working with Pinetop Perkins (who wrote 'Blues O Blues' for him) followed. "Tryin' To Make A Livin'" is a live recording of a gig in New York City in 2007, and this truly replicates the sound of Chicago to the full. The set comprises of two originals, the title track and 'Miserable Woman', and the rest are covers of

Norman Darwen

songs from a number of the Blues greats. The feel of this recording is so laid-back that the musicians seem to be able to play forever. Steady rolling man would be a good description of this, as Tony O plays controlled and muted guitar throughout. With a typical Chicago sounding ensemble behind him, they back him but never exceed or overdo their remit. Highlights are Eddie Taylor's 'Bad Boy', McDowell's 'Worried Life Blues' and Johnson's 'Sweet Home Chicago'.

Merv Osborne

THE ALLMAN BROTHERS BAND Seven Turns

Shades Of Two Worlds

SPV/Yellow

The story of the Allman Brothers Band is one that has had its fair share of trouble. Death, drugs, disputes and demons were just run of the mill for this band and yet they are still with us today. Yellow have re-released the two albums that defined the band's future following their third reformation in the late-80s. This band had chosen Duane Allman's successor carefully and having reformed, and finding they were playing to sell out audiences, many of whom were hearing the Allman's music for the first time, their new release had to be considered. "Seven Turns" is a retrospective sounding release in an attempt to recreate past glories. Warren

Haynes (Gov't Mule) is the man who had the job of filling Duane's shoes, and here he rises to the task admirably. Dickey Betts takes the lion's share of writing credits and the sound truly comes over as if the originals are still playing. It opens with 'Good Clean Fun', a stirring rocker with solid guitar riff, and then they move into slide mode for 'Let Me Ride', true Allman Bros music. 'True Gravity' is an eight minute free jam inspired by Bett's love of Ornette Coleman. However, if "Seven Turns" is safe and occupies a comfort zone, "Shades Of Two Worlds" is more cutting edge. Dickey Betts' writing had, for the first time, come to the fore, and writing with Warren Haynes, the two were exploring much more the links to jazz and the music of Bird, Coleman, Davis and Coltrane. Improvisation had once again become their inspiration and Haynes drove the band relentlessly along that road. 'Kind Of Bird' reinforces the extended jams as developed by 'In Memory Of Elizabeth Reed', with the band exploring musical barriers whilst held loosely together. Their roots aren't forgotten, however, and it concludes with a superb rendition of Johnson's 'Come On In My Kitchen'.

Merv Osborne

JUSTIN FAUTH

Ramblin' Man

Electro-Fi

Piano player Justin Fauth is a new artist to me. Hailing from Canada, it would appear he has forged quite a name for himself on an international stage, mentioned in the same breath as Fruteland Jackson, Billy Boy Arnold and Kenny Wayne. Yet his style is nowhere as overt as those artists mentioned. This album of eighteen songs comprises only four covers and his writing style is strangely unique, with an avant garde approach to the genre. His lyrics paint pictures which the listener can imagine, try 'Yet Another Stagger Lee' or the title track 'Ramblin'

Son', a simple Blues on which he plays guitar. The songs are in the main simple, uncluttered and unfussy, and his piano playing is excellent. The album opens with the boogie styled 'Maggie Campbell', with some great hurried guitar from Jason Danley. The mood changes to storyteller mode for 'Roll On In', a seemingly tongue-in-cheek up tempo song that would grace any airwave. Andrew Jurecka plays some superb violin on 'East Toronto Nervous Breakdown', a song about what one does whilst having a breakdown. 'Human Love' has a bouncy piano line, sharp lyrics and great Blues harp solo. 'Wastin' Time' is a slow Blues with excellent right hand playing over simple bass line. Of the covers, Sister Rosetta Tharpe's 'Can't No Grave Hold My Body Down' is a barrelhouse rendition with some inspired guitar and Fats Waller's 'Hopeless Love Affair' is a tasteful jazz tinged outing that oozes class.

Merv Osborne

WHITESNAKE Good To Be Bad

SPV

David Coverdale and crew are back with the first full Whitesnake album in ten years, and while purists will argue that Coverdale gave up on the Blues for the commercial success of "1987", this does have more of a nod than some previous efforts. This album kicks off in straight metal fashion, with the riffs giving a slight Blues feel.

First impressions of these early tracks, including 'Best Years' and 'Can You Hear The Wind Blow', imply that Coverdale is stuck somewhere between "1987" and 1984's Bluesier (and certainly more credible) "Slide It In". Any indecision over direction and holes in the songwriting are covered up well with the metallic riffs. The current American sounding band, including guitarists Doug Aldrich and Reb Beach, do their best, and there are some blistering riffs along the way. 'All I Want All I Need' is one ballad that is best skipped over, sounding even more homogenous than "1987" and without the big production either. You have to admire Coverdale for the amount of early material reintroduced into the live set, and while there are some excellent tracks here to match his (still on form) voice, he's gone a bit too metal in readdressing the Blues.

Joe Geesin

GEOFFREY WELCHMAN One Band Man

geoffreywelchman.com

Geoffrey Welchman is a Baltimore based folk/Blues player and this is his second album. He plays all the instruments - bass, guitar, keyboards and even drums (hence the album title?). He also wrote every one of the twelve tracks and uses several effects and samples to create an unusual collection of material. Much of it is ironic, with the generally light pop musical mood masking a more serious topic. The opening track, 'The Trial', demonstrates this - opening with a sample taken from a real courtroom, followed by an acoustic guitar based modern protest song. However, by the end of this, the lyrics started jumping out at me. Words such as 'Muhamedaliocious' litter the track and the rest of the songs contain some unusual phrasing and instances where words are a bit too stretched to

make them fit. However, each track has a clear message and the album is as varied as you would wish. 'Unforgiving' has a Beatles feel to it, there are reminders of Squeeze and XTC. Glam rock makes an appearance in the catchy 'Crowd Control' One of the most unusual tracks, 'Hildegard', starts with a harpsichord intro and leads into a tribute to the 15th century nun and composer Hildegard von Bingen. This isn't a traditional Blues album, nor is it a traditional singer/songwriter album, but a collection of eccentric and well crafted songs played with a great deal of skill and passion.

Kevin Wharton

MICKEY BAKER Blues & Jazz Guitar

Stefan Grossman's Guitar Workshop

As you would expect from the Stefan Grossman stable, this is more than just an album. It includes a PDF booklet of the tabbed music of nine of the twelve tracks for all those with the required prowess on the guitar. Stefan Grossman's instruction material is so good; he makes it look so easy that anyone can do it. This is a re release of a 1977 album featuring Mickey Baker, who for twenty five years has achieved near legend status in developing his guitar playing in areas as diverse as R&B, folk, jazz, rock'n'roll and, of course, Delta Blues. This selection of strictly acoustic material demonstrate his varied styles. There are old folk Blues, like 'Stack

O'Lee', with a straight fingerpicking arrangement; and 'Zanzie', a complex overlay of guitars all played by Baker. 'Spoonful' is a good slide piece and 'Juicy Lucy' is a fine tune with a ragtime feel to it. As the sleevenotes say, the underlying feel to the collection is Blues, and it generously varies between Delta Blues and jazz. Nevertheless, it is all played in a style which exudes pure quality. A great album for budding acoustic Bluesmen.

Kevin Wharton

HEY NEGRITA You Can Kick

Fat Fox

This represents a sea change in Hey Negrita's style and, with the addition of Captain Bliss on harmonica, Matthew Ord on guitar and vocals, as well as Paul Sandy on double bass, they have moved squarely into the roots and Americana territory that they flirted with previously. There is no sense of a band in transition, though, rather they sound as though they have been together for years. 'The Rope', as an example, is a breathtaking and dynamic ride, from the opening vocal to the last note on Bliss' harmonica. Felix's voice has become even more gravelly and he whispers and emotes his way through tales of doomed love and addiction, with a country air and a real Blues bottom to the emotions. The title track has a charming simplicity in its tale of defiance, with sterling guitar from Matthew Ord and a howling harmonica line from Captain Bliss. The songs sound as though they have grown out of the band's live performances and get better listen after listen. Personally, I feel they should have finished the album on the fabulous 'Fishin'' but 'The Last Thing That I Do' is a pretty good way to leave things - and leave you wanting to start all over again.

Andy Snipper

RAG-AND-BONE Rag-And-Bone

Musicspot

Singer/songwriter/guitarist Mats Nilsson is from Sweden and is, in fact, Rag-And-Bone, named after a distant relative who was, guess what kind of man. R-and-B may be helped out by numerous friends on a variety of acoustic and electric instruments, but this CD has very much the feel of a solo album. After singing "in a bunch of rock bands," he bought an acoustic guitar, and this is the result. The Blues is obviously a large part of his make-up, as the opening 'Mayfly Blues' (with its shades of "Led Zeppelin III") and the joyful duet with Maria Davidsson, 'Aiming For Love', prove; so too are the various forms of rock since 1970, and people like Bob Dylan and a whole host of singer/songwriters, though there is certainly a healthy dose of Americana (particularly the appropriately titled, though sadly too short, 'Rambler Stomp'). Everything is in faultless English, and the vocals have a tinge of Mick Jagger about them, making for an interesting, though not a priority release.

Norman Darwen

T-99 Vagabonds

Nugene

This Amsterdam-based three-piece have been added to the already impressive roster of artists on the Nugene label. The trio play electric guitar, drums and bass, as well as harp, banjo, trumpet and ukulele, and offer a range of styles - all Blues based. Americana would be an appropriate word for their style, too, and all thirteen tracks here are originals. Opener, 'Drunk' is hard and grungy and with a lot of distortion, reminiscent of RL Burnside, whilst 'Hey Hey' is a clear nod of appreciation to Tom

Waits, being all dark and mysterious until the voice enters…not Tom's! All three members get to exercise their vocal chords at least once, and all are capable, if nothing special. 'Fichez Le Camp' is sung entirely in French with an Eastern backing, whilst Betty has a humorous edge about unrequited love. The voices are set quite low in the mix, but that lets you hear the band breathe instrumentally. They are not afraid to extend the genre of the Blues and sing about many types of freaks and carnival types (Mr Waits again!). They can get quiet and lay on a back porch feel or get loud and heavy from song to song. This, the band's fourth album, is a good effort, and will definitely garner repeated spins.

Andrew Baldwin

TIM LOTHAR In It For The Ride

timlothar.com

This engaging set of Delta stylings might be the best acoustic Blues album of the year. Deftly mixing fingerpicking with slide, Lothar creates that rarest of gems - a Blues album that's deeply traditional yet utterly fresh. It's done with such seeming ease that you wonder about the secrets of its charms, yet hesitate to deconstruct something so graceful. But start with thisLothar is a former drummer, and his guitar playing exhibits a sense of the intricacies, allure and endless possibilities of

rhythm. His singing, mellow and evocative, is never over the top, always in service of the song. Though he's Danish, Lothar has deep knowledge of the Blues - he unearths old Delta gems and brightens them with his infectious tempos. But his cover of Robert Johnson's 'Stones In My Passway' is slow and haunting, carried by understated guitar and affecting vocals - an achievement. And Lothar's own songwriting is so good you have to read the credits to discover

whether a song's an original or yet another from Sleepy John Estes or Charley Patton. The best lyrics, Lothar knows, hint rather than bludgeon. "A traveller I am by heart/The wind will lead my way," he writes. "Please don't ask me when/But I'll be home again." Another original, 'Da Boogie', is a jaunty instrumental ornamented with hammer-ons and trills. Lothar is in it for the ride. And we're lucky to be able to come along.

M.D. Spenser

IKE & TINA TURNER

We've Always Had The Blues

Blues Boulevard

This couple may be better known for their marital problems, or Phil Spector produced R&B classics, the likes of 'Ain't No Mountain High Enough' springs immediately to mind, as does their raucously fun version of Creedence Clearwater Revival's 'Proud Mary', but they also released two albums of primarily Bluesy tracks, "The Hunter" and "Outta Season", paying tribute to the black artists who had paved the way for the likes of Ike and Tina to go out and strut their stuff. Here those two albums are united - one CD full of Ike's searing Blues guitar to Tina's frenetic vocals, which go across some now recognised Blues classics, from Ike's own compositions to songs from Jimmy Reed, Willie Dixon and Otis Redding (a searing hot version of 'I've Been Loving You Too Long'), among others. Throughout, we're reminded of just how soulful Tina's voice could be and, more importantly, that though Ike is often remembered for being a misogynist and possibly even wife beater, he was undoubtedly a great writer and fantastic musician.

Matt Merritt

ARETHA FRANKLIN

Aretha Sings The Blues

SPV/Blue

This is a superb album, but don't be fooled by the title, which is ever so slightly misleading. The tracks here come from Aretha's Columbia period, when she recorded nine albums between 1961 and 1967. Barely into her twenties, she was at the height of her powers and yet, for one so young, demonstrates a mature grasp of emotional material other older artists might find difficult to tackle. Yes, there's Blues here - from the opener 'Drinking Again', followed by Aretha's self-penned and electrifying 'Today I Sing The Blues' - yet by track seven, we wander into ballad country with a song made famous by Sinatra, 'Only The Lonely' (not to be confused with the Roy Orbison song of the same name). There's the unusual 'This Bitter Earth', and the bonus tracks include Aretha's brilliant reading of two classics, 'Misty' and Billie Holiday's poignant 'God Bless The Child'.

Backed by the Ray Bryant Combo, the tougher Blues segments

THE SUGARS The Curse Of The Sugars

Bad Sneakers

The Sugars' debut CD is all self-penned, eclectic and experimenta - suggesting a lot of mileage in this band. Matt's vocal is superb throughout, great range and intonation - not vocally the same, it has all the qualities of Freddie Mercury to attack most genres with quality and feeling. He's not a bad guitarist either, displaying a lot of good technique with an emotive touch. Anna is vocally trained and it shows; superb sustain, range, intonation, but she has been able to move from the theory to her own individual style. Top this off with the drumming of Alex, who is an animal on that kit, providing not just the beat but is an integral part of the band's unique sound. They hit you from the first track, 'Black Friday' - a dance Blues number. Its hot stuff! Alex's drumming empowering the mood, Matt's vocal pulling you in and Anna's vocal and bass feeding perfectly off Matt's lead. 'Fairy Tales Of Love' is a Blues/rock/jazz number, with hints of the Ornette Coleman School. 'Monsters' is punk-Blues - the cross vocal play on this is wonderful. 'Heaven Knows' is the games lovers play. The vocal mood swings are dynamic. 'You Better Go' showcases Anna's vocal talents, which are reminiscent of Dusty Springfield in quality. This CD is as fresh as a daisy but, somehow, it's as old as the hills.

Carol Borrington

of this album are really gripping, so the more conventional material comes as a welcome chance to calm your emotions after Aretha's Blues tour-de-force. When she sings 'I'm An Evil Gal' then, despite her gospel heritage, you'd better believe it! This is Blues shot through with solid gold soul - and when one compares her delivery with today's young pretenders (from Mariah Carey through to Aguilera), they may be able to yodel their way through five octaves, but there's only ever one "Queen of Soul".

Roy Bainton

TWILIGHT HOTEL Highway Prayer

CoraZong

Hailing from Winnipeg, Canada, Twilight Hotel is the musical pairing of vocalists Dave Quanbury and Brandy Zdan, in a folk duo often likened to Johnny and June.

…continues on page 113

Rockin' Memphis Proper

At 118 tracks, this is a cracking value for money package, split over four discs - "Rock The Bottle", "Memphis Bounce", "Rockabilly Boogie" and "Got Rockin' On My Mind". All four discs revolve around the production work of the legendary Sam Phillips, from the early days of 1950 to 1957 (on four labels: Sun, Meteor, Jaxon and Moon). Given the set has sought to avoid the "usual" hits; it has to be said that a few of these recordings are not of the highest quality, but are enjoyable all the same. From the big rock'n'roll names; you get songs from Elvis, Roy Orbison, Johnny Cash, Carl Perkins and Jerry Lee Lewis. The world of Blues gets contributions from the likes of B.B. King, Howlin' Wolf and Little Milton, and then there are a host of others - some of you may recognise the likes of Rufus Thomas and Johnny Burnette, and a multitude that have subsequently faded into the mists of time. To use the first album, "Rock The Bottle", as an example; you have Jackie Brenston's 'Rocket 88', which is controversially hailed as the first ever rock'n'roll recording. Vocalist Brenston was credited as the author but nowadays his contribution is looked to have been overstated for financial reasons and Ike Turner tends to be acknowledged as composer. Also, you have Rufus Thomas singing Leiber and Stoller's 'Bear Cat', which is a reworking of 'Teddy Bear' recorded a year earlier by Big Mama Thornton - and later became a hit for Elvis. With a collection like this, though, it's not the names you know, and the songs you already own ten times over, it's about discovering forgotten gems. "Rockin' Memphis" delivers.

Thomas Rankin

The Delta Records Story

Bullet Records Gospel CECIL GANT Bullet Boogie

SPV/Blue

These fine releases are all historically inter-linked by their base, Nashville, and by Red Wortham and Jim Bulliet, who worked together on a series of memorable recordings from the late-40s onwards. In 1948, Bulliet had sold Bullet Records, but his colleague, Wortham, an independent producer, carried on working for the label. The foundation of Delta Records in 1950 would feature home-grown Nashville Blues players Tom Douglas and Louis Campbell, and all those early cuts are featured here. Today, names

such as Eddie Jones or Walter Smith may not be familiar, but the music they made is timeless, and forget Hank Marvin - you'll also find the original Shadows here, too - no twanging Strats, just heartfelt doo-wop. Bullet Records had a superb stable of gospel outfits, too, one of which, The Fairfield Four, appear not only on the "Delta Records Story" but have a further four tracks here on "Bullet Records Gospel" - twenty-four tracks of rousing spiritual inspiration from such uplifting acts as The Dixie Travelers, Famous Jubilee Singers, a brace of Reverends, H.L. Parker and Dr. Pickett, as well as Willie Gunn and five emotive offerings from The Sacred Four. If gospel's your thing (or just plain great music) then this is for you. From the power of The Lord and The Good Book to a man who made up his songs on the spot whilst drinking whisky at the piano is quite a contrast - Bullet Records was no monastery when it came to cutting records, and Cecil Gant was no monk. Originally discovered during his army service, singing at a War Bonds rally in Los Angeles, Gant was soon billed as "The G.I. Sing-Sation", and during his time in his home town of Nashville, the Bullet tracks in this collection (with white R&B players accompanying - very rare for the time) sold in their hundreds of thousands.'50s rock'n'roll may have removed Cecil Gant from the shelves, but his enjoyable records survive in many collections, and judging by this atmospheric set, rightly so.

Roy Bainton

Booze & The Blues

Good Time Blues - Harmonicas, Kazoos, Washboards & Cow-Bells News & The Blues - Telling It Like It Is SPV/Blue

From the “Roots N' Blues” series comes these three fabulous discs. Ranging from 1927 to 1953, these eighty-nine tracks have some well known Blues classics, as well as rare cuts. The "Booze & The Blues" disc features the likes of Big Bill Broonzy, Leadbelly and Joshua White preaching about the pleasures and dangers involved with alcohol (namely whiskey and moonshine), recounting tales of the bootlegging days and the individual "experience". It's a fine set of authentic Blues, with liner notes detailing the dates the cuts were recorded. Some obscure/unknown artists are represented, such as Merline Johnson with 'Bad Whiskey Blues', and the powerful Blues gospel of Rev. W.M Mosley and his congregation singing 'Drinking Shine'excellent stuff! It can be desperate and dark, with the Mississippi Sheiks ''Bootlegger's Blues' being a fine example. "Good Time Blues" features a more band-orientated collection. Big Joe And His Washboard Band and The Memphis Jug Band chime in with four tracks each. It has more of a country feel to it, but this was party and dance music of its day for the poor and rich country folk. Lots of instrumentals on offer, with the Georgia Cotton Pickers taking top billing for this listener. Best of the three, though, is the "News & The Blues" disc, as it offers a great deal of variety. Blues was a form of news spreading throughout

the black community and we get such news on disasters, war, the penitentiary system, sporting idols, the atomic bomb, and deaths of Blues musicians. Charlie Patton, Memphis Minnie and Blind Willie Johnson are just some of the legends that feature, as well as lesser known musicians such as Alfred Fields, Jack Kelly and Homer Harris. The tracks are mainly culled from the catalogues of the Okeh, Columbia and Vocalion labels, and these are as real as the Blues gets. Magnificent stuff!

Baldwin

The Best Of Bob Dylan's Theme Time Radio Hour: Volume 2

Chrome Dreams

This is Dylan as DJ, recollecting the music from his past and neatly presenting it on radio in a series of themed shows. Sadly missing is the really magical part of these shows, which are Bob's informative ramblings, and where the individual tracks fitted into those early years in north Minnesota. However, on the information side, the superb booklet takes us through track-by-track giving each song a sense of being and relevance, with an insight into the stories behind the songs of what may be obscure artistes, like the Sly Fox and Fatso Bentley, to those well known names - Muddy Waters, Buddy Holly and Johnny Cash. It's nice to hear Holly's 'Peggy Sue' in a more musical setting. Similarly, it's fascinating to hear the musical qualities of Sly and Fatso in amongst musical giants. With all the music early-60s, at the latest, get your 'Weather' fill of calypso with Lord Beginner, 'Coffee' from Ella Mae Morse and 'Marriage' with Roy Brown. 'Flowers' is represented here with a huge sidestep, with Paul Clayton's rendition of the English ballad 'Bonny Bunch Of Roses'. America's favourite pastime also gets a look in, with a whole show on 'Baseball', and is represented here as Buddy Brown asks 'Did You See Jackie Robinson Hit That Ball?'

Al Tait

Daptone 7 Inch Singles Collection, Vol. 2

Daptone

When it comes to funky soul and R&B, nobody does it better than Daptone Records. The Brooklyn-based record label have been quietly churning the stuff out for years, but only came to international attention after a certain Amy Winehouse used label mainstays The Dap Kings as the backing band for her mega-selling album "Back To Black".

Sharon Jones & The Dap Kings are now becoming a huge draw in their own right on the live circuit, and now attention is turning to other artists on their roster. The bad news is that many old Daptone vinyl records are out of print and cost a fortune on eBay. The good news is that some are now available on this CD. This is real soul, with plenty of Blues for added measure. Lee Field's 'Could Have Been' is as good, if not better than James Brown's 'It's A Man's World'. Northern soul fanatics will have a field day with 'Stand Up' by Lee Fields And The Sugarman, and The Dap Kings instrumental track 'Nervous Like Me'. Without wishing to overhype this compilation, all of the tracks are funk

masterpieces, played by truly great musicians who have a genuine and infectious love for this genre. It is the ultimate in feel-good party music.

Jamie Hailstone

Legends Of The Blues - Volume Two

The Slide Guitar - Bottles Knives & Steel Vol. 2

SPV/Blue

The "Roots 'N' Blues" series was one of the great reissue projects of the '90s, but these sets are just a little different from what you might expect. The quality of the music is assured, of course, and much of the first set is in the urbanized style of the '30s, but the 'legends' under consideration include Bessie Jackson, Walter Roland, Bumble Bee Slim, Merline Johnson and Bill McKinley (aka Jazz Gillum), who may all be familiar names to fans of the prewar Blues, but who these days hardly have the stature of a T-Bone Walker, Leadbelly or even a John Lee 'Sonny Boy' Williamson. These three are also included; Walker, with a title from 1929, has none of style he was to become known for a couple of decades later. The slide guitar album also deserves notice for the nearly complete absence of Mississippi artists, which would have been deemed impossible at one time. Charley Patton is listed in the discography, though he is not present, and Robert Johnson is included, with a bonus track added to this reissue.

Louisiana-born Sam Collins worked a lot in the Magnolia State, but the bulk of the collection is given over to East Coast artists such as Georgians

Buddy Moss, The Georgia Browns and possibly Nellie Florence; Kentuckians Walter Beasley and Helen Humes (both with Sylvester Weaver); and Georgia-born, Florida-raised, Chicago-based Tampa Red, who appears on no less than seven titles. There are also a couple of more or less biographical blanks - only to be expected when the time span is 1927 to 1936 - but it's the music that matters, and that is obviously highly recommended on both of these collections.

Norman Darwen

Honeydripper Rhino

At the time of writing, all I know about this movie, starring Danny Glover and directed by John Sayles, comes from an early review in the Observer. With the exception of "Ray" or Clint Eastwood's Charlie Parker biopic, "Bird", it remains surprising that more movies haven't been made about the Blues/jazz world depicted here. Martin Scorsese's series, "The Blues", was enthralling, but documentary"Honeydripper" gets to grips with the down-home problems of black people running a juke joint, and as a vehicle for some great music. If this CD is anything to go by, I can't wait to see the film. One surprise is actor Danny Glover's fine performance of 'Goin' Down Slow', and there's Keb' Mo', Memphis Slim, Ruth Brown, and even a Hank Williams track. Second track, 'Tall Cotton', is as fine a harmonica extravaganza as you're likely to hear. Roll the credits and pass the popcorn - this looks highly promising!

Roy Bainton

Andrew

DOUBLE TROUBLE Been A Long Time DUKE DANGER If It Ain't One Thing It's Another

DON NIX & FRIENDS Going Down

NORTH MISSISSIPPI ALLSTARS Shake Hands With Shorty CARLA OLSON Dark Horses

BUDDY WHITTINGTON

Buddy Whittington

Blues Boulevard

Double Trouble, comprising Chris Layton (drums) and Tommy Shannon (bass), were the much acclaimed rhythm section to the late Stevie Ray Vaughan. The 2001 release, "Been A Long Time" saw them providing a typically precise and relaxed rhythm to several disparate luminaries. The artists produced a genuinely cohesive and soulful body of work; among the guests who added their considerable talents are Mulford Mulligan (Storyville) and Susan Tedeschi. The most poignant moments are when Double Trouble are reunited with Doyle Bramhall II and Charlie Sexton (Arc Angels) and, during the fabulous version of 'In The Middle Of The Night', with Stevie Ray Vaughan's elder brother Jimmie and former band mate Lou Ann Barton.

Duke Danger is a veteran Southern Bluesman out of Florida, who was a contemporary of the Allmans and heavily influenced by the three Kings. He has matured into a solid exponent of soulful R&B and Blues. This 2007 release has seven compositions by band members, like the title track, 'If It Ain't One Thing It's Another', and the covers are ace, including Cole Porter's 'Tuffer Than Tuff', which epitomise the genre territory of this release. His guitar playing is clean and understated, but the vocals are consistently passionate and heartfelt.

Don Nix, a Mar-Keys survivor, re-emerged from relative obscurity to record this 2002 testimony to his own greatly under-rated songwriting. Calling on friends, who include Brian May, John Mayall, Tony Joe White and vocalist Bonnie Bramlett, this album is Nix's romp through some of his '60s and '70s Blues and R&B. A couple of new tunes are thrown in for good measure. Look no further than 'Same Old Blues', 'Palace Of The King' and the title track, a raucous version of the classic 'Going Down'.

The North Mississippi Allstars' debut was recorded some nine years ago, and yet is still as fresh and startling now. Paying homage to, amongst others, their idols RL Burnside, Junior Kimbrough and Mississippi Fred McDowell, the Dickinson brothers and bassist Chris Chew drive their stripped-down way through some unpretentious versions of some Blues classics. The likes of 'Shake 'Em On Down' and 'Skinny Woman', and the fantastic extended boogie 'All Night Long', are particular highlights.

Former punk singer Carla Olsen is perhaps best known as an erstwhile collaborator with members of the rock gentry, such as ex-Byrd Gene Clark. This "Dark Horses" compi-

lation takes tunes from her own '90s solo career, from the albums "Within An Ace" and "Reap The Whirlwind", as well as a couple from her 1984 release "Midnight Mission" with the Textones. An ardent Rolling Stones fan, much of her assured, gritty music features axe man Mick Taylor, and is typified by her reflective lyrics and his wonderful lead guitar. Only occasionally does the album stray into true Blues idiom, but all the cuts from "Within An Ace" reveal an artist with true rock sensibilities.

Buddy Whittington has been for many years the giant presence on guitar in John Mayall's Bluesbreakers. On this eponymous 2007 release he flexes his vocal chords, too. Like his predecessor in the Bluesbreakers, Coco Montoya, his voice is a surprisingly welcome feature. The album features mostly his own Bluesy songs, including the amusing 'Second Banana'; the social conscience of the observant 'Minor Blues'; a beautiful tribute to SRV in the puntatsic 'Stevie Rave On'; and a lengthy cover of ZZ Top's 'Sure Got Cold After The Rain'. Great stuff!

Hats off to Blues Boulevard for resurrecting and giving greater visibility to these vital albums.

Noggin

Though this young couple are arguably better singers, but the underlying Blues emotion in their songs is far more reminiscent of Delaney & Bonnie or, more recently, Whiskeytown. Like all good folk duo acts, Twilight Hotel's sound revolves around rich, soaring vocal harmonies, but these are performed so beautifully throughout that it feels fresher and more inventive than usual. The songwriting skills on show here are impressive, with all of the album's twelve songs penned by the duo themselves. Their songs have a darkedged storytelling quality that again brings Johnny Cash to mind, along with Tom Waits, and the plainspoken poetry of their lyrics is delivered perfectly in stunning vocals above sparse instrumentation. From the upbeat rockabilly of 'Viva La Vinyl', to the gypsy jazz fused 'The Critic', and the passionate,

STEVE WINWOOD Nine Lives

Sony BMG

The thing that amazes me with each Winwood release is his varied use of instrumentation, tempo and feel, yet always maintaining his own stamp of quality over the whole. All nine tracks are Winwood originals, opening with 'I'm Not Drowning', with its guitar intro harking back to Winwood's early country Blues influences. The mood changes with 'Fly', with rhythms that originate in Africa and Brazil. Yet more poly rhythms are used in 'Raging Sea', a seven minute tour de force which showcases some tremendous bass lines and thick swathes of Winwood keyboards. 'Dirty City' features Winwood's friend Eric Clapton soloing and is reminiscent of early Traffic, whilst 'We're All Looking' is a gospel tinged pop song driven hungrily by a powered conga player. 'Hungry Man' is a song that takes its sound and inspiration from African music and the South African township style of jittery guitar. The geographical take changes for 'Secrets', which uses the rhythms found in the Caribbean and in 'At Times We Do Forget' there is more of a Latin-R&B feel to the arrangement. Once again, Winwood produces a slick recording. Deep down, however, I can't help but feel that he doesn't stretch himself as perhaps he might. His longevity is proof of his ability and quality but sometimes he doesn't really push the boundaries, step out of the comfort zone and produce the kind of music we know he is capable of.

Merv Osborne

heart-wrenching closer 'Sand In Your Eyes', we're treated to a dynamic and mouth-watering mix up of styles and paces. The epic, 'The Ballad Of Salvador And Isabelle' is likely to become a revered folk classic, its lyrics telling the tale of a lifetime of struggle, given greater poignancy by its interweaving vocal harmonies and subtle shades of light and dark. All in all, it's a superb release and a haunting experience that remains beautifully understated throughout.

Rhys Williams

FABRIZIO POGGI & CHICKEN MAMBO Mercy Ultra Sound

As a big fan of The Band, I was interested to get this as it features the magnificent Garth Hudson - in fact, the first track, 'Mercy', is one of his massive chest quivering keyboard introductions. The rest of the album is a collection of spiritual Blues, apparently borne out of Poggi's health problems - billed to be therapeutic, inspiring and poetic. I thought not! For a start, the selection of material could have been more adventurous. Two renditions of 'Amazing Grace', and one each of 'Down By The Riverside', 'Will The Circle Be Unbroken' and 'Jesus On The Mainline' shows a lack of adventure. Surely there is better material out there for these guys? This, coupled with the almost monotone vocals, made the album feel dull and uninspiring. They even took the passion out of their version of 'John The Revelator'. Sure, the range of quality musicians on the album makes for some bursts of nice work on some of the tracks, especially Poggi's harmonica blowing, the electric guitars of Francesco Bertolotti, and the keyboard and accordion work of Garth Hudson, but, as a concept, the album never leaves the launch pad.

Kevin Wharton

ROADHOUSE Sea Of Souls

BM!

Not to be confused with the Roadhouse that included former Def Leppard guitarist Pete Willis, this Roadhouse was formed way back in 1991 by the splendidly named Gary Boner who, along with bassman Bill Hobley and drummer Roger Hun, has been an ever present in amongst the regular line-up changes. Mr Boner is also the main songwriter, as well as lead vocalist, and although I'm not that big a fan of his growling vocals, he can certainly pen a mighty fine rootsy, swamp rocker. Roadhouse definitely fall on the rock side of the Blues-rock divide, coming across as a dark and depressed Little Feat, with only the female backing vocals lifting the gloom and doom of songs like the title track and 'Lights On The Water'. Just when you think things can't get any darker, along comes Mandie G to sing 'House Of The Rising Sun', a song always guaranteed to bring me down. To be fair, there is a sprightly touch to 'The Lying Game', which sees Suzie taking a turn in the vocal spotlight. The second half of the album has a lighter touch, and by the time you reach their re-recording of 'Preacher Man', it's safe to say to say "Sea Of Souls" is a winner.

Stuart A Hamilto

DENNIS HOPPER CHOPPERS Chop-LP

The world of the Dennis Hopper Choppers is a pretty dark place. Imagine a run-down motel in the middle of the Nevada desert, which is run by Nick Cave, Jon Spencer and Johnny Cash, and you're almost there. If you thought the movie "No Country For Old Men" was a knock-about comedy, then this is the record for you. One-man-band, Ben Nicholls has concocted a seriously creepy record, blending rockabilly, punk and garage - which is hardly surprising, as the songs were all written in the Spanish village where the movie "The Good, The Bad And The Ugly" was shot. 'Listening To MC5' has already been released as a single and Nicholls' baritone sounds like Edwyn Collins. The noir-ish vibe doesn't let up, but if you like your Blues dark and creepy - not unlike Mr Hopper himself - then check out the fantastically spooky and wonderfully titled 'The Ballad Of Fu Manchu And The Red Bride'.

Jamie Hailstone

ROBERT PETE WILLIAMS

Louise: Live At University Of Miami Florida, 1974

Wolf

From Zachary, Louisiana, Williams maybe reverses the classic Bluesman profile - he served time in Angola state penitentiary for murder, singing his way out and obtaining freedom (from prison, at least) when the governor recognised Williams' musical talent and the possibilities that might offer. He then sharecropped for a farmer during five year parole, and taking musical tips from Mississippi Fred McDowall, he appeared at the 1964 Newport Folk Festival. This album is a de facto field recording in the audio lo-fi Alan Lomax tradition. His idiosyncratic guitar style isn't easy to get at first, but your perseverance brings great rewards, as you get to grips with his seemingly simplistic timing and technique. 'You Don't Have To Go' I know better as 'Sweet Home Chicago', and I recognise his 'Greyhound Blues' as 'Love In Vain', and other titles tell you much about this album - 'Have Mercy On Me', 'My Woman Left Me' and 'Dying Bed Blues'. Maybe his un-adorned man and guitar performance is the very essence of the Blues - he seems to be playing bass, rhythm and lead at the same time. This ain't something you can get straight away but, believe me, stick with it and you'll find depth and primitive sophistication that maybe stretches back to Africa. This is an admirable release of an artist that might have otherwise passed us by. Robert Pete Williams died in Los Angeles on New Year's Eve, 1980.

Peter Innes

REVEREND GARY DAVIS Manchester Free Trade Hall 1964 Document

Reverend Gary Davis was pushing 70, a good thirty five years past his heyday, when this live set was recorded in the UK. But his voice was still powerful, capable of roaring with religious fervour. And his skills on "Miss Gibson", his jumbo acoustic guitar, remained impressive - making for a show that delighted the

audience then and still holds pleasures for listeners today. Davis, born in 1896, pursued music, one of few careers available to blind American blacks. He worked often on the streets, not recording until he was 58, and was one of the best ragtime guitarists of the early 1900s. His performance here of Scott Joplin's 'Maple Leaf Rag' attests to that ability. He was ordained in 1937, after which he often refused to play the Blues - though religion didn't separate him from the bottle. This set is primarily gospel, performed with feeling, shouts and whoops. Davis had been rediscovered by the folk revival and the audience in Manchester was in heaven. Joined onstage by blind harmonica player Sonny Terry, Davis relented and played some Blues, crysinging 'Oh Sally, Please Come Back To Me (Worried Blues)'. His guitar dexterity inspired many followers. He alternates rapid riffs with chords; he talks with the guitar; he plays with syncopation and humour on 'Cincinnati Flow Rag'. But on 'Children Of Zion', the guitar is nearly overwhelmed by hiss. Even on better numbers, the recording can sound shrill instead of heartfelt. Still, the CD’s one of the best places to hear Davis' music.

M.D. Spenser

JACK BRUCE Can You Follow?

Esoteric

A 6CD, 110 track anthology of Jack Bruce is a heck of a lot of Jack Bruce to get through. And unless your name is Jack Bruce, or you've got the name Jack Bruce tattooed somewhere personal, it's not the kind of thing you're likely to listen to all the way through for pleasure. However, what you're getting is pretty much a history of ‘60s and ‘70s British Blues and rock. It starts all the way back in 1962, with Bruce playing in Alexis Korner's Blues Incorporated alongside Charlie Watts, before one Ginger Baker makes an early appearance in the Bruce story. We then head through his work with Graham Bond, Duffy Power, John Mayall's Bluesbreakers, Manfred Mann, Cream, Tony Williams' Lifetime, West, Bruce & Laing, Frank Zappa, Rocket 88, Robin Trower and BBM, along with a healthy selection from his solo work, including twenty-nine tracks making their debut on CD. However, most of the new to CD tracks are back on the first couple of CDs, so you're not really missing out on much. Musically, there's a lot of chaff in amongst the wheat, especially in the early CDs, some of which you will listen to once and wonder, as I did, how John McLaughlin turned into such a great guitarist after listening to the dreadful Graham Bond Quartet live track 'Doxy'. But there's a whole load of good stuff, too, especially once you get past Cream. Once you reach CDs three and four, you're off on to a near faultless run, as you're treated to some great music from West, Bruce & Laing's three albums and some Steve Hunter augmented tracks from Bruce's "Out Of The Storm" set, which has always been a favourite of mine. There's too much time devoted to lesser albums like "Monkjack", but I assume that Jack Bruce would not like to be viewed as someone's whose creative peak was in the past. Visually, it comes with an illustrated 68 page book, with his personal comments, and there is more than enough fantastic material on show to make this both a desirable artefact and a worthwhile summary of the man’s work.

Stuart A Hamilton

HAREM SCAREM Pilgrim's Progress

Aztec

Not to be confused with the well-known Canadian melodic rockers, nor the Scottish folkies, this Harem Scarem were/are an '80s Australian outfit who come on like a horrifying mixture of Danzig and The Gun Club. Emerging as part of the early-80s psychobilly scene, Harem Scarem, in their original incarnation, only managed to release one album before Glenn Danzig soundalike vocalist Chris Marshall split. This reissue, replete with half a dozen bonus tracks, only serves to remind us that a lot of bands who never made it, didn't really deserve to. There are a lot of bands I saw in grotty clubs in my teens that I thought were fantastic, but that's because they serve as a memory of a particular time - I understand why people get nostalgic, but nostalgia is non-transferrable. To be fair, Barry Palmer is a top rate guitarist and there are some nice harmonica lines from Chris Wilson, but, with a couple of exceptions, the songs don't work. 'Hard Rain' is the best of the bunch, and one of the few where Chris Marshall isn't bellowing like a wounded ox, alongside 'Let Me In', where the band actually find a Blues riff to ride. I'm sure there are people who were there in 1986 who will hail this as a lost classic, but my alien ears just don't hear what the fuss is about.

Stuart A Hamilton

PHANTOM BLUES BAND Footprints

Delta Groove

As soon as the horns scorch across this offering from Phantom Blues Band, I felt transported to a Beale street Blues joint. 'Look At Granny Run', the opener on this album, sets us up nicely for a Bluesy and often funky trip through Phantom's influences, brass section is standout, with trumpet provided by Darrell Leonard and tenor sax by Joe Sublett, whose credentials include a stint with Paul Ray And The Cobras alongside a young Stevie Ray Vaughn. The collection is difficult to classifyfrom funky Blues to Chicago Blues, from jazz to Motown… In fairness, the band pull every deviation off with relative ease and grace. Impressive also is the quality of the vocal sections, which often lose focus in Blues recordings, falling into the background of blazing guitar solos and magnificent horns. But Mike Finnigan, Johnny Lee Schnell and Larry Fulcher deliver a soulful and technically accomplished vocal set alongside their respective instruments of keys, guitar and bass guitar. For a relatively large band, all members appear to fit well together in this setting, held together by the drumming of Tony Braunagel and incendiary laid-back guitar work of Denny Freeman and Johnny Lee Shnell. All in all, a valiant effort and well worth a listen on those lonely summer evenings. An excellent Blues outfit!

Samuel Pentony

GENE VINCENT A Million Shades Of Blue

Rev-Ola

Gene Vincent was one of the original rock and roll pioneers of the '50s and was best known for 'Be Bop A Lula'. "A Million Shades Of Blue" collects the two albums he recorded on the

Kama Sutra record label at the tail end of his career, shortly before his untimely death in 1971. The two albums, "If Only You Could See Me Today" and "The Day The World Turned Blue", have been available before, but have now been re-issued together on one CD. The first album was recorded in 1970 and features several members of The Sir Douglas Quintet. Augie Meyers distinctive keyboard playing shines throughout, and the country rock workout of 'Slow Times Comin'' is a real highlight. The second LP, "The Day The World Turned Blue", was released in 1971, a few weeks before he died and has a stronger rockabilly feel. Gene was still on fine form vocally and he adapts brilliantly to the more rootsy vibe on "If Only You Could See Me Today". The opener, 'How I Love Them Old Songs', does a nice line in wry humour. While both records have little in common with his early hits, they are still classics in their own right. File under neglected gems.

Jamie Hailstone

DEREK MEINS The Famous Poet 1965

I'm sure I'm doing Derek Meins a disservice here, but in order to give you an idea of the overall nature of this bizarre album, consider this: take a bit of John Cooper Clarke, The Fall, chuck in The Pogues and a sprinkling of John Hegley, and you might get a grip on things. Don't play the riotous opening track, 'The

Freud Song', to your grannyit makes some very pertinent points about sex. 'Oh You Pretty Woman' really rocks along, and the contrast between the sinister, spoken word follow-up, 'Richard' - a poem which reads like a demented report from a mental health institution (the atmosphere would be familiar to Screamin' Jay Hawkins) - is perfectly matched by the manic, Dylan-Thomason-speed delivery of 'A City Called Hell'. 'End of Man', with its careful piano accompaniment, shows that there is more musical side to this poet than most. 'Ex-her-size' is a very funny rumination on obesity and exercise, and by the final track, 'Over Yonder', you're beginning to feel as if you've been accosted by Tom Waits and locked in a wardrobe with Ivor Cutler. What all this has to do with a Blues magazine is open to speculation, but Meins is an original talent who offers something with texture, a long way from the bland fodder of much in our culture. If there's any justice, no doubt we'll be hearing more of him…so, let's call this review a "Meins to an end."

Roy Bainton

ROY ROBERTS It's Only You Rock

House

The cover for this particular CD could well be one of the lamest around, but the album itself is worth listening to. Roy Roberts has been working in the music business since the ‘60s and

once played guitar for none other than Otis Redding. He has spent spells as a producer - for Eddie Floyd, among others - as a country and western act and as a gospel singer, but now he has returned to his first love, the Blues. His soulful voice and fine guitar playing are reminiscent of B.B. King and Robert Cray, among others but, in fairness to Roy, he was playing this stuff long before Mr Cray turned up. Musically, we're talking shuffling Memphis soul with plenty of horns, Hammond and guitar licks. The ghost of Stax Studio hangs heavy over the proceedings, and that is never a bad thing. And according to the liner notes by Dylann Deanna, the Carolina Beach music crowd can (and I quote) “shag like crazy to this album.” I'm guessing something got lost there in translation. This is one case where it's nice record, shame about the cover.

Jamie Hailstone

WILLY DEVILLE Pistola

Eagle "Pistola" is the latest solo release from the former frontman of Mink Deville, singer-songwriter Willy DeVille. It's an energetic and highly entertaining romp through a variety of different musical styles and Willy himself is on good form. There's everything from southern boogie, New Orleans funk, folk ballads and country & western thrown in for good measure. The real highlights include the swaggering 'Been There Done That' and the haunting 'When I Get Home'. He even pulls off a brilliant cover of Paul Siebel's 'Louise', which was also recorded by Bonnie Raitt many moons ago. The album takes a darker turn for the final two songs, with the Nick Caveesque 'I'm Gonna Do Something The Devil Never Did' and 'The Mountains of Manhattan'. The different musical styles reflect the smorgasboard of culture that is New Orleans, and look out for an appearance by Lee 'Tower Of Power' Thornburg on 'The Band Played On'. Every single one of the ten tracks on this CD are compelling and utterly listenable. Even after all these years, Willy DeVille is still an unmissable act and delivers the goods. One of the most original releases of the year so far.

Jamie Hailstone

JACKIE PAYNE STEVE EDMONSON BAND

Overnight Sensation

Delta Groove

Despite the connotations of the album title, vocalist Jackie Payne and guitarist Steve Edmonson are no strangers to the Blues world, having spent years cutting their teeth on the festival and club circuit, worldwide. This record, their second release on the Delta Groove label, sees the duo doing what they do best, creating funky Blues grooves and good time R&B vibes. No doubt this is a band that really thrives in a live setting, the energy of the band coming across even on this studio release. Jackie Payne supplies the soul-inflected vocals with tremendous flair, whilst Edmonson cuts through the mix with stylish guitar work. The pair are surrounded by a fine line-up of players, all of whom are given room to shine alongside the band leaders at various points of the record. Album highlights include the funky 'Can I Hit It Again', complete with a Meters-

esque riff and a vocal reminiscent of James Brown, the humorous 'Mother-In-Law Blues', and a mournful interpretation of Isaac Hayes' 'Your Good Thing (Is About To Come To An End)'. The majority of the songs are written by Payne and Edmonson, but are very much crafted in the style of soul classics from artists such as Wilson Pickett, Eddie Floyd and Otis Redding. That said, they're all fine songs and are performed with such conviction and finesse by the band that any familiarity can be forgiven. This release is a clear representation of what this band is about, shelving the melancholic stigma attached to the Blues and showcasing the fun side of the genre.

Rhys Williams

JOE VIAGRA AND THE RHYTHM METHOD Clockwork Mince Independent Release

My heart sank when I saw this band's name. I mean, reallyJoe Viagra And The Rhythm Method? This better be good, I thought. It does win some bonus points for the band members' names - Bonzo Doolally plays drums and ping pong, Boris McPoopy-Pants plays chess and bass guitar, and Brenda Bogbrush plays lead guitar, which is very heavy. Truth be told, they are not a bad Blues band, and there is a nice line in weird and wonderful lyrics. It's pretty leftfield off-the-wall stuff, and the band acquit themselves nicely. The joke does wear a little thin after the first few songs, though, so be warned. There's a bit of a Marc Bolan vibe going on for Mr Viagra. It's not the most family friendly album in the world, but everyone seems to be enjoying themselves. I just hope they have received a decent sponsorship deal, because the name really is awful. I know they say good music is all about timing, but really - was that the best they could come up with?

Jamie Hailstone

SONNY LANDRETH From The Reach

Proper

"From The Reach" sees Landreth collaborating with five of the world's greatest guitarists - Eric Clapton, Robben Ford, Eric Johnson, Mark Knopfler and Vince Gill - as well as singer/songwriter Jimmy Buffett and New Orleans piano legend Dr. John. More often than not these "star studded" releases wind up sounding disjointed and sterile, but luckily that is not the case here. Landreth has addressed every song on this record carefully, tailoring them to each of his guests individual talents and yet somehow managing to place his own creative stamp firmly upon each one, enabling the record to possess a rare cohesiveness. 'Blue Tarp Blues' sees Sonny exchanging solos with Mark Knopfler to great effect and Knopfler's background vocals on the chorus leave the track with a distinct, if somewhat Bluesier, Dire Straits-esque feel. This is followed by 'When I Had You' a soulful rocker featuring Clapton on guitar and backing vocals. Clapton also lays down some searing Blues guitar on the haunting 'Storm Of Worry'. The instrumental 'The Milky Way Home' features guitar virtuoso Eric Johnson, showcasing his trademark fluid 'cello' tone, and

THE HOMEMADE JAMZ BLUES BAND Pay

Me No Mind

NorthernBlues

The Blues world is paying the title of this set no mind. The Homemade Jamz Blues Band is the name of a trio out of Tupelo, Mississippi making quite a stir amongst critics and fans with their funky, modern, but in some ways quite traditional, down-home Blues, exhibiting primarily an Albert King influence - though the music of the Chicago clubs is evidently also a component in the sound. There are fine, strong vocals and some excellent, accomplished guitar work by leader Ryan Perry, whilst the rhythm section cooks on a programme of ten original numbers and a convincing cover of John Lee Hooker's 'Boom Boom'. To supplement the sound, Renaud Perry adds some appropriately scintillating harmonica playing to four tracks, and producer Miles Wilkinson also adds rhythm guitar to four. So, a fine Blues set on its own merits, but what makes this album even more exciting is that this is a family band - two brothers and a sister (she's the drummer) - and their collective age is just 37! An outfit to watch for the future but, on this evidence, also one to enjoy now.

'Howlin Moon' provides some brief relief from the predominantly guitar-orientated antics. On this funky New Orleans Blues, Dr. John lays down some rollicking piano work and harmonies behind Landreth's smooth vocals that recall the best of Little Feat. All in all, this is an impressive release - one likely to feature highly on any guitar enthusiast's list of great albums.

Rhys Williams

LIGHTNIN' WILLIE & THE POORBOYS Tracks

145

Los Angeles-based, Texas-bred, Lightnin' Willie is a regular visitor to European shores. As befits a man in cowboy boots, hand stitched suit and wide brimmed hat, it's not straight-ahead Blues by any means, with Willie himself describing his sound as "Americana/electric Blues…with some twang!" - an adequate description, what with nods to country Blues, rockabilly and even shades of some Asleep At The Wheel western swing. It all makes for quite an intoxicating brew. With my love of the Marshall Tucker Band, I find myself inexorably drawn to songs like 'Why' and 'Learnin' The Blues', where Lightnin' Willie & The Poorboys gently swing through some countrified sounds, even if the latter was a big hit for Frank Sinatra of all people. The Poorboys themselves are a very accomplished outfit, with some excellent harmonica work from Giles King, as well as some well judged keyboards from Skip Edwards. Of course, that would be nothing without some good songs for the band to flesh out. Luckily, as well as a sprinkling of quality covers, Lightnin' Willie has served up some real goodies - 'Little Things' and 'Where Does Love Go' are absolute peaches, with the latter probably the closest he gets to pure Blues. They'll definitely be finding their digital way onto my MP3 player before much longer.

Stuart A Hamilton

PARKBENCH Versus Blackout Spitz

Heaven knows what pigeonhole to put this into - there is jazz here, and Blues, and country, and roots, and nothing that you can pin down to a genre or a style! But it is all good! The songs here all have an identity and a life to them, whether the bitter and western sounding 'Time Don't Fly', with the clarinet taking across to the east coast; or 'She Looks Like A Bus', which sounds like it should be the soundtrack to Tarantino's new movie, until you listen to the lyrics - "She looks like a bus/My honey looks like a bus" - but still, your ears are pinned by the saxophone and the acoustic guitar. 'Tomb Of The Unknown' is Americana with a twisted guitar and a melancholy ring to it. 'Cocain Caltrain Blues' is a wonderful, bucolic and gentle way to wend out of the album, with a clarinet wimbling its way through in the background until the sharp jagged guitar starts you into the wind up. The whole album takes you in direction after direction, and all of it seems to be within the capabilities of the band without overstretching their abilities. When I think back to the variety of bands I saw at the Spitz venue, this seems utterly appropriate for their label’s debut.

Andy Snipper

SCREAMIN' JAY HAWKINS Cowfingers & Mosquito Pie

SPV/Blue

Personally, I think every Blues and R&B fan should include a Screamin' Jay Hawkins record in their collection, for the novelty value alone. But Hawkins was much more than a novelty act. Sure, with his skulls-on-sticks, turban, Dracula capes, coffins and a hint of voodoo, he has always appeared and sounded genuinely unhinged, but what a great, powerful voice. This vivid and worthwhile compilation gives us not

Norman Darwen

one but two versions of his classic ‘I Put A Spell On You’. But you'll get a wider, wilder and more frightening picture of the man from such tracks as ‘Little Demon’ and his totally original and incessantly weird take on ballads such as ‘You Made Me Love You’ and ‘Old Man River’ (there is an even scarier, updated version of the latter on the 1995 Demon/Edsel collection, “Portrait of A Man”...but that's another horror story!). R&B has had its share of colourful, over-the-top characters but the late Hawkins was, in many ways, the real deal. There was something primeval about him - you certainly wouldn't want to be trapped in a lift with this man. With a string of illegitimate children (who apparently meet up every year) and his way past eccentric career, you realise that every grunt and snuffle came from somewhere deep, dark and dank. As ever, Neil Slaven's great liner notes reveal much - and leave you with a mystery. When Hawkins appeared in a loin cloth singing ‘Frenzy’ in Alan Freed's movie “Mister Rock And Roll”, the segment was too challenging for producers and edited out. Where's the outtake? Now that would be worth putting on YouTube….

Roy Bainton

ROSE HILL DRIVE Moon Is The New Earth

Megaforce

Whilst many a promising band has fallen ill to the difficult second album, this sophomore release from Blues-rock trio Rose Hill Drive sees them building on their self-titled debut to deliver a record that sees them realizing their tremendous potential. The band blends a selection of ‘70s influences - The Who, Cream, Zeppelin - with a contemporary approach, giving the record's twelve original numbers a fresh feeling in an often derivative genre. One of the most impressive factors to note here is the band's growth, and willingness to experiment, particularly brave given they are still very much in their infancy. These risks have truly paid off for the band as the record deals with a broader spectrum than its predecessor, making the band's Blues roots less evident this time around and making way for a newly developed sound. This introduction of new flavours and styles sounds natural and unforced, and the band's sound is cohesive throughout, from the obligatory rockers 'Sneak Out', 'Altar Junkie' and 'Godfather' to the complex harmonies of 'Laughing In The Streets' and the acoustically-driven 'One Night Stand'. This release solidifies Rose Hill Drives position as one of the frontrunners of the Blues-rock new wave, and hints at an exciting and creative future.

Rhys Williams

JANIVA MAGNESS

What Love Will Do

Alligator

Janiva Magness is a class singer, a la Bonnie Raitt; a quite brilliant interpreter of lyric and song. Her art was borne out of what would, to a less positive person, be some totally negative experiences. One glance at her life CV leaves one aghast that the woman has survived intact, let alone developed into such an artist and evident humanitarian. Orphaned in her teens by the suicide of both parents, moved from pillar-to-post there-

after, child of the streets; somehow she found her way via a cathartic Otis Rush concert into music. Her route has taken her via local bands to her current high-water mark as winner of multiple Blues awards, and onto her seventh album release - her first on Alligator, a label befitting her stature. Magness has chosen a variety of writers and moving songs to exhibit her exquisitely soulful vocals. Her voice, which swoops from fragile to raunchy and from vulnerable to assertive, wraps itself around the words and feelings with such warmth and charm that the heart melts. Few vocalists are gifted and empowered to both raise the hairs on the back of the neck and bring tears to the eye in the way that she does. It is difficult to pick out the best of this CD, her most mature and moving to date, but the epitome of her searing heartbreak vocals are displayed to the full on Randle & Mills' 'One Heartache Too Late', the percussive 'Don't Do It' and the sass of her husband Jeff Turmes' composition 'You Sound Pretty Good'.

Noggin

STRETCH

The Best Of Stretch: Why Did You Do It?

Repertoire

R&B band Stretch were formed in the early-70s by singer Elmer Gantry and guitarist Kirby Gregory. Their live work had them up their with the likes of Bad Company and Rainbow and, indeed, their first album, "Elastique", from 1975 had a number sixteen hit here in the UK, entitled 'Why Did You Do It? The album is certainly more eclectic with solid heads down boogie on 'Tomorrows Another Day' and the country honk of 'Buzz Fly'. The second album of their three album deal with Anchor Records was the superbly titled "You Can't Beat Your Brain For Entertainment". This album was a more rock and boogie affair, with a superb stomping version of Bukka White's 'Fixin' To Die' and the excellent rocker 'That's The Wind Blows'a sure fire follow up hit, they had hoped, but it failed to chart. Their third and ultimately final album, "Lifeboat", saw them back in eclectic mood, with both Elmer and Kirby writing excellent songs and mixing them with the likes of Rick Derringer's 'Rock And Roll Hootchie Coo', which had John Peel enthusing over Kirby's guitar work. As always, lack of commercial recognition left everyone frustrated and Stretch parted with Anchor and indeed each other. A fine legacy of thoughtful songs remains, though, so take the opportunity to enjoy their music if you missed it first time.

Al Tait

BRAD WILSON Blues Alive

Cali Bee

This album of live electric Blues would be great fun to blast into your backyard while you're having a party, but if you haven't heard these songs before, you haven't been listening to the Blues. Brad Wilson is a California act, pretty much confined to touring that state, and he's a good guitar player, in the show off, amps-up style where you grimace constantly as you play. Let's see - 'Born Under A Bad Sign' has already been on more than 175 different albums… 'Sweet Home Chicago' on about

220… 'Mojo Workin'' - about 300? And that's to say nothing of 'Stormy Monday', which has already appeared on more than 500 recordings, surely? Obviously, Wilson is reluctant to play songs the fans haven't heard before. That said, this is not a bad album. All the players are decent. There's some nice organ here, some fine horn work there. There's not much variation in pace, with almost all these songs barnburners, though 'Last

Call', one of the album's highlights, does slow things down a bit to good effect. Wilson, like any number of technically good players whose egos sometimes overcome their musicianship, is subject to sudden spasms where he plays way too fast - just to show he can! Still, it's good, rollicking stuff. But people considering adding it to their collection should realize that it's meant mostly as a concert souvenir.

M.D. Spenser

SHARI PUORTO Down The Road

myspace.com/sharip

In 2008, Ace Records rereleased the debut album from Pasific Gas & Electric. "Get It On" wasn’t a commercial success for the band on its original release (1968), but it turned a few heads at Columbia who were impressed enough to subsequently sign the band. Our reviewer, Al Tait, was impressed enough on hearing the updated version, he spoke briefly with original bassist Brent R. Block…

BM:West Coast, late-60s, the hippie movement, Haight Ashbury… Is this the scene Pacific Gas & Electric were from?

Brent: Close. We were an LAband. Tom Marshall started the band, I'm not sure exactly when. I joined, along with Al Walton, in March of 1967.

Who would you cite as influences at that time?

Just about every Chicago Blues person or group there was. Charlie put me on to people such as Bobby "Blue" Bland, but my personal big time influence, as a bass player, was Larry Taylor from Canned Heat. In my opinion, he is the best.

What are your hopes for the re-release?

We've found out the band still has a lot of loyal fans, many of whom really loved this album. Its release puts the music back out there. Ace Records did a fantastic job with the sound and packaging. They managed to keep the spirit of the original album while making subtle changes that improved the sound. The CD contains all the original tracks along with bonus material that include alternate takes and songs not on the original release.

I have to ask about the name...

Over the years, I've been asked by a lot of people why we choose that name. My only answer has been it was the late-60s, if you get my drift, and it seemed like a good idea at the time. Think about other band names from the same era. AT

Well now! I suspected that this second album from Shari Puorto and her Rhythm Addicts might be a rare treat when I saw that the guitars were getting handled by the fantastic Blues player Alastair Greene. And that was before I noticed the name of the legendary Barry Goldberg plastered over production, songwriting and keys! You know, the one who formed The Electric Flag with Mike Bloomfield, who wrote songs for Rod Stewart, Gladys Knight, Joe Cocker, Steve Miller and Bobby "Blue" Bland. That's when he wasn't producing albums by Percy Sledge, Charlie Musselwhite and James Cotton. Or recording one of my all time favourite albums, "Blast From My Past". Add in the powerful voice of Shari, and you end up with an album that will probably end up on my list of favourites for this year. It's not a perfect album as Shari is at her best when she's letting rip, which means the ballads like 'This Ain't That Kind Of Love Song' or 'I Thought I Knew (You Were The One)’ fall a little flat next to belters like 'Treat Me Mean', 'Outta Mind' and 'What's It Gonna Take'. As with any woman singing the Blues, Shari has had the Janis Joplin comparison thrown her way, but I get more of a souped up Bonnie Bramlett vibe, even a touch of Rossington Collins band styled southern rock. She lists Etta James, Susan Tedeschi, Pat Benatar and the Doobie Brothers amongst her influences, and it's a heady mix of soul and Blues that raises a smile and lifts the spirits. The bonis live track shows there's no studio trickery, and "Down The Road" is definitely a CD to track down and enjoy.

Stuart A Hamilton

PACIFIC GAS & ELECTRIC

Get It On: The Kent Records Sessions

Big Beat/Ace

LA, 1966 and The Pacific Gas & Electric Blues Band were born, from arts school teacher Tom Marshall and pupil Brent Block. The rest of the band made up Charlie Allen (frontman), Glenn Schwartz and drummer Frank Cook from Canned Heat. It was through Frank's connections that the band got a deal to record this, their first album, on the Kent/Modern label in 1968. The music covers a few different genres i.e. the gospelly feel of 'Wade In The Water'; the progressive rock of 'Jelly, Jelly'; with the traditional slow Blues on their rendition of John Lee Hooker's 'The Motor City Is Burning'. The Canned

Heat similarities come not just through Frank Cook's drumming but also through Brent's bass playing. This release comes to us courtesy in the first instance from the leg work of Wendell Krueth and Tony Rounce, with Wendell tracing the original tapes to Ace records in England. In the second instance, it was the careful work of Ace's regular studio collaborator Rob Keyloch, who stayed true to the spirit of the original tapes. Rob also had the task of presenting for the first time nine previously un-issued takes of the original tracks. This superb moment in musical time is therefore presented to the many fans of the original PG&E, as well as bringing their music, hopefully, to a lot of new fans.

Al Tait

THE HAMMERS

Newark Fried Chicken

hammersband.com

The Hammers describe themselves as "a rock'n'roll band…merging R&B/soul, Blues, rockabilly, jazz and New Jersey shore sound," and anyone that's been on the bar scene for twelve years and made the hajj to the sacred grounds of Memphis, Chicago, Nashville and Clarksdale, are my good mates - though, we've never met - and the very fact that they're named Zarrillo, Masucci and Spinrad gets them a lifetime membership at my very exclusive "You're the dogs boll**ks" club! Stumble through the bar doors into The Hammers, midflow through 'Rippin & Runnin', and you're in classic '50s honk-

DEBORAH BONHAM

Duchess

ATCO/Rhino

"Duchess" is Deborah's debut American CD and contains thirteen co-written songs, with guest performances from the likes of Jason Bonham and Paul Rodgers. It highlights the real quality of Deborah as a Blues mama par excellence. Her vocal is reminiscent of the great Janis Joplin, but Deborah's register is slightly lower, giving more depth and a gutsy feel. She has surrounded herself with her band and session players who are top class and fully compliment her talent. There are some stunning guitar riffs, bass and drum underpins. 'Hold On' - a heart wrenching duet with Paul Rodgers - is sensational and is reminiscent of Eric Clapton in his middle era. An emotive plea that throughout all the pain and tragedy of life, of which Deborah has known her fair share, you should hold on and open your eyes - time is healer and life has much to offer still. Profound words!

'Duchess And The Shufflemeister' is power Blues ballad that tears at your heart in its intensity and screaming emotive vocal. If you like Blues-rock with an emphasis on the Blues, you'll love this CD. In Deborah, we have a new "Queen of rock Blues!"

Carol Borrington

ing sax, trilling piano, handclapping heaven. My geography ain't all that clever, so it's no surprise at all that 'You're Right (Married Life)' takes me to a packed Saturday-night New Orleans juke joint where I swear I can see Clarence Frogman Henry and Fats Domino having a Dixie beer in a smoky corner.

'Something Inside Of Me', written by Fleetwood Mac's Danny Kirwan, shows they can do the Blues, too. Take a deep breath and I'll see you at the other end because 'Looking' For a Girl' is a scorcher that never lets up - youch! Heavy riff rock-Blues on the wonderful 'Love Has Turned To Hate'; get-off-your-lazy-assand-dance propulsion on 'Cause I Can't Have Her'; sing-along honky-tonk Blues paradise on 'Guilty'; and the moving fluid, lonely guitar/organ instrumental 'Downtown Lament' all demonstrate great command of styles that the band clearly love. I can't help but think that a night in the company of The Hammers would be the best night of your life.

Peter Innes

SARA BAREILLES

Little Voice

Epic/Sony BMG

GABRIELLA CILMI

Lessons To Be Learned

Universal Island

Adele, Duffy, Winehouse, Rowley…you know, it's not just our ladies charged with bringing the Blues into the mainstream, yet none of our artists are doing so with quite the brazen modern pop sensibilities as these two. America's Sara Bareilles has enjoyed chart success here and at home with 'Long Song', and whilst there's nothing as unashamedly commercial on “Little Voice”, her Blues links are somewhat tenuous. The vocal, at times reminiscent of Shania Twain, is unremarkable, whilst the songs switch between over-produced, soulless Maroon 5 funk/pop and schmaltzy clichéd balladry, albeit perfect for the latest teen drama's romantic cliff-hanger. Perhaps the type 16year-old Australian Gabriella Cilmi keeps up-to-date with. Even if she's surely a few years short of even starting to get the Blues, and Xenomania's production is intrusive, her categorisation is at least more tangible. Okay, 'Save The Lies', 'Safer' and 'Don't Want To Go To Bed Now' do have the suspicion of Girls Aloud cast-offs (or, if we are being edgy here, Sugababes!), yet when they strip away the distractive production values, tracks like 'Sanctuary', 'Cigarettes And Lies' and 'Awkward Game' show an affecting and soulful singer with a real feel for the Blues - even if lyrics like "The sweetest thing/Ya make my socks go ding" are somewhat unsettling. Given her age, you'd expect Gabriella to take more control and add more of her own personality on future releases (tracks currently average five or six writers a piece), and hopefully there'll be no more "Stars In Their Eyes" auditions (Anastacia on 'Save The Lies') or cringeworthy Martha And The Muffins covers ('Echo Beach'). Whilst it's understandable the industry wants to capitalise, and for now any new female singer will get the Winehouse comparison by default, and although we want the Blues updated and brought to new generations, perhaps these two acts have pushed it far enough. Let's not lose the Blues' identity completely - they've already taken R&B off us!

Darren Howells

THE COME N' GO Something's Got To Give HIPBONE SLIM AND THE KNEE TREMBLERS

The Sheik Said Shake

POSSESSED BY PAUL JAMES

Cold And Blind ZENO TORNADO AND THE BONEY GOOGLE BROTHERS

Rambling Man ANDY DALE PETTY

All God's Children Have Shoes

Voodoo Rhythm

Voodoo Rhythm Records was founded in 1992 in the unlikely setting of Switzerland. Promoting what its founder, Beat-Man, describes as "primitive rock'n'roll," the label set out on a musical mission to provide folks with an alternative to more commercially popular music. In this context, rock'n'roll is best used in its general term, but as exemplified by the CDs under review, Voodoo Rhythm does a grand job of releasing the work of talented musicians influenced by traditional folk ballads, Blues, bluegrass, spirituals, hymns, parlour tunes, work song, stomps, breakdowns and, indeed, in the case of at least one of these CDs, some genuine rock'n'roll.

The music can be delivered in a traditional form (for example, Andy Dale Petty), with a contemporary twist (Possessed By Paul James and Zeno Tornado), moving into the Bo Diddley beat, rock'n'roll and '60s surf of Hipbone Slim and stretching the point a little, in the adulterated, punk infested "trash Blues" of The Come N' Go.

The purest Blues aficionados might struggle to provide anything other than a pretentious and very tenuous link between Blues as we know it and what The Come N' Go serve up for us, or, perhaps more aptly, throw up at usapart from some nice reed blasting harmonica, and the spirit in which the music is played, there is little I could say to convince you otherwise. In fact, there is very little on offer from any of these CDs to satisfy the more conservative Blues fan, unless, of course, you can't get enough knee trembling, Diddleyness into your life.

"The Sheik Said Shake" is a great record from Hipbone Slim And The Knee Tremblers. Authentic rock'n'roll and R&B, with a big Bo Diddley influence - 'Diddley Squat' being an obvious example - and even a little John Lee Hooker in 'Dead Man's Shoes'. Mix this with some of that rock'n'roll on the likes of 'Put A Rocket Up It' and 'Buried Next To You' and you have a fairly refreshing listen.

Possessed By Paul James, or Konrad Veret, was born into an Amish family and grew up in the Florida Swamps. His whooping hollering, grunting, growling, primal guitar, banjo and, I have to say, excellent fiddle playing on 'The Gallows', is set in contrast to his religious upbringing, where even the harmless piano was regarded as secular. But it is on this somewhat marshy ground that this music thrives and if you liked "Head Home" by O'Death, you're gonna love this one to.

"Rambling Man", by Zeno Tornado And The Boney Google

Brothers, blends traditional bluegrass ('Lover Of Your Dreams', 'Sober') and rockabilly ('She's My Neighbour') with a clever contemporary feel. It's another enjoyable stomp, but my personal favourite and perhaps, not surprisingly, the most traditional CD under review is Andy Dale Petty and "All God's Children Have Shoes" - this is nicely underlined by the fact that the sleevenotes contain a brief paragraph of folk history connected to the tunes, which is sure to please the musicologists among you.

A Bob Dylan tune, a lovely version of John Fahey's 'Sunflower River Blues', ballads, spirituals, a little bluegrass and some parlour tunes all played on guitar or banjo with minimal backing. Andy Dale Petty is a fine guitar picker and anyone interested in the early songster tradition will find a home here. Try 'Johnny The Walker Of The White Mountains' or 'Alabama Jubilee' for starters. Of the all the CDs under review, this one should satisfy the purists, but, at the same time, it still fulfils Voodoo Rhythm's mission to bring traditional music to a new audience.

In fact, all of these CDs do just what it says on the tinthe artists, Beat-Man and his label should be applauded.

Davide Styles

RORY GALLAGHER Shadow Play

Eagle

Rory Gallagher gained, and indeed earned, an affectionate reputation quite unlike any other guitar hero of his generation. To anyone who had the pleasure of seeing him on stage, this release will serve as an excellent reminder as to why he was so respected. Gallagher passed away prematurely at the age of 47 in 1995, and typically there have been many attempts to posthumously encapsulate the nature of this performer both in audio and video formats. This 3DVD set achieves it. Firstly the facts: nearly ten hours in length, with eighty live tunes covering live shows in Cologne 1976, Essen 1977, Loreley 1982, Wiesbaden 1979 and Cologne 1990. Additionally, there are two jam sessions from 1979 and 1982, and a frankly embarrassingly amateurish interviewer on the occasion of the first broadcast. It pays to take in one concert at a time, or else the whole thing is overwhelming. There are no pretences at polish and perfection here, just the raw and unbridled talent of an exciting and committed Bluesman. Some of the acoustic work is, in its own way, as welcome as what we have come to expect of the full on rock. 'Out On The Western Plain' is included in each concert, but this is more than a mere indulgence, for Rory Gallagher and band bring something fresh to each occasion. Even the absence of surround sound, some limitations of thirty year old technology and the occasional unwelcome interruption of the German VJs - for example, during 'Calling Card' from the Essen gig - cannot detract from the engaging warmth and energy of the man. He credits each author meticulously, and comes across to the excitable crowds as both humble and generous. His gruff vocal style may not suit all listeners, and the solos on the play-worn Fender Stratocaster might be sometimes a little ragged, but what souped-up power ran through the man. He was, above all, the master of frenetic slide guitar.

Noggin

REV. GARY DAVIS The Video Collection Vestapol

Given Reverend Gary Davis's reputation, and his influence on several generations of acoustic guitarists, from Blind Boy Fuller in the '30s onwards to Vestapol owner and renowned guitar tutor himself Stefan Grossman, and even further on to many of today's current crop of acoustic Blues artists, too much com-

ment from me will be superfluous. What you get for your money with this release is thirty-one tracks of varying film quality, but all of immense historical and musical interest. Everything is in back & white, of course. There are formal moments from television studios (one with a rapt Donovan looking on), less structured settings such as a wedding celebration (and footage of Gary with his famous cigar), with the performances dating from the early-60s through to the '70s. The whole DVD runs to around one and three-quarter hours and those who enjoy the 'holy Blues' of this true legend - an overworked word these days, but totally apt in this caseshould investigate this forthwith. Due to the sometimes poor picture quality, those not already converted should wait to acquire the fervour first (and then buy it!).

Norman Darwen

JONNY LANG Live At Montreux 1999 Eagle

By the time of this set, Johnny Lang, then still in his early twenties, was already touring his third album. The set is split pretty equally between songs taken from his breakthrough albums "Lie To Me" (1996) and "Wander This World" (1998). Jonny Lang was raised in Fargo, North Dakota and moved to Minneapolis, Minnesota when he hit pay dirt. There is something almost spooky and unnerving about this display of such a precocious talent; the weathered and emotional voice seems incongruous from such a fresh-faced youth - the mannerisms, contortions and grimaces seem rather too histrionic. But as the adage goes, "If you're good enough, you're old enough," and good, this young man certainly is. The band provides sympathetic support, but it really is Lang's show, from standards like 'Good Morning Little Schoolgirl' - one critic said he was probably the only performer who could sing the line "I'm a little school boy, too" and get away with it - to the rock of 'Right Back', he gives it everything. The guitar licks are explosive and that voice...! A taste of a new direction comes with the ballad 'Breakin' Me' and signifies the ill-advised tangent he was to take with his following two albums, where the guitar seemed almost forgotten as the voice went mainstream rock. However, for this moment, faith is restored with the blistering close to the main set 'Lie To Me' - fantastic riff, tortured vocals and powerhouse band add up to magic! The encore is a jazzy and extended rendition of 'Rack 'Em Up'.

Noggin

CLARENCE GATEMOUTH BROWN

ROY BUCHANAN ALBERT COLLINS Live From Austin Tx

New West

This set of DVDs celebrates one of the longest running music series on American TV, "Live From Austin Tx With Austin City Limits". The show featured Blues and soul, and covered some of the greats of the American scene. The format for all three shows is similar with the band playing in the round and running through a set of favourites with the guest artist. The Clarence 'Gatemouth' Brown set shows what made him so highly rated, with some superb guitar work, very fluid and clear with a chiming tone, and clear and well recorded vocals. The performance isn't electrifying but it does show what the man was capable of, and the band is very strong. 'Born In Louisiana' is terrific but when he picks up the violin for 'Dark End Of The Hallway' he does tend to the schmaltzy and sweet, although he completely redeems himself with a sterling 'Leftover Blues'. Roy Buchanan demonstrates exactly why he was Rolling Stone magazine's favourite, with a short set of incredible intensity. His vocals are rather understated but his guitar style is sensational, and after watching the DVD time after time, I still can't understand how he made the music he did without tearing the tips off his fingers. Unfortunately, his terminal shyness is also shown during 'The Messiah Will Come' where his vocals are almost whispered, as his guitar work brings tears to the listeners' eyes. 'Sweet Dreams' is as good as I have heard it and 'Hey Joe' is classic. The set from Albert 'The Iceman' Collins is fast, punchy and really good viewing - highly animated and seemingly happy to be there. The band is made up mainly of his regular band, plus a few of the Austin City Limits regulars, but "the star" is clearly 'The Iceman'. He hits all the right notes with 'My Woman Has ABlack Cat Bone', 'Lights Are On But Nobody's Home' and his classic 'Iceman'. These three DVDs are individually excellent, but together they give an insight into how vibrant the Austin Blues scene was and still is.

AC/DC Highway To Hell: A Classic Album Under Review

Chrome Dreams

Well, there's no arguing that "Highway To Hell" is a classic album. It's not the best AC/DC album - hell, it's not even the best Bon Scott era album (that's "Powerage") - but it was the one that first broke them in America, paving the way for "Back In Black" and their status as one of the premier hard rock bands of all time. Of course, it was also the album that saw them shake of their Blues and boogie roots, streamlining their sound and smoothing off the rough edges. This DVD starts off by taking a look at the progress of AC/DC up to "Highway To Hell", with the usual array of talking heads and a few snippets of vintage film. The skimpy footage of the band themselves is always the downfall of unauthorised DVDs like this, hence why we get thirty seconds of Freddie Mercury on stage to illustrate how good a frontman Bon Scott was. I don't know the legal shenanigans about what can and can't be used, but there must be a limit on the number of seconds you can use before you have to hand over the big bucks. How much you enjoy this will depend on whether you're the kind of person who has spent far too much time arguing over whether the US tracklisting of "Powerage" is better than the UK one. I am, so spent a fair amount of time shouting at the TV every time Mutt Lange got praised and Eddie Kramer got dissed - and even I would struggle to spend ten minutes talking about what 'Highway To Hell' means. As these things go, though, it's a good one.

Stuart A Hamilton

HOWLIN' WOLF In Concert 1970

Vestapol

"Who's Howlin' Wolf", an interviewer asks numerous black people at the start of this CD - and those who have any idea at all are very much in the minority. I guess, if we conducted a poll of the readership as to how many readers are familiar with Wolf's stage show, we'd get a similar response. Which, of course, makes this DVD invaluable - it is little short of disgraceful that there is so little footage of Wolf available, and after you have seen this one hour black & white show, recorded (in places rather amateurishly, but who cares?) at the first Washington DC Blues festival, you'll agree. Wolf was an old-fashioned showman - he crawls onto the stage as befits his name, he is seated some of the time, but still gurns and preaches at the audience, and when he does stand up, he stalks the stage and demands attention - just to see him open his mouth and hear that voice come out is an experience in itself. The songs are interspersed with a …continues on page 130

Andy Snipper

CLAIRE SIMONE

As a vocalist, over the years, I have enjoyed performing in various line-ups which were more jazz and soul influenced. However, for me there has always been something special about singing the Blues. Knowing how to sing classic Blues, I feel gives me a solid foundation to continue developing my vocal stylings in the other genres.

"I'm not into copying anyone's style or having anyone compare me to a particular singer in any genre. As an artist, I just like to get a feel for the melodies, and I like to create space for a casual conversational exchange with the other musicians. I especially find that creative freedom with performing Blues numbers.

"When it comes to recording, I enjoy getting involved in the production. However, for me, it's not about adding more sounds, but stripping it all back to basics - simplicity. I love creating a 'live' sound which is uninterrupted and untailored with a free flowing jam-like feel to it.

"One of my main influences is the late Karen Dalton. She had a great vocal presence, and the recording is perfect. I'd like to make records like that. Blues artists like Billie Holiday Etta James and Muddy Waters have also influencing my approach to singing and writing.

"Recently I recorded one of my original Blues songs 'Baby It's Time' with Derek Vallance, a very talented musician from Liverpool. We will hopefully have an EP completed later in 2008.

"Things are very exciting right now, and I am having a great time making music with some amazing people, but ultimately I would love to get out and tour with a band, and make live records, lots of them!

Claire Simone myspace.com/theclairesimoneband

WhiteFire (myspace.com/whitefirerock) are a great example of how hard some bands work to get themselves on the mapperpetually on tour, having been on the road with Tygers Of Pan Tang, they have cropped up all over the north of England, from Blackpool to Bradford and all points in-between. Their hard rockin' antics recall the same influences as their music, with AC/DC and early Whitesnake coming immediately to mind! Warrington lads The Stocks (myspace.com/thestocksmusic) are something entirely new and fresh. Self professed fun time

musicians, these guys play for the love of the music and don't dwell on loftier ambitions, though with these tunes they'd be perfectly entitled to aim high. Delta style slide guitar stands out over Madchester indie tunes. Fresh, unique and a little bit special, these lads are in direct debt to nobody. Lets head east, stopping off in Leeds to check out The Old Romantic Killer Band (myspace.com/ theoldromanti-

Claire Simone: looking to hit the road.

The Dirty Backbeats

EDWIN DENNINGER

I am a Blues guitar player and singer from Marseille, France. My origin is from Australia. Now I'm based in Germany, where I'm pursuing my career with my drummer Bertrand ‘Rockin’’Robinne, bass player Adam Blicharski and keyboard player Ulrich Klein.

"My vision of the Blues is modern. My style is to mix Blues with rock, funk, soul and modern sounds! That's why I write my own compositions.

"Alot of bands play 'Sweet Home Chicago'. Yes, that's cool, but it is also good to create new styles with respect to the Blues. It's not obligatory to play the twelve-bar Blues every time.

"I am searching for a label in order to record my first album. I worked on some new songs already. Feedback from the fans has been helpful for me. You know, we Blues musicians stay close to the audience and exchange ourselves personally after the show.

"We all know, life is hard sometimes, we are lucky to work this up by playing and listening to the music. Personally, I am aware that I am blessed and I know life is good. So, stay close and stay tuned to have a party!

Edwin Denninger myspace.com/edwindenninger

"My biggest influences are Stevie Ray Vaughan, who gave me many emotions with his notes and, of course, Jimi Hendrix, who put me on guitar. I also listen a lot to Albert King, B.B. King, Luther and Bernard Allison, Buddy Guy, John Mayer, Prince, Marcus Miller and Miles Davis.

"It is very important for me to reach people from every age with my music because there should be no set age for listening to the Blues.

"I was lucky to be supported in 2006 by an independent label that permitted me access to many known stages in France. I made a lot of gigs and played in front of thousands of people. The press in France and the radio gave me good feedback and I am happy that a well-known French radio station asked me to publish my song 'Cryin' To The Moon' on their jazz compilation.

"One passion as a musician is to play live. People say that my show's are touching and energetic. I've had the chance to jam with many Blues and rock artists, like Paul Personne and Bernard Allison… Now I am ready to rock the house in Germany and across Europe.

ckillerband). Being a two-piece, comparisons to a certain Detroit duo are inevitable, but these guys are a lot more laidback. Chilled out tunes are the order of the day, the pick of them being 'Girl You Have All The Fun' - a laconic indie anthem in waiting! Cosmopolitan Leicester is our next point of call, a town more famous for Adrian Mole, Walkers Crisps and Showaddywaddy than for the Blues. The Dirty Back Beats (myspace.com/thedirtybackbeats) are the city's hidden gem, though. Abizarre mix of Captain Beefheart psychedelia, Tom Waits lyricism and Love's R7B thrust! Listen to their version of 'Shakin' All Over' - the sonic equivalent of walking down a dark alley at night and sensing someone coming up behind you (a mixture of fear and adrenalin fuelled excitement). One more stop off before we go, and it’s sunny Hemel to meet Jack And The Giant Killers (myspace.com/jackandthegiantkillersmusic), four young men mixing angular indie rock, jagged gui-

tars and a dirty Blues feel. With influences including The Libertines, George Benson, Incubus, Cream and John Mayer, this should be a mess by rights, but it works - the songs are catchy enough for pop radio and gritty enough to appeal to Blues fans. Most of all, though, these guys are summed up easily in my favourite way, they are FUN! MM

Edwin Denninger styles himself!

backstage interview (pianist Sunnyland Slim also adds comments). Anything else to mention before I tell you to go and get this? Only that guitarist Hubert Sumlin, now a veteran and legend in his own right, looks about 16! Oh, and do keep it running for the (colour) bonus track.

Norman Darwen

FEATURE FILM Desperate Man Blues

Dust-to-Digital/Cube

The "desperate man" featured in this superb documentary is an American from Frederick, Maryland called Joe Bussard. In the early '50s, Joe heard the music of Jimmie Rodgers. Buying what he could from the local dime store (he's 14 years old by the way), he searches all the local places available to him (as in asking at peoples houses) till at 16, and being old enough to

PAUL GEREMIA

drive, the luxury of a car gets him to surrounding areas, in his search for Mr. Rodgers' music. The early-50s was a good time for asking for unwanted 78s (Joe is interested in pre-war American music of all genres, and is quite scathing of music post-war), as television was taking off and people were happy to have some young kid wanting to shift their old pile of shellac with a coupla dollars to boot. Through this mass "collecting", Joe found there was lots of other great music to enjoy, providing the grooves hadn't been worn away by the vicious Vittrola wind up players and their steel, shellac eating needles. The world of the record collector was born, as Joe (and the others like him) discovered there was some value in these old records and, indeed, these collectors were saving their musical heritage, as not even the record companies were interested in preserving their own recorded masters. Be warned, though, this is not about some stuffy old guy and his precious "hands off" collection (he's not too enthusiastic about the Library Of Congress

Guitar Artistry Of Paul Geremia: Six & Twelve String Blues

HARRY MANX

Guitar Artistry Of Harry Manx: Raga Meets The Blues

RORY BLOCK

Guitar Artistry Of Rory Block: Country Blues Guitar

ERNIE HAWKINS

Guitar Artistry Of Ernie Hawkins: Blues & Ragtime

Vestapol

These four latest instalments in the popular "Guitar Artistry Of…" series offer "star tuition" in a diverse array of styles and techniques, ranging from country Blues, fingerpicking, slide, and lap steel playing. The appeal with this DVD series is the fact that the teachers involved are the very artists who have made the techniques they are teaching famous. The production of all these releases is simple and gimmickfree, adding to the illusion of one-on-one tuition from star players. There is also a healthy mix of original numbers and Blues standards included here, acting as a further lesson in tastefully reworking classic material. Paul Geremia's style is very much in the mould of Robert Johnson or Leadbelly, having honed his craft playing with legends such as Son House, Skip James and Howlin' Wolf. His Texas fingerpicking and slide style is impressive and tasteful and he delivers an impressive range of classic material. Geremia is a natural storyteller and his humorous recollections of a colourful life on the road are immensely entertaining. The Rory Block release is filmed in an identical manner to the Geremia release, and this simplistic approach only enhances the sense that you're witnessing something special. Block reminisces about her life in music, and discusses her songwriting process in great depth. Block too cites Son House as a mentor and the great Bluesman's influence is clear to see. Her fingerpicking technique is impressive and she delivers many affecting performances of original material, as well as a number of Robert Johnson classics. 60-year-old Ernie Hawkins has long been a revered figure amongst Blues traditionalists in the USA, and this release shows just why. His playing style is highly reminiscent of his hero, Rev. Gary Davis, and he performs a number of Davis' songs here. The ragtime nature of his playing makes this release a particularly unusual and useful one for players wishing to learn and develop new techniques, and the camera work on this release is well catered to guitar players, making it easy to see and understand what Hawkins is playing. Perhaps most intriguing is the Harry Manx release, which sees the artist fusing eastern and western music together into a unique sound. Having travelled extensively, Manx displays influences from Europe, Japan, Brazil and, most prominently, India. His live performances have become infamous and this DVD serves up a brief slice of the live experience, as well as delivering a unique insight into Manx's playing style. Whilst each release varies in its appeal depending upon the audience's individual tastes, one of the most widely appealing factors of these intimate lessons are the fascinating monologues from each tutor. These range from playing tips and personal backstories to in-depth analyses of influential players and styles, and are every bit as entertaining as the guitarplaying sections. Overall, excellent additions to an already impressive series.

Rhys Williams

either), but the most enthusiastic music listener whose hard work he is very happy to share with the rest of us. Take some time to check out an unsung hero of American pre-war music.

Al Tait

WILLIE KING Down In The Woods Visible World

You don't get more "Down In The Woods" than places like Old Memphis, Pickens County, Alabama - or more down home than people like guitarist/singer Willie King (a guy whose family were still sharecropping for most of his life). Mind you this 65year-old isn't just sitting round on his trailer porch, as this documentary shows; Willie has some teaching to do. He uses the Blues to reflect on his life and the political struggles that still goes on in the southern states (Alabama was some twenty years behind with it's Civil Rights) - though, he has a mixed band, with Englishman Rick Asherson on keyboard/harp and, also, as his manager, with Debbie Bond on guitar and vocals (he also gets to play gigs like the B.B. King homecoming in Indianola).

Willie likes to get out and teach the kids in the community about the Blues and their cultural heritage. There's also involvement with the Alabama Blues Project, which brings young and old, black and white together, but all part of Willie's opportunity to put back and pass on the very medium which has kept him from going under. His music is solid and undemonstrative but, never the less, his vocals have a power and a point to them. An excellent insight, showing that the essence of the Blues is still relevant in today's USA.

Al Tait

THE GUV'NORS

Guv'nology - 20 Years On The Run Totally Rhythm

This DVD is my first experience of a Guv'nors gig and it has certainly whet my appetite to see more. Their unique blend of Latin, funk and hip hop rhythms, together with their own take on the Blues, makes their music a joyous event. Coupled with Robert Hokum's sense of humour, they certainly come over as having a fun time. All the music here is live and is a celebration of their 20th anniversary. Opening with 'Kickin' It Back', the music is played to a montage of both still photos and video clips taken from their past. Next up is 'Trippin' Backwards', from the Ealing Festival of 2004. I was really absorbed by the percussive power and the great rhythmic feel of this track - perhaps the best song here. Most versions of Dylan's 'All Along The Watchtower' take the Hendrix electric route, but here the band start in a very controlled and diminutive manner, gradually building in both volume and power, with the onus very much on the beautiful keyboard playing of Tim Penn. Probably one of the best versions I've heard of this great song. A studio gig opens with the great rhythmic 'Change' before an excellent version of B.B. King's 'Rock Me Baby', the band showing its Blues credentials to the fore.

Merv Osborne

ZZ TOP Live From Texas Eagle

Well, Billy Gibbons can't sing the high notes anymore, the editor must have licked a lot of desert toads to come up with the shocking visuals, and the audio really doesn't pass muster on a fancy schmancy 21st century sound system, but this still remains a must have DVD. Why? Because it's ZZ Top! And, amazingly, as they head into their fortieth year, this is their first ever live DVD. November 2007 saw them taking to the stage in Grand Prairie, Texas and after a low key, opening'Got Me Under Pressure'they hit one of several peaks, as they launch into 'Waitin' For The Bus/Jesus Just Left Chicago'. It was songs like these which got me loving ZZ Top back in the day, not the insipid 'Rough Boy. Naturally, they have to dig out "the hits", but there's still room for 'Blue Jean Blues' and 'Tube Snake Boogie'. When Billy Gibbons lets his slide guitar sing on 'Just Got Paid', everything is right with the world - for a few minutes, at least. Over in extras world, there's almost a great idea in the shape of the 'Poker Game', which sees the trio sitting round a card table reminiscing about the old days. It's just a little too bitty, but it makes a change from the normal talking heads. There's a pointless photo shoot, a brief snippet of behind the scenes footage from a completely different show and another live track from the DVD show, as ZZ Top tackle Jimi Hendrix's 'Foxy Lady'. It's almost as if the last twenty years never happenedwith only the lacklustre 'Pin Cushion' representing the lost decades. In the end, though, it's nearly, but not quite, no matter how hard I want it to be.

Stuart A Hamilton

GREGOR HILDEN BAND

Live At The Luna Bar

Acoustic

Recorded at The Luna Bar in Munster in November 2006, this DVD brings over ninety minutes of quality Blues, as Hilden's four-piece is augmented by a number of guest artists. Opening with 'Stick With Me', featuring the powerful yet silky vocals of American Wilson B, the show gets off to a fine start. This is followed by 'Shuffling' and then Wilson vacates the stage for three instrumentals. The tempo slows for a beautiful song called 'Golden Voice Blues'. Next up, American Johnny Rogers takes the stage for 'One More Time' - sounding every inch the "Philly" soul man, whilst the whole is underpinned by some beautiful trumpet. On 'Mature Blues', Keith Dunn (on harmonica) blows up a storm. The fairer sex is represented by the very classy Harriet Lewis, every inch "the diva", with kerchief in left hand as she powers her way through 'In The Heart Of The City'. There is over an hour-and-a-half of great music from a small, intimate club. Gregor is an excellent, if seemingly shy guitarist - he never talks but just lets his musicianship and songs tell it for him, as he coaxes a variety of tones and sounds from his Gibson. All cuts are self-penned and there isn't a weak one amongst them. The whole band enjoyed themselves, and so did I.

Merv Osborne

(main) King Pleasure & The Biscuit Boys. (polaroids, from top) Joanne Shaw Taylor and RJ Mischo.

photos: Tony Winfield (bluespics.co.uk)

LINTON MUSIC FESTIVAL

Friday, 20th June - Sunday, 22nd June 2008

This was our second visit to the festival, held in the grounds of the Alma Inn near Ross on Wye in Herefordshire. Fortunately, the great swathe of rain that was forecast for the weekend missed Linton and we got away lightly with a couple of showers. Nothing to shout about and mostly it was fine and sunny.

The festival kicked off on Friday night with The Revolutionaires, led by guitar/vocalist Ed Stephenson, and a great mix of lively '50s R&B, influenced by Chuck Berry and Louis Jordan. The energetic dance moves all over the stage were infectious and the crowd were up dancing early into the set, as they went through numbers like 'Cell Block Number Nine', 'T-Bone Shuffle' and 'Shake Your Hips'. A rousing start to the weekend!

Slowburner were a last minute addition to the line-up, in place of the defunct Revelator Band. They blistered straight into their Blues-rock set, comprising of songs from their "One Trick Pony" album and some great covers. They played a powerful set, with some excellent musicianship. Vocalist Paul Bridgewater, in particular, getting a great reception from the audience ,with numbers including 'Stormy Monday', 'Bullfrog Blues' and a first-rate arrangement of 'Messin' With The Kid'.

The Blockheads are celebrating their 31st year, and they opened with 'Sex And Drugs And Rock And Roll', which caused the crowd to surge and fill the grassy dancefloor. 'What A Waste' followed and then a mixture of numbers from their back catalogue, along with some new material with a lyrical content that Ian Drury would be proud of. The vocals shared between Derek the Draw and John Turnbull were in keeping with the original Blockheads sound. The crowd chose the encore as the band came back on stage to chants of 'Hit Me With Your Rhythm Stick'. Brilliant!

Saturday kicked off with The Joanne Shaw Taylor Band, a three-piece with Andy Taylor on bass and Mick Gibbs on drums. We've seen Joanne a few times but this was the best yet, as she treated us to numbers from her new album "Peace In The Sky", and covers including Albert King's 'Can't You See What You've Done To Me' and 'Bones' by The Hoax. Joanne is an established member of the British Blues circuit since coming to the forefront as a child prodigy, and her performances go from strength to strength with her growing maturity.

Linton struck gold when they discovered the next band, four Dutch guys called Big Blind, who were making their debut in the UK. They gave a superb performance of their own material, getting a great reception from the crowd, and their enjoyment was obvious as they jumped from the stage and played their way through the throng. They made many new fans and sold a good few CD's, including the one we bought. We highly recommend this band.

Nublues followed, a four-piece with Ramon Goose on guitar. These guys are very different; playing what can only be described as hip hop/rap Blues. A great mix of old style Blues played with a modern twist, giving a good selection of their own stuff together with a couple of classics, with a refreshing slant. Another great band to look out for and sure to bring the Blues to a younger audience.

Next up was a major coup for Linton, with legendary Bluesman RJ Mischo And The Red Hot Blues Band. They played a rocking boogie Blues set with some amazing harp playing by the master himself. Particular favourites of ours were 'Crawling Kingsnake' and 'Jambalaya'. It was party time for the dancers!

The Stumble were back for the second year running, breaking a Linton rule of never having the same band twice - but it was agreed unanimously that these guys were worth it! Former keyboard player with the band, Bill Roberts guested and added a new dimension. Colin showed his versatility by playing the harp on a couple of numbers, as they tempted us with a collection of songs from their forthcoming album. This band just gets better, and there were many requests for a third successive appearance next year.

We missed most of the last set by King Pleasure & The Biscuit Boys, as the rain set in and they literally stormed their way to the end of the night with many still partying through the downpour.

The Ramon Goose Band opened the proceedings on Sunday, a superb guitarist making his second appearance of the weekend. Ramon's style was totally different from previously and, at times, we heard shades of Matt Schofield and Walter Trout. They played a mix of their own stuff and great arrangements of various covers, from artists such as Eric Bibb, B.B. King and Robert Johnson, including a brilliant rocked up version of 'Come On In My Kitchen'. We will definitely go and see this band again.

A jazz/soul set followed from DC Fontana followednine very accomplished musicians who offered some old favourites, including 'Heard It Through The Grapevine', 'Green Onions', and 'Sunshine Of Your Love'. They were well received by the crowd.

The British Blues Quintet were next. Zoot Money played the introduction and filled in expertly between

Maggie Bell's songs, which included 'As The Years Go Passing By', 'Wishing Well' and 'No Mean City', to name a few. Other members of the band ably showed their talents, with bassist Colin Hodgkinson's 'Walking Blues' and guitarist Miller Anderson's 'That's Why We Sing The Blues'. Maggie got down from the stage to sing and dance with the delighted audience and ended the set in superb style with 'I Just Want To Make Love To You' and 'Respect'. An awesome performance!

The Animals filled the dance space to capacity as they ended the festival with a fantastic selection of their '60s hits and classics of old, including 'It's My Life', 'I'll Put A Spell On You', and 'Boom Boom', just to name a few. They ended predictably with the one song they can't leave without doing, 'The House Of The Rising Sun'. A rip-roaring end to a fantastic festival.

Tony Winfield & Sue Hickling

HARD ROCK CALLING

Saturday, 28th June 2008

The Saturday of the Hard Rock Calling event in Hyde Park promised a jaw dropping line-up of great Blues players. Coinciding with the likes of Glastonbury, there was perhaps not the crowd we'd expected, with the numbers only gradually increasing as the day wore on. However, this did not affect the atmosphere one bit, instead lending a relaxed vibe to the day's proceedings.

As was to be expected, the main stage line-up was a sight to behold, but there was also a plethora of relatively unknown talent on display on the second stage, such as Blues-rock trio The Scott McKeon Band, who got the festival off to a flying start. The guitarist was on top form, his phrasing and attack phenomenal.

First up on the main stage were The Steve Boyce Band, a well-honed country/Blues-rock outfit whose heavy, upbeat sound was slightly mismatched with the early afternoon crowd, most of whom lay lazing in the sun. Though they are a hugely talented group and Boyce possesses a huge voice, reminiscent of Roger Daltrey. The fact that this band won their opening slot on a Virgin Radio talent competition may have had something to do with their relatively lukewarm reception.

photos: PG Brunelli

After a slick change-over, Robert Randolph & The Family Band took to the stage and, for the next fourtyfive minutes, proceeded to convert every member of the audience to their powerful blend of Blues, rock, funk, soul and gospel. Randolph's lap steel playing was sublime and he seemed in his element, switching seamlessly from searing lead to reserved rhythmic playing, all the while leading his band of exceptional musicians and jolting the crowd out of their.

The energy onstage was contagious, with Randolph jumping up convulsively and kicking his chair out from underneath himself on several occasions. The band certainly know how to put on a great show. However, their onstage antics rarely detracted from the quality of the music. Their own songs, although brilliantly written and performed, were largely unfamiliar to this London crowd, but with the occasional nod to better-known material, such as an incendiary cover of Hendrix's 'Voodoo Chile', the band had the audience eating out of their hand. John Mayer took to the stage to general roars of approval, and screams of adoration from female fans of all ages. Focusing mainly on material from his latest album, "Continuum", Mayer's relatively new-found status as a Blues player was shown off in all its glory. His performance was impeccable, from the subtle soul of 'I Don't Trust Myself With Loving You', backed by a fantastic, haunting horn section, to the all out funk of 'Vultures'. Yet, as impressive as his playing may be, it is undoubtedly Mayer's songs that have made him such a success, and all his original work shines in the band's live arrangements. In a surprise inclusion, Mayer showcased his new-found grip on the Blues with a reworked, Bluesy cover of Duffy's 'Mercy' - his soulful vocals soaring out over his audience, leaving them spellbound, and practically inconsolable as he left the stage.

Eric Clapton's arrival was heralded with the type of overwhelming crowd response that only acts of his calibre can command, and it was immediately clear who the majority of the crowd had come to see.

Clapton barely spoke a word to his audience throughout his two hour set, occasionally offering a heartfelt: "Thank you" - it was clear that he considers himself blessed to still be doing the thing he loves, and on this scale. Whilst guitar aficionados were not disappointed - Clapton delivered some unbelievable solos that reminded us he is still one of the finest players around - he also displayed great humility in stepping back on several occasions and allowing the long-standing members of his band to take the limelight. Doyle Bramhall II is a particularly essential feature of the line-up and turned in a number of solos that stood on a par with his band leader's.

Though time-honoured classics such as 'Layla', 'Wonderful Tonight' and 'Running On Faith' were all included, the set was predominantly Blues-based, and was a real treat for all Blues enthusiasts. Songs such as 'Key To The Highway', 'Travellin' Blues', 'Hoochie Coochie Man' and 'Outside Woman Blues' allowed Clapton to show off his Blues chops, with extensive soloing and powerful singing - it was obvious that the Blues is still what he takes the greatest pleasure from.

Perhaps the highlight of the entire day was the miniature solo set featuring Clapton centre stage, armed only with an acoustic guitar and his voice, which has been made all the more authentically world-weary by time. In this intimate, and all too brief, acoustic interlude, we saw Clapton at his most stripped down on the fingerpicked Blues standard 'Driftin' and a spinetingling cover of Hoagy Carmichael's 'Rocking Chair'.

The band returned to the stage a few minutes later and, to the delight of the crowd, were joined onstage by their fellow performers; Sheryl Crow, Robert Randolph and John Mayer. Clapton, yet again, played the role of humble side-man for the majority of the obligatory encore, 'Crossroads', which acted as a mouth-watering display of guitar playing prowess, with breathtaking solos from Mayer, Randolph, Bramhall and old Slowhand himself, bringing the day to its glorious, climatic finish.

Rhys Williams

LEICESTER CITY BLUES FESTIVAL

Friday, 30th May - Sunday, 1st June 2008

From last year's one-day event, the Leicester City Blues Festival had developed into a three-day festival to rival anything else around the country. Superbly organised, with three stages, on site camping, a festival village, with stalls and amenities, and a mix of local, national and international talent covering all flavours of the Blues, from early Delta to young, fresh bands putting their own slant on the genre.

An early start in the Marquee featured two of the new generation of Blues influenced artists - firstly Matt Andersen, who was accompanied by Andy Wilde in a laid-back acoustic set, and secondly The Sugars, a trio described as garage/Blues, who gave an excellent show of original rock material that instantly converted us.

The Main Stage session began with Tipitina, a four piece with a New Orleans influenced jazz/boogie woogie slant.

As became the custom for the weekend, the changeover signalled a dash back to the Marquee, this time for The Drugstore Cowboys and some foot-stomping rockabilly that had the growing crowd ecstatic, with their blend of original numbers and great cover arrangements.

Kingsize were a big band ska outfit with plenty of high energy madness and some well known covers, with a reggae back beat putting everyone, including ourselves, into a partying mood.

The evening in the packed Marquee ended with Mike Sanchez & The Portions giving the best performance that we have ever seen from him, including superb versions of 'Shake Your Hips' and 'Oh Well'.

A big band finale on the Main Stage heralded King Pleasure & The Biscuit Boys - a group of very talented musicians with plenty of humour from the bassist, but the crowd looked a little thinner than earlier in the Marquee. The Biscuit Boys could liven up this rather tired band by "hob-nobbing" with a new vocalist.

The third annual Appleby Beer and Blues Festival will be staged over the weekend of 19th to the 21st September 2008. The three-day event will feature the likes of Robin Bibi Band, John O'Leary Band, Oli Brown Band and Krissy Matthews. Weekend tickets are £42, with session tickets priced at £10 each, and they can be obtained from the New Inn on 01768 351317 or the Tourist Information office on 01768 351177. There is free entry to the beer festival, offering twenty real ales, which is in a separate room to the music. applebybeerandblues.com

Swanage Blues & Roots Festival will take place between 3rd and 5th October 2008, with over forty performances staged at fifteen indoor venues. Whilst there's free admission to all venues, attendees are expected to make donations. Acts confirmed to appear include: Robin Bibi Band, The Mustangs, Keith Thompson's Strange Brew, Coalhouse Walker Blues Band, Ernie's Rhythm Section, John Crampton, The Jives, Sonny Black, Will Killeen, Bob Long and Mike Healey, with organiser Steve Darrington also set to perform. bluesroots.org Howden Live organiser Mark Rodger has confirmed details of the inaugural Howden RiBFest, to be staged on Saturday 22nd and Sunday 23rd November 2008. "Over the last couple of years our autumn seasons have not gone well across the board," admitted the promoter, "and rather than severely restrict events and go backwards, I came up with the idea of The Howden RiBFest." Acts confirmed to appear at the two-day event in East Yorkshire include: Slack Alice, Derrin Nauendorf, Geno Washington & The Ram Jam Band, Jim Diamond & Snake Davis and Sherman Robertson. "I believe this weekend event is pretty unique to the area," enthused Mark, "and I hope to raise its profile as high as possible to make it as successful as possible." Weekend ticket: £50 before 31st October, £55 before 21st November or £60 on the door (subject to availability). Individual sessions: Saturday afternoon £15, Saturday night £25 and Sunday £20. howden-live.com

Saturday began with a rousing start to proceedings and some Blues-rock from the locally based Jack Of Hearts Band. We enjoyed these guys better last year in the Marquee, which has better sound, lighting and atmosphere.

In contrast the Marquee began with a more sedate acoustic session from Pete Molinari, a singer/songwriter much in the vein of Woody Guthrie and Bob Dylan, with a great voice and poetic lyrics.

Next our first viewing of power trio Chicken Legs Weaver, and we loved this band. Earthy rasping vocals served up the dark side of the Blues, with lyrical echoes of Nick Cave.

Harper certainly dished out Blues with a difference, being probably the only Blues artist with a didgeridoo as one of his main instruments. It worked very well, giving some great effects and with a highly talented funky band behind him.

The timings were now beginning to run amok between the two venues, so we didn't see enough of Hijak Oscar to form a real opinion, but Oli Brown didn't disappoint - some great rocky numbers and some emotive slow Blues guitar. One of his songs, 'Psycho', really caught our attention - supposedly, a true story about a female stalker. At times, his guitar playing seemed to have shades of Matt Schofield.

Son Of Dave is a tangent from mainstream Blues that will appeal to a new generation. Sampling, beat box, harmonica and a variety of other obscure and improvised instruments, and a touch of the manic, completed what was a very entertaining act.

A prior arrangement had us scuttling off back to the Marquee for David "Honeyboy" Edwards. A living contemporary and friend of Robert Johnson, he gave a superb display of genuine Delta Blues with a friendly and humorous delivery.

Alvin Youngblood Hart was every bit as good as we imagined. We especially enjoyed his arrangement of 'In My Time Of Dying', which in our opinion rivals Led Zeppelin's.

Following an entertaining and amusing sound check, The Hamsters blistered into their set with their hard-hitting "take no prisoners" R&B. On this occasion, they decided against their usual "jump off stage and crowd walk" stunt - when they realised

Sherman Robertson's raising Howden’s profile.

photo: Christine Moore

how high the stage was! These guys should have headlined. Superb, as always, and in a class of their own.

Gary Moore ended the night, and although his axe talent is undisputed, he seemed to lack any emotion or enjoyment in his performance. His diva attitude and arrogance spoiled it for us.

Sunday and the main building was closed, so all the action took place in the Marquee. The Ragtime Jug Orchestra got us off to an early start with a step back in time and an authentic and informative tour of pre-war Blues. The crowd reclined leisurely on the grass, absorbed.

Leicester-based band Crowfoot were next, with their own take on Mississippi gospel Blues, or as they described it "anti-gospel." They played some good covers and some excellent material of their own.

The Forty Fours take their influences from RL Burnside and contemporary Delta Bluesmen. Putting their own slant on the music, they added powerful rhythm and electronic guitar effects to produce another dimension to the sound.

Lorna Fothergill is one of the best female vocalists on the circuit. Together with husband Jules, Funkydory played enough great tracks from their album "Still" to convince us to buy it. Especially impressive was their version of The Allman Brothers' 'Whipping Post'.

The Leicester Acoustic Blues AllStars comprised of a collection of local artists bought together to perform a varied selection of cover numbers and a couple of well penned originals. The laid-back jamming style went down well with the relaxed crowd.

Another guy formerly from Leicester is Adrian Byron Burns. Respected by his peers, and very popular with the crowd, he is a superb guitar player with a soulful voice. We particularly enjoyed his version of 'Born Under A Bad Sign'.

The Groanbox Boys had the audience craning their necks to see the amazing collection of percussion instruments, as they blasted their way through a set of swamp rock. A trio with an accordion, a selection of banjos and an impressive array of tree stumps, bells, bottle tops, a hammer and chopsticks just to name a few. Very original and entertaining and well worth seeing.

Ian Siegal's set showcased a sample of songs from his forthcoming solo album, showing a different side to Ian as, in his own words, he risked the wrath of the Blues police. Pushing boundaries into country and soul, in his inimitable way, he included a superb version of Mary Gautier's 'I Drink'.

Simon Honeyboy Hickling is another stalwart of British Blues that we've wanted to see for a while, and we weren't disappointed. He smiled, laughed and joked, enjoying himself almost as much as the audience did.

photo: Tony Winfield (bluespics.co.uk)

The Marquee was packed to the end as the Travelling Riverside Blues Band raised the canvas roof with a rocking Blues finale. Some excellent guitar playing, and a superb version of 'Meantown Blues', ensured that the party went on to the very end, when the first drops of rain began to fall.

Watch out Burnley, Colne and Maryport - Leicester is well and truly on the map!

Tony Winfield & Sue Hickling

CHICAGO BLUES FESTIVAL

Thursday, 5th June - Sunday, 8th June 2008

The Chicago Blues Festival is by far the largest free Blues festival in the world and is now attended by in excess of 800,000 people. The festival takes place over four days in early June in the magnificent setting of Grant Park in downtown Chicago. Seven stages play host to over one hundred performances, serving up a constant stream of top quality Blues from 11am until 9.30pm each day. Literally every style and derivation of Blues is catered for. No matter which niche is your personal preference, you are guaranteed to find something you like and, if you're anything like me, you're also likely to find something you didn't know you liked. The sheer scale of the whole thing is difficult to get your head round, both in terms of the area and the number of people.

The festival celebrated its 25th birthday this year, so all the stops were pulled out when it came to headline acts. It was billed as twentyfive years with Blues royalty, and it certainly was that - Johnny Winter, Koko Taylor, Buckwheat Zydeco and B.B. King guaranteed that the capacity crowds in the Petrillo Music Shell main stage were treated to absolute vintage Blues entertainment to finish off each night in style.

The main stage is saved for the evening, so daytime at the festival was all about the smaller stages. These had some of the most interesting and often surprising acts. As well as the variety of styles, you had performers ranging from primary school kids taking part in the schools Blues programme through to David "Honeyboy" Edwards as he approaches his 93rd birthday.

The Louisiana Bayou and the Mississippi Juke Joint stages showcased the rich history and heritage of the Blues music from these regions and had many highlights over the weekend, including Keith Frank And The Soileau Zydeco Band, who cooked up a fusion of soul, hip-hop and Blues, while still maintaining the traditional sound of Zydeco. Right from the off, they had the crowd up on their feet smiling and dancing to the beat.

The Chicago Blues Round Robin, featuring Jimmy Burns, Carl Weathersby, John Primer and Willie "Big Eyes" Smith, delivered what was essentially a very slick and entertaining acoustic jam session, with each artist talking turns at lead to deliver some of there own material.

The Afrossippi Allstars are a group of African musicians takings things right back to the roots, combining African drumming with slide guitar and haunting vocals. The group have collaborated with another band that had the audience totally mesmerised, The Rising Star Fife & Drum Band. Combining only drums and a fife - a basic cane flute - the hypnotic rhythms gave 17-year-old Sharde Thomas, granddaughter of the legendary Otha Turner, total control over a transfixed crowd.

The Gibson Guitar Stage was the place to go if you prefer Chicago style guitar Blues. This was the place where the Blues was most often stretched in different directions - be it soul, funk or jazz. The stage hosted a stack of powerful performance and none more so than Chick Rogers - a diminutive lady with a huge voice and stage presence. It was also where I first came across the fabulous guitarist Shun Kikuta who seemed to be on stage with just about every band, including Koko Taylor.

Aside from musical performances, the event offers some great opportunities to explore Blues history and traditions, ranging from making your very own Diddley Bow to joining in on the debate 'Sweet Home Chicago' - anthem or cliché.

It seems incredible to think that all the great music I'd already heard was only the starter. The Main Stage was still to come!

The honour of opening the main stage went to Big Time Sarah. A big lady, with an even bigger, booming voice got the night

off to a rousing start.

Next up was probably my favourite set of the whole festival - Duke Robillard and his band playing tribute to the music of Louis Jordan. Joining Duke were Plas Johnson on saxophone and Red Holloway on trumpet, and occasional vocal. Sugar Ray Norcia gave a great vocal performance as a guest singer. The set was a constant string of hit songs from start to finish.

I'd heard so many horror stories of the state of Johnny Winter's health, and his ability to perform, that I wasn't expecting a great deal. Thankfully, I was pleasantly surprised. Albeit sitting throughout, he gave a great performance and was on fire when it came to wrapping up the night with some awesome slide playing. He was joined by Muddy Waters' harmonica player James Cotton, who blew some fabulous harp. Friday night's show started with a real firecracker. Divas strutting around the stage, flirting with the crowd and showing off their underwear is nothing remarkable in itself. Add in a costume with more sequins than you've ever seen in your life, the occasional summersault and crowd surfing and you start to get some idea of the

performance of 74-yearold Sugar Pie DeSanto. What a show - and, boy, could she sing!

Eddy "The Chief"

Clearwater's soulful West Side guitar playing was next up. Eddy cites Chuck Berry as a major influence and you can definitely see and hear that. He was joined by Lonnie and Ronnie Brooks who, having worked together on Eddy's latest album, had a great rapport and delivered their entire set with huge smiles on their faces. Mind you, it's hard not to smile when Eddy appears on stage wearing a huge American Indian headdress.

Koko Taylor brought the night to a close in style performing songs from her award winning album "Old School", mixed with some classics, including a rousing version of the ubiquitous 'Sweet Home Chicago'. Her Blues Machine band were absolutely superb throughout and, as seemed to be the case with most of the bands here, were very visually entertaining.

Chicago's Lil' Ed & The Blues Imperials got Saturday's entertainment going with a lively set, mixing shuffles and some great slide boogies. Lil' Ed, as the name suggests, is a little guy, but with a huge colourful personality. In between gutsy, soulful lyrics he plays the crowd with acrobatic flips and guitar slides - the "on the knees across the stage" variety.

Barbara Lynn's background encompasses a lot of soul music, seeing her working in her early years with many of the soul greats. A left handed guitar player - which confused me no end watching someone constantly strum upwards - she played and sung with a very laid-back soulful groove. Maybe it's because I'm not a big soul fan, or it could've been the heavy showers getting to me, but - sad to say - this was not one of my favourite sets.

The rain broke just in time for the smiles to be put back on everybody's faces with Buckwheat Zydeco. In stark contrast to what had gone before, this was total entertainment from start to finish. Looking back at the crowd, many still wet or in water-

proofs, it was as if the whole area was dancing and smiling as one. Accordion, washboard and an incredible performance by an impromptu guest on Blues harp delivered a string of songs each more upbeat and cheery than the last.

Down to the last night and Karen Carroll opened the show with her brand of powerful jazz/gospel influenced singing. Over the weekend, there had been an abundance of top class female Blues singers, and she was definitely up there with the best of them. Lurrie Bell appeared as her special guest and treated us to some great guitar work.

Little Willie Littlefield, who some of you may have seen at Burnley this year, is undoubtedly one of the best entertainers I've seen, Blues or otherwise. The boogie woogie piano man is a complete master of working the crowd, with his charisma and beaming smile. Don't, however, underestimate his musical talent. I made the mistake of commenting on his showmanship and got a terse, "I play and sing too!" He certainly does, with fingers like lightning on the keys.

Finally, what most people had been looking forward to all weekend, the appearance of one of the genuine greats of Blues - B.B. King! His absolutely superb band treated the crowd to some fantastic musicianship and set the mood for B.B.'s entrance. He got a rapturous response and had an almost visible aura as he sat down centre stage. From there he took us on a journey through his incredible musical career.

It may have been that I was in with the cynical press men, but there was constantly mumblings that he was somehow "past it." I saw him in Britain around fifteen years ago and there's no doubt he's not the force he was then. How could he be at his stage in life? Having said that, there were still some incredible guitar virtuoso moments and, while there may less power, his voice has lost none of the passion or emotion.

The abiding feeling was that you had been in the presence of real greatness and there was a tangible sadness as he left the stage.

I had a fantastic weekend - I cannot recommend it highly enough. A fabulous setting - in a fabulous city with a great atmosphere. The quality and quantity of music on offer is second to none. I would go as far as to say it comes into the category of "must do" if you're a Blues fan. I've yet to meet anyone who's been to the Chicago Blues Festival and not been blown away by it - I doubt I ever will!

Paul Webster

BLUES & BOOZE IN THE BURY

Saturday, 14th June 2008

The second annual Blues & Booze In The Bury was a Blues festival with a difference. The emphasis was on acoustic Blues; a refreshing departure from the big bands. This daytime event has found a winning formula: free entry, good music, real ales from local brewers and family fun, which this year included teddy bears parachuting from the church tower. No wonder it draws a good crowd! It also raises money for national and local charities, notably The Neurofibromatosis Association.

The show started at noon, with Hampshire Bluesman Bob Long playing acoustic guitars and rack harmonica. He specialises in Blues and jugband music from the '20s and '30s and oscillates between the Deep South of England and the Deep South of the USA, where he is a frequent visitor. His set included some well-known classics, such as 'Travelin' Riverside' and 'Milkcow's Calf', and some material which took us off the beaten track, including Tommy Johnson's 'Slidin' Delta' and 'Lonesome Home'. I particularly liked his arrangements of RL Burnside's 'Miss Maybelle' and Washboard Sam's 'Diggin' My Potatoes'.

Pete Harris (vocals, guitar, mandolin), also from Hampshire, was joined by Hugh Budden from Dorset (vocals, harmonica) for a very polished performance. Their material was mostly post World War II and included some classics, notably Jimmy Reed's 'Honest I Do', which was superb. Hugh Budden contributed soulful lead vocals on 'Cross Your Heart' and 'Learn To Treat Me

Right', combined with some sizzling harmonica. Every one of their songs was a joy, especially their arrangement of Kim Wilson's 'Looking For Trouble'.

Next was Jim Crawford, originally from Manchester and now resident in Appledore, North Devon. Jim's guitar fingerpicking and vocals were both brilliant. His material was varied; it ranged from a beautifully executed Sam Hopkins shuffle to the delightfully gentle and melodic 'Sugar Can'e. His arrangement of 'It's All Over Now' featured some spectacularly fast and precise fingerpicking. My favourite was his arrangement of 'Come On In My Kitchen', played on slide guitar, with a haunting, chilling intensity. If Robert Johnson had lived a few more years and got an electric guitar, his performance might have sounded like this…

Ernie's Rhythm Section, a band of energetic young men from Manchester, were, unusually for them, a trio, having temporarily lost their drummer and keyboard player, but they pressed on undeterred. It worked well, with Rik Warren on harmonica, sounding very much like Rice Miller, Ellis Davis on guitar and Sam Buckley on bass. All three took turns on lead vocals. They produced a lively, unsophisticated set, which is their trademark, and certainly pleased the crowd at Odiham. It was a particular pleasure to talented young musicians playing this timeless music. I loved their version of Jimmy Reed's 'Ain't That Lovin' You Baby', which was sung powerfully by Ellis Davis.

Top-of-the-bill, the Spikedrivers! Their performance was sparkling; full of life and good humour, combined with highly impressive musicianship and a wide

range of material, which juxtaposed traditional songs with their own writing. The trio comprises Ben Tyzack (guitars), Maurice McElroy (percussion) and Constance Redgrave (bass). All three sing, with the lead vocals shared. Having three singers in the band works well; they produce excellent harmonies. Their set was rich in variety, lively and entertaining. 'Ghost Train' was highly energetic and very Bluesy. On 'Blue Trash', Constance put down her bass guitar and played washboard whilst Maurice played ceramic drum. 'Candyman' featured Maurice on guiro. 'Shake That Thing' was a jaunty number with the band literally dancing as they played. 'Midnight Mademoiselle' and 'Soul Searching Blues' were moody, thoughtprovoking songs. The festival ended with the band doing an encore with a hard-driving 'Dust My Broom', featuring some creative, bassy slide guitar from Ben. Roll on 2009!

Dottie Pride

photos: Paul Webster

THE SUGARS

@The Soho Revue Bar, London. 21/04/08

The Sugars set was an incredible mix of genres and decades, woven into a sound and a band that stood out not only for talent but difference. Matt's guitar technique was good and there was some deep, felt underpin riffs adding to his and Anna's vocals. What stood out, though, was Matt's vocal. Showcased through the array of songs, covering an eclectic mix of Blues, soul, rock, R&B, and a lot more; Matt's vocal showed he had good range, impressive sustain, intonation, but most of all, like his stage persona, vocal presence! Twinned to Anna's vocal, which again had full range, sustain, passion and, at times, even a sinister edge; these two not only put on a great performance at The Bodega but suggested this is a band to keep looking out for in the future. The set was held tight with some power driven drumming by Alex. His drumming, though, was not just the beat; he added the third essential ingredient to their unique sound. 'Heaven Knows' had a beautiful Blues/soul feel. Anna's haunting cross vocal, thumping bass crossing to Matt's deeper masculine vocal, which he softened with gentle guitar riffs, matched by Alex's drumming made this one hell of a performance. 'Way To My Heart' had a very R&B, '60s feel, and was a demonstration of the real quality and depth of Anna and Matt's vocal ability. They managed to give this song a rare expression of having age but an air of freshness. 'Black Friday', a Blues dance number, was performed with some very powerful vocals and again belting drum beat. 'You Better Go Now' was executed with all the class of any top band. It was a lovely simple ballad, featuring a duet by Anna and Matt that would have broken your heart. It also showed the gentler side of Alex's playing. This was a polished and balanced performance, firmly Blues rooted but with a lot more!

Carol Borrington

LITTLE FEAT

@IndigO2, London. 11/07/08

There was a time when a Little Feat concert in the capital would have been the summer's must-see gig. A lot of water has flowed under the bridge since Lowell George and his gang of merry men were the mainstays of magazines like the NME, but Little Feat proved again on the IndigO2 stage that they still are one of the best bands around. Opening with Lowell George's 'Rocket In My Pocket', they laid waste to any criticism that without their former boss they had nothing to offer. On the contrary, all the band members who recorded such classic albums as "Dixie Chicken" and "Waiting For Columbus" are present and correct, now augmented by Fred Tackett on guitar and trumpet and Shaun Murphy on vocals. The Little Feat blend of swamp rock, Blues and funk remains a heady brew as they proved on 'Spanish Moon', which now features percussionist Sam Clayton on vocals. Instrumentally, they remain as incredible as ever. No-one in the world plays the drums quite like Richie Hayward, and quite how a man of his age can power out such grooves, night-afternight, in a set that sails past the two hour mark, is anyone's guess. Paul Barrere is one of the finest slide guitarists in the world and his is singing voice is incredibly strong, particularly on newer tracks like 'Night On The Town'. Keyboard player Bill Payne continues to dazzle and amaze with some truly amazing solos. New girl,

photos: Sara Brooks

Shaun Murphy has been singing with Little Feat for more than twelve years and her version of John Hiatt's 'Feels Like Rain' earned her a well-deserved standing ovation. There were several nods to their new CD, "Join The Band", including a new arrangement for 'Sailin' Shoes'. The guest stars who grace the new record (Chris Robinson, Emmylou Harris and others) may have been missing, but the rock'n'roll doctors carried on regardless. This was one night when old-fashioned musical ability won the day. Little Feat may no longer be the new kids on the block, but they are still one of the best bands around.

Jamie Hailstone

MICK HUCKNALL

@De Montford Hall, Leicester. 07/07/08

As a follow-on from his tribute CD to Bobby 'Blue' Bland, Mick Hucknall took his work on tour. This gig opened with a short film on a back screen, telling the life and music of Bland and the production of the CD, "Tribute To Bobby", with various interviews, including Mick talking to Bobby himself. The music itself followed, against a backdrop of scenery of an early Blues joint. Images of Bobby and other Blues luminaries lit up in picture frames that bedecked the walls. The set, lights and top class sound, set the mood. This was Blues music stage-managed in a theatre setting! The band featured on the CD opened with an almost instrumental fanfare of what was to follow, reaching a climax with Mick stepping on to the stage. Perhaps not your archetypical Bluesman in the purist's sense, but if "Blues is a feeling" then

Mick can stand with the best of them. The band was tight, of an excellent standard of musicianship across the

board. Mick took every song with passion, and the sheer pleasure of representing something that he's long valued was clear - this was much more a performance of love. Like a life ambition coming to fruition, he did it with class. This gig was an interesting phenomenon. It was near capacity crowd; approximately two-thirds female, and the bulk were Simply Red fans. This is not a band one associates with the Blues of this nature, even if Mick Hucknall's roots lay there. Yet the audience sat, cheered, applauded and, on leaving, expressed glowing comments - one ardent Simply Red fan claimed this was the best gig she'd seen Mick perform! By a backdoor method, Mick Hucknall managed to introduce the music of Bobby and the Blues to a different audience, many of whom would probably never had given this genre a second thought in other circumstances! For that alone, he should be applauded.

Carol Borrington

CONGREGATION

@Dirty Water Club, London. 13/06/08

The gig itself featured three acts, and one with a very mixed audience. Delaney Davidson, from New Zealand, did a solo opening set. Delaney's probably better known for his ten year stay with Swiss band The Dead Brothers. His set displayed some exceptional and innovative guitar work, especially through the use of effects loop and multi-layering of sound to enhance and underpin his vocal and lyrics. His performance certainly was interesting, and most importantly left you wanting to go back for more. Congregation took the stage next. Victoria festooned in knee length red dress in the style Etta James might have worn with added ankles bells to set the mood. Marc seated playing both guitar and drums added to the portrait of something old but new. Victoria's vocal is more in the alto range and has a deeply haunting quality. She has an unusual but pleasing vowel sound to the whole vocal package, which gives it the mellowness of a gospel singer but, at the same time, has that rawer Blues sound. 'Feel Like Crying' had all that vocal pain and sadness of old Blues, with a simple drumbeat reminiscent of a heartbeat and lamenting guitar riff accompaniment. Victoria's vocal quality made this sound almost as if she was using a '50s microphone - an older and purer sound than her age. 'Don't Pay No Mind' was a more

photo: David Shivers

rocky up-tempo Blues number and also the band's debut single. This song showed a lighter side of Victoria, who put a rockier edge on the Blues vocal, and Mark gave it a swing feel on a Blues dance number with percussion and guitar. Again, another band with their own take on the Blues and not getting the attention they deserve on the recognised Blues circuit. The final act was Holly Golightly And The Brokeoffs. Another band creating a different take on an old theme, but steeped in the roots of Blues. Three great performances, and striking in the audience mix and enthusiasm of young and old, male and female!

Carol Borrington

ERIC BIBB

@Town Hall, Birmingham. 31/05/08

There is something about Eric Bibb that cannot be captured on record, as he proved again with this extraordinary concert at Birmingham Town Hall. Yes, his albums are good - but he's one of the greatest live musicians in any genre. And as for genres, Bibb is a master of many. He began with a spine-tingling rendition of 'Goin' Down Slow'the old Blues about a man anticipating death. Standing alone, the band not yet on stage, Bibb exhibited his extraordinary skills as a guitarist and singer. From there, he moved to a cover of 'The Cape', by the great folk writer Guy Clark. Then he toured his own stellar catalogue, which is replete with Blues - he's a Bluesman at heart - folk and houserockin' gospel. "Let's raise the roof," he exhorted as he sang the spiritual 'Needed Time'. And the audience eagerly complied. His show was perfectly paced, with just the right ebb and flow, a kaleidoscope of tone and texture. He whooped and hollered, and through his special kinship with listeners, inspired them to do the same, particularly on the gospel numbers. Then he dropped down to beautiful, shimmering folk. His singing was so wonderful, his songwriting so accomplished, that his guitar gets short shrift. But he's a masterful acoustic player; he made the difficult seem easy and graceful. He sang a few duets with his daughter, Yana Bibb - a fine singer as well. There wasn't a duff number in the set. At one point, Bibb sang the spiritual, he called, 'Hold On', which is known by most people as 'Eyes On The Prize' (he heard it done by The Weavers long ago). When a Blues musician does a jazzy take on a spiritual he learned from a folk group - well, you start to understand Bibb's genius in melding many styles into one. At the end of the show, he left 'em yelling for more. He's a former busker who built his career one listener at a time. Go to one of his shows - don't miss it, whatever you do - and give him a chance to work his magic on you.

M.D. Spenser

THE BRIAN BREEZE RHYTHM & BLUES BAND

@The Bay View, Swansea. 13/06/08

It may have been Friday the 13th, but it was a very lucky night for everyone who turned out to see Brian Breeze. I have admired Brian's paying for very many years and knew from the opening chords of 'Can't Hold Out' that we were in for something special. We were not disappointed! His guitar playing is an absolute joy. We were treated to 'I'm Coming Home', 'The Letter', which I know is one of his favourite songs, and an excellent arrangement of 'When Your Down And Out'. The band are, of course, "stars" in their own right - Paul Smith on drums, Alan Vaughan on bass, and the amazing Dave Cottle on keyboard and trumpet - all producing excellent performances on the night. The first half closed with two Peter Green tunes, 'Black Magic Woman' and 'Oh Well'. After a short break for refuelling, the artists performed the well-known classics 'Further On Up The Road', The Allman Brothers Band's 'Whippin' Post', and for Paul Smith's friend, who stood alongside me, Robert Johnson's 'Crossroads'. The evening ended with a rousing version of Van Morrison's 'Baby, Please Don't Go'. Another memorable occasion at The Bay View, appreciated by a large crowd of old and new fans of these accomplished musicians.

Steve Nicholson

THE NORMAN BEAKER BAND

@Miller's Snooker Club, Kirby in Ashfield. 05/06/08

Norman Beaker was supported by David Bristow, who performed an impressive acoustic solo set of traditional self-penned country Blues music and a few classic covers, particularly noteworthy being Hoagy Carmichaels's 'Lazy Bones'. This is a guy to keep an eye on, especially those who like more traditional based Blues - he's good and he was well received by the assembled crowd. Norman Beaker brought a change in the nights events with a British Blues orientated set. Norman's not one of the '60s set to have hung onto his laurels, so he's continued to progress his music over the years. 'No Reason To

photo: Janet Morris

photos: Brian Sherwen

Believe' was a funky Blues number in the Clapton/Cray school. There was some impressive keyboard work on this, which underscore the vocal, with a guitar solo that was not only technically executed but had a lot of feeling.

'Monday Lonely Night' was '60s British Blues in basis with those years of growth over-layered. Norman's strong expressive vocal on this matched by driving drum beat, good bass, an emotive keyboard riff, then dropping in tempo to a slower lamenting guitar solo, building again to a final climax. The more up-tempo Blues-rock numbers at the end of the gig tempted a few of the audience to get up from their usually conservative Blues listening mode and take to the dancefloor - giving a very classic '60s British Blues feel to Miller's!

Carol Borrington

BUDDY GUY

@Philharmonic Hall, Liverpool. 29/06/08

Blues legend Buddy Guy ended his UK tour in Liverpool last night in inimitable style. He told the near capacity audience at the Philharmonic Hall: "Tonight I'm going to be playing you some Blues - you'll almost smell it!" And, sure enough, we could. He mixed traditional Blues - tracing back to his Chess Records days - with outstanding interpretations of his equally legendary friends. Dressed in a black spotted shirt with white flat cap and, oddly, non-matching trainers, Guy arrived in Liverpool having appeared on the Jazz World stage at this year's Glastonbury Festival. At the age of 71, the five-time GRAMMY winner has been inspiring generations of musical talent and all were acknowledged - notably Eric Clapton, John Lee Hooker and Jimi Hendrix.

But Guy did not leave out those who have inspired him. Throughout his performance, he interacted with his fans, telling anecdotes of his heroes from the Chicago Blues heritage. Junior Wells' 'Hoodoo Man Blues' being a particular highlight of the evening, and his mimicking of B.B. King - an idol to the young Guy growing up in Louisiana - was brilliant. Bridging Blues with the rock'n'roll sound, Guy gave a demonstration of what inspired Hendrix to pick up the electric guitar with his own version of 'Voodoo Child' - even playing the instrument with his teeth! Guy's showmanship escalated to pure theatre in Liverpool when he went for a walkabout in the Hall's auditorium to the delight of all who had bought a ticket. Guy's Damn Right Blues Band deserve a mention, too, for their part in creating a spectacle of Blues at its finest, in particular Marty Sammon on electric piano and Ric Hall on rhythm guitar. During a cover of Peggy Lee's 'Fever', Guy and Sammon created an almost conversation-type melody with their chosen instruments and demonstrated collaboration at its purest best. A poignant moment of the evening came through Guy's newest single, 'Skin Deep', which captivated the audience and gave a real insight into the mind of the man. Throughout the evening, Guy persistently said: "I can't do this on my own," and by the end of the night everyone was involved and on their feet - even the presence of Muddy Waters and Howlin' Wolf was felt. A live favourite, Guy reassured everyone he is the undisputed showman.

Michael Hunt

THE YARDBIRDS

@Alban Arena, St Albans. 21/06/08

The question is not a new one but, what constitutes a tribute band? The Yardbirds that were onstage at the Arena did have two original members (Chris Dreja & Jim McCarty), as well as a stunning guitarist (Ben King), a howling harmonica player (Billy Boy Makkinon), and a bass player that both sounds and looks like Keith Relf in Jon Idan. But, they did just what most tribute bands do, and played the songs the band's famous for without playing as a collective. They did all the stuff you might expect in 'Train Kept A'Rollin' and 'Heartful Of Soul', and finished up on a medley of 'For Your Love', 'Well Of Time' and 'Dazed & Confused', but they were no more the real Yardbirds than Bjorn Again are the real ABBA. All that having been said, they were excellent musically and Ben King is a really good and expressive guitarist, but for me "the star of the show" was Billy Boy Makkinon, whose harp playing shows some real talent and great showmanship - the audience lapped him up! If these Yardbirds can start writing new material, I would be more prepared to treat them as a band in their own right. On this showing, they are a good tribute band, but not a lot more.

Andy Snipper

JOHN MAYALL'S BLUESBREAKERS

@Jazz Café, London. 31/07/08

Mayall was close enough to the capacity crowd to spend a few minutes high-fiving the front couple of rows, and the confines of an intimate venue seemed to draw out a superb performance as his tour came to a close. His band, as ever, were supremely tight with the magnificent Buddy Whittington on guitar, Hank Von Sickle on bass and Joe Yuele on drums, but it was John Mayall the crowd were there for. They featured a number of songs off the "In the Palace of the King" album - most notably 'Baby, You Got Me Licked' - as well as some new material in 'Eye For An Eye' and 'Just What You're Looking For', but the best of the new songs was 'Congo Square', a tribute to New Orleans. His keyboard playing was funky and vibrant throughout the two hour set and Whittington's guitar was simply delightful, and showed him to be worthy of comparison with Clapton or Green, but they all came alive as a grizzled looking Mick Taylor joined the band for five or six numbers. After fiftyodd years, you can't expect anything startlingly new from Mayall, but the joy and sparkle of the set was completely unexpected, and the music that was flowing from the stage showed amply why he has been up there for fifty years. The audience went crazy through his traditional closer, 'There Ain't No Brakeman On This Train', and the Jazz Café had one of its better nights of 2008.

Andy Snipper

ROADHOUSE

@The Boom Boom Club, Sutton. 06/07/08

A sultry Sunday evening saw the veteran Gary Boner led Blues-rock outfit's South London "Sea Of Souls" CD launch show at what was very much a heartland for the band. Roadhouse kicked off with 'Sea Of Souls' and locked straight into the rocky mid-paced groove. A delicate high hat figure from drummer Roger Hunt counted in the atmospheric 'Lights On The Water', a spacious, winding song that built beautifully up to a killer chorus hook. Next up was 'Help Me', an old Sonny Boy Williamson number featuring all three Roadhouse female vocalists. A churning Blues guitar riff signalled 'No Place To Hide', an upbeat straight ahead rocker with slide guitar punctuating throughout. The scene was thus set for 'Slip Away', with its recurrent themes of loss, pain, death and longing. Despite Gary's predilection towards dark themes as a writer, Roadhouse were always joyous and uplifting and so it proved with the next song 'The Lying Game', featuring the gorgeous, pure Blues inflected tones of vocalist Suzie D. Next up was a reading of that timeless Animals song, 'House Of The Rising Sun'Roadhouse veteran Mandie G. delivered a searing vocal that held the audience in its thrall. Guitarist Danny Gwilym added fuel to the fire with a swoop-

photo: Andy Ford (bluesimages.co.uk)

photos: Richard Sibley

ing solo that complemented Mandie's heartfelt performance. Following this tour de force was latest recruit Kelly Marie Hobbs, who delivered a polished vocal for radio play favourite 'The Big Easy'. The band then returned to the "Sea Of Souls" album for 'Voodoo Dance', an upbeat and drum heavy number, augmented by Frank Dymore on percussion. An upbeat 'Telling Lies' followed, and then 'The Answer', a beautifully haunting, melancholic ballad that shifted up-tempo midway through to a melodic guitar solo. Doom laden guitar arpeggios then heralded what was the main event of the evening, 'Preacher Man'. This slow, wind swept piece of Americana summed up the band perfectly. Loud audience appreciation made it clear that Roadhouse were not going anywhere without first playing an encore. Luckily, Gary led the band into a killer 'White Water', propelled along by Bill Hobley's ultra solid bass playing. At the end of the evening I made my way home in a state of elevation... Why can't every Sunday evening be like that?

Darren Wisdom

SMOKE FAIRIES

@12 Bar Club, London, 06/06/08

There was no better way to christen the newly-painted 12 Bar than with the sultry Blues of Jessica Davies and Katherine Blamire, who conspire and inspire as the fabulous Smoke Fairies. A late cancellation had given proprietor Andy the chance to bring in Jessica and Katherine as the first act on this label-promo evening. Fresh from a feast of mini-touring around Britain, the Smoke Fairies stumbled onto the stage amid the hub-bub of a busy and disinterested audience. Both wielding guitars, they launched into 'I Get So Lonely', a slow Blues of intertwining harmonies and contrasting fingerpicking. It was clear from the off that the contrast on stage is multi-faceted; they appear shy yet exude confidence, they play loose but with a polished refrain, and they take turns yet play together. Jessica took the lead vocals on ‘Fences’ while Katherine played perfectly understated slide for country Blues that had me thinking for an artist to compare them against - part soundtrack Ry Cooder and part early Hooker, or more freshly modern with elements of Cowboy Junkies and Otis Taylor. They were hypnotic anyway. 'Living With Ghosts' confirmed the paradox, as Jessica, wearing bright pink shoes, tapped the rhythm and Katherine, in tiny black dress, tapped her own beat in opposition, yet in complete alignment. It was mesmerising. Adding to the mystery was some dead-pan delivery in between songs by timid titivil Katherine. We were in the desert; we were in the

city - comfort and fear together. 'Tired Of Working' moved us into Scottish traditional folk, yet with flavours of Deep South trance. By now the room had filled, and hushed. Their regular and tragic 'Sea Shanty' completed the set, and the crowd enthusiastically demanded an encore, which must be pretty uncommon for a two-piece guitar-only Blues-folk band first on and fifth on the bill. 'When You Grow Old' was a perfect end; ethereal Celtic voodoo that challenged against the contour of their frail female forms, while confirming the depth and authority of their music.

Gareth Hayes

WATERMELON SLIM AND THE WORKERS

@The Bodega Social Club, Nottingham. 17/07/08

Standing in front of a flight-cast table, festooned in a Union Jack, covered with a guitar, variety of harmonicas and shakers, looking that like a doppelganger for Abraham Lincoln including a top hat, Watermelon Slim began. Watermelon Slim

showed his skills throughout the show, as not just a very profound singer/songwriter but also as a consummate showman, constantly moving around the stage playing harp, and into the audience to regale them with his wit and talent. He blew a mean selection of harps throughout the performance and played flat fingerpicked guitar and slide with a display of interesting manual dexterity for a man who lost a finger in a saw-mill accident! The Workers were tight. There was a lot of instinctive feeding and cross playing off each other. The sort of playing that only comes from musicians who share a knowledge and passion for each others playing. Michael Newberry's drumming was as good as one would expect from someone who has drummed with Bo Diddley and Hubert Sumlin. Cliff Belcher adding solidity whilst otherwise rhythmically enhancing the songs. Ronnie McMullen guitar playing was fluid and added the required emotive dimension of a good Blues guitarist. Watermelon's music was rooted firmly in its Blues origins. He took the time to pay tribute to the late great Bo Diddley, when he invited the audience to sing-along with him to 'Hey Bo Diddley'. This was met with enthusiasm and a lot of respect from the assembled crowd. He demonstrated, though, that even if true to his roots, he was not a musician of the past in his lyrics - they dealt with a series of current problems and world events. He used the Blues, the vehicle of one oppressed people in the past, to speak of the traumas of another oppressed people in the present, when he sang 'The Bloody Burmese Blues'. A song he penned last year after the massacre of Buddhists monks by the Burmese authorities. This was a gig of the pain and joys of the Blues.

Carol Borrington

MELODY GARDOT

@The Bloomsbury Theatre, London. 21/07/08

The slight figure of Melody Gardot slinked up to the mic at the Bloomsbury Theatre, laid down her walking stick and started to click her fingers to the rhythm in her head. Her eyes behind tinted glasses, and her hair hanging down in front of her face, her voice just emanated as she opened a capella with 'No More'. As the first verse ended, she whispered: "Help me out here," and in a trice, the audience were keeping the beat with her, captivated by the siren on the stage. As the band took the stage with her and laid down some of the sexiest and most soulful jazz imaginable, she simply stepped up and became the focal point for all that was happening - there simply was nothing else to take the eye or the ear. She teased the audience, joked with them, scatted at them and, whether she was alone or playing some excellent piano or guitar, delivered an almost perfect performance song after song. Her version of Bill Withers 'Ain't No Sunshine', her own 'Worrisome Heart' and 'Goodnight' were electrifying and the whole performance has to be considered one of the finest debuts I have seen in London for years. Matt Cappy, one of the finest trumpeters around at the moment, laid down a gorgeous version of 'My Funny Valentine', but when Gardot came in at the end it transcended even that. This was one of those rare occasions that should have been captured on film but never are - a total triumph, as unexpected as it was delightful.

Andy Snipper

MOJO BUFORD

@Lulworth Castle, Dorset. 14/04/08

What a special night this promised to be with the last UK tour of 79-year-old Mojo Buford. Mojo was accompanied by his manager/drummer Doug McMinn and our own Harry Skinner on guitar and vocals, plus Dave Saunders on bass. A Blues Matters! 150

Eric Bibb:Canary Wharf East Wintergarden (13th October). ericbibb.com Queen + Paul Rodgers, including:Nottingham

Trent FM Arena (10th October), Cardiff International Arena (14th), Birmingham NIA(16th), Sheffield Arena (19th), Newcastle Metro Radio Arena (4th November), London O2 (7th) and Wembley Arena (8th). queenonline.com Chris Smither, including: Worcester Huntingdon Hall (30th September), Litchfield The Garrick (2nd), Cirencester Sundial Theatre (3rd), London The Luminaire (6th), Banbury The Mill Arts Centre (7th), Newcastle Little Theatre (10th) and Glasgow Tall Ship (12th). smither.com

Herbie Goins, including: Glasgow The Ferry (2nd October), Darlington Arts Centre R&B Club (3rd), London Filthy's (5th), Cheltenham Vonnies (8th), Chester Alexander's (10th) and Southend Riga Music Bar (28th). herbiegoins.com John Martyn, including: Brighton Dome (7th November), London Barbican (10th), Cambridge Corn Exchange (14th), Salford Lowry (16th, Newcastle City Hall (19th), Cardiff St David's Hall (21st) and St Albans Arena (23rd). johnmartyn.com The Kills, including: Glasgow Oran Mor (4th November), Sheffield The Leadmill (8th), Nottingham Rescue Rooms (10th), Coventry Kasbah (16th), Norwich The Waterfront (17th), London Astoria Theatre (20th) and Brighton Concorde2 (21st). thekills.tv The Zutons, including: Folkestone Leas Cliff Hall (10th November), Southampton Guildhall (11th), Cardiff University (16th), Edinburgh Corn Exchange (25th), Bournemouth Solent Hall (1st December), Cambridge Corn Exchange (3rd), Bristol Carling Academy (5th), London Hammersmith Apollo (9th) and Liverpool Echo Arena (19th). thezutons.com Cold War Kids: Birmingham Irish Centre (3rd November), Glasgow ABC (4th), Dublin Academy (5th), Manchester Ritz (6th) and London Astoria (7th). coldwarkids.com James Hunter: London Dingwalls (30th September), Glasgow ABC2 (21st October), Manchester Night And Day (23rd), York The Duchess (24th), Norwich Arts Centre (25th), Birmingham The Custard Factory (28th) and Brighton The Pavillion (30th). jameshuntermusic.com Aynsley Lister, including: Dorchester Arts Centre (20th September), Chichester The Bulls Head (21st), Nottingham Running Horse (25th), Burton On Trent Brewhouse Arts (10th October) and Bury Met Arts (17th). myspace.com/aynsleylister Primal Scream, including: Oxford Academy (20th November), Southampton Guildhall (24th), Nottingham Rock City (27th), Norwich UEA(30th), Sheffield Academy (1st December), Newcastle Academy (9th), Manchester Apollo (11th) and Glasgow SECC (13th). primalscream.org

The Groanbox Boys, including: Glasgow The Tall Ship (7th September), Kirkcaldy Acoustic Music Club (11th), Kingston The Grey Horse (14th), Croydon The Oval Tavern (18th), Preston on Stour Millennium Hall (26th), Narberth Burnett's Chapel (1st October), Welcombe Beaford Arts (3rd & 4th) and London Green Note (11th). myspace.com/thegroanboxboys Nick Cave & The Bad Seeds: Brighton Centre (23rd November), Manchester Apollo (25th), Edinburgh Corn Exchange (26th), Sheffield Academy (27th) and London, Troxy (29th & 30th). nickcaveandthebadseeds.com Charlie Musselwhite, including:

Birkenhead Pacific Road Arts Centre (11th November), Newcastle The Cluny (13th), Leicester The Musician (16th), Brighton The Komedia (18th) and Norwich Arts Centre (20th). charliemusselwhite.com Devon Allman, including: Wolverhampton The Robin 2 (24th September), Cardiff The Point (25th) and Newcastle The Cluny (27th). myspace.com/honeytribe Bob Log III, including: Newbury Arlington Arts Centre (19th September), Newcastle The Cluny (27th), Nottingham The Bodega Social (1st October) and Leicester The Charlotte (2nd). myspace.com/boblog111

Little Toby Walker, including: Bury The Met (19th September), Treorchy Parc & Dare Theatre (25th), Maidenhead Norden Farm Centre For The Arts (27th) and Rochester Bottleneck Blues Club (30th). littletobywalker.com

good size crowd assembled and the air of anticipation was evident as Harry and Dave got the night off to a great start with acoustic versions of 'Fishing Blues' and 'Trouble In Mind'. This pair perform regularly as an acoustic duo, but it was what came next that really made everyone sit up and take notice. They were joined by drummer Doug for a couple of electric numbers. which were probably their first outing together in an electric setting since their days together in the late, lamented Producers. Harry played his slide resonator on stirring versions of 'Rollin' And Tumblin'' and 'Can't Be Satisfied', and from this point on, the gig took off. Mojo Buford then joined them on stage with his harp for 'Everything Gonna Be Alright', and the old warhorse 'Hoochie Coochie Man' - the excitement levels rose even further. Harry excelled with his guitar break on 'Champagne And Reefer' and the first set closed with Mojo's signature song, 'Got My Mojo Working', which was played at breakneck speed. The second set started with Harry, Dave and Doug running through a cracking 'Crossroads' and then the slow Blues 'Love, Food And Water', which is an old Producers favourite. So good to see this pair playing in an electric setting again, and I hope that their plans for a full band are realised. Mojo took his place again and sang and played his heart out on a set of old standards, including 'Love In Vain' and Early One Morning'. A couple of Jimmy Reed numbers gave Mojo the opportunity to display his high register harp blowing, before the night finished with another speedy burst of 'Got My Mojo Working', with plenty of audience participation. Huge smiles were evident on the faces of audience and performers alike after this night of authentic Blues.

Dave Drury

photo: Mike Dean (Eye Imagery)

TOM WAITS

@The Playhouse, Edinburgh. 28/07/08

In no way different from his recordings, Tom Waits' live performance proved he knows no fear. From the first note of the opener, the tightly produced bastard son of 'Lucinda' and 'Ain't Goin Down To The Well', the smoke bellowed from his feet and his arms seemed to summon the band as if charming a gigantic man-eating python. He stared into audience with both parties, on and off the stage, seemingly transfixed with each-other. The hiss and boom of the musical explosion, coupled with all the theatrics of a David Copperfield magic act, instantly stopped anyone thinking about ticket sales or tour locations. With effectively ending any of the controversy surrounding 2008's Glitter and Doom tour, it was possible to finally sit down and enjoy the show. For his second trick, Waits pulled out crowd favourite 'Raindogs', relinquishing the hazy jazz atmosphere of the original song for a sound not too distant from a Russian travelling band. In fact, there were not many songs that resembled the master copies, however, unlike Bob Dylan, it did not take me two minutes to recognise any of the songs. Throughout his tour, it has been reported that Waits played sixty three different songs, with only five of these managing an appearance in every show. Knowing this, it surprised me that two of the songs played on Edinburgh's second night, 'Take It With Me' and 'The Briar And The Rose', had their first airings on Glitter and Doom turf. It seemed appropriate, then, that these were the most timid and delicate of the night. In comparison to this, 'Singapore' was a blunt blow to the head and 'Hoist That Rag' became even more violent as its twisted samba successfully reached the back of the room, with the same anger towards its subject matter (being patriotism and the US government) as the front row. The highlight, though, came roughly two-thirds into the set, as Waits sat down to his piano and played anthems 'Tom Traubert's Blues' and 'Innocent When You Dream', two tracks no audience member could say they were expecting. However, it was with the chaotic 'Make It Rain', which signalled the approaching finale, that gave the audience a taste which was perfectly satisfied, with the closing trio of 'Jesus Gonna Be Here', '9th And Hennepin' and 'Anywhere I Lay My Head'. Safe to say, no-one was worrying about money now.

Matthew Clarke

FLORENCE AND THE MACHINE

@229, London. 10/06/08

Florence Welch is a fascinating woman, an enigma; she's a curvaceous classic beauty (and how!) with a huge heart on one hand and with a visceral edge of risk, danger and harm on the other. Her music, too, is richness against poverty; sparse and haunting one minute, lush and fragrant the next. Tonight was no exception, every facet was in overdose. With full band and full tour and full PR behind her; we had a full-house. The cellar room of the 229 was intoxicated with Florence fever! The house was, to coin a phrase, rocking. Her third number, 'Coffins', highlighted her funeral music of old (solitary soaring voice) but, in general, this band-injected Florence was on fire. She took up two bass drum sticks and led the beat through a frenzied and ferocious 'Between Two Lungs'. Any sensitivity was lost not only with frenetic Florence bouncing around the stage, but in the lyrics of pain, anguish and despair being blasted out with a voice of opera-diva proportions. This is where the enigma comes in, how can such a voice mix aggression and fear with lust and longing? Defined by the Blues, Florence calls her music "grindcore,” and while her mid-song banter borders on giggly and girly, the visceral side is one to be taken

Tom Waits provided value for money.

photo: Bob Butler (Public Image Photography)

very seriously. With screams of delight and hysteria from the fans, there was no let up as 'Hospital Bed' segued into everyone's favourite revenge rally 'Girl With One Eye'. Keeping her voice on track was easy in comparison to her slipping sequined top, which was hastily covered by a t-shirt to prevent more shock and scandal, and to keep her physical integrity intact - even if her heart was on the floor with her lyrical material. To finish, 'Donkey Kosh' then 'Kiss With A Fist' had everyone reaching aimlessly to touch her pulsing frame. Encores of 'Dog Days' and a cover of MGMT's 'Electric Feel' ended the exhausting evening. Gospel, soul, hip hop, folk and indie combine with the ancestor of spiritual Blues to form this grindcore girl's unique splanchnic persuasion. The roots of her music may be getting lost as Florence grows in stature and popularity, but she knows where she's from; she signed a photo for me with the message: "Blues does matter!"

Gareth Hayes

DANNY BRYANT'S REDEYEBAND

@Cathouse, Glasgow. 27/06/08

Local covers band, Used Blues got the evening of Blues-rock under way with an enthusiastic set. Fronted by a top notch harmonica man, they hit their peak running through Sonny Boy Williamsons 'Help Me', although the crowd seemed to take to their version of 'La Grange' by ZZ Top a little bit more. The intermission was enlivened by the hard-working, best looking roadie in the business, before the arrival of Danny Bryant and his RedEyeBand. He set out his stall right from the off with a guitar heavy instrumental, before blasting off into a twelve-bar boogie beat. Hot, sweaty and meaty riffs - it's what he does best. Shame, then, that much of his time is taken up with lengthy, slow Blues jams, which usually serve as an excuse for lots and lots of showing off on the guitar (a delight for the many gear heads in the audience, but not much fun for the rest

photos: Marco van Rooijen

of us). But when he gets his Michael Katon groove on, it was hot enough for legendary DJ Tom Russell and his remarkable beard to bounce around to. Hopefully, the healthy turnout will be enough to encourage sponsors Rock Radio to put on more Blues shows. But, please, I beg you, don't ask me if I'm ready to have a good time, and then spend the next seven minutes playing a Bob Dylan tune. The phrase mutually incompatible was invented specifically for such an event. Despite having his new "Black & White" album to promote, Bryant was happy to cover his entire catalogue, and throw in a sterling version of Freddie King's 'Hideaway' for good measure. At his worst, it's Gary Moore on a bad night, but at his best, he can match Ten Years After and Foghat in finest '70s style. And with the bass player's moustache, he could actually have been in Foghat circa 1975! All told, though, an enjoyable night out of fine Blues rocking.

Stuart A Hamilton

NED EVETT

@The Maze, Nottingham. 01/06/08

Ned Evett is from Ohio. This was a one-off gig before he returned to the USA with his band, after supporting Joe Satriani on tour. Ned was different from the minute he walked on the stage. First, by strapping on his left handed guitar, right-handed, then the guitar itself being fretless with glass necked fingerboard. What a difference in sound that was to reveal throughout the performance, added to some very inventive use of effects. Ned has a reputation of being one of the best fretless guitar players and it showed. He plays with feeling; he is fluid and has a very different style of guitar work, which is excellently executed. Ned's also a singer/songwriter and there was a lot of that talent on display. He plays backed by two equally talented musicians on drum and bass, in Richard Acquirre and Todd Chavez respectively. Playing songs from his latest album, "Middle Of The Middle", and early recordings, we were taken through a journey of music that was Blues based but defies definition any further - there is not a box yet for Ned! 'The Curse' was a slow Blues based rock balladgood vocal, the whole thing given an ethereal feel with the fretless and an electronic effects .'Get Back To England' was chest-wrenching bass, power drumming, and that guitar and vocal. It was good stuff! Evett displayed a thirst to push musical boundaries to the limit at this gig.

Carol Borrington

THE ZOMBIES

@Albans Arena, St Albans. 21/06/08

Like the Yardbirds, The Zombies possess only two original members but, unlike the Yardbirds, they are so much more than their own tribute band. Rod Argent and Colni Blunstone mentioned more than once that St Albans was the town where they were formed and this gig was a real homecoming for them - Rod Argent's mum was even in the audience - but Jim Rodford, their bassist, should have been an original member, as he was present when the band formed, and Rodford's son did an excellent job on drums, so the band are more than just a couple of originals. They also debuted some new numbers, and these went down a treat with the capacity audience, although not as well as the back catalogue - still, the new songs showed that the spirit of the original Zombies is still there. Blunstone's voice was terrific, not quite as it was in '68, but he can still reach notes most singers can only dream of, and his delivery on 'What Becomes Of The Broken Hearted' showed why Jimmy Ruffin liked his version so much. 'Rose For Emily' was heartbreaking in its stark poignancy and 'Time Of The Season' was great to hear once more, but the biggest cheers were for 'Hold Your Head Up' and, of course, 'She's Not There' - although my favourite was 'I Don't Believe In Miracles' or Chris White's 'I Love You' that they opened with. Much more than a revival.

Andy Snipper

SAMUEL JAMES

@The New Bull & Butcher, Whetstone. 25/07/08

Samuel James stepped up on to the stage at the The New Bull & Butcher and immediately won over the crowd by taking out a Dobro, sitting on a chair at the front of the stage, smiling as though he was actually looking forward to playing, and launching into a self-penned instrumental that was both funky and technically clever. Over the next hour-and-forty-five min-

utes he played some true classics by Son House, Charlie Patton, Mississippi Fred McDowell and John Lee Hooker, as well as his own material, and shared stories and some of the worst jokes in the canon. And, as he played and sung more, his smile grew, and the smiles on the audience faces grew wider and wider - we communally felt that this was a young man who really 'gets' the Blues. His own songs were about broken love affairs and the girls that have tried to kill him over the years, or broken down old hoboes, but he always retained that smile and sounded as though these were fond memories. His slide playing was simply superb and his fingerpicking on the Dobro as good as I have heard. He finished on Skip James' 'I'd Rather Be The Devil', which brought the set to a storming climax and, as last orders sounded, he gave us an encore of John Lee Hooker's 'Hobo Blues'. Lost for words…

Andy Snipper

THE BLACK KEYS

@Carling Academy, Birmingham. 28/05/08

The Black Keys certainly knew how to bring some of that Texan raw Blues-rock heat to a wet and dismal night. Their audience was mixed in age group and gender - it was pleasing to see such a diverse audience coming to the Blues once again. They hit the stage with amazing impact, talent and energy. This was a no-nonsense performance - no hype, no tricks, just solid, get down and play raw, heavyweight rock Blues. Their set included previously recorded material and tracks off the latest CD "Attack & Release" - all greeted with equal enthusiasm from the crowd. Dan's guitar work was a treat throughout, with efficient and innovative use of effects, slide and multiple techniques. His raw Blues vocal was impressive - at times, it was reminiscent of Jethro Tull's Ian Anderson, with that same grab you by the throat and make you sit up and listen effect. Pat's drumming was actually exhausting, with complexity, energy and sheer power going into that kit. The intensity of driven sound, underpinning, filling and interpreting was amazing. The striking thing, even with just two band members on the stage was their sound seemed complete and had the depth and tightness of any of the more regular four or five piecesPat and Dan were a lesson in musical mind melt. These two guys feed and read off each other like they are one. Their playing felt more instinctive, of the moment, than a blandly rehearsed set. The Black Keys performance gave the music a primal tribal Blues feel, which had the crowd moving in unison like gathering at some ritual ceremony. All locked into the band's music, bound by something deep and core to existence itself. At other times, they were head-banging to rock Blues, just a hairs breath from being metal! This gig felt like live music should - musicians, instruments and punter pulled together by the force which is music and the Blues!

Carol Borrington

photo: John Peets

NO FORGETTING

Courtesy Cooking Vinyl, we have three copies of Dr. John's latest release, "City That Care Forgot", up for grabs. In homage to his hometown New Orleans, the legendary pianist's latest tackles the continued problems affecting his hometown post-Hurricane Katrina. Already hailed as one of his best releases, the fourteen track collection features notable guests, such as Eric Clapton. To hear one of New Orelans' great musicians at the top of his game, tell us: Which Dr. John song was covered by Paul Weller and Noel Gallagher on "Stanley Road"?

BLUES TALENT UNITED

Courtesy Music Avenue, we have a set of four of the label's latest releases to giveaway; Carla Olson's "Dark Horses"; Duke Danger's "If It Aint One Thing It’s Another"; Double Trouble's "Been ALong Time"; and Don Nix's "Going Down". "Dark Horses", "Been ALong Time" and "Going Down" are littered with appearance from Blues royalty, including John Mayall, Charlie Musselwhite, Tony Joe White, Jimmie Vaughan and Kenny Wayne Shepherd; whilst "If It Ain't One Thing It's Another" highlights the guitar mastery of Duke Danger, inspired by school friend and band mate Duane Allman. To hear a host of celebrated musicians, tell us: Mick Taylor, who appears on Carla Olson's "Dark Horses" album, was a guitarist for which legendary British rock'n'roll outfit?

TO ENTER...

For your chance to win any of these great prizes, send your answer(s) to: comps@bluesmatters.com* Closing date: 24th October 2008.

*Alternatively, post to the usual PO Box address.

LITTLE ARTHUR DUNCAN

5th February 1934 - 20th August 2008

Chicago harmonica player, Little Arthur Duncan passed away on 20th August 2008 at Kindred Hospital in Northlake, IL, following complications from brain surgery. He was 74.

Born 5th February in Indianola, Mississippi, Little Arthur moved to Chicago at 16 years old where he befriended legendary blower Little Walter. It was this friendship that inspired him to take up playing the harmonica himself, and he became a mainstay at bars and saloons on the Westside of Chicago from the '50s (going on to own clubs himself, including Backscratcher's Social Club on West Madison Street).

Arthur recorded albums for the likes of Random Chance, Blues King, Cannonball and Delmark, who recently put out "Live At Rosa's Blues Lounge", described by our writer as "the best Blues ever heard in Chicago, or elsewhere!"

"Little Arthur Duncan was absolutely the sweetest guy I personally knew on the Chicago Blues scene," said Delmark's Kevin Johnson. "He was a great friend, a proud and very well respected man, a wonderful story teller with a great sense of humour, and one of the last of the down home Chicago Blues singers and harp players."

Producer Bob Corritore concurred: "He was a simply great vocalist, with tremendous expressiveness; and his sparse harmonica was always on the money. We will miss you, Arthur."

MAURICE REEDUS

24th March 1930 - 18th August 2008

Robert Lockwood, Jr's long-serving saxophonist, Maurice Reedus passed away on 18th August 2008 at Cleveland VAHospital, following a long battle with cancer. He was 78.

Reedus appeared and recorded with Lockwood (who passed away himself in November 2006) for over thirty years, featuring on albums including "Constrasts" and "I Got To Find Me A Woman", as well as touring across Europe.

"His spare, jazz-tinged sax style was the perfect foil to Lockwood's stylized guitar," said producer Bob Corritore.

"Goodbye to a good man and a great player who was essential to that Robert Lockwood, Jr. sound that we loved." robertlockwood.com

Little Arthur Duncan: Chicago’s best.

PHIL GUY

28th April 1940 - 20th August 2008

Guitarist Phil Guy passed away on 20th August 2008 at St. James Hospital in Olympia Fields, IL, after a long battle with kidney and liver cancer. He was 68.

Born in Lettsworth, Louisiana, Phil had followed his legendary older brother to Chicago and joined his band in 1969, having already recorded with the likes of Slim Harpo. In Chicago, Phil would go on to work with the likes of Junior Wells, before forming his own band - Phil Guy and The Chicago Machine - and establishing himself as a leading electric guitarist in his own right during the '90s, and recording a number of albums for labels including JSPand Wolf - his most recent collection, 2006's "He's My Blues Brother", saw a guest appearance from Buddy on the title track.

Whilst never achieving the same levels of success as his older brother, Phil was still a popular live draw at festivals/events around the world.

HOSEA LEAVY

26th November 1927 - 12th August 2008

Guitarist Hosea Leavy passed away on 12th August 2008 after a battle with liver cancer. He was 80.

Born in Altheimer, Arkansas, Hosea recorded a string of singles and became a prominent performer on the Fresno Blues scene, having settled in California in the late-70s. However, he didn't come to prominence as a recording artist until the '90s, when Fedora released "You Gotta Move" and "Cold Tacos And Warm Beer", Hosea's collaboration with Harmonica Slim.

These recordings allowed Hosea to tour Europe and appear at major national Blues festivals, although his career was forever in the shadow of younger brother Calvin Leavy, who achieved hit success in 1968 with 'Cummins Prison Farm', which featured Hosea's combo as the backing band. Producer Bob Corritore described Hosea as "a stirring vocalist and down home guitarist."

JERRY

WEXLER 10th January 1917 - 15th August 2008

Legendary record producer, and the man who coined the term "rhythm & blues", Jerry Wexler passed away at his home on 15th August 2008 from congestive heart failure. He was 91.

Jerry Wexler had no musical ability himself, yet went on to become one of popular music's most important producers and record label bosses, signing Led Zeppelin and overseeing celebrated works from the likes of Ray Charles, Aretha Franklin and Dusty Springfield, between the '50s and '70s.

Born into a Jewish family in the Bronx, New York City, Wexler graduated Kansas State University following his time in the US Navy during World War II, before going on to work as a writer/reporter at Billboard Magazine, where he struck on "rhythm & blues" as a more acceptable alternative to "race music".

In 1953, Wexler joined Ahmet and Nesuhi Ertegun at fledgling independent label Atlantic Records, and became a key figure, signing and working with the biggest acts in popular music, including a distribution deal with Stax Records.

Wexler parted company with Atlantic in 1975, yet continued to work with leading musicians such as Bob Dylan (with whom he won a GRAMMYin 1980 for single 'Gotta Serve Somebody').

Wexler was inducted into the Rock and Roll Hall of Fame in 1987.

Bob Corritore summed it up when he said: "Thank you, Jerry, for your lifelong contributions to R&B, and to the entire music industry."

photo: Billy Hutchinson

Blues brother, Phil Guy.

ampa Red was probably the all-time best-selling Georgia Bluesman with almost four hundred recordings under his own name, as well as hundreds more accompanying other artists. As "The Guitar Wizard", he perfected the single-string slide run and smooth bottleneck tones mimicked by a number of Georgians, and later post-war luminaries like Muddy Waters, Elmore James, and Robert Nighthawk, as well as modern musicians like Ry Cooder. In fact, Tampa Red may well have been the most influential bottleneck stylist in Blues history…

Tampa Red was born Hudson Woodbridge in Smithville, Georgia on 8th January 1904 to parents John and Elizabeth. Whilst a child, his parents died and he was raised with his brother Eddie by their grandmother, Annie Whittaker, in Tampa, Florida. The grateful Hudson took her last name as his own.

In the early-20s, already having already perfected his innovative slide technique, he moved to Chicago and began his career as a musician, adopting the name 'Tampa Red' from his childhood home and red hair. By then, he had a emulated older brother Eddie, who achieved minor fame playing guitar around Tampa. He was also indebted to a little known, old street musician called Piccolo Pete, who taught him to play Blues licks. Tampa was also very influenced by early recordings of female singers like Ma Rainey, Bessie Smith and Ida Cox.

"That record of 'Crazy Blues' by Mamie Smith, it was one of the first Blues records ever made," Tampa told Martin Williams in an interview quoted in the liner notes to "Tampa Red: The Bluebird Recordings 1934-1936". "I said to myself, 'I don't know any music, but I can play that."

Tampa's big break came in 1928 when he was hired to accompany Ma Rainey, one of the earliest known American professional Blues singers and one of the first of such singers to record. Following Ma, Tampa Red was one of the first black instrumentalists to make a recording and in that year he made the hugely influential 'It's Tight Like That'. This is still Tampa's most recognised record-

ing, featuring a very early and neat guitar break. Most of Tampa's early recordings were collaborations with pianist, composer and arranger Georgia Tom, real name Thomas A. Dorsey. Tampa Red and Georgia Tom recorded almost ninety sides, sometimes as The Hokum Boys, or with Frankie Jaxon, as Tampa Red's Hokum Jug Band. Georgia Tom had already played for the leading female Blues singers of the era, in particular Ma Rainey, and the relationship was to prove hugely influential to Tampa's career.

Georgia Tom introduced Tampa to J. Mayo Williams, the top man in Paramount Records in Chicago. Williams arranged a session for Tampa but his first recording, 'Through Train Blues', didn't do much, despite sharing the record with the label's then big star, Blind Lemon Jefferson. Later in 1928 he made his second recording with Georgia Tom, the hugely successful 'It's Tight Like That', which contains the promise of the "best jelly roll in town." The song's sexual suggestiveness caught the public's imagination and it sold nearly one million copies generating a very substantial $4,000 in royalties. In an interview quoted in “The Bluebird Recordings 1934-1936”, Georgia Tom describes the record as "just a little old song, but they really went for it. 'Tight Like That' wasn't no original tune, it was just something that popped up at the right time to make some money." The humorous bawdy style of this recording later became known as "hokum", and the collaboration did much to establish the guitar/piano combo in Blues.

In 1928, the National steel-bodied resonator guitar was introduced to the market, and was the loudest and flashiest guitar available. In a wise commercial move, Tampa Red became the first black musician to play one. This allowed him to further develop his trademark bottleneck style, playing single string runs, which was a precursor to later Blues and rock guitar soloing. The National he used was a magnificent gold-plated tricone, leading to Tampa being billed widely as "The Man With The Gold Guitar" and subsequently "The Guitar Wizard". His National guitar was found in Illinois in the 1990s and sold to the Experience Music Project, the museum of music history, where it sits in the Guitar Gallery, which is dedicated to the history of the guitar.

Despite their prodigious recorded output, Tampa's partnership with Georgia Tom ended in 1932 and, for

next couple of years, he made a living as a session musician, working with big names such as Ma Rainey, Lil Johnson, Sonny Boy Williamson, Memphis Minnie, and female impersonator Frankie Jaxon. As the Depression kicked in, this was not constant employment and he experienced lean times, too.

In 1934, he signed for Bluebird Records. Bluebird was the RCAVictor budget label, with 78s sold at half the price of most others. He formed the Chicago Five, a group of session players who created what became known as the Bluebird sound, a precursor of the small group style of jump Blues and rock'n'roll bands. During his twenty year association with the label, Tampa's recordings tended towards sentimental pop ballads, but it was also the time when his kazoo blowing became a feature on most releases. He recorded a variety of music standards like 'Nobody's Sweetheart'; boogie woogie on 'Shake It Up ALittle'; and swing, with 'Mr. Rhythm Man'. His better Blues material of that period were 'Grievin' And Worryin' Blues', 'Hard Road Blues', and 'Poor Little Fellow Blues', recordings bringing Tampa's brilliant guitar well to the fore

Always innovative, in the '40s, Tampa started using electric guitar. In 1942, he recorded one of his bet known sides, the double entendre 'Let Me Play With Your Poodle', which reached number 4 on Billboard Magazine's new Harlem Hit Parade, forerunner of the R&B chart. This recording again featured Tampa's now trademark kazoo solo work. Recordings like 'I Want To Swing' and 'She Loves Just Right' demonstrate his prowess as a kazoo blower!

An insight into Tampa Red's nature is given in the fact that, as he enjoyed commercial success and reasonable prosperity, his apartment on 35th and State served as the Blues community's rehearsal room and

informal booking agency. His generosity enabled countless musicians to get a foothold in the Chicago clubs and recording studios of the '30s and '40s, as he also provided lodgings for the flow of musicians who arrived from the Delta, as the commercial potential of Blues music was recognised and black opportunity in the south diminished even further. According to Muddy Waters, the only way to a contract with Victor was through Tampa Red.

Along with a number of other Bluesmen, including Son House and Skip James, Tampa Red was rediscovered in the late-50s as part of the Blues revival. This was neither successful nor long lived and he lived out the rest of his days in seclusion on the South Side of Chicago. He had an acknowledged inability to refuse a drink and Tampa became an alcoholic after his wife Francis's death in 1953. His final recordings made in 1960 were undistinguished and are thankfully hard to find now. Tampa Red died in Chicago on March 19, 1981 age 77. He was buried, without a headstone, in Mt. Glenwood Cemetery in Glenwood, Illinois.

To get acquainted with Tampa, look out for "It Hurts Me Too: The Essential Recordings Of Tampa Red" (Indigo 1994). This is a comprehensive first stop spanning the period 1928-1942 with his most famous output including 'It's Tight Like That', 'Let Me Play With Your Poodle' and 'She Wants To Sell My Monkey'. To hear how good he was on bottleneck, get hold of "Bottleneck Guitar" (Yazoo 1974) - an excellent overview of Tampa Red's earliest work. KW

Tampa Red (left).

photo: courtesy Document Records